RECORDING GUIDE
DEFINITIVE DISCOGRAPHY
COLLECTION OF DRUG SONGS
(released: July 14, 1993)
DRUNKEN HILLBILLY COLLECTION
(released: August 31, 1994)
LIVE! ON THE ROAD TO GIZA
(released: December 12, 1995)
COMPLETE CATTLE LOG
(New Digitally Remixed Masters:
April 20, 1998)
CARDIOLOGY VOLUME ONE
(set for release: December 20,
1999)
PEYOTE COYOTES "GREATEST SHIT!"
(planned for: February 14, 2000)
BOOTLEGS & RARE TAPES
MEXICAN STANDOFF DEMOS (unreleased:
December 24, 1983)
DARIN' KORNBALL SESSIONS (unreleased:
June 18, 1984)
SUMMER SESSIONS 1984
(unreleased: December 24, 1984)
SUMMER REHEARSALS 1986
(unreleased: July 14, 1986)
SEEMS LIKE A FREEZE OUT
(unreleased: December 24, 1992)
COMPREHENSIVE (Mono Mix) (unreleased:
February 14, 1993)
"JAMMIN' WITH LEROY"
(unreleased: Summer 1993)
NECROPOLIS (CITY OF THE DEAD)
(unreleased: August 1994)
THE VAULTS RECORDING DIRECTORY
The LIVE
single from The PEYOTE COYOTES
ON THE ROAD TO GIZA
Album
Featuring Robbies'
original
LIVE
vocal track that was rerecorded for the album version. His vocal is really
out of control here and much more wild! This was Robbies'
most commercial Insanity ever recorded. Recorded during the time when the
O.J.
Simpson Trials were on TV all day long."We
KNEW!, he had been setup and that he was going to get himself off! "-
Gary.
Something about three rich and famous black guys and how the cops and TV
news crews at the time, sucked them into the Giant Money Hungry Media Machine,
we call Television and that they were going to "Get
themselves off!, actually
the lyrics don't really say "Media" at all, the word was generated by singing
'Veenie Off' and 'Video' at the same time, strange how that worked!" The
working title was originally "Suckin' My Veenie
Off!" The final title was derived later after
the recording of the song and then new vocals were overdubbed on, instead
of the original. On the single version you can actually hear what Robbie
was really singing! Quite a bold move to release that as a single and maybe
not so smooth for trying to get it air play on the Radio? Both versions
showcase what is surely the most stunning, sizzlin' guitar solo Gary
has ever shreaded onto tape, played like a guitar man repossesed and it
was all done LIVE,
AMAZING!
The LIVE
B-side
of "SUCK IN THE MEDIA"
Written by RAY
DAVIES and originally recorded by THE
KINKS in the early Sixties. Gary
sings
this with one of his many voices from out of nowhere. This was going to
be the first song on the album, this was before the BULLFIGHTER
TANGO introduction was recorded. There was
a problem discovered during the editing of this into the album master,
and it was decided that by changing the running order of the tracks, this
problem could be minimized. It was also one of the few LIVE
recordings
made at the time that were found to be usable. "I
haven't told Ray we've recorded that one yet, I had several chances in
1996 to tell him about it, but the subject never came up. So, maybe if
I buy him alot of beers next time, he wont remember to ask for any royalties!"
The single is an alternate mix, one that was made long before the album
was being put together and then was later remixed to fit onto the album.
"Oh!,
I remember that one!, we had so much trouble trying to crossfade it into
the album master. I would've liked to have redone that lead guitar solo
again for the album version, it was just too loose. It was one of the first
two songs we did for that Giza thing."
From the PEYOTE
COYOTES ON THE ROAD TO GIZA Album
This is really only a demo made
by just Gary,
before the GIZA SESSIONS
began. It was originally planned to be used as a B-side, and made the rounds
on a demo cassette before the LIVE
album idea came up, but later it was decided it should go on the album.
It was from one of BUDDY HOLLY's
records with KING CURTIS
on sax. Gary
did this track by himself, one night when the others didn't show up for
the session. "I was sitting around thinking,
'When are they ever going to get here?', so I thought 'SCREW THIS!' and
I went in and did it all on my own. I was thinking about two cover versions
of it, one from The Beatles Live in Hamburg and the other was by The Flaming
Groovies, some friends of mine in San Francisco, I produced two tracks
for them back in '81. I was trying to sing it like Chris Wilson, I always
liked his voice. I think my voice went flat on a couple of notes, I didn't
try to go back and fix it because it was only meant to be just a demo for
the other Coyotes."
From the PEYOTE
COYOTES ON THE ROAD TO GIZA Album
Originally slated for an early
version of The DRUNKEN HILLBILLY COLLECTION
but
was later removed from the master reel when more material was recorded.
This was recorded by Robbie and Gary on New Years Eve '93 and features
some of the hottest duet guitar work they've ever done together. "Robert
put a bass track onto the backing and then did the first three solos. That's
me doing the last one, we worked so hard on that, very progressive! Then
he put on his lead vocal , we finished that just before midnight and turned
on the TV, just in time to see 1994, so we left it at that for a long time."
The
song later ended up on the GIZA
album,
it was remixed more than two years after it had been recorded. The track
itself is really much more than just a mere Rocker, it really scorches
your speakers and jumps out and strangles you. It just didn't fit in with
the more laidback, loose acoustic brawls on The HILLBILLY
album. "Then, about a year or so later when
Robert was in Ventura County Jail, Tom and I tried to go in and put some
backing vocals onto alot of old stuff, but we never really finished that
one. I always hated Robert's words to that song, they just keep repeating
themselves over and over and over again, very Robert and very annoying!"
That
song really stands out on it's own and for what it is, recorded in only
one take, really kicks ass!
From the PEYOTE
COYOTES ON THE ROAD TO GIZA Album
Tommy
sings this old Bob Dylan
classic from 1965, Gary does
the backing vocal. Nobody seems to remember why this was recorded and there
seems to be no sessions notes indicating WHEN it might have been recorded.
Gary
played BOTH guitar tracks and overdubbed an organ onto the backing as a
guide for Tommy.
For some unknown reason Tommy and
Robbie
never
replaced them with their own parts.
"They
were probably just too FUCKED UP at the time and didn't want to be bothered
with it." There are two sets of Tommy's
vocals on the original multitrack sessiontape, one with Gary
singing backup and the other with just Tommy
by himself. This second vocal track was recorded much later, when it was
decided that Gary's
backup vocal should be taken out of the mix in places. The album uses the
original vocal track with Gary on
it. The new vocal, as far as we know, has never been used in any mixdowns,
that we are aware of. At this time there is no other known information
reguarding this recording, only a few VERY hazy memories of some really
cheap booze!
From the PEYOTE
COYOTES ON THE ROAD TO GIZA Album
This one minute Introduction
to the album was one of the last things recorded for GIZA.
Gary
recorded this in the Music Room,
one of the studios still being built into his new house. Without the help
of the others he composed, arranged and recorded something like 100 different
instrumental parts. Tommy
attended the beginning of the session and left, but it appears that he
DID NOT participate in any of the actual recordings, just the drinking!
"This
one isn't really a song at all, it's more of a FANFARE, like at the Olympic
Games or something. It was just a little intro I wanted to throw onto the
beginning of the album." The Sound Effects
Library was raided for this massively over-produced Gayla. It features
the screams of 1000's of spectators at a Bullfight in Madrid, shouting
O'LAY! "I thought it would be really cool
to try and get as much on there as possible. I started off with the Sound
Effects and synced up two different snare drum tracks in Tango time. Then
I put in all of those horns and strings, one at a time, layer by layer.
Finally I put on a couple of guitar tracks, it was really something!" Good
Job, Gary!
From the PEYOTE
COYOTES DRUNKEN HILLBILLY COLLECTION
An old Folk Song written by
Woody
Guthrie, lifted from
THE BYRDS SWEETHEART OF THE RODEO.
Here we
have the Blue Grass Sound of a Rock Band going to HELL! This entirely acoustic
number marked the beginning of a new era for The
Coyotes. There are almost no electric guitars
on many of the songs on The Hillbilly
album. Well, not the kind you are thinking. This was the first song recorded
for the album, it features two acoustic guitars, drums, stand up bass,
FIDDLE! , mandelin and some harmonica from Tommy.
There are actually TWO DIFFERENT FINISHED TAKES, in different keys and
tempos still in the can at the studio. There have been some suggestions
to look into putting the alternate take on The CARDIOLOGY
project, next year!
From the PEYOTE
COYOTES DRUNKEN HILLBILLY COLLECTION
Written, recorded and remixed
by Tommy and
Gary
all in one night! Features Tommy
on two accordians and Gary
on a couple of acoustics. "Yeah, we went out
one night and got some generic cola and some really cheap whiskey, it cost
us all of six bucks! We sat down and said, 'Let's write one about this
glass of Cheap Whiskey N' Coke.' We did all of those tracks in the time
it took us to polish off that bottle. That's Tom you hear, passed out on
the studio floor shouting, ' I'm FUCKED UP! ' on one of the guitar tracks
I was overdubbing." Tommysays,"I
got some really good Indica seeds from this Ganga Man with dread locks,
that rode around on a bicycle. During the recording of this album, I was
growing these plants that we named after our girlfriends. A few days before
they were ready to harvest some guys jumped the fence in back and ripped
them off!" Tommy had a dream that night after
he passed out,"I dreamed that I was talking
with Bob Dylan and we were partying on his balcony, overlooking the ocean
in Malibu."
The song was originally called;
CHEAP WHISKEY N' COKE. The title came a bit later.
"I
was hanging out at this Western Disco, The Borderline, a girlfriend of
mine had just started working there. I only started going there because
she was so beautiful and I think some of it rubbed off on me, although,
we had already been working on this album for quite awhile. It's a shame
I never played this song for her, I think she would have liked this. I'm
sure it would have reminded her of me!"
Hum!,
not bad fellows, for 6 bucks and one nights work!
From the PEYOTE
COYOTES DRUNKEN HILLBILLY COLLECTION
Lyrics by Robbie
with musical arrangements from Gary,
recorded during the summer sessions of 1993. Written specifically for the
HILLBILLY
album,
about a guy that David
had been bringing into the studios to record demos with since early 1983.
He was hanging out at the studios all the time and didn't get the hint,
Gary
wanted to get rid of him. "That creep just
wouldn't go away, I still hear from him, once in awhile, wanting copies
of the tapes that he did at my studios over the years, but never paid for."
The
arrangement and melody are loosely based on "Where
Are You Tonight" from the TV show HEE
HAW, sung by
Archie Campbell and
Gordie
Smith. Edge Of
The Station also has the influence of severval
other songs including songs by Bob Dylan
and Woodie Guthrie.
Robbie
did the basic tracks, Gary
played acoustic guitar and Tommy
overdubbed an accordian. Vocals were recorded outside in the open air,
with the sound of water running into the pool in the background and Tommy
playing a pair of garden shears!"Snip
Snip!, We spent a long time trying to get the water to sound right, we
had the garden hose running over some rocks. It took us awhile to find
the best place for the hose to create the kind of trickeling sound we had
in our heads." After the sessions Gary
overdubbed several electric guitars to the tune of an old Irish JIG,
for the instrumental verse. Scotish BAGPIPES
were overdubbed at a much later date, and Gary's
acoustic guitar was rerecorded.
From the PEYOTE
COYOTES DRUNKEN HILLBILLY COLLECTION
A true DRUG
SONG written by MICK
JAGGER and KEITH
RICHARDS, originally recorded by THE
ROLLING STONES in 1966. Recorded too late
to be included on DRUG SONGS
LP. Features Gary,
Robbie
and Tommy each
singing a verse. "I thought ,we sounded like
drunken pirates on that one!" Robbiedid
the basic tracks and Gary
played acoustic and electric guitars. Robbie
and Gary then
overdubbed their lead guitar parts onto separate tracks. "There
are two vocal tracks on that one, the first has all of us singing together
and on the other, we're just singing one at a time. We used a little of
both in the mixing."
From the PEYOTE
COYOTES DRUNKEN HILLBILLY COLLECTION
A TRADITIONAL
Cottonpickin' River Boat song. Actually from Sugar Plantations in the Mississippi
Delta area. The model recording was taken
from THE BAND's BASEMENT TAPES
recorded at BIG PINK
in Woodstock in
the Summer of 1967. Gary
recorded all of the basic tracks and several layers of vocals. An unreleased
rough
mix was made at the time with just Gary
still
survives in the Coyotes tape archives. Then Tommy
was brought in to put on his lead and backing vocals and also two accordian
tracks, one when he was really fucked up and passed out during the recording!
You can hear part of the track he passed out on, faded in and out near
the end of the song. Tommy says, "That is
why I don't drink hard alcohol anymore, cause it gets me too fucked up,
it tweaks me in the head. So usually all's I drinks is beer." Gary
and Robbie got
really drunk one night and recorded some largely unusable vocals, that
were later used in part during a reduction
mix to bounce down many of the vocal tracks.
Those drunken vocals can still be heard in the final mix. Tommy
later overdubbed a harmonica, played processed through a flanger,
onto one of those vacated tracks.
From the PEYOTE
COYOTES DRUNKEN HILLBILLY COLLECTION
One of Robbie's
longest songs, recorded in 1993. Robbie wrote
it and Gary did
the arrangements. "It changes key in alot
of places, 'Come on down to Beaver Valley, Come and join our Chicken Rally'
for every chorus it went into a different key!" Robbie
did
the basic track and Gary
put on an acoustic guitar. "That guitar track,
the acoustic one. was so hard to get right, there are about a dozen chords
in that. I think I had to come back later and do it all over again." Then
an electric guitar
part after, while Robbie
was in the kitchen writing the words. "I remember
suggesting that line about JOHNNY WALKER RED to Robert." Then
they put on a couple of their vocal tracks and called it a night. "It
was really funny, a year later during The BIG HOUSE SESSIONS, Tom and I
put some more vocals on it , then I added some crazy sounding strings to
it, I was saying, 'Wait till he hears this!, Ha, Ha, Ha, Ha!', we thought
Robert was really going to flip out when he heard it." There
were a several mixes made before the strings went on. It still sounds like
it could have used some more work!
Unreleased SOLO
RECORDING
Robbie
produced and financed this Lost Master on
his own, during a solo demo session. He also produced a couple of other
acoustic songs at this session that weren't considered usable by the Coyotes.
There was a plan to overdub it at some point and include it on one of the
versions of the HILLBILLY
album. Robbie
took both the multitrack sesion tape and the rough mix he made with him,
when he left the studio. There was no copy of it found during a recent
search of The Coyotes tape
vault. Gary remembers,
"I
really loved that one, Robert did all of the parts by himself. I thought
we should use it but he ran off with all the tapes, because he had paid
for it. We have been trying to find it for a couple of years now, I would
like to use it on the new project." The song
didn't sound like any of the Good Time Drunk Songs on the HILLBILLY
album, but it had the slight feel of a Western, Gunslinger lyrics and some
grungy sounding guitars.
From the PEYOTE
COYOTES COLLECTION OF DRUG SONGS
A seven minute NEW AGE PSYCHEDELIC
RELIC from THE ROLLING STONES SATANIC MAJESTIES
REQUEST, was recorded by Gary,
April 26-27, 1993 with vocals added by Tommy.
Robbie
later overdubbed his vocal at a different time during other sessions held
the next summer. David was
supposed to put his guitar solos and some more effects onto it, but he
never did. Gary
recently said, "That was done so late in the
sessions, that it almost didn't make it onto that album. It wouldn't have
fit on the next album, it was way too spaced out and was too long, it just
went on forever, until the tape ended."
From the PEYOTE
COYOTES COLLECTION OF DRUG SONGS
(FIRST MOVEMENT)
This Epic was the first recording
made for DRUG SONGS
sometime in early June of 1992, (Emily would probably know the exact date!).
It was recorded over several days at a number of sessions that summer.
Robbie
and David wrote
and produced the Disco Introduction. Robbie
did the basic tracks and David
put on two guitar tracks. Robbie,
Gary
and David put
on several layers of Gregorian Chant vocals
at different times. Gary
reveals, "I remember when we first started
working on the track. We all were hanging out at this dance club, THE RED
ONION, that is where the dance beat came from. I got so many chicks to
come home with me to listen to that one minute piece. 'Hey!, you wanna
listen to the album we're makin'. Much later we hired this session guy
to put on two bass tracks, one was recorded backwards and the other was
played with a stick wrapped in cloth. He also put a bass on KRAP at that
session. I don't remember his name, one of the others would know!" In
the session log his name is listed only as"J.C.".
The section ends with a brilliant guitar solo from David. "Dave
used my powder blue Strat on this and most of the songs on that album.
I still think that is some of his best work!"
(SECOND MOVEMENT)
Begins with a LINK
TRACK from Gary
and
David.
Gary
played his
Fender Thin LIne Telecaster
through the GSP
(Guitar Signal Processor), to achieve a highly compressed, "rushing" backwards
guitar effect. David
used the processor to generate a special effect off a keyboard and put
on a whammy bar dive on the strat, Robbie
added
the last note from a keyboard. The section continues with the sound of
birds, water and Robbie
playing some metal windchimes recorded outside with a garden hose running
over the rocks into the pool! More bird sounds were lifted from the tape
library and dubbed onto a track on the master. Later Robbie
played a distant flute onto a track and David
voice
modulated some lyrics with a keyboard. "Dave and I spent alot of time making
those words understandable, probably all night!" The words are, "Seek and
you shall find peace of mind, come into the light".
(THIRD MOVEMENT)
Started with the a
Polynesian Fertility Chant with various drums.
David
recorded two guitar tracks through a backwards envelope filter, this was
played in reverse and copied onto another tape, cut up into little pieces
and dubbed back onto the multitrack in reverse. Robbie
and Gary later
recorded two tracks of some very American Indian sounding vocals.
"Robert and I were dancing up and down around the microphone, shakin' glass
jars of popcorn. We took our shirts off and tied them around our waists,
we were singing something like 'HEY LA HEY, HEY LA HEY' over and over,
it was so insane. We must have been pretty waisted, I'm glad nobody else
was there to see us doing that!"
(FOURTH MOVEMENT)
This last part began with
David
and Gary playing
two guitars into a voice box, while David
modulated it with his mouth. Robbie
put on some out of time drum tracks, that weren't used in the final mix.
Gary
added some very oriental sounding strings and percussion, at a different
session. "There are a couple of dropouts in
there, we couldn't fix." Lastly, Robbie
put on two pianos, one with his left hand and the other with his right!
The piece ends with the Outer Space Effects
that
were generated for the beginning of ROBOT
MAN, pitched gradually upwards in speed
to match the key and tempo of that song.
From the PEYOTE
COYOTES COLLECTION OF DRUG SONGS
A SPACE
WESTERN. like Gene
Autrey on LSD or more likely "Shrooms", sounds
a bit like "TUMBLIN' TUMBLEWEEDS".
Originally written back around 1977, but given a complete rewrite in July
of 1992. "I always wanted to record this,
so I got Dave and Robert to help me rewrite the lyrics, because I had completely
forgotten them." Robbie
did all the basic tracks and then Gary
put on the acoustic guitar, through a phase shifter. David
overdubbed
a boozey slide guitar solo, with that same acoustic guitar over the intro.
David
coached
Gary
on several electric slide guitar tracks Gary
did
with his Fender Thin Line. Later Robbie
played two coconuts on the cement outside the studio and Gary
added an organ onto a separate track. Gary
and Robbie also
played Kazoos with straws stuck in them and blew bubbles with them into
a closely miked jar of water, over the beginning. "We
erased the beginning of my vocal track , by mistake, when we were trying
to put on the solo of Dave's that we punched in onto the beginning on my
vocal track. So we tried to redo the first part of my vocal again, but
Robert had taken the session notes home with him and we couldn't match
the highly complex sound settings. So it changes after the first couple
of lines." When Robbie
and
David were
setting up the robotic effects for Gary's
lead vocal track, tape was still rolling and caught David
speaking the changes into a microphone. The tape was later used as David's
lead vocal track on RETURN TO ZERO,
when it was found to be on one of the tracks on the multitrack session
tape of his song, it's VERY INDUSTRIAL!
From the PEYOTE
COYOTES COLLECTION OF DRUG SONGS
Robbie
wrote this HEAVY METAL DISCO PUNK RAP
song during the summer sessions of 1992. The bridges of this song were
shamefully ripped off from the TV theme of Mission
Impossible. It was started by syncing up,
two separate dance beat drum tracks. Then Gary
put on a rhythm guitar track with his Thin line and took a solo in the
middle of it. Robbie overdubbed
guitar parts for the bridges with his Explorer and a bass part with a keyboard.
David
dubbed the final solo onto the end of Robbies'
guitar track, with Gary's
powder blue Strat. Then the three of them put on their vocals, Robbie
sang the lead. Months later a session man known only as, J.C.
? was brought in to overdub a bass guitar onto a vacant track on the original
the multi-track session tape. Alot of time was spent trying to find the
right sound for this bass overdub. It was discovered at this time that
the words worked with every Rap song ever made, but didn't fit the timing
of the backing tracks of this tape.
Robbie
and Gary tried
to, rerecord the vocals on a vacant track, to fix the timing problems but
it has never been used in any known mix down made of this song. The idea
to fix the vocals was abandoned and it was decided to leave the vocals
as they originally were, timing problems and all, it makes the song impossible
to dance to! "The chorus comes from Robert
and I hanging out at THE ONION." There was
a Heavy Metal Rap Band called THIRD PLANET
playing there one Friday Night.
"We were just
sitting there drinking and singing something very like, 'GET UP, GET DOWN,
GET YOUR FEET ON THE GROUND, DON'T CHA GET BACK UP, TILL YOU GET BACK DOWN
' to every one of their songs. It was such a giggle for us, we were falling
over on the floor, we couldn't stop laughing! Robert went away and came
back with the rest of the lyrics, terrible isn't it?"
From the PEYOTE
COYOTES COLLECTION OF DRUG SONGS
Two of the solo acoustic pieces
David
recorded during the DRUG SONGS SESSIONS,
held in the summer of 1992. They were supposedly written for his girlfriend,
Debbie
and
very personal to him. When the album was first being put together, David
included these on the early mono version of DRUG
SONGS made in early February of 1993. David
gave the only cassette copy made off the mono mix to Debbie
for Valentines Day '93. At some point, Debbie
dumped him on his head, broke his heart and left him. Months later, when
the final stereo mixes were being made and the album was being re-assembled,
he refused to allow them to be included on the album. This may have been
one of the reasons why David
stopped participating in the sessions for DRUNKEN
HILLBILLYS. The other reason was Gary
had
been recording way too much of the material by himself for DRUG
SONGS. "I was
concerned that Debbie was having some kind of influence over Dave, one
time I even heard them having sex in the hallway! I was always the
one in control of the sessions held in my studios, I was almost always
unwilling to let her have anything to say about what we were doing. If
she expressed her opinion on something I would make sure we ended up doing
the opposite!" Some rough stereo mixes made
off the mixers monitor bus from these sessions may still be floating around
on cassettes made at the time of the original sessions. A rehearsal
tape of David
practicing these two songs, has recently been found in the vault of the
tape library at the new COYOTE RECORDS
in Northern California. Part of this tape will be digitally restored and
used for the CARDIOLOGY projects
,sometime later this year!
From the PEYOTE
COYOTES COLLECTION OF DRUG SONGS
This was David's
full blown industrial strength rocker, recorded during the early sessions
for DRUG SONGS.
Gary
did the backing track and David
directed him and did several guitar parts. At some later point during
the mixdown sessions, it was discovered that one of the tracks still had
David
trying to get Gary's
vocal effect for ROBOT MAN,
programmed into the microprocessor. It the end of the song David
just
happens to be singing, "I'm a Robot Man, from the Void of Space". So it
was decided the album should end with that.
David
wanted to remove it from the album later, but Gary,
refused to take it off, because he had played on it and felt the album
needed it for the FINALE.
The title comes from a feature on the multitrack tape machine, RETURN
TO ZERO, a memory location function. "Dave
and I once got into a long arguement about who did the backing track on
this, in the end I won, I was the only who there who could have put the
backing track on because Dave was busy trying to play the first guitar
track at the same time, I almost always won with those guys."
From the PEYOTE
COYOTES COLLECTION OF DRUG SONGS
An older song of
Robbie's, he
had been trying to get recorded for a long time. The first song from the
second reel from the SUMMER SESSIONS of 1992. This session began with Robbie
putting down the backing track and then he and Gary
played two rhythm guitar tracks. Later he dubbed on the lead guitar solo
and he, David
and Gary put
down the backing vocals, Robbie
sang the lead vocal. "A typical Robert song,
with the lyrics repeating over and over again, not bad though!" A
promotional video was planned for this song when it was going to be the
single from the album, but this was never shot. No singles have been pulled
from this album.
From the PEYOTE
COYOTES COLLECTION OF DRUG SONGS
Written by David
and Gary about
their Holiday in WAIKIKI,
back in the summer of 1985. They met up with two chicks on the beach ,
who talked them into going to the club where they were working, THE
CANDY LAND. They turned out to be strippers
and bought David's drinks
for him all night long. He ended up, moving in with them for awhile. Seven
years later during the DRUG SONGS SESSIONS,
David
was
trying to write a song about those two girls and their habit of using a
certain white powder! He never completed the song and Gary
finished it off and recorded it by himself. This was one of the things
that really pissed David
off, even though he liked Gary's
three completely different sounding vocal parts. This was the last time
they ever tried to write a song together for the next five years! "We Be
Jammin"
From the PEYOTE
COYOTES COLLECTION OF DRUG SONGS
An old HANK
WILLIAMS tune, recorded by Gary
with
a BIG BAND SWING SOUND
and a JOHNNY CASH
guitar riff, it features a kind of B. B. KING
type solo. Intended by Gary
only
as a demo for
the others, who seemed to have not had any interest in recording it whatsoever!
No one objected to it being included on the album and with it's slightly
rearranged lyrics it became one of the DRUG
SONGS. It should be noted that, NO drugs
or alcohol were
used in recording this 40 year old DRUG SONG.
From the PEYOTE
COYOTES COLLECTION OF DRUG SONGS
Gary
met this girl at THE ONION
one night, she came home with him one to, "Listen
to the new album". Shortly after that he wrote
this CUNT TREE song
about her and recorded all the tracks himself. "It
has these very Western, Ride 'Em Cowboy, kind of lyrics."
One time he actually played it for her, but he doesn't remember what her
response was. Afterwards, she wouldn't give him the time of day, even if
she could tell time. "I wonder what ever happened
to her?"
From the PEYOTE
COYOTES COLLECTION OF DRUG SONGS
The first song Tommy
ever wrote for the PEYOTE COYOTES,
written when he was in Jail on
a drunk driver charge. That is the only thing they now all have in common
with each other. " One day, Robert came to
the studio with a cassette he had made off an old record, after the first
few bars the record stuck and kept skipping over the same grooves, in a
loop for about 45 minutes." He decided to
use it as a backing track, David and
Gary
put their guitars on it. Robbie
put on his lead vocal, in Tommy's
absence and Gary
and David sang
backup. Tommy
tried to sing his lead vocal on it later, but he never completed it. About
3 days worth of sound effects from the L.A.
RIOTS were recorded out on location and intended
to be used in the song. A Nightmare!
From the PEYOTE
COYOTES COLLECTION OF DRUG SONGS
Actually recorded by Tommy
and Gary during
the early HILLBILLY SESSIONS,
but finished off just in time to be added onto the already finished DRUG
SONGS album. Tommy
and Gary took
the lead vocals together and Gary did
everything else. This should have gone on the HILLBILLY
album. This song was written by CHRIS HILLMAN
and GRAHM PARSONS
and was recorded by THE FLYING BURRITO BROTHERS
on
their album GUILDED PALACE OF SIN released
in 1968. The COYOTES
had enough of Ventura County
and were seriously trying to think of some place to go. This songs lyrics
expressed their sediments exactly, "Vancouver,
would be nice!" So in October 1995, all four
of the COYOTES,
made plans to move out of Ventura County
and by November three of them had actually left! David
moved out to Victorville,
while Gary and
Tommy
headed to the North country. Meanwhile, Robbie
went back to Ventura County Jail.
The only problem with the move is that they keep coming back! Robbie
was stuck back in Ventura County
again, with little hope of escape!
From the PEYOTE
COYOTES COLLECTION OF DRUG SONGS
Again recorded by Tommy
and Gary during
the early HILLBILLY SESSIONS.
This was an old JOHNNY CASH tune
that probably best summed up the COYOTES
current problems with the LAW! This version was stolen from a BOOTLEG
recorded by BOB DYLAN
and THE BAND
in June 1967, during the Summer of Love and not!, the CASH
version. This recording the Coyotes
made was concidered as only an outtake from
HILLBILLY'S, and only ended up on DRUG
SONGS at the last minute, as an after thought.
It should have remained an outtake or been saved for use on THE
COMPLETE CATTLE LOG. There is a plan now to
rerecord, at least parts of this song for some future project!
From the PEYOTE
COYOTES ON THE ROAD TO GIZA
The last known recording session
David
actively participated in for several years and was the last track to have
some involvement from all of the COYOTES.
Recorded during the DRUNKEN HILLBILLY SESSIONS
held early in the summer of 1993 and held back in the can until it escaped
on the GIZA album,
in 1995. The word NECROPHILIA,
means literally to have sex with the dead and fits in well with the NECROPOLIS
concept and the material recorded for GIZA.
The GIZA Plain
is the NECROPOLIS
near the City of CAIRO,
where the SPHINX
and GREAT PYRAMIDS
remain. At one time an early version of the LIVE
album was to have been called; NECROPOLIS
(CITY OF THE DEAD). A few rough mixes from
the original version of this album may in fact have survived somewhere!
David
wrote the music and Robbie
provided the extremely annoying lyrics, "Subserviant
Necrophiliac, Come Now Bring Me My Rack Of Yak",
which loosely translated means something very much like,"You,
who are beneath me and grovel at my feet and sleep with the dead corpse,
git over here and gimme a slice of Tibetian Snow Cow". There
was talk at one point for all of the COYOTES
to go to CAIRO
in December of 1999 and shoot a full length promotional feature on film,
at the end of the Millenium it was to be called; NECROPOLIS.
There
was never even a rough draft of a script written for this film and no film
crew had been selected or retained for the shoot.