The album came to be the way it should. I wrote songs for six months, spent a couple of weeks recording, and then a couple of months mixing and polishing. The title track, Certified Organic, sets the stage for the album. Don't think so hard about it. Don't try to cram it all into a week. Just write, and play, and it will come together.

This album is the second in a series of two compilations from a huge scale recording project that spanned most of 2005 and 2006. The tracks were remixed and mastered, then arranged in a very listenable and compelling collection of songs. I guess what I'm trying to say there is it is a new album of old recordings and is basically Ten Years After part 2.

Our second collection of internet-based collaborative oddities. We're more comfortable with the process of being an internet band, and hopefully it shows. We're very proud of this and hope everyone enjoys it.

If there's a song you don't like, just wait, the next one is probably different.

Features:
James Moats
Grant Henry
Dan Taylor
Kevin Lawrence
George Nowik
Chris Dlugosz
Jason Cox
Pledger Fretwell
Matt Stewart

This is a full album cover of Guided By Voices' 1994 album Bee Thousand. It was recorded between October 2010 and October 2011. Features James Moats on vocals, guitar, and drums, Dan (Chunkstyle) Taylor on bass, and Chad Hildebran on drums. If you like this, go buy the original album. It's a masterpiece.

Recorded mostly in the fashion of Sour Grapes, I took a week off from work and spent those days writing and recording Feel No Pain. The working title was originally Melvin's Helmet, as the idea bits that I was starting with were lower tempo, drop D, hard driving songs inspired by the Melvins' and Helmet's brand of heavy. Once recording was complete, I dropped this title, because there was really no Melvins sound to be heard, but if you listen past the vocal harmonies, hand claps, and tambourines, you will hear the Helmet influence.

Music written by Dan Taylor and lyrics by James Moats.

This is Dan's first solo album and of course, he piled on every talented person he could find:

"This album is a love letter to all my bandmates, past and present.
-Dan"

The bass and drums were recorded at Dan's and Kevin's houses, while all other contributors recorded themselves at their respective houses and transferred them in the form of ones and zeros back to Dan through a series of tubes. Grant mastered (masterfully) all the tracks and also put down some brutal and not so brutal guitars.

Contributors include:
Dan Taylor - bass, guitar, keyboard, hand claps, audio collage
James Moats - vocals, guitar, percussion, sequencing
Grant Henry - guitar
Kevin Lawrence - drums
Jason Cox - crapparatus, wurlitzer, accordion
Ryan Stern - guitar
Dan Behrens - guitar
Julian Martlew - slide guitar
Pledger Fretwell - guitar
George Nowik - keyboard

Sour Grapes came as an experiment, or therapy session, or self-help project, or whatever. I took a week off of work with intentions of writing and recording an album, top to bottom. While I had the best week in years, I was working 12 to 14 hour days on these recordings. Each track started as a 10 to 15 second guitar and drum loop that I had recorded back in September 2007 and had not yet done anything with.

During this week, I mapped out a song structure, programmed midi drums and bass, then recorded guitars. Each song on the CD was written in the order they appear on the CD. This is also the same order that they were conceived as song ideas last year.

When it was time to record vocals, I got pencil and paper, then stood in front of the microphone, putting words together on the spot. This is not how I usually do things. My process is normally to spend weeks on a song, coming up with something on guitar, then fitting lyrics and melody while playing the guitar. I spend a lot of time smoothing out transitions and planning the song structure. This whole album was completely off-the-cuff.

Back in 1995, I was nicknamed 'The James Machine' by a friend for my ability to crap a song out of nowhere, writing sometimes 3 to 4 a day, on instinct alone. Over the years, I have transitioned from writing 40 songs a year to 4 or 5 a year and that just isn't acceptable. This project was intended to put me back in touch with that part of myself and I feel it has worked.

This album is the end result of a huge scale recording project that spanned most of 2005 and 2006. The tracks were remixed and mastered, then arranged in a very listenable and compelling collection of songs. The title gives a nod to 2 Years In The South, which was arranged in a similar fashion, songs from 1996-1998. Here we have a new arrangement Ten Years After, with "Ten" serving as an unofficial title track #12.

Recorded between 12/16/2007 and 12/20/2007 on vacation time.

I approached these recordings in a completely new way, using midi for the first time to track the drums, recording every live track using the Art Tube MP preamps, the guitars through the XLR line out of my Kustom '72 Coupe amp, doubling the bass in a stereo mix, a new mastering process consisting of compression and hard limiting, and powering out 5 songs in four days.

The idea was really to just get some recording done, trying out the midi setup for the first time, but when I finished, I realized that the tracks flowed together in a way that deserved to be documented.

This is a "live" studio recording, used for booking and has been passed out for free at shows.

Yet another compilation for you... This time it is mostly drum mosheen recordings, except tracks 1 & 10 which were both recorded on real drums. This CD contains demos recorded between 2000 and 2003. There were quite a few that didn't make the cut, because of time constraints on the CD as well as sound quality. Track 7 is a cover of the Beach Boys' classic.



Features Dan Taylor on keys in track 9.

ChunkStyle was formed after Chad Hildebran's departure from This Dizzy Height. Drummer Adam Clark was brought in to rock it harder. Two of the three songs on this demo were recorded earlier on the Stereo Luxuriances CD, the third, Made of Days, was new (and by far the best recording we ever made.)

These demo CDs were burned, sticker labels printed, and then wrapped in a printed and folded sheet of paper, and given away at all of our shows.

There are a lot of copies of this floating around out there somewhere.

A compilation of 4-track recordings from my first (you guessed it) two years in the south (1996-1998.) Most songs are recorded on a real drum set with all the charm and personality that a 4-track, a Shure 57, and a beginner's drum set (complete with TWO cracked cymbals) all packed into a 9 x 9 bedroom can offer.

The full length demo album by This Dizzy Height, featuring James Moats (guitar & vox), Lincoln Benson (guitar & vox), Dan Taylor (bass), and Chad Hildebran (drums).


This is a collection of songs, old and new, that were brought into the band and turned upside down. The three songwriters in the band working together made quite an interesting sound. These songs were recorded track by track in what might just be the most stuperrific time of my whole stinkin' life.


That's what Lincoln tells me, anyway... I don't really remember most of it.

Recorded late in 1999 (then remixed in 2005) some songs were new, some were old. All songs are drum mosheen recordings. This is the first and only attempt at sitting down and making an album. Over the course of five days. A valiant effort if I do say so myself.

Features Dan Taylor on bass in track 5.

This is my high school band's demo tape. We went in to the studio and recorded four songs, two originals and two covers.

Three Way Stalemate was James Moats (guitar & vocals), Mike McCullough (bass), and Donovan Ryan (drums)

Recorded at Prime Time Studio, Akron Ohio