Sunday, July 31, 2005


My four or five years following the break-up of Javelin were filled with music, but no serious bands. There was the aformentioned Ro Herim that consisted of Denny Haberkern, Bob Gleisberg, Steve Olsen and me, which basically involved us sitting around talking about playing and making up new logos, interspersed with actual playing.

I spent most of my high school years getting high and going to concerts with Denny. As such, my memory of this time is a little fuzzy, and I'm not 100% sure of some of the facts. I do know that we saw a good many bands during that time: ELO, Queen (twice), Cheap Trick, Van Halen, etc. I also was taking bass lessons from a local musician friend of my mom's, Frank Coffman. He was actually a guitar player who played in area night clubs, but he had a decent understanding of how the bass should be approached. I just wish I had bothered to study more.

Denny and I also took some music courses together at Mainland. I believe we both took Theory I and II together. But the one that stands out most in my mind was the Music Appreciation class with Mrs. Olga Buttle (or was it Tuttle?). This class basically consisted of a bunch of us just sitting around listening to music all day. I remember distincly all of us having to do reports on current artists, along with playing selections of their music. Denny did Queen and I did Kiss. But the best had to have been when Ron Mason did The B52's. The sight of Olga sitting at the piano, tapping out the chords to "Rock Lobster" along with the record is a memory I cherish to this day. A less cherished memory is when Ron came in with a cassette tape the two of us had made the night before while stoned, with him playing drums and me turning my knuckles into a bloody mess trying to emulate Pete Townsend's windmill guitar style. Hearing it the next day, it didn't sound nearly as good as it did under the influence the night before. And my knuckles hurt.

I did manage to get some actual playing done during high school. I remember one band featuring Bill Brummett on drums, me on bass and Bob G. on vocals. I believe it was Mike Oriente on guitar in this band, with us playing a lot of Ozzy and Rush tunes. Mike was a phenominal guitar player that Bob and Steve Olsen picked up hitch-hiking one day. He introduced us all to the wonders of Randy Rhodes. The amazing thing to me was that Mike was able to duplicate his lead playing without using a tremelo. He played a Les Paul guitar and, instead of using the "whammy bar" to bend the notes, he would reach up with his right hand, grab the string between the nut and his fretted finger and pull, giving it the same tremelo effect. It was quite a thing to see. I played in a couple different setting with Mike. He was partly responsible for helping me to take my bass playing to the next level.

Thursday, July 28, 2005

New Band

I played with some other musicians last night for the first time in probably 10 years. About 4 months ago I had answered an online ad looking for musicians in this area. The guy posting the ad said he was looking for other "middle-aged fat guys" so that he could "put the band back together." This sounded like a good place for me to start, so I responded.

It was a little difficult for him to assemble the various members, due to scheduling and musical desires. His philosophy is that the band is just a glorified beer salesman for the venue at which they are playing. He wants to play feel good, classic rock.

Personally, I tend to approach music from a more artistic aspect. This will be the first cover band I've been in since my teens. And my idea of classic rock differs a little with the band leader's - he's Billy Joel and John Cougar whereas I'm Led Zeppelin and The Who - but that's okay. It's something to play and people to play with. And I do like his other rule: family first.

Unfortunately, the drummer got tied up in Toledo, so our first practice was without a drummer. But still, it got us together and got me playing some music, so it's all good.

Sunday, July 24, 2005


There is already a very good history of Javelin at the band's website, so I won't bother going into it here. Instead, I'll just share some of my memories and thoughts...

My first time hooking up with any other musicians was when I met up with Denny Haberkern and Bob Gleisberg at Bob's house. I had only been playing a couple of months at that point and remember being totally humiliated when I didn't even know how to play "Smoke On The Water." After that, I went back to my teacher and made him show me how to learn songs.

My next memory is sitting next to Rob Rando in math class and him asking me if I played and if I would be interested in getting a band together. I don't remember much of the details of getting everyone together. According to the website, we played a birthday party in Rob's basement with Denny, Jeff Thinschmidt and me on guitar and Rob on drums. A short while after that Matt Butler came in on bass, and Javelin was born.

It never occurred to us that we were doing anything out of the ordinary for kids our age. We all just saw it as a natural progression. And the support from our respective parents was outstanding. The driving us around to band practices and gigs, allowing us to play really loud, obnoxious music with our friends. Alot of credit has to be given to them.

I'm also impressed with the amount of gigs we had. We played school dances and holiday functions, parties, a talent show and even on TV! Okay, it was early Sunday morning, but it was something that we did on our own and was damn exciting. Years later, when trying to get another band off the ground, I used Javelin as an example of how to get things done.

Musically, what can I say? We were kids, all trying to discover our own talents. Listening to some of the old music is nostalgic, fun and sometimes painful, particularly when I ventured into lead guitar.

Eventually, as happens with most bands, we all kind of drifted in different directions musically and broke up. Denny and I played together again in Ro Herim with Bob Gleisberg and Steve Olsen, but if memory serves, we only played one show - a party in my back yard that was cut short by a visit from Northfield's finest.

Seeing a void (and lack of 6 string talent on my part), I switched to bass not long after that. And the rest, as they say, is history (which I am sure to recount later so stay tuned!).

I should note that I've had the sincere pleasure of recording with all of these guys again recently. It started with an email from someone with access to I learned that the other members of Javelin were looking for me and were putting a CD together of old recordings along with a new song. So, with the help of modern technology and UPS, we recorded a version of "Get Back" by The Beatles. I won't post a link to it here since it's copyrighted material, but will send it to people I know who ask. We keep threatening to get together again for old times sake and will be sure to post details here should this occur.

Thursday, July 21, 2005

Remember Her

Remember Her is a song I wrote back in '89, just a few months after my mother died. It is currently the only serious song I've ever written and recorded on my own. I did write other songs when I was younger, but mostly they were crude lyrics with very few of them actually set to music. The bulk of my recording and writing has been in collaboration with other artists.

The original recording of this took place shortly after I wrote the basic parts. I wrote the part that I call the 'rhythm' (the tapped, arpeggiated chords) first, followed by the 'melody'. I then put it together using my Fostex 4-track and Roland drum machine. Once I put together a very basic drum beat, I recorded it plus the 'rhythm' and a simple 'bass' part, then bounced them all down to a single track. I then recorded the 'melody' on two of the tracks, panning each one 70% to either side. The last track was the 'solo' and the 'harmony' piece at the end, both of which were actually written after I put the rest of it together. Unfortunately, I never mixed this recording down to a cassette. I still have the master, but no longer have the Fostex so I have no way of playing it. The instruments were a Custom Dreams fretted bass (ESP parts assembled by Dave Sabo of Skid Row) and Fender Jazz fretless for the solo.

Fast forward to 2005. I wanted to re-record the song, but didn't want to tax my wallet doing so. With a little research, I found a program called Audacity, which is open source multi-track recording software. The price was right and it seemed relatively easy to use. I then found Fruityloops, which is a software based drum sequencer. Fortunately for me, they have a trial version that lets you use the software but not save your work. Since the drum track is very basic, that was good enough for me.

The nice thing about software multi-track recorders is that the number of tracks is only limited by the power of your machine. As such, I didn't have to bounce tracks the way I did before. It took me some time, however, to learn how to get around the differences of recording to PC, such as lag. Also, my current soundcard leaves a lot to be desired, which is why it's so difficult to hear without turning it up. Even so, it came out pretty good. I had to force myself to avoid getting anal about it, continually re-recording the solo. Finally, I got one that was half way decent and left it at that. I no longer have a fretless, so I did everything on my new American Fender Jazz Deluxe 5-String.

I will probably record this again in the future, once I have some decent equipment and spend some time getting aquainted with playing bass again.