1 Hail Hail (No Code)
"It's important for me to get my body moving and my brain pushed over to the right side at the beginning of the show, and this song does it every time - except for the time i got hit with an English two-pounder (artillery shell) between the eyes."
2 In Hiding (Yield)
" A good groover that gets me stompin' around - that Duck Dunn/John Paul Jones swing."
3 In My Tree (No Code)
"I love this Jack Irons groove. Unfortunalty, we don't play it very often. It's a song I get lost in; I just close my eyes and dance."
4 Pilate (Yield)
"I'm a little biased on this one since I wrote it, but it's a challenge to play and sing the background vocals. I look forward to a few of those challenges every nihgt. I have lots of respect for Sting, McCartney, and all those cats who sing lead while playing amazing bass lines."
5 Indifference (Vs)
"A simple bass centered song that puts me in a beautiful trance at the end of a particularly moving night."
1 Master/Slave (Opens and closes Ten)
"A little art project with fretless ramblings Ed and I did on a sick day. I'd love to make a whole album of this stuff - a nod to Brian Eno and Mick Karn."
2 Jeremy (Ten)
"I was so in love with my Hamer 12-string at the time. I was experimenting with harmonics and tones and room miking - just being allowed to be creative, without any pressure."
3 Blood (Vs)
"I wanted to create a dynamic by alternating between an over-driven Rotosound fuzz and a smooth 'Family Man' Barrett Dub tone. Same deal on Animal (Vs).
4 Tremor Christ (Vitaology) and All Those Yesterdays (Yield)
"I was going for that tuba sound. I used a Les Paul Signature Bass with flatwounds through an Acoustic 360 amp, fuzz style. It really translates to tape."
5 Low Light (Yield)
"It has a doubled fretless line along with a couple of barely audible, sliding harmony lines, which dictated the vocal harmonies. I wrote it on my electric upright."
