Neil: [TWIN INFINITIVES] was recorded in San Francisco. We started rehearsing with a
new band (Pat Johnson and Tom Rafferty) but that didn’t really rock, we didn’t really get
along — probably due to drugs and booze. I taped a few rehearsals on a good reel-to-reel,
though, and that band did manage to record a couple singles for Drag City.
As in New York, things fell apart — and in doing so, created possibilities.
Neil: When we got to doing the LP it was just a duo.
Jennifer: The dynamic duo…we could fly high and save people.
Neil: We wanted to let things happen. I took all the tapes I had: rehearsals, studio stuff
that survived, other random shit like shortwave recording etc and cut that together in a
long collage. Then I broke that into short segments arbitrarily, about the length of a good
rock song. We dumped those segments onto multitrack, called them songs, and just
started putting little patchwork bits here and there for the next year and a half or
whatever it was.
Jennifer: If I wasn’t on my feet I was on my knees.
Like most master plans, the construction of Twin Infinitives belied the listener’s
assumption of some kind of inter