You're So Excited (Single Guitar Remixed Version)

Link to podomatic and hear it!!

This version of "You're So Excited" you'll find only here and will not be released with the "Labor Of Love" Remastered CD.

http://thekillingfloor.podOmatic.com

The rhythm or second guitar is not present on this version. So it's a simple three piece sounding track of guitar, drums and bass. This was a one pass recording, meaning I just plugged and played without separating rhythm and leads on different tracks. The original version has a dubbed rhythm track against this track to have that full sounding mix. I did screw up a couple of times and instead of re-recording the whole thing. I just punch in and erased the mistakes with the correct notes and that was the remedy. I could not recreate what I just recorded and plus I liked the feel and the way it came out.

There's a certain beauty in simplicity and to avoid the dark side of overproduction it can be hard to resist sometimes... Recorded at Rhapsody studios on April of 2003 and remixed by me today. "You're So Excited (SGRV)." Enjoy! ~JCM

...And The Vampires Made Love II (re-visited) & Podcast

Check out "...And The Vampires Made Love II" only on podomatic. Other future recordings of The Killing Floor on podcast link below.

http://thekillingfloor.podomatic.com


I've receive lots of great feedback on the 5th track on the Labor Of Love CD: "...And The Vampires Made Love". People have express that it's very erotic, full of darkness, moody and it takes them to other places. I never intended to release this track but now looking back I'm glad that I did.

The birth date:
I needed background Halloween music for passing out candy the year of 2003. It was too late for me to go to the store and look for a Halloween theme songs, sounds and effects CD. Time did ran out and to hell with it... I just have to create my own Halloween music. So around 4:00pm on Halloween day I got into this mood and envision a theme and came up with three minor chord progression E-G and A. I didn't have the time but it did cross my mind adding a drum machine with a slow tempo stead beat. Well that didn't happened and the continuous three chords played like a movie in my head and when the tape ran out I had an idea and a visual of vampires. Vampires played and painted the whole vision and picture and when it was all recorded and done I titled it right there and then to remind me of the Vampire recording track experience which I titled "...And The Vampires Made Love".

The Recording:
This instrumental was written on Halloween of 2003 and done in two takes. One shot take on the left channel track using a Takamine nylon classical acoustic guitar. One shot take on the right channel track using an electric Fernandes strat style guitar. What I mean by one shot takes is that I didn't go back and re-record my parts due to mistakes or anything...It was done in one pass for both parts and the only over-dubs here was me playing the single lead guitar lines against my acoustic recorded guitar chords.

Recorded on a Tascam 484 four track cassette recorder with no effects. I recorded the acoustic guitar first until the cassette tape ran out for about 11 minutes and change. Then I just improvised on all over the place with the electric guitar using the same method of time. There's no editing, cleaning up or cut an paste anywhere so you'll hear some mistakes. But that's ok because it gives the track character and honesty. I've rarely ever use my Fernandes strat that is why you'll hear some crackling output jack noise and further into the song you'll also hear a missed note. Yeah I lost my place trying to look over how much time I had to play...Booo and big deal!! This hardest part of this song was to keep up and play those three chords non-stop and keep time for 11 minutes. Man... My left hand was killing me...lol

The Feel:
I made it a point not to over play too much with flash because I felt it would take away the love making mood... Instead I was searching for a feel, an emotion with a coldness without any heat. But a darkness filled with love, passion with evil.

Outlook:
This was the cheapest and fastest recorded project I've ever done and it goes to show sometimes you don't really need a million dollar studio to capture something special. It was just a magical night on Halloween 2003 and I'm glad it's was captured on tape...

The Story and Vision:
Candles, stained blood stain sheets, moon light shining in through the banging noise of French doors opening, closing and as curtains dance like fairies with the howling, blowing winds. Blood is scattered and lifeless bodies laying everywhere are tattered and torn. What once filled the hall with laughter and music is now taken over by the sounds of falling drops of liquid blood dripping and pouring into wine glasses. The lover vampires would feast and drink as they looked into each other eyes. Bounded and ever so madly in love for eternity... And The Vampires Made Love through the night in a ever so foggy and cold Octobere night.
One can say that love is only a God given gift and evil takes no part of it... or maybe this evil here is a survival state that still needs to be loved, held and cherish. Enjoy! ~JCM

How to get a BETTER Major Label Deal

Les Paul and Django Reinhardt



How to get a BETTER Major Label Deal Category: Music

Since I negotiate contracts, it often comes up how lousy [putting it nicely] the contracts are that are offered to 1st time Artists...

Now, it's a known fact that, if you are a new Artist, unless you have a really, really high "buzz factor" going on regarding you, your initial contract is going to SUCK! So, the trick is for the Artist to make their 1st contract last as short a time as possible, while the record company tries to make the 1st contract last as long as possible. Because, as soon as an Artist become's popular, the Artist is going to want to make more money and have more creative control than the initial contract would offer. And if it's over quickly, the Company is going to get stuck offering them a lot more money and power if they want them to re-up.

But, there is always that sucky 1st contract. You normally can't get around it. The key word is: "Normally". Here are some instances where a Major or Mini Major Record Company [doesn't matter what style of music you do] will give you a better offer, in no particular order:

1. Recording with, or being represented by a Successful Producer and/or Production Company

2. Being represented by a known and respected Manager. Preferably, one who has friends in the business, especially one who has Artists already with the Company you want to approach.

3. Out and out Hit Songs - and preferably in Master form, ready to put out there.

4. You've written hits for other Hit Artists.

5. You're already known in the entertainment industry, such as you've been an actor or model on TV, film, or what not.

6. The enthusiasm of the Company re: the Artist's potential.

7. The financial shape of the Company.

8. The "chemistry" between the negotiators (how they get along).

9. Record Companies previous bad experiences

10. Whether Publishing is involved [and how much].

11. Astrological signs, and such [I'm not kidding]!

12 But the best way??? Where the Record Company comes to YOU! And, all of a sudden you have a bidding war between companies for the right to sign you!

Now, what would make them come to you? Because you've created a gigantic "BUZZ" around you! People [your paying audience] loves you, and you're already selling a lot of records on your own - or with a small label. Everyone is writing about you. You have a large following in person and through your web site. It still doesn't hurt to have a powerful Manager or Producer representing you. And a few of the other's listed above. Just MAKE them want to come to you.
The fact is, most Major labels are extremely paranoid about signing anyone nowadays. Their preference is to have you sell 50,000 with an Indie, so they figure they're not taking a big chance. At that point, most Indie's distributors don't have that international reach that Majors have, so they kind of join hands, or the major makes a settlement with the Indie to take over your contract. Note: You'll find words to that effect - they'll usually use the term "Third Parties" -in an Artist's recording contract with an Indie.

Something to always keep in mind is, no matter WHO you sign with, make the contract as short as possible and make sure you can make money from side things, such as songwriting, merchandising and performing to make up for what you don't get from the Record Company.
Btw, when you run into these situations, I can help you. I know a lot of "tricks" that will help your negotiations, and I can deal with them for you. One key is to have certain OTHER things together before you deal with a label - large or small - for creative and financial benefit.

Professor PoochMusic Biz GuidanceEducation & DirectionComplete Contract Services

So called "Standard Contracts"...

So called "Standard Contracts"... Category: Music

I've run into so many people who say they've been given a "Standard" Songwriting or Management or Record Company Agreement [contract], with the person saying to them, "this is what everybody signs"...

If you ever see the word "Standard" at the top of a contract - ignore it!!! Have someone in the music business check it over carefully! There's no such animal as a "Standard Contract". I've seen way too many different Agreements of each type with the word Standard at the top.
There may be some standard parts [called "boilerplate"] in a contract, or it could be that person's or company's standard agreement. But, there's no such thing as a contract that's "standard" - that everyone gets from everywhere.

Believe me, besides stuff that should be changed or taken out, I bet there's important stuff LEFT OUT of the contract that should be PUT IN the contract to protect you!!!Allow me, or an established Entertainment Attorney to check your contracts to make sure you are properly protected!!!

Professor PoochMusic Biz GuidanceEducation & DirectionComplete Contract Services

Before You put Out Your CDs...

Before You put Out Your CDs...

I found this re-post necessary for those putting out CDs - I'm still seeing labeling problems that could cost you...

I've found that most people don't understand the differences & uses of (c) with (P) in regards to their use on products, word sheets, etc.

(c) stands for the SONG Copyright Ownership - Unpublished OR Published
Songs are Registered in Washington with FORM PA - Published or Unpublished

(P) does NOT stand for Published!

(P) stands for the RECORDING ownership - Production. That is, whomever Owns the Recording/Production.

Most often on CDs, etc., you will see, for example:

(P)2005 WMG [Note: WMG = Warner Music Group]

Now, you DON'T have to be a Record Company to own the Recording. If you PAID for the recording or you recorded it in your own studio, unless otherwise stipulated by a Contract - you Own it.

Sound Recordings are Registered with FORM SR.

An SR form can protect an individual(s) or company for...

Vocal Performances, and/or Instrumental Performances/Musical Arrangements, and/or "Beats", and/or Producer/Production... and the like.

What is important, either in PA or SR is the: "Copyright Claimant", [Number 4 on the forms]. That person or company is the Owner of what the form covers.

For complete step-by-step instructions on filling out Copyright Registration Forms, go to: www.professorpooch.com/Copyrighting.htm

Professor Pooch
Music Biz Guidance
Education & Direction
Complete Contract Services



http://www.professorpooch.com
Your Music Business
Resource Center

Songwriting & Publishing Royalties

Songwriting & Publishing Royalties Category: Music

When you think of the word "Publishing", most people think of "Books", and that a Publisher, sells books. Well, at one time there were no records or tapes, let alone CDs, Videocassettes and DVDs. Originally, people received all their music in the form of Sheet Music, that is, printed documents that contained words and notes of songs that allowed people to stand around a piano and sing with their friends and relatives.

Sheet Music still sells, [as well as Books of Sheet Music, known as "folios"] but this is a very small part of one of the most profitable parts of the Music Business. Songwriters and Music Publishers also can make sizable amounts of money worldwide from

1. Sale of Records, Tapes, CDs, DVDs, Videocassettes, etc. - anything containing Songs played on a mechanical device, and therefore called "Mechanicals".

2. Radio & TV [including Cable] Performances also known as "Airplay". This also includes "Jukeboxes", live and taped performances at restaurants, clubs, bars, hotels, casinos, health spas, etc., etc.

3. "Synchronization Rights" [when Songs are synchronized with Film and TV Movies, etc.]

4. Commercials [I bet you've noticed that advertisers are going more to Songs than Jingles, lately]

5. "Elevator Music" [when U hear Songs played in an elevator, supermarket, when "on hold" with a telephone, etc.]

6. Computer Chips, Computer Programs, Cell Phones [RING TONES - 600 million dollars last year!], Video Games

7. Etc., [including any new forms of technology and formats that seem to be appearing monthly!]

Simply put, whenever a Song is performed, no matter who performs it, the Songwriter and Publisher could [should] benefit! It is also the Music Business's best-kept secret- how it is possible to sometimes make quite a lot of money, with very little time and effort - IF you know how to play the game. Therefore, there's a lot of competition for publishing rights- and the money that goes with it.

Today, many Songwriters and Producers, as well as many others in the Music Business have their own Publishing Companies, something unheard of 30 years ago, because they want the publishing rights and the money that goes with them.

[You may Re-Post This! It was "Stolen" from my Music Publishing Course available on my Web Site...]

(c) 1984-2006 David J. Spangenberg

Do You Have A "Good" Product?

It's an Epiphone but does anyone know what model this is??

Do You Have A "Good" Product? Category: Music

I'm now going to ask you to think about yourself, your band or group, as well as your projects, as: "the Product"! Please put your ego away for a moment, and try to be completely objective:

1. Is the product packaged right?
2. Does it "perform satisfactorily", pleasing the public?
3. Does it achieve "repeat sales" in the market?
4. Is the product profitable?

Regardless of what you do, whether it's songwriting, singing, playing an instrument, arranging, producing, whatever it may be, you shouldn't merely want to deliver just a "Good" product. Sure, a good, reliable product will meet all the points above, maybe even including profitability. However, there are literally thousands of good products in the Music world, most of them satisfied to be merely that.

To get right to the point: "Good" is not "Good Enough"! Aim for an OUTSTANDING product! Dont get lost in the crowd of "Good" people and products!

The life of a "good product" doesn't have much in the way of excitement, and the returns are limited. After a while, a good product may simply slip out of the market and disappear because it doesn't improve, and therefore isn't competitive. In the Music Business, like any other, not moving ahead really means falling back - being replaced.

To prevent it - as well as a way of keeping your interest up and keeping the excitement flowing - you must constantly seek ways to improve. Take a look around, watch what's happening, listen, and look for opportunities to move up.

Know what you want, and know how to do it - and then Just Do It! Preparation and attitude make the decisions easier to make, and make you look, and be, professional.

stolen from my book on the Music Biz available on my web site - link below...(c) 1984-2006 David J. Spangenberg

What Causes Fear of Success?

What Causes Fear of Success? Category: Music
"Geeze, I Thought He'd Be a Big Star by Now!"

I've met so many talented people in my career, who should've "made it", but didn't, or who should become stars, but never will. They have all the talent in the world, but something always seems to get in the way of their success - and it's usually themselves. They don't always consciously realize it, but they continuously set up roadblocks that block their own path. They're loaded with excuses.

Now why would they ever want to block their own success? Well, they really don't want to, but somewhere deep inside of them they feel they "don't deserve" to be happy or successful. That they're "no good"! That "something's wrong with them"!

Well where did these thoughts come from? It often came from many years before, when they were little kids. Though they don't always remember hearing things like: "You're a bad kid!" "Can't you do anything right?" or "You're no good!," "I'm gonna tell your mother what you did!", etc., etc., these words were often spoken to them. The words could've been spoken to them by a parent or grandparent who had no patience, or often "had a bad day", or were too tired to deal with a lively young boy or girl. Maybe it was even another relative or neighbor, or a nursery school teacher that they saw often. These people surrounded their daily lives and therefore affected them mentally in one way or another very deeply.

You see, between the ages of 1 & 5 everything we hear from people that are close to us affects us deeply. A child that age can't reason out that a person may just have had a bad day, or was drunk or stoned, or had a mental problem, or was not really into being a parent, or just liked tearing down at an innocent little kid, wanting them "to feel as bad as they felt!" Could You picture a three year old thinking, let alone saying: "Who does that damn, drunken slob think she's talking to?" Or, "Awww, he's just had a bad day at the office. I'm sure he doesn't really mean what he said."

Now why/how could something that happened so many years ago affect their lives today! Simple. Unless you've sniffed too much glue, every experience, every word we've heard is somewhere in that amazing computer we have called a brain. Proof: Remember that song You just heard for the first time in years, but You magically remembered all the words. Or You walk into someplace and the smell instantly reminds You of something from another time, another place. Or a face You hadn't seen in years You recognize instantly - along with remembering their names. Or a person's voice reminds You of another voice You've heard.

The examples are endless. It's all there - including all that negative stuff that they've heard over and over again from people that were important to them; that they thought loved them; who were their friends. [Hey, if they were their friends, who needs enemies!] And, somewhere deep inside they think something's wrong with themselves; that they don't deserve to be successful, that they haven't earned the right to be successful, that they are being punished for all the bad things they'd "done" when they were really just little kids being er, kids!

Simply put, unless these people have committed some horrible crime like murder they probably deserve to be just as successful as anyone one else - as long as, obviously, the talent is there. I bet, if they asked themselves if there was some logical reason why they haven't made it, they'd have no logical answer- maybe just some excuses.

Well, the past is the past, and today is the start of the rest of their life. Successful people don't come up with excuses! They don't let anything get in their way! They use their imagination to come up with answers, ways to make it. They don't ask "Why?" they say "Why not!" They don't ask "How?" they come up with a way. They find a way to make it- instead of a reason not to!

Take just a few minutes and think about it. Could this be something that could've affected someone's career you know. Could this also be something that could be affecting you and your career. Yes think about it...

... but not for too long. There comes a time to stop thinking about things and start doing something about it! That time is now!

(c) 2004-06 David J. Spangenberg

Supreme Court Ends PRS/Gibson Lawsuit

Supreme Court Ends PRS/Gibson Lawsuit

June 6, 2006


Paul Reed Smith Guitars has announced that the United States Supreme Court today denied Gibson Guitar's final appeal of a Court of Appeals decision upholding PRS' right to make a single cutaway-style guitar.

When first introduced more than six years ago at the NAMM show, the PRS Singlecut® quickly captured the attention of artists and critics, winning awards for its design and quality. Gibson filed a suit in Nashville that asserted trademark infringement against its Les Paul guitar. After several years of litigation, the local federal district court judge initially sided with Gibson. That court ordered PRS to stop sales of its Singlecut®. Several companies joined PRS in urging the appellate court--the United States Court of Appeals for the Sixth Circuit--to reverse the decision.

Last year, the Sixth Circuit ruled that an injunction should never have been issued by the lower court. The court observed that Gibson conceded that only "an idiot" would ever confuse a PRS Singlecut® and a Gibson Les Paul. Based on that concession and the overwhelming evidence, the Sixth Circuit found that Gibson's trademark case had no merit and summarily dismissed the suit. The Supreme Court's decision today leaves the Sixth Circuit opinion in place and ends Gibson's multi-year effort.

Paul Reed Smith, the company founder, stated: "Everyone was extremely supportive of our cause and our company over the last six years, fully embracing our decision to fight back against Gibson's charges." Smith added: "My thanks especially go to those in the industry who helped educate the court: the media, our industry peers, guitar craftsmen and industry scholars. Their help was invaluable."

What is happiness...

Happiness is as complicated as to learn to love yourself.

The Good...

Happiness comes within and to be fulfilled in one's own life is an everyday, day by day, inch by inch to make what makes you happy.

I play my guitar and it's what makes me happy. How far or good do I wanna be... Well that's my journey in life. I'm a performer/composer/guitarist and I have experience lots of love from people that are touched by my music. It did not happen over night and I've come along way to my high or happy place. Am I fulfilled?? Nope - very far from it and I still have my every day demons for me to deal with. Nothing worth having is ever easy. I went through struggles, mistakes, humiliation, hunger just to achieve my vision. I haven't even made the big times yet but it does not matter because I'm fulfilling myself in doing what I love to do.

I have this saying that I say almost everyday and I'm grateful... God... As long as my friends and family and there inner circle are healthy and doing well, everything else I can handle.

The Bad...

Unhappiness in the way we look can sometimes our biggest demon. The media feeds you through MTV, TV, radio, magazines and other force fed bull shit, to see what the norm is and we feel we don't fit in with trend, movie stars, and rock stars. Not to mention going through our golden years of being a child to adulthood. We become condition to be more afraid than to venture and experience. Most of the time we are told. No you can't do that, or that's impossible, no you are not good enough, you are too fat, short, ugly and I mean I can go on and on... So we start getting used too or mentally condition that we eventually believe that we can't do what we dream to do. Worst yet we get involved with the wrong crowd and sway ourselves into very dark places like drugs, alcoholism and waste precious years and sometimes we are in so deep that we never get out.

The Ugly... ahh the pill.. well not soo ugly....

Medication has come along way but it's not the answers to all of our problems either. Now I'm not talking about diseases or conditions that medication is a must. My mom takes medication that keeps her alive. Certain medication have done wonders while others have side effects that out weighted there promised good. I'm not savvy in this subject because I don't take any medication even for a headache. But what I can tell you is that 95% percent of my spam is about pills and commercials... Well you be the judge and I'll leave at that.

321 Max Video Clips with Tom Rimes

fr: Rowan

"...has a feature called "auto adjust tone" and I can lighten up the videos that came out really dark. I tested it out on the recent video I took of The Killing Floor playing "Voodoo Chile" at 321 Max. It came out much better. The clips are larger and grainier, but now you can SEE THEM! They're also in wmv format, which means they're much smaller in file size. There are two clips over on the Video Page - one of the guitar solo and one of a jam with JCM on guitar with Tom Rimes on alto sax. So check those out, too."

Thanks, chica. You have a BITCHIN' camera...

Video Clips

Featuring Tom Rimes (Larry's brother) tossing in some beautiful sax on Voodoo Chile at 321 Max.

...love a jam session like that! Thank you for catching 'em Rowan.

www.sarocks.com

The Killing Floor at 321 Max

Here's a glimpse of a quarter.

(Glimpse of a Quarter)

Four new tracks at Myspace:

www.myspace.com/thekillingfloor


All right here are four tracks and a glimpse off the new CD. Please make note that these four tacks have not yet been tweaked or mastered and this is only a quarter of the music. This is the first phase of mixing and I already hear couple of things that need attention.

I did not anticipate the whole recording and release of it to have taken this long and for that reason I decided to share the sounds. I hope you enjoyed them for blood, sweat, tears and some of my sanity was lost during the making of it and in which it's not over yet... ~JCM

The Killing Floor CD... Still mixing...

(This Yamaha LLX6 DN Dave Navarro Model was used for some of the acoustic sounds you'll hear on CD.)

Here's the latest on The Killing Floor's new CD...

Well... we have mixed four songs total as of today and tomorrow I'll hit it again...




(4-6-06)- Mixing... (10:00am - 4:00pm)

1.All I Dreamed To Do
2.Manic Depression

Notes:

All I Dreamed To Do: Took the most time mixing that day... Bring out the backing vocals and effects on lower voice over dubs with main vocal tracks. Just paying attention to details. The rhythms guitars are the main focus on this song... Solos were short and sweet and bass and drums are thunderous. This tunes is an all out Rock N' Roll song.

Manic Depression: This one has one track guitar with noise and all. Drum feature here!! This has the Hendrix vibe with The Killing Floor signature sound all over. Grit with lots of twang and feedback sustains notes. Long Live Jimi!!!

(Peter Carey of Rhythm Room Studios)

(4-11-06)- Mixing... (10:30am - 6:00pm)

3.It's Not Me
This one took about five hours to mix... There's soo many instrument tracks going on here. Backing vocals by Dave and Larry are superb... What took time here was EQing and balancing the right mix for the backing vocals without sounding too brassy. On another note... Live, this is one of the few songs that I do use heavy delay. So finding the right delay repeats value to match what I do live took some time also. This one I hold very dear to my heart. This is the sad and very dark ballet track.



4.Devil's Alley (Changed the title from Satan's Alley)
AAAhhh yes!! Twang surfy tones of the beach meets the crunch and the roar of a lion. Did I paint a pretty picture?? lol
There lots of guitars going back and forth on this instrumental. It was a blast to mix. I never intended to add this tune to the CD but now I'm glad that we did. We very rarely performed this number live because we have other tunes in the key of E that we jam and improvised all over the place.

I notice that Peter titled it Devil's Alley by mistake... I kinda liked the way it looked written and plus it paints a better picture. So I changed the title of the song from Satan's Alley to Devils' Alley. It also sounds good for a CD title too... Mmm maybe I used that... will see...

(4-13-06) (10:00am - ??) Mixing TOMORROW!

I don't know what song we will start mixing next... I'll know when I get there... ~JCM

SA Rocks Anniversary Party!

Don't forget! SA Rocks Anniversary Party Friday April 28th at the Elbow Room on Austin Hwy starting at 9:00pm with live blues and rock from The Killing Floor and Texas Special!

321 Max - April 7, 2006

Papa Ray's Sports Bar: 3-31-06

Gumbo of mumbo jumbo: Part II

(Hhaaayyaahhh!! Everybody was Kung-Fu fighting)

I really made this just for me to look back, remember and relate... I thought of sharing this with you... It will be confusing and won't make any sense unless you hear the CD and want to know everything that I did. Other than that it's what I call Gumbo of mumbo jumbo...

1. Streets: Percussion on intro, outro-section. .

2. Savvy: Percussion and shaker on chant.

3. What I Dreamed To Do: Band backing vocals with radio sounding panned either left or right. B-3 choruses chords on: “Well if it feels good yeah yeah”- what I’m I to do” end piano chords right after “do” . Piano comes again on chorus “If you see my and my guitar I’ll …” and maybe during solo: No percussion but add: Tambourine after first verse and end the start of 2nd verse, solos. Chords: pre-chorus CCCC GCCG DCG, Tambourine after first verse and end the start of 2nd verse, solo.

4. Day By Day: B-3 sounding different though, Try Larry’s backing vocals with main and No Percussion. Chords on verse:E-B, D-A, pre-chorus: E… G-A

5. Mary Jayne: organ B3 sounding on verses only. Chords:Dm-Am (GCEA)

6. It’s Not Me: Dark intro, w/piano: Talk box, lynch mob preset, from Motif and Piano, ooooo's and ooohhh's sounds on chorus only and ending maybe for more color on “please forgive my sins” ending with Piano melody… (Dm-C-G-Dm)-(Dm-C-Gm-Dm) FAD w/SITAR… vocal multiple delay effects on“If I find a room” verse. Piano part with slide guitar and march snare.

7. Liv: shaker, only on choruses…

8. There’s a Hole In My Heart: organ – B3 on Am(GCEA) or “Heart” and (ACFA) other” Heart” and pre- E-D-Am.

9. Satan’s Alley: congas through out the song with shaker...


10. Earth Blues: Backing vocals of the band...”Every Body” and "Love-Love Love" Band only... I didn't do any backing on this one...

11. Manic Depression: Nothing to be done here...

Update on CD: The beginning of the end is the end...

Tuesday, March 21, 2006:

I left for the studio and got there around 11:00 am and worked till maybe 5:30pm. We recorded and fined tuned a couple of backing and main vocals by adding harmonies. Then as it got closer to 3:00pm, I add acoustic parts on few songs. I used a Yamaha LLX6 (Dave Navarro signature) and a Yamaha Compass 12-string. Vocals on my part where done by the end of day and the next session was for the band to record there backing vocals and percussions.

Thursday Morning around 5am to 6am:

I wrote a chart that I will post. To map out where to record and on what parts on what songs... If that makes any sense... I had about two hour sleep. I was just to hyper and re-thinking the whole day's plan, for my goal that day, was to finally finish the recording process...

Thursday, March 23, 2006:

I made it to the studio around 10:15am and I brought with me, my Yamaha MOTIF ES 7, Jerry Jones Sitar and a Fernades Strat for if just incase I need to fine tune something that I might have missed.The whole morning till about 4:00pm Peter and I worked on adding some B-3 organs sounds on some tracks. Nothing fancy just simple chords to add some bluesy texture that would enhanced some of the songs. Peter did all the organ stuff which did come out sounding very nice, big and full... The only thing I did was the weird eerie background noises on the into of "It's Not Me". Which were a couple of presets taken from the Motif ES 7.

The "It's Not Me" plan:

On that song I was thinking of adding a piano part using the same chord progression of "It's Not Me" and then me adding a small guitar line that would compliment it. Well Peter played this beautiful piano passage with chords and melodies using a Yamaha S08 and then the Erie Yamaha Motif sound effects was placed in the background. Those parts end right after the beginning guitar line of "It's Not Me"

Well............I couldn't touch it or add anything to that piano intro. It sounded soo good... I asked Peter to play the same thing after the song ended and he did. So now with a new ending new piano part of "It's Not Me" A marching snare drum was added and a slide guitar part that was plugged directly into the mixing board and were recorded. Peter suggested in adding a slide guitar part instead of just fucking around with the same old same old... So Peter played me and idea using a glass bottle and started playing a slide passage melody. I got the slide placed it on my ring finger and started playing my own thing and touch. We recorded three takes and the second one was the best and you'll hear that take on the CD. It's about 30 seconds and it's in the same vain as "... And The Vampires Made Love" .

6:30pm:

Larry got there first and setup and then David and Jack... The band did backing vocals on "Earth Blues", "What I Dreamed To Do", and "It's Not Me". David had to leave and so Larry did extra vocal duties on "Day By Day" .Larry did have trouble on congas and bongos. He only played percussion drums on outro of "Streets". Jack played percussion drums on "Savvy", "Streets", "Mary Jane" and "Satan's Alley" and shakers and tambourine was used also.

Session ended around 10:30pm with everything that needed to be record was done finally and so mixing will be the next journey which is booked April 4, 2006 at 10:00am. Till then.... ~JCM