The Red Krayola (album) - Revision history

Dotclub: /* Retrospectives */

2025-09-16T22:11:26Z

Retrospectives

← Older revision		Revision as of 15:11, 16 September 2025
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	<blockquote>		<blockquote>
	Robert [Nedelkoff] had the idea of Mayo producing Squirrel Bait and wrote to him, back in 1984. I think he was in Düsseldorf at the time. Then in 1989 Bastro was playing at the Rose Club in Cologne, and we did a version of "[[Dear Betty Baby]]" from Mayo's solo record, ''[[Corky's Debt to His Father]]'', which is one of my absolute favorite records. The German music critic [[Diedrich Diederichsen]] told me afterwards that Mayo was living about 40 kilometres away, writing a novel about Albania [''[[Art, Mystery]]''], and gave me his phone number. I gave him a call the next day. When the first [[Gastr del Sol\|Gastr Del Sol]] record, [1993's] ''The Serpentine Similar'', came out, I sent a copy to him in Germany, and got a call in Chicago about dinner time asking me when I was next in Europe so we could 'go ahead and do this', as if I'd proposed some kind of working arrangement. I met Mayo in Munich - I'd just given a paper on Ezra Pound in Rapallo, Italy, figuring out that I didn't want to be an academic specialising in modernist poetry - and I think at that point he'd already had an offer to teach in Pasadena, California, where he still is. I came back to Chicago where we had a weekly poker game with Dan Koretzky and Dan Osborn from [[Drag City]], and halfway through the evening I said, 'I've got this tape with me of the new Red Krayola song'. I think that one of the provisos of any label putting out The Red Krayola - they spell it with a 'K' in the US, out of fear of lawsuits - is that there would need to be an equal or greater commitment to new material, as well as shepherding into reissuing all these fantastic records, and Drag City were immediately enthusiastic about it. So next week at the poker game I showed up with a Gastr Del Sol tape. [laughs]		Robert [Nedelkoff] had the idea of Mayo producing Squirrel Bait and wrote to him, back in 1984. I think he was in Düsseldorf at the time. Then in 1989 Bastro was playing at the Rose Club in Cologne, and we did a version of "[[Dear Betty Baby]]" from Mayo's solo record, ''[[Corky's Debt to His Father]]'', which is one of my absolute favorite records. The German music critic [[Diedrich Diederichsen]] told me afterwards that Mayo was living about 40 kilometres away, writing a novel about Albania [''[[Art, Mystery]]''], and gave me his phone number. I gave him a call the next day. When the first [[Gastr del Sol\|Gastr Del Sol]] record, [1993's] ''The Serpentine Similar'', came out, I sent a copy to him in Germany, and got a call in Chicago about dinner time asking me when I was next in Europe so we could 'go ahead and do this', as if I'd proposed some kind of working arrangement. I met Mayo in Munich - I'd just given a paper on Ezra Pound in Rapallo, Italy, figuring out that I didn't want to be an academic specialising in modernist poetry - and I think at that point he'd already had an offer to teach in Pasadena, California, where he still is. I came back to Chicago where we had a weekly poker game with Dan Koretzky and Dan Osborn from [[Drag City]], and halfway through the evening I said, 'I've got this tape with me of the new Red Krayola song'. I think that one of the provisos of any label putting out The Red Krayola - they spell it with a 'K' in the US, out of fear of lawsuits - is that there would need to be an equal or greater commitment to new material, as well as shepherding into reissuing all these fantastic records, and Drag City were immediately enthusiastic about it. So next week at the poker game I showed up with a Gastr Del Sol tape. [laughs]
			</blockquote>

			[[David Grubbs]], 2025<ref>https://www.frieze.com/article/david-grubbs-stephen-prina-253</ref>

			<blockquote>
			Before [[Stephen Prina]] and I officially met, through the miracle of multi-track recording we had both played on the 1994 self-titled Red Krayola album.
	</blockquote>		</blockquote>

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	<blockquote>		<blockquote>
	I met [[Mayo Thompson]] in the early 1990s, when he was living in Düsseldorf. We were introduced by mutual friends – I believe Albert Oehlen was involved. Around the same time, some Los Angeles musicians connected to the art world were putting together a double-CD compilation, Oostende 1994, and they invited me to participate. I submitted 'Etude for Percussion' (Square Root Function II)’ [1980] – which I had written for two percussionists, each playing two snare drums and a woodblock.		I met [[Mayo Thompson]] in the early 1990s, when he was living in Düsseldorf. We were introduced by mutual friends – I believe [[Albert Oehlen]] was involved. Around the same time, some Los Angeles musicians connected to the art world were putting together a double-CD compilation, ''Oostende 1994'', and they invited me to participate. I submitted 'Etude for Percussion (Square Root Function II)' [1980] – which I had written for two percussionists, each playing two snare drums and a woodblock.

	While recording, a friend asked me to play piano and sing on one of his tracks. There was a Fender Rhodes in the studio, so I did it. Some musicians there, a band called Sweet Cream, encouraged me to perform more. They kept inviting me to open for them, and I kept saying no, the excuse being that they hadn't given me enough time to prepare. At one point they recognized my avoidance technique and gave me six months' warning and at that point I couldn't refuse.		While recording, a friend asked me to play piano and sing on one of his tracks. There was a Fender Rhodes in the studio, so I did it. Some musicians there, a band called Sweet Cream, encouraged me to perform more. They kept inviting me to open for them, and I kept saying no, the excuse being that they hadn't given me enough time to prepare. At one point they recognized my avoidance technique and gave me six months' warning and at that point I couldn't refuse.

Dotclub: /* Retrospectives */

2025-09-16T22:08:41Z

Retrospectives

← Older revision		Revision as of 15:08, 16 September 2025
Line 116:		Line 116:

	<blockquote>		<blockquote>
	Robert [Nedelkoff] had the idea of Mayo producing Squirrel Bait and wrote to him, back in 1984. I think he was in Düsseldorf at the time. Then in 1989 Bastro was playing at the Rose Club in Cologne, and we did a version of "[[Dear Betty Baby]]" from Mayo's solo record, ''[[Corky's Debt to His Father]]'', which is one of my absolute favorite records. The German music critic [[Diedrich Diederichsen]] told me afterwards that Mayo was living about 40 kilometres away, writing a novel about Albania [''[[Art, Mystery]]''], and gave me his phone number. I gave him a call the next day. When the first [[Gastr del Sol\|Gastr Del Sol]] record, [1993's] ''The Serpentine Similar'', came out, I sent a copy to him in Germany, and got a call in Chicago about dinner time asking me when I was next in Europe so we could 'go ahead and do this', as if I'd proposed some kind of working arrangement. I met Mayo in Munich - I'd just given a paper on Ezra Pound in Rapallo, Italy, figuring out that I didn't want to be an academic specialising in modernist poetry - and I think at that point he'd already had an offer to teach in Pasadena, California, where he still is. I came back to Chicago where he had a weekly poker game with Dan Koretzky and Dan Osborn from [[Drag City]], and halfway through the evening I said, 'I've got this tape with me of the new Red Krayola song'. I think that one of the provisos of any label putting out The Red Krayola - they spell it with a 'K' in the US, out of fear of lawsuits - is that there would need to be an equal or greater commitment to new material, as well as shepherding into reissuing all these fantastic records, and Drag City were immediately enthusiastic about it. So next week at the poker game I showed up with a Gastr Del Sol tape. [laughs]		Robert [Nedelkoff] had the idea of Mayo producing Squirrel Bait and wrote to him, back in 1984. I think he was in Düsseldorf at the time. Then in 1989 Bastro was playing at the Rose Club in Cologne, and we did a version of "[[Dear Betty Baby]]" from Mayo's solo record, ''[[Corky's Debt to His Father]]'', which is one of my absolute favorite records. The German music critic [[Diedrich Diederichsen]] told me afterwards that Mayo was living about 40 kilometres away, writing a novel about Albania [''[[Art, Mystery]]''], and gave me his phone number. I gave him a call the next day. When the first [[Gastr del Sol\|Gastr Del Sol]] record, [1993's] ''The Serpentine Similar'', came out, I sent a copy to him in Germany, and got a call in Chicago about dinner time asking me when I was next in Europe so we could 'go ahead and do this', as if I'd proposed some kind of working arrangement. I met Mayo in Munich - I'd just given a paper on Ezra Pound in Rapallo, Italy, figuring out that I didn't want to be an academic specialising in modernist poetry - and I think at that point he'd already had an offer to teach in Pasadena, California, where he still is. I came back to Chicago where we had a weekly poker game with Dan Koretzky and Dan Osborn from [[Drag City]], and halfway through the evening I said, 'I've got this tape with me of the new Red Krayola song'. I think that one of the provisos of any label putting out The Red Krayola - they spell it with a 'K' in the US, out of fear of lawsuits - is that there would need to be an equal or greater commitment to new material, as well as shepherding into reissuing all these fantastic records, and Drag City were immediately enthusiastic about it. So next week at the poker game I showed up with a Gastr Del Sol tape. [laughs]
	</blockquote>		</blockquote>

Dotclub: /* Retrospectives */

2025-09-16T22:01:37Z

Retrospectives

← Older revision		Revision as of 15:01, 16 September 2025
Line 116:		Line 116:

	<blockquote>		<blockquote>
	Robert [Nedelkoff] had the idea of Mayo producing Squirrel Bait and wrote to him, back in 1984. I think he was in Düsseldorf at the time. Then in 1989 Bastro was playing at the Rose Club in Cologne, and we did a version of "[[Dear Betty Baby]]" from Mayo's solo record, ''[[Corky's Debt to His Father]]'', which is one of my absolute favorite records. The German music critic [[Diedrich Diederichsen]] told me afterwards that Mayo was living about 40 kilometres away, writing a novel about Albania [''Art, Mystery''], and gave me his phone number. I gave him a call the next day. When the first [[Gastr del Sol\|Gastr Del Sol]] record, [1993's] ''The Serpentine Similar'', came out, I sent a copy to him in Germany, and got a call in Chicago about dinner time asking me when I was next in Europe so we could 'go ahead and do this', as if I'd proposed some kind of working arrangement. I met Mayo in Munich - I'd just given a paper on Ezra Pound in Rapallo, Italy, figuring out that I didn't want to be an academic specialising in modernist poetry - and I think at that point he'd already had an offer to teach in Pasadena, California, where he still is. I came back to Chicago where he had a weekly poker game with Dan Koretzky and Dan Osborn from [[Drag City]], and halfway through the evening I said, 'I've got this tape with me of the new Red Krayola song'. I think that one of the provisos of any label putting out The Red Krayola - they spell it with a 'K' in the US, out of fear of lawsuits - is that there would need to be an equal or greater commitment to new material, as well as shepherding into reissuing all these fantastic records, and Drag City were immediately enthusiastic about it. So next week at the poker game I showed up with a Gastr Del Sol tape. [laughs]		Robert [Nedelkoff] had the idea of Mayo producing Squirrel Bait and wrote to him, back in 1984. I think he was in Düsseldorf at the time. Then in 1989 Bastro was playing at the Rose Club in Cologne, and we did a version of "[[Dear Betty Baby]]" from Mayo's solo record, ''[[Corky's Debt to His Father]]'', which is one of my absolute favorite records. The German music critic [[Diedrich Diederichsen]] told me afterwards that Mayo was living about 40 kilometres away, writing a novel about Albania [''[[Art, Mystery]]''], and gave me his phone number. I gave him a call the next day. When the first [[Gastr del Sol\|Gastr Del Sol]] record, [1993's] ''The Serpentine Similar'', came out, I sent a copy to him in Germany, and got a call in Chicago about dinner time asking me when I was next in Europe so we could 'go ahead and do this', as if I'd proposed some kind of working arrangement. I met Mayo in Munich - I'd just given a paper on Ezra Pound in Rapallo, Italy, figuring out that I didn't want to be an academic specialising in modernist poetry - and I think at that point he'd already had an offer to teach in Pasadena, California, where he still is. I came back to Chicago where he had a weekly poker game with Dan Koretzky and Dan Osborn from [[Drag City]], and halfway through the evening I said, 'I've got this tape with me of the new Red Krayola song'. I think that one of the provisos of any label putting out The Red Krayola - they spell it with a 'K' in the US, out of fear of lawsuits - is that there would need to be an equal or greater commitment to new material, as well as shepherding into reissuing all these fantastic records, and Drag City were immediately enthusiastic about it. So next week at the poker game I showed up with a Gastr Del Sol tape. [laughs]
	</blockquote>		</blockquote>

Dotclub: /* Retrospectives */

2025-09-16T22:01:12Z

Retrospectives

← Older revision		Revision as of 15:01, 16 September 2025
Line 110:		Line 110:
	After [the [[Shows/1993-03-23\|1993 concert]] in] Graz [Austria] I got the bug again and started to play the guitar more, wrote five or six tunes and recorded them four-track with an eye to hitting up a record company for a deal and along came a chance. [...]		After [the [[Shows/1993-03-23\|1993 concert]] in] Graz [Austria] I got the bug again and started to play the guitar more, wrote five or six tunes and recorded them four-track with an eye to hitting up a record company for a deal and along came a chance. [...]

	One day [[David Grubbs]] rang. He asked what I was up to and I gave him a dub of the four-track stuff, telling him of my plan to go to the bank. He asked if he might send it to [[Drag City]] in Chicago, urging me to hold off getting back in the mainstream grinder. It turned out Dan Koretzky and Dan Osborn liked the stuff. During Christmas ~~’93~~, when I was home in Texas visiting my mother, Dan rang. He was able to persuade me to give Drag City a chance. I swallowed my qualms about working again indie style. Eventually, [[Albert Oehlen\|Albert]] [Oehlen] and I went to Chicago and did our first work with the label, a song called “[[Columbia]],” maybe another. Ultimately we made the eponymous LP at Steve ~~Albini’s~~ studio, building the set around the tunes from Germany, David playing, along with [[John McEntire]] from Bastro, [[Tom Watson]] from Slovenly, and [[Stephen Prina]]—an artist I’d gotten to know at the Pasadena art center. I won’t name everybody. The names are on the cover. Sure enough things kind of clicked and we got gigs. I should say too that I met [[Jim O'Rourke]] then, but didn’t know at first what to do with him. I’m glad to say we were able finally to get him involved.		One day [[David Grubbs]] rang. He asked what I was up to and I gave him a dub of the four-track stuff, telling him of my plan to go to the bank. He asked if he might send it to [[Drag City]] in Chicago, urging me to hold off getting back in the mainstream grinder. It turned out Dan Koretzky and Dan Osborn liked the stuff. During Christmas '93, when I was home in Texas visiting my mother, Dan rang. He was able to persuade me to give Drag City a chance. I swallowed my qualms about working again indie style. Eventually, [[Albert Oehlen\|Albert]] [Oehlen] and I went to Chicago and did our first work with the label, a song called "[[Columbia]]," maybe another. Ultimately we made the eponymous LP at Steve Albini's studio, building the set around the tunes from Germany, David playing, along with [[John McEntire]] from Bastro, [[Tom Watson]] from Slovenly, and [[Stephen Prina]]—an artist I’d gotten to know at the Pasadena art center. I won’t name everybody. The names are on the cover. Sure enough things kind of clicked and we got gigs. I should say too that I met [[Jim O'Rourke]] then, but didn’t know at first what to do with him. I’m glad to say we were able finally to get him involved.
	</blockquote>		</blockquote>

Line 116:		Line 116:

	<blockquote>		<blockquote>
	Robert [Nedelkoff] had the idea of Mayo producing Squirrel Bait and wrote to him, back in 1984. I think he was in Düsseldorf at the time. Then in 1989 Bastro was playing at the Rose Club in Cologne, and we did a version of "[[Dear Betty Baby]]" from Mayo's solo record, ''[[Corky's Debt to His Father]]'', which is one of my absolute favorite records. The German music critic [[Diedrich Diederichsen]] told me afterwards that Mayo was living about 40 kilometres away, writing a novel about Albania, and gave me his phone number. I gave him a call the next day. When the first [[Gastr del Sol\|Gastr Del Sol]] record, [1993's] ''The Serpentine Similar'', came out, I sent a copy to him in Germany, and got a call in Chicago about dinner time asking me when I was next in Europe so we could 'go ahead and do this', as if I'd proposed some kind of working arrangement. I met Mayo in Munich - I'd just given a paper on Ezra Pound in Rapallo, Italy, figuring out that I didn't want to be an academic specialising in modernist poetry - and I think at that point he'd already had an offer to teach in Pasadena, California, where he still is. I came back to Chicago where he had a weekly poker game with Dan Koretzky and Dan Osborn from [[Drag City]], and halfway through the evening I said, 'I've got this tape with me of the new Red Krayola song'. I think that one of the provisos of any label putting out The Red Krayola - they spell it with a 'K' in the US, out of fear of lawsuits - is that there would need to be an equal or greater commitment to new material, as well as shepherding into reissuing all these fantastic records, and Drag City were immediately enthusiastic about it. So next week at the poker game I showed up with a Gastr Del Sol tape. [laughs]		Robert [Nedelkoff] had the idea of Mayo producing Squirrel Bait and wrote to him, back in 1984. I think he was in Düsseldorf at the time. Then in 1989 Bastro was playing at the Rose Club in Cologne, and we did a version of "[[Dear Betty Baby]]" from Mayo's solo record, ''[[Corky's Debt to His Father]]'', which is one of my absolute favorite records. The German music critic [[Diedrich Diederichsen]] told me afterwards that Mayo was living about 40 kilometres away, writing a novel about Albania [''Art, Mystery''], and gave me his phone number. I gave him a call the next day. When the first [[Gastr del Sol\|Gastr Del Sol]] record, [1993's] ''The Serpentine Similar'', came out, I sent a copy to him in Germany, and got a call in Chicago about dinner time asking me when I was next in Europe so we could 'go ahead and do this', as if I'd proposed some kind of working arrangement. I met Mayo in Munich - I'd just given a paper on Ezra Pound in Rapallo, Italy, figuring out that I didn't want to be an academic specialising in modernist poetry - and I think at that point he'd already had an offer to teach in Pasadena, California, where he still is. I came back to Chicago where he had a weekly poker game with Dan Koretzky and Dan Osborn from [[Drag City]], and halfway through the evening I said, 'I've got this tape with me of the new Red Krayola song'. I think that one of the provisos of any label putting out The Red Krayola - they spell it with a 'K' in the US, out of fear of lawsuits - is that there would need to be an equal or greater commitment to new material, as well as shepherding into reissuing all these fantastic records, and Drag City were immediately enthusiastic about it. So next week at the poker game I showed up with a Gastr Del Sol tape. [laughs]
	</blockquote>		</blockquote>

Dotclub: /* Retrospectives */

2025-09-16T21:58:47Z

Retrospectives

← Older revision		Revision as of 14:58, 16 September 2025
Line 108:		Line 108:

	<blockquote>		<blockquote>
	After [the [[Shows/1993-03-23\|1993 concert]] in] Graz I got the bug again and started to play the guitar more, wrote five or six tunes and recorded them four-track with an eye to hitting up a record company for a deal and along came a chance. [...]		After [the [[Shows/1993-03-23\|1993 concert]] in] Graz [Austria] I got the bug again and started to play the guitar more, wrote five or six tunes and recorded them four-track with an eye to hitting up a record company for a deal and along came a chance. [...]

	One day [[David Grubbs]] rang. He asked what I was up to and I gave him a dub of the four-track stuff, telling him of my plan to go to the bank. He asked if he might send it to [[Drag City]] in Chicago, urging me to hold off getting back in the mainstream grinder. It turned out Dan Koretzky and Dan Osborn liked the stuff. During Christmas ’93, when I was home in Texas visiting my mother, Dan rang. He was able to persuade me to give Drag City a chance. I swallowed my qualms about working again indie style. Eventually, [[Albert Oehlen\|Albert]] [Oehlen] and I went to Chicago and did our first work with the label, a song called “[[Columbia]],” maybe another. Ultimately we made the eponymous LP at Steve Albini’s studio, building the set around the tunes from Germany, David playing, along with [[John McEntire]] from Bastro, [[Tom Watson]] from Slovenly, and [[Stephen Prina]]—an artist I’d gotten to know at the Pasadena art center. I won’t name everybody. The names are on the cover. Sure enough things kind of clicked and we got gigs. I should say too that I met [[Jim O'Rourke]] then, but didn’t know at first what to do with him. I’m glad to say we were able finally to get him involved.		One day [[David Grubbs]] rang. He asked what I was up to and I gave him a dub of the four-track stuff, telling him of my plan to go to the bank. He asked if he might send it to [[Drag City]] in Chicago, urging me to hold off getting back in the mainstream grinder. It turned out Dan Koretzky and Dan Osborn liked the stuff. During Christmas ’93, when I was home in Texas visiting my mother, Dan rang. He was able to persuade me to give Drag City a chance. I swallowed my qualms about working again indie style. Eventually, [[Albert Oehlen\|Albert]] [Oehlen] and I went to Chicago and did our first work with the label, a song called “[[Columbia]],” maybe another. Ultimately we made the eponymous LP at Steve Albini’s studio, building the set around the tunes from Germany, David playing, along with [[John McEntire]] from Bastro, [[Tom Watson]] from Slovenly, and [[Stephen Prina]]—an artist I’d gotten to know at the Pasadena art center. I won’t name everybody. The names are on the cover. Sure enough things kind of clicked and we got gigs. I should say too that I met [[Jim O'Rourke]] then, but didn’t know at first what to do with him. I’m glad to say we were able finally to get him involved.

Dotclub: /* Retrospectives */

2025-09-16T21:58:22Z

Retrospectives

← Older revision		Revision as of 14:58, 16 September 2025
Line 111:		Line 111:

	One day [[David Grubbs]] rang. He asked what I was up to and I gave him a dub of the four-track stuff, telling him of my plan to go to the bank. He asked if he might send it to [[Drag City]] in Chicago, urging me to hold off getting back in the mainstream grinder. It turned out Dan Koretzky and Dan Osborn liked the stuff. During Christmas ’93, when I was home in Texas visiting my mother, Dan rang. He was able to persuade me to give Drag City a chance. I swallowed my qualms about working again indie style. Eventually, [[Albert Oehlen\|Albert]] [Oehlen] and I went to Chicago and did our first work with the label, a song called “[[Columbia]],” maybe another. Ultimately we made the eponymous LP at Steve Albini’s studio, building the set around the tunes from Germany, David playing, along with [[John McEntire]] from Bastro, [[Tom Watson]] from Slovenly, and [[Stephen Prina]]—an artist I’d gotten to know at the Pasadena art center. I won’t name everybody. The names are on the cover. Sure enough things kind of clicked and we got gigs. I should say too that I met [[Jim O'Rourke]] then, but didn’t know at first what to do with him. I’m glad to say we were able finally to get him involved.		One day [[David Grubbs]] rang. He asked what I was up to and I gave him a dub of the four-track stuff, telling him of my plan to go to the bank. He asked if he might send it to [[Drag City]] in Chicago, urging me to hold off getting back in the mainstream grinder. It turned out Dan Koretzky and Dan Osborn liked the stuff. During Christmas ’93, when I was home in Texas visiting my mother, Dan rang. He was able to persuade me to give Drag City a chance. I swallowed my qualms about working again indie style. Eventually, [[Albert Oehlen\|Albert]] [Oehlen] and I went to Chicago and did our first work with the label, a song called “[[Columbia]],” maybe another. Ultimately we made the eponymous LP at Steve Albini’s studio, building the set around the tunes from Germany, David playing, along with [[John McEntire]] from Bastro, [[Tom Watson]] from Slovenly, and [[Stephen Prina]]—an artist I’d gotten to know at the Pasadena art center. I won’t name everybody. The names are on the cover. Sure enough things kind of clicked and we got gigs. I should say too that I met [[Jim O'Rourke]] then, but didn’t know at first what to do with him. I’m glad to say we were able finally to get him involved.
	</blockquote>[[David Grubbs]], 2002<ref>The Wire, April 2002 pg.22</ref><blockquote>~~[...]~~ Robert [Nedelkoff] had the idea of Mayo producing Squirrel Bait and wrote to him, back in 1984. I think he was in Düsseldorf at the time. Then in 1989 Bastro was playing at the Rose Club in Cologne, and we did a version of "[[Dear Betty Baby]]" from Mayo's solo record, ''[[Corky's Debt to His Father]]'', which is one of my absolute favorite records. The German music critic [[Diedrich Diederichsen]] told me afterwards that Mayo was living about 40 kilometres away, writing a novel about Albania, and gave me his phone number. I gave him a call the next day. When the first [[Gastr del Sol\|Gastr Del Sol]] record, [1993's] ''The Serpentine Similar'', came out, I sent a copy to him in Germany, and got a call in Chicago about dinner time asking me when I was next in Europe so we could 'go ahead and do this', as if I'd proposed some kind of working arrangement. I met Mayo in Munich - I'd just given a paper on Ezra Pound in Rapallo, Italy, figuring out that I didn't want to be an academic specialising in modernist poetry - and I think at that point he'd already had an offer to teach in Pasadena, California, where he still is. I came back to Chicago where he had a weekly poker game with Dan Koretzky and Dan Osborn from [[Drag City]], and halfway through the evening I said, 'I've got this tape with me of the new Red Krayola song'. I think that one of the provisos of any label putting out The Red Krayola - they spell it with a 'K' in the US, out of fear of lawsuits - is that there would need to be an equal or greater commitment to new material, as well as shepherding into reissuing all these fantastic records, and Drag City were immediately enthusiastic about it. So next week at the poker game I showed up with a Gastr Del Sol tape. [laughs]		</blockquote>

			[[David Grubbs]], 2002<ref>The Wire, April 2002 pg.22</ref>

			<blockquote>
			Robert [Nedelkoff] had the idea of Mayo producing Squirrel Bait and wrote to him, back in 1984. I think he was in Düsseldorf at the time. Then in 1989 Bastro was playing at the Rose Club in Cologne, and we did a version of "[[Dear Betty Baby]]" from Mayo's solo record, ''[[Corky's Debt to His Father]]'', which is one of my absolute favorite records. The German music critic [[Diedrich Diederichsen]] told me afterwards that Mayo was living about 40 kilometres away, writing a novel about Albania, and gave me his phone number. I gave him a call the next day. When the first [[Gastr del Sol\|Gastr Del Sol]] record, [1993's] ''The Serpentine Similar'', came out, I sent a copy to him in Germany, and got a call in Chicago about dinner time asking me when I was next in Europe so we could 'go ahead and do this', as if I'd proposed some kind of working arrangement. I met Mayo in Munich - I'd just given a paper on Ezra Pound in Rapallo, Italy, figuring out that I didn't want to be an academic specialising in modernist poetry - and I think at that point he'd already had an offer to teach in Pasadena, California, where he still is. I came back to Chicago where he had a weekly poker game with Dan Koretzky and Dan Osborn from [[Drag City]], and halfway through the evening I said, 'I've got this tape with me of the new Red Krayola song'. I think that one of the provisos of any label putting out The Red Krayola - they spell it with a 'K' in the US, out of fear of lawsuits - is that there would need to be an equal or greater commitment to new material, as well as shepherding into reissuing all these fantastic records, and Drag City were immediately enthusiastic about it. So next week at the poker game I showed up with a Gastr Del Sol tape. [laughs]
	</blockquote>		</blockquote>

Dotclub: /* Retrospectives */

2025-09-16T21:57:35Z

Retrospectives

← Older revision		Revision as of 14:57, 16 September 2025
Line 111:		Line 111:

	One day [[David Grubbs]] rang. He asked what I was up to and I gave him a dub of the four-track stuff, telling him of my plan to go to the bank. He asked if he might send it to [[Drag City]] in Chicago, urging me to hold off getting back in the mainstream grinder. It turned out Dan Koretzky and Dan Osborn liked the stuff. During Christmas ’93, when I was home in Texas visiting my mother, Dan rang. He was able to persuade me to give Drag City a chance. I swallowed my qualms about working again indie style. Eventually, [[Albert Oehlen\|Albert]] [Oehlen] and I went to Chicago and did our first work with the label, a song called “[[Columbia]],” maybe another. Ultimately we made the eponymous LP at Steve Albini’s studio, building the set around the tunes from Germany, David playing, along with [[John McEntire]] from Bastro, [[Tom Watson]] from Slovenly, and [[Stephen Prina]]—an artist I’d gotten to know at the Pasadena art center. I won’t name everybody. The names are on the cover. Sure enough things kind of clicked and we got gigs. I should say too that I met [[Jim O'Rourke]] then, but didn’t know at first what to do with him. I’m glad to say we were able finally to get him involved.		One day [[David Grubbs]] rang. He asked what I was up to and I gave him a dub of the four-track stuff, telling him of my plan to go to the bank. He asked if he might send it to [[Drag City]] in Chicago, urging me to hold off getting back in the mainstream grinder. It turned out Dan Koretzky and Dan Osborn liked the stuff. During Christmas ’93, when I was home in Texas visiting my mother, Dan rang. He was able to persuade me to give Drag City a chance. I swallowed my qualms about working again indie style. Eventually, [[Albert Oehlen\|Albert]] [Oehlen] and I went to Chicago and did our first work with the label, a song called “[[Columbia]],” maybe another. Ultimately we made the eponymous LP at Steve Albini’s studio, building the set around the tunes from Germany, David playing, along with [[John McEntire]] from Bastro, [[Tom Watson]] from Slovenly, and [[Stephen Prina]]—an artist I’d gotten to know at the Pasadena art center. I won’t name everybody. The names are on the cover. Sure enough things kind of clicked and we got gigs. I should say too that I met [[Jim O'Rourke]] then, but didn’t know at first what to do with him. I’m glad to say we were able finally to get him involved.
	</blockquote>[[David Grubbs]], 2002<ref>The Wire, April 2002 pg.22</ref><blockquote>[...] Robert [Nedelkoff] had the idea of Mayo producing Squirrel Bait and wrote to him, back in 1984. I think he was in Düsseldorf at the time. Then in 1989 Bastro was playing at the Rose Club in Cologne, and we did a version of "[[Dear Betty Baby]]" from Mayo's solo record, ''[[Corky's Debt to His Father]]'', which is one of my absolute favorite records. The German music critic [[Diedrich Diederichsen]] told me afterwards that Mayo was living about 40 kilometres away, writing a novel about Albania, and gave me his phone number. I gave him a call the next day. When the first [[Gastr del Sol\|Gastr Del Sol]] record, [1993's] ''The Serpentine Similar'', came out, I sent a copy to him in Germany, and got a call in Chicago about dinner time asking me when I was next in Europe so we could 'go ahead and do this', as if I'd proposed some kind of working arrangement. I met Mayo in Munich - I'd just given a paper on Ezra Pound in Rapallo, Italy, figuring out that I didn't want to be an academic specialising in modernist poetry - and I think at that point he'd already had an offer to teach in Pasadena, California, where he still is. I came back to Chicago where he had a weekly poker game with Dan Koretzky and Dan Osborn from [[Drag City]], and halfway through the evening I said, 'I've got this tape with me of the new Red Krayola song'. I think that one of the provisos of any label putting out The Red Krayola - they spell it with a 'K' in the US, out of fear of lawsuits - is that there would need to be an equal or greater commitment to new material, as well as shepherding into reissuing all these fantastic records, and Drag City were immediately enthusiastic about it. So next week at the poker game I showed up with a Gastr Del Sol tape. [laughs]~~</blockquote>[[Jim O'Rourke]], 1994<ref>https://groups.google.com/g/rec.music.misc/c/Z3olBudNF8w/m/LYkKTZTRPRIJ</ref><blockquote>~~		</blockquote>[[David Grubbs]], 2002<ref>The Wire, April 2002 pg.22</ref><blockquote>[...] Robert [Nedelkoff] had the idea of Mayo producing Squirrel Bait and wrote to him, back in 1984. I think he was in Düsseldorf at the time. Then in 1989 Bastro was playing at the Rose Club in Cologne, and we did a version of "[[Dear Betty Baby]]" from Mayo's solo record, ''[[Corky's Debt to His Father]]'', which is one of my absolute favorite records. The German music critic [[Diedrich Diederichsen]] told me afterwards that Mayo was living about 40 kilometres away, writing a novel about Albania, and gave me his phone number. I gave him a call the next day. When the first [[Gastr del Sol\|Gastr Del Sol]] record, [1993's] ''The Serpentine Similar'', came out, I sent a copy to him in Germany, and got a call in Chicago about dinner time asking me when I was next in Europe so we could 'go ahead and do this', as if I'd proposed some kind of working arrangement. I met Mayo in Munich - I'd just given a paper on Ezra Pound in Rapallo, Italy, figuring out that I didn't want to be an academic specialising in modernist poetry - and I think at that point he'd already had an offer to teach in Pasadena, California, where he still is. I came back to Chicago where he had a weekly poker game with Dan Koretzky and Dan Osborn from [[Drag City]], and halfway through the evening I said, 'I've got this tape with me of the new Red Krayola song'. I think that one of the provisos of any label putting out The Red Krayola - they spell it with a 'K' in the US, out of fear of lawsuits - is that there would need to be an equal or greater commitment to new material, as well as shepherding into reissuing all these fantastic records, and Drag City were immediately enthusiastic about it. So next week at the poker game I showed up with a Gastr Del Sol tape. [laughs]
	there will be a new album, The red krayola, out soon. It features [[Mayo Thompson\|Mayo]] along with [[Tom Watson]], [[Stephen Prina\|Steven Prina]], [[Albert Oehlen\|Albert Oehlin]], [[John McEntire]], [[David Grubbs\|Dave Grubbs]], and myself. it's great (i personally think mayo and dave are an impeccable team.) There is also this great [[Old Tom Clark (single)\|Saddle sore 7"]], which was recorded i think just a month after [[Corky's Debt to His Father\|Corky's debt]]. It's just so damn beautiful.....
	</blockquote>		</blockquote>

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	I was a little concerned, since I hadn't performed in public for years. But I went up there and did what I had to do. I performed for 20 minutes, after which Mayo came up to me and asked if I would sing on his new album. I was like, 'Great, I’m finally going to get the backup vocal credit I always wanted on a pop record.' I went into this tiny vocal booth in Pasadena to record my part and when that eponymous Red Krayola album came out, I was listed as a member of the band. The Red Krayola gave me the opportunity to work collaboratively in a way that had not been part of my practice in the same way before, which was often solitary. A generative experience, truly.		I was a little concerned, since I hadn't performed in public for years. But I went up there and did what I had to do. I performed for 20 minutes, after which Mayo came up to me and asked if I would sing on his new album. I was like, 'Great, I’m finally going to get the backup vocal credit I always wanted on a pop record.' I went into this tiny vocal booth in Pasadena to record my part and when that eponymous Red Krayola album came out, I was listed as a member of the band. The Red Krayola gave me the opportunity to work collaboratively in a way that had not been part of my practice in the same way before, which was often solitary. A generative experience, truly.
			</blockquote>

			[[Jim O'Rourke]], 1994<ref>https://groups.google.com/g/rec.music.misc/c/Z3olBudNF8w/m/LYkKTZTRPRIJ</ref>

			<blockquote>
			there will be a new album, The red krayola, out soon. It features [[Mayo Thompson\|Mayo]] along with [[Tom Watson]], [[Stephen Prina\|Steven Prina]], [[Albert Oehlen\|Albert Oehlin]], [[John McEntire]], [[David Grubbs\|Dave Grubbs]], and myself. it's great (i personally think mayo and dave are an impeccable team.) There is also this great [[Old Tom Clark (single)\|Saddle sore 7"]], which was recorded i think just a month after [[Corky's Debt to His Father\|Corky's debt]]. It's just so damn beautiful.....
	</blockquote>		</blockquote>

Dotclub: /* Retrospectives */

2025-09-16T21:56:43Z

Retrospectives

@@ Line 113: / Line 113: @@
 </blockquote>[[David Grubbs]], 2002<ref>The Wire, April 2002 pg.22</ref><blockquote>[...] Robert [Nedelkoff] had the idea of Mayo producing Squirrel Bait and wrote to him, back in 1984. I think he was in Düsseldorf at the time. Then in 1989 Bastro was playing at the Rose Club in Cologne, and we did a version of "[[Dear Betty Baby]]" from Mayo's solo record, ''[[Corky's Debt to His Father]]'', which is one of my absolute favorite records. The German music critic [[Diedrich Diederichsen]] told me afterwards that Mayo was living about 40 kilometres away, writing a novel about Albania, and gave me his phone number. I gave him a call the next day. When the first [[Gastr del Sol|Gastr Del Sol]] record, [1993's] ''The Serpentine Similar'', came out, I sent a copy to him in Germany, and got a call in Chicago about dinner time asking me when I was next in Europe so we could 'go ahead and do this', as if I'd proposed some kind of working arrangement. I met Mayo in Munich - I'd just given a paper on Ezra Pound in Rapallo, Italy, figuring out that I didn't want to be an academic specialising in modernist poetry - and I think at that point he'd already had an offer to teach in Pasadena, California, where he still is. I came back to Chicago where he had a weekly poker game with Dan Koretzky and Dan Osborn from [[Drag City]], and halfway through the evening I said, 'I've got this tape with me of the new Red Krayola song'. I think that one of the provisos of any label putting out The Red Krayola - they spell it with a 'K' in the US, out of fear of lawsuits - is that there would need to be an equal or greater commitment to new material, as well as shepherding into reissuing all these fantastic records, and Drag City were immediately enthusiastic about it. So next week at the poker game I showed up with a Gastr Del Sol tape. [laughs]</blockquote>[[Jim O'Rourke]], 1994<ref>https://groups.google.com/g/rec.music.misc/c/Z3olBudNF8w/m/LYkKTZTRPRIJ</ref><blockquote>
 there will be a new album, The red krayola, out soon. It features [[Mayo Thompson|Mayo]] along with [[Tom Watson]], [[Stephen Prina|Steven Prina]], [[Albert Oehlen|Albert Oehlin]], [[John McEntire]], [[David Grubbs|Dave Grubbs]], and myself. it's great (i personally think mayo and dave are an impeccable team.) There is also this great [[Old Tom Clark (single)|Saddle sore 7"]], which was recorded i think just a month after [[Corky's Debt to His Father|Corky's debt]]. It's just so damn beautiful.....
-</blockquote>[[John McEntire]], 1994<ref>https://archive.org/details/no_trend_press_20/page/74/mode/2up</ref><blockquote>M: Wie kommt es, daß Red Crayola wieder aktiv sind?
+</blockquote>
 John: [[David Grubbs|Dave Shrubb]] von Bastro und [[Gastr del Sol]] nahm 1990 Kontakt mit [[Mayo Thompson|Majo Thompson]] auf, als Bastro gerade in Europa auf Tour waren. Majo Thompson lebte zu der Zeit in Köln. Sie hatten dann regelmäßige Korrespondenz und schließlich entschied sich Majo 1992 dazu, wieder Musik machen zu wollen.
@@ Line 148: / Line 167: @@
 John: Hervorragend, gerade in Japan. Ich war wirklich beeindruckt von der Masse an Leuten, die dort mit diesen riesigen Red CrayolaSammlungen ankamen, all diese komischen Bootlegs und limitierten Pressungen, keine Ahnung, wo sie das Zeug herkriegen. Ich war vor allem von der Reaktion bei den Live-Auftritten erstaunt. Jeder hatte mir erzählt, wie zurückhaltend das Publikum sich verhalten würde und dann kreischten sie wie verrückt, das war beeindruckend.</blockquote>
 == Reviews ==

Dotclub: /* Retrospectives */

2025-01-30T21:23:52Z

Retrospectives

← Older revision		Revision as of 14:23, 30 January 2025
Line 111:		Line 111:

	One day [[David Grubbs]] rang. He asked what I was up to and I gave him a dub of the four-track stuff, telling him of my plan to go to the bank. He asked if he might send it to [[Drag City]] in Chicago, urging me to hold off getting back in the mainstream grinder. It turned out Dan Koretzky and Dan Osborn liked the stuff. During Christmas ’93, when I was home in Texas visiting my mother, Dan rang. He was able to persuade me to give Drag City a chance. I swallowed my qualms about working again indie style. Eventually, [[Albert Oehlen\|Albert]] [Oehlen] and I went to Chicago and did our first work with the label, a song called “[[Columbia]],” maybe another. Ultimately we made the eponymous LP at Steve Albini’s studio, building the set around the tunes from Germany, David playing, along with [[John McEntire]] from Bastro, [[Tom Watson]] from Slovenly, and [[Stephen Prina]]—an artist I’d gotten to know at the Pasadena art center. I won’t name everybody. The names are on the cover. Sure enough things kind of clicked and we got gigs. I should say too that I met [[Jim O'Rourke]] then, but didn’t know at first what to do with him. I’m glad to say we were able finally to get him involved.		One day [[David Grubbs]] rang. He asked what I was up to and I gave him a dub of the four-track stuff, telling him of my plan to go to the bank. He asked if he might send it to [[Drag City]] in Chicago, urging me to hold off getting back in the mainstream grinder. It turned out Dan Koretzky and Dan Osborn liked the stuff. During Christmas ’93, when I was home in Texas visiting my mother, Dan rang. He was able to persuade me to give Drag City a chance. I swallowed my qualms about working again indie style. Eventually, [[Albert Oehlen\|Albert]] [Oehlen] and I went to Chicago and did our first work with the label, a song called “[[Columbia]],” maybe another. Ultimately we made the eponymous LP at Steve Albini’s studio, building the set around the tunes from Germany, David playing, along with [[John McEntire]] from Bastro, [[Tom Watson]] from Slovenly, and [[Stephen Prina]]—an artist I’d gotten to know at the Pasadena art center. I won’t name everybody. The names are on the cover. Sure enough things kind of clicked and we got gigs. I should say too that I met [[Jim O'Rourke]] then, but didn’t know at first what to do with him. I’m glad to say we were able finally to get him involved.
	</blockquote>[[Jim O'Rourke]], 1994<ref>https://groups.google.com/g/rec.music.misc/c/Z3olBudNF8w/m/LYkKTZTRPRIJ</ref><blockquote>		</blockquote>[[David Grubbs]], 2002<ref>The Wire, April 2002 pg.22</ref><blockquote>[...] Robert [Nedelkoff] had the idea of Mayo producing Squirrel Bait and wrote to him, back in 1984. I think he was in Düsseldorf at the time. Then in 1989 Bastro was playing at the Rose Club in Cologne, and we did a version of "[[Dear Betty Baby]]" from Mayo's solo record, ''[[Corky's Debt to His Father]]'', which is one of my absolute favorite records. The German music critic [[Diedrich Diederichsen]] told me afterwards that Mayo was living about 40 kilometres away, writing a novel about Albania, and gave me his phone number. I gave him a call the next day. When the first [[Gastr del Sol\|Gastr Del Sol]] record, [1993's] ''The Serpentine Similar'', came out, I sent a copy to him in Germany, and got a call in Chicago about dinner time asking me when I was next in Europe so we could 'go ahead and do this', as if I'd proposed some kind of working arrangement. I met Mayo in Munich - I'd just given a paper on Ezra Pound in Rapallo, Italy, figuring out that I didn't want to be an academic specialising in modernist poetry - and I think at that point he'd already had an offer to teach in Pasadena, California, where he still is. I came back to Chicago where he had a weekly poker game with Dan Koretzky and Dan Osborn from [[Drag City]], and halfway through the evening I said, 'I've got this tape with me of the new Red Krayola song'. I think that one of the provisos of any label putting out The Red Krayola - they spell it with a 'K' in the US, out of fear of lawsuits - is that there would need to be an equal or greater commitment to new material, as well as shepherding into reissuing all these fantastic records, and Drag City were immediately enthusiastic about it. So next week at the poker game I showed up with a Gastr Del Sol tape. [laughs]</blockquote>[[Jim O'Rourke]], 1994<ref>https://groups.google.com/g/rec.music.misc/c/Z3olBudNF8w/m/LYkKTZTRPRIJ</ref><blockquote>
	there will be a new album, The red krayola, out soon. It features [[Mayo Thompson\|Mayo]] along with [[Tom Watson]], [[Stephen Prina\|Steven Prina]], [[Albert Oehlen\|Albert Oehlin]], [[John McEntire]], [[David Grubbs\|Dave Grubbs]], and myself. it's great (i personally think mayo and dave are an impeccable team.) There is also this great [[Old Tom Clark (single)\|Saddle sore 7"]], which was recorded i think just a month after [[Corky's Debt to His Father\|Corky's debt]]. It's just so damn beautiful.....		there will be a new album, The red krayola, out soon. It features [[Mayo Thompson\|Mayo]] along with [[Tom Watson]], [[Stephen Prina\|Steven Prina]], [[Albert Oehlen\|Albert Oehlin]], [[John McEntire]], [[David Grubbs\|Dave Grubbs]], and myself. it's great (i personally think mayo and dave are an impeccable team.) There is also this great [[Old Tom Clark (single)\|Saddle sore 7"]], which was recorded i think just a month after [[Corky's Debt to His Father\|Corky's debt]]. It's just so damn beautiful.....
	</blockquote>[[John McEntire]], 1994<ref>https://archive.org/details/no_trend_press_20/page/74/mode/2up</ref><blockquote>M: Wie kommt es, daß Red Crayola wieder aktiv sind?		</blockquote>[[John McEntire]], 1994<ref>https://archive.org/details/no_trend_press_20/page/74/mode/2up</ref><blockquote>M: Wie kommt es, daß Red Crayola wieder aktiv sind?

Dotclub: /* Retrospectives */

2024-09-21T22:42:14Z

Retrospectives

← Older revision		Revision as of 15:42, 21 September 2024
Line 111:		Line 111:

	One day [[David Grubbs]] rang. He asked what I was up to and I gave him a dub of the four-track stuff, telling him of my plan to go to the bank. He asked if he might send it to [[Drag City]] in Chicago, urging me to hold off getting back in the mainstream grinder. It turned out Dan Koretzky and Dan Osborn liked the stuff. During Christmas ’93, when I was home in Texas visiting my mother, Dan rang. He was able to persuade me to give Drag City a chance. I swallowed my qualms about working again indie style. Eventually, [[Albert Oehlen\|Albert]] [Oehlen] and I went to Chicago and did our first work with the label, a song called “[[Columbia]],” maybe another. Ultimately we made the eponymous LP at Steve Albini’s studio, building the set around the tunes from Germany, David playing, along with [[John McEntire]] from Bastro, [[Tom Watson]] from Slovenly, and [[Stephen Prina]]—an artist I’d gotten to know at the Pasadena art center. I won’t name everybody. The names are on the cover. Sure enough things kind of clicked and we got gigs. I should say too that I met [[Jim O'Rourke]] then, but didn’t know at first what to do with him. I’m glad to say we were able finally to get him involved.		One day [[David Grubbs]] rang. He asked what I was up to and I gave him a dub of the four-track stuff, telling him of my plan to go to the bank. He asked if he might send it to [[Drag City]] in Chicago, urging me to hold off getting back in the mainstream grinder. It turned out Dan Koretzky and Dan Osborn liked the stuff. During Christmas ’93, when I was home in Texas visiting my mother, Dan rang. He was able to persuade me to give Drag City a chance. I swallowed my qualms about working again indie style. Eventually, [[Albert Oehlen\|Albert]] [Oehlen] and I went to Chicago and did our first work with the label, a song called “[[Columbia]],” maybe another. Ultimately we made the eponymous LP at Steve Albini’s studio, building the set around the tunes from Germany, David playing, along with [[John McEntire]] from Bastro, [[Tom Watson]] from Slovenly, and [[Stephen Prina]]—an artist I’d gotten to know at the Pasadena art center. I won’t name everybody. The names are on the cover. Sure enough things kind of clicked and we got gigs. I should say too that I met [[Jim O'Rourke]] then, but didn’t know at first what to do with him. I’m glad to say we were able finally to get him involved.
			</blockquote>[[Jim O'Rourke]], 1994<ref>https://groups.google.com/g/rec.music.misc/c/Z3olBudNF8w/m/LYkKTZTRPRIJ</ref><blockquote>
			there will be a new album, The red krayola, out soon. It features [[Mayo Thompson\|Mayo]] along with [[Tom Watson]], [[Stephen Prina\|Steven Prina]], [[Albert Oehlen\|Albert Oehlin]], [[John McEntire]], [[David Grubbs\|Dave Grubbs]], and myself. it's great (i personally think mayo and dave are an impeccable team.) There is also this great [[Old Tom Clark (single)\|Saddle sore 7"]], which was recorded i think just a month after [[Corky's Debt to His Father\|Corky's debt]]. It's just so damn beautiful.....
	</blockquote>[[John McEntire]], 1994<ref>https://archive.org/details/no_trend_press_20/page/74/mode/2up</ref><blockquote>M: Wie kommt es, daß Red Crayola wieder aktiv sind?		</blockquote>[[John McEntire]], 1994<ref>https://archive.org/details/no_trend_press_20/page/74/mode/2up</ref><blockquote>M: Wie kommt es, daß Red Crayola wieder aktiv sind?

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	M: Wie kommt die Platte an?		M: Wie kommt die Platte an?

	John: Hervorragend, gerade in Japan. Ich war wirklich beeindruckt von der Masse an Leuten, die dort mit diesen riesigen Red CrayolaSammlungen ankamen, all diese komischen Bootlegs und limitierten Pressungen, keine Ahnung, wo sie das Zeug herkriegen. Ich war vor allem von der Reaktion bei den Live-Auftritten erstaunt. Jeder hatte mir erzählt, wie zurückhaltend das Publikum sich verhalten würde und dann kreischten sie wie verrückt, das war beeindruckend.~~</blockquote>[[Jim O'Rourke]], 1994<ref>https://groups.google.com/g/rec.music.misc/c/Z3olBudNF8w/m/LYkKTZTRPRIJ</ref><blockquote>~~		John: Hervorragend, gerade in Japan. Ich war wirklich beeindruckt von der Masse an Leuten, die dort mit diesen riesigen Red CrayolaSammlungen ankamen, all diese komischen Bootlegs und limitierten Pressungen, keine Ahnung, wo sie das Zeug herkriegen. Ich war vor allem von der Reaktion bei den Live-Auftritten erstaunt. Jeder hatte mir erzählt, wie zurückhaltend das Publikum sich verhalten würde und dann kreischten sie wie verrückt, das war beeindruckend.</blockquote>
	there will be a new album, The red krayola, out soon. It features [[Mayo Thompson\|Mayo]] along with [[Tom Watson]], [[Stephen Prina\|Steven Prina]], [[Albert Oehlen\|Albert Oehlin]], [[John McEntire]], [[David Grubbs\|Dave Grubbs]], and myself. it's great (i personally think mayo and dave are an impeccable team.) There is also this great [[Old Tom Clark (single)\|Saddle sore 7"]], which was recorded i think just a month after [[Corky's Debt to His Father\|Corky's debt]]. It's just so damn beautiful.....
	</blockquote>
	== Reviews ==		== Reviews ==