I’d like to think that review was written in a verdant meadow on the bank of a still pond.

AIP: Sounds like you have a lot on your plate!

Thank you for your patronage, AIP. Appreciated as always.

As an admittedly-obsessed Detholz fan, I have many favorite moments in your music. Perhaps too many.

However, the 2:50 mark of this demo of The Body Electric is about as perfect as music can get. Or as close as I’ve heard you guys get. The harmonies. The falsetto. The quietly strummed electric guitar.

Albeit, my obsession does lend some bias, but that’s just how I feel.

Thanks for posting and sharing this Jim. It’s a true gem.

I did want to add something though. Over the weekend my wife noticed two figures looming behind her car while it was parked at a Wheaton eatery.

It turned out that they were merely taking a picture of our license plate: “DETHOLZ”. That’s the first time that’s happened.

Was it anyone on this blog?

i am not foolish enough to think you’d play this one again. my comment is response to Karl’s “monotonous” (ie, maybe that one part). Although next time i am in the audience I may have to yell “body electric… abridged!”

“Cast Out Devils” seems to be the sleeper hit from the record of the same name. When the record was written up by the indie pundits– whether they liked the record or not– that song usually got a nod.

Case in point: here’s one of my favorite DH! reviews of all time, from a 2006 show with the Danielson Familie:

http://www.cokemachineglow.com/interview/1981/the-danielson-x-perience-pt-2

I had to look up the word “stentorian.”

Jim: Time to bring out the Holy Hand Grenade of Antioch.

‘Bab: Well, seeing as how this song is almost 9 years old, we probably won’t change it… or play it… ever….again…

A lot of those old DH! songs are built around repeating guitar ostinatos/”riffs”: Mr. Electricity, the A section of Rebirth Control, Invisible Man, etc.

Imitation is the sincerest form of flattery! Seriously. Glad these songs have been fertile ground for some musical heists– a high compliment, indeed! Thanks, ‘Bab!

1. the part where the bass line comes in — beautiful
2. the one harnony part in the middle — beautiful
3. the ending, as it starts out as a single guitar — my favorite detholz moment perhaps.
4. the tick tock guitar styling - I have borrowed that from you on more than one occasion. I refer to it as the ticking time bomb effect.

(I accidentally originally posted this comment under Bunny of Death…somehow.)

Could I just say that while I think that Mr. F’s contributions are some of my favorite DH! work ever? The boy can be a bit too earnest left to his own devices, but run through the band filter, it’s pretty special stuff. Do we have any record of he other stuff hanging around? I’m thinking ‘Hol-lee’s lee-ving town, pull her dressers drown, ten and three steps till shee hits the ground’. or something to that effect.

I’d like to hear some commentary on Cast out Devils too — grabbing the pod just now, I have to say that’s one of the most satisfying songs that you’ve put together. It doesn’t hurt that I can practically see somebody half passed out in that pool, maybe next to the drowned squirrel, ranting at poor dec’d Ursula.

Not perhaps finally — I’d have to say that Amy won last week’s thread going away. She took it to a whole other level.

Finally — Other Jim — you have everything you need to answer your question. It’s just a matter of putting together the pieces. Something about mayonnaise jars and centerfolds — no, actually centerfolds, don’t get distracted by their semiotic correspondence to things that exist just yet.

Oh, god. It’s a work night. I love you all. I hope that I don’t have to be a genius tomorrow, because that’s only going to happen if I drink a poisonous quantity of coffee.

I guess there ARE times when you cain’t polish a turd!

Still, I agree– there’s a little more meat comin’ off of the bone here than on the album version. Possibly another argument for not doing too many vocal takes– tends to diminish the sincerity of the delivery.

As I remember it, we had to do about 5,000 vocal takes on the album version to even make it passable!

The coda on the album version is more satisfying, though; less dissonant.

Outstanding, regardless.