Cody Weathers

Music so hip you'll need a bigger belt


Flip Nasty: Songs You Hate (studio "Best Of", 1998)





$10 for CD via special order, coming soon to CD Baby

The Songs (as voted by Flipkids Funklub Nerd Patrol (tm))

Side 1: Leave Me Be(5)/ Mad About You(8)/ Essence of My Time(2)/ Dead Man's Blues(4)/ Dollface(7)/ I Am The Moon(6)**/ Running Away(2)/ I Won't Quit(3)*/ Best of Days(5)/ Little Miss NYC(1)**/ Puppy(4)

Side 2: Make Still Your Wings(4)/ October Air(3)*/ Scared(4)/ Underneath My Skin(5)/ Wardrobe(8)*/ Short Leg(4)/ Nothing But A Song(5)/ Something Out(2)/ Passing Through(8)*/ Dangerous(3)*/ Too Much(5)

All songs C P 1988-98, Cody Weathers, all rights reserved. No stealing the worthless material, OK?

Original Albums and band names:
1. Not! By Roque '91 (Remix'98)
2. Less Yackin', More Snackin' by Roque '92
3. Drive By by Splat Monkey '93
4. Pronounced "Snausages" by El Squeako '94
5. Guitool by Flip Nasty '95
6. Archaeology by Flip Nasty '96 (Remix '98)
7. Unreleased '96 by Flip Nasty; originally recorded on As Rome Burns by Roque '91
8. River Dreams by Flip Nasty '97

Many songs available as .80 singles on our SNOCAP store:


COMING SOON: $8.00 for entire album (download), $10 for CD, or $5 for CD in conjunction with LSF and Flame Cow!

The Skinny:

Have you ever listened to Flip Nasty play and said silently to yourself, "If they don't stop playing that hideous song, I may have an allergic reaction!" Wondered how you could enjoy that effect at your leisure? Songs You Hate is an astonishing collection of 22 songs on 2 discs, banned by arms treaty in 40 countries, spanning 10 years of inexplicable nerdy Rock& Roll.

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Don't Hate the Players:(L-R below) 

John Fried: bass, bu vocals

John Speranza: guitar, bu vocals, bass on *, auxilliary percussion

Cody Weathers: lead vocals, percussion, keyboards, add'l guitar on **


Erstwhile Members (albums of participation):

Nick Walsh: lead guitar, bu voc (1,2)

Matt Preheim: keyboards, auxilliary percussion (1)

Neil MacPherson: keyboards, auxilliary percussion (2)

Colby Goff: guitar, bu vocals (0)


Additional Musicians:

Cat Mayhugh: bu vocals, auxilliary percussion

Joh3n O'Meara: bu vocals

Eric Rorem: bu vocals

Terri Kempton: bu vocals

John Usher: bu vocals

Rebekah Knoll: bu vocals

Dan Langhoff: bu vocals







Liner Notes


A Brief and Partially Factual History of Flip Nasty in the very exciting present tense:


1986: Cody Weathers buys used red sparkle Ludwig learner drumkit and 3/4 size nylon acoustic guitar. Cody subsequently forces childhood friend John Fried to join new band Solar Zundap as keyboardist. Zundap records four songs then returns to playing Dungeons & Dragons. Fried destroys keyboard to prevent reunion tour.


1987: Cody plays brief stint as drummer for The Biscuits. The Biscuits are not good at all. People hate The Biscuits. Babies hate the Biscuits. The deaf hate The Biscuits. The Biscuits hate The Biscuits and dissolve.


1988: Cody and Fried buy $25 used electric guitars, possibly left over from the early days of the Monkees and decide to start a new band, Rook. The original lineup is Fried and Nick Walsh on guitar, Matt Preheim on keyboards, Cody on drums, and Dan Levin as lead singer. Dan subsequently does not attend any rehearsals, and the Rook council convenes and decides 1-0 (which is sufficient for quorum) that due to the grave and demonstrated need for rehearsal, that Dan shall no longer be Rook's lead singer. Subsequently, a rigorous audition process commences to find a suitable replacement. Candidates are carefully screened via a two-part audition wherein they sing along with a tape of Motley Crue's "Home Sweet Home" for part one and with Matt playing the Beatles' "A Little Help From My Friends" for part two. Out of the literally hundreds of desperate applicants, Hannah Trechock is chosen as the new lead singer of Rook. Hannah attends one rehearsal with Cody and Matt and decides that she'd rather eat a jar of live spiders than put up with this crap (cutting edge artistry). Colby Goff, the number two candidate gets the call. With Colby at the helm, the band soon records groundbreaking new underground cover versions of "A Little Help From My Friends" and Cheap Trick's "Voices." Disaster strikes as a major class-action lawsuit by local classic rock cover band Rook forces the band to change its name to Roque, under Nick's patent assurances that this is the insider-chessmaster's TRUE spelling of "Rook," but it turns out to just be an obscure form of croquet in which a raised boundary exists to limit the playing field. However, as croquet is the sport which most exactly represents the spirit of rock and roll, the newly-annoited Roque views it as serendipitous destiny.... Shortly thereafter, disturbed by the delicate shift in the focus of the band's intensity from a chess band to a croquet band, Colby Goff steps down from the mic' ("I can be the lead singer of Rook, but I'm not ready for Roque....") and is relegated to the duties of the hitherto gaping void of third guitarist. Henceforth, drummer Cody Weathers assumes singing responsibilities. However, John Fried soon suffers a career-ending chord injury playing polo and must put down the guitar he so loved to become Roque's first-ever bass player. Soon thereafter, the band plays the first of its legendary shows at "Club John O'Meara's House" where they are discovered and signed (while still in high school!) by Checkmate Records A&R rep Cat Mayhugh.


1989: Roque records its first full-length album, Roque and Roll. With mesmerizing crowd-pleasing hits such as "Do You Want It," "Time, Trouble, and Expense," "Send Me Your Heart (On A String)," and the original version of "Little Miss NYC," the album rockets to the top of the Inuit charts and remains there until the end of caribou season.


1990: Having won the annual Denver Critic's choice award for "Band With the Name Most Frequently Mis-pronounced by its Own Members," Roque releases a new album, Separate Ways. However, before the summer tour in support of this album can begin, Colby Goff announces that he is contractually bound to attend ski-patrol school during the summer months in Michigan. Not having previously realized that Michigan was located in the Southern Hemisphere, the normally astute other members are flabbergasted. Faced with the daunting prospect of being whittled down from once three to now only one guitar player, the band begins a frantic search for a temporary replacement. Eventually, it is John Fried who finds the answer. He comes to rehearsal and informs Cody that he knows "a guitarist at school who has played for more than six years who's looking for a band." With much optimism, it is decided to allow this wunderkind to audition by sitting in on a rehearsal. Despite his curious interpretation of suspended chords and his liberal approach to tabulature, his brilliance is blatantly obvious. Thus John Speranza joins the band for the "1990 Roque World Tour of the Reeves and O'Meara Living Rooms."


1991: Upon Colby's return, there is but one clear path --to return to the three-guitar format and record the most rocked-out album ever to be made with a boom box in the middle of a bunch of guys: Checkmate. Having crossed the threshold of immortal three-guitar rock, Colby Goff --ever sensitive to the muse-- retires. In searching for a new two-guitar definition, the band decides to venture into a commercial recording studio to clean up Hollywood-tainted rock and roll once and for all. Their strategy is to re-record some of their earlier two-guitar anthems from Roque and Roll and Separate Ways on a greatest-hits anthology entitled Not! Audioworks is the lucky proving grounds for this momentous new direction. Purely as a statement, Roque enters and places third in a local Battle of the Bands. John Fried is observed to lean against a file cabinet in a sweet prelude to later motionless efforts on the part of other members. Cody and Speranza begin their long and illustrious undercover open stage project with help from local giant John Steidemann. Work is already underway on the band's third resounding strike into the heart of the youth, As Rome Burns, which is released in December.


1992: Roque delves ever deeper into charity work, playing at benefits for SADD and Amnesty International, where Matt Preheim single-handedly kicks the collective ass of local Ubermorons Wretched Refuse for stealing and burying two official Roque patch cords. Feeling that their third-place statement was largely ignored/misunderstood in 1991, the band returns and loses the same Battle of the Bands. Matt Preheim, feeling similar closure to Colby Goff after this anti-commercialist message is finally driven home, quits the band to pursue his other "goals." Cody, having recently written music for avant-garde fairy-tale showcase The Flower that Shattered the Stone where he was able to finally boss around keyboardist Neil MacPherson, brings Neil on board for what shapes up to be Roque's final album, Less Yackin', More Snackin'. In preparation for the Yackin' sessions, the band plays two critical shows -the infamous "Paris on the Platte Gig In Which Five Were Not Fed" and the more austere "Mercury Cafe Fully Motionless Gig." During the mix of Yackin', it is discovered that Fried was less than forthright about Speranza's original qualifications, as he was about 5 years and 10 months short of playing for six years. Yackin' is accompanied by Roque's first and only live album, How About a Beating. Destined for separate colleges and minimum-wage jobs, the band breaks up. However, that winter, Cody and Speranza decide to reunite in preparation for a new summer album as well as their newly acquired session job as the bass and drums for Neil MacPherson's new band, Shadows. In addition to rehearsing with Shadows, Cody and Speranza return frequently to old haunts like the Mercury Cafe and Coffee Grounds playing several nearly-attended acoustic shows under the moniker "Cody and John."


1993: "Cody and John" no longer seems to cut it as a name which truly indicates what this band is made of, so the band changes its name to Splat Monkey and promptly records Drive By at Free-Reelin' studios with engineer Broz Rowland. Drive By is recorded in record time -just over 20 hours of studio time to record and mix 17 songs-despite the fact that Broz's initial comment upon entering the studio is, "Man am I tired -I was up on Mt. Evans all night doing 'shrooms." Drive By is also accompanied by a new Splat Monkey live album, Suck Pumpkin. The Shadows album is recorded without incident. Fried, having attended the entire Drive By recording process and having volunteered such names as Splat Monkey and Suck Pumpkin, feels that he most certainly must come out of retirement so that the band can attack the last unconquered field of rock left to them: the power trio.


1994: Searching for a new name, the band goes through a brief period during which they change their name every gig. They go through The Algae Salesman, Haardvark, The Ex-Camels, and Randy Napkin before getting tired and settling on El Squeako. Following the example of The Unpronounceable-Glyph-Once-Named-Prince, the band decides that "El Squeako" will henceforth be pronounced "Snausages." They win their second Denver Critic's choice award for "Band With the Name Most Frequently Mis-pronounced by its Own Members" and release Pronounced "Snausages" with Shadows' engineer, Ben Tanler, who immediately earns the respect of the band by truly understanding their vision of (as Speranza notes) "playing about four feet beyond the edge of our ability." Snausages is accompanied by two separate live albums, The Bootleg No One Else Would Make (or buy) and Senor Squeaky.


1995: Cody graduates from Lewis & Clark College having never ever met or sexually harassed academic contemporary Monica Lewinsky, but nonetheless succeeding in garnering a degree in Music Composition. Returning to Denver, the band decides to rename as Flip Nasty in a constant effort to avoid fanaticism. Flip Nasty records Guitool and sells in excess of ten copies. The band is paid on consecutive weekends by the same person to not play for 200 people and then to play for no people. They also release their most adventurous live album to date, Secret Microphone.


1996: Cody and Speranza join blues-rock cover band, Live Bait on drums and bass. Flip Nasty plays more shows than ever before in its 8-year history, and is told by Lonesome Dan Case (1995 winner of the Denver Critic's Choice Award for Artist Most Closely Resembling a Ventriloquist's Dummy) while playing with Live Bait at now-defunct pretend blues coffee shop, The Denver Blues Co. "You'll never learn playing in coffee shops what I've learned [pulling my pants down and groaning with delight as I piss on my shoes] on street corners." Flip returns to a newly re-vamped Checkmate studios and records Archaeology. Getting in touch with the stripped-down, almost 4-track demoesque feel of Archaeology, Cody embarks on a solo acoustic tour of the Northwest, where his promotional Nerdtease posters nearly get him banned in Salem despite the fact that they are clearly a joke. A man buys Guitool after hearing Cody check levels, and promptly leaves the Salem show. Late in the year, Flip returns to Checkmate and cuts six songs with John Fried before he departs for a two-year hiatus in Japan. These become the preliminary track for five of the songs on their 1997 album, River Dreams. The sixth song, a new version of "Dollface" from Roque's As Rome Burns, is never released.


1997: Cody and Speranza complete River Dreams and embark on another tour. Capitalizing on the underground appeal of River Dreams, Checkmate Records makes Flip Nasty the cornerstone act of the First Annual Checkmate Exemplathon -a festival held in Glenn's Ferry, Idaho featuring Checkmate artists. John Fried is flown in specially from Japan and joins Cody and Speranza for two shows in Corvallis and the Exemplathon before returning to Japan. After taking a lot of abuse from the childish antics of volatile Live Bait frontman Pete Vincelette, Cody and Speranza decide silently to quit Live Bait at precisely the same time that Vincelette decides to silently fire them, and thus the band is dissolved without a single word ever having been spoken.





Leave Me Be: Who's going to cut me now your razor lips are gone? Maybe there's someone that you know. I close my eyes and pray the sirens take me quickly. Who's going to roast me nice and slow? CH: I know you think I'm nothing, but this is the one heart I can be. And you say "Settle down, are you crazy Listen up, understand you've got to leave me be." I went to the wishing well to throw my tin away. Whispered the willow on the way. "To chase a doe," she said, "means the doe is running. You're still a coyote to this day." CH Bridge: I don't believe that fairies stole your heart or that that bite is from a passing shark. I think you really must've had to know.


Mad About You: She was crazy when I met her, just as crazy as today And I knew that I would need her, but I couldn't make me say that if my heart could find no other, I'd be happiest that way. But then I saw the way she wants your eyes to stray. And I feel that I must tell you even though you don't deserve her. CH: She's mad about you. Something crazy in her eyes just says he's mad about you. And there's nothing I can do if she's mad about you I was up to my old no-no's when I told her not to love you, for I was all too cautious not to tell her how I felt true. And you still just perceived her as a carnival balloon: possession pretty soon is ugly and is taking too much room. Even though you don't respect her or enjoy her as I do. CH. Bridge: Mistakes of mine, you are too soft, the ruthless win this game. Vicious, cunning, hearts of steel attract and cut and maim. And that which may be tender can't compete, which is a shame. For love is built on cloudy things that paralyze the brain. CH

Essence of My Time: I have no things to leave behind me, I have no past to hold me back, 'cause I am here now, with you, that is my life. I have no recent inconclusions, I have no reason to doubt your simple ways 'cause I am here now, with you, that is my life. I have no cloudy preconceptions, I've no idea what I might expect from you, but I am here now, with you, that is my life. I have no weight upon my shoulders, my mind is clear, but my conscience knows a way, to find you here now, the essence of my time. Chorus: What is real, I ask the essence of a flower, and what instead is in my mind? Am I in circles, or a spiral towards a center? What is the essence of my time? There are no questions you must ask me, I've no demands or behavioral codes, but I am real, here in the shadow of your life. I walk and talk, but only through you, I open gates, but I keep the fires away, and I am here now, with you, that is my life. I have here instruments of torture, I have here cures beyond your wildest dreams, and I am here now, with you, that is my life. I have here instruments of pleasure, I have here tears to salt your very eyes, but I am here now the essence of my time. Chorus. I have no fear as I approach you, I've no idea how I'm losing my control, but I am here now, with you, that is my life. I have my wings, but they are budding, I have a compass, but it does not show the way to find you here, now --the essence of my time.


Dead Man's Blues: I've got the waking man's fever, the dead man's blues, I'm bundled in a blanket with only you to think of, and I know you think it too. I've got the wisdom of children that guides my head, I think about logic, but blush instead to turn you from your titan and his bed. CH:But I will retain your heart when it's over. You and your rattletrap cargo are overdue, you're hunting through the islands for something new to chew on, and you know I taste it too. You say the thunder doesn't scare you when you're alone, you only wanted weakness to draw someone beside you. Now this weakness is your own. CH. Something quite disturbing when you turn yourself upon your past. Still, I am invited, though there is no promise this will last. I've got the waking man's fever, the dead man's blues, I'm tripping on my coffin in these new shoes, do you hear that? Because the titan hears it too.

Dollface: Dollface likes me all tied up, she likes to make me sweat. She plays her game of chess, and I can't beat her yet. Dollface knows that she's in charge, she knows I cannot swim. Puts me on her diving board, makes me jump right in. Dollface has a little house which has a blackened wall, which has a little window so I might look right through. Dollface hides herself inside, but I can't tell you why. She takes her boyfriend in --can't look him in the eye. And when I ask her why, Dollface likes to tell a lie. Dollface likes me all tied up, I never see her crying. She says, "Take a moment to eat those words, swallow your pride, and choke to death." Dollface likes me all tied up, but I can hear her screaming. CH: Dollface, Dollface, set me free. Take off your mask and look at me. Dollface has a little heart that hides inside her breast. Dollface has a china mask that covers all the rest. Deep inside her little heart, there lies a dormant seed. Dollface starves herself to death --she can't take what she needs. Dollface has a little dream inside her hidden mind. She ties it up like me, and it gets left behind. But she runs 'round in circles, and so it comes again. Dreaming makes her vulnerable like paper in the wind. Dollface has a little world, it's almost just like ours. She takes her boyfriend in, and her mask hides her scars. She says, "Take a moment to eat those words, swallow your pride, and choke to death." Dollface needs my helping hand, but I am all tied up.


I Am The Moon: I am your glass medallion, silver dollar watching you above your shoulder. Following your walks at night. Kissing you with pleasant light. CH:You are the soil, you want the stars. I am the moon, I am the moon. I can elude your vision from beyond the trees, in your shadow or a cloudy breeze. I pull your oceans, blood and tears --indirectly hold you near. CH Bridge: Let my lunacy keep your heart. Let my lunacy light your dark. I am your glass medallion, silver dollar watching you above your shoulder Safety in my icy light --beacon of your dreams at night.

Running Away: Once a man set out to dream; like a sculptor, he would cut and labor the living stone, but he's still not done. He pictured wings --pictured and felt them With his eyes, he knew the dangers. Other men had gone there long before. Chorus: Here I am once again, dreaming a dream with your voice at the end. All I hope or pretend is you're still not running away. Then he turned, looking for angels, facing the forms of succubi Whose hideous screams he'd never heard before. Down the path, roses and violets, smelling of lilacs, farmgirls and tyrants, and haystack attractions under dewy moon. Chorus. Br: Your beautiful angry eyes cover me with, smother me with questions. I'm a dirty young man, dirty little boy, clay in your hands, your perpetual toy, praise in your eyes, pain in your cries, dirty young man --people can't stand me. On the road, off in the distance, rising smoke from the tribal fires of the very angels he was searching for. In his mind, under the ocean, kisses of mermaids licking his salt lips --ways of life he'd never dreamt before.


I Won't Quit: Angry at everyone who wants me to put my head on the block. Push me, pull me, ridicule me; shatter my knees, then expect me to walk. Ask me who's to blame, aren't you to blame, don't you have shame little boy? CH: I won't quit though I might be left alone. You can have your way, but you can't have my will. Helpless, lunging out, shadows of doubt are cutting my light off. Bleeding from my mouth and from my eyes, I want to break you, too. Ask me who's to blame, I'm not to blame: Why do I fear for myself? CH. Oh, I'm not holding right. How much longer can I keep resisting? Oh, I'm not up in time. Switch of willow breaks my knuckles. Cry tears of salt and ice. Break me down, I know it's coming. Oh, I'm not holding right. Slip into the air. Ask me who's to blame, you are to blame, and I don't care anymore.

Best of Days: How long did I know her with her kindness and its lubricant mistakes? How long did I gaze into those startled eyes before I knew my heart would break? Now it's four in the morning, I've just seen a ghost, I know something has died. Singing songs to keep my boogies back, I don't listen to a thing but the fundamental ring of "I love you, love you, Cody" CH: She's only really busy, I'm only just another minute away, I'm lying, she don't love me --just a pleasant disinterest on the best of days. Someone smack my head, I'm only getting channel 83. How long have desire and its partner, passion, had their way with me? Now it's four in the morning, I've just seen a ghost --it stomped and said my name. Singing songs.... How long before those roses how sweet bitter up? How cushioned can that hammer be? Now it's four in the morning, where's my angel when these ghosts are walking by? Singing....


Little Miss NYC: Now I find, alone again, memory is my only friend. I wonder if this ever ends --it leaves a scar that never mends. Pack my bags, get on a plane, try to sort what's in my brain, seek my fortune, seek my fame, make somebody know my name. You've got to have talent, you've got to have friends, you've got to be in the right place at the right time, got to stick it out 'til the very end. CH:Little miss New York City, my, you sure are pretty. I know I treated you bad, but don't you feel so sad --I love you. Letters sent, but none returned; deep inside the pain still burns. I guess I'll have to wait her turn --I'm alone, but still I yearn. Cut my feelings with a knife, sticking thorns into my life. I tried to do what would be right; I loved her, now I pay the price. I try to have patience until my heart mends. I'm going to break down the walls with endless love, going to stick it out 'til the very end.

Puppy: Are they all like you in Bremerton, where the water meets the land? You've got apples on the waves you ride, but there's poison in your hand. I can't screw up what I can't see. Your puppy dog features are a trap to me. Did your mommy dearest tell you right about the way this whole thing works? You've got questions in your sharken eyes. Did you know that this would hurt? I can't screw up what I can't see. Your poison-pup perceptions are a wall to me. You have your invitations, as thin as thin can be. Did you listen when I told the truth. Was there arsenic in your ear. There's still time to pull your rotten tooth --spit the food that brings you tears. I can't defend what I don't know. Your puppy woman customs are away from home. Must I hear another treatise, dear? Ain't it time to say goodnight? You can nibble long upon my ear --I can't feel another bite. I can't screw up what I can't see. Your puppy woman secrets are a mystery. Do they pine for you in Washington? Do they miss your sorrow eyes? Do they stop your lips with eager tongues? Do they sugar you with lies? I can't retract what I don't cause. Your thorny little trail is gonna shred your paws. Your baby bones bending in another way, trying to burst into a brighter day. Will you break if you don't get your way. I'm over here, prying with my 2x4, trying to give you just a little more room to push aside the bitter door. Are they all like you in Bremerton?


Make Still Your Wings: Tight the stripe that winds the frame --I wonder does it squeeze the shape? Do the fingers find me on their own? Like a swan from out the sun, you glimmer on as moves the dawn. If I catch your feather, will you fall? CH: Feather, fall down to me. Darling, make still your wings. Shelter under my tree. Darling, make still your wings. Hollow you as light as air, as heavy as a rainy tear. Gripped by fog, you struggle with my storm. CH. Spinning like an apple in the sun and rain, when your seeds fall out like diamonds, I shall plant their grain. Flashing and reacting like you have no pain, but your head is in the larder and your bones are in the lane. CH. Fly over my golden-draped abode. feather, fall down to me. Touch me with your shape and face --wrap me in your bones. Darling, sway into me. Sharp the teeth that bite the knave that crushed the fruit that filled the cave. Do the strangers bind without a home?

October Air: When you were young, oh so young, you had your dreams but now you've got to live your life however you can make it work, and I can't wash away your problems with a single potion. And I can't take you where you've never been before. CH: Let it go like the autumn leaves as they fall to Earth in October air. In the spring, you will grow new leaves that will feed you 'til the cold October air. Stabbed in the back, but you still persist. Do you even know what the conquest is when you have wasted all your options on frivolities? If I can't make you see the light, guess you'll have to say goodnight because life doesn't give a damn if you don't give a damn about yourself. CH. When life deals the cards, you can't always hold the aces. Sympathy made me weak to a hundred falsehood faces. I'll never let the day come when I let jealousy tear me apart because nothing ruins friendships more than jealous, broken hearts. CH. Sometimes you must let go to hold on to your sanity. Sometimes you have to take a brand new direction. You've got to give up what destroys you and start again. I cannot help you when you're bringing me down.


Scared: Spicy auburn daughter of the sun, in the rain, your father sleeps, his hatchet stance be stung. Would the moon, your mother, cast an eye over every passion pair to capture you and I? You've been hearing naiads in the stream wash their tales of awkwardness, whisperings of me. Are you pushing nails into my brain? Cling to me like creeper then you question me like chain. CH: What are you scared of? I don't kill little girls. Sugar in your pockets can't remain. Turn their secrets to the air and wash them in the rain. You are not so bound to think things through. Analyze to paralyze when you must feel the truth. CH. Bridge: The desert blooms between us in a heat borne by a fog. I can feel your father steaming, trying to burn this water off. Shimmer-dancing daughter of the moon, wrapped in sheets of gossamer, I'll spin you out real soon. You've become a hammer in my heart. Fastened like an April bud, I'll chase you, chase you like a spark.

Underneath My Skin: I have kissed your name on paper, I have held your breath in lungfuls, I have thought of you as if you were my first. I've held your hand in bad times, in my dreams, and at the movies. I have tasted you until my lips would burst. CH: And now it's you underneath my skin. I have been with you forever like a suitcase full of danger. I have bundled you in warm and woolly mesh. I've huddled you together like a sympathetic stranger, but there's voltage unaccounted flesh to flesh. CH. Bridge: So if you think of me at all, it might be time a hint could fall. Do I itch you in the way you fret my hide most every day? I have eaten from your table, from your plate, and from your fingers. I have salted every tear, each glycerine drop. I've wished upon a star, upon a planet, and a spaceship. Such a wishing, once begun, is hard to stop.


Wardrobe: Seven days of residence in the swell of lioness. Beauty listless, teapots kill, flannel makes me love her still. Seven nights of loneliness, seven dreams, a secret kiss. Bedboard rafts, her sheets the sails, longing floats the blood of whales. CH: Open your eyes you were sleeping, don't be surprised, you were dreaming. Into the wardrobe we'll break through. Into the wardrobe I'll take you. Seven roads of emptiness to the gates of happiness. Spin the wheel, pull the oar, winter makes me want her more. CH. Though I can never fly, teach me to dream. Seven weeks of saltiness, missing sugar from her lips. Stand the muscle, seek the bones, love is dreams of "welcome home." CH. You had your dreams, now you hold them in your hands, never let them go.

Short Leg: Eighteen and feeling mean. Leaping in love with the junkyard queen. Darling, if I could, I'd hold you down. Don't trip on the short leg now. Antiques all new and clean. Mistaking myself for Jimmy Dean. Darling, if I could, I'd cause a frown. Don't trip on the short leg now. CH: I will bounce back from this, I do bounce back. Nineteen and living lean. Nothing for me on the classroom scene. Darling, if I could, I'd be your clown. Don't trip on the short leg now. Twenty and I loved you plenty. Saying crazy things I knew I meant, yeah. Honey, how'd I turn out to I let you down? Don't trip on the short leg now. CH. Bridge: There's no one in the world I can hold. There's no one in the world that's my own. Twenty-one, I'll need someone. Doing all the things I've always done. How about you, would you like to drown? Don't trip on the short leg now.


Nothing But A Song: Goodbye, Renee. Though you haven't heard your name, rest assured it was you. Another day seemed so easy to obtain, now I don't know what I knew. But it seems like you're just one more time I toed too much and crossed the line. Now it strikes me you and I were nothing but a song, I hope you get along. Double-dared, but the profit's not to share. Cathybear, now it's you. Never fair that my friends can paint who cares while I don't know what you'll do. CH: But I hope you're not just one more time I toe too much and finally cross the line. If it's true that you and I are nothing but a song, I hope you'll sing along. Patience, seize me --struggle me some sense. Rapture, tease me --mock me for a prince. I loved your life, but I said it to your face, now I wait day-to-day.

Something Out: If I could have the wisdom to know when my mouth runs away.... I'd be a better man to fight your pain if I knew what I should say. If I could have the courage to let a spark grow into flame, I'd be a warmer man beneath the stars by a fire that lasts the rain. CH: Haunt me, hook me, overlook me, throw my heart a bone. I miss you when you're gone, so why can't we work something out. If I could have the tick-tocks to work the knots out of this cord, I'd be a better man who knew you well, but time I can't afford. I must confess impatience has cost me more than I could pay. Were I a better man, I'd read your mind, but I fear I've lost the way. CH. Br: Haunt me, hook me, overlook me, throw my heart a bone. How much time is there, anyway? How much time?


Passing Through: The spectre of young love is laughing at me. The horse that you hide in looks happy and free. And though it's been years, I still trip in these shoes --I can't tie the laces, my heart is an avenue. CH: Passing through You're just passing through. The phantom of Pamela lewdly amused. Every day's loser day --I live to lose. Oh, I can drive nails through the tops of your feet. You're looking ahead, and I know you're not with me, just.... (CH) I know you don't love me, there's no need to hide it. A shoe with no partner, I'm roadside detritus from.... (CH) The banshees are howling, they mean it today. They bite me and pound me to scare me away. With your flip agenda, you think you're so clever. You're leaving on Wednesday to haunt me forever with....

Dangerous: Oh, I can take you, you're not as tough as you think. I can see that you're insane, but I'd die without your rain. Oh, be that thistle, and I will put out my foot. In my slumber I have seen that a crown can't make you queen. CH: Starlight steals my vision, and it likes me cold. And people stop to stare at the tracks I made. Oh, I could have the wisdom of a thousand years, but I'm in love with a dangerous gal, her name is you. Oh, I can reach you, you're not as far as you think. Though you stripe me with your stick, I know anger is your trick. CH. Bridge: Take ugly me and make me the picture in your heart. Oh, be my bubble, and I will keep you intact. Though you kick and bite and scream, you're more fragile than you seem. Oh, be my aching, and I will fill you with sound.


Too Much: CH: I would love to love you, I would kill to steal you, I would steal to touch you, I want too much. I must control my rage again, but still it coaxes, "give in." I feel so hard, so cold. I wish I had your hand to hold. Now, as I wander through my mind, I cannot face what I might find. I feel you slipping far away. Will this dog ever have his day? CH The swingset clatters in the wind. The starlight shines on me so thin. The midnight field, my toes are bare. I smell you in the misty air. I will not blame you for tonight. You could not see him in that light. And what you shared you lost to him. I will not damn you for this sin. CH. I must disguise myself again, so you can't see how hard it's been. I feel so empty and misplaced --my search for substance yielding space. I see your eyes in yellow skies, the sunset thinks you are unwise. Then all at once, you slip away. My lunge to grab you is too late.

Listening Log:

Our second, updated "Greatest Hits" album (the first being Not!), and our first album issued on CD rather than cassette.  As is the case with most such collections, we were trying to have one single album to market at shows and on tour which would likely have all the Flip Nastiest songs that our doe-eyed rookie listeners just fell under the spell of.  To that end, we did not include So Will I or Coyote.  Wait, that's not to that end at all!  This album also provided the impetus for us to join the swelling landscape of the world-wide web (with a lot of initial help from Eric Rorem), as we posted the initial cancerous cells of the now-overgrown tumor that is Torch & Bacon.  Most of these songs are brought in unaltered from other albums I've already reacted to with a few exceptions, so I'll copy my original reactions and add a few more thoughts as they arise.


Leave Me Be: (GUITOOL) Another of my strongest --top 10 on my list.  I love the "Australian Rugby Chorus," Cat, Speranza, Fried, Terri, and myself hut-hutting at the end.  This is subtle "sequel" to Coyote and is followed by Footsteps.


Mad About You: (RIVER DREAMS) much more Police in this arrangement than the original As Rome Burns version.  Because we're also the new Police.  Fried on bass.  Great chromatic riff in Speranza's solo.


Essence of My Time: (LESS YACKIN') A little bit older.  This was an optional inclusion at the Yackin' session.  Basically, we had a very limited budget, and needed to record basic instrumental tracks (the part where we sit together and play the song sans vocals, sans solos, as a group) by a certain time.  If we had enough extra time, there were a couple of songs we'd add.  This was one, and "You Can Stop Hiding" and "Shy Birds" were the others (which we didn't get to).  The high point of this song, for me, has to be the way Speranza hits that heavy guitar at the end (it's actually two parts --a rhythm part and a subtle lead line that fits inside it, making it seemingly oscillate high and low).


Dead Man's Blues: (SNAUSAGES) Seyca joins the John Speranza lyric interpretation club with this entry: Cody says, "I will retain...." Seyca says, "I wear a ten...."  Not to be outdone, Speranza says, "I'll irritate...."  There's a very good live version on Clapping Sold Separately, as well.  One of my favorites.


Dollface: (PREVIOUSLY UNRELEASED) Left over instrumental track from the River Dreams sessions with vocals recorded fresh on ADAT.  This was one of my first ADAT projects, and the vocals are a little too muddy as a result of my unfamiliarity with the equipment.  Disappointment with that outcome as well as past experience with similar growing pains on Archaeology led me to decide on recording some "practice albums" before Flame Cow.  Great solo from Speranza.  I oscillate from year to year on whether my backup vocals will be pre-arranged harmonies or improvised.  This is one of the better improv harmony songs.  I love timbales.


I Am The Moon: (ARCHAEOLOGY REMIX) This song's in 5, as you can hear in the smarmy countoff ("1....2....5-4-3-2-1)  This is my daughter, Cara's (age 2), current favorite "dada song."  This remix is the original 4-track version with a new extra rhythm guitar and new re-recorded vocals.  I rank this in my top 20 best songs.  Thin metaphor masks theme beaten to death by songwriters (approximately 300 blows coming from me) throughout the ages: "I'm the one who's there for you, but you love someone else, oh why don't you love me, I'm so terribly sad."


Running Away: (LESS YACKIN') One of my most difficult arrangements to play.  I personally can't pull this song off live, although Speranza cobbled together a very good solo guitar arrangement that we occasionally did.  A lot of very tight counterpoint --I was ver proud of this song.  By band consensus, this song made the cut onto the greatest hits, although I probably wouldn't select it now.


I Won't Quit: (DRIVE BY) Shopped around a little bit, but as always no takers.  Speranza can definitely play bass with the best of them.  Great sparse solo.  He's very talented and incredibly cognizant of the big picture of a song --more so than me.  I wrote this while feeling down over a long, harsh period of stinging public criticism in (this is going to sound really stupid) Jazz Band in which every rehearsal was a chance for some lame-o beret-sportin' sax player to chip in about the crispness of my hi-hat, legitimacy of my setups, etc rather than deal with their own absolute lack of rhythm or originality.  Surely it was I, Cody Weathers, who caused them to Anti-Bird.  I and I alone, you see.  As a result, I take no crap from sax players, man.


Best of Days: (GUITOOL) I'd rate this as a top 5 song.  This is the version, though very good, is no longer as representative of the way I currently play it.  Backup vocals utilize a trick I employed liberally from this point on: tight harmonies performed by the Codies, but with Speranza's voice in the mix.  I'm responsible for hitting the notes, and he's more responsible for trying to follow me, but making his voice the dominant tone.  In this way, I can push Speranza's voice easily into the harmony group without him needing to learn the complex parts independently.  This is obviously about coping with the reality that someone you like doesn't like you back, despite what you thought the signs said.


Little Miss NYC: (NOT! REMIX) Despite being ridiculously simple to play, this one has somehow stood the test of time.  We didn't have enough time or available tracks to add all the backup vocals I intended on the recording, but I added them on this remix, along with the acoustic guitar solo and rhythm part (me playing). Cody says, "Gonna break down the walls with endless love...."  Speranza says, "Gonna break down the walls with LSD...."  I definitely prefer the extra parts.


Puppy: (SNAUSAGES) Another one of those mandatory songs that was good as an opener or closer.  For a long time, my Portland (v 1.0) shows used this as the platform for a variety of very fun group scats.  That trend didn't continue back in Denver, however.  Great solo from Speranza.  As the song goes along, more and more instruments join the guitar part.


Make Still Your Wings: (SNAUSAGES) I wrote this as a lullabye, not that I had anyone to sing to sleep at the time.  I really like this full arrangement of the song.  Later, this became the flagship song of our "Gussie's Style" live approach.  I booked a gig at Gussie's in Westminster, which was 4 hours a night for 4 nights in a row.  Well, I was under the weather, so I asked Speranza to come out and help me stretch the songs out with extra solos.  It ended up being a very addictive breakthrough that led us to reinventing songs on the fly for the remainder of the time we played together.  That particular Gussie's version is the backbone of the 17-minute fake "Exemplathon" recording off Monkey Eat Monkey (I just overdubbed a fake spoken intro, bass and djembe on top of the existing live recording).


October Air: (DRIVE BY) the drop-D version with a bridge that has since disappeared anew.  Cat, Usher, Fried, Speranza, and Bekah singing backup vocals.


Scared: (SNAUSAGES) Ironically, this song probably makes people who previously wouldn't have considered the possibility wonder if I, in fact, might kill little girls.  What a fantastic song of seduction.  We're firmly in the realm of words that I love, but are largely misunderstood because of a.) enunciation and b.) poetic masking.  What I'm saying is: I love this song.  Live staple even now.  And these days, there's almost an unwritten rule that this song be followed by....


Underneath My Skin: (GUITOOL) I think this may be my most marketable song.  Another top-5 best on my list.  (Keep in mind that's like being named "Cleanest Cockroach").  Just so you know I'm not saying this for 20 songs, this was my top-10 ranking of the Least Significant Failures candidate list: 1. Blue as the Moon 2. Best of Days 3. When 4. So Will I 5. Underneath My Skin 6. No One Could 7. Mad About You 8. Leave Me Be 9. Goodbye, Dream 10. Scared.


Wardrobe: (RIVER DREAMS) I think this one cracks the top 20.  It's certainly a mainstay of the live show.  Speranza on bass.  We had this crappy 5-string that we only rarely broke out.  It required re-tuning so that the open B-string would be in tune with the 5th fret.


Short Leg: (SNAUSAGES) another great guitar sound from Speranza and fantastic sputtering interpretation of the rhythm.  Tremendous solo --great ideas throughout the album that I often steal as the basis for my live scats.  The phrase, "don't trip on the short leg now," is something I told myself driving back to Denver from Portland when I reached Cheyenne at 2 or 3 AM, pushing the last 90 miles home after two hard days of driving.


Nothing But A Song: (GUITOOL) top-20 on my list.  Great energy to this song, one of our few real power ballads.  One of my favorites live.  Fully entrenched in a long line of romantic failures, lamenting each as nothing but a song.


Something Out: (LESS YACKIN') One of my favorites.  I love Speranza's solo at the top of the song, which ends with a "wind-down glissando," where we started madly detuning his string on the final note.  Nice solos by all three players, very distinct variety of ideas.  Jason Kaneshiro later recorded a cover of this (in a song swap) that's on Tongue Meets Eyeball.  I shopped this song very aggressively to publishers, but couldn't land a deal for it.  Wishing that somehow the force and simplicity of love's feelings could by themselves successfully navigate the social obstacles to romance.


Passing Through: (RIVER DREAMS) Not quite a top-20 song, but one of the other standouts from River Dreams.  Great bass part and solo from Speranza.  I don't know I had that piano solo in me --normally my improvs are lame to the Nth.  Capped off with the vocal triggers from the end of Lost.


Dangerous: (DRIVE BY) Another one that held a lot of personal attachment for me.  I loved playing this song.  Great sparse solos from Speranza --the same man I still quote proudly as saying "less is more.... than nothing at all."  We did a good job containing this groove.  By this point, I'd really started to write lyrics that resonated with me --I put a lot more effort into these words than, say, the words on Checkmate.  Like "booga-doo-yow" (sung by Cat at the end).


Too Much: (GUITOOL) I'm extremely happy with this recording of it.  All the performances are right on target.  Speranza performs a nifty variation on Nick's original lick in the middle two of the solo.  Very subtle piano overdub I'd forgotten about in the final verse.  A combination of Codies and Speranza, Fried, Cat, and Terri Kempton on backup vocals.