Love Live Music Collective – Stringzology

Thief May Enter Growth In Four Directions Dimbale Nothing Here are four of the best tracks off my 2003 self-produced album, which I did under the moniker Love Live Music Collective, and entitled “Stringzology.” Personally recorded digital sound samples from a huge peace protest in Washington, D.C. are woven throughout and the album features some of Milwaukee’s many talented musicians. Contact me at thacherschmid@hotmail.com if you’re interested in buying a copy. Continue reading Love Live Music Collective – Stringzology

Sigmund Snopek III

Whistle Song Hall of Godcar These two tunes, “Whistle Song” and “Hall of Godcar,” on Sigmund Snopek III’s double-disc rock opera “Trinity Seasseizesees,” represent my one and only professional recording gig as a, um, whistler. When I did this gig with Snopek in his cluttered East Side apartment recording studio in 1999, I learned that when you record the sound of your whistle you have to point your lips away from the microphone so the sound isn’t all wind noise. Snopek, who played keyboards with the Violent Femmes for a minute and is an excellent flute and other wind instrument … Continue reading Sigmund Snopek III

56th Street

Ethiopia Soca Let It Go Mother These are the best three tracks off of the short-lived 56th Street ensemble’s one recording. The reggae / West African group was comprised of Saskia Pretorius on lead vocals and guitar, me on viola, violin and mandocaster, KT Rusch on bass and Patrice Nassalang on percussion — plus contributions from Yaya Kambaye, also on percussion. Nassalang and Kambaye, both talented drummers and dancers from Senegal, West Africa, play in a group Pathe founded called Jam Ak Jam, a Milwaukee-based West African drum and dance ensemble. Pathe Nassalang, Yaya Kambaye, and Jahmes “Tony” Finlayson, with … Continue reading 56th Street

Amy Rohan

Jester’s Fun Down Something You Could Use Amy Rohan — sister to Dave Rohan, who played drums with me in Moriarty — recruited me to sing backup vocals and play violin and acoustic mandolin on her debut CD, “Jar Full of Pennies,” which got some critical acclaim. Here are a few tracks that I helped out on with strings and vox; Amy, of course, wrote the tunes, sang lead and played fingerstyle guitar. The songs make me think of a time in the late 1990s in Milwaukee, Wis. when I was hangin’ at Linneman’s Riverwest Inn, jamming with Amy, Moriarty … Continue reading Amy Rohan

Moriarty

Ritual Blues Must Be Milwaukee Summer I Like You “Ritual Blues” comes from a live compilation CD called “Live At The Nomad,” and was recorded live at the Nomad World Pub on Brady Street. The track was penned by Reg Owens and His Orchestra and released way, way back on 45. I think it conveys a spooky vibe that gives the original a new spin. “Must Be Milwaukee,” “Summer” and “I Like You” all come from Moriarty’s debut CD, released in the late 1990s. It was nominated for best album art by the Wisconsin Area Music Awards. (Around this time … Continue reading Moriarty

Signaldrift

Theca “Theca” is Track #9 on Signaldrift, a.k.a. Franz Buchholz’s debut album 060, released by Outward Music Company in the late 1990s. I play violin briefly on the experimental low-fi track, all of seven minutes long. You can check out more Signaldrift or buy the album at http://www.myspace.com/signaldrift. Buchholz and his brother Jason, Hans and a mutual friend Bill, a.k.a. jungle/drum & bass DJ B23B and I all played together in a really strange but at times incredibly cool experimental (knob-twiddling) project called Pargo. Think underwater, synthy, Steve Roach and Kraftwerk-inspired oceans of sound. B23B and I played more than … Continue reading Signaldrift

“Tickle your Cattails” from Church of the Get Down

Tickle Your Cattails “Tickle your Cattails” was produced by Miri and Darka Stebivka, under the name Mode M, for their compliation album Church of the Get Down, a tribute album dedicated to Scott and Sherry Pendarvis. The Pendarvis family owns the Pendarvis Farm, on which the renowned Portland-area music festival Pickathon is held each year. I don’t really know the whole story here, and have only been to the Pickathon once, when I volunteered. But, as the tune, on which I play violin (around 4:30 into the heavily-layered track), indicates in Scott Pendarvis’ own words, the farm has been besieged … Continue reading “Tickle your Cattails” from Church of the Get Down

Sammy Llanas solo project Absinthe

Defeat This was the second track on BoDeans lead singer Sammy Llanas’ extremely dark solo album with Jim Eannelli. Recorded in 1998 under the name Absinthe — a supposedly psychoactive liqueur — at Llanas’ funky studio on Milwaukee’s South Side, it was called “A Good Day to Die.” I played violin and mandolin, directed through my parts by the strict ears of engineer Gary Tanin. I also played with the tone genius guitarist Jim Eannelli in a Milwaukee blues-rock band for about a year shortly after this recording was done, and it was Eannelli who volunteered my name to sit … Continue reading Sammy Llanas solo project Absinthe

Colin O’Brien

Slidell Blues D For Disk Slidell: One of the best, and bluesiest tunes off of Colin O’Brien’s 1997 release “Pressure in the West,” this was among my first recordings. I play blues violin on the track, originally penned by Paul Geremia. Mike Bieser is on bass. D For Disk: Actually, Colin was really talking about “D For Dick” on this tune, I think. A sly, fun, tongue-in-cheek tune. Colin, Mike Bieser and I (plus contributions from Steve Wurcer on guitar and drummer Bill Backes from Little Blue Crunchy Things) rocked these tunes, some of mine and some of Mike’s at … Continue reading Colin O’Brien