Archive for the ‘jim cooper’ Category

Travelers of Tyme present “Music for Lovers!”

February 14, 2011


Travelers of Tyme engineer music precisely for holidays such as St. Valentine’s Day, a complex and contradictory day. For some, it is a day of romance, of flowers, sweet kisses, and nostalgic, warm conversation. For others, it is a day of heartache, of loneliness, and perhaps dark fantasies involving the Hallmark company and the calling of robotic minions to do biddings against the makers of cards. Regardless of where you find yourself this February 14th, we encourage you to lower the lights, pour a snifter of wine or whiskey for yourself and your special friend, if you have one, and switch on “Music for Lovers.” The Travelers cannot guarantee you will enjoy all of your experiences on this planet — but we CAN guarantee that we will make them sound better!

So go ahead, talk softly over “Music for Lovers.” Clink your glasses, kiss your kisses, whisper your sweet nothings into real or imagined ears. “Music for Lovers” is music meant to sway softly in the background, like a silhouetted palm tree in a warm, sea breeze. It is music to live to and, of course, music to love by!

(Note: listen at work and watch your productivity increase by 40%!)

Thank you, as always, for choosing Travelers of Tyme for all of your musical wallpaper needs. And Happy Valentine’s Day to you and your beloved, whether in flesh or fantasy.

Professor Yaya & Doctor Klem
The Travelers of Tyme


Jukebox of the Dead Countdown II – “Invisible Touch” + 2 “Secret” Tracks

October 18, 2007

Greetings and welcome back to another Detholz! Mp3 Blog, Episode XII!

Forgive the late posting today and my absence last week. I was gallivanting around Prague getting myself engaged, and interestingly, was gouged by a ridiculous cover song on the night I proposed to my fiancee.

To set a romantic tone, I booked us a reservation at a restaurant housed in a 12th Century wine cellar. What better environ in which to gaze longingly into one’s significant other’s eyes through soft candlelight, eating delicately prepared dishes full of rapturous delights… right?


Picture with me: a 12th Century wine cellar bedecked in plaster-of-Paris Doric columns & distressingly Boschian faux murals, all illuminated with gaudy casino spotlights. Got it? Ridiculous enough, right?

Now imagine a soft disco/easy listening rendition of “Ode to Joy” blaring over a loudspeaker into this environment. “Ridiculous” transmogrifies into “sublime!” Somewhere, a demigod or demon was laughing at me and having his sweet, sweet revenge.

THAT’S the power of inappropriately placed cover tunes, ladies and gentlemen.

By popular demand, to invigorate/eviscerate YOUR romantic dinners, we proudly present the Detholz! interpretation of Genesis’ “Invisible Touch.”

AND– since I was truant last week doesn’t mean I’m inattentive to your comments– I am including 2 unreleased Jukebox of the Dead tracks from a short-lived “Detholz!-Do-Don-Henley Manhattan Project.” Both tracks were voted down by the band, for obvious reasons:

All She Wants to Do is Dance” and Don Henley’s lyrical masterpiece, “Sunset Grille.”

We tried, folks, but the Don is simply beyond repair.

See you next Wednesday for the second-to-last installment of the countdown to Halloween and Jukebox of the Dead VIII!

I will not be tardy for the Detholz! blog.
I will not be tardy for the Detholz! blog.
I will not be tardy for the Detholz! blog.
I will not…

Jim Cooper demo – “Children of the Night”

September 20, 2007

Note: Detholz! will perform at 8 pm this Sunday, Sept. 23rd, at an all-ages FREE show at the Art Institute of Chicago. More info here:

Welcome to Episode IX of the Detholz! Mp3 Blog! I apologize this comes a day late– believe me, this is an “excused tardy.” You would not believe the week I’ve had.

A change of pace today, ladies and germs, in our most recent installment: “Children of the Night,” a kinder, gentler, somewhat autumnal number.

This is not intended for any band, nor did I write it for anyone else in mind (other than the person the song’s about). It’s not meant to be played live, no flashing lights, no bells and whistles– just a plain old song.


So this is a love song. Will wonders never cease?

I’m turning over a new leaf! Sort of. The lyrics are written from the perspective of a vampire to his beloved.

I’ve been going through a real vampire kick recently. My recent obsession started with a breeze-thru of the painfully campy “Salem’s Lot,” continued with a flying leap into the depths of the Hammer Horror film catalogue (Dracula AD 1972 is a must-see!), and is presently manifesting itself as an addiction to a (gulp) vampire game. I know, I know. To quote Babyboomerangutang from “The Tick”: “It’s okay to play with dolls!” Right?

I heard a screenwriter on the radio recently suggest that the horror genre generally appeals to a younger demographic. I have found the opposite to be true. The older I get, the more I am drawn to films and books stacked in the “horror” racks at Blockbuster/Barnes and Noble. Perhaps this reflects my weak grasp of maturity and/or problems with functional adulthood– of those things there’s little doubt– but I’d also like to think it’s reflective of some semblance of imagination. A good scare is a healthy thing now and then, right?

Feh, enough disclaimers. On with the show:

A vampire is a damned creature– a child of the biblical Cain, cursed to walk the earth for eternity, feeding on the blood of others to survive. I tied in this idea with the concept of the Fall — not the current season, but the “Fall of Man” in Genesis 3. According to Christian theology, we inhabit “bodies of Death,” marred by the Fall of Creation in Genesis 3, cursed by God along with Adam and Eve. Though we still have fellowship with one another, we were separated from God in the Garden of Eden and remain so. Ultimately, our bodies– along with all Creation– will be redeemed by Christ. Redemption is a central tenet of Christian theology, and subsequently of American culture.

I liked the image of the vampire walking in the darkness with his beloved, living an “unlife” together marked with the all of the trappings of their shared Curse– but the Curse has no real power over them. They will eventually be redeemed. They are, therefore, simultaneously children of the moon, children of sleep and– because of their coming redemption– children of God.

Well, it made sense to me at the time.


Obviously this is a very different kind of song than others I’ve posted– an honest-to-goodness foray out of my comfort zone.

I purposely limited the vocals to one or two takes, leaving all of the warbles and warts intact. I think this lends an element of intimacy/sincerity to the vocal delivery, and helps create the “rickety” atmosphere I was aiming for here.

The first element of the song was the guitar part, which was sloppily played through a crappy reverb. The chorus melody is introduced is introduced immediately, and provided the foundation for the entire song’s arrangement. In the verses, the guitar part is static, sitting on a G. The organ moves the harmony along, moving around the tonal center, sometimes outside of it. The harmonic changes were put in place before the vocal melody, which is an old Detholz! trick. I hadn’t written a song this way in a long time, and it felt good to be back in the old, threadbare cap’m’s chair.

I wrestled with whether or not to bother with percussion, since this is such a subdued track. After laying down a bass line, though, it sort of screamed for one. I borrowed a few tricks from one of Bobby Conn’s drummers, Josh from Chicago band, Mahjongg, and definitely had him in mind when constructing the part. Quick, precise and jittery.

The piece de resistance for me is the backward guitar solo– not an especially original trick, but in this context it injects a pinch of creepiness, which is a must for this song.

When left to my own devices, as a “solo songwriter” that is, I usually churn out material like this. “Haunted Soft Rock?” “Eerie Relax Rock?” “Uneasy Listening?” I don’t know what to call it. I’m not even sure if I can name specific influences.

Maybe you can discern a few? Let me know.

Thanks, as always, for tuning in! See you next week. And I promise to be prompt.



When the town’s asleep
We’ve a vow to keep
Since the world began

Since the world began
Adam walks with Eve
And Cain walks with all of his
Inside their shadow’d bones
Alone and not alone

Is it dark enough
Under the moon above?
We are her children, love.

There is a light of love
Inside the Eye above
We are His children, love.

He has promised you
An eternal youth
Since the world began

Since the world began
I have walked with thee
And you walked with me
Through our darker dreams
Alone and not alone

Awake at night
You shake with terror

Let us fall asleep together

We are her children, love.
We are His children, love.