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scalziwhatever_feed) wrote2025-07-07 04:03 pm
Dead Rats Don’t Fly: Finally! Out In the World!
It’s 1987 and my friend Tommy Kim has an idea to make his college applications stand out from the crowd: In addition to the usual essays, grades and test scores, he’s going to include a cassette of songs he’s written, performed by a band he put together, and professionally produced in an actual studio. The band he put together included a bunch of friends and schoolmates, including me on drums and my pal Kevin Stampfl on bass. Our name: Dead Rats Don’t Fly, or “DRDF” for short. Why did we call ourselves that? Look, pal, it was the 80s, okay. Lots of things didn’t make sense. The four-song EP we cranked out in two days of studio time was called 327, named after Tommy’s room number in the Holt dormitory at Webb.
So, how was 327 as musical statement? Well, it is exactly the music that you’d expect from a bunch of rock-loving 80s teenage dudes of varying musical abilities hastily tossed together into a band with only two days of studio time at their disposal. Are the songs… good? With all love: No. In the performances, can you sense primordial musical talent waiting for its moment to arrive? Also no. Could the drummer keep a beat without speeding up? I mean, sometimes? Tommy did get into college at least one place, so it did what it was supposed to do. Otherwise, it’s a kind of a mess.
But I think it’s an endearing mess, and at the time, waaaaay back in 1987, when we got our band copies of the EP (on cassette! It was the 80s!), we thought it was pretty damn cool. Kevin and I drove around in his Mustang, listening to the thing, kind of dazed that we had actually been in a studio, and that music we made had been committed to a permanent medium. 327 isn’t exactly good, but 17-year-old me was still proud of it, and I had a blast playing songs with my friends. And that was a good thing.
(It also allowed me to play a great prank: when Steve Shenbaum, one of the singers — yes, we had two — arrived at Northwestern for his freshman orientation and met his dorm’s resident assistant, the RA said “Steve Shenbaum? Of DRDF? Dude, that’s my favorite band!” and all the upperclassmen in the dorm were able to recite the EP’s lyrics to him. He was amazed, as he recounted to me a couple days later when I called him to see how his college experience was shaping up, and eventually it was my giggling into the phone as he told me about it that revealed that I had called his RA a day before he showed up to set the bait for him. It was delightful. I believe Steve has forgiven me. Probably.)
I misplaced my 327 tape years ago, and of course these days I don’t have a cassette player anyway, and for years the EP passed into myth, and then into legend (for, like, the extremely limited number of people who know the band members and/or ever heard the cassette or heard DRDF play live at our single concert). Then a few years ago Steve sent me an MP3 rip of his cassette of 327 (see? I told you he’s forgiven me!) and I had it again. I listened to it! It was still terrible! Nevertheless I took one of the songs from it, called “It’s a New Reality” (I wrote the lyrics for it, you see), cleaned it up slightly with Logic Pro, and put it up on YouTube. A fun, or at least nostalgic, time was had by the 1.6k people who listened to it since I posted it.
But what of the rest of 327? Well, it’s a few years later now, I’m somewhat more proficient at musical production, and music recovery tools are better these days, so you know what? Fuck it, I’ve gone back and rehabbed the entire EP now. I went in, stemmed out the vocals, drums and other instruments, cleaned and brightened them, moved around some of the bum notes to get them (mostly) on key, sonically painted over the clicks where I hit my drumsticks together, and in one place patched a place in the recording where a tape head clearly jammed up, leaving a blank space in a song, pasting in the keyboards and adding a bridge vocal.
The cleanup has reveal 327 as a minor classi — no, actually it hasn’t, it’s still a bunch of 80s kids bashing together tunes on a tight schedule with more enthusiasm than actual talent (well, the guitarist, a ringer Tommy brought in named George Huang, was actually talented; he was our age but had clearly been playing for years. The rest of us? Hey, we tried!). Also, it wouldn’t have done to try to erase every artifact of its 80s amateurishness, and I’m not that good an engineer anyway, so there’s still tape hiss (and lossy MP3 simmerwarble), compressed dynamics, variable tempos and other evidence that what you’re hearing was hauled up from the subterranean depths of four decades ago. Don’t kid yourself. If you’re listening to this, it’s out of curiosity more than anything else.
Which is fine! And better than fine! 327 (now named 327/38 to note that it’s been 38 years since we got together to make this — actually maybe 39, since I’m a little fuzzy on the exact dates, but it hardly matters now, so I’m sticking with 38) is an artifact of another time and place, when hair bands ruled the earth and teenagers made their music fast and dirty in studios rather than on their laptops. It wasn’t a better time (I like making music on my laptop, thank you!), but it was a different time, and it shows. We had fun, and that was its own excuse. Plus Tommy got into college!
Enough with the liner notes, here are tunes. Note that on the original 327 some of these songs may have had different titles, but I can’t remember what they were. It’s been a while, okay?
One Hit (To the Body): If memory serves correctly, this is a song Tommy wrote about being nostalgic for a bunch of friends at… summer camp, I think? There’s a tape warble in the middle of the song that I left in because I don’t how to fix it, and also it adds a sort of verisimilitude to the 80s experience, that horrifying moment when you wonder if your tape player is going to eat your cassette. 80s kids know this pain.
It’s a New Reality: Our hit single! I wrote the lyrics imagining David Lee Roth singing it (the arrangement in my brain was different than it is here). Tommy wrote the bridge about rock and roll being in our blood, because we needed a bridge. There are some very 80s guitar solos in here. Thank you George, wherever you are! You’re probably a doctor now or something. But you could rock back in the day.
Tears Go Rolling: The album’s “epic,” with two lead singers, different parts in entirely different tempos and soaring guitar solos designed to wrench the lighters out your pocket to wave in the air. Yeah, the 80s were all about the epic. This is the song where there was blank spot in file and I had to patch it. I nailed the instrumental patch but you’ll probably be able to tell where I dubbed in my voice. Which is okay! It doesn’t have to be seamless! I do enjoy the idea that 56-year-old me is collaborating with 17-year-old me. Hello, 17-year-old me! Enjoy your hair!
Pauline: The opening guitar riff feels kind of Red Hot Chili Peppers (in contemplative mode), and then the middle the guitars go a little Johnny Marr. However, don’t actually expect either RHCP or Smiths! The guitar is leading down you a path! The song itself is going somewhere else entirely!
There, I hope this musical experience has been everything you’ve hoped for and more. Also, surprise! 327/38 is also available on streaming. The long-lost EP absolutely no one was asking for is now everywhere! So now you never have to be without it. Ever. And thank goodness for that.
Now, for the sake of completeness: Credits!
327/38
Originally produced by Tommy Kim, additional engineering by John Scalzi
All songs Tommy Kim except “It’s a New Reality” by Tommy Kim and John Scalzi
Chris Godfrey: Keyboards
John Herpel: Guitar
George Huang: Guitar
Scott Moore: Vocals
John Scalzi: Drums
Steve Shenbaum: Vocals
Kevin Stampfl: Bass
You may ask: Will we ever get the band back together? Well, if Spinal Tap can do it after 41 years, it’s not out of the question. Maybe Tommy needs tenure.
— JS
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