Initial Spank
Only Human
[verse]
Take a break from the tube today
Come back some weeks away
Notice the imperfections on you startin to grow
And the television wants us to know
[chorus]
We should
Pop another pill lets hide that problem with a gel
Headaches hairloss goddamn body’s lost
We’re Only Human
Cover ugly stains and all your aches ‘n’ pains
Armpits crotch rot goddamn body’s lost
We’re Only Human
[verse]
For all the gripes and all the cries
Our nearest market has the answers why
Everything we’re taught to believe
Is everything we gotta buy or receive
[chorus]
Pop another pill lets hide that problem with a gel
Headaches hairloss goddamn body’s lost
We’re Only Human
Cover ugly stains and all your aches ‘n’ pains
Armpits crotch rot goddamn body’s lost
We’re Only Human
[bridge]
Wake up from this numbing pain make a choice and start again
With this token you’ll be complete companies don’t forget your feet
Bring in the pain we’ll go insane the money ‘s spent can’t pay the rent
Communication calls again but I forget what’s been said and I
[chorus]
Pop another pill lets hide that problem with a gel
Headaches hairloss goddamn body’s lost
We’re Only Human
Cover ugly stains and all your aches ‘n’ pains
Armpits crotch rot goddamn body’s lost
We’re Only Human
[chorus]
Pop another pill lets hide that problem with a gel
Headaches hairloss goddamn body’s lost
We’re Only Human
Cover ugly stains and all your aches ‘n’ pains
Armpits crotch rot goddamn body’s lost
We’re Only Human
Song Length: 2:59
Writer: Jody Whitesides IPI/CAE 00196306650
Publisher: Too Much Music IPI/CAE 00456952518
Admin Publisher (Outside U.S.): Bluewater Music
Paul Kaiser: Drums
Jody Whitesides: Vocals, Guitars, Bass
Recording Info:
Cover Art: Jody Whitesides
Recording Engineer: Jody Whitesides
Mixing Engineer: Jody Whitesides
Mastering Engineer: George Leger III
Vocal Engineer: Jody Whitesides
Producer: Jody Whitesides
Recorded & mixed at: Das Poolside Studio in Tujunga CA
The Setup: Mac Dual 800 Quicksilver
Logic Audio Platinum
Delta 1010 by M-Audio
GrooveTubes MD1a
GrooveTubes Vipre
Shure SM57beta
Mastered at: Utopia Parkway Music Guitar(s): Fender Guitar with desert paint job: my first guitar that I subsequently torn apart changed parts, repainted and rebuilt. Up from the ashes came a guitar that has since been on numerous recordings and records, more than me. It sounds great. I stocked it with a single Seymour Duncan Custom Humbucker. Strung with Dean Markley Blue Steels medium gauge.
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 is the guitar used on the guitar solo.
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.
The Amp Setup:
GrooveTubes Trio/Soul-O 150 amp
GrooveTubes 2 X 10″ cabinets
Bass(s): Hohner B Bass V: Recorded direct then re-amp’d by mic’ing the signal through a peavey backstage plus twice. One time run clean, the second time with distortion via a Tube Screamer pedal.
Drums: Roland V-Drum TD-10.
Vocal: mic’d with a GrooveTubes MD1a.
Song Story:
Ah the wonders of modern marketing. Companies spend amazing amounts of money to make sure that you will buy their product that solves some problem of the human body. The crazy thing is that most of the products are used to hide smells and skin problems.
I mean think about it. Why would you want to smell like a rose when you can smell like a human? I find that most perfumes are just downright annoying. This extends to other things like heartburn medicine. So few people actually get heartburn but some many people take that stuff anyway. Why? I don’t get it.
Anyway, this is my ode to the human condition of being human.
Factoids:
1. I sweat big time playing this live.
2. I’ve never had crotch rot.
The fun thing about this song is that it’s just fun to play. I felt it was cool to actually open a song featuring just the bass. You really don’t hear that done much.
Copyright: 2001/03/05
ISRC: USONR0102001
ISWC: T9055765258
SESAC Song ID: 594701
Harry Fox ID: O5006U
Harry Fox Publisher ID: P8938Q
UPC: 654433000429
Change Me
[verse]
Look in the mirror don’t know who I see
Something ‘s changed I’m not the man I used to be
Quiet lies gather ’round now they make too much sound
I figure love is lost when it can’t be found
[chorus]
Slap me make me
I want someone to change me
Pick me shake me
I want someone to change me
[verse]
Champagne appetite on a beer budget scares me
Lot’s of opportunities come ’round that I can’t be
Though I listen don’t work the running wheel
It’s advice that’s slipping in every other catch to steal
[chorus]
Slap me make me
I want someone to change me
Pick me shake me
I want someone to change me
[bridge]
Freaking maniac planning the best attack leaving with a drop a hot
Sleazing male cat sneaking ’round on the sly roving romeo playing to the backdoor ride
Rotting in a pit waiting the heart attack losing moral falling for the higher stack
Flying airplanes streaking ’round in the sky
passing passions gaining the right to cry
[chorus]
Slap me make me
I want someone to change me
Pick me shake me
I want someone to change me
[chorus]
Slap me make me
I want someone to change me
Pick me shake me
I want someone to change me
[chorus]
Slap me (slap me) make me (make me)
I want someone to change me (change me)
Pick me shake me (shake me)
I want someone to change me (change me)
Song Length: 4:03
Writer: Jody Whitesides IPI/CAE 00196306650
Publisher: Too Much Music IPI/CAE 00456952518
Admin Publisher (Outside U.S.): Bluewater Music
Paul Kaiser: Drums
Jody Whitesides: Vocals, Guitars, Bass
Recording Info:
Cover Art: Jody Whitesides
Recording Engineer: Jody Whitesides
Mixing Engineer: Jody Whitesides
Mastering Engineer: George Leger III
Vocal Engineer: Jody Whitesides
Producer: Jody Whitesides
Recorded & mixed at: Das Poolside Studio in Tujunga CA
The Setup: Mac Dual 800 Quicksilver
Logic Audio Platinum
Delta 1010 by M-Audio
GrooveTubes MD1a
GrooveTubes Vipre
Shure SM57beta
Mastered at: Utopia Parkway Music Guitar(s): Fender Guitar with desert paint job: my first guitar that I subsequently torn apart changed parts, repainted and rebuilt. Up from the ashes came a guitar that has since been on numerous recordings and records, more than me. It sounds great. I stocked it with a single Seymour Duncan Custom Humbucker. Strung with Dean Markley Blue Steels medium gauge.
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 is the guitar used on the guitar solo.
The Amp Setup:
GrooveTubes Trio/Soul-O 150 amp
GrooveTubes 2 X 10″ cabinets
Bass(s): Hohner B Bass V: Recorded direct then re-amp’d by mic’ing the signal through a peavey backstage plus twice. One time run clean, the second time with distortion via a Tube Screamer pedal.
Drums: Roland V-Drum TD-10.
Vocal: mic’d with a GrooveTubes MD1a.
Song Story:
This is sort of my take on growing older, but not wanting the responsibility for it. I found that at one point I was tired of having been responsible for me. But there’s no one to blame it on. So I got over it. Every so often though, it sure would be nice to be a vegetable and let the worry about who I am to someone else.
As far as the riff, yeah, I understand it sounds a bit like a Green Day riff that was popular. I didn’t wake up and suddenly think “yeah, I have to rip that off.” It was subconscious and the more I listen to it the more I realize it’s different.
This song is a blast to play live cause its very simple and has a huge head-bob factor to it. Fun to bounce around to.
Factoids:
1. Yes it’s inspired by Green Day.
2. I’ve had only three people so far in life that have inspired me to change.
Ah the power of the V-Drums. This was my first attempt at getting the V-drums to really sound like a drum kit. I mean I used them on E.A.R. and naked, but I didn’t go for realism there. But here I wanted to do everything I could. So I tweaked and tweaked. Put the drums through reverbs and such. In the end, it still ends up sounding like a drummer playing an electronic kit.
Copyright: 2001/03/05
ISRC: USONR0102002
ISWC: T9055765269
SESAC Song ID: 594702
Harry Fox ID: X82708
Harry Fox Publisher ID: P8938Q
UPC: 654433000429
Dave’s Den
[verse]
Are you feeling sassy boy
Would you like a brand new toy
Is your heart all filled with joy
Turn yourself ’round I feel coy
[chorus]
Listen up little men you’re invited to Dave’s Den
Come and play in my pen here inside of Dave’s Den
Listen up little men you’re invited to Dave’s Den
Come and play in my pen here inside of Dave’s Den
[verse]
I’ve got good games whips chains galore
Would that keep you coming for more
I’ll keep you hot won_t be a chore
Don’t tell a soul my knife the floor
[chorus]
Listen up little men you’re invited to Dave’s Den
Come and play in my pen here inside of Dave’s Den
Listen up little men you’re invited to Dave’s Den
Come and play in my pen here inside of Dave’s Den
[bridge]
I have a dream will you dream it too?
For the truth is ain’t what it really is
[chorus]
Listen up little men you’re invited to Dave’s Den
Come and play in my pen here inside of Dave’s Den
Listen up little men you’re invited to Dave’s Den
Come and play in my pen here inside of Dave’s Den
[chorus]
Listen up little men you’re invited to Dave’s Den
Come and play in my pen here inside of Dave’s Den
Listen up little men you’re invited to Dave’s Den
Come and play in my pen here inside of Dave’s Den
[chorus]
Listen up little men you’re invited to Dave’s Den
Come and play in my pen here inside of Dave’s Den
Listen up little men you’re invited to Dave’s Den
Come and play in my pen here inside of Dave’s Den
[chorus]
Listen up little men you’re invited to Dave’s Den (listen up)
Come and play in my pen here inside of Dave’s Den (come and play)
Listen up little men you’re invited to Dave’s Den (listen up)
Come and play in my pen here inside of Dave’s Den (come and play)
Song Length: 3:47
Writer: Jody Whitesides IPI/CAE 00196306650
Publisher: Too Much Music IPI/CAE 00456952518
Admin Publisher (Outside U.S.): Bluewater Music
Paul Kaiser: Drums
Jody Whitesides: Vocals, Guitars, Bass
Recording Info:
Cover Art: Jody Whitesides
Recording Engineer: Jody Whitesides
Mixing Engineer: Jody Whitesides
Mastering Engineer: George Leger III
Vocal Engineer: Jody Whitesides
Producer: Jody Whitesides
Recorded & mixed at: Das Poolside Studio in Tujunga CA
The Setup: Mac Dual 800 Quicksilver
Logic Audio Platinum
Delta 1010 by M-Audio
GrooveTubes MD1a
GrooveTubes Vipre
Shure SM57beta
Mastered at: Utopia Parkway Music Guitar(s): Fender Guitar with desert paint job: my first guitar that I subsequently torn apart changed parts, repainted and rebuilt. Up from the ashes came a guitar that has since been on numerous recordings and records, more than me. It sounds great. I stocked it with a single Seymour Duncan Custom Humbucker. Strung with Dean Markley Blue Steels medium gauge.
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 is the guitar used on the guitar solo.
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.
The Amp Setup:
GrooveTubes Trio/Soul-O 150 amp
GrooveTubes 2 X 10″ cabinets
Bass(s): Hohner B Bass V: Recorded direct then re-amp’d by mic’ing the signal through a peavey backstage plus twice. One time run clean, the second time with distortion via a Tube Screamer pedal.
Drums: Roland V-Drum TD-10.
Vocal: mic’d with a GrooveTubes MD1a.
Song Story:
This song is born of having a really sick and twisted imagination. First off, I’ll state it right here. I have no homosexual tendencies. Nothing against gay people. I know that I have no desire to be gay. That said, one day I thought about a news story and wrote a song based on some guy that was into little boys.
Now in today’s world we’ve got people that are really like this. Hell some of them that have been accused are famous musicians. It’s downright nuts and I hope these lyrics show the irony and stupidity that it represents.
Musically speaking this is also a fun riff to play in the verse. A neat little hammer-on pull-off type thing. That was sort of the mantra for the whole CD – Make it fun to play.
Factoids:
1. While I’m not into porn as I prefer the real thing – just ask any girl friend I’ve had. I’m not opposed to it.
2. Dave is not based on any real person.
Simple riffs. Simple riffs. Simple riffs. I layered the guitars a bit to give it a bit more oomph. The guitar solo is more of a melody line that moves into double stops rather than an outright solo.
Copyright: 2001/03/05
ISRC: USONR0102003
ISWC: T9055765270
SESAC Song ID: 594704
Harry Fox ID: D9120B
Harry Fox Publisher ID: P8938Q
UPC: 654433000429
Sandbox
[verse]
Do you wanna do you wanna play
Can you dig with without hate
Got grains of all colors
Got grains of all colors
[chorus]
Wet sand dry sand your sand my sand
It’s all in the Sandbox
Soft sand hard sand light sand dark sand
It’s all in the Sandbox
[verse]
Would you help me build a a castle to the sky
Would you like a a large pail
Take a team to fortify
Take a team to fortify it
[chorus]
Wet sand dry sand your sand my sand
It’s all in the Sandbox
Soft sand hard sand light sand dark sand
It’s all in the Sandbox
[bridge]
And like life the tide will slowly hide
What we do and make until we die
[chorus]
Wet sand dry sand your sand my sand
It’s all in the Sandbox
Soft sand hard sand light sand dark sand
It’s all in the Sandbox
[chorus]
Wet sand dry sand your sand my sand
It’s all in the Sandbox
Soft sand hard sand light sand dark sand
It’s all in the Sandbox
[chorus]
Wet sand dry sand your sand my sand
It’s all in the Sandbox
Soft sand hard sand light sand dark sand
It’s all in the Sandbox
The Sandbox
Song Length: 2:24
Writer: Jody Whitesides IPI/CAE 00196306650
Publisher: Too Much Music IPI/CAE 00456952518
Admin Publisher (Outside U.S.): Bluewater Music
Paul Kaiser: Drums
Jody Whitesides: Vocals, Guitars, Bass
Recording Info:
Cover Art: Jody Whitesides
Recording Engineer: Jody Whitesides
Mixing Engineer: Jody Whitesides
Mastering Engineer: George Leger III
Vocal Engineer: Jody Whitesides
Producer: Jody Whitesides
Recorded & mixed at: Das Poolside Studio in Tujunga CA
The Setup: Mac Dual 800 Quicksilver
Logic Audio Platinum
Delta 1010 by M-Audio
GrooveTubes MD1a
GrooveTubes Vipre
Shure SM57beta
Mastered at: Utopia Parkway Music Guitar(s): Fender Guitar with desert paint job: my first guitar that I subsequently torn apart changed parts, repainted and rebuilt. Up from the ashes came a guitar that has since been on numerous recordings and records, more than me. It sounds great. I stocked it with a single Seymour Duncan Custom Humbucker. Strung with Dean Markley Blue Steels medium gauge.
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 is the guitar used on the guitar solo.
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.
The Amp Setup:
GrooveTubes Trio/Soul-O 150 amp
GrooveTubes 2 X 10″ cabinets
Bass(s): Hohner B Bass V: Recorded direct then re-amp’d by mic’ing the signal through a peavey backstage plus twice. One time run clean, the second time with distortion via a Tube Screamer pedal.
Drums: Roland V-Drum TD-10.
Vocal: mic’d with a GrooveTubes MD1a.
Song Story:
I’ll admit it. This song was originally conceived during my stint of being a metal head. Lyrically speaking anyway. I’d be willing to bet that I was listening to the likes of Extreme the day I wrote the words. It smacks so much of their tongue-in-cheek type of writing that it’s silly.
Even better is that there is that “deep” underlying meaning of “down with racism!” I’m sure you caught that. If you didn’t well, then now you know.
Factoids:
1. I’ve had best friends from all races.
2. I did have a sandbox on a farm that my parents had for a couple of years.
The song was actually a pain in the ass. The clean guitar riff that opens the song was not done in an alternate tuning so there’s some big stretches while holding that chord shape. Major pain in the butt. It’s also moving at a pretty good clip and since I was all into perfection of playing rather than feel. I let timing dictate it and it sounds a tad stale.
Copyright: 2001/03/05
ISRC: USONR0102004
ISWC: T9055765281
SESAC Song ID: 594705
Harry Fox ID: X82704
Harry Fox Publisher ID: P8938Q
UPC: 654433000429
Can’t Explain
[verse]
It’s a sunny Saturday afternoon
The band on stage is stirring a brand new tune
All the scenery looks kinda special
And the motion wheels are moving radical
[chorus]
Don’t ask the reason why Can’t Explain
Clouds are white in a blue sky Can’t Explain
For all the learned things Can’t Explain
Don’t ask why Can’t Explain
[verse]
It’s a super preaching sermon kind of day
Sure a speaker speaks with nothing else to say
Though someone somewhere is still lyin’
Upon their pointy bed they made someone_s dyin’
[chorus]
Don’t ask the reason why Can’t Explain
Clouds are white in a blue sky Can’t Explain
For all the learned things Can’t Explain
Don’t ask why Can’t Explain
[bridge]
Would you like to dance the ocean
Would you like to reach the sky
Would you like to prance a new beat
Would you like to spread your wings and fly
[chorus]
Don’t ask the reason why Can’t Explain
Clouds are white in a blue sky Can’t Explain
For all the learned things Can’t Explain
Don’t ask why Can’t Explain
[chorus]
Don’t ask the reason why Can’t Explain
Clouds are white in a blue sky Can’t Explain
For all the learned things Can’t Explain
Don’t ask why Can’t Explain
[outro]
Don’t ask why
Don’t ask why (can’t explain)
Don’t ask why
Don’t ask why (can’t explain)
Don’t ask why
Don’t ask why (can’t explain)
Don’t ask why
Don’t ask why (can’t explain)
Song Length: 3:08
Writer: Jody Whitesides IPI/CAE 00196306650
Publisher: Too Much Music IPI/CAE 00456952518
Admin Publisher (Outside U.S.): Bluewater Music
Paul Kaiser: Drums
Jody Whitesides: Vocals, Guitars, Bass
Recording Info:
Cover Art: Jody Whitesides
Recording Engineer: Jody Whitesides
Mixing Engineer: Jody Whitesides
Mastering Engineer: George Leger III
Vocal Engineer: Jody Whitesides
Producer: Jody Whitesides
Recorded & mixed at: Das Poolside Studio in Tujunga CA
The Setup: Mac Dual 800 Quicksilver
Logic Audio Platinum
Delta 1010 by M-Audio
GrooveTubes MD1a
GrooveTubes Vipre
Shure SM57beta
Mastered at: Utopia Parkway Music Guitar(s): Fender Guitar with desert paint job: my first guitar that I subsequently torn apart changed parts, repainted and rebuilt. Up from the ashes came a guitar that has since been on numerous recordings and records, more than me. It sounds great. I stocked it with a single Seymour Duncan Custom Humbucker. Strung with Dean Markley Blue Steels medium gauge.
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 is the guitar used on the guitar solo.
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.
The Amp Setup:
GrooveTubes Trio/Soul-O 150 amp
GrooveTubes 2 X 10″ cabinets
Bass(s): Hohner B Bass V: Recorded direct then re-amp’d by mic’ing the signal through a peavey backstage plus twice. One time run clean, the second time with distortion via a Tube Screamer pedal.
Drums: Roland V-Drum TD-10.
Vocal: mic’d with a GrooveTubes MD1a.
Song Story:
I usually pride myself in knowing my rock trivia and my music history. However, I walked into a place where some friends work and I played them this song once it was recorded. First thing that I heard was “Dude, you re-wrote a Who song!” D’oh. I was like WTF?!? What he meant was the song title: Can’t Explain. Of course that was the furthest thing on my mind when I wrote this.
I realize that it sounds nothing like the Who and for all intents purposes means absolutely nothing in comparison to their lyrics. This is another one of those songs that comes off being really fun to play live. Plus I feel that Paul really made the V-Drums dance on this one. You hear a lot of his nuances on the snare.
Lyrically it really isn’t about anything other than, there are things in this world that remain unsolved for answers and its best if we just accepted that and moved on. So in my attempt to say they meant nothing, they became something. Ok, I’ll shut up now.
Factoids:
1. I’m mensa smart, and yet, I know that I don’t know everything.
2. Playing this live makes me think it’s what it might be like to be Pete Townsend – I don’t know why.
The harmony line in the bridge was a crazy afterthought. I felt it wasn’t filling up enough in that part. So I fooled around with the pitch shifter plug in from Waves that I had. It wasn’t able to do the pitch shifting in real time so I put a delay on it that put it as a delayed line that played in time. Now I had Derek Sivers over one day at the studio and he was checking out this song while I was chatting with his wife. I suddenly heard him chuckle and I realized he heard the harmonies and got the joke. Can you?
Copyright: 2001/03/05
ISRC: USONR0102005
ISWC: T9055765292
SESAC Song ID: 594707
Harry Fox ID: X82709
Harry Fox Publisher ID: P8938Q
UPC: 654433000429
Rob Me Blind
[verse]
It’s true it’s true that you don’t see the impression that I have of you
Brother walk that line coming home past the sleepy time
Can’t earn respect without borrowing hours
Daylight breaks and the milks gone sour
[chorus]
Rob Me Blind Rob Me Blind
Ignorance racial lines
Rob Me Blind Rob Me Blind
Confidence empty mind
[verse]
Sister sister bumps and grinds
Stays at home past the waking time
Can’t earn respect without making up hours
Nighttime falls and the grapes have soured
[chorus]
Rob Me Blind Rob Me Blind
Ignorance racial lines
Rob Me Blind Rob Me Blind
Confidence empty mind
[bridge]
Hit me kick me beat me you’ll never take on me
Hang me bang me crank me you’ll never bank on me
[chorus]
Rob Me Blind Rob Me Blind
Ignorance racial lines
Rob Me Blind Rob Me Blind
Confidence empty mind
[chorus]
Rob Me Blind Rob Me Blind (rob me blind)
Ignorance racial lines (rob me blind)
Rob Me Blind Rob Me Blind (rob me blind)
Confidence empty mind (rob me blind)
[outro]
Rob Me Blind Rob Me Blind (rob me blind)
Song Length: 3:14
Writer: Jody Whitesides IPI/CAE 00196306650
Publisher: Too Much Music IPI/CAE 00456952518
Admin Publisher (Outside U.S.): Bluewater Music
Paul Kaiser: Drums
Jody Whitesides: Vocals, Guitars, Bass
Recording Info:
Cover Art: Jody Whitesides
Recording Engineer: Jody Whitesides
Mixing Engineer: Jody Whitesides
Mastering Engineer: George Leger III
Vocal Engineer: Jody Whitesides
Producer: Jody Whitesides
Recorded & mixed at: Das Poolside Studio in Tujunga CA
The Setup: Mac Dual 800 Quicksilver
Logic Audio Platinum
Delta 1010 by M-Audio
GrooveTubes MD1a
GrooveTubes Vipre
Shure SM57beta
Mastered at: Utopia Parkway Music Guitar(s): Fender Guitar with desert paint job: my first guitar that I subsequently torn apart changed parts, repainted and rebuilt. Up from the ashes came a guitar that has since been on numerous recordings and records, more than me. It sounds great. I stocked it with a single Seymour Duncan Custom Humbucker. Strung with Dean Markley Blue Steels medium gauge.
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 is the guitar used on the guitar solo.
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.
The Amp Setup:
GrooveTubes Trio/Soul-O 150 amp
GrooveTubes 2 X 10″ cabinets
Bass(s): Hohner B Bass V: Recorded direct then re-amp’d by mic’ing the signal through a peavey backstage plus twice. One time run clean, the second time with distortion via a Tube Screamer pedal.
Drums: Roland V-Drum TD-10.
Vocal: mic’d with a GrooveTubes MD1a.
Song Story:
Oh man, can you ask for double cheese on that order for anti-racism. Again I have to say that I was under the influence of Extreme while writing these lyrics. That’s the problem with going through old notebooks looking to find words that fit music you’ve written. Especially when the words come from like 7 years earlier. Heh. I have a huge stockpile of lyrics.
Anyway, I thought the title was cool. Rob Me Blind makes for a great cliché don’cha think?
Factoids:
1. I’ve had my car broken into twice, neither time was in a bad area of town.
2. I like the driving nature of the guitar part.
I really like the orchestrated guitar parts for the verses. It took a few takes to make sure I was doing something that stacked up well and sounded cool. the guitar solo was really sort of off the cuff. I couldn’t get anything that turned me on so I started improvising solos on every take. I don’t know which take number that was, but it worked out cool so I kept that one.
Copyright: 2001/03/05
ISRC: USONR0102006
ISWC: T9055765305
SESAC Song ID: 594708
Harry Fox ID: R5589N
Harry Fox Publisher ID: P8938Q
UPC: 654433000429
Clears Again
[verse]
Have you ever had a day where your head explodes
Or your eyes give impressions of leaping off your face
It must be one of those days those times that you cry
And all because you can’t breath in without a heavy sigh
[chorus]
Something’s going on (in) your head you pray it Clears Again
Someone else saw you then you pray it Clears Again
She beckons you get to bed you pray she Clears Again
It Clears Again She Clears Again
[verse]
An allergic reaction to something (you) never ate
While your mind takes distractions that leave empty space
It must some bizarre some love to want this thing
To have a strange knack to get in flu like pain
[chorus]
Something’s going on (in) your head you pray it Clears Again
Someone else saw you then you pray it Clears Again
She beckons you get to bed you pray she Clears Again
It Clears Again She Clears Again
Something’s going on (in) your head you pray it Clears Again
Someone else saw you then you pray it Clears Again
She beckons you get to bed you pray she Clears Again
It Clears Again She Clears Again
Which drug should I ingest
What herb would I dare rub and test
Why can’t there be great taste
Is this a cure for human waste
[chorus]
Something’s going on (in) your head you pray it Clears Again
Someone else saw you then you pray it Clears Again
She beckons you get to bed you pray she Clears Again
It Clears Again She Clears Again
Something’s going on (in) your head you pray it Clears Again
Someone else saw you then you pray it Clears Again
She beckons you get to bed you pray she Clears Again
It Clears Again She Clears Again
Song Length: 2:36
Writer: Jody Whitesides IPI/CAE 00196306650
Publisher: Too Much Music IPI/CAE 00456952518
Admin Publisher (Outside U.S.): Bluewater Music
Paul Kaiser: Drums
Jody Whitesides: Vocals, Guitars, Bass
Recording Info:
Cover Art: Jody Whitesides
Recording Engineer: Jody Whitesides
Mixing Engineer: Jody Whitesides
Mastering Engineer: George Leger III
Vocal Engineer: Jody Whitesides
Producer: Jody Whitesides
Recorded & mixed at: Das Poolside Studio in Tujunga CA
The Setup: Mac Dual 800 Quicksilver
Logic Audio Platinum
Delta 1010 by M-Audio
GrooveTubes MD1a
GrooveTubes Vipre
Shure SM57beta
Mastered at: Utopia Parkway Music Guitar(s): Fender Guitar with desert paint job: my first guitar that I subsequently torn apart changed parts, repainted and rebuilt. Up from the ashes came a guitar that has since been on numerous recordings and records, more than me. It sounds great. I stocked it with a single Seymour Duncan Custom Humbucker. Strung with Dean Markley Blue Steels medium gauge.
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 is the guitar used on the guitar solo.
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.
The Amp Setup:
GrooveTubes Trio/Soul-O 150 amp
GrooveTubes 2 X 10″ cabinets
Bass(s): Hohner B Bass V: Recorded direct then re-amp’d by mic’ing the signal through a peavey backstage plus twice. One time run clean, the second time with distortion via a Tube Screamer pedal.
Drums: Roland V-Drum TD-10.
Vocal: mic’d with a GrooveTubes MD1a.
Song Story:
STD’s. That’s the one word anacronym for this song. If you don’t know what an STD is here’s the answer: Sexually Transmitted Disease. Now, why the fuck would I write a song about that?
This may get graphic for some people. And as I’ve stated in another song story I have no problem sharing with strangers.
Ah, well, I’ve been the unfortunate recipient of one STD called crabs once. Not fun, the cream worked and I’ve never come across it again, but that really did suck. Then there was one other time where a girl friend had the Clap. We had just started sleeping together, so though I didn’t have signs I took the medicine anyway. Icky is the feeling.
This is dedicated to everyone who is an asshole enough not to have themselves checked out before they have sex with you. It boggles my mind how someone could knowingly do that. I’m definitely thankful that I don’t have any STD that is permanent.
Factoids:
1. I like women.
2. I watch what I eat.
There really isn’t anything special about how this song was recorded. It’s just a real uptempo number.
Copyright: 2001/03/05
ISRC: USONR0102007
ISWC: T9055765316
SESAC Song ID: 594709
Harry Fox ID: X8271A
Harry Fox Publisher ID: P8938Q
UPC: 654433000429
The Shaft
[verse]
From a darkened corner I sit and stare
An abused cliché it’s a rotten day
Masked in scandal and movie fear
Bad business broken fingers I can’t parlay
[chorus]
We don’t want (the Shaft) She may want (the Shaft)
He don’t need (the Shaft) They may need (the Shaft)
We don’t want (the Shaft) She may want (the Shaft)
He don’t need (the Shaft) They may need (the Shaft)
I am the law which they won’t abide
The creative crushed to stoke the fire
Got the cover they can not hide
My work is proof that they have no desire
[chorus]
We don’t want (the Shaft) She may want (the Shaft)
He don’t need (the Shaft) They may need (the Shaft)
We don’t want (the Shaft) She may want (the Shaft)
He don’t need (the Shaft) They may need (the Shaft)
[bridge]
Be wary of spies in the big pit
Friends and foes will do as they see fit
Don’t count your cards to soon
Money can burn and your friends can too
[chorus]
We don’t want (the Shaft) She may want (the Shaft)
He don’t need (the Shaft) They may need (the Shaft)
We don’t want (the Shaft) She may want (the Shaft)
He don’t need (the Shaft) They may need (the Shaft)
[chorus]
We don’t want (the Shaft) She may want (the Shaft)
He don’t need (the Shaft) They may need (the Shaft)
We don’t want (the Shaft) She may want (the Shaft)
He don’t need (the Shaft) They may need (the Shaft)
[chorus]
We don’t want (the Shaft) She may want (the Shaft)
He don’t need (the Shaft) They may need (the Shaft)
We don’t want (the Shaft) She may want (the Shaft)
He don’t need (the Shaft) They may need (the Shaft)
Song Length: 3:05
Writer: Jody Whitesides IPI/CAE 00196306650
Publisher: Too Much Music IPI/CAE 00456952518
Admin Publisher (Outside U.S.): Bluewater Music
Paul Kaiser: Drums
Jody Whitesides: Vocals, Guitars, Bass
Recording Info:
Cover Art: Jody Whitesides
Recording Engineer: Jody Whitesides
Mixing Engineer: Jody Whitesides
Mastering Engineer: George Leger III
Vocal Engineer: Jody Whitesides
Producer: Jody Whitesides
Recorded & mixed at: Das Poolside Studio in Tujunga CA
The Setup: Mac Dual 800 Quicksilver
Logic Audio Platinum
Delta 1010 by M-Audio
GrooveTubes MD1a
GrooveTubes Vipre
Shure SM57beta
Mastered at: Utopia Parkway Music Guitar(s): Fender Guitar with desert paint job: my first guitar that I subsequently torn apart changed parts, repainted and rebuilt. Up from the ashes came a guitar that has since been on numerous recordings and records, more than me. It sounds great. I stocked it with a single Seymour Duncan Custom Humbucker. Strung with Dean Markley Blue Steels medium gauge.
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 is the guitar used on the guitar solo.
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.
The Amp Setup:
GrooveTubes Trio/Soul-O 150 amp
GrooveTubes 2 X 10″ cabinets
Bass(s): Hohner B Bass V: Recorded direct then re-amp’d by mic’ing the signal through a peavey backstage plus twice. One time run clean, the second time with distortion via a Tube Screamer pedal.
Drums: Roland V-Drum TD-10.
Vocal: mic’d with a GrooveTubes MD1a.
Song Story:
This song has one of the coolest verses I’ve come up with. For some reason the doubled vocal part with the second one getting some distortion really makes me go right on! I don’t know why. Then it kicks into a chorus that has a really catchy hook.
The lyrics itself is about being fed up with getting shafted by people. Obviously it’s not cool when you get shafted on anything. The shaftee will eventually get what’s karmically coming to them (did I spell that right).
Factoids:
1. Friends can hurt you the most.
2. I’ve yet to get a finger broken.
The fun thing about this song is that it’s just fun to play. Again there’s little production tricks that I felt really made this a fun song to listen to. I especially like the verse vocal with it’s distorted double vocal. I don’t know why. I just feel it’s really cool.
Copyright: 2001/03/05
ISRC: USONR0102008
ISWC: T9055765327
SESAC Song ID: 594710
Harry Fox ID: X82705
Harry Fox Publisher ID: P8938Q
UPC: 654433000429
Reunions
[verse]
It’s funny how friends crawl into the woodwork
It’s funny how friends never get back out
Once in a while life throws you familiar
And in that face it feels like home
[chorus]
From the small towns to big city lights
You’ll never know where our next Reunion lies
From the rural routes to global party lines
You’ll never know where our next Reunion lies
[verse]
It’s crazy to think new thoughts with old people
It’s crazy to share bold secrets from the heart
Maybe we need to feed curiosity
And in that place what might have been
[chorus]
From the small towns to big city lights
You’ll never know where our next Reunion lies
From the rural routes to global party lines
You’ll never know where our next Reunion lies
[verse]
It’s funny how friends crawl out of the woodwork
It’s funny how friends always come back out
Once in a while life throws you familiar
And in that space you feel like home
[chorus]
From the small towns to big city lights
You’ll never know where our next Reunion lies
From the rural routes to global party lines
You’ll never know where our next Reunion lies
[chorus]
From the small towns to big city lights
You’ll never know where our next Reunion lies
From the rural routes to global party lines
You’ll never know where our next Reunion lies
Song Length: 3:17
Writer: Jody Whitesides IPI/CAE 00196306650
Publisher: Too Much Music IPI/CAE 00456952518
Admin Publisher (Outside U.S.): Bluewater Music
Paul Kaiser: Drums
Jody Whitesides: Vocals, Guitars, Bass
Recording Info:
Cover Art: Jody Whitesides
Recording Engineer: Jody Whitesides
Mixing Engineer: Jody Whitesides
Mastering Engineer: George Leger III
Vocal Engineer: Jody Whitesides
Producer: Jody Whitesides
Recorded & mixed at: Das Poolside Studio in Tujunga CA
The Setup: Mac Dual 800 Quicksilver
Logic Audio Platinum
Delta 1010 by M-Audio
GrooveTubes MD1a
GrooveTubes Vipre
Shure SM57beta
Mastered at: Utopia Parkway Music Guitar(s): Washburn 12 string. This was my first 12 string guitar that I subsequently sold shortly after this album was finished. I ended up getting an endorsement with Taylor guitars. Strung with Dean Markley Blue Steel medium gauge.
Bass(s): Hohner B Bass V: Recorded direct then re-amp’d by mic’ing the signal through a peavey backstage plus twice. One time run clean, the second time with distortion via a Tube Screamer pedal.
Drums: Roland V-Drum TD-10.
Vocal: mic’d with a GrooveTubes MD1a.
Synths: Orchestrations using Miroslav Orchestral samples in the EXS sampler.
Song Story:
I had recently visited my home of Park City Utah. It was like around my birthday or something and one afternoon I walked up main street to the main street deli to get some lunch. I had bumped into an old friend from high school whom I hadn’t seen since we had graduated. We ate lunch together. I found out he had gone on to work for TSR games creating stuff for role playing games. What’s wild about that is that I used to play dungeons and dragons with this cat when we were in grade school.
Anyway, it got me to thinking about how people sort of fade in and out of life. I graduated in a very small class of people in high school; I think it was 97 people. Anyway, you hear things through the grape vine. So far only a few of us seem to have really gone on to do what we were dreaming of doing.
In that sense I’m always interested in what my old friends are up to, but since they’re generally terrible with updating me on their where-a-bouts I can only wonder. But it will be interesting to see who comes out of the woodwork when I break nationally.
Factoids:
1. I went to a small high school.
2. One of my school friends is a major creator of role playing games.
First off, I like the song. However I’m really disappointed I stuck with the 12 string guitar that I used on it. I really should have gone and borrowed my buddy’s Taylor. But I wasn’t thinking this would end up as the final recording. My Bad. I really have to commend Paul on the drums here. He didn’t get this song before he came in for the session. Instead we blew through all the other songs so quick that I played this once for him and then he played along to it. This is the first and only drum take.
Copyright: 2001/03/05
ISRC: USONR0102009
ISWC: T9055765338
SESAC Song ID: 594711
Harry Fox ID: R5589O
Harry Fox Publisher ID: P8938Q
UPC: 654433000429
Zodiak Killer
[veser]
Though unfortunate I’ll say it’s true
In a dif’rent time and place it seems
Life may have been more int’resting
Had I left you here too
[chorus]
Star-crossed twist of fate
Give in to the Zodiak Killer’s hate
I want your tell tale sign
The world ends on Zodiak Killer time
[verse]
Let me guess the month your color ‘s not blue
It’s written all over the face I see
A little less painful with the pestering
Had ya been read through
[chorus]
Star-crossed twist of fate
Give in to the Zodiak Killer’s hate
I want your tell tale sign
The world ends on Zodiak Killer time
Now it comes to prime time to
Let’s see what the Zodiak Killer ‘ll do
Pressing nerves ‘n’ tortured screws
Our world ends when the Zodiak Killer is through
[instrumental]
[chorus]
Star-crossed twist of fate
Give in to the Zodiak Killer’s hate
I want your tell tale sign
The world ends on Zodiak Killer time
Now it comes to prime time to
Let’s see what the Zodiak Killer ‘ll do
Pressing nerves ‘n’ tortured screws
Our world ends when the Zodiak Killer is through
[chorus]
Star-crossed twist of fate
Give in to the Zodiak Killer’s hate
I want your tell tale sign
The world ends on Zodiak Killer time
Song Length: 2:38
Writer: Jody Whitesides IPI/CAE 00196306650
Publisher: Too Much Music IPI/CAE 00456952518
Admin Publisher (Outside U.S.): Bluewater Music
Paul Kaiser: Drums
Jody Whitesides: Vocals, Guitars, Bass
Recording Info:
Cover Art: Jody Whitesides
Recording Engineer: Jody Whitesides
Mixing Engineer: Jody Whitesides
Mastering Engineer: George Leger III
Vocal Engineer: Jody Whitesides
Producer: Jody Whitesides
Recorded & mixed at: Das Poolside Studio in Tujunga CA
The Setup: Mac Dual 800 Quicksilver
Logic Audio Platinum
Delta 1010 by M-Audio
GrooveTubes MD1a
GrooveTubes Vipre
Shure SM57beta
Mastered at: Utopia Parkway Music Guitar(s): Fender Guitar with desert paint job: my first guitar that I subsequently torn apart changed parts, repainted and rebuilt. Up from the ashes came a guitar that has since been on numerous recordings and records, more than me. It sounds great. I stocked it with a single Seymour Duncan Custom Humbucker. Strung with Dean Markley Blue Steels medium gauge.
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 is the guitar used on the guitar solo.
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.
The Amp Setup:
GrooveTubes Trio/Soul-O 150 amp
GrooveTubes 2 X 10″ cabinets
Bass(s): Hohner B Bass V: Recorded direct then re-amp’d by mic’ing the signal through a peavey backstage plus twice. One time run clean, the second time with distortion via a Tube Screamer pedal.
Drums: Roland V-Drum TD-10.
Vocal: mic’d with a GrooveTubes MD1a.
Song Story:
D’oh another song based on the crazy imagination of a madman musician. No I’m not interested in really being a serial killer. Again, I like to think that I’m fairly well educated on things. However here I am writing a song that I got the influence from Imperial Drag. I find out later that there really was someone running around killing people based on the signs of the Zodiak! How fucking nuts. So, while I didn’t know, I’m changing my answer to… Of Course I knew about him.
Musically speaking I think I got some of the production ideas from the No Doubt album Return to Saturn which I felt was their best disc they’d done. I still listen to it. It’s very crafty.
Factoids:
1. There really was a killer that dealt with Zodiac signs and yes I spelled it incorrectly on purpose for the song.
2. The rolling drum part in the bridge took a few takes to get right.
The snare drum run in the middle was probably the coolest thing I had Paul do that day. It’s amazing the control Paul has with his drumming ability. Especially to make this work the way he did on an electronic kit. As far as the song is concerned there really is no solo. I didn’t feel it needed it.
Copyright: 2001/03/05
ISRC: USONR0102010
ISWC: T9055765349
SESAC Song ID: 594712
Harry Fox ID: Z0739B
Harry Fox Publisher ID: P8938Q
UPC: 654433000429