I am so pleased to be able to announce that after nine months of consistent, diligent work, the re-mastering project for the first Skafish album has finally been completed. I want to give a big shout-out to mastering engineer Trevor Sadler for his meticulous attention to detail and his unwavering support for the project. He has been instrumental in making the re-mastering a success.
I am thrilled with the results and I hope you will be, too. If you like the first album, I believe that you will love the re-mastered version. I stayed committed to the original vision of the album. Trevor and I didn’t do anything foolish like make the entire album a brick wall of loudness, as some do when they re-master a record. Instead, we kept all of the dynamics and nuances (including the soft passages) intact. At the same time, we worked hard to gain the highest possible fidelity, clarity, power, fullness and richness of sound. We made every effort to achieve the best possible balance and enhancement of the overall production and final mix that we could.
Throughout the years, I’ve gotten emails from people who had discovered the album, stating how much they loved what they heard. Since this is the first time the album will ever be available digitally and on CD (as well as a new vinyl re-release), the record can hopefully reach a whole new generation of fans who can connect with it.
Yes, There’s A Bonus Track: I also have some exciting news to share: The track Sink or Swim (originally the B-Side to the single Obsessions of You) will be included as a bonus track on all formats of the album’s re-release. Since Sink or Swim has been a fan favorite as well as one of the band’s and mine, I thought it would be a fantastic addition for everyone.
There were two factors that determined whether I could include Sink or Swim. The first was that I was able to successfully legally terminate the rights of the record company. Since the first Skafish album and the single Obsessions of You b/w Sink or Swim were two separate releases (and therefore, two separate sound recording copyrights), I had to terminate both the sound recording copyrights for the album and Sink or Swim. Also, I had to make sure that there would be enough time to fit Sink or Swim on a vinyl release without losing fidelity.
A Brief Timeline Of Events: Here is a brief timeline for the 1st Skafish album re-release project and how it has unfolded so far:
December 18, 2012: I sent the termination notices to EMI, the record company who owned the sound recording copyrights in order to legally regain my rights to the sound recordings to my first album and Sink or Swim.
May 15, 2015: Thirty five years after the date of publication, I officially regained the rights to the sound recording of the first Skafish album.
June 1, 2015: Thirty five years after the date of publication, I officially regained the rights to the sound recording of Sink or Swim.
Mid-February, 2016: On my blog, I first extended the invitation to my fans to contribute to the cost of re-mastering the first album project.
February 25, 2016: The first donation came in.
May 1, 2016: The estimated cost of $1000.00 for the project was fully funded by my fans.
May 24, 2016: Mastering engineer Trevor Sadler began the re-mastering process.
February 24, 2017: After nine months of day-to-day work, the re-mastering project was completed.
Once again, I want to extend my deepest heartfelt gratitude to all the fans who have donated to re-mastering the album, everyone who has shared online posts, followed me on Spotify and helped to spread the word. This project couldn’t have gotten this far without you!
What’s Next: As I’ve mentioned before, I will be sending out a link to a survey to get everyone’s input before I finalize the crowdfunding and re-release plans. If you’re not on my mailing list, please sign up to be notified about this project and future developments.
I’ve got good news to report. The mastering is almost done! My mastering engineer, Trevor Sadler, and I have been working diligently on this project with the same two objectives in mind that have been there from the very beginning of this project:
First, I am committed to remaining authentic to the original vision and recording of the first Skafish album. Second, at the same time, attaining the highest audio quality and fidelity possible is essential.
Some of you have asked the question of why we were mastering from both never-before-played vinyl and the final studio tape mixes. I’ve had people wonder why I felt the need to master from both sources.
There are several important reasons why we used both. First, we wanted to see which medium provided the best sound. And, it is clear that the tapes offer superior sound quality.
However, the flat vinyl master still continues to provide a valuable purpose. That transfer is the exact record everyone has heard and is familiar with since 1980. It is authentic.
So, with the intention of remaining true to the spirit of the original album, we have been able to compare the new studio tape master to the original flat vinyl transfer. That comparison gives us a solid, objective reference point to keep navigating from. It is a lot of extra work, but I feel it is necessary to get everything done correctly.
While we are putting the final touches on re-mastering, I wanted to let you know about something coming up soon where I will need your input. I am creating a survey. This survey is only for only those who are planning on buying the album (and not for those who don’t intend to purchase the record).
If you are planning to buy the album, I need to know what you want. Would you like the album to be available on vinyl, CD, digital, or in other formats? Are you interested in a limited edition re-release? Do you want signed copies? And, there will other questions as well.
Since this pressing will initially only be available through crowdfunding and pre-orders, I want to make sure that we get the numbers right. Please stay tuned for the survey – I am working on it!
As you may already know, I finally have over 250 followers on Spotify! Therefore, I can apply to gain control of my artist account there. Thanks to all of you who have followed me there and who have spread the word. This means that I will have more control of what I can offer to you on Spotify. Also, please add my music to playlists on Spotify. It is a great help.
In the meantime, please spread the word about my music on social media. Spreading the word about Skafish is a subterranean grassroots movement that all of you are a vital part of.
It is so exciting to finally be able to see that we’re really coming to the end of the re-mastering process. It has been a lot of work — and well worth it for my fans. I will be in touch.
About a week ago, I promised an update to let everyone know just where the 1st Skafish album re-mastering project is currently at. And, for those of you who have just tuned in, let’s start with a little recap:
So far, two never-before-opened vinyl copies of the first Skafish album have been transferred to digital. Mastering engineer Trevor Sadler and I have listened to both, studied them and compared notes. Of these two, one pressing was from the United States and the other came from the United Kingdom. The vinyl transfers were promising.
However, there was still the unanswered question of the tapes. These would be the original tapes from the studio where the album was originally recorded that I talked about here. They are high-quality reel-to-reel tape dubs of the final master mixes. We wanted to see if they would sound better, worse, or the same as the vinyl transfers.
Current update – the tape transfers:
Trevor successfully transferred the tapes and sent me two copies in mid August. The first copy was a straight, unchanged flat transfer, meaning, nothing was done to adjust the sound whatsoever. The second copy had a small degree of mastering that Trevor had done. After listening to the second copy, it was pretty evident to both Trevor and I that the tapes sounded extremely promising. Proceeding from there, Trevor started working toward the final master.
Then, on Saturday, 9-3-16, I received and began listening to a more finished master made from the original tapes. This transfer further developed the album to be closer to a completed audio master, which involved such things as working with the treble/bass, overall EQ, balance, volume levels, compression, etc. That’s all technical jargon for getting the best sound out of the album possible.
So, what’s the verdict? It is absolutely clear that the studio master tape dub is superior in sound and quality to either of the vinyl masters – and that’s what I am going with.
I know this process has taken some time, but there are a lot of details to pay attention to as well as multiple sources we have needed to master from. The most important thing is not speed, but getting it right. Moving forward, there are a few tweaks and some details that still need to be taken care of. That’s in part because we need two separate masters: one for vinyl and the other for CD and digital. The vinyl and digital medium are notably different in terms of what they each require for a proper master. It’s important to me that both sound excellent.
When it comes to the audio master to the 1st album, there are two primary objectives I have in mind. First, I want to keep the sound authentic and loyal to the original album and its fans. Second, it is important to have the music work in the best way possible for both a vinyl and CD/digital release.
While the re-mastering is being worked on, there is something I would ask you to do for me. I am trying to gain control of my Spotify artist account, and I need 250 followers to do so. Currently, I have 111. Please follow me on Spotify. It doesn’t matter whether you have a free or paid account, because you can follow me with either type on Spotify. That will certainly help with making the 1st album project a reality, because I will be able to post updates, add pictures, playlists, and share things directly with the fans on Spotify.
I am not one who neurotically and obsessively posts about every little thing in a project, which is why you don’t hear from me constantly. In other words, I don’t believe that listening to the album at low volume versus high volume is worthy of a post, lol. My goal is to share substantial information with you that is relevant. Of course, you will be hearing from me as everything develops and comes together.
The project to re-master the 1st Skafish album has been fully funded. Words cannot begin to express the gratitude and appreciation I feel for everyone who has been so willing to donate, spread the word, and offer their support.
For years, people have been asking for a re-release of the first album. Now, the support of everyone who has so generously contributed to getting this done is helping to be able to make that a reality.
I am excited to take the next steps toward a proper re-release of the first Skafish album on vinyl, CD, and digital.
I will now be moving forward toward getting everything ready to go to the mastering engineer and begin the process of working with the source materials to get the best and most authentic sound possible.
I will be keeping everyone posted of the project’s progress. Again, from the bottom of my heart and spirit, thanks so much for your generosity and support!
I wanted to let you know first that we are now offering the WHAT’S THIS FREAKIN’ $%&!? T-Shirt for sale exclusively through our Bandcamp store. This limited edition item, specifically designed to promote the What’s This? 1976-1979 album, has only been used for promotional purposes before. We have LIMITED QUANTITY AND LIMITED SIZES available.
T-shirt lettering says: WHAT’S THIS FREAKIN’ $%&!?
We only had 300 made, and after they’re gone, that’s it. No more will ever be manufactured.Currently, we have 200 T-Shirts left to sell. Normally, we would sell this T-Shirt for $25, but we are happy to offer this item to you at the introductory price of $20.
The T-Shirt is:
Black T-Shirt with white, distressed lettering
Machine washable and tumble dry
In a sealed plastic bag with air holes for freshness
When most composers write songs, they rarely write lyrics that are stated as literal prose. Imagine if the following were the words to a new hit single: “I was walking down the street and happened to meet up with John who I had a conversation with. John said, “Hello fella, long time no see, should we go out to lunch some time? I work till five o’clock every day except this Saturday”—STOP!!! Could you imagine a lyric like that, yet alone trying to sing it? It would be so dreadfully boring that it wouldn’t even be funny as a HA HA HA Parody. (LOL)
Lyrics, like poetry, provide an often-different less pragmatic mode of verbal communication from conventional linear writing. With lyrics, the lines, parameters and structures are less literal, more open-ended and far blurrier. (For example: I remember hearing David Bowie talking about cutting up lyric lines and words and sort of arranging them all together). When interviewed, Mick Jagger said that when he’s writing a song, he first writes down the words strictly as prose. Then he adapts the words and works with them to becoming a lyric.
Lyrics are often metaphorical on purpose. I’ve heard many artists say that they would like to have the listener take whatever they feel (in a sense whatever they want) from a lyric – not shove the lyric down someone’s throat as a verbatim statement. Kurt Cobain had commented that literal lyrics were one-dimensional and boring and that he tried to keep his lyrics blurry. With that blur, there are many potential interpretative possibilities. It’s sort of the difference between looking at a clear simple picture, versus an image with multiple dimension, shades, hues, textures, layers and even effects.
Some lyrics are stream of consciousness as in Walk This Way by Aerosmith or Come Together by John Lennon while he was still a member of the Beatles. These lyrics can take the listener on a sort of surreal journey, as these words often filter up from the subconscious of the writer.
Most people don’t have any problem with the above-mentioned styles of lyrics. They can be interesting, open to interpretation and thought provoking. What people usually do have a problem with though are the types of lyrics that dramatize a situation, often violently. A lot of people, especially non-music fans take these lyrics as being the gospel truth of the writer – as if the lyricist meant every word completely graphically. Especially if it’s violent, it would be presumably stated strongly, therefore, it incites reactions in people who don’t understand the art form as a medium or the real meaning behind the song.
Of course, Rapper Ice T didn’t really mean that he was plotting to go out and kill policeman in his song Cop Killer. The song came out originally on Body Count in 1992, an album by the rap & heavy metal band of the same name which Ice-T had been fronting. Said Ice-T, “I’m singing in the first person as a character who is fed up with police brutality.” Ice T considered Cop Killer to be a protest song.
However, the song wasn’t perceived simply as a protest song by a portion of society that was loud and vocal regarding their disdain for the song. In addition to the actual lyrics, the fact that he is a rapper and that the music itself sounded intense, are all contributing factors to people’s supposed outrage. Ice T received intense protests, pressure and death threats from the police, government and conservative social groups and shortly afterwards, the offending song was removed from the record. In the next year, Warner Brothers dropped both the band and Ice-T as a solo artist from their label roster.
Ice T ran into his problem regarding Cop Killer with the general public (the police and the good law abiding citizen thing) but certainly not his fan base. His fan base loved the song and identified with it largely from the vantage point of an “internal revenge fantasy” based on getting even with the police, who may have oppressed them or treated them unjustly, especially in the inner city.
I ran into a problem too, for my song Joan Fan Club which was released on my first LP in 1980, but for me, it was the complete opposite problem that Ice T dealt with in Cop Killer.
In the song Joan Fan Club, I put myself in the role of the ringleader, summoning the troops (in this instance the cheerleaders, jocks and normal popular kids in high school) to attack Joan (who was fat and ugly.) I wanted to make the song as vile, disgusting and intense as I could! Yes, I meant every word of it! I was going to recreate the drama and make people live through it! That would make my point – Live through this and see how it feels!
Here is an example of the lyrics:
Joan is the girl she waddles in class
I’m gonna stick some thumbtacks in her back
Gonna push her down gonna spray her with mace
Gonna touch her little pizza face
Joan is the girl we make her cry
She shivers and shakes on Friday night
Gonna egg her house throw some trophies too
Joan we’ve made this fan club just for you!
Something I didn’t expect though, was that many people took these lyrics as literal. You might ask, “Why shouldn’t they? You sang them and wrote them, didn’t you?” I erroneously assumed that EVERYBODY would know that I didn’t really mean that I was intending on acting out these lyrics or advocating for anyone to do so for that matter. How could they? That me of all people: someone with a nose the size of an adult man’s small penis, boobs, huge feet, dressing strangely and wearing make up was going to attack someone in school — like I would even have the nerve to think of doing so for one minute! I was busy fearing for my physical safety every day — not attacking “fat and ugly” girls. Remember kiddies, Jimmy wasn’t the prom king! (LOL)
The problem started with the fact that my fan base really liked it – they loved Joan Fan Club! They perceived me as mean spirited, clever and oh so cynical! The song mirrored their own viciousness vicariously lived out through the song and me and their post teenage angst holographic illusion they created of me. On top of that, they damn well expected me to live up to it – I better call them, or at least someone remotely fat and ugly names if they were in my presence, especially if others were near.
It really kicked into gear when Glinda Harrison and I first launched skafish.com in October 2000. We started getting emails from the vast world of cyberspace where fans were initially cordial and I responded back to them. Then suddenly, they viciously turned on me! I committed a horrible sin! One worthy of a lifetime of eternal damnation…I was (I can barely get it out – I’m choking up right now – please be delicate with me) nice to them. OK—I finally said it! I WAS NICE TO THEM! (Please don’t tell anybody) –I was actually friendly! Don’t hate me, please…
“Jimmy, did you really push Joan down the stairs? And if you didn’t you are a complete fake and sellout” was the gist of some of these emails received via skafish.com. These kinds of “fans” (term used loosely) tried to pigeonhole me. Now that’s funny! Anyone who knows me or has listened to any of my work should know that I can’t and won’t be reduced to one-dimensional shtick – disingenuously living up to the fans expectations, keeping the gravy train rolling. If I was ever going to do that, I would have played it safe from the beginning – and playing it safe in the music business is very simple. As an artist, you attempt to live up to the expectations of your fan base. It is just like being a politician and playing up to your constituency. Whether in music or politics, it really means that you better be pretty darn one-dimensional: not complex, contradictory or multi faceted. I remember hearing Nikki Sixx of Motley Cure laughingly saying that his group would lose their audience if that audience thought The Crue drank milk.
I’ve lost fans many times throughout my career by not living up to their expectations and by following my own singular artistic evolution. Honestly, that’s quite fine with me and I don’t mean that in a quasi defensive way. I’m happiest being me and yes, I am a very complex and hard to define individual. I could never make performing and creating similar to a predictable office job…Why do it then?
Just a few weeks ago I actually ran in the same problem with being pigeonholed once again. This time, the vicious attack was based on me doing something oh so bad – eternally sinful…oh my God, I’m going to be hated by everyone forever now — What would the punk and punkettes think of this?
I created a Christmas Jazz album?!?! Yes, the same person who spewed sacrilegious lyrics, sprinkled authentically blessed Catholic Water on audiences throughout the world, made a Christmas Jazz record, with no shocking lyrics – or any lyrics at all!?!?
But this person who posted the nasty review was so uninformed that he actually thought that I (Joan Fan Club Skafish) wasn’t me (Christmas Jazz album Skafish.) Believe it or not, he actually thought that I was a different Skafish and there were two Skafishes. He couldn’t even begin to perceive that someone who did Joan Fan Club could have POSSIBLY did the Christmas Jazz record “Tidings Of Comfort And Joy: A Jazz Piano Trio Christmas.” Here is the one star review he wrote which was posted on iTunes:
Not THAT Skafish
Looking for “Joan Fan Club” or the quaint Christmas fave “Disgracing the Family Name?” Then go on, New Wave Seekers, because this is not that Skafish.
A common musically-gifted name. Like “Partridge”? XTC vs the lovely group with David Cassidy, methinks.
This pigeonholing process I’ve been through also reminds me of a story Andy Prieboy told me in the late 1980’s. Andy and I went to high school together and played in a couple of bands back then – him as a singer and me as a keyboardist. One of the bands, a group I formed called Sway, played at our prison camp high school auditorium, Bishop Noll Institute in 1973 and because the road crew was smoking pot backstage, we were banned from ever playing there again. For those of you who don’t already know, Andy replaced Stan Ridgeway as the singer of Wall Of Voodoo and had international success in the 1980’s.
When Andy came back home to East Chicago Indiana to visit in the late 1980’s we reconnected. Months later, he was back in Los Angeles, and when I flew there to perform for the IRS Records 10 year Anniversary in September 1989, I saw Andy again and played keyboards on some of his tracks in the studio.
Andy was talking about the international press core that he experienced traveling with Wall Of Voodoo and made the comment that the press wanted, expected, even demanded that he be a complete A**Hole. After all, what else is a rock star? And if you’re a real rock star, you must: do heroin, be rude, violent, not show up for gigs, puke in public, be tortured and act out and treat the press like shit. Obligatorily, you must be arrested at least once! Here, the press tried to pigeonhole him.
My typecasting problem with Joan Fan Club was different from Andy’s as it wasn’t from the press — and it wasn’t with overweight support groups protesting the song and calling me an insensitive person to people of plus size – like “I’m fat and I still love myself. Let’s ban this terrible song Joan Fan Club.”
It was the simple fact that some of my fan base didn’t like the fact that I wasn’t the snotty monster my song so virally portrayed. The song was supposed to emulate something quite ugly, even diabolically despicable about how horrible high school life can be for those who aren’t popular. Joan Fan Club was about real life experience – my life experience – and I was going to damn well tell it my way – the way it actually happened. I just put myself in the role of the attacker to make it as real as I possibly could and have the maximum impact I could hurl out to the world from my inner rage! (Journalists knew the song was autobiographical by proxy, so I assumed everyone else would too.)
YES, I WAS JOAN!!!!! As with most of my songs, Joan fan Club was about intense and confrontational social commentary – it wasn’t pretty what I went through – so the song wasn’t going to be pretty! I was the one who was pushed down the stairs, attacked everyday – and threatened always. My home was attacked – there was no place of safety – the monster of abuse created the rage and that rage created the art which I am proud of for the guts it took to do it!
In reflecting upon what Ice T, Andy Prieboy, myself or any artist has been through regarding how the world as a whole reacts to what we create, perhaps it is always most important to remember to simply be who you are – just be you! That has always been my philosophy. Keep it simple! Keep it real! Keep it true! It doesn’t matter at all what anyone thinks!
For the compromises one incurs to “make it,” the price tag is just not worth it: loss of self-respect, cynicism, losing your fire to create what only you can create and worst of all, boredom. For Ice T, he was expressing his rage from the inner city – for Andy, why should he try to live up to a farcical “A**hole boy” stereotypic image of what the press core demands? For me, I would never make fun of someone or be mean spirited to impress my supposed fans! I wrote Joan Fan Club as a vehicle of social commentary, awareness, confrontation, purging and ultimately healing, even though some people didn’t really ever “get it.”