…Almost done polishing the turd that is this old demo. Here’s a Pink Floyd-y song of mine called “To Valerie,” written for a girl by that name in my second month or so of college (fall of ’89). I believe it was elicited when I went to knock on her dorm room and a male voice said “Go away!” so I went and recorded a demo of this by myself and delivered the tape to her room then and there, presumably with the guy (who was presumably her older boyfriend from before she started school, whom she would soon break up with, not that that helped my chances) still in there making out with her. Just pathetic.
Though this is one of the most stylistically derivative things I’ve ever written (if you’re familiar with late 70s Pink Floyd, you’ll get it), it was one of the longest lasting tunes in the MayTricks set list, one they even played a bit (I think) after my departure from Ann Arbor for grad school in Texas (the band changed its name to “Fingers,” got another bass player, and played for another year before they got sick of each other; strangely, I was acting as glue between these strange personalities). Yes, it’s dark, and desperate, and doesn’t have much of a beat to it, and so is really not appropriate for bar/party/dance situations. I still periodically think about making the lyrics less embarrassing, smoothing out the drum part and reintroducing it into the set.
I never particularly liked this demo version because of the general out-of-tuneness between the guitars and in the vocal, some rhythmic problems (which I’ve improved somewhat for this remix), and mostly because our fill-in rhythm guitarist of the day changed my main guitar part (the one that starts off the song) to what you hear here; the part on “So Chewy” is what it’s supposed to sound like. Still, the lead guitar and keys make it a more thorough Pink Floyd rip-off than our later version, which is the spirit of the tune, after all. The weird vocal effect throughout is caused by my singing while we were doing the instruments getting picked up by the drum mics, so you’re essentially hearing me double-tracked throughout. The giant vocal reverb washes that emerge a couple times during the song (e.g. going into the guitar solo) were on the 1991 version, not something I added now.