--005(I Lost My Wind)

(Pics for all of the mix versions in iTunes with their corresponding burned CDs except for that weird second version of Karl Blau. Still no clue where that came from or how I ended up documenting it. If I come up with something I'll be sure to update you.)









I Lost My Wind (from the "Moon, Moon/I Lost My Wind" 7" and "Song Islands" CD)
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So, really hitting the wheelhouse of first wave mixing now. As always I have only scant recollection of the building of this mix. Although one thing that does keep it vivid for me was the fact that, in its first incarnation this mix was actually named “Karl Blau” and featured only that Microphones song. I recall bringing it in and explaining that it was indeed the name of the mix and the song, not a CD by Karl Blau. I think that this was literally first rearranged because of my own, at the time, aesthetic discomfort with the naming. It just didn’t fit with the flow of the previous titles. It looked awkward on the CD. So that, among other things (we will see in the Alt. Versions section) led to the addition of another Microphones song “I Lost My Wind” and the re-titling of this one.

It starts with one of my all-time favorite ES songs “I Didn’t Understand”. I am always running a joke into the ground whenever this song comes on about “hey who decided to start the mix off with this Boyz II Men track? Classic Brian bad joke-y-ness. Still, real similarities to serious 90’s R’n’B hitmakers aside, this is a testament to just how beautiful something can be with just layered voices.

Which called to my mind all kinds of classic Doo-wop and whatnot (something we will see explored in much greater depth when we get to the review of the reimagined “Karl Blau” in a couple hundred mixes), and so there we have the original genesis of this mix.

“Karl Blau” (as discussed mildly in various parts of the recently posted “It Was Hot…” LP post over on THE WRAITH) is a classic example of one of Phil’s tiny, beautiful choral outposts dropped in amidst a sea of weirdness and percussion. It is this song and others like it, in their times and places, in their weird minefields, that made me understand Phil and come to love him when it was still hard to understand and love him (for me, that is). This is still one of my most favorite songs by The Microphones and I think many of us feel that way.

“Stars Fell on Alabama” is a pretty serious “mirror facing mirror” moment. This song was the origin of one of the best Mountain Goats KINGS rules. And, of course, I can’t recall if it’s the one that’s attached to the appearance of MG songs or if it’s the one that’s attached to a specific card (Z or C step in here and help me out). The rule being that when the card comes up or, alternately maybe, whenever a MG song comes on the first person to notice is enticed to shout “And if you think I’ll take a bullet for you…” to which the next most on-the-ball person responds “YOU’RE DREAMING!!” and the last, un/lucky person not to get to join in must then drink one. This song has always warmed me for many reasons, not least of which is the famous (to Zoe, at least) mention of “kudzu” the strange leafy vine plant, now indigenous to Georgia, which grows all over, all over everything in the most beautiful, mysterious and frightening way. This song was brought up numerous times on Z and C’s trip to Atlanta for my wedding. Z being particularly on-the-lookout for kudzu forests/monsters. Additionally I have just always loved/not understood Alabama’s state motto, which adorns their license plates.

Ah, Jawbreaker. So good to see you again. We must recall again, at the time, this was a daring choice. I was still trying to “win over” the KINGS to Jawbreaker. They were rougher and punker than most of what I knew everyone listened to but, I mean, come on, it’s fucking Jawbreaker. This is one of those things in life where we can all, as a people, meet up and agree. Where we can all put aside our differences and unite in the glow of something just so universally “right”. Having already used my first candidate for “Jawbreaker song most likely to reach out to the uninitiated with its alcohol fueled despair” on --003 I decided to go with candidate two here, “Chesterfield King”. Another perfect Blake Schwarzenbach portrait of time and place.

Then we have the lovely “Little Ghost” a very un-White Stripes moment for The White Stripes. A lovely little bluegrass ditty about a fittingly Appalachian-style folk ghost. I recall many nights in Bmax linking arms with various other employees in a “dosey-doe” fashion and dancing around and around in a serious hoe-down state of mind/drunkenness.

Followed, of course, (getting a little twang run going here) by the next Ryan Adams song a person should hear if they are only familiar with “To Be Young…”, “New York, New York”. I am sure that I’ve talked extensively already in these pages about Mr. Luke Kalloch and his proximity to R. Adams for me. With him being one of the morning anchors at Bmax I could always count on walking in for the night shift to the dulcet tones of Mr. Adams. I think we can all agree that “Gold” may very well be the best of Ryan’s millions of CDs. It’s just so start-to-finish solid and feel-good-y, kicked off right here at the start with this song. It’s got everything great about this period of Ryan’s output, it shuffles, it strums, it’s upbeat, lots of instruments, city-based story-telling and so on.

And continuing with the twang, “Timebomb”, hands down the best Old 97’s song, ever. I defy anyone to not like this song. I think that I first heard this album back at the H. Sq. Newbury. It got played a lot, to some people’s chagrin and others’ delight. The O97’s are a pretty killer group (and Rhett’s solo stuff is pretty great too) and this is, I would argue their best album by far. Much like the way Ryan’s “Gold” kicks off, here we have the first track and it kicks things off with all the hallmarks you can expect, endlessly rolling train-chug snare, a killer guitar line, Rhett’s raspy voice that still manages to hit the high, high registers. You feel me.

Keeping the upbeat tone going we have, next, “The Chimney Sweep” by The Decemberists. Another one of everyone’s all time favorite tracks by them. I think this was actually the song that Fred had on one of the mythical Fred mixes I am always referring to as inspiration in these stories. What can you say that hasn’t been said about this song? Early on TD had it in place perfectly. Able to lay on, thick, the old-world aphorisms and timbre, the serious Mary Poppins overtones, the sea-shanty vibe, the vocabulary, the Dickensian double entendre’, and somehow wrap it up into a package that even the most jaded among us cannot deny. Colin Meloy is probably single-handedly responsible for turning a whole generation of indie rockers onto “Bleak House”, Nicholas Nickelby” and “Our Mutual Friend” (though Desmond might also get similar accolades…) This (along with the O97s track) is one the absolute best songs on this mix to sing along to, all out.

So how can this not be followed by “Chim chim-cher-ee” itself? Don’t dip too much into musicals for the mixes (or in my personal life) but really, who can deny the classics? This is almost a mirror facing mirror. I wouldn’t refuse to drink if someone called it. Plus any time you’ve got kids singing back-up vocals it’s pretty much solid gold. Haven’t watched this since I was tiny. This song starts a little arc of cool-down-ness coming off of the the 1-2-3-4-5 punch of the last section.

I kind of forget how Steely Dan got accepted into the mix cannon. I’m assuming at some point they came up in a discussion and everyone admitted to being ok with them (I am usually the first into the breach in these scenarios). And thus, some personal favorite SD tracks began to be peppered in. SD is a good example of a band I heard when I was younger and hated, hated, hated for it’s seemingly tepid, smoothed-out, middle-of-the-road-ness (also see James Taylor, Cat Stevens, etc...) but which, as an adult, I came to understand and really like. At some point I had a cassette copy of “The Best of” SD and I remember it being on my going-to-work rotation at the H Sq. Newbury. Side one is particularly nice, from which this song hailed (well, not originally, it’s actually from the “Katy Lied” LP, but you know what I mean). A short little blues ditty with one of the nicest swung-out drum parts in history. My personal favorite part of the song being a little out-of-nowhere drum fill at about 2:18. I’m always a sucker for this type of drum fill, a tiny little roll floating in between hi-hat hits. Ah Steely, can’t wait till we meet again.

The cool-down portion of the mix continues with our namesake “I Lost My Wind”. I am sure I have already extensively and eloquently detailed my history with this song over on THE WRAITH when I did the post for the “Moon, Moon”/“I Lost My Wind” 7”. So I’m actually going to suffice to say go over to the other page and read that post for more on my feelings about this beautiful tiny song.

Now, coming out of the cool-out and getting into the next movement of the mix we have “Super Bon Bon” from our old friends Soul Coughing. I think this was actually a minor radio single at one point. Not as big as “Circles” but I think it must have had some modest exposure. The leadoff track from the second album and it’s all solidly in place. The killer bass-line, the spry drumming, the weird inexplicable samples and Mike Doughty’s nonsense lyrics. Here presented in a seriously grooving slab of head-noddery.
Yes the words sound dumb but the groove is that good that you still sing along and feel it.

Not sure if I’ve brought this up before but it is an historical oddity that Coree, who, in my life, was the number one proponent of SC and the person that made me reconsider them as something that might actually be good (and thank you for that, I had no idea how important Mike Doughty would become to me in the following years), somehow missed out on this album. She had the first one, loved it to death and the third likewise but somehow never put her hands on “Irresistible Bliss”.

A final note on this track, which I may have said before (sorry if these posts are redundant or I tell permutations of the same stories over and over again, I have been so lax and not on-the-ball with turning these out that I often forget what ground I’ve covered, but I’m just hoping that everyone else has too, so it’s all good), Jenn made a comment at some point in the car while we were listening to some mix and some SC song came on. She said something to the effect of “I can always tell when it’s a Soul Coughing song because they all have that same sound when they start…” that quote is fairly inaccurate but close, in spirit, to her sentiment. This song is a stellar example of what she’s talking about.

Still enamored with a wider audience possibility for Atom and his charms, here we have another of his finest moments “Me and My Black Metal Friends”. I am thinking that many people are not even really familiar with the term “Black Metal” which makes this song not only a good beginner’s guide but also that much funnier to behold in, what I might assume, would be a literal sense for many. Atom is the king of bad-ass sounding keyboard bass-lines and this is a good example. He is also the king of strange interpolation that works well, and here we have a little “Come on, Eileen” stomp at the end. Best part of the song, the part where he informs us (perhaps in deference to the idiosyncrasy I was just pointing out) that Black Metal “is not exactly like Living Color”.
Yick, yick, yick.

“Alabama Nova” was an early favorite Mountain Goats song of mine. The first time I saw him play (Middle East Upstairs, sometime in the mid-90’s) this was one of a handful of songs I can recall him playing. He was alone, on a stool and very, very, very energized. He did a Smiths song, I forget which. I remember, I think, writing on my arm, details about the set list for later exploration. This was one of my successes. We all love when John sings about the South.

Ah, Simon Joyner, I am always glad to see you being represented in mixes. SJ is one of those mix triumphs for me (there are many, to be fair). It is one of my most favorite things about KINGS and the mixes to discover, randomly, that some random artist or song has become a part of my friends’ lives. This song is a good example of that. The first time I noticed someone at the table singing this besides me was a big moment. I mean, come on, “I need a fiddler to support a roof…”? Seriously man.

“Son of Sam”, the song so nice that the first wave mixes needed it twice, here in the acoustic version from the “Happiness” single. That single came out a bit before Figure 8 and thus this was the way I came to know this song in the beginning. Hearing it lead off that album (see my comments about it on the ANTLERS post) was quite a jolt. That being said, I think I probably said all the most worthwhile things I had to say about it there so, you can refer back to that. But a few further thoughts, even in the easier to hear and understand acoustic version I still am very uncertain what sentiment he is trying ot express here. Alienation? Loneliness?

I think this might be the mix that Coree once remarked “Oh yeah, this is the one that like stacks up the Mountain Goats songs”. And yes, not sure what leads me to do that sometimes with artists. I very much come from the school of mixing where it is sort of no-no to put more than one song by an artist on a mix. For some reason with the KINGS mixes I tend to totally disregard that rule, and how. I’m gonna get back to you on this (and if anyone else knows please tell me) but this might be the all-time high score for number of MG songs on a single mix, 4. Highlight of this track, I think for all of us, using the word “Mexicali”. Still don’t know what that is. Also in this category: Pennsyltucky.

“T-Shirt Weather” seems to be an odd choice for a mix to me, at this stage. Not sure why. I guess it’s not. It’s a huge pop hit and that was always a safety zone for me as far as what I should or should not put on mixes, at this point in mix history. The Lucksmiths, so far, have not made too, too many appearances on mixes (just three to be exact). And that is mainly due to them having a big catalog that I have not had the time to really peruse too deeply yet in life. Also that the little I have looked seems to indicate to me that, for some unknown reason, most of their songs are not really like this at all. They tend to be a lot slower and laid back. A good example of a band writing a song that’s too awesome for their own good. A sort of “one hit wonder”-ism. I am sure they are a solid act and I’m gonna say this is just me being ignorant. One final thought here, one of the reasons this song seems so odd to me at this stage of mixing is that much later it has become so, so tied into another sub-set of mixing for me (The PILL era mixes, Less Lee knows what I’m talking about here).

One big pop hit deserves another and here we have our friend Rhett from O97s on his first solo album busting out what might be the best track on an album of great tracks, the insanely buoyant “Hover”. What can I say, this is just so good and the chorus is mammoth. Jenn and I went to see him play recently and we were really, really, really, hoping he would play this. I don’t think he did.

Well, one nice twangy track demands another and so it’s back to RA and “Gold” with the next song you need to hear after those first two “Firecracker” (I invoke the harmonica rule). Like all of “Gold” this is a rollicking good time that sounds like it was extracted right out of The Rolling Stones’ “Exile on Main Street” sessions, or possibly from its DNA. Like much of RA’s music there is a lot going on in this song, I suggest after you’ve listened to it and loved it as many time as we have, put on your headphones again and you’ll hear lots of things you never noticed before.

I think it is a thing for me to use SC to come out of one section/tone/movement of a mix and start off another one. I know I do it several times on the Holy 1-8, and, I mean, for goodness sake, I do it twice on this mix alone. This second time we have the shimmering “Casiotone Nation”. Another infectious bass-line, another set of lyrics that make no sense to anyone. This became one of those KINGS classic songs (as did “Chimney Sweep” come to think of it) where we always wanted to hear it and sing along loudly and thus many, many versions were searched for and looking across KINGS history one will notice this song appearing over and over and over (other examples off the top of my head, aside from “Chimney Sweep” include but are certainly not limited to: “You’re in Maya”, The Mountain Goats, “Doin’ Time” Sublime, though maybe I’m the only one that really wants to hear that over and over, “Kiss the Bottle” Jawbreaker, “Screenwriter’s Blues” SC, etc…). I can remember one particularly raucous evening that involved all of us standing up in a sort of football huddle singing the count off part of this at the tip top of our lungs. Actually, that probably happened quite a few times.

“Jaipur”, refer to my last comments about MG. This, so far is somehow the only song on “The Coroner’s Gambit” that I am really into and familiar with. Strange. I need to sit with that record a lot more at some point. We all really love when John sings about food and/or desserts. Best part of this song, besides the part when he talks about Atlanta: “…sweet jewel encrusted chariot…”

I think that this Get Up Kids record had just, just come out around this time. It was one of those records where, the last one they did was a departure from their sound, slower, twangier, more all over the map, and then there was kind of a span of time when you thought they were breaking up, as bands tend to always do after they do an album like that. And then this came out and it was real solid and a lot more like their great period material. I remember playing this album many mornings at Bmax. “Holy Roman” was an early super favorite for me. The part about “just look me in the eyes and say ‘the world’s not gonna end…’” still hits me very, very deeply. I guess I am just the kind of personality that could particularly benefit from a little bit more of that in my own life.

Ah, “The Bird That You Can’t See”. I think that the Apples have a particular distinction, especially this early on in the goings, of being very beloved and very begrudgingly beloved. I mean, “Go” is hands down a KINGS classic rally song. This song, from the same album, however, I recall being a tough sell. To me it’s a nice bit of late-period Beatle-esque-ness. That guitar tone and that organ, that chugging cadence and those sort of really, really rasped vocals. To be air I think that maybe Coree just had a problem with me making such a big deal about my favorite line in the song “So you want to know the meaning of my song, I’ll tell you now, it’s all about ‘how you feel’” I dunno, it’s just so hokey, I love it. I feel like at the time Martin loved that line when I pointed it out.

Quasi makes their second appearance here. Love, love, love this album. This came out when I was living in Seattle and this used to get played over and over at my house. It’s that good. Though, like The Lucksmiths, somehow the other stuff I heard from them never turned me on like this did. Should probably try harder. It’s an anomaly but it seems that sometimes a band will only have one album out of their whole career that you really feel like they got it all right (and man do they get it right, sometimes a band makes an album that’s too awesome and they can’t really ever get back to that) (Helicopter, Helicopter also falls in this category, along with, I’m sure, thousands of others that I’m just not thinking of right now). The key for me and them on the mixes was they wrote huge pop hits, like this one and I thought another sell-point was that, to me, they always had a certain Ben Folds feel. And we all know about the KINGS and BF.

And finally…

SEMI-CHARMED LIFE

The beginning, or at least the early salvos of our/my long-running love affair with the 90’s and all of it’s greatest and worst hits. In later mixes (we will see extensively) 90’s jams became a go-to item (I’ll never forget that first Christmas after Bmax closed, being in Atlanta at my mom’s house and working on new mixes and wracking my brain for all the 90’s hits I could think of. One night a commercial for the “Buzz Ballads” CD set came on the TV and it was such a revelation).

This song appears here I can say, solely thanks to Martin. Marty really, as I’ve said and will, undoubtedly say any more times, made a lot of stuff feel awesome and ok for the rest of us. One of those things for me was Third Eye Blind (which is why they, or maybe RHCP, we never remember, has the “Whoaaaaaaa, MARTY” rule attached to it). I remember him and my other fellow employees really bonding over this in that “guilty pleasure camaraderie” way. In particular I think I remember this time in the back room where he was requesting that we listen to the whole album, not just this song, or just the hits.

What can you say about this song. This is on the short list of “If I had written this song or one this good I would be satisfied and feel like I never had to accomplish anything else for the of my life” in my head. I need to really sit down and figure out what’s on that list at some point. Everyone loves this song whether they want to or not, even if they hate it they love it. This is one of my favorite moments lately while Djing GUSH. The part of the night where this song sets off the 90’s guilty pleasure portion of the night.

I liked this song in the first place when it came out, though I might not have been willing to admit it. To me it always sounded so much like “Start Choppin’” by Dinosaur Jr. (something we will touch on again in a moment in the alternate versions of this mix section) and that seemed like a strange touchstone for a major label huge radio hit band.

Favorite part of the lyrics for me, I mean, aside from all of them, “…face down on the mattress, ONE…” delivered by him with that cute lisp he has, delivered by Marty and Coree by the dishwasher in the back of Bmax with an emphasis on the “ONE”.

In later years, in Allston, this song, oddly, took on, and still carries, a pretty serious emotional heft for me. I mean, aside from being a fucking monster radio jam it also happens to be a pretty well-told and nuanced story of two people and how their lives are sort of crashing/have crashed apart. For me it really captures the essence of that dreamlike feeling you sometimes have with another person. That feeling that everything is unreal and blurry and really nice in its way but also tragic and sad in the utterly noticeably fleeting nature of it. I am not expressing this eloquently here. I have, I think, tackled this exact idea much more successfully in two poems, years ago in “The Maggots and the Mirrors” in a section about a particular friend of mine and a particular time (which I was, oddly, also just referring to over on THE WRAITH while writing about the “Mount Eerie” LP,) and more recently in “Go Fuck Yourself” about a group of friends.

Sometimes the dreamlike beauty of a thing is how strange and momentary it is. That’s what makes it so amazing and also so, so fucking sad. It’s a bittersweet scenario, feeling the wonderfulness of a moment and also the immediate nostalgia of its concurrent disappearance/evaporation. I guess a lot of “Go Fuck Yourself” is about that, or built in that scaffold actually.




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ALT VERSIONS

--005a (Karl Blau)/ --005b (Karl Blau)/--005c




Ok so, like so many mixes (especially these early ones) this one went through a couple permutations before arriving at the one we know and love. As mentioned at the beginning of this post the first version of --005 that I brought into Bmax was in fact titled “Karl Blau” and did not have “I Lost My Wind” on it at all.

We start off with the same ES track however, we then go into “Ghost Writer” by RJD2. This was a song I was excited to introduce into the mixes because it actually samples ES. What can I say, I am a loser in that way that I was then as I am now, still, excited and impressed when people sample indie rock tracks. This song actually samples “I Didn’t Understand” so it seemed perfect to go here. I was a pretty huge fan of this song when this record came out. One of my favorite memories of it comes from a seriously cold night that I went to the south end to have dinner at Ed (formerly of Bmax) and his gf’s house and then try to work on the hip-hip project we had been talking about around that time. Ed is a pretty killer DJ/beatmaker and I was, at that time, a lot more confident in my freestyle skills. A bit before this, maybe a year, when Ed was still at the Bmax I think, he and I and Mike V had done a little impromptu thing at the, I think, now defunct, Chopping Block space in Mission Hill. It used to be right after the Brigham Circle stop but I think it’s long gone now. Ed was Djing there and Mike V wanted to do this little tribute rap to him, commemorating his recent return from Maine, and somehow I ended up being invited to join in on a verse. It was a pretty great time, Mike V spit and its was rad and then I did my shit and I thought it went pretty well. Sigh. Anyway, that wasn’t the point of the story. The point was, coming from that experience Ed had invited me to work on tracks with him. It never really got farther than this one night at their place. Probably my own fault. I always have too much on my plate. We ate and then I went into his studio and put on the headphones and tried to put my words to his beats with very little success. I left and was waiting in the awful Boston cold for the bus back into town. I remember standing on the corner with my headphones on listening to this song and sort of dancing around to it, to keep warm, and because it kind of just makes me want to dance. The end.

Can’t recall why I took it off. The mix then goes to “Karl Blau” and then “Chesterfield King”, skipping the MG song. Then “Little Ghost” goes straight into “The Chimney Sweep” which is a perfectly good segue. I’m guessing that the Ryan Adams song ended up here when I ended up with a lot of room on this mix after removing some later tracks.

I had recently come across, on Soulseek, a set of files of Mike Doughty from SC doing some little spoken word pieces, which, in retrospect, aren’t all that great, but at the time I was excited to share. “Goodnight” is one of those which I used as a segue into “Super Bon Bon” here coming a bit earlier in the mix. The mix continues in the same order from that song until the place where “Color In Your Cheeks” was, here we have “Jenny”. Not sure why I switched this out. Then in an odder twist the mix closer “Semi-Charmed Life” appears here in the middle of the disc followed by “Helicopter” by Bloc Party. Bizarre. I remember that the first Bloc Party record was just out at that point and I was pleasantly into it. It was the kind of record you would put on and be like, ok, yeah, all these songs are pretty easy to like. Then you get to the end and start it over again. Guess I was just trying to incorporate some of-the-moment stuff. Though it’s easy for me to understand why this got left off.

“T-Shirt Weather” follows and then that whole nice run of Rhett, Ryan, SC, and MG is absent and in its place is the third, fourth and fifth installments of the “Trapped in the Closet” series, which, at the time, were hot off the presses and exciting to me and as mentioned previously, I had envisioned installments being parsed out as they came out, concurrent with mixes being made. We all know how well that went over. So they were the first to be dropped from this mix.

These were followed, inexplicably by “City of Motors”, SC. A song that would crop up a bit later on --007. The end of the mix is similar, “Jaipur” is there, the Apples song and the Quasi song. Then, for reasons I am unsure “Hush” by Jellyfish closes the mix. I am sure I thought this song was a part of this mix plot because in my head I lumped it with “I Didn’t Understand” as far as being a quiet, vocal-driven song. The strange part for me is that this is the last song rather than the first or second. I guess it’s possible the CD that I got this playlist info from was wrong but I’m fairly certain it was the actual real original copy. Mysterious.

Ok, time elapse. Having my curiosity piqued by this, and the thing about the Mary Poppins song, I decided to get out all the burned copies I have of the mixes and investigate. As of this time I have not found any burned evidence of the Mary Poppins mix-up. It did happen, but it’s possible the CD got thrown out. It is also possible that this permutation of the mix happened after the jump to iPod, in which case the information is lost forever as, sadly, that first iPod I owned has quit this world (more on that when we get to the end of the holy 1-8 and said iPod gets its own post).

Curiouser than that, however, is the fact that I have not found a copy of the Karl Blau version of this mix that actually corresponds to the one I have cataloged in my iTunes playlists. Which is to say, I have no idea where that version of this mix came from. It obviously came from somewhere, possibly a CD of this that I have misplaced. I will keep my eyes peeled and update if I can come up with anything on this.

What I did find though is a version of the Karl Blau mix that is unique and was, here to for, not cataloged.

This version is identical to the previously explained "Karl Blau", however, “Hush” the Jellyfish song is not at the end. It ends, as intended, with Quasi. But, in place of that Jellyfish song is a different one, “Joining a Fan Club”. And this one appears as track four, between “Karl Blau” and “Chesterfield King”. This version of the mix does seem to make more sense to me. This song does have that Ben Folds vibe to it that drew me to think of adding Jellyfish songs to mixes in the first place. This version of the mix has now been logged in as the “a” version. The previous Karl Blau has now been moved to “b”.

There is a third version of this mix (“c”), in between the first and last. A transitional affair that finds the mix in almost recognizable order. It’s basically the final version of the mix, minus the Mary Poppins song and the Steely Dan song. I recall now that there is, somewhere out there, a version of another mix, I think it might have been --003, where I had originally added the Mary Poppins song, by mistake. It clearly goes with “The Chimney Sweep”, but at some point, in my haste, I added it to the wrong Decemberists song on the wrong mix, which, upon playing it at Bmax, I remember it being enjoyed but confusing in its addition. I had to explain my mistake. That version of whatever mix I notice, upon review now, is not cataloged. Need to remember to try and find that. Sorry just thinking out loud.

The only other difference between version two and three is near the end. The penultimate song happens to be the afore-mentioned Dinosaur Jr. classic “Start Choppin’”. Which is then, of course, followed by Third Eye Blind. These songs jut go together. It’s all about that high falsetto “Good-byyyyyye” in both songs. I remember this version playing at Bmax and feeling pretty satisfied. I think that I ended up taking it off on the way to the final version because I didn’t think enough or any people besides me at Bmax were familiar with/into Dinosaur at that moment in time and I didn’t feel like I was going to be able to pitch them successfully at the time. And so it was dropped.

So yeah, that's a little tour of mix --005 (I Lost My Wind) and it’s various permutations. Like all the early stuff, this is a solid, tried and true, time-tested KINGS favorite.































it is 3:44 am
this is the fucking seance.









































xx