Bohacz & Frenz

I wrote this and Michael Davis and I performed. I sang lead and played my Fender Stratocaster. Mike sang backup and played electronic synthesizer and rhythm equipment that he had. We recorded this at Mike’s fourth floor loft located at 1231 North Honore Street in Chicago. An early log sheet labeled this recording with an uncertain date of April 15, 1982. Here’s where you can see a video of the recording: youtu.be/kItPo9csxfQ.

Michael Davis wrote this and the two of us performed. Mike sang lead, played electronic synthesizer and rhythm equipment that he had. I sang backup and played my Fender Stratocaster. We recorded this at Mike’s fourth floor loft located at 1231 North Honore Street in Chicago. An early log sheet labeled this recording with an uncertain date of April 15, 1982. Here’s where you can see a video of the recording: youtu.be/kItPo9csxfQ.

A version of this song won Best Psychedelic Song in The (2024) Psychedelic Film and Music Festival. I wrote this and Michael Davis and I performed. I sang lead and played my Fender Stratocaster. Mike sang backup and played electronic synthesizer and rhythm equipment that he had. We recorded this at Mike’s fourth floor loft located at 1231 North Honore Street in Chicago. An early log sheet labeled this recording with an uncertain date of April 15, 1982. Here’s where you can see a video of the recording: youtu.be/kItPo9csxfQ.

Michael Davis wrote this and the two of us performed. Mike sang lead, played electronic synthesizer and rhythm equipment that he had. I sang backup and played my Fender Stratocaster. We recorded this at Mike’s fourth floor loft located at 1231 North Honore Street in Chicago. An early log sheet labeled this recording with an uncertain date of April 15, 1982. Here’s where you can see a video of the recording: youtu.be/kItPo9csxfQ.

I wrote this and Michael Davis and I performed. I sang lead and played my Fender Stratocaster. Mike sang backup and played electronic synthesizer and rhythm equipment that he had. We recorded this at Mike’s fourth floor loft located at 1231 North Honore Street in Chicago. An early log sheet labeled this recording with an uncertain date of April 15, 1982. Here’s where you can see a video of the recording: youtu.be/kItPo9csxfQ. "So he has decided to have the operation. Both he and his wife think it would be good to have it done. He wonders if the sacrifice is worth it for his health. But then reflects that he does not know what to expect at death. The doctors crowd his room to hear the course of his intent. They all discuss the meaning of this great experiment. You'll have an artificial heart (repeat) On the night before the big day is due. He kisses his wife and says hello to God too. The morning comes and they wheel him into place. A blonde and chesty anesthesist puts a mask on his face. The sights the sounds the smells they all go away. He has a funny dream about a Shakespeare play And a balloon that deflates. Here comes his artificial heart. Remove his other faulty part. Insert his artificial heart. I think the suturing can start. When he can finally talk his wife comes to his bed. She asks him if he still loves her. He says "Love's all in my head 'cause" I have an artificial heart (repeat) He has an artificial heart (repeat)"

This track is the sound for my video art piece “The Machines Possessed Me (Abstract v2) Part 1.” The Abstract v1.5 won the Best U.S. Experimental Short award in the July 2023 Austin International Art Festival. You can view this video at https://youtu.be/8o3pu5wE1f0 and https://vimeo.com/435367103. “Electronic Tonalities,” the source for this track, represented my earliest audio art and improvised electronic music. With this revised version my wife Trish Happel and I have augmented the original digitally. You can hear my original “Electronic Tonalities" here: on.soundcloud.com/JcXNWxZPhZ3EV7zN8.

If memory serves, this was the second song I ever wrote (the first was "Rusty, My Favorite Dog"). It was 1968 and I was ten years old. I specifically remember that when I heard the Beatles’ “Goodnight,” I thought to myself: I came up with my song first. This long version finishes the song the way I more or less imagined it as a child, with an elongated section that would repeat into a sunny dreamscape. I didn’t have the patience to compose the extension while young but now it’s finished with the dreamscape transformed into a nightmare. Trish Happel produced this version. Here’s where you can hear the earlier version: https://on.soundcloud.com/91WPYHhbsD46ztm99. Here’s a musical sketch: on.soundcloud.com/5XDwwVXA4tihE5em9.

A version of this song won Best Psychedelic Song in The (2024) Psychedelic Film and Music Festival. I wrote the song, sang lead vocal, played electric rhythm guitar. Ralph Warchol played a synthesizer of his for the drum track and low end. Perhaps it was Mike Davis's drum track, not sure. A friend of Ralph's, Dan the Man, played the electric guitar solo on this longer version of the song. This was recorded in Ralph's luxurious basement outfitted with his quarter inch reel-to-reel 8 channel recorder probably in very late 1982 or 1983. Here's where you can hear different versions of this song: on.soundcloud.com/H2Q9G 
on.soundcloud.com/eBUEA https://on.soundcloud.com/FFknszkMBobWULbw8. "The time is 12:23, last place I wanna be.
 When will it come? 
I've been waiting for an hour 
And my stomach's feeling sour.
 How late's the train run? He doesn't know we're up here.
 He'll never guess.
 We're gonna soak him in light.
 Set the coordinates. When will the train come? When will the train come? 
She thinks she's got me on her pinky.
 She hits me hot 'cause she's so slinky. 
When is it going to come? The antigrav is on. Engage the brain caress.
 When he starts floating up record the grok he gets. Good evening Clyde.
 We represent an advanced race of beings 
From a space colony orbiting the Dog Star Sirius. 
You may interpret this as a religious experience But we want you to know that we are merely 
Manipulating your brain patterns via quantum waves 
To measure for the possibility of intelligent life
 Arising on your planet. And I wake up on the train. I can't remember my own name. 
When did the train come?”

This new version has louder chipmunk voices. I wrote the song, sang lead vocal, played piano and other instruments. Ralph Warchol got the drum track from an LP. We altered the speed to create the chipmunk voice effect. That also helped with our perceived instrument playing agility. Ralph played the electric bass and perhaps other instruments, if I remember correctly. I believe this was originally recorded at Faith Chapel Radio Recording Studio in Berwyn (yes, Svengoolie's Berwyn). This dates the original recording because I had access to that studio after I began working there in January of 1981. I released the first version of this song on Jango Radio in 2009. A version of this tune eventually ended up in my CD "Mostly Acoustic" available here: on.soundcloud.com/UssrPNYRW7yURbou5.

A version of this song won Best Psychedelic Song in The (2024) Psychedelic Film and Music Festival. "The time is 12:23, last place I wanna be. When will it come? I've been waiting for an hour And my stomach's feeling sour. How late's the train run? He doesn't know we're up here. He'll never guess. We're gonna soak him in light. Set the coordinates. When will the train come? When will the train come? She thinks she's got me on her pinky. She hits me hot 'cause she's so slinky. When is it going to come? The antigrav is on. Engage the brain caress. When he starts floating up record the grok he gets. Good evening Clyde. We represent an advanced race of beings From a space colony orbiting the Dog Star Sirius. You may interpret this as a religious experience But we want you to know that we are merely Manipulating your brain patterns via quantum waves To measure for the possibility of intelligent life Arising on your planet. And I wake up on the train. I can't remember my own name. When did the train come?" I wrote the song, sang lead vocal, played electric rhythm guitar. Ralph Warchol played a synthesizer of his for the drum track and low end. Perhaps it was Mike Davis's drum track, not sure. This was recorded in Ralph's luxurious basement outfitted with his quarter inch reel-to-reel 8 channel recorder probably in very late 1982 or 1983. Here's where you can hear different versions of this song: https://on.soundcloud.com/H2Q9G https://on.soundcloud.com/eBUEA https://on.soundcloud.com/TVcL7xxs6RiVZDay6.

This version of "Guttersnipe" has Jon Navy on lead electric guitar.

In the fall of 1991 Jon Navy electric guitarist and myself on electric bass got together in Jon's loft, if I remember correctly, to jam.

In the fall of 1991 Jon Navy electric guitarist and myself on electric bass got together in Jon's loft, if I remember correctly, to jam.

In the fall of 1991 Jon Navy electric guitarist and myself on electric bass got together in Jon's loft, if I remember correctly, to jam.

In the fall of 1991 Jon Navy electric guitarist and myself on electric bass got together in Jon's loft, if I remember correctly, to jam.

In the fall of 1991 Jon Navy electric guitarist and myself on electric bass got together in Jon's loft, if I remember correctly, to jam.

In the fall of 1991 Jon Navy electric guitarist, Chris Casilli drummer, myself on electric bass got together in Jon's loft, if I remember correctly, to jam.

In the fall of 1991 Jon Navy electric guitarist, Chris Casilli drummer, myself on electric bass got together in Jon's loft, if I remember correctly, to jam.

In the fall of 1991 Jon Navy electric guitarist, Chris Casilli drummer, myself on electric bass got together in Jon's loft, if I remember correctly, to jam.

In the fall of 1991 Jon Navy electric guitarist, Chris Casilli drummer, myself on electric bass got together in Jon's loft, if I remember correctly, to jam.

In the fall of 1991 Jon Navy electric guitarist, Chris Casilli drummer, myself on electric bass got together in Jon's loft, if I remember correctly, to jam.

In the fall of 1991 Jon Navy electric guitarist, Chris Casilli drummer, myself on electric bass got together in Jon's loft, if I remember correctly, to jam.

In the fall of 1991 Jon Navy electric guitarist, Chris Casilli drummer, myself on electric bass got together in Jon's loft, if I remember correctly, to jam.

In the fall of 1991 Jon Navy electric guitarist, Chris Casilli drummer, myself on electric bass got together in Jon's loft, if I remember correctly, to jam.

"You can't see him. He's transparent Ether breathing, so clandestine Anti-techno designation Elmer 40. Mother was a test tube baby Father one genetic maybe Anti-techno designation Elmer 40. Burn computers. Eat their programs. Fold and spindle. Mutilate! Anti-techno designation Elmer 40. All my brothers like myself Filed in bottles on the shelf. No ambition, no desire, Danger to my mental health. Synchronus genetic copies Born in vats of DNA. Rise now rabble robot rousers We know Elmer is the way! Doppelgänger image repeat Rewrite program. Hit erase. Anti-techno father 40 Fell from science fiction grace. Listen brothers! Hear my say! No more nightmare yesterdays! Use the techno facsist magic To reform our former ways. Death to ditto death and torture. Forty El will now replace Test tube turn ons, Xerox zombies, mutant mimeos. Erase the tapes! Stop the cloning! We're now masters, No more carbon copy bastards. Anti-techno father 40 leads us on to greener pastures." Michael Wayne Davis wrote this song. I sang lead and multitracked instruments that I recorded with my Tascam M-208 mixer and my Tascam 38 1/2" 8-track reel-to-reel tape recorder. This recording was made sometime after 1985 or '86. Here's another iteration of this song: https://on.soundcloud.com/boMY6bUY6A5Xc1ah9. A version of this tune eventually ended up in my CD "Mostly Acoustic" available here: https://on.soundcloud.com/UssrPNYRW7yURbou5. Here's a link to an early rehearsal of this song: https://on.soundcloud.com/PTErPExG5FgERuP99.

The twin Nordstrom brothers Michael and James plus myself gathered in a School of the Art Institute of Chicago (SAIC) stairwell to perform this song. Mike reminds me we probably recorded this in 1983.

Mike Davis wrote this and sang backing vocal. I helped with a few lyrics and sang lead. If memory serves, we recorded the song at the School of the Art Institute of Chicago's (SAIC) Sound Department. We used their synthesizer, drum machine, recording equipment. Mike also had his own synth, I think.

This second version of "Nucleus" adds a Fender Stratocaster to the mix. I created the basic tracks at the School of the Art Institute of Chicago's (SAIC) Sound Department. I used their synthesizer, drum machine, recording equipment. Here's where you can hear the first version: https://on.soundcloud.com/SRHQfH92raPrQbyVA. Here's where you can hear the third version: https://on.soundcloud.com/ghECNr9wXj2fHY3p6.

If memory serves, this was the first version of "Nucleus" and it was the first tune that I created at the School of the Art Institute of Chicago's (SAIC) Sound Department. I used their synthesizer, drum machine, recording equipment. Here's where you can hear the second version: https://on.soundcloud.com/Pw47xuJdgSymWLuT8. Here's where you can hear the third version: https://on.soundcloud.com/nBMAuYFT2yzg8Ra77.

Mike Davis created this experimental ambient music with his musical equipment. It ended up in some of the ambient video that our company Leonardo da Video delivered to dance clubs around Chicago in the early to mid-1980s. Here's where you can see some of those videos: https://youtube.com/playlist?list=PLva_BUBOGL66w4QQb5XygNn_w1JuEz7s6&si=IhPcP8gqGGRawo00.

Mike Davis and I wrote and performed this musical birthday wish to Mike's girlfriend at that time, Shawna Olwen. Here's a link to Shawna's World Wide Website: https://shawnaolwen.com.

"(Verse 1) In the twilight of the silver screen, A legend rose, unseen, With a heart for tales untamed, Roger Corman, they chanted your name. (Chorus) Roger Corman, King of the Bs, You gave us tales wild and free, From monsters deep to skies unknown, In your world, we found a home. (Verse 2) Through "Little Shop of Horrors," fear and fun, A blooming menace, second to none, "The Pit and the Pendulum," a haunting sight, You wove our dreams into the night. (Verse 3) With "The Raven" and its mystic lore, And "House of Usher" by the shore, Your films, a canvas of the strange, In every frame, you made a change. (Verse 4) Through "Death Race 2000," a future bleak, Your daring vision, unique, From "X: The Man with the X-ray Eyes," You showed us life beyond disguise. (Outro) Now the curtain falls, the final scene, Yet your legacy remains evergreen, Roger Corman, forever be, The King of the Bs, in our memory. Roger Corman, forever be, The King of the Bs, in our memory." An homage to the late, great filmmaker Roger Corman. Trish Happel and I created the lyrics with ChatGPT and the music with Suno AI.

"(Intro) Roger Corman, they chanted your name. Roger Corman, they chanted your name. Roger Corman, King of the Bs. Roger Corman, King of the Bs. You gave us tales wild and free, From monsters deep to skies unknown, In your world, we found a home. Through "Little Shop of Horrors," fear and fun, A blooming menace, second to none, "The Pit and the Pendulum," a haunting sight, You wove our dreams into the night. With "The Raven" and its mystic lore, And "House of Usher" by the shore, Your films, a canvas of the strange, In every frame, you made a change. Through "Death Race 2000," a future bleak, Your daring vision, unique, From "X: The Man with the X-ray Eyes," You showed us life beyond disguise. (Chorus) Roger Corman, King of the Bs, You gave us tales wild and free, Roger Corman, forever be, The King of the Bs, in our memory." An homage to the late, great filmmaker Roger Corman. Trish Happel and I created the lyrics with ChatGPT and the music with Suno AI.

"It's becoming the norm In the summer heat Cicadas all around They're here to party Jumping up and down Invasion of the brood Buzzing in my ear But I got a secret That will make you cheer [Pre-Chorus] I'm eating cicadas Reducing brood invasion A crunchy sensation My new favorite temptation They're swarming in numbers It's a natural phenomenon But I'll turn the tables Make it my anthem [Chorus] Buzzin' delight Cicada's on the menu tonight Crunchy and tasty Giving them a fright EDM beats Dancing to the rhythm of the swarm Eat cicadas Yeah It's becoming the norm" Lighthearted tune about cicadas as a delicious appetizer in the year of the largest swarm in the US since 1803. Very danceable! Trish Happel and I created this song with Suno AI.

"Munchin' on the beetles It's a tasty treat Insects on my plate Yeah they can't be beat Buzz around in harmony Livin' in peace Eat the beetles Save the world Let the hunger decrease With every bite Let the hunger decrease With every bite I take The future becomes clear Eating insects My friend The solution is near Buzzin' little creatures They're filled with vitamins strong We're helping Mother Nature Singing this feel-good song [Chorus] Eat the beetles Oh yes We're on a mission Changing the world It's a tasty tradition With every crunch and chew We're making it into a choice Eat the beetles Let's unite And rejoice!" This song urges us to consume insects, a good protein source, to improve our ecology while dancing to a compelling EDM beat. It was the first song Patricia Ann Happel and I created with AI. We used Suno.

“Me and my baby lost in engaging speech Aloft in starship outside of others reach In smart confusion a phenomena of above She sucked into a black whole of love Black whole of love As she approached the event horizon I could feel my consciousness arising My baby she went in first And I prepared for the worst Black whole of love I went in and followed close behind We were flying through space and time A tunnel of black light Oh my God! Einstein was right Black whole of love” I wrote and sang this song. I played multitracked instruments: my Yamaha DX7 synthesizer keyboard and my Yamaha RX5 Digital Rhythm Programmer. I mastered the recording with my Commodore Amiga computer with MIDI sometime in 1987 or '88. Here's where you can hear different versions of this song: on.soundcloud.com/BfGqn on.soundcloud.com/3wLUK https://on.soundcloud.com/iQz9ySGsZ7sNpLQY8. A version of this tune eventually ended up in my CD "Mostly Acoustic" available here: https://on.soundcloud.com/UssrPNYRW7yURbou5.

Staggering Bull by Bohacz & Frenz

Full Bloop by Bohacz & Frenz

Michael Wayne Davis wrote the song lyrics and I wrote the music to his words. He remarked that the music was a departure from what he wanted but he didn't come up with anything to replace it. I sang lead vocal but I didn't know all of Mike's lyrics so I improvised some. Davis sang as well on this recording. This was probably recorded around 1986 or '87 if memory serves Here's where you can hear different versions of this song: on.soundcloud.com/D9HYo on.soundcloud.com/3ruvn. https://on.soundcloud.com/JQVEydD63oNaGBoB7. A version of this tune eventually ended up in my CD "Mostly Acoustic" available here: https://on.soundcloud.com/UssrPNYRW7yURbou5.

I recorded this Johann Sebastian Bach piece in real time playing my Yamaha DX7 synthesizer keyboard set to pipe organ, if memory serves. I used to be able to play a good portion of the fugue segment but not complete enough for a recording.

Here's another iteration of my Nick song. I played multitracked instruments that I recorded with my Tascam M-208 mixer and my Tascam 38 1/2" 8-track reel-to-reel tape recorder. I played my Yamaha DX7 synthesizer keyboard and my electric bass, if memory serves. I collected all this equipment sometime around 1985 or '86. Here's the earliest musical sketch of the song: on.soundcloud.com/ftNWHzQKwcVFmWs19. Here's the 2nd musical sketch of the song: on.soundcloud.com/76ESK. I believe I began drawing my comic character Nick the Cliff Dweller in 1968, or perhaps 1967, when I was 9 or 10 years old. I probably began singing the song around then. The Nick the Cliff Dweller song was inspired by my older brother Buddy who improvised a song with lyrics I didn't use but a tune that I did. Here's Buddy's original lyrics: Nick the Cliff Dweller he's a fine feller As swell as swell can be. He lives on a hill with his moonshine still. If the bats don't get 'em then the vultures will. You can see my Nick the Cliff Dweller comics here: michaelanthonybohacz.name/childhood_pictures.html.

I played multitracked instruments that I recorded with my Tascam M-208 mixer and my Tascam 38 1/2" 8-track reel-to-reel tape recorder. I played my Yamaha DX7 synthesizer keyboard and my Yamaha RX5 Digital Rhythm Programmer. I collected all this equipment sometime around 1985 or '86. If memory serves, this is the third iteration of my tune "Nucleus'" Here's where you can hear the first version: https://on.soundcloud.com/V4s6aZvACq5C7zSW9. Here's where you can hear the second version: https://on.soundcloud.com/cY61om7Ufk2KGFoU6.

If memory serves, this was the first song I ever wrote. I was around 9 or 10 years old. My brother Monte Paul Bohacz and I liked to sing it with our niece and nephew Donna McFarland and James Mefford, celebrating their pets Rusty and Tiki. Finley the fish was my pet. I didn't get around to recording this until 2024.

If memory serves, this was the second song I ever wrote (the first was "Rusty, My Favorite Dog"). It was 1968 and I was ten years old. I specifically remember that when I heard the Beatles’ “Goodnight,” I thought to myself: I came up with my song first. This short version represents the state of the song as I left it when I originally created it. The lyrics cut off after “Listen to the birds sing everyday…” I imagined an elongated section that would repeat into a sunny dreamscape. I didn’t have the patience to compose the extension while young. Happily I have since recorded the song with the extended section. Here’s where you can hear the finished version: https://on.soundcloud.com/4sFgG4TJY5HhugNc6. Here’s a musical sketch: https://on.soundcloud.com/5XDwwVXA4tihE5em9.

Myself having fun in the recording studio. I scratched in audio from a sound effects record while I played with the echo. This was recorded at Faith Chapel Radio Recording Studio in Berwyn (yes, Svengoolie's Berwyn). I had access to that studio after I began working there in January of 1981.

My very talented friend Ralph Warchol outfitted his luxurious basement with a quarter inch reel-to-reel 8 channel recorder. Ralph wrote this, sang lead and backing vocal and played all of the instruments. He got the drums from an LP. This was probably recorded in very late 1982 or 1983.

My very talented friend Ralph Warchol outfitted his luxurious basement with a quarter inch reel-to-reel 8 channel recorder. Ralph wrote this, sang lead and backing vocal and played all of the instruments. HIs girlfriend at the time, Mia DiSantis, also sang. He got the drums from an LP. This was probably recorded in very late 1982 or 1983.

This audio recording, referring to my listening to the Beatles' "Magical Mystery Tour" after Christmas 1967 and its affect on me, was made in February of 2024.

I wrote this tune and played acoustic guitar. Ralph Warchol scratched in audio from a sound effects record as I played. As recording engineer, Ralph also applied tricks with the echo while I played. In this way we improvised with each other live. This was recorded at Faith Chapel Radio Recording Studio in Berwyn (yes, Svengoolie's Berwyn). I had access to that studio after I began working there in January of 1981. Here's where you can hear a version of the song with Mike Davis singing: on.soundcloud.com/Rhbdi. Here's where you can hear another version of the song with Ralph Warchol singing: on.soundcloud.com/Ggfs8. Mike's version of this tune was made for my School of the Art Institute of Chicago student video "Trans-Mission." You can see it here: youtu.be/8WyVV_OXcxU. I sang a version on my album "Mostly Acoustic" available here: https://on.soundcloud.com/UssrPNYRW7yURbou5.

I began taking music lessons from Lydia Smutny-Sterba when I started my first year at Morton College, if memory serves. This would be the fall of 1976. Mrs. Sterba had me learn Trepak from the Nutcracker. At our recital she had us wear white gloves to keep our hands warm before the performance. She was a great music teacher and she wanted me to stay with music rather than study art. This piece is from an 8-track cartridge tape I recorded that I called “Mike In Concert.” I made the 8-track for my brother Buddy's family. That's my niece Donna and nephew Jimmy, Buddy's children, in the picture with me. My brother Monte appears framed in a photo.