Sometimes called "A Chameleon of Music" or "A Trend Follower", even "Isn't he that guy that's always seems to try a fad after its over?", Bryan Heisenburg has left a legacy of moving music and powerful songs.  Heisenburg has surrounded himself with a varied cast of characters and produced a variety of albums.  This boxed set covers Heisenburg's efforts over the last three decades.

The Beginnings of The Heisenburg Principle  1969 - 1972.   Disc 1

     Born in the Southern United States, Bryan Heisenburg has been surrounded with music since his youth.  Bryan's parents had Bryan learn the piano at the young age of seven.  Unfortunately, Bryan could never master "Chopsticks" and it became apparent that he was not meant to play the keys.  His parents next tried to hire instructors in the trumpet, trombone, and clarinet respectively, but none quite fit the young boy.  Meanwhile, Heisenburg had bought his first guitar at the young age of fourteen, a Sears "My First Guitar!"  The guitar would become a sentimental favorite of Bryan's.  Bryan played in various bands covering doo-wap, and psychedelic 60's music.  However, Bryan could never master the guitar, as the number of strings and chords baffled him.  Bryan's true break came when after a rehearsal the drummer in Bryan's current band, The Mellow Mushrooms, said "Dude, why don't you try bass?"  Bryan was a natural at the bass guitar and his creative juices kicked in and soon he was cranking out songs.  The Mellow Mushrooms broke up at the end of 1968, "mainly because no one wanted to hear covers of In-a-Gadda-Da-Vida anymore", says Heisenburg.  Bryan had formed a friendship with the drummer, Puggsy Rhodes, and the two wanted to continue playing music together.  As a rhythm unit, they were quite solid, but Rhodes was reluctant to sing and Heisenburg, despite his writing abilities, couldn't sing anything on key. 

   So the search began for a guitar player.  Their prayers were answered when one day in their regular hangout, a record store called "Spinnin' The Wax", a young man said, "Boy, I could sure use a rhythm section to play with me on these songs that I wrote."  The owner of the record store introduced the young man, Bert Rosenstein, to Rhodes and Heisenburg and the three began to jam together.  Rosenstein, 18, was loud, flashy, and loved feedback.  Heisenburg, 20, played a thudding, sloppy bass and Rhodes, a mature 21 and quite the drinker, was famous for his tight pop and love of the ride cymbal.  Fortunately, Rosenstein could hold a tune on vocals, so he immediately became the lead singer.  However, all three acknowledged that their band would never make it with a singer named Bert Rosenstein.  He changed his name to the sexy "Trevor Dare." Needless to say, he immediately began receiving calls from young, lusty teens.  Heisenburg, the creative core of the band, came up with the name The Heisenburg Principle.  No one knew what it meant, but it sounded really cool.  The band focused mainly around a bizarre combination of post-psychedelic rock combined with early Beatles pop.  The band didn't do well in local clubs, but found themselves becoming wildly popular at technical colleges and at science clubs due to their name during the year 1969.  A physics professor at a technical institute in Georgia, Dr. Robert Cooledge, offered to become their manager and got the band signed to a small label, What Albums? Records.  Their first record, Meet The Heisenburg Principle!, entered the stores in March 1971.  Cooledge booked a tour across America at college's Chess Clubs and Honor Societies.  Reviews were lukewarm, but the band was on its way. 

     Heisenburg, Dare, and Rhodes had never traveled around the country before and the long trips in the old van gave the band a chance to listen to new music, though the record player skipped often in the van.  Dare began to become heavily influenced by Led Zeppelin's Jimmy Paige.  He began to try playing his guitar with a violin bow during his solo, but it mostly sounded like noise.  Dare even convinced Puggsy to get a big gong, but it was hard to store in the van and since none of Heisenburg's songs were written with a gong, it was hard to fit it into the concerts (other than hitting it at end of a song.)  Nevertheless, Dare's influence was prominent in the writing of their second album and in July 1972, The Heisenburg Principle II was released.  The Heisenburg Principle continued to hit the college tour, but reviews were still mediocre.  "The Heisenburg Principle plays a unique combination of Beatles pop (without the harmonies) and psychedelic music, but on the whole, the lyrics are too happy and light-hearted.  The band might benefit from a more serious approach."

The Complex Progressive Rock of The Heisenburg Principle.  1972 - 1975  Disc 2.

     Bryan Heisenburg took the reviews to heart and one day in a Dungeons and Dragons game found his new lead singer.  Johann Sebastian Smith was imitating an elven song and Heisenburg was overtaken by Smith's sweet tenor.  Not only that, Smith had all sorts of weird ideas about wizards, elves, and dwarves.  Heisenburg had found his serious topics.  He introduced Smith to the band.  Trevor Dare reluctantly gave up the lead vocals and continued on background harmonies, though he found Smith to overly melodramatic.  Rhodes was too busy drinking himself into a stupor to care.  The new, four-piece band entered the studio and recorded the album Serious Music in 1974.  Fans and reviewers found Heisenburg and Dare's technical skills improving, but were mystified by the vague and obscure lyrics.  "It would be nice if the dramatic overtones and minor key songs talked about something."   After a short national tour in college basketball arenas, the band returned to focus on another new album.  Professor Cooledge cautioned the band to avoid writing more of "that fairy music crap", but Heisenburg and Smith were determined to press on.  Trevor Dare had seen enough.  He left as the album was being created and the band found themselves looking for a new guitar player. 

     Heisenburg searched long and hard for a guitar player and finally after numerous try-outs with several other guitar players found their man in Chester G. Wiggins III.  Wiggins was a classically trained guitarist who loved playing as many notes as possible in a measure.  Wiggins fit in well to Heisenburg and Smith's plans to make a progressive rock album.  The two-album The Dark Temple of Dread was released in 1975 and was met with tepid reviews.  Rolling Stone was unkind:  "The Heisenburg Principle has not learned from the mistakes of bands like Yes and Genesis and has delivered a bloated, unfocused album.  This album represents the worst of music in the decade of the seventies."  The tour didn't help things much.  Rhodes, who by now was balancing vodka bottles on his toms, was unable to get through the entire show without falling off his drum stool.  Cooledge and the band argued bitterly and after Cooledge called The Dark Temple of Dread "new-age, hippy crap", Johann Sebastian Smith left in a huff.  Heisenburg and Wiggins stuck with their friend and fired Professor Cooledge.  Even worse, What Records? dropped the band from its label.  They were determined to keep moving forward and produce more progressive music.  Heisenburg called Puggsy Rhodes to let him know, but Rhodes was somewhere in Tijuana out cold from tequila shots.  As it was, The Heisenburg Principle was finished.

The Mythological Progressive Rock of Medusa  1975 - 1980

     Smith, Heisenburg, and Wiggins found a new drummer in 20-year old Stumpy Whippensworth.  Stumpy brought in new talents.  Specifically, he was able to play in time signatures other than 4/4 and spent more time sober than drunk.  Determined to keep the dying progressive music sound alive, the band felt they needed a new name to match their new sound.  Smith opened up Edith Hamilton's Mythology to a random page and closed his eyes and pointed to a name.  (Smith had explained to Heisenburg that cool bands were named after mythological creatures, so just about any mythological creature should do)  And so Medusa was born.  The band, powered by Smith's vocals, Heisenburg's sloppy bass, and Wiggins's rapid guitar, began to put together a complex and confusing progressive rock album.  Medusa's first album Clash of the Titans debuted in 1976.

     Heisenburg later sadly realized that like The Dark Temple of Dread (which he later believed George Lucas stole ideas from the album for his Indiana Jones movies) Clash of the Titans was just ahead of its time.  Reviewers had opposite opinions, stating the album was "retro" and it "sounded too much like an old King Crimson album."  Others said, "does this album have a consistent beat?"  Frustrated, Bryan took a back seat as Wiggins and Smith pressed on and created another mythological album, Hercules, which was released in 1977.  Wiggins and Smith had created an elaborate stage show with one of the band members playing Hercules.  Unfortunately, Johann Sebastian Smith looked rather feminine in his ruffled shirts and the 140lb Heisenburg and 5' 9" Wiggins both made a pretty scrawny Hercules.  The stout Stumpy Whippensworth might have worked, but he couldn't act and play drums at the same time.   And so, the show went on, though audiences were confused by the stage show that featured talk about Hercules, but no band member playing the part of Hercules.

     Medusa seemed to making progress when tragedy struck the band.  Johann Sebastian Smith discovered the Atari 2600 and began a long and painful addiction with the video game system.  The band pleaded with Smith to come out of his bedroom and help them record their new album, but Smith insisted that he needed "just another minute to roll over the score."  Minutes turned into hours which turned into days.  Finally, the band could wait no more and a friend of Wiggins, Todd Davenport, was eager to fill the role of singing the cryptic, mysterious lyrics.  Todd's ragged voice made for a welcome change in the band's sound.  Wiggins insisted that the band try one more mythological album and Heisenburg relented.  Davenport eagerly threw himself into the project and decided halfway through the recording process decided to rename himself "Narcissus".  Wiggins, Whippensworth, and Heisenburg, finding the name increasingly appropriate, slowly caught on.  After a long year of recording, the bombastic album Zeus hit the shelves in 1979.  Rolling Stone reviewed: "The title of the album is appropriate.  Its not possible to create a bigger sounding album with more pomposity.  New lead singer Narcissus is bold and loud with his haggard voice.  Heisenburg's trademark sloppy bass is all over the underside of the album, while Wiggins seems content to put out as many 64th notes as possible.  However, since its not disco, this album can only be considered wretched."   Medusa at this time was slowly becoming a touring giant with huge stage shows.  Rumors began to swell that the next album would be a re-making of a Wagner opera complete with a stage-show, but no words came from the camp of Medusa.

     Heisenburg was contemplating the next move for Medusa when while touring in Monterey he ran into his old friend Puggsy Rhodes.  Puggsy had mainly spent the last two or three years snorting cactus and drinking tequila by the gallon and wandering from town to town in Mexico.  Heisenburg was so thrilled to see his old friend that he immediately offered the drumming job to Rhodes, forgetting that he already had a drummer in Stumpy Whippensworth.  Whippensworth was literally and figuratively put out.  Clad in a Mexican blanket and sombrero, Rhodes returned to the band.  Together again, the two decided they should return to their old band name, "The Heisenburg Principle."  Narcissus, who had no knowledge of Bryan's previous band, reluctantly agreed, but insisted the band continue to explore mythological topics when Heisenburg had a revelation.

Return of The Hesienburg Principle 1980 - 1982    Disc 3

     Having just finished the ancient literary work Beowulf, Heisenburg wrote an entire album's worth of lyrics and brought them to the band.  Additionally, he recruited well-known keyboard player, Herman Wendleweiler.  His wife Gertrude played the trombone and a very adept triangle.  Epic Records was strangely curious about a Heisenburg Principle reunion and offered the band a two record contract.  The band responded by cranking out Beowulf and Grendel in three weeks.  The tape hit stores in 1980.  Rolling Stone was unkind as always:

"Gee, a progressive album about Beowulf.  How creative.  Why don't they just go for every prog rock cliché in the book and perform it with a full symphonic orchestra?  The sound is actually quite full, powered by the appropriately named vocals of Narcissus, the machine-gun solos of Wiggins, and the sloppy bass of Heisenburg.  Additionally, the band is aided by husband and wife team, the Wendleweilers.  We've said it once and we'll say it again.   If it isn't disco, then it stinks."

      When Johann Sebastian Smith finally left his bedroom for a snack in 1980, he found that Medusa was gone and he was without a band.  At an Atari convention, he ran into old HP guitarist Trevor Dare and the two reminisced about their olden days in The Heisenburg Principle.  Together they formed a band with Atari enthusiasts Chung Wang on bass and drummer Dinky Whittenfield.  Trevor Dare handled the keyboards and guitars.  The band, The Pong Players, released Combat in 1980.  Reviews stated, "This album consists of mostly computer beeps and buzzes with a couple obscure lyrics about joysticks and tanks.  You wouldn't want to hear it more than once."

    Meanwhile, The Heisenburg Principle was out to set new precedents in pretentiousness.   After reading the review in Rolling Stone, Heisenburg was determined to add a symphony orchestra to his next album, but found that he couldn't afford one.  He could however, afford one violin player, and Sophie Van Zandt joined the band often in rehearsals.  Heisenburg quickly fell in love with the talented violinist and the two spent many a late night discussing classical music (though, truth be known, Bryan's knowledge of classical music was mostly limited to the Hooked On Classics album that he had just bought.)  With Van Zandt's contributions, The Heisenburg Principle released Reflections on Stravinsky in 1981, an album that featured the band's interpretations of some of Igor Stravinsky's ballets and symphonies.   The Wendleweilers also added their crucial contributions on keyboards, trombone, and triangle.  Though it was quite difficult to condense many of Stravinsky's pieces to one violin, the band was pleased with the results and a worldwide tour followed.

    However, not all was well in the band.  A seven-piece band meant there were many mouths to feed and the expensive worldwide tour left very little money when the band came home.  Chester Wiggins was unhappy with the guitar parts (most of the lead parts were played by Van Zandt's violin) and Rhodes was well on his way to preserving his brain with grain alcohol.   Wiggins convinced Narcissus to leave the band with him and form a new band.  Heisenburg became despondent and began drinking with Puggsy Rhodes.  (Actually, it was more like Rhodes slamming down hurricane after hurricane while Heisenburg passed out after the second drink.)  Wiggins and Narcissus reorganized Medusa and together with old pal Stumpy Whippensworth and new bassist Curtis Mecklenburg.  Trying something different, the band put out Ishtar (1981).  Once again, an album that was ahead of its time, the album faired about as well as the movie that was released a couple of years later.   Frustrated, Wiggins convinced himself that the future of Medusa must lie in the heart of the Greek Mythologies, Athens.  He got lost somewhere in Communist Romania and was not heard from again. 

     All seemed lost for The Heisenburg Principle.  With no label and no money to buy drinks (we have no clue where Puggsy Rhodes got all his money from.)  Bryan Heisenburg seemed to hit rock bottom.  However, his lover, Sophie Van Zandt slowly began to pull him out of his depression and convinced him to go to church with her.  It was there that Bryan's life changed.

Blinded By the Light.  The Story of David's Harp  1982 - 1986

      One Sunday during a southern gospel quartet song, Bryan Heisenburg saw the light and became a born-again Christian.  Filled with newfound joy, Bryan sought to create new music with his old friends.  First he tried contacting his friend Puggsy Rhodes.  Puggsy eagerly confided that he also believed in Jesus (in his stupor though, he also admitted to being a big fan of Thor, the Buddha, and Santa Claus.)    Heisenburg next tried contacting Trevor Dare and Johann Sebastian Smith, but they were busy working on their new Pong Players album, Pitfall, (reviewers had a lot of fun with that title.)    Finally, Heisenburg contacted Medusa singer Narcissus who was still waiting for Chester Wiggins to return from Athens, Greece.  Narcissus quickly agreed and the two issued a press statement:

The healing light of Jesus Christ has inspired ex-Heisenburg Principle band members, Bryan Heisenburg and Narcissus to form a new band.  Together, the new band, David's Harp, has signed to Doves Descending Records and will begin work on a new album immediately.  Lead singer Narcissus has become so inspired that he is changing his name to Silas because "like Silas on Damascus Road, I have seen the light"

     Unfortunately, the singer did not discover until after the press release that it was Paul, not Silas who was blinded on Damascus Road, but the press release had already gone out and he was stuck with the name.  Heisenburg and Silas recruited two CCM veterans Zachariaus Jones on drums and Elijah Patterson on keys.  Together they released their debut album, Marvelous Love! and immediately began hitting Calvary Chapels around the nation in 1982.  CCM loved the record, but mainstream media was not so kind.  The main complaint was that the album needed guitars to be called "rock".  So, Heisenburg sought out CCM veteran Melvin Myers and the band decided to get a little controversial on their next album, God Says Its Okay To Rock! Rolling Stone reviewed the album:

From the Christian market, former Heisenburg Principle member Bryan Heisenburg has released a sophomore effort with his new band, David's Harp.  Overall a dull album, Bryan's sloppy bass playing and the gravelly voice of Silas (formerly Narcissus) are the highlights.  Guitarist Melvin Myers, who believes that effects like chorus and echo are "of the devil", and the keyboardist and drummer don't add much to the album. The album's songs about having fun and playing in a rock band don't seem very controversial to us, but they have caused waves in the church

    The controversial topics of rock music made David's Harp a favorite band of rebellious church kids and thousands of the tapes were played late into the night in teenager bedrooms.  In 1984, Doves Descending strongly advised Bryan that he should marry his lover, Sophie Van Zandt as their "living in sin" was hurting record sales.  Bryan and Sophie were wed and six months later, their first child, Hezekiah, was born.  David's Harp was beginning to take off when the band relented to pressure from their label and on their next album stuck mainly to lyrics about how wonderful it is to be a part of the church.  They lost most of their teenage fans, but 30-40 year old mothers ate it up.  4Given, stayed near the top of the CCM charts for most of 1985. 

     David's Harp took an interesting twist when at one of their concerts Bryan's old friend, Puggsy Rhodes, responded to the altar call at the end of the show.  Heisenburg was so elated that he again asked Rhodes to join his band, again forgetting that he already had a drummer.  Rhodes, who was now completely sober (though he was smoking about a pack a day), eagerly re-joined the band.  Filled with joy, their next album, 2 Happy 2 B Sad, garnered their first Dove award nomination in 1986. 

     For their next album, Heisenburg was pushing for more creative topics to write about, but Doves Descending Records insisted "What is so wrong with singing about Jesus?"  Heisenburg had been listening to a lot of Kraftwerk, Styx, and Timbuk3 and wanted to release a new-wave album with lyrics about technology.   Descending Doves would have nothing so cutting edge and Heisenburg was forced to cut ties with the label.  Heisenburg sought out his old friend, Professor Cooledge, who by now was a bitter old professor who liked to mock his students and give failing grades, and begged him to manage the band again.  Cooledge agreed and the band, re-christened The Heisenburg Principle, returned to the studio. 

The Heisenburg Principle: Eighties Music for the 90's   1987 - 1994   Disc 4

     All the key components were there.    Bryan Heisenburg returned to his sloppy playing (while with David's Harp, guitarist Melvin Myers told Bryan that "cleanliness is next to godliness" and as a Godly musician he shouldn't be so wild on the bass.)  Between smoking breaks, Puggsy Rhodes was delivering a tight pop on the drums.  Silas delivered his rough vocals and Sophie Van Zandt Heisenburg contributed on the violin.  Even Herman and Gertrude Wendleweiler returned on keyboards, trombone and the triangle.  The band was tighter than ever, but they still were missing a guitar player.  Studio sessions made little progress for over a year when suddenly one day Chester G. Wiggins appeared at the studio!  Having escaped from a Romanian prison, the gaunt, shaggy bearded Wiggins couldn't play the guitar quite so fast since all his fingers had been broken in the prison, but he was able to still deliver stunning work.  All the pieces for the newest version of The Heisenburg Principle were now in place.   Cooledge once again got the band signed to Epic Records.

    Unfortunately, by the time Danger, Robots! was released in 1990, new-wave music about robots was well past its time.  Many critics dismissed the album as an imitation of albums like Mr. Roboto and I, Robot.  Even though the album didn't do well, the tour was a success and The Heisenburg Principle, with its lyrics about machinery and its older progressive music, once again became popular at technical schools.  During the tour, Professor Cooledge's daughter, Ellen Cooledge, joined the band as the make-up artist.  Guitarist Chester Wiggins fell madly in love with her.  He even put together a band with former Medusa bass player, Curtis Mecklenburg (who after spending lots of the time with the Red Hot Chili Peppers just before they began to become popular, began calling himself "Earwig") and some guy that played drums after Atlanta Braves baseball games.  The band, Ellen's Affection, quickly released an album called Ellen, I Love You.  Ellen, though touched, found Chester's behavior a bit obsessive and said, "Maybe we should just be friends."  Chester didn't take the response well and immediately began work on the band's follow-up album, Ellen, You Sadistic Witch. 

    Chester's romantic frustrations weren't only a problem for him.  Chester was so involved in his project that Bryan was forced to find a new guitar player.  His guitar player came to him in old friend, Trevor Dare.  Trevor last played on The Pong Players' last album, Donkey Kong Sucks, in 1987.  Johann Sebastian Smith finally entered rehab to recover from video games (plus, he had carpal tunnel syndrome), and Trevor was now looking for a new gig.  He had also been overcome by bands like Bon Jovi, Firehouse, Winger, and Poison and was eager to get out on the road and perform similar music.  Heisenburg was desperate for a change.  After a year of practicing and using a lot of hair spray, The New Heisenburg Principle finally came out in 1992.  The band was a sight to see.  Heisenburg, even though he was balding, had teased up big hair and wore snakeskin boots. Silas wore leather and a big silver cross.  Trevor Dare made a lot of suggestive postures with his noisy guitar.  Rhodes wore spandex and smoked a couple of packs a day.  Even the 50-year-old Wendleweilers teased up their gray hair.   The band went on another extended tour across the world, complete with fireworks, smoke, and lights.  Sophie Van Zandt Heisenburg stayed home for the tour because she was pregnant with the Heisenburg's second child and she reluctantly agreed that skin-tight leather pants just don't look good on a pregnant woman.

    Sadly, once again The Heisenburg Principle was too late.  Hair-rock was on its way out and grunge was on the rise.  The youth had no interest in music that had more than three chords.  After the tour, Bryan decided sadly that with a seven year old child and a second on the way it was time to take a hiatus and disappear from the music scene.  Cooledge convinced Epic Records to release a live album culled from their last tour.  Bryan Heisenburg had no part in the new album The Heisenburg Principle LIVE! that came out in 1993.  He also didn't take notice of Ellen's Affection's new album, Why Don't You Answer My Calls?, which released a couple of weeks later.

    Meanwhile, Professor Cooledge was in a bind.  He still had one album left promised to Epic Records, but Heisenburg had no interest in putting out another album.  Cooledge begged Trevor Dare to write new material.  Dare agreed and played guitar and bass in the studio.  Dare tried working with Puggsy Rhodes, but every time they got in the groove, Rhodes would leave to smoke a cigarette.  Frustrated, Trevor finally did the drum parts himself.   The album, recorded, produced and performed by Dare became the self-titled The Heisenburg Principle and reached stores in 1994.   Cooledge knew that there was no way that Trevor Dare could perform all the instruments on tour and he went out and hired Bud Smith to play bass and afro-haired female drummer Moesha K.   The trio toured throughout 1994.  Audiences were confused when they saw the band and there was only one member, Trevor Dare, from the previous album.  Moesha K. was slowly accepted because women drummers were a novelty.  The same could not be said of bassist Bud Smith.  Fans still bitter about Bryan Heisenburg's absence often threatened Smith and gathered after the show and threatened to attack him as he ran from the stage to the tour bus.  Ellen's Affection, touring their new album, Ellen, I Got A Tattoo. Don't You Care?, opened for the band.   The opening band had to be replaced halfway through the tour when Cooledge's daughter attended a show and Ellen's Affection guitarist Chester Wiggins was arrested and put on a restraining order after following her home with the tour bus.

The Emergence of Pawn, 1995 - 1997

      When Bryan Heisenburg found out that his own band was touring without him, he was furious.  Bryan became very bitter and started writing very angry songs.  He felt manipulated and betrayed and shaved his head.  An executive at Capitol Records got a hold of Bryan's lyrics and found the songs were perfect for the audience of embittered suburban teenagers.   Heisenburg teamed up with Ellen's Affection bass player Earwig (out of a job now that Chester was in jail) and old friend Puggsy Rhodes.  Heisenburg wasn't a great singer, but he could scream a lot and play heavily distorted guitar chords.  Combined with Rhodes smoking two or three cigarettes at a time and the band had the perfect image that the record execs wanted to give to impressionable teens.  The new band, named Pawn released a self-titled album in 1995. 

    After a fairly successful tour in clubs, the label convinced the band to open for a larger name band.  Bryan's bitterness increased when the label forced him to open for his own band, The Heisenburg Principle.  On the tour, Bryan ran into Professor Cooledge and told him that he was fired.  Cooledge laughed at Heisenburg and told him that he wasn't in charge of the band anymore.  Pawn released their second album, Sour Faced and Forgotten a year later.   After touring with The Heisenburg Principle, Pawn played for a while on the Lollapalooza circuit.

     While on tour together, Trevor Dare and Bryan Heisenburg spent lots of nights dreaming of bringing back the old days of The Heisenburg Principle and finally in 1997, Trevor fired Professor Cooledge for the second time.  Cooledge returned to the technical school in Georgia to teach electromagnetics and fail more students.  Trevor and Bryan called Puggsy Rhodes, now no longer smoking but eating Nicorette like candy, and asked him to join the band.  Of course, they had forgotten that Moesha K. was the current HP drummer, but Moesha had smartly taken a part on the Broadway show "Stomp."  Bryan Heisenburg had some songs left over from his "angry" period, though he wasn't really angry anymore, and the band used his songs.  The three-piece band, once again featuring Trevor Dare's vocals and noisy guitar, Heisenburg's sloppy bass, and Puggsy Rhodes' tight pop released Another Cog In Society in 1997.  As always Rolling Stone was there to review the album...

    "Once again, The Heisenburg Principle finds themselves on the tail-end of a fad.  The original line-up of the band is back together, but the album is very early 90's.  The grunge sound of Trevor Dare and the sloppy bass of Bryan Heisenburg are fine, but very dated.  However, the sound is a bit thin and missing the trademark trombone and triangle of Herman and Gertrude Wendleweiler.  The era of rock has passed and the band would be wise to take a more cheerful pop sound exhibited by the likes of The Backstreet Boys and N'Sync."

Moving Forward, The Heisenburg Principle at the end of the 90's, 1998 -

     After the tour, Trevor Dare did some work with John Williams on the Jurassic Park 2 soundtrack and made about half a million dollars.  Bryan asked Trevor to tour with band again in 1998 and Trevor laughed at him.  Needless to say, Trevor was out of the band.  Still, Bryan and Puggsy were determined to keep The Heisenburg Principle alive, but it was clear that they needed some money quick after nearly going broke on their last tour.  The answer was simple.  They would repackage their works and add a couple of new songs to draw in the rabid fan with a boxed set. 

   Heisenburg contributed four new tracks to this boxed set.  Working with him is drummer and old time friend, Puggsy Rhodes, chewing his wad of Nicorette and his wife Sophie Van Zandt Heisenburg on violin.  Thirteen year-old Hezekiah Heisenburg, already a budding musician, plays the oboe on two of the songs.  Bryan has decided to take a break for the next year and a half and will make an announcement on January 1, 2000 about the future of the band. 

Where are they now?

Bryan and Sophie Van Zandt Heisenburg:  Bryan, 47 and Sophie Van Zandt Heisenburg, 45 are living comfortably together with their two children Hezekiah, 13 and Gomer, 6.  Bryan plans to eventually release another Heisenburg Principle album.  Sophie occasionally plays with the local orchestra.

Trevor Dare:  Trevor, 45, is now creating soundtracks for movies and making millions of dollars.

Puggsy Rhodes:  Puggsy Rhodes, 48, is now down to a box of Nicorette a day.  He plans to play drums on the next Heisenburg Principle album.

Johann Sebastian Smith: After recovering in rehab, Smith, 47, has sadly relapsed with the release of the new Sega Genesis.  Chung Wang and Dinky Whittenfield are still looking for a new band.

Dr Robert Cooledge: Dr. Cooledge, 75, plans to retire soon as he is no longer finding joy in failing students in electromagnetics.  He has no plans to manage any bands again.

Chester G. Wiggins III:  Chester, 42, is currently doing community service and still under a restraining order to stay away from Ellen Cooledge.  He plans to reunite Ellen's Affection soon.

Herman and Gertrude Wendleweiler:  The Wendleweilers, Herman, 63, and Gertrude, 59 have retired and teach trombone to young children.  When asked about their days with the Heisenburg Principle, Gertrude will sigh and say, "Bryan was such a good boy."

Stumpy Whippensworth:  No one has heard from Stumpy Whippensworth, 42, in fifteen years, but it's a safe guess that he's somewhere still playing drums somewhere.

Silas:  Silas, 45, is currently contacting Melvin Myers, Zachariaus Jones and Elijah Patterson in an effort to reunite David's Harp.

Earwig:  Earwig, 37, currently plays in Red Hot Chili Peppers cover band.

Moesha K:  25, Still on tour with "Stomp"

Bud Smith:  27, Receives pounds and pounds of hate mail for being the only bass player on a Heisenburg Principle album that's not Bryan Heisenburg.

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