06.20.10-Father's Day.  Our son Matt was born on Father's Day in 1982.  Today he celebrates his first Father's Day as the official Dad of his (and spouse, Angela's) daughter, Delilah Grace (we call her Snoojah), who BTW appears to be thriving at 4 months.  Matt gifted me the new TC Electronics PolyTuner through which a player may strum an entire chord, the display then identifying those strings that are out of tune simultaneously.  Certainly here is device that will be useful.  Also treated myself to the purchase and installation of a new black Stetsbar Whammy on my sustainor-pickup/Roland Midi-pickup equipped Fernandes Elite.  Now this guitar again fits in its case and provides a formidable weapon for defending or irritating the muse. 

  06.23.10-OHO's Rocktronics is now digitally available (as MP3's--was wondering when Clean Cuts would take advantage of this opportunity) at www.CDBaby.com.

  06.25.10-David & Jay at The Bratt Studio with Bill Pratt; 3 hours working on David's "New Day" and finally finishing up on OHO's "Arclight" from their Ahora! suite.  Also dropped of a copy of the latest Progression magazine for Crack the Sky (& sometime OHO keyboardist) Glenn Workmann whose photo graces page 26.  

  06.21.10-My advance copy of OKINAWA arrives.  It is a beautiful thing to behold; & it sounds really good too.  Shame about the pagination problems with the booklet; but even with these flaws it maintains its cool partially by featuring some never-before-publicly-seen photos and graphics (like the guitarist's sketch of OHO Man and OHO Woman side by side).

12. "Small World/Over, Under, Sideways, Down" (medley) (5:40)--1992

Artist: Vulgarians

Release date: unreleased

Label info" n/a

Question:  What an unusual juxtaposition of Disney movie music vis-a-vis The Yardbirds.  How did this come about and please relate the obviously short story of the Vulgarians?

  Imagine the degree of disintegration in one's band (not to mention the heaviness of heart experienced)  when your musical partner of 15 years (as of 1992) has no other choice but to resign.  Things in the OHO camp became untenable for David circa 1991.  Following his reluctant departure I found myself in a fairly awkward position; on the one hand, disappointed that we were losing a musical partner/asset/personality/talent who could never be adequately replaced; on the other, having to honor the unspoken directive to keep this limping/wounded beast alive long enough for its inevitable transformation (another example of what it means to make a commitment in time, crossing the "great divide"--too far from the beginning to go back and too far from the end to move forward--yet where we ground ourselves by recalling our initial aim). 

  "Quitting" (a favorite and reliable tactic of many of our former band mates when things got "rocky"--and they always did/do) or the even more cowardly "never showing up again w/o any communication" method of dissociation (a specialty mainly of, but not limited to members of the female gender) were out of the question for me (I've since, after a series of failed attempts, realized that it is impossible to quit one's own band--kind of like "wherever you go--there OHO is"?).  In this realm of uncertainty every word then has to be carefully weighed (not that it helps, nevertheless, an attempt to be clear MUST be made)prior to its being uttered and all the fluctuating circumstances/particulars of each morphing situation has to be gingerly and assiduously juggled from moment to moment. 

  Fortunately our neighbor and journeyman drummer Harry Maben sensed the need, raised his hand and joined as OHO's drummer.  Hailing from a hard rock and dinner theater background as well as having played a Dark Side reunion or two during the 80's, Harry is an outwardly gentle man (except when he is pounding his "kit" & belying the fact that I would not want to mess with him in any way--one of his hobbies is firearms) as well as a journeyman percussionist..  

  Mr. Maben provided a solid rhythmic foundation during this interim period (OHO was at that time fronted by Mary O'Connor and Sue Ellen Sacco successively with random "in-the-pinch" appearances by Angela Lazarony) .  This short-lived era petered out by the beginning of 1993 with the release of the OHO/Sacco live-to-digital-2-track cassette  & was due to what can only be called "insufficient enthusiasm" by more than one member of the team.

  While entropy was having her way with OHO, David Reeve insisted that we continue to write and record some of the songs that at that time didn't fit into what OHO proper was doing.  We (The Vulgarians) met on a weekly basis, occasionally actually picking up and/or sitting behind & playing our instruments amidst the smoke breaks & drinking bouts, punctuated by the random (anyone for tennis?) match.  We subsequently met with our third (like in the way George Martin was the 5th Beatle or analogous to Peter Sinfield's role in early 70's Crimson) member, Bill Pratt, at his The Bratt Studio in Woodlawn, MD where over a period of months we arranged and recorded what resulted in a batch of 4 songs that includes this medley. 

  The yield of this "letting-it-reveal-itself" period were "Antique Heart" (from OHO's Bricolage CD), "Hidden Agenda" (on CD #2 of Best of Baltimore's Buried Bands II), the still unreleased "Base Line" and this melding of 2 cover songs, the Disney "Small World" theme interleaved with The Yardbirds' "Over, Under, Sideways, Down."  

  The "tweeness" of "Small World" instantly evaporated by arranging it in a minor key.  Some of the lyrical juxtapositional opportunities presented in this match-up (e,g. "it's a small world after all" from "Small World" vis-a-vis "when will it end?" from the Yardbird ditty) were just too tempting to resist.  So, what one hears (if one is listening) is a verse/chorus of the former, then a verse/chorus of the latter culminating in a final chorus where both choruses overlap, being sung simultaneously,  "Rub out" 10cc of the requisite though mimetic, signature (Jeff) Beckian guitar riffs dressed in a clever delay patch from my GP-8 processor (played on a trusted and now sorely missed 1975 burgundy Les Paul Custom that at one time belonged to OHO's original lead guitarist) and you get this "holding the tension of the opposites" musical concoction.  & so, I believe, it is.

  Revisiting these recordings, we have decided to primarily feature male vocalization on our current project (the Ahora! suite and musical satellites that will orbit around it).  David, Bill Pratt and myself handled all the Vulgarian vocal challenges and by utilizing Bill's tenor vocal range maximally there should be few problems in exploring those higher registers.  We know with some certainty that Matt Graboski will be singing at least one of the Ahora! suite numbers, probably more.  Not to say we would not request the help of the fairer sex should the necessity arise, but the time has come for "the men" to come out from under the metaphorical "skirt" and "have at it" in a more robustly masculine manner. 

  To my knowledge, this KZMU airing of the medley is the one and only time it has received any airplay since it's completion 17 years earlier.     

  What nice and motivationally heartening words to say about UP (viewer comments combined from our YouTube posted videos of "Out of Thin Air" & "Scared Money"): 

     "This album was/is one of the most criminally undiscovered works of art. I have listened to literally thousands of hours of music in my life and this album ranks quite high. Thank you VERY MUCH for sharing it here. After the countless times I've listened to the CD, I now have the joy of seeing this passionately delivered performance. "You created one of the finest secretly unknown singalong masterpiece albums ever. It really was and is musical genius." -decapitatespammers

  AND this from Scmutzgrieffer whose comments about OHO's "Manic Detective" (from Okinawa) follow:

     "And now, my life is complete. Having heard this, I feel my audiophilia has arrived at an existential destination.  He who has not heard this has not realised the threshold of Cartesian Dualism.  I take my hat off to the pharmaceutical company that has facilitated my tolerance of this offering.  May you never want for a packet of Rizzlas my fellow Dharma bums."

  (Also I would like to apologize for any inconvenience caused my personal email contacts regarding last month's "phishing" of my email account.  I pray no one actually sent any $$$ to these imposters and trust that this is so, for their appeal for aid was phrased in such a "broken English" kind of way that anyone familiar with my rhetoric would know this could NOT possibly have originated with me (Jay).  Besides I still have living family who I would contact 1st in such an unlikely emergency.  Anyway, things went back to normal in 24 hours although my contact list is now empty and I had to invent a new password...

relatively painless.  Again, I am sorry.)    

OHO & out.

June 2010

"The credit goes to the person who convinces the world, not to the person to whom the idea first occurs." -Sir William Osler

"The more you listen the more you're likely to notice that songwriter and guitarist Jay Graboski is the principal reason why OHO has been around so long." (Washington Post)

"What I say is my mystery and not yours, my way and not yours...you should not learn my way but your own." -C.G. Jung

"Our receptivity for praise stands in no relationship to mean disdain and spiteful abuse.  No matter how stupid such abuse is, no matter how plainly impelled by private rancors, as an expression of hostility it occupies us far more deeply and lastingly than the opposite.  Which is very foolish, since enemies are, of course, the necessary concomitant of any robust life, the very proof of its strength." -Thomas Mann

"The two most important characters in the life of any successful human are a nemesis and an archenemy." -Rob Brezny

"Our enemy is our friend." -Guitar Craft Aphorism

"Dream makers often run into dream killers." -Larry Kane

"Struggling with the effects of theft, where someone else's disorder invades and leaves a mark forever on our own psyche, leaves us struggling with the shared dimension of evil, its communal aspect." -Ann Belford Ulanov

"Is there a tree not shaken by the wind?" -Armenian aphorism

"We are Easter people in a Good Friday world." -Anne Lamott

June 1, 2010: Happy 60th birthday to ME (Jay)!  "On a family member's 60th birthday, the Japanese celebrate a holiday known as 'kanreki.'  It's a time of rebirth, when the celebrant ritually becomes a baby again and enters a second childhood.  Among the many gifts given on the occasion is a red kimono (color psychologists say that red stimulates emotional intensity, can raise the temperature of love and awaken feelings that have been subconscious or dormant) which signifies the person is now freed from the responsibilities of adulthood." -Rob Brezny

I have asked for something red, but not a kimono: Carl Jung's Red Book (Liber Novus), referred to by one of the author's former patients as "the record of the passage of the universe through the soul of man."  Now that sounds like an adventure.  Perhaps this will serve the same purpose as the kimono.

But an even better present might be coming by way of our son, Matt.  He asked me what I wanted for my birthday and I suggested he come up with a melody line and lyrics for one of the more rockin' songs on OHO's Ahora! suite.  This is the only song where I am stumped.  All he asked for was for general guidelines as regards theme (easy enough).  Now it appears that the El Sledge+ drummer wants to take a whack at playing drums on the tune.  After running this by Reevus, all systems are "go."   

David and I have been working in the OHO bunker, creating guitar parts for his latest, "New Day," an uptempo ditty lyrically reflecting on the more dangerous aspects of being bombarded by too much information & the transformation of civilization in general.  I'm just taking direction on this one as Dave has composed & arranged the music.  He has also written the lyrics that, yes, he will sing.  We're ready to take these wav files to The Bratt Studio for vocals, mixing, bouncing them off engineer Bill Pratt upon his lining them up to see if any new ideas occur upon his lining them up in his DAW.

  I recorded him singing the guitar solo notes he wanted and then matched them nearly note-for-note on my "stick."  He's receiving advance raves when previewing the work-in-progress from those he meets in his travels.  David popped by on the 24th to play me the final version of our solo (his notes, my execution)...amazing what these computer plug-ins can do to an unaffected direct guitar signal. 

You may recall we've been keying a lot about Greg Shaw of late and our involvement with him and his Voxx Records & BOMP fanzine/label (in fact, while rooting through some dusty archive material on the AM of 05/26/10, I found my copy of BOMP! issue No. 19, October/November 1978 that features Greg's extensive article on "Acid Punk" and the TOP 10 thereof--OHO is listed at #8--YIPPEE!).    

Those who follow this diary also know that we have been in e-contact with Greg's former spouse and lifetime business partner, Suzy Shaw (who still runs the mail order division of BOMP), and that we have donated our 15 letter collection of historic correspondence with Greg via BOMP to the Rock and Roll Hall of Fame in Cleveland, OH. 

I asked Suzy if she had any of the posters from 1981's "Battle of the Garages" summer tour and she graciously sent me one that I then had professionally framed (lime green matte, framed in pink).  On the poster there are 5 pre-pubescent girls looking anglophilic and fearfully at the sky as red and blue guitars apparently spew soundless "rockets-red-glare-the-bombs-bursting-in-air" riffs across a cosmic comic book neighborhood backdrop. 

The framer asked me if these were The Beatles.  I said, "I don't think so.  They're more like what early 1940's English girls might have looked like during a WWII bombing raid by the Germans."  While I at first chuckled, I later remembered how period photos of some of the Beatles as children appeared and that his question was really not all that "out there."  The poster looks sharp and hangs on a wall in our computer room. 

What at first seemed strange to me was that this tour poster listed the dates, cities and bands that played in each respective city, with the line-up for Baltimore's Marble Bar 08/09/81 gig listing The Slikee Boys, Dark Side, The Hypstrz and The Wombats.  Yet I do not remember this gig at all and therefore asked Suzy Shaw whether or not this tour really happened.  She said that she was certain that it did.  Shortly thereafter I noticed that the dates of the tour were from 07/31/81 though 08/15/81 realizing that 3 of us were already months into performing and recording as Food for Worms, deducing therefore that a subsequent edition of Dark Side must've played this specific gig.  Still, we were the guys who played on the album cut ("In the Dark") selected for the 1st volume of that series of 12" vinyl releases (re-released on a Voxx CD in 1993 that has since sold out; but the song is still available, securely and at a reasonable cost, on Dark Side's Odd Fellows on an Even Day anthology at www.cdbaby.com).  

(Continuing to fulfill our commitment to address the KZMU/SHO OHO questions from the 08/25/09 radio interview sequentially, we proffer an answer to the 11th query following the airing of  "Limousine" from OHO's 2008's Bricolage CD/DVD set.)

11.  "Limousine" (3:58)--1991/2008

(Jay Graboski & David Reeve)

(From the 2 disc CD/DVD set, Bricolage)

Artist: OHO

Release date: March 22, 2008

Label info: OHO Music (OM-057)

Question:  What was your intention in the release of this set (Bricolage CD/DVD) and did you fulfill it?

  I recall watching many of Walt Disney's animated films with our two children (& with joy)while raising them during the 80's and early 90's.  I think in The Sword in the Stone, Merlin says something to "the wart" (the future King Arthur) about how persons of character "finish what they begin."  Not sure if we were/are persons of "character," but we knew that we could act AS IF we were by applying the "assumption of virtue" maxim that fundamentally states." If you don't have a virtue, assume it," convinced that that attitude would successfully carry us to the finish line. 

  The period from 1989 through 1992 was tumultuous as that edition of OHO experienced an excruciatingly drawn out disintegration triggered by fear and initiated through the timely and effective sabotage/subterfuge of yet another mutinous traitor/"star" from within; whose actions at the nadir of our vulnerability and the apex of her opportunity, sucked our every hope & dream, dragging them along with our credibility into the miasmic vortex of the black hole created by her own self-extinguishing minus-ness, dispatching herself back to the flaccidly controlled, hand-to-mouth existence from whence she came, leaving us twisting in the wind. 

  Condemned then to circumambulate the 9th ring of Dante's inferno (although "without despair") for a considerable time (at least 12 years), the remnants of the band continued to record both at Dave Kelly's Luna Recording Studio in Glen Burnie and at Steve Carr's Hit & Run Recording in Rockville, MD.  Many of the earliest of these "demos" were of songs slated for inclusion on the follow-up to Sky Records' eponymous 1990 OHO CD.  So, there were tracks "here" and tracks "over there" as well;  but none of these were anywhere near completion. 

  Unable to find a singer who would actually make the necessary commitment in time, we ended up with recordings that featured a total of 7 "guest" singers.  We wanted to put a period to the end of that sentence, the first syllables of which were uttered in 1985 with "Change In the Wind" and "Ethiopia."  A gnawing and unrelenting undercurrent of necessity urged us to bring the work already begun to a state of completion before we would be released to move into the future with the blessings and aid of our muse.
 

A simple enough charge, this took us from 1992 to the beginning of 2008 to fulfill.  That's 16 years, and in the case of "Angels," composed by members of Food for Worms in 1983, our reach went into the past even further.  "Limousine," recorded in 1991 (and only one of two songs on Bricolage that feature male lead vocals) was part of this pool of material and the song went through a number of transformations, with drums first being played by session drummer Greg Phillips (David had resigned from OHO in 1991 due to a difference of opinion with another OHO member triggered by an apparent misunderstanding concerning the rhythm track to this very tune).  These tracks were subsequently replaced by interim drummer Harry Maben, whose powerful percussives can be aurally experienced on this selection (Greg's drumming is on the DVD version of "Limo" found on the Bricolage DVD).

  Did we fulfill it (our intention)?  I say "Yes."  We used almost every worthwhile sonic scrap that we had from the sessions at both studios, added new work from recordings made at David's Blue Ball Rd. Studio in Stewartstown, PA as well as at Bill Pratt's The Bratt Studio in Woodlawn, MD, then compiled these tracks as creatively and intelligently as we could from the Fall of 2003 through the Winter of 2008 using the constantly improving state-of-the-art basement technologies available on the market during this time. 

  We then stirred a trio of newer songs into this "stone soup" written during the 90's in response to our experiences at the beginning of that decade, tying a red, white & black satin bow onto a baker's dozen" of never-before-released OHO songs with 7 snappy bonus tracks.  The result is OHO's critically acclaimed Bricolage CD/DVD set that remains available securely and at a ridiculously low price at www.CDBaby.com.

  Alrighty then, the official availability date for the Vintage OKINAWA CD is June 8th.  For those of you who prefer downloading your music, the 30 tracks will be available at many digital downloading sites within the next 30-45 days or so, or as soon as CD Baby does its thing in that regard.  If anyone has difficulty in purchasing the CD please contact me at garbotzo@yahoomail.com and we will direct you to where this can purchased securely and at a reasonable cost.  

From: Dennis Bergeron
Subject: oho vey
To: "'jay graboski'" <garbotzo@yahoo.com>
Date: Thursday, May 13, 2010, 5:48 PM

Jeez...got sidetracked again here, but determined to finish this off and have it good to go by Monday. I already have orders coming in and need to get this puppy out asap.  Anyway, seems I have the manufacturing ironed out now, just need to finalize the layouts and make sure I get all the details right. I still think it will be a great package. Need to decide on stickers quotes for the front asap too because those take a little time to get made as well.

  Hey…we are into production finally!  Pushing these guys for 10 work day turnaround tops. Went with the UV high gloss on the digipak, but only standard paper on the booklet. The recycled paper and matte finish options were both unreasonable in price and more time consuming. I know there are other places that can do this recycled dirtier look without going ballistic on price, but there’s no way I wanted to spend more time shopping around. The CD is already up on some store sites stating May 25^th release, so we are behind schedule as it is. I hope everything comes out right.

Thanks,

Dennis

  And concerning our search for the "now-you-see-it-now-you-don't" Dream of the Ridiculous Band "boot," this reply from Planet Mellotron's Andy:

I'm afraid to say, I've no idea where I found the info! As you say, it's quit clearly a boot, so I'll stick it back on my 'unreleased' page. I've scoured stored e-mails to see if anyone sent me the info, but can't find anything - since there's nothing on the 'Net, I must've found out SOMEWHERE, but f*** knows where! Consider it removed (or at least moved) and sorry I can't direct you towards the culprit!

Cheers,

Andy

  (Finally uncovered a mailing address: Gott Discs/PO Box 305/Cambridge CB1/7ZW/United Kingdom & a web address, www.Gottdiscs.com.  The latter address takes one to an undecipherable Asian (?) site.  It appears that the site has been dismantled and our attempts to order a copy of the bootleg have failed.  If anyone finds one or knows where it can be purchased, we'd appreciate being made aware of this.)  

This was recently discovered at www.answers.com: 

  "In the beginning (of the Baltimore maverick prog rock band OHO), there was Little Hans, a group comprised of drummer Jeff Graboski, singer/guitarist J.P. Graboski, and keyboardists Mark O'Connor and Trent Zeigen. Active in the early '70s, Little Hans (the name taken from one of Freud's famous patients) never released an official recording, but the unit recorded over an hour of professional demos in 1971-1972. Fans of OHO will find in the father all the basic elements of the son's character. But Wunderkind, the CD collecting those demos, also makes a fine listen by and of itself. Little Hans' music takes its source in the symphonic rock of the late '60s, especially Procol Harum and the Moody Blues, adding to it a personal interpretation of British progressive rock, a conception that lands very close to other underground American bands like Happy the Man and Grits. Musically complex and lyrically intellectual, the music can be moving despite a certain pomposity and clutter in the arrangements. Wunderkind starts with three songs recorded in separate sessions with ex-Mothers of Invention engineer Dick Kunc. "Bedlam" is the most satisfactory one, a challenging but rewarding piece that blows some gospel into Genesis and Emerson, Lake & Palmer's songwriting. The main opus is the 42-minute suite "Peter Pan." A retelling of the fairy tale, it is made of 19 sections, some of them virtuosic in nature. The dead-serious attitude of the group doesn't fit very well with the fantasy of the tale, but the piece has its good moments, namely in "Animosity," "Flight," and "Conflict and Resolution." "Recession" was recorded later with a different lineup that included bassist Joe O'Sullivan (future OHO alumnus) and singer Aleta Greene. The disc concludes with three live tracks, very badly recorded. Wunderkind came out in 1999 and was given away with copies of the magazine Progression. Extra copies have circulated, but the album is now very hard to find and a collector's item." ~ François Couture, All Music Guide

  Read more about Little Hans (our 1971-72 Gothic/progressive/symphonic band) at: http://ohomusic.com/little.htm.  Listen to their music, available and downloadable freely at http://ohomusic.com/ohovault/little_hans_index.html .

May 2010.

"I know how to find good music that isn't getting any exposure, and I can give it a little bit of exposure. and that gives me more pleasure and satisfaction than anything else I can think of doing.  I've always felt that way since I was 15 or 16; it never really deviated."

-Greg Shaw  (BOMP! SAVING THE WORLD ONE RECORD AT A TIME, pg.15, by Suzy Shaw and Mick Farren, AMMO Books, 2007) 

    "Dear Suzy (Shaw),

I saved all Greg's (OHO & Dark Side related) correspondence and it totals about 15 letters.  If you want these for the BOMP/Voxx archives (some are up to 2 pages long) I'd be happy to donate them to BOMP! as I fear upon my inevitable demise these might get thrown out with all the other (divinely) superfluous superfluity accumulated over the years. 

-Jay" 

I copied the originals and then snail-mailed them to Bomp's Suzy Shaw with complimentary copies of OHO's Bricolage CD and our Dark Side Anthology where Greg (1949-2004) is listed among those deceased individuals to whom this collection is dedicated: Jeff Graboski (1953-1987; brother/drummer: OHO, Dark Side, Trixy & The Testones), Joni Flitt-Cooke (1953-2003; Quinn flautist, Terra Christos Master, Reiki Master/Teacher and our 2nd cousin), Ric Levine (2004; songwriter/guitarist/bassist for The Weaszels) & Marble Bar proprietor, Roger Anderson (1984), on panel #3 of the CD insert.   

"Dear Jay,

The Rock and Roll Hall of Fame is assembling all of our correspondence. There will be a BOMP section in their new library.  I would love to have them.  I got the package you sent with the letters from Greg, that's really nice of you.  They will go to the Rock and Roll Hall of Fame soon, they are taking all of the archives and your letters will be a great addition.  Thanks also for the Cd's/DVD.   Well done, very professional.   Keep on keeping on, and I really appreciate the letters.
Best,
Suzy"

OHO may be viewed as the apotheosis of a typical "garage" or "garage prog" band and Greg Shaw's involvement with our music (and the music of bands worldwide in the same straits, i.e. relatively unknown), limited as it was in our case to the inclusion of OHO on Bomp's Waves Vol. 2 and Dark Side on Battle of the Garages (Vol. 1), prove to be two GIFTS THAT KEEP ON GIVING, & for over a quarter of a century now. 

What follows are select extracts from the aforementioned correspondence, Greg's rhetoric probably also typical of the language he employed to encourage countless other independent and garage bands to press on to their sonic fulfillment during his tenure at the helm of BOMP! and Voxx Records: 

"Thanks for sending the OHO package.  I am very impressed, and have devoted some space to it in the new issue of BOMP.  However, the album you sent arrived cracked.  Perhaps that's part of the concept and I'm missing the point, but in any event we're not looking to get into the business of manufacturing pre-cracked records, so if you have a copy that's playable, I would be very interested in hearing it, and possibly making an offer for distribution.  I would also like to hear any newer tapes you might have.  The more bizarre and experimental, the better."--Greg Shaw (06.04.78)

"I am very interested in OHO, some of the stuff is amazing.  From my standpoint there would be interest in putting out an EP, which could have up to 10 minutes a side.  I would like to concentrate on the more psychedelic stuff, like "Here Come the Oysters" and, well you know which ones they are.  It could serve as an introduction to the group, a chance to expose your most extreme ideas.  I think it's probably the best way to introduce the group, and I think I could get a lot of mileage out of it, especially in England.  All the best, Greg Shaw" (08.21.78)

"I don't know if you've heard anything but my company has been going through a severe financial crisis and I've been under a terrible strain trying to fix things.  Things are looking better now so, if you're still interested in releasing an EP with us, I'd like to pursue it.  I look forward to hearing from you soon.  All the best, Greg Shaw" (10.19.78)

"...a full scale (OHO) project might be beyond my means.  You should consider submitting a track for 'Waves Vol. 2'.  I like Oho and I think the Waves album will be a fine vehicle for bringing your music to a wider audience.  Regards, Greg Shaw  P.S. We appreciate your ads in BOMP magazine.  Hope the response has been good...last issue completely sold out, so more people than ever should be seeing it." (05.06.79)

"I have decided on 'Here Comes the Oysters' (live version) for the album.  I enclose contract.  Please also send me complete background info, photos, etc. Sincerely, Greg Shaw" (05.28.79)

"Things are progressing on Waves--release date in October still seems likely.  Big interest overseas in releasing this one, as there's a lot of strong material on it.  I'll be in England most of September helping promote our new releases and think I have hopes of really creating an interest for American music over there.  Your stuff should go over especially well, being as experimental as it is.  Best regards, Greg Shaw" (08.08.79)

"...the failure of certain distributors to pay substantial invoices on time...has thrown back our whole release schedule.  The (Waves) cover is all finished, and it's beautiful--a color oil painting of Easter Island with the monoliths in the shape of Fender guitar necks; it may sound dumb but it works visually.  I'm projecting a late January release, or early February.  Rest assured Oho is on the LP and I've taken care to mention your many GOHOG activities in the liner notes.  (Waves Vol. II OHO liner notes: 'OHO first formed as a trio in the summer of 1973.  This early manifestation produced the songs that went onto their album OKINAWA, recorded in 1974.  Originally a double album with 31 cuts, it offended the conservative Baltimore community with its rawness and disregard for convention.  It was also one of the first albums released independently by an American band in the '70s.  Assisting on the album were Bean Pie Bright on drums and singer-guitarist Baldus.  The latter stayed with the band while Bean Pie was replaced by Baldus' brother Spink.  Okinawa was followed by two abortive LPs: Vitamin OHO and Dream of the Ridiculous Band.  1977 proved to be overly oppressive for the boys so they took an unscheduled sabbatical.  In the meantime three members continue to play in the Dark Side (two EP's and an LP in the works) and Trixy & the Testones (a fab revival of "Palisades Park").  Look for all of them and more on a sampler entitled The Best of Baltimore's Buried compiled by producer Paul Rieger who recorded this selection.  The OHO crowd, otherwise known as GOHOG Productions, has played a large role in the growth of Baltimore's new music scene and OHO itself has never been properly recognized for their importance in the growing experimental sector of new wave.')  I respect the energy you put into promoting your scene, and despite the delays, I'm sure Waves will bring you a lot more of the attention you deserve.  My gut feeling is that 1980 will bring long overdue rewards for all the small people who've stuck it out this long.  I feel very positive, and for whatever that's worth by way of encouragement, there it is.  As for BOMP magazine...there will be one final issue in the old format.  You could say that BOMP will be arising, phoenix-like from the grave of the '70s to greet the '80s in new form.  I'm very excited about the new freedom this will give me to say the things that I really want to say.  Have a good Christmas and get ready for the '80s...Best regards, Greg Shaw" (12.14.79)

"Enclosed is an advance copy of the WAVES album.  The DARK SIDE LP is a good idea and, yes, we can help with distribution...we can probably sell a couple hundred, maybe more. Re the (possible) Dark Side single, the record would be released on our subsidiary label, Quark, which is designed for licensed product, one-offs, etc.  Already out are singles by the Dadistics and the MnMs.  Please let me know what you think about the album and everything else.  All the best, Greg Shaw" (04.17.80)

"I'm very glad you're happy with Waves 2--reaction has been great everywhere, and the inclusion of Oho should do you some good.  I'm sorry we had to edit the song, but when it came time to master there was just no way to get it all on, and I agree the edit (done by Stan Ross, an old pro if ever there was one) is a good one.  Best regards, Greg Shaw" (05.15.80)

"'Here Come the Oysters' by Oho is a feverish dream of a madman/genius.  The song maneuvers, folds and turns on itself exactly where it should.  It's my favorite cut simply because it does something music rarely does anymore: it fascinates me." -Tom Kidd (On Record, Music Connection Vol. 4 Number 14, July 10-23, 1980)

"Okay, you win.  Try as I may, I just can't seem to find anything to criticize about (Dark Side's) 'In the Dark'.  It's great and I'd like to use it.  Rather than a single, I think it belongs on the Voxx compilation album.  I'm enclosing a contract, pretty much the same thing you signed for Waves.  (Did you see the review where the OHO cut was picked as the best on the album?!)  Return it with the master tape, and we're in business.  Best of luck with the various projects you're doing.  I'm looking forward to the Dark Side album.  I do want us to carry it.   Best wishes, Greg Shaw" (08.18.80)

"I really like the Dark Side stuff.  It has a good grasp of updated '60s ideas and the cheesy recording quality is just right!  Enclosed is your latest royalty statement...Hardly enough to buy a solid gold Cadillac.  Best wishes, Greg Shaw  P.S. Thanks for the various Worms tapes.  Not as immediately up my alley as the Dark Side stuff, but interesting all the same.  Will let you know if I can do anything.  Meanwhile we'll continue to carry any records you put out naturally."  (12.12.81)  

"We're all in this first for love of music, just like you, and we try to do our best under difficult conditions.  We're not always perfect but any mistakes we make are honest ones and I hope you appreciate that.  Best regards, Greg Shaw" (12.28.81)

Recently received this encouraging news from Rockadrome/Vintage concerning the delayed release of OHO's Okinawa on compact disc:

"Jay,

At long last, OHO release is on the verge! I won’t meet the release date (05.25.10) I have set on my site, but the release date with my main distro isn't until middle of next month, I think. In any case my CD manufacturer has a 10 day turnaround. So, I’m ready to knock this thing out finally!!  It’s looking like a 6-panel digi-pak with booklet insert at this point.  This should be one nice package when it’s all done.

Thanks,

Dennis (04.14.10)"

  Looks like this is really going to happen (and soon) as Okinawa can be pre-ordered for $16.95 at www.Amazon.com (add another $8.05 worth of merchandise to your order to take advantage of free, "super-saver" shipping).  Seems like a fair asking price for 75 minutes of carefully remastered, classic proto-punk/prog/wave/"kitchen sink" music housed in a 6 panel digipak finished in a clear, high-gloss sheen with extensive liner notes, period photos and a 20-page ecologically friendly booklet printed on recycled paper that purportedly faithfully pledges allegiance to both Jon Considine's 1974 original while incorporating the Refugees addenda from their 1995 28-page update.  We urge anyone with an interest in vintage OHO music to pre-order this disc.  THINK PINK! 

  The Best of Baltimore's Buried Bands II has "sold out" at www.DGMlive.com.  There are still copies (mostly "like new" and "used") available from mail order outlets scattered around the country who list the set at www.amazon.com. Our campaign to promote a certain musical POV of Baltimore's progressive "underground" scene has been a modest success, meaning that all the CD's have been disseminated; & it only took 7 years this time. 

  & from www.planetmellotron.com this surprising bit of news: "It seems that 1976's 'legendary unreleased' album, Dream of the Ridiculous Band, has finally appeared officially, on Gott Discs."  "Officially"?  That could be argued.  Go to our "Vault" and click on Dream of the Ridiculous Band to behold the unapproved cover (?).  "And not before time, Musketeers" it appears 70s OHO have arrived at a long-awaited milestone, our music finally in some demand and deemed valuable enough to be "bootlegged." 

  I am, however, finding it difficult to locate a copy.  The results of a cursory web search have so far been fruitless, suggesting this may be a hoax.  I have our contacts in the UK and in Germany on the case.  News at 11:00 PM.  I'd be happy to even purchase one as that method of procurement seems to be de rigueur when it comes to wrangling a copy from those unprincipled enough to filch the music, then release it without consultation or permission from those who have been entrusted with the master tapes.  And what was used as a source, the mp3's from our vault?  What next?  Still, secretly this is viewed as a fortuitous omen.  

On the other hand, we have publicly advocated "unauthorized duplication" (of OUR available material ONLY) ever since the Little Hans Progression give-away (issue #32, Summer/Fall 1999) & by urging downloading from our "Vault"; and I am repeatedly reminded that "music is now free."  So one must weigh the possible outcomes of withholding the music from release ("nothing" happening) versus making it freely available ("something" happening).  We remain ambivalent as to how we feel about this eventuality, but with a strong leaning toward getting the music into the universe anyway we can.  

  (Continuing to fulfill our commitment to address the KZMU/SHO OHO questions from the 08/25/09 radio interview sequentially, we answer the query following the airing of OHO's "Long to be Latin," a favorite of DJ and former OHO sound man, Steve Goodwin, who hosted the show.)

  10. "Long To Be Latin" (5:05)--1989/2009

(Jay Graboski, Gyro, Mark O'Connor and Steve Heck)

(unreleased 2009 edit featuring the final verse & chorus sung in Spanish) 

Artist: OHO

Release dates: 1989 (Audition), 1990 (OHO), 2003 (UP), 2004 (The Oriency Anthology)

Label info: 1989 (OHO CD-1), 2003 (OM52), 2004 (OM54)--OHO Music, 1990--SKY Records (7-20004-1)

Question:  Relate the story of how OHO's "Out of Thin Air" resulted in your being signed by SKY Records.

  This was the 2nd time in the same decade (the first instance in '82, the latter in '89) that one song made THE difference for us in as far as being key in the release of another critically acclaimed album and keeping things alive for a few more years, projecting the OHO legacy into the then near future. 

Whereas Food for Worms' "It Needs a Haircut" closed out the 98 Rock Album, in a sort of "the last shall be first" kind of way "Thin Air" was chosen by the decision makers at WAMA as the opening track on the W.A.M.A. CD III (Washington Area Music Association); and from there the band was knocked over by a second outpouring blast of good (?) luck from the cornucopia of the benevolent and constantly available presence of music and her related agents.

  The CD found its way into the “goodie” promotional gift bags at a NYC music industry convention where a rep from independent label Sky Records (Norcross, GA) heard the song.  The label liked what they heard and rang us up.

     When SKY Records A&R director, Abbe Myers, saw we had a ready-to-market CD (OHO's 1989 self-released, self-funded CD, Audition--partially paid for by the contributions of fans and family pledged at a fund raiser held in August 1989), she and promotions director, Jim Parker. flew to Baltimore to catch OHO’s October 20, 1989 performance at The Grog and Tankard where afterward they offered us their promotional services (for hire).  We passed due the prohibitive expense.   

  Sky Records upgraded their offer a few days later, presenting OHO with a contract and their standard concomitant $8000 advance, kind of like an early 80’s minor league baseball contract.  We went back and forth over the contract language with our attorney, E. Scott Johnson, Esq (Scott also played keyboards on OHO's "Angels").  After much procrastination, walking circles around the table where lay the unsigned papers, we contracted with Sky. 

     We attributed our signing directly to the initial exposure garnered from release of The WAMA DCCD.  Steve Carr commented at the time, “It was the best investment our band ever made for promotion.  What impressed me most was the speed with which the CD generated results for OHO.  Within two months of its release, OHO was signed.”

     A watershed event for OHO occurred when the Washington Area Music Association nominated the band for 5 Wammie Awards.  OHO was nominated for "artist of the year" and "best new artist."  Our CD was nominated for "best recording" (rock/pop).  “Out of Thin Air” was nominated for "best song" and Grace Hearn was nominated for "best female vocalist" (rock/pop). 

     OHO was invited to play at the WAMA awards show and  performed a rocking and spirited “Out of Thin Air” during the ceremony held in the Washington, DC Hyatt Regency ballroom on June 10, 1990.  (This performance, filmed with one camera by Ken Birnie, is included in the DVD program that is part of OHO's Bricolage CD/DVD package, available at www.CDBaby.com available securely there and at a more-than-reasonable price.)

  (Read the entire 2003 draft of the 9 page article about 1985-2002 OHO III ("The Female Dynamic") that appeared in Progression magazine Issue #45 (Winter/Spring 2004) at www.ohomusic.com/ohomachIII.html or by clicking on the UP album cover image on the home page of this web site.)  

  Found this at www.mutant-sounds.blogspot.com about Ecce OHO! using the BING search engine: 

"Following Jim's post of this Baltimore outfit's truly batty and Zappa damaged basement prog debut Okinawa (and preceding my soon-to-come post of the expanded 4 x 10" box set reissue of that album), here's a briefly issued odds-n-sods archival collection released on the same label as said box i.e. Little Wing Of Refugees.  Musically, Ecce Oho! lands somewhere between British proggers Morgan circa Nova Solis and The Hampton Grease Band, though it's neither as pomp bombastic as the former nor as eccentrically advanced as the latter and neither, to be honest, is it close to being as formidable a beast as either Okinawa or its follow up, Vitamin Oho (featured on the Orion Awakes blog Here alongside the single album version of Okinawa which is confusingly presented with a picture of the box set re-edition). Ecce Oho! does, however, have a handful of highly choice cuts that are well worth rolling around on your cilia, particularly the Magic Band meets Grease Band brain scramble of "Here Come(s) The Oyster" and the well fried "Cragwheel", a ripsnorting down 'n' dirty live take on "The Continuing Story Of Cragwheel The Corpse" from Okinawa."

This month's reading: Swann's Way by Marcel Proust.   In his How to Read and Why, author Harold Bloom wrote, "Proustian memory finally seems a mode of right action that cures the narrator, and the reader, of 'dark inertia,'...the sickness unto death.  Our despair requires consolation, and the medicine of a profound narration.  All of Proust's characters are essentially comic geniuses; as such they give us the option of believing that the truth is as funny as it is grim." 

  I recall taking an English course on early 20th century novels at TSU in 1970 or '71 where the semester's reading list included the above from Proust's Remembrance of Things Past along with Joyce's Ulysses AND Thomas Mann's The Magic Mountain among others.  These are fairly hefty (i.e. a lot of pages and long sentences) and as I was working full time from 2:00-10:00 PM at Topps department store (a sort of antediluvian Walmart) as a stock person, I really wasn't afforded the luxury of having the time required to read them all; but I was able to complete The Magic Mountain, a treat I have subsequently revisited.  Fortunately, one had only to pick a few from that list and Swann's Way got sideline for about 40 years.  Well, it's time has come and it seems a fascinating if challenging read.  Hope this prepares for what's next: Ulysses? 

  OHO and out. 

April 2010  

"Billboard's Recommended LP's (pop): OHO--Rocktronics, Clean Cuts CC 5001.  Producers: Ty Ford, Jack Heyrman (EP).  Mid-Atlantic quintet offers art rock with updated synthesizer accents.  Seven tracks are given laudable production polish." (Billboard, July 7, 1984)  

  "Working with OHO through the Rocktronics project was one of those quantum leaps in my engineer/producer experience. I don't remember how they found me, but I've always been involved with local music. That was back in my days of working for radio stations. I was the in-house producer for 98 Rock; producing the station's compilations of local music. We had a good relationship with Sheffield Studios in Phoenix , MD. Sheffield's Chief Engineer, Bill Mueller, who engineered half of Rocktronics, taught a recording engineering course that later evolved into the full blown school that Sheffield has become. I had taken that first course to add to the broadcast engineering I already knew. We were a very good match then and we continue to keep in touch today.

 OHO was very potent then; good ideas and a powerful performing ability. They were edgy and about as non-pop as you could be. So much so that after we finished the cuts for side one (yes, this was long ago enough that we were releasing on vinyl) I said I thought we needed some songs that were more consonant, prettier, maybe a ballad. Gyro and Mark came in with "Where Are We Now". Jay Graboski came in with "Diane" (lyrics co-written with co-producer, Jack Heyrman) and Gyro crooned them, but still with that quirky edge. Side two became side one because I thought those songs were more accessible. I guess they agreed.

 Rocktronics is a two-headed beastie for another reason. The first side we recorded at Sheffield in Phoenix , MD. Because everyone in OHO had been at it for some time, we didn't waste a lot of time tracking. Regardless, the money added up and before we went on to side two, they had found Steve Carr, who eventually became the bass player for the group. I recall being apprehensive about recording in a basement studio with someone I didn't know. I think I said, "OK, let's try one song. If it sucks, we need to find another solution." While it lacked the space, microphone choice and SSL console, Steve's ability to get the most out of what he had filled in the gaps and I was satisfied, so we finished recording at Steve's studio, Hit & Run, near Gaithersburg . That was in 1984 and I think the time away from home contributed to my divorce. My ex-wife ended up in Boise married to a guy who sells commercial real estate. I'm still in Baltimore . Bette, my current wife, is the best!" -Ty Ford (02.17.10)  (More about Ty, his interests and services at www.TyFord.com)

  03.05.10--David & Jay at The Bratt studio arranging wav files of "2 Are the 1" (an original composed by David) & breaking out the Roland VG-99 for a variety of digitally modeled guitar tones.  4 hours later we walk to our vehicles with the latest mix in hand.  On the way.

  03.30.10--Guitar Craft, as we knew it, ends (?), reaches completion (?), finishes (?). 

From the "one's man trash is another man's treasure" category: while speaking to SSA co-worker Roy F. on a 2nd floor hallway of the Security West low rise building in Woodlawn, MD sometime during the beginning years of the last decade, something vaguely familiar caught my eye, half-buried in a pile of detritus located in a wheeled canvas trash cart. 

  Our agency (SSA) would periodically encourage employees to clear out their accumulated, unnecessary and insensitive "trash" by conveniently placing these bins in nearby corridors.  This was before the agency went "paperless" and periodically this impedimenta became cloying.

  Roy often spoke of the itemized groceries he planned to pick up on his way home after his shift and, as interesting as this was, my eyes (and attention) soon began to wander, peering over his shoulder into one of these bins where the sheen of shrink-wrap had reflected in a gleam one of that hallway's fluorescent lights.  I spontaneously reached behind him (my aim was true) & grabbed the thin 12"x12" square object, gingerly pulling it out of the stack of heavy papers where it was pinned.  Voila, I held an intact, un-opened, mint copy of OHO's 1984 vinyl EP Rocktronics in my hands (the original title suggested was Nu-Rocktronics but this was whittled down by the producers to just Rocktronics).  A fortuitous event, I clearly remember experiencing that rare "Eureka!" sensation as, at that time, I didn't have a copy in the archives. 

  It took me many years to understand that only a few of my SSA co-workers had any interest in our musical endeavors and apparently here was an instance where someone had either been gifted the record OR was one of the generous people who agreed to participate in one of my more adventurous experimental promotional schemes. 

  Soon after the record's initial release and local distribution I would taxi a different person each day during the lunch break to the nearby Woodlawn, MD Record & Tape Collectors store, drop him/her off (while I waited outside with the engine running) to ask the sales clerk to fetch that customer a copy of our new record.  S/he would buy it and we were able to create the fleeting illusion that this title was a popular one.

  This tactic actually worked for a while as when I would saunter into the store at the end of the month the store manager would boast of how OHO's Rocktronics EP had outsold virtually every other major release for the month of August 1984 at this specific outlet.  Who knows what kind of swell might have occurred had the remaining band members done likewise in their respective neighborhoods/territories? 

  Soon the pool of prospective buyers evaporated and business returned to the norm.  It was likely that I gave some of these records away and perhaps to people who, while politely feigning interest to my face but having no intention of ever listening to the record, forgot about it after perhaps shoving it in the bottom of one of their desk drawers where 18 years later s/he ran across it during this "clear-out," and then tossed it into this very dumpster, subsequently homing its way back into my possession.  This speculation is just another bittersweet "boomerang" experience, one of a familiar variety as regards the circuitous routes that some of our musical product journeyed over the years. 

  (We've to date addressed half, 8 of 16, of  the KZMU/SHO OHO questions from the 08/25/09 radio interview sequentially.  This month we're on to question #9, this query following the airing of "Is That What You Said?" from OHO's 1984 EP, Rocktronics):

  9. "Is That What You Said?" (4:28)--1984

(from Rocktronics, a 12" 7-song vinyl EP)

(David Reeve, Gyro & Jay Graboski)

Artist: OHO

Release date: June 1984

Label info: Clean Cuts Records  (CC 5001)

Question: Please speak to how the Food For Worms song, "It Needs a Haircut" led to the band being signed by Baltimore-based Clean Cuts Records.  Wasn't "Haircut" featured on a 98 Rock (local FM radio station WIYY) compilation LP as a result of that station's "Basement Tapes" competition?

   David was THE MAN during this epoch of the band in many different ways.  & I would declare that, were it not for his songwriting and insistence that we make a video, the Rocktronics EP would likely NOT have ever materialized.  This is one of the many reasons why we chose "Is That What You Said?" to represent OHO Mach II in this KZMU-FM program, as a tribute to his incessant work on behalf of the band/music.  It is also probably my favorite song on the record with it's snappily paced, positive and jangly sounding vibe.  Gyro wrote the lyric and I did contribute a bit of music to the middle instrumental section but overall this is David's "baby" and attests to his significant song-writing talent.  "Is That What You Said?" ends side one of this EP with a winning groove.

  This version of OHO was really the Food for Worms band of 1983 agreeing (one member reluctantly) to a name change at the producers' behest and to cooperate with them from start to finish for perhaps the first time ever to this extent in our history. 

  Mid-80's OHO lasted for just a few months from Spring until the Fall of 1984 when the bassist and keyboard player left the band--Gyro, David & I joined with keyboardist Scott Dallas and added another guitarist/vocalist in the person of Michael Barth, but this abortive arrangement did not last, with rehearsals ending 6 months later in early 1985.  

  We were always angling for ways to attract outside help.  This sometimes involved the relinquishing of some control over the content.  Recording songs and releasing independent product is a very expensive enterprise and, aside from a couple of notable exceptions (this being one,  another when OHO was signed in 1990 to Sky Records--receiving an $8000 advance) often results in a financially losing proposition, no matter how positively the music is received.  Scanning the horizon for random opportunities to fly by, the former (of the aforementioned) occurred in 1982 when we answered a solicitation by local FM radio station 98 Rock for local bands to submit material for consideration for an upcoming, station sponsored, compilation LP of local artists, The 98 Rock Album.

  "It Needs a Haircut,"  built around a catchy David Reeve instrumental hook/riff and based on a true story overheard by another band member about a corpse that required the attention of a hair stylist, was our contribution to this LP.  "Haircut" made the final cut as the closer for the album's music program and every song received a substantial amount of airplay on 98 Rock, WIYY-FM, and for a significant period of time. 

  The record therefore also subsequently received extensive local promotion from the station and the concomitant distribution.  There was an elaborate release party held for all the involved bands at the old Hammerjacks club in south Baltimore where I remember having a great time, cavorting and tossing back a few (there was an "open" bar) with our peers in the then local music scene.

  All this was during the MTV "music video" heyday and David insisted that our band invest in making a video.   Bratt Studio engineer, Bill Pratt, had received some national exposure on that cable network with a video by his band at the time, The Gents.   Finalists in the MTV "Basement Tape" competition, the Gents were bold enough to have had their ambitious video shot on film stock with its classy "look", easily making it to the last round of the competition.

  We hired a video producer, picked a tune ("Haircut" of course--it was under 3 minutes--less filming and editing time/expense), created a storyboard and rented some costumes and cheap props.  The most expensive prop we purchased for $80 from an undertaker who had converted a coffin-like cadaver transporter into a more convincing coffin substitute by staining it and affixing budget line casket handles. (We eventually gave this to Trixy & The Testones guitarist, Kraig Krixer, who somewhat coveted it and upon delivery to his home put it to practical use for towel and linen storage.)  The whole enterprise came to just over a grand in costs, but the response rewarded our investment  in spades.

  Always on the lookout for (especially local) music industry-related types who might help us, I had recently read a piece about Clean Cuts Records in the Sunday Sunpaper's Parade (?) magazine and was determined that we finagle a meeting.  We found the label contact info, made an appointment to talk to Mr. Jack Heyrman and armed with a VHS of our video and the 98 Rock LP we made our presentation. 

  The details of our meeting are now foggy but I have listened to and have held the actual record in my hands.  So we must assume success.  It was kind of a "we'll meet you 1/2 way" deal as I remember we paid (or partially paid) for the recording sessions (engineered by Bill Mueller) at Sheffield Studios, having in 1978 relocated from Timonium (where OHO recorded both Vitamin OHO, Dream of the Ridiculous Band, the studio cuts one finds on Ecce OHO & Dark Side's Wholesale Diamonds EP) to the Jarrettsville MD area, where under the direction of Ty Ford (who was entrusted by WIYY with the supervision of recording/collating all the songs that were included on the 98 Rock compilation LP) we re-recorded "It Needs a Haircut," this time with Gyro singing the lead (our demo featured the vocals of the keyboard player--this version can be found on The Ultimate Diet, the Food for Worms anthology).

  So at this point of convergence (the music, the band, the video, the comp LP, the airplay, the producers, the record company, et al) the project was already underway: a perfect storm.  I remember the producers being present at many of our Woodlawn rehearsals (there was the quaffing of beverage and the occasional barbecue) sharing their obvious enthusiasm for the project with the band.  The pair were very much "hands on" in the process of making this record. 

  We recorded side two at Sheffield ("Infomania," "Detached," "Still Life" and "Haircut") then switched to Steve Carr's Hit & Run Recording in Rockville, MD where we recorded the songs featured on side one of the EP: "Where Are We Now?" "Diane" and "Is That What You Said?".  We wrapped these recordings up in the Fall of 1983 and I remember we had a TV in the vocal booth so we could follow the Baltimore Orioles progress as they pummeled Philadelphia in the last baseball World Series our home team has won or played in since.

  Also of some significance was the re-introduction of female backing singers, their first appearance since Patsy Shock harmonized with me in 1975 on "Maiden Voyage"

(Ecce OHO).  Karen Parr (who still does session work for Bill Pratt) & Tracy Tiernan (daughter of the late Tim Buckley's sometime keyboardist, Mark Tiernan) were enlisted to pad and/or answer Gyro's lead vocalizing and can be heard on at least 5 of the EP's 7 tracks...nice touch. 

  From Peter Gabriel's Scratch My Back liner notes: "I have always believed that artists are a lot more creative if you tell them what they can't do.  It's...fun to explore ways of getting around the rules."  While we were not actually told what to do per se & there were no specifically articulated "rules" as I remember, the underlying intent was for our team to make a "commercial" record that remained true to the band's intrinsic nature/sound. 

  Decisions were made more or less "by committee" with the producers gently steering us creatively and having final approval.  We softened the signature, direct, biting and acerbic wit our projects were usually known for in favor of a more subtle irony (e.g. "Still Life" & "It Needs a Haircut") and adopted a "middle way" approach that was still humorous and engaging.  (The name change issue and departure of one of our key players was touched upon in the "What's Up?" diary entry for April 2009 should anyone care to revisit this.)

  This record was based on compromise and cooperation as with any successful "team" approach.  I think together we made a very good sounding record (one we would have unlikely made on our own) and OHO definitely benefited by agreeing to work with the experienced Ty Ford & Clean Cuts Records with its established promotional network, financial reserves and the savvy expertise of label owner, Jack Heyrman, who had produced a Grammy-nominated album earlier in the decade.  Jack had also released a pair of acclaimed LP's by Dr. John among others.  He was also no stranger to humor as is evidenced by the Clean Cuts released 12" Bruce Springstone single also recorded at Steve Carr's Hit & Run Recording a year or so prior to our arrival there.

  Unlike most of our dealings with independent record labels over the years (the relatively useless legal relics of agreement filling an overstuffed folder in our archives),  the Clean Cuts contract was effectuated verbally.  The tunes were published by Jack's Erikanian Music (named after his daughter) and if the record sold perhaps we'd make another.  This did not happen but making Rocktronics spanned a 2 year time period and we participated in everything from composing the music to licking the stamps when sending out the promo copies, one of these BTW I recently purchased on line.  The cover has yellowed but the disc is in excellent condition.  The lower right hand corner had been trimmed indicating it to be a promotional copy.  This was confirmed when inside the sleeve I found our promo one-sheet signed by Gyro that reads:

  "MAY 23, 1984

FOR IMMEDIATE RELEASE

     CLEAN CUTS RECORDS IS PROUD TO ANNOUNCE THE RELEASE OF THE NEW OHO LP, ENTITLED ROCKTRONICS...

     THE RELEASE OF ROCKTRONICS MARKS THE FIRST ENTRY OF CLEAN CUTS INTO THE ROCK AND ELECTRONIC MUSIC FIELDS, ASIDE FROM AN EARLIER FLIRTATION WITH THOSE MEDIUMS ON THE BRUCE SPRINGSTONE NOVELTY RECORD.

     OHO'S SEVEN SONG, $6.98 LIST MINI-LP WAS PRODUCED BY TY FORD AND JACK HEYRMAN.  ALL COMPOSITIONS ARE BY OHO.

     OHO'S FIRST VIDEO, "IT NEEDS A HAIRCUT", IS NOW AVAILABLE FROM CLEAN CUTS, AND A SECOND VIDEO IS IN THE PLANNING STAGES.

     FOR FURTHER INFORMATION PLEASE CONTACT LORI LANDON. TOM STITLER OR JACK HEYRMAN AT CLEAN CUTS."  (this specific announcement was personalized in his own cursive handwriting with this message: "Hope you like it, Gyro")

  Having had some prior dealings with independent record exec, Greg Shaw, his Bomp! label/fanzine and Voxx Records in the late 70's (Waves Volume II) and early 80's respectively (Battle of the Garages), we had some experience with these types of loosely constructed business agreements.  Bomp's Suzy Shaw writes on page 150 of BOMP! SAVING THE WORLD ONE RECORD AT A TIME: "As far as Greg was concerned, business was a serious inconvenience.  He had very important work to do, having everything to do with the creative process and nothing to do with money.  The endless forms and legal matters that piled on his desk were generally ignored, and phone calls and letters were easily dismissed."

  Assuming we were among the lucky ones, I located a photocopy of a Bank of America Bomp Records, Inc. check dated 12.12.81 made out to me representing $63.80 in  royalties for the 09.80, 03.81 & 09.81 business quarters.  Despite rumors of many of Greg's checks bouncing we were able to cash this one.  And that was about it as far as any further royalty payment from Bomp/Voxx Records. 

  It is notable that in 1989 our music attorney, E. Scott Johnson, Esq., when petitioning ASCAP and BMI for any unpaid royalties that may have accrued in the interim, nothing showed up.  I remember Scott being a bit surprised at this as Greg's publisher was Bug Music, a fairly prestigious LA based music publishing company.  What's the expression?  "Fake it till you make it?"  Well, we have addressed the topic of the futility of expecting to be paid from time to time in this diary, haven't we? 

  Still, it's difficult for me to accept that Greg "has flown from this earth" and, royalties or no royalties, the independent music world has not been quite the same since his passing in 2004.  I saved all the correspondence with Greg (spanning the period 1978-1981;  there was a final letter from him in 1994--that I cannot find--after I had updated him with everything that we had recorded since '81, with emphasis on the then-current Lunar Merchant live-to-digital-2-track recordings).  These 15 letters, some filling up to two pages with his text (Greg was primarily a writer) on psychedelic yellow BOMP! stationary, are preserved & archived in a small binder.  Greg Shaw championed "the garage" as THEE sacred space for the creation of the quality raw & independent rock/pop music that often originates there. 

  Jack then petitioned a famous, internationally published, music journalist to write the Rocktronics liner notes (rumor has that this cost about $125) and here they are:

     "OHO? Aha!  That's a name that rings bells.  Baltimore's answer to Pink Floyd (never mind what the question was), an American underground rock icon, a band that came out of nowhere playing music the chroniclers swore was years ahead of its time.  That was much after the fact, though, because most of the praise arrived too late to save OHO from becoming yet another counter-cultural memory.  Was the band disappointed, resentful?  Nobody ever said so, but it wasn't long before the force realigned itself and the band's Dark Side emerged.  Once again, the lads made the right moves at the wrong time, and while their contemporaries headed out to the garage to fulfill the promise of punk, the Dark Side were but rumors in their own time, legends in their own room.  Fortunately, like Luke Skywalker, the force was too strong within them for the Dark Side to remain dominant.  That chapter of the band's history was soon dead and buried, mere Food for Worms, and the OHO saga remained deep underground.

     "Now OHO is back, but don't expect them to simply raise the flag on Okinawa and proceed as before.  This isn't resurrection but rebirth, with new songs, a new sound, a new approach.  Bright and tuneful, the selections here arrive right on time, hitting the basics of contemporary pop, but adding just enough of a twist to grab your attention and hold it.  Rather than go to glitz, OHO sneaks around the musical conventions that have mummified so many others, unleashing sliders where you'd expect curve balls, fast balls where you'd expect change-ups.  Part of it's their sense of humor--who else would write a hi-tech hymn like "Infomania" as a synth-pop polka?--part of it their unerring humanity.  Mark, Mike, Dave and Jay manage to play even the most precise rhythm vamps without coming off like the latest-generation Bowie clone.

     "''Where Are We Now?' asks the record, and the answer is in the grooves in more ways than one.  OHO isn't just back, but on its way out of the underground.  They've been ahead of their time for too long; for OHO, the time is now, and this record offers seven good reasons why."--J.D. Considine 

  "The cover of the album, by the way, was done by New York transplant Andrea Schamis, a graphic artist who could not make the bash (06.16.84 LP release party at The Marble Bar) because she was up in the Big Apple discussing the terms of her book 'A Closer Look,' which is due to be published soon."--Laura Charles, The Sun, Sunday June 24, 1984. (Husband Larry Charles later went on to be a successful Hollywood producer--e.g. HBO's Entourage series.)  

  This was a beautiful package with that high-gloss import finish, great cover art, flattering liner notes and great music mastered carefully on quality virgin vinyl.  We were all very satisfied and proud when we finally received our own copies.

  OHO's EP garnered some positive record reviews.  Ken Tucker, in his The Village Voice "PAZZ & JOP" Product Report (basically a numerical rating system from -10 to +10) gave Rocktronics a solid 8, his highest mark in this June 5, 1984 (0L.XXIX, NO. 17) edition, tying with Jerry Lee Lewis and beating out releases by Johnny Winter (5), Steve Perry (5), Alan Parsons Project (3), George Jones (1), Roger waters (-1), Ultravox (-4) and Joe Jackson's Body and Soul (-3).

  "OHO blends in new wave sensibilities to a deftly textured backdrop.  OHO has assembled an above-average package.  Best stuff: "Where Are We Now?", "Diane," "Infomania," and "It Needs a Haircut." --Patrick Gilbert (Detroit Monitor, 06.28.84)

  "Very snappy electronic group that does have solid chops and a good feel with dazzling hooks.  Unique EP with a lot on the ball that should sell through beyond the terminally hip level and actually come to grips with popular acclaim."

--Midwest Record Recap; May, 1984 (Vol. 7, #13)

  From the Baltimore City Paper (date unknown):  "OHO, who came to fame with Okinawa, a record that still sounds ahead of its time, are together again on a new seven song mini-LP on Clean Cuts Records.  At the record release party, Mark O'Connor (kb), Jay Graboski (guitar), Gyro (vocals), Mike Kearney (bass) and Dave Reeve (drums) will treat you to future hits like "Infomania."  Laff Clinic opens with original, danceable pop. 10 pm Marble Bar, 306 W. Franklin St., 727-5336."

  Laff Clinic, whose actions suggested a lack of consideration for OHO or any understanding that a release party might be for the band that's actually releasing the record, IMHO selfishly hogged the minimal sound check time that was to be equally shared, perhaps unwittingly yet ultimately tantamount to an attempt to sabotage our portion of the show.  This delay when mentioned was defended by one OHO member, astonishingly and in his occasionally caustic, willful manner (i.e. presented in such a way as to pre-emptively stifle any rational or "common sense" reminder as to our aim, conveying the possible negative impact this might have on our successful preparation for the show--& WHO would further exacerbate the problem by burning up even more valuable time in argument, as the success of the whole undertaking might rest on NOT playing though two 40-minute sets in a "pissed off" emotional state?).  (Did this attitude hint at the likelihood of this player's eventual departure from the band a couple of months later?)  

  This resulted in our having to rush, NOT having been afforded sufficient run through time for even a coarse adjustment of our rather complicated stage set up (we had a quartet of synthesizers/keyboards, a drum machine & 3 vocalists aside from the guitar, bass, drums and assorted acoustic percussion to establish & balance audio levels).  Our sound had necessarily then to be tweaked by the sound engineer "on the fly" during the first songs of OHO's "white" set (all members dressed in white--diametrically opposed to our 2nd or "black" set with all members being dressed in black garb). This he did successfully and, under the circumstances, quickly. 

  This selfishness was typical then and I still see instances of this sort of passive aggressive nastiness currently at many local musical events where there is more than one scheduled band/performer.   Most bands deliberately postpone their start times so as to have a larger audience (this usually results in the last performers having to cancel or at the least, cut their set short and often in front of NO audience--I guess that's the rationale for it being OK to wreak this type of subtle violence).  Then there's this thoughtless "hogging up" of sound check time and/or the delay of the clearing off of band equipment from the stage.  All of this suggests a generally unbecoming, egocentric and clueless behavior that displays a large lack of regard for the other participants & in effect, "snubs the nose" at the supposed, mutually agreed upon aims of the event.  Nevertheless we somehow managed to present ourselves and our music favorably.   

OHO's EP release party was held at Baltimore's The Marble Bar (venue manager Leslie Anderson even provided us with a dressing room upstairs in The Congress Hotel).  It was very well attended with complimentary promo OHO and "Rocktronics" buttons being handed out (courtesy of Clean Cuts Records), a guest list of notables, stage props created by our friend and artist Connell Byrne, and all video taped by Jeffrey Albaugh (I think).  Aside from an initial and lengthy obfuscating overload of "fog" from David's cleverly constructed, home-made smoke machine (basically an oil drum filled with dry ice and an exhaust fan), it went off without a hitch and all had a wonderful time.

  "The album release party at The Marble Bar on June 16, 1984 was a smash.  The album 'Rocktronics' was performed by the group Oho, and members of the band and friends all gathered to toast its release.  On hand was producer, John Heyrman, who was, crablings, nominated for a Grammy a few years back for a Phil Woods album he produced." --Laura Charles, The Sun (06.24.84)

  By Spring 1985 the carriage reverted back to being a pumpkin and reduced to a duo, David and I began yet again. 

  We stay in touch with Ty.  Aside from agreeing to pen a pair of germane paragraphs to kick off this month's "What's Up?" diary, he graciously attended our CD release party in March '08 for Bricolage and remains active in a variety of musical endeavors, not the least of which is running his own music/video production studio. 

  I last spoke to Jack Heyrman (Clean Cuts continues to thrive, having successfully branched out into all sorts of related business areas) in the early to mid "aughts" when he mused of releasing a compilation CD featuring choice tunes from the entire Clean Cuts catalog/history.  "Where Are We Now?" was to represent OHO on the proposed package.  He was preserving his catalog at that time by baking the master tapes, converting analog tracks to digital files.  Clean Cuts later generously provided us with CDR copies of the Rocktronics digital transfer & we are currently able to enjoy and share this music in perhaps its highest quality version to date.  We queried him electronically to obtain permission to make these tracks available for free download in our "vault" but we have yet to acknowledge even an informal reply to our request.  Erring on the side of caution (as Erikanian Music holds the publishing rights), we refrain from making them available until such time as permission would be granted. 

  OHO and out. 

March 2010 

"Humour is not permitted." (Guitar Craft aphorism)

 "Want to be a composer?  Just follow these simple instructions: 1) Declare your intention to create a 'composition.'  2) Start a piece at some time.  3) Cause something to happen over a period of time (it doesn't matter what happens in your 'time hole'--we have critics to tell us whether it's any good or not, so we won't worry about that part).  4) End the piece at some time (or keep it going telling the audience it is a 'work in progress').  5) Get a part-time job so you can continue to do stuff like this." (Frank Zappa)

 "A blast of light at any moment, might as well come to me as anyone else." (Annie Dillard) 

 02.05.10--Sue Tice visits The Bratt Studio and for about 2 & 1/2 hours lays down a number of spirited fiddle tracks rife with sweet riffage for two instrumental sections of OHO's Ahora! suite...wunderbar!

 02.06-09.10--Largest recorded accumulation of snowfall in the Baltimore area in history (over 5').

 02.23.10--KZMU (Moab, UT) DJ Steve Hear airs OKINAWA in its entirety.  Here's hoping you were one of the lucky ones to "tune/log into/onto KZMU Community Radio at 90.1 and 106.7 FM, on line @ www.kzmu.org on Tuesday 2/23 @ 4pm Moab time and 6pm eastern time" to (steve)hear the 2009 remastered versions of 29 songs from this 1974 vintage, original, underground, classic LP, slated for re-release on the Vintage division of the Rockadrome Record label sometime in 2010.

 02.25.10 (5:36 PM EST) Jay's & Joan's first grandchild is born to son Matt Graboski and his spouse, Angela.  Weighing in at 8 lbs. 2 oz., Delilah Grace is long and cool--normal birth w/o any out-of-the-ordinary challenging complications.  She appears to have her father's long fingers (will she be a guitarist?).  Baby.  Mom and Dad and everyone else in the extended families all doing well. 

 (Continuing to fulfill our commitment to address the KZMU/SHO OHO questions from the 08/25/09 radio interview sequentially, we answer the query following the airing of "Privilege" from the Food for Worms 2001 anthology, The Ultimate Diet)

   8. "Privilege" (2:02)--1983

(Jay Graboski)

(from The Ultimate Diet 26 song CD anthology)

Artist: Food For Worms

Release date: 2001

Label info: Yodelin' Pig Records

  Question: What were the philosophical and musical concepts behind Food For Worms?  Wasn't the "Ultimate Diet" CD also included in an issue of Progression magazine?  Please comment on this marketing strategy as far as its effectiveness on promoting your music.

  Answers to both of these questions can be found in more detail elsewhere at this site.  Go to http://ohomusic.com/worm_is_the_word.htm.  You will arrive at the entire text that accompanied Progression Issue 38 (Winter/Spring 2001) and here you may also download select FFW songs for FREE.  Besides the memories of our 1st manager, the late Jim Vensel, one may read the recollections of 4 of that band's 6 members (Gyro, David Reeve, myself and the keyboard player) as well as the how-it-was-all-recorded recollections of engineer Bill Pratt.

  As far as a commentary on including "give-away" CD's in occasional issues of Progression magazine, may we suggest you begin with the more in-depth explanation of this promotional strategy by perusing our "What's Up?" entry for November 2009. 

  If one finds it plausible that one must spend up to $20,000 to successfully sell 1000 cds (source--The Music Connection), then why not save yourself (and this after assuming you've actually been paid between $3 and $5 for each of these 1000 discs) at least $13,000 (in promotion, postage, packaging with the balance in petulance) of that figure on each and every release.  Our experience has been that this significant savings is realized by: 1) staying employed in a somewhat secure day job with benefits to facilitate a relatively comfortable retirement at say, age 55 (easier said than done nowadays I presume); and 2) through direct distribution of 5x as many cds accompanied by what might be considered by some to be an extravagant promo package courtesy of the host magazine, consisting of your (the story/facts spun in such a way so as to facilitate achievement of your purpose--by eliminating a large percentage of the embarrassing and inevitable day-to-day intra-band negativity and focusing on the positives that occurred in spite of it) self-authored (it may feature supportive and select quotes from any pertinent media) multi-page band history/bio, photos and usually an entire page dedicated to the CD liner notes and credits) to 5x as many, probably predisposed, genre-specific aficionados (including infomaniacally voracious, prog-related, promotion-producing web-sites worldwide as well as a handful of prog-friendly radio stations)?  Remember, OUR aim is to GET THE MUSIC OUT INTO THE UNIVERSE ANYWAY POSSIBLE! 

  It was fortunate that we were able to sneak this one in as FFW was not quite progressive (also not quite "punk" and not quite "new wave" either, while incorporating elements of all three genres); and editor John Collinge while allowing it, did comment to me after the fact that FFW music was a bit too edgy for most of his readership, and to please keep this in mind for any future projects.  Ultimately it was an offer he didn't refuse and to our relief the package was indeed published and distributed to the magazine's readership 18 years after we disbanded. 

  If not for Progression I doubt this anthology (the Little Hans Wunderkind anthology was distributed in similar fashion, accompanying Issue #32, Summer/Fall 1999 and still, BTW, on sale as a back issue at the Progression website shop) would have otherwise ever been made available.  Yodelin' Pig Records lent us their logo/brand, offering the disc for sale as one of that company's mail order items and displayed it at a buyer-friendly price in the Record & Tape Traders chain of ten retail music stores in the Baltimore metropolitan area and three adjacent Maryland counties during the early "aughts". 

  Notwithstanding any likelihood of recoupment of our initial outlay of cash (not to mention the energy expenditure for all the unpaid "busy" work involved soliciting memories of former band members in writing, copyrighting, fact checking, remastering and preparing archived recorded and visual materials, arrangements with the CD manufacturer, magazine printer/editor et al--& I'm NOT complaining as I find this process to actually be FUN), I doubt Diet would have otherwise been funded were there not this established "delivery" system in place to guarantee our rare & mostly unreleased music be gifted to those most likely to appreciate it.  

  Of course the readership benefits as does the magazine, which from time to time offers these bonuses without any increase in issue price or subscription rate.  We remain grateful to editor, John Collinge, that this outlet for distributing our material in accompanying issues of Progression (often featuring lengthy text, period photos and the appropriate credits) currently remains available to us as, at least for the foreseeable future, we see this method as the likely way to first release, upon its completion, the OHO Ahora! suite into the world ("look for it around 2016").

  Even with the proliferation of all the music now available on the Internet (both for free and for sale), the competition for listener attention among independents is unfathomable (I'm told this is a good thing) and strategies must be invented (then continually adjusted in accord with the ever-increasing flux of the latest technological advances) that: 1) let people everywhere know what music is on offer and 2) attract and urge listeners to link to the band's site or one of the countless digital distribution addresses where you have by this time made your music readily available for downloading. 

Sean McFee's July 2001 Expose (Issue #22) review of Food for Worms--"The Ultimate Diet" (Yodelin' Pig Records, 1981-84/2001, CD):

     "Food for Worms was a Baltimore-area band formed out of the ashes of Oho (actually, this Phoenix arose from the ashes of Dark Side, a band that previously arose from OHO's ashes in 1977).  This release compiles 26 short tracks spanning the band's output over the course of the CD.  The music is economical, intelligent New Wave-ish independent rock in a song-oriented format.  This is a g/k/b/d line-up where the keyboards are analog/digital and tend to be used in a supporting role.  Humor abounds in this band's material, whether in the faux-doominess of 'All You Need Is Jazz' or in tracks such as 'No One Said It'd Be Easy,' which comes across as a suspiciously straight-faced pastiche of Springsteen.  Much of the music is uptight and jaunty, even carefree, in contrast to the often tense and sarcastic lyrics: I sometimes think of REM with a bitter streak.  Clearly the members of Oho made a smooth transition into new territory when the Good Ship Progressive sank, and the result is clever and artistically profitable.  For those who like engaging and accessible music that is still entertaining and musically interesting, this is a winner." 

Food for Worms  (US)

Mellotron used:

• OHO's M400

This odd little item came free with an issue of US prog mag Progression, and turns out to be the entire collected works of the early-'80s outfit that grew out of mental Baltimore proggers OHO, with all tracks recorded between 1981-4. Fittingly, given when they were active, Food for Worms have that quirky 'new wave' sound about them, with short but action-packed songs, vocals that owe a not-so-minor debt to Talking Heads et al., and the then-fashionable Farfisa organ. Plenty of squelchy synths, jagged rhythms and general weirdness, but the only Mellotron I can hear on the whole thing is some voices on 'All You Need Is Jazz', and they sound like they've been processed in some way. So, good, if odd album, very little 'Tron indeed.

n.b. It remains available along with the 6 page story text w/period photos in back issue #38 of Progression magazine (Winter/Spring 2001) at www.progressionmgazine.com, in case you're trying to find a copy.

See: OHO | Dark Side (the above is from www.planetmellotron.com)

_______________________________________________________________________ 

"To: garbotzo@yahoo.com
Subject: Okinawa Show Next Tues
Date: Tue, 16 Feb 2010 12:58:41 -0700
Hi Jay,
  The following will be my show intro which will have "Moon Draw Your Curtain" playing in the background. I will be using alot of what you have emailed me in the past to fill the audience in on the "story of Okinawa" as the show progresses.
. Thanks for all you help.
   Hi stevehear--welcome to this edition of the SOUNDTHING Radio Show. (station Id) Today, featured in its entirety will be the independently produced 1974 underground/progressive cult favorite "Okinawa" a 29 song collection by the Baltimore based band OHO.
  This is the story of how an artist can, after 35 years persevere and find recognition by an audience for his work. And so-- I would like to dedicate this edition of the SOUNDTHING Radio Show to all those struggling artists, in whatever medium, but especially those musicians who despair of ever reaching that audience.
  As this show today might demonstrate, time, and staying true to one's vision can indeed result in achieving that ultimate goal-- recognition of one's art as valid.
  To quote from the Rockadrome Records web site, that of a company due to re-release this work:
   'Vintage Records (a subsidiary of independent San Antonio based label Rockadrome Records) has agreed to release, for the first time on CD, OHO's classic, independently produced, underground 1974 psychedelic/progressive LP, Okinawa.
   'OHO Guitarist Jay Graboski is working closely with the Vintage label on a new digital remastering of this classic material that is now 35 years old. Jay has been a member of this ever transmogrifying ensemble since late 1973 when rehearsals for the recording of this 29 song double LP began, and he will be overseeing this new mastering and the extensive liner notes and lyrics that will accompany the release. Panned and derided by local music critics at the time, Okinawa has since gradually gained in stature among record collectors and progressive music fans worldwide, now considered by some to be a minor progressive masterpiece featuring music akin to Frank Zappa, Captain Beefheart, early Alice Cooper, Genesis and Wild Man Fischer. Germany's Hanf magazine called Okinawa Sgt. Pepper's for the advanced listener.
   Previously re-released in 1995 on German record label, Little Wing of Refugees, as a 4 10" limited edition vinyl set in a metal film canister accompanied by a 30 page booklet of lyrics, credits, photos and anecdotes, the new Vintage re-release will be the first time this music is officially made available on Compact Disc. Stay tuned for this long awaited re-release later in 2010.' www.rockadrome.com
  I had the pleasure of being the sound engineer of a number of live shows for the version of OHO which existed in the late 80's-to mid 90's and as time permits following this presentation of "Okinawa", I will be playing some selections from that era of OHO's existence which I am pleased to be able to say is part of my own personal history and experience. 
   And now-- in its entirety, the album "Okinawa" by OHO."

  A technical note on electric guitar amplification for the Okinawa sessions: I came upon an article in the April 2010 issue of Vintage Guitar touting the virtues of the Silvertone 1484 or "Twin Twelve" tube amplifier marketed by Sears, Roebuck and Co. in the mid-60's (I got mine in the summer of 1965).  This amp debuted with a price of $149.95 (today=$1000).  This was the amp I used from 1965-1969 (see photo at the conclusion of April 2009's "What's Up?" entry--in fact, in this photo there is also the updated-but-less-renowned 1967 "solid state" version of that amp (white-faced and clad in black tolex) that I think Mr. "Wrod" Jackson ran his Farfisa combo organ through as a member of THA).  "Their values jumped when The White Stripes became popular and players learned Jack White's killer sound was through (his 100-watt, 6 10" speaker, 1485 version) Silvertone amp(s)."

  All electric guitar parts on OHO Okinawa were played by the band's lead guitarist on my Gibson ES-335 through a Silvertone 1484..."this baby can rock the socks off the meanest swamp alligators!" article author, David Jung.

  February snow storm reading completed: Maurice Nicoll's Psychological Commentaries on the Teachings of Gurdjieff and Ouspensky Vol. III.  Recommend that one, Oprah.  The gist?  As one of my many "i's" sees it: so much being willed and only a very few really here allowing themselves to make "essence active and personality passive"...yet.

  Also read The Real Frank Zappa Book (autobiography). Frank's words on what appears to me to be kind of related to one of Mr. Nicoll's above-referenced commentaries: "I suggest we learn how to take anything bad that happens to us and polarize it.  Instead of being overwhelmed by a negative event, dodge to the side like those t'ai chi guys and let it whizz by your pants.  Maybe it makes a little breeze--big deal. (Please don't mistake this for optimism.)" (page 234)  

  OHO & out.    

February 2009 

"I decided to turn the word 'pretentious' into a compliment.  The common assumption is that there are 'real' people and there are others who are pretending to be something they're not.  There's an assumption that there's something morally wrong with pretending."--Eno 

"The key to practical action is the assumption of virtue: we may not be 'fully integrated', but may we act as if we were?"--Fripp

 01.12.10--KZMU (Moab, UT) airs Dark Side's "Can't Get used To It," OHO's "I Crawled Back to Nothing When I Crawled Back To You" and The Weaszels' "Big Trouble."

 01.20.10--Songs from our Circle 5 compilation CD featuring members of the Baltimore Songwriters Association arrives featuring OHO's "The Plague" with vocals by Matt Graboski (El Sledge) and re-recorded acoustic guitars interleaved with the original 1974 instrumental tracks.  This 2-disc set also includes selections by BSA friends Ty Ford (Rocktronics co-producer), pianist Ray Jozwiak (x-Ful Treatment) and Warren Cherry, former band mate of the late Trent Zeigen and singer for their 60s Baltimore band, The Herd (Trent played keyboards in Little Hans and contributed largely to both OHO's UP and Bricolage CDs).  www.baltimoresongwriters.org  

 Still addressing the KZMU/SHO OHO questions from the 08/25/09 radio interview one by one, we answer the next query following the airing of "Fun In Nicaragua" from Dark Side's 1996, cassette-only release, Dark Side '96:

7. "Fun In Nicaragua" (2:48)--1980/1996 (J.P. Graboski & M.F. O'Connor) (live-to-digital-2-track live recording from Dark Side '96, a cassette-only release) Artist: Dark Side/Release date: 1996/Label info: Go Hog Records C-3 

"Dark Side were, essentially, a continuation of Baltimore's avant-gods OHO, although the musical path they chose was utterly different. Imagine a 1980-style 'noo wave' band, with pointed, ironic lyrics, a scratchy, punkish approach to their playing and dollops of Farfisa all over everything, and you won't be too far out. They released one album, the now-so-rare-I-can't-even-find-a-cover-scan-on-the-Net Rumours in Our Own Time, Legends in Our Own Room, which should probably have done an awful lot better than it did. Just think; what if The Cars had had brains? Decent enough material. Mellotron on one track, Down The Tubes, with some background strings that really make a difference.

 As part of a general OHO reissue programme, the whole album was released on CD in 2005 as Odd Fellows on an Even Day: Anthology 1977-1995, expanded to double its original length. Y'know, you've got to really like this stuff to want to listen to an entire album of it... That's not to dismiss it in any way, however; it's good at what it does, just doesn't really hold the attention of one not into the style for over an hour."

www.Planetmellotron.com.

 Even more background (check the page dedicated to "the Side" by clicking on the "Dark Side" hyperlink at the top of the home page of our site): This version of that band existed from 1977-1981 and enjoyed some local success tying with R & B stalwarts, The Nighthawks (front man, Mark Wenner, played harmonica on OHO's "Under Covers" on our Bricolage CD), at number 5 in the Sunpaper's "Top Local Bands" critics' poll (Monday, January 19, 1981 edition) listing ahead of The Slickee Boys and The Accused.

 "The standout cut on the (Rumours In Our Own Time/Legends In Our Own Room) album is 'Fun In Nicaragua' (these words are repeated over & over throughout the cut).  The song sounds like something third-graders sing during recess.  The lyrics are painfully simple, but somehow funny--'Dennis Marteeen-ez, your home is where the heat is.'  All in all, the quality is terrible, the music (although well-played) is fuzzy, and the album cover falls apart as soon as the shrink-wrap is removed.  Still, I can't help but like this album." --Scott Flood (Night Rock News, 1981)

 Dennis Martinez, at the time a winning baseball pitcher in the starting rotation for the Baltimore Orioles, is from Nicaragua and in 1979 there was, of course, the Sandinista revolution in his native country.  And this is what “Fun in Nicaragua” is about.  16 years later he was still pitching when we reunited for this featured recording, prompting a lyric change from "your home is where the heat is" to "this will be your last season". 

 Surprisingly Mr. Martinez went on to pitch at least one more season (maybe even 2) in the majors, completing his distinguished career in Montreal, or maybe it was in LA?  Nevertheless, "Nicaragua" was a crowd pleaser with audients often joining in vocally on both the choruses and the "middle 8" (we'd also sometimes hand out kazoos so audience members could mimic the horn parts when we'd play "Bluestown"), another reason why it was included in the play list for the August '09 KZMU radio show. 

 Question: This sounds nastily powerful.  Please speak to the process of recording live in the studio without the luxury of overdubbing and what triggered this reunion session? 

First of all the drums are monster!  This is a combination of the studio drum set tuned and maintained by producer/engineer Steve Carr at his Hit & Run recording studio, a discriminating microphone choice and their placement around the kit...AND primarily the heavy percussive technique of drummer David Reeve.

Also having recently been reminded of Hoshino made amps in an interview with Sundown designer/collector, Dennis Kager, in last month's issue of Vintage Guitar, I was reminded of how we achieved the "nastily powerful" guitar tones that generally represented my recorded work with Dark Side, The Weaszels, and Lunar Merchant (outside of the OHO work--generally acoustic/electric) throughout the 90s, very much of it recorded "live-to-digital-2-track."

Using a Mesa Boogie V-Twin tube pre-amp through the clean channel of either my Sundown combo (it sported a neat variable RMS wattage selector knob--anywhere from 10 to a blasting 100 watts) or through a 50-watt Sundown guitar amplifier head in Steve Carr's arsenal at his studio in (yeah!) Rockville, MD., I connected the power output from either of these amps to a 4/12 slant-faced Marshall cabinet with a closed back (this seemed to prevent a lot of the lower and lower mid-range frequencies from dissipating out the open back of my Sundown combo amp which itself boasted a heavy duty & very capable Electro Voice 12" loudspeaker (its magnet weighing in at a hefty 16 lbs.). 

There was some real crunch in either of these set-ups, especially when playing my at-that-time recently acquired burgundy 1975 Les Paul Custom through them (this guitar, originally owned by OHO's 70s lead guitarist, was purchased by a mutual friend, Bill Senge, who aside from helping us out with a bunch of graphic work in the 90s, also sold it to me for $400 before my selling it back to him--at the price I paid for it--a few years later and prior to his family moving to Texas).  

The appealing and tight crunch is what one hears when one listens to this specific track (and the remainder of the tracks on this cassette as well since they were all recorded during the same afternoon session at Hit and Run Studio).  Three recordings from this Spring 1995 session are included on the-currently-available-at-CD Baby.com, Dark Side's Odd Fellows on an Even Day CD anthology: "In the Dark," "Back Off!" & "You Should Envy Me."

Throughout the 90s "live-to-digital-2-track" recording was often the way for us to go.  It was honest and without the luxury of overdubs; what you hear is what you get.  In the case of the first instance of our venture into this recording technique (however cost effective and immediate it was), during the OHO Sacco cassette recording session (1992), it was impossible for bassist/engineer Steve Carr to both play bass and run his recording console simultaneously so, in that instance the bass was mixed in later.  But the drums, guitars and vocals were all performed/recorded together "live" but in a controlled studio environment (you can even here the patter of the rain on the air conditioner on one of the Sacco tracks).  The recording was in stereo with engineer Carr designating the panning spectrum and then recording each performance to DAT (digital audio tape).  The only option to improve on this was to play the songs over and over until we got a take agreed upon via consensus. 

The Weaszels often recorded this way as did Lunar Merchant (01.1994), wrapping up with the Dark Side '96 session that actually took place in the Spring of 1995.  In fact our bass player wanted to call the cassette Dark Side '95 (in the spirit of Beatles '65) but we had so much difficulty in transferring the saturated/ultra high volume mixes to the cassette tape medium we were unable to release it until the following year.

The Marble Bar Survivor's Party on the evening of 02.25.95 at the 8x10 club near Federal Hill in Baltimore was ultimately the catalyst for this recording reunion.  Hosted by former Harry editor, Tom DiVenti, and the late Pam Purdie (a music journalist for the Baltimore City Paper at the time), "The Weaszels, Richard Taylor, Null Set, Adolf Kowalski, trombonist Craig Considine (who played on many Dark Side and even on the mid-70's OHO recording of "Paint Can" from  the still unreleased Dream of the Ridiculous Band), The Alcoholics, Dark Side, Off the Wall (featuring multi-instrumentalist/vocalist Glenn Workman, who played live with OHO at the 1988 Yamaha Soundcheck at The Universal Amphitheater in Hollywood as well as contributing his talents to both OHO's UP and Bricolage CDs), all" joined Roger's widow’s band, "Leslee Anderson & The Twisters for a night of music and memories in tribute to the late Roger Anderson, the Marble Bar impresario who made room for local bands to play original music in a city infested with cover bands. (Pam Purdy, City Paper, 02.95)

Although almost sidelined by Graves Disease, I was able to join David Reeve and our re-united former band mates on stage for this wonderful and "nostalgic nite of music."  We performed a 1/2 hour set of songs mostly from Rumours In Our Own Time...and as far Dark Side songs go (most being under 3 minutes), that meant about 10 (actually it was eleven songs as Ken Birnie filmed our 34:30 set).  The best live recorded versions of these songs (this turned out to be ALL of them), the basis for the subsequent recording session, were included on the Dark Side '96 cassette.  

"Produced by Steve Carr, Dark Side '96 resonates with grits and guts.  Chock full of sonic surprises, this tape shines a fresh new light on Dark Side."

--Mark Bounds (Music Monthly, March 1997/Issue #150/Vol. 14 #3)

 There are all kinds of ways for bands to disintegrate but the story of how the Dark Side schism eventualized in late 1980 is one of the more bizarre/ironic that I remember.  That is, this split occurred because the creative milieu was so fertile.  Dark Side employed an "around-the-horn" method of making certain everyone had their chance to submit songs for consideration for the band to learn and incorporate into our repertoire.  So we went from the keyboard player to the bassist to the guitarist and back and so forth.  If it was say, my turn, & I did not have a song ready we would move on to the next songwriter in the established sequence.

Well, during and after the 12" vinyl release of Rumours in Our Own Time/Legend In Our Own Room, our keysman began to become more and more prolific with his songwriting and he was venturing/expanding into different musical areas.  This meant that not only did he have a song ready to go whenever it was his turn, but in the event either of the remaining songwriters would not have a song prepared upon arriving at his own turn, he was "at-the-ready" with another song.  This did not bother me at all as thus was the way things were set up and to my mind it was a fair arrangement.  Prolificity (sic) is a GOOD thing, right? 

The bassist, however, became more and more annoyed by this to the point were he made it known.  My speculation is that this festering stemmed from his having to learn all this new material, some of which was not for him, and this would also encroach upon the time he had available for his own songwriting usually taking more time due to his phlegmatic method of composition. 

A mental device I have used over the many years to accommodate the songwriting styles of others is to suspend personal taste and judgment.  This is having mercy on oneself.  It requires practice and dispenses with the arbitrary personal taste factor, reinforcing the realization that "like and dislike are very cheap" (another Guitar Craft aphorism that rings true).

If one were to approach the songwriting of others in a spirit of "what is it that I can contribute to realize the songwriter's vision of his/her song" (i.e. openness) then the usual outcome is, in a certain sense, that I have made the song my own.  And the resulting usual effect is that I come to champion and enjoy those contributions of my band mates.  This is definitely part of what it means to be in a band, when the team acts as one. 

So, in another topsy-turvy attempt "to turn advantage into disadvantage," of course I was the one approached about this "problem" (& not the keyboardist) and basically the complaint was that the keyboard player was writing too many songs.  Other than this complaint sounding somewhat ridiculous/absurd, to my way of thinking it undermined the healthy and safe creative environment we had established thereto and revealed something ugly about the subtext of the day to day interactions of Dark Side.  (BTW Dark Side's tenebrous moniker was inspired by the title of the B-side of the Shadows of Knight mid-60's 45 rpm record, "Gloria" and not the often underestimated force that motivated the villains of the Star Wars trilogy.)

Advising a creative person to curtail the amount of music that flows through him/her and into manifestation is something I'm unable to do and is impossible anyway.  Creativity is the foundation of any band with an identity.  I told the bassist that this was not going to happen but that he may deal with it on his own if he preferred and...good luck with that! 

There must have been other problems that were not articulated and one would have to go to the source to find out what they might have been.  But by January 1981 David Reeve, myself and the keyboard player joined with bassist Paul Rieger to form Food for Worms and the Dark Side bassist went on to revamp what was now "his" band to where he would continue to lord his "preoccupation with 60s pop, teen-drama lyrics and neo-Spector production." (Comstock Lode,No. 9)  over a new set of players for another year or so before disbanding it to form the rockabilly-esque Wildcats.

From: Steve Goodwin Subject: Okinawa,etc.
To: "Jay Graboski" <garbotzo@yahoo.com>
Date: Sunday, January 10, 2010, 12:50 PM

Hey,
I plan to play Okinawa in its entirety (with some "shit" edits) and a few things from Dream of the Ridiculous Band on the 1/26 show. Some questions for you: 1. In what format was it originally released and what was the selling price. Indy release or company? How was it distributed? There is a new German re-release in the works?  What can you tell me about the cult fave status of this record? Free downloads of this and whole catalogue on ohomusic.com?

In the show intro I was planning to speak to the 70's "art rock" style of the music as contemporaries of Gentle Giant, Early Genesis,Capt. Beefheart, Wild Man Fisher, Happy The Man, FZ, and King Crimson. Does that sound anywhere near the mark to you? Your suggestions are most welcome.  The playlist will be going up on the kzmu site later today.
Steve

 From my reply:

Date: Tuesday, January 12, 2010, 4:51 PM

 From Steve's reply to my replies:

Hey.
Thanks for getting back to me so fast. Something has come up to mess up my show plans schedule wise and so the Okinawa show MAY be postponed til 2/23.   Never fear the show WILL go on  one way or another before feb is out. Just check the website playlist for a show date that I will revise once I get stuff sorted out here.  Did you hear the show today? You were very well represented-- see the playlist. Steve

 To: soundthing
Date: Saturday, January 16, 2010, 10:22 AM

 Jay,
The last 2 missives have been very interesting and will be useful in telling the story as I play the piece. I am shying away from an interview format during this presentation for 2 reasons.
   #1 I don't feel all that competent as as interviewer. I have done it on 3 occasions to date and was not especially pleased with my performance in that role.
   #2 The running time of the piece and the 2 additional cuts along with all the other house keeping stuff I have to do in the course of a show should eat up the 2 hours allotted. Should I have any time left over I will be prepared to play a bit of Grace Hearn era OHO. My plan is to use what you have sent me as the basis for a script of sorts which I will use in between sets of 3 or 4 songs to educate the listener as to the history of the music and the aesthetic approach it represents.
   Second Tues. in Feb. will be show time. Sorry to bump you but something has come along with a sort of serendipitous timing that I can't pass up and I feel I must do THAT as my show on 1/23 and then I will be out of town on 2/9 with a sub filling in.
Steve

 From: jay graboski
Subject: Even more on Okinawa
To: soundthing

Date: Tuesday, January 26, 2010, 10:21 AM

January 2010~Happy New Year! 

"Given the Mayan concept of history, it is scarcely credible to imagine that December 21, 2012 represents 'the end of history' or anything even resembling such an event--an event that, in Mayan terms, is not even possible.  The end of the current Great Cycle" (like the New Year) "represents the beginning of a new Great Cycle."--Kenneth Johnson 

"The more you do what you want, the more magic happens.  I'll make whatever I want, out of whatever I want, about whatever I want."--Erika Wanenmacher, artist  

"The nature of the work is to prepare for a good accident."--Sidney Lumet 

"Indignation is one of the most rewarding emotions as well as one that automatically gives meaning to life...There is nothing like irritation to get the juices circulating and the mind working."--Theodore Dalrymple   

(Errata from and footnotes to the December 2009 "What's Up?" update: 1. The name of the Orange Wedge guitarist who replaced Kraig Krixer is Joe Farace.  2. Both photos of Trixy & his Testones were generously snapped and provided by SSA compadre, Charlie Wehrheim, not Jon Considine as reported. 3. J.D. Considine's review of "Palisades Park" was from The City Paper not The Baltimore News-American. 4. Patti Rosenberg's review of same was from The Unicorn Times and not The City Paper. 5. Ken Barnes was the journalist reviewing the record for the New York Rocker, #18. 6. "Troll" is the title of Razor's song on volume one of The Best of Baltimore's Buried. & 7. Jim Green was the reviewer for the Trouser Press T&TT review, #40.  8. I recently began to consolidate anything about "the story" written on paper, much of the newsprint stock beginning to yellow and/or disintegrate,   In an "it's-the-least-that-I-could-do-&-you-can-always-count-on-me-to-do-the-least" attempt to slow the process down a bit, these printed artifacts have been inserted into page protectors.  I came upon an admission ticket for an Apple Productions' May 11, 1975 concert at Lansdowne Senior High School Auditorium presenting OHO, Elf Park along with "Orange" Wedge.  Apparently the 3rd band continued to go by either "Wedge" or "Orange Wedge" as late as mid '75.  So much for my erroneous statement that they had dropped the "Orange" by 1973.  I probably inferred this due to the title of their first LP, Wedge.   Also, we forgot to thank Lisa Phillips who provided us with the hi-res scans of both the Testone 45 jacket and the band photo.  Thank you, Lisa.) 

Besides over 33 OHO rehearsals, 2 jam sessions, 22 CSL rehearsals and 8 recording sessions at The Bratt Studio in Woodlawn MD (David also working on OHO recordings throughout the year at his Blue Ball Road Studio in Stewartstown PA), OHO in 2009 performed at the Frederick Winery and Coffee Company, a fund raiser at Howard County Community College for the Ulman Cancer Fund, the funeral of Mary Rowan, the Sykesville Farmer's Market,the Center for Spiritual Living in Timonium, Sharp Hall at Govans Presbyterian Church, The Lurman Outdoor Theater in Catonsville, The Unitarian Church on Franklin St. in downtown Baltimore & at various and sundry Open Mic's.  

As we look back on 2009 we notice we managed to squeak successfully through another year. OHOmusic.com registered another modest yet again heartening yearly increase of 2409 additional hits in 2009.   

The band's first CD/DVD dual disc remains available securely and at reasonable cost at the OHO website, www.CDBaby.com (along with UP and Dark Side's Odd Fellows on an Even Day) and at www.DGMLive.com (where The Best of Baltimore's Buried Bands II may still be purchased).  To those fiscally challenged or otherwise yet reluctant to part with their $$$ due to an enduring economic entrenchment may we recommended browsing our vault where much of our music from the last 4 decades still remains available for FREE downloading.     

12.04.09--The OHO team attempted a digital transfer of David's work on "Arclight" (both midi and wav files).  As usual this continues to be problematic, likely having something to do with the "Hello, I'm a PC" vs."Hi, I'm a Mac." dichotomy, & the resulting friction that has been occurring from attempting to interface the two different operating systems.  Still, we managed to get most of the drum set lined up to the existing audio tracks with only the incidental percussion remaining to be added...pretty snappy.  Also borrowed El Sledge's bull horn to sing 3 verses of lyrics for one of the songs in the 2nd section of the Ahora! rock opera; the lyrical log jam has been broken. 

12.17.09--I returned to the Bratt at 10:30 AM to execute parts 3 and 4 of section 2 of the acoustic guitar bed for the Ahora! suite....done and all within 5 hours.  Picked it using one of my Mark Kostreba fossilized walrus ivory plectrums for a rounder sound on the "Deguello for Dolmis" ballad.  Bill Pratt comments: "I think the basic guitar stuff is rockin!"  Sounds like the entire suite will be around 40 minutes in duration.  What's next to do?  Again, we find there are still 52 cards in the deck and all we have to do is pick one.  Will it be the ace of vocals or the knave of bass? 

12.23.09--Jay & Matt perform again at The Frederick Winery.  They were promised a weekend "gig" tentatively to be scheduled for early spring '10.  We are contemplating inviting a number of the ladies who have helped in the past (Lisa, Jeniye, Kelly and yes, even Sue Ellen) to each sing 3 or 4 OHO tunes as a sort of celebration of that 1/4 century throughout which most songs by OHO were delivered by the female voice. 

12.31.09--Final 2009 session at The Bratt Studio tidying up the final mix of "Arclight."  Downloading 64 bit wav files of David's "You Are the One" to Bill's DAW, David's contribution to OHO's follow-up to Bricolage will likely be placed after Ahora! ala "A Day In the Life" from Sgt. Pepper's bringing the total time for the next album to just under 45 minutes. 

(We now address the next KZMU/SHO OHO question from the 08/25/09 radio interview.  This month we answer the query following the airing of Unyflow's cover version of "Just a Little" by The Beau Brummels)  

6. "Just a Little" (3:39)--1979

(Ron Elliott)

Artist: Unyflow (pronounced "uni-flow," like the motor oil)

Release date: 1979

Label info: B side of 33 1/3 rpm, 7" ep release (Jive City Records JC-001)

Question: Did you have an underlying grudge against The Beau Brummels for giving this classic the "Saturday Night Fever" treatment?  

I remember in 1965 predicting to the other members of the "kitchen gang" that The Beau Brummels would eventually surpass The Beatles in popularity as we washed & dried dishes after one evening meal at Brunnerdale Seminary in Canton, OH.  I couldn't have been more wrong.  But if "Laugh, Laugh," "You Tell Me Why" (which I still perform occasionally in my solo acoustic set) & "Just a Little," all penned by the late Ron Elliott, were more representative of the remainder of that band's material, perhaps this erroneous prediction would not seem as ridiculous as it now does.   

Nevertheless, "Just a Little" was a favorite of mine.  Hearing Nils Lofgren's version years later confirmed this for me.  The proliferation of disco in the mid to late 70s and the emergence of current OHO drummer David Reeve, who loves to dance, set the stage for this "one-off" attempt at disco by another side-project band christened as Unyflow.  So even if the resulting effect is that some feel this version of the Brummels' song to be sacrilegious, I can attest that the aim was for this to be an homage to one of my favorite 60s bands.

Unyflow: I won't run away

While I can't for the life of me remember the name of the lead guitarist for this project (but whoever he may be, he was a good lead player), the remaining members (aside form me, David and the Dark Side/Testone keyboardist) were Steve Simcoe on woodwinds/backing vocals and Chuck Gross on the bass.   

This project is a significant highlight of our story as it marks the entry of David Reeve as the drummer we would rely on most from 1979 on and continuing into the present.  My brother's enthusiasm having gradually waned over this time period to the point where he sold David his Ludwig drum set, Jeffrey handed him the baton and aside from alternating participation as drummer in our wedding band, Ful Treatment (a band that provided music for Joan's and my wedding reception on 09.10.77) with front man, the late Greg Marsh and still-very-much-ailve keyboardist, Ray Jozwiak, www.rayjozwiak.com), sporadic jam sessions and reunion performance appearances from then until his passing away in 1987, David took over the function of keeping the time, first for OHO, then Dark Side, then Ful Treatment followed by Food for Worms, then OHO again, then The Vulgarians, then St, Joseph's Ass, then OHO again.    

The "A" side was an original of mine titled "I Won't Run Away" in which we interweaved a reworked section of OHO's "Tinker's Damn" from Vitamin OHO with some pretty lame "relationship" lyrics and a catchy verse melody.  For the "B" side we covered the Beau Brummels hit, starting it off with a dangerously similar cop of the "Disco Inferno" opening riff.    

I was often looking for opportunities to use the vibrato effect of my Music Man combo amp to color the sound of my candy apple red Fender Stratocaster to taste, and here was a perfect one.  Both the amp and the Strat, along with some pedal effects, were later stolen out of my 76' Caribbean red Volvo sedan parked just outside The Marble Bar entrance after a 1981 Food for Worms performance there.  (Fortunately David was my insurance agent and the comprehensive policy he sold me covered most of the cost of the stolen items.  I was able to replace my equipment with a Roland JC-120 amp and the then current version of the Roland Guitar GR-300 synthesizer with the GR8 guitar controller that I coveted ever since being blown away by same in the capable hands of King Crimson's Adrian Belew and Robert Fripp during their performance on their "Discipline" tour that same year at The Painter's Mill Music Fair.  By way of relevant footnote, the Roland VG-99 purchased this year includes a virtual version of the GR-300, used mostly during the 1982-84 period of Food for Worms, most notably on "It Needs a Haircut" and after.  The Roland guitar controller had a nifty touch plate on the underside of the bridge humbucker which, when fingered, engaged a variable vibrato rate--very cool, especially for those of us whose ineptitude was revealed when attempting to approximate this effect manually.)  

Anyway, David had that "disco beat" down and four of the other guys on the Unyflow team played out regularly in "club" bands at the time and were well-versed in the various executionary mechanics required to simulate the musical approach of songs of that genre then receiving radio airplay.  

My thinking is that this (16 track) Sheffield Studio recording session took place in the Summer/Fall of 1979.  I remember that, as with most of these projects, including the two Dark Side ep's, we limited ourselves to 2 sessions (due to the expense): one for recording, the 2nd for the mix.  So we had to get it right (or very close to right) and quickly.   

A distinguishing feature of this recording was the employment of DBX noise reduction (having taken over Dolby A by this time); and as these songs were rather long for the era (approaching 4 minutes each), the longer the tune, the closer the grooves on the vinyl record.  Therefore, as I understood it then, the fidelity was compromised proportionally the more lengthy the groove.  In compensation we decided that this 7" would spin at the 33 1/3 rpm speed and instructed that the discs be stamped with the smaller spindle hole like a standard 12" album.  Jon Considine again stepped up to negotiate the graphics with a clever "map of Baltimore" design and with clock faces indicating the length of each track as its corresponding "time of day."  

It was a fun session and the recordings turned out well enough.  While we were unable to do much to promote the 45 then and since aside from again giving the records away, some of our families and friends found this music to be among some of our most accessible and enjoyable, a favorite remark designating the "coolness" of the bass/piano hook introducing the "A" side.   

My hunch is that KZMU in August 2009 may have been the first radio station to have ever aired the Unyflow version of "Just a Little," and this is the very reason why I included it in the show...that it finally be heard by someone...anyone.

  The only review of the "I Won't Run Away" b/w "Just a Little" 7 incher is by Fabio Nosotti from page 39 of the N.2 Gemalo 1981 edition of  i'ultimo Buscadero (an Italian magazine costing 1.500 Lire in 1981) headlined as L'esplosione del Baltimore Sound!.  Though it is written in the Italian language, I am keying it here as, if one persists, the general gist is revealed.  Here it is: "Gli Unyflow sono una band meteora, nata per gioco con elementi degli Oho, Trixy & The Testones, Dark Side.  II 45 risale al '79 per la Jive City, label sempre in relazione con la Gohog records.  Gli Unyflow sono un gruppo che ogni tanto ama riformarsi per incidere qualche singolo. E' il caso di "Just a Little" vecchio hit di Ron Elliot e dei suoi Beau Brummels, qui rivistato adeguatamente con una ritmica convulsa; "I Won't Run Away" e invece una raffinata parodia alla musica disco, marcata Unyflow."  

So these guys thought these recordings were parodies?  I guess we were spared the adverse effects of any mockery withheld due to our reputation as smart-alecks, confident that there was no way this could be anything other than parody.  Along this line were the following words about one particular Graboski-penned song from Food for Worms' The Ultimate Diet from Expose (page 71/07.01) reviewer, Sean McFee: "Humor abounds in this band's material...as in tracks such as "No One Said It'd Be Easy," which comes across as a suspiciously straight-faced pastiche of Springsteen."  (Pastiche?)  

Another interesting aspect of this project was that it signaled another fortunate instance when we received outsider financing.  That is, SSA co-worker Scott Waldman, lent us the money to record these songs.  Although we did eventually repay him, he was one of a brave few who believed enough in what we were doing to take this kind of small financial risk.   

The aim has always been to have our projects financed by others whenever possible and to seek out opportunities where this would likely happen.  Aside from huge chunks of studio time afforded us on speculation over the years, this also included things like landing slots on various compilation albums/Cd's.  Examples during this time period were 1) having OHO's "Seldom Bought" (from Vitamin OHO) included on a 12" sampler of local area talent produced by station WKTK-FM (1978), 2) securing a slot for an edited version of Paul Rieger's 4-track recording of OHO's "Here Comes the Oysters" on Bomp's Waves Vol. 2 (1979), 3) Dark Side's "In the Dark" (another 4 track Paul Rieger recording) being placed on Battle of the Garages, 1980 Voxx Records (and later on CD in 1993) and 4) "It Needs a Haircut" by Food for Worms being selected as a track on 1982's 98 Rock LP ultimately leading to (via the impact of our self-financed video of "Haircut") an eventual verbal "signing" with Baltimore based label, Clean Cuts Records, a company that thereafter released OHO's acclaimed Rocktronics EP in the summer of 1984 (while this was a financial collaboration as far as the recordings that graced side 2 of this 12" EP, the tab for the Hit & Run studio sessions for the side one material, the actual manufacture of the disc, as well as any promotional expenses were all picked up by the label).  Now that's what I'm talkin' about.  

At a mid-month holiday party hosted by an old friend one ensuing conversation centered around the theme of how over the years many of our band mates, either unwittingly or in full knowledge, sabotaged many of our musical projects via deliberate action or passively by a refusal to act or by neglecting to do what needed to be done & could only be done by those individuals.  It was of interest to note how the excuses offered, without pointing fingers or naming names, ranged from selfishness, fear of success and just plain laziness to the ignorance of youth and onto a crusty lack of enthusiasm plaguing many of our contemporaries due to the advance of linear time.   

On the other hand, if any opportunity were to arise that might include the work of those who QUIT, my experience has been that upon the first whiff that there is something cooking in the kitchen, they are the first to stick their thumbs into the pie to see if there is any way for them to exploit this opportunity to their own personal advantage (something, I fear, they really don't know how to do).  In other words, they were doing nothing on their end to arrange the psychic landscape/space-time continuum in order to encourage the occurrence of a miracle, yet hovered like entitled vultures to ingest the fruits of the labor of those of us remaining active to this purpose even though they had abandoned participation in the process decades prior..   

I spoke of how, remembering when we held the CD release party at Gallery G for the two disc, 40 track Best of Baltimore's Buried Bands II set in 2003, there was an embarrassing turn out of representatives of the participating bands.  One can only imagine the gravity of the pressing personal events that prevented these musicians and singers from shuffling their schedules in order that they be free to attend and support this Saturday afternoon event that celebrated and honored their musical legacies.  

I found it suspiciously and discriminatingly convenient that for every stage of life there was a seemingly "appropriate" excuse for no or a half-hearted involvement, affording nonchalant explanations for the resulting and effectively destructive behavior, somehow meant to placate the immense and all-pervasive disappointment that those of us who soldiered on continue to bear in the form of a lingering, low grade, yet arguably justifiable resentment for all the precious time that was unnecessarily wasted ("sweet dreams and Time Machines in pieces on the ground"--James Taylor).  

Obviously they did not know any better even though many regarded themselves as genii(i.e. although they were conveniently insulated from complicity in the mutinies by reason of ignorance and/or insanity), and though all are forgiven (although none to date have actually sought it), "the process of making amends involves many steps, not just apology.  It entails experiencing sorrow, changing behavior, making reparations, seeking pardon from the wronged party and accepting responsibility for the harm caused others.  It is possible to forgive someone for inappropriate behavior and still hold them accountable for their previous action." -Hamilton Beasley (psychologist).  There have also been incidents involving recovered alcoholics/addicts who have confessed (although to others...not having the balls to admit this to us directly) to instances of their deliberate effrontery yet claim to have completed "12 Step" programs.  (What about Step 9?)  The transgression?: witless or deliberate conspiracy to assassinate/stifle a dream.       

Anyway, I thought it odd that these folks chose to redirect their energies to negotiate the tedium of ordinary life (this redirection often triggered by a variety of some of the most ordinary yet inevitable life events--"It's the day to day living that wears you out."-Anton Chekov) in lieu of vying for the golden ring, a prize that I've always wondered would ever, by virtue of concerted and united effort, be earned or even offered.  After all, it could always be refused upon its being offered; refused with the reassurance that we had proved ourselves qualified to enter into a rich and creative world where one's work is compensated commensurately, earning the privilege to do this type of work by virtue of an unwavering commitment and the quality of that work itself.  Or perhaps there existed secret unconscious wishes to spend the better part of 30 years and more of one's lifetime as either a civil servant (ala Dostoevsky and Whitman), or a lawnmower (with images of that Selling England by the Pound cover art festooning the dusky beams of the unconscious), or a peddler of conduit (always looking for an opportunity to smoke from a, or better yet, to lay some pipe).   

Current recommended reading: "the life and times of Brian Eno" biography, "On Some Faraway Beach" by David Sheppard.  Indulge yourselves; so many similarities though without the streaming pecuniary remuneration that Mr. Eno obviously receives.

OHO & into the next decade with much enthusiasm! 

December 2009 ~Seasons Greetings! 

"Imagination is the voice of daring.  If there is anything godlike about God it is that.  He dared to imagine everything." -Henry Miller 

"Have among yourselves the same attitude that is also yours in the Christ, who though he was in the form of God, did not regard equality with God something to be grasped.  Rather, he emptied himself, taking the form of a slave, coming in human likeness; and found human in appearance, he humbled himself, becoming obedient to even death."

(Philippians 2:5-8)  

"Paint the walls of your cage with a dream."-Joseph Campbell (?) 

11.19.09--Back to the Bratt at 10:30 AM to record the remainder of the basic acoustic guitar tracks for Part 2 of the Ahora! NST suite.  The aim was to get this preparatory sectional work completed before the beginning of 2010 when we'll begin fusing appendages onto this torso, sending the current through it to see what lights up, incarnates &...thrives (from "in posse" to "in esse").  (Out of chaos the materials must first be afforded.  Perhaps a corpse would be reanimated; perhaps the component parts of a creature might be manufactured, brought together, and endued with vital warmth."  

-- Frankenstein author, Mary Shelley, October 15, 1831).   

5 hours later I walked to my V-Dubya Beetle with only 1/3 of the initial aim realized.  That NST(uning) is such an unforgiving, fecund-ditch-bee-otch!  For this rocker I employed a configuration of multiple capos (one standard and the second, a "drop D") modulating the song two semi-tones upward to get this baby to stay relatively in or "nicely out of" tune (depending on one's POV), while slamming that low "C" (now a "D") string.  Still, our reach ought to extend beyond our grasp and perhaps (fingers are crossed) we have designed a solid sonic foundation upon which to build this still untitled yet spunky tune, intended as the zenith of OHO's Ahora! suite. 

David's been hunkered down at his Blue Ball Road studio in Stewartstown PA, tidying up his "Arclight " percussion/drum tracks, the strains of which on 2 occasions he reports, floated about his house eliciting encouraging comments such as "Excellent!" and "What's that you're working on?" from two of his nuclear family members--always a good omen when the music resonates so favorably, breaking through the trance of routine & temporarily lifting its spell.  Back to The Bratt Studio in early December to apply the glaze (a thin, shiny veneer, transparent to the transcendent).     

(Again we address the KZMU/SHO OHO questions from the 08/25/09 radio interview one by one.  This month we answer the query following the airing of "Palisades Park" by Trixy & The Testones) 

5. "Palisades Park" (1:58)--1978

(Chuck Barris)

Trixy & The Testones (1978)

Artist: Trixy & The Testones

Release date: 1978

Label info: 7" 45 rpm single (Toy Records T-001)    

Question: Liner notes on back of single jacket read: "And special thanks to the city of Baltimore for allowing its most talented citizens the luxury of remaining anonymous."  Is this an indictment against the municipality in regard to its support of local artists?  Also, there is a rumor that The Testones were invited to play on "The Gong Show" & that Johnny Ramone commented in writing on your version of this song that the Ramones covered years later.  Any truth to these rumors? 

As a younger man I did believe we were shortchanged as far as receiving attention from the local (Baltimore and DC area) media.  After perusing our scrapbook of accumulated press clippings over the years, however, I have since changed my position, especially in light of the facts, considering how primitively info of this nature was conveyed in the 70s & 80s as weighed versus now, the Internet having exponentially opened up & expanded the realm of possibility for independent artists (& for anyone else, for that matter) since.   

In retrospect I now see that we did receive a fair amount of ink, much of it positive and from some noteworthy personalities.  Although truthfully this was again largely due to our being proactive in that regard, performing as often as possible and constantly shoving the "product" under the gaze of music journalists, promoters, DJ's, lawyers & record company owners; just short of insisting ("Power concedes nothing without a demand." -Frederick Douglas) on their responses including BTW everything from, "Don't quit your day job." to "Sure, we'll sign you"; applying the following principle, though on a much lower plane: "If you cannot make God love you, make him fight you.  If He will not give you the embrace of the lover, compel Him to give you the embrace of the wrestler." -Sri Aurobindo   

"The attitude that life owes us something, if not everything, encourages life to thwart our endeavors."  Of course there would be this apropos GC aphorism for my attitude at the time, fundamentally an overestimation of expectation for what I felt we deserved, and an (again) inflated self opinion, overcompensating for the baseless assumption that we had somehow been marginalized by the entire world...oh well, live and learn.   

I still do believe, on the other hand, that there could have been some local media attention directed toward OHO in 1988 when we journeyed to Hollywood for the Yamaha Soundcheck, especially in light of the magnitude of this feat and the seemingly disproportionate amount of local press a band of our contemporaries, Love Riot, garnered a few years later for a similar achievement (although to be fair, they did ultimately win that  competition).  Therefore, while this text on the back jacket of the Testones' 45 did constitute an indictment at that time (the municipality just barely proving itself innocent of the charge by reason of its bearing no responsibility for our success), we now see it to have been an unfounded one.  My apologies.

 I first became aware of Kraig Krixer's existence as lead guitarist for local Baltimore band, Orange Wedge, in the early 70s.  By 1973 Wedge had dispensed with the "Orange," Joe Farce took over as sole guitarist and Kraig switched teams over to OHO contemporaries, the glam-rock band Poobah, assuming a transexual persona and taking the moniker of "Trixy the Space Queen," ala Ziggy (Bowie) and Roxy Music.  Most Poobah members went by similarly androgynous stage names (e.g. Crystal Chandelier, Steptoe the Magnificent).  Our acquaintance furthered when Kraig & I found ourselves working in the same bureau at SSA during the mid-to-late 70s, where and when the idea of the Testones project arose, was incubated, then spawned.  

 Me and OHO's 70s/80s keyboardist both guested on Wedge's 2nd LP, No One Left But Me, re-released with its eponymous predecessor on yellow vinyl as a 2-12" record set in the late 90s by German label, Little Wing of Refugees; & this almost solely due to my efforts on the material's behalf ("no brag, just fact" & I even snapped the uncredited Spring 1974 photo of Wedge playing live in Wyman Park chosen for the included poster).  In January 1974 Wedge front man, Greg Coulson, reciprocated by singing the lead on "Plymouth Ascendants" from the complete versions of Okinawa.  

 Throughout 1974-75 OHO sometimes opened up for Wedge at their request.  Wedge were OHO fans & it was through their generosity that OHO were offered these opportunities for performance.  OHO also shared the stage with Poobah, one prime example being at the Cub Hill Rock Festival in July '74, where the sound man who also made synthesized racket as a member of Poobah, did us the favor of providing OHO (20 years on) with a very clean board mix of our set.  "Duva" & "Rock Song" from this mix were included on the 1998 Little Wing release, Ecce OHO.       

 Shortly thereafter, Trixy (aka Fagen de Razor--a pen name he assumed during a brief stint as a writer for the Port City News) became a huge Ramones fan and I suspect patterned The Testones loosely upon their band model and strictly upon their approach to arrangement (with a tip of the hat to Phil Spector) and the execution of their material; what with the rapid, crunching 1/8 note guitar down strokes, snotty/nasal vocals and racing tunes often ending under the 2-minute mark (note that the Testones' version of "PP" clocks in at 1:58). 

 I do not, however, recall how Trixy made Johnny Ramone's acquaintance but the late band leader/guitarist did send Kraig a postcard after he was serviced with and had apparently listened to our recording of "Palisades Park."  It reads as follows: "I liked the record alot (sic).  Palisades Park came out really good.  We always had wanted to do that song but never did." -Johnny Ramone  (The Ramones eventually did record a version of this Chuck Barris' tune made popular in 1962 by Freddie "Boom-Boom" Cannon, releasing it 27 years later on their 1989 LP, Brain Drain, & 10 years after the Testones' 45 rpm, 7" version.)

 When independently releasing a cover version of another composer's musical property one should obtain permission, usually in the form of a license issued in the USA and on behalf of the music's publisher/copyright holder by The Harry Fox Agency in NYC.  In a communique addressed to me dtd 07/31/78 instructing how to do this, Frank Slay of Claridge Records, publisher of "Palisades Park" wrote, "We are delighted you have recorded 'Palisades Park' and really look forward to hearing same.  We'll get a copy over to Chuck (Barris) himself."

 In his cover letter dtd 11/07/78 to the "Gong Show" host (the TV program still airing at this time) Mr. Slay wrote, "I know you have been waiting for the Toy Records version of "Palisades Park" by Trixy & The Testones.  Lao Lewd's rendition of the Tibetan glockenspiel has given the record a special unique quality.  How can you resist putting these talented citizens of Baltimore on the Gong Show?  Best regards..."

 Nice try.  Frank sent me a photocopy of the aforementioned letter with this note scribbled by Mr. Barris, "Thank you, Frank-- They'd have to audition.  We tape Dec. 23 and audition Nov. 28-Dec. 5.  Warm Regards, Chuck".   I don't remember if or how we followed up on this.  I only know we did NOT audition for the show, likely due to the expense of transporting the band and its equipment to Hollywood.  Besides, 3 members were government employees and 2 of the 3 perhaps feared risking any of their 240 hour carry over annual leave cache on such a frivolous adventure (that Rock & Roll spirit, you know?).

 Regrettably Trixy & The Testones only recorded 3 songs including a cover of the DC5's "Bits and Pieces" on the "B" side of the single and a punky yet Spectoresque version of "Then She Kissed Me" from The Best of Baltimore's Buried LP (1979, Balto-Weird Records); but the team did perform a number of times as part of The Gohog Review playing short sets at Maryland venues such as The Marble Bar in downtown Baltimore and The Oddfellows Hall in Towson throughout 1979-80, often sharing the bill with Dark Side and The Weaszels. 

 Aside from Kraig Krixer (Trixy) the Testones were usually Jeff (drums/perc) and Jay Graboski--rhythm guitar & backing vocals (aka Jeff Jamm and Johnny Love respectively), David Wylde (bass, vocals), Vic DeMize (keys, synthesizer), Steve Simcoe on sax (aka Shemp Averagio) with guests Bill Phelan on 12-string electric guitar on "Then She Kissed Me" and, of course, Bob Tiefenwerth (Lao Lewd).  "PP" charted in the top 15 singles both at radio KFJC in Los Altos Hills, CA and WIRC in Buffalo, NY.

 The Testone 45 proved to be one of our most favorably received recordings by rock music journalists; here's what they wrote:

 "Trixy & the Testones have released an intense version of the old Chuck Barris hit, 'Palisades Park'.   It is rock in its most primitive incarnation.  'Where The Action Is' carried to a frenzied extreme. The 45, both sides in total, comes to over two hundred seconds of aural stimulation." --Patti Rosenberg (City Paper)

 "As far as Trixy and the Testones go, their only bow to the past is in the mix, which sounds vaguely like Phil Spector working out of a phone booth. I won't go as far as to say that the performance reminds me of the Gong Show, but the wacky enthusiasm is the same.  Is this a good single?  Well, don't go looking for it on Casey Casem's American Top Forty, but don't dismiss it either.  It's fun, tight and rocky, and neatly avoids the obvious traps of pretense and camp.  Probably the best local party record I've heard."

--J.D. Considine (Baltimore News-American)  

 "I always wished the Ramones would pick up on this song, and failing that, these boys have done a credible job with just the sort of arrangement I had in my head (and even once tried to work out on guitar!).  Better produced, it might sound like a hit." --Greg Shaw (Bomp! Issue #21)

"Forget the Ramones comparisons, this high-energy romp is influenced but beyond.  The arrangement is Sixties sublime, Trixy's delivery is hysterical, and you will not believe the pace. Two minutes of pure teen fun, no harmful additives. --(Unicorn Times, August 1979)

"And from Towson, Maryland, Trixy & the Testones pulverize 'Palisades Park' to interesting effect."--(New York Rocker, April-May 1979)

"Trixy and Co. make energetic and raucous revivals, with a driving rhythm section setting the tone for the raunchy vocals.  A rockin' good time." --(Trouser Press, July 1979)

And finally, this text from a Jon Considine (who BTW we also credit as photographer for the Testone pix that appear across this month's "What's Up?" entry) created advertisement for the record featured in the February 1979 issue of The Trouser Press: "The definitive versions.  Trixy and his boy's debut 45 provides sonic relief for cultural conditioning and extends the Rock & Roll tradition beyond itself and into the moronosphere.  Send $2.00 to..."

Kraig additionally played blistering guitar on both the 1979 and the 1985 versions of The Weaszels' "I'm Still Wild," the former a track on the 1st Baltimore's Buried  LP (opere citato above), the latter on their Whack 'n' Wild CD, independently released in 1992.  The BBB version provoked one rabid DJ/fan to compose a 5 page, hand-written paean to the song/band that I intend to transkey to this journal when it's time to address the KZMU question posed regarding The Weaszels .  Suffice it to say at this point that we had never before or since received such enthusiastic praise from anyone.  Another advantage of dealing with this list of questions, where we have the chance to tell the untold stories of the incidental musical one-offs of and tangents to our "career," is this opportunity to root through our archives, artifacts and testimonials, urging nebulous memories to re-surface to a more clearly conscious level, then relate them in this forum.

In 1979 Kraig formed the band Razor & I was invited to play as the 2nd guitarist on a track later included on the 1st "Best of Baltimore's Buried LP."  In Spring 1985 Kraig guested as lead guitarist on "Ethiopa" & "Change In the Wind" showing up either together or individually on the following OHO releases: Audition (1989), OHO (1990), UP (2003), The Oriency Anthology (2004) & Bricolage (2008).  (David always felt Kraig's guitar soloing to be his strong suit, his ideation being that Trixy dance in from stage right, across the proscenium over to stage left licks a blazin', then fading out of view behind the curtain while wailing his final bended note.)  "Wind" ranked OHO among 4 finalists in Musician Magazine's "Best Unsigned Band Contest" in 1986 (for which we were awarded a pricey JBL sound system), providing enough momentum to carry the band two years hence to late Summer 1988 when we were chosen as finalists for that year's Yamaha Soundcheck Competition. 

"Wind" was also featured as incidental soundtrack music in 1998's Edge of 17, an independent film that was an unexpected hit at that year's Sundance Film Festival; and is listed as being among the "100 Best Gay & Lesbian Features" (ever) in the 11/03 Facets Movie Lovers Guide.  As a result "Change In the Wind" also placed in the final 3 of the "Music for Film and TV" category of the 2003 Independent Music Awards sponsored by The Musician's Atlas.  Kraig certainly contributed to all of this and the time is nigh to give him his propers.  Thanks, Kraig.

In the 80s Kraig played with The Accused (perhaps also with When Thunder Comes--not certain) & Blue Car (with former Aux vocalist, Charlie

Klingenstein).  In the 90s Kraig formed and performed with the band Riff, (featuring former Weaszel drummer Jeff Chaney and then-current Weaszel and former Food for Worms bassist, Mick McMick, on rhythm guitar).  I recall The Weaszels sharing many a beer-soaked bar floor with Riff throughout that decade. 

Kraig retired from SSA in the early 00's due to health issues.  He currently lives quietly and simply in Perry Hall, a northeast Baltimore suburb, with his collection of unique electric guitars that includes a coveted white John Thurston-made "tear drop," a Vox inspired guitar, modeled after the one Rolling Stone Brian Jones played during the 2nd British Invasion in 1964. 

A Merry OHO-HO to all and to all a good life. 

October 2009

"That which can be destroyed by the truth should be." (P.C. Hodgell, author)

"The Japanese word tsuji-giri meant 'to try out a new sword on a passer-by.'" (Rob Brezny)

"I have come to bring not peace but the sword." (Matthew 10:34) 

"Causing the right amount of trouble is an art form. ('titrating' anxiety: challenging people enough so that they'll feel the pressure to change but not so much as to send them spinning off in alarm.)" (NY Times Magazine)  

During the early evening of 09/16/09 Matt and Jay (David being out of town) performed an acoustic mix of OHO originals and select covers at the the "by invitation only" opening of the Frederick Cellars Winery bistro in Frederick, MD.  We sampled the award winning wines and the tasty fare...great acoustics and a friendly audience.  More about the winery at www.frederickcellars.com.  

September 29, 2009: Jay spent 6 hours at The Bratt Studio recording basic acoustic guitar tracks for Part III of the OHO Ahora! suite.  ("Then one must be very careful about the ending.")  All appears to be well in that regard and Bill lent us a copy of the "Crack the Sky Live!" DVD (in 5.1 surround sound) featuring our good friend and sometime OHO tee shirt sporting member and keyboard contributor, Glenn Workman.   

  (Continuing to address the KZMU/SHO OHO questions from the 08/25/09 radio interview one by one, we answer the query following the airing of "We Never Wanted This" by GROK recorded in 1973 and finally released in 2003)

  3. "We Never Wanted This" (2:53)--1973

(Jay Graboski)

(from 2 CD set, Best of Baltimore's Buried Bands 2)

Artist: GROK

Release date: 2003

Label info: OHO Music (OM53)

Question: This recording has some modern-sounding EQ's and studio effects for a '73 vintage track.  Would you comment on your philosophy as to the preservation and proliferation of your recordings and how your team applied these specifically to this track?

  Well, we wonder if any of our music will ever be released in 5.1 surround sound.  In lieu of that happening, ever since the German label Little Wing of Refugees announced in late 1990 its intention to release the entire 70s OHO catalog on vinyl (this almost came true with all our formal 70s era albums being released either on vinyl or on CD with the exception of Dream of the Ridiculous Band), we began to remaster the 2 track 1/4" master tapes in accordance with the then current state-of-the-art basement technologies. 

 In the cases of Vitamin OHO, Ecce OHO and "Dream..." this basically entailed decoding the Dolby A noise reduction, then applying any of the sonic equalization enhancements (including level maximization) available without altering the vintage sound of the recordings.  In the 90s we stored the masters on DAT (digital audio tape) and in the 00s this process was sometimes extended to include having certain of the masters "baked" in convection ovens designed to temporarily re-affix the oxide particles (that hold the sound) to the acetate itself (this due to a curious deteriorating anomaly germane to a select batch of mid-1970s era Ampex recording tape), then transfer these decoded tracks to either CDR or to DVD and then download these into a DAW (digital audio workstation) or onto computer hard or dedicated external drives where they can today be found stored at Bill Pratt's Bratt Studio in Woodlawn, MD.

 Historically this happened again in 1999 with Wunderkind by Little Hans, in 2001 with the release of Food for Worms The Ultimate Diet, again in 2002 with OHO's Recollections, in 2003 with OHO's UP, in 2005 with the release of the Dark Side anthology (Odd Fellows on an Even Day), in 2008 for the bonus tracks on Bricolage and this year (2009) with the anticipated  Rockadrome/Vintage re-release of Okinawa on CD. 

  So, the short answer is that whenever an opportunity for the release and/or re-release of our music presents itself, we check to see if the sound of the music can be improved by applying any of the currently-available-ever-appearing-throughout-the-marketplace sonic enhancement tools available at these particular times.  

  The GROK version of "We Never Wanted This" (AKA "Rock Song," OHO included a "live" performance of it on Little Wing of Refugees 1998 CD release, Ecce OHO, LW 3053 EXP) was recorded by engineer Gene Meros at Flite III Studio on Cold Spring Lane in Baltimore city in 1973.  This was on 2",16 track audio tape in the big room (the same room where in 1974 Okinawa was recorded, although in an 1", 8 track format).  GROK members were Jay on rhythm guitar and vocals, Bob Funk on the bass, Dale German (lead guitar) and the late Don Henritz on his double bass drum Rogers kit.

 In his Baltimore Sounds (An illustrated encyclopedia of Baltimore area pop musicians, bands and recordings 1950-1980), (c) 2004 MJAM Press, author Joe Vaccarino  encapsulated the following about GROK:(1971-73): "Progressive rock band that played covers as well as original music. Original vocalists, Collette Kelly and Bill Joy left the band in early 1973.  Jay Graboski (ex-Quinn, Little Hans) then joined as rhythm guitarist and vocalist."  (More meticulousness of varying degrees as well as updates about Baltimore's pop/rock/folk music history since 1950 at www.baltimoresounds.com).  Below--Joe's heralding from his web site of OHO's Bricolage release:

 "Announcing the "Bricologe" CD/DVD release for Jay Graboski (OHO). The "Bricologe" DVD anthology documents OHO 1988-1992 with video footage of the band's performance opening for Cheap Trick at Universal Amphitheater, Hollywood, CA., plus their Star Search auditions, and footage of the OHO 1990 CD release party at the Eight By Ten, The new CD release features 13 new songs plus eight bonus tracks spanning 1985-2007. There are already a number of notable reviews about these releases including Dirty Linen #106 "OHO sounds like Jefferson Airplane landing on top of Genesis and then taking a time machine ride with Fairport Convention to play at the H.G. Wells birthday party", and one from Rolling Stone "Shimmering Folk-Rock that would appeal particularly to fans of female vocalists: plenty of sprightly acoustic guitars and airy vocal harmonies." Note from Joe V: I first saw OHO at the 1974 Santa Claus Anonymous benefit concert at Catonsville Community College while working as a soundman for Top-40 group Sage. I enjoyed prog/keyboard laden groups such as ELP and Yes. I was blown away by OHO and went out and bought their album " Okinawa ," an album that was quite progressive for the time. OHO has continued to evolve from those days in musical style and many quality recordings. Good luck Jay, and thanks for continuing to keep me in the loop with important happenings!"

Joe needs your help with new and/or corrected information for Edition #2 of the Baltimore Sounds book. The new book will feature Baltimore area (and central Maryland) artists who performed between the years 1950-2000. If you or someone you know was a musician who played locally during those years we would like to include your musical history in the next book. Send Joe an email. Many hundreds of artists have been added and many biographies from the original book have been updated. We're hoping for a late 2009 release!

A 2nd edition of Baltimore Sounds would correct and/or augment info from the 1st edition and extend the consideration period from 1980 through the year 2000.  So if you have anything to contribute, be it corrections to 1st edition errata or pix, posters, and or rare recordings by area bands and musicians existing in the 2nd half of the 20th century, please email Joe with any pertinent info at jv45rpm@juno.com. 

We heard some criticisms about errors and omissions from edition #1, some of these from a former band mate who had on occasion "poo-pooed" publications such as The Music Monthly in which interestingly enough, is exactly where JV, in an effort to secure more complete data on his topic, had placed a classified that ran in MM for a number of consecutive months.  Our advice as regards keeping abreast of the few opportunities for this kind of relatively "free" promotion is to be aware of and to read any and all local music publications regardless of any personal reservations concerning the quality or subject matter of the journalism.  Being proactive rather than passive in this effort (assuming how unlikely it would be that each musician would be directly sought out by the author for his/her personal scoop--& how many artists were covered, maybe thousands?) is why our bands were so thoroughly documented in edition #1 (as opposed to the sketchiness of many of the other band histories); and also how we found out (although in the classifieds of the Baltimore City Paper) about Little Steven's Battle of the Underground Garages in 2004 with Dark Side being the ONLY Baltimore band showing up to compete at the Black Cat club for the DC version of a series of related band battles spanning the East Coast, held at venues in major urban areas from Massachusetts to Miami.  (So DJ,  even if you had lost the gut, there have been no further opportunities as such since.  It was "now or never," in the words of your "King".  The lesson here being perhaps that "It is a folly to expect an open door to remain open forever." --GC aphorism)    

But we have digressed.  GROK recorded 2 of Jay's songs at the 1973 Flite III sessions: "We Never Wanted This" & "That She Is You," the latter currently unlistenable due to a rare DAT master tape anomaly as well as the bass guitar being mixed too loudly at this early 90s remix session.  Aside from this all that remains to audibly document the Graboski era of GROK is a fairly decent live recording of the band performing at Pott Springs Elementary School on 03/27/73.  

Kicking off the show with Dave Mason's "Only You Know and I Know" and ending with "Sometime World" from the 3rd Wishbone Ash LP, Argus, the remainder of the set was a medley featuring Jay's PFM-like and never-to-have-been-recorded-other-than once more (and again "live") by OHO in 1975, "The Lady and The Serpent" followed by a Don Henritz drum solo (de rigueur at the time) and another GROK original from the Kelly/Joy fronted era of the band (title?--there is a "?" mark on the track list sharpied on the face of the CDR). 

Again, a highlight of being in GROK aside from the camaraderie of 3 slightly older, more experienced and often wonderful and welcoming band mates, was sharing the stage with these 3 gentlemen on a Baltimore Civic Center stage during Happening '73 with an about-to-explode-worldwide Boston area band called Aerosmith, using Johnny Cash's touring PA system (Bruce Springsteen was also scheduled to perform, backing out at the last minute).     

Noise reduction techniques at that time consisted in running the master tape at 30 ips (inches per second).  This doubling of the speed of the tape sent the "hiss" (resulting from the friction of the tape against the recording machine "heads" as the tape hurried by) into a frequency range high enough so as not to be heard by humans (this was just prior to or even concurrent with the invention of Dolby A that reduced the noise on all those OHO recordings made after OKINAWA from the summer of 1974 through 1976 at Sheffield Recordings Ltd., Timonium, MD).

Playing original music in the 70s and for that matter even today, at least as regards the bands we were in, did not always achieve the desired results of wowing the fans, especially when audiences consisted of teens and "buzzed" young adults clamoring for facsimiles of current hits or more often, lengthy album tracks then (and still) commonly played to death by DJ's on FM radio. 

With a vision projected into the future, we had the intuition that our best bet was to save our dollars, locate bargains on studio time at reputable local recording facilities, and put onto tape as much as we could afford during the sessions.  This often meant settling for basic tracks that were not always perfect, often with one of the more responsible members of the team focusing some of his attention on his left wrist (i.e. his watch) suggesting that this set of tracks would be "good enough" as far as building the rest of that recording (via overdubbing).    

During the early 90s Jay, with the assistance of Hit & Run Recording engineer Steve Carr, set about to remaster some of the odds and ends in our tape archive.  Steve owned a Soundcraft 2" 24-track tape recorder so 30 years after it was initially recorded, we took the 2" 16 track tape of  GROK's "We Never Wanted This" and remixed it to the version that can be heard on the 2 CD anthology, Best of Baltimore's Buried Bands II (BTW still available for purchase securely and for a reasonable price at the "Shop" at www.dgmlive.com).  We applied a number of digital reverbs or delays and triggered more current bass drum and snare sounds (toms were more difficult as, since with limited tracks, overhead mics captured both the sounds of the cymbals as well as the toms and  the sonic finagling of these drums might adversely affect the sounds of the cymbals and vice versa).

For those curious about where things are with the CD re-release of OHO's Okinawa, Rockadrome CEO Dennis Bergeron has offered the following apology: 
Date: Friday, September 11, 2009, 1:51 PM

"Jay,

    It’s in the works still. Obviously, things didn’t go as I planned this summer. I was overly ambitious and didn’t take into account some things. Towards the end of July things slowed down a lot for my store, which was a wrinkle I wasn’t planning on. The main thing though, was when I returned from vacation at the end of June all hell broke loose….air conditioning went out (we had 3 months of 100 degrees/day), hot water heater went out, wife hit a deer car’s front end needed replacing, and on and on…it was one thing after another!! 

     I had to do some represses, which is a good thing! (means things are selling out). My newest distributor has really picked up the pace for me. Anyway, OHO is at the top of my priority list, so I’ll let you know the minute I have the artwork looking presentable so you can inspect it. I’m about to release a new CD project in a few weeks that ended up running on longer and more expensive than was planned also. This happens to be one I was financing the recording for.  So, never fear, we didn’t go outta business or anything like that, just knocked off schedule. There’s only a few more things I’m planning to release this year and OHO is one of them.  Sorry for the delays!

Thanks,
Dennis"

September 2009 

"This is cool.  We were really f*cking loud.  And my girlfriend says, 'Well, why do you play so loud?'  And I said, 'Because it makes my dick hard.  I can't help it.'"

-Steve Earl 

David and Jay performed "Limousine" and "Plunge" at the Lurman Outdoor Theater in Catonsville on Saturday August 8, on a lovely, low-humidity evening with a friendly audience and very decent sound provided by John, the sound man. 

In the meantime Thursday afternoon (3:00-6:00 PM) performances continue by various OHO configurations at the Sykesville, MD Farmers Market.  One August Thursday Jay provoked a trio of siblings (Kylie, Colin & Charlotte) to dancing in circles and laughing, spinning "around and around until" they "fell down because" they're "so dizzy". These performances schedule through September 24.   

On 08/20 Jay played solo: an entire hour set of OHO music in preparation for Jay's & Matt's "Open Mic" tour scheduled for 6 Delmarva area venues while the Graboski/Jordan families vacation near Bethany Beach, DE in September(this set of original music was then followed  by two 40 minute sets of covers, of both the familiar and obscure varieties). 

Keying of Matt (Graboski), the OHO band seriously woodsheds at its Friday evening weekly rehearsals; their live set material is now up to 9 songs including "Long to Be Latin," "Thin Air," and even, "The Plague." 

David presented a new song to the team characterized by what we call "Reeve" time.  It is a welcome addition to the material to be considered for the next OHO album, but we may have to coax Dave to consider substituting some of his trademark 80's keyboard sounds with something more classic/timeless; that decade being one that seems to draw us backwards into its synthetic vortex across the time/space continuum, as crucial as it was in establishing the recently-completed epoch of OHO history.  Cheers!    

Another Bricolage review in, this time from Sweden's Anna Maria Stjarnell at www.collectedsounds.com: 

"OHO are David Reeve and Jay Graboski.  They have a long career behind them and on this CD they are joined by many guest singers, mainly female.  The material is from various stages of their career.  There’s a neat DVD with videos included also.  CD opener 'The Great Attractor' has gorgeous lead vocals and a bright folksy melody.  'Close But No Cigar' is more strident, a more progressive rock track with cool and measured vocals.   'Dream Lifted Up' is sweet and yet complex, and has a luminous lead vocal.  It proves the band is great at writing tunes.  'Limousine' is gorgeously evocative and a little poppy.  As ever they play with gusto.  These songs are from different periods but they stick together well, making a cohesive listen. This lengthy album has many riches and should be an ideal introduction to the band."  

On 08/25/09 on KZMU Radio (Moab, Ut), DJ Steve Hear (aka Steve Goodwin who often handled OHO's live sound from 1989-1990) interviewed Jay in real time.  16 selections were aired spanning a recording career that began in earnest in November 1971 when Little Hans stepped into Flite III Studios on Cold Spring Lane in Baltimore, MD to record "Bedlam."  (Manning the console then BTW was none other than former Director of Engineering for Frank Zappa's Bizarre/Straight record label, Richard Kunc.)   

The interview lasted for nigh onto 2 hours and Jay fielded a plethora of questions addressing everything from being largely ignored by the local music press (with some important exceptions) to anecdotes regarding the various bands, their music, how they secured financial support and were signed by a series of independent labels, how when there was no wind, they rowed, and how one promotes one's music in an Internet environment where music is now mostly free.  Post mortem emails from Steve and KZMU's station manager read as follows:   

"Hi Jay,
  Thought you might like to see the station manager's reaction to the show. Thanks for your efforts in making it a success. I will always welcome any new material you or anyone you may turn on to KZMU may wish to submit. I will in the coming weeks be compiling a play list of more music from whence I came as the SOUNDTHING "All Baltimore Show #2" with your humble host stevehear, to be aired sometime in the fall. The All BMO Show #1 Playlist from Feb 09 has gotten all kinds of hits, the most of any show by far. I have added your website to the playlist on the kzmu website. Thanks again.
-stevehear 

"Hi Steve,

I heard a lot of your show yesterday with Jay.  It sounded good and interesting.  Glad the phone worked too.  -Jeff " 

Steve also suggested hosting an annual "Sho-OHO" and advised us to keep track of his play lists that he insisted will continue to feature OHO and OHO-related music until then.  

(Continuing to fulfill our promise to address the KZMU/SHO OHO questions from the 08/25/09 radio interview one by one, we answer the query following the airing of "Per Ipsum" from the Little Hans 1972 fantasia, Peter Pan)

 2. "Per Ipsum" (2:48)--1972

(Jay Graboski)

(from the Wunderkind Little Hans promotional only CD anthology accompanying issue 32 of Progression magazine)

Artist: Little Hans

Release date: 1999

Label info: OHO Music

Question: There is text on the face of this CD that reads "unauthorized duplication is encouraged."  I'm assuming this is a CD-specific suggestion, so what is the underlying aim behind this encouragement?  Also, what's with the Latin title?   

Question #2 first: Quidquid latine dictum sit, altum vedetur is Latin for "Anything said in Latin sounds profound."  Balding more and more rapidly, overweight and with some esteem problems, in 1972 this 21 year old songwriter attempted to inflate himself by any means available and, having enjoyed 5 years of Latin language instruction in both high school and as a freshman in college, here was one sure-fire way to attempt to bolster his sorry image to the world.  It didn't work all that well to that end and frankly was a bit pretentious.   

On the other hand, the "Latin" motif as metaphoric for living an engaged life with passion and with a healthy spiritual dimension can be found expressed either overtly or as a subtext in our songwriting and especially our rhythms over the subsequent 4 decades, "Live and Long To Be Latin" being a fair example of how we made this device work with some resonance reported by fans of this tune.  

As far as "unauthorized duplication" being "encouraged"?  Yes, this is specific to the Little Hans Wunderkind CD enclosed in issue 32 of Progression magazine but has since been expanded to include just about all the music we have recorded and that we have the authority to legally distribute.  As many already know, much of the OHO recorded legacy can be listened to and/or freely downloaded by going to our home page and clicking on the "Vault" hyperlink.  This will take you to the sonic world of OHO and other OHO-related recordings.  After all, as someone very wise once asked me, "Don't you realize that music is now free?"   

One caveat is that we recommend this "encouragement" be applied only to our music.  Cognizant of the laws regarding copyrighted intellectual property, one ought investigate what is appropriate as regards the work of other artists.  But as far as we are concerned, there was never a lot of $$$ to be made from this and, being more trouble than the efforts to sell it are worth at this juncture in our lives, we hope you do us the favor of taking advantage of our generosity by downloading, copying and sharing our music with anyone who might enjoy it, as long as this opportunity may last.. 

FYI--some thoughts by Jay on his experience of the gray side of Guitar Craft: 

     "Under the misconception that this is intended to be a "brotherhood" not only in name but also in practice in the world at large, in that regard and as far as Jay's and Matt's exclusionary experiences have sometimes been outside, and in Matt's case, even inside and during these courses (except, of course, when there was something we could do to promote someone else's agenda), Jay offered observations regarding a few aspects of the most recent course he attended in 2005 in a "forum" response to the announcement of the implementation of a probable screening process that would pre-emptively weed out those applicants whose level of dysfunction (i.e. "cluelessness" and/or addictive behavior) might undermine/stifle the common aim(s) of an upcoming course.  In the Sufi tradition there is one appointed to the function of beating (usually with a switch) those who are  deeply asleep so that they not sleep too soundly.  It's a thankless job but someone has to do it.  

"In the future good physical and psychological health will be a formal requirement of students attending Guitar Craft courses."

     How will these conditions be evaluated and will the criteria be applied to the leadership (i.e. "guitar buddies")?  Beginning with the premise: "Trifles discover a character more than actions of importance.  In regard to the former a person is off his guard, and thinks it not material to use disguise." William Shenstone, the suggestion is that it is unlikely that one would invest one’s faith in say, for example, a certain personage sitting at the head table who a score of years prior may have had something to offer but now appears rather to have flat-lined. 

     The overall effect being, IMHO, the stifling of what had been up to the time of this person’s arrival a lively, vivifying and resounding dynamic.  This "stoppage" (and it was for me pretty much a dead stop--or is this the inevitable "great divide"?) occurred partially via what appeared to be this person's inability (or even refusal) to answer questions directly, by employing the device of dusting off platitudes/GC catch phrases that may have been effective 20 years ago, and then plugging them conveniently into situations that may or may not have been relevant to a specific issue and generally by "eating up time" (BTW this person admitted to dispensing with his Guitar Craft-related notes and having abandoned a relationship with his guitar).  I was subsequently queried (by the director) why I did not ask this person why he does not answer questions posed to him in a direct manner.  My reply was, "Why would I expect my question to be the only one he answers directly?"  There were no further comments or observations proffered by the director about my reasoning on this point.

     I wondered if those who had addressed these questions to him in the first place were either satisfied or even provoked to inward reflection by having them returned to their source unanswered.  Many of the younger attendees were easily impressed and the cache one has merely by sitting at the head table can prove to be a dangerous advantage when one equates one’s veracity with one’s position there, be it even as a guest. 

     Although in Guitar Craft one is encouraged to expect nothing, the expectation that staff members, including distinguished (?) guests, "walk the walk" as well as "talk the talk" is not being overly demanding.  Perhaps this person should have offered to fork over and/or partially work off his tuition in the kitchen just like everybody else as he may have stood to learn much more by being a student than as a teacher.

     Another intuition is that certain (and ONLY a very few) of the "guitar buddies" use the guitar craft situation to exercise a subtle type of "bullying" that  to me suggested the possibility of a certain powerlessness on their behalf outside of this cloistered environment and even a sense of time-released meanness.  This attitude is often convincingly masked by a mimetic approximation of the behavior and demeanor of some of the more idiosyncratic personalities associated with GC since its inception back in '85.  I saw this a number of times in the buddies’ relationship to the Level 1 attendees (this course was prior to the outward dissolution of "levels’ in Guitar Craft). 

     On "market day." for example, (a few hours late in the course where one may sell there sonic plastic ware, strings, picks etc.),  I watched one "buddy" browbeat a timid member of the Level 2 team into buying his CDR for $10: a home made  jobber, recorded on his home computer with a slim case accompanied by a b&w "one sheet ."   This shopper clearly did not want to buy it and had politely refused at first but, being apparently unused to haggling, subject to the overbearing "pitch" of the salesperson and in an attempt to have this nastiness end, eventually relented.  So much for "one only has what one gives away."

     It also appears (again this is my theory, which is mine, which belongs to me) that there are guitarists who use Guitar Craft courses primarily to promote their individual music projects (& why not? they have a ’captive’ audience), often "hogging up"  the time(s) available for others perhaps less pushy or not yet acquainted with the wordless way of the crafty, to share in the advantage that this wonderful opportunity offers (it seemed arbitrary that for some things there were sign-up sheets and for others, a free-for-all attitude was adopted). 

     Some performers, impervious to the needs of "the whole," performed songs with countless verses. These could have easily been trimmed down, often by at least half, leaving the audient with the experience of having been entertained rather than having to fight off the temptation to keep looking at his/her watch.  But then again, there may have been something necessary to manifest &, as we have read about and been advised of so many, many times: bearing the unpleasant manifestations of others is fundamental to fostering understanding and growth in this environment.  With an ironical sigh of relief I can attest to NO shortage of either having available or conversely to providing opportunities either to practise the bearing of these unpleasantnesses or to offer them to be borne by others respectively. 

     My signature had even been forged by someone on an otherwise signature-less list by one of the staff who may have needed to have his/her sense of relevance bolstered by having at least one name on her/his sheet for "personal meetings,"  this one I assume where this person was to inform me of "why birds sing" (had a bird actually whispered the answer to this riddle in his/her ear?).   As soon as I discovered this, I lined through the forgery of my name. 

     Finally, my experience has been that the "juice" made available at these courses is often burned up in the outside world rather quickly.  Some crafties who are illuminated by the vast energies available at these courses often end up being so inconsiderate as to not even answer an email after having profusely vowing to stay in contact. This rudeness suggests a disconnect between the conscious and unconscious psychic dimensions of some of the participants as well as intimating the power of the spell GC sometimes has, urging those predisposed to yielding to this sort of influence to believe they can overcome the hold of their automation without an assiduous vigilance (relentlessly attentive self-observation practise). 

     I could go on about instances where there is a "herd" mentality (little evidence of the encouraged "healthy skepticism") and where people on the course assigned to the accommodation of the students do sometimes exhibit a paucity of attention in executing their duties in this regard, running away from them, as some often do, toward the first opportunity to tie their dicks into knots with other, similarly inebriated attendees (a venial infraction referred to as an "error of enthusiasm"), but these are merely the inevitable shortfalls of any human endeavor where perfection is the standard.

    I anxiously await the day when there’s an East coast course to be held.  I will eagerly tender my application to attend." 

S.O.S. from Jay: "If anyone knows where I can get a case or gig bag for a Tacoma Thunderchief acoustic bass guitar (it is HUGE), pls email me at garbotzo@yahoo.com.

  Reeve soundcheck @ The Lurman Theater 08/08/09

August 2009 

"The 'juice' is available.  All you have to do is turn up, hold the space, discharge the function and leave the rest to the music." -Fripp (diary entry 05.25.09) 

Great news: in addition to attending to the demands of his own music, Matt Graboski has agreed to join OHO in whatever capacity (guitar, bass, keys, percussion) required by any specific tune. This includes singing.  Now we've got someone else for the ladies to look at (David having to bear the full brunt of this burden to date).

 Preparatory work includes weekly rehearsals as well as actual performances every Thursday through the end of September (with the exception of August 13 and September 10) at the Sykesville, MD Farmers Market where one may find any one, two or even all current OHO members, depending on the day, performing sets of both originals and cover tunes from 3:00-6:00 PM.  Read more about it at www.sykesville.net/main (peruse the menu list on the left on their home page; scroll down to "Farmers Market," and click on it).

 "Hi Everyone,
  On August 25th at KZMU Community Radio in Moab Utah 106.7 and 90.1 FM and www.kzmu.org , I will have as my first call in, on air guests, Jay Graboski & David Reeve.  Jay, David and I are acquainted with each other from the 2 or 3 years (?) during which I worked as the sound man for the band OHO in which Jay and Dave were two of the driving forces.
  We will be offering examples from Jay's and David's recorded output with their various bands spanning their 37 year career while we discuss the ins and outs of the music and the music business. The show will air at 4pm Moab time and 6pm eastern time.

-stevehear" (to check out the scheduled play list and peruse some of the questions Steve will query the boys, please check out the July '09 "What's Up? posting at this site) 

 Steve is planning to introduce his on-air guests with the following acoustic music from Martini Henry's End of the Beginning CD (available at www.CDBaby.com): 

 1. "Mad Mardigan" loop (1:00)

Artist: Matt Graboski                             

Release date: 2007

Label info: Airaid Records (air003)

Question: What is the intention behind beginning this program with a "loop" by another artist?

 Jay answers: Besides being my son and having recently signed on to play in OHO, Matt is an accomplished guitarist and singer/songwriter in his own right.  There is an interesting story about this specific musical piece as Matt composed it at a Guitar Craft course he attended in Santa Barbara, CA in 2002. 

 Legend has it that one of the staffers had noticed the development of the tune, spying on him as she did throughout the ensuing week, witnessing as it progressed from a seed idea into what we have just heard.  Matt was subsequently beseeched to perform the instrumental (the guitar haiving been literally layed at his feet) at an assembly of course attendees which included two members of the California Guitar Trio (Bert Lams & Paul Richards) as well as course moderator, Robert Fripp. 

 After this successful performance Matt was presented with the challenge (by Robert) of playing the piece blindfolded the following day at breakfast, and that he did successfully and to resounding applause.  I remember my chest swelling with fatherly pride when our son rang me up later to tell me of how he "had won the day".  "Mad Mardigan" is included in this program to represent the future of the OHO legacy in the present moment.  Also, it really sounds well and is quite cool. "The child is the father of the man."

 DJ reports indicate airplay for OHO Bricolage track, "Time," as reflected on WMUH (Waterville, ME) DJ Bill Fox's "Afterglow" and "Galactic Travels" play list for the week of 06/25/09; WMHB (Allentown, PA) play list for the week of 07/16/09 indicates airplay for "Under Covers." "Shouts in the Street," and "It Will Not Be Late," three of our favorites from the same album.

 After 10 challenging yet highly rewarding hours at the Bratt Studio  Jay has completed the basic tracks for Part 1 of OHO's "Ahora!" folk-rock opera/suite.  Just shy of 16 minutes, this third of the piece includes a trimmed down "Arclight" signalling its completion, with Sue Tice's final fiddle stroke placing the period at the end of that musical paragraph with such conviction that its imprint will be found on the two pages that are to follow.  Matt Graboski has commented that this is our best stuff to date.

 Orchids to Mr. Pratt for having perfected his technique in recording Jay's Larivee LCG 10-E strung in the NST tuning and with black coated, light gauge, Black Diamond strings that provide what can be described as a slightly muted shimmer.  Recorded with a Neumann condenser mic on loan from CTS keyboardist, Glenn Workman, a CAD Equitek (upon Matt's recommendation) as well as a direct line out, the acoustic tone has never been more crisp as well as pleasing to our ears (again the NSTuning helps achieve this by stretching the sonic range down from an "E" to a lower "C" on the low end and from the old-standard "E" to a high "G" on the top). 

 WAV files have been sent to David for him to begin creating his percussion tracks.  Any musicians out there looking for an opportunity to contribute, please contact us at our email address (see the home page at this site) and we'll see to it you get the wav files of both the "click" and the guitar tracks; the only caveat being that we maintain the "right of refusal." 

 6 days into the month of August there's been no word from Rockadrome Records on the status of the Okinawa re-release.  The passing by of deadlines (perhaps "target dates" is a more accurate phrase) is a commonplace occurrence in the independent music world.  The CDs will get here when they get here.  In the meantime, as Tom Petty sings, "The wai-ay-ting is the hard---est part".

 Jeff Pivec and spouse Debbie Heyman Pivec have published their first cookbook together, Cooking on the Coast, loaded with tasty recipes arrived at and perfected after lifetimes of trial and error, successes and failures in the kitchen and grill-side.  With a bent toward seafood dishes, this cookbook generously shares the secrets that turn on the spigots of the salivary glands, making so many mouths water. 

 At a number of to-be-envied, private fetes, Jay and David have enjoyed the privilege of sampling many of Jeff''s and Debbie's dishes that often began with rather ordinary ingredients, "nothing special" cuts of fish and foul; but then arrive on your plate having been transformed into the realm of delicacy.

 Anyone interested in having their spatula magnetized with the Pivec "mojo"  would do well to invest in this 97 page culinary compendium of Jeff's and Debbie's revealed-at-last cooking recipes and secrets.  More at www.CookingontheCoast.com. Jay has purchased 2 copies and took 5 more on consignment to offer for sale to the patrons of the Sykesville Farmers Market.

 And this is where we're at as of August 6, 2009.  OHO and out.  

Zach wrestled Jay's guitar from him at the Farmers Market