When's the last time YOU had an Out Of Bodies Experience? That long, eh? Well, you're long over due. We're happy to say we've digitized some more of our tunes for your listening pleasure and added them to our ever growing list. To play - just click on the song titles below! That will automatically launch your Quicktime Player in a separate pop-up window complete with our nifty scrolling lyrics which you can control by clicking on the UP and DOWN arrows!

If nothing happens when you click the song titles, fear not! You can download Quicktime for FREE by clicking on this link here, install it in seconds, and then try again.

There are plenty more tunes sprinkled throughout our LOST and FOUND section - including rare and bizarre demo tracks - so make sure you take a look there too! Enjoy - and play loud!
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Dan had done a demo of a song he titled "High Outside", an incomplete piece which shortly after became this song, Glowing Pearl. Influenced in part by David Bowie's "Space Oddity" and the follow-up song to Oddity, "Ashes To Ashes", Donald elaborated on Dan's original framework and wrote new lyrics depicting his own story about yet another poor astronaut lost in space. Although Dan sings lead on the demo, Dan asked Donald to do the vocals on this version - and despite a slight slip-up on percussion towards the end of the song, Donald recently reflected favorably about it saying "I made my mother a CD of some of our tracks and out of all of them she likes this one!"

With no 4-track recorder available at the moment, Dan, Donald and Joe recorded this one on Donald's double-deck boombox in his bedroom. Like many of the recordings you'll find in the "Lost and Found" section of this site, this track shows what you can do with nothing but the bare essentials - a mix microphone for a crude form of "over dubbing", a single guitar and a novelty flute, which incidentally, no one knew how to play. Remarkably though, the song doesn't sound all that different from the Rolling Stones version. Joe sang lead.

Lloyd and Donald used to do this one on the boom box long before meeting up with Dan, so they knew the harmony pretty well and did this 4-track version with Dan in one take. It's an old Lennon/McCartney song that the Beatles never officially recorded themselves. There's a nice version of the Beatles doing this on "The Beatles At The BEEB".

One of Dan's earliest 4-track songs. Contains the great lyrics "If the B-1 comes at you, don't worry. Don't you cry. If the B-1 comes at you - just kiss your ass goodbye!" Also contains the "F-word" over and over again - so it's not for the little kiddies! K-Mart won't touch it. Play with caution!

Originally recorded by Donald on his own, this 4-track version with Dan includes a great backwards guitar solo. Donald recalls "We wanted to do something similar to what The Beatles did with songs like "Rain", "I'm Only Sleeping" and "Taxman" - have a backwards guitar playing the forward melody. I knew how to do it technically, but it was Dan that pulled it off on his 4-track. It's my favorite part of the song. An extra plus was that, oddly enough - it ended up not sounding like a guitar at all - but more like bagpipes! It's a great song... the only thing I'm a bit embarrassed about are my drippy lyrics! Chicks dig it though! Heh Heh!"

See a drawing Donald did, inspired by the song.

 In Japan 

Joe doing what Joe does best... beltin' it out and slapping his leg! Too bad this nice slice of heavy metal never made it past that one lyric. That's Dan on guitar - heavily distorted and cranked up so high it shook the glasses.

Lloyd remembers... "We were in-between tunes at Donald's house when Dan suddenly started playin' us the Bonanza theme! We all started laughing, and I think I started doing Lorne Greene jokes, like how things were so bad in his acting career all he could afford to eat was Alpo (which he did the commercials for!) The next thing you know, tape was rolling and Dan was saying, "yeah, do that... g'head..." I also remember slapping Don around quite a bit! Every time "Lorne" threatens anyone during the track, I was grabbing, shaking, and scaring Don! That's why when he finally gets to say his one line you can kind of hear him screeching and laughing in fear as he delivers it!

A raw account of a deteriorating relationship. Donald had recorded this song complete on a boom box and then brought it over to Dan's house so he could add bass and run his voice through a "flanger." "I remember wanting to change my voice on that song" recalls Donald, "and we fussed around with his flanger box until I ended up sounding like a tortured robot. I remember going, that's it!"

There's a strange story behind this one. On one of his messenger runs Dan delivered a package to someone named Wendy, who turned out to be a sick old woman on her death bed. The package was taken by one of the people who were standing bedside. Dan was pretty sure she was very close to being dead, and he felt so inclined to write about her passage to the great beyond as soon as he got home. Well, at least that's the story until Dan says otherwise.

Another 4-track recording session in Donald's bedroom, Lloyd, Donald and Dan knocked out this quick improvisational song as a warm-up to an impressive all day long session which also produced "Please Don't Ever Change" and the "Bonanza Sketch." The lyrics, mainly sung by Lloyd, vaguely refer to someone's mom cooking in the kitchen... but beyond that they admitted, it really didn't make a whole lot of sense.

Donald's son Craig (when he was still a baby) is at the beginning of this recording. It's another quick, simple little ditty done by Donald and Dan on the 4-track.

Dan once explained that he had Elvis Costello in mind when he did this one - but it's quintessential Dan. One of his early "solo" recordings. Dan, often overly critical of his own early recordings, had wished he had committed this song to tape with better care, but it's still a favorite of the other fellas.

Mark and Donald took a trip to Dan's one day, and among other songs like "She's Got The Devil In Her Heart", "Mull Of Kintyre" and other special requests, Donald asked Dan if he would help commit John Lennon's "Beautiful Boy" to his 4-track recorder. What commenced was a fairly lavish production complete with playground sounds recorded by Dan. Donald sang lead, Mark did harmony, and Dan handled all of the instrumentation with the possible exception of some percussion, which might've been handled by either Mark or Donald. At the song's end, where Lennon sang his son's name, Sean - Donald threw in his own son's name, Craig.

This groovin' little number is the result of what happened one day when Donald and Mark dropped by Dan's for a visit. Dan had already recorded the instrumental portion of this track and quickly and spontaneously stood a microphone up between the three of them and pressed "record" on his 4-track. With just a little sheet of loose-leaf paper with some scribbly lyrics to follow they all sang - and Dan wisely opted to leave in all the joking and on-tape chatter just to add to the freshness of the whole endeavor. It's a nice, feel good track.

Mark's trial by fire - "The first time he visited Dan with me" said Donald "We put him to work right away! He never saw it coming! We like digging deep so we picked this early Beatles track that George Harrison sang. I also remember Dan was being real particular with our background singing - it had to be just right."

A long time pen-pal friend and dee-jay from New Zealand, Terry Toner, called this song by Dan "Brilliant!" and it's also a favorite of all the OOBs, especially Mark - who liked the Beatlelsque bass licks and acoustics. Dan's lyrics suggest the plight of the working stiff, and the tune reminds one of The Beatles circa '65/66, rich on acoustics and vocal layering.

Another Beatles song done on 4-track. Donald sang lead and Dan added everything else. Donald recalls, "What's cool about this song is what Dan did to it once he got it back to his house... the keyboard, percussion, and a whip ass bass line. My wife likes it better than the Beatles original!"

The Man Who Sold The World

An early David Bowie tune. Heavy on the flange, and maybe a little bit spooky. "I cringe when I hear all that analog hiss from the effects boxes" said Dan, "but Donald was always pushing it way into the high numbers on the dial - always wanting to change the sound of his voice." Donald sings lead, Lloyd does backing and Dan does a nice fuzz guitar - pretty true to Bowie's original.

Donald played his demo for this song over the phone one night to Dan, and right away Dan said "we gotta do this!" Even before Donald could make it to Dan's house in the Bronx, Dan had already recorded most of the tracks leaving Donald to finish it up with vocals and percussion. When the song made it's debut in Hometown AOL one reviewer called it "a Grammy Winner!"

One of Donald's earliest 4-track collaborations with Dan. Originally this song was intended to be a soundtrack for an animated cartoon Donald was working on - although he only got as far as a "pencil test." Donald recalls, I asked Dan if he could write something that had the same feel of the Beatles' "Nowhere Man"...something with that same bounciness. He played me a demo and I flipped! Soon after I made the trip to his house in the Bronx (maybe even the very first trip to his house) and we recorded this. Dan does a really nice guitar solo in this one too - although I can remember he was really insecure about doing it! It's still one of my favorite tunes."

May be the only Out Of Bodies song that actually refers to an out of body experience! Well, maybe besides "Wendy Will Die" - we're still not sure about that one. Sung and performed entirely by Dan on his 4-track recorder, this ones an Out Of Bodies psychedelic favorite! It got a lot of "hits" on MP3-com when it made it's debut some years back.

This is Joe and Donald singing an old, fairly obscure Jesse Lee Kincaid tune that was covered by Harry Nilsson on one of his early albums. The Out Of Bodies have actually done two completely different versions of this song, years apart, one using a synthesizer and drums. This is the earlier, simpler version with just acoustic guitars.

This is a pretty obscure Kinks song that Donald found one day and asked Dan if he'd like to try it with him on the 4-track. Dan always thought Donald sounded like Ray Davies to begin with, so it wasn't really a far stretch to make it sound very much like the original. Donald sang lead and the both of them did the "la la la la" backgrounds. There's also a little Popeye nonsense there at the end for no apparent reason.

Here's an impromptu "LIVE" Out of Bodies track recorded (loudly) in Dan's bedroom. One can only imagine the face on the old lady who lived in the apartment below them. Donald sings lead, Dan plays electric guitar, and Lloyd goes psycho on the drums. As Donald recalled, "We recorded this at Dan's house, featuring Dan, Lloyd and myself. I actually went to Lloyd's house, picked up his drum kit, put it in my car, drove into the Bronx (or as I frequently refer to it, the F---king Bronx), lugged it up to Dan's mother's apartment on the 15th floor - and THEN had the energy to perform! We did a full live tape but all of it is fairly rough and sparse - sort of sounds like a cheap night-club!"

Not so much a song as it is a "snippet" - a little piece of music that was found in-between songs on one of the Out Of Bodies cassettes. Joe may have been testing his tonsils on this one, and it's difficult to say if he's singing over a record or if that's Dan's playing on there - but one thing is for sure - Donald didn't like it, hence the explosion added at the end.
This is something Dan forced Donald to do - a vocal cord rupturing version of Tom Wait's "Downtown Train" - - sort of. Without warning it was recorded in one take, much to Dan's amusement. Obviously, all of the lyrics were made up on the spot. Apologies go out to Mr. Waits.

Mostly because of logistics Dan and Donald opted to do a very different take on this song than what you might expect. Rather than try to duplicate the complex, lavish orchestral strings and horns on the Beatles version (a nearly impossible feat to attempt in one's bedroom) they instead went in the opposite direction - and rendered a minimalist, almost folky rendition. Donald sings lead while Dan handles most of the harmonies. Listen for Dan's bass playing on the acoustic. Nice!

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