Coming Home
1.Coming Home
[verse]
By part of some Grand Design
I’m at an airport reading Vital Signs
Sometimes it’s a Marathon
To arrive for holiday Dreamlines
[verse]
Mystic Rhythms tie our families
As Emotion Detectors kill disease
The Big Wheel spins past dawn
And I arrive to familiar Territories
[chorus]
You Bet Your Life I Coming Home
The Speed of Love helps My Coming Home
We’re Closer To The Heart When Coming Home
I’ll be in The Camera Eye On Coming Home
[verse]
Middle Town Dreams seem to fade away
As a Working Man breaks his back for pay
[pre chorus]
To give Something For Nothing on that Show Don’t Tell christmas day
[chorus]
You Bet Your Life I Coming Home
The Speed of Love helps My Coming Home
We’re Closer To The Heart When Coming Home
I’ll be in The Camera Eye On Coming Home
[solo]
[chorus]
You Bet Your Life I Coming Home
The Speed of Love helps My Coming Home
We’re Closer To The Heart When Coming Home
I’ll be in The Camera Eye On Coming Home
[bridge]
When you Stick It Out on your own Freewill
You’ll find a Ghost Of A Chance for the Limelight still
[chorus]
You Bet Your Life I Coming Home
The Speed of Love helps My Coming Home
We’re Closer To The Heart When Coming Home
I’ll be in The Camera Eye On Coming Home
Song Length: 3:59
Writer: Jody Whitesides IPI/CAE 00196306650
Publisher: Too Much Music IPI/CAE 00456952518
Admin Publisher (Outside U.S.): Bluewater Music
Jody Whitesides: Vocals, Guitars
Jeff Scott Soto: Backing Vocals
Andy Miller: Drums, Backing Vocals
T.B. Player: Bass
Recording Info:
Cover Art: Jody Whitesides
Recording Engineer: Jody Whitesides
Mixing Engineer: Jody Whitesides
Mastering Engineer 2025: Jody Whitesides
Mastering Engineer 1998: Brian Fedirko of One on One
Vocal Engineer: Jody Whitesides
Producer: Jody Whitesides
El Padden Studio: All the guitars, bass and vocals were recorded here. The guitar room happened to be a small den room in the house Jeff and I were living in. The control room was a converted garage.
Blue Forrest Studio: The drums were recorded here.
Format: ADAT, the original black ones.
Console: Mackie 32 x 8 with the Mackie AutoMix system on a Mac. (for 1998 release).
Tracking Monitors: KRK.
2025:
Remixed at: Snow Park Studio in Park City UT
Mixed in LUNA
Mastered in LUNA
Guitar(s): Taylor 12 String: I borrowed a Taylor 12 string from my friend Simeon. I have to say it was a great guitar to borrow. The exact model escapes me, but it sure sounded great until I had to return it. At that point I noticed the bridge had cracked. He was bummed. It may have happened when I restrung his guitar with a heavier gauge of Dean Markley 12 strings. This guitar was used in the Choruses and Bridge.
Taylor 6 string: I think it was a 514 model. Another great sounding guitar that I borrowed from Simeon. I had re-strung it with Dean Markley acoustics. This guitar was used in the Choruses and Bridge.
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:
MesaBoogie TriAxis
Hush IIcx
Ensoniq DP2 for creating the effects
Alesis MEQ230
BBE Sonic Maximizer
GrooveTubes Dual 75 Poweramp that has been modified to be true stereo
GrooveTubes 2 x 10″ cabs – two of ’em for stereo tracking
I had a cross section of GrooveTubes 12AX7’s & 12AT7’s & ECC83 pre-amp tubes for the TriAxis
I had KT88’s on one side of the Dual 75 and EL34’s on the other side
The guitar cabinets were turned back to back, for the stereo effect
Bass(s): Honer V: This is the bass that was used on this song. A 5 string bass that was relatively quite cheap but records very very well. At the time of this recording it was strung with GHS Boomers as I couldn’t afford the Blue Steels at the time.
The Amp Setup: The bass was recorded direct. Unfortunately you live and learn.
Drums: Tama – The exact model is something I don’t know. But Andy played the shit out of them and it was his kit
Cymbals – Combination of Zilidian, and Sabian. Two of the crashes where borrowed from Jamie Borger from Talisman. Andy ended up beating the shit out of them too
Snare – this snare was borrowed from Jack White. Not the guy from the White Stripes, but the original drummer for Rick Springfield. Jack let us borrow a couple of great snares
Remo drum heads – I bought them for Andy. I wanted to have fresh heads and the drum guy from Guitar Center and Andy both recommended that these were the ones to use
Mics: Sennheisers for drum overheads & hihats
Sure SM57’s on snare and toms
Mic Pres: API
Vocal: All vocals in this were recorded using a GrooveTubes MD1a.
Song Story:
Ok, ok, ok, ok…
Very few people ever caught the meaning behind this song. Originally I vowed that I wouldn’t give the secret of it up. I finally decided to give it away. Provided you gave me your e-mail address and such to get to this part of the website.
First off. Notice the musical feel of this song. If you know anything about progressive rock you’ll instantly recognize that this sounds like a Rush song, or at the very least, Rush inspired. Now compile a list of every Rush song ever written, then go read my lyrics to this song. What do you notice about all the capitalized words in each line? That’s the biggest hint I could possibly ever give.
This song is nuts on so many levels, the verse riff is in like 13/16 or something nutty like that. Then each chorus ends a 16th note shorter on each break as the song goes on. I had attempted to create a click track for this song as I did with all the songs, however based on the all the time additions and subtractions I ended up mucking it all up. So instead we scrapped the click track in the studio and ended up with me playing in the control room live with Andy recording.
This is my true ode to Progressive Rock and may it never die!
Factoids:
1. Try counting through this song – you win a prize if you can tell me all the time signatures used. There are a lot of them, I suggest counting carefully.
Copyright: 2007/02/01
ISRC: USONR0301012
ISRC: USONR2400632
ISRC: USONR2400612
ISWC: T0709688287
SESAC Song ID: 594742
Harry Fox ID: X8271J
Harry Fox Publisher ID: P8938Q
UPC: 654433000122
UPC: 656465269409
UPC: 656465269379