Death’s the Rage
Death’s the Rage
[verse]
You talk I speak
We all assert
Yet no alliance can be made
You cry I weep
We do discharge
Yet no sympathy is in trade
[Chorus]
It’s on the television and the paper’s page
Check it out
Death’s all the Rage
[verse]
So was seen in this state
A crime committed hate on hate
By having been a talking fry
In a public forum and the public’s eye
[Chorus]
It’s on the television and the paper’s page
Check it out
Death’s all the Rage
Gracing compact discs and the radio waves
Discover this
Death’s all the Rage
[bridge]
Five factions rule from a special place
Though two divisions bowed from the race
Self inflicted anger gets a self inflicted case
[Chorus]
It’s on the television and the paper’s page
Check it out
Death’s all the Rage
Gracing compact discs and the radio waves
Discover this
Death’s all the Rage
[verse]
You forget I neglect
We’re oblivious
Yet safety’s what we expected anger get
You forget I neglect
We’re oblivious
Yet safety’s what we expect
[Chorus]
It’s on the television and the paper’s page
Check it out
Death’s all the Rage
It’s on the television and the paper’s page
Check it out
Death’s all the Rage
Gracing compact discs and the radio waves
Discover this
Death’s all the Rage
Song Length: 3:54
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.
Song Story:
Rap, Rappers and Gangsta’s.
Yup, that’s what this is all about. Initially I got the idea from the whole East / West Coast shit that was in the news for a while. This was right around the time of the Tupac and Biggie Small slayings. However I’m not sure Tupac is dead. He seems to release a new record every year and has even done a movie after he was dead. Things that make you go hmmmm…
At the time I wrote the lyrics I never thought that in my lifetime I’d work on anything remotely rap oriented. But since I’ve recorded this song, I’ve mixed a DVD of all the originators of rap. And the majority of clients I had in my studio were Rappers and their producers. Go figure!
I even became friends with JR Ewng who was signed to Innerscope Records for a little while. He was amazing. In all the time I hung with him, I never heard one song. He kept asking me to come play guitar and banjo on something and then always flaked. He eventually got dropped and has disappeared into the musical woodwork.
Anyway, this was me poking fun at the whole rap genre and now I’m a small part of it’s history.
Factoids:
1. I thought of this in Vegas.
2. I’ve never killed anyone.
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.
This began my initial steps to computer based recording. I haven’t looked back. The power and the ease of recording on the computer, minus the mucky muck of boards, tape and knobs was awesome.
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: USONR0010006
ISRC: USONR2400116
ISRC: USONR2400106
ISRC: USONR2400126
ISWC: T0709688083
SESAC Song ID: 700292
Harry Fox ID: D9120G
Harry Fox Publisher ID: P8938Q
UPC: 654433000221
UPC: 656465414946
UPC: 656465414991
UPC: 656465417992
UPC: 656465428103