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loving non-native music, etc.


 Was into all the doctor's office stuff as a kid.
Lenny Dee, Wes Montgomery, burt Kaemfert, etc. Then
discovered the SYNTHESIZER in 71. Immediately went to
ELP, Beaver/Krause,etc. Then was turned on to a
"giant" sax line by one of my fellow school band
trombonists. Turned out to be sax and guitar on King
Crimson's "Portrait of a City(including 52 at
Treadmill. That started the Mellotron infatuation.
Then, in 75 at my girlfriends house I saw an album
with an eyeball in the center and balls flying away
from it. Now I had heard Rundgren's pop stuff on the
radio and ALWAYS enjoyed it, but "Utopia" was
arevelation. As soon as it was done, I  played "Todd".
 I was never the same. Something about it grabbed me
on a visceral level and not just the HUGE sound of the
live band with TONs of synths. Years later I
discovered that during that period he could not play 3
note chords. To him something was missing and he
always had to play 4 notes. I personally did not feel
gratified in my playing unless I was morking in major
and minor 7ths and 9ths. Now i know why that period of
Rundgren took over my life. The sound inside me that
also HAD to have that 4th note. I'm still looping with
Ibanez DM-1100s by the way, and 1 Roland RE-201. Going
to dig the 16 track out and cut a few loops for it,
start recording and see what hppens. I will be
restricted to one loop lengnth  but putting sync
tracks in at different note durations will make for
interesting triggers for the 5 sequencers I have for
my modular, Roland SHs, and EML 500. Put guitar and
other sundry devices over the top, sub loop the big
loop with the DMs and RE and I can erase, record,
punch in/out, change trigger tracks, wherever I want.
BWA-HA-HA-HA-HAAAAA!!!!! (might be fun)

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