Today is the first day that Florida is on official lockdown. What this means in Sanford (for now) is that you can still go out for walks, fish on the river walk & go out for “essentials.” That word “essential” is given broad interpretation, and enforcement is kept vague. A few hold-out non-essential business are still trying to do business as usual, mostly using kids for employment, but most small-business owners get it and are home. More & more people are wearing masks.
Ventilators have become an issue to keep patients alive, as they flow oxygen to taxed & infected lungs. To avoid this fate, ventilate daily at home by opening windows & doors to let fresh air in. Direct sunlight kills most microbes & such pathogens, so do this as part of keeping your place clean. Also get out and exercise just enough for your needs, while observing best hygiene & social distancing practices.
I stayed home most days for over two weeks until the quarantine lockdown was finally ordered by Republican governor Ron DeSantis yesterday. I felt I had to lead by example, as I’m conspicuous in my area. Governor DeSantis had to wait so long, despite intense popular pressure, because: 1) he’s a puppet of Trump; and 2) he’s beholden to the Florida state machinery. Donald Trump wants his favorite golf courses to remain available to him. This is just one of a million examples of personal interests affecting Florida politics. The people who live here have no say, and are kept in the dark about everything important.
One group I neglected to mention in my first checklist was homeless people. They get forgotten, even though they exist everywhere. If we as a society are serious about dealing with this coronavirus epidemic, then we need to find homes for all the homeless– so they aren’t spreading more disease. To not do so only kills the economy (& people) even more. Since most people don’t think much about homeless people, maybe presenting this as self-interest will give them pause.
At this point, there is nothing helpful coming from Bernie Sanders, AOC, or any of the rest of the fake left in mainstream US politics. The presumed Democratic nominee, Joe Biden, is a racist, sexist, militarist zombie. The truth is that none of them are significantly better than Trump, and that’s why none are too anxious to succeed him at this point. Every day we get closer to the cancellation of Election 2020.
The primaries haven’t been officially been cancelled. But what about the conventions? Much depends on pseudo-socialist Bernie Sanders, who has been ready to concede to Joe Biden for weeks, except for these extraordinary circumstances. Bernie Sanders knows how to deceive a naive Democratic constituency during regular times, but these are no longer ordinary days. The US is now the epicenter of the coronavirus pandemic, which means it’s an epidemic in America. Any answers, Bernie? Hello, anyone home?! He’s gone away, like all the rest of his ilk.
Only a few brave months earlier, Trump boasted that no coronavirus would be getting to America, or into any of his rallies. Now all the rallies have been cancelled, and his daily White House “press conferences” are a tragic farce. Strict censorship by the volatile Trumpster allows no serious issues to be brought up. At this point, any half-serious White House journalist has probably had their credentials revoked by the Trump team, or at least been threatened.
The Commander-in-Chief doesn’t follow the most basic social distancing rules himself, and probably doesn’t even wash his hands, so who can take him seriously? The rational world sees this and wants to vomit. Zombie supporters of Democrats-Republicans normally cheerlead each week’s inane talking points on social media, but I notice they’re mostly quiet now, as we have to “come together” in this time of crisis. This is the sort of sorry-ass BS that losers force themselves to believe every time they don’t want to admit they’ve been wrong all along. The only comfort here is that there will be much more hard reality coming to these formerly-affluent, but still confused upper-middle class liberals, and they need a healthy dose for sure.
What I don’t need any more of is television, and I haven’t watched in weeks. I tried a few times, but it’s all commercials & no content, so it’s off again within a minute or two. Here’s a fact we all know. People learned about coronavirus online. That’s because they know they can’t rely on the MSM. These are generalities that hold much truth about our future.
Many frontline medical workers are making out their wills. This is a grim reality to face, and heavy responsibility to bear. This is what they dedicated their lives to do, and it can be a heroic adrenaline rush on the front line. But now it’s mostly overwork & fatigue, knowing you’re fighting a losing battle. The resources to win aren’t there. The compensation is far too little, and the personal cost is far too high.
Capitalism is responsible for all this. Its puppet-masters have gone into hiding, from the public at least. Where is Warren Buffet, with all his fortune & expertise, to take questions from the public?Answer: He’s too susceptible to talk– until May at the earliest. Where are all the rest who are responsible for this catastrophe?Why is there no public accounting or admission of wrong-doing?
For the rich, this is time for them to watch as COVID-19 is unleashed on the North American continent, with no coordinated preventive health measures in place to protect the population. In the very near future, food and other living essentials will be in short supply, meaning hoarded by the elite, in order to starve the masses into submission & death. That’s their plan. Socialist revolution must be the plan for international youth & the working masses.
Since I live among the many, and right next to a hospital, here are some thoughts to take to the grave. No one can live forever, which is why organizations & institutions exist, as these entities can outlive us. The ones you identify & act with in life, are the ones that will carry your name in death. So be very careful about whom you support, because you give a part of yourself that is hard to take back.
Therefore this is my online will, so to speak. Facebook is to freeze all my pages upon death. No more posting, commenting, or liking allowed. It can then be made available for public viewing to all who wish. YouTube videos are to allow comments into posterity. This allows the original online content to be preserved in it’s integrity, while making room for discussion. These are basically online diaries, which you must (and should) own.
Website content should also be frozen and preserved in its original form. “Some rights reserved” is the 21st-century creative model, and it means available to share, but if money is made, then find a way to pay (or at least credit) the artist.
I’m still an atheist, no thanks to god. Full support always to the SEP/ WSWS/ICFI. Just bury my body anywhere when it’s my time, and remember these songs among others.
The Coronavirus Concerts deserved a full encore, so here it is. The first Coronavirus Concerts were about breaking new ground & figuring out how to do it– in a new era. With that knowledge & experience already in hand, this follow-up was captured in only a few hours. Part 2 probably flows better as a program from start to finish, because this time I knew what I was doing from the start.
As a production note, you need to be your own cameraman & director to do this. This is about being totally responsible for sound, lighting & your appearance. After the performance is captured, you must upload it to a computer & get it online with everything labeled & thumb-nailed correctly. Then marketing & promotion… Don’t worry, I couldn’t do it all at first either.
For me the performances are the easy part. This time it’s mostly my songs, with only three covers out of the fifteen songs. This shows I can play either way, covers or originals, all night long while keeping it strong. Fugazi used to call it “throwing down.” It’s good to be able to throw down.
I intentionally featured songs that haven’t been made into official videos already. Therefore songs like “Talented”, “Sugarcoat”, “Ridiculous”, “DDSeuss”, “Sun-Wind-Bird”, etc., aren’t covered here. Perhaps if/when I do Part 3. The format is the same, with the video posted above, followed by a description below.
“Self Made” is one of the first songs I ever wrote. When you start songwriting in the rock genre, you’re going for 3-minute rockers & anthems. I throw in a Modern Lovers “Roadrunner” lick at the end in that spirit.
“Problem Solved” is a favorite for women. TomP & I never did any videos for Hwy 19 & Main St, so I’m glad to get this song officially up on YouTube. We were too busy doing Fully Covered.
“Just Because” has a much different feel on Electrified!, with the extra vocals. Here it’s pretty much a straight blues-boogie number, with my lyrical twists.
“You are my Brother” was inspired by the owner of Elijah’s café in Eustis, which doesn’t exist anymore. Back when I had my own dental practice, which also doesn’t exist anymore, I ate there frequently. Elijah would say to me, “You are my brother,” and then he would serve me his delicious food. Absolutely.
“Atheist Psalm” is an ambitious song, from an ambitious album. I deliver it about as well as I can here. People have strong feelings about this one, so I never played it to a live audience. But if provoked, I would have.
The full title to this song is “Crime in the City (Sixty to Zero Part I).” Neil Young was re-energized in the late-1980’s by grunge & alternative, and Freedom was a huge artistic comeback for him. This song is never played on the radio, or covered, but I say it’s the best song on this record. Rust Never Sleeps is my favorite Neil Young album.
“Weird Ideas” is one of my favorite Hwy 19 songs. I played it a few times live at a place called Norm’s in Mount Dora back at that time, and the yuppie audience would go blank on it. But the riff, which I stole from A Tribe Called Quest, gets in you head.
“Rolling Stoned” is always a crowd favorite. Understand that my live crowds consisted mostly of baby boomer classic rockers. My friend & colleague Bill Pelick ran an open-mic jam at a place called Pug’s in Eustis for years. It’s no longer there, but Bill would let me come out whenever I wanted and perform. I got three songs, and that was it. After a few times, I was well-known, so I started trying crazy new stuff like “DDSeuss” & “Haters Step Aside” on them. “Rolling Stoned” always got huge applause from an old-timer audience that typically sneers at originals.
“Working Class” is one of my favorite early songs. It’s tight, with punch, and this is a strong version, save for the fluff at the beginning of the guitar solo. I guess that proves this is really difficult, and the trick is making it look easy.
Being from Wisconsin, I’ve seen the BoDeans live three times, more than any other ‘name band’. “Dreams” was their big single from their second record, but this is from their first album, which are both Americana classics. Other famous Milwaukee bands include the Violent Femmes & Die Kreuzen.
“Anna Rex” is another song that obviously appeals to women. This may be the best song on Electrified!, with the talent we had on it. Here I have to use a slide to simulate Jessica Lynn Martens violin effect.
“The Birth of Song” is one of my favorites from Over & Out. It’s economical & elegant, like this description.
“Obvious” is one of my favorite early rockers from Magnified. I was thinking specifically of the Counting Crows, Hootie & the Blowfish, Dead-Eye Dick (who was being payola promoted on Orlando radio at the time), etc, when I wrote this song.
“Moneybug” is a riff copped from Wire’s “Straight Line.” I had a lot of help with this tight rocker on Electrified! Jessica Lynn Martens on violin & backing vocals. Craig Roy came up with a great bass line, and Tom Pearce hit the beats & then produced it. This is one I re-worked the lyrics on a lot over the years, so I don’t remember them completely here, because I haven’t played it in awhile. I don’t practice much anymore, I just play. That’s how it goes.
This is the first artist I’m repeating on my covers. On Fully Covered, I did “Down Payment Blues.” This one is also from Powerage, which along with Dirty Deeds, is my favorite AC/DC record. Bon & Malcolm are gone, so here’s the best version I can do.
Here’s my new cover album, self-recorded at home on an Amazon Fire. This is going to be the new (& live) music delivery model for awhile, so of course I’m leading the way. That’s what it means to be a revolutionary artist.
These videos are listed in the order they were recorded, with publishing info on YouTube. One general performance note: I wear sunglasses because these aren’t my songs. It’s impossible to sing someone else’s song completely honestly, hence the dark shades when I do covers for the camera. Each video is presented, followed with a blurb.
I loved this song since high-school, even though I didn’t know what it meant. This is the single from their debut album, released in 1969. Mott the Hoople was a deep band, and are have always been disrespectfully under-represented by classic-rock radio. My style is to keep it simple, so I cut out a lot of the jamming. BTW, if I’m doing MTH covers, then I can’t be credibly accused of anti-gay bias.
It’s really hard to do Eddie & Dave well, but this is a good try, I say. No way I can do Eddie’s guitar wizardry, so I play it as a simple blues number. I mess up the intro, and start again, but who cares– right? David Lee Roth was a genius in so many ways, as this song really isn’t about ice cream. Van Halen through 1984 were the greatest rock super-group ever. If you don’t cover them, then you don’t rock.
This is a really difficult song to barre on guitar and sing as a man, so I shortened it where I could. Being able to mimic the electronica feel is the tricky part. I really loved this song from the first time I heard it. It’s also the first song I ever downloaded on Napster. The rest of the CD wasn’t up to par for the $20 it cost (IMO), and 45 singles weren’t available anymore. That’s how Napster changed the internet back then. Getting back to Madonna, anyone who can get “zephyr” into meaningful song lyrics, is a artistic genius. Take that from someone who knows. I’ve gone toe-to-toe with Madonna on Facebook for a long time now, so I’m paying her my respect. Love
Final production note: This was the only song I recorded with a fan blowing on me. Like I already said, it’s an electronica-type song, so I thought I’d experiment with an electronic device. It mostly kept me cool, so I could sustain the vibe. Anyways, that’s the slight difference in fidelity from all the rest.
Remember when I said this was a cover album? I lied. I took the sunglasses off to perform this song is about payola. “P2P” is fun for me to play live (whenever I can get a show), observing so many blank expressions in the audience. You either get it, or you don’t. I ham it up a bit here, so you can get it easily. This is a punk-pop song.
I reviewed this album here already. This was their MTV single, and every female singer-songwriter today should know & play it. Tanya Donelly uses an androgynous voice in this song, so it’s fairly do-able for men. See & hear more my link.
Liz Phair was the musical girlfriend all us lonely college guys could listen to, back around Exile in Guyville. I’ve listened to her CD hundreds of times. Somewhere around this song, running through “Canary” & “Mesmerizing,” it becomes sublime. This is another songwriter every woman (& man) with a guitar & voice needs to respect. Otherwise you’re fake.
“Kararak” is from Electrified! The riff was copped from “The Ballad of the Green Berets,” with the lyrics turned around.
“Haters Step Aside” is from Hwy 19 & Main St. I’ve done it live a few times, and it always works great. Sometime the club pulls the plug on me before I can get to it, so here it is forever.
Fugazi was perhaps the tightest punk band ever. They were masters of songwriting, sound, production & packaging. I blogged about them here.
“Tubthumping” is a great single, so I have it in my covers playbook. It’s party, as well as defiance. Chumbawumba was much more than a one-hit wonder. They also do a version of “Hanging on the Old Barbed Wire,” which I cover below.
This is from Over & Out, and I’ve thumb-nailed an image from the liner notes. I try to do this as a beer drinking sing-along, so feel free to yell out when cued. I’ve always thought this was a catchy novelty song, so I’m resurrecting it here.
“Millennial Whoop” is our latest single, as Tom Pearce & I extensively collaborated on this one. I delivered the song, while TomP produced the hell out of it. Rachel Decker is the vocalist. We were going for a Beastie Boys feel, if you can dig it. Here, I strip everything away and give you a rap song straight on guitar & vocals.
“Hanging on the Old Barbed Wire” is a soldiers’ song from WWI, so it is public domain. It’s only four verses, but very powerful in it’s economy & accuracy.
This is my favorite Tom Waits song, from my favorite Tom Waits album. You really need sunglasses (& a capo) for a song like this, because there is no way you can completely get to Waits’ abstractions. That’s the kind of artist he is. Someone who relates, but is also unknowable.
There was a time when the only way you were going to hear the Sex Pistols was to go to the record store and buy the album. I remember when I did and put on side 1, and then “Holidays in the Sun” exploded out. “EMI” is the closing track to their classic debut, which never lets up.
I felt obliged to do this song. Woody Guthrie was perhaps the original singer-songwriter. Bob Dylan & Bruce Springsteen also have moving versions of this classic. Everyone from Neil Young to John Fogerty were deeply influenced by Woody Guthrie.
I will end when I began, with “Primary Colors.” The coronavirus concert encore is my latest anthem, recorded & published on March 20, 2020. I believe it caps the show off nicely, delivering a compelling new song for the times.
Program notes: All this was performed & put together in 3 days, from March 20-22, 2020. I never left my home to do any of it. Now that “quarantine” & “social distancing” have entered our lexicon, these performances prove that meaningful music can still be delivered to people everywhere. What it takes is talent & heart.
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.
Millennial Whoop official video (YouTube): Coming soon!
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.
As the 2010’s close out, this is a review of all my albums and their songs. When people ask me, “What is your best song?” I reply, “I have a lot a great songs, go to Spotify, et al, and pick a title that looks interesting.” Then people ask me, “What are your best songs?” That’s tough again, because I feel I can easily fill any top-10 (20, 30…) list with songs that no one in my era can beat. My personal top-3 are “Ridiculous”, “Anna Rex”, and whatever other song you love. I have a lot of amazing songs. Much depends on what you prefer.
I was really excited, and very naive, when I finally released my debut album Magnified in January 2012. It was really fun to record with Jay Stanley, who is a songwriter, turned producer. He had a great studio on the 2nd floor of his house in Ocoee, Florida. It was separated from everybody else, which allowed us to work well together without interruptions in the summer & fall of 2011.
I would come in with my songs, and we would usually record 2 per two-hour session. I laid down the guitars, vocals, bass and harmonica– in that order. Jay would loop the rhythm guitars & bass to keep it tight to the click track. Then Jay would drop in beats electronically, as I would monitor & make suggestions. I’ve said it before– in many ways this is a rock-electronica album. I did the beats (mostly looped) on “Mercury Rising,” and the hi-hat on “Pay to Play.” The rest were done by Jay, and I feel he was very creative with them.
The biggest limitation of this album is in its production. Jay Stanley isn’t a professional producer, which is a skill that takes decades to master. He has the passion for music, which can get you a long ways, but there’s a lot of harshness of sound & distortion clipping on Magnified. I wanted that punk, trebly edge, but there’s too much in hindsight– IMO.
There’s also very little bass, which is under-mixed, and a common error among under-experienced producers. There’s a lot of wash in the sound, but I accepted that knowing I played everything, and that much of it was looped. For a debut album, this is a 4.5 star effort on the 5-star album scale. Every song is an anthem, and it’s delivered on time. It was a lot of fun to make, and nothing else from 2012 sounds anything like this underground classic. I dubbed it revolution rock, and established this site with the help of webmaster Tom Pearce to promote the record.
I wanted better sound separations, and more live playing for my follow-up album. I went back to Jay Stanley in the summer of 2013, who had by then moved his residence (and home studio) to Apopka. I was to be among his first clients in this new studio, which is a suburb garage converted into a music studio. The acoustics and sound-proofing were problematic from the start.
This is when I brought in Tom Pearce to be my drummer. Tom is a professional musician and sound savant. He immediately began making me aware of issues with the recordings. I intended Electrified to be my best album, and as Tom began to challenge my conceptions of what this album could sound like, I began to butt heads with Jay. There was one time where Jay’s needy girlfriend busted in on our session (again), and Jay flipped out. He left the control room in anger, then came back and said to me, “The session is over.” I had been there for 20 minutes.
I packed up & left, stopping at the first gas station to relax and gain my composure, when Jay texted me that I could come back, and that the issue was his girlfriend is an alcoholic. I went back in a mood, pulled out my Stratocaster and told Jay to record. It was the guitar riff to “Brothers.” I remember singing those sobering lyrics to him in the soundbooth. That’s an example of the intensity level throughout the recording of Electrified.
I also brought in videographer Susan Cameron to film a studio session, and it was inserted into my attempt at a documentary movie of the same title. There was a lot going on, for sure. By autumn all the songs had been tracked (except for Rachel’s vocals), and I asked Jay to do a rough mix-down. I was asking him to impress me, but he didn’t. It was at that point I asked for a copy of all the tracks to Electrified. Jay wasn’t happy about it, as anyone would be, but to his credit he acquiesced and put the tracks on an external hard drive. From this point, onward, everything I have recorded has been produced by Tom Pearce.
As mentioned, I made an attempt at a feature length motion picture. Electrified! the movie died in the rough cut phase because: 1) no more money, and 2) creative differences between myself & Susan Cameron– my partner on the project. I financed the project, and she was underpaid for sure. Susan Cameron was an amazing inspiration to this film, and we patched it together in a little over a year– using entirely local talent.
All it needed was some production polish & final editing, but when I introduced the “Marxist lecture” portions of the film (near the end of shooting), she suddenly lost interest. By January 2014, local businesses & influencers had gotten wind of Ric Size, so they threw a bunch of money at her to do their overblown projects while abandoning the film. That’s my version of what happened. I’m not bitter, just disappointed.
When it came to forming a list of potential promotional partners (sponsors) for the film, Sue kept suggesting Bill Maher, et al. I kept insisting it could only be a revolutionary superstar artist, such as Madonna or Brian Eno. Sue is a liberal Democrat producer, and I ‘m a Trotskyist artist with creative control. In the end we did amazingly well to get that far into production (~98% finished) before breaking up. It’s still a powerful film, and the original soundtrack is all Jay Stanley mixed.
Orson Welles was asked near the end of his life at a press conference, “What is the best part of making movies?” A once-again defeated Orson Welles candidly replied, “When you know the money is in the bank.” Don’t attempt to make a film, unless all the money is there to finish & distribute it. That’s a hard lesson.
Tom had to transfer the digital files out of ProTools (Apple), and convert them into PC format so he could use Studio One, which is the software he decided upon. It has been a great choice, as it records very clean, and I am doubly happy because I paid for all this.
ProTools mucks-up the recorded sound with its built in effects. ProTools is the “industry standard,” but it’s also why so much of today’s music sounds the same. Many serious musicians have moved away from ProTools in the past few years for the same reason. Tom & I have been leaders in this movement towards better sound quality & the return of dynamics.
There were many tracks on Electrified that had to be re-recorded after my split with Jay Stanley, due to poor or faulty microphoning, especially on the drum kit. Tom used his own snare, but the rest was Jay’s in-house kit, which was mic-ed by at least 8-10 microphones. Some worked, and some didn’t. Lots of spillage, etc. There were 30-40 tracks for each song, due to this style of microphoning, along with digitally duplicated tracks. Many were just empty air.
Once again, this isn’t good professional technique, and I want people to understand how much work it was for Tom Pearce to wade through all this jumble, and piece this album back together. This was also very frustrating for the songwriter, as I knew these were great songs, but the studio engineer/producer kept dropping the ball and making me look bad, when he’s supposed to be covering my mistakes and making me sound good. Like I said, there’s lots of tension on this album, but in the end it was worth it. I thank Jay Stanley for giving me what he could. At least he was willing to “go there” with me, which no one else would do. It takes balls.
The biggest improvement on Electrified are the professional musicians & producer. The song quality is roughly equal to Magnified, perhaps a bit better. Tom’s live drumming shows up instantly in “Spirit of the Road” and is an essential element to this 5-star classic. There is (again) not a bad song on this album, and I’m pushing every button. I’ve got what sounds like a backing band, but in reality, are supremely artistic musicians helping out. Electrified may be the best rock album of the past 25 years or so. I know I haven’t heard anything better, or even close to it. If you have a suggestion I’d love to hear it.
Craig Roy did all his bass in two sessions– Anna Rex, Old Friends, Tip of the Cap, Listen to the Woman, Brothers, Moneybug & More Like Us. Bill Pelick did his guitars & bass (Tip of the Cap & Just Because) in one session. Jessica Lynn Martens did her violin & vocals (Anna Rex, Old Friends & Moneybug) in one quickie session. Rachel Decker did her vocals twice, because Tom accidentally erased her initial session for “Listen to the Woman.” That’s kinda how it went.
The biggest blunder I made with Electrified was the cover. I already had the image, which is shown above as Tom & I playing live in Apopka in summer 2012. The photo was taken by Laura Rivera, my ex-step daughter. But I eventually switched the cover to a black & white screenshot from the movie, as a promotional tie-in. Big mistake, as the movie was never finished, and the live image is better. Tom says he wants to re-mix & re-master Electrified, and when he does, Laura’s live photo will be the cover.
Tom worked on producing this record, night & day, for nearly two years. He had finally opened up a watch repair shop of his own in a tin shack at the corner of Highway 19 & Main St in Tavares, FL and set to work on producing when things got slow– which they mostly were.
When he finally finished production and put Electrified online in October 2015, he then asked me with a smile, “What’s next?” I told him I wanted to make a “Beefheart record.” Tom instinctively understood what this meant, and so he closed the watch shop for a few hot afternoons in October-November. We recorded six songs live in the makeshift studio he had built. I had taken up the slide by this point, as it was apparent I was never going to find a stable backing band for live shows. A slide adds an element of attack and sound separation to guitar playing. A solo performer can use this effect to stand out.
We recorded “Haters, Step Aside”, “Rolling Stoned”, “Problem Solved” and the rest in two sessions, I took the album art pictures immediately after the final session, and TomP shot me while I was playing. Tom recommended the title, the format of me playing solo, and doing it as an EP. Today, Highway 19 & Main St already stands as one of the best rock EP’s ever. Tom & I both like this record better than Electrified, because it’s recorded live and we were having fun.
We then recorded 16 covers for what I titled Fully Covered, but never released officially, because of licensing rights. Fully Covered was only released on YouTube and linked through this page on my site in November-December 2016 & January 2017, with videos for every song. I provided most of the content, and TomP put the images together to produce the videos.
YouTube has brutally censored my content, so this project hasn’t been allowed to receive the distribution it deserves. We’ll eventually release Hwy 19/Fully Covered on a single CD. Honestly, I don’t believe any solo performer can do these types of covers as well as I do, so everything that Tom & I recorded in this tin shack is a 5-star classic.
After these landmark underground albums were released in rapid-fire succession, I focused on blogging, as no touring or live performance opportunities were available to me. My influential blogging career began in earnest in 2016, and has continued up to the present, as there are still no live performance opportunities for me.
I was sent an eviction notice in the spring of 2017, and had to move from my Mount Dora apartment by July. Before I left, I told Tom I wanted to record my last batch of songs. I wanted to make sure this final album would get made, as I wasn’t sure where I was moving to, and if I would be able to record with Tom after I had moved.
Over & Out was released that summer, and was somewhat a rush job, as everything except “Yes/No Wave” was recorded in one session that May. Tom brought his recording rig to my apartment, and was experimenting with different techniques, which is why some of the recordings sound a bit different. If you really listen to this album, you realize how intense & serious these thoughts are. To keep them in one’s head indefinitely can only lead to frustration & insanity. That was my motivation to get this record done, and for its title.
This was another solo, acoustic record. Tom added beats & effects to “Up Around the Clock” & “Many Miles.” We now have a rehearsal recording of “Up Around the Clock,” with Tom on drums & Bill on bass from fall 2018, and maybe someday we’ll release it, as it’s surely better than the album version. The song I really don’t like on Over & Out is “Waves,” as I had issues with my capo, which I rarely use. The songs on Over & Out are strong, but could have used some help from other musicians in certain areas. I rate this as a 4-star record, as the best songs are really strong and it does hold together, but could have been better.
One of the hardest things to do as an artist is to let go. Once an album is done & released, it’s not yours anymore. It now belongs to everybody who listens, and it’s what they think that counts– especially the kids. I’ve spent a lot of time here, nitpicking at my work, which is what you have to do to be a honest critic of yourself. It’s not easy, and definitely not fun, but it’s necessary– since it is the only way you can control your narrative. If you don’t do this, then someone else will, and they may promote a version you don’t approve.
I really did think I was finished with music after Over & Out, but somehow a few new songs crept into my head and wouldn’t leave me alone, so by late 2018, I had informed Tom of my intention to record a new single– at least. This morphed into a 4-song EP which is currently in production.
I think Extended Play 2019 will be the best batch yet. The songs are strong, and the playing & production have overwhelming technique– it’s remarkable. It’s a lot more fun this time, because I have great help everywhere. It’s easier to do now, but that’s only because of all the challenging experiences I’ve had in the past. Actually it’s never easy making art. It’s fulfilling, but always challenging. Making it look easy is the genius part.
Final Critique: What TomP & I have accomplished, with a little help from our friends, is nothing less than revolutionary. How many rock artists are considered as a serious political leader & theorist? None, until I came along. This has opened up new artistic fields for musicians, as blogging has become THE influential underground internet journalism format. Now everyone makes their own movies and uploads them to YouTube. I still say Electrified! is the best of the bunch, and deserves a sponsor to produce & distribute it.
The fact is that even the best songwriters can’t write a really great song every day, week or even month. Artists can fill that creative void in music, by reading & analyzing world events in all fields: economics, politics, sports, art, science, literature & pop culture. That was never possible before the internet & social media. What the persona of Ric Size did was show everyone how to do it. I got essays, mp3s, pics, videos & a movie. That’s hard to beat, especially considering it’s all DIY and in the establishment’s face. Imagine if I had some real money to work with…
When it comes to “Artist of the Decade,” it isn’t close. No one has been the artist I have been in this era. No one has been more influential in revolutionary politics & youth pop culture. That’s why I am blacklisted. So I will never appear on any mainstream lists of this “decade’s best.” The further reality is that 2nd place isn’t even close, and that really can’t be acknowledged. That’s the current impasse with me not being critically acclaimed. It’s the power of art.
In this era fans want/expect to be informed– as things are happening. So in that spirit, here’s a good chunk of the liner notes from the upcoming 4-song EP.
Extended liners: We lined-in dry on all guitars & bass. Lining-in means direct cabling from the instrument to the soundboard that links to a computer, which records the performance. Dry means no effects. If you are studio recording “live as a band,” then effects can be used, as long as they are kept under control. But if you apply effects to the guitar/bass during multi-track recording, insisting “that’s the sound I gotta have,” then the guitarist is leaving the producer with little-to-no headroom for sound treatments, including the three most important parameters: reverb, equalization & compression.
Those three effects are ~95% of properly-done sound production– in any era. Getting the best sound is the purpose of multi-track recording, and it’s how most music is put together. To all those guitar heroes with racks of effects & foot pedals, here’s some good advice from studio experience: save them for the live shows. They are mostly useless in the studio today, due to computers & digital-effects software.
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.
With this in mind, what you need from a guitar in the studio is a clean & strong signal. If the player(s) get it right, and the engineer records it properly, then the music has a chance of eventually smashing all the loud junk on the radio, MTV, American Idol, AGT, et al. Effects muddle the input signal, which hurts the cause, so apply them only in the mixing stage, not during recording.
Marketing, social media & internet censorship: Once uploaded to the internet, mp3’s quickly proliferate onto all the streaming services, big & small. But don’t be deceived, each service has their own proprietary algorithms which mysteriously work against independent artists. I’m at the top of these blacklists. YouTube, Facebook, et al, are revolutionary social media platforms, which have been hijacked by corporate ownership to work for the military-intelligence apparatus.
Therefore, don’t waste too much time in these domains, because they can (& will) turn you down, make you invisible, & de-platform you without your consent or knowledge. Make quickie thumbnail-image videos for the songs, and let your fans speak for you in the social media forums. That way you’re not devastated if/when videos get taken down, turned down, etc… Fakebook has designed its AI algorithms, so you’ll only see your haters if Mark Zuckerberg doesn’t like you.
The greater truth is that most kids today download mp3’s either through the artist’s site directly (free– like me), or through an illicit sites (if not free). The message is: make your mp3’s free, as their quality isn’t that of wav files– which is compact disc quality sound. Free mp3’s maximizes distribution, and the name-of-the-game is making new fans.
Streaming is internet radio, so don’t expect to get paid, because you won’t. You don’t have the industry clout. This scientific understanding & revolutionary approach is how underground artists can keep their sanity, while fighting fascist censorship & winning the loudness wars.
Final thoughts on recording: You must be able to work with a click track in order to get set pieces like “Patch Me Up Doc” or “Millennial Whoop” to work. Set pieces are defined as songs you don’t play live. They are more studio creations than anything else. A songwriter typically needs lots of help with set pieces, in musicianship & production. The Beatles “A Day in a Life” is a classic example of a set piece.
It often depends on what instrument the songwriter plays, to determine the order of recording. Does the songwriter have perfect time? Most often, the answer is “No.” The rock music songwriter must find a way to match up melody, riffing & lyrical ideas, with beats.
If both the songwriter & producer aren’t drummers, then the drum track should be recorded first, followed by the bass. This is typically recorded by placing a microphone in front of each guitar & bass amplifier, and around the drum kit. That is a traditional recording sequence & microphone technique when multi-tracking.
You have to know the circumstances & your strengths, while having no weaknesses when studio recording, otherwise you will crack– wasting time, money & relationships. Your team is there to cover your weaknesses with their expertise & skills. It’s a lot easier with digital, if you know what you are doing. My colleagues on this project are true professionals, they are as talented as anyone, and have my eternal respect & gratitude.
What happens to the original tracks & recording masters? Today, any independent musical artist & record label needs to be at the cutting edge to make an impact– both creatively & in business practice. The model we’ve developed is low-cost & top-notch because it’s revolutionary DIY, using the latest technology & boldest ideas from start to finish. Every studio recording that I’ve ever made, dating back to 1997, has been uploaded to a Google share drive. TomP does the same thing with his ex08 project, and everything else.
The Universal Music Group (UMG) fire that blazed through its irreplaceable archives in 2008 (and then was hushed-up for over 10 years) is a valuable lesson in corporate priority & artist responsibility. UMG is a conglomerate money-making machine, with little sense of artistic value towards it archives. They kept things quiet, and collected the insurance money, while the artists whose masters were torched didn’t even know what had happened. UMG allowed the works of many, many legends it was supposedly safeguarding, to carelessly burn to ashes. Many of these incinerated archives were never transferred digitally, or uploaded to a cloud server– so they are lost forever.
Of course, Tom & I have these files on our computers & external backup drives too, but a cloud-based share drive is how to communicate large amounts of data, such as multi-track recordings, final masters, videos, etc, with a producer. The other benefit is that it protects the music & art from being destroyed into posterity.
This also means a private corporation (Google) has all my stuff in its cloud. And by extension, it means the NSA, FBI, CIA, et al, also have them. That’s the price an artist has to pay today, to protect the existence of content. This takes confidence that you have maximized your abilities, knowing that no one else can do it as well. These songs be proof.
Introduction: This is a self-analysis of my twelve most-viewed blog posts over the past year, dated as of this publication. This is what my fans (& haters) are viewing, so if you want to get up-to-speed, this is where to start.
These aren’t necessarily all of my best writings, just the most popular. I now have over 340 posts on this site, and there are several on politics which I consider to be my best, but aren’t among the most-viewed. This is strictly how my readers have judged the writings.
These essays span a period of over 5 years, from August 2014, up to last week. This proves these writings have weight & substance, which makes them not only timely reporting, but classics which last into posterity– unlike the garbage propaganda produced by corporate fake news media.
Final note: I excluded FREE Music Downloads (the coolest original downloads page, anywhere!) from this list. Pages with my music content are different from written publications, which are posted as a blog. FREE Music Downloads would have ranked 12th on this list, just ahead of the MST3K piece.
1)Why Does Danica Patrick Wreck So Often in NASCAR? Published March 14, 2016, this is still my number-one, most-viewed article– by a 3:1 margin over the runner-up. This piece made me infamous as a blogger for lots of reasons. The subject is both beautiful & controversial. The content & style was revolutionary. A few of the damning YouTube videos I originally linked have been taken down, which only proves the case further. Danica Patrick retired from racing over a year ago, and yet she still remains relevant to the public. Many right-wing gun nuts link this piece around their forums. You don’t have fans without gaining haters too– that’s the lesson here.
2)NFL History: The Super Bowl Era Published August 16, 2014 along with American Football & Early NFL History, my intention was to kill the NFL. I played football on the playground as a kid, and loved the game. But for a long time the NFL has been allowed to mask its ugliness & violent nature in glory, and that is dangerous. I care mostly about current football players who have to deal with this, and if this two-part historical essay discouraged one kid from joining this mad parade of concussions & conformity (or encouraged a player to leave), then it served its purpose.
3)Taipan! (1982): Gameplay Basics & Tips Published May 10, 2015, and I’ll confess this is my all-time favorite– for several reasons. Firstly for me, it is the most personal in spirit. This game is elegant, thrilling & difficult– it simply kicks ass. I re-discovered something beautiful here which had been lost, and shared its secrets with everybody. The programmer of Taipan! is brilliant, as this ancient computer game has layers of nuances which need to be peeled back like an onion in order to discern its essence. There are life lessons here and if you don’t understand the game, then you don’t have a chance of succeeding.
4) Patient Refunds at Aspen Dental Published August 30, 2017 as a discussion on dental ethics. I am still a dentist by profession, since I can’t make money at music or writing– due to blacklisting censorship. The videos I posted of Aspen Dental’s then-latest advertising campaign have all been taken down by their owners. Aspen Dental is a joke, a disgrace to the profession. Hedge-fund investors, Wall Street, and multi-national corporations have ruined the professions of medicine in the 1980’s & 1990’s, and then dentistry in the 2000’s.
5) The Ambidextrous Athlete Published November 26, 2016, this piece references medical essays previously written on hip & back injuries. This article is more of a layman approach, discussing the benefits of becoming ambidextrous. The originality of this is that it targets people of all age. Most sports training essays are written for young athletes or professionals, but the healing & energizing power of ambidexterity applies to all ages. So whether it’s training oneself to be the dominant Next-Gen athlete in a sport, orrehabilitating old injuries, this piece has revolutionary ideas & overflows with pearls of wisdom.
6)Where Were You When…? Published January 1, 2016 because I had just seen Soaked in Bleach (2015) on Netflix. It turns out Kurt Cobain was most-likely murdered by his wife Courtney Love & her accomplice Michael “Cali” Dewitt. This conspiracy is not to be discussed in the music industry, nor mainstream media, but by this point the fans already know. I was a big Nirvana fan back in the day, and Kurt Cobain was a huge influence on my performing & songwriting style. Being murdered is better than suicide, but someday this case needs to be re-opened so an honest investigation can proceed. I included many photos of what’s left of the evidence. These pictures of the crime scene & suicide note, as well as Cobain’s personal notes, have become harder to find over the years on the internet. People come here to get them.
7) Lieutenant Columbo on the Jeffery Epstein case Published August 10, 2019, just 9 days ago [!]– this became an instant classic. This event took up precisely one week’s news cycle, and has already been flushed by the media. Where is the CC video of Jeffery Epstein’s cell during his death? One can’t even make a case for cause-of-death, much less close it, without that crucial & definitive evidence. My follow-up titled Conspiring to squelch conspiracy theories published on August 14, 2019 completes my thoughts for now. The photo above is Jeffery Epstein walking with Prince Andrew in Central Park, NYC. There are still lots of loose ends to tie up here, if you know what I mean.
8) Marquette: What’s in a Name? Published February 23, 2015, this essay is from the perspective of an alumnus. It deals with racism, jingoism, and loyalty to an institution. It deals with “selling one’s likeness,” in a way few people have considered. This piece was difficult yet fascinating to write, because of the emotions one has towards a university one attended for seven years. Marquette University alumni have passed this essay around extensively, but no one from MU ever asks me to speak there, nor mentions this article publicly.
9) San Diego Padres: Gay Pride Night, Smokeless Tobacco & Losing Published May 26, 2016, I had to re-read this piece to remember what I’d written. It is one, in a long line of Padres reports during a most-interesting season, where their GM traded away their entire pitching rotation, closer, and overpaid veteran position players– changing the rules-of-the-game in the process. Baseball is about handling losing, so maybe that’s what resonates here. Or maybe it’s my censored comment to ‘MLB satisfied with Padres’ response to chorus mix-up’ on mlb.com/padres. “Unfortunate, but well-handled, Padres. Bring the San Diego Gay Men’s Chorus back to sing the national anthem on a military Sunday. Now that would be interesting!”
10)Lone Ranger Norris: Beer, Guns & Stupidity Published July 22, 2016 as a narrative on Lone Wolf McQuade (1983), which stars Chuck Norris. I took pictures of this movie playing on DVD, which really helps. Otherwise the reader might not believe what’s written. This is an awful movie, but to be fair, I do like A Force of One (1979),The Octagon (1980), An Eye for an Eye (1981), and Invasion U.S.A. (1985) as guilty indulgences. Also note that Breaker, Breaker (1977) is so bad, it has extreme camp value. Everything else from the reactionary actor Chuck Norris is pretty much unwatchable, IMO.
12) The Circus of Dr. Lao & the Satellite of Love Published December 19, 2014 this references Mystery Science Theater 3000, my favorite television series ever. Episodes (experiments) ran two hours for 10 seasons on cable during the 1990’s, and MST3K was brilliant in concept & execution– until most of the talent departed after Season 7. Joel Hodgson leaving during Season 5 was the beginning of that demise.
Every great player needs a theme song. This kid (age 20) is going to be a great player.
So here’s my “Weird Al” Yankovic version of “Fernando,” the ABBA melodramatic classic…
Note: There’s only the opening two verses in my version, because he’s still a rookie.
“Fernando (Tatis, Jr)”
Can you hear the drums Fernando? I remember long ago another starry night like this In the firelight Fernando You were traded from the White Sox, by an owner who had no clue We saw the Padres future at shortstop And waited patiently through the minors just for you
Now you’re in MLB, Fernando Every hour, every minute seems to last eternally I was so afraid Fernando When you tore your hamstring on a painful stretching try And I’m not ashamed to say That gruesome injury almost made me cry…
There was something in the air that night The stars were bright, Fernando They were shining there for you & me, Padres victory, Fernando Though we never thought we’d dump James Shields– there’s no regret If we had to make that trade again We would, my friend, Fernando If we had to make that trade again We would, my friend, Fernando
[Listen to ABBA original 3rd verse in solemn silence for his father; then repeat chorus & fade out..]