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from a specially outfitted freighter on the fringe of international waters, often in Greenpeace- , 1980 , 1980 Memoirs Of An Air Pirate by Dean Motter like peril from HMS patrol boats and bounty hunters. Fanshawe’s radio and TV department mounted this course to explore several disci- "...a new art of design...accepts the plines, from Buckminster Fuller’s geodesics to characteristics of machine production not as McLuhan’s theories to guerrilla video to neon limitations but as means for the creation of sculpture. But what intrigued me most at the new types of rightness, and it sees the time was the EMS Putney synthesizer. This machines themselves as tools of enormously was in the pre-digital, pre-sampling days and augmented effectiveness in the humanizing of the device resembled something out of a fifties our world. Obviously in this the designer is not science fiction movie. a free agent. If he is any good at his work, he will not pluck his designs out of the air or out of Here was a class made up of audio engineers, the private storehouse of his invention. The technicians, musicians, artists and even psy- imagination which makes him competent is not chology students, with the basic tenet that we inclined to fantasy." were supposed to ‘play in each other’s sand- boxes’ as it were. We studied under the tute- --Walter Dorwin Tegue lage of Lodge, Eric (son and ghostwriter of Design This Day: The Technique of Marshall) McLuhan, sculptor Michael Hayden, Order in the New Machine Age, 1940 and Syrinx saxophonist Doug Pringle. We were an unlikely group for whom the words “tem- PART ONE: OF MACHINES pered,” “phase” and “modulation” held very dif- ferent meaningsin each of our disciplines. In For me it all began back at Fanshawe College the years that followed, the course came to in London, . It was 1974 and I was a focus on the recording industry and the more fine art and design student at the time. One of experimental, cross-disciplinarian endeavors my electives was a class called Creative went by the wayside—but not before I had Electronics. This was the brainchild of Tom become deeply involved with electronic music. Lodge, a visionary and true-life air pirate him- self. Cousin to John Lodge of the Moody Shortly after I graduated I bought a used Mini- Blues, Tom was one of the founders of Radio Moog synthesizer from a fellow alumni of the Caroline a decade earlier. This was England’s course, Michael Jackson, who was selling it off first progressive radio station which circum- so he could travel to England and study at vented the British Isles’ repressive government recording studios there such as EMI, PYE and controlled broadcasting industry by transmitting Abbey Road. 1 TWBookSpreads_book.qxd 6/20/13 9:49 PM Page 6

I’d had an affinity for electronic music since the we had to make our living by doing children’s generators—so PART TWO: early days of Pierre Kingsley and Walter books, record covers, and magazine illustra- there was an infi- Morgan at Eastern Sound. OF MEN Carlos and, later, Pink Floyd and ELP. At last I tions of all kinds. nite number of had the ability to imitate them. I noodled textures and By this time, my around with the machine in my living room in However, one of my studio mates, John sonic construc- long time friend for a time, but became bored with sim- Allison, also shared my affinity for electronic tions to look into. and colleague, ply accompanying records. That pastime music. He was the proud owner of a Sythni But original Jeffrey Morgan lacked fulfillment. The physical exhileration that 100, which was basically the Putney in a brief- melodies? That (a frequent visi- my idols like Emerson and Wakeman loved to case with a maddenly tiny touch-sensitive key- was another mat- tor to the MARS exhibit was missing. Accompanying them- board. John suggested we pool our resources ter entirely. studio on both selves on a variety of machines—some by so we hooked up our gizmos and, lo and sides of the being ambidextrous, others by automating their behold, we had an art studio up front and a It was no acci- soundproof sequencers and event generators—they stood recording studio in back. dent that by then wall) had for a brave new world where technology was my new heroes become inter- not only accessible to the artist but also able to Well, it wasn’t long before we had attracted had become de- ested in what I liberate them from the conventions of ensem- two more synthesizer owners: flutist Pierre constructivists was up to. In ble performance. There was an inherent, Ayn Ouellet, who owned a 4-track TEAC tape like Steve Reich, Philip Glass and especially addition to being the defacto Canadian Editor Rand-like heroism to the vision of an individual recorder; and Patricia Cullen with her ARP and Brian Eno. But I still wanted to produce of Magazine in America, Jeffrey was freed from the bonds of his fellows and the Oberheim. We expanded and the entire co- something that sounded at least a little bit also the editor and senior writer/columnist of shackles of a score. operative became known as MARS & CO: an conventional—if only just to prove that with Cheap Thrills, a rock ’n’ roll monthly published anagram for our last names (Motter, Allison, enough technical knowledge, imagination, by CPI, one of North America’s largest concert So I purchased a rhythm machine and a Rivoche, Steacy & Cullen, Ouellet). and recklessness one could approximate promoters. And because I also happened to be sequencer and eventually another synthesizer. musical talent. That a command of pure theo- Cheap Thrills’ art director and designer, Jeffrey I had a good assortment, if a bit Rube And now that I had everything I needed to retical ‘architecture’ would allow me consider and I used the magazine as a monthly forum Goldberg-like, but it was still that of a hobbyist. emulate my musical heroes I was missing only myself a musician. to promote the shared interests we had in the one thing: musical virtuosity. I could create more subversive musical styles of the day. Around this time I moved my graphic design Tangerine Dream-like drone pieces combining It didn’t take long to learn the folly of my and illustration gear out of my home to share a phase shifts and filter sweeps with simplistic ways. Sharing the facility with an artisan like So when Jeffrey saw the Ali Baba’s cave of Queen Street West studio (located above the chord changes bathed in a myriad of textures Pierre and a brilliant virtuoso such as Patricia, synthesizers at MARS, his eyes lit up like two original Silver Snail store) with a and effects, but I had no songs! That didn’t I soon realized that any aspirations I had for LEDs. Having studied electronic music himself number of other artists including stop me from investigating just what the becoming a professional performer would be at with James Tenney (who and Paul Rivoche. Ostensibly we were all machines were capable of, though. Every com- relegated to being an ‘interesting sideman.’ had played on ’s seminal album, aspiring comic book illustrators but, as Toronto ponent had a variable control—whether it was And even then my other commitments would In C), Jeffrey began tinkering with the key- had only a nascent comics industry at the time, the oscillators, envelope shapers, or rhythm make it difficult for me to devote the time boards while I programmed and engineered in needed to cultivate such a narrow niche. an effort to continue my sonic explorations.

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We spent countless late nights, weekends, and PART THREE: OF MUSIC Then Mark Shortly thereafter holidays practicing and recording endless vari- Domenico, a Andy Haas from ations on themes. Some we came up with on I was involved in the music business in other vocalist with Martha and the the spot; others Jeffrey had already written at ways. After a stint as art director at CBS Sefel Records, Muffins showed home on his piano. Occasionally we came to Records Canada, I had hung out my own shin- joined in. (His up to wail away aesthetic loggerheads but always managed to gle and was for a time one of the busiest children’s music on saxophone. patch things up in time for another session. album cover designers in the country. I was album But, I’m (He was a friend working for major labels and independents Just A Kid had and student at the What I discovered, or re-discovered rather, alike. One of the advantages of that line of garnered me a Ontario College was that aforesaid brave new world of the Ayn work was that I came to know many of the of Art when I Rand-like technological musical individual. It musicians who roamed the local circuit. I often nomination for taught a Creative wasn’t so much in one’s dependence or inde- collaborated with them on artwork for their self- album cover Electronics pendence, but the simultaneous feeling of con- financed or domestically produced LPs, EPs design.) He, in course there.) trol and unexpected discovery. Each tune was and singles. In doing so I spent a lot of time turn, brought a machine in itself, and when all the parts dwelling in bohemian rehearsal spaces, along his two Even fellow worked in sequence and harmony it was as recording studios, and concert venues. As a favorite sidemen: album designer Motter and phantom engineer at Round Sound. much a result of a creative plan as the natural result, I was in a position to trade design bassist Steve (ex- laws of mathematics. It was a degree of mas- favors here and there with various Toronto McKenna and drummer Kirk Devereaux. keyboard player for the Ian Thomas Band and, tery over the physical as well as the ethereal. luminaries in exchange for their performing on occasionally, Rush) tinkled the ivories for us. And yet as pretentious as that may sound, it some of the tracks we had recorded. At this point one may ask: why replace per- And I certainly wasn’t above asking Hugh’s was a simple visceral sensation. It was...music. fectly good sequencer and bongo box tracks then-girlfriend Cherie and my then-wife Cathy However, it didn’t come from our ears, as I was Ironically, it was Jeffrey who started the guest on some of the songs with strings and skins? to provide additional background and lead accustomed to, but our hands. musician ball rolling when he was prescient Certainly Jeffrey did. He knew that in a city vocals as required. enough to specifically ask Paul Robinson of saturated with hundreds of conventional Gradually a collection of distinct thematically- the Diodes to vocalize on a song of his that bands, we were a rare duo in Toronto spe- One afternoon during a telephone interview, related pieces began to develop which reflect- we’d been working on called “Thrilling cializing exclusively in an all-synthesizer Jeffrey had the chutzbah to ask Glenn Gould if ed both Jeffrey’s astute socio-political satirical Women.” (I myself had a short-lived attempt at sound. Why relinquish that unique advan- he’d care to play piano on “Radio City.” Mr. lyrical and musical visions as well as my own performing with the band on keyboards in addi- tage? It was simple. With a modicum of Gould good-naturedly declined the offer, but electro-acoustic constructions. It was a surreal tion to designing three of their album covers.) ‘musical’ accomplishment now under my belt, we always kept a track empty for him just in romance for an era that never really existed; a I could play—even if only on tape—with ‘real’ case he should ever change his mind and nostalgia for a dream state. And as we pol- Not to be outdone, I summarily asked Toby musicians, not self-programmed robots. The decide to call back. ished and distilled the works it became appar- Swann of the Battered Wives to contribute texture of randomness could be introduced ent to me that our music deserved to be guitar on the same song. (I designed two by independent minds as opposed to careful- Finally, special mention must be made of fel- brought to full bloom. covers for that band as well as their contro- ly controlled entropy. Plus, I could consider low studio mate and photographer Tom Robe, versial logo.) myself a peer. Never underestimate one’s himself a guitarist with a keen and critical ear, ego in these enterprises. who was actually present at the creation right 4 5 TWBookSpreads_book.qxd 6/20/13 9:49 PM Page 10

from the very beginning. Thirty years later, his Fortunately for us, my classmate Michael And so it was ture in a crucial astute analysis would prove to be invaluable Jackson had long since returned from England that The Air way. Ralph during the final editing phase. and was working at Eastern Sound in Pirates’ master Alfonso, a pop Toronto’s fashionable Yorkville district. Thanks tapes were culture author A unique hybrid of musicians that wasn’t exact- to him, we were able to avail ourselves of that regretfully and record pro- ly a band in the conventional sense of the facility as well as all the other local studios shelved and rele- moter who lived word, we dubbed Canada’s first phantom that Michael had connections to. With him at gated to a back in Toronto by supergroup “The Air Pirates,” a name derived their respective consoles, it wasn’t long before storage room. way of Montreal, in part from the infamous Disney-suppressed we had amassed a significant amount of full- Some time later, had always been underground comix by Dan O’Neill. In spirit, fledged 16-track masters. when the record- a little curious however, the name pays unmistakable tribute ing studio was about what we to the countless heirs to Radio Caroline: the But things would change. After an extended sold and its were up to in the pirate radio stations which are broadcasting stay at another Queen Street West location assets invento- electronic labora- around the world at any given time. (this time on the ground floor behind the ried, we belatedly tory behind my Mood Indigo nostalgia clothing store), MARS discovered that drawing board During the sixties, Jeffrey would listen to ultimately moved to the top floor of the all of the dozens when I wasn’t these short-wave stations on his powerful Darling Building in the garment district of of 16-track reels Morgan and Toby Swann at Round Sound. designing record Nordmende Hi-Fi receiver as they spread Spadina Avenue. When the once back-room- we had worked sleeves for him. I their gospel of unregulated music across the sound studio took on investors in order to so long and hard on had tragically been promised I would let him in on the secret when ether. Years later, having filtered this unli- become a state-of-the-art recording studio, destroyed by workmen who’d demolished the we were ready, never dreaming that he’d have censed aesthetic through his own singular the graphic arts collective also expanded to storage room while renovating. to wait until the beginning of the next century eclectic sensibility, he would return what he’d include more members as a means of sup- to find out. In the meantime, he moved to learned to the airwaves. First as the host of porting the much larger space. All that remained were seven substandard Vancouver where he evolved into the beat poet The Machine Rock Show on Rogers audiocassettes of final mixes that Jeffrey had laureate RALPH and founded the Bongo Beat Television in the early eighties; and then by While the stakes had been raised so high that wisely made after each session and two reels record label. But you can never escape your hosting The Air Pirates Show, an all night I could no longer afford to maintain an owner- of quarter-inch master tape containing but four past: because he had managed the Diodes radio program initially heard on CKLN in ship stake in the recording studio I was able songs. And even they were sealed away at the during the halcyon heydays of punk and new Toronto during the late eighties and then on to book a few hours here and there for the bottom of a box somewhere, all but forgotten. wave, it was Ralph that Epic Records turned to CFCR in Saskatoon during the early nineties. occasional session, but nothing compared to when they wanted an overseer to assemble a what we’d been accustomed to. Eventually I Decades pass. retrospective Diodes compilation entitled Tired Of course, involving musicians of this quality had to abandon the enterprise. What initially Of Waking Up Tired. meant that we now had to get out of the had started out as little more than a hobby PART FOUR: OF MYTHOS cramped back room of MARS to properly and become a bonafide artistic endeavor was When it became apparent that there was record them. But where? Studio time was now unfortunately a white elephant with no Little did we know it, but after this interminable enough interest in this initial release to per- expensive and we had yet to find a rich patron. practical way of ever being completed or passage of time another long time friend and haps justify a second volume, Ralph began released. colleague of ours was about to enter the pic- compiling additional material. It was then that 6 7 TWBookSpreads_book.qxd 6/20/13 9:50 PM Page 12

he dimly recalled something about there playback machine properly configured to run being an unreleased song that Paul Robinson quarter inch reel to reel tapes which had been had once sung on. A song called “Thrilling recorded at 30 inches per second. Although Women” that just so happened to be one of 30 IPS was the standard speed for big reels the sole remaining Air Pirates songs to sur- back in the mid-seventies, it was a highly vive on a quarter inch two-track reel of tape: a unusual fast speed for quarter inch tapes. So reel of tape which had never been played the good news was that the two tapes would since the day it had been mastered over two be of extreme high quality. The bad news, decades earlier. however, was that before they could even be threaded onto the machine, let alone played Remembering how we had spent countless back, both reels would first have to be literally hours in the studio, Ralph wanted to know baked in an oven for several hours in order to what else we had recorded; specifically if we physically bind the flaking oxide back onto the had completed enough material to assemble a tape. Only then could they be digitally trans- full album. That’s when he was told the story of ferred—and even so there would be no more how our 16-track masters had tragically been than one or two opportunities at most to run destroyed. However, when it was revealed that the tape across the playback heads before most of our sessions had at one time or anoth- the oxide would flake off permanently and er been dubbed onto work cassettes which still render the tape forever useless. Talk about might exist somewhere, Ralph asked Jeffrey to your creative electronics... see if he could locate them. After a thorough search lasting several weeks, Ralph flew to Luckily, the reel to reel transfer process went Toronto to hear what had been found. problem free. But that left us with the dilemma of how to digitally transfer and then restore Accompanied by the ubiquitous Dave Rave, seven audiocassettes which were recorded Mars & Co. Studio Queen Street, Toronto, circa 1981. they listened to the seven original audiocas- before the advent of high quality chrome or even went so far as to record over low-grade Pirates not only on a technical level but aes- settes in Jeffrey’s living room, after which both metal tapes. To make matters even worse, commercially released classical music tapes. thetically as well. It took months of hard work decreed that there indeed was enough material because we never dreamt that these surviving Ralph knew from experience that the current to achieve, but Blair did a heroic job of taking of sufficient quality and quantity to warrant a cassettes would one day end up being our state of digital audio technology would now twenty-five year old audiocassettes and mak- full release—but only if the tapes themselves archival master tapes, we cavalierly made our make it possible for our recordings to be ing them sound as if they were recorded yes- could somehow be salvaged. studio dubs on whatever happened to be lying restored and possibly enhanced. The hard part terday. Recorded yesterday on extinct mid-sev- around at the time. No cracking open a brand would be finding the right person who was enties equipment, that is. He even added a Ralph arranged to have Jaimie Vernon of new factory sealed tape for us: the first cas- expertly adept at using such advanced tools. sublime guitar solo of his own, thus proving Bullseye Records take the two reels of quar- sette we could immediately put our hands on Enter Blair Packham, formerly of the Jitters, that it’s never too late to become an Air Pirate. ter-inch master tape to Lacquer Channel. This would suffice, regardless of how many times it who was the one man Ralph believed could Thanks to Blair, we’re now able to finally pres- was the only studio in town equipped with a had already been used. Indeed, sometimes we best renew the ragged legacy of The Air ent this album as we originally envisioned it. 8 9 TWBookSpreads_book.qxd 6/20/13 9:50 PM Page 14

It seems like a lifetime since THE AIR PIRATES these recordings were created. In THRILLING WOMEN many ways it is. The world has Rhetorical Structure changed quite a bit since then. Oddly enough, the faux nostalgia I. INVENTIO : Give The Girls Hammers! we were creating back then is no 01 – Thrilling Women (Morgan) longer counterfeit. The futuristic 02 – Cathedral Of Ice (Morgan) devices that we used now seem 03 – A Darkened Stretch (Motter) at once both brutal and delicate— 04 – Hot Goggle Talk (Morgan) and terribly, wonderfully archaic. Unlike a grand piano or a fine II. DISPOSITIO : Living Experimentally guitar, these machines were built 05 – The Princess Of Hydrogen (Motter) to become obsolete. That was, 06 – Radio City (Morgan) and remains part of the process 07 – Olympiad (Morgan) and the product. 08 – Schräge Musik (Morgan)

Today that stretch of Queen III. ELOCUTIO : Mere Gratification Street between Beverly and 09 – Flying Down To Rio (Morgan) Bathurst is almost unrecogniz- 10 – Dopplegänger (Motter + Morgan) able. The music continues but it 11 – Mezameru (Morgan) doesn’t seem as much a life and death struggle as it did back IV. MEMORIA : To Slowly Erode then. As for me, I haven’t 12 – Neuromantics (Morgan) changed as much as I should 13 – Room For One More (Morgan + Motter) have. I did finally make it in the 14 – No Time For Boys (Morgan) comic book business (Mister X, 15 – A Nasty Piece Of Business (Motter) Terminal City, Batman… even Wolverine). I continue to struggle V. PRONUNCIATIO : Futures Yet Defined to hang onto my creative edge. 16 – Thrilling Women (Morgan) However, Tegue’s words often haunt me. They would have caused me to bristle in those days; today I live by their irony.

– Somewhere in Somnopolis, 2011 Outside the Beverly Tavern, circa 1977. 10 TWBookSpreads_book.qxd 6/20/13 9:50 PM Page 16

01 - THRILLING WOMEN Four former cute mutes And we stirred and stirred and stirred 02 - CATHEDRAL OF ICE And a Siamese cat We stirred the Jeffrey Morgan: Lyrics, Music, One shapeless structure Jeffrey Morgan: Lyrics, Music, Synthesizers Synthesizers, Handclaps With a layer of fat Four former cute mutes Dean Motter: Synthesizers, Electronic Dean Motter: Lost Electronic Percussion Three shameless hussies And a Siamese cat Percussion Paul Robinson: Lead Vocals Cathy Rodrigues: Vocals Toby Swann: Lead and Rhythm Guitars At the end of the lime The one shapeless structure Pierre Ouellet: Synthesizer Solo Steve McKenna: Bass Guitar And the promise of a very good time With a layer of fat Kirk Devereaux: Drums Three shameless hussies And as the red cathedral lights Mark Domenico: Backing Vocals Four fluid fixatives At the end of the lime Lay heavy on her hands and brow Cathy Rodrigues: Backing Vocals Adhering to a wall And the promise of a very good time Cheri Bogart: Backing Vocals She feels the lines upon her face An artificial species Betray her age from then ‘till now Tom Robe: Lost Guitar, Handclaps From an artificial doll The four fluid fixatives A slightly severed sister Adhering to a wall When the heat came down She bridges gaps between the years Sprayed with aerosol and primed The artificial species We were walking though debris In silent ways on silent nights To the tune of a very good time From the artificial doll We were cleaning up the kitchen And faces futures yet defined The slightly severed sister We were cleaning out Denise While hovering in silent flight When the word leaked out Sprayed with aerosol and primed We were working on Marie To the tune of a very good time We roped off all the side streets Icon, Icon We were slicing up the sections And we side-swiped all the bricks I can’t see you any more Were sluicing out Denise I never wanted you to know And engaged in snappy patter We fired up the elements I never wanted you to go Real slick Icon, Icon And made the Masons sick I never wanted you to stay I can’t hear you any more When we slowly stirred the contents I never wanted you that way We measured our perimeters Real thick We dusted and we chalked She moves her heavy crimsoned hands She very rarely sleeps alone And we talked And weaves her words on ancient looms We reviewed the perfect radius She’s always on the telephone And we talked Then lovingly throws back her head Surveyed what had occurred She likes to play it as it lays And we talked To sing her songs in cherished rooms And we stirred She’s always on a holiday And talked and talked And we stirred She tends to fall for classic form Icon, Icon And we stirred and stirred and stirred She’s deviating from the norm We measured our perimeters I can’t see you any more She likes to look for hidden signs We dusted and we chalked Reviewed the perfect radius She’s signing on the dotted line And we talked Icon, Icon Surveyed what had occurred And we talked I can’t hear you any more And we stirred And we talked And we stirred And talked and talked about

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03 - A DARKENED STRETCH Twenty minutes well spent 05 - THE PRINCESS OF HYDROGEN 07 - OLYMPIAD Seventeen had paid the rent Dean Motter: Music, Synthesizers, Soaking up the atmosphere Dean Motter: Music, Synthesizers, Jeffrey Morgan: Lyrics, Music, Synthesizers, Electronic Percussion Now spent and withdrawn Electronic Percussion Grand Piano Dean Motter: Synthesizers, Electronic Percussion Suitcases close 06 - RADIO CITY 04 - HOT GOGGLE TALK Mark Domenico: Vocals They’re heavy with her new clothes Steve McKenna: Bass Guitar Jeffrey Morgan: Lyrics, Music, Synthesizers The lean lovely thug faces East Kirk Devereaux: Drums Jeffrey Morgan: Lyrics, Music, And is gone Dean Motter: Synthesizers, Electronic Synthesizers Percussion Dean Motter: Synthesizers, Electronic Mark Domenico: Vocals The games were going slow so Percussion Here come the Chinese goofers Steve McKenna: Bass Guitar I made to leave Mark Domenico: Lead Vocals All spread-eagled betweenie ears Kirk Devereaux: Drums That’s when I felt her put her Kirk Devereaux: Drums Allee time hot goggle talk Heart on my sleeve Steve McKenna: Bass Guitar From catchee cash customers Donna went down in Radio City So I stayed Hugh Syme: Grand Piano Cathy Rodrigues: Backing Vocals Donna went down for more than she knew They’re neatish in row-rows Cheri Bogart: Backing Vocals Nobody knows the reason she went there She introduced herself: Aviva Germane And she’s a plenty smart headclocker Somebody said that she went looking for you I swear to God that that’s her real name She dresses accordingly She was a good looking strip At least that’s what she told me When ushering them out the door Legitimate in lipstick I’ve never been to Radio City Ready to strike behind defenseless backs I’ve never had a reason to go We walked for hours You want to give the girls hammers I might go down to Radio City Beneath the towers You want to see what they’ll do Ink in her hair There are some things that I ought to know Beneath the towering searchlights But if you give the girls hammers Slinking up the back stairs We had intentions They’ll take it out on you Lethally armed with a fatal wisecrack I’m going down to Radio City We couldn’t mention I’m going down for more than the view In such a setting late at night I wouldn’t give the girls hammers Here come the Chinese goofers I’m going down to Radio City You mightn’t like the results All spread-eagled betweenie ears There are some things that I have to do She said she needed a change of scenery ’Cause if you give the girls hammers Allee time hot goggle talk Living experimentally was the key You’re only asking, only asking for it From catchee cash customers And I agreed

They’re neatish in row-rows She then suggested that we And she’s a plenty smart headclocker Share an address She dresses accordingly We left the stadium and When ushering them out the door We didn’t have any regrets

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We walked for hours A thousand year’s not long enough to She took the gelatin and high explosives out 11 - MEZAMERU Beneath the towers Accomplish what they want us to do And slowly made demands Beneath the towering searchlights Yet they insist that we all fly through She’d never hijacked anything before Jeffrey Morgan: Lyrics, Music, Vocals, We had intentions And make the Allies listen to our And didn’t care Synthesizers We couldn’t mention One note schräge musik As long as she managed to be by his side Dean Motter: Synthesizers, Electronic In such a setting late at night They’re tuning out our schräge musik At the carnival Percussion Deep within the confines A thousand year’s not long enough to She saw the runway lights begin to Of the Japanese hot land 08 - SCHRÄGE MUSIK Accomplish what they want us to do Pierce the darkness as they made to land All the rising sons Yet they insist that we all fly through She leaned against an empty seat and Are slowly rising again Jeffrey Morgan: Lyrics, Music, Vocals, Although the Allies have tuned out our Held the detonator in her hand Synthesizers Bankrupt schräge musik She couldn’t see what all the fuss was for The local girls have noticed Dean Motter: Synthesizers, Electronic Yeah, they’ve all tuned out our And didn’t care Percussion And they’re getting excited Schräge musik As long as she managed to be by his side Blair Packham: Guitar Solo They’ve got one eye on their mirrors At the carnival And one eye on the men They’ve all tuned out it They tell us that we’re fighting the good fight She wasn’t standing firm enough when They tell us that one day we’ll prevail All the time They encountered sudden turbulence They haven’t got the faintest clue Yeah, they’re at the scene of the crime 09 - FLYING DOWN TO RIO She lost her footing, lost her grip and What happens to us once we’re up here All the time Worst of all she lost her only chance When Allied bullets rain down like hail Yeah, they’re at the scene of the crime Jeffrey Morgan: Lyrics, Music, Vocals, The sky lit up a vivid orange but Synthesizers She didn’t care A thousand year’s not long enough to The young girls pledge allegiance Dean Motter: Synthesizers, Electronic And neither did anyone down on the ground Accomplish what they want us to do Percussion To provide total pleasure At the carnival Yet they insist that we all fly through Their knowledge of the act And make the Allies listen to our She couldn’t stand the stress and strain Is always textbook complete Lovely schräge musik Of being away from him another day 10 - DOPPLEGÄNGER They’re listening to our schräge musik She cabled to Brazil to say she’d be arriving Their appetite for fun On a midnight plane Jeffrey Morgan: Music, Synthesizers Exceeds mere gratification Our parlor tricks can’t stem an invasion She didn’t know what would become of them Dean Motter: Music, Synthesizers, It’s got more to do with business That cigar smoking man wants us dead And didn’t care Electronic Percussion Than it does with deceit And now the fearless leader of the free world’s As long at she managed to be by his side Andy Haas: Saxophones Saying he’ll destroy us At the carnival All the time Some days you’re better off staying in bed Yeah, they’re at the scene of the crime She passed the fluoroscope and metal checks All the time And took her seat as she had planned Yeah, they’re at the scene of the crime

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All the time In Neurope we are She said on Tuesday Original sound recordings produced Yeah, they’re at the scene of the crime Neuromantics I’m taking photographs by Dean Motter, Toronto, 1977 – 1980 All the time In Neurope Yeah, they’re always dressed to the nines She said on Wednesday Archived, assembled, and sequenced by All the time The situations that we’re up against I’m seeing what develops Jeffrey Morgan, Toronto, 2000 – 2007 Yeah, they’ll never leave an address Defy definition All the time There’s nothing to know She said on Thursday Engineered by Dean Motter at MARS & CO; Yeah, you’ll ask for more but get less The cost is high but I write my final draft Jeffrey Morgan at York University; Roy Farr at It’s a price that we can pay Round Sound; Joe Finland at McClear Place; At the scene of the crime Without flinching She said on Friday Michael Jackson at Round Sound, Sounds At the scene of the crime I’m typing up my novel Interchange, and Eastern Sound. At the scene of the crime To slowly erode At the scene of the crime We’re Neuromantics She said on Saturday Mixed by Dean Motter, Michael Jackson and In Neurope I’m recording songs Joe Finland. They very rarely sleep alone We are Neuromantics In Neurope She said on Sunday Jeffrey Morgan and Dean Motter play the We are Neuromantics The day of rest God gave us following original instruments and operate 12 - NEUROMANTICS In Neurope the following period devices: Mini-Moog, We are Neuromantics I’m busy sculpting ARP 2600, VCS 3, Mellotron 400-D, RMI Jeffrey Morgan: Lyrics, Music, Vocals, In Neurope And dancing all day long Harmonic, EMS Putney, Sythni 100, AKS, Synthesizers Yamaha GX-1, Oberheim DS-2, Roland, Dean Motter: Synthesizers, Electronic No time for boys Korg, RMI, Fender Rhodes, Winter, Steinway, Percussion 13 - ROOM FOR ONE MORE She’s got no time for boys Blüthner, modified Dual turntable, Enossified She’s got no time for boys Revox 4-track tape recorders, TEAC 4-track We were lying Jeffrey Morgan: Music, Percussion, No not at all tape recorder, 1954 Nordmende Hi-Fi short Beside one another in silence Elevator Hydraulics wave receiver, 1968 Wollensak 3M portable Our bodies were cold Dean Motter: Music, Synthesizers cassette recorder, 1978 Oblique Strategies Our way of loving 15 - A NASTY PIECE OF BUSINESS deck by Eno and Peter Schmidt. One another hasn’t treated us kindly It’s starting to show 14 - NO TIME FOR BOYS Dean Motter: Music, Synthesizers, Electronic Percussion "It's better to be in Toronto We’re Neuromantics Jeffrey Morgan: Lyrics, Music, Vocals than to live in some place you don't want to." In Neurope we are 18 - THRILLING WOMEN Neuromantics She said on Monday -- Groucho Marx In Neurope we are Jeffrey Morgan: Music, Synthesizers I’m starting on a painting in "Home Again," Evening Performance Neuromantics Dean Motter: Electronic Percussion Tom Robe: Found Guitar Shea's Theatre, Toronto, May 7, 1915 18 19 TWBookSpreads_book.qxd 6/20/13 9:50 PM Page 24

Contact address: Dean Motter dedicates this album to the memory of JEFFREY MORGAN: www.jeffreymorgan.info that Queen Street West band in the sky: Patricia Original master tapes digitally transferred at Dean Motter would like to thank for their DEAN MOTTER: www.deanmotter.com Cullen, Marc Conners, BB Gabor and Handsome Lacquer Channel, Toronto, May 28, 2001. support in this effort, be it intentional or All songs written by Jeffrey Morgan except: Ned. And their backstage crew: Janis Forsey, Tapes and audiocassettes digitally restored, unknowing: John Allison, Heather Brown, “Dopplegänger” and “Room For One More” written by John Hughes, Mark Russell, and Karen Woolfrey, edited, and enhanced by Blair Packham, Roy Farr, Richard Flohil, Janis Forsey, Jeffrey Morgan and Dean Motter; “A Darkened Toronto, January 21 – March 11, 2002 Lindsay Gillespie, Michael Jackson, Stretch,” “The Princess Of Hydrogen” and “A Nasty Jeffrey Morgan dedicates this album to Piece Of Business” written by Dean Motter. All songs whoever he’s going out with right now. Tom Lodge, Robert MacIntyre, published by Crash And Burn Music (SOCAN). All First version mastered by Blair Packham Cathy MacMillan, Bill Marks, Eric McLuhan, Rights Reserved. All lyrics reprinted by permission. at Twiddletown, Toronto, May 13, 2002 Pierre Ouellet, Bill Payne, Paul Rivoche, Tom Robe, Cathy Rodriquez, Ken Steacy Cover: ALANNAH vs. THE SPIDER! Second version mastered by Graemme and Ross & Jo-Anne Young. Alannah Myles photographed Brown at Zen Mastering, Vancouver, by Patrick Harbron, Toronto, 1980. www.alannahmyles.com August 29 and September 20, 2002 A very special thank you to all the musicians www.patrickharbon.com who performed on these tracks so very long Final version re-edited, remixed, and ago, purely as an act of friendship. Your Makeup: J. Blanchard. remastered by Jeffrey Morgan at Die good faith is finally being rewarded and your Spider wrangler: Ralph Brown. Darkroom magic: Tom Robe. Maschine, Toronto, June 17, 2007 excellent musicianship is finally being heard. Airbrush finesse: Paul Rivoche. Concept and art direction: Dean Motter. Book and tray card photography Paul Robinson appears courtesy of by Tom Robe, Toronto, 1977 – 1980 The Diodes. Cover: ÜBER ALLES! © Tom Robe Photography. Composite illustration by Dean Motter. Toby Swann appears courtesy of Despite having officially retired over a quarter of a Jeffrey Morgan would like to thank: The Battered Wives. century ago, The Air Pirates wish to announce, in Anne Morgan and Joe Morgan for their keeping with the current 21st Century opportunistic parental love and support; Andy Haas appears courtesy of spirit of the times, that they could very well be per- for discovering me in 1974; Miss Marlene Martha And The Muffins. suaded to reunite and record another album should Dietrich for telephoning in 1975; Glenn anyone ever ask. Gould for telephoning in 1978; Brian Nelson Military Advisor: Kenneth R. Steacy (ret.) for telephoning in 1983 and 1992; and Guiding Light: Julie Wisdom (exiled) After all, stranger things have been known to happen; Patron Saint: Machine Rock, Esq. indeed, the fact that this long lost music has finally Alannah Myles for acquiescing in 2011. (making good on veiled threats since 1978) been released decades after it was originally record- ed and is being heard here for the very first time is ample proof of that. This sound recording is Ⓟ 2011 by Jeffrey Morgan. Booklet ©2013 Jeffrey Morgan and Dean Fortunately, you’re still here and so are The Air Motter. Issued under exclusive license to Bongo Beat Records. 2049 Melrose Ave., Montreal, Pirates. Rocking out like all get out. And ain’t that His Majesty's Airship R-100, over the Canadian Bank of Quebec, Canada, H4A 2R6. Unauthorized duplication is a violation of applicable laws. All what it’s all about? Commerce Building,Toronto, August 11, 1930. Viewed from atop Rights Reserved. [email protected] www.bongobeat.com. Made in Canada. -- Jeffrey Morgan, Toronto, 2011 the Darling Building, future home of MARS & CO. studios.