The law firm of Sills Cummis Radin Tischman Epstein Zuckerman & Gross is no place to spend a summer. The Summer of 1992 was no exception for me. At the time I viewed the world as Us versus Them and they were definitely Them.

Them paid well though, so after six weeks of preparing twenty page memoranda which might one day be condensed into a footnote in a brief submitted to the Tenth Circuit Court of Western Allamuchy I reconvened what was left of the Crash Chorus to do some more recording.

This time we worked slowly; drummer Mike Krajewski and I built the foundation by agonizing over snare drum settings, the angle of the crash cymbal and wood versus fiberglass tambourines. I was unbearable.

Every angry young man songwriter needs to rewrite “Like A Rolling Stone” for himself. That’s what I did with “Storm Your Revolution!” Very wordy but very cathartic, especially while singing "you tore out your soul before a sea of empty chairs” while tearing out my soul before a sea of empty chairs, which I've been known to do on occasion. (Church gigs aren't what they used to be.)

“Larger Than Life” was my attempt to write a Leonard Cohen song. It ended up sounding like “Here’s Where the Story Ends” by the Sundays, one of my favorite songs of the 80s.

“Mexicali or the Road” started off as “Mexicali Overload,” a nasty swipe at an aging musician who overindulges and leaves a stadium of smelly hippies waiting for hours in the rain. It just so happens I was among those smelly hippies at my first Grateful Dead concert, which started two hours late. I realize that the faithful embrace the communal opportunities of these delays but I hate hackey sack.

A nice melody began to emerge and I felt I should respect it and abandon the cheap shot at Jerry. So I made it a “relationship” song and our ever-patient assist/engineer Steve Evetts helped me build a warm bed of Eagles harmony.

“Bite The Bullet” is as funky as this white boy gets. My friend and ace guitarist Andre Thompson invited me over to Michael Gormley’s home recording studio in Maryland and we
cut the song in one afternoon. A nice engineering job by Michael, considering we had about ten instrumental lines and a grand total of four tracks to work with on a deck that recorded straight to cassette tape.

“I’ll Never Tread Lightly Again” is a fairly blatant attempt to write a Lyle Lovett song. I also borrowed heavily from “How Will I Ever Be Simple Again?” by the great Richard Thompson. On the piano and viola Merle Wilson: he wrote this!