John Tabacco | The Akai Years 1979 - 84

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Frank Zappa Steely Dan The Beatles

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betarecords.com emusic.com www.guruproject.com Apple iTunes mtraks.com www.myspace.com/jtabacco

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United States - NY - Long Island

Other Genres You Will Love
Pop: Quirky Rock: Adult Alternative Pop/Rock Moods: Mood: Funny
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The Akai Years 1979 - 84

by John Tabacco

Quirky, hyper new wave pop.
Genre: Pop: Quirky
Release Date: 

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Tracks

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1. Laura's Subconscious Toy
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0:58 $0.99
2. Chameleon Luck
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2:34 $0.99
3. You're Nuthin' But A...
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3:01 $0.99
4. Bastard Barber
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1:08 $0.99
5. Freakin' Peppy Lightning Shoe
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1:25 $0.99
6. The Capt. Has Sleepy Sinister Foot Dirt For Sale
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3:07 $0.99
7. I've Got Creatures In My Yard / So Glad To Be A Free Man /You Ma
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7:38 $0.99
8. Lighting Seed / There's This Number / E-clair Raoul / Gorgo Twai
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11:00 $0.99
9. Nick and Clone (feat. E-Zay)
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2:30 $0.99
10. 4747
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1:03 $0.99
11. Styreen Mo' Betta / Aw Do I Aw Do I / I'm Losing My Head
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5:26 $0.99
12. During WWIII
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2:16 $0.99
13. Till We Eat Out The Moon
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2:20 $0.99
14. Four Billion People
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3:03 $0.99
15. A Message To All Offspring Loafers
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3:31 $0.99
16. Welcome To Reality Son (Nowhere To Run)
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2:11 $0.99
17. I Wish I Had Nuthin'
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3:59 $0.99
18. You're Gonna Die Someday / Cold And Empty
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3:57 $0.99
19. A Page of Black Ionization With Some Tomita Juice
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3:03 $0.99
20. She's the Only Girl In the Shower
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3:39 $0.99
21. I Can't Wait To Get Married
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1:46 $0.99
22. Capitalizing On A Laura Tabacco Idea
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2:55 $0.99
23. Choke For the Rest of Your Life
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2:56 $0.99
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ABOUT THIS ALBUM


Album Notes
Summer of 1978. In the distance high school graduation was rearing it's ugly head at me. I kept hearing a voice cry from the pool skimmer, "Now fool, it's time for you to go out in the real world and fend for your miserable little self". For me, that meant college, which wasn't real. I had the next four years ahead of me to figure out how and where I could fit in the GREAT SOCIETY without feeling like I had to go to a McDonalds and shoot a bunch of innocent folks. The future had something to do with music, but what? I didn't have a clue. Disco was at it's plastic peak. "Farrah Fawcett Leaking Majors", who actually turned into a "serious" actress had her TV perfect body plastered in every locker, sports store, stationary, boy scout's pup tent, underwear etc, while every true American was only concerned with one cosmic question: WHO THE LIVING JESUS SHOT J.R.? Designer jeans like the ubiquitous Jordache label were just creeping in along side an oil crisis loaded with hostage material. A thing called NEW WAVE MUSIC was happening and just waiting for it's mommy (MTV) to be born. Bigger video stores started popping up next to pizza joints and many of my favorite rock stars were turning 40... Basically, nothing in particular up our dress, at least for me.

CRAWLING TO THE RED ROOM...
I was hell bent on writing music but the simple process of recording more than two parts and hearing it back instantly seemed like light years away. The stuff I wrote out on paper was theoretical bullshit that I couldn't persuade anyone to play. I didn't have the proper grasp on what I really wanted to hear until I started bouncing musical ideas from one mono "NORELCO" cassette deck to the variable pitch cassette deck in my Wurlitzer organ and back. This was exciting for about a month. I quickly decided there had to be a cheap, more efficient way of recording without having to be a millionaire. A day later, my high school chum Chris Pati introduced me to a device called an Akai GX - 4000 D sound on sound tape machine. In fact, it was in his tiny, red bedroom studio downstairs where the recording virus really infected me. I can still recall the distinct aroma of this room: Funky, sweaty, mammyflappyswoopyjackyslittymattedfrenzypinkystinkcummy, inspiration / perspiration, Italiano grease ball out of tune musty ol' school piano cheese vinyl with more funkypoopy clinging to ya face and hot poster babes pinned on the carpeted walls....FUNK!) Well, Chris played me some nice tune he wrote, recorded and over dubbed using the Akai. He achieved a superb blend of four or five instruments. Not only that, the performance was way out of control! It sounded like a record. I was so depressed. I went home and immediately went to sleep or suicide would have ensued. When I woke up and realized it wasn't a dream I was still depressed but totally inspired and excited. I HAD TO HAVE ONE OF THOSE AKAI THINGS!!!!!!!!!!!!!!!!

A few days later, Chris and I researched around and located a TASCAM 2 TRACK reel to reel that was more than half price off. It was a Harrison Electronics' floor model. The fidelity was better than the AKAI, so we went for it. I was one happy human, but in an innocent, joyful way, (a feeling that eludes me more and more the older I get.) As soon as I brought it home, the motor started to slow down and my father yelled at me: "NEVER BUY A DEMONSTRATION MODEL YA JERK YA!" (I think I convinced him to pay for it.) We quickly returned my missing link and for three hundred bucks purchased a brand new AKAI. Happy days were here again. That was the last the outside world would see of me for the next 5 years. I recorded for days and days with the aid of my cheap "REALISTIC" microphone I bought at "RADIO SHATS". I WAS INFECTED WITH OVERDUB VIRUS. THERE WAS NO TURNING BACK. A new era in my life began. The machine lasted for about a year. I broke it while trying to record a wicked choking fit (last piece on this CD). I was in a totally steamy, grotesque, bizzaro kind of world, jumping up and down and goin' ape on this deliberately evil tune, when in a quick spasm, stepped on the microphone cable pulling the AKAI forward and off my bureau. It crashed three feet face down. Time stood still for a few seconds and then a foul taste shot in my mouth. All of a sudden the absurdity of the machine and my dependence on it for ultimate earthly happiness became clear. I shuddered, took a deep breath, cleared away my tears and proceeded to estimate the damage.

The hub wheels were completely bent. Shattered plastic was everywhere...dents...really screwed. With the utmost sincerity and seriousness I told my father my dilemma. I managed to convince him to bring it back to the store. In a very clever fashion (I won't tell you how) he managed to get another one for free. He's good at that kind of stuff. Come to think of it, I must have been really freaked out because he wasn't a big fan of me spending months pounding and screaming away in my stuffy room by myself. He'd always complain that I didn't get enough sun and my social skills were going out the window. Of course he was right, just watch me at a party, UGHHH. But that's what I had to do. It was some sort of twisted form of self - actualization / masturbation I guess. I'm not sure. Go ask THE PRIEST! Anyway, I still found room in my busy schedule (which consisted of throwing out the garbage every Tuesday night) to hang out with my buddy Chris. He'd always play me something new he and his brother were working on or they would jam in front of me and I would feel like the most totally inept musician. Every time I'd return home my depression would double but my desire to compose, triple. I subconsciously brushed up on different instruments, exploring their timbre combinations and problems inherited in recording them


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