Sunday At Sams

Dr Wippit • September 26, 2024

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A long time ago, in a galaxy far, far away...


I was a musician with mediocre skills on a couple of instruments, and I had a handful of songs written. In 1989, I was starting my third year of college, and my friend Tony Heffner, who had played drums in bands with me in high school, had just finished two years in the army and was joining me at UNL. All we needed was a bass player, and we'd have a band. A mutual friend of ours, Todd McHenry, who had played trombone in school, was up for the task. With little more than a few rehearsals, we felt ready to go into the studio and record some songs. I don't remember how much we spent, but I think it was around $300. That got us time in the studio to record on eight tracks of analog tape and 50 printed cassettes. The studio was at Ray Ellington's house in Lincoln, where a couple of other bands we knew (The Confidentials and Such Sweet Thunder) had recorded. We had to fit the drums, bass, guitar, and the three of us in Tony's Beetle.


We didn't waste much time. I think we got about eight hours of studio time, along with the cassettes being printed. I do remember playing the solo for "Go Away (You Suck)" several times. I was trying to come up with something that would gradually build but wasn’t getting anywhere. The guys told me something along the lines of "just jam," and I nailed it on the next take.


Ray was generous with the guitars he had around the studio. The electric guitars were Ray's Gibson Les Paul, and the acoustics were his six- and twelve-string Ovations. At the time, I didn't have an acoustic guitar that was studio-worthy, and my electric was the Ibanez Iceman I bought with my detasseling money when I was 15. I remember thinking that if I doubled the intro to "Love, Life and Death" between the twelve-string acoustic and dirty electric, it would sound like Mötley Crüe's "Merry-Go-Round" from their first album. Listening to it now, I wish I'd spent five or ten more minutes to get the ritard at the end a little more lined up between the two guitars.


I have to say, Tony's meter was so solid—these tempos are really locked down, and we never even thought of using a click track. Todd's bass playing was also spot on. For eight songs recorded straight to analog and mixed in a few hours, I think we did pretty well. In those days, you might be able to punch in a part, but there was certainly no "fixing" anything with digital magic.


Sam's was a restaurant that was great for college students on a budget and, in particular, had a special on burgers every Sunday—I think it was four for a dollar. You can read more about that here .


We were pretty happy with the cassette when it was released and had dreams of getting local shows, improving our playing, and who knows what else? I wish I could say we went on to do more, but we didn’t, and that's on me. By my third year of college, I was a mess personally. I could see I was never going to finish school, I was falling into debt, and I convinced myself I needed to start over somewhere new. I would either sink or swim. As soon as 1990 started, I got on a bus with my guitar, some clothes, and whatever cash I had, and without telling a soul, I disappeared.


I don’t know what happened to all of the cassettes. I’m sure I had one when I left town, but I can’t find it now. I remember we had a friend do the artwork, and we asked her to make the word "Tracers" repeat and fade to create the tracer effect, with "Sunday at Sam's" off to the side. I know we included some "Thank You"s on the inside and thanked some folks, as well as Black Label beer.


Fast forward to 2008, and I ran into a friend who still had one of those cassettes. He let me have it on the condition that I’d get him a copy once I digitized it. I played the cassette into my computer, but the sound was so out of phase, with volume and EQ swells all over the place—it was really unlistenable.


Fast forward to 2024, and I’ve been using a guy I found on Fiverr to help me mix the songs I’m writing and recording today. I noticed his services also include audio restoration. I don’t have Peter Jackson’s budget for restoring sound, but I do have a "guy on Fiverr" budget, so I sent it his way. What we have now is far from perfect—you can still hear some of the artifacts of sibilance and phase issues—but you can also actually hear the songs the three of us recorded 35 years ago. And it’s quite listenable. I tried to remember what the cover looked like since I no longer have one to reference. I think this is pretty close.


Listening to the recordings is like stepping into a time machine. The way we chose to play the songs, the arrangements, and the sound of the instruments bring back memories. I think it’s a time machine for anyone who listened to what we called "college rock" back then.


Take a listen!


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