From the recording IT MUST FEEL GOOD



(Human, wandering about the Wilderness of Society)
"High above my head
The eagle spreads his wings
With poison on his beak
Deceitfully he sings

High above my head
With a scroll in his claws
He starts his descent
Down on my flaws"

(Winged One, perched on the ledge overlooking the Wilderness of Society)
"Oh Wicked Man below me
You never leave the ground
And the wind is softly singing
But you never hear a sound"

(Spirit of Desolation, floating next the Winged One)
"It must feel good to be in pain
It must feel good
It must feel good to hold your head in shame"

(Human, wandering about the Wilderness of Society)
“Far below my feet
Crawls the might worm
Digging for the surface
Like an egg driven sperm”

(Scaled One, winding through the grasses on the edge of the Wilderness of Society)
"Hissing in my sleep
Slithering in my dreams
A million mouthless voices
A cacophony of screams"

(Spirit of Desolation, floating over the Scaled One)
"It must feel good to be in pain
It must feel good
It must feel good to hold your head in shame

It must feel good to be in pain
It must feel good
It must feel good to hold your head in shame”

Human, Winged One, and Scaled One, repeating after the Spirit of Desolation
“It must feel good"

(Human, pressing forward in the Tunnel of Perpetual Travel)
“Tina, you’re going the wrong way”

c1995 by Wishnefsky

Wishnefsky – vocals, electric guitars, synths, bass, tapes
Todd Jameson – vocals, synths
Dave Rodgers – drums
Tina LaMonica –Human pressing forward the wrong way in the Tunnel of Perpetual Travel

When we recorded the songs for Letterbomb, we started to introduce more of an edge into the music. We also started to experiment more with creative sounds and textures. A certain group of songs started to take on lives of their own. It Must Feel Good was one of them.

The fast guitar part in the intro and outro was something that I wrote messing around on the guitar. It never sounded right to me when I played an electric guitar through an amplifier. However, when we employed the old punk rock trick of plugging an electric guitar directly into the board through a distortion pedal – eureka! It finally sounded right.

I taped the voices in Paris in 1994 on my trusty video cam. One voice is the taped narration for a slide show exhibition in a dark, musty, scary, ghost-inhabited room in the crypt of Basilique du Sacre Coeur (Church of the Sacred Heart) on Montmartre Hill. Another voice is the conductor on the Paris Metro. You can hear the buzzer warning that the train doors are about to close. The drumming at the end was a street musician in a Metro station. If you listen closely, at the end, you can hear me telling my wife that she was going the wrong way.

I originally sang the chorus, but it never sounded right to me. Todd, on the other hand, was perfect. He really laid into the performance.

Mixing It Must Feel Good was a complete nightmare. We never got it right, or, at least, never to my satisfaction. The version you hear now was the best we could do. This is a perfect example of a Jabberwock song that would have benefited greatly from the technological advances in the last decade.