I've worked with a number of musicians over the decades, unfortunately I've lost contact with them all. Not knowing their current states of existence, I am choosing to err on the side of their anonymity as somehow these days some might be doing, say, xtian 'music' and would so be possibly hurt by their earlier contributions being posted here. Since by far the people I've worked with I bear no animosity towards, I'll do the best to keep their privacy WRT their work with me. That said, it seems a good thing to differentiate them from others. The other keyboard player I'm working with on this cut we'll refer to as POV. He did the lead parts on this. POV! Send me a comment if you should ever find this website, I'd like to work w/you once more...
This is one of the few songs I've written that had a name as opposed to a date or numeric title. It was inspired by some ugly legislation WRT to property owner's rights under the 5th amendment to the Bill Of Rights which I'm not opposed to in principle but am opposed to in effect as the legislation's only purpose was to to benefit a few already wealthy landowners and keep the state from doing things that needed to be done. I wrote the midi tracks in 1990 or thereabouts and the composition does owe a debt to RevCo. This recording is most likely from 1994 or 1995.
The other keyboard player I refer to as POV was the person that gave me the tracks that became AIRCH. He is playing the lead. The vocals were samples of my voice I put into the Mirage. The strange voice track in the intro & outtro the piece are real tape loops played on a Wollensak open reel recorder sitting upside down w/ the tape hanging towards the floor. Not sure of the piece I was reading but most likely it came from H.P. Lovecraft's "Charles Dexter Ward" novella. This was most likely tracked & mastered directly to my Sony TC-KE500S 3-head cassette deck.
Takings-The POV Version
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