Circles Super Bon Bon…

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1. The parts about Soul Coughing in my memoir, The Book of Drugs, were a big fat ball of darkness. After a long, arduous book tour, reading these parts to audiences, I sat down with an acoustic guitar and picked through them. I found myself wanting to figure out what I meant, who I was, where I was when I wrote the songs. I wanted to separate the songs — not the recordings, but the songs — from the darkness.

2. These songs are as I meant them to be, when I wrote them, in the ’90s: some are club bangers, some are pop songs; in general, they’re bigger, heavier, cleaner, funkier, more streamlined than the originals.

3. There are videos of me performing two acoustic versions currently up at One is “Circles,” which anybody can watch; the other is “Super Bon Bon,” which is only available to people who pledged to the crowdfunding campaign.

4. People can still pledge, if they want to see the videos — there are many more coming, before the album comes out. Some of them will be Soul Coughing songs that aren’t on the album. There are also mini-documentaries of every day in the studio, from the first demos to the final mixes.

5. I was doubtful of crowdfunding, but the fans jumped in fast, and the entire album was 100% funded in less than 16 hours. Really an explosive success.

6. My favorite songs on the album are the ones that, when I wrote them, I envisioned as club bangers — I’ve finally gotten to make them into what I heard in my head. I spent a lot of time in the ’90s in dance clubs — house, hip hop, and techno music in New York in the early ’90s, big beat and drum and bass in London in the mid-’90s. I wrote melodies on the dance floor, singing snippets of lyrics to myself, then went home and wrote them down as the drugs were wearing off.

7. My prime collaborators were the hip-hop producer Good Goose — whom I met via my videographer Meg Skaff’s band, Hand Job Academy — and the upright bass player Catherine Popper, whom I’ve known for years. They’re both Jedis. My sonic obsession, when I was 22 and trying to start a band, were the huge beats and the omnipresent upright bass on the great hip-hop records of the time.

8. I’m really proud of the sampling work I did on the album — lots of disembodied voices and weird sounds. It’s always made me sad that I never got much credit for the samples I brought into Soul Coughing.

9. I don’t know that I’ll ever dig the Soul Coughing recordings, but I’ve found my way back to the songs.