Artist description The Peyote Coyotes had their early beginnings eighteen years ago. It was during the month of February 1983, that the first meeting took place. They made their very first recordings together around that time. Some of the bands earliest known surviving four-track demo tapes were recorded during this period. One of the first related connections with the local music scene happened in December 1982. This event occurred during the production of a Christmas Special produced by Carla Gregory for the local cable television channel 8. Gary Bright was brought in to record the audio for the production at one of the Television studios used by Storer Communications in West Lake Village, California. The “combo” who provided the music for the special was a new local group of young musicians In the first quarter of 1983 Gary Bright was commuting by bus to Hollywood and working as a producer for Mystic Records in Hollywood, California. In February of that year, Gary was recording four-track demos of local bands on location for submission to Doug Moody, the head of A&R at Mystic Records. The company was looking for material by local bands from the various areas around Los Angeles. These bands were to be included on compilations albums. Four demos were made one night in February 1983 with “Sitara”. The group by now had become a quartet with the addition of Steve Solaris on bass guitar. These demos were recorded by Gary with remote equipment in the group’s rehearsal studio and taken back to Mystic a few days later. The master tape for these early “Sitara” demos still exists today in the tape vault of Peyote Coyotes Music. It was on this occasion in February 1983, that Gary Bright had his first meeting with David Raupp. Dave was renting space just down the hall from “Sitara”. Sometime after this initial first meeting with Dave and Gary, Dave brought an out-of-work guitarist by the name of Lance Gillman into the formula. Lance’s involvement and importance to the group was so immeasurable that no one in fact has ever bothered to even try to measure it! Although Lance was around the studios quite frequently in the early days, he was very rarely actually recorded. There were relatively few tapes found in the archives that he had any activate participation in. He was usually to be found crashed out on the floor somewhere, right next to whatever was going on. For the record, it should be noted here that Lance Gillman’s one true contribution to the world was the fact the he coined the expression “KNURLY!” The truth to the story is that he looked in the mirror one hangover morning and said, “KNURLY!” Years later Lance described the actual true meaning and inspiration of “knurly” in detail. It is the curls in a piece of driftwood found on the beach in Malibu! In June of 1984, David Raupp recruited Robert Lance on guitar and also a bass player named Lon Degrau into the as yet still unnamed group. Names like “Crimson Aura” and years later “Golden Dawn” were kicked around but nothing was ever actually documented. These names were much better suited for the titles of the projects of their time than an actual name for this “group”. The occasion was the infamous and as yet still unreleased, “Summer Sessions ‘84”. These extended sessions were held during the month of June. The final session was held of June 24, 1983. The master tapes, which are still on file in the archives, were not reviewed and compiled until six months later on December 24, 1984. In those days, there was a rather quiet drummer named “Brent”. In fact so quite that Gary doesn’t seem to remember much about “Brent” at all, but he says that the others who partied with him much more often certainly would. “I remember that he came to the studio only maybe twice in all of ten years, I don’t remember what I ever played together with him or even what he ever said to me. I didn’t even remember him even saying ‘hello’ to me until about a decade later. When we got our first drum machines he was clearly out of a job, but I still remember him as OUR drummer”. There was also a rather wasted, noisy singin’ drunk, known as the late Darin “Kornball” Kornbluth. There was one known drunken party session that they were both involved in at the time. It was apparently only recorded onto a cassette that has not yet been located. They would periodically show up for sessions over the next ten years. Over the next few years, “Storage Town Studios” (STS) became the haven for local bands. The entire upper building was full of “studios”, filled with dozens of local groups. This type of thing had never occurred before and eventually the city closed it down for “health reasons”. Among the rumored reasons for the shut down was that there were no public restroom facilities available. Another reason might have had something to do with the underage teenage girls who were constantly frequenting the premises late at night. There was also the fact that a certain “individual” had been living in his “studio” for quite some time. This individual turned out to be none other than Dave Raupp! In 1986 Gary produced several more demos with “Sitara”, now known as the heavily gigging “Zion Heights” or “High-on-Kites” as the Coyotes commonly referred to them. “Their music is really out there man!” That statement was of course mostly true, “Zion Heights” music was far too complex for the average listener. They were not anywhere near as “out there” as most of the Coyotes more “experimental” excursions. If there was ever a band that refused to “sell out” for a record contact handed to them on a waffle, it was “Zion Heights”. In spite of Gary’s strong objections, the master tapes for these later demos of their first true commercial “sell outs” were taken away by the bands manager and never heard again. His company formed at the time with his partner Jeff Peterson, also provided sound reinforcement for the band at some live local gigs. A decade later, they performed at Gary’s local hangout, the Red Onion. On that night Gary spoke to them between their sets. He first response was, “What the Hell was that?” It didn’t sound like anything he had remembered. Brian Mattel had by this time changed his name to his middle name “Maylin” (or something like that), because another Brian had joined the band. He responded with, “You aren’t listening” to which Gary silently replied, “Go fuck yourself, even if you always did impress me”. Very soon after that, the curse that Gary had unconsciously laid upon them had taken full effect. The next time that Gary saw Brian at the Red Onion he was playing in a new band of Hardcore Skinhead Neo-Nazi Punks.Darin Kornball’s last known session was “All In The Name Of Fun” with the Peyote Coyotes for an undisclosed project on their label. Presumably recorded, according to the available session documentation on April 19, 1994. It certainly had nothing to do with the “Drunken Hillbilly Sessions” that were still going on at this late date. The track was never used or even mixed for several years until after his timely death. It was eventually included on the Peyote Coyotes album Cardiology Volume One in 1999. The album was a compilation of previously unreleased outtakes, alternate takes, demos and rehearsals. Included on the album was an incomplete demo of “The Nile Song” featuring Tom Lepold, Darin and Gary. Judging from the “Happy Birthday Gary” spoken on the session tape, apparently also recorded at the same April 19th session?During some of the many Peyote Coyotes recording sessions, David or Robert would occasionally bring in other artists. In addition to Lance Gillman, there was also Lon Degrau (Bass), (Drums, what else?), “Dr. John” (Keyboards), Dave Nelligan (Vocals), Danny Schoyer (Drums, rescued from the collapsed “Sitara”). Some musicians were only logged as Brent “the drummer”, "J.C." (Bass) and “Lester” (harmonica) and least but not last, the late Daren Kornball (vocals). These “musicians” were among those who have from time to time participated in the Peyote Coyotes recording sessions.

Music Style NONE

Musical Influences Glenn Miller, Dorsey Brothers, Gene Autry, Roy Rogers, Bing Crosby, Bob Hope, Hank Williams, Woody Guthrie, Elvis Presley, Jerry Lee Lewis, Johnny Cash, Carl Perkins, Chuck Berry, Little Richard, Beatles, Rolling Stones, Kinks, Bob Dylan, Byrds, Pink Floyd, Who, Cream, Yardbirds, Led Zeppelin, Black Sabbath, Alice Cooper, Deep Purple, Flying Burrito Brothers, New Riders Of The Purple Sage, Beach Boys, Jefferson Airplane, Grateful Dead, etc...

Similar Artists There really aren't any

Artist History HEAD NOTES:This is NOT a complete listing of all the recordings in the PEYOTE COYOTES tape archives. What is presented here in this fourth revised edition is only an attempt to assemble the information that is currently available with what could be remembered or is known to still exist. More extensive research of the tapes that are in the vault needs to be carefully done. Most of the original multi-track session tapes, mixdowns, rough mixes and compilation tapes should probably still exist, Although, they may remain lost somewhere in the PEYOTE COYOTES tape library. A few of the recordings possibly no longer survive at all in any form. Some of these original session tapes may actually contain recordings of a few alternate takes, rehearsals, demos, odd bits & pieces or even other previously forgotten songs. Most of the tapes have yet to be properly catalogued and fully auditioned. Some tapes are missing and have not yet been found. There are perhaps several other unknown songs still hidden in the tape library that survived and have not yet been included in this documentation. In the future a full analysis of the session tapes, reel by reel will be attempted.ORIGINAL FOUR TRACK MASTER TAPES:unknown date 1983: "Mexican Standoff Sessions" (Raupp-Bright-Gillman) [master tapes missing contents unknown, it is believed that the master tapes still exist and are possibly dated]SUMMER SESSIONS 1984-REEL# ONE: (additional contents of this reel are still unknown)June 18, 1984: "The Clock (by R.A.)" (Robert Lance) [from the first of three "Summer Sessions" master reels still in the tape archives, recorded in STUDIO "B"]June 20, 1984: "NATAS" (Lance-Raupp-Bright-Gillman) [from the first of three "Summer Sessions" master reels still in the tape archives, recorded in STUDIO "B"]June 21, 1984: "Lonely Room" (David Barbaras) [from the first of three "Summer Sessions" master reels still in the tape archives, recorded in STUDIO "B"]SUMMER SESSIONS 1984-REEL# TWO:June 22, 1984: "Summer Sessions '84" (Lance-Raupp-Bright-Gillman) [master reel # 2 of mostly untitled or unknown instrumental contents are still in the tapes archives, recorded in STUDIO "B"]SUMMER SESSIONS 1984-REEL# THREE:June 22, 1984: "Summer Sessions '84" (Lance-Raupp-Bright-Gillman) [master reel # 3 of mostly untitled or unknown instrumental contents are still in the tape archives, recorded in STUDIO "B"]June ?, 1986: "Summer Sessions '86" (Lance-Raupp-Bright-Gillman) [sessions were aborted due to an injury to one of the band members, nothing is known to have been recorded in STUDIO "B"]ORIGINAL TWO TRACK PCM DIGITAL MASTER TAPES:unknown dates 1989-1991 ?: "Theme From Green Acres" [several demo takes by David & Gary, this digital master missing but still thought to exist, it is not known if the tapes are dated, recorded in STUDIO "C"]unknown dates 1989-1991 ?: "Pay Your Dues" (Jagger-Richards) [demo by David, Gary & Lance, digital master missing, it is not known if the tapes are dated, recorded in STUDIO "C"]unknown dates 1989-1991 ?: "Tangled Up In Blue" (Bob Dylan) [acoustic demo by Gary, digital master missing but still thought to exist, it is not known if the tapes are dated, recorded in STUDIO "C"]unknown dates 1989-1991 ?: "Hurricane" (Bob Dylan) [acoustic demo by Gary, digital master missing but still thought to exist, it is not known if the tapes are dated, recorded in STUDIO "C"]unknown dates 1989-1991 ?: "Unknown?" [this would represent any of the other still unknown material recorded during these sessions, recorded in STUDIO "C"]ORIGINAL EIGHT TRACK MASTER TAPES:SUMMER SESSIONS 1992 (REEL# ONE):June 8, 1992: "Symphony in Asia Minor" (Raupp-Lance-Bright) [This was the first 8 track recording started, like many of these sessions it was recorded in sections over several weeks]July ?, 1992: "Robotman From The Void Of Space" (Bright-Lance-Raupp) [from the album COLLECTION OF DRUG SONGS]July ?, 1992: "KRAP" (Lance-Bright) [from the album COLLECTION OF DRUG SONGS]August ?, 1992: "Something Else" (Sheeley-Cochran) [original multi layered demo version recorded by Gary]August ?, 1992: "Untitled Acoustics #1" (Raupp) [from the album COLLECTION OF DRUG SONGS]August ?, 1992: "Untitled Acoustics #2" (Raupp) [from the album COLLECTION OF DRUG SONGS] August ?, 1992: "Return To Zero" (Raupp) [from the album COLLECTION OF DRUG SONGS]August ?, 1992: "Untitled Acoustics" (Raupp) [an unreleased rehearsal tape with several different early takes is still in the tape archives]September ?, 1992: "Something Else" (Sheeley-Cochran) [an unreleased rehearsal tape of Dave & Gary, engineered by Debbie Spencer is still in the tape archives]FALL SESSIONS 1992 (REEL# TWO):Fall-Winter Sessions 1992: "Plant The Seed" (Lance-Bright) [from the album COLLECTION OF DRUG SONGS]Fall-Winter Sessions 1992: "Candyland Girls" (Raupp-Bright) [from the album COLLECTION OF DRUG SONGS]Fall-Winter Sessions 1992: "Lost Highway" (Hank Williams) [from the album COLLECTION OF DRUG SONGS]Fall-Winter Sessions 1992: "Fastest Gun In The West" (Gary Bright) [from the album COLLECTION OF DRUG SONGS]Fall-Winter Sessions 1992: "Japanese Skateboard" (Robert Lance) [from the album COLLECTION OF DRUG SONGS]Fall-Winter Sessions 1992: "Ten Seconds To Live" (Lepold-Lance) [from the album COLLECTION OF DRUG SONGS]Fall-Winter Sessions 1992: "Don't Let Down" (Raupp-Bright) [unfinished backing track recording by Gary without vocals]Fall-Winter Sessions 1992: "Don't Let Down" (Raupp-Bright) [original acoustic composing demo version with vocals by Dave & Gary]November 16, 1992: "Seems Like A Freeze Out" (Bob Dylan) [unreleased rehearsal tape still in the tape archives]February 14, 1993: Mono mixdown session in Studio "C" for the original "DRUGS SONGS" album [this original master reel is still filed in the tape archives]April 24-25, 1993: "2000 Light Years From Home" (Jagger-Richards) [from the album COLLECTION OF DRUG SONGS additional vocals by Robert were overdubbed during an undated later session]Date unknown 1993: "Lean On Me" (William Withers) [from the album COLLECTION OF DRUG SONGS recorded by Tom in Studio C for DRUG SONGS album]May ?, 1993: "Gimme Shelter" (Jagger-Richards) [unreleased demo recording by Robert, Tom & Gary, two backing vocal tracks were later done by Kelly Rollins in 1994]May ?, 1993: "Ain't Too Proud To Beg" [an unreleased rehearsal tape with Robert & Gary is still in the tape archives]May 24, 1993: "Folsom Prison Blues" (Johnny Cash) [from the revised version of the album COLLECTION OF DRUG SONGS recorded by Tom & Gary] ^ May 29, 1993: "Play With Fire" (Jagger-Richards) [unreleased rehearsal tape with Dave Nelligan & Danny is still in the tape archives]Date unknown 1993: "Won't You Sometimes Think Of Me" (Hank Williams) [from the album DRUNKEN HILLBILLY COLLECTION recorded in Studio "B" onto "Summer Sessions 1992" (reel # one)]Date unknown 1993: "Sharp Shooter" (Robert Lance) [this missing master tape and two acoustic demos were produced and taken away and lost by Robert Lance]June 5, 1993: "LZ Demos - Rejected" (unknown and unused contents)June 18, 1993: "Nearest Foreign Border" (Parsons-Hillman) original title: "My Uncle" [from the revised version of the album COLLECTION OF DRUG SONGS] ^ July 8, 1993: "You Ain't Goin' Nowhere" (Bob Dylan) [from the album DRUNKEN HILLBILLY COLLECTION basic track recorded at the "Jammin' With Leroy" session, additional overdubs added later]July 9, 1993: "Ain't No More Caine" (Traditional: Arranged by Gary Bright) [from the album DRUNKEN HILLBILLY COLLECTION] August 17, 1993: "Edge Of The Station" (Lance-Bright) [from the album DRUNKEN HILLBILLY COLLECTION] September ?, 1993: "Ducks On The Wall" (Raymond Douglas Davies) [from the album ON THE ROAD TO GIZA]October ?, 1993: "Kentucky Fried Chicken" (Lance-Bright) working title: "Don't Push It!" [from the album ON THE ROAD TO GIZA] *December 29, 1993: "Three Acoustic Demos" (Bob Dylan) [from the album CARDIOLOGY VOLUME 1]December 30, 1993: "Boogie Woogie Bugle Boy" (Raye-Prince) * [from the album DRUNKEN HILLBILLY COLLECTION ]December 31, 1993: "Bed Wetting Problems" (Robert Lance) [from the album ON THE ROAD TO GIZA] *January 1, 1994: "Necrophilia" (Raupp-Lance) [additional vocal overdubs by Robert & Gary for "Part One". Original session: May 1993 (unknown date)] * +January 4, 1994: "Strawberry Fields Forever" (Lennon McCartney) [from the album CARDIOLOGY VOLUME 1]January 9, 1994: "Pretty Boy Floyd" (Woodrow Wilson Guthrie) [from the album DRUNKEN HILLBILLY COLLECTION ]Early 1994 (unknown date): "The Ballad Of Beaver Valley" (Lance-Bright) [working title: "Beaver Valley (TBR)"] * [from the album DRUNKEN HILLBILLY COLLECTION ]Early 1994 (unknown date): "Mother's Little Helper (Jagger-Richards) [from the album DRUNKEN HILLBILLY COLLECTION ]March 3, 1994: "Borderline Crisis Blues" (Lepold-Bright) working title: "Cheap Whiskey 'N Coke" [from the album DRUNKEN HILLBILLY COLLECTION ]March 23, 1994: "Hunting Tigers Out In Indiah" (Hargreaves-Damerell-Evans)* [from the album DRUNKEN HILLBILLY COLLECTION ]April 19, 1994: "The Nile Song" (Roger Waters) [unused demo recorded by Tom & Gary with Darren Kornball]April 19, 1994: "All In The Name Of Fun" (Darren Kornbluth) [unused demo recorded by Robert, Gary & Tom with Darren Kornball, from the album CARDIOLOGY VOLUME 1]May 2, 1994: "Big House Session" (Lepold-Bright) [final overdub session for DRUNKEN HILLBILLY SESSIONS]May 2, 1994: "Hunting Tigers Out In Indiah" (Hargreaves-Damerell-Evans)* ["Dialogue Overdub" spoken section recorded by Tom & Gary during the final "Big House Session"]June ?, 1994: "Lucy In The Sky With Diamonds" (Lennon-McCartney) [unreleased multi layered demo recorded by Tom & Gary, from the album CARDIOLOGY VOLUME 1] July ?, 1994: "On A Night Like This" (Bob Dylan) [with later lead vocal overdub by Tom, from the album DRUNKEN HILLBILLY COLLECTION] August 18, 1994: "Continued Adventures Of Panama Red" [completed and unused outtake from the album CARDIOLOGY VOLUME 1]September ?, 1994: "Absolutely Sweet Marie" (Bob Dylan) [from the album DRUNKEN HILLBILLY COLLECTION, final vocals overdubbed on later dates, the missing original rough mix was dated]January 29, 1995: "19th Nervous Breakdown" (Jagger-Richards) [with additional vocals by Tom and Gary, from the album ON THE ROAD TO GIZA]Unknown date 1995: "Dead Flowers" (Jagger-Richards) [two unused outtakes, from the album CARDIOLOGY VOLUME 1]Unknown date 1995: "Positively Fourth Street" (Bob Dylan) [from the album ON THE ROAD TO GIZA]September ?, 1995: "Reminiscing" (Buddy Holly) [recorded by Gary, from the album ON THE ROAD TO GIZA]September ?, 1995: "I Gotta Move" (Raymond Douglas Davies) [from the album ON THE ROAD TO GIZA recorded "live" in the studio by Gary] October ?, 1995: "Suck In The Media" (Robert Lance) [introduction from the album ON THE ROAD TO GIZA two different lead vocal tracks recorded "live" in the studio by Robert still survive on tape]December 26, 1995: "Did You No Wrong" (Jones-Cook-Matlock-Rotten) [from the album ON THE ROAD TO GIZA recorded by Tom & Gary]March 22, 1996: "I'm Just Too Wasted To Sing This Song" (Gary Bright) [unreleased demo tape recorded by Gary]Date unknown 1996: "Bullfighter Tango" (Gary Bright) [instrumental introduction from the album ON THE ROAD TO GIZA recorded by Tom & Gary}Date unknown 1996: "If Not For You" (Bob Dylan) [unreleased multi layered demo tape recorded by Gary]Date unknown 1996: "And Your Byrd Can Sing" (Lennon-McCartney) [unreleased multi layered demo tape recorded by Tom & Gary]December 20, 1996: "Did Ya" (Raymond Douglas Davies) [unreleased multi layered demo tape recorded by Gary]Date unknown 1997: [there appears to have been no recordings of any kind made by the PEYOTE COYOTES during this entire year}January 8, 1998: "Untitled Introduction" (David Raupp) [recorded by Dave, currently the final PEYOTE COYOTES recording to date known to exist, from the album CARDIOLOGY VOLUME 1]January 9, 1998: "The Monster Mash" [Dave, Tom & Gary attempted to record a backing track for Robert to sing on in his absence, only a reference track exists on tape]DIGITALLY REMASTERED VIRTUAL MASTER TAPES:(Encoded in MP3 and RealMedia formats for upload to the Internet)December 10, 1999: "Pretty Boy Floyd" [digitally remastered version from the album DRUNKEN HILLBILLY COLLECTION created at 5:28 am]December 10, 1999: "Borderline Crisis Blues" [digitally remastered version from the album DRUNKEN HILLBILLY COLLECTION created at 7:51 am]December 10, 1999: "Edge Of The Station" [digitally remastered version from the album DRUNKEN HILLBILLY COLLECTION created at 9:26 am] ADDITIONAL TECHNICAL INFORMATION:Unlike most other recording artists, the PEYOTE COYOTES were not known to have recorded numerous takes for any of the songs that they recorded. There were in fact very few reels of tape ever found in their tape archives that featured take after take of the same song over and over again. The main reason for this was that the PEYOTE COYOTES almost NEVER recorded together on the backing tracks. In most cases the basic tracks were recorded by just one or two of them in just one or perhaps two takes. This was done by simply rewinding over and then erasing any previous attempts at the backing tracks. Then many overdubs were later layered onto the tapes one at a time, sometimes at much later dates. The PEYOTE COYOTES had a strict agreement that no one would ever erase any previously recorded track at a later date without the consent of everyone. Because of this agreement, virtually everything that was ever recorded by the PEYOTE COYOTES should still exist somewhere in the tape vault today. There were some rare exceptions to the rule, but perhaps only a few occasions where this actually ever happened. An unnecessary extra guitar track recorded for "Necrophilia" by Dave in the summer of 1993 was recorded over with a new lead vocal track by Robert and Gary the following January. This was done with Dave's consent and in his presence. Another was when Robert erased his original drunken vocals with Gary on "Ducks On The Wall" and replaced them with a guitar and Wah-Wah pedal. His original vocal performance survives only on a damaged rough mix cassette. The last known similar instance was another drunken vocal track with Robert and Gary on "Ain't No More Caine". In this case though, the track was carefully bounced down onto another track with several other vocal tracks before it was erased to make room for more vocals. So there remains bits of all those vocals in the final mixes.There are only a few songs that were completed entirely in one just day (or night). Only a mere handful of songs exist in the form of an alternate take, but there is an abundance of very different alternate mixes and demos. This does not mean that there are no previously unreleased recordings that still survive today. In fact the opposite is certainly true, there are many demos, rehearsals and other unused recordings still waiting to be found a possible use for a project sometime in the future. The PEYOTE COYOTES never erased anything without immediately rerecording another take of that same song over that section of tape in it's place. "Borderline Crisis Blues" remains today the only song written together by both by Tom Lepold and Gary Bright. It is one of the few songs that was written, recorded and overdubbed all on one session date. This track turned out so well beyond anyone's expectations, that it was eventually moved from the second track on "DRUNKEN HILLBILLY'S" to the first opening track. Originally "Pretty Boy Floyd" was the kick-off track to "DRUNKEN HILLBILLY's" and was included that way on many of the early compilation tapes made at the time and on the original surviving AFM HI-FI master tape of side one. It was this HI-FI tape that was used in December 1999 to digitally remaster the first three songs on the album for uploading to the Internet as promotional material.Unfortunately for the purposes of documentation, the PEYOTE COYOTES usually had many very unconventional recording techniques and methods. They were usually reluctant to announce the ID, date and take numbers at the beginning of the tapes. This made it hard to properly identify the tapes later on. They in fact hadn't done much of it ever since the Summer Sessions in 1984. They just seemed to screw it up or forget it entirely, so it was finally just dropped altogether. There were also some rather unprofessional policies which have added to all of the confusion regarding the details of their recording sessions that exists today. These included the haphazard habit of recording onto the end of older session tapes instead of using fresh tape stock each time. Most of the recording sessions were rarely pre-planned and almost never scheduled in advance. Someone who happened to have an idea might come in and get whoever was around to help out on the track. The original tapes included whoever happened to decide to show up on that date. The next time someone turned up they might have listened to what had been recorded and then possibly overdubbed onto the tape if they were into it, but sometimes not. This is the reason why so many of these recordings only feature one or two of the PEYOTE COYOTES and only a very few actually have them all on it. By the very nature of their recordings, it was very unlikely that any of them could have ever been reproduced live."Ten Seconds To Live" and "Necrophilia" are the only two tracks known to have actual contributions from all of the PEYOTE COYOTES. In the case of "Ten Seconds To Live", Tom had written the lyrics and Robert set them to a track he made off of a cassette he had of a record skipping for 45 minutes. Robert, Dave and Gary then added in their lead and backing vocals. Finally, the three of them each put on their guitar tracks one at a time. "Necrophilia" on the other hand was done in the reverse. Dave had recorded a backing track and was putting guitars onto it, meanwhile Robert was writing out the lyrics. Then Robert, Gary and Dave then put on their lead and backing vocals. Then around six months later, Robert and Gary recorded another new set of lead and backing vocals, erasing one of Dave's attempted tracks. The track was eventually finished with the addition of some chanting vocals by Tom and Gary for the fade out. Most of the tapes were never correctly labeled at the time of the original recording sessions. In some cases certain songs may have been shifted between overlapping projects. A number of the various surviving compilation tapes have been known to contain some very different track line-ups. It seems certain that at various times the PEYOTE COYOTES could not decide where or even if something would be used. There are many occasions where a song that was once included on a project was later bumped off in favor of another recording. Some of the leftover songs featured on a compiled tape might have eventually ended up somewhere else or even not used at all. When it came time to put together another album the vault was often raided in search of unused material to fill out the rest of an album. This material might have later received some additional recording to finish the work. This explains why some of the recordings don't seem to have an obvious connection that fits in with the concept of the rest of the album. It is now difficult to determine with any accuracy which album or project some of this material was originally intended for. These problems are further compounded by the fact that many times little or no information was written down and documented at the time of the original sessions. Sometimes a surviving hand written lyric sheet was located that had the date of the session marked on it. Many of the recordings that still exist today simply have no known recording dates attached to them. There are only some faded and rather vague memories of when they might have been recorded. There were numerous rough mixes made from the monitor bus at the conclusion of most of the recording sessions or at some later time. These tapes may contain some indication of the actual recording dates, but most of these have not yet been located. Sometimes the PEYOTE COYOTES recordings would be worked on again sometimes days, weeks, months or even years after the original sessions took place. Most of these additional recording dates were probably never documented, but it seems very likely that many times they would add onto the tapes as early as the following day, after listening to the rough mixes made at the end of the original session. Some of these rough mixes made at the time of a recording session were taken away by members of the PEYOTE COYOTES, simply misplaced or even lost over time. Robert Lance claims that he no longer possesses any of the tapes that he once had. In particular a song with excellent potential that he produced and financed during the "HILLBILLY SESSIONS" in mid summer 1993, "Sharp Shooter". He took all of the tapes of this and the two acoustic demos that he made on the same day away with him and they have long since been lost, never to be heard again. According to one official rumor, some of these tapes that he had at one time were supposedly lost when his car was impounded. David Raupp is believed to still have possession of some unique or different alternate video remixes that he actually made himself from the original multi-track session tapes of material from the COLLECTION OF DRUGS SONGS album that he had mixed especially for video. Dave was using these remixes with some stock film footage and video processors for the first promotional videos that he produced. It is not known if Tom Lepold still has any of the compilation tapes that he once had. This page will be updated as more documentation is found and other material comes to light... FOOT NOTES:+ NOTE: By the summer of 1993 although he could usually be found hanging around the studios on a daily basis, Dave Raupp had all but refused to participate in any of the "DRUNKEN HILLBILLY SESSIONS" and therefore any PEYOTE COYOTES projects. The albums concept was one that Dave just didn't seem to agree with. To this day he still claims to have reservations about it. On occasion, Dave did from time to time bring other artists into the studio and worked on demos with them during this period. These uncatalogued items still exist in the tape library today, but have yet to be fully examined in detail. "Necrophilia" was written by Dave and the lyrics were provided by Robert. This was in fact the last released PEYOTE COYOTES recording that Dave was actually involved with until early January 1998. At some point it became the final track for the "ON THE ROAD TO GIZA" album. ^ NOTE: "Folsom Prison Blues" and "Nearest Foreign Border" are two early "Hillbilly" recordings that were later added at the last minute onto the line-up of the original 1993 version of "COLLECTION OF DRUG SONGS". The previous compilation cassettes from 1992 and the original early mono 10" master reel version of "Drug Songs" did not include either of these two songs. "2000 Light Years From Home" which was recorded a month before on April 24-25, 1993. This was also not included on any of the early compilations. With the album nearly completed in the can, the vocal overdub session of April 25, 1993 is significant in that it marks Tom Lepold's first real participation at the actual recording sessions. At a third overdub session additional vocals were later added by Robert Lance. The mono version of the "Drug Songs" album was very different to the final stereo mixes and is dated February 14, 1993. All of the tracks for this master were mixed in Studio "C" on this day by Dave Raupp and Gary Bright from the mid-late 1992 sessions tapes. This original 10" master reel still exists today in the PEYOTE COYOTES tape archives. The "DRUNKEN HILLBILLY SESSIONS" had actually begun without any kind of conceptual ideas during May 1993, before the final stereo masters for "DRUG SONGS" were completed and compiled. The sessions continued for a full year and officially ended with various final overdubs on May 2, 1994. Many of the tracks recorded during this one year period were actually held back for the next album "ON THE ROAD TO GIZA". Indeed, there were also a large number of recordings from this period that were never used at all. The last song originally recorded for the "HILLBILLY'S" album was a Big Band cover version of Bob Dylan's "On A Night Like This". It was actually recorded two months after the end of the sessions, sometime in July of 1994. Originally Gary had arranged, conducted, produced and recorded all of the tracks by himself. At some later undocumented time, he eventually persuaded Tom to contribute his lead vocal and harmonica parts. This extravagant production became the final closing track for the album.* NOTE: The "Big House Session" was a later attempt in early May 1994 by Tom Lepold and Gary Bright to finish up many of the tracks from the "DRUNKEN HILLBILLY SESSIONS". This final session was recorded a year after the first sessions for this album began. In Robert Lance's forced absence, a number of the tracks apparently had additional backing vocals overdubbed onto vacant tracks on this date in Studio "C". Also in addition to these added vocals, some harmonica overdubs for "Pretty Boy Floyd" & "Ain't No More Caine" by Tom were probably done on this night. The "Wild Orchestrations" could also have been added to "Ballad Of Beaver Valley" at this time. The remainder of the recording sessions seem to have all taken place in the old Studio "B" in Thousand Oaks, California. Studio "B" was the main studio where most of the recording sessions from as early as January 1981 took place. The "1984 Summer Sessions" and the aborted "1986 Summer Sessions" were also held in Studio "B". Most of "COLLECTION OF DRUG SONGS" was in fact recorded in the much smaller STUDIO "C", this was at one time in fact the control room for STUDIO "B". Most of the recording equipment from the studios was moved to Northern California in November 1995. After fifteen years of recording sessions, the studio was finally sold on August 3, 1997. From the information revealed in the above documentation, it can also be clearly determined that many of the recordings for the "ON THE ROAD TO GIZA" album were in fact leftovers from the "DRUNKEN HILLBILLY SESSIONS" that didn't seem to fit the theme of the album. For additional recording information and details, see the PEYOTE COYOTES RECORDING GUIDE, available from the contents page of the PEYOTE COYOTES web site.http://www.geocities.com/peyotecoyotesUpdated Revised Expanded Fourth Edition: February 7, 2001Third Edtion corrections & additions: October 9, 2000Revised Second Edition updated: March 22, 2000Original First Edition compiled: December 28, 1999Copyright © 1982-2001 Peyote Coyotes Music Limited.Post Office Box 1662 Twain Harte, California 95383-1662 USAPayola Records International is manufactured solely and distributed exclusively by FAT Cat Industries, Inc.Released under exclusive license by Lifting Material From The World Charitable Foundation Limited.Any Unauthorized use or duplication is a Violation of applicable laws. All Rights Reserved.

Group Members Dave Raupp - Gary Bright - Robert Lance - Tom Lepold

Instruments Four talented guitarists (that's about it really)

Albums Drug Songs, Drunken Hillbilly Collection, On The Road To Giza, Cardiology

Press Reviews The Peyote Coyotes were really nothing more than a glorified group of four out of work guitarists, looking for a better life. They went on to make hundreds of recordings over the last eighteen years and eventually started their own successfully independent companies. Truly it was cases of “If you want something done right, do it yourself!" – Desmond Jones - February 9, 2001

Location Twain Harte, California - USA

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