is this considered naked
can not find
[verse 1]
light never shines forever
and on occasion mine grows dim
it breaths new life when we’re together
but wastes away when we’ve become one of them
[chorus]
take a measure of my time i’ve lost some life i can not find
take some pleasure from my mind i’ve lost some life i can not find
mark my hands and draw the line i’ve lost some life i can not find
bind my hands and commit a crime i’ve lost some life i can not find
[verse 2]
bring in the social disease
laugh and scream to your heart’s content
cough and breath beyond a mild event
[chorus]
take a measure of my time i’ve lost some life i can not find
take some pleasure from my mind i’ve lost some life i can not find
mark my hands and draw the line i’ve lost some life i can not find
bind my hands and commit a crime i’ve lost some life i can not find
[bridge]
broken things and poison wings
twist and turn and borrowed words
and borrowed words
[outro]
i’ve lost some life i can not find
i’ve lost some life i can not find
i’ve lost some life i can not find
i’ve lost some life i can not find
Song Length: 3:46
writer: jody whitesides ipi/cae 00196306650
publisher: too much music ipi/cae 00456952518
admin publisher (outside u.s.): bluewater music
kevin packard: percussion, drums
jody whitesides: vocals, guitars, bass
Recording Info:
photographer: ed ouellette
recording engineer: jody whitesides
mixing engineer: george leger III
mastering engineer: george leger III
guitar engineer: chris hellstrom
vocal engineer: jody whitesides
producer: jody whitesides
recorded at: das poolside studio in tujunga ca
mac dual 800 quicksilver
logic audio platinum
delta 1010 by m-audio
groovetubes md1a
groovetubes vipre
shure sm57beta
mixed at: utopia parkway music
mastered at: utopia parkway music
video director: kim podzimek
Guitar(s): an old guild. The exact make and model is not currently known. I borrowed it from my buddy keith simmonds. Why? ’cause at that point I only had an ovation. no offense to ovation and people that own them, I think they suck. it was probably the one guitar I ever regret owning.
the guild had a bridge piezo type pickup. from there it was plugged into an l.r. baggs pre-amp. strung with dean markley phosbronze medium gauge.
Drums: bongos.
a funny russian tambourine.
Vocal: vocals mic’d with groovetubes md1a.
Song Story:
have you ever been driving along in a car and suddenly realized, shit i remember starting the engine, but i can’t remember the drive from then until now. i used to get that a whole lot driving late at night in utah.
with that in mind, it’s sort of the impetus for the thought behind this song. just kinda waking up and not remembering where you just were. not because you were actually asleep but because you were “spacing” off. i now think, where the hell did all that time go and is there a way to get it back. the answers are very easy. no one knows, and no you can’t get it back.
going beyond the song and more behind the cd. i decided to do a stripped down acoustic style thang due to the many friends i had met from doing open mics in los angeles. many of them didn’t know i mostly did hard rock type stuff with a full band. so they were all asking for me to record stuff i was playing at the those venues.
Factoids:
1. the video for this song was done by film students.
2. filming the video was my first time in joshua tree.
i sat in a room with the guild. i had two mics on it. i had the sm57 at the nut pointed down the neck to catch the fingers and their noise. then i had the groovetubes md1a off axis, behind the bridge pointed at the sound hole. then i had the l.r. baggs running direct. so there are three tracks for the one guitar.
chris hellstrom was the engineer for me while i was stuck in the room actually playing the guitar. i engineered the vocals myself. singing while sitting near the computer.
that’s the long and short of what was used. it was a simple setup for a small amount of instrumentation. i did provide george the rough idea for how i wanted to go for effects in the mix.
Copyright: 2004/08/15
ISRC: USONR0101001
ISWC: T0711159328
SESAC Song ID: 594714
Harry Fox ID: X82706
Harry Fox Publisher ID: P8938Q
UPC: 654433000320
love you
[verse 1]
it’s all the little things that you do
it’s all the big things that you say
it’s how you make life long and sweet
it’s how you feel after a hard day
[chorus]
it’s more than what I make
love you i do love you
you can drag me to hell and back
love you i do love you
[verse 2]
i’ve a feeling it’s the things I do
i’ve a hunch for the things I say
i love our time when we do meet
i love the color of your hair in may
[chorus]
it’s more than what I make
love you i do love you
you can drag me to hell and back
love you i do love you
[instrumental]
[chorus]
it’s more than what I make
love you i do love you
you can drag me to hell and back
love you i do love you
[bridge]
can you touch what i feel inside
or will you back away from what i cannot hide
any time rain or shine spring or fall
we can do it all
[chorus]
it’s more than what I make
love you i do love you
you can drag me to hell and back
love you i do love you
[chorus]
it’s more than what I make
love you i do love you
you can drag me to hell and back
love you i do love you
Song Length: 3:52
writer: jody whitesides ipi/cae 00196306650
publisher: too much music ipi/cae 00456952518
admin publisher (outside u.s.): bluewater music
jody whitesides: vocals, guitars, bass, drums
Recording Info:
photographer: ed ouellette
recording engineer: jody whitesides
mixing engineer: george leger III
mastering engineer: george leger III
guitar engineer: chris hellstrom
vocal engineer: jody whitesides
producer: jody whitesides
recorded at: das poolside studio in tujunga ca
mac dual 800 quicksilver
logic audio platinum
delta 1010 by m-audio
groovetubes md1a
groovetubes vipre
shure sm57beta
mixed at: utopia parkway music
mastered at: utopia parkway music Guitar(s): an old guild. The exact make and model is not currently known. I borrowed it from my buddy keith simmonds. Why? ’cause at that point I only had an ovation. no offense to ovation and people that own them, I think they suck. it was probably the one guitar I ever regret owning.
the guild had a bridge piezo type pickup. from there it was plugged into an l.r. baggs pre-amp. strung with dean markley phosbronze medium gauge.
Bass(s): hohner b bass v. strung with dean markley blue steel.
Drums: roland v-drum td-10.
Vocal: vocals mic’d with groovetubes md1a.
Song Story:
aw… the love you song. why did i write this? in case you couldn’t guess it was about a girl. this particular girl left a major impact in my life. but i wrote it before she became the major impact.
it was the first song i ever attempted to play drums on. it took me a while to figure out how to make them fit the song. but i think i got it pretty close to how i’d want it played.
back to the girl. this girl was amazing. i was consumed by her. the first girl in my life that literally had me wrapped around her every word. i was stupid blind in love. then came the words good bye. life had never drained out of me so quick as to when i heard those words spoken by her.
it destroyed me for a while. i eventually bounced back. unfortunately it pretty much killed my chances of really getting back to that kind of vulnerability for a long time. did i ever get back there? yes, i did.
Factoids:
1. written about a former student i had.
2. first time i performed it in front of a crowd i got choked up.
i sat in a room with the guild. i had two mics on it. i had the sm57 at the nut pointed down the neck to catch the fingers and their noise. then i had the groovetubes md1a off axis, behind the bridge pointed at the sound hole. then i had the l.r. baggs running direct. so there are three tracks for the one guitar.
chris hellstrom was the engineer for me while i was stuck in the room actually playing the guitar. i engineered the vocals myself. singing while sitting near the computer.
that’s the long and short of what was used. it was a simple setup for a small amount of instrumentation. i did provide george the rough idea for how i wanted to go for effects in the mix.
Copyright: 2001/02/18
ISRC: USONR0101002
ISWC: T0711159339
SESAC Song ID: 594716
Harry Fox ID: L9637W
Harry Fox Publisher ID: P8938Q
UPC: 654433000320
saturn child
[verse 1]
in the darkness stirs a brilliance
essentially in nature and precious
to the soul in heightened trances
what may be our greatest gift in sadness
[chorus]
sol niger is old school for the falling
distilled by depression that gives life to a saturn child
to the black sun and all its calling
that’s distilled by depression that gives life to a saturn child
[verse 2]
though the days are roaring by
the memories remain no more
time passes to leave a tear in the eye
release the past look ahead and explore
[chorus]
sol niger is old school for the falling
distilled by depression that gives life to a saturn child
to the black sun and all its calling
that’s distilled by depression that gives life to a saturn child
[chorus]
sol niger is old school for the falling
distilled by depression that gives life to a saturn child
to the black sun and all its calling
that’s distilled by depression that gives life to a saturn child
[bridge]
in the finite wisdom there proceeds
a twist of thought and that we can think
of who or where and what was seen
to the darkness what we miss in a blink
[chorus]
sol niger is old school for the falling
distilled by depression that gives life to a saturn child
sol niger is no school for the passing
unleashed by excursions filling life of a saturn child
sol niger is old school for the falling
distilled by depression that gives life to a saturn child
sol niger is no school for the passing
unleashed by excursions filling life of a saturn child
Song Length: 4:38
writer: jody whitesides ipi/cae 00196306650
publisher: too much music ipi/cae 00456952518
admin publisher (outside u.s.): bluewater music
kevin packard: percussion, drums
jody whitesides: vocals, guitars, bass
Recording Info:
photographer: ed ouellette
recording engineer: jody whitesides
mixing engineer: george leger III
mastering engineer: george leger III
guitar engineer: chris hellstrom
vocal engineer: jody whitesides
producer: jody whitesides
recorded at: das poolside studio in tujunga ca
mac dual 800 quicksilver
logic audio platinum
delta 1010 by m-audio
groovetubes md1a
groovetubes vipre
shure sm57beta
mixed at: utopia parkway music
mastered at: utopia parkway music Guitar(s): an old guild. The exact make and model is not currently known. I borrowed it from my buddy keith simmonds. Why? ’cause at that point I only had an ovation. no offense to ovation and people that own them, I think they suck. it was probably the one guitar I ever regret owning.
the guild had a bridge piezo type pickup. from there it was plugged into an l.r. baggs pre-amp. strung with dean markley phosbronze medium gauge.
Bass(s): hohner b bass v. strung with dean markley blue steel.
Drums: roland v-drum td-10.
Vocal: vocals mic’d with groovetubes md1a.
Song Story:
i actually got the concept of the title from the dictionary of all places. one day i was sitting there bored out of my skull and i had a massive websters dictionary there. i opened it and started looking at words and how i could manipulate them. i think i was attempting to do a play on the “wednesday child” type thing.
i think i got giddy about the sol niger line. the black sun. man that made for a very dark reference. how’s that for being born under a bad sign?
i am sure some people will get some sort of weird meanings that i didn’t intend out of the lyrics, but hey that’s what makes writing in an abstract way fun.
Factoids:
1: i’m not adopted.
2: this is a fun song to play live from a guitar standpoint.
i sat in a room with the guild. i had two mics on it. i had the sm57 at the nut pointed down the neck to catch the fingers and their noise. then i had the groovetubes md1a off axis, behind the bridge pointed at the sound hole. then i had the l.r. baggs running direct. so there are three tracks for the one guitar.
chris hellstrom was the engineer for me while i was stuck in the room actually playing the guitar. i engineered the vocals myself. singing while sitting near the computer.
that’s the long and short of what was used. it was a simple setup for a small amount of instrumentation. i did provide george the rough idea for how i wanted to go for effects in the mix.
Copyright: 2001/02/18
ISRC: USONR0101003
ISWC: T0711159340
SESAC Song ID: 594717
Harry Fox ID: X82701
Harry Fox Publisher ID: P8938Q
UPC: 654433000320
nature’s time
[verse 1]
secrets and mysteries
all rolled up inside of me
who i am and what you see
a monumental model of dna
[chorus]
man can always push and pull
but nature’s time will be the golden rule
play a game without your luck
and nature’s time will be the winning puck
[verse 2]
doorways and staircases
come explore my many faces
centuries of constant changes
familiar lands and exotic places
[chorus]
man can always push and pull
but nature’s time will be the golden rule
play a game without your luck
and nature’s time will be the winning puck
[bridge]
mother nature tells us so much
mother nature tells us so little
then makes us wait
then makes us wait
[chorus]
man can always push and pull
but nature’s time will be the golden rule
play a game without your luck
and nature’s time will be the winning puck
man can always push and pull
but nature’s time will be the golden rule
play a game without your luck
and nature’s time will be the winning puck
Song Length: 3:32
writer: jody whitesides ipi/cae 00196306650
publisher: too much music ipi/cae 00456952518
admin publisher (outside u.s.): bluewater music
kevin packard: percussion, drums
jody whitesides: vocals, guitars, bass, loops
Recording Info:
photographer: ed ouellette
recording engineer: jody whitesides
mixing engineer: george leger III
mastering engineer: george leger III
guitar engineer: chris hellstrom
vocal engineer: jody whitesides
producer: jody whitesides
recorded at: das poolside studio in tujunga ca
mac dual 800 quicksilver
logic audio platinum
delta 1010 by m-audio
groovetubes md1a
groovetubes vipre
shure sm57beta
mixed at: utopia parkway music
mastered at: utopia parkway music Guitar(s): an old guild. The exact make and model is not currently known. I borrowed it from my buddy keith simmonds. Why? ’cause at that point I only had an ovation. no offense to ovation and people that own them, I think they suck. it was probably the one guitar I ever regret owning.
the guild had a bridge piezo type pickup. from there it was plugged into an l.r. baggs pre-amp. strung with dean markley phosbronze medium gauge.
Drums: roland v-drum td-10.
loops programmed by jody whitesides.
Vocal: vocals mic’d with groovetubes md1a.
Song Story:
mother nature. you can’t fuck with mother nature. this is a little take i have on how little we really represent in the grand scheme of the world. the sad thing is we really fuck with the natural order of how the world works.
why is it sad? there is so much amazing stuff to see or do and yet we stomp across the globe like we own everything. we’re not just killing other animals and the earth. we’re killing ourselves.
beyond that, i got a really nice compliment from the mixing and mastering guy george. he was astounded by the fluidity of arpeggiated chords played through out the intro and the verses. i didn’t know what to say, other than thank you.
Factoids:
1. this song is in 12 though felt in 4 – musicians should get that.
2. almost became a background soundtrack to an olympic commercial.
i sat in a room with the guild. i had two mics on it. i had the sm57 at the nut pointed down the neck to catch the fingers and their noise. then i had the groovetubes md1a off axis, behind the bridge pointed at the sound hole. then i had the l.r. baggs running direct. so there are three tracks for the one guitar.
chris hellstrom was the engineer for me while i was stuck in the room actually playing the guitar. i engineered the vocals myself. singing while sitting near the computer.
that’s the long and short of what was used. it was a simple setup for a small amount of instrumentation. i did provide george the rough idea for how i wanted to go for effects in the mix.
Copyright: 2001/02/18
ISRC: USONR0101004
ISWC: T9055765350
SESAC Song ID: 594718
Harry Fox ID: N6247X
Harry Fox Publisher ID: P8938Q
UPC: 654433000320
language of shadows
[verse 1]
and so i pace as the night closes in
i weave a trail in the floor
my darker half is played on the wall
like an old picture show
to delve in a loss of innocence
draws my deeper to the fall
[chorus]
do you read what I see
language of shadows
do you feel like me
language of shadows
[verse 2]
to search this heart and mind of mine
i only open the door
she likes to chat on heightening power
i can see she means me
to live love and forget a right point of view
draws me deeper to the fall
[chorus]
do you read what I see
language of shadows
do you feel like me
language of shadows
do you read what I see
language of shadows
do you feel like me
language of shadows
[bridge]
i will mope from time to time
to decipher its understanding
i will hope from time to time
we can learn the expressions
[chorus]
do you read what I see
language of shadows
do you feel like me
language of shadows
do you read what I see
language of shadows
do you feel like me
language of shadows
Song Length: 4.21
writer: jody whitesides ipi/cae 00196306650
publisher: too much music ipi/cae 00456952518
admin publisher (outside u.s.): bluewater music
kevin packard: percussion, drums
jody whitesides: vocals, guitars, bass
Recording Info:
photographer: ed ouellette
recording engineer: jody whitesides
mixing engineer: george leger III
mastering engineer: george leger III
guitar engineer: chris hellstrom
vocal engineer: jody whitesides
producer: jody whitesides
recorded at: das poolside studio in tujunga ca
mac dual 800 quicksilver
logic audio platinum
delta 1010 by m-audio
groovetubes md1a
groovetubes vipre
shure sm57beta
mixed at: utopia parkway music
mastered at: utopia parkway music Guitar(s): an old guild. The exact make and model is not currently known. I borrowed it from my buddy keith simmonds. Why? ’cause at that point I only had an ovation. no offense to ovation and people that own them, I think they suck. it was probably the one guitar I ever regret owning.
the guild had a bridge piezo type pickup. from there it was plugged into an l.r. baggs pre-amp. strung with dean markley phosbronze medium gauge.
Drums: roland v-drum td-10.
bongos.
Vocal: vocals mic’d with groovetubes md1a.
Song Story:
this is about the hidden meaning behind words and those that aren’t spoken.
from a playing standpoint. i really like the chord movement i came up with. i know it’s totally unorthodox. but then i wasn’t shooting for commercial success here. i was going for artistic integrity to my own self.
i had a friend devin bronson say that he really dug the octave guitar lick i’ve got in there. then he went on to play for kelly osbourne, avril lavigne, p!nk, and others. go figure. i know there’s absolutely no written correlation that makes sense with what i just wrote. you’ll have to figure out what the connection is.
Factoids:
1. i actually think about shadows created by candlelight.
2. this song contains a rather difficult chord fingering in the verse.
i sat in a room with the guild. i had two mics on it. i had the sm57 at the nut pointed down the neck to catch the fingers and their noise. then i had the groovetubes md1a off axis, behind the bridge pointed at the sound hole. then i had the l.r. baggs running direct. so there are three tracks for the one guitar.
chris hellstrom was the engineer for me while i was stuck in the room actually playing the guitar. i engineered the vocals myself. singing while sitting near the computer.
that’s the long and short of what was used. it was a simple setup for a small amount of instrumentation. i did provide george the rough idea for how i wanted to go for effects in the mix.
Copyright: 2001/02/18
ISRC: USONR0101005
ISWC: T9055765361
SESAC Song ID: 594719
Harry Fox ID: L9637U
Harry Fox Publisher ID: P8938Q
UPC: 654433000320
know i
[verse 1]
do you wonder what they think
have you ideas who they are
do you know where they reside
how will we learn the truth they hide
[chorus]
squash the weak inherit the strong
protect the meek control only lasts so long
i’d like to know i take note what’s missing
i’d like to know
i’d like to know I
[verse 2]
pictures we see books to read
the games we play imagination ‘s taken away
what do you see from your point of view
how will that thought cross your lips
[chorus]
squash the weak inherit the strong
protect the meek control only lasts so long
i’d like to know i take note what’s missing
i’d like to know
i’d like to know I
[bridge]
so you think my words sound wrong
but can you pry and dig my meaning
it’s not easy but you can try it for a day
empty your mind of everything they want you to say
[chorus]
squash the weak inherit the strong
protect the meek control only lasts so long
i’d like to know i take note what’s missing
i’d like to know
i’d like to know
squash the weak inherit the strong
protect the meek control only lasts so long
i’d like to know i take note what’s missing
i’d like to know
i’d like to know I
[outro]
i’d like to know I
i’d like to know I
Song Length: 3:32
writer: jody whitesides ipi/cae 00196306650
publisher: too much music ipi/cae 00456952518
admin publisher (outside u.s.): bluewater music
kevin packard: percussion, drums
jody whitesides: vocals, guitars, bass
Recording Info:
photographer: ed ouellette
recording engineer: jody whitesides
mixing engineer: george leger III
mastering engineer: george leger III
guitar engineer: chris hellstrom
vocal engineer: jody whitesides
producer: jody whitesides
recorded at: das poolside studio in tujunga ca
mac dual 800 quicksilver
logic audio platinum
delta 1010 by m-audio
groovetubes md1a
groovetubes vipre
shure sm57beta
mixed at: utopia parkway music
mastered at: utopia parkway music Guitar(s): an old guild. The exact make and model is not currently known. I borrowed it from my buddy keith simmonds. Why? ’cause at that point I only had an ovation. no offense to ovation and people that own them, I think they suck. it was probably the one guitar I ever regret owning.
the guild had a bridge piezo type pickup. from there it was plugged into an l.r. baggs pre-amp. strung with dean markley phosbronze medium gauge.
Drums: shaker.
tambourine.
Vocal: vocals mic’d with groovetubes md1a.
Song Story:
first off there a little double stop slide in the riff of this song. it’s also in an alternate tuning. how did this come to be?
i had befriended a woman named kim liddard. she turned me on to a guy by the name of chris whitley. i was floored. the guy oozes amazing blues songs with fiery guitar playing. he uses a lot of alternate tunings.
lyrically i was again inspired by that t.v. show the x-files. i think there was some episode that had a lot to do with fox and his sister and this just got me into a writing mode and out this came.
i have to say that i think this song is the most fun to play live from this cd. it will likely remain a staple in my live show.
Factoids:
1. inspired by the show the x-Files.
2. the guitar in this is tuned in an alternate tuning.
i sat in a room with the guild. i had two mics on it. i had the sm57 at the nut pointed down the neck to catch the fingers and their noise. then i had the groovetubes md1a off axis, behind the bridge pointed at the sound hole. then i had the l.r. baggs running direct. so there are three tracks for the one guitar.
chris hellstrom was the engineer for me while i was stuck in the room actually playing the guitar. i engineered the vocals myself. singing while sitting near the computer.
that’s the long and short of what was used. it was a simple setup for a small amount of instrumentation. i did provide george the rough idea for how i wanted to go for effects in the mix.
Copyright: 2001/02/18
ISRC: USONR0101006
ISWC: T0711159373
SESAC Song ID: 594720
Harry Fox ID: K31312
Harry Fox Publisher ID: P8938Q
UPC: 654433000320
love
[verse 1]
i’ve been sailing the ship of fools
i met someone who’s been there too
took a long walk
she’s not ready to move
[bridge]
I say
any day
but she’s just looking for friends
[verse 2]
i stop looking
another comes around
she makes me think
love can be found
[chorus]
you can search high and low and never know
where love can be found
you can look far and wide
but love will always hide
and when you least expect the pain
you’ll know love has had you again
love love love love
[bridge]
i say any day
but she’s just looking for
[chorus]
you can search high and low and never know
where love can be found
you can look far and wide
but love will always hide
and when you least expect the pain
you’ll know love has had you again
love love love love
[chorus 2]
you’ll know love has had you again
love love love love
you’ll know love has had you again
love love love love
[outro]
love love
love love
love love
has had you again
love love
love love
love love
has had you again
love love
love love
love love
has had you again
love love
love love
love love
has had you again
Song Length: 5:47
writer: jody whitesides ipi/cae 00196306650
publisher: too much music ipi/cae 00456952518
admin publisher (outside u.s.): bluewater music
kevin packard: percussion, drums
jody whitesides: vocals, guitars, bass
Recording Info:
photographer: ed ouellette
recording engineer: jody whitesides
mixing engineer: george leger III
mastering engineer: george leger III
guitar engineer: chris hellstrom
vocal engineer: jody whitesides
producer: jody whitesides
recorded at: das poolside studio in tujunga ca
mac dual 800 quicksilver
logic audio platinum
delta 1010 by m-audio
groovetubes md1a
groovetubes vipre
shure sm57beta
mixed at: utopia parkway music
mastered at: utopia parkway music Guitar(s): an old guild. The exact make and model is not currently known. I borrowed it from my buddy keith simmonds. Why? ’cause at that point I only had an ovation. no offense to ovation and people that own them, I think they suck. it was probably the one guitar I ever regret owning.
the guild had a bridge piezo type pickup. from there it was plugged into an l.r. baggs pre-amp. strung with dean markley phosbronze medium gauge.
Drums: tambourine played by kevin packard.
Vocal: vocals mic’d with groovetubes md1a.
Song Story:
did you read about know i?
this song was written about my fiasco based on kim liddard. here’s this really amazing girl i meet playing music. she turned me on in numerous ways, physically, mentally, and onto other musicians.
obviously from the words of this song you can tell it didn’t work out. but it yielded another love song for the cd. also in an alternate tuning. again due to chris whitley.
Factoids:
1. was the first song i ever wrote with the word love in it.
2. the bluesy idea of the guitar part isn’t an accident.
i sat in a room with the guild. i had two mics on it. i had the sm57 at the nut pointed down the neck to catch the fingers and their noise. then i had the groovetubes md1a off axis, behind the bridge pointed at the sound hole. then i had the l.r. baggs running direct. so there are three tracks for the one guitar.
chris hellstrom was the engineer for me while i was stuck in the room actually playing the guitar. i engineered the vocals myself. singing while sitting near the computer.
that’s the long and short of what was used. it was a simple setup for a small amount of instrumentation. i did provide george the rough idea for how i wanted to go for effects in the mix.
Copyright: 2001/02/18
ISRC: USONR0101007
ISWC: T0711159384
SESAC Song ID: 594721
Harry Fox ID: L9635D
Harry Fox Publisher ID: P8938Q
UPC: 654433000320
everywhere dreams
[verse 1]
as i lay me to my bed
i reflect on nature’s passion in my head
though these bones they they do ache
i pray to see morning’s glory when I wake
[chorus]
everywhere i’ve been everywhere I’ve seen
so many people passin’ up their dreams
everywhere i go everywhere it shows
so many people jumpin’ ship before the whistle blows
[verse 2]
the sands of change have blown
many times across my life memories
but it’s the great camels back
that lies in wait of the calm ‘for a storm
[chorus]
everywhere i’ve been everywhere I’ve seen
so many people passin’ up their dreams
everywhere i go everywhere it shows
so many people jumpin’ ship before the whistle blows
[bridge]
should i never see the sun again
then i’ll say that time’s my only friend
to your future these words are for you
teamwork always pays off in the end
[chorus]
everywhere i’ve been everywhere I’ve seen
so many people passin’ up their dreams
everywhere i go everywhere it shows
so many people jumpin’ ship before the whistle blows
everywhere i’ve been everywhere I’ve seen
so many people passin’ up their dreams
everywhere i go everywhere it shows
so many people jumpin’ ship before the whistle blows
Song Length: 3:52
writer: jody whitesides ipi/cae 00196306650
publisher: too much music ipi/cae 00456952518
admin publisher (outside u.s.): bluewater music
kevin packard: percussion, drums
jody whitesides: vocals, guitars, bass
Recording Info:
photographer: ed ouellette
recording engineer: jody whitesides
mixing engineer: george leger III
mastering engineer: george leger III
guitar engineer: chris hellstrom
vocal engineer: jody whitesides
producer: jody whitesides
recorded at: das poolside studio in tujunga ca
mac dual 800 quicksilver
logic audio platinum
delta 1010 by m-audio
groovetubes md1a
groovetubes vipre
shure sm57beta
mixed at: utopia parkway music
mastered at: utopia parkway music Guitar(s): an old guild. The exact make and model is not currently known. I borrowed it from my buddy keith simmonds. Why? ’cause at that point I only had an ovation. no offense to ovation and people that own them, I think they suck. it was probably the one guitar I ever regret owning.
the guild had a bridge piezo type pickup. from there it was plugged into an l.r. baggs pre-amp. strung with dean markley phosbronze medium gauge.
Drums: loops programmed by jody whitesides
Vocal: vocals mic’d with groovetubes md1a.
Song Story:
this is told from the point of view of an old man speaking to a younger generation. boy the power of an imagination. essentially he notices that too many people don’t follow through on their dreams and become unhappy. it’s that simple.
i have nothing more to add for this song.
Factoids:
1. the song is sadder in vibe than i had intended.
2. lots of friends in entertainment could relate to this song.
i sat in a room with the guild. i had two mics on it. i had the sm57 at the nut pointed down the neck to catch the fingers and their noise. then i had the groovetubes md1a off axis, behind the bridge pointed at the sound hole. then i had the l.r. baggs running direct. so there are three tracks for the one guitar.
chris hellstrom was the engineer for me while i was stuck in the room actually playing the guitar. i engineered the vocals myself. singing while sitting near the computer.
that’s the long and short of what was used. it was a simple setup for a small amount of instrumentation. i did provide george the rough idea for how i wanted to go for effects in the mix.
Copyright: 2001/02/18
ISRC: USONR0101008
ISWC: T0711159395
SESAC Song ID: 594722
Harry Fox ID: E6259X
Harry Fox Publisher ID: P8938Q
UPC: 654433000320
in the heart
[verse 1]
and as i stood by the water
i could see the reflections there
i marveled how focused it all seemed
it’s easy when storms don’t shake the surface flame
[chorus]
there are days i try find
in the heart love is blind
but they don’t escape from my mind
in the heart love is fine
[verse 2]
and what i see below the water
problems from the past buried there
i’m careful ’bout those hidden things
and on occasion i set them free
[chorus]
there are days i try find
in the heart love is blind
but they don’t escape from my mind
in the heart love is fine
[bridge]
walking beyond a fine line
i’ve got my own way from the blind
so go ahead and say what you will
life’s a thirst and i’ll satisfy it still
[chorus]
there are days i try find
in the heart love is blind
but they don’t escape from my mind
in the heart love is fine
there are days i try find
in the heart love is blind
but they don’t escape from my mind
in the heart love is fine
Song Length: 4:09
writer: jody whitesides ipi/cae 00196306650
publisher: too much music ipi/cae 00456952518
admin publisher (outside u.s.): bluewater music
kevin packard: percussion, drums
jody whitesides: vocals, guitars, bass
Recording Info:
photographer: ed ouellette
recording engineer: jody whitesides
mixing engineer: george leger III
mastering engineer: george leger III
guitar engineer: chris hellstrom
vocal engineer: jody whitesides
producer: jody whitesides
recorded at: das poolside studio in tujunga ca
mac dual 800 quicksilver
logic audio platinum
delta 1010 by m-audio
groovetubes md1a
groovetubes vipre
shure sm57beta
mixed at: utopia parkway music
mastered at: utopia parkway music Guitar(s): an old guild. The exact make and model is not currently known. I borrowed it from my buddy keith simmonds. Why? ’cause at that point I only had an ovation. no offense to ovation and people that own them, I think they suck. it was probably the one guitar I ever regret owning.
the guild had a bridge piezo type pickup. from there it was plugged into an l.r. baggs pre-amp. strung with dean markley phosbronze medium gauge.
Drums: background loops were programmed by jody whitesides.
Vocal: vocals mic’d with groovetubes md1a.
Song Story:
unless it’s just to poetic, this song is about cleaning out the skeletons in your closet. at some point i decided that you can’t fully give in to being in love unless all your past is worn upon your sleeve. that way there are no surprises for you or your loved one.
obviously that’s a pipe dream for a vast majority of people. i have a tendency to be very open with perfect strangers but as soon as i get close to someone i used to become very guarded. It was fucking odd.
before i recorded this song, i used to play it live at open mics. i generally got a great response with it. it was totally about the rhythm. people would just go nuts over the rhythm. which was great, but i always felt it came off disjointed.
Factoids:
1. has a long string of chords in the movement of the verse.
2. inspired by a former member of the jellyfish.
i sat in a room with the guild. i had two mics on it. i had the sm57 at the nut pointed down the neck to catch the fingers and their noise. then i had the groovetubes md1a off axis, behind the bridge pointed at the sound hole. then i had the l.r. baggs running direct. so there are three tracks for the one guitar.
chris hellstrom was the engineer for me while i was stuck in the room actually playing the guitar. i engineered the vocals myself. singing while sitting near the computer.
that’s the long and short of what was used. it was a simple setup for a small amount of instrumentation. i did provide george the rough idea for how i wanted to go for effects in the mix.
Copyright: 2001/02/18
ISRC: USONR0101009
ISWC: T0711159408
SESAC Song ID: 594723
Harry Fox ID: I9561O
Harry Fox Publisher ID: P8938Q
UPC: 654433000320
never say goodbye
[verse 1]
there’s sun slowly rising on a mountain top
i’ve got a picture of you an answer a reason I don’t wanna stop
for all the laugher and smiles a tear ‘s yet to drop
lets take the good with the bad yes the good with the bad I don’t wanna be an unused prop
[chorus]
and the light shines on me
will it shine down on you
an’ i’ll be right here even when you cry
an’ i’ll never say goodbye
i’ll never say goodbye
[verse 2]
there are times when it seems we should be thrown away
but I won’t trade those moments for all those perfect days
so won’t you tell me tell me what’s on your mind
lets take a step to the future lets leave this past behind
leave it all behind
[chorus]
and the light shines on me
will it shine down on you
an’ i’ll be right here even when you cry
an’ i’ll never say goodbye
i’ll never say goodbye
an’ i’ll be right here by your side
an’ i’ll never say goodbye
an’ i’ll never say goodbye
[chorus]
and the light shines on me
will it shine down on you
an’ i’ll be right here even when you cry
an’ i’ll never say goodbye
i’ll never say goodbye
an’ i’ll be right here by your side
an’ i’ll never say goodbye
an’ i’ll never say goodbye
[outro]
an’ i’ll stay right here by I won’t question why
i’ll never say goodbye
i’ll never say goodbye
never say goodbye
Song Length: 4:51
writer: jody whitesides ipi/cae 00196306650
publisher: too much music ipi/cae 00456952518
admin publisher (outside u.s.): bluewater music
kevin packard: percussion, drums
jody whitesides: vocals, guitars, bass
Recording Info:
photographer: ed ouellette
recording engineer: jody whitesides
mixing engineer: george leger III
mastering engineer: george leger III
guitar engineer: chris hellstrom
vocal engineer: jody whitesides
producer: jody whitesides
recorded at: das poolside studio in tujunga ca
mac dual 800 quicksilver
logic audio platinum
delta 1010 by m-audio
groovetubes md1a
groovetubes vipre
shure sm57beta
mixed at: utopia parkway music
mastered at: utopia parkway music Guitar(s): an old guild. The exact make and model is not currently known. I borrowed it from my buddy keith simmonds. Why? ’cause at that point I only had an ovation. no offense to ovation and people that own them, I think they suck. it was probably the one guitar I ever regret owning.
the guild had a bridge piezo type pickup. from there it was plugged into an l.r. baggs pre-amp. strung with dean markley phosbronze medium gauge.
Drums: bongos played by kevin packard.
Vocal: vocals mic’d with groovetubes md1a.
Song Story:
this was the first song i ever wrote where i didn’t record it first as some sort of a demo. i think the reason why was because i was attempting something different. snother way that i deviated from my normal songwriting was that i wrote the words and melody as i was writing the song along with the guitar. usually i write all the music then fit the words and melody later.
anyway, at the time i was infatuated with kim liddard. i felt like i was way to into her but she wasn’t into me at all. i wrote this song as a way to say, hey – no matter what I’m here for you. i look back on this and think man i was a real pussy. the irony about this song is that kim and i haven’t spoken in years. chances are we’ll never meet again.
the way i had intended this song was it was only going to be for live performance. when i perform it live it’s totally off-the-cuff. the time is out the window and i go strictly by feel. that was how it was written and it became stupid difficult to box it up into a specific time signature for recording. unfortunately i really think it didn’t come out as good as it comes off live. oh well.
this is in an alternate tuning, in case you were wondering. and since it was written about kim, it’s also inspired by chris whitley.
Factoids:
1. the person i wrote this about, i haven’t spoken to in a very long time.
2. first song where i wrote the words and music at the same time.
i sat in a room with the guild. i had two mics on it. i had the sm57 at the nut pointed down the neck to catch the fingers and their noise. then i had the groovetubes md1a off axis, behind the bridge pointed at the sound hole. then i had the l.r. baggs running direct. so there are three tracks for the one guitar.
chris hellstrom was the engineer for me while i was stuck in the room actually playing the guitar. i engineered the vocals myself. singing while sitting near the computer.
that’s the long and short of what was used. it was a simple setup for a small amount of instrumentation. i did provide george the rough idea for how i wanted to go for effects in the mix.
Copyright: 2001/02/18
ISRC: USONR0101010
ISWC: T0711159419
SESAC Song ID: 594724
Harry Fox ID: N6247W
Harry Fox Publisher ID: P8938Q
UPC: 654433000320