| PEYOTE COYOTES TECHNICAL INFORMATION: Unlike most other recording artists, the PEYOTE COYOTES were not known to have recorded numerous takes for any of the songs that they recorded. There were in fact very few reels of tape ever found in their tape archives that featured take after take of the same song over and over again. The main reason for this was that the PEYOTE COYOTES almost NEVER recorded together on the backing tracks. In most cases the basic tracks were recorded by just one or two of them in only just one or perhaps two takes. This was done by simply rewinding over and then erasing any previous attempts at the backing tracks. Then many overdubs were later layered onto the tapes one at a time, sometimes at much later dates. The PEYOTE COYOTES had a strict agreement that no one would ever erase any previously recorded track at a later date without the consent of everyone. Because of this agreement, virtually everything that was ever recorded by the PEYOTE COYOTES should still exist somewhere in the tape vault today. There were some rare exceptions to the rule, but perhaps only a few occasions where this actually ever happened. An unnecessary extra guitar track recorded for "Necrophilia" by Dave in the summer of 1993 was recorded over with a new lead vocal track by Robert and Gary the following January. This was done with Dave's consent and in his presence. Another was when Robert erased his original drunken vocals with Gary on "Ducks On The Wall" and replaced them with a guitar and Wah-Wah pedal. His original vocal performance survives only on a damaged rough mix cassette. The last known similar instance was another drunken vocal track with Robert and Gary on "Ain't No More Caine". In this case though, the track was carefully bounced down onto another track with several other vocal tracks before it was erased to make room for more vocals. So there remains bits of all those vocals in the final mixes. There are only a few songs that were completed entirely in one just day (or night). Only a mere handful of songs exist in the form of an alternate take, but there is an abundance of very different alternate mixes and demos. This does not mean that there are no previously unreleased recordings that still survive today. In fact the opposite is certainly true, there are many demos, rehearsals and other unused recordings still waiting to be found a possible use for a project sometime in the future. The PEYOTE COYOTES never erased anything without immediately rerecording another take of that same song over that section of tape in it's place. "Borderline Crisis Blues" remains today the only song written together by both by Tom Lepold and Gary Bright. It is one of the few songs that was written, recorded and overdubbed all on one session date. This track turned out so well beyond anyone's expectations, that it was eventually moved from the second track on "DRUNKEN HILLBILLY'S" to the first opening track. Originally "Pretty Boy Floyd" was the kick-off track to "DRUNKEN HILLBILLY's" and was included that way on many of the early compilation tapes made at the time and on the original surviving AFM HI-FI master tape of side one. It was this HI-FI tape that was used in December 1999 to digitally remaster the first three songs on the album for uploading to the Internet as promotional material. Unfortunately for the purposes of documentation, the PEYOTE COYOTES usually had many very unconventional recording techniques and methods. They were usually reluctant to announce the ID, date and take numbers at the beginning of the tapes. This made it hard to properly identify the tapes later on. They in fact hadn't done much of it ever since the Summer Sessions in 1984. They just seemed to screw it up or forget it entirely, so it was finally just dropped altogether. There were also some rather unprofessional policies which have added to all of the confusion regarding the details of their recording sessions that exists today. These included the haphazard habit of recording onto the end of older session tapes instead of using fresh tape stock each time. Most of the recording sessions were rarely pre-planned and almost never scheduled in advance. Someone who happened to have an idea might come in and get whoever was around to help out on the track. The original tapes included whoever happened to decide to show up on that date. The next time someone turned up they might have listened to what had been recorded and then possibly overdubbed onto the tape if they were into it, but sometimes not. This is the reason why so many of these recordings only feature one or two of the PEYOTE COYOTES and only a very few actually have them all on it. By the very nature of their recordings, it was very unlikely that any of them could have ever been reproduced live. "Ten Seconds To Live" and "Necrophilia" are the only two tracks known to have actual contributions from all of the PEYOTE COYOTES. In the case of "Ten Seconds To Live", Tom had written the lyrics and Robert set them to a track he made off of a cassette he had of a record skipping for 45 minutes. Robert, Dave and Gary then added in their lead and backing vocals. Finally, the three of them each put on their guitar tracks one at a time. "Necrophilia" on the other hand was done in the reverse. Dave had recorded a backing track and was putting guitars onto it, meanwhile Robert was writing out the lyrics. Then Robert, Gary and Dave then put on their lead and backing vocals. Then around six months later, Robert and Gary recorded another new set of lead and backing vocals, erasing one of Dave's attempted tracks. The track was eventually finished with the addition of some chanting vocals by Tom and Gary for the fade out. Most of the tapes were never correctly labeled at the time of the original recording sessions. In some cases certain songs may have been shifted between overlapping projects. A number of the various surviving compilation tapes have been known to contain some very different track line-ups. It seems certain that at various times the PEYOTE COYOTES could not decide where or even if something would be used. There are many occasions where a song that was once included on a project was later bumped off in favor of another recording. Some of the leftover songs featured on a compiled tape might have eventually ended up somewhere else or even not used at all. When it came time to put together another album the vault was often raided in search of unused material to fill out the rest of an album. This material might have later received some additional recording to finish the work. This explains why some of the recordings don't seem to have an obvious connection that fits in with the concept of the rest of the album. It is now difficult to determine with any accuracy which album or project some of this material was originally intended for. These problems are further compounded by the fact that many times little or no information was written down and documented at the time of the original sessions. Sometimes a surviving hand written lyric sheet was located that had the date of the session marked on it. Many of the recordings that still exist today simply have no known recording dates attached to them. There are only some faded and rather vague memories of when they might have been recorded. There were numerous rough mixes made from the monitor bus at the conclusion of most of the recording sessions or at some later time. These tapes may contain some indication of the actual recording dates, but most of these have not yet been located. Sometimes the PEYOTE COYOTES recordings would be worked on again sometimes days, weeks, months or even years after the original sessions took place. Most of these additional recording dates were probably never documented, but it seems very likely that many times they would add onto the tapes as early as the following day, after listening to the rough mixes made at the end of the original session. Some of these rough mixes made at the time of a recording session were taken away by members of the PEYOTE COYOTES, simply misplaced or even lost over time. Robert Lance claims that he no longer possesses any of the tapes that he once had. In particular a song with excellent potential that he produced and financed during the "HILLBILLY SESSIONS" in mid summer 1993, "Sharp Shooter". He took all of the tapes of this and the two acoustic demos that he made on the same day away with him and they have long since been lost, never to be heard again. According to one official rumor, some of these tapes that he had at one time were supposedly lost when his car was impounded. David Raupp is believed to still have possession of some unique or different alternate video remixes that he actually made himself from the original multi-track session tapes of material from the COLLECTION OF DRUGS SONGS album that he had mixed especially for video. Dave was using these remixes with some stock film footage and video processors for the first promotional videos that he produced. It is not known if Tom Lepold still has any of the compilation tapes that he once had. This page will be updated as more documentation is found and other material comes to light... Copyright � 1983-2001 Peyote Coyotes Music Limited. Post Office Box 1662 Twain Harte, California 95383-1662 USA Payola Records International is manufactured solely and distributed exclusively by FAT Cat Industries, Inc. 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