408 songs from Bovitz Studios

...with recent late night contributions from
Gordon Kempler, Sophie Barness, and Daniel ("BC") Barness in Studio "A"
appearing with permission of Barness Records



Work in process

Dodgers v. Braves (slow blues number, waiting for Kempler and Barness)

Dog toy surgery (a trance number -- maybe not Barness' thing)

Julia can really dance (dance tune, waiting for Kempler and Barness)

Ting ding (drifty, waiting for Kempler and Barness -- needs handpan counterpoint)


Recent work from Bovitz Studios

Mixed messages (jazz-rock fusion, with BC Barness on the alto saxophone)

Harp on fire (Kempler on harmonica, BC on clarinet, Bovitz on hubcap, remixed around the campfire)

Foray into a fauré-forêt version 3.0 (handpan from Sophie Barness, clarinet from Dan BC Barness, and orchestration from J. Scott Bovitz)

It is all jazz, right? version 10 (with the dreamy sax meanderings of BC Barness)

Goat Yoga Blues (drums, percussion, horns, Rhodes, a men's choir, with horn stylings from Daniel "BC" Barness)

It just ain't funk (blues with Kempler's harmonica)

Sheltering in Cayman (with a jazzy lead from BC Barness on the tenor sax and BC's hypnotic counterpoint on the bass clarinet)

Polo Norte (Gordon Kempler on guitar and his great-great-grandfather's violin, Daniel "BC" Barness on clarinet and bass clarinet, and Bovitz on foghorn)

Comet 2060 (space drum music with Daniel ("BC") Barnett on clarinet, bass clarinet, and flute)

Keep Your Hands Inside (with the sporano-clarinet and bass-clarinet stylings from Daniel “BC” Barness)

Running with untied laces (a little of this, a little of that, version 8, with the bass-clarinet stylings of  Daniel “BC” Barness and guitar counterpoint from Gordon Kempler)

Funk-a-Groove-A-Delic (blues, lots of horns from Daniel Barness, and session jazz guitar work from Gordon Kempler)

Taking Out the Trash (sax and bass clarinet by the very talented, four-handed Daniel I. Barness, appearing with permission of Barness/Kempler Records)

'Demic Delight (jam session from a smoky 1962 jazz club, bass clarinet solo by Uncle Dan-O-Mite aka Daniel I. Barness)

Chicken weather remix (buzzy but with a beat)


Dance and electronic

Dog toy surgery (a trance number)

Julia can really dance (dance tune, waiting for Kempler and Barness)

Polo Norte (Gordon Kempler on guitar and his great-great-grandfather's violin, Daniel ("BC") Barness on clarinet and bass clarinet, and Bovitz on foghorn)

Comet 2060 (space drum music with Daniel ("BC") Barnett on clarinet, bass clarinet, and flute)

Chicken weather remix (buzzy but with a beat)

Pick your brain for a second (dance music)

Upside down platter remix (electronic dance music)

Testing testing (dance)

She's gotta go (producer's cut, version 4) (dance)

Oscar Sam Victor (voice mail rap)

Yelp called to wish me a nice day (electronic)

365 cheers (electronic)

Creative chaos (electronic)

Micro plumber (electronic)

Cardboard tiara (electronic)

Killer Cornbread (electronic)

Aliens demand: Take me to your boombox! (electronic)

Grasshopper dance (electronic)

It's killing me (infinite electronic drone)

Orphanarium (dance)

Roller inductor (dance)

Nonlinear (electronic)

Buzz Aroma (electronic)

This title intentionally left blank (electronic)

Holiday music overload (drums and bass)

Kind of forever (electronic)

30 MPH spider (dance music)

Trance Express (all synthesizers, all the time)

Rented fingers (dance music)

Insufficient zebras (electronic)

Bumper cars (out of control drums)

199 channels on Mars TV (synthesizers, a few samples from voice over artist Jacques Bolton, and space noises)

True love -- Wednesdays only (synthesizers, electronic drums, and a Coke)

Moth hunt (synthesizers, bass, Space Invaders noises, drums at 93 BPM)

Throbby alien thingie (Karen Reynosa, guest rhythm guitarist, and one throbby alien thingie)

Bad knees (five synthesizers at 99 BPM)

Don't look, don't breathe (no bull frogs or aliens were injured during this recording session)

Digital lock vox (drums and bass)

Song for Carolyn (mixed synthesizers)

No peaches for Daisy (three swirling synthesizers)

Snorkel boogie 3 (synthesizer, recorded noises, and snorkel)

Maybe he just had someplace to go (drums and everything at 100 BPM)

Dinner for 275 (guitar, synthesizers, drums)

Project 269 (Prophet, Moog, strings, and a washing machine at about 120 BPM)

Good to be back (drums, Prophet synthesizer, found noises)

Zombie hospital (drums, synthesizer, police sergeant)

Partial female skeleton dance (organ introduction, drums, machinery, and synthesizer)

Sucker for the salacious (synthesizer warm up exercise)

Scary ice cream (synthesizers, drums, scratching, and such at 120 BPM)

Song warp (drums, synthesizers, and one trained bull frog, at 70 BPM)

Blackberry preserves (drums, fog horn, one-finger toy organ, synthesizer, electronic percussion, and two power chords on a rhythm guitar at 112 BPM)

Muse to me (synthesizer, hand rubbing, simple guitar accent, super fast ping pong bounce)

Trance paste (synthesizers, electronic percussion, and odd stuff at 142 BPM)

The LAPD will be hiring (electronic drums, synthesizers, a few spoken words, police helicopter, siren, and a car crash at 115 BPM)

Commuter nightmare (pulsating synthesizers, pinhead noise, and piano at 144 BPM)

You make coffee nervous (drums, electronic bees, pizzicato violins at 125 BPM)

Oatmeal arpeggio (drums, guitar, mix-and-match synthesizers, and odd mouth noises)

Climate controlled donuts (drums, synthesizers, and electric guitar accents at 110 BPM, with a long coda)

Never pulled his gun (kick drum, synthesizers, minor vocals, and electronic noises at 132 BPM)

Wishful (drums, synthesizers, and a tape recorder at 148 BPM)

You and what army? (synthesizers, electronics, and bits at 108 BPM)

Camp of the Chuckwalla bees (synthesizers at 120 BPM)

She never answers her phone (drums, synthesizers, vocal bits, a touch tone telephone, and a glockenspiel at 120 BPM)

Leaf in the crosswalk (drums, synthesizers, and alien noises at 65/130 BPM)

Housekeeping (drums, synthesizer, organ, piano, and a tiny little man at 116 BPM)

Puny (drums, percussion, a synthesizer hook, horns, vocals by Biff Nosenchuck, and a sample at 136 BPM)

Power lunch (synthesizers, drums, and a Moog at 60 BPM)

33tt (drums, synthesizers, Moog, and female vocal at 90 BPM)

Sunday night deliverance (drums, synthesizers, and one-string guitar at 120 BPM)

Eyebrow takedown (four on the floor drums, three synthesizers, and one looping lady at 136 BPM)

Guard butterfly (drums and dueling synthesizers at 90 BPM)

Frog house music (big beat, synthesizers, frog vocals, vox snippets, and an accordion style coda on the Moog, at 100 BPM)

Alien romance (drums, synthesizer, electronic bass, a little ticky-tacky percussion, and vocals at 80 BPM)

Tickler (bass, tinkles, and synthesizers at 128 BPM)

Flattery is unnecessary (tabla, percussion, synthesizers, strings, and a spaceship at 120 BPM, more or less)

I can't hear you when the dog is barking (big beat, organ, and odd counterpoint at 134 BPM)

Electro-not (electronic beat and such at 95 BPM)

Slump (drums, electronics, and a pool skimmer at 140 BPM)

Jungle fire (jungle drums)

Rhumba-rhumba (background vocals by BCG recording artist, Janet Bonnefin)

Foam party (drums, fast bass line, and synthesizer at 141 BPM)

Bass-like creatures (drums, walking bass, synthesizers, and a two violins at 90 BPM)

One-one (drums, slippers on a mat, fat bass, synthesizer, a girl, and a boy at 120 BPM)

Dog who could kill with the wag of its tail (drums, percussion, bass, synthesizers, and a few lines about a dog at 130 BPM)

Space slugs (synthesizers and drums at 117 BPM)

Rebreather (thick electronic layers and steady drums at 110 BPM)

Our last song (serious drumming and synthesizers at 115 BPM)

Song 150 (beats and a pulsating synthesizer at 125 BPM)

Judicial admissions (drums, bass, organ, and synthesizer at 110 BPM)

Cleaning without judgment (beats, bass, and electronics at 118 BPM)

Tiggle toggle (ice skating music for Andrew at Red Robin, with electronic drums, synthesizer pads, and a weird bell counterpoint, at 136 BPM)

Bleep-o-vator (deep kick drum and bass at 136 BPM)

Downtown anthem (big beat, electronic counterpoint, and weird trance stuff at 140 BPM)

Unanimously pretty satisfactory (drums and bass at 108 BPM)

Electricidad (120 volt beat and drums at 136 BPM)

Nicole's birthday song (big beat, electronica, and low-fi audio at 128 BPM)

Twice is nice (139 BPM, with electronic back beat)

30-second attention span (130 BPM)

If fishes were wishes (weaving synthesizers)

Oh baby (electronic house at 120 BPM)

Spoingy (electronica at 136 BPM)

Rain on the window (dance groove at 115 BPM)

I'm safe (with guest artist Karen Reynosa, courtesy of Fido Records)

126th Street Beat (drums, fat bass, and infectious stutter at 126 BPM)

140 beets and other vegetables (140 BPM slapback)

Electronic pugs (drums, bass, and electronica at 120 BPM)

Spitting lizards (Mr. Buzzy returns at 125 BPM)

State Bar Blues (not a traditional blues song; this is a dance song at 130 BPM, with a chorus of lawyers)

Saturn house party (drums, acoustic guitar, bass, organ, and Saturn's radio transmissions)

Leaky faucet, leaky heart (leaky faucet and heartbeat percussion)

Scratch n' synth (odd vocal samples, synthesized percussion, piano, and bass at 122 BPM)

Mustard nose (scratching, a synthesizer, persistent drumming, and a man from Marrakech)

Squeezy (a salute to disco with a "Moog," Rhodes piano, horns, and 132 BPM groove)

Pizza dough #1 (take-out pizza at 125 BPM, instrumental)

Running flat (groove, bass, organ, and a few odd strings at 132 BPM)

Yo! Mr. DJ (dance and yelp at 128 BPM)

Don't stop dancing (7.5 minutes at 134 BPM)

Dance of the Valentines (big beat with a silly lead)

Seven ball juggler on the party bus ("harpy" dance)

March of the bobble-heads (the bobble-heads are coming)

Engine room dance (hot and noisy)

Percussive persuasion (short house chant at 120 BPM)

Monkey drums (drums for a summer night foam party in Ibiza)

Jammin' in the sky (trance conductor)


Jazz and odd bits

Mixed messages (jazz-rock fusion, with BC Barness on the alto saxophone)

It is all jazz, right? (with the dreamy sax meanderings of BC Barness)

It just ain't funk (blues with Kempler's harmonica)

Sheltering in Cayman (with a jazzy lead from BC Barness on the tenor sax and BC's hypnotic counterpoint on the bass clarinet)

Running with untied laces (a little of this, a little of that, version 8)

Taking Out the Trash (sax and bass clarinet by the very talented Daniel I. Barness, appearing with permission of Bovitz/Barness Records)

'Demic Delight (jam session from a smoky 1962 jazz club, bass clarinet solo by Uncle Dan-O-Mite)

Sound Like This (theramin solo)

The Hold Song (an tribute to Alicia's Cookery & Catering in Brea, California)

Jazz club jam (jazz)

The desk of an artist (swirling guitars)

Nine (jazz)

Bring me my money and pick up Pete (walking beat)

15 99 80 (jazz)

Chalcedony and Iolite -- the Christmas Mix (piano and solo female vocalist)

Last Rabbi Cohen (slow)

Turkey troop jazz scat (dueling vocalists, rhythm guitar, and ear candy)

There's probably some stuff you want to know about (a sales call, put to music)

Au pair (jazz)

Untracked (jazz)

B-29 crop duster (jazz)

Love me squared (rock, with guest artist Karen Reynosa from Fido)

Karen's esophagus (jazz, with guest artist Karen Reynosa from Fido)

Muck in a bucket (Pluto jazz)

Bass guitar wave (jazzy bass and percussive noises)

Alan from Hollywood (comedy)

Smokey blues (Rhodes piano, drums, bass)

Jury duty! What else could go wrong? (slow lament)

Hurtful silence, track 16 (light jazz)

I cannot be the loneliest (slow organ solo, jazzy ending)

Fourth of Tomorrow (funky beat, ELP synthesizer, retro keyboard, police siren)

No eyebrow people (funky beat, big synthesizer bass, over processed singer)

Liver and jam (crazy Hammond B3 groove)

Genealogy happy dance (drum kit, chorus, extras)

Stereophonic cacophony (xylophone, Asian percussion, synthesizer -- light jazz)

Crow (synthesizers, bells, drums, and what not)

Little person, giant, and the lady (a politically incorrect drum solo)

Autistic poet (percussion, chords, and a beatnik)

Must go save the broccoli (chorus, beat, and pads)

Piano dude! (piano, drum kit, strings, and flute)

Fried chicken and assault rifle choir (drums, bass guitar, xylophone, Rhodes piano, Georgia choir, and little processing magic at 96 BPM)

No talent (piano, pizzicato strings, and synthesizer bits at 70 BPM)

Graffiti breakfast (found percussion, drums, rhythm guitar, and three seconds of noisy neighbors at 100 BPM or so)

Not true (a weary soldier's march with piano, electric bolts, a middle eastern bridge, and a sharp kick drum at 60 BPM)

Mail order dental school (drums, bass, piano, vocal, and drill at 110 BPM)

I don't need a boyfriend; I need a restraining order (bongos, drums, synthesizer hook, and a very short vocal)

People, pets, pictures, and papers (a fire evacuation song with drums, vocoder vocals, synthesizer pads, and a hook at 95 BPM)

Echo master (slow guitar and one Space Echo)

Doggie wants a cookie (drums, piano, organ, bass, horns, and a little vox at 90 BPM)

Voices in my head (a Prophet 2008 and a short monologue on the creative process)

Marching band sonata (drums, piano, South American flute, and synthesizer at 100 BPM)

Faster (drums, electronic bass, synthesizer, and a groovy break at 60 BPM)

Biff don't do that anymore (drums, disturbed piano, one note organ, distorted violin, and Moog at 95 BPM)

Love hangover (drums, Hammond organ, synthesizers, saxophone, violins, and bells at a jazzy 63 BPM)

Beat me, make me write bad songs (drums, Hammond organ, Juno, finger snaps, and vocoder at 120 BPM) (title suggested by Biff Nosenchuck)

Number 196 on our weekly countdown of the hits, with a rocket (drums, synthesizers, and competing time signatures at 80 BPM)

Slow down, lover boy (an anthem for percussive organ, swirling synthesizers, and odd noises at 70 BPM)

Going to Burbank (drums, percussion, bass, rhythm guitar, and bamboo flute at 85 BPM)

Popsicle kisses (big drums, enthusiastic piano, a little Moog flute, and poetry in two languages at 85 BPM)

Dramasticate (percussion, odd synthesizer, and effects -- with guest artist, Biff Nosenchuck)

Crush (percussion, B-3 organ, sythesized bass, strings)

In the middle of a wonderful memory (drums, tabla, trombone, a devil dog, and this-and-that)

Voice (drums, a girl, fingernails tapping on the piano strings, and MS-20 pads at 80 BPM)

Bass snoodle (string bass, drums, and a few goodies)

Even a mop can play the piano (piano, mop, rhythm guitar, Moog, drums)

If I'm going 80, please don't tailgate (drums, booty bass, synthesizer)

What the (kick, percussion, organ, and keyboard at 99 BPM)

Triple time boogie (Rhodes, strings, and horns at 93 BPM)

D9-wiggles (piano solo)

Yellow cords of love (jazzy drums at 96 BPM, piano, organ, knock-knock-knock percussion)

Forgetful (pulsing pads, with a cool guitar riff by Biff Nosenchuck)

Please do not disturb the elephant (drums, bass, Wurly, and other at 100.3 BPM)

Mister, don't call me "Honey" (percussion and synthesizer riffs at 108 BPM)

Once more, Mr. Nosenchuck (truck undercarriage percussion, with hypnotic strings by special guest artist Biff Nosenchuck)

Life is a race, but you don't want to finish first (odd rhythm and counterpoint at 120 BPM)

Yeah what (vocal percussion and beat)

Jazzy toy soldier (with guest jazz guitarist, Biff Nosenchuck, courtesy of T-Hunt Records)

She don't talk, but she speaks to me (a short bossa nova)

Rabbit crossing (piano, three synthesizers, drums, and percussion at 89 BPM)

Beatnik bass (piano, string bass, and a broken record player)

I wish it were not so (drums, fat bass, guitar, organ, and a puppet at 85 BPM)

Flat tire polka (hard to describe, exactly)

Thank you, no problem (latin beat)

The time before, before (a bittersweet duet)

How do you spell calliope? (happy interlude with calliope, bed spring, low-fi organ, electronic bass, and traditional percussion)

Funk-bov-itz (strings, rhythm guitar, bass, drums at 105 BPM)

Hypno-tech (house/jazz fusion at 90 BPM, with a guest appearance by Mr. Buzzy)

Lizard walk (drums, bass, horns, and guitar at 85 BPM)

Rod n' Bov (Rod Wilson -- keyboards, bass, and drums; J. Scott Bovitz -- recording engineer, strings, and horns)

Detective show (horns and piano)

Good evening ladies and gentlemen (marimba lead)

Wiggle room (upbeat piano and organ groove)

Murder mystery theme song (television show fare)

Alien angel (a duet with an angel and the devil's right-hand man)

Between the lies (inspired by house music in Puerto Rico)

MacAllister's fantasy (featuring Alice J. MacAllister of the Ashiko Orchestra on drums)

In space, no one can hear you dance (weightless gyrations)

Electric jungle stroll (walking music)

Girl without a D-A-D (never forgotten)

Devil's nursery rhyme (young Hansel in trouble)

That girl can walk, but the kid can count (the devilish walk of a young woman)

St. Thomas love affair (a warm night, full moon, and gentle ocean breeze)

Bongo squirrels (furry creatures on the drums)

Cubana electric (kitchen appliance dance)

Spanish ant farm (a midnight stroll in Barcelona)

Hollywood bass line (big bad bass solo)



Dodgers v. Braves (slow blues number, waiting for Kempler and Barness)

Harp on fire (Kempler on harmonica, BC on clarinet, Bovitz on hubcap, remixed around the campfire)

Goat Yoga Blues (drums, percussion, horns, Rhodes, a men's choir, with horn stylings from Daniel "BC" Barness)

Funk-a-Groove-Delic (blues, lots of horns from Daniel Barness, and session jazz guitar work from Gordon Barness)

I'm sorry (lyrics, vocals, and guitar by Karen Reynosa; strings, piano, percussion, background vocals, and production by J. Scott Bovitz)

Impure thoughts (steel guitar, heavily processed electric guitar, GEO synthesizer, B3 organ, and drum machine at 80 BPM)

Slow crow shuffle (slow guitar solo)

Flat trance recorder blues (pulsating bass, bells, synthesizer, and recorder)

Urgent blues (drums, synthesizers, and an out-of-tune guitar at 120 BPM)

Down and out (a classic blues song -- vocals and guitar by Michael Evans; drums, backing vocals, and popcorn machine by J. Scott Bovitz)

Blues before dinner (synthesizer, acoustic guitar, and "horns" at a comfortable 80 BPM)

Happy puppy ferris wheel (drums, bass, tack piano, organ, and horns)

Hobo stroll (Yamaha acoustic guitar and a folksy vocal)

Doggies in the closet (piano, synthesizer, horns, one door, and two dogs in the closet)

Absence of personality blues (piano, organ, synthesizer, and guitar)

Whose blues and the voodoo hop (blues and voodoo)

Hitchhiking dogs (a work commissioned by a patron of the arts, Scott F. Gautier)

Limousine shoes (piano, fat tone bass, drums, synthesizer, freeway noise, and tubular bells -- mixed in a limousine)

Baseball stadium organ blues (baseball music)

52-second baby blues (52 seconds of 12 bar blues)

Unfinished jellyfish blues (almost traditional blues)

Perfectly "loverly" (Ibanez electric-acoustic guitar and vocal)

Angry bee rag (piano, bass, horns, and one really big bee)

Girlfriend in pinstripes (sung in the style of Hound Dog Engel)

Hummingbird blues (arpeggio blues)

Mayalin's song (vocals and lyrics by Alan Ramos)

Biff's teeny-tiny Texas boogie (Biff's guitar licks, sampled and remixed by Bovitz)


Rock and the weird

5, 6, 7, 11 (two songs in one)

Knot (drums, dive bomb guitar, synthesizers)

Killer Joke (drums, organ, guitars, and honest laughter from a killer joke)

Drumstick charity (guitar and drums)

Reach out (acoustic guitar, lyrics, and vocals by Karen Reynosa; strings, vocals, and production by J. Scott Bovitz)

All about the music (guitar, lyrics, drums, and vocals by Karen Reynosa; vocals, strings, additional drums, percussion, and production by J. Scott Bovitz)

Anywhere (12 string guitar, lyrics, vocals, and bass by Karen Reynosa; secret sauce, vocals, and production by J. Scott Bovitz)

Ketchup in my coffee (drums, glass xylophone, and the lovely voice and lyrics of Carolyn Branson, at 96 BPM)

Lovin' ("Country Bear remix" by Karen Reynosa with J. Scott Bovitz)

Keep coming (Karen Reynosa, produced by J. Scott Bovitz)

I do not feel pretty (Karen Reynosa, produced by J. Scott Bovitz -- adult lyrics)

Tell me (Karen Reynosa, produced by J. Scott Bovitz)

Lazy bee (wicked rhythm guitar, larger than life synthesizer, weird accents, and one lazy bee)

Walter -- big strings remix (folk music, lyrics -- a true story! -- and haunting performance by Lindsay Ransford; production, engineering, mixing, and mastering by J. Scott Bovitz)

Registered contrarian (drums, bass, found percussion, and psychedelic guitar)

Note to self (drums, rhythm guitar, synthesized accents, and vocal)

Funky headphones (drums, buzzy bass, electronic piano, scratching, synthesizers, and vocals from Biff Nosenchuck)

Karen's everlasting love (lyrics, vocals, and guitar by Karen Reynosa; synthesizers, horns, dripping noises, and engineering by Bovitz; additional vocals by the kids; guitar technician and production by Biff Nosenchuck)

Shatter remix (lyrics, vocals, and guitar by Karen Reynosa; drums, synthesized tidbits, and mixing by Bovitz; guitar repairs and production by Biff Nosenchuck)

1969 forever (distorted bass, drums, six string guitar, and rock organ at 85 BPM)

Odd harmonics (electronic bass, twin Moog leads, mini-drum kit, and vox)

In the key of Olga (drums, synthesizers, bass, and a little organ -- with guest artist, Biff Nosenchuck, channeling ELP)

Colonoscopy song (a cappella rendition of a gastrointestinal traditional)

Auto shop dance (empty oil drum, air wrench, oil can, and one customer at the tire shop on a Saturday afternoon)

Duck duck goose (guitar percussion, fretted bass, synthesizers, and a toy piano at 85 BPM)

Spooky patch (drums, funk guitar, clarinet, and alien choir at 112 BPM)

Hip hop cemetery (percussion, organ, and acoustic guitar)

Call me when you get the message (big beat, scratching, bass, synthesized saxophone, tick-tick-ticking percussion, and strings at 100 BPM)

What has happened is happening (again) (electronic synthesizers and a little piano)

Tragedy down at the clown school (60's organ, drums, and bass)

God made me pretty, so I will always get a second chance (theme song for a Hollywood actress, at 93 BPM)

Lime green is the new blue (drums, percussion, organ, clavichord, and whatever)

Crowded solitude (drums, bass, organ, piano, a cat's meow, and a crowd)

What if Jimi played the violin? (drums, bass, piano, and a Jimi Hendrix wannabe on violin)

Prison riot fugue (drums, bass, synthesizers, and a prison riot)

Disco hair (percussion, bass, strings, and a voice box)

Absolutely maybe (drums, organ, and guitar at 80 BPM)

It wasn't about you (slow, sad, end-of-relationship rock song)

Humpback whales in orbit around Pluto (slapping bass in a spaceship)

Urban pirate ship (drums, bass, strings, processed vocals, and a creaking pirate ship)

It reminded me of you (guest vocal loop and a few riffs by Mark Sharf)

No, no, baby, please don't go (she didn't mean anything to me)

Mr. Robot bangs the pipes (and Mr. Robot sings)

Stunk (guest vocal loop by Sofia DeMarco)

Hands off the B3 (70's organ and guitar funk)

Princess groove (hypnotic dance)

Lovers' Kung Fu (classic rock anthem)

Pig and fox sprinkler dance (playful dance tune)

Synco-vision (jazz-rock fusion at 96 BPM)

Congo (drums, organ, and a few buzzy guitar riffs)


Underscore (music for film)

Foray into a fauré-forêt (handpan from Sophie Barness, alto sax from Dan Barness, and orchestration from J. Scott Bovitz)

Ting ding (drifty, waiting for Kempler and Barness -- needs handpan counterpoint)

Keep Your Hands Inside (with the sporano-clarinet and bass-clarinet stylings from Daniel (“BC”) Barness)

Da da dah (electronic music for the credits in a film about Mars)

Fourth on fire (a walking song)

Short lullaby for a restless drummer (as stated)

Irregular robot heartbeat (film credits)

Radio silence (vocals by Jim Tiemstra, the JAT man)

Experimental (underscore)

Pick-ticular (melodic piano)

I remember (a little bazouki)

We all know what happens next (dream)

All the good titles are gone (string quartet)

Lilly's little ditty (the moving song)

Zombie bee (synthesizers, horns, kettle drum)

Benchmark friends (haunted circus introduction, Latin percussion, electronic interlude)

Steaming up the windows (electronics and such)

10,520 steps (synthesizers, odd percussion)

Dogs don't have lips (toy xylophone and a distorted beat at 75 BPM)

Star Ferry light show (electronics, organ, piano, bass)

Monster session (organ, drums, electronic bass, process guitar, skat vox)

Chicken lip stew (drums, strings, synthesizers)

Blind wink (drums, piano, and more)

Go to bed (on the Fourth of Never) (drums, synthesizers)

OMG LOL 73 88 OM (synthesizers, carillon)

Dance with the peach (drums, synthesizers, and alien FM synthesis at 110 BPM)

Orchestral mismatch (orchestra, snare drum, and synthesizer outro)

Bluster and lust (piano intro, pulsing synthesizers, piano outro)

Snowflake on your eyebrow (Karen Reynosa and J. Scott Bovitz)

Ambiguous Samurai (after battle chant)

Bach No. 3 (if Bach were alive today...)

Thumbs in ice water (a musical sketch with drums and synthesizers)

Murder for the credits (drums, piano, female vocalist)

Protoplanetary mosaic (hip hop beat, electronic goodies, and a dreamy chant)

More wire for Grandma (church organ, flute, strings, wind)

Dropout madness (just synthesizer)

250 quartet (just strings)

Clock tease (orchestra, audio tick tock, children's toy, and synthesizer)

In "Yhsoes" (kettle drum, flute, cello, and whatever)

Fido bits (14 women and one drum -- with Karen Reynosa of Fido handling all 14 parts)

Spaghetti western theme song (metal cistern percussion, snare, an old guitar with two strings, and a few seconds of a jet engine)

Secret fishing hole (Prophet, theremin, and synthesizers at 120 BPM)

Robot chat room (robot drone, lush pads, and a funky drummer who dropped by from Studio B -- two songs in one)

My favorite part (percussion, square wave bass, synthesizers, a few odd noises, and a robot voice at 85 BPM)

Slow, sad movie soundtrack (violin, trombone, synthesizer, two-string guitar, and a vaguely foreign vocal)

Tension (alien chorus, Cuban percussion, bass, Bach-like keys, and odd space noises)

Crystal clear, my dear (crystal xylophone, processed strings, slide whistle, cow bell percussion)

Guitar for sale, never used (the last, sad song from an old acoustic guitar with a broken back)

Biff whip -- the Bovitz mix (a little of this, a little of that, at 108 BPM -- with Biff Nosenchuck on vocals, drums, and counterpoint)

Flamenco moment (just acoustic guitar)

Halloween dance party (horror film music -- drums, bones, marimba, scary organ, and a lonely horn at 104 BPM)

Come to visit (drums, strings, and weird noises)

Wouldn't it be fine (slow, gentle guitar fantasy)

Dinner waltz at the local haunted house (big organ, played by a pirate)

Electric bells (bass, bells, and electric shock therapy)

I can't breathe (big kick drum, hi hat, a little electric guitar, and processed strings at 95 BPM)

Toenails too close to the skin (xylophone and synthesizer -- a song about life's transitions -- with Biff Nosenchuck)

Victim of capitalism (kick drum, percussion, electronic bass, synthesizer, and horns at 70 BPM)

Suspicion of happiness (fat electronic bass, underwater drums, and a few notes from an old cello at 136 BPM)

Mercy kitchen (an all electric kitchen)

Wind and water (slow, bass-driven song)

Woodpecker song (woodpecker, strings, and synthesizer)

Tap dancing over a misty rice paddy (chopsticks on a pan)

Prince Snake Charming (distorted rock guitar, bass, snake charmer's flute)

Bachy two (simple acoustic guitar and synthesizer duet)

March of the snow bells (a December march at 120 BPM)

Pizza-cado (at the stroke of midnight, minstrel ghosts wander through a medieval town in Italy)

Surfing on a cloud (an old record evokes a lover's daydream)

Butterfly with a mission (organ gone wild)

The wind speaks to me (sax and drift)

Farewell to a Pope (a few words in Latin)

U.S. Trustee trance (electronic beat)

24-string symphony (12-string guitar duet)

One-eyed Bill's dog and cat circus (I am confident that no dog or cat was seriously harmed during the recording of this song)

Underwater holiday (happy fish)

Those ladies can dance! (thump and bump)

Laser light show (music for the planetarium)

Ice giant (a winter walk)

Mixing bells (rhythm and bells)

Mountain meadow picnic (a flute on the breeze)

Sunday showers (soft rain and a hot shower on a lazy Sunday)

Blue moon gypsy caravan (slow dance of the veils)

Chalcedony and iolite (acoustic guitar stuff)

Flight of fancy (a duet for piano and clouds)

Lunchtime in Tangier (snake charmers, merchants, and locals in the Kasbah)

Circus 27 (drunken circus band waltz)

Deep forest 49 trance (headphone test)

Spring thaw (laughing Larry's last ice fishing expedition)

Circus dream (was it a dream?)



Fins on that girl (synthesizers, a lady, and a gentleman, co-written with Karen Reynosa)

Furry messenger (with guest artist Karen Reynosa from Fido)

Sunday wish list (piano and Sunday musings)

Booster the cat (big drums, synthesizer, and cat vocal at 110 BPM)

Cloudy girl (vocals by Max Chacon and Alisa Chacon)

341(a) rap (parody of a silly witness set to a latin beat at 113 BPM, lyrics by Michael T. O'Halloran)

Cell phone song (hip hop beat, big kick drum, cell phone, and rap vocals at 85 BPM)

Pizza dough #2 (take-out pizza at 125 BPM, "vocal remix")



Church organ (a tiny horror film)

Um ha ha (candidate for world's shortest song)

Nasty two bar groove (a two bar bass and drum loop)

The fine print

J. Scott Bovitz (bovitz@bovitz.com) authorizes you and your grumpy lawyer to download, copy, file-share, trade, distribute, post, modify, sample, remix, display, and perform the original music on bovitz.biz for your personal and non-commercial use without advance notice or payment of royalties. All music on bovitz.biz may also be used in student films and podcasts without charge. But, please give credit to J. Scott Bovitz (and his guest artists, if any) in your film, on your web site, in your publication, in your podcast, and/or at your ice-skating performance. Other rights to these songs are reserved; this license is not exclusive and may be revoked at any time. Inexpensive commercial licenses are available; please contact Mr. Bovitz (bovitz@bovitz.com) with your license request.

J. Scott Bovitz was honored to have served as the recording engineer for the Los Angeles Lawyers Philharmonic, its chorus (Legal Voices), and Gary S. Greene, Esq.'s Big Band of Barristers.

For more about musician/composer/producer, photographer, and bankruptcy attorney J. Scott Bovitz, please go to bovitz.com.