I have no exact recollection of this group doing work at first outside of some moments tracking to my ADAT at the moroccan and Paul teaching us a new song there, but here are some details. First and foremost, Kyrbir Dey, who grew up in Orem, and who I met through his friends Darren Hutchison and Matt Barlow plus others in our circle when I lived in the warehouse in south Provo, was a phenomenal lyricist and vocalist, and he would write some songs, plus mostly get others to write music for him to sing over, and he led this amazing band called Puri-do off and on whenever he was living in town. Click on Puri-do on the left to learn more (also Sleeping Bag). He (Kyrbir, Darren, Matt, and Tony Snow) had done Puri-do for awhile before I joined the group, and then for years after, it seemed. For all I remember, the whole thing could have been a single year. At one point, Kyrbir moved to Seattle for a bit and did a band called HOO with his friends out there. He came back and Me and Eli did one more album with him at Josh Stippich’s house called Quality Sleep Time, and then he moved to London. A few years later, he came back and Puri-do was old news (Eli and I had struggled to sneak out that last album without getting everyone together). Kyrbir had written some stuff while in London and taken a singing class called “Singing for the Terrified” or something like that, and wanted to do a group that had a little more pop sensibilities and dance danceabilities, and we heeded the call. Amber Jarvis, who I played in with Blue Sparks (I think just previously), was heavily expirimenting with playing the drums, and Paul Butterfield and Scott Selfridge played in Red Bennies with me, so they were an easy lineup. Any opportunity to work with Kyrbir was something to jump on back then. Everyone knew, that if you played with Kyrbir, it WOULD end up released on an album and be distributed and promoted (by him). We got to write all the music minus a few tracks his techno friends had whipped up.
Amyways, I remember practicing at the Moroccan and playing some shows, and tracking some of Ambers drums on my ADAT. And I remember tracking Scott at my house in Sugarhouse. Paul Played Bass, Scott played guitar, and I played Synthesizer. I’m talking super sweet shows, like in a clothing store, once in a movie theater, and at the Urban Lounge. I also handled the first couple of albums, er, first three, in the capacity of mixing, mastering, writing, tracking– it feels like I did everything on them, even though I’m really only responsible for a couple songs on each and putting the finishing touches on a few others. As the years went by, everyone in the group slowly quit, being replaced by James Acton on drums, Eli on guitar, Darren Hutchison on bass, and Jesse Winters on keys (it was great to play with Darren again, like in Puri-do). Years of that, and then I replaced Eli on guitar, then Terrence replaced me and Scott replaced Darren on Bass (so it was fun playing with Red Bennies bandmates again- Terrence, I, and Scott all were), Jesse just showed up for shows, and we were working on the new album stuff at Hyrums Summerhays’s studio. After all those years and all that effort, we had ended up with the dream lineup– Terrence, Scott, James, Kyrbir, and me on keytar, and the output of the band was finally peaking, and the planets had finally aligned for the group. That lasted for exactly 3 weekly practices, until James said he couldn’t do the group anymore and moved to LA. That part never got recorded. We gave it another shot, briefly, a year later, with me on guitar, Leena on drums, and Kyrbir on keytar, but the timing wasn’t so hot and we couldn’t practice. I have this amazing keytar that I made by myself, modelled after a firebird guitar I have.
“AND THE COWS CAME HOME IN PIROUETTE”
“And The Cows Came Home in Pirouette” was recorded by Scott Selfridge at the Westgate Business Center, and is the only album exclusively representing the lineup Kyrbir: vocals, Eli Morrison: guitar, James Acton: drums, Jesse Winter: keys, Derwood Hutchison: Bass, (with Scott singing some cool backups now and then), which was a steady lineup for a long time, and the album distinctly shows the hard rockin’ tightness of the roster. They sent it off and payed big bucks to have it mastered but I had secretly mastered it myself, and that’s the one that they used. Scott did a great job on this one. I think Eli wrote a lot of the tunes. Kyrbir was raising some nephews during this time, and I know things slowed down a bit. Scott does some great backups on one song. I tracked some intense vibraphone that was obviously just an endulgence (didn’t appear on the album). Thanks Scott, I love playing with the vibes.
A Roll Through the Daisies
Ferocious Fire-Breathing Frou Frous
Pin the Tail on the Floozy
The Catfich Twitch-Whisker Two Step
The Dragon From the Refreshment Room
The Lady Dumpling Horsefeathers
“SALT LAKE CITY”
“Salt Lake City” was polished and compiled by me and Kyrbir at Arcade Game Studios in Sugarhouse. It features tracks made by Jeremy Smith, Eli Morrison, me, and Andy Patterson. Perpetuas Greening is taken from the Urban Lounge concert on this page, that I recorded on my ADAT. That’s a picture of Jeff Fogt cutting Kyrbir’s hair. Jeff recorded the Red Bennies album “Life as I Know It” on video camera. This album was made during a emptiness of proper bandmate-age, and some of these songs never made it to the big stage.
“BIONIC FRESH MOVES”
“Bionic Fresh Moves” was mixed/mastered by me. It features a long list of hit songs, covers, and repeats in a conglomeration of dance beats and heavy metal screams.My sisterEliza Wren Payne sang some backups while she was visiting from London where she lived for a long time and had a music career with a publishing contract she had. Amber Jarvis and Lincoln Lysager also sang lots of backups on this. I believe that this one was made just post of the breakup of the original group, though a lot of parts were recorded just prior. Some tracks supplied by Kyrbir’s friends in London (all the really slick ones). Lots of Tracking done at Moroccan by Jeremy Smith on his computer. He lived in a nest of socks like Big Bird up in the balcony.
Twitterpated This one Features Amber Jarvis a lot as well as my sister Eliza as she was visiting from London. I remember that Paul played the bass on this, was complaining a little (the group was officially broken up at this time), so to get revenge, I tried to chop his bass part and make a slap bass solo in the middle of the song.
The Jollies to Time-Spent Ratio This song- a track made by one of Kyrbir’s friends in London- employs a unique device to refresh the song. I put two slighty different treatments of the song panned hard to the left and right ears. At a few strategic points in the song, the sides switch.
Thick Dream Residue This song starts with a sample of Kyrbir’s sister Knicker, and features Kyrbir’s best heavy metal scream treated like the opera singer from The Fifth Element, but then morphing into the low whine of one of Knicker’s dogs, so listen close. Also contains a solo that we joked was a “bellybutton solo”, and Eliza’s sweat backups, and Lincoln’s backups at the end. The track was made by one of Kyrbir’s london friends, and had nothing instrumental added (unlike the other’s he brought in mostly done).
Oh My Stars I could have sworn this was from the previous album, Paul wrote the song during that time. Amber recorded the drums with Jeremy at the moroccan, and I played my synthesizer with extra passion.
Battlecow I made the body of this track over a drum and bass thing that one of Kyrbirs friends made. It also had a sweet syntho solo and a scary sample that is a “cow can” turned over in slo mo or something. I felt it was a very nice arrangement at the time. Kyrbir wanted there to be a part in the song that sounded like Charlie Brown. Listening to it again, I think I just played the rhodes on it, though I remember doing a lot of work and chops on it. I think I layered it with it’s own samples sped up and slowed down. My computer had a right click for time stretch.
Omit-o-matic This was our number one hit for those years. Scott wrote it. I was trying to make the key part sound just like a musical game of pong. I made my students play this song years later. This one uses Ambers real drums chopped into large samples, which was something I was experimenting with, walking the line ‘tween the organic and the techno. This is the ONLY song with a lyric part written by anyone other that Kyrbir– scott said (and sang) that the end of the song goes “We like to partay! We like to partay!”.
The Poodle Short-Circuit This one was a track from a London friend. The only instrumental addition was the guitar part that I did. I was VERY proud of myself to pluck all those notes in a row throughout the whole song. Nice vocals Amber. The guitar part gets very stereo at the end. Kyrbir and I spent A LOT of time manipulating stereo envelopes with the mouse while gazing at the computer screen. Those were all manual.
Ah! She’s in the Room This is a slightly cut up recording from when we played on KRCL radio station one time. It’s my sister Eliza in the background saying “breathmints” like a ghost who has snuck up next to your ear. Heavy metal screams added for tension.
BIONIC FRESH MOVES — this song is missing from my folder! It’s one of the best songs! Scott made it, it’s got hyperspeed percussion, narrates an sexually charged aerobics workout, and features my only backup vocal part. You’ll have to itunes it. I’m talking Eggz shaking at the speed of light.
Sandpaper Lullaby This is a cover of the Virgin Prunes song. It has drums by one of Kyrbir’s London friends, and rhodes swells by me. It also features the one of a kind special effect of having the entire song sped up super-speed and repeating in and out in the background. Wow!
Gold Necklace Set With Hummingbird Heads
Rise and Shine Pumpkin
“Soft Fluff” was recorded/mixed/mastered by me at Backroom Studios on Broadway (that’s the back room of the apartment Leena and I lived in on 7th and 3rd). Great work from the Purr Bat’s first lineup after Kyrbir’s triumphant return from London and the five year hiatus of his original group “Puri-do”. Deep Deep in the Cornfield is a Puri-do hit. Dodo and Gluehorse actually preceed Puri-do and were originally hits of the slightly older group “Mary Throwing Stones”. The Sheep have been Reapholstered was a hit of Kyrbir’s post-Puri-do band Hooo that he had in Seattle. Lineup is me: keys, Scott Selfridge: guitar, Amber Jarvis: drums, Paul Butterfield: bass. The cover art is a photo Kyrbir’s little sister took, I think.
Glowstars This is a great song. Sweet echoey backups. and my patented “Rhodes octave blips” near the end.
Deep Deep in the Cornfield This one used was originally a Puri-do song. Nice gross stereo organ slides. Man this is a pretty dense recording. I think i made the drum beat for this, but I must have been crazy.
Dodo This one was originally a Mary Throwing Stones song. Mary Throwing Stones was the band Kyrbir had long ago before Puri-do. I felt the song dragged a little, so I added a few strange sound effects every once and awhile. I was showing the recording to Paul in the van on a Red Bennies trip and he got very tripped out by the special effects. There’s a part in the middle with all the clave’s that is supposed to be beating sticks together to keep ghosts away, and Kyrbir always did a cool impression of what was intented when he would explain that.
Hazy Daze Daisy Whoah, nice fuzzy direct bass. One of Kyrbir’s friends from London made the body of this track. Man, we sure played this one a lot in concert, it’s cool for me to hear the original track again.
Gluehorse This is another Mary Throwing Stones song. It’s got a very fun to play guitar part that I remember Mat Barlow playing. I think that B’eirth wrote it. He was in the group, I think, and since has done the group In Gowan Ring, a group I had the honor of being in one summer, playing the big drum with a soft mallet. Sweet bubble solo!!!
Rise and Shine Pumpkin What a hit! Sweet guitar Scott! I think I bit some of this from a Cowboy Junkies song. This one got re-done less hit-style on Bionic Fresh Moves. This was recorded in the back room of my apartment on 7th. and 3rd.
The Sheep have been Reapholstered This was a Hoo song (the band Kyrbir had in Seattle when he lived there for a year or two). This recording is right off the Hoo CD, with Brian Frenz-c playing guitar I think.There’s a great recording of us opening the show with this in the next batch “Live at Urvban Lounge”.
“LIVE AT URBAN LOUNGE”
I recorded this on Alesis Digital Audio Tape during a birthday show for Kyrbir plus CD release of “Soft Fluff”. Scott says, “Bartender? Where are our beers? I ordered five beers forever ago” really loud in the microphone at one point. The group was always very cool live, as you can tell from these recordings. I wish we wouldn’t have ran out of tape on this.We had the bar decorated with giant black and white kinkos prints of kyrir’s art and photography.
BROWN ‘NOT A SIDE SHOW’”
Playing on Circus Brown’s Not a Side Show on KRCL Community Radio. Terrence, and I both on guitar (as Terrence had just barely joined the group, and my keytar was still just a pile of sawdust filling the bathtub of my unfinished basement bathroom), James on drums, Jesse on keys, and Derwood on bass. Links Circus Brown Not a Sideshow . This must have been after I replaced Eli in the group near the end of the run. Eli called me and said something like, “I don’t know what to do in this group anymore”, or something like it wasn’t going anywhere and maybe a little frustrated that things weren’t progressing as fast as he wanted. When I went for my first rehearsal, I waited in the basement of the Westgate Business Center (where we practiced) for over a half hour, finally tried to call Kyrbir, and learned the whole band was locked out on the front steps. They said, “Eli usually lets us in”.