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Hangin' with Arnie

                        Nobody gets hurt when you're hangin' with Arnie
He's on red alert, like the U.S. Army
Big Arnie S!     He's the best!
He got guns.....bombs.....grenades.....rocket launchers.....flame throwers
claymore mines.....lasers!

He shoots to kill, don't clean up the mess
Big boots to fill.....Big Arnie S!
This man's for real.....fists of steel.....arms like Superman.....
Thighs like the Hulk.....butt like Tom Cruise.....he's a cruise missile.....

Nobody gets hurt when you're hangin' with Arnie
He's on red alert, like the U.S. Army
He's the best of the best, tops all the rest
The Austrian John Wayne
This man's a Patriot missile battery.....thermonuclear weapon
Doomsday Machine from the Weapon Shops of Isher
What more could I say about this God in human form?
He's filthy rich.....right wing son of a bitch
Don't hurt me Arnie, honest, I'm only fooling
Laugh, Arnie, please laugh
Have mercy on my body, dude


Guitars:   Philip Gnarly and Tim McDonald (feedback track only)
Bass:   Eric Morton
Drums:   Dean Butterworth
Percussion:   Nicolas Bernardi
Vocal:   Peter Cross
Engineering in LA:   Philip Gnarley, Jimbo Head
Engineering in SF:   Lance Thomason and Jay Bowman
Final Mix:   Mark Needham

Of course, this song is about Arnold Schwarzenneger, who was Belchmeister's favorite at the time, and he asked Peter Cross to write a song with this title. It was during that famous summer of 96. Peter tried, but then couldnt do it. For some unknown reason, the song came to him in January of 97, and got recorded immediately. Peter had no music written for the song, only lyrics when he went to LA to record, and he told the band that he wanted to do an entire song based on the ending to Jimi Hendrix's "Third Stone From the Sun". Of course, Philip, Eric, and Deano picked right up on the idea and cut the basic track on the first take. Philip added the weird sounding effects at the front of the song that keep coming back throughout the song. Once back in San Francisco, Timmy overdubbed a feedback guitar track that worked perfectly over Philip's guitar playing. Peter achieved the vocal sound by using an ancient microphone from the days of pre-TV radio. Nick laid down the percussion tracks, and that was it. Piece of cake.

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