WELCOME FROM PETER CATHAM:


I’ M A STORYTELLER.

I PERFORM IN A WIDE RANGE
OF MUSICAL STYLES TO ALLOW
EACH SONG TO HAVE IT’S
OWN SOUND.

I WORK WITH LOOPS
TO PROVIDE MY BACKING TRACKS.
I CREATE THE MELODIES, LYRICS
AND ARRANGEMENTS, DO ALL THE
SINGING,AND ADD OTHER TOUCHES
TO THE MIX.

I AM THE RECORDING PRODUCER,
ENGINEER,AND ALBUM ART DESIGNER.

I INVITE A DIALOGUE
E-MAIL ME
WITH YOUR THOUGHTS
ABOUT MY SONGS.

PALM TREES AND 75 DEGREES
LOVE SONG TO CALIFORNIA



Rock
h h

ONE UNIQUE TICKET
PIANO/ROCK



Easy Listening/Soft Rock



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7/22/2008 3:36:43 PM
Whacky Tune!!!


 

       

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Msg  Go!

MY MUSIC HISTORY- page 1

LET ME TAKE YOU BACK-WAY BACK-TO 1961-THE SOUTHWEST SIDE OF

CHICAGO-AND ONE TEN YEAR OLD BOY FINDING MUSIC-THE DELIVERY

SYSTEM WAS THE 45 RPM RECORD- I’D DO ANYTHING TO GET THEM-

THIS BEGAN A FERTILE TIME IN ROCK HISTORY-THE MUSIC I LOVED- BUILT

THE FOUNDATION FOR THE FUTURE- 1961 TO 1963 HAD SOME GREAT

SOUNDS- THE 4 SEASONS- THE BEACH BOYS- DION- DEL SHANNON- THE

PHIL SPECTOR GROUPS- IT ALL LED TO SUNDAY NIGHT FEBRUARY 9 ,1964-

THE BEATLES ON THE ED SULLIVAN SHOW- BY MONDAY MORNING-

EVERYTHING HAD CHANGED- KIDS WHO NEVER SAW A RECORD BEFORE

WANTED TO BE PART OF IT AND CAME TO ME FOR ADVICE- IT GOT AROUND

THAT I HAD THIS RECORD COLLECTION- AND NOW- HAD ALL THE BEATLES‘

RECORDS-1964-1965-1966-1967-1968-1969- AND 1970 ( OKAY MAYBE AS FAR

AS 1973 ) GAVE US THE MOST IMPORTANT MUSIC OF THE 20TH CENTURY-

AND I WAS AT THE RECORD SHOP THE FIRST WEEK MOST THINGS WERE

RELEASED- I WAS GLUED TO THE A M RADIO- THEY TOLD YOU WHAT YOU

NEEDED TO KNOW- PLAYED ALL THE NEW GROUPS- FIRST THE BEATLES-

THE DAVE CLARK FIVE -THE KINKS- THE ROLLING STONES- NEXT -THE WHO-

THE ANIMALS- MANFRED MAN- HERMAN’S HERMITS- THE ZOMBIES- EVERY

MONTH SOMEONE NEW- WITH A NEW SOUND- THE BYRDS- BOB DYLAN-

MAMAS & PAPAS- SIMON & GARFUNKEL- NEXT- F M RADIO BROADCAST-

JEFFERSON AIRPLANE-CREAM- JIMI HENDRIX- JANIS JOPLIN- LED ZEPPELIN-

ALICE COOPER- JETHRO TULL- GRAND FUNK- SANTANA- JOE COCKER-

THE BAND- CROSBY,STILLS,NASH & YOUNG- I COULD GO ON & ON & ON-


TO BE ACCURATE THERE WOULD BE OTHER GREAT PERIODS IN ROCK-

1955 TO 1958 OR 1977 TO 1987 FOR EXAMPLE-

HOW I STARTED TO PLAY MUSIC- page 2

IN SEPTEMBER OF 1965- MY BEST FRIEND DAVID AND I-

WENT BACK TO MIDWAY AIRPORT IN CHICAGO-WE BELIEVED THE BEATLES

WOULD BE LANDING THERE- WE HAD BEEN VERY LUCKY THE YEAR

BEFORE- THE A M RADIO SAID ”THEY’D BE LANDING AT MIDWAY”-WE LIVED

ONLY 2 OR 3 MILES FROM THERE-SO A QUICK BUS RIDE- TOOK US TO 63RD

AND CICERO AVE- THEY GOT OFF THE PLANE- WAVING- JUST LIKE ON TV-

THIS ONLY FUELED MY DESIRE TO BE IN MUSIC- BACK TO 1965- A SMALL

GROUP OF US DEVOTED FANS- WERE THERE- THE COPS SAID “THEY’D BE

LANDING AT O'HARE AIRPORT” BUT WE STAYED ANYWAY-BONDING IN OUR

DISAPPOINTMENT-’COS INDEED THEY LANDED AT O’HARE-I MADE FRIENDS

THAT DAY WITH A GIRL NAMED LORRAINE HERB- SHE WROTE HER OWN

SONGS- HAD TWO GIBSON GUITARS AND A GIBSON AMP WITH A 12”

SPEAKER-SHE HAD EIGHT SONGS- ALL THAT WAS IMPRESSIVE IN 1965-

I TOLD HER- “I LOVED MUSIC, BUT ONLY PLAYED THE TAMBOURINE”-

SHE SAID- ” WELL,YOU’LL BE THE SINGER”- THAT WAS- IT- IN CHICAGO-

EVERYONE HAD A BASEMENT- AFTER FEB. 1964- EVERYONE HAD A BAND-

( SIDE NOTE-THE SOFTWARE PROGRAM “GARAGE BAND” IS IN TRIBUTE

TO THOSE BANDS ) AT 14 THE FIRST OF MY MANY BANDS WOULD BE-

THE KORT JESTERS- IT WAS LORRAINE AND I- PLUS A REVOLVING DOOR

OF OTHERS-WE RECORDED A SINGLE ON 8-6-66- ”TROUBLE” B / W ”AND I’LL

GIVE HER RINGS” OUR SOUND WAS SONNY & CHER + NANCY SINATRA-

OUR BIGGEST GIG WAS- ”DICK CLARKS’ 1966 BATTLE OF THE BANDS ”-

MY FATHER & SISTER WERE THERE- MY DAD SAID- ”THAT TOOK GUTS”

COLUMBIA RECORDS TURNED US DOWN- WE WERE TOGETHER ABOUT

15 MONTHS- AND DISBANDED- LORRAINE STOPPED PLAYING-


THAT DID NOT STOP ME- page 3

AS I SAID- EVERYONE WANTED TO BE IN A BAND- YOU WENT TO SCHOOL

TO MEET OTHER PLAYERS- BETWEEN 1966 & 1973- I WAS THE SINGER IN-

THE DARKEST END- SOUTH HILL EXPRESS- THE GROUND FLOOR- TRADE-

CAN- ACETATE- CRAZY LEGS- AND RICKY AND THE REDSTREAKS-

I BELIEVE THAT’S ALL OF THEM-

IN 1973 THE MIDWEST WAS NOT A PLACE TO FIND SERIOUS ROCK

MUSICIANS- A BASS PLAYER I HAD BEEN WORKING WITH AND I-

DECIDED TO MOVE- OUR FIRST CHOICE WAS- LONDON- ALL THE MUSIC

WE RESPECTED CAME FROM THERE- THAT’S WHERE WE SHOULD BE-

I MADE AN APPOINTMENT WITH THE BRITISH CONSULTANT-

I TOLD THEM OUR GRAND PLANS- THEY SAID- “FINE, IF YOU HAVE YOUR

OWN MONEY TO LIVE ON”- THEY WOULDN’T GIVE US WORK

PERMITS BECAUSE- ”BRITISH MUSICIANS NEEDED TO WORK - FIRST”

WE HAD NO MONEY- WE DID HAVE A LOAD OF GUITARS & AMPS-

WE TALKED IT OVER- AND PICKED LOS ANGELES- WE HAD BOTH BEEN

THERE BEFORE- IT WAS A RENOWNED MUSIC CITY- FROM NOVEMBER 1973

TO JUNE 1974- I PLOTTED AND PLANNED- I SOLD EVERYTHING NOT TO DO

WITH MAKING MUSIC-AND PUT TOGETHER WHAT WE NEEDED TO START

OUR MUSIC LIFE IN HOLLYWOOD-I HAD MANY IDEAS ON WHAT WE SHOULD

DO- GROW OUR HAIR AS LONG AS POSSIBLE- WEAR ONLY BLACK-

BUY A VAN- WHEN IT IS FILLED TO THE ROOF- ALL ELSE WOULD BE

TOSSED - I WAS BORN WITH A NAME- I DIDN’T BELIEVE WOULD LOOK

GOOD ON AN ALBUM COVER - IT HAD TO GO- AND GO- LEGALLY-

I FELT THIS WOULD PURIFY MY GOAL - ON NOVEMBER 13 ,1973- GONE-

DANIEL VINCENT PETTINATO- NOW- PETER CATHAM- ( NO MIDDLE NAME)


page 4
MY MUSICAL IDEA WAS TO HAVE A SIMPLE ROCK SOUND- LIKE EARLY

WHO, KINKS, STONES & BEATLES- WE BOUGHT VOX & HIWATT AMPS-

RICKENBACKER SIX STRING & BASS GUITARS- HAD BAND NAME IDEAS-

THE BASICS- OR THE AMPS- STARTED TO LEARN THOSE TYPE OF SONGS-

IN EARLY JUNE 1974- WE TOOK THAT IDEA TO LOS ANGELES-

THE MUSICIANS WE MET- WERE DOING MUSIC LIKE-

BOWIE- DEEP PURPLE- BLACK SABBATH- AND OTHER HARD ROCK BANDS-

I FELT THAT MUSIC HAD BEEN PLAYED OUT-A NEW STRIPED DOWN MUSIC

NEEDED TO HAPPEN- IT WOULD- IN 1977- THIS WAS 1974-

WE WERE LIVING IN A OLD HOTEL - ON HOLLYWOOD BOULEVARD-

ONE BLOCK FROM GRUMMAN'S CHINESE THEATRE-

AND MEETING MUSICIANS- I WAS TELLING ANYBODY WHO WOULD LISTEN-

I WANTED A PLACE WHERE WE COULD LIVE AND PLAY MUSIC WITHOUT

BEING DISTURBED- A GUY NAMED CHARLIE BROWN (REAL NAME)

SAID HE KNEW A PLACE LIKE THAT IN THE BASEMENT OF THE PASADENA

ATHLETIC CLUB- THE NEXT WEEK WE WERE ASKED TO LEAVE THE HOTEL-

FOR PLAYING OUR MUSIC TOO LOUD- CAN YOU IMAGINE-

NOW WE HAD NO MONEY- I LEFT CHICAGO WITH 137 DOLLARS AND A

UNION 76 CREDIT CARD- WE WERE EATING EVERY OTHER DAY AT A

DIFFERENT HOLIDAY INN- BECAUSE THEY WERE THE ONLY PLACE OTHER

THEN GAS STATIONS- THAT TOOK THAT CARD- AND HANGING OUT AT A

PRESBYTERIAN CHURCH ON SUNSET BLVD.- NEXT TO THE GUITAR CENTER-

THEY GAVE OUT FOOD TO HOMELESS KIDS- RUN BY A OLD HIPPIE LADY-

THEN MY BASS PLAYER FRIEND GOT A LAST CHECK FROM A PLACE HE HAD

WORKED IN CHICAGO FOR $240.00-SO WE LOOKED UP THE PHONE NUMBER

TO THE PASADENA ATHLETIC CLUB- AND ASKED IF THEY HAD REHEARSAL

STUDIOS FOR ROCK BANDS ? THEY SAID-“YES, AND ONE WAS AVAILABLE”-
page 5
WE DROVE RIGHT TO 425 EAST GREEN ST. PASADENA,CALIFORNIA-

WE WERE MET BY AN ENGLISH CHICK WHO MANAGED THE STUDIOS-

A BAND HAD JUST GIVEN UP A STUDIO- AND WHAT A STUDIO IT WAS-

A FORMER RADIO STATION- IT HAD A CONTROL ROOM WITH A GLASS

WINDOW THAT LOOKED INTO THE MAIN STUDIO- A 25’ X 15’ ROOM-

ALL SOUNDPROOFED- DEEP IN A BASEMENT- WHERE ROCK ’N’ ROLL

COULD BE PLAYED NIGHT AND DAY- WITHOUT DISTURBING ANYONE-

THE BASS PLAYER HAD THAT $240.00 AND PAID TWO MONTHS RENT-

WE BEGAN DOING MY STRIPED DOWN- THE WHO MEETS THE KINKS

SOUND-THINGS WENT SMOOTH FOR 2 WEEKS- THEN THE BASS PLAYER-

CRAZY IN LOVE WITH THE OLD HIPPIE LADY IN HOLLYWOOD- JUST SPLIT

TO BE WITH HER- I ONLY SAW HIM A FEW MORE TIMES- HE DISAPPEARED-

I GOT THE STUDIO-WITH THE RENT PAID FOR THE NEXT SIX WEEKS-THE VAN-

SOME AMPS- GUITARS-AND TWO VOICE OF THE THEATRE P. A. SPEAKERS-

IN EXCHANGE FOR ME PAYING THE DEBT THAT WAS ON THAT UNION 76

CREDIT CARD IN MY NAME- THE RUG WAS PULLED- I WAS IN DEEP SHIT-

TWENTY THREE- 2,000 MILES FROM HOME- NO MONEY- I KNEW NO ONE-


I SAVE MYSELF- ( WITH A LITTLE HELP FROM NEW FRIENDS )-

THERE WERE TWO OTHER REHEARSAL STUDIOS IN THAT BASEMENT-

THE NEXT DAY I MET A DRUMMER-IN THE ONE NEXT DOOR-THAT HE SHARED

WITH A GUITAR PLAYER FRIEND- HE NEED ROLLING PAPERS-

I HAD SOME- WE WERE FAST FRIENDS- EVEN FASTER HE GOT ME A JOB

IN THE FACTORY HE WORKED AT- I NEEDED TO MAKE MONEY IN A HURRY-

THE RENT WOULD SOON BE DUE- I PUT EVERYTHING ON HOLD-

ALL THE MONEY I WOULD MAKE- WENT TO DIGGING OUT OF THAT HOLE-

IN THE MONTHS TO COME I WOULD MEET A BIG CIRCLE OF MUSICIANS-
page 6
LIGHT IN THE TUNNEL -

SOMETIME IN APRIL 1975-A GUITARIST,BASS PLAYER, KEYBOARDIST AND

DRUMMER-WITH NO SINGER-WERE PLAYING IN ONE OF THE OTHER ROOMS

I WAS A SINGER WHO NEEDED A BAND- A READY MADE ONE AT THAT-

I HAD A LARGE SOUND SYSTEM- WITH MIC’S AND A PRO MIXING BOARD-

A FINE SELLING POINT- NEXT TIME- THEY SET UP IN MY STUDIO-

WE JAMMED ON TRAFFIC’S ”THE LOW SPARK OF HIGH-HEELED BOYS”- I HAD

KNOWN THE GUITAR PLAYER- FROM HIM HAVING ONE OF THE STUDIOS-

HE KNEW THE BASS PLAYER-THE THREE OF US WOULD GO ON TO BE

THE CORE OF THE BAND- FRACTURE- WE WROTE A HUNDRED SONGS

INFLUENCED BY- YES- SUPERTRAMP- STEELY DAN- GENESIS- & OTHERS-

PASADENA HAD A THRIVING LIVE MUSIC SCENE-HUGE BACKYARD PARTIES

1,000 KIDS- I HAD NEVER SEEN ANYTHING LIKE IT- WHEN THE COPS WOULD

PULL THE PLUG- IT WASN’T BECAUSE OF TROUBLE- NO-NO-NO- TOO LOUD-

IT WAS VERY LOUD-AND THE LOUDEST WAS VAN HALEN IN 1975 ALREADY

THE BIGGEST BAND IN PASADENA- 3 YEARS BEFORE THEY WOULD BE

SIGNED TO WARNER BROS. RECORDS- FRACTURE WAS NO MATCH-

WHEN NEW WAVE HIT IN 1977- IT MADE US SOUND - OLD WAVE-

WE WROTE MORE SONGS THAT SHOWED WHAT WE WERE INTO BY THEN-

TALKING HEADS- JOE JACKSON- THE B-52’S- BUT THE ROT HAD SET IN-

THE DRUMMER- BEGAN TO FUCK THINGS UP- BY OVER THINKING WHAT WE

SHOULD BE-HOW GOOD WE SHOULD BE- PICKING APART EVERYTHING-

WE PLAYED ALL THE CLUBS- RELEASED OUR OWN 45- “NEVER GIVE UP”

B / W “TELL ME”- MADE DEMO TAPES- EVERY LABEL- TURNED US DOWN-

I WAS BLAMED FOR OUR LACK OF SUCCESS- AND DUMPED- ON 8-29-79

I DON’T KNOW IF ANY OF THEM PLAY MUSIC IN 2008-

I HAVE TO GO BACK A BIT- page 7

AT THE END OF 1977-THE CITY OF PASADENA TOOK 5 BLOCKS TO PUT UP A

SHOPPING MALL-THE THREE STUDIOS WHERE MUSICIANS WHO WOULD

SOON GO ON TO BE IN- TOM PETTY- GARY MYRICK- PRIME MOVERS &

DREAD ZEPPELIN- WERE GONE- DEMOLISHED- IN A LUCKY TWIST -

BECAUSE I LIVED IN MY STUDIO-THE CITY HAD TO FIND ME A PLACE TO

REPLICATE WHAT I HAD BEFORE-THEY FOUND A SMALL WAREHOUSE

NO ONE WANTED- 2,000 SQ.FT.- MUCH BIGGER THEN THE OLD STUDIO-

THEY WERE OBLIGED TO SOUNDPROOF IT- IN THE END- IT WAS EVEN

BETTER THEN THE FIRST STUDIO- SO WHEN FRACTURE BOOTED ME OUT-

I KEPT THE STUDIO- BECAUSE IT HAD ALWAYS BEEN MINE-

I WAS ONCE AGAIN FACED WITH WHAT TO DO MUSICALLY-

ANOTHER BAND HAD SPLIT UP- TWO OF ITS MEMBERS- THE DRUMMER

AND LEAD GUITARIST AND I- FORMED A NEW BAND- USING THEIR OLD

BANDS’ NAME- THE ITEM- WE ALL KNEW THIS TALENTED BASS PLAYER-

WE STARTED IN JANUARY 1980- CREATIVITY FLOWED FOR SIX MONTHS-

WE WROTE TWENTY FIVE GUITAR DRIVEN HIGH ENERGY ROCK SONGS-

GOT ALONG AS FRIENDS- PLAYED SOME GIGS- THEN THE BASS PLAYER

HAD “PERSONAL PROBLEMS” AND QUIT-THIS SENT US INTO 4 MONTHS OF

TRYING TO REPLACE HIM- WE TRIED 50 GUYS- NO ONE WAS AS GOOD-

WHEN THE ORIGINAL BASS PLAYER CAME BACK- IT WAS TOO LATE-

THE FIRE HAD GONE OUT-WE PLAYED A FEW MORE GIGS- I THINK THE LAST

WAS AT THE ICE HOUSE IN PASADENA IN FEBRUARY 1981- THE ITEM

ONLY RECORDED A HOME DEMO TAPE,AND A LIVE REHEARSAL SESSION-

I’M NOT SURE IF THE BASS PLAYER OR DRUMMER STILL PLAY MUSIC-

THE GUITARIST CARL JAH- CO-FOUNDED DREAD ZEPPELIN-

HE IS NOW A SOLO ARTIST-
DOWN-BUT NOT OUT- page 8

I PICKED MYSELF UP-AND CAME UP WITH MY NEXT PLAN- MY FRIEND DAVID

NOW LIVED IN WASHINGTON D.C.- IT HAD A GROWING INDIE ROCK SCENE-

IN JUNE OF 1981- I MOVED THERE- I LASTED TWO MONTHS- I COULDN’T LIVE

THERE-I WENT BACK TO MY STUDIO IN PASADENA- BY THIS TIME I HAD

A LARGE AMOUNT OF MUSIC GEAR- I HAD BEEN RECORDING FROM THE

DAWN OF HOME RECORDING- I OPENED MY STUDIO TO THE PUBLIC-

LETTING BANDS REHEARSE AND RECORD THERE- I CALLED THE PLACE-

NOT DEAF YET- BECAUSE OF HOW LOUD EVERYONE PLAYED- BY 1982

I HAD HAD IT WITH BEING IN A BAND- I DECIDED IT WAS TIME TO RELEASE

MY OWN MUSIC-(GOOGLE: PETER CATHAM) I STARTED TO EXPERIMENT-

I AM A FAN OF STRANGE SOUNDS- MY FIRST RELEASE-ON MY CASSETTE

ONLY LABEL (YOU CAN’T DANCE TO THIS ,TAPES 01 ) WAS “I TASTE FLOOR”-

A REAL INDUSTRIAL SOUNDING ALBUM- IT MADE PEOPLE LISTEN-

MOST OF THE SONGS WERE UNDER 2 MINUTES LONG- IT HAD GOOD

REVIEWS-IN 1983-I RELEASED ”GUM” (YOU CAN’T DANCE TO THIS,TAPES 02 )

IT WAS PACKAGED IN A 7“ BOX- FILLED WITH PICTURES- LYRICS- AND A

DEVICE USE TO MAKE THE LISTENER PART OF THE MUSIC- THE SONGS

WERE SHORT-FUNNY-AND LAYERED WITH ONE OF A KIND SOUNDS-

I WAS SELLING THEM IN INDIE MAGAZINES- AND BY WORD OF MOUTH-

THE DO IT YOURSELF MOVEMENT HAD A LOT OF SUPPORT ON COLLEGE

RADIO-THEY WERE VERY KIND TO MY MUSIC- AND PLAYED IT OFTEN-

BOTH OF THESE ALBUMS SOLD WELL-IN 1984 CAME “PINCHED AWAKE”

(PERMISSION,TAPES 03 )- I WAS USING MORE TRADITIONAL SONG FORMS-

OVER ALL THIS ALBUM WAS A GIANT STEP- BETTER SONGS- SOLD MORE-

MORE RADIO PLAY- RECEIVED POSITIVE REVIEWS- THE TRACK “PLASTIC

IRENE” WAS INCLUDED ON A BRITISH COMPILATION ALBUM THAT YEAR-
REACHING FOR THE NEXT LEVEL- page 9
IN 1985 FOR SELF RELEASED MUSIC TO BE TAKEN SERIOUS- IT HAD TO BE

ON 12” VINYL- (THIS WAS BEFORE CD’S TOOK OVER) MY NEXT RELEASE

WOULD HAVE T BE ON VINYL- I BEGAN RECORDING- THE MUSIC TOOK THE

LONGEST TO WRITE AND PRODUCE-THE SOUND HAD TO BE THE HIGHEST

QUALITY I COULD DO-FOR THE TRANSFER TO VINYL-THE RESULTING ALBUM

“A MAN’S MOUTH”(PERMISSION,RECORDS 04)- HAS THE BEST SONGS I HAD

WRITTEN BY MYSELF - TO THAT DATE- IN MARCH OF 1987 IT WAS FINISHED-

PACKAGING A RECORD WAS EXPENSIVE-IT PLUNGED ME DEEP IN DEBT-

WHEN OTHER FINANCIAL STRAINS CAME INTO PLAY-THERE WAS LITTLE

MONEY TO PUBLICIZE ITS RELEASE-I DID SEND IT TO COLLEGE RADIO

THAT PLAYED IT-( IT STILL GETS PLAYED TODAY ) IT SOLD FAIR NUMBERS-

E M I RECORDS SHOWED INTEREST- THEN SAID- ”THE SONGS WERE NOT

COMMERCIAL”-( “MOUTH” HAS TRADED ON EBAY FOR 56 DOLLARS-”FLOOR”

“GUM””PINCHED”&”IMMINENT 3”W/”PLASTIC IRENE” ARE FOR SALE ON-LINE )

I ‘AM PROUD TO SAY-THOSE FOUR ALBUMS- WERE HEARD- WORLD WIDE-

BUT I HAD TO MAKE GETTING OUT OF DEBT MY PRIORITY-

THE REST OF 1987-AND ALL OF 1988 AND 1989 WERE SPENT DOING THAT-




THERE’S LIGHT IN THE TUNNEL-BUT A TRAIN’S COMING-

I STILL HAD ALL MY MUSICAL EQUIPMENT-I BEGAN TO LEARN THE BASS

GUITAR- BY THE SUMMER OF 1989- I WAS A FAIR ENOUGH PLAYER TO TRY

ANOTHER BAND TYPE SITUATION-MY PARTNER AT THE TIME- KNEW HOW TO

PLAY GUITAR- WE STARTED WHAT WAS FIRST CALLED- GROW FINS-

WE WROTE SOME ADVENTUROUS SONGS- AS WE WERE ABOUT TO ADD

MORE MEMBERS-AND THINK ABOUT PLAYING LIVE- THE RUG WAS PULLED-

THE PROPERTY THE STUDIO WAS ON- SOLD- WE HAD TO GET OUT- FAST-
page 10
WE RENTED AN OLD HOUSE- BEHIND A CAR REPAIR SHOP-THERE WASN’T

ANY CLOSE NEIGHBORS- WE COULD PLAY-AND NOT GET SHUT DOWN-

WE TRIED MANY DRUMMERS- ONE MORE TROUBLE THEN THE NEXTWE DID

THIS FROM EARLY 1990 TO EARLY 1993- WE DROPPED THE DRUMMER IDEA-

USED A DRUM MACHINE-AND RECORDED A DEMO TAPE- SENT IT TO EVERY

LABEL- LARGE AND SMALL-ONLY JELLO BIAFRA OF THE DEAD KENNEDYS

HAD ANYTHING GOOD TO SAY ABOUT IT- BY THEN WE CALLED THE BAND

HOWL- IN JUNE OF 1994- THE MUSIC WAS OVER- I WAS AT A DEAD END-

BY SEPTEMBER THE RELATIONSHIP WAS OVER HE VANISHED-

IN ONE WAY OR ANOTHER ALL MY FRIENDS WERE GONE TOO-

LEFT IN DEBT- I HAD TO SELL EVERYTHING I OWNED-

I SAVE MYSELF-( WITH A LITTLE HELP FROM NEW FRIENDS- AGAIN- )

IN SEPT. OCT. & NOV., 1994 I MET A LARGE GROUP OF NEW FRIENDS-

ON JANUARY 24, 1995 I STARTED A NEW RELATIONSHIP-

( ALL OF THESE KINDRED SPIRITS ARE STILL BY MY SIDE )

I PUT MAKING MUSIC OUT OF MY LIFE- ONLY CLOSE FRIENDS WERE

TOLD ABOUT MY MUSIC- MOST PEOPLE KNEW ME AS- PETER PASADENA-


REAL LIGHT IN THE TUNNEL-

IN JUNE 2004- AFTER READING A STORY ABOUT “GARAGE BAND”

AND HEARING A SONG PRODUCED ON IT-I WAS READY TO BUY AN APPLE

COMPUTER- I SOLD WHAT I COULD- TO RAISE ENOUGH MONEY-SO I COULD

GET EVERYTHING I NEEDED- ALL AT ONE TIME- APPLE eMAC, STUDIO MIC,

MUSIC KEYBOARD AND USB BOX TO PLUG IT ALL IN- ON JUNE 29,2004-

I PICKED IT UP- IT TOOK A FEW DAYS TO LEARN IT- ON JULY 4 TH.- THE 50TH

ANNIVERSARY OF ELVIS RECORDING “THAT’S ALRIGHT, MAMA” FOR HIS

MOTHER- I RECORDED MY VERSION AND BAPTIZED MY NEW SET UP-
FIRST NEW MUSIC IN TEN YEARS - page 11
IN NOVEMBER OF 2004-I HAD TO LEAVE THE HOUSE BEHIND THE CAR

REPAIR SHOP-THE PROPERTY HAD BEEN SOLD- MY PARTNER OF 10 YEARS

INVITED ME TO LIVE WITH HIM IN GLENDALE- I HAVE A MUSIC ROOM THAT

I’VE MANAGED TO STOCK WITH THE FEW THINGS I NEED TO CREATE AGAIN-

THIS TIME THE GOAL WOULD BE SIMPLE- IT HAD TO COST LITTLE TO

PRODUCE- RELEASE ONLY SINGLE SONGS- GIVE THEM TO

CLOSE FRIENDS- AND LATER- POST THEM ON THE WEB-

LOOPS HELP ME WITH WHAT I LIKE BEST ABOUT MAKING MUSIC-

SONGWRITING AND RECORDING- I WAS NEVER ABLE TO PLAY AN

INSTRUMENT WELL ENOUGH TO MAKE MUSIC WITH- COOL SOUNDS - YES-

SWEET MELODIES - NO- LOOPS ALLOW ME TO PICK THE BEST PARTS FOR

EACH PLAYER- AND CREATE A MUSICAL BACKGROUND- I CAN HEAR THE

MELODIES FROM- AND WRITE THE LYRICS TO- I PROVIDED THE LYRICS FOR

MY ORIGINAL MUSIC BANDS- AND SOLO ALBUMS- I WAS THE ARRANGER-

AND RECORDING ENGINEER-I‘VE TAKEN ALL THOSE SKILLS TO WHAT I CALL

PETER CATHAM & HIS APPLE LOOPS- I USE THE TERM “HIS” FOR TWO

REASONS- FIRST- A NOD TO BILL HALEY AND HIS COMETS- SECOND-

BECAUSE I DO THINGS WITH THE LOOPS- TO MAKE THEM MY OWN-

I FEEL THIS IS MY BEST WORK- PLAYING WITH SOME OF THE FINEST

MUSICIANS IN THE WORLD-AND BEING ABLE TO CREATE SOMETHING NEW

WITH THEIR MUSICAL PARTS- I APPROACH SONGWRITING WITH THE IDEA

THAT EVERY SONG SHOULD HAVE ITS OWN SOUND- I’M INFLUENCED BY

THE BEATLES “WHITE ALBUM”- WHERE ALL STYLES OF MUSIC LIVE

TOGETHER- HAPPILY- THAT’S WHY I NEVER KNOW WHAT I’LL BE WRITING

NEXT-AFTER SO MANY YEARS OF MY OWN UPS & DOWNS- I FEEL MORE

DEPTH AND UNDERSTANDING WHERE MY MUSIC IS LEADING ME TODAY-

page 12
PLEASE ENJOY MY MUSIC.

I WOULD LIKE TO THANK- DAVID MILTZOW - LORRAINE HERB-

LEADY, ALBENA AND BARBARA PETTINATO- MY FAMILY FROM CHICAGO-

CATHY DUNLOP-RANDY DEL REY- ALAN OF “ENCORE AUDIO”-CARL HASSIS-

ROBERT BACHELOR- DAVE & JEAN NELSON- MARK ALEXANDER- DON CHIN-

RUSSELL WHITE- KAREN WILSON- MY ”TRUE” FRIENDS FROM THE 70’S-

EVERYONE WHO BOUGHT MY ALBUMS IN THE ‘ 80’S- ARTIST: C.B. GRACE-

MY FRIENDS AND LOVES FROM THE ‘ 90’S AND TODAY-

SUPPORTERS OF MY NEW MUSIC:

ORAN McELROY- DEAN ASBURY- MIKE & DYLAN KIVINEW- RAYMOND URGO-

SPICE- EVELIO- HASZARI- BEEG SRAHKA-ALL MY myspace FRIENDS-

COMPLETE THANKS TO RHONDA BYRNE’S “THE SECRET”-

OVERWHELMING THANKS TO THE ARTISTS THAT INFLUENCED MY MUSIC:

JOHN,PAUL,GEORGE & RINGO-GEORGE MARTIN-MICK & KEITH-BRIAN JONES

PETE TOWNSHEND-JIMMY PAGE-JIMI HENDRIX-BRIAN WILSON-BOB DYLAN-

GRACE SLICK- MARTY BALIN-TERRY MELCHER-MARK LINDSAY-YOKO ONO-

DAVID CROSBY-DAVID BOWIE-DAVID BYRNE-BRIAN ENO- ROGER DALTREY-

STEVE WINWOOD- RAY DAVIES- PERRY FARRELL- JOHN PHILLIPS- PRINCE-

ALICE COOPER- ELVIS PRESLEY- PAUL SIMON- MARK FARNER- SLY STONE-

CHUCK BERRY-LITTLE RICHARD-BUDDY HOLLY-HOLLAND,DOZIER,HOLLAND

BLACK FRANCIS- GANG OF FOUR- PHIL SPECTOR- BOY GEORGE- D.BOON-

MORE THANKS TO COME-

BLOG ME BACK-WITH ANY QUESTIONS OR COMMENTS-
PETER CATHAM APRIL , JULY ,SEPT . 2008 -



songs for strange days


4/10/2013 2:21:48 PM
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PETER CATHAM and HIS APPLE LOOPS