| .::.All
Sort's of Copywrited Music Files that you can download to hear the
SEAHAG.::.
-- right click to download to your computer --
WAITING FOR THE WORLD TO END (6.8M)
Music: R. Mangano/A. Kinsman
Lyrics: R. Mangano/A. Kinsman
Date: Spring, 2002
Location: Hooper Street Studios, NYC
Recording Engineer: Seahag
Musicians: Robbie Seahag (drum programming, bass, guitar solo, keyboards, vocal), Cosmic Cruiser (rhythm guitars, vocals) |
Aaron came over the house from NJ and wanted to record a song. It was simple. He came up with the chords and I came up with the melody. He came up with the idea for the subject matter and we worked on the lyrics together. This was all recorded on a 4-track and then loaded into the computer for a mixdown. We spent a lot of time getting the vocal harmonies as acceptable as possible and finished the tune in about 3 or 4 hours. I'm all about this song although it's very eerie. I believe it's on newest Cosmic Cruiser's solo album/tape. The Cosmic Cruiser is one hell of a singer, guitarist, songwriter. I hope to do a whole album of Mangano/Kinsman stuff. All it will take is about a week of doing exactly what we did the day we recorded this. |
DEBBIE (YOU SHOULDN'T DO THIS) (4.4M)
Music: R. Bartow/R. Mangano
Lyrics: Debbie, A Truck Driver, & the Chicago Police.
Date: Summer, 2001
Location: Holmdel, NJ
Recording Engineer: Rick Bartow
Musicians: Robbie Seahag (ld. guitar),
Rick Bartow (keys, drum programming, samples), Debbie (insanity talk) |
The day I recorded this solo on top of this masterful Rick Bartow creation was the day that I came to ricks house for a party and a recording. Rick took me down to his basement and we set up a guitar with some delay through a small crate amp with some crate amp distortion. We got a good sound on the guitar and he left me down there to do my own retakes. I must have done about 5 guitar takes and then came upstairs and said "I'm done". We started to cook food and swim in a pool and people started coming over for the partay. The girl who is doing the insanity speaking, was a half-armed drunk woman, who busted into our Project/Object-on-tour-motel party and called the cops on us. She is yelling at the cops on this recording. They told her to shut up. Mumbo's got it all on video, where the samples are taken from. Think '22 going on 23' from the Butthole Surfers. |
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Group: Dark Sweet Cherries
Music: Esme Montgomery
Lyrics: Esme Montgomery
Date: Spring, 2002
Location: Hooper Street Studios
Recording Engineer: seahag
Musicians: Esme Montgomery (guitar, vocals),
Laura Eggplant (bass),
Robbie Seahag (lead guitar licks, drum programming) |
Very similar situation to the Mangano/Kinsman session on this page. Esme came over sayin' she wrote a new song and showed it to me and Eggplant. I was into it that week and I said, "lets record dat shit". So I got out the drum machine and came up with something to follow the guitar rhythm. Eggplant said she'd play the bass so we recorded the drums and then Esme and Eggplant rehearsed their parts with the drums until it was all understood. It was fun for me because I was like an Engineer who didn't have to press record and then rush and play and it's always like that. I only played little guitar leads in between the verses. I like this song and this recording though a lot. It's the demo version but I think it's executed really well, recorded on the old trusty tascam 424MkII. It's become a staple of the Dark Sweet Cherries live set. |
WHAT'S WRONG WIT MY DICK? (4.5M)
Group: Mangano, Passantino, & Balls (MPB)
Music: R. Mangano/E. Passantino
Lyrics: Elliot Passantino
Date: Summer, 1998
Location: The Lakehouse, Glen Wild Lake, Bloomingdale, NJ
Recording Engineers: R. Mangano, E. Passantino
Musicians: Robbie Seahag (guitar, bass, drum machine, sound fx), Elliot Passantino (vocals) |
This is the 2nd or 3rd take of this song. The music was composed about 5 minutes before this recording. This song shows the genius of E. Passantino, aka Uncle Dirty, uninhibited and raw and talented. This was mainly recorded live (guitar, drum machine, and vocals. Bass was added later. Sound effects were recorded at mixdown, in Wayne, NJ a few weeks later. This track is from MPB's first album. |
SHADOW (3M)
Music: R. Mangano/D. Winer
Lyrics: R. Mangano, D. Winer
Date: Spring, 1997
Location: East Village, NYC
Recording Engineer: R. Mangano
Musicians: Robbie Seahag (guitar, bass, background vocals, finger-played drum machine, delay knobbing), Dan the Hotch (lead vocals) |
Seahag and Dan "the hotch" contemplate that hiding from your shadow can run you in circles. This song was recorded a few days after coming up with it's concept. Sitting at a round table in our kitchen with Dan the Hotch, we started coming up with stupid lyrics and the music to compliment it. This simple one-commandment lyric seemed so religiously stupid, that I figured I had to record it soon. So a few days later, I finger-played the drum machine, and recorded the guitar and bass. When Dan came home a few hours later, I showed him what I'd done to "Shadow" and he recorded the vocals. Afterwards, I overdubbed background vocals. |
WHITE PEOPLE (link broken for now)
Music: R. Mangano
Lyrics: R. Mangano
Date: Spring, 1999
Location: Hooper Street Studio, Brooklyn, NY
Recording Engineer: R. Mangano
Musicians: Robbie Seahag (acoustic guitars, bass, vocals, drum programming). |
This song deserves a disclaimer. It is about gentrification and segregation....the reason why is below...but I should really shut up.
Seahag is a 100 percent Guinea Wop Greaseball. Why write a song with lyrics like "It's a good thing when you're white, the stars shine every night"? Well, hmmm, first because it's politically incorrect, and like to rebel against politically correct stuff just for the sake of "Shut up, I'm free to be wrong, and ugly." But the heart of the matter is the East Village Avenue A, B, C, area has changed so much in the last 10 years. I used to walk to Alphabet City when I was 18 and new in town and I'd be scared of getting jumped because I was a lone white dude. Being from Newark, NJ (once capitol of the 'carjack'), I was always on the lookout for another gang of racial heritage to wanna fuck me up and steal my pumas because it happened all the time. Well, anyway, I've always been starving artist poor since quitting the wedding band in '94. It turned out that Alphebet City became full of touristy whitey's and rich white residents by Rudolfo Guliani and it wierded me out, and when I walked around there I didn't feel like I'd get jumped anymore because there were happy lightfooted honkeys everywhere. That made me feel wierd and made me question my feelings. Is it because I'm white that I feel this sense of security? Do i feel safe when all I see is white people? Does it make me want to puke? I wanted to write about these feelings and at the same time, poke fun at my whiteness and the sad reality of the public, as well as my jealousy towards trust-fund babies who were renting the the new pricey apartments in the old alphebet ghetto that I couldn't afford to live in. I don't know if you understand, but there it is. Still this is one of the best 4-track recordings i've ever produced. Everyone likes this song, and I guess I'm afraid people will get the wrong idea, but just think that the perspective of the dude singing the song is so glad that he's just gotten to this city and it's all whited out for him nicely. Oh yeah, the mentioning of Santa Fe is because I felt wierd there too, in a sea of whities. Too many whities, I like the variety of colors, personally. |
SHALOM AB SALOM (6.4M)
Music: Ween/Seahag Guitar Solo
Lyrics: Ween/Dennis D Improv
Date: 2000
Location: Fort Greene, Brooklyn, NY
Recording Engineer: Mitro
Musicians: Robbie Seahag (guitar, drum machine), Dennis Driscoll (vocals, bass) |
Fuckwheat and Seahag recorded this track for the Alt.Music.Ween Tribute CD which was distributed via the internet by downloading. Anyone who wanted to cover a ween song could basically send in their cover to a dude who would print up cd's and make up mp3s to post on the net so that other wierdos can get the double cd collection of wierd ween covers from fans around the world. So Dennis had the idea to do it at at his buddy Mitro's Studio. I said, hell yes, since dennis d is cool and so is ween. So me and dennis got totally wasted as time went on at the studio and recorded. I copied the exact drum beat from the original recording and had my Alesis HR-16 play it. Dennis layed down the bass next, then i did the guitar in one take and then continued to drink Rum and Cokes while dennis did the vocal. It was a great fun and a success and took about 3 hours of getting trashy and recording. I remember that when I got home, I was so drunk and by myself in my apartment that I climbed out on my fire escape and laid down against a pillow and yelled at the rats in the garbage cans below, therefore scaring them and watching them flutter to their shelters, this entertained me for about 30 minutes. Then i climbed back into the apartment and stared at the wall like the devil waiting for his girlfriend to come home. |
FILMWORKS (1.4M)
Group: Flea Circus
Music: R. Mangano/L. Wilson
Date: Fall 2000?
Location: Williamsburg, Brooklyn
Recording Engineer: G. Mack
Musicians: Robbie Seahag (guitars) Laura Eggplant Wilson (violins), George Mack (percussion) |
Flea Circus lures you from your comforts to the deep woods to do nothing but run through it. This song was written for an Israeli film student who needed music done for a short film. It was quite a tough task to write the music since I had no visuals to direct the music against. I was given only adjective words to describe the way the music should sound like such as "intense", "serious". All I knew was the the character in the film had to get somewhere really fast and the sequence should only be about 1 minute long. After struggling for ideas, (what's is good and why is it good?) I finally went with one idea and Laura came up with another part. George Mack got us over to his apartment and we set up shop to record. It was pretty simple. Once after playing this song at the Poorhouse open mic in 2000, local Tom Price, from Ff, heckled us and said "That sounded like running through the woods naked while tripping on acid". |
CHRIS ELLIOT (3.3M)
Music: R. Mangano
Date: Fall 1998
Location: The Lakehouse, Glen Wild Lake, Bloomingdale, NJ
Recording Engineer: Seahag
Musicians: Robbie Seahag (guitars, bass, drum machine, vocals) |
Seahag remembers that movie that was #1 - Cabin Boy. I was trying a songwriting technique. I'd put 12 subject ideas for lyrics in one hat, 12 musical ideas in another hat, and 12 different key signatures in the other hat. Then I'd pick one out of the three hats and that's what song i had to write. This was "Song about Chris Elliot, in a falsetto soul/funk thang, in the key of F." Some day I hope Chris will hear this song and feel something. I saw him eat dog-food on letterman when i went to see a live letterman taping in about 1990. Oh yeah, OJ Simpson was the special guest that evening. |
THE ETERNAL BONG (2M)
Group: Mangano, Passantino, & Balls (MPB)
Music: R. Mangano/E. Passantino
Lyrics: Elliot Passantino
Date: Summer, 1998
Location: The Lakehouse, Glen Wild Lake, Bloomingdale, NJ
Recording Engineers: R. Mangano, E. Passantino
Musicians: Robbie Seahag (guitar, bass, drum machine, sound fx), Elliot Passantino (vocals), Laura Eggplant Wilson (violin) |
Mangano, Passantino, & Balls seek out the holy bong - the thing that Jesus Christ used to get high. This is probably the first take of this song. The music was composed on the spot spontaneously, while the words were already written (a section of a Jesus Opera that Uncle Dirty wrote in which it is confessed that Jesus was a big pot-head and loved the weed, it's much more involved than that, believe me). This is one of the more beautiful MPB songs. Overdubs were done, adding a bass and violin to the original, live guitar and vocal. The Cricket sound effects were recorded at mixdown, in Wayne, NJ a few weeks later. This track is from MPB's first self titiled album, "MANGANO, PASSANTINO, and BALLS" - originally released on cassette. |
MOTION (5.2M)
Group: Great Atomic Power
Music: R. Mangano/G. Mack/G. Haba
Date: Fall, 1999
Location: Tin Pan Alley Studios, NYC
Recording Engineer: Tim
Musicians: Robbie Seahag (guitars), George Mack (bass, saxes), Geoff Haba (drums, percussion, 4-track mixing effects), Daniel Carter (Sax, flute) |
The Great Atomic Power thrills you with a 5-minute swerve through underground genres. This song was recorded about 2 weeks after it was concieved. This is another song based on a chart of events and direction, but not necessarily any notation. This concept of chart-reading, was something that Geoff and George had worked on before and introduced to me. We actually structured the rest of the "Mushroom of Destruction" album with these experiments. We rehearsed and wrote music about 4-5 times before going into the studio, but the charts we made really wrote the music itself. |
SHAKE IT UP
Group: Wrong
Music: R. Mangano/Dan Winer
Lyrics: R. Mangano, Dan Winer
Date: Winter, 1997
Location: NYU SEHNAP Studios
Recording Engineer: Carl Restivo
Musicians: Robbie Seahag (electric guitars, bass, cello, bacground vocals), Dan the Hotch (lead vocals, acoustic guitar), Carl Restivo (drums, (drums, percussion, background vocals, intro speaking), Jimb Tudesco (background vocals) |
Wrong shows you how to stand out at the local disco. The idea is that you've got to shake it up, the lyrics are simple. "I go to parties everyday. I go to discos some of the time. I go to parties everyday. I go to discos just to blow my mind, so Shake it Up". Simple but very serious. About the same evening and same sitting that "Shadow" was written. Me and the Hotch sitting at our round table in our dorm room. We recorded a four track version of this song. When Restivo had to have a band to record for his Recording Class, he chose Wrong, and we showed him the song. Its got a shitload of overdubs on it and superb quality sound. I mean, listen to those bass strings. I bought that Spector bass from Kasim Sultan, old bassist from Todd Rundgren's band, Utopia, back when I used to play with Arctic Dreams. It's a silly ass song and it's mental and I love it. |
BLIGGY BONEY BEAT (2.5M)
Group: Wrong
Music: Wrong
Lyrics: R. Mangano
Date: Winter, 1999
Location: Bangor, PA
Recording Engineer: Dave Johnsen
Musicians: Robbie Seahag (electric guitar, lead vocals), Dan the Hotch (acoustic guitar, lead vocals), Carl Restivo (drums), Jimb Tudesco (bass) |
Wrong sings about the bliggy boney beat, eyes for eyes, eyes on the street, and eyes on the feet, even. These lyrics were written on a subway to the Port Authority, NYC to catch a train to NJ for some serious recording at IZ's rehearsal studio. We figured we should all not talk to eachother and just write some lyrics while in transit. While I write lyrics, I usually write them to the melody in my head. Thus: "Eyes on the Street, Eyes on my feet, Eye for an Eye....Bliggy Boney Beat." Another silly-ass nursury rhyme and I still can't explain what Bliggy Boney Beat means, except that I knew it was a good lyric for the melody I was stealing from the air. This is one of Rick Bartow's favorite songs and I'm very happy about that. It's one of wrong's more jazzy numbers as well---or one of the more beautiful ones. |
OVER THE MOUNTAIN (3.9M)
Music: Ozzy Osbourne/Randy Rhoads/Bob Daisley/Lee Kerslake
Lyrics: Ozzy Osbourne
Date: Winter, 1999
Location: Hooper St. Studio, Brooklyn, NY
Recording Engineer: R. Mangano
Musicians: Robbie Seahag (electric guitars, bass, drum programming, vocals) |
In a tribute to Ozzy's Randy Rhoads, Hag recreates this tune and retakes a dozen leads. When i was 8 years old I was listening to the first two Ozzy solo albums like crazy cause my sister Gina knew what was up and had some tapes. She also had a poster of Randy Rhoads in her room. I thought Randy looked cool, but wait, he was dead? But how? Plane crash? It sucked that he was dead. When I started playing bass at 10, my brother, Joey took up guitar. Christmas was comin' up, and I was with my mom in some music store and I said to her, "Get this for Joey" and showed her an Ozzy Osbourne songbook. She did, and brought it home, and hid it so Joey wouldn't find it until Christmas.. So whenever my brother wasn't around, I'd go find the book and learn songs out of it. I had to hide the fact that I started playing guitar and that I knew how to play Randy Rhoads stuff, or else my brother would find out I was using his book before he even got it as a gift, he also had to always say "Get off" when i'd play his guitar, which would end up in me freaking out and punching him (I was 10 and and he 13) Anyway, it was late, and about 14 years later. I was alone, I felt like recording, so I went for this old Ozzy song. One of the many Randy Rhoads songs I know like the back of my hand from this book from so long ago. Randy used to multi-track his guitar solos, you'll notice there's two guitars on the first solo and end solo. What a kick ass metal song. Too cool. |
PRIMATE II (3.7M)(link broken)
Music: R. Mangano
Date: Summer, 1995
Location: Newark, NJ
Recording Engineer: R. Mangano
Musicians: Robbie Seahag (electric guitar, computer programming, bass, drum machine) |
A soothing musical approach to pointilism, reprise, and heart rate. This song was written a year after Primate I was written. The melody for Primate II is a broken up version of the melody from Primate I. The story goes like this. While in my first year of college, i started to listen to Frank Zappa. It was the fall and i had just bought FZ's new album of all orchestra music called "The Yellow Shark". I started to love that record and fall asleep to it everyday until my favorite thing to do was to learn riffs from that album or to fall asleep to that album. Also what was one of my favorite things to do was listen to as much more FZ that I could find! Anyway, I had just realized how much I love this Frank Zappa guy, And blammo, and my school buddy, Carl Restivo, who was simultaneously going through the same awe of FZ stage, calls me up to inform me that our new favorite band, Frank Zappa, had died. It was horrible. So I decided to try and write something big, something orchestral, and I did it with a pencil and some music paper all from my noodle, til' 5am in a library the night I found out about Zappa's death. Primate I is fast, Primate II is slow. "II" takes the Primate I melody and places it in different phrasing over a two-chord vamp. The phrasing is hard to grasp and play, but it is deliberate and perfect in my mind and tickles me in a beautiful way, reminding me of why I liked the orchestral zappa music that was influencing me to write music like this. |
SWEET LOVE SONG
Music: R. Mangano
Lyrics: R. Mangano
Date: June 6th, 2001
Location: WBAI Radio Studio, NYC
Recording Engineer: Vicki Hippel
Musicians: Robbie Seahag (acoustic guitar, vocals) |
One time the question was asked, "why won't you ever write a love song?" And I came up with this. But people really seem to like this song. I'm a little afraid of this song because people really like it, and also it hurts me to listen to my voice so raw, very self-concious about hearing my voice. Since people like it, and I should get over my fears, I decided to throw this tune out to the public, to possibly get rid myself of my retarded fear of my natural voice. |
VESUVIUS (1M)
Group: Great Atomic Power
Music: R. Mangano/G. Mack/G. Haba
Date: Fall, 1999
Location: Tin Pan Alley Studios, NYC
Recording Engineer: Tim
Musicians: Robbie Seahag (guitar, 2x4 wood clapping), George Mack (bass, saxes), Geoff Haba (drums, wooden trunk slamming)
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The Great Atomic Power offers this 1-minute instrumental brutality-jazz gem. This song was recorded about 2 weeks after it was concieved. It is structured and influenced by my parent's home phone number. Each digit of the phone number meant to play something different for a certain length of time and in a certain way, and in a different key. This concept of chart-reading, was something that Geoff and George had worked on before and introduced to me. We actually structured our whole album with similar methods. We rehearsed and wrote music about 4-5 times before going into the studio, but the charts we made really wrote the music itself. Taken from the GAP album, "Mushroom of Destruction".
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| Hey
Robbie, What's Country? -Ryan Sholin
It
was during the Knarfineggolof Bread Breaking that I
came to realize the excruciatingly pure beauty of all
life. -Laura Eggplant
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