Exiting the Shadows (Part 1 of our new trilogy of albums, “The Voyage”

We are very proud to announce the arrival of our new album from the manufacturer.   This is our 3rd full-length studio album, and it’s the first part of a new trilogy called “the Voyage”.    This album, part 1, is called “Exiting the Shadows”.


Notes on "Cut Below the Line" (and general introduction to album philosophy):
The first song on this album is a track called, "Cut Below the Line".   It's a song is
about confusion, self-doubt, and not being quite sure of what's going on
around you, as though experiencing a dream-world, or being under chemical influence.
The "line" in this case, refers to an ink mark made on the skin, in preparation for
surgery, the protagonist getting ready to remove a mole from a patient's skin under local anaesthetic.
But is there a "line" really there, or  is he just seeing things?  
Also, his thinking has large gaps in it.....shards of awareness that come and go....blinking off and 
on, without ge

Exiting the Shadows (Part 1 of our new trilogy of albums, “The Voyage”

tting a precise handle on anything.   The "deep imagining so much more than normal", 
allows access to a self-generated illusion, that can stand-in for the real-world.  But his awareness 
of it, and control of it, are only partial.  That's why there are no full sentences, or even complete 
ideas in the verses.  They are repeating, inconclusive, irrational.   Perhaps there's hoping, in the 
"I might wait" line, that the effects will wear off soon.  The language is somewhat nonsensical, 
but with a thematic purpose.  "Undermined" and "Out of Time" refer to realizations that
there is a problem, and the time for blissful ignorance has now expired.
There are a couple of real-world inspirations for this song.  The first was a story told
to me by my surgeon friend, who was late for a meeting we had, as his surgery went late, 
because he accidentally cut the inferior vena cava (the largest of the 2 main veins going into the 
heart), and he said as soon as he did that, the whole abdominal cavity that had been exposed 
(to perform the surgery) "instantly filled up with blood".   Beads of sweat were forming on his
forehead as he was telling me....a mild tremor in his voice.  Somehow the patient survived, no doubt
partially in thanks to the Herculean effort from the entire room that followed.
I remember thinking about how when I was a boy, one of my big "dreams" was to work on
radios.  At least then, if you make a mistake, your whole work bench doesn't get
instantly flooded with blood.
Imagine making that mistake....and then picking up a scalpel again.   Well....I tried to
do that, when writing this song.
And while that story was a dramatic example of "cutting below the line", or making some
irreversible major blunder, it had nothing to do with altered states.
That's where the next story comes into play:
I was at home, having some Friday evening drinks with friends, when another friend called
me, asking if I would stitch him up.  He had just been in fight,
and his inner cheek got lacerated badly, and he didn't want to wait hours in the ER, so I
said I'd help.  But then he didn't show, and I assumed that was that.
So I continued my imbibement for the evening.  But then he DID show up, at my apartment,
bloody face.   And so at 11pm, I took him into the walk-in-clinic where I
worked, unlocked the place (I had a master key), turned the lights on, gathered up all the
gear, and proceeded to stitch up his inner check with dissolvable cat-gut
suture.   The location of the wound alone, would've made it the most difficult suture-job
of my life.  But being drunk did not enhance my performance, as you might imagine.   
It was the only doctoring I ever performed while intoxicated....probably about 3-4 rum onboard.  
Not official business.....not billing the government, not a patient, rather a favor for a friend, 
but still, not a proud moment.  Not something I'd recommend.  I mean, I love to enhance certain 
activities with creating a favorable biological backdrop.   Certain substances go great with certain 
activities. For example, marijuanna plus musical jam, equals enhancement!   But you can't just add 
any old drug to any old activity and expect it to work.  It must be strategic, or things can go very 
badly wrong.   For example, take that same musical jam situation, subtract marijuanna, and add 
salicybon (sp?) and instead of a fun jam, you get a paranoid jam, afraid of one's instrument, 
and perpetually trying to tune.  You don't want to do acid, and then look in the mirror.  
Big big no no.  And, unlike what is heard in urban myth, hookers and cocaine are a monumentally bad
combination!   Even if you can afford it, it wouldn't be remotely fun.   I've never tried
this personally, but I'm able to make this conclusion based on the stories
I've heard, and the knowledge that having a financial incentive to 'finish', coupled with
a pharmocologically-induced inability to do so, just doesn't seem to be
a recipe for fun.  Nothing involving cocaine, actually, is particularly fun, come to think
of it.  Except for maybe the first 5 seconds.....then it's all downhill
from there.   So on the topic of substance-enhancing activities, and what to avoid, I
recommend against performing surgery while intoxicated.  It doesn't appear
to enhance enjoyment of either the surgeon or the patient.
The song talks about a line, drawn on skin, but unclear to the protagonist.   In the real-
life situation (which inspired the song), there was no line.
I was closing a wound, not removing a mole, so no line was drawn.  But the "line" in the
song does have a real-world analog.....it was the thing that
was plain to anyone to see (except for me): the truth about my growing chemical
   I was an addict, and at that stage, I was in complete denial.   I couldn't see it.  Or
I refused to see it.   The illusion, that my reality was fine,
was an illusion I had spent years manufacturing, and believing fully.  But I eventually
came to doubt that illusion.   Everything was not fine.
Something needed to change.   And external changes, like changing ones clothes, or
partner, or city, or address, or job, wouldn't help....at all.   It had to be
a big change.....internal.....fundamental.
Gradually this realization dawned: I needed to find a new way of living.....different from
what I've known my entire adult life.
This was the time for my TRANSITION.   To make a TRANSITION, to becoming remedied.  A
transition to full health.   To full growth and full potential.  To "physician
heal thyself!" myself.  To experience freedom, in a way I hadn't fully known.   I needed
to ESCAPE dependancy,  ESCAPE despondency.  Escape the confines of my
self-imposed, self-imagined limitations.  Some kind of metamorphasis, or evolution, lay
ahead.   "The Voyage" that awaited me started with my major TRANSITION into
recovery.   I entered the treatment program January 27, 2011, and have been clean ever
This album is the first of a trilogy of material.  "Exiting the Shadows" deals with the
theme of escape (or transition).   The next 2 albums will deal with
Discovery (Epiphany)(or transform) and Return (resolution)(or transcend).  And if you
think we're biting off more than we can chew, or think we're just being
optimistic, I'll say that as of this writing, all of the songs for the entire trilogy have
already been written, and the bed tracks for all of them are recorded.
Half of the second album (album 2 in the Trilogy, album 4 overall) is already mixed.   So
we're ahead of the game.   Unlike Disney's Star Wars, we thought this
whole thing through right to the end, before releasing this first part.
This 3-part story draws many references from real-life experiences.  But it is not
autobiographical.  My own personal voyages are many:  I've travelled the roads
of addiction and recovery, marriage, divorce and remarriage (got it right the second
time!).....grown from childhood to fatherhood, been both rich and poor...... had the incredible 
joy of having a son, and then the completely seperate joy of having daughter.   But this trilogy is 
not about me, or Jim or Gil, or Remedy.   It's informed by us.  But it follows a fictitious character 
through a long voyage.  And hopefully you, the listener, will recognize some of his
experiences as familiar to your own.  Only you will know what each song means for you, and
how it relates to whatever road you are currently on.   As we're all going somewhere.  
Even if you're staying still.....you're still moving forward through time.
Total unchangability is impossible.  The second law of thermodynamics, and all that.
I've made notes on some of the songs on this album, to help fill in some of the details
about the creative musings that spawned them.  But as in the first song,
where a real-life experience helps inform a song that is, at it's core, fiction, remains
true for the entire work (Remember....in the real story...there is no "line").
So for convenience sake, I'm going to give this fictional protagonist a name: Ford (as a
nod to Doug Adams).  It's a lot less cumbersome than saying "protagonist".
The original title for "Exiting the Shadows" was going to be "Breaching the Heliosphere".
It was a reference to Voyager's exit from our solar system, and into a
transitory region of space just before it reaches interstellar space, outside the magnetic
influence of the sun.  It's taken almost 40 years after it's launch, but
Voyager has actually successfully left the solar system, the first man-made object ever to
do so.  It felt appropriate commemorating the event in an art vinyl form,
especially considering it's carrying a gold-plated record on it's hull, that contain
"Sounds of Earth" (although the record did not contain the COMPLETE works of
Johanne Sebastion Bach, as "that would be boasting", I do believe go 'ol JS made the cut).
We decided to change the name to "Exiting the Shadows" as it just as well
conveyed the theme of "Escape" that's riddled throughout the lyrics of nearly all the
album tracks, but also infused a broader meaning into the title.
This album is the first physical work we've put out in 9 years.   So in a way, this record
is our exit from the shadows, by bringing new work to light.
We hope you enjoy this album.   And in alignment with it's general theme of "Escape", we
hope it allows you to escape from your world, into our world,
to appreciate a shared sensory experience with us, and everyone who hears this work.
Production Notes:
"Cut Below the Line", like all of the songs on this record, was recorded and mixed in a
Roland VS2480 hard disk recorder (24bit, 44.1kHz), and mastered using mastering
tools in Sonar and Wavelab.  The drums were all recorded at CrestHill studio in Halifax,
direct into the VS2480's brilliant AD converters and preamps.  For the
uninitiated.....it's really old digital tech....but it's still excellent sounding, and so
worked for our purposes.  We relied heavily on our Universal Audio
LA-610 Mk II (a real one!) for compressing vocals, bass, and guitars.  This album was also
our first use of strictly LCR mixing.  That is to say, each track is panned in only one of three ways:
1) Extreme Left, 2) Centre, 3) Extreme Right.  No other option allowed (though I often made exception 
for this on the drum panning).
 This makes for a sound palette that's maximizing the use of stereo contrast, and
differentiates it as unique in Remedy's cannon so far.  And in the area of
interesting trivia, this is the first use of ripped paper in a Remedy song.  The very
first drum notes (an open high hat) are immediately preceeded by the sound of a
single sheet of 8.5 x 11 sheet of looseleaf being ripped lengthwise, fairly close to a
heavily compressed condensor microphone.  It took several experiments to find
the right distance from the mike, and the right speed of ripping.   Turns out, the fastest
rip, is not the loudest rip.   Who'd of thought?
"the map"
"THe Voyage", will be described in 3 albums, representing the 3 phases of the journey:
Phase 1) Departure.  
Phase 2) Discovery 
Phase 3) Return 
Phase 1) Theme: Escape  "Exiting the Shadows".   
Phase 2) Theme: Epiphany  "Mechanical Epiphany".  
Phase 3) Return (resolution) is represented by albm 3 of the Trilogy, "Vehicular Serenity
(Driving back to Earth)".  
(The glyphs that are bolded above, appear on the "Exiting.." CD, with the glyph that represents 
the current CD colored differently than the other 2, which represent the upcoming 2nd and 3rd albums 
in the "Voyage" Trilogy).
So each album has 3 glyphs that help describe the album's theme.

Another view of "The Map" (glyphs in "The Voyage"):
                album 1       album 2        album 3
rel to self    transition    transform      transcend
rel to world   challenge     explore        understand
rel to others  combine       create         connect

Again the bolded glyphs above represent what's printed on album 1, "Exiting the Shadows".  They 
represent a cross-section of the 3 different types of relationships one can experience......
relating to oneself, to external environment, to other individuals.   One interesting part of this:
the last row (relating to others), might also describe the process of creating music in a band:  
Combline (the players), Create (the music), Connect (to the listener).

"Exiting the Shadows" Credits:
All Music and Lyrics by Steve Harley,
except "Walk a Mile" written by James Bond, Steve Harley, Andrew White
and "Escape to the Rhythm" written by James Bond, Steve Harley.
All arrangements by Remedy.  SOCAN 2018.

The Band:
James Bond -Bass, Loops
Steve Harley -Vocals, Guitars, Keyboards, Loops
Gil Roy - Drums, Percussion

Guest Musicians:
John Peer:  Wurlitzer Piano on "Walk a Mile"
Morgan Cruickshank: Guitar Solo on "Gettaway Sticks"

Graphic Design: James Bond
Manufactured at PutitonCD.com
Recorded, mixed and mastered at Cresthill Studio
Produced by Steve Harley


more notes on the remaining album tracks to follow shortly.
Thank you very much for reading these notes!   I’m glad you’re still here!


Notes on all the other album tracks:


2) My Way Out:


Going with the flow. This was how Floyd made his way through life. No determined path or direction or plan. Just bouncing from one situation, partner, job, life circumstance, to another, by virtue of chance encounters, and accidental happenings.
This realization, that life has been experienced by Floyd in a passive way, without being specifically directed or driven toward any one
goal, was made just now, fairly late in Floyd’s life.
More realizations soon followed. What other assumptions, or habits had been stunting his growth as a fully realized person?
He feels a sixth sense from time to time, but has no way to harness it any predictable or useful way (like when he feels a pull toward
someone who is close to him, waiting for him).

The “Dream” he has, that he can’t find in his waking life, is a sense of purpose. An overarching goal, or motivator, that would allow
him to take the reigns, and total control of his destiny. But such purpose eludes him, even now as he realizes that this “purpose”
is needed for him to get “Out” of his predicament…….being a raft tossed in open waves of random chaos, without a map, without a goal
or destination. And perhaps as a self-defense mechanism, has long adopted a cynical world view, being dismissive of the passions and talents of

So who is Floyd talking to? The lyrics to this song are written in the first person, from the perspective of the protagonist (in this case, Floyd, the subject in every song in “Exiting the Shadows”).  Each verse ends with a line that appears to be addressing someone else. I used to think he was speaking to his love interest (silently, in his mind), but now I think he could be talking to himself.

Production Notes:

The song is the first of 2 cold-opens (Vocals first before the music) on this record. Vocal harmonies are throughout most of the song.
The tempo remains constant, throughtout a sweeping melodic verse, and an aggressive bouncy chorus. There is very little reverb. There is also
a 2-part bridge: acapella multiharmonies, then a guitar solo over another new musical section with abrupt transitions, with interplay between
the drums and guitars. A guitar riff joins the third chorus in a jubilant refrain. The song ends in a falsetto vocal minor chord, exiting with the deep bow of the reverb tail.


3) Lava Heart :

On the face of it, Floyd got a bit of cupid’s arrow in him.  He is smitten. He be smote. Which doesn’t suit him well, because up to this point he’s been a “slippery man”……without any tethers, dependents, or general responsibilities. But he’s been caught now, and unable to escape this new infatuation he’s encountered.  Which is strange also, because part of the reason he was “slippery” and unattached, was because of his “heart of stone”.  Not cruel….just not particular moved by poetry, or the more seductive arts, preferring rather brute simplicity.  But adopting
all-or-nothing positions all the time eventually came full circle, and now he’s confronted by his own contradictions.  For example, if he really
doesn’t care, why is he bemoaning that she never “threw (his) heart a bone”. But of course, it’s a happy story.  In the end, he get’s the girl.
She DID throw his heart a bone, and that DID melt his heart of stone.  And he poured out his heart.  And since melted stone equals lava, the reference to “lava heart” finally becomes clear, (please excuse the overt exposition…..it won’t happen again ;).


4) “Bring Me Down”:

The message is “nobody’s gonna bring me down”, so despite the heavy minor feel, the overal message is a positive one of self-determination.
Floyd is seeking human connection, and repairing human relationships.  It’s about straying apart, and coming back together again years later.
Mistakes and redemption. Reconciliation with the truth.

Production notes:
This is the only song in F# on this record. The main guitar riff is made up of 19 notes. 16 of those 19 notes are notes that differ from the
previous note by only one semitone (or less).  So there!  (?)


5)  “(Let me) out of your mind” song notes

FLoyd is trapped yet again….but this time he’s trapped inside the mind of his love interest.
He can’t escape from her mind….her thoughts, her mental influence. As if he’s possessed by her intent.
However, at the end, he finds the key to his escape, and he finally escapes from her mind. Escape, the album’s overarching theme, again comes into stark relief in this song.

Production Notes:
The title of this song was originally “(Let Me) Out of Your Mind”, with the bracketed option being in front, rather than it’s far more common
place at the rear. This had the unintended effect of making it not appear on alphabetized lists (in the proper order) as the initial bracket
catagorized the title in a very non-L sort of way. So the non-bracketed version ended up happening, and in our Mashmellow-Frankenstein tradition,
the title is never sung, verbatim. The title is more of a synopsis of all 3 choruses (all of which differ slightly in their wording).

But then the bracketting reoccurred, accidentally, which makes our first manufacture run unique, as it’ll likely lose the brackets again in later printings.  To witness the ultimate fate of the brackets…stay tuned!

This song is also a miniture ode to the beauty of the whammy pedal, featuring some end-solo 2-octave whammy dives.


6) Never Told Anyone:

This song, as is probably obvious, talks about having a secret from everyone, and the isolation and angst that comes with that concealment.
There is resolution with the very last lyric, “’til now”, preceeding the final guitar solo. It’s easy for a recovering addict to talk about secrets from everyone, and the resolution that comes when those secrets are finally revealed. Hopefully some of that sentiment can be heard or felt in this song.

Production Notes:

This tremelo effect on the guitar comes from a hand-wired Marshall 1974x 18w combo amp with the tremelo effect built into the amp, triggered
via footpedal. The effect had the very strange quirk of disappearing (or having a much shallower effect) when the amp got too hot, so it had to
be captured on the first take, or else, I had to turn the amp off and let it cool for at least 15 minutes before I could try again. Thankfully
we caught this bed track on the first take.


6) Gettaway Sticks:

This song is written from the perspective of a CIA spy satellite, the operator of which has a crush on his spy subject, a girl who is mistreated by her “run-from man”.  She’s running away from a bad guy, and the song is sung from the perspective of an emotionally invested spy watching it all happen from orbit. There’s new information in verse 2, “They say that lettin’ you out is why they’re letting me go”, implying that an even richer back-story exists with another unknown. It seems to refer to a deal being made, where someone gets “let out” to “talk at night to (her) radio”. Maybe the CIA is letting an old friend of hers out of prison to advise her over radio transmissions? This new information seems to change the singer from the owner of the spy satellite, to an ex-con they’re consulting with. Maybe that’s why the radio transmission effect
on the vocal is so pronounced when those lyrics are sung: A new narrator interjected himself into the song at the end of verse 2.
But whether it’s the owner of the spy-satellite, or the ex-con advising him, the big-brother watchful interest over this girl is at the heart of this song.

Production Notes:

This song as well as Lava Heart are the two songs that used acid files exclusively to compose the drum tracks.  The guitar was all recorded direct into an old kidney Pod, with every knob on 10 with modern cabinet distortion. I doubled-tracked the guitars using different pick-up selectors and hard-panned them. The thickest sounding distortion was achieved by not using a pick, but rather softly scraping my
fingertip against the string, with distortion maxed, and playing very softly. I learned that often times attack is the enemy of fuzz.  Double-whole notes sound amazing with a fuzz box through a Marshall stack, but not so good on a yukele. But I digress…..


8) Birthday Song (Happy Birthday to You, and there’s nothing you can do):

Once upon a time…..for about 3/4 of a century, “Happy Birthday” was privately owned by Warner Music Group, and anyone who wanted to use it
in a commercial enterprize had to pay big royalties to do so.  But ever since 2014, a lawsuit that challenged Warner’s ownership of the original song, based on the fact that the original copyright was for a song called “Good Morning to You”, which had the lyrics “Good morning to you,  Good morning to you, Good morning dear children, Good morning to all”.  Only later were the words changed to “happy birthday”. But that was enough for the judge in this lawsuit to side with the plaintifs and declare that Happy Birthday is now, and for the rest of time, in the PUBLIC DOMAIN!
I did not know this when I wrote this song. I wrote it as a birthday present to my wife. She’s awesome!
And at the end of the song, I decided to make an musical epilogue that was reminscent (but not exact) of the “Happy Birthday” song. But it was
just when I was putting the finishing touches on each track that I discovered this news about Happy Birthday’s recent entry into the cannon of works
in the Public Domain.  So I changed the epilogue from “reminiscent of” happy birthday to “the last 2 phrases” of Happy Birthday, now feeling a new
sense of wonderful litigious immunity!  Admittedly though……the melodic line that’s played in those last bars of the epilogue were in fact written
by the Mildred sisters, and if they weren’t so greedy in making “Good Morning to You” into “Happy Birthday to You”, they might still have ownership
of that musical phrase today. But because the universe has a sense of karmic humor, and they got far more than they deserved for far too long,
they now have to suffer the injustice of us covering their song, and having absolutely no legal recourse whatsoever! Kinda like melodic double-
jeopordy. mwa ha ha HAAAA!   And that brings me to the title…..the original working title was just “the Birthday Song”.   It’s still referenced in that way…..on the back of our newly manufactured CD.  But in the liner notes, it’s referred to as “Happy Birthday to You (and there’s nothing you can do)”, a last-minute title change we made just before going to print.    But in some places (like the CD back) the old title was still used…..something we all missed before going to print.   Oh well…..we’ll pretend that it was on purpose….so that this first run can have unique errors that won’t repeat (yeah, yeah….that’s it!).   I guess that’s the nature of Karma…..by adding a jeer in the title (“(and there’s nothing you can do)”), a boomerang of inconistency smucked me.  As it should be.  Deep bow.  Curtain falls, lights out.


9) Alalone:

Once upon a time Floyd was a young man, who had a babysitter. Then he grew up, and ran into her many years later.  Barely recognizing her, he soon realized there was a mutual attraction, and he moves in with bravo and swagger.
It’s a classic alpha male tale of sexual desire and satisfaction.  But is there more to the story?  The title, after all, is Alalone, a misspelled combination of 2 words, missing an L.  Just like the title, Floyd is feeling incomplete here. The word “escape” is mentioned again.  In this case, he can’t escape his desire….his human nature.  His biologically-programmed instinct and involuntary attraction have gained control, and
he’s unable to escape their grip.
The word “alone” is mentioned in every verse, as well as “thirsty soul”, and “urban tragedy”. So there’s reason to believe this is not a happy time, overall
in Floyd’s life….as is often the case when living a one-night-stand lifestyle.
Another way one could view the title would be like combining two individuals. Al = one indivual. Al + Al = 2 people or “ONE” couple. So Al + Al = ONE,
or Al Al ONE, or Alalone.


10) Perpetrator:

Floyd is feeling flash in this funky ditty. He’s getting his mojo working with a “sonic wine” to share with those within earshot.  He’s the perpetrator of funk.

Production notes:

The main bass riff of the song was originally played on guitar with a whammy pedal set to octave down.  When it came time to record the song in earnest, the original bass riff in the demo couldn’t be replicated, either in feel or in sound. So we kept it. That however did come with some unwanted noise. The radio-clips at the beginning of the song, help reframe the song to help further represent it’s fractured and recombined nature.
Yes, the original guitar-bass riff that was used in the demo was recovered and reused in the final version of this song, but it was also supplemented and at times
replaced with Jim’s real bass, and real bass playing. This song has a mixture of real drumming, and acid file loops, real bass playing, and guitar-bass playing
which is also the only guitar in the song, excepting the solo.  Gil egged.


11) Walk a Mile:

Way back in 2005, Steve and Jim jammed with internationally-acclaimed, fingerstyle guitarist Andrew White, and briefly formed a project called “The Rain”.
One song that came from those jams was this song, “Walk a Mile”, but in a more relaxed slow-tempo style.  That version was developed and released as the last
track on Remedy’s sophomore album “The Tyranny of the Smug” as “Crooked Mile”. Now a different version of that same song, now titled “Walk a Mile” is now making
it’s appearance on our 3rd album. This also help us establish the tradition of having multiple interpretations of the same song.  We’ve done this twice before.
Once in a hidden track in Paleofidelity, we had a very old and very different version of Rude Reaction.  Also from Paleofidelity, was the song “Junglewalk”, which
was later combined with a Rain track (“Are You There”) to produce “Lost” (the 4th track from “Tyranny of the Smug”), and reimaging and recombing of those 2 songs.
“Walk a Mile” is much more up-tempo, light-hearted, and danceable version of “Crooked Mile”, and makes our 3rd entry of our ongoing “reimagining” series.

Production Notes:

This song is joined by Captain John Peer, (a.k.a baDmRfrostY) playing a real-live wurlitzer piano.  David Croft joins us on Congas in this song as well.  The guitar
has an Ibanez auto-wah pedal producing the wah effect on the main riff. The pedal is very responsive to playing, meaning the effect really needed to be printed when going to “tape”.  Any dry-guitar that would seek to add autowah in post, would deny themselves the subtle changes in one’s playing that might occur from hearing the effect while it’s been played, and adjusting accordingly. Sometimes it’s better to commit up front, and dig in with an aggressive irreversible decision, and let everything else adust to the mahem. It’s fun.


12) Say What You Will:

This song is very old…..almost as old as the material from Paleofidelity. I imagine we started jamming over music that would become this song as far back as 2006.
It was recorded at our studio at Cresthill, but then sat on the shelf for years. Only now, in this new effort of musical consolidation, has it finally reached the end
of it’s 10-year plus journey onto on album. Thanks for your patience, song.
The lyrics are another ruminition on the state of affairs when under the spell of narcotics.  The “Deus Ex-Machina” ending seeming like the only possible way out. That wasn’t unlike my reality at the time:  Methadone was the “Deus”.  Tang was the “Machina”.
One of the side effects of withdrawl is an inability to get comfortable in any position. An impossible restlessness.  It’s the worst feeling imagineable. There’s
a reference to that in the second verse: “not feeling comfortable upright, or generally moving in any direction”.
As a nod to other songs like it, the title is a precie of the lyrics, but does not occur verbatim in the song (like “Let Me Out of Your Mind”).


Production Notes:

The tamborine is an acid file.  Nobody can play that slow and that flawlessly…..IMHTO (in my humble tamborine opinion).


13) Caught:

After a long period of being on the run, as the title suggests, this song explores the emotions of the quarry finally being “caught”.  Amist our collection
of songs whose title appears nowhere in the lyrics, there are 2 categories……

1) a similar phrase to the title (but not exact) is uttered in the lyrics (i.e. “Say
What you Will”, “Let me out of your mind”

2) No phrase like it exists in the song. And like “Marshmellow Frankenstein”, “Caught” falls into this latter category.

Although “Caught”, unlike it’s categorical cousin “Marshmellow Frankenstein”, has a meaning perhaps far easier to understand.  The feeling is mostly that of relief. “At least now I can call my mother”, as one con-man told the FBI that finally caught him (as seen on American Greed). Why couldn’t it have happened sooner? (is almost the feeling).


Production Notes:

This song is very minimalistic, consisting only of one vocal take, one guitar track for the rhythm, one solo track, and a stereo acid file loop for the drums. The
siren sound that was embedded in the loop from the very beginining was the inspiration for the whole song….it’s mood, subject matter, title, the works. Sometimes
some songs nearly write themselves. It came together nearly as fast as it would take to transcribe. I liked the final result enough to not attempt a rerecording
with the full band. Firstly because the siren loop was so central to the theme, but also because the little eccentricities of the vocals and guitar on the demo
performance seemed impossible to recapture with the same angst as what occurred on that original demo.

I had experienced before, having a home demo that I loved to listen to far more than the fully completed studio version.   So on this record, we’ve actually used 2 home demos that were never re-recorded.  One of them is the very last piece of music on the album, which isn’t listed in the track list, (it’s a semi-hidden track, “I wanna eat fruit beside you”).   This track, “Caught” is the other home demo which was included on this album, completely unaltered.


We put 2 “hidden” tracks on this record.   So there are actually 15 songs on the record….2 more than what’s listed.    By some glitch in wavelab, even though they had no track markers, it’s still possible to “jump” to these songs directly using standard track-skip buttons on CD players.   We could’ve fixed this using a complicated scheme, but finally decided that being albe to skip to those hidden tracks wasn’t the worst thing in the world.  But if one does put the CD in, and play it from start to finish without interuption, they would appear to be hidden tracks, due to the great pause before they begin.  So in that sense they’re hidden.  But in the greater sense, the fact that they’re skip-to-able, and that I’m writing about them, no less, they’re likely the least hidden of all hidden tracks.
One of my favorite hidden tracks was on Big Sugar’s heated….a long instrumental that featured Kelly Hoppe on a melodica.   So this is our humble tribute to hidden trackery.

The first of the 2 hidden tracks is called “Escape to the Rhythm”  it’s a B-side from the days of Paleofidelity, and for whatever reason, this song didn’t make the Paleo cut.  But every once in a while, we’d here request from our insider fans, so we’ve finally put it in physical form on this album.

The second of the 2 hidden tracks is “I wanna eat fruit beside you”.   We actually made a stills video for this song, and it’s on You Tube here….



Thank you very much for your interest in our music!   Please visit our social media sites (icons below).  Or, if you have any questions,  give me an email, and I’ll promise to respond!    steveharley70@hotmail.com    Heck, if you’ve got this far and read everything above to get to this point…..then you deserve special treatment!


Steve Harley

Exiting the Shadows (Part 1 of our new trilogy of albums, “The Voyage”