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FaTINC'i ON THE HLMP 







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Muffv 

Take SluJf from Work 

i(h4t4lf»WNS.d«‘]i 

Sensitive Artist 

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Wuss 

Heav'> Motv Alan 

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Mutinii on the Hump 


Dick 

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That Old Dou 


FLUTING 
ON THE 
HUMP 
(19871 


lou 

ihail-dosilxmlt 

41 Dave's 
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and I wrote together, so we made it the first song on our first release. I wrote the middle part first, at a friend’s house and I went to the bathroom, and while I was in the bathroom, I mused about how odd it would b 
— ... 't become a VELVET UHDERSROUND fan until later. OO 6 BC 1 WL has always considered them a major influence. 

- histhf ■--- 


ISJIJ 


if I were to kill myself right then, leaving this strange “four or five piece band” poem 

--.uence. 

back cover of this release. 

B grouped under the heading “Muffy-An American Original.” V\fe worked out the lyrics together, and the idea was that we would ad lib the middle part live in the stu- 


FLUTING ON THE HUMP 

Lou: This is the first thing OOC.__„______________„„„ 

as my final words. Then I wrote the beginning and end part. “Lou” is not LOU REED. I didn't become a VELVET UNDERaROUND fan until later. DOOBCnin. 

At Dave’s: Dave's Luncheonette was on Canal Street, and is now a Chinese restaurant. DOGBOWL used the lyrics for this one as the theme for the album cover, which.. 

Muffy: ALEX DeLASZLO came upwith the idea for this one. He had seen a Hustler Magazine centerfold that he was convinced was a mutual friend of ours. The photos 
dio. You can notice that REBECCA misses a beat when DOGBOWL says her namel 

Take Stuff From Wortc I did. in fact, write this at work, after a friend (WFMU DJ Dave “The Spaz”) pretended to stuff a computer keyboard into his shirt. I went to my desk just looked around the room to think of things to take. The whole thing was completely unoriginal. I performed it that same night at Lach’s Fort which is still going 
strong today. 

® Sunday after a weekend writing seminar I took; the only writing seminar 1 took. Dn the bus ride back to Manhattan. I turned to a friend and said “I can’t write sonnets and sestinas on commandl I am a sensitive artisti” Then I took out my notebook and wrote “Sensitive Artist.” I performed it that 
night at MATTHEW COURTNEY S open mic at ABC ND RID. MATTHEW S not running an open anymore, unfortunately. If it hadn’t been for MATTHEW, and Lach’s, most of the stuff on this CD would probably never have been written. So you can blame themi 
Wuss: Sad, but true. I love DORBOWL'S backing vocals here. When we performed this live, he used to kick me to the ground and step on my face. The first press we ever got quoted from this song. I remember C. CARR very politely asking the exact name of our band for an article about the death of the East Village art scene. We were 
very excited about our band name being in print. She quoted from the first line of this song and then wrote, “Even for a night of low expectations. I knew it was tim to move on.” Although she probably meant to discourage us, having our name in an article in the Village Voice was something we never would have dreamed of Wfe hadn’t 

6V6n rBCOfuBQ SP^ninn uot (t u/ac i/oru incnirinn ^ w » a a 

Heavy H^ Man: T 

beautifuljob, though. 

FVgmies and Drams: This was a 30 second instrumental piece that I pl^d on the sampler, but KRAMER hated it, and took it off the CD, so it’s not actually here. 

Fniong on The Hump: Dne day, I was looking through a book of DUBBOFET paintings and I saw one of an Arab guy sitting on a camel, playing a flute. The painting wa: 
lar inheritance, and I gave half of it to KRAMER to make this CD. I’m very glad I did. At some point, we decioed that tnere should actually be a song called “Ffu'' 

Didc I find this one vei- '' -' . 

ments. and I wasn’t 
one who shouts 


inything yet. it was very inspiring. 

The only KM song that 1 do not appear on. I wrote the lyrics in France, I think. I ate a lot of fast food in Europe, read KEROUAC novels and smoking 


lashish. I was five blocks away from the Louvre for a month, and never went. But I did write this, at least, even if I never could figure out how to a sing it. REBECCA does a 

-At vBjiumr L on 1. ■ 1 Jia-J A* A J jjauaai: u , called “Flutino on The Hump,"and I decided that this had to be the title ofthe first KlMGMIS$ILE(doallyreliaioii) album. When my father died, I gota ten thousand doF 

ind I gave half of it to KRAMER to make this CD. I m very glad I did. At some point, we decided that there should actually be a song called “Frutington The Hump,” so I spent weeks trying to think of one, and finally came up with this. I love DOGBOllin’S whistling here. 

very ernbarrassing. use^ mastur^bat^n awful lot, although not because I “honestly preferred my right-hand.” I just didn’t have a choice, realTy: too shy. I was embarrassed about the lyrics, and I decided I wanted this one to be very noisy, so that the lyrics would be kind of drowned out. Wfe just kept piling on instru- 
«ORBE O’MALLEY recorded the chimes part. GEORGE played the xylophone in YOU SUCK, my appalling cover band, where he made a lot of noise, in much the same way he does on “WUSS." I don’t think he actually knew how to play the xylophone. But that’s why he’s so great. He’s also the 
SENSITIVE on Sensitive Artist. 

That OM Dm I chose Springfield beca use the re are a lot of towns in America called Springfield (Probably the same reason THE SIMPSONS live there). I chose Dhio because I had a friend named THOR who was from Dhio, and I chose Silver Spring because my parents met there, and my grandparents lived there. I’ve never eaten turtle 
soup. The old dog is probably MILKWEED, the dog I loved as a boy, who died when I was in France, avoiding the Louvre. / » ^ 

So that’s it. If you like this album, you’d probably like THEY as well, although maybe not as much. Vtu also might like the DOGBOWL CDs. My favorites are FLAN and GUNSMOKE, but they’re ail excellent. - JOHN S. HALX. 




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