Fucked Up Trance

[verse]
So you’ve been beat down and it’s coming around
You’re a fun gal
Well I’m springing back from a low lying time
And I’m a fun pal

[Chorus]
So the night was calling
And my music had you falling
Into an attractive stance
Come on baby she said
In a funky dance
So long honey I said
In a Fucked up Trance

[verse]
Do you see the far and away as it’s here to stay
Like an open book
Kindly I’d like to resign from being the nice guy
Graduation line

[Chorus]
So the night was calling
And my music had you falling
Into an attractive stance
Come on baby she said
In a funky dance
So long honey I said
In a Fucked up Trance

[Chorus]
So the night was calling
And my music had you falling
Into an attractive stance
Come on baby she said
In a funky dance
So long honey I said
In a Fucked up Trance
Come on baby she said
In a funky dance
So long honey I said
In a Fucked up Trance

[bridge]
So you been beat down
And it’s coming around
Your a fun gal
Well I’ve sprung
Back now
From a low lying time how
I’m a fun pal

[Chorus]
So the night was calling
And my music had you falling
Into an attractive stance
Come on baby she said
In a funky dance
So long honey I said
In a Fucked up Trance
Come on baby she said
In a funky dance
So long honey I said
In a Fucked up Trance

Song Length: 4:09

Writer: Jody Whitesides IPI/CAE 00196306650
Publisher: Too Much Music IPI/CAE 00456952518
Admin Publisher (Outside U.S.): Bluewater Music

Bob Roberts: Drums
Jody Whitesides: Vocals, Guitars, Bass, Additional Drum Programming

Recording Info:
Cover Art: Omar Cano
Recording Engineer: Jody Whitesides
Mixing Engineer: Jody Whitesides
Mixing Engineer: Rokk Lattanzio
Mastering Engineer: Rokk Lattanzio
Vocal Engineer: Jody Whitesides
Producer: Jody Whitesides

Recorded at: El Padden Jr studio in Porter Ranch CA
Audio Interface: Emagic Audiowerk8

Also recorded at: Das Poolside studio in Tujunga CA
Audio Interface: Emagic Audiowerk8

Live drums were tracked as MIDI and later dumped into Logic as audio sounds.
The rhythm guitars for the right side of the song were El Padden Jr. I ran the Ibanez Universe through an old Tube Screamer pedal. From there I ran it into the Fender Vibrochamp. It was mic’d with the GrooveTubes MD1a.
The rhythm guitars for the left side of the song were recorded at Das Poolside Studio. The Whitesides Viper 7 was used through the GrooveTubes Trio/Soul-O setup. Mic’d using the GrooveTubes MD1a.
The guitar solo was recorded using the Whitesides Viper 7 through the GrooveTubes Trio/Soul-O setup. Mic’d using the GrooveTubes MD1a.

Mixed in Logic Audio Platinum

Mastered in Logic Audio

Monitor Speakers: Custom Built by Rock Lattanzio and Jody Whitesides Guitar(s): Joe’s Guitar Whitesides Viper 7 Redwood: This is a custom 7-string guitar that Justin built for me to specifications for the neck. The body is two different woods, the back of the body is alder with a redwood top. The neck is maple with a Bocate fingerboard, jumbo frets. Strung with Dean Markley Blue Steels. The bridge pickup is a custom built Seymour Duncan Custom Custom, made specifically for me prior to 7-string guitar pickups becoming an actual line. Thus it’s pieced together by Seymour’s custom pickup department. The neck is a stacked humbucker, also created by Seymour Duncan’s custom pickup department. This was voiced to be more like a custom.

Ibanez Universe 7 string guitar: This is number 96 off the assembly line. I got it for $400 with the case, about 6 months before Korn hit it big time. Then the value shot up to over $2000. Seymour Duncan Custom Custom 7 string model – custom wound. Plus my middle pickup was custom wound by a guy in Canada, sounds ok, but I don’t have his name. Neck pickup wasn’t used on this disc but is the stock pickup. Tremolo was useless with strings this heavy – so I blocked it off. This guitar was strung with Dean Markley Blue Steels medium gauge.

Don Grosh Electric Nylon: This is a Strat style nylon string electric. Strung with Pro Arte extra hard tension strings. It was used on the verses, recorded direct. I splashed it with chorus and reverb.

The amp setups:
Fender VibroChamp. It was re-tubed by Aspen Pittman of GrooveTubes. The distortion pedal I used was a re-issue Ibanez Tube Screamer.

GrooveTubes Trio: GrooveTubes Soul-O 150. GrooveTubes Dual 75 loaded with KT88’s. GrooveTubes 2 x 10″ cabs.

Bass(s): Hohner B Bass V. At the time of this recording it was strung with GHS Boomers bass strings. The bass was recorded direct into a tube screamer, and a Peavey Backstage plus amp.

Drums: Spectrasonics Liquid Groove Library provided all of the initial layout for the grooves of the songs. I had to figure out the loop tempos and slice them up in Logic Audio to get them just perfect. Thus every single section of the song is a slightly different tempo, but not by much.

Roland TD-10 electronic drum kit.

Additional Drum Samples provided by Rokk

Vocal: All vocals: GrooveTubes MD1a

Song Story:
The four-letter-word song titled song…

I was on vacation in France one February. I spent some time exploring the French nightlife. I found some club in a back alley that was underground and like catacombs and all brick walls. I was having a great time drinking and dancing with women from all types of European countries. I especially remember hearing “Torn”, the Natalie Imbruglia version for the first time.

Anyway late into the night there was a French women who wasn’t as pretty as this tall Danish woman I was dancing with who started to try and hook up with me. Now I was drunk – in a fucked up trance – but I could tell it was a bad idea. I did everything I could to stay away from her. Unfortunately it ruined my shot with the tall blond. Hence this is the backstory to the lyrics here.

Stylistically this song is different to me. Kinda like the opposite of “…With You” from Delicate Stretch of the Seems” but much more straight forward in timing. It’s also my second foray into using a diminished chord in a song. The first attempt was in That’s What it is from Delicate Stretch of the Seems.

Factoids:
1. Based on a woman I met in an underground French club.
2. My second song where I use a diminished chord, this time in the verse.

This album was my first foray into computer recording. At the time, the El Padden Studio was no longer at my beck and call and I had to make arrangements with recording with my own gear. I was using a Mac 9500 with an Emagic audio card (yes, the people/company that created Logic Audio).

I had a super simple setup. The guitars and vocals were all mic’d and played live. The drums were also played live on an electronic kit and thus recorded as MIDI. The bass was recorded direct. It was a massive learning experience at a time when digital was very much in its infancy. There weren’t a lot of plugins available and things were stupid expensive compared to today’s digital recording.

This song probably represents my first real attempt at crossing some styles in one song, moving from a jazzier pop chord progression into a heavier chorus that is more hard rock.

I had met Rokk who was a great teacher on getting me info about EQ and where to listen for things to modify in sound. He was great. Built me a nice set of speakers to mix with and listen to. Taught me an awful lot about mixing for a better production sound.

Additional rhythm guitar tracks were inspired by Mark Jackson. I knew Mark from Musician’s Institute and he was working for A&R at Columbia records. He felt if I beefed up the guitars I’d get signed. It did flesh out the sound, but didn’t get me signed.

ISRC: USONR0010009

ISWC: T0709688038

SESAC Song ID: 700302

Harry Fox ID: F60425
Harry Fox Publisher ID: P8938Q

UPC: 654433000221

Talking is King

[verse]
Ladies and gentlemen today we have a treat
Monique is in a unique situation
A six tiered love star just have a seat
Mother to three kids of three men
And the object of two women’s desires

[pre Chorus]
Bipolar sexuality that I can live through vicariously
It’s something so sensual I wish commercials were less punctual

[Chorus]
Talk Shows they show us all
Talk Shows Talking is King
Talk Shows they spew it all
Talk Shows Talking is King

[verse]
So you’ve married John and Rafael but where’s Roger
And how do Vaunia an’ Bridgette fall in this web of passion
Do you consider yourself a polygamist
What haven’t your children missed

[pre Chorus]
It’s a wonder what a little money can bring
American trash ready to bash on this television thing

[Chorus]
Talk Shows culture will fall
Talk Shows Talking is King
Talk Shows they’ll kill us all
Talk Shows Talking is King

[bridge]
Well Monique our experts have given you advice
Our audience bellowed their opinions of ice
So it comes to the program point what you’re last vice
Oh so sorry but we’re out of time tonight

[Chorus]
Talk Shows culture will fall
Talk Shows Talking is King
Talk Shows they’ll kill us all
Talk Shows Talking is King

[Chorus]
Talk Shows culture will fall
Talk Shows Talking is King
Talk Shows they’ll kill us all
Talk Shows Talking is King

Song Length: 4:21

Writer: Jody Whitesides IPI/CAE 00196306650
Publisher: Too Much Music IPI/CAE 00456952518
Admin Publisher (Outside U.S.): Bluewater Music

Bob Roberts: Drums
Jody Whitesides: Vocals, Guitars, Bass, Additional Drum Programming

Recording Info:
Cover Art: Omar Cano
Recording Engineer: Jody Whitesides
Mixing Engineer: Jody Whitesides
Mixing Engineer: Rokk Lattanzio
Mastering Engineer: Rokk Lattanzio
Vocal Engineer: Jody Whitesides
Producer: Jody Whitesides

Recorded at: El Padden Jr studio in Porter Ranch CA
Audio Interface: Emagic Audiowerk8

Also recorded at: Das Poolside studio in Tujunga CA
Audio Interface: Emagic Audiowerk8

Live drums were tracked as MIDI and later dumped into Logic as audio sounds.
The rhythm guitars for the right side of the song were El Padden Jr. I ran the Ibanez Universe through an old Tube Screamer pedal. From there I ran it into the Fender Vibrochamp. It was mic’d with the GrooveTubes MD1a.
The rhythm guitars for the left side of the song were recorded at Das Poolside Studio. The Whitesides Viper 7 was used through the GrooveTubes Trio/Soul-O setup. Mic’d using the GrooveTubes MD1a.
The guitar solo was recorded using the Whitesides Viper 7 through the GrooveTubes Trio/Soul-O setup. Mic’d using the GrooveTubes MD1a.

Mixed in Logic Audio Platinum

Mastered in Logic Audio

Monitor Speakers: Custom Built by Rock Lattanzio and Jody Whitesides Guitar(s): 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.

Ibanez Universe 7 string guitar: This is number 96 off the assembly line. I got it for $400 with the case, about 6 months before Korn hit it big time. Then the value shot up to over $2000. Seymour Duncan Custom Custom 7 string model – custom wound. Plus my middle pickup was custom wound by a guy in Canada, sounds ok, but I don’t have his name. Neck pickup wasn’t used on this disc but is the stock pickup. Tremolo was useless with strings this heavy – so I blocked it off. This guitar was strung with Dean Markley Blue Steels medium gauge.

The amp setups:
Fender VibroChamp. It was re-tubed by Aspen Pittman of GrooveTubes. The distortion pedal I used was a re-issue Ibanez Tube Screamer.

GrooveTubes Trio: GrooveTubes Soul-O 150. GrooveTubes Dual 75 loaded with KT88’s. GrooveTubes 2 x 10″ cabs.

Bass(s): Hohner B Bass V. At the time of this recording it was strung with GHS Boomers bass strings. The bass was recorded direct into a tube screamer, and a Peavey Backstage plus amp.

Drums: Spectrasonics Liquid Groove Library provided all of the initial layout for the grooves of the songs. I had to figure out the loop tempos and slice them up in Logic Audio to get them just perfect. Thus every single section of the song is a slightly different tempo, but not by much.

Roland TD-10 electronic drum kit.

Additional Drum Samples provided by Rokk

Vocal: All vocals: GrooveTubes MD1a

Song Story:
Here is my T.V. will be our downfall to society song. What’s funny to me is I wrote the lyrics during the height of Talk T.V. Shows. But with a little twist this song becomes even more appropriate for Reality T.V.

The whole album became a social look at media and television and how it affects our lives. Well, except for the time travel and drunken dancing stuff. It was my first solo record and an even bigger learning experiment than the Amalgam release.

I’m happy with this first step for my solo career. I obviously haven’t looked back since.

Factoids:
1. I don’t own a TV, but I have seen things like Maury, et al.
2. First song where I faded from a previous song into another song.

This album was my first foray into computer recording. At the time, the El Padden Studio was no longer at my beck and call and I had to make arrangements with recording with my own gear. I was using a Mac 9500 with an Emagic audio card (yes, the people/company that created Logic Audio).

I had a super simple setup. The guitars and vocals were all mic’d and played live. The drums were also played live on an electronic kit and thus recorded as MIDI. The bass was recorded direct. It was a massive learning experience at a time when digital was very much in its infancy. There weren’t a lot of plugins available and things were stupid expensive compared to today’s digital recording.

Another song where I threw the kitchen sink at it. There’s cool delays that change time and get louder. The solo pans around and has a delay moving behind it. Cool vocal effects. I really went to town on this with Rokk. Ah the wonders of automation on a mix.

I had met Rokk who was a great teacher on getting me info about EQ and where to listen for things to modify in sound. He was great. Built me a nice set of speakers to mix with and listen to. Taught me an awful lot about mixing for a better production sound.

Additional rhythm guitar tracks were inspired by Mark Jackson. I knew Mark from Musician’s Institute and he was working for A&R at Columbia records. He felt if I beefed up the guitars I’d get signed. It did flesh out the sound, but didn’t get me signed.

ISRC: USONR0010010

ISWC: T0709688049

SESAC Song ID: 700344

Harry Fox ID: X8271S
Harry Fox Publisher ID: P8938Q

UPC: 654433000221

Publicity

Digital Empire

Echo

Time Machine

Vision

Death’s the Rage

Tortured Solitaire

Power Personality

Fucked Up Trance

Talking is King

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