The Sheep Fiends FAQ

Last updated: 06/17/96

e-mail address: sheepfiends@sheepfiends.com


Index

Notes
Introduction
Commentary by Sheep Fiends Musicians
Sheep Fiends History
Sheep Fiends Musicians
Ordering Information


Notes:

People are encouraged to copy and distribute tapes by The Sheep Fiends.
The only thing we ask is that you include the following information on any
duplicates.  Please check this page occasionally as the URL and e-mail is
subject to change.

Please retain this information on any duplicates of this tape.
(c) (date on tape) The Sheep Fiends
To acceess The Sheep Fiends via WWW = http://www.hypermall.com/sheepfiends/
via e-mail = sheepfiends@sheepfiends.com

The Sheep Fiends Web Page and FAQ was put together by Brian Cameron.  Thanks
to everyone who helped me gather information and otherwise helped me put this
together!

Special thanks to Dave Hurst for running The Sheep Fiends web page on his
account when I didn't have a publically accessable internet account.

Special thanks to Russ McClay for designing logos and images for these web
pages.  Special thanks also goes to Mark Goodman for the use of his
computer-manipulated photographic artwork which we include as inserts in
our tape labels.

Special thanks also to Darin Stumme for his wonderful work designing and
printing tape labels, for taking photos, and for his help with many other
Sheep Fiends related projects.



Introduction

In May of 1992, three amateur musicans, Brian Cameron, Brian McNally, and Sid Prise, began to get together at all hours, sit around, eat rice, hang out, talk, sing and play our guitars. After a month or so of jamming together we started meeting more people who were really into what we were doing and new and old people started fluxing in and out of The Sheep Fiends. Sid came up with the name and nobody really liked it, but those who complain rarely have suggestions, and before long, we weren't batting an eye at our new name. Briefly we called ourselves "No Stance (at the Moment)" but that is a different story and, besides, the name didn't stick. As you might imagine, a philosophy slowly began to form around us and with us and we eventually came to the realization that we had defined "The Sheep Fiends" as a verb moreso than a noun. The Sheep Fiends resembles a drum circle, with its emphasis on community and rhythm rather than on individual skill or egoism. We encourage folks to come up with improvisational lyrics to go along with our music and we place high emphasis on listening, expressing, and reacting. We feel that there is a tendancy for music in general to become, in a sense, repressive and exclusive. In response we have created a very decentralized musical forum to allow ourselves the freedom that we enjoy. A favorite non-musical pasttime of ours is, of course, to dream up grand future fantasies of having huge stadium concerts, with each audience member with their own guitar, drum, noisemaker, bagpipe, mouth harp, or other thingamajig. Since our first get-togethers, we've been consistantly recording ourselves; it seemed like the thing to do and it adds to the fun. Before long we found ourselves with quite a number of songs that we *really* liked. From time to time, Brian Cameron spends an inordinate amount of time listening to the ever- rowing collection of tapes and compile a "Greatest Hits" tape. These tapes are mostly for the people who play with The Sheep Fiends so that we can listen to ourselves and have something to play for our friends, show them what we do, so now we've figured that we'd bounce our tapes off of a few new people and see what comes back. We have a wild array of different styles spread through our stuff, from classical to punk to heavy metal to folk to alternative to psychedelic rock to world music to art rock to blues to industrial. We are constantly changing, self-defining, making it all up as we go, and this is the reason why The Sheep Fiends have evolved as a verb moreso than a noun. To "sheep fiend" has become to mean, in an ideal sense, getting together with a group of friendly folks making music without pressure or expectations and to enjoy each others presence and skill. The music is a by-product. All of our music was recorded in various living rooms with amateur equipment. With only a few exceptions, our music has been recorded with 2-4 microphones, a few electric and acoustic guitars with pick-ups, a few guitar effects like distortion and delay, keyboards, tablas and other hand-drums that we microphone, occasionally someone brings a flute or banjo or harmonica or somesuch. We record our stuff on a six-input mixer/amplifier/ equalizer direct to tape with no dubbing or studio processing. Most of our material is completely improvised with lyrics made up in the flow of the moment. From time to time someone shows up with a song they made up on the side and we add our spontaneous energy to their creation. As you can probably tell, we're proud of our aesthetic. It's down home and very real.

Commentary by The Sheep Fiend Musicians

*** Mark (caThead) Armantrout If you're finally ready to move beyond judging music on whether or not you "like" it (yucch!) then the Sheep Fiends may be for you. Dirtier and less "like"able than any New Age album I've ever heard, therefore much more interesting. "But I don't like it!" Well aren't you lucky!" *** Delonde Bell Too many times I've been asked why I play with the Sheep Fiends, and usually it's not with a smile. To be honest, that phrase is usually followed with a blank, almost condesending look. I usually give no awnser to these people. To the ones who are genuinely curious, or if the former group of people press me for an awnser, I then tell them the honest-to-goodness truth, "I like what they do and I'm really friggin' glad to be a part of it, so there, pppppppbbbbbtttthhhhhhhhhh!!!" That usually solves the problem right there but it still doesn't awnser why does some one with a Bachelor degree in Music Composition from DePaul University (almost done with it as of 8 Mar 96-- six classes to go!) with more than enough experience with several different bands in every genre possible on seven different instruments, would play in a band comprised of mostly people who have no so-called classical training or people who have picked up a musical instrument for the first time? The awnser, as most things in life, come from that unavoidable lady known as Experience. And boy do we have a tale for you... Early Spring of 1992 (or thereabouts): I happened to be invited to BrianandBrian's apartment (Cameron & McNally) to have another dinner of rice topped with rice served on a bed of rice. Yum! Somewhere along the course of the day, someone brings out a guitar, maybe two and starts playing. I ask to strum along and somehow come up with a bass line from that six-stringed harp. At that particular time in my history, I had no clue how to play the guitar (no foolin'). But something clicked in that moment; for the first time since I began studying music seriously in my days as a grade school hellion, I was asked to play not because it was my turn to or I had to prove myself at something or even be competitive. I was asked to play because I enjoyed to play. For the first time in a long time, I was played because I wanted to and I wanted more of it. Unfortunately, I stayed for only two hours; my concert band had a rehearsal. Duty calls. Flash forward to Autumn, 1993. I get invited to a party held by guess who?! Most of my friends were there, hanging out and being as obnoxious as party goers are allowed to do within reason. I was still suffering from the sting of the Chicago AFE breaking up and I was looking for a new musical home. For some bizarre cosmic reason, still unknown to me by this day, someone whips out a guitar and begins playing that Jef Jaison classic from 1969 "Friendly Neighborhood Narco Agent." Knowing at this point four chords on the guitar, I bravely played along on another guitar available and surprised myself that I could feel at home with an instrument that I comparatively wasn't used too yet. That wasn't the case. Again, I was playing what I had felt like playing and there wasn't any "professional" attitudes to contend with. I felt at home and welcomed. I stayed the night and later, I played with a bunch of other guys who were, shall we say, banging, on various instruments and discovering the magic of creating music for the sake of creating, without any pretensions except that what we did better've sounded good! It did. I was intrigued by the whole thing. I was hooked. The next two years brought some serious changes in my life and how I view music. No longer is music something that I do because it is something that I happen to be good at (toot toot). But it is a way to involve myself in the creation of what is and bringing that what is to a form most accessible to many. As a result of being a sheep fiend (lowercased on purpose, thanks Sid), I could look at music not only form the serious stance of a composer/musician, but from the role of a listener who's motto is "If you want something done right, hit it with a stick!" Another discipline that I learned from the Fiends, which every musician should learn, is the ability to *LISTEN*. Pop open a Sheep jam and you'll hear what I mean. Does it sound disjointed, loose to the point of chaos at first? Uh-huh! No Foolin'! But bend your ear a little more. What you will hear are several musicians dipping into the chaos of sound, struggling to take another piece of the sonic puzzle in hope that it would fit. Sometimes a corner, sometimes a blank space. Sometimes those pieces don't fit at all. But on those moments when, as John Duich would say, "the tone gods smile on us," we create. And the creation is good. You have several minds working together, listening to each other--talking to each other in one voice. It's amazing what happens when music, to a point, becomes not an ideal of perfection, but an image of what one would experience when playing a piece of music and discoving it is done well. A Frippian philosopher like myself would file this under the concept "The assumption of innocence." But back to the mundane matters at hand. Experience tells me that something like the Sheep Fiends and all sheep fiending is good because you get the chance to be yourself no matter what instrument you're playing---or like to play. There is a lot of encouragement from the others if you've got what it takes...a love for music that trancends the traditional ideals of perfection. A desire for a good ol' fashioned hootnanny! A school-childlike desire to play a game of whatever after school (or work) just because you like the activity and taking the moment to "get game". A sidebar: Just the other day I was playing with someone in her apartment and we were jamming to a song I learned from an album from her. Learning the chords the best way I could, I plowed though the song the best way any professional musician could-with a much confidence as needed. About five minutes later, she stopped me saying I'm playing the "wrong" chord (a C Maj 6 against her C Maj 5/3.... gasp!) and that my vocals were crap and that I'm singing out of my range. Now keep in mind she herself was singing in an octave lower than what she could humanly do and even though we each had the theory to back ourselves up in terms of music, she had to be right. For a rock song? There was no trust there. No give and take in the fine art of jamming together. I was so mad I wanted to break the guitar I was playing over her head, but refrained from doing so out of respect for the guitar. Any musician playing out there has experienced this and similar fiascos. Thank the gods for the Sheep Fiends! ...And that's why I play with them! "Pppppppppbbbbbbbbtttttthhhhhh!!!!" Sincerely submitted, DeLonde J. Bell *** Brian Cameron In general I tend to avoid delving into the philosophies behind what we're doing and my reasoning is simply that I try to encourage people to come up with their own interpretations and philosophies to explain what is going on. I think that I'm changing my opinion as of late because I also realize that communication is also important. Here is my perspective on why The Sheep Fiends "work" and what makes what we're doing fun. 1) We place no pressure to participate or to play in a particular way or to play a particular instrument. 2) People are encouraged to express themselves and their expression is supported. There have been a few exceptions when the group has felt that a particular musician is being oppressive in their expression. The participants are free to think about the experience and interpret it in the way they like. 3) The music we are creating is created for our own enjoyment and not for commercial profit. The music we create helps us to define ourselves as a sub-culture. 4) This is because the music is a by-product of the equal sharing of the energies of everyone involved. Everyone involved is expressing themselves in exactly the way they choose to. There have been exceptions and there have been jams where the sharing has not been equal... Equality is something that we as a group strive to achieve. 5) People are educated in their musical skills and philosophies by participating and doing...rather than feeling that musicians need to be of a particular skill level. The above combination makes it very easy for people to participate with us. I know of no other band where musicians and instruments flow in and out so freely. I know of no other band that changes its format and genre as quickly and as easily as we do. What has been disturbing me is that in talking to other bandmembers, they have been telling me that they think of The Sheep Fiends as "Brian Cameron's thing" or as "Brian Cameron and Sid Prise's thing" or somesuch. This concept is very out of tune with my philosophies. From recent conversations with Sid, it is also out of tune with his as well. I feel that The Sheep Fiends is exploring group experience, and is not something I am doing only with a few core people...we are a continually morphing, often chaotic experience in which many people are involved. I share ownership with the other bandmembers. I talk of the Sheep Fiends as "a band I play in" rather than "my band" because I find that definition more powerful. Why more powerful? Because if we are a group of people doing something collectively, then we are starting to define what it is that we are. This is where things start to get interesting. Stay groovy, folks... Brian *** Matthew Cramer "I never thought of The Sheep Fiends as significant until around the time we did 'Gray Car Busted,' though I know Brian Cameron and Sid Prise have. I would like to remind you that there are yucky aspects of The Sheep Fiend's past, the long jams which didn't work, the nights of loggerheads, the gritting teeth grinding industrial noise which so much lack of compromise sqeezed forth--because this characterized my early experiences--this and the fact that I couldn't really play the guitar. I remember Brian explaining to me once why he thought we should all play the way we want, and play what we want. He said that if we could do that we might be able to learn to play together, that we would enjoy playing together that we would have found common ground naturally and it would be good. He said then that he didn't think we had done this yet. I recall this now to demonstrate what I think was a very good articulation of sheep fiend philosophy. Finally, in my opinion, I disagree that there is no emphasis on egoism in The Sheep Fiends, I think that it is often, almost always there, at least when I play, and that the group ethos is an ideal to strive for. I think that The Sheep Fiends are defined by the ongoing struggle to play as individuals and as a group, moreover I think that this is the struggle and continual theme of many many bands, including Phish, the Grateful Dead, and countless jazz bands. I think that egoism is essential to the Sheep Fiends and has been a key ingredient in all of its shining moments. It's nice to emphasize the collective ethic, the Buddhist ideal of egolessness, I feel it is important to emphasize the struggle, the obstacles, the progress we have made, that to me is a very real and encouraging history. What can I say, I'm a history major?!? Take me with a grain of salt and a sqeeze of lime." A friend of mine from Sweden is a sensational folk guitarist but, like so many folksingers, she is terribly shy; I didn't know about her talents for three or four months. She keeps them hidden because, as she explained to me, when she plays she opens up her insides and sings them out for all present. This is a little intimidating. Thinking on this I reflect on why I like the sheep fiends and, I realize, its so simple; they give me a microphone and let me croon; I'm Woody Guthrie and I'm Robert Johnson, and my baby left me (again) but thats okay. I think they actually like it when I open my insides and sing them out. A tear shed by the glint of the guitar string, is not a bad thing. Its like folk music. We're playing for the fun of it, cause we need to, cause we feel better when we do. The competition is more or less banished, this is not the club for thirteen year old boys who want to be Eddie Vedder. Maybe I'll bring my Swedish friend. Matthew Cramer *** Marcus (Nomad) DelGreco I looked for poems directly about music and found only this lusty proposition that I never made to a musician I had a crush on for about a week. I thought it a little forward and not at all her style. CELLO PLAYER Cello player, classical sin, imagine the ecstasy you could put me in. All for the price of a few spare notes you could put me in... you could put me in. Nomad *** Jeff Elder in the zone, a sweet sweet smile creeps across his face. sweet music ebbs and flows, a current surging forth, moving into the light, the current force pulling the rest of the flow tentatively with it, then counter to it. an eddie swirls and twists, soon to dissolve and flow once again. He looks over to Yippi, head bowed, swaying from side to side, and around the circle some stare into space, pounding their drum drums. Another walks into the room, and the current grows stronger. A new voice sings and the river rounds a bend. in the zone, he is aware, he chants, he sings, he hears. he feels a new surge from behind him, at the perfect moment, the only moment, he jumps into the flow and flow grows soon to break against a stone and shatter into pieces. some flow around it, but the sense of current fades, slows and ceases. all are silent, for a moment, then gasps and utterances of "wow", and many many smiles, and many many to the smoking room. From a distance, he can hear that the Fiends are Fiending once more, and from a distance, he feels the current moving in the center of the flow, and from a distance the draw is unmistakable and ever- present. he and another break free and float towards the circle, pick up, sit down and add opposition or fortification, and soon once more become one as sweet music rises and rises. -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- -- jeff@xyz.com **PREPARE FOR THE POD** -- =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= *** Dan Foss The chamber music of Imre Prozac, a part of my earliest childhood, as in Listening to Prozac, Prozac Plays Prozac, Prozac's Quartet #3 with the Prozac String Quartet, in fact the entire ambience of mid-1980s Hungarian postminimalism, had nothing whatsoever to do with the Sheepfiends, but this was true in a very important way. Another unimportant debt in Sheepfiends cultural heritage is deeply owed to the French sociological theorist Jean Baudrillard, whose avowedly faddish theory of the hyperreal I found gross and outmoded long before I understood it. I decided to understand it merely because, well, if I could write software saving a major corporation $30 million on a slow day, while simultaneously grasping to perfection wherein I wasn't entitled to a nickel more of that money than I was, still am, paid, I could understand stupid crap like the hyperreal.. The Sheepfiends begins where the hyperreal leaves off. It's music which cannot be unless it isn't. The least important or necessary element of Sheepfiends music is, of course, its most invariable component, which, I need hardly say, is taping the Sheepfiends. What has been taped thus becomes the "Sheepfiends jam," andarduously acquired mental disciplines, taught by the Sivananda Ashram three doors down the street, have been deployed in never permitting awareness of a reason to ask why something has been taped and something has not. If it be true, it has not; all that is known is, it isn't on the tape. The tape is what we have. Have for what? For, if there is nothing good on, deconstruction, perhaps. Or, even better, making money. I have written software for an immense corporation whose corporate HQ is an important, very important, part of what Chicago looks like. Philosophically, this inclines me to the supposition that the corporation and my salary along with it will pass away without a trace quite soon and with steady cashflow from Sheepfiends cassettes, CDs, and tie in sales, I can put a little by. Sheepfiends embodies the orphic principle along with the disorphic principle in antagonistic contradiction which by design is ill-understood. The musical and unmusical, the good and bad, each has its mike and amp channel. I mix, but know not what. All Sheepfiends and friends are free to say "that rocks," "that sucks," and so on, but I alone know not what I am doing to have full confidence of having done it right, once the final cooked tape has been selected, properly edited and altered from the raw. CF. Claude Levi-Strauss, "The Raw and the Cooked." It is because it isn't. But not necessarily. But I wouldn't always go that far. *** David Moses Fruchter Here's my SF blurb: Maybe I shouldn't be Commenting here, not being a Musician. Actually, though, I think that's one of the great strengths of the Sheep Fiends: providing a forum for non-musicians to perform musically, a rare and delightful opportunity. Thanks, Brian! *** Dave Hurst "I've learned more about *playing* music in the year or so that I've been jamming with the Sheep Fiends than I ever did before. The Sheep Fiends is an incredible experience in communication through music." --DaveH We are Pentium of Borg! Division is futile! You will be approximated! Date: Sun, 4 Feb 1996 21:05:59 -0600 (CST) Wow! I'm listening to "Dark" for the first time as I write this and I must say, I'm blown away. We sound really incredible. After jamming this afternoon with Jeff, DeLonde, and Brian, and feeling like there was some intense musical communication happening, and then watching the video of our performance at the Lunar Cabaret, it seems like the Sheep Fiends are really starting to pull together as a musical entity. I'm excited that this is happening and am glad I can be part of it. During this afternoon's jam I felt that I was really able to play with it, just open it up and have fun. It was a very cool feeling. I like it. --DaveH "Be Excellent to each other!" *** Scotto Moore I never thought that someday I'd be playing tablas and scatting vocals for an ambient folk rock psychedelic jazz revue, but stranger things have happened in this universe (notably, Dan Foss' "happy" period, and of course, Neil walking on the moon). Listening to a Sheep Fiends album or participating in a Sheep Fiends jam (for the low low price of a small corner of your sanity) is akin to meeting Jimi Hendrix, Arlo Guthrie, Sun Ra, and Ringo Starr in an airport lounge, getting them drunk on cheap gin, handing them all the wrong instruments, and asking them to play the Sgt. Pepper's album for you (except that, with the likely exception of Ringo, most of *that* group would tell you to blow). If you have a discerning ear, considerable stamina, and the ability to turn off what normally functions as "musical taste" in your universe, then the Sheep Fiends are likely to surprise you (especially if we wind up in *your* living room to jam); when gems emerge from this cacophonous stew of heavy-handed intricacies, they are likely to be unforgettable -- and remember, kids, feedback is your friend! Love,Scotto *** Cyd Peak I am new to the Sheep Fiends. I have now gone to 3 jams, and all have been incredible experiences. I am starting to learn the acoustic guitar, and the Sheep Fiends' Jams have helped me get comfortable with my instrument, not to mention seizing the opportunities to try out other awesome instruments: finger cymbals, accordion, mouth organ, slide whistle, bass guitar, electric guitar, etc, etc. It's a beautiful atmosphere. Very encouraging and open. As a novice, I feel like I can experiment alongside the near-experts and that my contributions are just as welcome as theirs. In a word: It's FUN!!! cyd peak *** Sid Prise When Brian Cameron and I got together with a few friends at his tiny uptown apartment in May of '92, and played a borrowed guitar blah blah, I never thought that in three years we'd be part of the incredibly profound cutting-edge counter-cultural vanguard-type phenomenon we are today. Look at us! We've got a WEB PAGE, a LOGO -- why there's even talk of t-shirts and stuff. Pretty soon, everybody who's anybody will have their pick of the growing range of Sheep Fiends(tm) Accessories. Own all of our tapes! Wear all of t-shirts! Hang up disturbing pictures of Dan Foss on your wall! Before the great cultural movement we are destined to be and get our faces on the covers of major rock mags and start doing dispensible razor commercials, I'd like at this time to offer my humble advice on the other possible directions this thing might head toward, in the hope that everybody out there in Internet-land (as well as hopeless computer illeterates like myself) won't misunderstand what this Sheep Fiends thing is all about. A simple story might illustrate my point. I was recently at this party, a typical social beer and marijuana affair, and I began feeling that peculiar sense of lonliness and isolation only possible in large crowds of people. Everyone at the party, or nearly everyone, seemed caught up in making an impression, name-dropping "friends" of theirs as if to insinuate themselves into this or that clique, and the whole scene began to remind me of why I never was in parties in high school. The friendly hugs and salutations conveyed no genuine welcome; the conversations had nothing to do with actual communcation. Then somebody did something wonderful; somebody went off in the corner and started playing a drum. I was instantly drawn to that corner as were a few others, and within minutes a whole room was drawn together in song. The improvised patterns which reappeared and then dissolved into the general fuzzy backbeat. Many people played drums, a few guitars and harmonicas and at least one person played a toy accordian. Still others made instruments of beer cans and ink pens and various pieces of plastic which they discovered made cool noises. The song lasted a while, twenty minutes at least and it involved everyone from skilled musicians to people who had never picked up an instrument before. Yet everyone felt involved equally; everyone's contribution mattered. After this blissful moment, the party began to return to where it was before. But while it lasted, all the barriers between people had afllen, the communication was genuine and fun. All the prtentiousness, cliqueness, false friendliness -- all these things disolved as easily as it was to pick up the drum and play. This, more than anything else, is what I see as important and wonderful about the sheep fiends experience (my lack of capitals is intentional). If there is any "philosophy" about it, it is simply this: anyone can participate, anyone can feel welcome to share and contribute without fear of playing a "wrong" note, and the more the merrier. The "music" created is not the goal nor the product of the experience, but a by-product which might sound good or bad or mediocre and may be played back or forgotten about according to whom. The important thing is not the music but the experience of making it. This is equally important to remember now, when various people want to fashion the Sheep Fiend thing into some kind of "band" to be adored and enjoyed by "fans" and "audience members." etc. etc. People have been playing in bands for the enjoyment of spectators for thousands of years, and they will continue to do so. We don't need to duplicate nor replace this pattern. We're into communication, not music, and our music has the same relation to scripted music as spontaneous beat poetry has to literature -- it's not the same, its not better or worse, it's just different. The Sheep Fiends ethic is one which eliminates the division between participants and spectators, so that everyone involved simultaneously fills both roles. Ideally, a time will come when people will gather in groups of tens or hundreds or thousands or more to play together in one glorious song. Anyone who has been to a Dead show can testify how beautiful an experience it is to sit among twenty thousand like-minded people and enjoy the same song. How much better it could be if, in stead of a few guys on stage playing to the multitudes, the multitudes themsleves played music for themselves. Having participated in rooms full of twenty such musiicans, I can only imagine the rush of twenty-thousand. So, my advice to anyone reading this would be - Sure! Buy our tapes if you like, wear a print of me on your shirt if you choose. But don't forget to make your own music at home with your own friends, neighbords, relatives, complete strangers. Eventually, Ishialla, we'll all get together somewhere and have a really great jam. Thanx for readin'. Luv, Sidney *** Cindy Rhoads I like the Sheep Fiends. They are my friends. They like me too. And they rock! They bring me into their psychedelic mix and say "Welcome. You are somebody." The music way rocks. How powerful to join it. It makes me feel like I've got a reason...even if it's just for that moment. I get a great big open feeling. Cindy Brooke Rhoads *** Greg (CyberDancer) Winston Mathmatics is the music of the mind. Music is the mathmatics of the soul. The universe is a piece of frozen music. All is number. In the beginning there was the Sounding. wave? particle? ...wavicle. We exist in our words. Without Love we simply cease. CyberDancer ***

The Sheep Fiends History

May through June, 1992 Sid Prise and Brian Cameron first get together jamming with an acoustic guitar with pick-up and a electric guitar borrowed from Matthew Cramer (which, by the way, he was borrowing from a friend of his), both plugged *directly* into a tape deck. July through September, 1992 Brian McNally moves into Brian Cameron's apartment and soon afterwards The Sheep Fiends acquire equipment allowing us the freedom to record music of amateur quality. Brian Cameron and Brian McNally had a history of jamming together as college roommates in the Fall of 1991. Brian Cameron, Brian McNally, and Sid Prise begin jamming regularly, Brian Cameron tending to play lead guitar; Brian McNally playing a solid rhythm guitar (he has a strong affection for Big Black you see), and making up improvisational lyrics at the drop of a pin; and Sid Prise falling into some very interesting self-taught rhythm guitar grooves. Chris Hewetson and Andy Kniaz begin jamming with The Sheep Fiends, Chris singing child-like freedom and fun, and Andy playing bass guitar and adding vocals when caught in the mood. Very exciting and carefree time for The Sheep Fiends. Wild Thing (July, 1992) Brian Cameron, Brian McNally, and Sid Prise stay up until 4 in the morning recording this, recording that, recording something else. We play with vocals through the guitar's distortion pedal, we sing Wild Thing, Mars, Neil Armstrong, all the classics are put to tape in one form or another. We wake up the next morning and keep going and going and going. September, 1992 Brian McNally drops out of The Sheep Fiends to join Zack Webb's band, "The Hidden," replacing Paul McLenon as their vocalist. The Hidden began in 1991 as a band called IMF and included Paul McLenon on vocals, Eric Peterson on drums, Xavier Thomas Skroch (rhymes with "roach") on guitar and Zack Webb on bass. They changed their name to "The Hidden" before Brian McNally joined the group and the other three members of the band remained in the band. October through December, 1992 Brian Cameron began going out with Sid Prise's old girlfriend in September. This caused enough tension between Sid and Brian that Sid took leave of The Sheep Fiends for a few months. Matthew Cramer joined for a few jams but didn't really enjoy the free-form style of what we were doing. Our recordings, in general, dwindled. 1992 in Review - Our sound is very guitar-heavy with occasional distortion and reverb. Mostly simply folk and punk three-chord songs with a lot of energy, sillyness, and fun. As The Sheep Fiends experienced its falling- out at the end of the year, our music reflected that moodyness. January through May, 1993 Greg Long, a banjo player, jams with Brian Cameron and Brian McNally on a few evenings in February. Brian Cameron re-establishes a relationship with Sid Prise. Meg Ford, who Sid met through his roommate Mike Ford, begins playing with The Sheep Fiends. She added an incredible element with her mystical and spiritual perspective as well as her amazing ability to pick up any instrument and feel comfortable with it. Brian and Meg and Sid would often hang out on Chicago's el system, Brian Cameron and Sid Prise playing harmonicas and Meg Ford playing Tibetian cymbols. Very much fun! This marks a period of exploring noise and multi-layered musical texture. I Am Not Your Mother (January or February, 1993) Brian Cameron, Chris Hewetson, Brian McNally, Sid Prise, and Zack Webb record a rousing rendition of the children's classic "I Am Not Your Mother." Zack assures the world that he is in no way affilliated with Satan during his only jam with The Sheep Fiends. Orgone (2/6) Brian Cameron and Sid Prise first explore delay pedal technology, Degenerative Nerve Disease (2/13) Brian Cameron, Sid Prise, and Aaron Zygmunt. This is Aaron's first jam. Brian Cameron records solo material later in that same evening. Brian also records 180 minutes of himself and his guitar on two seperate evenings in this time-frame, although the specific dates have been lost. Covers (2/19) Brian Cameron, Andy Kniaz, and Sid Prise record U2, Velvet Underground, and Julio Iglasias covers! Yay! Dayzi Drews, a mutual friend, comes by to check us out. February 23rd Brian Cameron, Matthew Cramer, and Sid Prise jam. February 26th Brian Cameron, Sid Prise, and Mark Wojtas record John Denver covers among other tidbits. This is Mark's first jam. March, 1993 Jammed a few times with Sid at his apartment with Meg, Meg's older brother Greg Ford, and Sid's roommate Chris Barnett. Ken - Echo Mike Me (3/12) Brian Cameron, Brian McNally and Sid Prise record Ken, Thomas Edison, 22 friends, and Women's Lib. Awakening (3/17) Brian Cameron, Monika Czesczon, Meg Ford, Andy Kniaz, and Sid Prise go through a fundamental transformation until the landlord calls and threatens to call the police. Go To Vegas (3/26) Brian Cameron, Meg Ford, Brian McNally, and Sid Prise. Busy Signal (4/16) Brian Cameron and Matthew Cramer have a rough and difficult "night of the loggerhead" jam. Bounce Bounce (4/23) Brian Cameron and Chris Hewetson record "Bounce Bounce" and "Abba Dabba" before going to see an Andrew Calhoun folk concert. Melting Plastic in My Truck Brian Cameron, Chris Hewetson, Brian McNally, and Sid Prise go nuts recording psychedelic truck drivin' music. Reunion (late April or early May) Brian Cameron, Meg Ford, Chris Hewetson, and Sid Prise. The Sheep Fiends fall into a slow, mellow, water-based groove. June, 1993 Brian McNally up moves into an apartment with the other Hidden band members. Sid Prise, Chris Hewetson, and Brian Cameron move into an apartment together. Sid Prise and his previous roommates have some unfortunate disagreements which cause Meg Ford to stop jamming with The Sheep Fiends. June, 1993 Dennis Allman, Brian Cameron, and Sid Prise jam after Dennis finished helping Sid with his moving. Go East! (6/12) Brian Cameron, Chris Hewetson, Sameer Parekh, and Sid Prise. Sameer jams with us just before moving to California to go to college at the University of California in Berkeley. This is Sameer's first jam with The Sheep Fiends. Neil (6/26) Brian Cameron, Matthew Cramer, Andy Kniaz, and Sid Prise record and have some fun redoing Thomas Edison. Ken Revisited (July, 1993 ?) Brian Cameron and Brian McNally redo versions of Thomas Edison and Ken! along with some other inspiration. Forgotten Summer Two or three summer jams with Brian Cameron, Brian McNally, and Sid Prise were lost in September when Brian Cameron leaves a few tapes and his walkman in a duffel bag on a Chiacgo el train. No Stance for the Moment (11/01) Gypsy Vail, a good friend of Sid and Andy's was at this time in the process of getting a degree in Sound Engineering from DePaul University, and she needed to record and mix some musical project as a class assignment. Andy was able to coordinate it with her to have The Sheep Fiends record a song on November 1st. We all make it to the Streeterville Studios on time, but there was no one to let us in and we end up being very cold on their steps for about two hours. After being let inside, it takes us about six hours to record Matthew Cramer's song "Gray Car Busted." Matthew is on vocals and rhythm guitar, Brian Cameron on lead guitar, Sid Prise on percussion, Andy Kniaz on bass guitar, and Gypsy Vail in the soundbooth. This was the first jam that really brought Matthew into The Sheep Fiends and was a wonderful group experience. We were planning on calling ourselves "NoStance" for the recording of this song to reflect our indecision about direction and because Matthew had never felt he was a part of The Sheep Fiends. When the studio technician asked us our name, Sid Prisei told him. He asked, "At the moment?" to which Brian Cameron replied, "Our name is No Stance (At the Moment)." After recording "Gray Car Busted", we began to feel some real tension because some musicians wanted The Sheep Fiends to become more like a "real band" and then do things in a more structured and organzied way, yet no one was really willing to take upon the burden of being organizer or doing this structuring. November, 1993 The Hidden release their first album with Brian McNally as vocalist. The album is entitled "Stop. I'm Bleeding." Two Brains (11/19) We tried to record a second studio song, "Two Brains" by Sid Prise, with Sid doing vocals, both Sid and Matthew Cramer on rhythm guitar, Brian Cameron on lead guitar, Andy Kniaz on bass guitar, and Matthew's younger brother Jesse Cramer on percussion. We couldn't cope with the pressure of having to perform and not having any strong direction. This caused this song to fall apart and not be recorded. The Sheep Fiends decided to break up for a while, at least in the incarnation of "No Stance (for the Moment)." Thanksgiving (11/25) Chris Bell, a musician who had recorded in Austin and had moved to Chicago, joined Brian Cameron and Sid Prise once for a jam over Thankgiving weekend. This was Chris' first and only jam with The Sheep Fiends. December, 1993 Matthew composes "Magnus the Dragon" in November and Brian Cameron composes "Vegetable Kingdom" in late December. Vegetable Kingdom was written about how much the last Halloween Party rocked. 1993 in Review - This year we bought a number of effect pedals and started exploring different sounds and "noise" in general. Lots of long, sometimes directionless jams with a very organic feel to them. A period of growth and exploration and finding a level of comfort with our instruments, picking up new instruments, and playing with each other. This is also the first time that we are forced to deal with refining our philosophies on a more serious level than ever before. Be Excellent! (2/8) Brian Cameron and Dave Hurst jam at Dave's house. FearNoFear (2/94) Brian Cameron and Sid Prise jam. Neil (3/23) A 90-minute untitled "Greatest Hits" tape is compiled by Brian Cameron from material recorded in 1992 and 1993. About 40 copies are distributed around the country to people that Brian Cameron met through the internet. Be Excellent! Revisited (4/13) Brian Cameron and Dave Hurst jam at Dave's house. Brian sings a song about how words come only when they're kneeded. May 13 - 15 Sid Prise moves out of the common apartment with Chris and Brian; and Darin Stumme moves in. May, 19 Brian Cameron and Matthew Cramer jam. Alien Tranmission (6/2) Brian Cameron and Matthew Cramer jam. Summer Solstace (6/18) At Dave's party, Brian Cameron, and Greg Winston throw together an impromptu energy and communication celebration. Host Show (6/22) Brian Cameron, Matthew Cramer, Andy Kniaz, and Brian McNally jam for a while, get tired of jamming and pretend to host a game show. Just Say N20 (7/4) A tape deck, a microphone, and a delay pedal. Brian Cameron, Dan Foss, Barb Hall, Deb Siegel, and Darin Stumme and others join in. 4th of July DanZoom (7/7) Allan Barclay, Brian Cameron, Jeff Elder, Dan Foss, Barb Hall, Deb Siegel, and Darin Stumme celebrate the 4th of July with a bang! Hell! (7/?) Brian Cameron, Dan Foss, Miguel Morales, and Sid Prise jam. This is Miguel's first jam. Ahhh!! (7/16) Brian Cameron, Dan Foss, and Sid Prise jam. Dan tells us that we sound like Beethoven or something and that we destroyed him. After the jam, Dan Foss records a lecture, "How Western Civilization Rose Due to Sheer Dumb Luck." July 25th Brian Cameron, Andy Kniaz, and Deb Siegel jam. Too Much! (7/30) Brian Cameron, Dan Foss, Chris Hewetson, Dave Hurst, and Deb Siegel go over the edge. Dan Foss lectures with everyone briefly after the jam. Jonah (8/23) Jam includng Brian Cameron, Matt Cramer, Darin Stumme, and Deb Siegel. September, 1994 The Hidden (the band of which Brian McNally is the vocalist) finish material for a second album, go on a short U.S. tour, and break up shortly afterwards, and Brian McNally moves out of the common apartment with the rest of The Hidden band members. Matthew Cramer moves to Madison, Wisconsin at the end of the summer to finish college at the University of Wisconsin. Two Worlds Jam (9/94) The Sheep Fiends largest jam to date, bringing together a wide variety of artists together for the first time. Brian Cameron, Dan Foss, Chris Hewetson, Dave Hurst, Scotto Moore, Sid Prise, Deb Siegel, and Aaron Zygmunt. Halloween Jam (10/31) Jeremy Young records some of his original material with Brian Cameron. Meme (Early November) The 100-minute tape "Meme" is compiled by Brian Cameron, mostly from material recorded in the summer and early fall. Sad Acoustic (11/12) Brian Cameron and Matthew Cramer record The Sheep Fiends unplugged. Matthew sings a few depressive ditties. November 15th Brian Cameron and Sid Prise jam. November 16th Brian Cameron and Dave Hurst jam at Dave's house. November 19th Brian Cameron and Dan Foss lecture. Brian Cameron's Birthday Jam (11/20) Delonde Bell, Brian Cameron, Dan Foss, Scotto Moore, Sid Prise, Darin Stumme, and Aaron Zygmunt participating. MommaGiving Jam (11/26) Brian Cameron, Jenna Church, Kara Dittmer, Sameer Parekh, Sid Prise, Brian Peterson, Julie Sitz, and Greg Winston contribute their energy to make the MommaGiving Jam (11/26) especially wonderful! Jenna, Kara, Brian Peterson, and Julie being newcomers to The Sheep Fiends. Sacred (Late November) The 100-minute tape "Sacred" is compiled by Brian Cameron mostly from material recorded on 11/20 and 11/26 with a few older songs like "Gray Car Busted". The Lost Jam (12/3) This jam was lost because the tape deck was incorrectly set up and our work was lost, musicians included Brian Cameron, Sid Prise, Darin Stumme, and Greg Winston. Early December Brian Cameron composes a song, "Realized Beings," in early December. The Lost Jam Revisited (12/10) Trying to re-create what we lost with Delonde Bell, Brian Cameron, Scotto Moore, Sid Prise, and Darin Stumme. December 17th For added adventure, The Sheep Fiends try their hand at using a four-track to get better recording levels on the vocals. Delonde Bell, Brian Cameron, Dave Hurst, Scotto Moore, Sid Prise, and Greg Winston. Chris Hewetson, Deb Siegel, and Darin Stumme stop by after the jam and record for another 60 minutes. Late December Mark Goodman contributes copies of a piece of his photographic artwork to be included with Sheep Fiends tapes as artistic inserts. 1994 in Review - At one of Dave Hurst's "Be Excellent!" parties, Dave walked into the smoking room where Brian Cameron was playing the guitar and singing some made-up nonsense to himself and said, "Oh! Now I understand The Sheep Fiends." Of course, this proves that the philosophies that give rise to this meme are successfully contageous. Throughout this year The Sheep Fiends sound has been kick-started with the rapid influx of musicians spin in and out of The Sheep Fiends. The music is approaching yet another new level of vibration. Post-New Years Jam (1/15) This jam year off on the right foot. This jam included Brian Cameron, Matthew Cramer, Asher Millen, Sid Prise, Darin Stumme, and Greg Winston. Darin Stumme designs and produces tape labels for "Meme" and "Sacred" in late January. Lincoln's Birthday Jam (2/12) Brian Cameron bumps into Brian McNally who joins in on this jam after an eight month hiatus from The Sheep Fiends. This is Mark Goodman and Asher Millen's first jam. Also present were Brian Cameron, Jeff Elder, Dave Hurst, and Sid Prise. Day in the Life (2/16) Dan Foss lectures after recuperating in the hospital for about a month. Brian Cameron and Darin Stumme join him. February 20th Brian Cameron and Sid Prise get together to jam and record a wonderful version of "Realized Beings/Vegetable Kingdom." The Finger Feast Jam (2/25) Our largest jam with 14 musicians present: Mark Armantrout, Darren Bauler, Brian Cameron, Stevie Collins, Jeff Elder, Mike Ford, Dan Foss, Asher Millen, Scotto Moore, Sid Prise, (rez), Angie Toomsen, Heidi Zimmerman, and Aaron Zygmunt. Mark, Darren, Stevie, Mike, (rez), Angie, and Heidi being newcomers to The Sheep Fiends. Preston Klik from the Chicago band "Big Hat" and "My Scarlet Life" stops by the jam. 531 (3/11) Brian Cameron, Dan Foss, and Sid Prise get together to record some heavy Fossian logic put to music. Chaos Jam (3/12) It is discovered that Meg Ford has moved back to town and she rejoins The Sheep Fiends after a 22 month hiatus for a large and chaotic jam on March 12th along with Delonde Bell, Brian Cameron, Dave Hurst, Sid Prise, Meg's boyfriend Pesach Weinstein, and Aaron Zygmunt. No Exit Cafe (3/13) Brian Cameron and Sid Prise play "Two Brains", "Realized Beings/ Vegetable Kingdom," and "Neil Armstrong" at the No Exit Cafe's open mike night on Monday, March 13th. Stoners-Groove (3/15) Mark Armantrout, Brian Cameron, and Stevie Collins record the ultimate stoners groove on Wednesday, March 15th. The Tremendum (3/18) The 100-minute tape "The Tremendum" is compiled by Brian Cameron from material recorded on 11/20, 12/17, 1/15, 2/12, 2/20, and 2/25. Brian Cameron and Dan Foss irreverantly record themselves talking while watching the movie Slacker. What The Fuss? (3/24) Brian Cameron, Stevie Collins, Jeff Elder, and Greg Winston have a cathartic experience, including the recording an ultimatium The second Finger Feast Jam (3/25) Takes place on March 25th including Mark Armantrout, Brian Cameron, Stevie Collins, Jeff Elder, Ryan Hastings, Preston Klik, Dan Foss, Brian McNally, Scotto Moore, Sid Prise, (rez), Amir Rosenblatt, and Heidi Zimmerman. Ryan Hastings, Preston Klik, and Amir Rosenblatt being newcomers to The Sheep Fiends. Later in the evening Brian Cameron, Jennifer Curry, Dan Foss, Ryan Hastings, and Sid Prise do some fantastic guitar playing and eventually end up recording a fun drum circle. April 8th Brian Cameron, Dan Foss, Sid Prise, and Mark Wojtas get together to check out some new delay effects equipment we picked up. It took exactly 30 minutes before the equipment started playing us. Ye-ha! April 12th Brian Cameron spends a good deal of time reworkding the Dan Foss Lecture Tape #1 and begins work on Lecture Tape #2. Dan Foss Lecture Tapes (4/12 - 4/13) Brian Cameron finishes the editing of the first two Fossian lecture tapes. The project is shelved for various reasons indefinately. The Triomendum (4/15) Jeff Elder, Scotto Moore and Darin Stumme record an echo-full rendition of "In Your Eyes" by Peter Gabriel, not for the faint of heart. Neil (4/16 - 4/20) Brian Cameron re-edits the untitled compilation tape he made in March, 1993 and names it "Neil." Dan the Warrior (4/22) Brian Cameron, Matthew Cramer, Dan Foss, Brian McNally, and Sid Prise create a visionary model of Vanna White in a much more violent future. Tremendum re-mix (4/24) Brian Cameron re-edits the ending of The Tremendum. Careful With That Axe (5/06) Brian Cameron, Sid Prise, and Nicole Smith jam after seeing Eugene Chadbourne play on his way through Chicago. This is Nicole's first jam. Structure (5/07) Brian Cameron, Dan Foss, Dave Hurst, Scotto Moore, Sid Prise, and Greg Winston jam. Brian Cameron spills one of the RC's that Dan always brings with him on the master copy of The Tremendum and is ruined. *sigh* Tremendum re-mix (5/08 - 5/10, 5/21, 6/12, 6/14 - 6/15) Brian Cameron re-mixes The Tremendum master tape and makes a few subtle improvements over the previous mix, and a few new quirks. Casual (5/16) Brian Cameron and Sid Prise get together and jam. Folk Song (5/22) Brian Cameron and Matthew Cramer get together and jam. The intent was to record Matt's new song "Folk Song," we even practiced it three times. Upon taking a break from such work and getting involved with an hours worth of improvisation we were both too tired to record the song. Folk Song Moving (5/27) Brian Cameron moves himself about three blocks to a new apartment, while moving Brian Cameron, Matt Cramer, and Sid Prise come up with the great idea of trying to put together a song, and put together an interestingly mixed verion of Matt's new song, "Folk Song." Aum*Jam (5/29) A Sheep Fiends focusing experiment, a housewarming experience for Brian's new place, and a celebration of the Sheep Fiend's third birthday. The jam was to begin at noon, but since some folks were running a bit late Dennis Allman, Delonde Bell, Brian Cameron, Dan Foss, Preston Klik, Sid Prise, (rez), and Nicole Smith went ahead and placed a good hours worth of music down on tape. Kara Dittmer, Dave Hurst, Scotto Moore and Greg Winston showed up in the early afternoon, allowing the Aum*Jam to start around 3:30pm. The jam started out completely vocal with an Aum* and elevated into a full-fledged jam as folks eventually found their way to their respective instruments. Left Handed (6/16) Brian Cameron and Marcus DelGreco throw together a few opposing left-handed tunes as they jam. Enter... (6/22) Brian Cameron compiles The Sheep Fiends tape "Enter..." from material recorded in the Spring of 1995. Muhammad was a truck-drivin' man, Allahu-akbar! (6/22) Brian Cameron, Dan Foss, Kate Pierro, and Sid Prise try to play Arabian country music. Dillwood Pickle (6/25) Brian Cameron and Andy Kniaz jam. Abba! (7/10) Brian Cameron, Matthew Cramer, Maria Domellof, Nathan Huppert, and Sid Prise throw together some tunes. This is Maria's and Nathan's first jam. Explora (7/16) Brian Cameron, And Kniaz, Kate Pierro, Sid Prise, Nicole Smith, Greg Winston, and Jeremy Young enter a group trance-jam. I Think I Can (7/23) Brian Cameron, Marcus Dunleavy, Jeff Elder, Dan Foss, Sid Prise, and Jeremy Young reform the blues. This is Marcus' first jam. Fish Trout (7/30) Delonde Bell, Brian Cameron, Jennifer Curry, Jeff Elder, Scotto Moore, Cyd Peak, Kate Pierro, and Sid Prise reach deep inside pulling out perhaps our first disco tune, slide whistle solo... you get the idea. This is Cyd's first jam. All Day Long! (8/5) Mark Armantrout, Delonde Bell, Brian Cameron, Stevie Collins, Jennifer Curry, Jeff Elder, Ghost, Dave Hurst, Brian McNally, Scotto Moore, Cindy Rhoads, Victor Sanders, Jeremy Young get together at noon and take turns jamming throughout the day, wrapping up around 7pm. This is the longest continual jam in The Sheep Fiends history. This is also Ghost's, Cindy's, and Victor's first jam. Housewarming Jam (8/11) Brian Cameron, Jeff Elder, Stacie Lind, Scotto Moore, Cyd Peak, Sid Prise, David White, and Greg Winston help to warm Brian Cameron's and Kate Pierro's new apartment with a little festive music-making. This is Stacie's first jam. Open Mike Night (8/14) Brian Cameron played three Sheep Fiends songs at The No Exit Coffeehouse's open-mike night. The set started with "Private Garden/I'm Seeing Green", a fingerpicking piece, and finishing up with "Neil". The songs were well received. Then Brian went to The Morselands's open-mike night and played "Nice Culture/Neil", "Realized Beings/Vegetable Kingdon" and wasn't as well received. *grin* Live From the Void (8/18) Brian Cameron puts together the new Sheep Fiends double tape, "Live from the Void". Includes material recroded in June and July of 1995. Baraka (8/28) Delonde Bell, Brian Cameron, Matthew Cramer, Ellie Heyman, Jane Lesnick, Casey Owens, Side Prise, and Gilad Rosner get together to watch a wonderful video named Baraka and were sidetracked by musical equipment. Strange (9/10) Delonde Bell, Brian Cameron, Jennifer Curry, Jeff Elder, Cyd Peak, Sid Prise, and Kris Ronne jam. This is Kris' first jam. Recorded unbelievable circus music, a wonderfully happy tune, and a rocking version of "I'm a Plant". Open Mike Night (9/18) Brian Cameron and Marcus DelGreco played "I'm a Plant", "Stainless Heart" and "Neil" at No Exit's open-mike night. Stainless Heart was written by Marcus and the other two songs were written by Brian Cameron Winter Jam (9/24) Delonde Bell, Brian Cameron, Matthew Cramer, Nathan Huppert, Andy Kniaz, Cyd Peak, Pookiebutt, Sid Prise, Nicole Smith, and Ernesto Verdeja threw down something wonderful between jazz and blues and The Magical Mystery Tour. This is Pookiebutt's and Ernesto's first jam. Underground (10/8) Brian Cameron, Stevie Collins, Jeff Elder, Mark Goodman, Scotto Moore, Jay Myerson, and Deb Siegel. This is Jay's first jam and the first time that Deb has jammed with us since 12/17/94. Wonderful stuff! Underground Rehersal (10/22) Brian Cameron, Jeff Edler, Scotto Moore and Sid Prise get together to prepare for an upcoming gig at a play, "Greg Winston's Underground" on 11/4. Halloween (10/28) Mark Armantrout, Delonde Bell, Brian Cameron, Stevie Collins, Justin Cooper, Tim Cunningham, Kyra Edekar, Jeff Elder, David Moses Fruchter, Jay Myerson, Cindy Rhoads, Kris Ronne, and Jeremy Young get together for a jam. This is Justin's, Tim's, Kyra's, and David's first jam. Greg Winston's Underground (11/4) Brian Cameron, Jeff Elder, Scotto Moore, Sid Prise, Greg Winston, and Jeremy Young played at The Sheep Fiends first live performance. The first song was an improvisational work done by Brian and Sid on guitar, Jeff on cello, Scotto on percussion and Cindy doing vocals. Then all six bandmembers were interviewed followed by one of Jeremy's songs with the other bandmembers following along. At the end of the Underground, the bandmembers came out again and performed Greg's song "What the Fuss?" followed by some random jamming as the Underground ended. Principles of Chimera (11/9) Brian Cameron puts together the new Sheep Fiends tape, "Principles of Chimera" from material recorded in September and October. Brian Cameron's Second Annual Birthday Jam (11/19) Delonde Bell, Brian Cameron, Dave Hurst, Preston Klik, Brian McNally, Scotto Moore, Jay Myerson, Paul Fly, Sid Prise, Cindy Rhoads, Gilad Rosner, Darin Stumme, and Greg Winston came together to celebrate Brian's birthday (which, by the way, is actually on the 20th) by celebrating in music. Lunar Rehersal #1 (12/7) Mark Armantrout, Delonde Bell, Brian Cameron, Stevie Collins, Dave Hurst, Cindy Rhoads, and Kris Ronne work out some riffs. Very Cold Day (12/10) Delonde Bell, Brian Cameron, Noam Paco Gaster, Dave Hurst, Andy Kniaz, Jay Myerson, Sid Prise, Cindy Rhoads, and Nicole Smith got together on perhaps the coldest day of the year for 5 hours of jamming! Relaxed jam full of exploration. This is Noam's first jam. Lunar Rehersal #2 (12/14) Delonde Bell, Brian Cameron, Dave Hurst, Andy Kniaz, Sid Prise, Cindy Rhoads, and Nicole Smith work to find common ground. Lunar Rehersal #3 (12/21) Delonde Bell, Brian Cameron, Matthew Cramer, Dave Hurst, Sid Prise, Cindy Rhoads, and Nicole Smith reherse again for The Lunar Cabaret gig on the 28th. We played for 2.5 hours, putting together some wonderful music, but the tape deck was set improperly and the recording was lost. We had a video camera at the jam and caught about 20 minutes on VHS tape. :) Duo (12/26) Brian Cameron and Matthew Cramer get together for a few hours of folk song fun. Lunar Rehersal #4 (12/27) Brian Cameron, Matthew Cramer, Sid Prise, Nicole Smith, and Greg Winston get together for the last rehersal before the Lunar Cabaret show on the 28th. Great jam! Sections of this jam were videotaped. Live at the Moon (12/28) The Sheep Fiends first electronic live performance. Delonde Bell, Brian Cameron, Matthew Cramer, Dave Hurst, Andy Kniaz, Jay Myerson, Sid Prise, Cindy Rhoads, Nicole Smith, and Greg Winston take turns on the stage. Show runs from 9:40pm until 12:20am. Larkin videotaped the show. Well received, wonderful music. 1995 in Review - A very exciting year for The Sheep Fiends. This year is full of a lot of firsts. The first year that we as a group have jammed continuously throughout the year, the first year that we performed live in front of an audience, not once, but twice. Our jams have gotten larger, our sound is more solid, and many new exciting faces in the group. This year we put together 7 tapes (2 in the works as I'm writing this). Lightning from the Ground Up and Dark (1/8 - 1/10) Put together two new tapes from material recorded in November and December of last year. Light and Dark were working titles. New Years (2/4) After taking a month-long break after a very intense December, Delonde Bell, Brian Cameron, Jeff Elder, Dave Hurst, and Iva Itchevska braved the sub-zero weather to have a small, intimate jam. Very high spirits and good music. The jam ended with a pleasant showing of the 12/28 video. Abba II (2/6) Brian Cameron, Matthew Cramer, and Maria Domellof play transcendantal blues. 532 (2/17) Brian Cameron, Dan Foss, and Sid Prise get together for a sociological excusrion into rave music. No Exit Open Mike (2/19) Brian Cameron plays open mike night at the No Exit coffee shop and plays "Neil", "Hear Me Shake", and "I'm a Plant". Later in the show after Noam Paco Gaster plays a wonderful keyboard and vocal piece, Brian Cameron, Noam Paco Gaster, and Scotto Moore do a rounding rendition of a Beatles cover "Tomorrow Never Knows" with Scotto playing percussion on a music stand, Brian playing a C chord and making a lot of mistakes, and Noam singing and playing piano. Sleepy Jam (2/25) Mark Armantrout, Delonde Bell, Brian Cameron, Paul Fehribach, Dave Hurst, and Cindy Rhoads enjoy the spring weather with a slow, quiet jam with a creschendo. This is Paul's first jam. Lighting Tales of the Sad Clown (3/7) Brian Cameron, Paul Fehribach, Noam Paco Gaster, Scott Johnson, Dave Ladd, and Cindy Rhoads court the Sad Clown. This is Scott's and Dave's first jam. Feelgood Fiasco (3/12) Delonde Bell, Brian Cameron, Scott Johnson, Noam Paco Gaster, Dave Hurst, Dave Ladd, Scotto Moore, Sid Prise, Cindy Rhoads, Darin Stumme, Nicole Smith, and Greg Winston play a 50 minute performance as part of Noam's Feelgood Fiasco #6. All of the songs were called Spacy Jam and were dedicated to Deb Siegel. The music was great and we were well received. Special thanks to Paul Fehribach for the use of his car. Simple Rock Song (3/30) Delonde Bell, Brian Cameron, James Gautier, Noam Paco Gaster, Daggett Harvey, Dave Ladd, Scotto Moore, Cindy Rhoads, Deb Siegel, S'ien U, and Jeremy Young jam and jam for five hours. Interesting spiral of a jam. This is James', Daggett's, and S'ien's first jam. Cleaning House (4/2) Brian Cameron, Matthew Cramer, Stevie Collins, Maria Domellof, Dayzi Drews and Brian McNally take advantage of various converging stars and play some good old-time music. Burn the Past (4/9-4/11) Brian Cameron put together the new Sheep Fiends tape from material recorded from 2/96 until 4/96. Impromptu (4/13) Brian Cameron, Paul Fehribach, Noam Paco Gaster, James Gautier, David Ladd, and S'ien U get spend the late afternoon jamming. Fun (4/20) Mark Armantrout, Delonde Bell, Brian Cameron, Paul Fehribach, James Gautier, Dave Hurst, Scotto Johnson, Dave Ladd, Cindy Rhoads, and S'ien U jam for hours and hours. Lazy Day (4/27) Delonde Bell, Brian Cameron, Paul Fehribach, and Dan Foss spend the afternoon music making. 156 (5/12) Brian Cameron and Dave Hurst do 4-track recording. Underground II (5/25) Darren Bauler, Delonde Bell, James Bourke, Brian Cameron, Stevie Collins, Noam Paco Gaster, Jim Gautier, Vinay Gupta, Dave Hurst, Dave Ladd, Scotto Moore, (rez), Cindy Rhoads, S'ien U, and three folks from the band Rubber Monkey played music all afternoon. Highlights include our first raggae/ska tune, and a 45 minute long piece. In the evening Delonde Bell, Brain Cameron, Stevie Collins, Noam Paco Gaster, Dave Hurst, Scotto Moore, and Cindy Rhoads put on a 13 minute performance at Greg Winston's Underground, a local venue for local artists. Kurt & Jenni's Wedding (6/2) Brian Cameron, Stevie Collins, Dave Hurst, Scotto Moore and Gilad Rosner had the honor of playing at Curt and Jenni Halsted's wedding reception. The group worked with Brian Peterson and Larkin who were doing audio/visual projector work. We were joined by many musicians and children who were there, and played with a good friend of the couple and folk guitarist/vocalist. pianoforte (6/10) Brian Cameron puts together material from April through June of 1996 for a new tape! Pentology (6/15) Delonde Bell, Brian Cameron, Paul Fehribach, Peter Fraterdeus, James Gautier, Noam Paco Gaster, David Ladd, Melody, and S'ien U jam all afternoon from 3pm until 9pm. The jam started chaotically but mellowed as the day cooled. This is Peter's first jam.

The Sheep Fiend Musicians

I'd like to thank all the people who have contributed to The Sheep Fiends over the years. I apologize for anyone I've forgotten or any names I've misspelled. Dennis Allman & Harmonica Mark Armantrout # Thumb piano, mandolin, percussion, vocals bass, guitar Allan Barclay Hangs out Chris Barnett @ Percussion Darren Bauler + Percussion Chris Bell Bass, vocals Delonde Bell ! &$#^=~ Guitar, vocals, keyboard, washboard, harmonica, percussion James Bourke Guitar, vocals Brian Cameron @*!+&$#^=~ Guitar, vocals, bass, percussion, keyboard, slidewhistle, delay, mandolin, trombone, misc. Jenna Church ! Vocals, percussion Stevie Collins & Violin, guitar, vocals, keyboard, mandolin, bass Justin Cooper Vocals, percussion Jesse Cramer Percussion Matthew Cramer @*!+ $#^=~ Guitar, harmonica, vocals, keyboard Tim Cunningham Mouth harp Jennifer Curry $ Guitar, percussion, keyboard Monika Czesczon Flute Marcus DelGreco Guitar, vocals Kara Dittmer ! & Keyboard, vocals, percussion Maria Domellof $ ~ Guitar, vocals, keyboard, bass Dayzi Drews Original Groupie, percussion Marcus Dunleavy $ Guitar, vocals, percussion, cello, misc. Kyra Edeker # Keyboard, vocals, percussion, recorder Jeff Elder * +&$ Vocals, cello, guitar, keyboard, kazoo, slidewhistle Toby Everett Hangs out Paul Fly = Keyboard Greg Ford @ Percussion Meg Ford @ Vocals, percussion, misc. Mike (Cow) Ford Vocals Daniel A. Foss *!+&$ Vocals, rants, hangs out Peter Fraterdeus Guitar, percussion, bass David Moses Fruchter ^ Vocals, percussion Noam Paco Gaster ~ Keyboards, percussion, recorder, pennywhistle, vocals James Gautier ~ Guitar, percussion, bass, harmonica, Ghost $ Percussion Mark Goodman + Keyboards, vocals, tape insert art Vinay Gupta Percussion Barb Hall Hangs out Ryan Hastings Percussion (rez) +& Percussion, vocals, kazoo Ellie Heyman Percussion Chris Hewetson @ + Vocals, percussion, guitar, misc. Nathan Huppert $ Percussion Dave Hurst *!+&$#^=~ Keyboard, analog keyboard, vocals, percussion, bass, misc. Iva Itchevska Misc. Scott Johnson ~ Guitar, keyboard Preston Klik ^ Melodica, trumpet, percussion Andy Kniaz @ ! ^= Bass, guitar, vocals Kris Krupa Keyboard Dave Ladd ~ Guitar, bass, percussion, keyboard, pennywhistle, camera, magic horn, banjo Larkin ^= Videocamera Jane Lesnick Percussion Stacie Lind $ Percussion Tracy Loland Guitar Greg Long Banjo, vocals Erin Maher Guitar Brian McNally @*!+ $ ^ ~ Guitar, keyboard, vocals, percussion, misc. Asher Millen + Guitar, percussion, vocals Scotto Moore *!+&$# ~ Percussion, vocals, recorder, slidewhistle, misc. Miguel Morales * Percussion, vocals, misc. Jay Myerson #^= Guitar Casey Owens Percussion Sameer Parekh @ Percussion, vocals Cyd Peak $# = Guitar, vocals, keyboard, mouth organ, accordian Brian Peterson ! Bass Kate Pierro $ Percussion, vocals Pookiebutt Percussion Sid Prise @*!+&$#^= Guitar, vocals, keyboard, bass, percussion, delay, misc. Cindy Rhoads $#^=~ Vocals, keyboard, percussion Kris Ronne #^= Guitar Amir Rosenblatt Percussion Gilad Rosner = Harmonica, keyboard, guitar Victor Sanders $ Guitar Deb Siegel * & # ~ Vocals, guitar, harmonica Julie Sitz Vocals Nicole Smith & #^= Percussion, vocals Darin Stumme *!+&$ = Percussion, vocals, toys, mouth harp, harmonica, delay, tape label design, misc. Angie Toomsen + Vocals S'yen U ~ Cello, trombone, violin, vocals Gypsy Vail ! Soundboard Ernesto Verdeja = Guitar Zack Webb Bass, vocals Pesach Weinstein Percussion David White $ Guitar Gregory Winston !+&$#^= Keyboard, analog keyboard, vocals Mark Wojtas @ Keyboard Jeremy Young * $# ~ Guitar, vocals, percussion Heidi Zimmerman + Vocals, hangs out Aaron Zygmunt = $ Guitar (effects) @ - On "Neil" * - On "Meme" ! - On "Sacred" + - On "The Tremendum" & - On "Enter..." $ - On "Live from the Void" (double album) # - On "Principles of Chimera" ^ - On "Lightning from the Ground Up" = - On "Dark" ~ - On "Burn the Past"

The Sheep Fiends Ordering Information

Available tapes: The Sheep Fiends - Neil May through December, 1992; 1993; and Winter, 1994 The Sheep Fiends - Meme Summer, 1994 The Sheep Fiends - Sacred Fall, 1994 The Sheep Fiends - The Tremendum Winter, 1995 The Sheep Fiends - Enter... Spring, 1995 The Sheep Fiends - Live from the Void (two 100-munute tapes) Spring and Summer, 1995 The Sheep Fiends - Principles of Chimera Fall, 1995 The Sheep Fiends - Lightning from the Ground Up Fall, 1995 The Sheep Fiends - Dark Fall, 1995 The Sheep Fiends - Burn the Past Winter, 1996 The Sheep Fiends - pianoforte Spring, 1996 Dan Foss Lecture Tape #01 (not yet available) Except where noted, all tapes are 100 minutes long, dubbed at regular speed onto Maxell Type II (Cr02) tapes without noise reduction (unless you specify Dolby-B or Dolby-C). All tapes will be mailed in padded envelopes. If you have other preferences, let me know and I will certainly do what I can. To receive a copy of any of the above 100-minute recordings, pick the payment plan below that works for you. 1) Mail me $2.50 per tape to cover the cost of the tape and the cost of printing the tape label. Include an additional $0.65 for a padded envelope for 1-3 tapes, or $1.00 for 3-10 tapes. Also include postage, for one tape it is $1.75, for two $2.75, add $0.50 for each additional tape. For overseas shipping the postage will have to be calculated, so send me a note. 2) Mail me blank 100-minute tape(s) in a padded envelope with a padded return envelope with return postage to return the tape(s) to you. No charge. 3) If you live in Chicago, come to visit me, hang out, bring blank 100- minute tape(s) and we'll dub 'em while we chat. If you come visit me without a tape, and if I have an extra, I'll charge you $2.50 for one and give you a dirty look. 4) Mail me cassette(s) with some *cool* music on it, preferably with music that *you* created and I'll purchase an equilivant number of tapes of like quality to record The Sheep Fiends on for you. I'll cover the expense of a return padded envelope and return postage. As you can gather, I prefer Maxell type II (Cr02) tapes as far as quality goes. No charge. 5) Other deals can certainly be worked out, e-mail me and we'll talk. For more information, send e-mail to... Brian Cameron sheepfiends@sheepfiends.com

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