DOUGTURNS 32
PAUL FLUM
"
Dougturns 32"
format:
CD-R
original release date:
December 25, 1997
track listing: RealAudio ***
01. Teary Eyed Blather
02. If I Could Sleep All The Time
03. Honeysuckle
04. Atmoshperes I
05. Lettuce Lake
06. Daffodils***
07. Unwanted Hands
08. Losing A Ring***
09. A Different Tommorrow
10. See My Pond
11. Drum Flops
12. Atmospheres II
13. Ferris Wheel Gears
14. The Sunburn Of Creative Shapes***
15. The Month***
16. Razor ***
17. Lettuce Lake - Live***
18. Awoke Next To Her
19. A Ball In The Creek
20. Atmospheres III

PRESS  RELEASE by Kevin Lundahl 072901

The daunting task of a sequel.

With the much ballyhooed success of Alturns Thirty, which brought forth two separate bands in the process, the next two years would become quite challenging. The search for that ever elusive perfect formula to his early successes would be a struggle.

It is only no wonder why the subtitle to this release is “Drastic Moodswings Of The Latter Twentieth Century.” Perhaps he peaked a tad early in his end of the millennium psychosis.

Personal problems on and off the field beset the beleagured popstar. “Helikopter” dissolved in the spring of 1996. “UV-373” would also bite it, reform, then bite it again.
A renewed interest in tropical fish supplies, five videos for five bucks at WestCoast Video, and rotisserie sports held those creative juices hostage.

“Dougturns 32” finally arrived on Christmas, 1997. There are two striking similarities to Alturns Thirty; first, the recording was done as a gift; second, the songs were done over a period of years, compiled from various studios.

In the last half of 1995, “Helikopter” took a week on the road, traveling south. “Razor” is an outtake of a song called “RazorCake” that they groomed for tour, eventually released on the Hat Factory CD “Sofa Charmer” as a hidden track.

After returning from tour, more time was also spent with the UV –373 band, as they began studio construction inside Social Services Studio. By New Years Day, 1996, The  UV-373 Drum Salon @ Social Services was completed. The first two solo songs completed there were “A Ball in the Creek” and “Drum Flops”, the latter just a sound check, testing the acoustics. It has happened before, another example where a  sound check song turns up on a compilation. (see Alturns Thirty)

Recording also continued at the Park Avenue studio. “Teary Eyed Blather” captured something in the living room. It was never re-recorded to improve upon the laxed tuning measures. The highlights from that winter on Park Avenue were “Honeysuckle” (Forrest thought the song was sweet, but it sucked), and “If I could sleep all the time” which became a fixture in the UV-373 setlist.

Back at the UV-373 Drum Salon, the Yamaha analog delay was put through its paces; again, soundchecking with a Kapa Continental guitar in three acts, “Atmospheres I, II, and III.”

By the spring, the wheels were coming off the cart for “Helikopter” (RIP), and UV-373 were playing there last shows as a three-piece, the last on The Block in downtown Baltimore.
Recording at the UV-373 drum salon temporarily ceased; by summer, only three more songs, all done at Park Avenue, were completed. “Losing A Ring” (high school sentimentality), “The Sunburn of Creative Shapes” (Grateful Dead Experience), and “Unwanted Hands” (Tragic Mugging) brought a more somber period to the song-writing. Finally, the Park Avenue studio was also closed.

The rest of this collection was completed solo, and these efforts were not resumed until February 1997. These songs would turn out to be the most beautifully crafted in the entire collection.

“Lettuce Lake”, “Daffodils”, “See My Pond” and “Different Tommorrow”,  all try to convey memories and meanings from Tampa, Florida in the winter and spring of 1997. The UV-373 Drum Salon was reopened, and a new studio in Charles Village was underway – Peabody Sound.

“Ferris Wheel Gears”, and “The Month” were recorded shortly before a cross country trip to Missoula, Montana in July 1997. UV-373 reformed for the third and final time as a two-piece. The duo played in Missoula, and then returned home to play in Baltimore (at The Small Intestine) for a final show.

Finally, the Fostex tape machine, the key ingredient to the Alturns Thirty recordings, was failing. In September 1997, it met its ultimate demise while completing “Awoke Next To Her.” The song plays back a tad slow. There is much lamenting the lost tape machine in the CD’s liner notes.

-K. L.
left: from rear booklet
below: song credit
right. words to"Daffodils"
THE AUDIENCE SPEAKS ...

"I like the makeshift percussion devices a lot. I'm trying to convince my band, 'The Coos', to use spatulas and tennis racquets in the same manner..."
                    -Jason Padusky, Cuyahoga, OH

"Getting 'lady' and 'TRS-80' to rhyme is brilliant, yet pathetic. Much kudos to the plucky nature of DT32...nice reverb throughtout"
                    -Darren Pawlawski, Kendall, OK

"How did you get the guitar to sound like drums for 'The Month'? Does it have anything to do with our cycle?"
                    -Sylvia Scott, Dayton Detritus

"I was hoping for more bizarre feedback shit, but its kinda pussrock with feelings or some shit...but its cool"
                    -Jim Brewington, Scratch THIS! (formerly SCRATCH!)

"You guys sound a lot like 'The Coos' ... let me know if you wanna play a show at the...."
                    -Jason Peete, Cuyahoga, OH

"Some place where lo-fi and hi-fi meet with bizarre SUV rollover ramifications, lies this mess...the presence is extreme, yet eccentrically concise"
                    -Jean St. Pierre-Novak, Groove Stylus Inc.

"I was told he ripped e. e. cummings off for the 'Daffodils' song, which is a triumph in itself ...too much emo for the most part. I do like the fake drums..."
                    -Jane Samuelson, Real Harp