Time Machine
Time Machine
[verse]
I’ve always admired Sheakspeare for his use of irony
I want to spit in the faces of these actors prancing pompously
You’d think they’d learn how to play the part
But they just sell out now
[verse]
I’ve heard about a land where creatures used to run and roam free
I can see it in these faces skeletons displayed so nakedly
You’d think they’d learn how to play the game
But they just fell down now
[Chorus]
I want to journey in a Time Machine
To see what it might have been
I want to journey in a Time Machine
To a time when I’ve never been
[Chorus]
I want to journey in a Time Machine
To see what it might have been
I want to journey in a Time Machine
To a time when I’ve never been
[bridge]
I’d like to see us in the future
Will we proceed peacefully
I’d like to spit in the eye of violence
You’d think they’d learn
But they shoot it down now
[Chorus]
I want to journey in a Time Machine
To see what it might have been
I want to journey in a Time Machine
To a time when I’ve never been
[Chorus]
I want to journey in a Time Machine
To see what it might have been
I want to journey in a Time Machine
To a time when I’ve never been
[Chorus]
I want to journey in a Time Machine
To see what it might have been
I want to journey in a Time Machine
To a time when I’ve never been
Song Length: 3:32
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
Animated Cover: Ken Bailey
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.
Synths: ES1 Synth in Logic Audio Platinum, played in via a Roland JV-35
Song Story:
Hey Jody, did you have a crazy inspiration for this song? Why, yes I did. What is it you ask?
I was up really really late one night in Park City. I was reading the story The Time Machine by H.G. Wells. Then I had this concept of doing something in the nature of Tori Amos. How the hell those two things crossed my mind and fruited into this song is well beyond me.
I hope we see the ability to travel in time as observers, not to interact with, in my lifetime. It would be absolutely brilliant. I’m probably way more interested in the past and knowing whether or not we’ve been lied to about history.
This song is one of those songs where I really enjoy singing and playing it live. There were some little hiccups in my learning process to being able to play it smoothly live. Now it’s definitely one of my favs.
Factoids:
1. My original idea was to duet this with Tori Amos. Maybe at some point, I’ll get to do that with her.
2. Has a false ending.
Copyright: 2000/04/11
ISRC: USONR0010004
ISRC: USONR2400114
ISRC: USONR2400104
ISRC: USONR2400124
ISWC: T0709688107
SESAC Song ID: 700346
Harry Fox ID: X8271R
Harry Fox Publisher ID: P8938Q
UPC: 654433000221
UPC: 656465413871
UPC: 656465413895