Ride the Tiger
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LP/CD Coyote Records/City Slang (TTC 8676) 1986
LP/CD Matador Records (OLE-205) 1997

1. The Cone of Silence (realx)
2. Big Sky (realx) (mp3x)
3. The Evil That Men Do (realx)
4. The Forest Green (realx)
5. The Pain of Pain (realx)
6. The Way Some People Die (liquidx)
7. The Empty Pool (liquidx)
8. Alrock's Bells (liquidx)
9. Five Years (liquidx) (mp3x)
10. Screaming Dead Balloons (liquidx)
11. Living in the Country (liquidx)

Bonus tracks only on CD:

12. The River of Water (liquidx)
13. A House is Not A Motel (liquidx)
14. Crispy Duck (liquidx)
15. Closing Time (liquidx)

Notes: Track 2 is a Kink's cover. Track 7 is a Yung Wu (Feelies) cover. Tracks 12 and 13 are from The River of Water single. Tracks 14 and 15 were recorded live in 1996, track 15 is Scott Walker cover

Details from Matador's Annotated Discography:

Dave Schramm: I remember being in the studio in Boston and hearing that the shuttle blew up, and how weird that day was. Sleeping on Byron Coley's floor, eating some strange rice dish he cooked up. Working on "Alrock's Bells," one of my favorites, and finally hearing Ira's vocals clearly for the first time. Hearing the words clearly for the first time, and, with some elucidation from Ira, realizing that he means PANTS. I knew who Alrock was. A local Hoboken thrift store guy. And all this time while we were working the song out I had been trying to get bell-like sounds out of my guitar, like really trying to play that angle up. After my revelation (who can blame me for not hearing the words clearly? - in those days Ira often didn't even finish the words to a song before we played it live - he just sang nonsense syllables to fill in the gaps). I thought it was even cooler to "play up the bells angle". So we ended up with that wild little grandiose instrumental part in the middle of the song, with speeded-up and tuned-down, slowed-down guitars and steels everywhere. What fun. I don't know if Ira and Georgia still like that part. Hope so. What's on the record is actually a much less full-blown thing than what we recorded, thank god. There were even more wacky sounds in there that we took out. I was disappointed at the time, but luckily, cooler heads prevailed.

Clint Conley: Right out of the box, I earned my handsome producerial remmuneration by detecting a slight but profound misreading of key notes in the Kinks' "Big Sky." Disaster was averted, a career launched.

The sessions were free of the tantrums, tawdriness, and extravagant excess that I'd been told to expect from YLT. The sessions were also free of promised money from Coyote Records, which brought forth an eviction notice half way though. I would have to say my greatest contribution to the making of RtT was a temporary cash infusion. The recording was completed, the record released, and soon what would come to be known as the Great Punk Bull Market was off and running. Coincidence or catalyst? Let history judge...

Our engineer was extremely patient and helpful, given our limited knowledge of studio ins and outs. But he was sort of a normal human from the music industry. So we were from different planets. He kept saying he heard unacceptable tempo changes. Variations that were completely undetectable by us punk rockers. I think by the time we packed out we'd successfully lowered his professional standards.

This was my first gig as a hi-paid session-man bass player. Coming at pre-existing music and creating my part was a fun challenge and different from my experience in Mission of Burma. But my contributions on the low end led to some moments of high drama. I thought I had come up with a cool pattern, sort of plain and structural, for my big bass showcase solo in "Forest Green" (?) but Dave Sch. couldn't stand this little squiggle I put on the end of one of the notes--one of those half-step squiggles you hear all the time with the funk bassists. Man I love those little squiggles. And the guys in Burma would never let me do them either. But Dave's disgust was so palpable, the look in his eyes so resolute, I knew then I was learning a brutal first hand lesson in the power of the Artist over the hi-paid session man. I swallowed up my little piece of self expression and did a total cave.

Dave Schramm: What else? Well, on "Screaming Dead Balloons" I remember us trying to get the wacky guitar solo at the end to feel right, and it not happening, over and over. Then it occurred to me that I was attempting to fit all the little notes in nice little cubby holes beatwise, and that's why it sounded stiff and unimaginative. So we recorded the next take and had Clint turn off my headphones once the ending started. That worked fine, and if I'm not mistaken we used that very next take on the record. I remember Georgia first singing along with the tracks, incredibly fucking softly, and how cool it sounded and everybody going wow! wonderful. Like on "Big Sky" and "Alrocks" and singing along with her on "Pain of Pain".

Georgia Hubley - Drums
Ira Kaplan - Vocals, Naive Guitar
Mike Lewis - Bass on 1, 2, 3, 5, 6, 9, 10, 14, and 15
Clint Conley - Bass on 4, 7, and 8, Producer
Dave Rick - Bass on 12 and 13