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God Rest Ye Merry Gentlemen

[verse]
God rest you merry, gentlemen
Let nothing you dismay
Remember Christ our Savior
Was born on Christmas day
To save us all from Satan’s power
When we were gone astray

[hook]
O tidings of comfort and joy
Comfort and joy
O tidings of comfort and joy

[verse]
In Bethlehem, in Israel
This blessèd Babe was born
And laid within a manger
Upon this blessèd morn
To which His mother Mary
Did nothing take in scorn

[hook]
O tidings of comfort and joy
Comfort and joy
O tidings of comfort and joy

[verse]
From God our heavenly Father
A blessed angel came
And unto certain shepherds
Brought tidings of the same
How that in Bethlehem was born
The Son of God by name

[hook]
O tidings of comfort and joy
Comfort and joy
O tidings of comfort and joy

[verse]
Now to the Lord sing praises
All you within this place
And with true love and brotherhood
Each other now embrace
This holy tide of Christmas
All others doth deface

[hook]
O tidings of comfort and joy
Comfort and joy
O tidings of comfort and joy
Comfort and joy
O tidings of comfort and joy

Song Length: 4:32

Writer: Charles Jody Whitesides
Publisher: Too Much Music

Jody Whitesides: Vocals, Guitars, Bass, Synths, Drum Programming
Dannielle Gaha: Background Vocals

Recording Info:
Cover Art: Kim Whitesides
Arranger: Jody Whitesides
Recording Engineer: Jody Whitesides
Mixing Engineer 2006: Chris Hellstrom
Mixing Engineer 2022: Jody Whitesides
Mastering Engineer 2006: George Leger III
Mastering Engineer 2022: Jody Whitesides
Vocal Engineer: Jody Whitesides
Producer: Jody Whitesides Guitar(s): Left side guitar: Desert Guitar: my first guitar which was a Fender “Japocaster” as it used to be referred as, the only original thing is the body. Everything else has been replaced or modified. Think of the Van Halen Frankenstein guitar only this one has a Desert landscape for a paint job. A single Seymour Duncan Custom Custom hum-bucker pickup. Standard bridge. Strung with Dean Markley Blue Steels medium gauge.

Right side guitar: Joe’s Guitar with Jesus paint job: This guitar has a Seymour Duncan Custom Custom pickup and a Cool Rails in the neck position. It has a Wilkinson Tremelo installed by Trev Wilkinson himself. Strung with Dean Markley Blue Steel medium gauge strings. I used the bridge pickup for this sound.

Vibrato lick guitar: 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 bubinga 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.

Extra guitar chorus: Joe’s Guitar with Jesus paint job: This guitar has a Seymour Duncan Custom Custom pickup and a Cool Rails. It also has a Wilkinson Tremelo installed by Trev Wilkinson himself. Strung with Dean Markley Blue Steel medium gauge strings. This part is using the Cool Rails pickup in the neck position.

The Amp Setup:
GrooveTubes Solo 150 head
GrooveTubes Dual 75 Poweramp that has been modified to be true stereo
GrooveTubes 2 x 10″ cabs
I had KT88’s on one side of the Dual 75 and EL34’s on the other side

The cab was mic’d with an SM57 Beta on the grill center of the cone

Bass(s): Hohner B Bass V. Strings were Dean Markley Blue Steels. This was run thru a Line 6 Bass Pod Pro. Two outputs, one that was direct out and one that was an amp sim from the Line 6 Bass Pod Pro to give it some grit.

Additional Bass sounds were done with the ESM from Logic Pro

Drums: Drums are sequenced from samples out of Stylus RMX by SpectraSonics.
Kicks are from the Kicks Boomy and Kicks Punchy menus.
Snares are from the Snares Vinyl menu.

Vocal: Lead vocals in this were recorded using a Telefunken C12.

Background vocals were recorded using a Neumann 87a.

Synths: The synth parts were created using Logic Pro’s ES2.

Misc Instruments: Handclaps are created from me doing about 40 different takes of handclaps from various different positions around the studio to create more depth.

Song Story:
There’s a bit of history behind this song and it’s long…

In the late 90’s there was a group of investors that were starting up a football league for women. Someone reached out to me and asked if I would write a song that would be a theme for the league. I was given a set of values and ideas that I had to hit on in order for it to be uplifting for the female football league.

Within a couple of days I had whipped up the song. Musically I had envisioned a stadium anthem. Which meant keeping the drums simple, making it easy for people to clap and or stomp along with the song as it could be played over the loud system. For the chorus, I came up with that pretty quick. I wanted it to be easy to sing for anyone, including those who claim to be tone-deaf.

The guitar parts were kept quite simple for the same reason. I wanted any guitar player to be able to pick up a guitar and be able to play it within a matter of minutes. Plus I layered several simple parts to give it a bit more change to it. The hardest part to play likely the lead lick with the vibrato. But even then, it’s not difficult to play.

The verse lyrics took a bit more time. Working on incorporating those values and ideas I had to spend a little time working it so that they would rhyme and work in more of a storyline aspect. It wasn’t overly troublesome, but I did make sure there was progression.

Once it was all put together I sent it along to the contact. The league worked on getting underway, but never got to a point where the song was used for the theme. They never ended up doing a theme and we never signed a deal for it.

Fast forward a few years and I’m going to an LA Kings hockey game with my good buddy Chris Hellstrom. He wanted to get me into hockey, and the best way is for me to go to a live game. I was having a great time. During the game every so often (who am I kidding, very often), they were playing a semi-musical thing that kept shouting “Go Kings Go!”* I told Chris, dude, I have a song that is substantially better than that.

That night when I got home, I pulled out the WPFL theme I had written. I started looking at the files and then went to bed. The next day I started retooling the verse lyrics. I needed them to work for hockey instead of the football. Which required me to pester Chris with questions about hockey and some of the various terms used to talk about what happens on the ice.

A day later, I had it re-tooled. Updated the vocals. Asked Chris to add some bits to the arrangement, then I made a mix of it. Shortly after that I opted to do a version for each major league team in LA at the time. Which mean tweaking it for Basketball as well. A few more days later and I had versions for each team.

Basketball had a huge following and my decision was to use a basketball related photo that I took at a park to be the cover of the release. Then I put the various versions out under the title Do You Want to Play.

Another year or two later I was linked up with Jerry Davis from Fox Sports. I was going to be doing a lot of music for their sports network. During the course of getting the deal done, Jerry asked me how much music I have and in turn I told him how many production music CDs I had. The deal changed in my favor as they would just license my library instead of me writing stuff and them owning it.

While doing that deal I mentioned the song for all the LA teams. Jerry liked it, but felt Fox couldn’t make use of it. He felt strongly about it, and pushed it out to the head of marketing for the NBA, then gave her my contact info. She contacted me and we spoke about the song and what else I was doing musically. She asked me if I could do a version of the song for the WNBA and the D League. I had to ask what the D League was. She explained and I said sure I can. She also wanted to have me come play at halftime events at various live games; based on a tour that I was supposed to be doing at that time. It was going to be a huge plus.

While pulling the song out again for doing those two versions, I got a wild notion that I should just do a version for every team in all 3 of the basketball leagues. That’s what I did. I started keeping track of each team, and swapping out vocals for each one.

Once done, I sent them all to her and it was a bit overwhelming for her.

Unfortunately the tour didn’t happen, and thus the live halftimes didn’t materialize. But I had the ability to use the songs as I owned it. So I started releasing the versions for each league. They did well on their own without me pushing them.

Years later, I’m still occasionally updating the song for new teams that arise over time. Much like this one for the Lehi Pioneers. The question might be, why would you do a version for a High School team? The answer is, for my girlfriend who is the assistant principal at Lehi High. You know, the place, kinda made famous by the original Footloose movie starring Kevin Bacon. Oddly, I’ve been to more of their games than I attended in my own high school.

Factoids:
1. I layered several Taylor guitars on this.
2. One of my favorite arrangements.

Copyright: 20060101

ISRC: US32P0600014
ISRC: USONR2200111

ISWC: T9055765601

SESAC Song ID: 641995

Harry Fox ID: G6319U
Harry Fox Publisher ID: P8938Q

UPC: 197144433747

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Deck the Halls

[verse]
Deck the halls with boughs of holly
Fa la la la la, la la la la
Tis the season to be jolly
Fa la la la la, la la la la
Don we now our gay apparel
Fa la la, la la la, la la la
Troll the ancient Yule tide carol
Fa la la la la, la la la la

[hook]
Fa la la la la, la la la la
Fa la la la la, la la la la

[verse]
Sing we joyous, all together
Fa la la la la, la la la la
Heedless of the wind and weather
Fa la la la la, la la la la
See the blazing Yule before us
Fa la la la la, la la la la
Strike the harp and join the chorus
Fa la la la la, la la la la
Follow me in merry measure
Fa la la la la, la la la la
While I tell of Yule tide treasure
Fa la la la la, la la la la
Fa la la la la, la la la la

Song Length: 1:08

Writer: Charles Jody Whitesides
Publisher: Too Much Music

Jody Whitesides: Vocals, Guitars, Bass, Synths, Drum Programming
Dannielle Gaha: Background Vocals

Recording Info:
Cover Art: Kim Whitesides
Arranger: Jody Whitesides
Recording Engineer: Jody Whitesides
Mixing Engineer 2006: Chris Hellstrom
Mixing Engineer 2022: Jody Whitesides
Mastering Engineer 2006: George Leger III
Mastering Engineer 2022: Jody Whitesides
Vocal Engineer: Jody Whitesides
Producer: Jody Whitesides Guitar(s): Left side guitar: Desert Guitar: my first guitar which was a Fender “Japocaster” as it used to be referred as, the only original thing is the body. Everything else has been replaced or modified. Think of the Van Halen Frankenstein guitar only this one has a Desert landscape for a paint job. A single Seymour Duncan Custom Custom hum-bucker pickup. Standard bridge. Strung with Dean Markley Blue Steels medium gauge.

Right side guitar: Joe’s Guitar with Jesus paint job: This guitar has a Seymour Duncan Custom Custom pickup and a Cool Rails in the neck position. It has a Wilkinson Tremelo installed by Trev Wilkinson himself. Strung with Dean Markley Blue Steel medium gauge strings. I used the bridge pickup for this sound.

Vibrato lick guitar: 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 bubinga 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.

Extra guitar chorus: Joe’s Guitar with Jesus paint job: This guitar has a Seymour Duncan Custom Custom pickup and a Cool Rails. It also has a Wilkinson Tremelo installed by Trev Wilkinson himself. Strung with Dean Markley Blue Steel medium gauge strings. This part is using the Cool Rails pickup in the neck position.

The Amp Setup:
GrooveTubes Solo 150 head
GrooveTubes Dual 75 Poweramp that has been modified to be true stereo
GrooveTubes 2 x 10″ cabs
I had KT88’s on one side of the Dual 75 and EL34’s on the other side

The cab was mic’d with an SM57 Beta on the grill center of the cone

Bass(s): Hohner B Bass V. Strings were Dean Markley Blue Steels. This was run thru a Line 6 Bass Pod Pro. Two outputs, one that was direct out and one that was an amp sim from the Line 6 Bass Pod Pro to give it some grit.

Additional Bass sounds were done with the ESM from Logic Pro

Drums: Drums are sequenced from samples out of Stylus RMX by SpectraSonics.
Kicks are from the Kicks Boomy and Kicks Punchy menus.
Snares are from the Snares Vinyl menu.

Vocal: Lead vocals in this were recorded using a Telefunken C12.

Background vocals were recorded using a Neumann 87a.

Synths: The synth parts were created using Logic Pro’s ES2.

Misc Instruments: Handclaps are created from me doing about 40 different takes of handclaps from various different positions around the studio to create more depth.

Song Story:
There’s a bit of history behind this song and it’s long…

In the late 90’s there was a group of investors that were starting up a football league for women. Someone reached out to me and asked if I would write a song that would be a theme for the league. I was given a set of values and ideas that I had to hit on in order for it to be uplifting for the female football league.

Within a couple of days I had whipped up the song. Musically I had envisioned a stadium anthem. Which meant keeping the drums simple, making it easy for people to clap and or stomp along with the song as it could be played over the loud system. For the chorus, I came up with that pretty quick. I wanted it to be easy to sing for anyone, including those who claim to be tone-deaf.

The guitar parts were kept quite simple for the same reason. I wanted any guitar player to be able to pick up a guitar and be able to play it within a matter of minutes. Plus I layered several simple parts to give it a bit more change to it. The hardest part to play likely the lead lick with the vibrato. But even then, it’s not difficult to play.

The verse lyrics took a bit more time. Working on incorporating those values and ideas I had to spend a little time working it so that they would rhyme and work in more of a storyline aspect. It wasn’t overly troublesome, but I did make sure there was progression.

Once it was all put together I sent it along to the contact. The league worked on getting underway, but never got to a point where the song was used for the theme. They never ended up doing a theme and we never signed a deal for it.

Fast forward a few years and I’m going to an LA Kings hockey game with my good buddy Chris Hellstrom. He wanted to get me into hockey, and the best way is for me to go to a live game. I was having a great time. During the game every so often (who am I kidding, very often), they were playing a semi-musical thing that kept shouting “Go Kings Go!”* I told Chris, dude, I have a song that is substantially better than that.

That night when I got home, I pulled out the WPFL theme I had written. I started looking at the files and then went to bed. The next day I started retooling the verse lyrics. I needed them to work for hockey instead of the football. Which required me to pester Chris with questions about hockey and some of the various terms used to talk about what happens on the ice.

A day later, I had it re-tooled. Updated the vocals. Asked Chris to add some bits to the arrangement, then I made a mix of it. Shortly after that I opted to do a version for each major league team in LA at the time. Which mean tweaking it for Basketball as well. A few more days later and I had versions for each team.

Basketball had a huge following and my decision was to use a basketball related photo that I took at a park to be the cover of the release. Then I put the various versions out under the title Do You Want to Play.

Another year or two later I was linked up with Jerry Davis from Fox Sports. I was going to be doing a lot of music for their sports network. During the course of getting the deal done, Jerry asked me how much music I have and in turn I told him how many production music CDs I had. The deal changed in my favor as they would just license my library instead of me writing stuff and them owning it.

While doing that deal I mentioned the song for all the LA teams. Jerry liked it, but felt Fox couldn’t make use of it. He felt strongly about it, and pushed it out to the head of marketing for the NBA, then gave her my contact info. She contacted me and we spoke about the song and what else I was doing musically. She asked me if I could do a version of the song for the WNBA and the D League. I had to ask what the D League was. She explained and I said sure I can. She also wanted to have me come play at halftime events at various live games; based on a tour that I was supposed to be doing at that time. It was going to be a huge plus.

While pulling the song out again for doing those two versions, I got a wild notion that I should just do a version for every team in all 3 of the basketball leagues. That’s what I did. I started keeping track of each team, and swapping out vocals for each one.

Once done, I sent them all to her and it was a bit overwhelming for her.

Unfortunately the tour didn’t happen, and thus the live halftimes didn’t materialize. But I had the ability to use the songs as I owned it. So I started releasing the versions for each league. They did well on their own without me pushing them.

Years later, I’m still occasionally updating the song for new teams that arise over time. Much like this one for the Lehi Pioneers. The question might be, why would you do a version for a High School team? The answer is, for my girlfriend who is the assistant principal at Lehi High. You know, the place, kinda made famous by the original Footloose movie starring Kevin Bacon. Oddly, I’ve been to more of their games than I attended in my own high school.

Factoids:
1. Tons of vocal tracks on this – over 40.
2. Extremely short song.

Copyright: 20060101

ISRC: US32P0600015
ISRC: USONR2200112

ISWC: T9055765598

SESAC Song ID: 641994

Harry Fox ID: D9115W
Harry Fox Publisher ID: P8938Q

UPC: 197144433747

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Jingle Bells

[verse]
Dashing through the snow
In a one-horse open sleigh
Over the fields we go
Laughing all the way
Bells on bob-tails ring
Making spirits bright
What fun it is to ride and sing a sleighing song tonight

[chorus]
Jingle Bells, Jingle Bells
Jingle all the way!
Oh what fun it is to ride in a one-horse open sleigh
Jingle Bells, Jingle Bells
Jingle all the way!
Oh what fun it is to ride in a one-horse open sleigh

[verse]
Now the ground is white
Go it while you’re young
Take the girls tonight
And sing this sleighing song
Just get a bob-tailed bay
Two-forty as his speed
Hitch him to an open sleigh and crack! you’ll take the lead

[chorus]
Jingle Bells, Jingle Bells
Jingle all the way!
Oh what fun it is to ride in a one-horse open sleigh
Jingle Bells, Jingle Bells
Jingle all the way!
Oh what fun it is to ride in a one-horse open sleigh

[outro]
Jingle Bells, Jingle Bells
Jingle all the way!
Oh what fun it is to ride in a one-horse open sleigh

Song Length: 2:40

Writer: Charles Jody Whitesides
Publisher: Too Much Music

Jody Whitesides: Vocals, Guitars, Bass, Synths, Drum Programming
Dannielle Gaha: Background Vocals

Recording Info:
Cover Art: Kim Whitesides
Arranger: Jody Whitesides
Recording Engineer: Jody Whitesides
Mixing Engineer 2006: Chris Hellstrom
Mixing Engineer 2022: Jody Whitesides
Mastering Engineer 2006: George Leger III
Mastering Engineer 2022: Jody Whitesides
Vocal Engineer: Jody Whitesides
Producer: Jody Whitesides Guitar(s): Left side guitar: Desert Guitar: my first guitar which was a Fender “Japocaster” as it used to be referred as, the only original thing is the body. Everything else has been replaced or modified. Think of the Van Halen Frankenstein guitar only this one has a Desert landscape for a paint job. A single Seymour Duncan Custom Custom hum-bucker pickup. Standard bridge. Strung with Dean Markley Blue Steels medium gauge.

Right side guitar: Joe’s Guitar with Jesus paint job: This guitar has a Seymour Duncan Custom Custom pickup and a Cool Rails in the neck position. It has a Wilkinson Tremelo installed by Trev Wilkinson himself. Strung with Dean Markley Blue Steel medium gauge strings. I used the bridge pickup for this sound.

Vibrato lick guitar: 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 bubinga 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.

Extra guitar chorus: Joe’s Guitar with Jesus paint job: This guitar has a Seymour Duncan Custom Custom pickup and a Cool Rails. It also has a Wilkinson Tremelo installed by Trev Wilkinson himself. Strung with Dean Markley Blue Steel medium gauge strings. This part is using the Cool Rails pickup in the neck position.

The Amp Setup:
GrooveTubes Solo 150 head
GrooveTubes Dual 75 Poweramp that has been modified to be true stereo
GrooveTubes 2 x 10″ cabs
I had KT88’s on one side of the Dual 75 and EL34’s on the other side

The cab was mic’d with an SM57 Beta on the grill center of the cone

Bass(s): Hohner B Bass V. Strings were Dean Markley Blue Steels. This was run thru a Line 6 Bass Pod Pro. Two outputs, one that was direct out and one that was an amp sim from the Line 6 Bass Pod Pro to give it some grit.

Additional Bass sounds were done with the ESM from Logic Pro

Drums: Drums are sequenced from samples out of Stylus RMX by SpectraSonics.
Kicks are from the Kicks Boomy and Kicks Punchy menus.
Snares are from the Snares Vinyl menu.

Vocal: Lead vocals in this were recorded using a Telefunken C12.

Background vocals were recorded using a Neumann 87a.

Synths: The synth parts were created using Logic Pro’s ES2.

Misc Instruments: Handclaps are created from me doing about 40 different takes of handclaps from various different positions around the studio to create more depth.

Song Story:
There’s a bit of history behind this song and it’s long…

In the late 90’s there was a group of investors that were starting up a football league for women. Someone reached out to me and asked if I would write a song that would be a theme for the league. I was given a set of values and ideas that I had to hit on in order for it to be uplifting for the female football league.

Within a couple of days I had whipped up the song. Musically I had envisioned a stadium anthem. Which meant keeping the drums simple, making it easy for people to clap and or stomp along with the song as it could be played over the loud system. For the chorus, I came up with that pretty quick. I wanted it to be easy to sing for anyone, including those who claim to be tone-deaf.

The guitar parts were kept quite simple for the same reason. I wanted any guitar player to be able to pick up a guitar and be able to play it within a matter of minutes. Plus I layered several simple parts to give it a bit more change to it. The hardest part to play likely the lead lick with the vibrato. But even then, it’s not difficult to play.

The verse lyrics took a bit more time. Working on incorporating those values and ideas I had to spend a little time working it so that they would rhyme and work in more of a storyline aspect. It wasn’t overly troublesome, but I did make sure there was progression.

Once it was all put together I sent it along to the contact. The league worked on getting underway, but never got to a point where the song was used for the theme. They never ended up doing a theme and we never signed a deal for it.

Fast forward a few years and I’m going to an LA Kings hockey game with my good buddy Chris Hellstrom. He wanted to get me into hockey, and the best way is for me to go to a live game. I was having a great time. During the game every so often (who am I kidding, very often), they were playing a semi-musical thing that kept shouting “Go Kings Go!”* I told Chris, dude, I have a song that is substantially better than that.

That night when I got home, I pulled out the WPFL theme I had written. I started looking at the files and then went to bed. The next day I started retooling the verse lyrics. I needed them to work for hockey instead of the football. Which required me to pester Chris with questions about hockey and some of the various terms used to talk about what happens on the ice.

A day later, I had it re-tooled. Updated the vocals. Asked Chris to add some bits to the arrangement, then I made a mix of it. Shortly after that I opted to do a version for each major league team in LA at the time. Which mean tweaking it for Basketball as well. A few more days later and I had versions for each team.

Basketball had a huge following and my decision was to use a basketball related photo that I took at a park to be the cover of the release. Then I put the various versions out under the title Do You Want to Play.

Another year or two later I was linked up with Jerry Davis from Fox Sports. I was going to be doing a lot of music for their sports network. During the course of getting the deal done, Jerry asked me how much music I have and in turn I told him how many production music CDs I had. The deal changed in my favor as they would just license my library instead of me writing stuff and them owning it.

While doing that deal I mentioned the song for all the LA teams. Jerry liked it, but felt Fox couldn’t make use of it. He felt strongly about it, and pushed it out to the head of marketing for the NBA, then gave her my contact info. She contacted me and we spoke about the song and what else I was doing musically. She asked me if I could do a version of the song for the WNBA and the D League. I had to ask what the D League was. She explained and I said sure I can. She also wanted to have me come play at halftime events at various live games; based on a tour that I was supposed to be doing at that time. It was going to be a huge plus.

While pulling the song out again for doing those two versions, I got a wild notion that I should just do a version for every team in all 3 of the basketball leagues. That’s what I did. I started keeping track of each team, and swapping out vocals for each one.

Once done, I sent them all to her and it was a bit overwhelming for her.

Unfortunately the tour didn’t happen, and thus the live halftimes didn’t materialize. But I had the ability to use the songs as I owned it. So I started releasing the versions for each league. They did well on their own without me pushing them.

Years later, I’m still occasionally updating the song for new teams that arise over time. Much like this one for the Lehi Pioneers. The question might be, why would you do a version for a High School team? The answer is, for my girlfriend who is the assistant principal at Lehi High. You know, the place, kinda made famous by the original Footloose movie starring Kevin Bacon. Oddly, I’ve been to more of their games than I attended in my own high school.

Factoids:
1. Surprised that this was a public domain song.
2. I’ve actually played real jingle bells, or rather Sleigh bells.

Copyright: 20060101

ISRC: US32P0600016
ISRC: USONR2200113

ISWC: T9055765612

SESAC Song ID: 641996

Harry Fox ID: J3281V
Harry Fox Publisher ID: P8938Q

UPC: 197144433747

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Jolly Old Saint Nicholas

[intro]
Jolly old Saint Nicholas
Lean your ear this way!
Don’t you tell a single soul
What I’m going to say

[verse]
Bobby wants a pair of skates
Suzy wants a sled
Jessie wants a picture book
Yellow, blue, and red
As for me my little brain
Isn’t very bright
Choose for me, dear Santa Claus
What you think is right

[chorus]
Jolly old Saint Nicholas
Lean your ear this way
Don’t you tell a single soul
What I’m going to say

[verse]
When the clock is striking twelve
When I’m fast asleep
Down the chimney all broad and black
With your pack you’ll creep

[chorus]
Jolly old Saint Nicholas
Lean your ear this way
Don’t you tell a single soul
What I’m going to say

[verse]
All the stockings that you will find
Hanging in a row
Mine will be the shortest one
You’ll be sure to know

[chorus]
Jolly old Saint Nicholas
Lean your ear this way
Don’t you tell a single soul
What I’m going to say
Jolly old Saint Nicholas
Lean your ear lean it this way
Don’t you tell a single soul
What I’m going to say
What I’m going to say

Song Length: 2:55

Writer: Charles Jody Whitesides
Publisher: Too Much Music

Jody Whitesides: Vocals, Guitars, Bass, Synths, Drum Programming

Recording Info:
Cover Art: Kim Whitesides
Arranger: Jody Whitesides
Recording Engineer: Jody Whitesides
Mixing Engineer 2006: Chris Hellstrom
Mixing Engineer 2022: Jody Whitesides
Mastering Engineer 2006: George Leger III
Mastering Engineer 2022: Jody Whitesides
Vocal Engineer: Jody Whitesides
Producer: Jody Whitesides Guitar(s): Left side guitar: Desert Guitar: my first guitar which was a Fender “Japocaster” as it used to be referred as, the only original thing is the body. Everything else has been replaced or modified. Think of the Van Halen Frankenstein guitar only this one has a Desert landscape for a paint job. A single Seymour Duncan Custom Custom hum-bucker pickup. Standard bridge. Strung with Dean Markley Blue Steels medium gauge.

Right side guitar: Joe’s Guitar with Jesus paint job: This guitar has a Seymour Duncan Custom Custom pickup and a Cool Rails in the neck position. It has a Wilkinson Tremelo installed by Trev Wilkinson himself. Strung with Dean Markley Blue Steel medium gauge strings. I used the bridge pickup for this sound.

Vibrato lick guitar: 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 bubinga 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.

Extra guitar chorus: Joe’s Guitar with Jesus paint job: This guitar has a Seymour Duncan Custom Custom pickup and a Cool Rails. It also has a Wilkinson Tremelo installed by Trev Wilkinson himself. Strung with Dean Markley Blue Steel medium gauge strings. This part is using the Cool Rails pickup in the neck position.

The Amp Setup:
GrooveTubes Solo 150 head
GrooveTubes Dual 75 Poweramp that has been modified to be true stereo
GrooveTubes 2 x 10″ cabs
I had KT88’s on one side of the Dual 75 and EL34’s on the other side

The cab was mic’d with an SM57 Beta on the grill center of the cone

Bass(s): Hohner B Bass V. Strings were Dean Markley Blue Steels. This was run thru a Line 6 Bass Pod Pro. Two outputs, one that was direct out and one that was an amp sim from the Line 6 Bass Pod Pro to give it some grit.

Additional Bass sounds were done with the ESM from Logic Pro

Drums: Drums are sequenced from samples out of Stylus RMX by SpectraSonics.
Kicks are from the Kicks Boomy and Kicks Punchy menus.
Snares are from the Snares Vinyl menu.

Vocal: Lead vocals in this were recorded using a Telefunken C12.

Background vocals were recorded using a Neumann 87a.

Synths: The synth parts were created using Logic Pro’s ES2.

Misc Instruments: Handclaps are created from me doing about 40 different takes of handclaps from various different positions around the studio to create more depth.

Song Story:
There’s a bit of history behind this song and it’s long…

In the late 90’s there was a group of investors that were starting up a football league for women. Someone reached out to me and asked if I would write a song that would be a theme for the league. I was given a set of values and ideas that I had to hit on in order for it to be uplifting for the female football league.

Within a couple of days I had whipped up the song. Musically I had envisioned a stadium anthem. Which meant keeping the drums simple, making it easy for people to clap and or stomp along with the song as it could be played over the loud system. For the chorus, I came up with that pretty quick. I wanted it to be easy to sing for anyone, including those who claim to be tone-deaf.

The guitar parts were kept quite simple for the same reason. I wanted any guitar player to be able to pick up a guitar and be able to play it within a matter of minutes. Plus I layered several simple parts to give it a bit more change to it. The hardest part to play likely the lead lick with the vibrato. But even then, it’s not difficult to play.

The verse lyrics took a bit more time. Working on incorporating those values and ideas I had to spend a little time working it so that they would rhyme and work in more of a storyline aspect. It wasn’t overly troublesome, but I did make sure there was progression.

Once it was all put together I sent it along to the contact. The league worked on getting underway, but never got to a point where the song was used for the theme. They never ended up doing a theme and we never signed a deal for it.

Fast forward a few years and I’m going to an LA Kings hockey game with my good buddy Chris Hellstrom. He wanted to get me into hockey, and the best way is for me to go to a live game. I was having a great time. During the game every so often (who am I kidding, very often), they were playing a semi-musical thing that kept shouting “Go Kings Go!”* I told Chris, dude, I have a song that is substantially better than that.

That night when I got home, I pulled out the WPFL theme I had written. I started looking at the files and then went to bed. The next day I started retooling the verse lyrics. I needed them to work for hockey instead of the football. Which required me to pester Chris with questions about hockey and some of the various terms used to talk about what happens on the ice.

A day later, I had it re-tooled. Updated the vocals. Asked Chris to add some bits to the arrangement, then I made a mix of it. Shortly after that I opted to do a version for each major league team in LA at the time. Which mean tweaking it for Basketball as well. A few more days later and I had versions for each team.

Basketball had a huge following and my decision was to use a basketball related photo that I took at a park to be the cover of the release. Then I put the various versions out under the title Do You Want to Play.

Another year or two later I was linked up with Jerry Davis from Fox Sports. I was going to be doing a lot of music for their sports network. During the course of getting the deal done, Jerry asked me how much music I have and in turn I told him how many production music CDs I had. The deal changed in my favor as they would just license my library instead of me writing stuff and them owning it.

While doing that deal I mentioned the song for all the LA teams. Jerry liked it, but felt Fox couldn’t make use of it. He felt strongly about it, and pushed it out to the head of marketing for the NBA, then gave her my contact info. She contacted me and we spoke about the song and what else I was doing musically. She asked me if I could do a version of the song for the WNBA and the D League. I had to ask what the D League was. She explained and I said sure I can. She also wanted to have me come play at halftime events at various live games; based on a tour that I was supposed to be doing at that time. It was going to be a huge plus.

While pulling the song out again for doing those two versions, I got a wild notion that I should just do a version for every team in all 3 of the basketball leagues. That’s what I did. I started keeping track of each team, and swapping out vocals for each one.

Once done, I sent them all to her and it was a bit overwhelming for her.

Unfortunately the tour didn’t happen, and thus the live halftimes didn’t materialize. But I had the ability to use the songs as I owned it. So I started releasing the versions for each league. They did well on their own without me pushing them.

Years later, I’m still occasionally updating the song for new teams that arise over time. Much like this one for the Lehi Pioneers. The question might be, why would you do a version for a High School team? The answer is, for my girlfriend who is the assistant principal at Lehi High. You know, the place, kinda made famous by the original Footloose movie starring Kevin Bacon. Oddly, I’ve been to more of their games than I attended in my own high school.

Factoids:
1. It’s hard for me to get to sleep before midnight.
2. I do have a sister named Jessie.

Copyright: 20060101

ISRC: US32P0600017
ISRC: USONR2200114

ISWC: T9055765623

SESAC Song ID: 641997

Harry Fox ID: J3281U
Harry Fox Publisher ID: P8938Q

UPC: 197144433747

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Oh Come All Ye Faithful

[verse]
Oh, come, all ye faithful
Joyful and triumphant!
Oh, come ye, oh, come ye to Bethlehem
Come and behold him
Born the king of angels

[hook]
Oh come, let us adore him
Oh come, let us adore him
Oh come, let us adore him
Christ the Lord

[verse]
Highest, most holy
Light of light eternal
Born of a virgin
A mortal he comes
Son of the Father
Now in flesh appearing!

[hook]
Oh come, let us adore him
Oh come, let us adore him
Oh come, let us adore him
Christ the Lord

[verse]
Sing, choirs of angels
Sing in exultation
Sing, all ye citizens of heaven above!
Glory to God
In the highest

[hook]
Oh come, let us adore him
Oh come, let us adore him
Oh come, let us adore him
Christ the Lord
Oh come, let us adore him
Oh come, let us adore him
Oh come, let us adore him
Oh come, let us adore him
Oh come, let us adore him
Oh come, let us adore him
Oh come, let us adore him
Oh come, let us adore him

Song Length: 4:50

Writer: Charles Jody Whitesides
Publisher: Too Much Music

Jody Whitesides: Vocals, Guitars, Bass, Synths, Drum Programming
Dannielle Gaha: Background Vocals

Recording Info:
Cover Art: Kim Whitesides
Arranger: Jody Whitesides
Recording Engineer: Jody Whitesides
Mixing Engineer 2006: Chris Hellstrom
Mixing Engineer 2022: Jody Whitesides
Mastering Engineer 2006: George Leger III
Mastering Engineer 2022: Jody Whitesides
Vocal Engineer: Jody Whitesides
Producer: Jody Whitesides Guitar(s): Left side guitar: Desert Guitar: my first guitar which was a Fender “Japocaster” as it used to be referred as, the only original thing is the body. Everything else has been replaced or modified. Think of the Van Halen Frankenstein guitar only this one has a Desert landscape for a paint job. A single Seymour Duncan Custom Custom hum-bucker pickup. Standard bridge. Strung with Dean Markley Blue Steels medium gauge.

Right side guitar: Joe’s Guitar with Jesus paint job: This guitar has a Seymour Duncan Custom Custom pickup and a Cool Rails in the neck position. It has a Wilkinson Tremelo installed by Trev Wilkinson himself. Strung with Dean Markley Blue Steel medium gauge strings. I used the bridge pickup for this sound.

Vibrato lick guitar: 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 bubinga 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.

Extra guitar chorus: Joe’s Guitar with Jesus paint job: This guitar has a Seymour Duncan Custom Custom pickup and a Cool Rails. It also has a Wilkinson Tremelo installed by Trev Wilkinson himself. Strung with Dean Markley Blue Steel medium gauge strings. This part is using the Cool Rails pickup in the neck position.

The Amp Setup:
GrooveTubes Solo 150 head
GrooveTubes Dual 75 Poweramp that has been modified to be true stereo
GrooveTubes 2 x 10″ cabs
I had KT88’s on one side of the Dual 75 and EL34’s on the other side

The cab was mic’d with an SM57 Beta on the grill center of the cone

Bass(s): Hohner B Bass V. Strings were Dean Markley Blue Steels. This was run thru a Line 6 Bass Pod Pro. Two outputs, one that was direct out and one that was an amp sim from the Line 6 Bass Pod Pro to give it some grit.

Additional Bass sounds were done with the ESM from Logic Pro

Drums: Drums are sequenced from samples out of Stylus RMX by SpectraSonics.
Kicks are from the Kicks Boomy and Kicks Punchy menus.
Snares are from the Snares Vinyl menu.

Vocal: Lead vocals in this were recorded using a Telefunken C12.

Background vocals were recorded using a Neumann 87a.

Synths: The synth parts were created using Logic Pro’s ES2.

Misc Instruments: Handclaps are created from me doing about 40 different takes of handclaps from various different positions around the studio to create more depth.

Song Story:
There’s a bit of history behind this song and it’s long…

In the late 90’s there was a group of investors that were starting up a football league for women. Someone reached out to me and asked if I would write a song that would be a theme for the league. I was given a set of values and ideas that I had to hit on in order for it to be uplifting for the female football league.

Within a couple of days I had whipped up the song. Musically I had envisioned a stadium anthem. Which meant keeping the drums simple, making it easy for people to clap and or stomp along with the song as it could be played over the loud system. For the chorus, I came up with that pretty quick. I wanted it to be easy to sing for anyone, including those who claim to be tone-deaf.

The guitar parts were kept quite simple for the same reason. I wanted any guitar player to be able to pick up a guitar and be able to play it within a matter of minutes. Plus I layered several simple parts to give it a bit more change to it. The hardest part to play likely the lead lick with the vibrato. But even then, it’s not difficult to play.

The verse lyrics took a bit more time. Working on incorporating those values and ideas I had to spend a little time working it so that they would rhyme and work in more of a storyline aspect. It wasn’t overly troublesome, but I did make sure there was progression.

Once it was all put together I sent it along to the contact. The league worked on getting underway, but never got to a point where the song was used for the theme. They never ended up doing a theme and we never signed a deal for it.

Fast forward a few years and I’m going to an LA Kings hockey game with my good buddy Chris Hellstrom. He wanted to get me into hockey, and the best way is for me to go to a live game. I was having a great time. During the game every so often (who am I kidding, very often), they were playing a semi-musical thing that kept shouting “Go Kings Go!”* I told Chris, dude, I have a song that is substantially better than that.

That night when I got home, I pulled out the WPFL theme I had written. I started looking at the files and then went to bed. The next day I started retooling the verse lyrics. I needed them to work for hockey instead of the football. Which required me to pester Chris with questions about hockey and some of the various terms used to talk about what happens on the ice.

A day later, I had it re-tooled. Updated the vocals. Asked Chris to add some bits to the arrangement, then I made a mix of it. Shortly after that I opted to do a version for each major league team in LA at the time. Which mean tweaking it for Basketball as well. A few more days later and I had versions for each team.

Basketball had a huge following and my decision was to use a basketball related photo that I took at a park to be the cover of the release. Then I put the various versions out under the title Do You Want to Play.

Another year or two later I was linked up with Jerry Davis from Fox Sports. I was going to be doing a lot of music for their sports network. During the course of getting the deal done, Jerry asked me how much music I have and in turn I told him how many production music CDs I had. The deal changed in my favor as they would just license my library instead of me writing stuff and them owning it.

While doing that deal I mentioned the song for all the LA teams. Jerry liked it, but felt Fox couldn’t make use of it. He felt strongly about it, and pushed it out to the head of marketing for the NBA, then gave her my contact info. She contacted me and we spoke about the song and what else I was doing musically. She asked me if I could do a version of the song for the WNBA and the D League. I had to ask what the D League was. She explained and I said sure I can. She also wanted to have me come play at halftime events at various live games; based on a tour that I was supposed to be doing at that time. It was going to be a huge plus.

While pulling the song out again for doing those two versions, I got a wild notion that I should just do a version for every team in all 3 of the basketball leagues. That’s what I did. I started keeping track of each team, and swapping out vocals for each one.

Once done, I sent them all to her and it was a bit overwhelming for her.

Unfortunately the tour didn’t happen, and thus the live halftimes didn’t materialize. But I had the ability to use the songs as I owned it. So I started releasing the versions for each league. They did well on their own without me pushing them.

Years later, I’m still occasionally updating the song for new teams that arise over time. Much like this one for the Lehi Pioneers. The question might be, why would you do a version for a High School team? The answer is, for my girlfriend who is the assistant principal at Lehi High. You know, the place, kinda made famous by the original Footloose movie starring Kevin Bacon. Oddly, I’ve been to more of their games than I attended in my own high school.

Factoids:
1. There is an odd measure of music in this song, can you find it?
2. Lots of tracks of Taylor guitars in this.

Copyright: 20060101

ISRC: US32P0600018
ISRC: USONR2200115

ISWC: T9055765656

SESAC Song ID: 642000

Harry Fox ID: O5006S
Harry Fox Publisher ID: P8938Q

UPC: 197144433747

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O Christmas Tree

[verse]
O Christmas tree, O Christmas tree
Thy leaves are so unchanging
Not only green when summer’s here
But also when ’tis cold and drear
O Christmas tree, O Christmas tree
Thy leaves are so unchanging

[verse]
O Christmas tree, O Christmas tree
Much pleasure thou can give me
How often has the Christmas tree
Afforded me the greatest glee
O Christmas tree, O Christmas tree
Much pleasure thou can give me

[verse]
O Christmas tree, O Christmas tree
Thy candles shine so brightly
From base to summit, gay and bright
There’s only splendor for the sight
O Christmas tree, O Christmas tree
Thy candles shine so brightly

Song Length: 2:59

Writer: Charles Jody Whitesides
Publisher: Too Much Music

Jody Whitesides: Vocals, Guitars, Bass, Synths, Drum Programming

Recording Info:
Cover Art: Kim Whitesides
Arranger: Jody Whitesides
Recording Engineer: Jody Whitesides
Mixing Engineer 2006: Chris Hellstrom
Mixing Engineer 2022: Jody Whitesides
Mastering Engineer 2006: George Leger III
Mastering Engineer 2022: Jody Whitesides
Vocal Engineer: Jody Whitesides
Producer: Jody Whitesides Guitar(s): Left side guitar: Desert Guitar: my first guitar which was a Fender “Japocaster” as it used to be referred as, the only original thing is the body. Everything else has been replaced or modified. Think of the Van Halen Frankenstein guitar only this one has a Desert landscape for a paint job. A single Seymour Duncan Custom Custom hum-bucker pickup. Standard bridge. Strung with Dean Markley Blue Steels medium gauge.

Right side guitar: Joe’s Guitar with Jesus paint job: This guitar has a Seymour Duncan Custom Custom pickup and a Cool Rails in the neck position. It has a Wilkinson Tremelo installed by Trev Wilkinson himself. Strung with Dean Markley Blue Steel medium gauge strings. I used the bridge pickup for this sound.

Vibrato lick guitar: 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 bubinga 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.

Extra guitar chorus: Joe’s Guitar with Jesus paint job: This guitar has a Seymour Duncan Custom Custom pickup and a Cool Rails. It also has a Wilkinson Tremelo installed by Trev Wilkinson himself. Strung with Dean Markley Blue Steel medium gauge strings. This part is using the Cool Rails pickup in the neck position.

The Amp Setup:
GrooveTubes Solo 150 head
GrooveTubes Dual 75 Poweramp that has been modified to be true stereo
GrooveTubes 2 x 10″ cabs
I had KT88’s on one side of the Dual 75 and EL34’s on the other side

The cab was mic’d with an SM57 Beta on the grill center of the cone

Bass(s): Hohner B Bass V. Strings were Dean Markley Blue Steels. This was run thru a Line 6 Bass Pod Pro. Two outputs, one that was direct out and one that was an amp sim from the Line 6 Bass Pod Pro to give it some grit.

Additional Bass sounds were done with the ESM from Logic Pro

Drums: Drums are sequenced from samples out of Stylus RMX by SpectraSonics.
Kicks are from the Kicks Boomy and Kicks Punchy menus.
Snares are from the Snares Vinyl menu.

Vocal: Lead vocals in this were recorded using a Telefunken C12.

Background vocals were recorded using a Neumann 87a.

Synths: The synth parts were created using Logic Pro’s ES2.

Misc Instruments: Handclaps are created from me doing about 40 different takes of handclaps from various different positions around the studio to create more depth.

Song Story:
There’s a bit of history behind this song and it’s long…

In the late 90’s there was a group of investors that were starting up a football league for women. Someone reached out to me and asked if I would write a song that would be a theme for the league. I was given a set of values and ideas that I had to hit on in order for it to be uplifting for the female football league.

Within a couple of days I had whipped up the song. Musically I had envisioned a stadium anthem. Which meant keeping the drums simple, making it easy for people to clap and or stomp along with the song as it could be played over the loud system. For the chorus, I came up with that pretty quick. I wanted it to be easy to sing for anyone, including those who claim to be tone-deaf.

The guitar parts were kept quite simple for the same reason. I wanted any guitar player to be able to pick up a guitar and be able to play it within a matter of minutes. Plus I layered several simple parts to give it a bit more change to it. The hardest part to play likely the lead lick with the vibrato. But even then, it’s not difficult to play.

The verse lyrics took a bit more time. Working on incorporating those values and ideas I had to spend a little time working it so that they would rhyme and work in more of a storyline aspect. It wasn’t overly troublesome, but I did make sure there was progression.

Once it was all put together I sent it along to the contact. The league worked on getting underway, but never got to a point where the song was used for the theme. They never ended up doing a theme and we never signed a deal for it.

Fast forward a few years and I’m going to an LA Kings hockey game with my good buddy Chris Hellstrom. He wanted to get me into hockey, and the best way is for me to go to a live game. I was having a great time. During the game every so often (who am I kidding, very often), they were playing a semi-musical thing that kept shouting “Go Kings Go!”* I told Chris, dude, I have a song that is substantially better than that.

That night when I got home, I pulled out the WPFL theme I had written. I started looking at the files and then went to bed. The next day I started retooling the verse lyrics. I needed them to work for hockey instead of the football. Which required me to pester Chris with questions about hockey and some of the various terms used to talk about what happens on the ice.

A day later, I had it re-tooled. Updated the vocals. Asked Chris to add some bits to the arrangement, then I made a mix of it. Shortly after that I opted to do a version for each major league team in LA at the time. Which mean tweaking it for Basketball as well. A few more days later and I had versions for each team.

Basketball had a huge following and my decision was to use a basketball related photo that I took at a park to be the cover of the release. Then I put the various versions out under the title Do You Want to Play.

Another year or two later I was linked up with Jerry Davis from Fox Sports. I was going to be doing a lot of music for their sports network. During the course of getting the deal done, Jerry asked me how much music I have and in turn I told him how many production music CDs I had. The deal changed in my favor as they would just license my library instead of me writing stuff and them owning it.

While doing that deal I mentioned the song for all the LA teams. Jerry liked it, but felt Fox couldn’t make use of it. He felt strongly about it, and pushed it out to the head of marketing for the NBA, then gave her my contact info. She contacted me and we spoke about the song and what else I was doing musically. She asked me if I could do a version of the song for the WNBA and the D League. I had to ask what the D League was. She explained and I said sure I can. She also wanted to have me come play at halftime events at various live games; based on a tour that I was supposed to be doing at that time. It was going to be a huge plus.

While pulling the song out again for doing those two versions, I got a wild notion that I should just do a version for every team in all 3 of the basketball leagues. That’s what I did. I started keeping track of each team, and swapping out vocals for each one.

Once done, I sent them all to her and it was a bit overwhelming for her.

Unfortunately the tour didn’t happen, and thus the live halftimes didn’t materialize. But I had the ability to use the songs as I owned it. So I started releasing the versions for each league. They did well on their own without me pushing them.

Years later, I’m still occasionally updating the song for new teams that arise over time. Much like this one for the Lehi Pioneers. The question might be, why would you do a version for a High School team? The answer is, for my girlfriend who is the assistant principal at Lehi High. You know, the place, kinda made famous by the original Footloose movie starring Kevin Bacon. Oddly, I’ve been to more of their games than I attended in my own high school.

Factoids:
1. I originally attempted to sing this in German like O Tannenbaum, I failed miserably despite all the German courses I took at University.
2. Probably my second least favorite song in the entire collection, I really wanted to nail the German.

Copyright: 20060101

ISRC: US32P0600019
ISRC: USONR2200116

ISWC: T9055765645

SESAC Song ID: 641999

Harry Fox ID: O5006T
Harry Fox Publisher ID: P8938Q

UPC: 197144433747

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Close

Silent Night

[verse]
Silent night, Holy night
All is calm, all is bright
Round yon Virgin Mother and Child
Holy Infant so tender and mild
Sleep in Heavenly peace
Sleep in Heavenly peace

[verse]
Silent night, Holy night
Shepherds quake at the sight
Glories stream from Heaven afar
Heavenly hosts sing Hallelujah
Christ, the Savior is born
Christ, the Savior is born

[verse]
Silent night, Holy night
Son of God, love’s pure light
Radiant beams from thy Holy face
With the dawn of redeeming grace
Jesus, Lord, at thy birth
Jesus, Lord, at thy birth

Song Length: 4:27

Writer: Charles Jody Whitesides
Publisher: Too Much Music

Jody Whitesides: Vocals, Guitars, Bass, Synths, Drum Programming

Recording Info:
Cover Art: Kim Whitesides
Arranger: Jody Whitesides
Recording Engineer: Jody Whitesides
Mixing Engineer 2006: Chris Hellstrom
Mixing Engineer 2022: Jody Whitesides
Mastering Engineer 2006: George Leger III
Mastering Engineer 2022: Jody Whitesides
Vocal Engineer: Jody Whitesides
Producer: Jody Whitesides Guitar(s): Left side guitar: Desert Guitar: my first guitar which was a Fender “Japocaster” as it used to be referred as, the only original thing is the body. Everything else has been replaced or modified. Think of the Van Halen Frankenstein guitar only this one has a Desert landscape for a paint job. A single Seymour Duncan Custom Custom hum-bucker pickup. Standard bridge. Strung with Dean Markley Blue Steels medium gauge.

Right side guitar: Joe’s Guitar with Jesus paint job: This guitar has a Seymour Duncan Custom Custom pickup and a Cool Rails in the neck position. It has a Wilkinson Tremelo installed by Trev Wilkinson himself. Strung with Dean Markley Blue Steel medium gauge strings. I used the bridge pickup for this sound.

Vibrato lick guitar: 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 bubinga 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.

Extra guitar chorus: Joe’s Guitar with Jesus paint job: This guitar has a Seymour Duncan Custom Custom pickup and a Cool Rails. It also has a Wilkinson Tremelo installed by Trev Wilkinson himself. Strung with Dean Markley Blue Steel medium gauge strings. This part is using the Cool Rails pickup in the neck position.

The Amp Setup:
GrooveTubes Solo 150 head
GrooveTubes Dual 75 Poweramp that has been modified to be true stereo
GrooveTubes 2 x 10″ cabs
I had KT88’s on one side of the Dual 75 and EL34’s on the other side

The cab was mic’d with an SM57 Beta on the grill center of the cone

Bass(s): Hohner B Bass V. Strings were Dean Markley Blue Steels. This was run thru a Line 6 Bass Pod Pro. Two outputs, one that was direct out and one that was an amp sim from the Line 6 Bass Pod Pro to give it some grit.

Additional Bass sounds were done with the ESM from Logic Pro

Drums: Drums are sequenced from samples out of Stylus RMX by SpectraSonics.
Kicks are from the Kicks Boomy and Kicks Punchy menus.
Snares are from the Snares Vinyl menu.

Vocal: Lead vocals in this were recorded using a Telefunken C12.

Background vocals were recorded using a Neumann 87a.

Synths: The synth parts were created using Logic Pro’s ES2.

Misc Instruments: Handclaps are created from me doing about 40 different takes of handclaps from various different positions around the studio to create more depth.

Song Story:
There’s a bit of history behind this song and it’s long…

In the late 90’s there was a group of investors that were starting up a football league for women. Someone reached out to me and asked if I would write a song that would be a theme for the league. I was given a set of values and ideas that I had to hit on in order for it to be uplifting for the female football league.

Within a couple of days I had whipped up the song. Musically I had envisioned a stadium anthem. Which meant keeping the drums simple, making it easy for people to clap and or stomp along with the song as it could be played over the loud system. For the chorus, I came up with that pretty quick. I wanted it to be easy to sing for anyone, including those who claim to be tone-deaf.

The guitar parts were kept quite simple for the same reason. I wanted any guitar player to be able to pick up a guitar and be able to play it within a matter of minutes. Plus I layered several simple parts to give it a bit more change to it. The hardest part to play likely the lead lick with the vibrato. But even then, it’s not difficult to play.

The verse lyrics took a bit more time. Working on incorporating those values and ideas I had to spend a little time working it so that they would rhyme and work in more of a storyline aspect. It wasn’t overly troublesome, but I did make sure there was progression.

Once it was all put together I sent it along to the contact. The league worked on getting underway, but never got to a point where the song was used for the theme. They never ended up doing a theme and we never signed a deal for it.

Fast forward a few years and I’m going to an LA Kings hockey game with my good buddy Chris Hellstrom. He wanted to get me into hockey, and the best way is for me to go to a live game. I was having a great time. During the game every so often (who am I kidding, very often), they were playing a semi-musical thing that kept shouting “Go Kings Go!”* I told Chris, dude, I have a song that is substantially better than that.

That night when I got home, I pulled out the WPFL theme I had written. I started looking at the files and then went to bed. The next day I started retooling the verse lyrics. I needed them to work for hockey instead of the football. Which required me to pester Chris with questions about hockey and some of the various terms used to talk about what happens on the ice.

A day later, I had it re-tooled. Updated the vocals. Asked Chris to add some bits to the arrangement, then I made a mix of it. Shortly after that I opted to do a version for each major league team in LA at the time. Which mean tweaking it for Basketball as well. A few more days later and I had versions for each team.

Basketball had a huge following and my decision was to use a basketball related photo that I took at a park to be the cover of the release. Then I put the various versions out under the title Do You Want to Play.

Another year or two later I was linked up with Jerry Davis from Fox Sports. I was going to be doing a lot of music for their sports network. During the course of getting the deal done, Jerry asked me how much music I have and in turn I told him how many production music CDs I had. The deal changed in my favor as they would just license my library instead of me writing stuff and them owning it.

While doing that deal I mentioned the song for all the LA teams. Jerry liked it, but felt Fox couldn’t make use of it. He felt strongly about it, and pushed it out to the head of marketing for the NBA, then gave her my contact info. She contacted me and we spoke about the song and what else I was doing musically. She asked me if I could do a version of the song for the WNBA and the D League. I had to ask what the D League was. She explained and I said sure I can. She also wanted to have me come play at halftime events at various live games; based on a tour that I was supposed to be doing at that time. It was going to be a huge plus.

While pulling the song out again for doing those two versions, I got a wild notion that I should just do a version for every team in all 3 of the basketball leagues. That’s what I did. I started keeping track of each team, and swapping out vocals for each one.

Once done, I sent them all to her and it was a bit overwhelming for her.

Unfortunately the tour didn’t happen, and thus the live halftimes didn’t materialize. But I had the ability to use the songs as I owned it. So I started releasing the versions for each league. They did well on their own without me pushing them.

Years later, I’m still occasionally updating the song for new teams that arise over time. Much like this one for the Lehi Pioneers. The question might be, why would you do a version for a High School team? The answer is, for my girlfriend who is the assistant principal at Lehi High. You know, the place, kinda made famous by the original Footloose movie starring Kevin Bacon. Oddly, I’ve been to more of their games than I attended in my own high school.

Factoids:
1. Probably the oldest Christmas song.
2. had issues with time of some of the vocals in this.

Copyright: 20060101

ISRC: US32P0600020
ISRC: USONR2200117

ISWC: T9055765667

SESAC Song ID: 642001

Harry Fox ID: X8270T
Harry Fox Publisher ID: P8938Q

UPC: 197144433747

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The First Noel

[chorus]
Noel
Noel
Noel
Noel
Born is the King of Israel

[verse]
The first Noel the angel did say
Was to certain poor shepherds
In fields where they lay
In fields where they lay lay keeping their sheep
On a cold winter’s night that was so deep

[chorus]
Noel
Noel
Noel
Noel
Born is the King of Israel

[verse]
They looked up and saw a star
Shining in the east beyond them far
And to the earth it gave great light
And so it continued both day and night

[chorus]
Noel
Noel
Noel
Noel
Born is the King of Israel

[verse]
And by the light of that same star
Three wise men came from country far
To seek for a king was their intent
And to follow that star wherever it went

[chorus]
Noel
Noel
Noel
Noel
Born is the King of Israel
Born is the King of Israel

Song Length: 3:46

Writer: Charles Jody Whitesides
Publisher: Too Much Music

Jody Whitesides: Vocals, Guitars, Bass, Synths, Drum Programming

Recording Info:
Cover Art: Kim Whitesides
Arranger: Jody Whitesides
Recording Engineer: Jody Whitesides
Mixing Engineer 2006: Chris Hellstrom
Mixing Engineer 2022: Jody Whitesides
Mastering Engineer 2006: George Leger III
Mastering Engineer 2022: Jody Whitesides
Vocal Engineer: Jody Whitesides
Vocal Producer: Chris Hellstrom
Producer: Jody Whitesides Guitar(s): Left side guitar: Desert Guitar: my first guitar which was a Fender “Japocaster” as it used to be referred as, the only original thing is the body. Everything else has been replaced or modified. Think of the Van Halen Frankenstein guitar only this one has a Desert landscape for a paint job. A single Seymour Duncan Custom Custom hum-bucker pickup. Standard bridge. Strung with Dean Markley Blue Steels medium gauge.

Right side guitar: Joe’s Guitar with Jesus paint job: This guitar has a Seymour Duncan Custom Custom pickup and a Cool Rails in the neck position. It has a Wilkinson Tremelo installed by Trev Wilkinson himself. Strung with Dean Markley Blue Steel medium gauge strings. I used the bridge pickup for this sound.

Vibrato lick guitar: 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 bubinga 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.

Extra guitar chorus: Joe’s Guitar with Jesus paint job: This guitar has a Seymour Duncan Custom Custom pickup and a Cool Rails. It also has a Wilkinson Tremelo installed by Trev Wilkinson himself. Strung with Dean Markley Blue Steel medium gauge strings. This part is using the Cool Rails pickup in the neck position.

The Amp Setup:
GrooveTubes Solo 150 head
GrooveTubes Dual 75 Poweramp that has been modified to be true stereo
GrooveTubes 2 x 10″ cabs
I had KT88’s on one side of the Dual 75 and EL34’s on the other side

The cab was mic’d with an SM57 Beta on the grill center of the cone

Bass(s): Hohner B Bass V. Strings were Dean Markley Blue Steels. This was run thru a Line 6 Bass Pod Pro. Two outputs, one that was direct out and one that was an amp sim from the Line 6 Bass Pod Pro to give it some grit.

Additional Bass sounds were done with the ESM from Logic Pro

Drums: Drums are sequenced from samples out of Stylus RMX by SpectraSonics.
Kicks are from the Kicks Boomy and Kicks Punchy menus.
Snares are from the Snares Vinyl menu.

Vocal: Lead vocals in this were recorded using a Telefunken C12.

Background vocals were recorded using a Neumann 87a.

Synths: The synth parts were created using Logic Pro’s ES2.

Misc Instruments: Handclaps are created from me doing about 40 different takes of handclaps from various different positions around the studio to create more depth.

Song Story:
There’s a bit of history behind this song and it’s long…

In the late 90’s there was a group of investors that were starting up a football league for women. Someone reached out to me and asked if I would write a song that would be a theme for the league. I was given a set of values and ideas that I had to hit on in order for it to be uplifting for the female football league.

Within a couple of days I had whipped up the song. Musically I had envisioned a stadium anthem. Which meant keeping the drums simple, making it easy for people to clap and or stomp along with the song as it could be played over the loud system. For the chorus, I came up with that pretty quick. I wanted it to be easy to sing for anyone, including those who claim to be tone-deaf.

The guitar parts were kept quite simple for the same reason. I wanted any guitar player to be able to pick up a guitar and be able to play it within a matter of minutes. Plus I layered several simple parts to give it a bit more change to it. The hardest part to play likely the lead lick with the vibrato. But even then, it’s not difficult to play.

The verse lyrics took a bit more time. Working on incorporating those values and ideas I had to spend a little time working it so that they would rhyme and work in more of a storyline aspect. It wasn’t overly troublesome, but I did make sure there was progression.

Once it was all put together I sent it along to the contact. The league worked on getting underway, but never got to a point where the song was used for the theme. They never ended up doing a theme and we never signed a deal for it.

Fast forward a few years and I’m going to an LA Kings hockey game with my good buddy Chris Hellstrom. He wanted to get me into hockey, and the best way is for me to go to a live game. I was having a great time. During the game every so often (who am I kidding, very often), they were playing a semi-musical thing that kept shouting “Go Kings Go!”* I told Chris, dude, I have a song that is substantially better than that.

That night when I got home, I pulled out the WPFL theme I had written. I started looking at the files and then went to bed. The next day I started retooling the verse lyrics. I needed them to work for hockey instead of the football. Which required me to pester Chris with questions about hockey and some of the various terms used to talk about what happens on the ice.

A day later, I had it re-tooled. Updated the vocals. Asked Chris to add some bits to the arrangement, then I made a mix of it. Shortly after that I opted to do a version for each major league team in LA at the time. Which mean tweaking it for Basketball as well. A few more days later and I had versions for each team.

Basketball had a huge following and my decision was to use a basketball related photo that I took at a park to be the cover of the release. Then I put the various versions out under the title Do You Want to Play.

Another year or two later I was linked up with Jerry Davis from Fox Sports. I was going to be doing a lot of music for their sports network. During the course of getting the deal done, Jerry asked me how much music I have and in turn I told him how many production music CDs I had. The deal changed in my favor as they would just license my library instead of me writing stuff and them owning it.

While doing that deal I mentioned the song for all the LA teams. Jerry liked it, but felt Fox couldn’t make use of it. He felt strongly about it, and pushed it out to the head of marketing for the NBA, then gave her my contact info. She contacted me and we spoke about the song and what else I was doing musically. She asked me if I could do a version of the song for the WNBA and the D League. I had to ask what the D League was. She explained and I said sure I can. She also wanted to have me come play at halftime events at various live games; based on a tour that I was supposed to be doing at that time. It was going to be a huge plus.

While pulling the song out again for doing those two versions, I got a wild notion that I should just do a version for every team in all 3 of the basketball leagues. That’s what I did. I started keeping track of each team, and swapping out vocals for each one.

Once done, I sent them all to her and it was a bit overwhelming for her.

Unfortunately the tour didn’t happen, and thus the live halftimes didn’t materialize. But I had the ability to use the songs as I owned it. So I started releasing the versions for each league. They did well on their own without me pushing them.

Years later, I’m still occasionally updating the song for new teams that arise over time. Much like this one for the Lehi Pioneers. The question might be, why would you do a version for a High School team? The answer is, for my girlfriend who is the assistant principal at Lehi High. You know, the place, kinda made famous by the original Footloose movie starring Kevin Bacon. Oddly, I’ve been to more of their games than I attended in my own high school.

Factoids:
1. Yeah, I went boy band on this.
2. Surprised out how it turned out after Chris’s vocal direction on me.

Copyright: 20060101

ISRC: US32P0600021
ISRC: USONR2200118

ISWC: T9055765678

SESAC Song ID: 642002

Harry Fox ID: F60422
Harry Fox Publisher ID: P8938Q

UPC: 197144433747

Close

Close

Twelve Days of Christmas

[verse]
On the first day of Christmas
My true love sent to me
A partridge in a pear tree

[verse]
On the second day of Christmas
My true love sent to me
Two turtle doves
And a Partridge in a pear tree

[verse]
On the third day of Christmas
My true love sent to me
Three French Hens
Two turtle doves
And a Partridge in a pear tree

[verse]
On the fourth day of Christmas
My true love sent to me
Four calling birds
Three French Hens
Two turtle doves
And a Partridge in a pear tree

[verse]
On the fifth day of Christmas
My true love sent to me
Five golden rings
Four calling birds
Three French Hens
Two turtle doves
And a Partridge in a pear tree

[verse]
On the sixth day of Christmas
My true love sent to me
Six geese a laying
Five golden rings
Four calling birds
Three French Hens
Two turtle doves
And a Partridge in a pear tree

[verse]
On the seventh day of Christmas
My true love sent to me
Seven swans a swimming
Six geese a laying
Five golden rings
Four calling birds
Three French Hens
Two turtle doves
And a Partridge in a pear tree

[verse]
On the eighth day of Christmas
My true love sent to me
Eight maids a milking
Seven swans a swimming
Six geese a laying
Five golden rings
Four calling birds
Three French Hens
Two turtle doves
And a Partridge in a pear tree

[verse]
On the ninth day of Christmas
My true love sent to me
Nine ladies dancing
Eight maids a milking
Seven swans a swimming
Six geese a laying
Five golden rings
Four calling birds
Three French Hens
Two turtle doves
And a Partridge in a pear tree

[verse]
On the tenth day of Christmas
My true love sent to me
Ten lords a leaping
Nine ladies dancing
Eight maids a milking
Seven swans a swimming
Six geese a laying
Five golden rings
Four calling birds
Three French Hens
Two turtle doves
And a Partridge in a pear tree

[verse]
On the eleventh day of Christmas
My true love sent to me
Eleven pipers piping
Ten lords a leaping
Nine ladies dancing
Eight maids a milking
Seven swans a swimming
Six geese a laying
Five golden rings
Four calling birds
Three French Hens
Two turtle doves
And a Partridge in a pear tree

[verse]
On the twelfth day of Christmas
My true love sent to me
Twelve drummers drumming
Eleven pipers piping
Ten lords a leaping
Nine ladies dancing
Eight maids a milking
Seven swans a swimming
Six geese a laying
Five golden rings
Four calling birds
Three French Hens
Two turtle doves
And a Partridge in a pear tree

Song Length: 3:38

Writer: Charles Jody Whitesides
Publisher: Too Much Music

Jody Whitesides: Vocals, Guitars, Bass, Synths, Drum Programming
Dannielle Gaha: Background Vocals

Recording Info:
Cover Art: Kim Whitesides
Arranger: Jody Whitesides
Recording Engineer: Jody Whitesides
Mixing Engineer 2006: Chris Hellstrom
Mixing Engineer 2022: Jody Whitesides
Mastering Engineer 2006: George Leger III
Mastering Engineer 2022: Jody Whitesides
Vocal Engineer: Jody Whitesides
Producer: Jody Whitesides Guitar(s): Left side guitar: Desert Guitar: my first guitar which was a Fender “Japocaster” as it used to be referred as, the only original thing is the body. Everything else has been replaced or modified. Think of the Van Halen Frankenstein guitar only this one has a Desert landscape for a paint job. A single Seymour Duncan Custom Custom hum-bucker pickup. Standard bridge. Strung with Dean Markley Blue Steels medium gauge.

Right side guitar: Joe’s Guitar with Jesus paint job: This guitar has a Seymour Duncan Custom Custom pickup and a Cool Rails in the neck position. It has a Wilkinson Tremelo installed by Trev Wilkinson himself. Strung with Dean Markley Blue Steel medium gauge strings. I used the bridge pickup for this sound.

Vibrato lick guitar: 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 bubinga 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.

Extra guitar chorus: Joe’s Guitar with Jesus paint job: This guitar has a Seymour Duncan Custom Custom pickup and a Cool Rails. It also has a Wilkinson Tremelo installed by Trev Wilkinson himself. Strung with Dean Markley Blue Steel medium gauge strings. This part is using the Cool Rails pickup in the neck position.

The Amp Setup:
GrooveTubes Solo 150 head
GrooveTubes Dual 75 Poweramp that has been modified to be true stereo
GrooveTubes 2 x 10″ cabs
I had KT88’s on one side of the Dual 75 and EL34’s on the other side

The cab was mic’d with an SM57 Beta on the grill center of the cone

Bass(s): Hohner B Bass V. Strings were Dean Markley Blue Steels. This was run thru a Line 6 Bass Pod Pro. Two outputs, one that was direct out and one that was an amp sim from the Line 6 Bass Pod Pro to give it some grit.

Additional Bass sounds were done with the ESM from Logic Pro

Drums: Drums are sequenced from samples out of Stylus RMX by SpectraSonics.
Kicks are from the Kicks Boomy and Kicks Punchy menus.
Snares are from the Snares Vinyl menu.

Vocal: Lead vocals in this were recorded using a Telefunken C12.

Background vocals were recorded using a Neumann 87a.

Synths: The synth parts were created using Logic Pro’s ES2.

Misc Instruments: Handclaps are created from me doing about 40 different takes of handclaps from various different positions around the studio to create more depth.

Song Story:
There’s a bit of history behind this song and it’s long…

In the late 90’s there was a group of investors that were starting up a football league for women. Someone reached out to me and asked if I would write a song that would be a theme for the league. I was given a set of values and ideas that I had to hit on in order for it to be uplifting for the female football league.

Within a couple of days I had whipped up the song. Musically I had envisioned a stadium anthem. Which meant keeping the drums simple, making it easy for people to clap and or stomp along with the song as it could be played over the loud system. For the chorus, I came up with that pretty quick. I wanted it to be easy to sing for anyone, including those who claim to be tone-deaf.

The guitar parts were kept quite simple for the same reason. I wanted any guitar player to be able to pick up a guitar and be able to play it within a matter of minutes. Plus I layered several simple parts to give it a bit more change to it. The hardest part to play likely the lead lick with the vibrato. But even then, it’s not difficult to play.

The verse lyrics took a bit more time. Working on incorporating those values and ideas I had to spend a little time working it so that they would rhyme and work in more of a storyline aspect. It wasn’t overly troublesome, but I did make sure there was progression.

Once it was all put together I sent it along to the contact. The league worked on getting underway, but never got to a point where the song was used for the theme. They never ended up doing a theme and we never signed a deal for it.

Fast forward a few years and I’m going to an LA Kings hockey game with my good buddy Chris Hellstrom. He wanted to get me into hockey, and the best way is for me to go to a live game. I was having a great time. During the game every so often (who am I kidding, very often), they were playing a semi-musical thing that kept shouting “Go Kings Go!”* I told Chris, dude, I have a song that is substantially better than that.

That night when I got home, I pulled out the WPFL theme I had written. I started looking at the files and then went to bed. The next day I started retooling the verse lyrics. I needed them to work for hockey instead of the football. Which required me to pester Chris with questions about hockey and some of the various terms used to talk about what happens on the ice.

A day later, I had it re-tooled. Updated the vocals. Asked Chris to add some bits to the arrangement, then I made a mix of it. Shortly after that I opted to do a version for each major league team in LA at the time. Which mean tweaking it for Basketball as well. A few more days later and I had versions for each team.

Basketball had a huge following and my decision was to use a basketball related photo that I took at a park to be the cover of the release. Then I put the various versions out under the title Do You Want to Play.

Another year or two later I was linked up with Jerry Davis from Fox Sports. I was going to be doing a lot of music for their sports network. During the course of getting the deal done, Jerry asked me how much music I have and in turn I told him how many production music CDs I had. The deal changed in my favor as they would just license my library instead of me writing stuff and them owning it.

While doing that deal I mentioned the song for all the LA teams. Jerry liked it, but felt Fox couldn’t make use of it. He felt strongly about it, and pushed it out to the head of marketing for the NBA, then gave her my contact info. She contacted me and we spoke about the song and what else I was doing musically. She asked me if I could do a version of the song for the WNBA and the D League. I had to ask what the D League was. She explained and I said sure I can. She also wanted to have me come play at halftime events at various live games; based on a tour that I was supposed to be doing at that time. It was going to be a huge plus.

While pulling the song out again for doing those two versions, I got a wild notion that I should just do a version for every team in all 3 of the basketball leagues. That’s what I did. I started keeping track of each team, and swapping out vocals for each one.

Once done, I sent them all to her and it was a bit overwhelming for her.

Unfortunately the tour didn’t happen, and thus the live halftimes didn’t materialize. But I had the ability to use the songs as I owned it. So I started releasing the versions for each league. They did well on their own without me pushing them.

Years later, I’m still occasionally updating the song for new teams that arise over time. Much like this one for the Lehi Pioneers. The question might be, why would you do a version for a High School team? The answer is, for my girlfriend who is the assistant principal at Lehi High. You know, the place, kinda made famous by the original Footloose movie starring Kevin Bacon. Oddly, I’ve been to more of their games than I attended in my own high school.

Factoids:
1. I think I did this too rigidly.
2. I tracked each line with the number of vocals that it calls for in gifts.

Copyright: 20060101

ISRC: US32P0600022
ISRC: USONR2200119

ISWC: T9055765689

SESAC Song ID: 642003

Harry Fox ID: X8270U
Harry Fox Publisher ID: P8938Q

UPC: 197144433747

Close

Close

Joy to the World

[intro]
Joy to the world
The Lord has come
Let earth receive her King

[verse]
Joy to the world
The Lord has come
Let earth receive her King
Let every heart prepare Him room
And heaven and nature sing
And heaven and nature sing
And heaven and heaven and nature sing

[verse]
Joy to the world
The Savior reigns
Let men their songs employ
While fields and floods
Rocks, hills, and plains
Repeat the sounding joy
Repeat the sounding joy
Repeat, repeat the sounding joy

[verse]
He rules the world
With truth and grace
And makes the nations prove
The glories of His righteousness
And wonders of His love
And wonders of His love
And wonders and wonders of His love

[outro]
Joy to the world
The Lord has come
Let earth receive her King
Let every heart prepare Him room
Heaven and nature sing
And heaven and nature sing
And heaven and heaven and nature sing

Song Length: 3:06

Writer: Charles Jody Whitesides
Publisher: Too Much Music

Jody Whitesides: Vocals, Guitars, Bass, Synths, Drum Programming
Dannielle Gaha: Background Vocals

Recording Info:
Cover Art: Kim Whitesides
Arranger: Jody Whitesides
Recording Engineer: Jody Whitesides
Mixing Engineer 2006: Chris Hellstrom
Mixing Engineer 2022: Jody Whitesides
Mastering Engineer 2006: George Leger III
Mastering Engineer 2022: Jody Whitesides
Vocal Engineer: Jody Whitesides
Producer: Jody Whitesides Guitar(s): Left side guitar: Desert Guitar: my first guitar which was a Fender “Japocaster” as it used to be referred as, the only original thing is the body. Everything else has been replaced or modified. Think of the Van Halen Frankenstein guitar only this one has a Desert landscape for a paint job. A single Seymour Duncan Custom Custom hum-bucker pickup. Standard bridge. Strung with Dean Markley Blue Steels medium gauge.

Right side guitar: Joe’s Guitar with Jesus paint job: This guitar has a Seymour Duncan Custom Custom pickup and a Cool Rails in the neck position. It has a Wilkinson Tremelo installed by Trev Wilkinson himself. Strung with Dean Markley Blue Steel medium gauge strings. I used the bridge pickup for this sound.

Vibrato lick guitar: 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 bubinga 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.

Extra guitar chorus: Joe’s Guitar with Jesus paint job: This guitar has a Seymour Duncan Custom Custom pickup and a Cool Rails. It also has a Wilkinson Tremelo installed by Trev Wilkinson himself. Strung with Dean Markley Blue Steel medium gauge strings. This part is using the Cool Rails pickup in the neck position.

The Amp Setup:
GrooveTubes Solo 150 head
GrooveTubes Dual 75 Poweramp that has been modified to be true stereo
GrooveTubes 2 x 10″ cabs
I had KT88’s on one side of the Dual 75 and EL34’s on the other side

The cab was mic’d with an SM57 Beta on the grill center of the cone

Bass(s): Hohner B Bass V. Strings were Dean Markley Blue Steels. This was run thru a Line 6 Bass Pod Pro. Two outputs, one that was direct out and one that was an amp sim from the Line 6 Bass Pod Pro to give it some grit.

Additional Bass sounds were done with the ESM from Logic Pro

Drums: Drums are sequenced from samples out of Stylus RMX by SpectraSonics.
Kicks are from the Kicks Boomy and Kicks Punchy menus.
Snares are from the Snares Vinyl menu.

Vocal: Lead vocals in this were recorded using a Telefunken C12.

Background vocals were recorded using a Neumann 87a.

Synths: The synth parts were created using Logic Pro’s ES2.

Misc Instruments: Handclaps are created from me doing about 40 different takes of handclaps from various different positions around the studio to create more depth.

Song Story:
There’s a bit of history behind this song and it’s long…

In the late 90’s there was a group of investors that were starting up a football league for women. Someone reached out to me and asked if I would write a song that would be a theme for the league. I was given a set of values and ideas that I had to hit on in order for it to be uplifting for the female football league.

Within a couple of days I had whipped up the song. Musically I had envisioned a stadium anthem. Which meant keeping the drums simple, making it easy for people to clap and or stomp along with the song as it could be played over the loud system. For the chorus, I came up with that pretty quick. I wanted it to be easy to sing for anyone, including those who claim to be tone-deaf.

The guitar parts were kept quite simple for the same reason. I wanted any guitar player to be able to pick up a guitar and be able to play it within a matter of minutes. Plus I layered several simple parts to give it a bit more change to it. The hardest part to play likely the lead lick with the vibrato. But even then, it’s not difficult to play.

The verse lyrics took a bit more time. Working on incorporating those values and ideas I had to spend a little time working it so that they would rhyme and work in more of a storyline aspect. It wasn’t overly troublesome, but I did make sure there was progression.

Once it was all put together I sent it along to the contact. The league worked on getting underway, but never got to a point where the song was used for the theme. They never ended up doing a theme and we never signed a deal for it.

Fast forward a few years and I’m going to an LA Kings hockey game with my good buddy Chris Hellstrom. He wanted to get me into hockey, and the best way is for me to go to a live game. I was having a great time. During the game every so often (who am I kidding, very often), they were playing a semi-musical thing that kept shouting “Go Kings Go!”* I told Chris, dude, I have a song that is substantially better than that.

That night when I got home, I pulled out the WPFL theme I had written. I started looking at the files and then went to bed. The next day I started retooling the verse lyrics. I needed them to work for hockey instead of the football. Which required me to pester Chris with questions about hockey and some of the various terms used to talk about what happens on the ice.

A day later, I had it re-tooled. Updated the vocals. Asked Chris to add some bits to the arrangement, then I made a mix of it. Shortly after that I opted to do a version for each major league team in LA at the time. Which mean tweaking it for Basketball as well. A few more days later and I had versions for each team.

Basketball had a huge following and my decision was to use a basketball related photo that I took at a park to be the cover of the release. Then I put the various versions out under the title Do You Want to Play.

Another year or two later I was linked up with Jerry Davis from Fox Sports. I was going to be doing a lot of music for their sports network. During the course of getting the deal done, Jerry asked me how much music I have and in turn I told him how many production music CDs I had. The deal changed in my favor as they would just license my library instead of me writing stuff and them owning it.

While doing that deal I mentioned the song for all the LA teams. Jerry liked it, but felt Fox couldn’t make use of it. He felt strongly about it, and pushed it out to the head of marketing for the NBA, then gave her my contact info. She contacted me and we spoke about the song and what else I was doing musically. She asked me if I could do a version of the song for the WNBA and the D League. I had to ask what the D League was. She explained and I said sure I can. She also wanted to have me come play at halftime events at various live games; based on a tour that I was supposed to be doing at that time. It was going to be a huge plus.

While pulling the song out again for doing those two versions, I got a wild notion that I should just do a version for every team in all 3 of the basketball leagues. That’s what I did. I started keeping track of each team, and swapping out vocals for each one.

Once done, I sent them all to her and it was a bit overwhelming for her.

Unfortunately the tour didn’t happen, and thus the live halftimes didn’t materialize. But I had the ability to use the songs as I owned it. So I started releasing the versions for each league. They did well on their own without me pushing them.

Years later, I’m still occasionally updating the song for new teams that arise over time. Much like this one for the Lehi Pioneers. The question might be, why would you do a version for a High School team? The answer is, for my girlfriend who is the assistant principal at Lehi High. You know, the place, kinda made famous by the original Footloose movie starring Kevin Bacon. Oddly, I’ve been to more of their games than I attended in my own high school.

Factoids:
1. Dannielle saved my ass on this song too, I put it in the wrong key but had gone too far with all the recording to change it.
2. There’s a lot of Orchestration in this, my first big attempt.

Copyright: 20060101

ISRC: US32P0600023
ISRC: USONR2200120

ISWC: T9055765634

SESAC Song ID: 641998

Harry Fox ID: J3281T
Harry Fox Publisher ID: P8938Q

UPC: 197144433747

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