58. GOOD LOVIN' (A. Resnick, R. Clark) - Faster and wilder than most bands do it, we generally transition in from "Feelin' Alright" and out to "Lovelight".
59. THESE BOOTS ARE MADE FOR WALKIN' (Lee Hazelwood) - We mostly copped Sam Phillips' arrangement but we're a little more manic.
60. ALL DAY & ALL OF THE NIGHT (Ray Davies) - I love doing this song. No one else is that crazy about it.
61. FIRST I LOOK AT THE PURSE (Smokey Robinson, Robert Rogers) - First recorded by the Contours but I first heard it by J. Geils. Live we really work out on this one - an honest-to-God R&B breakdown!
Some of "A Regular Amount Of Whatever" was recorded in the studio and some at home. As a result we ended up with a somewhat uneven record and later edited the 12-song disc down to 7 songs. Here's the original 12-song lineup:
(Also, starting with this project our originals have become much more collaborative and the writing credits reflect that)
(Oh, and by the way, this disc reached #2 on the top 30 rotation list for KTUH**90.3 FM, Honolulu, Hawaii)
62. BELTO BEAUTY (McAvoy, Draheim, Static Cling) - Wrote this with long-time writing partner, Steve McAvoy, back when I was in college. We both had a crush on the same girl - Maureen - who worked in a Boston record store, was an usherette at the Beacon Theatre and had recently broken up with The Modern Lovers' bass player. It's a song to her.
63. HOLDING ON FOR DEAR LIFE (Otis, Draheim, Static Cling) - Cathi's song, I helped with the music. She kept telling me, "More like The Beat Farmers".
64. AIRBORNE (Draheim, Shayler, Static Cling) - A big riff and lyrics that started with a quote from Garrison Keillor. The music is mostly mine but Ron re-wrote and re-arranged a lot of it. An alternate take appears on "Irregular Fit".
65. I MISS BEING YOUR SLAVE (Shayler, Draheim, Static Cling) - The music is almost all Ron's except the opening riff and the chorus. The words are almost all mine except the title line, which is Ron's. I recorded two different guitar leads and it was Dave Anderson (Saxon Recording & Jargon Records) who had the idea to combine them both. The result of all of this is one of my all-time favorite Cling tracks. (There is an alternate take on "Irregular Fit")...(correction) > Ron also actually came up with the line/concept: "Days that seem like years, Years that felt like days" and then I built the rest of the lyrics from that starting point.
66. WHO WAS THAT STRANGER? (Bob Jordan) - This is our take of the song we previously recorded with Bob Jordan with arrangement changed to fit us. Co-lead vocals from Cathi and me.
67. LORCA (Draheim, Static Cling) - Was reading a Lorca biography at the time and copped a bunch of quotes from him to construct the lyrics.
68. THAT HIDEOUS STRENGTH - (Shayler) - This is one of Ron's home recording projects on which he plays all instruments except guitar solo #1 (Al Anderson) and #3 (me). Steve Hillage fans take note.
69. THE MONSTER SONG (Birmingham, Shayler, Static Cling) - Almost entirely Bob's, Ron wrote the music for the bridge. Some creative and unusual harmony singing by Cathi throughout.
70. LITTLE SECRETS (Otis, Draheim, Static Cling) - Cathi's words, Cath and I wrote music together. This one's a real chiller. Like "The Monster Song", it's about child abuse - and aren't we a cheery bunch! Stunningly beautiful guitar work by Glenn Phillips and I get to play a de-tuned dulcimer at the end.
71. AS I BLEED (Wheels, Draheim, Shayler, Static Cling) - This was the last song Helen Wheels and I wrote together before her death. Helen and I never really finished it but Static Cling did. This same recording can also be found on the "To Helen with Love" compilation tribute on Cellsum records. If the lead guitar sounds especially sweet it's thanks to Dave Anderson who provided the vintage Fender Bassman amp.
72. THIS HEART (Draheim, Static Cling) - '60's garage changes and feel plus a theramin.
73. SWEET JANE (Lou Reed) - An "everything-but-the-kitchen-sink" arrangement that Tom Kohn from Rochester's Bop Shop dug when he heard it live. We recorded it for him but largely failed to capture whatever it is that this song usually has live. Call or e-mail me for the complete story on how half a verse from "All Along The Watch Tower" ended up in here.