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Skeleton Crew® New Single | Faith

Skeleton Crew® New Single | Faith

Detroit (November 11, 2010) – On November 11, 2010 Skeleton Crew® will release their first single, “Faith,” on their own recording label, Skeleton Crew Music. The new single is available for digital download on iTunes,, CD Baby, ReverbNation, Nimbit and most popular digital music download sites. “We’re excited about taking control of our music catalog and how it is presented to the public,” said William Pilipchuk, Skeleton Crew® lead singer. “We’ll be following this release up with a re-mastered version of our debut album “pre-historic…dig!,” a collection of un-released demos and new music in 2011.”

Record Producer, Marc Pastoria

Record Producer, Marc Pastoria

“Faith” was produced by Grammy® Award winning record producer Mark Pastoria (for his work on the Luther Vandross Tribute Album with Aretha

Author, Mitch Albom

Author, Mitch Albom

Franklin) and recorded at Harmonie Park Studios in Detroit, Michigan. The song was originally released as the band’s contribution to the Christmas in Detroit 3 project. Proceeds from Christmas in Detroit 3 went to author/columnist Mitch Albom’s S.A.Y. Detroit Charity to help the homeless in Detroit. “’Faith’ is still available on Christmas in Detroit 3,” adds Pilipchuk, “and we encourage everyone to purchase that incredible recording at” “Faith” single cover photograph by artist Julio Pallone.


This not-so-stereotypical Detroit band has enjoyed a wealth of accolades bestowed on them by their hometown in recent years. The band garnering top honors at The Motor City Music Awards as “Band of The Year” and pre-historic…dig! was named “Best Pop/Rock Record.”

Skeleton Crew® was the first Michigan band to release an “Enhanced CD,” technology that combined video and computer interactivity in addition to the music tracks. “pre-historic…dig!” was also one of the first “Enhanced CD” releases in the country, even in advance of enhanced products from the Rolling Stones and Madonna!

As performers, Skeleton Crew has opened shows for such diverse acts as: The Rembrandts, the Smithereens, Robert Palmer, Todd Rundgren, Tesla, Kenny Loggins, Foreigner and Eddie Money. Venues have ranged from 2000-seaters, to the outdoor DTE Energy Music Theatre in Clarkston, Michigan, Tiger Stadium in Detroit and The Palace of Auburn Hills arena.

Skeleton Crew® also merits a musical footnote in the career of superstar Beyonce Knowles as being “that scary band” that defeated the then 12-year and her group Girl Tyme on Ed McMahon’s Star Search.

Connie Marshall-Rautenberg | Applying Skeleton Crew Tattoo

Connie Marshall-Rautenberg | Applying Skeleton Crew Tattoo

Connie Marshal Rautenberg can be considered either the sixth or seventh member of Skeleton Crew depending on which configuration of the band you discuss. Over the years Skeleton Crew has performed at a select few weddings that has earned the band the additional honor of “Wedding Band!”

When we were asked to perform at our “Harmony Partner’s” wedding to a great guy and great musician no less, Art Rautenberg, we were honored. But we were totally not prepared for the surprise Connie had in store for us!

Connie Marshall-Rautenberg | Skeleton Crew TattooConnie has been true blue Crew since day one and our legacy owes a large part to her incredible efforts on our behalf. So I guess it really shouldn’t have come to much of a surprise when Connie revealed underneath her wedding dress the glorious-to-behold Skeleton Crew tattoo emblazoned on her ankle!

Connie was gracious to supply us with photographs of her getting tattooed along with some pictures of the band performing “Siren Song” and “Faith” at her and Art’s wedding held at the stately Detroit Athletic Club. A splendid time was had by all!

A Picture Is Worth A Thousand Words

Learning, coincidence and reconnection.  Sometimes a unique series of events come together to produce lasting memories.  If you’re lucky, you actually get to see how these events continue to connect and expand into even more unique remembrances.  And sometimes these recurrences excite suppressed yearnings.

Learning So it’s another Friday morning, I’m an AV engineer at GTN/CSG and checking the entertainment section in the newspaper before actually doing any real work.  Jim McFarlin writes that a new local band called Skeleton Crew is playing tonight at the Wagon Wheel in Troy.  This band is made up of some musicians that I have previously run sound for.  Jim calls their music “power acoustic”.  Geez, it’s been at least 4 years since I’ve seen Chris Badynee (ex- Cadillac Kidz bassist/songwriter), Russ Epker (ex- BSA guitarist) and Bill Pilipchuk (ex- BSA vocalist/songwriter).  Maybe I’ll go.  Ah, I don’t know…. Well, Darlene (my wife) probably won’t want to go since she has to get up early for work.……Ah, I don’t know, after all, it’s just the Wagon Wheel.  Never ran sound there, it’s not exactly a rock joint.  Large painting of Diamond Jim Brady on the outside.  Oh well, better get some work done…….

Later that day, I run into Gary Pillon, the godfather of remote audio, playing with this weird microphone.  He says it’s a prototype stereo sound pressure mic from Crown®  called a SASS-P MKII®  (Stereo Ambient Sampling System).  This updated mic hasn’t yet been released (its serial number is 0003), and he tells that he’s been testing it out on classical music and choirs.  He says it works great for getting that live acoustic sound of the room.  Crown® has loaned it to him to try, all they want is informative feedback, and maybe some sample recordings.


What the hell, if you don’t ask, you don’t get.  “Hey Gary, how’s about I try it out on a bunch of local rockers doing an acoustic gig tonight?”  “Sure”, says the big man, “you can also use my new portable (TCD-D3) Sony® DAT recorder and some headphones.  Just take some notes and bring it all back Monday.”

It’s 5 o’clock and I’m outta there.  I roll home eat dinner, play with Chelsea, our 2 year old daughter and chat with Darlene, my again pregnant wife.  After they both go to bed, I play around with the gear for awhile, then get ready to go to the show.

When I get to the club, the place is jam packed and the boys (Bill Pilipchuk, Scott Christy, Dan Hess, Chris Badynee, and Russ Epker) have already started.  It must be 85 degrees and 90% humidity in the place.  Humidity has a small, but measurable effect on sound speed (causing it to increase by about 0.1%-0.6%).  Nothing like a hot, sweaty, smoky, dimly lit crowded club- this is my idea of a perfect combo for any show.  It’s what Dave Rat calls the Thermodynamics of a Rock Show.

Their front of house (FOH) engineer, John Wysk, a fellow soundman in the Detroit scene for Toby Redd, and I have worked many a show together.  His mix is perfect and the place is getting more crowded by the minute.  I see many friends have arrived to cheer the boys on.  In between songs, and after I buy him a beer, I tell John about the portable recording gear in my car and ask if it’s ok to give it a shot.  “Go for it, man.  Better get a spot quick, looks like the room’s gonna be too tight to move soon.”  I tell the giant Bouncer I’ll be right back, just need to get some stuff in my car for the band.

I grab the gear, return to the entrance.  Man, must be 40 people in line waiting to get in.  Screw it, I push my way to the front carrying the gear.  As soon as I get one foot in the door, the same Bouncer places his huge hand on my chest, stopping me dead in my tracks.  Listen, 155lbs of a long hair soundman ain’t nothin’ next to a 250lb ex- linebacker.

“The place is too full, you’ll have to wait in line with the rest.”

“What the f…  I just told you I was going to my car to get some recording gear.”

“It’s too packed, and the owner just told me not to let anyone else in until some people leave.”

“Dude, I just left, and now I’m coming back.  Christ, don’t you remember me.  It’s not like there’s anybody else with a handlebar moustache that just left to get some audio gear out of his car.”

“Sorry man, I can’t do anything about that, right now.  You’re gonna hafta wait like–”  Just then, the song ends.  Again, if you don’t ask…  (Holding up the gear) “John!  Hey John!”  Wysk nods to the Bouncer, who concedes (not without crap from everyone else waiting in line).

I setup as quick as I can.  The mic is on a stand (thanks Gary!) about 40’ Stage Right of the band and 6’ from the floor.  I set levels on the DAT and cross my fingers cause the headphones aren’t loud enough to really monitor with.  The boys rip through 4 tunes (In Another Life; Don’t Look Back; One Last Chance; Since I Met You) before taking a break.  Geez, I thought Bill’s voice was going to plunge the recording into digital overload on “One Last Chance”.  That dude sure has some pipes!  Good thing I was visually monitoring levels.  And who the hell thought of covering a Hermione Gingold tune?  Brilliant!  It’s a good thing it wasn’t “The Borgias Are Having an Orgy”.

Holy Crap!  Now that I’m not so focused on the recording, I realize that the place is about 100 degrees with 100% humidity and about to burst at the seams.  I’m in the middle of a human car wash, without any protection for myself and the gear, and if I don’t move to some place safe, I could really be in trouble.

I move the gear next to John’s FOH console, buy him another beer, and promise not to get in his way.  The mic is now 55’ from the stage, about 5’ from the back wall, and 6’ from the floor.  Not exactly ideal, but at least it’s a drunk proof zone (I hope).   The boys come back on for their last set.  The place is so packed that Bill announces to the people still waiting in line that he will come outside and sing if they don’t let everyone in.  The boys and the audience are thoroughly enjoying and playfully interacting with each other.  I cross my fingers that the Crown® mic is doing its job.  Everything is going smooth for 4 more tunes (Sentimental; Siren Song; Sea of Jealousy; We Ought to Know Better), when the batteries start to poop out as Chris begins to do “God Loves George Jones.”  Thank God I’m not in the middle of the audience as I struggle to get the dead Duracell’s replaced, just in time to catch the end of the tune.  Dang it!  Shoulda checked the voltage levels before leaving the house.  Fresh batteries allow me to continue as the boys pull out another 4 to close. (Excuse Me Sir; Paper Promises; Cry Myself Dry; Freedom On Your Mind).

At the end of the show, the boys go into the crowd to meet & greet.  Rich Nelson from BSA and I try to listen to the playback, but the noise floor in the club has to be 90dB.  If I push the monitoring level too high on the DAT, it sounds distorted.  John makes me promise to get him a copy.  Hopefully I can come through.  I try listening via headphones on the way home, but the nuances of the recording are lost in the car road noise and my tinnitus.  Man, have I just wasted my time, and dented my rep?  Oh well, it was a memorable night either way.  I’ll just hafta wait until Monday to give the tape a listen at the GTN studio with Gary.

That Monday afternoon I hookup with Gary.  We give an initial listen, but he has other work pressing, so I leave a few blank cassettes for him to make copies.  The next day (October 8th – for the significance of this date, read on), I pickup the cassette copies.  The quality is pretty good, except for the area where the batteries died.  The mic captures the essence of sitting in the audience better than anything else I’ve ever used.  We both agree that the mic seems to work best from the first position.  He asks if he can submit examples of the tunes to Crown®.  I fill out the mic position info, attach it to a cassette copy of a few of the tunes, then sent it on its way.  A few weeks later I received a copy of the Crown® SASS Demo CD as a thank you for my input.  Gary went on to design a surround sound rig using two SASS-P MKII® mics, and Crown® gave him two free mics for his help.  He still uses them to this day.  I’ve used this mic to do a 3 day national college marching band competition, as well as some High School marching band recordings.  Worked great every time!

Fast forward a few weeks later.  Skelton Crew has another gig, so I drop off a cassette copy to John, buy him a couple of beers, and stay to enjoy the show with my lovely wife Darlene.  A few months later, I get a call from Skeleton Crew asking if I can run sound for them.  In 1992, I was slowly removing myself from the scene, only working gigs for special friends.  Chelsea, our two year old daughter was my main focus, and our second daughter Hailee was on her way.

“John’s not available.  Can you work the next few gigs?  And, oh by the way, we now have a drummer.”

“Sure, why not.  But, are you sure?  I mean, I don’t exactly have a light touch and I might tend to Rock it up a bit more, especially now that you have a drummer.”

“We trust you.  Please help.”

So I did.  Filled in for John for about 6 gigs.  It was a blast, but I really had to work to control my volume and keep a ‘light touch’.  The boys were handling the dynamics well enough by themselves, and adding anything major really took away from their ‘feel’.  Back then my mix was about punch, shock & awe – with vocals always wet & on top.  Every once and awhile Darlene & I would go to see them when John mixed.  I always thought John did a better job than me, a ‘more refined’ touch.  Some soundmen just fit well with certain bands.  Me, I always seemed to do best with power pocket drummers and interesting lead singers (Rhythm Corps, Via Satellite, Cadillac Kidz, the Roommates).  And with Adrenalin, I could vibrate the prosthetic leg of their follow spot man Tony V every time (and that was with the guitar leads, not just the kick drum).

Reconnection After the birth of our second daughter, Hailee, I was completely out of the Rock n Roll business – focusing more on TV & recording studio design.  Chris called me one day to let me know that Skeleton Crew was competing on Star Search.  They almost made it to win it all too.  It still makes me smile to see the YouTube video of these local boys beating out “Girl Tyme”, Beyonce’s precursor to Destiny’s Child.  What a trip!

Learning Over the next decade and a half , besides being a Dad, I’ve changing careers multiple times (from TV design, to supervising a creative advertising department, to photographer, to 3D virtual reality room display design, to PMI certified project manager).  Now I’m a musical playwright.  Somewhere along the line I even managed to get a Top Secret security clearance (but if I tell you about it, I might have to kill you after I answer).  In between all this I’ve sporadically done my fair share of audio gigs.  Just lucky I guess.  After working with Skeleton Crew, I’d leaned toward more listening and understanding what not to do in a mix, instead of what I could add.  Every time I did a jazz group or church gig, I’d do my best to let the artists shine through, without trying to add too much of my own signature.  Twice, I had the honor of doing sound for Kem just before he was signed at Motown, this is one artist that works best with the ’light touch’ approach I learned with Skeleton Crew.

Reconnection.  Throughout the years, I always kept in touch with Chris Badynee, occasionally checking out his shows under his alter ego Bogdon Vasquaf.  Darlene and I watched his daughter do a soft-shoe while his band played jug music to accompany her.  I even took Hailee and her bass playing boyfriend to a gig where he was demonstrating his box bass.  I feel it’s important to connect with and support people who continue to pursue their dreams, especially when they’ve occasionally dropped their passions so that they could take time out to be a parent.

When I did my first interview with Encore Michigan about my playwrights group trying to get something going locally by holding open staged readings of our plays, Chris was the first to post it on Facebook.  Because of the positive response from many of the musicians I had worked with, and constant pressure from Darlene and my daughters, I succumbed to the world of social networking.  Low and behold, if I didn’t reconnect with other Detroit musical souls, including Bill Pilipchuk.  I found out that he and the Skeleton Crew boys decided to get back together to record at Harmonie Park Studios for the Christmas in Detroit CD to benefit S.A.Y. Detroit, a nonprofit organization dedicated to programs for the homeless.  This charity is founded by local wunderkind Mitch Albom.  Darlene just finished reading his latest book ‘Have a Little Faith’. Bill tells me that the song they are recording is called ‘Faith’ and they were adding Pastor Henry’s choir (featured in Mitch’s book) to the end of the song.  Coincidences?

I’ve been slowly digitizing all my old live show cassettes, so I decide to transfer the Wagon Wheel show next.  While I’m cueing up the cassette, I decided to use the tune ‘One Last Chance’ for a level check (remembering the peaks Bill hit with his voice that night).  Darlene was listening, and commented that she’d forgotten how good Bill’s voice was.  This is one dude who, as they say in the theatre, can really “hit the back wall”.  When I emailed Bill to see if he would be interested in a digital copy of the Wagon Wheel concert, you could feel beaming excitement pour through his response.  Seems his wife Susan has practically worn out her cassette copy of the show.  The craziest thing is that Bill’s email to me was on October 8th – yep, boys & girls, 18 years to the date when I got my first copies of the Wagon Wheel recording from Gary P.  Coincidence? As Albert Einstein said “Coincidence is God’s way of remaining anonymous.”  These types of events always make me push further, just to see what dreams may come.

Reconnection.  The following Monday I call Bill to see if I can drop off a CD copy on my way to my monthly playwrights meeting in Ferndale.  I arrive at his brownstone near Lola’s Salon a few minutes late.  I get to meet his beautiful wife Susan, and we catch up quickly.

Bill mentions he’s been retired from singing since the late 1990’s, and never really intended to go back, but after he forwarded the tune ‘Faith’ to Brian Pastoria and, with some heavy persuasion (never, ever discount Brian Pastoria’s enthusiasm), he decided to reconnect with the boys to give it a go.  He recounted this story about a person who is in Pastor Henry’s choir that was at a crossroads in their life until they were given the lyrics to ‘Faith’. Coincidence?

Says Bill – “…In fact not too long ago this individual was sleeping in a box next to Harmonie Park Studios, and also used to party too much at Lola’s Midtown Tavern.” (another supposed coincidence?  I think not.).  “Of all my music experiences, this songs’ effect on this person meant more to me than anything.”

Images of concern, restless ideas, passion flow out and surround our 60 minute reconnection.

“…I’ve had an idea for a musical, but I just do know whether I have enough time”….“So email me your thoughts and let’s see what happens…”

“Dude, you’re a little rusty, I’m a little rusty.” – We ask our friends to get the oil can, and apply.

Learning, coincidence and reconnection.  As Bill shows me around iContact Designs impeccably appointed brownstone they call their workspace, I’m impressed with his openness and passion for his work; but I sense an underlying yearning for balance between the impact of the Detroit economy, the ability to stay the course, and a sense of restrained dreams within.  I’m reminded of the tough times in 1980’s early Detroit, which bred musically like minded souls to band together to make sense of the poor economy through music.  Somewhere, along the path, we all took slight detours away from our desires in order to suppress disappointment, yet, have a little faith, fire doesn’t fade away.  These recurring episodes ignite smoldering passions that eventually awaken as closed away memories catch fire.  As we mature, events manifest revealing when it’s time to move.  We need to seize these opportunities, because we might just have one last chance, one last chance to be drawn toward these moments of truth, discovering from each event, and reconnecting like trumpeting souls as they occur.

-Steve Schultz

Dec. 2009

The recording sessions for “Faith,” Skeleton Crew’s contribution to the Christmas in Detroit 3 project, began on 09/09/09. There was a palpable energy and vibe in the air that was felt by everyone involved.

We had the pleasure of working with Grammy Award winning record producer, Mark Pastoria, and Pastor Henry Covington who brought in the choir we incorporated for backing vocals on the  “Faith” recording. Pastor Henry is featured in Mitch Albom’s new book, “Have a Little Faith.” The choir was both inspirational and perfect for this song; they weren’t professional singers, but a group made up of diverse individuals who in some way or another ran into varying degrees of hard luck in their lives. These beautiful individuals, with the help of Pastor Henry and others, have managed to turn their lives around for the better. They have gone on to help and inspire others.

It was during the subsequent recording session to record this choir of hope that we had the pleasure of enjoying a break from recording to talk to one of the choir members. During our conversation about the overall recording experience, the topic returned to the song “Faith” and its meaning.

It was at this moment that the individual we were speaking with offered to share a story that moved us deeply and one we will never forget. The choir member revealed that there was a time in the not-so-distant past where they had slept in a cardboard box outside of the very recording studio in which we were working.

This candid individual lived to party and often frequented Lola’s, the nightclub that occupied the first floor of the building that housed Harmony Park Studios, located in the newly revitalized Harmonie Park area of Detroit. This person eventually dug down deep for the courage and pulled themselves up and got their life moving in a positive direction through the help of people like Pastor Henry and others.

Then came the point in our conversation where this individual told us that they were about to leave the mission that helped them get their life in order and where they worked helping others. This person did not share with us whether they were leaving to become the denizen of despair they fought so hard to conquer or if they were leaving to pursue other opportunities.

It was at the time the choir member was about to announce their departure from the mission when Brian, the talented choir director, handed this person the lyrics to our song, “Faith.” They had not heard a note of the music nor had they ever heard of the band Skeleton Crew before. The choir member told us that immediately after reading the lyrics they were so moved they changed their mind and decided right then and there not to leave. The lyrics moved this person so much they felt this was their reason to stay on at the mission and continue helping others. Speechless and holding back tears we thanked this individual for sharing their very personal story with us.

The reward for writing and recording “Faith” has exceeded even our greatest expectations. To have a song like “Faith” or something you’ve created affect someone so much to the point it alters their life course and steers them in a positive direction is priceless and worth every effort in its production.

Skeleton Crew would like to thank Brian and Mark Pastoria for generously inviting us to participate in this incredible musical journey. We would also like to thank our engineer Alan and everyone at Harmonie Park Studios for making this one of the most memorable recording experiences of our career. Here’s to working together again soon and Merry Christmas to all!

peace & love ~Skeleton Crew®

PS: Help the homeless in Detroit and enjoy some great music by purchasing Christmas in Detroit 3 at

Pre-Historic..Dig! Album Cover by Julio Pallone

A resounding thanks to all our fans who have inquired of late as to where and how they can purchase Skeleton Crew® music. Yes, there are a few vintage “pre-historic…dig! “enhanced CD’s” available on Ebay and, but if you’re in dire need of instant “skeletal gratification” you’re in luck!

Digital downloads of our landmark debut album, “pre-historic…dig!” are now available from at:

or from our Nimbit Music Store at:

If you’re a member of our Facebook Fan Page you will notice a “MyStore” Tab at top of our Fan Page. Click on the “MyStore” Tab and you have instant access to our Nimbit MP3 Store where you can download individual songs or entire albums. Our EP “Under The Watersign” was never released to the public and has only been made available now as “Digital Downloads” from and Nimbit.

Skeleton Crew® has plans for an exciting reemergence in 2010 with our new single, “Faith,” recorded for the Christmas in Detroit 3 Project. In addition, look for a new album of original material and some surprise recorded releases, too!

And don’t forget: Much of the music we released is available for listening for free either on our Facebook Fan Page or on our MySpace page or Store sites. We can’t thank everyone enough for your love and support! Here’s to a very harmonious 2010!

Welcome to the first episode in our Star Search Revisited Series. We’ll follow our heroes throughout their journey both on TV and behind the scenes in search of stardom and the $100,000.00 prize!

The summer of ’92 marked an incredible period of growth and evolution for Skeleton Crew®. We had many great gigs including The Palace of Auburn Hills SummerFest and some choice opening act opportunities at the DTE Energy Music Theater (then named, Pine Knob Music Theatre) and more.

The fall of ’92 brought on more surprises in the form of an invitation to audition for the television talent show, Star Search (the precursor to American Idol). Star Search was a huge hit at the time and during its years on the air.

Somehow (I’ll fill in the details when I have the time to ask some questions), noted record executive, Dick Williams, got a hold of a pre-release copy of our debut album, “Pre-Historic…Dig!,” which we just finished recording during the summer with our producer, Gary Spaniola, for his Baltic Records label. The next thing you know, one of Star Search’s talent producers, Marylyn Fisher, contacted us to schedule an audition.

I must admit, at first, there was much trepidation if we should do the show or not. We decided to do the audition figuring if we were selected to appear on the show we would decide then what we wanted to do. Well, we were chosen and we did decide to perform on Star Search.

We were informed that we had two minutes to perform each song to a pre-recorded backing track while the vocals were performed live during taping of the show. Rather than edit existing song tracks to conform to the two minute constraint, we went back into Seller Sound studio to re-arrange and record two minute versions of the songs we chose to perform on the show.

Two shows were taped on a scheduled taping day. Often we were up at 7 am for an 8:30 sound check and the first taping would begin around 10:30 or 11. Break for lunch and back for an afternoon taping at 1:30 or 2. People visiting Disney World had the opportunity to view a taping of a television show at the park and the crowds were enthusiastic.

We were given round trip airfare from Detroit to Orlando, Florida where Star Search was taped at Walt Disney World. Beautiful accommodations at The Port Orleans on our first trip down and Dixie Landings for the subsequent two return trips. Each band member also received $30.00 per diem for food and expenses per day. The entire process for Star Search ’93 took place between September and October 1992. Star Search ’93 aired in January of 1993.

Some of the acts that went on to fame and fortune that appeared with Skeleton Crew® on  Star Search ’93 included: a young cowboy named Justin Timberlake, Beyoncé who performed with the precursor to Destiny’s Child – Girl Tyme [Skeleton Crew has the unique distinction of forever being a footnote in the career of Beyoncé  as “the band of scary musicians that beat her on Star Search with a four-star performance.], an incredible singer and Star Search female vocalist champ, Beth Hart, and Star Search winning comedian Don MacMillan, who went on to work for McDonald’s Hamburgers as Mac Tonight.

We hope you enjoy revisiting our appearances on Star Search. We will follow the series over the next few weeks much like they were originally aired. We’ll also be uploading photos and video of the proceedings that went on behind the scenes in an effort to recreate the fun and excitement we experienced during this magical time in our history. Stay tuned for more!

Skeleton Crew® Cabaret at The Ritz by Brad Shaw | Chris & Russ

Skeleton Crew® Cabaret at The Ritz by Brad Shaw | Chris & Russ

Aah…Cabaret at The Ritz! This type of staging had never before been attempted, let alone executed, at The Ritz Nightclub in Roseville, Michigan. We wanted to make the 2,000 seat club feel more intimate so we thought: “how about bringing the audience up on stage with us?”

We ran the idea by our dear friend Connie Marshall, who happened to be events coordinator for the Palace of Auburn Hills and DTE Energy Music Theatre. She loved it and said she could help.

The next thing you know Connie had brought in a lovely assortment of artificial trees to augment the stage. We placed several cocktail tables and chairs about the stage and instructed the waitresses to come up on stage during our performance to serve the lucky patrons that received seats on stage. It was the most unique performance Skeleton Crew® had ever endeavored at The Ritz. A splendid time was had by all.

Thursday Sept 10 because i get to speak to the Inventors Council of Michigan;
this is gonna be COOL… i’ll bring my first prototype to compare how different it is since i’ve been selling it. The bass is very different today due to customer demand, retailer demand, and the industry suggestions.
I’ve gone thru 5 major design changes/improvements AFTER my product was on the retail shelves! I’m really going to press the fact that these inventors MUST get their product ideas into the market so that the market can make practical improvements that the inventors simply dont see.
anyway, i’m very excited. Rob Rosinski will accompany me on guitar.

Skeleton Crew® bassist and inventor of the Bogdon Box Basss, Chris Badynee, will speak Thursday Sept 10, 2009 to the Inventors Council of Michigan

“This is gonna be COOL…”  said bassist and inventor, Chris Badynee.  “I’ll bring my first prototype to compare how different it is since I’ve been selling it. The bass is very different today due to customer demand, retailer demand, and the industry suggestions. I’ve gone through five major design changes/improvements after my product was on the retail shelves! I’m really going to press the fact that these inventors MUST get their product ideas into the market so that the market can make practical improvements that the inventors simply dont see. Anyway, I’m very excited. Rob Rosinski will accompany me on guitar.”

The Bogdon Box Bass is The World’s First Mass Produced Cardboard Bass Guitar. More information o teh Bogdon Box Bass is avaiable at:

Skeleton Crew® Live Gem Theatre | record Release Party

Prior to the band’s national record label debut on Intersound Records in 1996, pre-historic…dig! was released on our producer’s (Gary Spaniola) independent label, Baltic Records. Susan Murphy, who’s company Lip Service Communications handled public relations for the band and coordinated the album cover design, graciously paid for and hosted the record release party at the gloriously restored Gem Theatre in Detroit, Michigan.

Two hundred invited guests, celebrities and media were treated to two hours of an open bar and an extended performance by the band in celebration of their debut recording. A splendid time was had by all and nobody wanted to go home! The band forever extends its gratitude to Susan Murphy and Lip Service Communications for their support and generosity.

We’ve upload a splendid batch of photos from that eventful night on our Facebook Fan Page at:


Pre-Historic..Dig! Album Cover by Julio Pallone

Pre-Historic..Dig! Album Cover Image by Julio Pallone

Artist: Julio Pallone | self darkroom

Artist | Julio Pallone

In 1994, William Pilipchuk invited me to create an image for the cover of his latest musical project. I had seen Skeleton Crew perform the year before at a small club in downtown Pontiac.

Without prior knowledge of their music, I wasn’t expecting much. But the performance I witnessed that night made a deep and lasting impression on me. By the end of the show, I was a fan.

William already had the concept of “unearthing the buried remains of the band.” The problem was that I’m a photographer and not an illustrator. An idea of this sort would require more than a simple snapshot. This was, after all, the pre-digital era. Fortunately, I had been experimenting for years with compositing photos using a masking technique I devised.

The main obstacle was in getting the required images onto film. Clothing wouldn’t work with the concept so each band member would have to be photographed naked. This was outside of my prior experience and comfort zone and most likely theirs as well. But to my surprise, our common goal of creating a masterpiece album overcame any inhibitions.

That done, I then chose a background onto which the figures would be superimposed. A landscape shot taken in Arizona worked well. But the results looked too clean and fresh to be “prehistoric.” The solution was to overlay the image with a spray painted texture. The photograph was then turned over to Claire Edwards for the graphic design.

Pre-Historic..Dig! Album Inner Sleeve & CD Image by Julio Pallone

Pre-Historic..Dig! Album Inner Sleeve & CD Image by Julio Pallone