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Nigey Lennon - Reinventing The Wheel flac album

Nigey Lennon - Reinventing The Wheel flac album
Reinventing The Wheel
Nigey Lennon
Fusion, Jazz-Rock, Alternative Rock, Vocal, Boogie Woogie, Folk, Instrumental, AOR, Poetry, Story
FLAC album size:
1856 mb
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4.5 ✪

Artist: Nigey Lennon Country: USA Title Of Album: Reinventing The Wheel Year Of Release: 2000 Genre: Art Rock, Zappa-related Label: Dinghy (1001) Quality: FLAC (tracks+.

Nigey Lennon is a guitarist in Rocky Point, New York with 6 songs and 5,971 views on Fandalism. What's the smallest? On my own, probably Zappanale 13 in 2002, with my group, which featured John Tabacco, Frank's sister Candy Zappa, and members of Ed Palermo's big band. In high school a band I had used to perform at the Ascot Raceway between drag races, and the bleachers held thousands of spectators, but I can't really call that a musical performance because nobody could hear us.

Artist: Nigey Lennon Country: USA Title Of Album: Reinventing The Wheel Year Of Release: 2000 Genre: Art Rock, Zappa-related Label: Dinghy (1001) Quality: FLAC (tracks+. Brother O’ Brother – Show Pony 2015. Oct 2, 2015 09:38 Blues Rock. Bryan Adams – Discography 1979-2014 (27 Albums, 51CD+23 Singles), MP3.

Nigey Lennon - Reinventing The Wheel (2000) 15 - Yer Wife Don't Like M. p3 07 - Can Ya Do I. p3 12 - Brain Tap Shuffle. Nigey Lennon - Reinventing The Wheel - 2000, MP3, 320 kbps. Download via torrent Download via magnet.

NIGEY LENNON (Nigelle) is from Los Angeles (Manhattan Beach, to be exact). Latest CD: "REINVENTING THE WHEEL. Tremendously talented and versatile,, Nigey is a multi-faceted composer, musician and vocalist who has also composed and produced for other artists.

Nigey Lennon - 2000 - Reinventing The Wheel (FLAC)/14 - Please Help Me Get To The Bottom Of It All (Full Blown). Nigey Lennon - 2000 - Reinventing The Wheel (FLAC)/cover. Nigey Lennon - 2000 - Reinventing The Wheel (FLAC)/05 - Just Another Third Rate Clown. Nigey Lennon - 2000 - Reinventing The Wheel (FLAC)/10 - Jihad!. Nigey Lennon - 2000 - Reinventing The Wheel (FLAC)/i. Nigey Lennon - 2000 - Reinventing The Wheel (FLAC)/Reinventing The Wheel.

Tracklist Hide Credits

1 Please Help Me To Get The Bottom Of It All (A Capella)
Composed By, Harmony Vocals – John TabaccoHarmony Vocals – Nigey Lennon
2 Tit Elation
Electric Guitar – Mike KeneallyKeyboards, Drums, Bass Clarinet – John TabaccoSlide Guitar – Nigey LennonVocals – Victoria Berding
3 It's Just A Black Guitar
Electric Guitar – Gerry Palisi, Mike KeneallyMusic By, Drums, Keyboards, Vocals, Bass – John TabaccoWords By – Nigey Lennon
4 Any Way The Wind Blows
Keyboards, Drum Programming, Sampler – John TabaccoVocals – Candy ZappaWritten-By – Frank Zappa
5 Just Another Third Rate Clown
Vocals, Keyboards, Drum Programming, Sampler – John Tabacco
6 Messin' In The Kitchen
Drums, Keyboards – John TabaccoSlide Guitar – Nigey LennonVocals – Candy ZappaVoice – David Walley
7 Can Ya Do It?
Drum Programming, Keyboards – John TabaccoElectric Guitar – Teddy KumpelWritten-By, Vocals – Victoria Berding
8 Calle Sin Nombre
Vocals, Sampler, Keyboards – John Tabacco
9 Pirates Of Old Northport
Solo Vocal – Eric Weaver, Mike Keneally, Nigey Lennon, Steve Laufer, Steve LoewSolo Vocal, Accordion – John TabaccoVoice – Big Mike Kerr
10 Jihad!
Keyboards, Drum Programming, Bass, Sampler – John TabaccoVocals, Harmony Vocals – Victoria Berding
11 It Must Be A Cigar
Composed By – Nigey LennonDrums, Keyboards, Composed By – John TabaccoElectric Guitar – Teddy Kumpel
12 Brain Tap Shuffle
Electric Guitar – Jim DexterVocals – Nigey LennonVocals, Drums, Keyboards – John TabaccoWords By, Music By – Donald Fagen, Walter Becker
13 The Akai Connection
Composed By, Keyboards, Sampler, Vocals – John TabaccoVocals – Victoria BerdingVoice – Nigey Lennon
14 Please Help Me Get Me To The Bottom Of It All (Full Blown)
Composed By, Keyboards, Harmony Vocals – John TabaccoHarmony Vocals – Nigey Lennon
15 Yer Wife Don't Like Me
Drums, Keyboards, Bass – John TabaccoElectric Guitar – Mike KeneallyEngineer – Bob BallSlide Guitar – Nigey LennonVocals – Candy Zappa
16 Mesmerized Cowboy
Keyboards – John TabaccoMusic By – Nigey LennonSlide Guitar, Voice – Nigey LennonVoice – David Walley, Mike KeneallyWords By – Urban Gwerder
Photos1 Openthis
Video1 Titaimix (MOV-Datei) 4:08

Companies, etc.

  • Recorded At – Sonic Underground Studios
  • Mastered At – Sound Archeology


  • Arranged By [Various], Drums, Drum Programming, Vocals [Swell], Acoustic Guitar, Edited By – John Tabacco
  • Cover [Photos] – Eric Weaver
  • Engineer [Assistant], Mastered By – Bob Ball (tracks: 15)
  • Guitar [Additional] – Mike Keneally (tracks: 2, 3, 15)
  • Guitar [Beckerish Guitaring] – Jim Dexter (tracks: 12)
  • Guitar [Sexy Guitar Spewage] – Teddy Kumpel (tracks: 7, 11)
  • Guitar, Slide Guitar, Slide Guitar [FX], Keyboards, Percussion, Vocals [Low Grade] – Nigey Lennon
  • Producer, Mixed By [Feverishly] – Nigey Lennon
  • Producer, Recorded By, Mixed By [Feverishly], Mastered By – John Tabacco
  • Vocals – Candy Zappa (tracks: 4, 6, 15), Mike Keneally (tracks: 9 and 16), Victoria Berding (tracks: 2, 7, 10)
  • Vocals [Last Laugh] – David Walley (tracks: 6, 16)
  • Written-By – Nigey Lennon (tracks: 2, 5, 6, 8, 9, 10, 13,15)


The first thing Frank Zappa said to me when I met him was, "My father once told me that the road to hell is paved with good intentions." Frank was prescient. I would appear to have a fatal knack for being in the wrong place at the wrong time, falling in with unsavory companions, and fiddling while Rome (or Los Angeles) burned. Which brings us to the present, and this album. "Reinventing The Wheel" is sort of a map (not to scale) of the crooked route I have taken in search of the real meaning of diddy-wah-diddy.
I hope you find it entertaining.
N.L. - November, 2000

Produced by John Tabacco and Nigey Lennon
Engineered and Mixed by John Tabacco
Sa3 Mastering: Bob Ball
Recorded and Mixed at Sonic Underground Studios, Stony Brook, NY
(Various vocals recorded in some studio in L.A.)
CD Design: Nigey Lennon / Eric Weaver

Art Work Contained on the CD Rom Portion of this Enhanced CD:
Collage: Adam’s Apple Was Laced
© 1989 by John Tabacco

Candy And Her Jockey Fantasy
(Have You Seen Us Uncle Remus?)
Photo by Eric Weaver

See Speak and Hear - Not!
Photo by Mari Linville

Tintype Nigey
Tintyped by Paul Greenstein

Candy Z.
Photo by Mari Linville

Two Pirates Of Old Northport Reminiscing About Billy The Mountain
(Eric Weaver and Big Mike Kerr)
Photo by NL

The Joys Of Being In The Studio
JT, Nigey, and Charlotte Living The Moment
Photo by Eric Weaver

JT and NL - Where It All Started (For JT At Least) -
160 Northern Blvd. St.James, NY
Photo by Eric Weaver

Mobsterettes Anyone?
(Nigey and Victoria with ’37 Hudson Terraplane Car)
Photo by Paul Greenstein

A Few Labeled Faders On The TAC Scorpion Console During The Mix Of Tit Elation
Photo by Eric Weaver

Small Tongue
Photo by Mari Linville

Nigey and JT Taking A Much Needed Break From The Studio.
Here They Are At The Oldest Operating General Store In The US. Wowie Zowie.
Photo by EricWeaver

Hudson ‘37 - Variation #2
Photo by Paul Greenstein

Fashionable Nigey
Photo by Mari Linville

The Tit-Elation Diva - Victoria Berding
Photo by Mari Linville

Shit Or Get Off The Sky (The Muffin Wait)
© 1995 by Farben Fosfeen Artwerks

Someone’s Dilemma
Please Help Me Get To The Bottom Of It All ...
Original Title : Pre-Wedding Dream
© 1983 by Farben Fosfeen Artwerks

Tit Elation / Orgone Energy (The Reich Stuff)
Bozo’s Death Mask? Or Just Another Third Rate Clown?
© 1995 by Farben Fosfeen Artwerks

Why Is This Man Laughing?
Notes by David Walley
It is with a certain amount of humility that I undertake to write about Reinventing the
Wheel, the CD to which you are presently listening while, I assume, perusing these sleeve
notes and ruining your eyes in the process. I met Nigey Lennon in the summer of 1972 under
peculiar circumstances -- to wit, she was living under the Bosendorfer piano in Frank Zappa's
Laurel Canyon aerie. I don't remember too much about our initial encounter because like
herself, I was in my own state of confusion, being in the process of finishing up the research
for No Commercial Potential: The Saga of Frank Zappa [and the Mothers of Invention] which
even at this long distance is still considered the best American biography of the
mustachioed gonzointellect musician. I seem to recall that it happened late at night or early
in the morning, somewhere in the middle of the night shift in the life of FZ. I remember that
during that period of my life with Frank, I was always running out of smokes when we had our
marathon interview sessions, but nonetheless there was this terrific-looking red-haired waif I
met on the way down into the basement. This was to be the last time I'd have a civil
conversation with Frank, my last marathon interview before I went up to Block Island, Rhode
Island, to write NCP. It was there and with this book that I had hoped to lay to finally rest my
obsession with Frank and his music. (Pray keep in mind while listening that RTW is also a
product of a Zappa obsession along with time and those waves & coincidence and art.)
And to be honest here, obsession, coincidence, as well as time and those waves are
probably the major reasons why I'm addressing you in this rather intimate setting while you're
listening and having a good ventilation of your collective brainpans in the process.
It was in 1995 when I was working on the second (and final revision) of my book that I was
re-introduced to Nigey because I had to go on-line to do the research---(even dead, Zappa
was still pushing my buttons, making me excel). That's where I "met" John Scialli, one of the
great people of the Zappa (or any) universe, cyber- or otherwise. Scialli thought that it was
time that Nigey and I met since we were who we were, and he had the e-mail addresses to
prove it. And so Nigey and got to talking and writing (and writing and giggling) trans-continentally,
which produced, eventually, something literary which is turning out to be "The Lost Episodes,"
a work in progress still, and which will continue to be lost until we're able to put some more
time waves to it. It was then that we discovered we had indeed met that hot August
evening in LA back in '72, that she was that red-haired waif under the piano in Frank's Laurel
Canyon aerie so long ago. Life is all about coincidence and simultaneously that there's no
such thing as coincidence as we have learned, she and I.

Urban Gwerder is part of this collective present/past/future too, and that's why
"Mesmerized Cowboy," which features his lyrics, closes this CD. He was known as 'the'
European Zappa expert extraordinaire and was the person to whom, after I'd finished NCP,
I'd sent some of my interview tapes for the ZARK ( Zappa Archive) he maintained in Zuric --
tapes I told him were for his own personal use and NOT to be duplicated (keep this in mind).
Twenty years later it's Nigey who fills me in on what happened to Urban and the Zappa
archives, because around the same time that I knew Urban, so had she. Urban and I
reconnected but only after Scialli (remember him?) sent me some tapes which he of me
interviewing Frank which had been kicking around the Zappa network of strange
bootleggers anonymous, tapes I had no clue even existed. So Scialli in the goodness of his
heart made me a dub, and lo and behold they were the very same interviews I'd given
Urban and couldn't for the life of me figure out how they got into circulation. It had been so
long ago that I immediately got paranoid thinking that FZ had secretly been taping me
while I was interviewing him and this was his revenge. Because if you write about someone
like Frank, you're always writing about him even if your book has gone through two revisions.
This is another reason why Nigey and I connected as we did, and why I laugh so easily,
seeing as she wrote Being Frank, which is, if you think about it, the companion to No
Commercial Potential which ensemble produces a three-dimensional picture of Frank
Zappa at a crucial juncture in his creative life. And then from a completely different
direction, I traded a fan with bootlegs some of the magazines that Urban Gwerder used to
publish about Zappa. On "Apocrypha: Thirty Years of Frank Zappa," the tape I got in return,
there was a snippet of the very same tape that John Scialli had sent me (that I had originally
sent Urban) and I found that instead of being really out of the Zappa loop and folklore, there
I was right in the center of it, hanging like laundry flapping in the subcultural breeze of the FZ
world. So that's how Nigey and I got to know each other a little better and found to our
delight how much we'd been in each other's lives without really knowing how or why.
So RTW is all about coincidences (though now we know there really aren't any if you take
a long enough view of things -- in this case almost thirty years). I had taken this idea on faith;
for as easily as I had lost touch with Nigey I got it back, and it was during one of these
marathon yak sessions on the phone that she heard me laugh, and she remarked that I had
a very wicked, almost Zappa-like laugh and wouldn't I add some to this CD, as kind of a last
laugh now that Nigey and I had gotten to know each other, that we'd survived and thrived
despite everything, knowing how pissed Frank would be watching this from wherever he
happened to be because Frank never thought that anyone knew his business, which we did
and still do. She wanted my laugh for "Messin' in the Kitchen." But even this laugh has gone
through three incarnations before arriving into your ears, to wit: At the beginning of the
project, my manic giggle was no more than a two-minute snippet tossed off on the tail end
of a cassette, merely a reference/sample which was to be cut, pasted, formulated and
squeegeed out as a leering comment/accompaniment to a couple enthusiastically doing
the alligator boogie on a kitchen table. Unfortunately in typical rock and roll fashion, not
only did the demo studio not work out, but the engineer lost my tape. The next time through,
I couldn't find my tape recorder and so I had to laugh over the phone straight up into some
studio mics---I in Massachusetts and John Tabacco's equipment on Long Island. Sort of
okay, but Nigey and John being the fuzzy perfectionists that they are, they needed more
and better laughter. I found my little machine and obliged with a series of manic giggles,
snorks, wheezes and comments over the three days of the July 4th weekend of 1999, Nigey
threw in the added aural coincidence by allowing me to fulminate against the universe on
"Mesmerized Cowboy." Which is about the closest I'm going to get to Urban unless I just stop
my life and haul my ass over to Zurich, Switzerland.
Time and those waves and Frank Zappa all add up to what you're listening to, or maybe
why, but there are lots of other presences which are all part of Nigey's varied harried thriving
musical life -- on close listen, everyone from Vivian Stanshall and the Bonzo Dog Band to
Mark Twain and Alfred Jarry to Western swing to Jake and the Family Jewels can be
detected inhabiting and adhering to the listening spaces. "It Must Be a Cigar," "Your Wife
Don't Like Me," and "Tit Elation" come out of that experience when she was living under the
Bosendorfer. Buried in a drinking song, the raucous "Pirates of Old Northport," are snatches of
the first movement of a violin concerto which Nigey wrote in 1997. Who would know that
except me? And now maybe you, if you allow yourself just to let her music take you to very
different spaces of time and your own waves.
What can I say? This ragtime cowgirl Jane is a pataphysician's pinup. And now maybe
you can understand why I'm laughing and happen to be fomenting against the universe on
this record.
© David G. Walley 1999
David Walley is the author of "Teenage Nervous Breakdown: Music and Politics in the Post-Elvis Age" (Plenum Press)
and, of course, "No Commercial Potential" (Da Capo Press).

A Little Background On The Songs
John originally came up with this exquisite tidbit when he was sitting around in the studio
waiting for me to show up (something he has been known to do on occasion). When I finally
arrived, he played me the tracks on the computer, and I was so moved that I started to cry
(something I've rarely done in public).

I wrote this in the late '70s for Tom Waits, of all people. It never occurred to me that Waits
didn't record anything but original material. I later adapted the lyrics to a female
perspective (rather difficult, considering the subject) and performed it as a vocal with
pixilated piano accompaniment. In the later '80s, when the AIDS panic became
widespread, I used to introduce it thusly: "This is a song about safe sex -- (meaningful pause)
-- masturbation."

When I have to set foot in a guitar emporium, inevitably the salesmen assume I'm there
because: a) I'm picking up something for my boyfriend; or b) I need strings for my acoustic
guitar. One night I was taking a break from practicing and happened to look across the
room at the Peavey T-40 I use for slide parts. It has a black pick guard. Lightning struck. John
has described Mike Keneally's multiple wankage on this tune as "like walking into a Sam Ash
store and hearing all the weekend warriors going at it at once -- just a wall of noise."

This song appeared on Frank Zappa's first album, "Freak Out!" as well as on the later "Ruben
and the Jets." Candy Zappa has been singing it since she was a teenager. The vocal
harmonies are her own. I had the bright idea of setting the song to a reggae beat.

The original title to this song was "Just Another Third World Town" (referring to Los Angeles, of
course). Over a few years the lyrics became too politically incorrect for even me to perform,
so I changed them to reflect the peccadilloes of a particular individual who wrote a bestselling
book about Los Angeles history which drew rather heavily (without credit) from my
book "Bread and Hyacinths: The Rise and Fall of Utopian Los Angeles". (California Classics Books, 1989).

This song has been through the mill, so to speak. I wrote it in the mid-'80s while observing my
friend Paul Greenstein sweating over the hot grill at his eight-stool diner near downtown Los
Angeles. I used to perform it with my band Hog Heaven in a sort of Western swing/boogie
style, but it's also been subjected to a standard Chicago blues treatment (as in "blow yo'
harmonica, son"). John, incidentally, fully intends to record it with a big swing band a la Stan
Kenton. Someday.

Victoria Berding wrote this song on a piece of toilet paper in the women's room of a Tijuana
strip joint. John calls it "house opera." Victoria thinks it would make a great dance mix. I
personally like Teddy Kumpel's evocative guitar spewage.
Note:The chords changes to the middle section can also be found on the song
“Don’t Underestimate The Little World” which appears on JT’s CD - "Hits Dah Bah Tomb Lion"

Another of many coincidences surrounding this project is the fact that my boyfriend Eric
Weaver grew up in Centerport, Long Island, which isn't that far from Stony Brook where John
lives (in fact, John used to work at another studio in Centerport). In his days of flaming youth
Eric was wont to hang out with a gang of nautical degenerates led by one "Big Mike" Kerr.
These weekend buccaneers would terrorize the patrons of Gunther's Tap Room in Northport,
where they were notorious for their full length vocal performances of "Billy the Mountain" and
other FZ material (aided and abetted by countless glasses of 25-cent beer). Their marine
headquarters was Big Mike's cabin cruiser, the Magdalena (the dinghy of which was named
the Mud Shark, and which ultimately gave me the idea for the name of my record label).
When I met Eric in 1993, he burst into the opening cadence of "Billy the Mountain" and
continued without a break to the "A mountain is something you don't want to fuck with"
section at the end, half an hour later. A final note: We tracked down Big Mike Kerr in
Northport in July, 1999, while I was finishing the tracks for this CD. Eric hadn't seen him since
1978. Fittingly, we got him sobered up and into the studio just long enough to provide the
introduction to this song.

10. JIHAD!
I composed this as part of a radio program in the '80s, with my late friend Monty Muns, a
brilliant mimic, performing the vocals in the voices of Ronald Reagan and Margaret
Thatcher (!). We used to call it the "hora bris".

This was written for inclusion on the Nigey Lennon's Greatest Hits album which never saw the
light of day. John contributed a George Duke-like middle section, which updates the song
to the mid-'70s. Are we retro yet? This song is dedicated to Juha Romppanen, noted Finnish
author and serious consumer of Cuban tobacco products.

I first heard this unreleased Donald Fagen/Walter Becker composition on a tape of their
early '70s demos which I found for $3.99 at a car wash. The song is unique in the Dan canon,
not only because it’s satire is extremely pointed, but also because Becker and Fagen sang
the lead as a duet in more-or-less harmony. I figured if they could do it, then so could I -- with
help from John, of course. Jim Dexter contributes a Walter Beckeresque solo that may or
may not be based on the 16th-century galliard "The Luthier's Woe." I suspect John added the
"Brain Tap Extension" at three or four in the morning. That guy never sleeps...maybe he

This edit is from an interview I did for the "No Apologies" radio program with the ever
congenial Mr. Edison on WUSB-FM, Stony Brook, New York. John, ever resourceful with
snippets, has also used it on his CD Hits Duh Bah Tomb Lion

I wrote this for inclusion on my debut album "Nigey Lennon's Greatest Hit", but since I'm
anything but a blues singer it never made the cut, and then the album never got recorded.
If somebody had told me that Candy Zappa would be performing it on my debut album
two and a half decades later, I don't know what I'd have thought.

We started recording these vocals (which are the same as the ones on the a capella version
that opens the CD) at Sonic Underground Studios in Stony Brook just as a summer
thunderstorm was approaching. Suddenly the thunder was booming and the lightning
sizzling around us, and we had to run out of the vocal booth, shut down the equipment and
wait for the storm to pass. We stood in the open doorway of the studio for a few minutes,
watching the downpour, then, as if on cue, the clouds rolled by and the sun reappeared,
and it was time to go back to work. Ever since then, whenever I hear these tracks I
involuntarily look up to see if the roof is leaking.

The lyrics to this song were written by my friend Urban Gwerder of Zurich, Switzerland. Urban
is well known to hardcore Zappa fans as the force behind Hot Raz Times, a highly
imaginative publication which appeared during the 1970s. In 1998 Urban published his
memoirs, Im Zeichen des Magischen Affen [In the Sign of the Magic Monkey] (WOA Verlag,
Zurich), a huge multimedia book with all sorts of 'pataphysical extras, such as a randomly
distributed offer for dinner with the author and a hint that some of the book's pages just
might be permeated with a mind-altering substance... "Mesmerized Cowboy" was included
in the book with a group of lyrics Urban had written in the '70s for eventual performance by
ex-Mother Don Preston's group Ogo Moto. Apparently nothing had ever come of the
collaboration. I found the lyrics strangely applicable to my own life and asked Urban if I
could use them on Reinventing the Wheel. Mike Keneally provides the voice of "Poco," the
'pataphysical cowpuncher (a character which I suspect is based on Urban himself, who
spent a decade in the Alps herding cattle and collecting alpine folklore). I originally asked
Mike to use the "Johnny Cash" voice in which he performed "Ring of Fire" on the 1988 FZ
world tour, but he said he hadn't done that voice since the tour and would prefer not to
resuscitate it. It would have been highly amusing to hear him toss off lines like "don't you milk
my elephant or I'll bite you in the eye" in that deadly "Ring of Fire" style, but this CD already
has more than its share of xenochronicities.

Barcode and Other Identifiers

  • Matrix / Runout: REINVENTING CD SONIC MFG. CC4022
  • Barcode: 620067789528