Fucked Up Trance
Fucked Up Trance
[verse]
So you’ve been beat down and it’s coming around
You’re a fun gal
Well I’m springing back from a low lying time
And I’m a fun pal
[Chorus]
So the night was calling
And my music had you falling
Into an attractive stance
Come on baby she said
In a funky dance
So long honey I said
In a Fucked up Trance
[verse]
Do you see the far and away as it’s here to stay
Like an open book
Kindly I’d like to resign from being the nice guy
Graduation line
[Chorus]
So the night was calling
And my music had you falling
Into an attractive stance
Come on baby she said
In a funky dance
So long honey I said
In a Fucked up Trance
[Chorus]
So the night was calling
And my music had you falling
Into an attractive stance
Come on baby she said
In a funky dance
So long honey I said
In a Fucked up Trance
Come on baby she said
In a funky dance
So long honey I said
In a Fucked up Trance
[bridge]
So you been beat down
And it’s coming around
Your a fun gal
Well I’ve sprung
Back now
From a low lying time how
I’m a fun pal
[Chorus]
So the night was calling
And my music had you falling
Into an attractive stance
Come on baby she said
In a funky dance
So long honey I said
In a Fucked up Trance
Come on baby she said
In a funky dance
So long honey I said
In a Fucked up Trance
Song Length: 4:09
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. I had to figure out the loop tempos and slice them up in Logic Audio to get them just perfect. Thus every single section of the song is a slightly different tempo, but not by much.
Vocal: All vocals in this were recorded using a GrooveTubes MD1a.
Song Story:
The four-letter-word song titled song…
I was on vacation in France one February. I spent some time exploring the French nightlife. I found some club in a back alley that was underground and like catacombs and all brick walls. I was having a great time drinking and dancing with women from all types of European countries. I especially remember hearing “Torn”, the Natalie Imbruglia version for the first time.
Anyway late into the night there was a French women who wasn’t as pretty as this tall Danish woman I was dancing with who started to try and hook up with me. Now I was drunk – in a fucked up trance – but I could tell it was a bad idea. I did everything I could to stay away from her. Unfortunately it ruined my shot with the tall blond. Hence this is the backstory to the lyrics here.
Stylistically this song is different to me. Kinda like the opposite of “…With You” from Delicate Stretch of the Seems” but much more straight forward in timing. It’s also my second foray into using a diminished chord in a song. The first attempt was in That’s What it is from Delicate Stretch of the Seems.
Factoids:
1. Based on a woman I met in an underground French club.
2. My second song where I use a diminished chord, this time in the verse.
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 song probably represents my first real attempt at crossing some styles in one song, moving from a jazzier pop chord progression into a heavier chorus that is more hard rock.
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: 1996/06/01
ISRC: USONR0010009
ISRC: USONR2400119
ISRC: USONR2400109
ISRC: USONR2400129
ISWC: T0709688038
SESAC Song ID: 700302
Harry Fox ID: F60425
Harry Fox Publisher ID: P8938Q
UPC: 654433000221
UPC: 656465417978
UPC: 656465417985
UPC: 656465417985
UPC: 656465428103