Yes, this music was originally recorded in 1990. I wanted to make a record with producer JACK DOUGLAS who recorded albums with AEROSMITH, CHEAP TRICK, ALICE COOPER and JOHN LENNON, among others. JACK was constantly at DAVID KREBS’ office hitting on KREBS (who managed both JACK and myself, among a host of others) for AEROSMITH royalty advances. DOUGLAS liked my demos and so I got a deal to record three songs al the infamous RECORD PLANT, a great studio in New York that recently had been taken over by new owners. There was absolutely no recording gear at the studio so we did pre-production for a month all the while inviting great New York players to the sessions. Finally, the studio owners managed to get multi-million dollar state-of-the-art equipment brought in from Sony and other high tech companies and everything was wired up and running. They were able to do this using JACK DOUGLAS and DAVID KREBS as references and saying DOUGLAS was going to record AEROSMITH at their studio. By the time they got the entire studio gear in I had locked up STEVE STEVENS, MICK TAYLOR, NICKY HOPKINS, BOBBY CHOUINARD, FLO & EDDIE and all these other great New York musicians, to record with me. Three songs turned into twelve and the 5,000-dollar budget turned into a $100,000 studio bill. It was the most rock 'n' roll of times in New York I can remember.

There were crazies coming out of the studio walls, and endless drugs & parties were constantly taking place. We stayed four months in that studio and JACK DOUGLAS spent most of his time locked in the bathroom - for hours and hours at a time. It was amazing that we got the tapes rolling at all with all the chaos going on, but in spite – or thanks to – all the craziness, the music really came together. More and more of DOUGLAS’ friends came by, and it was much easier to get him out of the bathroom when a ROLLING STONE came in to play. I decided to call the album NEW YORK TIMES.

When we finished the 12 songs I needed to do a press tour for a previous album. We put the NEW YORK TIMES album on hold while I left for Europe. When I returned, the studio had gone bankrupt and the master tapes had been stolen. JACK DOUGLAS was a complete mess and he had checked into a rehab clinic. I think that album took 10 years off of JACK’S life. Welcome to my disaster. Years went by and then, out of the blue, I got a call from an obnoxious woman, with a heavy Brooklyn accent. She said she had my tapes. She also threatened to sell them for stock tape unless I came up with 5000 dollars within one week. I managed to raise the money and in what seemed like a scene from a gangster movie, I got my precious tapes back.

I had kept in touch with BOBBY CHOUINARD, by then the drummer in the BILLY SQUIER band, throughout the years. He was kind of a rock 'n' roll mentor to me. BOBBY had that KEITH RICHARDS unworldly rock 'n' roll glow. From 1987 - 1997 we did a lot of gigs together at the LIMELIGHT, the CAT CLUB, DANCETERIA, the RITZ, and L'AMOURS, all in New York. Eventually we started talking about our "lost” record. Now that JACK DOUGLAS was clean and sober. BOBBY and I put together a band with KENNY AARONSON on bass and ALAN St JON keyboards, so; basically I had the BILLY SQUIER backing band now backing me. We recorded another six songs with the now very focused JACK DOUGLAS and also mixed the other songs from the 1990 sessions.

A deal was lined up to release the record and a tour of Europe. It was a really great band, and the album was reminiscent of the classic New York albums of the past. I thought maybe now, something great was going to happen with this record. !

The day after I went with JACK DOUGLAS to Masterdisk to have the record mastered, I got a phone call. BOBBY CHOUINARD had died. He never got to hear the finished master. I gave up! I couldn't and didn't want to keep it together with just KENNY and ALAN. The deal and the tour were scrapped. Something just died in all of us. It was 1997 by now and I had t to move on to something else for a while.

Last year, I finally decided to release this album on my own Get Animal label in the United States. Somewhat later, early 2002, I did a deal with ALFIE FALCKENBACH at MAUSOLEUM RECORDS for the European release.

This album is a testament that New York City was always a war zone.

ADAM BOMB