Let's Spin! is the title of the debut album by rock band The Swirling Eddies, released in 1988 on Alarma Records. Although the true identities of the Swirling Eddies were revealed, it remained a complete mystery for most people at the time of this album's release. Frontline Records helped to launch the Swirling Eddies debut release with a "Guess the Eddies" contest. Fliers and magazine advertisements were distributed that included clues as to the identities of the Eddies. Contest participants were able to submit their own lists of. Side one "Let's Spin!" - 4:12 "Catch That Angel" - 4:19 "The Unsuccessful Dutch Missionary" - 0:08 "The Big Guns" - 4:35 "Rodeo Drive" - 4:27 "Ed Takes a Vacation" - 5:50 Side two "Snowball" - 4:13 "I've Got an Idea" - 4:10 "Don't Ask Me How I Feel" - 6:27 "Ed Again" - 0:35 "What a World, What a World" - 5:05 Camarillo Eddy on guitars and vocals. Gene Pool on lead guitars, keyboards. Arthur Fhardy on keyboards. Spot on guitars. Berger Roy Al on bass guitar. Hort Elvison on drums.
Additional musicians Jany Macklebee: backing vocal and speaks "Snowball". Buckeye Jazzbo: a horn. Horns performed by the Horns O' Plenty under the direction of Buckeye Jazzbo. Production notes Engineered by Doug Doyle. Mixed by Camarillo Eddy and Doug Doyle. Recorded and Mixed at Asylomar Studios, Costa Mesa, California. Art Direction and Design by Jeb McSwaggart
Daniel Amos is an American Christian rock band formed in 1974 by Terry Scott Taylor on guitars and vocals, Marty Dieckmeyer on bass guitar, Steve Baxter on guitars and Jerry Chamberlain on lead guitars. The band consists of Taylor, guitarist Greg Flesch and drummer Ed McTaggart. Over the band's career, they have included keyboardist Mark Cook, drummer Alex MacDougall, bassist Tim Chandler and keyboardist Rob Watson with sounds that experimented with country rock, new wave and alternative rock; the roots of Daniel Amos began to grow out of Jubal's Last Band, an acoustic quartet consisting of Taylor, Kenny Paxton, Chuck Starnes and Steve Baxter, who spent their time performing for Bible study groups and at coffee shops throughout Southern California. In 1974, JLB recorded a demo tape together and lost Starnes and Paxton. Bassist Marty Dieckmeyer and guitarist Jerry Chamberlain were brought in to fill the empty spots. Sometime in the middle of 1975, Jubal's Last Band auditioned for Maranatha! Music and Calvary Chapel in hopes of signing a performance contract.
Another band at the meeting, led by Darrell Mansfield, had a similar name – Jubal. The two bands decided to change their names to avoid confusion. Mansfield renamed his band Gentle Faith, Jubal's Last Band became Daniel Amos. Daniel Amos succeeded in landing a recording and performance contract and recorded their first song for the label in 1975, Taylor's "Ain't Gonna Fight It", released that year on the label's compilation album Maranantha 5; the band released their debut eponymous album in 1976, produced by Pedal steel guitar player and producer Al Perkins. Soon after the release of that album, DA enlisted Ed McTaggart as their full-time drummer. McTaggart had been the drummer for Bill Sprouse Jr.'s The Road Home. By 1977, the band had begun to shed their country sound with the album Shotgun Angel, which took some fans by surprise. Shotgun Angel was half rock-opera. Side two of the LP featured lush orchestrations and a string of rock songs linked together in a way reminiscent of Queen, Pink Floyd and Abbey Road.
Shotgun Angel saw the departure of Steve Baxter and the addition of keyboardist Mark Cook. Cook had been the keyboardist for the band Spring Canyon, which had recorded an album for Warner Brothers a few years earlier with producer Richard Podolor, never released, due to a change in management at Warner Brothers. By 1978, the band had recorded their first rock effort, Horrendous Disc, with help from newly added drummer/percussionist, Alex MacDougall. MacDougall had been a member of another Maranatha! Music band, The Way. Although it was recorded for Maranatha! Music, the album was dropped because of a major change in the focus of the label, they stopped releasing albums by rock and roll acts and instead focuses on children's and praise music. The band shopped the new record around to several labels, ending up on Larry Norman's Solid Rock Records. Solid Rock delayed the release for nearly three years and despite magazine article and radio specials promoting it, the album did not hit record store shelves until a week before the release of the band's newly recorded fourth album ¡Alarma! in 1981.
The long delay led to the departure of MacDougall and Cook, was the subject of a series of articles and letters to the editor in CCM Magazine. From the connection with Solid Rock, Daniel Amos began working with singer/songwriter Randy Stonehill; the band began touring with Stonehill in the late 1970s. DA performed their own set and, after a Stonehill acoustic set, served as Stonehill's backing band for another set; that tour, known as the "Amos n' Randy Tour", became legendary for Stonehill fans. Taylor produced four of Stonehill's albums. ¡Alarma! was the first of a four-part series of albums entitled The ¡Alarma! Chronicles, which included the albums Doppelgänger, Vox Humana, Fearful Symmetry. On the tours that followed each release beginning with Doppelgänger, the band used a full multimedia event complete with video screens synchronized to the music; the stage setup included mannequins, a 3D slide show and actors portraying game show announcers and models for the song "New Car!" More personnel changes occurred during this era as Tim Chandler replaced Dieckmeyer in September 1982.
Chamberlain left in mid 1983. For a short time, guitarist Milo Carter toured with the band. For the first half of 1984, they made Vox Humana. Greg Flesch joined as the lead guitar player in September 1984 for the subsequent tour. Keyboardist Rob Watson joined the band to play keyboards on tour in 1983 and for the next two albums. In 2000, the band released the four albums in a three-disc set packaged together with a booklet collectively titled, The ¡Alarma! Chronicles. Additional material was provided by columnists John Thompson, Bruce Brown, Randy Layton, Brian Quincy Newcomb and others; the band released Darn Floor-Big Bite in 1987. Although Darn Floor was an artistically ambitious and critically acclaimed effort, it sold poorly. In the late 1980s, many of the band members became The Swirling Eddies for a string of releases through the early 1990s. In 1990, D. A. would form Stunt Records, with help from friend Tom Gulotta. One of the first albums released by Stunt was the half comedy, half rarities and best of compilation from Dr. Edward Daniel Taylor, The Miracle Faith Prickly Heat Telethon of Love.
Over the years that followed, Stunt became the primary source for new DA material, including the live albums, Live Bo
Terry Scott Taylor
Terry Scott Taylor is an American songwriter, record producer and founding member of the bands Daniel Amos and The Swirling Eddies. Taylor is a member of the roots and alternative music group, Lost Dogs, he is based in San Jose, California, U. S. Taylor is regarded for his songwriting skills; these include allusions to and reworkings of material ranging from Elizabethan poets to modern authors. Foremost among Taylor's influences is William Blake; the Daniel Amos album title Fearful Symmetry was drawn from Blake's poem "The Tyger," and numerous songs across The Alarma! Chronicles series of albums have Blake-inspired references; some other poets who have influenced Taylor's work are Christina Rossetti. Eliot's poetry inspired the song "Hollow Man" from the Doppelgänger album. "Where Dreams Come True" from Taylor's solo album, A Briefing for the Ascent, draws from Rosetti's poem "Echo". The inspiration for many Daniel Amos and Taylor songs from the mid-1980s can be found in the book Behold, This Dreamer: Of Reverie, Sleep, Love-Dreams, Death.
This book, compiled by Walter de la Mare and published in 1939, contains poems and essays that appear in Taylor's songwriting. De la Mare is thanked in the liner notes of the final installment of The Alarma! Chronicles, Fearful Symmetry. References to contemporary authors appear in Taylor's songs. One example is the song "Shape of Air" from the LP Darn Floor-Big Bite; the song explores the mystical musings of Annie Dillard found in her Pulitzer prize-winning book, Pilgrim at Tinker Creek. The album is heavily inspired by the works of Czesław Miłosz; this is evident in songs like "The Unattainable Earth", "Safety Net", "Pictures of the Gone World", "Divine Instant", "Half Light and Phase". On Taylor's 1998 release, John Wayne, he credits more influences. During the 1990s and into the new millennium, Taylor's songwriting for the Lost Dogs and on other projects turned away from more esoteric themes; the songs crafted during this phase of Taylor's career marked a shift toward "Americana" and, in some ways, a return to the country music sound of Daniel Amos in the early 1970s.
The primary vehicle for this phase of Taylor's songwriting career is the Lost Dogs, with a number of noteworthy solo projects. The Lost Dogs began in 1991 as a one-time collaboration between vocalists and songwriters from four different bands at the behest of their label at that time. Taylor, Gene Eugene, Derri Daugherty, Michael Roe have released several eclectic albums of traditional American music over the last decade. After a number of years performing with local California bands and folk trios like Good Shepherd, Judge Rainbow and the Prophetic Trumpets, The Cardboard Scheme, The Scarlet Staircase, Taylor formed Jubal's Last Band with Steve Baxter, Kenny Paxton, Chuck Starnes in 1972. In 1974, the band recorded a demo tape together to shop around to record labels; that year, the band lost Paxton and Starnes, added bassist Marty Dieckmeyer and guitarist Jerry Chamberlain to the line-up. Sometime in the middle of 1975, Jubal's Last Band auditioned for Maranatha! Music and Calvary Chapel in hopes of signing a performance contract.
Another band at the meeting, led by Darrell Mansfield, had a similar name: Jubal. The two bands decided to change their names to avoid confusion. Mansfield renamed his band Gentle Faith, Jubal's Last Band became Daniel Amos. Daniel Amos succeeded in landing a recording and performance contract, recorded their first song for the label, Taylor's "Ain't Gonna Fight It" featuring ace sessionplayer Michael Omartian on Rhodes. A full album, produced by Al Perkins, followed. Taylor and the members of Daniel Amos went on to record numerous albums and change musical styles with nearly every one of them, including the four part Alarma! Chronicles series in the 1980s. In 1986, Taylor released his first solo album, Knowledge & Innocence, which included songs inspired by the death of his grandfather and the miscarriage of his and his wife's first child; the following year, Taylor released his second solo album, A Briefing for the Ascent, this time inspired by the loss of his grandmother. That year, Taylor became the production director for Frontline Records and went on to produce many of the label's releases.
In the early 1990s, Taylor teamed up with Adam Again's Gene Eugene, The Choir's Derri Daugherty and The 77s' Mike Roe to form the alt-country/roots band, Lost Dogs. Although it began as a "one time" arrangement, the band soon took on a life of its own and has continued to tour and make albums to this day. In 1996, he Skullmonkeys. In 1997, Taylor became the head of West Coast A&R for the Killen Music Group, a Nashville-based record label; the following year John Wayne, was released at the Cornerstone Festival. In 1999, a number of artists and fans of Taylor's came together to create When Worlds Collide: A Tribute to Daniel Amos; the album contained nearly 20 songs written by Taylor and performed by other artists, including The 77s, Randy Stonehill, Phil Madeira, Starflyer59, Jimmy Abegg, Larry Norman, The Throes and others. The project was completed and released in the summer of 2000, along with Taylor's fourth solo project, the acoustic Avocado Faultline. Two years Taylor returned with an EP entitled, [LITTLE, big.
In 2005, Taylor composed the soundtrack to another TenNapel cartoon series (this time, for the Nickelodeon network
Outdoor Elvis is the second album by rock band The Swirling Eddies, released in 1989 on Alarma Records. The title track found the Swirling Eddies in search of the elusive Elvis Presley who, according to the song, escaped the city by faking his own death and decided to make his home in the wilderness; the song makes parallels between the search for Elvis, the search for Bigfoot and mankind's search for a king or "savior." This project gave the Swirling Eddies their first hit songs - "Driving In England" which made it all the way to #1 in some markets, "Hide the Beer, the Pastor's Here" which created a small amount of controversy for the album. The latter song tells the tale of a Christian College professor that hides his own hidden sins and attacks his students for their obvious drinking habits. At the end of the song, "Spot" shouts out the name of Christian Colleges around the United States; some of these colleges were upset that they were mentioned in the song while others were upset that they weren't included.
One song on the album, "Mystery Babylon," had earlier been premiered on the Swirling Eddies Apology Video, sent out to fans that ordered the Spittle & Phlegm video collection. Outdoor Elvis marks the first appearance of new Swirling Eddies member Prickly Disco, it is the first appearance of the guest Eddie known as Miracle Babe, whom contributes background vocals on the album. All lyrics and music by Camarillo Eddy except where noted. "Outdoor Elvis" "Driving In England" "Urban Legends" "Tiny Town" "Attack of the Pulpit Masters" "Mystery Babylon" "Arthur Fhardy's Yodeling Party" "Hell Oh" "Blowing Smoke" "Hide the Beer, the Pastor's Here" "Hold Back the Wind, Donna" "Knee Jerk" "Don't Hate Yourself" "All The Way To Heaven" "Rubber Sky" "CoCo the Talking Guitar" "Yer' Little Gawd" "Billy Graham" "Potential" "Strange Days" "Elimination" Camarillo Eddy – guitars and vocals Gene Pool – lead guitars, keyboards Arthur Fhardy – keyboards, first vocal on Spot – guitars, third vocal on Berger Roy Al – bass guitar Prickly Disco – guitars, backing vocals and additional keyboards, second vocal on Hort Elvison – drumsAdditional musicians Miracle Babe: backing vocals.
Jeb McSwaggart: percussion. Horns provided by the Horns O' Plenty under the direction of Buckeye Jazzbo. Production notes Engineered by Prickly Disco. Mixed by Camarillo Eddy and Prickly Disco. Recorded and Mixed at Mixing Lab A & B, Los Angeles, California. Art Direction and Design by Jeb McSwaggart
Lost Dogs are an American musical supergroup formed in 1991, comprising vocalists and guitarists from multiple Christian alternative rock bands. Their current lineup includes Michael Roe, Derri Daugherty and Steve Hindalong; the original lineup included Gene Eugene, who died in 2000. The band's eclectic blending of folk, blues and rock has been characterized as "a sort of CCM equivalent to the Traveling Wilburys"; the band released their debut album Scenic Routes in 1992 as a one-time collaboration. Lost Dogs concert performances are filled with between-song jokes and one-liners between the band members. Many Lost Dogs albums include two cover songs. Songs covered by Lost Dogs on an album or in concert include Bob Dylan's "Lord Protect My Child", Leonard Cohen's "If It Be Your Will", The Beatles' "I'm A Loser", "The Chipmunk Song", Stephen Foster's "Hard Times, Come Again No More". In March, 2000, shortly after the release of their Gift Horse album, Gene Eugene died. In 2004, the band got together with Steve Hindalong to produce a special album for their summer tour.
The result was entitled MUTT, included new acoustic versions of ten songs written and recorded for each band member's regular rock bands. The following year, the band would release the entirely instrumental Island Dreams; the Lost Cabin and the Mystery Trees, was released July 2006. In 2008, the Lost Dogs traveled down historic Route 66 with cinematographer Jimmy Abegg. Abegg filmed the band's experiences; the band wrote and recorded 14 songs inspired by their journey, released as Old Angel in May 2010. Scenic Routes, Little Red Riding Hood, The Green Room Serenade, Part One, Gift Horse, Real Men Cry, Nazarene Crying Towel, MUTT, The Lost Cabin and the Mystery Trees, Old Angel, The Green Room Serenade, Part Tour, It Came from the Basement!, August & Everything Remastered, Island Dreams, We Like To Have Christmas, Happy Christmas, Volume 2, Various Artists Surfonic Water Revival, Various Artists, 1998 compilation The Best of the Lost Dogs, The Lost Dogs, Making God Smile: An Artists' Tribute to the Songs of Beach Boy Brian Wilson Various Artists, The Lost Dogs...
Via Chicago, 2003 DVD Via Chicago, 2006 DVD It Came from the Basement!, DVD/CD "Lost Dogs". 7ball. May–June 1996. Www. TheLostDogs.com
Stunt Records is an independent record label formed in 1990 by Daniel Amos, Terry Scott Taylor, Tom Gulotta. This is different from the Stunt Records, a jazz record label in Denmark; the Swirling Eddies – Swirling Mellow Daniel Amos – Live Bootleg'82, Daniel Amos – ¡Alarma!, Daniel Amos – Doppelgänger, Various Artists – No Sense of History, with Alternative Records Various Artists – Shirley, Goodness & Misery, with Alternative Records Daniel Amos – Motor Cycle Tracks, Terry Scott Taylor – Knowledge & Innocence, Daniel Amos – Preachers From Outer Space, Loam – Stereoscopic, Terry Scott Taylor – Ten–Gallon Hat Six–song E. P. Eve Selis – Out On a Wire, Eve Selis – Into the Sun, Eve Selis – Long Road Home, Terry Scott Taylor – Imaginarium, Daniel Amos – The Alarma! Chronicles Book Set, Daniel Amos – Mr. Buechner's Dream, with Galaxy21 Music, 2001 Daniel Amos – When Everyone Wore Hats, Terry Scott Taylor]] – LITTLE, big, Dr. Edward Daniel Taylor – The Prickly Heat Radio Players, 2004 Dr. Edward Daniel Taylor – The Perfectly Frank, True Story of Christmas Terry Scott Taylor – Imaginarium: Songs from the Neverhood, Daniel Amos – Daniel Amos 30th Anniversary Deluxe Reissue The Swirling Eddies – The midget, the speck and the molecule Daniel Amos – Darn Floor – Big Bite 20th Anniversary Edition The Lost Dogs – Old Angel Terry Scott Taylor – Swine Before Pearl, Standard & Deluxe Editions Terry Scott Taylor – Swine Before Pearl, Volume 2, Daniel Amos – Daniel Amos Collector's Edition Daniel Amos – Shotgun Angel Collector's Edition Daniel Amos – Mr. Buechner's Dream Daniel Amos – Tour 2011 Terry Scott Taylor – Return to the Neverhood Daniel Amos – Dig Here Said the Angel Enrico Pieranunzi/Mads Vinding/Alex Riel – Yesterdays Sinne Eeg – Dreams Daniel Amos - Live in Anaheim 1985, DVD Daniel Amos - The Making of Mr. Buechner's Dream DVD, Daniel Amos - Instruction Through Film, DVD List of record labels
A pseudonym or alias is a name that a person or group assumes for a particular purpose, which can differ from their first or true name. Pseudonyms include stage names and user names, ring names, pen names, aliases, superhero or villain identities and code names, gamer identifications, regnal names of emperors and other monarchs, they have taken the form of anagrams and Latinisations, although there are many other methods of choosing a pseudonym. Pseudonyms should not be confused with new names that replace old ones and become the individual's full-time name. Pseudonyms are "part-time" names, used only in certain contexts – to provide a more clear-cut separation between one's private and professional lives, to showcase or enhance a particular persona, or to hide an individual's real identity, as with writers' pen names, graffiti artists' tags, resistance fighters' or terrorists' noms de guerre, computer hackers' handles. Actors, voice-over artists and other performers sometimes use stage names, for example, to better channel a relevant energy, gain a greater sense of security and comfort via privacy, more avoid troublesome fans/"stalkers", or to mask their ethnic backgrounds.
In some cases, pseudonyms are adopted because they are part of a cultural or organisational tradition: for example devotional names used by members of some religious institutes, "cadre names" used by Communist party leaders such as Trotsky and Lenin. A pseudonym may be used for personal reasons: for example, an individual may prefer to be called or known by a name that differs from their given or legal name, but is not ready to take the numerous steps to get their name changed. A collective name or collective pseudonym is one shared by two or more persons, for example the co-authors of a work, such as Carolyn Keene, Ellery Queen, Nicolas Bourbaki. Or James S. A. Corey; the term is derived from the Greek ψευδώνυμον "false name", from ψεῦδος, "lie, falsehood" and ὄνομα, "name". A pseudonym is distinct from an allonym, the name of another person, assumed by the author of a work of art; this may occur when someone is ghostwriting a book or play, or in parody, or when using a "front" name, such as by screenwriters blacklisted in Hollywood in the 1950s and 1960s.
See pseudepigraph, for falsely attributed authorship. Sometimes people change their name in such a manner that the new name becomes permanent and is used by all who know the person; this is not an alias or pseudonym, but in fact a new name. In many countries, including common law countries, a name change can be ratified by a court and become a person's new legal name. For example, in the 1960s, black civil rights campaigner Malcolm Little changed his surname to "X", to represent his unknown African ancestral name, lost when his ancestors were brought to North America as slaves, he changed his name again to Malik El-Shabazz when he converted to Islam. Some Jews adopted Hebrew family names upon immigrating to Israel, dropping surnames, in their families for generations; the politician David Ben-Gurion, for example, was born David Grün in Poland. He adopted his Hebrew name in 1910, when he published his first article in a Zionist journal in Jerusalem. Many transgender people choose to adopt a new name around the time of their social transitioning, to resemble their desired gender better than their birth name.
Businesspersons of ethnic minorities in some parts of the world are sometimes advised by an employer to use a pseudonym, common or acceptable in that area when conducting business, to overcome racial or religious bias. Criminals may use aliases, fictitious business names, dummy corporations to hide their identity, or to impersonate other persons or entities in order to commit fraud. Aliases and fictitious business names used for dummy corporations may become so complex that, in the words of the Washington Post, "getting to the truth requires a walk down a bizarre labyrinth" and multiple government agencies may become involved to uncover the truth. A pen name, or "nom de plume", is a pseudonym adopted by an author; some female authors used male pen names, in particular in the 19th century, when writing was a male-dominated profession. The Brontë family used pen names for their early work, so as not to reveal their gender and so that local residents would not know that the books related to people of the neighbourhood.
The Brontës used their neighbours as inspiration for characters in many of their books. Anne Brontë published The Tenant of Wildfell Hall under the name Acton Bell. Charlotte Brontë published Jane Eyre under the name Currer Bell. Emily Brontë published Wuthering Heights as Ellis Bell. A well-known example of the former is Mary Ann Evans. Another example is Amandine Aurore Lucile Dupin, a 19th-century French writer who used the pen name George Sand. In contrast, some twentieth and twenty first century male romance novelists have used female pen names. A few examples of male authors using female pseudonyms include Brindle Chase, Peter O'Donnell and Christopher Wood. A pen name may be used if a writer's real name is to be confused with the name of another writer or notable individual, or if their real name is deemed to be unsuitable. Authors who write both fiction and non-fiction, or in different genres, may use