Third International is my project and its purpose is to provide a vehicle for my songwriting. Past releases have featured a variety of very talented musicians. In these two songs however, I decided to go it alone, and here I play all the instruments myself. There is a unique quality in the arrangements that could only come from a single source, and I didn't want to confuse it with multiple interpretations. Instrumentation is different also. The fatness of the bass idea can only be created by a keyboard Moog, and that is the key to the swamp drive engine. Guitars are also different from Entre Las Americas. The Fender is temporarily retired for this recording. Here I use a signature Gretsch sound processed through a Siberian Music Klon Centaur preamp, and then run through a Moogerfooger ring modulator to create the growl of a night in the bayou. Other than the bass though, there is less synthesizer work here than on previous Third International releases. It is also a return to the blues roots of the writer.
A few tidbits: The chord changes to the intro of Chemical Eyes were actually the notes of the tires of a car on a road. I was in a cab on my way to the airport in Chicago, and the driver just kept changing the speed, very rhythmically and repetitively; simply could not hold a constant speed. Anyway, each speed corresponded to a unique pitch of the car tires on the road surface, and there you have it. ( I guess he should get credit but I don't know who he is!) Good Friday at Little Rock was written as a poem in 1996 and won a New York Times award. It was published in The National Library of Poetry's compilation book "Of Moonlight and Wishes" in that year. Inspired by a bleak Easter layover in Little Rock, Arkansas, the view from the hotel window spoke volumes of how the money train that had captivated New York and the big cities was conspicuously absent here. Today's social issues are so similar I felt that it was time for the song to be heard.
Hope you like the music.