Vision
Vision
[verse]
Once there was the water
Once there was the land
God filled it with emotion
And gave it everything he had
[verse]
Along came a creature
Which is known as man
He wanted more stimulation
And T.V. was his dream to have
[Chorus]
Let me have your brain station
Vision
A whole lotta television
Vision
A whole lotta cable-vision
[verse]
Now man’s in a tight bind
So much to sponge the mind
More fascinating everyday
While programming has nothing to say
[Chorus]
Let me have your brain station
Vision
A whole lotta television
Vision
A whole lotta cable-vision
Vision
Let me thieve your main ration
Vision
A whole lotta cable-vision
[bridge]
Wrapped up in plastic
Fleshed with a picture tube
I give you
[Chorus]
Vision Vision
Vision Vision
Let me have your brain station
Vision
A whole lotta television
Vision
A whole lotta cable-vision
Vision
Let me thieve your main ration
Vision
A whole lotta cable-vision
Vision
Let me have your brain station
Vision
A whole lotta television
Vision
A whole lotta cable-vision
Vision
I give you
Vision
A whole lotta television
I give you I give you I give you I give you
Vision Vision
I give you I give you I give you I give you
Song Length: 3:38
Writer: Jody Whitesides IPI/CAE 00196306650
Publisher: Too Much Music IPI/CAE 00456952518
Admin Publisher (Outside U.S.): Bluewater Music
Bob Roberts: Drums
Jody Whitesides: Vocals, Guitars, Bass, Additional Drum Programming
Recording Info:
Recording Notes 2025:
Cover Art: Jody Whitesides
Recording Engineer: Jody Whitesides
Mixing Engineer: Jody Whitesides
Mastering Engineer: Jody Whitesides
Vocal Engineer: Jody Whitesides
Producer: Jody Whitesides
Remixed at: Snow Park Studio in Park City UT
Mixed in LUNA with Apollo interfaces
Mastered in LUNA with Apollo interfaces
Monitor Speakers: KRK V4 mkII
Original CD Version released in 2000 info:
Cover Art: Omar Cano
Recording Engineer: Jody Whitesides
Mixing Engineer: Jody Whitesides
Mixing Engineer: Rokk Lattanzio
Mastering Engineer: Rokk Lattanzio
Vocal Engineer: Jody Whitesides
Producer: Jody Whitesides
Recorded at: El Padden Studio Jr in Porter Ranch CA
Audio Interface: Emagic Audiowerk8
Also recorded at: Das Poolside Studio in Tujunga CA
Audio Interface: Emagic Audiowerk8
The rhythm guitars for the right side of the song were El Padden Jr.
The rhythm guitars for the left side of the song were recorded at Das Poolside Studio.
Mixed in Logic Audio Platinum
Mastered in Logic Audio
Monitor Speakers: Custom Built by Rock Lattanzio and Jody Whitesides
Guitar(s): Ibanez Universe 7 string guitar: This is number 96 off the assembly line. I got it for $400 with the case, about 6 months before Korn hit it big time. Then the value shot up to over $2000. Seymour Duncan Custom Custom 7 string model – custom wound. Plus my middle pickup was custom wound by a guy in Canada, sounds ok, but I don’t have his name. Neck pickup wasn’t used on this disc but is the stock pickup. Tremolo was useless with strings this heavy – so I blocked it off. This guitar was strung with Dean Markley Blue Steels medium gauge. I ran this guitar through an old Tube Screamer pedal. From there I ran it into the Fender VibroChamp.
Joe’s Guitar Whitesides Viper 7 Redwood: This is a custom 7-string guitar that Justin built for me to specifications for the neck. The body is two different woods, the back of the body is alder with a redwood top. The neck is maple with a Bocate fingerboard, jumbo frets. Strung with Dean Markley Blue Steels. The bridge pickup is a custom built Seymour Duncan Custom Custom, made specifically for me prior to 7-string guitar pickups becoming an actual line. Thus it’s pieced together by Seymour’s custom pickup department. The neck is a stacked humbucker, also created by Seymour Duncan’s custom pickup department. This was voiced to be more like a custom. I ran this guitar through the GrooveTubes Trio/Soul-O setup.
The guitar solo was recorded using the Whitesides Viper 7 through the GrooveTubes Trio/Soul-O setup.
The amp setups, as noted above:
Fender VibroChamp. It was re-tubed by Aspen Pittman of GrooveTubes. The distortion pedal I used was a re-issue Ibanez Tube Screamer. Mic’d using a Shure SM-57Beta.
GrooveTubes Trio: GrooveTubes Soul-O 150. GrooveTubes Dual 75 loaded with KT88’s. GrooveTubes 2 x 10″ cabs. Mic’d using the GrooveTubes MD1a.
Bass(s): Hohner B Bass V. At the time of this recording it was strung with GHS Boomers bass strings. The bass was recorded direct into a tube screamer, and a Peavey Backstage plus amp. Mic’d with a Shure SM-57Beta.
Drums: Live drums were tracked as MIDI via the Roland TD-10 (with expansion kit) and later dumped into Logic as MIDI (with a very complex environment page that allowed for all the parts to be separated and associated with their control data) and audio sounds.
Additional drums and percussion were from Spectrasonics loop libraries. Meticulously edited by Jody to loop perfectly without hiccups.
Vocal: All vocals in this were recorded using a GrooveTubes MD1a.
Song Story:
If you’ve read up on the song stories from Delicate Stretch of the Seems you’d know that I don’t own a T.V. I’ve never owned a T.V. Someday I’ll get a huge flat panel screen to watch content on, but I really don’t care to watch T.V.
So why is it that I wrote a song about my warped view of the birth of television media? I don’t know. It seemed like a good idea at the time. Though I didn’t think about it at the time I wrote, I can now see a weird connection to an old Def Leppard song. I think it’s called Women. Must have been a subconscious thing.
I don’t think it’s my greatest song, but it’s fun for the wacky solo that has an old Atari gaming type effect splattered in there. I’ve never performed this song live. It’s like the one song I’ve ever written that never got played live. I don’t know why. It seems to be that one song that seems destined to be left as bits of ones and zeros and heard on boom boxes and radios. Will it ever get performed live? I guess it depends on demand and when I do my farewell tour, then come back and say farewell again, ad nauseam.
Factoids:
1. My least favorite song on this release.
2. I’ve never owned a TV. Which was a big deal back in 2000. However, now it matters not, anymore.
This album was my first foray into computer recording. At the time, the El Padden Studio was no longer at my beck and call and I had to make arrangements with recording with my own gear. I was using a Mac 9500 with an Emagic audio card (yes, the people/company that created Logic Audio).
I had a super simple setup. The guitars and vocals were all mic’d and played live. The drums were also played live on an electronic kit and thus recorded as MIDI. The bass was recorded direct. It was a massive learning experience at a time when digital was very much in its infancy. There weren’t a lot of plugins available and things were stupid expensive compared to today’s digital recording.
We threw the kitchen sink at twisting the sounds of little things in the mix. I especially like how the guitar solo has a real Atari Game type vibe to it’s ending. Yes, it is a real guitar solo, but it’s been run through a thing called Bit Crusher. Fun effect!
I had met Rokk who was a great teacher on getting me info about EQ and where to listen for things to modify in sound. He was great. Built me a nice set of speakers to mix with and listen to. Taught me an awful lot about mixing for a better production sound.
Additional rhythm guitar tracks were inspired by Mark Jackson. I knew Mark from Musician’s Institute and he was working for A&R at Columbia records. He felt if I beefed up the guitars I’d get signed. It did flesh out the sound, but didn’t get me signed.
Copyright: 2000/04/11
ISRC: USONR0010005
ISRC: USONR2400115
ISRC: USONR2400105
ISRC: USONR2400125
ISWC: T0709688094
SESAC Song ID: 700349
Harry Fox ID: V2324V
Harry Fox Publisher ID: P8938Q
UPC: 654433000221
UPC: 656465414823
UPC: 656465414847