Tag Archives: Tom Pearce

Orlando music & Ric Size influence

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Why does a huge sprawling metropolis like Orlando have no significant music scene? The biggest factor as to why there is no significant music scene in Orlando is Disney, which owns the town. Disney, like any powerful & ruthless corporation, seeks to eradicate all competition in its sphere. There is no way a creative & independent artistic movement will be allowed by Disney in Orlando. That’s part of Florida politics.

I lived around Central Florida for over 25 years. I arrived as a new resident from out-of-state as a practicing dentist, and became an independent musical artist. When I arrived in Orlando in late-summer 1994 as a fresh-out-of-school dentist, I was immediately besieged as a provider by constant requests/demands for oxycontin & Lortab for pain relief. Evidentially, Orlando was an early test market for huge pharmaceutical companies to dump opioids onto the market, creating legions of addicts overnight. No one taught us about this in dental school.

Drugs is what drove the mid-1990’s electronica rave scene in Orlando & elsewhere. This is when meth started becoming popular in the drug underworld, and as a practicing dentist I saw more than my share of meth mouth. It’s very tragic when you see a once-beautiful 19-year old husk in your chair, begging you to remove teeth in order to stop the pain. It’s even worse when they insist on narcotics for prescription-strength pain relief afterwards. Those CEO’s at Pfizer, J&J, Merck, GlaxoSmithKline, etc, all made fortunes off the opioid epidemic they created, while healthcare providers in every field were stuck in the trenches dealing with this crap.

This, and all the problems it creates, is why so many providers have left healthcare since the COVID pandemic hit in early 2020. All the fields of healthcare have fallen under corporate control, where doctors, assistants & nurses no longer have control over their offices & patients. Today, it’s too expensive to compete with corporate, unless you are catering to the top 2%. That’s a tiny niche, but highly competitive. Most of the patient need (in medical & dental) is for ‘nuts & bolts’ care. This means: 1) proper exam & diagnosis; 2) preventive health procedures; and 3) basic care procedures. ‘Less is more’ in most cases.

You can see how this conflicts with our current corporate healthcare model, which emphasizes high-production & expensive elective procedures because they make the most profit. And when under-trained & unqualified providers don’t have good answers, they often write another prescription… No wonder America is so sick.

Back to Central Florida and its lack of a new music scene. This is where & what I came out of as an artist when I began writing songs in the late 1990’s. Orlando ‘music & arts’ is more correctly defined as a drug & party scene. It’s been dominated by drug-fueled LGBTQ+ activists long before I arrived.

The biggest Orlando rock band of that era was Matchbox 20, who relocated their home base to Atlanta after they broke through with “3 AM”. They did this because (as a straight rock band) they couldn’t get sustained local support from Orlando Weekly & Co. It’s mostly sniping, intrigue & backstabbing that drives their tabloids. Their identity politics today are widely despised.

So how did I overcome all this and make records? First, I was extremely fortunate to work with great people who really helped me and believed in the music. Jay Stanley was in Tabitha’s Secret, the name of Matchbox 20, just before they broke big. Jay had been amputated in the process. As my recording engineer & producer on Magnified (2012), he explained a lot of the Orlando music politics to me. Jay Stanley was forced to sue Matchbox 20 for songwriting credits to “3 AM.” which were worth millions of dollars in royalties.

Jay had won his legal case, and he had it made when we first met in Ocoee, FL in summer 2011. He had a great 2nd-story home studio, nice & private with everything we needed. We clicked right away, and together we blasted out all the songs– I sang & played all the guitars & harmonica, while Jay added electronic beats, studio effects & mixed. It was fast work & high-energy excitement the whole time. Both of us liked Magnified, and still stand by it. It’s a revolutionary rock album.

After shooting videos for “Mercury Rising” & “Talented” with local Lake County video producer Susan Cameron and her team at Wild Zebra Media in Tavares, FL, I had greater ambitions for my next album. Electrified! (2015) was to be a CD as well as a documentary essay film. Susan filmed, while I starred & directed. We edited & she produced it– as far as we got. We recruited as much local talent as we could, for as long as we could, and shot that fucker on a hope & prayer. I didn’t have the money to finish, or any possibility of major distribution, so the project collapsed at the end. Here’s the film, which still needs some editing & corrections, but it’s 98% finished.

Jay Stanley relocated to Apopka while I was working with Susan Cameron in Tavares. By the time I was ready to record my second album, he had just finished moving into his new house in the suburbs. Jay had converted the garage into his new studio, and I was his first client there. We has numerous sound & microphone issues, as you can imagine. We had barking dogs, along with an upset & needy girlfriend constantly interrupting the sessions. My management skills & patience were never more tested than during this period.

I had Tom Pearce on board with being my drummer. I wanted live drums this time, and Tom has no problem recording to a click track– which means he’s a real pro. Tom is a very sociable & likable fellow, in ways that I am not. Every veteran rock musician in the Orlando area seems to know who he is, because he’s drummed in many bands. Tom is a professional, so he does a lot of ‘fill-in’ gigs, where a band needs a drummer for a night or just a short time, for whatever reason.

What you learn from listening to people like Tom is that local live music is a community. Bands & their musicians are often interchangeable. Every singer-songwriter & guitarist is constantly looking for an upgrade, whether on drums or bass. It’s typically a fluid exchange of talent within a healthy music scene.

As I mentioned above, Orlando is just the opposite. Instead of healthy & thriving with creative energy, its juice has been sapped by drugs & cynical politics. In a word, Orlando is toxic. Remarkably, it is within this milieu that Tom Pearce was able to find & connect with the best rock musicians Orlando had to offer at the time.

On bass, Craig Roy is the best technical rock player in Central Florida. He has a sense of artistry that most professional bassists aren’t even aware exists.

Jessica Dauman (now Jessica Lynn Martens) was brought in for her violin. Her 2013 recording session only lasted an hour or so, and included “Anna Rex”, “Old Friends” & “Moneybug”. After “Anna Rex” became an underground internet sensation, particularly in the modeling community, Jessica earned a vocalist role on the FOX series Archer (2009-21), and also has worked with Kenny Loggins.

I required a real guitar player for “Tip of the Cap”, so I convinced a local two-bit redneck shitkicker I know named Bill Pelick to play for me. He did a great job, and then was willing to give it a whirl on “Just Because,” and it worked great. I’ll admit, this is one of my favorite tricks. I’ll invite someone in for one song, and then when that’s quickly done, I’ll say, “How about this song…?” That’s how records get finished.

One regret on Electrified! was that I didn’t ask Jessica to play on “Listen to the Woman”. What was I thinking?! Tom had everything else produced by mid-2015, but that song needed a woman’s voice, so he convinced Rachel Decker to add backing vocals. It was recorded on a laptop computer in my Mount Dora apartment. We actually has a better take a few weeks earlier, but Tom accidentally erased it. That’s how things went back then.

It took over two tears to finish Electrified!, from start to finish. After Jay recorded it, I decided to have Tom produce it. Of course, Jay didn’t like that, and there were hard feelings on all sides at the time, but today we’re cool. Tom has aptitudes that Jay & I lack. Tom is a drummer, an egghead & a computer whiz. He LIKES reading & learning all that technical sound science.

Tom took all the tracks which were recorded on Apple ProTools by Jay, and converted them to PC so he could work with better recording software. This, along with re-recording certain tracks, occupied Tom & me for two years. In October 2015, Electrified! was finally released online. I had already put the film online.

Since then, Tom & I have record live & acoustically. Hwy 19 & Main St (2015) was recorded in November in a tin shack at that location, and then Fully Covered (2016) in December/January. Over & Out (2017) was recorded in one session at my Mount Dora apartment in May of that year, also by Tom Pearce.

Tom then traveled to Sanford to record my last singles to date from 2019-2021. Bill Pelick & Rachel Decker each participated in a session. Both appear on “Patch Me Up Doc” & “Millennial Whoop”, Rachel on vocals & Bill on bass. Tom on drums & beats, also was the recording engineer & producer.

Tom Pearce also contributed mightily to the artwork for all of my projects from Hwy 19 & Main St, through the singles. He makes great suggestions and understands how to work creatively with a bold idea. He also knows when to set his ego aside, which is the mark of a great producer.

At the outset  of the COVID-19 pandemic in March, I self-recorded the Coronavirus Concerts (2020) on an Amazon Fire tablet in Sanford, FL, and released them as videos.  This was during the initial lockdowns, and well before any vaccines were available. The point was to prove a new & safe model for music recording & delivery during an uncontrolled viral pandemic.

I’ve used this career retrospective to illustrate many points. The title referred to the Orlando music scene, and that’s where I’ll conclude. When I say there is no significant new music scene in Orlando, that is a statement of fact. But that doesn’t mean there aren’t talented performers & artists who care. It means that the talent & creatively isn’t being allowed to flourish and there are material political reasons for that.

Artists & musicians need to stop isolating themselves and re-join the real world again. The real world works for its living, and in general it isn’t happy with its present compensation level. As long as musicians continue to endlessly party & get high, seeking only fame for themselves & vicarious pleasures at any cost, then they will continue to be isolated. They have nothing good to offer to humanity.

This downward spiral of despair & hopelessness can only be corrected when musicians & artists link together in solidarity. Hollywood writers & actors along with disenfranchised workers throughout the entertainment industry are now organizing & linking with teachers, autoworkers, UPS drivers, Amazon workers, etc. The entertainment industry can’t exist without all this coordinated labor. The current problem is that all the power is in the hands of corporate, backed by the state. Workers need to realize that THEY are the power. Without their labor, there is no economy.

Postscript: So where does Ric Size belong in the tradition of Florida rock music? While I love the Allman Brothers Band & Lynyrd Skynyrd, I’m probably closer to Tom Petty & the Heartbreakers as far as classic rockers go, but I’m not nearly as prolific. I’ve always considered myself a post-punk rocker, in the tradition of the Minutemen, Sonic Youth & Nirvana. Somewhere along the way I became a Trotskyist and it became revolution rock. You wouldn’t expect any of this to come from Central Florida, but that’s the story.

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Extended Play 2019-21: “Primary Colors” & Bonus Tracks

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      1. Bitter To Better - Ric Size
      2. It's A Steamy Jungle - Ric Size
      3. When You're Out There - Ric Size
      4. Primary Colors - Ric Size

 

Extended Play 2019-21 has undergone many permeations, as “Millennial Whoop”, “The Road Rage Song” and “Patch Me Up Doc” have been released. This EP originally had 4 songs, and was to be finished by the end of 2019. But “Primary Colors” was never properly done, and then the coronavirus pandemic struck, causing further delays in production & release. When it finally came time to try again on that song, and then again, I had written more new tunes, which I’m calling “bonus tracks” for clarity on this sprawling 7-song EP which took two years to complete.

Tom Pearce & I got recordings of two brand new songs, “(It’s a) Steamy Jungle” & “When You’re Out There,” so it was a nice session on December 2, 2020 in Sanford FL. Minimalist studio recording is the only safe way to deliver meaningful new music during this coronavirus pandemic. That’s the idea here.

Tom brought a somewhat different recording rig this time. He still uses a Mac flatscreen installed with Studio One software. But now he’s using a router to connect wirelessly to a Behringer rack pre-amp, which he likes. This rack pre-amplifier rests solidly on a milk crate which carried the cables, etc. The vocal & guitar microphones were wired to the pre-amp, as well as a line-in from the guitar through a DI-box, for crystal clean three-track live recording.

I’m the one who insists on the guitar line-in, as it gives the producer another track to fatten the sound, if needed. I play an acoustic-electric so I can get both sounds. The two live mics have “sound spillage” due to their proximity, so lining-in gives the producer a clean track to boost the guitar sound without affecting the vocals. It’s called double tracking the guitar, and I know I didn’t invent it.

As you can see in these images, Tom used folding microphone stands to drape blankets & create sound screens which envelop me. This significantly cuts down on the guitar & vocal reverberation in the room, giving Tom a cleaner acoustic recording.

My vintage Tech 21 Trademark 60 guitar amplifier never got plugged in, again, instead it made a comfortable seat with a sofa cushion in-between. It really helps when taking pictures, I think. We also had a different headphone monitoring set-up, with me getting a small wireless dedicated unit, while Tom was headphone monitoring through his computer jack. This performer monitoring unit can rest on a flat surface, or be clipped to the microphone stand.

Tom’s always explaining this stuff to me as he’s setting up. I’m listening until it gets too technical, and it’s time for me to check my lyric sheet one last time, or whatever. Lots of nervous energy being exchanged. He goes on until he finishes and then says to me, “Got all that?” I reply, “No. But as long as you like it, I’m good.” Then he says, “I think you’ll like it.” And I respond, “Alright, let’s rock.”

And then we do it. And when it’s over, we get photos. As an artist, if you do this well here, it’s so much easier to get everything done & online. Good images help with visualization & concretizing of abstract ideas into forms people can recognize & relate to. If the song is strong & well-performed, then artwork is the final piece that the artist must give to the producer to help him finish.

When the song is mastered, what I need from my producer is a jacketed mp3 & the cover art image jpeg. With that I can make a thumbnail video, which allows me to promote & distribute the song across all platforms. This is everything necessary to promote a song, with minimal resources spent. A website with a running blog, a YouTube channel, and a social media presence is your ‘press release’ department. You have to wear a lot of hats, and stay on top of things as best you can to succeed against these industry odds.

Live streaming is now a valid artist delivery method. It works better as a revenue stream if you are a ‘name performer,’ otherwise you are better off streaming for free, and soliciting donations. Live streams are the now & future, so prepare for it, while understanding there’s a limited amount of excitement that an artist can create with a live streaming performance. Live streams are better for interviews, discussions, comedy, etc. Making new music is the most effective way to reach fans during this pandemic.

The next step is pressing CD’s & vinyl, but that takes money & connections, so be sure you have a deal that pays you (the record & publishing company) upfront, otherwise stick mostly to the low-budget DIY model. If you’re insistent on selling CDs, do it right. Keep the publishing & copyrights updated, the website & social media running with consistent fresh content, and the domain name locked up.

“When You’re Out There” was written in August 2020 after I listened to a LOT of Sun Ra on YouTube. With COVID-19 killing the live music scene, it was a good opportunity for me to finally hear many of his records which were never really available during the vinyl era, and were overpriced during the CD era.

Thurston Moore of Sonic Youth was always a champion of Sun Ra, and was the one who introduced this unheralded genius jazz composer & virtuoso to me. Sun Ra’s music is timeless, with depth, and a spirit of fierce independence. He’s out there, and that’s what inspired this song.

The other bonus track we recorded during this session was “(It’s a) Steamy Jungle,” an acoustic reggae song I came up with in October 2020.

Tom took all the pictures of me, and I took the set-up shots. He ripped mp3’s of all the recorded songs during playback, and put them on my thumbdrive. The mp3’s are uploaded onto my computer and checked (skimmed before parting) for audio fidelity & length, meaning all songs are clear, and none are cut-off short. That is what an artist expects & needs from a producer after recording.

These mp3’s are “prints,” meaning raw stereo recordings with no processing. This is what the artist listens to and determines if there is a song that can be produced, or if it needs more work, re-recording, etc. Pictures are shared & reviewed, and we discuss the ones we like, and how they are to be used. Cover art is a collaborative effort, where we both share thoughts & ideas, and then I let Tom do it. Meanwhile, these liner notes are written [12-2-20], while everything is still fresh in the mind.

“Primary Colors” & “Bitter to Better” were recorded on March 1, 2021 in Sanford, FL. Pics by Tom. In total there were 5 recording sessions in Sanford, from August 2019 to March 2021, to get 7 songs. The coronavirus pandemic was the primary reason for the long process in making & releasing this EP. Tom recorded the electronic beats & drums to “Millennial Whoop” & “Patch Me Up Doc” at his home in Tavares, FL sometime in 2020. Ask him for details on that.

As an artist, stay connected with your producer during mixing & mastering, and LISTEN. Production is not your domain, otherwise you would be doing it, so the producer gets the final call on sound. The producer has the song(s), and how long it takes depends on: 1) how good are the recordings, 2) how good is the producer, and 3) how much it costs? Choose wisely.

These are hard truths. As an artist, transition your efforts into online marketing by publishing videos, pictures, press releases to encourage discussion among fans, friends, etc. Use friendly forums, your website, preferred platforms, etc. This is how to generate content & promote– DIY.

Below in bold type is the template I now use for releasing songs as singles on my site. It can be as brief or as long as needed, rearranged, etc, but this is a professional press release. This is your first chance to promote your new song, so do it right.

“Song title”

jacketed mp3

liner notes & discussion

cover image

lyrics image

video

tags: album title (year), official mp3 release

Once all the singles to this EP are online, I then publish these liner notes as a post, and create a permanent Media page for the album on my site. I also update my Free Music Downloads page by adding the new mp3’s as they are released. Every song is released onto Spotify, iTunes, and all the rest of the streaming services for maximum distribution, along with the thumbnail videos on YouTube. That’s all you can do when you’re blacklisted.

Everyone says “organic is best” for promotion, but the rub is that it’s a lot of work, and there’s a lot of censorship, with nefarious spamming, hacking & de-platforming across the internet. The world goes on 24/7/365, and no one can be there for all of it. So be smart about putting up media that keeps working for you. Pick your spots to be active, and engage in real debate on serious issues, when it matters most. That will attract people on all sides, because EVERYBODY is sick of the pablum from the fake media. Everything you see, hear & read here is an alternative to MSM.

The message is that we have a choice in deciding on what the future of music will be. It’s the artists who create the culture and it’s the cool young kids that are hip to it who promote it. That is who this music is for and why it was created. Tom & I hope you enjoy it.

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“The Road Rage Song”

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Explicit sounds recorded on August 23, 2019, and produced by Tom Pearce. Cover photo & design also by Tom Pearce.

      1. The Road Rage Song - Ric Size

 

Guitar & vocal by Ric Size–  PLAY LOUD!!

This ‘B-side’ is dedicated to all the real drivers, and is part of Extended Play 2019-20, which has been re-titled, and may need to be re-titled again. This is because its release has been long-delayed, mostly due to effects of the coronavirus pandemic.

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“Millennial Whoop”

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Promo tagline: Stick this new single in your vaporizer & inhale it

Intro: Tom Pearce & I have a deal. When it’s either of our turns to go to work, that person has full control. Tom Pearce has attracted attention within the music industry as a respected producer & electronica artist. Through his new affiliation we have a new distro deal that offers us great penetration into the music business.

We have set an official release date for “Millennial Whoop” at 11/26. This song is a monster crossover single, so we’re doing everything we can to get it as much distribution as possible. “Millennial Whoop” is the first single from the 4-song mini-album: Extended Play 2019.

Note, November 27, 2019 is when this song will be available on all the major streaming services including: Spotify, iTunes, Pandora, etc… “Millennial Whoop” can be downloaded here & now for FREE, because we’re about the fans. Share it if you love it, and let the new-release, underground buzz begin!!

      1. Millennial Whoop - Ric Size

 

I’ve never done a rap/pop song to this extreme, so this was fun. A year ago, Tom sent me a YouTube link on this phenomenon in modern pop music production. Patrick Metzger coined the phrase a few years earlier in a study he published, which is now well-known & cited. Months later after learning about this, I was out and recognized it on someone’s cranked-up car speakers as they drove by, and starting singing my own improvised chorus back to them on the spot.

I consider this song to be partly a public service announcement, as well as a punk cross-over single. References include: Woody Guthrie, The Sound of Music (1965), Kelly Clarkson, Coca-Cola, square dancing call-outs, Donald Trump’s aversion to people coughing, The Birdcage (1996) & Basic Instinct (1992). I ‘baby’ it up a lot, which is my hybrid of Barry White & Justin Bieber. We had a real good time together.

Rachel Decker: vocals

Tom Pearce: beats & tones

Bill Pelick: bass

Written, published, & copyrighted by Ric Size; No Cliché Songs / Infinitelink Records 2019

Produced by Tom Pearce / Last Minute Production

We are currently about two decades into the “noise wars,” which is defined as excessive compression to make songs louder for cheap mobile headphones. Car commercials which blast non-stop, louder than the rest, is the comparative to the “noise wars” in television audio production. The only way an independent artist can compete against this degradation of music is by having better songs, and knowing how to record & produce them.

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Reflections on a Music Career

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I know the update I posted here was a shock to many fans. He is my explanation for those who truly supported the music, and therefore deserve one. The rest of you may follow along and hopefully you will learn something. The fact is I’ve been going down a dark road for a long time, in being this musical artist of such uncompromising intensity. It’s led to wonderful discoveries & revolutionary content, but it’s also isolated me.

When you burn for the truth in everything, you become intolerant of hypocrisy & lying behavior. The more I try to eliminate it in myself, the more I become disgusted & distanced from others who don’t understand. Artists are bold, restless, uncompromising & revolutionary by nature, and thus don’t do well with patience & temperance.

I’ve leaned on my best friend & collaborator Tom Pearce way too much over the years, because I had to. I won’t let that friendship (& what we’ve accomplished), end up turning into anger directed towards him– out of frustration. Those are the outside stresses that get internalized and refracted into art, and it’s done by real human beings, which means it takes an emotional toll.

People generally don’t think about art & artists too deeply, because they are busy living their lives, just trying to get by. In their free time they mostly seek escapism, instead of studying & learning. That’s how an artist becomes an outcast in a society where culture has been degraded, and it reaches a point where the artist has to make a decision. You either: 1) continue down that road, which leads to self-ruin; or 2) give it up and save yourself.

The truth is, I can’t continue to hold myself (& everyone else) to the artistic standards I’ve set. It gets to where it becomes too destructive. I think this is how jazz-bassist pioneer Jaco Pastorius felt at his end, and I didn’t want that for me. Even with this acceptance & understanding, it’s still an extremely difficult & emotional decision to quit your life’s passion.

As far as what was accomplished, here it is. Ric Size and his collaborators since 2011, through the music and the content on this site, have profoundly influenced music, art, society & politics on many levels, locally & globally. I’m confident Tom Pearce will soon find himself in-demand, as a webmaster, sound engineer & producer. Many others I have worked with over time have also benefited, and I wish them well. The truth is that Ric Size’s music is still too raw & intimidating for most people, and seen as extremely dangerous & provocative by the ruling class.

I’m the kind of person who excels at what I put my mind to, and I never tried harder or wanted anything to succeed more than this music. Now that it’s receding into the past, I see how impossible it all was. I’m definitely an optimist at heart, as I kept thinking I could find a breakthrough, right up to the end.

My final preoccupation as a musical artist was around security. Personal safety for me, my band mates, and the audience was going to be an issue. Ric Size is radioactive politically, and that can’t be separated from the performance. No matter what songs we were going to play, every event was going to have issues with Nazi’s & other right wing hates groups (Republican & Democrat backed), astroturfing our shows.

On top of that, there’s the lone wolf shooter that no one accounts for. This is Orlando where Christie Grimmie was killed after a live performance downtown. Of course, no one in Orlando will forget the Pulse nightclub massacre that happened only a few weeks after Grimmie’s slaying. Preventing these-type scenarios from happening at a Ric Size show was a dilemma that kept me awake at night for weeks. I wasn’t counting on any help from the local police of federal authorities, if you know what I mean. The only solution was to retire, as security was going to be a necessity, cost prohibitive, and in the end an impossibility.

At this stage I’m at peace with my decision, and feel much better. Relief, soothing away the disappointment is my best description. The money was never going to show, and TomP & I took it as far as we could. My initial goal when I came up with the concept of Ric Size over 20 years ago (before I met Tom), was to do it my way and change the world in the process. That mission has been accomplished, and now I happily work towards that objective as a blog writer. I’m still at it, just in an updated form for the times.

I still own a record label called Infinitelink Records, which owns the publishing & copyrights to all Ric Size music. That’s what you need to control and hold onto, boys & girls. Tom & I will work at finally getting everything packaged up & CD-formatted for your purchase online, at whatever pace events allow.

Thank you AGAIN to all our fans for your love & support!!

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The Ric Size Trio: Coming Soon!!

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Early rehearsals have been promising. It’s so nice to work with true professionals.

We’re getting the band together. The Ric Size Trio is: Bill Pelick on bass & Tom Pearce on drums.

Above is the set list we’re working though, to figure out what works– and what doesn’t.

Look for us soon in Orlando & (hopefully) beyond!!

Update: Sunday September 23, 2018

Bass player Bill Pelick has left this project after two rehearsals. It turns out he prefers to play classic rock, and he’s also not up for touring. We are all still friends and wish him the best.

This has been the story of my music career. This trio was intended to be the “reunion tour,” where we played the fun songs and rocked everybody– for the money. One thing I’ve learned in my life is that I”m not allowed to be successful in business. Something always “happens” to prevent it, despite my best efforts & the demand I create. This “something” is establishment fear, which has been spread far, wide & deep by nefarious monied interests & the deep state. These entities do have the power to keep this band from happening, and they’ve done everything possible to see that it doesn’t.

I’ve been at this music career for over 20 years, and it gets to the point where you know you can’t win, or be happy, so the best option is to move on. If there was a bass player who was capable & willing to join us, they would have shown themselves by now. I don’t envision any more Ric Size performances in the future. I’ve had it with playing solo, which I was always forced into– due to lack of support. The truth is, my music & politics are so far “out there,” that most musicians can’t relate. Those who try are soon scared off. This is how it goes when you are a blacklisted artist.

The only true artist I worked with in my music career is Tom Pearce. Tom is a consummate professional, and an inventive drummer with perfect time. He’s also a sound specialist, producer, & webmaster. Tom Pearce is the only one who truly has what it takes to rock with me. For the rest who helped, then hopped off, I have mixed feelings. I’m grateful for any assistance, yet disappointed that fear & prejudice limited their willingness to collaborate. It’s a waste of talent, IMO.

Me, I have no regrets, as I gave it everything I had with no fear. When you’re spent, it’s time to do something else, and that appears to be the case here. We will do our best to finish re-mastering & releasing all the albums. Once again, it’s invisible barriers that have kept us from making these products available on CD, as censorship & blacklisting have cut this music off from a mainstream audience. It’s pointless to put time, money & energy into producing & manufacturing product, only to be choked off by Google, Fakebook, YouTube, PayPal and everyone else who controls the important levers of power. An artist needs promotion, publicity & distribution to succeed, and I’ve got none of that. It’s not from a lack of effort.

The upshot is that everything I’ve ever written on politics has had a direct (negative) impact of my music career– from a financial standpoint. I can no longer do this for free, as I’ve run out of money. I’m also unwilling to remain isolated, which is what the establishment does to artists it deems as dangerous. This is why I’m alone. Don’t believe the girl or woman who says she desires a man who is artistic. If that was the case, I would have been hooked-up & satisfied a long time ago. Women are taught to go for the money & security, which is the exact opposite of being a true artist.

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