Continuing Where The Beatles Left Off​.​.​.

by Gloop Nox and the Stik People

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about

GLOOP NOX AND THE STIK PEOPLE

CONTINUING WHERE THE BEATLES LEFT OFF...

In 1973 I attended Lawrenceville School, a boys' prep school in central New Jersey, where I met Jim Nevius. Jim had played drums and electric bass in bands but was now playing electric guitar and singing in his band, Gloop Nox and the Stik People, which rehearsed in the basement of his family's home in Yardley, Pennsylvania. I had started playing guitar several years earlier and was anxious to join a band. Jim casually invited me to audition. I waited weeks for him to call but didn't hear from him, so I called him and he invited me to a rehearsal. I took a bus from Princeton to Trenton, walked across the bridge over the Delaware River to Morrisville, Pennsylvania, carrying my Fender Stratocaster, auditioned for the band, and was invited to join.

At that time the band consisted of Jim Nevius, Marc Baldwin on electric Farfisa organ and bass, Darrel DiLiberto on electric bass and congas, Chris Leadem on drums, Michael Osborn on drums, and me on electric guitar. Freddy Reed later joined on electric mandolin and electric guitar. We rehearsed almost every weekend, playing a few tunes such as UNTOLD VISION, BEER DRINKING WOMEN, MISTER MUCUS PUKES AGAIN, STEIBENESH DENTURES, ELDERLY TOADS AT WAR, and POWERLINES ACROSS THE UNITED STATES over and over and over again because we didn't think to invent more new songs to play.

Our music could be described as progressive rock leavened with juvenile humor. We performed a “milk commercial” to musical accompaniment in which I spat out milk as did Danny Thomas in his unfunny TV shticks. We played at a couple of high school dances, but mostly incessantly rehearsed each weekend in Jim's basement. On stage at our performances we set up parts of mannequins and a gnarly prop tree for displaying gloves from Jim's dad's department store in Trenton.

We performed at a Pennsbury High School talent contest where we lost out to a teen jazz combo. Darrel then publicly scolded the jazz band, yelling at them from the stage that they sucked and that we should have won the stupid talent contest. Pathetic!

I printed up business cards for the band featuring an atomic symbol of electrons in elliptical orbits around an atomic nucleus and a wood engraving-style depiction of a sphinx and a pyramid beneath a starry sky. To get jobs for the band I naively sent these solitary business cards (and nothing else!) to various schools in the area in envelopes addressed to “Social Events Committee” with the school name and address. Amazingly, no one ever called us in response to this clever marketing ploy.

We nabbed a chance to perform at an Arp Synthesizer
sponsored talent contest at the Tower Theater in Philadelphia in April 1975. I submitted a reel tape demo sampler of our band rehearsals which resulted in our invite. Bluesman James Cotton and Roger Powell from Todd Rundgren's band were among the judges. Alas, our luck fared as well as at the talent contest at Pennsbury. Darrel didn't yell at anyone this time, though.

We performed at a couple of avant-garde artsy events in Trenton sponsored by Dennis Bathory-Kitsz's Trans/Media artist's collective. They were worlds away from the crappy high school dances and talent shows we ruined.

Later incarnations of the band variously included Jerry Coll on drums, Freddy Reed on electric bass, Mike Barnaba on Fender Rhodes electric piano and Minimoog synthesizer, Ted Riskin on Minimoog synthesizer and trombone, John Olla on drums, and Bob Sandor on electric bass. Jimmy Weed played electric piano and a Hammond B-3 organ with a humongous, heavy, wooden Leslie amplifier. We stupidly dragged the Hammond B-3 Organ and the heavy Leslie to a Charles Boehm Middle School Autumn Prom at which, halfway through performing, we were kicked out without pay for our obnoxious antics.

After we graduated high school, the original band line-up spontaneously disintegrated. Michael Osborn went on to tour with 50's teen stars Danny and The Juniors, dated Madonna once before she became mega-famous, and drummed on records with Holly and the Italians, Marshall Crenshaw, and The Rockats. He now works at Apple as a graphic designer. Marc Baldwin got married, had kids, ran a pool cleaning service, then mysteriously disappeared. Darrel DiLiberto played percussion on an album by a Parliament-Funkadelic spin-off band and likewise disappeared. Chris Leadem, struggling with mental health issues for years, committed suicide with a gun in Englewood, Colorado in 2010.

In 1976 Jim Nevius and I, still living at home with our parents and working at crap jobs, formed a Top 40/Disco band I named 'Zygote'. This time the business card featured a farmer on a tractor. Bob Sandor joined on bass, Mike Barnaba played keyboards, and John Olla played drums. We played once at the Shamrock Inn on Route 33 in Hamilton, New Jersey, but were kicked out mid-way through the gig because someone snitched to Barb, the bar owner, that Bob was only 16.

In the early 1980's, Freddy Reed, Jim Nevius, and Scott Simon performed in the promising New York City club band Neighbors and Allies whose exciting promise never quite panned out. Scott Simon went on to join seminal synth dance hit band Our Daughters Wedding whose promise was better fulfilled.

After decades of crawling through life's vicissitudes, Jim Nevius and I decided to reform Gloop Nox and the Stik People in August 2011 in New Jersey to record our songs JUST FOR FUN. We enlisted the services of supreme bassist Bob Sandor and seasoned drummer Ken Lawrence who have gigged in multiple bands and honed their musical skills for ages in the Delaware Valley. They entered into the project with a great “can do” attitude and quickly learned the songs. We also enlisted the services of shredding guitarist Paula Cohen of New York City.
Scott Simon added keyboards to the tracks he produced and engineered at his studio on his horse farm in the lovely rural haven of Locktown, New Jersey.

Here are those songs for your listening pleasure.

---John Trubee, Santa Rosa, California August 11, 2014

Side One

1 BIG BLACK TRAIN............................................................................4:43
2 WORLD OF MISERY..........................................................................3:34
3 IN LOVING MEMORY.......................................................................3:22
4 ELECTRIC LOVE NUDITY SUPREME............................................5:27

Side Two

1 CRAZY CRESCENT MOON...............................................................4:14
2 WHAT I DID TO YOU...........................................................................3:31
3 TIME ON MY HANDS..........................................................................4:00
4 BYE TO ME.............................................................................................3:29
5 EX-LAX SUPERSTARS FROM HELL VOMITING IN ECSTASY....4:31

Produced & Engineered by Scott Simon





Jim Nevius—Vocals, Electric Guitar
John Trubee---Electric Guitar
Paula Cohen---Electric Guitar
Bob Sandor---Electric Bass
Ken Lawrence---Drums
Scott Simon---Keyboards, Background Vocals,
Circus Announcer Voice on 'Electric Nudity Love Supreme'
Melvin Belron---Gibberish Rant on 'Electric Love Nudity

Erna Nesbitt—Executive Producer

Recorded August 2011
at In The Bedroom Productions
in Locktown, New Jersey

Mastered by Mark Chalecki at Little Red Book Mastering
Los Angeles, California

Thanks to Bruce Duff at Tone Duff Studios, Hollywood, California for music file transfers & processing

All selections on Side One composed by John Trubee
Published by Escape From The Evil Dwarves, BMI

All selections on Side Two composed by Jim Nevius
Published by The Diamond Publishing Company, BMI

Except
EX-LAX SUPERSTARS IN HELL VOMITING IN ECSTASY
Composed by John Trubee
Published by Escape From The Evil Dwarves, BMI

John Trubee---Cover Photo
Jim Blanchard---Graphic Design
John Trubee---Back Cover Cemetery Photo
Unknown---Gloop Nox And The Stik People Photo
Bob Groat---Outstanding Electric Guitar Modifications
Kent Fosgren---Excellent Amplifier Repair

Jim Nevius—Vocals, Electric Guitar
John Trubee---Electric Guitar
Paula Cohen---Electric Guitar
Bob Sandor---Electric Bass
Ken Lawrence---Drums
Scott Simon---Keyboards, Background Vocals,
Circus Announcer Voice on 'Electric Nudity Love Supreme'
Melvin Belron---Gibberish Rant on 'Electric Love Nudity Supreme'



BIG BLACK TRAIN

If I die in the mornin’
Or if I crumble at evening time
Would the world roll on as it always does
As if I never had lived?

All our sorrows and struggles
And all our strivings to live
Blow away, dying desert dust
As grains that flow through a sieve

And if you wake up tomorrow
To see your whole life was wrong
Would you still trudge on, a zombie fool
Distracted and deaf to my song?

If all the liars and cheaters
Could shuttup for only one day
Would heaven unfold on this tired world
Would all the children be saved?

It’s been a long time comin’
But I think it’s almost here
I wait outside in the morning mist
A big black train a-running through my head

It’s been a long time comin’
But I think it’s almost here
I wait outside in the morning mist
A big black train a-running through my head

When you crawl in the desert
In distance booming thunder squalls
See all the things for which you wept and fought
Reduced to nothing at all

Dead friends fall all around me
Huge graveyard all I see
Gotta run, run, run to the end of time
Bursting, ecstatic, and free

Bright lights, music, and laughter
The mob, it clamors for more
Until all a decadent frenzy
Of liars, gangsters, and whores

Midnight rain, biking on home
Watched my pennies piss by
Ate hard rocks in a grubby hole
I did what I could to survive

It’s been a long time comin’
But I think it’s almost here
I wait outside in the morning mist
A big black train a-running through my head

It’s been a long time comin’
But I think it’s almost here
I wait outside in the morning mist
A big black train a-running through my head


WORLD OF MISERY

Whole world of misery
Whole world of misery
Whole world of misery
Makes me wanna crumble and die

Whole world of misery
Whole world of misery
Whole world of misery
Makes me wanna crumble and die

Cry, baby, cry to the night
Cry, baby, cry to the daylight
Cry, baby, cry to the night

All the seas cannot hold all the tears that you cry
All the seas cannot hold all the tears that you cry
All the seas cannot hold all the tears that you cry


ELECTRIC LOVE NUDITY SUPREME


(Something about being a naked hippy in the desert, wild and free, drinking wine at twilight, crypto-sporidium, vomiting in Julia Robert's face, and vomiting in Gwyneth Paltrow's face. I dunno. You figure it out.)

Lyrics reproduced with the permission of the publisher, Escape From The Evil Dwarves, BMI
All rights reserved


Many thanks to: Joanne O'Loughlin, Rebecca Shupe, Jill Danger, Kelly Anderson, Iris Alroy, Emma in the Deli Department, Bassy Stacy, Dale Ashmun, M Otis Beard, Theremin Barney, Jack Brewer, Craig Leon, Cassell Webb, Nick Bougas, Erika LeAnne, Denny Bruce, Richard Bruland, Jello Biafra, The Haplessly Devoured Bug Music, Mykel Board, Jane Craig, Don Campau, Tom “Crow” Cain, Emmy Collins, Richard Chenoweth, Kim Cooper, Carl Franzoni, Evan Cohen, Dyan McManus, Pegeen Code, Linda Champagne, Greg Degler, Marie Drennan, BOB DUBROW, Mike Watt, Jeff Dahl, Chuck Dukowski, Philo Drummond, Kaosmik MamaKat, Natalie Kidd, Charlotte Elberfeld, Gerry Fialka, Larry Polansky, Mat Gurman, Matt Groening, Ruben Garcia, Gene Gregorits, Galaxy Chamber, Jasmine Hensley, William Hein, Michelle Hass, Laura Rift, R.P. Higgins, Brian Jeffries, Amanda X Jensen, Michelle Marie King, Shannon Nicole Kringen, Stephanie “Boo” Scheetz, Verne Martin, Dana Keith, Dennis Bathory-Kitsz, Ruby Starr, Marvin Hodge, David Gunn, Art Kaufman, Lance Ozanix, Bryan Lamb, Tina Lamb, Marc Mylar, Meg Maryatt, Orion McCabe, Dara Rae McQuiston, Jerry Madigan, Tuesday June Petrie, Brent Pusser, Perry Boaz, Donald The Nut, Alistair Cabbie, John Law, Hugh Schick, Sheldon Brown, Trubee Brothers Jay & Brian & Brooks & Evan, June Trubee, Amy Shaftel, Kristen Trubee, Robert Trubee, Phillip Trubee, Jillian Trubee, MacKenzie Trubee, Patrick Trubee, Cameron Trubee, Holly Trubee, The Extended Trubee & Grantier Families, Hadley & Joan Nesbitt, Joel Ward, Jack Vees, Jimson Weed!, Byron Werner, Larry Wessel, Ned Warner, Mike Velachinsky, Rebecca Wilson, Sir R. Stevie Moore, David G. Christoffersen, Lee Elliot, Keith Suchland, Tom Brown, Kevin Pahl, Brett Nelson, Jeremy Bate, Pete Manieri, Jim Kube, Matt Hamlin, Ron Stringer, and John Dentino, Craig Leon, Cassell Webb

Ken Lawrence writes “I would like to thank Bobby Sandor for calling me to play on this project and for his incredible bass skills, Jimmy Nevius for his invite and amazing songs that he wrote, John Trubee for also allowing me to perform on this project and his incredible songs and charts that he prepared for us to get this completed in a short time. Scott Simon for producing this project and great keyboard contribution. Also would like to thank my father Ken Lawrence Sr. for giving me and all my brothers drum lessons. But most important, thanking God for giving me this gift and my wonderful family and my Great Gloop Nox friends. Peace.”

Bob Sandor writes “I would like to thank Jim and John for including me in this project. Also, a thank you to Kenny Lawrence for his dedication, and Scott Simon for recording this important and historical album. Thank you.”


Copyright © 2014 Scott Simon, Jim Nevius, Bob Sandor, Ken Lawrence, Paula Cohen, and John Trubee

Copyright P 2014 John Trubee

TRUBEE RECORDS
PO BOX 4921
SANTA ROSA, CA 95402 USA

www.johntrubee.com
johntrb09@gmail.com

TRUBEE RECORDS 7300222



$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$

SPINE COPY:

CONTINUING WHERE THE BEATLES LEFT OFF... GLOOP NOX AND THE STIK PEOPLE
7300222 TRUBEE RECORDS


$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$
LABEL COPY SIDE 1:

CONTINUING WHERE THE BEATLES LEFT OFF...

GLOOP NOX AND THE STIK PEOPLE

PRODUCED AND ENGINEERED BY SCOTT SIMON

STEREO SIDE 1
TR 7300222
1 BIG BLACK TRAIN (4:43)
2 WORLD OF MISERY (3:34)
3 IN LOVING MEMORY (3:22)
4 ELECTRIC LOVE NUDITY SUPREME (5:27)
(BEE W/HALO LOGO)

All Selections Composed by John Trubee
Published by ESCAPE FROM THE EVIL DWARVES, BMI

Copyright P 2015 John Trubee

Copyright © 2015 Scott Simon, Jim Nevius, Bob Sandor, Ken Lawrence, Paula Cohen, and John Trubee

TRUBEE RECORDS,
PO Box 4921, Santa Rosa, CA 95402 USA
www.johntrubee.com johntrb09@gmail.com


LABEL COPY SIDE 2:


CONTINUING WHERE THE BEATLES LEFT OFF...

GLOOP NOX AND THE STIK PEOPLE

PRODUCED AND ENGINEERED BY SCOTT SIMON

STEREO SIDE 2
TR 7300222
1 CRAZY CRESCENT MOON (4:14)
2 WHAT I DID TO YOU (3:31)
3 TIME ON MY HANDS (4:00)
4 BYE TO ME (3:29)
5 EX-LAX SUPERSTARS FROM HELL VOMITING IN ECSTASY (4:31)
(BEE W/HALO LOGO)

All Selections Composed by Jim Nevius
Published by The Diamond Publishing Company, BMI

Except
EX-LAX SUPERSTARS IN HELL VOMITING IN ECSTASY
Composed by John Trubee
Published by Escape From The Evil Dwarves, BMI

Copyright P 2015 John Trubee

Copyright © 2015 Scott Simon, Jim Nevius, Bob Sandor, Ken Lawrence, Paula Cohen, and John Trubee



TRUBEE RECORDS,
PO Box 4921, Santa Rosa, CA 95402 USA
www.johntrubee.com johntrb09@gmail.com

credits

released March 4, 2015

Produced & Engineered by Scott Simon

Jim Nevius—Vocals, Electric Guitar
John Trubee---Electric Guitar
Paula Cohen---Electric Guitar
Bob Sandor---Electric Bass
Ken Lawrence---Drums
Scott Simon---Keyboards, Background Vocals,
Circus Announcer Voice on 'Electric Nudity Love Supreme'
Melvin Belron---Gibberish Rant on 'Electric Love Nudity

Erna Nesbitt—Executive Producer

Recorded August 2011
at In The Bedroom Productions
in Locktown, New Jersey

Mastered by Mark Chalecki at Little Red Book Mastering
Los Angeles, California

Thanks to Bruce Duff at Tone Duff Studios, Hollywood, California for music file transfers & processing

All selections on Side One composed by John Trubee
Published by Escape From The Evil Dwarves, BMI

All selections on Side Two composed by Jim Nevius
Published by The Diamond Publishing Company, BMI

Except
EX-LAX SUPERSTARS IN HELL VOMITING IN ECSTASY
Composed by John Trubee
Published by Escape From The Evil Dwarves, BMI

John Trubee---Cover Photo
Jim Blanchard---Graphic Design
John Trubee---Back Cover Cemetery Photo
Unknown---Gloop Nox And The Stik People Photo
Bob Groat---Outstanding Electric Guitar Modifications
Kent Fosgren---Excellent Amplifier Repair

Jim Nevius—Vocals, Electric Guitar
John Trubee---Electric Guitar
Paula Cohen---Electric Guitar
Bob Sandor---Electric Bass
Ken Lawrence---Drums
Scott Simon---Keyboards, Background Vocals,
Circus Announcer Voice on 'Electric Nudity Love Supreme'
Melvin Belron---Gibberish Rant on 'Electric Love Nudity Supreme'

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about

Gloop Nox and the Stik People Yardley, Pennsylvania

Early 1970's in the Delaware Valley in Yardley, Pennsylvania saw these exdocrius youngsters rehearsing every weekend. Reformed in August, 2011 to lay heavy tunes down on THE NOW GENERATION, them youngsters did real good, I'm tellin' yuh. Jim Nevius—Vocals, Electric Guitar
John Trubee---Electric Guitar
Paula Cohen---Electric Guitar
Bob Sandor--- Bass
Ken Lawrence---Drums
Scott Simon---Keyboards
... more

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Track Name: BIG BLACK TRAIN
BIG BLACK TRAIN

If I die in the mornin’
Or if I crumble at evening time
Would the world roll on as it always does
As if I never had lived?

All our sorrows and struggles
And all our strivings to live
Blow away, dying desert dust
As grains that flow through a sieve

And if you wake up tomorrow
To see your whole life was wrong
Would you still trudge on, a zombie fool
Distracted and deaf to my song?

If all the liars and cheaters
Could shuttup for only one day
Would heaven unfold on this tired world
Would all the children be saved?

It’s been a long time comin’
But I think it’s almost here
I wait outside in the morning mist
A big black train a-running through my head

It’s been a long time comin’
But I think it’s almost here
I wait outside in the morning mist
A big black train a-running through my head

When you crawl in the desert
In distance booming thunder squalls
See all the things for which you wept and fought
Reduced to nothing at all

Dead friends fall all around me
Huge graveyard all I see
Gotta run, run, run to the end of time
Bursting, ecstatic, and free

Bright lights, music, and laughter
The mob, it clamors for more
Until all a decadent frenzy
Of liars, gangsters, and whores

Midnight rain, biking on home
Watched my pennies piss by
Ate hard rocks in a grubby hole
I did what I could to survive

It’s been a long time comin’
But I think it’s almost here
I wait outside in the morning mist
A big black train a-running through my head

It’s been a long time comin’
But I think it’s almost here
I wait outside in the morning mist
A big black train a-running through my head
Track Name: WORLD OF MISERY
WORLD OF MISERY

Whole world of misery
Whole world of misery
Whole world of misery
Makes me wanna crumble and die

Whole world of misery
Whole world of misery
Whole world of misery
Makes me wanna crumble and die

Cry, baby, cry to the night
Cry, baby, cry to the daylight
Cry, baby, cry to the night

All the seas cannot hold all the tears that you cry
All the seas cannot hold all the tears that you cry
All the seas cannot hold all the tears that you cry
Track Name: IN LOVING MEMORY
Instrumental Track
Track Name: ELECTRIC LOVE NUDITY SUPREME
ELECTRIC LOVE NUDITY SUPREME

(Something about being a naked hippy in the desert, wild and free, drinking wine at twilight, crypto-sporidium, vomiting in Julia Robert's face, and vomiting in Gwyneth Paltrow's face. I dunno. You figure it out.)
Track Name: BYE TO ME
It's a requiem for my father. His life in three stages, as a young man, accountable to no one, and then bye to me, on to the next stage as a grown man, marrying, but losing love, seeing the loss and the wake of his errors behind him, then bye to that man. The break is me, how we don't really get to keep those we care about around us. Then the last verse is as an aging man. Where at one time he owed no one, now he owes everyone, including himself. The reality of his mortality has hit him. Then I repeat the bridge. I had seen the death of my second wife in 2010, then my father in 2012. Then we go back to the verse with Churchill and Roosevelt, who were the defining voices in the defining moment of my father's generation. WWII. Then, the refrain 'bye to me' is repeated in a fading voice, as it then fades to a whisper. This is death. Death came to both Patty and my father like so many veils lowered upon them until the last one hushed them forever.

Scott was the one who added the voices, great touch. His idea. Then the refrain at the end. He said that I should use that halting voice to communicate the dying of my father. Scott's direction was brilliant. He said to mimic the voice that Richard Harris used in the film Gladiator, when he was confessing to his son, Commodus, his failure as a father.

https://www.youtube.com/watch?v=ocFalerQUk8

Of course, as can so often be the case, the son's life becomes a carbon copy of the father's. My father had a failed first marriage. His early life was marked by a kind of selfish abandon. His second wife died early, as did mine. I have reached the third verse in my life. I am accountable to so many around me, most notably my own children. I am not my own. I belong to those around me. My mortality is staring me in the face.

I don't know what mix you have, but the one I have on Soundcloud is my favorite. There is no bass on that mix. Also, the guitar arpeggio in the first bridge is not rhythmically correct. I wanted to re-record it, but it's a performance that cannot be duplicated.

Finally, the song is in 6/8. I have grown tired of all the groups who refuse to venture into those other meters. The Beatles played with different meters all the time. What has happened to creativity? Not that there's anything wrong with 4/4, but a songwriter should use other tools sometime. The 6/8 meter invariably lends itself to a drinking song, and it has a built in kind of melancholy feel.

Thanks for the listen. I've been waiting for someone to notice. People have forgotten how to become smart listeners.

Jim