February 1994

February 27, 1994

March 1, 1994

Spring 1994

April 1994

Bibleland DA's BibleLand is released. View Album Reviews Album Info & Lyrics Terry: "We had done this production thing (MotorCycle), so we decided to go back in and do some really sloppy, four piece, five-piece band stuff. Make it practically a live recording. Just throw some caution to the wind and see what comes out of it. I think there are some successful things. It's probably the closest we'll get to punk." (1996) BibleLand is an actual amusement park close to Palm Springs. The album was recorded live in studio ('most of the tracks are first takes'). On the song 'Theo's Logic', there is a line that says, 'Had a quarter in my pocket, I pumped way too much gas. Like those bread and fishies, my little quarter turned to cash.' That's a true story that happened to Terry. Illustrations for the liner notes for the album were done by the Neverhood's Douglas TenNapel. Terry: "The references to (LA Dodgers sportscaster Vin) Scully (in "Bakersfield") are there because my grandfather was the guy who always had Vin Scully on the radio in his garage when I was a kid. Inside his garage, the wallpaper was all baseball players and football players, that sort of thing. It's just one of those images that stayed with me. Of course, that's why I became a Dodger fan. Those were the days when we would all go down to the old Coliseum and see Duke Snyder, Sandy Koufax, and Don Drysdale play; all those old Brooklyn boys." (Source: 'An Interview With Terry Taylor', True Tunes News - Summer 1994) Tim: "'The Bubble Bursts' is one of my favorite tracks that I've ever had the opportunity to play on. If you listen carefully you can hear a sort of greasy kind of "swing" to the basic track. Ed and I recorded the basic track (just bass and drums) with terry playing a scratch guitar plugged straight into the board in the control room as a guide for us to follow the song. Ed and I tracked that at 4 in the morning... When we came in the next day and listened to the track, it sounded so horrible that everyone thought it should be burned. But it also had this wonderful drunken slow-gallop/swing to it. (you can hear it kick in where the vocal starts.) once Jerry and Greg recorded some strategically placed guitar stabs and Ed recorded snare shots over the same parts, it smoothed everything out but kept the gallop. We added more guitars and that's the track that made it onto Bibleland." Terry: "The narrator of 'Low Crawls and High Times' takes us through a series stream of consciousness laments about the generally bleak condition of the culture, and of humanity itself. Thrown into the mix are grievances concerning naive and childish demands for quick fixes (...whining and commanding 'right now!'), expressions of alienation ('Won't somebody talk to me?'), Apocalyptic visions ('Blood, frogs and feces...'), and a protest against false feel-good pseudo 'spirituality' which worships a kind of 'genie in lamp' version of God ('God is jumping at the IHOP'). Add in an apparently sincere yearning for the return of Christ to end the chaos and set things straight ('you'll be comin' round the mountain soon'), and basically what this guy is sayin' is... well, kinda true and kinda messed up at the same time. I'll admit he sounds a bit off his rocker... you know, like his elevator doesn't go all the way to the... hey, wait, I wrote the song! Among my fondest memories of Gene Eugene is the first time I played this tune for him on acoustic guitar in preparation for laying it down in the studio. When I got to the line 'face lifts and action drinks', Gene really started cracking up, obviously finding that line particularly funny." Tim: "I was using an Ampeg half stack (4 ten inch speakers) with my old GK 400B head. Gene, as a recording engineer, really loved low end and experimented with it a lot. he gave me many different sounds over the years, but the sound he captured on bibleland is the closest to what that rig sounded like as i stood in front of it on-stage at a live gig. i miss Gene more for other reasons, just simply as a friend, but i also owe him a lot for the sound he gave me on record."

April 21-23, 1994

April 28, 1994

Early 1994

Zoom Daddy The Swirling Eddies' Zoom Daddy is released. View Album Reviews Album Info & Lyrics Zoom Daddy is basically just Terry, Tim, and Dave Raven in the studio, with a few overdubs done by the rest of the Eddies. Terry: "With Swirling Eddies, Tim, Dave Raven, and I would go into the studio. We'd set up the drums, guitar, and bass and just start making stuff up. The first song that we did was 'Zoom Daddy,' the title track. Frontline said that they needed a song for a sales conference. I did have a vocal mike up in the studio, so while I was playing with the tracks, I could shout out instructions. 'Bridge!' or 'chorus!' or whatever. For some reason, when it came to the chorus, I started singing 'zoom daddy,' don't ask me why I did, but I did. Tim was always encouraging me. He would ask, 'Why are you singing Zoom Daddy?' I would go, 'I have no idea.' Then he would say, 'That's great! That's the song title!' Tim: "Zoom Daddy was an oddball. Terry usually comes in with a bunch of stuff prepared but on Zoom Daddy, he didn't. None of us had anything, and for some reason, only Dave Raven, Terry and I were able to make it for the initial recording session. Anyway, we setup (just the three of us) and just started playing and fooling around and Gene rolled tape and we just got into some sort of strange thing where we couldn't stop and we went as fast as we could, laying down basic tracks with Dave's drums, bass, and Terry's guitar. What happened is that Dave Raven trully FUELLED the whole thing. Dave and I had played together a lot and you just get into a thing where you know where each other is going. Dave would just start playing a beat, and I would pick a key and just start playing a bass line and trying to play what it felt like, and then, terry played these really great guitar parts. 'Zoom Daddy' was the first song we completed because terry had to have a rough mix of it done for the record company to play at some christian booksellers convention or something. (it was really funny to me, picturing all these staight-laced types standing around and hearing 'Zoom Daddy' for the first time.)" Terry: "We would record a song, (and) someone, like Tim or Dave, would suggest a title, just in passing. And I would write it down on the track sheet. For instance, with 'I Had A Bad Experience With The CIA And Now I'm Going To Show You My Feminine Side,' when we had completed the basic track for that song, Tim was laughing about the song, he said, 'That's a very bizarre tune. It reminds'me of something like 'I had a bad experience with the CIA,' and for some reason I said, 'And now I'm gonna show you my feminine side.' So we all laughed about that, and I jotted it down the track sheet. So at the end of the sessions, I had all these bizarre titles. So it became a challenge for me to take these song titles - as far out as they were - and make something out of them. !t was a challenge and hard work, but I was determined to do it. Especially, because I wanted to see Tim's face. I don't think he thought I would make a song out of something like 'I Had A Bad Experience With The CIA And Now I'm Gonna Show You My Feminine Side.' It was a real blast to see him react to that." Like DA's MotorCycle, The Album was dedicated to Mark Heard. Early working titles for the album include Oh Ye Of Earth Are Stupid, which was the working title as early as November of '93.

Summer 1994

July 2, 1994

July 7-9, 1994

July 15, 1993

August 1, 1994

September 1994

October 6, 1994