Interview with Terry Taylor recorded Feb. 23, 2008, in his home.
Song commentary by Terry Taylor, May 2008
Enhanced content mastered by Mr. Toad's
Disc two contains two videos. The first is of shooting for the album cover. The second video starts with the band rehearsing with some covers at Cornerstone 1987, followed by the band's performing "Darn Floor - Big Bite" at the gig. The band is then shown receiving a Harvest Rock Reader's Choice Award.
2-CD Set with tons of bonus tracks
REVIEW OF THE ORIGINAL 1987 ALBUM
DARN FLOOR, BIG BITE (1987)
Daniel Amos (Da)
The famous gorilla Koko was trained to speak in sign language on a limited basis, After experiencing an earthquake the gorilla signed the words, “Darn Floor – Big Bite” to describe the incident. The gorilla’s limited expressions and inability to fully communicate the response is compared to man’s inability to express the wonders of God and the way life is lived with its many facets and expressions on one of Daniel Amos’ most constantly impressive albums of the same name.
After finally completing the four album tour de force known as the “Alarma Chronicles,” (on four separate labels mind you), the band released its second album for Frontline Records. Now without keyboardist Rob Watson and featuring an increase involvement of the ever impressive Greg Flesch, the album was less atmospheric and surreal and more earthy and rock driven. It is a brilliant, rather accessible and stunning album that would remain one of the least successful projects in the band’s history.
(Well, they did use the word “darn” in the title, so what did they expect?)....
As mentioned previously, the guitar makes a pleasant and obvious return with the departure of Rob Watson and Greg Flesch’s significantly increased contribution. This is immediately evident with “Return of the Beat Menace.” Jerry Chamberlain possessed a quirky and unique style why Flesch employs a wider and more diverse musical palette. Here we see some of the old Chamberlain influenced touches with a the off-center solo, but with Flesch’s more crunchy/post punk rhythm style. This combination works well as Flesch displays a depth of new guitar sounds while not completely eliminating the signature sound that band had been known for.
I should point here that the drums sounds are “louder” and more “up front” than on many DA albums. I would also think it is time to note that all but one song was written by Taylor, Chandler and Flesch musically. This creates a much more “band” feel.
“Strange Animals” continue with the more rock driven sound, focusing on melody and rhythm over atmosphere. The complexity of trying to describe the nature of God is a common theme and introduced here. The difficulty lies in the transcendent nature of those things of which we are not a member of the species. How can man adequately describe, in essence, that which he is not privy to the thoughts, presence and soul of?
The theme takes on a much clearer reality on the title track. Like the gorilla’s story by which the song receives its name, man is at an utter loss to adequately describe God. Attempts are futile and the best we can hope for is a limited and vague understanding. Of course, Taylor puts it in a much more dramatic and stunning context. The Talking Heads like groove drives the song with a funky cool swing that is, at times, reminiscent of the music on Vox Humana.
The softer and more ethereal “Earth Household” sounds the closest to “Fear Symmetry” as any song on the album. More keyboard focused, while a bit lighter and more positive than the previous release. Taylor has never been an artists who is afraid to address the sheer mystery of God and admit the reality is filled with unknowing.
Wall of Voodoo and Guadalcanal Diary are two of the great unheralded bands of the early and mid-80’s (along with the previously discussed Violent Femmes) and with “Safety Net” there are touches of all three. A nearly cowboy driven beat mixed with descant guitar rhythms and Taylor’s most edgy vocals on the album. Grace is a scary thing when one plays with their sin in careless ways.
“Pictures of the Gone World” actually sounds like a song left off of Alarma or Doppelganger. The verse structure harkens back to those two albums with its quirky, pop punk delivery with a hook oriented chorus and wild, off-key (almost) guitar solo.
Digging even deeper to a musical influence, “Divine Instant” reminds the listener of the Beach Boys and Beatles influences first really delivered on Horrendous Disc. The Polynesian rhythm of the verse structure shifts to a much more 60’s influenced rock chorus.
Ok, so just how many artists in CCM could write a song with the title, “Half Light, Epoch and Phase?” Borrowing from 1 Corinthians 13, the theme of attempting to understand the mysterious and unfathomable nature of God is continued. here we see through a glass darkly and only have “cracks in the floor.” The admitted struggle between doubt and faith are juxtaposed against a resolve to allow faith to continue without demanding God explain everything.
“The Unattainable Earth” musically points to the direction the band would take over the next several albums. Thinking man’s rock with strong melody and piercing focus. This song always reminds me of T-Rex and later Rick Altizer.
The album closes with a three and half-minute song that could have lasted twice that length. The beautiful and melodic worshipful tune is what great music is meant to be. A choir featuring everyone who ever dropped by the Green Room studio and an unforgettable melody. There is a touch of Taylor’s first two solo projects to be found here. A stunning song of grace and hope, it is the perfect ending to the album.
It is really a shame that this album never received the attention and recognition it deserved. Some of Taylor’s finest band oriented music is lost to all too many. But, this too is a common theme!
1-1 Return Of The Beat Menace 2:58
1-2 Strange Animals 3:14
1-3 Darn Floor - Big Bite 4:27
1-4 Earth Household 3:54
1-5 Safety Net 3:31
1-6 Pictures Of The Gone World 2:46
1-7 Divine Instant 3:59
1-8 Half Light, Epoch And Phase 4:22
1-9 The Unattainable Earth 3:50
1-10 The Shape Of Air
Backing Vocals – Debi Taylor, Gene Eugene, Jeff Crandall, Maria Chandler, Mike Stand (2), Ric Alba, Riki Michelle* 3:30
2-1 The Unattainable Earth (Remix) 3:47
2-2 Return Of The Beat Menace (Instrumental Mix) 2:56
2-3 Safety Net (Live @ Cornerstone 1998)
Guitar – Andy Prickett / Steel Guitar [Lap], Accordion – Phil Madeira
4:07 Interview W/Terry Taylor
2-4 Concept 2:58
2-5 Music W/Cassette Demos 6:43
2-6 Lyrics 2:57
2-7 Recording 1:28
2-8 The Band 3:32
2-9 Looking Back 4:26
2-10 Pictures Of The Gone World (Instrumental Mix) 2:45
2-11 The Shape Of Air (Live @ Cornerstone 2000)
Steel Guitar [Lap], Accordion – Phil Madeira
3:42
2-12 Half Light, Epoch And Phase (Instrumental Mix) 4:18
2-13 Darn Floor - Big Bite (Live @ Cornerstone 1988) 4:18
2-14 The Unattainable Earth (Live @ Cornerstone 1988) 3:29
2-15 Sacred Heart (Demo Of Unreleased Song) 2:46
Art Direction [Original] – Ed McTaggart
Artwork By [Cover Concept] – Da
Bass, Backing Vocals – Tim Chandler
Coordinator [Project Coordinator] – Greg Glover, J. Edward Keyes
Design [Re-issue], Layout [Re-issue] – Tom Gulotta
Drums, Percussion, Backing Vocals – Ed McTaggart
Edited By – Tom Gulotta (tracks: 2-4 to 2-9)
Engineer – Doug Doyle
Film Editor [Video By] – Dave Perry (6)
Guitar [Lead], Flute [Pan Flute], Accordion [Squeeze Box] – Greg Flesch
Liner Notes – Tom Gulotta
Mastered By [Enhanced Content] – Tardon*
Percussion [Additional] – Alex MacDougall
Photography – Brian Tong, Dave Perry (6), Ed McTaggart
Producer – Da*, Terry Taylor
Producer [Bonus Disc] – Tom Gulotta
Remastered By – Don Tyler*
Vocals, Guitar – Terry Taylor
Additional backing vocal credits for "The Shape of Air" include "those two friends of Gene's."
Recorded and mixed at 3-D Studios, Costa Mesa, CA
Remastered at Precision Mastering
Bonus disc produced for Stunt Productions
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