Recording at Jim’s Monday… He’s now got “base†tracks (rhythm guitar and vocal) for “In the Shadows, I’ll Be Watching You,†“The Dead Sweethearts Polka,†“Born Again Barbie,†“Pole Dancing for Jesus,†“50 Ways to Cure the Depression†and the Jedi Pigs of Oz theme song, “1-800-HANSOLO.†Managed to do all that in less than two hours. And we’ll do some more, probably in a couple of weeks. Got the second Dylan Show and my gig at the Relay for Life to get out of the way first. Those are this coming weekend.

First four of the above songs are ones that’d go on the Joe Is Going to Hell CD so I think that’s where I’m going first. I tried to explain what I had in mind for Southern Pigfish, but I think it may be too complicated. I’ll write it all down and see if I can organize it better.

Still to do for the Joe Is Going to Hell album: “The Abomination Two-Step†(fast bluegrass), “Bungee Jumpin’ Jesus†(deliberate Gospel), “Can I Have Your Car When the Rapture Comes?†(slow & sleazy), “Angel in Chains†(country death metal), “Song for Charity (and Faith, and Hope)†(fast bluegrass), “Dirty Deeds We Done to Sheep†(Johnny Cash-style rock ‘n’ roll), “When They Die, I Put Them in the Cookies†(fast bluegrass again). I’ve already got “The Resurrection Blues†(deliberate blues). That’s 12. What did I forget?

The puppet show song is the only one where I was dictating an arrangement, and that’s because the puppet band when they perform on stage will have bass (played by Luke), lead guitar (Hansolo), harmonica (Yoda, complete with dark blues-player glasses), and drums (Chewy is the drummer and Darth, who has a bucket on his head, is the drum). And Princess Leah is supposed to sing lead, so it’d be really good if the vocal on the recording was done by a girl (Jim thinks he knows one who’d do it). In a pinch, though, we could switch instruments around—Leah could play bass, and Luke sing, say—and then we could use my vocal.

Arrangements on the others I am as usual leaving entirely up to Jim. He’s the Sound Guy. I think my parts on the “Dead Sweethearts†and “Pole Dancing†songs were good, and on “In the Shadows†excellent. I could do lead on the latter—it’s a simple two-step, and I can do an acceptable lead on a simple two-step—but I’ll see what Jim comes up with. Hopefully, other members of his “Bob Dylan’s Big Band†will be interested in doing parts—they are all very good. (And they all know “Pole Dancing for Jesus.†It’s become kind of a cult classic.)

The first Dylan Show (June 30) came off good. I think people are getting used to my hunger for feedback on performances, ‘cause a lot of them made a point of letting me know we sounded good. I think the one we did best was “The Leopard-skin Pillbox Hat,†a simple 12-bar blues that we did as classic rock ‘n’ roll (with Jane playing lead on the spoons); I don’t think anybody was expecting that. One nice thing about doing really obscure Dylan tunes (which we did deliberately) is nobody remembers what they’re supposed to sound like, so they’ve got nothing to compare you to.

Elsewhere: Bob Dylan and His Big Band had to back out of performing at the Relay—his bass player and drummer won’t be in town—but I’ve got them for Garibaldi Days, and (I think) for the Rocktoberfest in October. Sedona Fire is in for Garibaldi Days, too, as is Eric Sappington. I want to reserve a slot for Deathgrass, and then we’ll have room for just one more. Five acts in six hours, playing an hour apiece. Much easier job for the booking agent (me).

Rap is done for the Relay for Life; still need to finish the poster for the puppet show—and find time to practice; that one’s coming up soon, too (July 18). Coaster’s performance at the 2^nd Street Market’s been postponed until August, which suits me just fine; July was getting way too busy.

Joe