Thank you for visiting us, from Dorothy!
I'm so happy to be able to share this music with you.
We have been working on this for years. It just takes as long as it takes.
I am very grateful to have been able to work with these two guys who know all the chords. No one of us by ourselves could have come close to creating anything like this.
And we are all grateful to have been able to work with such a like minded and knowledgable producer, Tom Tatman.
Richard, Ted, and I all met here in Fairfield, Iowa, where we came to do the TM thing. Richard was actually able to survive here for years by playing in clubs, teaching guitar, doing occasional construction, and driving people to the airport. I had been to jewelry school and worked as a hand engraver before coming here, so I was usually able to find work with start up jewelers and other small object makers. Ted, after some adventures, ran Maharishi University's audio/video department. I wanted to learn how to sing, and had decided that I wanted to marry a musician. So I learned how to sing from my dear late classically trained voice teacher friend Cindy Fisher, and I married Richard.
I became involved in a local bhajan singing group. (A bhajan is a Vedic call/response devotional song.) I just knew that some of these would make great rock songs, but I knew I needed help. Richard tried some of them with me, and we found a few that worked. We played for Amma, with me playing eighth notes on the bass while singing. We did ok, but I wanted to be able to get into the singing without having to hold down and drive the time. Then one Devi Bhava night in Chicago, a band (it was Goddess Jams) with an excellent bass player (who wasn't trying to also sing) played for her. I just sat on the floor next to them facing the stage and said, "Oh Amma, please, we can do something great, please, won't you just hook us up with a great bass player!" Well. Richard and Clancy had been playing on and off together for years. They decided to put themselves through Steely Dan school, with a transcription book. I looked at the keyboard parts in the book and said, "Wait a minute, I can do that." So I learned the parts, and whined around to get them to let me play with them, and I nailed it. Then I was in their study group. Then I started whining around to try to get Clancy to try Tucchi Ko, and he liked it! Then he and Richard started coming up with all these hilarious and interesting arrangements. Clancy is really good at arranging. Then we just did more.
We recorded stuff in our living room on an ADAT machine, but we just couldn't get the quality that we were striving for. So we decided to bite the bullet and go to a real studio. Tom is really good at what he does; what a blessing. He got the best out of us, and produced it beautifully. He completed the project, and then a while later called and begged us to let him mix it again, using new techniques he had learned. So he did it again and made it even better. You can hear the results.
I'm so happy to be able to share this music with you.
We have been working on this for years. It just takes as long as it takes.
I am very grateful to have been able to work with these two guys who know all the chords. No one of us by ourselves could have come close to creating anything like this.
And we are all grateful to have been able to work with such a like minded and knowledgable producer, Tom Tatman.
Richard, Ted, and I all met here in Fairfield, Iowa, where we came to do the TM thing. Richard was actually able to survive here for years by playing in clubs, teaching guitar, doing occasional construction, and driving people to the airport. I had been to jewelry school and worked as a hand engraver before coming here, so I was usually able to find work with start up jewelers and other small object makers. Ted, after some adventures, ran Maharishi University's audio/video department. I wanted to learn how to sing, and had decided that I wanted to marry a musician. So I learned how to sing from my dear late classically trained voice teacher friend Cindy Fisher, and I married Richard.
I became involved in a local bhajan singing group. (A bhajan is a Vedic call/response devotional song.) I just knew that some of these would make great rock songs, but I knew I needed help. Richard tried some of them with me, and we found a few that worked. We played for Amma, with me playing eighth notes on the bass while singing. We did ok, but I wanted to be able to get into the singing without having to hold down and drive the time. Then one Devi Bhava night in Chicago, a band (it was Goddess Jams) with an excellent bass player (who wasn't trying to also sing) played for her. I just sat on the floor next to them facing the stage and said, "Oh Amma, please, we can do something great, please, won't you just hook us up with a great bass player!" Well. Richard and Clancy had been playing on and off together for years. They decided to put themselves through Steely Dan school, with a transcription book. I looked at the keyboard parts in the book and said, "Wait a minute, I can do that." So I learned the parts, and whined around to get them to let me play with them, and I nailed it. Then I was in their study group. Then I started whining around to try to get Clancy to try Tucchi Ko, and he liked it! Then he and Richard started coming up with all these hilarious and interesting arrangements. Clancy is really good at arranging. Then we just did more.
We recorded stuff in our living room on an ADAT machine, but we just couldn't get the quality that we were striving for. So we decided to bite the bullet and go to a real studio. Tom is really good at what he does; what a blessing. He got the best out of us, and produced it beautifully. He completed the project, and then a while later called and begged us to let him mix it again, using new techniques he had learned. So he did it again and made it even better. You can hear the results.