Here are the liner notes for "What's Got Into You"...found a couple inches above what you clicked on to see this paragraph -- up there in that fancy new myspace music-player.

About 6 months ago, I was listening to the edited recording of the first Juggler's Challenge Revival show (Terry Parks on Electric Bass, Five Philpin on Guitar, David Smith on Drums, and me on Plank-Tuned Guitar and Vocals). I've come back to this show a few times, both as one of the rare recent recordings of the elusive Mr. Parks, and as an example of how the Juggler's Challenge format drives even the non-Juggler's Challenge elements of the show into some truly crazy territory -- seemingly far more diverse than would likely be crossed by the band in public without Juggling shoes on. (Perhaps, in part, it forces the band to play at the edge of their competence...something that often happens naturally in a setting where there's no audience and therefore less competence to prove...I could digress further, but perhaps this is a topic for a full Juggler's Challenge Post...) Anyway, I was walking between my two buses downtown one evening whilst listening to the instrumental section just before 'Jim, You Inner-Space Man' and thought, "Holy Mother of Poo!! That is some Funky Poop!!". There was just this crazy interlocking and gradually mutating 4-piece poly-funk, with the groove defined completely collectively and without a single distracted grab for melody or progression whatsoever, and yet more than enough interest to make such notions irrelevant. I was amazed that I didn't remember this section clearly. I immediately made a note to try to turn it into something where it would be easier for people to become conscious of its miraculous structure (where it wasn't just another instrumental section in an evening of attention-grabbing verbal-concept-geeking).

I had also simultaneously been thinking it would be fun to do a long-distance studio collaboration with Sir Five of Philpin (who, was also the other guitarist on this particular JC night...but who makes more limited appearances on the Seattle scene these days, due to his current residence in LA). He was game and so we did it! I condensed the main segments and started producing -- including the addition of MIDI-elements pulled from various tiny instrument-hits from throughout the original recording...mostly just to clean up the production of the piece...hopefully allowing the room reverb of the live base-tracks to expand the space rather than completely defining it). Five provided the lyrical germ and the first set of vocal tracks. One of the main goals was to play our two voices off of each other, and I like the effect! With a pass of vocal harmonies and a couple of new lyrical excursions inspired by his words (and those of "Art Rock", whose poetry Five apparently spontaneously referenced for the "Positive Irus ID, Posit a Virus I Do" section), it was complete, and for me at least, clearly more than the sum of its already-substantial parts!