See, Hear, Say
1.See, Hear, Say
[verse]
Come (come) be (be) blinded
The eagle eye
For he who sights no God
[verse]
Say (say) don’t (don’t) listen
The explicit ear
For he who hears in absense
[verse]
Come (come) say (say) silence
The touched tongue
For he who speaks of evil
[outro]
Please excuse my ignorance
As I couldn’t stand a chance
To lose my virginity
With a whore none can
See, Hear, or Say
Song Length: 2:41
Writer: Jody Whitesides IPI/CAE 00196306650
Publisher: Too Much Music IPI/CAE 00456952518
Admin Publisher (Outside U.S.): Bluewater Music
Jody Whitesides: Vocals, Guitars
Jeff Scott Soto: Backing Vocals
Andy Miller: Drums, Backing Vocals
T.B. Player: Bass
Recording Info:
Cover Art: Jody Whitesides
Recording Engineer: Jody Whitesides
Mixing Engineer: Jody Whitesides
Mastering Engineer 2025: Jody Whitesides
Mastering Engineer 1998: Brian Fedirko of One on One
Vocal Engineer: Jody Whitesides
Producer: Jody Whitesides
El Padden Studio: All the guitars, bass and vocals were recorded here. The guitar room happened to be a small den room in the house Jeff and I were living in. The control room was a converted garage.
Blue Forrest Studio: The drums were recorded here.
Format: ADAT, the original black ones.
Console: Mackie 32 x 8 with the Mackie AutoMix system on a Mac. (for 1998 release).
Tracking Monitors: KRK.
2025:
Remixed at: Snow Park Studio in Park City UT
Mixed in LUNA
Mastered in LUNA
Guitar(s): Joe’s Guitar with Jesus Paint job. This guitar has a Seymour Duncan Custom Custom pickup and a Cool Rails. It also has a Wilkinson Tremelo installed by Trev Wilkinson himself. Strung with Dean Markley Blue Steel medium gauge strings. This is the guitar used on the guitar solo.
Fender Guitar: my first guitar, the only original thing is the body. Everything else has been replaced or modified. Think of the Van Halen Frankenstein guitar only this one has a Desert landscape for a paint job. Had a DiMarzio at the time the PAF pro. Standard bridge, one Humbucker. Strung with Dean Markley Blue Steels medium gauge.
The Amp Setup:
MesaBoogie TriAxis
Hush IIcx
Ensoniq DP2 for creating the effects
Alesis MEQ230
BBE Sonic Maximizer
GrooveTubes Dual 75 Poweramp that has been modified to be true stereo
GrooveTubes 2 x 10″ cabs – two of ’em for stereo tracking
I had a cross section of GrooveTubes 12AX7’s & 12AT7’s & ECC83 pre-amp tubes for the TriAxis
I had KT88’s on one side of the Dual 75 and EL34’s on the other side
The guitar cabinets were turned back to back, for the stereo effect
Bass(s): Honer V: This is the bass that was used on this song. A 5 string bass that was relatively quite cheap but records very very well. At the time of this recording it was strung with GHS Boomers as I couldn’t afford the Blue Steels at the time.
The Amp Setup: The bass was recorded direct. Unfortunately you live and learn.
Drums: The quieter swell parts were played on an early version of the Roland V-Drums, long before the TD-10 series and mesh heads. These were all rubber.
Tama – The exact model is something I don’t know. But Andy played the shit out of them and it was his kit
Cymbals – Combination of Zilidian, and Sabian. Two of the crashes where borrowed from Jamie Borger from Talisman. Andy ended up beating the shit out of them too
Snare – this snare was borrowed from Jack White. Not the guy from the White Stripes, but the original drummer for Rick Springfield. Jack let us borrow a couple of great snares
Remo drum heads – I bought them for Andy. I wanted to have fresh heads and the drum guy from Guitar Center and Andy both recommended that these were the ones to use
Mics: Sennheisers for drum overheads & hihats
Sure SM57’s on snare and toms
Mic Pres: API
Vocal: All vocals in this were recorded using a GrooveTubes MD1a.
Song Story:
First off this song was inspired by Harry Connick Jr. With that being said, see if you can figure out what song I got the structure from.
Now as far as the content… Well I really think people believe in the hear no evil, speak no evil, say no evil shit. It’s really silly. I’m not a religious person despite the numerous religious overtones on this whole album.
I was brought up to know right from wrong and to believe in good things. However I get the feeling too many people rely or need an outside influence in their life to make themselves feel better. I think that’s great if it really works for them, but could it also be the reason why our American society has so many problems? If there are so many types of religions and they all think they’re the “right” one, then how can any of them be right?
Right?
Anyway, this song was also an experiment in a strange vocal effect that I thought was pretty neat. Someday I plan on attempting it again to see if I can get closer to what I’m hearing in my head. This song came close on that effect, but still fell a little short. As well I believe it’s the only song where I played two guitar solos over each other. At the end of the song you hear one panned hard left and one panned hard right. I just went nuts in each take and I liked ’em both. I think it’s cool that they worked well over each other.
Factoids:
1. Dual guitar solos left and right over the outro.
2. The vocals are treated with an interesting reverse reverb to get that ghost like vibe.
Copyright: 1996/06/15
ISRC: USONR0301004
ISRC: USONR2400624
ISRC: USONR2400604
ISWC: T0709688209
SESAC Song ID: 594731
Harry Fox ID: X8271B
Harry Fox Publisher ID: P8938Q
UPC: 654433000122
UPC: 764656471361
UPC: 764656471347