Tortured Solitaire
Tortured Solitaire
[verse]
Though I’ve yet to be bothered
By your occupation
I’ve seen the damage you do
For the mighty buck
All without remorse to
Actions of obscene abuse
[verse]
Who draws the line you leap over
Time after time
When will it be enough toward
The prey you seek
At the death you stand waiting
For a picture you can keep
[Chorus]
I’d like to turn the tables ‘round
Hunt and prey on you like a hound
Play your fears and capture tears
Engrave the peers and Torture Solitaire
[Chorus]
I’d like to turn the tables ‘round
Hunt and prey on you like a hound
Play your fears and capture tears
Engrave the peers and Torture Solitaire
I’d like to turn the tables ‘round
Hunt and prey on you like a hound
Play your fears and capture tears
Engrave the peers and Torture Solitaire
[bridge]
Mastermind the better game
Make the lie veritable
Even beg borrow or steal
And give it to the sane
[Chorus]
I’d like to turn the tables ‘round
Hunt and prey on you like a hound
Play your fears and capture tears
Engrave the peers and Torture Solitaire
I’d like to turn the tables ‘round
Hunt and prey on you like a hound
Play your fears and capture tears
Engrave the peers and Torture Solitaire
I’d like to turn the tables ‘round
Hunt and prey on you like a hound
Play your fears and capture tears
Engrave the peers and Torture Solitaire
I’d like to turn the tables ‘round
Hunt and prey on you like a hound
Play your fears and capture tears
Engrave the peers and Torture Solitaire
I’d like to turn the tables ‘round
Hunt and prey on you like a hound
Play your fears and capture tears
Engrave the peers and Torture Solitaire
I’d like to turn the tables ‘round
Hunt and prey on you like a hound
Play your fears and capture tears
Engrave the peers and Torture Solitaire
Song Length: 4:03
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:
I’d be willing to bet that everyone in their life has one of those moments where something major happened in the world and where they were when it happened. If you live long enough, you get quite a few of those moments. This song came from one of those moments and is my ode to Princess Dianna.
I was sitting with Jeff and his girlfriend Rebecca at a sushi restaurant at Universal Citywalk. We had just placed our order when the news broke on the television (there it is again, television, a rampant concept on this whole release. Which of course would currently be social media). I remember the reactions that occurred from the tourists around us in the restaurant, many of whom were there on vacation from the UK. It was disturbing on several levels. I’ll never forget the blond girl who was sitting behind us that started crying heavily. Every single thing about that moment and this particular event is just sad.
If there is one aspect to being famous that I do not look forward to it is being hounded by paparazzi. It’s one of those evils that has to be dealt with and there might come a time when I’m knee deep in it.
Factoids:
1. Written about Princess Dianna and her tragic passing.
2. I really like how this one spirals out at the end.
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.
The intro was my first real attempt at using to EQ to create that AM radio type sound, and is coupled with probably my favorite guitar riff on the CD. I made use of a wild automation trick on the vocals with reverb that ends one of the verses. This song really has my first real audio production on vocals where I tried alot of things to make it twist your head like the RCA victor dog.
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: 2007/02/01
ISRC: USONR0010007
ISRC: USONR2400117
ISRC: USONR2400107
ISRC: USONR2400127
ISWC: T0709688072
SESAC Song ID: 700347
Harry Fox ID: X8271Q
Harry Fox Publisher ID: P8938Q
UPC: 654433000221
UPC: 656465415196
UPC: 656465415219
UPC: 656465417992
UPC: 656465428103