Quite possibly the best PIRATE rock opera ever made...
The Tragedy of Admiral King (2008)
Origin story and detailed production notes: This is a long one. It took us 2-1/2 years to make, so there are lots of details. For example, how the field snare drums were recorded on a 50-yard line, how 4th of July fireworks were used for the cannon blasts, and how the drum kit was recorded outside on a dock by a lake. Click here or scroll down for the full story...
Here's a 1-minute preview.
Listen to the whole rock opera (3 movements, 23 songs, 1 hr 6 min)
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Or, listen for free, cuz it's a PIRATE rock opera!
(For the best experience, use quality headphones or car audio.)
Or, listen for free, cuz it's a PIRATE rock opera!
(For the best experience, use quality headphones or car audio.)
Who are The Fedoras?
From the CD booklet notes..
PRODUCTION NOTES
In 2003, Ben wrote “Admiral King”, one of our first songs. The lyrics were good, but the music we added was not. It was shelved and we went on, writing more songs, playing gigs, learning to record, and eventually producing our first album, “Trouble on the High Seas”. Along the way, Jacob had an idea to do a series of songs to find out more about Admiral King. The idea for this rock opera was born, and in January 2006, Jacob, Ben, Tim, and I worked out the story and all the songs. Two and a half years later, after many stops and starts, Admiral King was finally ready.
THE ROCK OPERA
In the tradition of works like Tommy, Quadrophenia, The Wall and 2112, a rock opera is not just an album of songs. Each song must tell a part of a larger story, both lyrically and musically. There are musical themes, and the songs flow from one to the next while the story is told. The challenge of producing an album is difficult enough, and we take off our hats to any who have successfully done it. Adding all the requirements of a rock opera makes this process even more challenging. You can’t just write a song and decide where it fits on the album. You have to write a song for each part of the story, one that tells the plot and conveys the mood at that specific point. It must flow from the previous song, and set up the next song. There are many, many times when it seems an impossible task.
However, when it’s finally done, the effect is greater than any set of individual songs. A bigger story is told—one that couldn’t be told any other way. In a world dominated by hit singles, the long-form album still has a place, and the rock opera a special place within that. Some songs are meant to be heard together, and some stories are too big for a track or two. We hope that the time you spend listening to Admiral King will reward you with a satisfying experience, and that you will gain a deeper understanding of the rock opera’s unique, rare and vital place in the modern music landscape.
In 2003, Ben wrote “Admiral King”, one of our first songs. The lyrics were good, but the music we added was not. It was shelved and we went on, writing more songs, playing gigs, learning to record, and eventually producing our first album, “Trouble on the High Seas”. Along the way, Jacob had an idea to do a series of songs to find out more about Admiral King. The idea for this rock opera was born, and in January 2006, Jacob, Ben, Tim, and I worked out the story and all the songs. Two and a half years later, after many stops and starts, Admiral King was finally ready.
THE ROCK OPERA
In the tradition of works like Tommy, Quadrophenia, The Wall and 2112, a rock opera is not just an album of songs. Each song must tell a part of a larger story, both lyrically and musically. There are musical themes, and the songs flow from one to the next while the story is told. The challenge of producing an album is difficult enough, and we take off our hats to any who have successfully done it. Adding all the requirements of a rock opera makes this process even more challenging. You can’t just write a song and decide where it fits on the album. You have to write a song for each part of the story, one that tells the plot and conveys the mood at that specific point. It must flow from the previous song, and set up the next song. There are many, many times when it seems an impossible task.
However, when it’s finally done, the effect is greater than any set of individual songs. A bigger story is told—one that couldn’t be told any other way. In a world dominated by hit singles, the long-form album still has a place, and the rock opera a special place within that. Some songs are meant to be heard together, and some stories are too big for a track or two. We hope that the time you spend listening to Admiral King will reward you with a satisfying experience, and that you will gain a deeper understanding of the rock opera’s unique, rare and vital place in the modern music landscape.
CREDITS
THE TRAGEDY OF ADMIRAL KING
© 2008 Conceived, written, recorded, mixed and mastered by The Fedoras. Completely produced on a Mac iBook using Garageband.
THE FEDORAS
Ben Jones - lyrics, lead vocals, bass, viola, accordian
Tim Moehring - drums
Scott Moehring - backing vocals, electric and acoustic guitar, tin whistle, didjeridu, bodhran
Jacob Hawkins - mandolin, electric and acoustic guitar
ADDITIONAL MUSICIANS:
David Hawkins - cello
Megan Moehring, Emily Astorian & Anna Piper - choir in End of the Fuse
Matt Thacker - 2nd electric guitar solos in Capetown and End of the Fuse
2008 Bluecoats Drum & Bugle Corps - field snares and brass - Chris, Jeremiah, Bryan, Niles, Jeff, Drew, and the rest of the best drum corp in the world
The Bryn Du Bandits - pub and pirates - Steve, Spencer, Cam, Schmitty, Ben, Tim, Andrew, and Super the dog
A sincere and heartfelt thanks to everyone who helped us with this project, directly or indirectly. It would never have been completed without your support and encouragement. Raise a glass to King!
THE TRAGEDY OF ADMIRAL KING
© 2008 Conceived, written, recorded, mixed and mastered by The Fedoras. Completely produced on a Mac iBook using Garageband.
THE FEDORAS
Ben Jones - lyrics, lead vocals, bass, viola, accordian
Tim Moehring - drums
Scott Moehring - backing vocals, electric and acoustic guitar, tin whistle, didjeridu, bodhran
Jacob Hawkins - mandolin, electric and acoustic guitar
ADDITIONAL MUSICIANS:
David Hawkins - cello
Megan Moehring, Emily Astorian & Anna Piper - choir in End of the Fuse
Matt Thacker - 2nd electric guitar solos in Capetown and End of the Fuse
2008 Bluecoats Drum & Bugle Corps - field snares and brass - Chris, Jeremiah, Bryan, Niles, Jeff, Drew, and the rest of the best drum corp in the world
The Bryn Du Bandits - pub and pirates - Steve, Spencer, Cam, Schmitty, Ben, Tim, Andrew, and Super the dog
A sincere and heartfelt thanks to everyone who helped us with this project, directly or indirectly. It would never have been completed without your support and encouragement. Raise a glass to King!
Click below for the CD insert.
| king_cd_insert.pdf |
Behind the music
The album cover was designed to form a matched set with the cover of our first album, "Trouble On The High Seas". It features a side close-up of the full-size replica of the Santa Maria which was docked in Columbus, Ohio. The island panorama on the inside is of Guam, where Tim was first stationed as a Navy diver.
Here's the "studio" where it all happened. OK, it was just a corner of our basement in Granville, Ohio. We had one MacBook equipped with Garageband 2 (circa 2005), one microphone, and one input jack enabling us to record a single track at a time. On the right is the black foamcore board where we planned it all out. We hung three strings, one for each movement. Each song was a single sheet of paper attached to a string. We could see the whole opera at once, which really helped make sure it all tied together. We could easily add songs or move them around, or make notes about how parts of this song would be echoed later in that one, or make sure we had fast songs, slow songs, and good transitions in the right places. Being able to picture it was unexpectedly important, because the final structure is heard, not seen.
Here's the "studio" where it all happened. OK, it was just a corner of our basement in Granville, Ohio. We had one MacBook equipped with Garageband 2 (circa 2005), one microphone, and one input jack enabling us to record a single track at a time. On the right is the black foamcore board where we planned it all out. We hung three strings, one for each movement. Each song was a single sheet of paper attached to a string. We could see the whole opera at once, which really helped make sure it all tied together. We could easily add songs or move them around, or make notes about how parts of this song would be echoed later in that one, or make sure we had fast songs, slow songs, and good transitions in the right places. Being able to picture it was unexpectedly important, because the final structure is heard, not seen.
We tried a lot of ways of recording the drums. We only had a single microphone and a single input, so the traditional studio technique of recording drums with multiple mics wasn't an option. Also, recording rooms usually have heavy padding on the walls to stop the sounds from bouncing around and sounding like you recording are in a tiny room. Lining the walls wasn't something we could afford to do either.
We had the idea to try recording outside. No walls, so no sounds reflecting back! However, the sound was thin, especially the bass drum. We tried moving the drums to the dock on the pond behind Jacob's house. It worked! The microphone picked up the wood dock resonating from the bass drum. After I built a special equalizer setting to emphasize the frequencies of the drums and cymbals and balance out the relative volumes of each, and we had our unique drum recording technique.
We had the idea to try recording outside. No walls, so no sounds reflecting back! However, the sound was thin, especially the bass drum. We tried moving the drums to the dock on the pond behind Jacob's house. It worked! The microphone picked up the wood dock resonating from the bass drum. After I built a special equalizer setting to emphasize the frequencies of the drums and cymbals and balance out the relative volumes of each, and we had our unique drum recording technique.
In professional recording, drums are usually recorded first. The other instruments then play along to the drum track when recording their parts later. We did it in reverse. The Garageband software has great editing capabilities. However, because we were building the whole opera instrument by instrument, we had to be able to record and edit so everything stayed in PERFECT sync with the digital timing of the software. We decided to use a digital click track (digital metronome), and simply record to that.
I would build the most basic digital drum track for each song. We would record the guitar, bass, mandolin, and vocals in perfect sync to that track. I would then delete the digital drums and turn on the click track. Tim would record his drums by putting on headphones and listening to the rest of the band's main parts while playing along. This enabled him to play and improvise with a natural feel instead of having to focus obsessively on timing. After the main parts were recorded, the additional layers of accordion, cello, brass, backing vocals, etc. were added in the same way. Headphones for the artist, and listening to the layers already in place while recording the new layer. This enabled us to continue recording despite people moving to different states and having very different schedules. We just filled in the parts as we could over 2-1/2 years.
The album was never intended to be played live. It was a project for ourselves and our few fans. Our only goal was to have the final mix be the best we could make it, and by whatever means. This could mean dozens of takes to get the one part we kept. There were countless hours of writing, discussing, recording, listening, editing, re-recording, re-editing, and listening again. We almost gave up more than once. But, in the end, we were able to keep it moving and get it done, and we're all really proud of it.
I would build the most basic digital drum track for each song. We would record the guitar, bass, mandolin, and vocals in perfect sync to that track. I would then delete the digital drums and turn on the click track. Tim would record his drums by putting on headphones and listening to the rest of the band's main parts while playing along. This enabled him to play and improvise with a natural feel instead of having to focus obsessively on timing. After the main parts were recorded, the additional layers of accordion, cello, brass, backing vocals, etc. were added in the same way. Headphones for the artist, and listening to the layers already in place while recording the new layer. This enabled us to continue recording despite people moving to different states and having very different schedules. We just filled in the parts as we could over 2-1/2 years.
The album was never intended to be played live. It was a project for ourselves and our few fans. Our only goal was to have the final mix be the best we could make it, and by whatever means. This could mean dozens of takes to get the one part we kept. There were countless hours of writing, discussing, recording, listening, editing, re-recording, re-editing, and listening again. We almost gave up more than once. But, in the end, we were able to keep it moving and get it done, and we're all really proud of it.
Track-by-track notes
Part One
1- Overture
LYRICS
instrumental
STORY NOTES
There is no real story in the Overture, and yet it tells much of the tale in one six-minute musical journey. It sets the tone, and hints at the characters and moods to come.
PRODUCTION NOTES
This instrumental piece sets up the whole opera and introduces the repeating musical themes. Each theme features a different hero instrument. After the sound of the sea, the first notes are from Ragged Saint, and they are followed by Rose's theme on flute with cello. At 2:33 is a part of the original Admiral King melody written in 2003. It's used later in Luck of the Damned, and it's our homage to the original piece of music that inspired it all. It's followed by Captain Basil's theme on cello with field snares. It transitions at 3:41 to the Ragged Saint theme incorporating brass. At 4:36 is the final transition to a new King theme, this time featuring mandolin, and more piratey. This is the only theme in Overture that isn't heard again in the album.
2- Misfortune Foretold
LYRICS
Here we are again, at the end of this affair • And after all we find, we had lost before the start • It appears that we, being nothing but forgotten • Were swallowed by the ocean, and spit out into darkness • [CHORUS] • The ship was swaying, our hearts were weighing • The fate of our existence, in the hands of such a saint • And the wind was crying, our hope was dying • Misfortune had its way, misfortune had its way
STORY NOTES
A preview of the coming tragedy. The foreshadowing is obvious, and the lyrics are repeated at the beginning of Track 19 in the actual sequence of the story. We learn that this story won't end well.
PRODUCTION NOTES
This melody will be repeated later in Track 19, but with a punk syncopated drum beat instead of the 4/4 beat here. Placing the track here is a foreshadow, so it's mellower and shorter, but Track 19 is the real story and arrangement. This was one of the results of having all the songs up on the wall in sequence and on separate sheets of paper. We saw an opportunity to musically preview what was to come later, and just put a new sheet in place here.
3- The Calm Before
LYRICS
On the corner of Devon Street and West Portshead Lane, there is a pub. I found myself passing beneath the creaky sign of this particular pub swinging in the light wind of April, and it occurred to me that I had not tasted draft in several weeks. Having just returned from the colonies on a small trading vessel, I found that I could not resist the temptation. Upon entering the filthy establishment, I cast my eyes upon the man sitting in the corner entertaining the regulars. I asked the barkeep who the man was. The keep told me he was a regular, a man named King. Everyone knew his music, but no one really knew him. As I contemplated the stone-faced man, I found that my interest in him came not from his appearance, for he was not much to look at, but from his playing. I looked around and found that I was not alone. All through the simple establishment, people were keeping to themselves, but as he began to sing, others sang with him. By and by, a tumult of raspy, heartfelt, and thoroughly drunken voices joined in the revelry.
STORY NOTES
This is where the story actually begins and then continues in sequence for the rest of the album. The narrative style helps get the back story and setting in place. The narrator is Jonesy, an unidentified sailor who is a witness to the whole forthcoming tragedy of King. Jonesy stops at a local pub, inquires about the musician King, and stays to drink and listen. You hear King called "Admiral" for the first time.
PRODUCTION NOTES
The music transitions are seamless so it doesn't interrupt the flow as the story begins. The opening door sound begins the pub scene. The crowd sounds were recorded in two unrehearsed improv takes at 1:00 in the morning in a dark room in the rain because the power had gone out. The laptop was still going strong, so the session was finished. Ben learned accordion just for this song and French Antilles.
4- Round One
LYRICS
Good men, my friends, lend me your ears, lend me your hearts, or lend a pound • For when I came to London town, I found I’ve not but the wind at me back • [CHORUS] • Round one, our fun has just begun, the night is but a child, our spirits running wild • Round one, the tears that I would cry, to hear the ladies’ sighs, our spirits running wild • Round one • So, drink, my friends, drink hearty now, drink with a smile, and not with a frown • Fill it all up, and drain it all down, then , perhaps, you’ll buy me one too • [CHORUS]
STORY NOTES
King and his backing band leading the pub as he probably did most nights in what appears to be a popular local pub song. More and more join in as the song goes on. The song probably represents hours of drunken singing. London is confirmed as the location for the pub.
PRODUCTION NOTES
A seamless transition again, leading to a growing crowd. The pub singers are supposed to be drunk and are intentionally off time and pitch. The sound of bottles and mugs was recorded in the same take as the crowd sounds. This song features Jacob's simplest mandolin solo, and it's just right. The door begins to open and close at the end as the pub evening gets later and people start to leave. The dog bark at 2:29 was left in because it fit so well. He just barked because everyone else was singing and staggering around the room getting into character.
5- Last Call
LYRICS
As the moon rose, the sorry vagrants of London stumbled into the night, until all that was left was a handful of drunks, including several Naval officers under the command of the distinguished Captain Basil. A veteran of both war and whiskey, Basil was in the company this evening of a vibrant flower. This Rose, however beautiful, acted as all roses do in the clutch of disrespect. In response to slander, she stung the faces of several brash sailors, and stormed into the night. Undetected by all save me and King, the sailors stole out the door after Rose.
STORY NOTES
Narration chosen again for it's ability to convey a lot in a short amount of time. The pub song tapers off as drunk patrons leave the pub for the night. We are introduced to Captain Basil and Rose. Rose is insulted, slaps the officers, and leaves by the alley door. King and Jonesy both see the officers follow her.
PRODUCTION NOTES
Gradually the sound of the crowd singing thins out, and the door opens and closes as people leave and the music fades out to just a few people.
6- Derringer
LYRICS
Just outside the scuffle breaks, dance that dance that shakes her conscience • On their breath the devil speaks, that makes men lust, the flower shrieks • Insinuating glances bare, the mark of sin on her soft skin • That glows beneath the lamp outside, with no one there to hear her cry • She’s breaking down, she’s breaking down, she’s breaking down, she’s breaking down • No one is the name of he, who sees the evil in the night • King is no one to deceive, but for his Rose he fights the fight • Stand for her who makes you quake, may chivalry reclaims it’s face • For her he draws the battle line, for her he raises hell tonight • He joins the show, of misery, he joins the show of misery • To keep the virgin maiden’s power, to find the justice in a man • As cold as one in Satan’s land, to be there in her darkest hour ••• Come what may, as fate would say, cloaked in sailor’s visage • The product of a fearing world, one shot to kill a man • Residing in the hand of his, resounding in the night • Whiskey cannot wake the dead, thus the guilty take their flight ••• Bloody, battered, he stands alone, she’s grateful but her horror shows • And the Captain’s standing behind him, and death is on his hands
STORY NOTES
The officers attack Rose in the alley. King steps outside, followed by Jonesy, who sees it all. The normally peaceful King comes to her rescue, taking on all the men. An officer's gun is discharged, killing one of them. The officers flee the scene, and then Basil hears the commotion and comes outside. He finds Rose with torn clothing, a dead officer, and a bloodied King.
PRODUCTION NOTES
This was actually the first song that was written and recorded. The opening guitar sound was actually inspired by the beginning of Hendrix's Foxy Lady. The gunshot was recorded behind Jacob's house with his dad's gun. Jacob handles the acoustic guitar for this one. This song was released on our first album as a preview of the rock opera to come, but it works so much better here in context.
7- The Verdict
LYRICS
Rose, Rose, where is your heart? Who is this man? My officers, how could they? How could they have touched my Rose? The shot. That man had no gun. What did they call him - the Admiral? I’ll send him to hell! I’ll send them all to hell. She’s mine, she’s mine. My officers are innocent. They wouldn’t, they couldn’t. No, not Rose. It had to have been that man. • Basil, Basil, Basil. Calm yourself down. King will be punished and sent away. Rose will be mine. My men in the fray will be forgotten. No one saw it. No one can prove it wasn’t him.
STORY NOTES
A journey into Captain Basil's thoughts. It's significant that The Verdict comes before the Trial. King's fate is already decided. Basil also questions King's name ("what did they call him - the Admiral?"). This can be interpreted as "Admiral" is not a title, but rather a nickname, but the origin is unclear. A symbol of age or respect, or a tie to past deeds? It isn't until the beginning of Part I that it begins to take on new meaning. So, how much time passes as Basil rages internally? Minutes? Hours? Days? He finally gains control of his emotions and decides to frame King for the murder. This transitions into the precision military escort that takes King to the trial. The time represented is probably several days while King awaits trial.
PRODUCTION NOTES
Random and building into chaos to show Basil's descent into madness over what he sees. At :35, he gains control over his emotions, and Basil's cello theme is heard. The crisp efficient field snares (complete with Kevlar heads) make the perfect military escort. They were recorded by members of the 2007 Blue Coats Drum and Bugle Corps on the 50 yard line at Denison University during breaks in their 12-14 hour daily rehearsals. Once they heard about the project, they wanted to be a part of it. They were outstanding to work with. This part was slaved over (5-stroke roll? 7-stroke roll? buzz roll? butt end? tip? top or bottom drum head? center or edge of the head? rim shot at end? It was great to watch these pros work out the details. The extra rim shot at the end adds the perfect finishing touch.
8- Trial and Testimony
LYRICS
How could such a man in such a time be not the one? • Guilty is as guilty does, and guilty is who shot the gun • Take this man away • [CHORUS] ‘Twas grace to face that killed the man, merry men crossed the line • The officers fled their own crime, and King will bite the bullet • This is my testimony, injustice must not take its toll • Unbind this man and leave him be • Let this man be free! • After much deliberation and in much anticipation • There appears there is no contest, and it’s much to our dismay • Take this man away • [CHORUS] • Taking one last chance, I stood in a frenzied rage, ranted and raved • My patience runs dry, how can this decision be? • You filthy little monster, you were paid off by the sea • You have no proof, the only witness was the man • I saw the scene. He’s being framed. Ask his maiden. No, not the captain’s, she is King’s! • Apprehended, I was taken, I was beaten, I had lost • On his throne of lies, he sat spitting • Take these men away
STORY NOTES
This takes place in the courtroom as a back-and-forth between the judge and Jonesy. Jonesy is a passionate witness, but loses to the calm and detached power of the judge and the system. King and Jonesy are sentenced to exile.
PRODUCTION NOTES
The judge is in the left channel with special processing to make his voice deeper and less real, and Jonesy is in the right. This definitely has echoes of the trial scene in Pink Floyd's The Wall. The rising music really helps communicate Jonesy's frenzy in his desparate plea for justice, and then it falls again as he gets beaten down again and again. As soon as the vedict is announced, a triumphant piece of Basil's theme is played.
9- Waves and Chains
LYRICS
instrumental
STORY NOTES
Many, many Irish were sent by the English on prison ships to Tasmania, basically a penal colony. It's likely that, although probably English, King and Jonesy were tossed onto one of those ships with Irish prisoners bound for exile. The trip was a long hard one in bad conditions. The song takes the ship to Capetown, South Africa, where it is docking for supplies. The change in pace at the end might be an indication of a growing but unspoken resolve to not give up in the face of this seemingly hopeless situation. "Back Home In Derry", our only recorded cover song which is on our first album, is Bobby Sands' tale of just such a ship.
PRODUCTION NOTES
This simple instrumental is a transitional piece that is used to describe a long bad time at sea. Probably the best-recorded cymbals on the album because we moved the mic to focus on them. The minor chords and coughs and groans help establish the sickness and despair of the prisoners. The faster part at the end is a musical representation of their growing desperation, but also excitement at the coming chance to fight back.
10- Capetown
LYRICS
Hear me men, our time has come. Break free our bonds, we’ll take this ship • [CHORUS] • Without a fight, without resistance, our prison became our prize • By his resolve and my insistence, our breakout to the skies • Breakdown! ••• At the port where most men sell their souls, we began our true adventure • Where most men are sold as slaves, we retrieved our freedom • With our newly taken ship, we set out towards the rising sun • With neither rhyme nor reason, we sailed away - Free Men! • [CHORUS]
STORY NOTES
As they approach Capetown, they plan to take over the ship and free themselves. The action is initiated by King, and assisted by Jonesy. The overthrow is mostly told through building instrumental solos. They overthrow the ship and sail away, not sure of where they are heading, but reveling in the fact that they have captured the ship, escaped and are free.
PRODUCTION NOTES
From the very first notes, you can tell the mood of the prisoners has changed. We have no idea what chords Jacob was playing on the electric guitar, but it was perfect. The horns are the Bluecoats again, but we had to travel down near Cincinnati to record them, again on their generously sacrificed break, but in the parking lot this time. The last semi-dissonant horn chord in the opening really seems to set things up for the coming fight. The bass solo could be them quietly escaping from the chains and getting into position across the ship under cover of night. The mandolin solo could be the first stealthy attacks on the guards and then their taking control of the ship. The guitar could be their triumphant pushing off and sailing away. The drums could be a lot of things - the sails catching the wind, the futile shouts from shore, the furious activity of the men on deck as they escape, the crash of the waves as they hit the waves of the open sea. Matt's guitar solo at the end sings of their triumph as they head for the horizon, ending Part I.
Part Two
11- Luck of the Damned
LYRICS
It was dark and grey on that stormy day, when the ship set sail for the sea • Though the wind was a’ howlin’ and the waves were high, the ship fought on with a rage • The crew worked as hard as the dogs that they were, though they knew not where they were to go • For their fate rested, lo, in the hands of a man, a man named Admiral King.
STORY NOTES
King and the Irish crew are now free, but it is tough sailing. They trust him, but have no real idea of where they are headed. They begin their journey by simply sailing ahead, knowing only that they must press on. However, from the title of the song we can guess that their fate hasn't changed, despite this current good fortune.
PRODUCTION NOTES
The lyrics and melody are from the original Admiral King song we wrote back in 2003 or 2004. It was sort of our tribute to the song that got the whole thing started. Of course, it never sounded this good. Same chord structure, but with better dynamics, better bass, better guitar, better drums, better vocals, and new tin whistle and Irish drum. It's actually almost unrecognizeable unless you were part of the original. Except for the louder part in the middle, it is arranged to sound a little like a sea tale being told on the deck of a ship with whatever accompanying instruments might be handy - tin whistle and drum.
12- Seven Seas
LYRICS
instrumental
STORY NOTES
The instrumental chronicles their journey around the globe, to both exotic and primitive locations.
PRODUCTION NOTES
This was originally intended to be many pieces, all with the sound of a different nationality - China, Australia, Africa, South America, Carribean. They would all have the same melody, but with different instrumentation. As part of developing ideas, Tim decided to use only cymbals for the China piece and only toms for the Australian piece. They were recorded with the overall melody Jacob wrote. As we moved into final production, only these two pieces were used to represent the journey around the globe to the Caribbean. Didgeradoo was added to make the Australia/jungle/uncharted island part even more primitive.
13- French Antilles
LYRICS
Just about a year since we left that awful place, but my heart still beats steady for her grace • And though the wind is at our back, it seems I have to face the fact, that we travel further from Rose every day • [CHORUS] • And so we go, about our way, quite content, for now we stay • In the French Antilles, until the day, the waves bring us back • We spend our days at ease, doing anything we please, these islands have so many pretty girls • But my heart has never failed, and it’s clear that soon we sail, towards the rotten soil that harbors lovely Rose • [CHORUS]
STORY NOTES
The ship has landed in the French Antilles. Think Tortuga. They are able to enjoy life for a while, singing, drinking, living in the Caribbean. The longing for the people they loved never fades, and they know they will have to leave, but they can enjoy the time while they are there.
PRODUCTION NOTES
The happiest music of the story. The accordion really carries the melody, and the backing mandolin, acoustic, and drums have a definite nod to bluegrass. It's tough to listen to without bouncing a little, which is a good thing. The whistles were one of the typical ideas Ben tossed out in the middle of recording. Ben: "Could you whistle here?" Scott: "Sure, I'll give it a try." That's how a lot of the album was detailed. One of us said "what about adding a _____?", and another one of us made it happen.
14- Staring At The Moon
LYRICS
It’s so late, and I’m so tired, and I’m just sitting here, just killing time • but I’m alright, I’m alright, I’m alright, I’m alright • It’s been too long since I’ve seen your face, but by providence or by simple grace • I shall find you,
I shall find you, I shall find you, I shall find you • [CHORUS] • Staring at the moon, I’m in love with you, deep beneath its glow I come home • Restlessly awaiting I pray some day we’ll be one • Staring at the moon, I’m in love with you, deep beneath its glow I come home • Restlessly waiting I pray this travesty’s done • It’s so hard without one as you, with your soft eyes, and your soft soul, and you’re on my mind as I stare at the stars • we’re so close but you’re so far, and you’re so far, you’re so far, you’re so far, you’re so far • [CHORUS]
STORY NOTES
King is outside by himself, alone with his thoughts against a background of singing insects. He is realizing that he cannot continue wandering the seas alone. He needs to go back for Rose, the woman he has been thinking about since the night in the alley, and perhaps even longer.
PRODUCTION NOTES
This song is the only one from this album we ever played live all the way through. It started as our only true ballad, and we definitely had mixed feelings about it. It was also our only live song that we performed regularly that we didn't record for our first album. When we were looking for the right transitional song to lead King on his journey back for Rose, we realized it was the one. Ben changed a few of the lyrics, but it's basically the same song. However, by being able to work with it in the studio, change the chorus arrangement, and make the sound richer and more complex, we now all agree Ben wrote a great song. There is a decent amount of notes that are outside of the typical pattern, which adds to the listenability. Stuff is in time, but the changes in accents and patterns make it more interesting. The increase in intensity at the end matches King's increasing understanding and resolve to go back for Rose.
Part Three
15- The Return of the Ragged Saint
LYRICS
Lonely, lowly, dogged scum, banished by the smoking gun • We were meant to be forgotten, to the fish and to the rum • But we’re back to claim what’s ours, despite the wounds, despite the scars • We’re still the men we used to be, though the sea is now our home • [CHORUS] • It’s the return of the Ragged Saint. The time is nigh, to meet our fate • Sailing forward, in the night, ever closer, out of sight • The return of the Ragged Saint, her broken heart can hardly wait • And as London sleeps tonight, the crew’s work hastens, silently • No mercy’s held in English waves, as both the Saint and coastline know • Though the ship and coast share little, the stone-faced men don’t let it show • their fear is near, but muscled down. They sail for King, but not for crown • The sea, it roars tenaciously, but King and crew don’t make a sound • [CHORUS] • Having sailed around the world, having seen so many girls • Having kissed the sea mist at dawn, daggers drawn, black flag unfurled •
[CHORUS]
STORY NOTES
The Ragged Saint, both the name of the ship and a reference to King, returns to London. Under the cover of darkness, it silently slips into the English port to find Rose for King. It's easy to picture pirates hanging off the riggings, daggers ready, quietly approaching their target, unnoticed by all. These are men, made pirates by their circumstances, and now strong, courageous, and determined.
PRODUCTION NOTES
Tim's brother Andrew came up with the ship name "Ragged Saint". The opening notes of the song are the same as in Overture, but then the driving riff of the sailing ship kicks in. As usual, Tim's bass drum/hi-hat rhythm is both unusual and fits perfectly. Extra deep electric bass was added to give the theme added weight. This is one big, bad ship. The crew's "hey's" are infectious and really fun to yell with a raised fist. They also help give the impression of the whole crew being present and alert. The quiet parts also make the louder parts better. The last "silently...." was a last-minute idea that ended up being the perfect break before the letting the riff carry the ship on into the dark towards the port.
16- Reunited with Rose
LYRICS
instrumental
STORY NOTES
King and Rose are reunited. The music tells it all. Tender, cautious, building, true. At the end, Basil shouts in disbelief and rage as he learns King has returned and is leaving with Rose.
PRODUCTION NOTES
The melody to Rose's theme was inspired by some idle singing in the car by Tim's sister Megan after a choir performance. The flute was used to represent Rose. Jacob's brother David's cello provided the perfect counterpoint to the flute. Basil's theme comes in at the end, and then is given extra power, symbolizing his rage and the mobilization of his troops and ships.
17- Escape
LYRICS
The wind is on our side, no longer have to hide • From evil we are free, forever may we be, joyous • We live in peace, we live in peace • Brothers we have been, survived the lie of sin • Rose may now be safe, forever in a place, solace • Running and running, we escape • Running and running, we escape • Running and running, we escape • Running and running, we escape
STORY NOTES
King, Rose, and the rest of the crew flee London in their ship. They feel exhuberant and victorious. Unfortunately, their celebration might be premature…
PRODUCTION NOTES
This song has the most unique rhythm in the opera. It was inspired by an unknown piece played during a middle-school band concert by Tim's brother Andrew. Ben supplied the growing vocal harmonies at the end.
18- The Storm
LYRICS
instrumental
STORY NOTES
Heading away from London as fast as they can, the ship sees a growing storm on the horizon. They make preparations to keep going, but the wind and waves force them to give up and turn back.
PRODUCTION NOTES
The thunder was recorded around 2am while sitting on the covered front porch in the dark. Always have your recording gear ready, because you never know when the thunder you need will show up. It's panned left to right to make it seem more realistic and enveloping. Tim's cymbals make the perfect wave crashes. Slowing adding the raindrops of staccato bass, then mandolin, then guitar, and finally drums, it gradually builds to a crescendo like the storm.
19- Misfortune On the Bay of Biscay
LYRICS
Here we are again, at the end of this affair • And after all we find, we had lost before the start • It appears that we, being nothing but forgotten • Were swallowed by the ocean, and spit out into darkness • [CHORUS] • The ship was swaying, our hearts were weighing • The fate of our existence, in the hands of such a saint • And the wind was crying, our hope was dying • Misfortune had its way, misfortune had its way • Fleeing towards our refuge, it was Spain that we did seek • It was Spain that would accept us. It was there that we’d be free! • It appears that we, being nothing but forsaken • Were followed by the demon, and now we meet our end • [CHORUS]
STORY NOTES
Heading back towards London in the middle of the storm, they realize their dream of finding refuge in Spain might be in vain. Basil had followed them with his ships, and they were caught between his mighty force and the impenetrable storm.
PRODUCTION NOTES
The foreshadowing song that was introduced in Track 2 finds its chronological place in the story. This time Ben's voice has an edge that ramps up the intensity, and the drum beat switches to a syncopated classic punk beat.
20- The End of the Fuse
LYRICS
Hey, hey, bullets fly, sailors shout and sailors die • Hey, hey, cutlass drawn, dead men sing their farewell song • Hey, hey, battle call, moon will rise as good men fall • Hey, hey, come what may, but none will live another day • Hic sunt dracones!
STORY NOTES
King and his crew valiantly dive into the fight, knowing the odds against them are overwhelming. Shouting "Hic sunt dracones!", or "here be dragons!", they refuse to surrender, and commit to fighting to the last man.
PRODUCTION NOTES
This song begins with the Morse Code for S.O.S., growing in intensity with the imminent battle. When Basil's men board King's ship, the cannon fire are recordings of the local fireworks. The choir is Tim's sister Megan and her two friends Emily and Anna, with Megan hitting the final high note at the end. Guest guitarist Matt's blistering guitar solo comes in for the final fevered pitch of the battle.
21- The Fall of the King
LYRICS
Sabres drawn, and sabres met, no mercy here, and no forgiveness • They circle round, and stare each other down ••• King is felled, and Basil bled, Rose lays on her death bed • None of them shall see another day • It was never meant to be like this, as King draws in another kiss from Rose • Soon they’ll place our names among the stars! • Soon we’ll be at peace among the stars • He spoke to her, and then he closed his eyes
STORY NOTES
King and Basil face off man-to-man on the deck of the Ragged Saint. They have a fierce sword fight, and in the end, King, Basil, and Rose all lay mortally wounded. King and Rose have a last kiss before King breathes his last.
PRODUCTION NOTES
The bodhran drum sets a funeral march tone before the swordfight begins. King is represented by the snare, and Basil by the crisp field drums. The mandolin paints a picture of the agility and skill of the swordwork, before it all builds to the tragic climax.
22- Fin
LYRICS
This tale will never be forgotten, wherever the salt is in the air • Wherever bold songs are passed along, wherever good men and rebels dare • Some fight for glory, and some for gold • For Rose and freedom, this bell did toll • Their flag was black, but their cause was just • no matter if destined for ashes or dust • Their tale will live on in the flap of the sails and the creak of the ropes, and the pluck of the string • This man named Admiral King, this man named Admiral King • His name will be carried on the wings of the wind, and the ships and the sails, and the waves and the gales • This man named Admiral King, this man named Admiral King ••• His name will be carried on the wings of the wind, the ships and the sails, and the waves and the gales • This man named Admiral King, this man named Admiral King, this man named Admiral King
STORY NOTES
The tale of Admiral King lives on, retold and celebrated as a sea shanty.
PRODUCTION NOTES
The simple song features King's instrument of choice, the mandolin. The cymbals provide a few crashing waves for atmosphere.
23- Devon and West Portshead
LYRICS
random pub voices
STORY NOTES
We are back in the pub, listening to the sounds of the regulars with the mandolin performing in the background. Some listeners have commented that this suggests the entire album was a story being retold as part of a regular evening at the pub.
PRODUCTION NOTES
This is a bonus track, and is simply a remix of "Round One" with the crowd sounds brought to the front, and the music sent to the background. The random pirate banter from Ben, Tim, and a bunch of their friends seemed too rich to just leave in the background of Tracks 3, 4, and 5.
1- Overture
LYRICS
instrumental
STORY NOTES
There is no real story in the Overture, and yet it tells much of the tale in one six-minute musical journey. It sets the tone, and hints at the characters and moods to come.
PRODUCTION NOTES
This instrumental piece sets up the whole opera and introduces the repeating musical themes. Each theme features a different hero instrument. After the sound of the sea, the first notes are from Ragged Saint, and they are followed by Rose's theme on flute with cello. At 2:33 is a part of the original Admiral King melody written in 2003. It's used later in Luck of the Damned, and it's our homage to the original piece of music that inspired it all. It's followed by Captain Basil's theme on cello with field snares. It transitions at 3:41 to the Ragged Saint theme incorporating brass. At 4:36 is the final transition to a new King theme, this time featuring mandolin, and more piratey. This is the only theme in Overture that isn't heard again in the album.
2- Misfortune Foretold
LYRICS
Here we are again, at the end of this affair • And after all we find, we had lost before the start • It appears that we, being nothing but forgotten • Were swallowed by the ocean, and spit out into darkness • [CHORUS] • The ship was swaying, our hearts were weighing • The fate of our existence, in the hands of such a saint • And the wind was crying, our hope was dying • Misfortune had its way, misfortune had its way
STORY NOTES
A preview of the coming tragedy. The foreshadowing is obvious, and the lyrics are repeated at the beginning of Track 19 in the actual sequence of the story. We learn that this story won't end well.
PRODUCTION NOTES
This melody will be repeated later in Track 19, but with a punk syncopated drum beat instead of the 4/4 beat here. Placing the track here is a foreshadow, so it's mellower and shorter, but Track 19 is the real story and arrangement. This was one of the results of having all the songs up on the wall in sequence and on separate sheets of paper. We saw an opportunity to musically preview what was to come later, and just put a new sheet in place here.
3- The Calm Before
LYRICS
On the corner of Devon Street and West Portshead Lane, there is a pub. I found myself passing beneath the creaky sign of this particular pub swinging in the light wind of April, and it occurred to me that I had not tasted draft in several weeks. Having just returned from the colonies on a small trading vessel, I found that I could not resist the temptation. Upon entering the filthy establishment, I cast my eyes upon the man sitting in the corner entertaining the regulars. I asked the barkeep who the man was. The keep told me he was a regular, a man named King. Everyone knew his music, but no one really knew him. As I contemplated the stone-faced man, I found that my interest in him came not from his appearance, for he was not much to look at, but from his playing. I looked around and found that I was not alone. All through the simple establishment, people were keeping to themselves, but as he began to sing, others sang with him. By and by, a tumult of raspy, heartfelt, and thoroughly drunken voices joined in the revelry.
STORY NOTES
This is where the story actually begins and then continues in sequence for the rest of the album. The narrative style helps get the back story and setting in place. The narrator is Jonesy, an unidentified sailor who is a witness to the whole forthcoming tragedy of King. Jonesy stops at a local pub, inquires about the musician King, and stays to drink and listen. You hear King called "Admiral" for the first time.
PRODUCTION NOTES
The music transitions are seamless so it doesn't interrupt the flow as the story begins. The opening door sound begins the pub scene. The crowd sounds were recorded in two unrehearsed improv takes at 1:00 in the morning in a dark room in the rain because the power had gone out. The laptop was still going strong, so the session was finished. Ben learned accordion just for this song and French Antilles.
4- Round One
LYRICS
Good men, my friends, lend me your ears, lend me your hearts, or lend a pound • For when I came to London town, I found I’ve not but the wind at me back • [CHORUS] • Round one, our fun has just begun, the night is but a child, our spirits running wild • Round one, the tears that I would cry, to hear the ladies’ sighs, our spirits running wild • Round one • So, drink, my friends, drink hearty now, drink with a smile, and not with a frown • Fill it all up, and drain it all down, then , perhaps, you’ll buy me one too • [CHORUS]
STORY NOTES
King and his backing band leading the pub as he probably did most nights in what appears to be a popular local pub song. More and more join in as the song goes on. The song probably represents hours of drunken singing. London is confirmed as the location for the pub.
PRODUCTION NOTES
A seamless transition again, leading to a growing crowd. The pub singers are supposed to be drunk and are intentionally off time and pitch. The sound of bottles and mugs was recorded in the same take as the crowd sounds. This song features Jacob's simplest mandolin solo, and it's just right. The door begins to open and close at the end as the pub evening gets later and people start to leave. The dog bark at 2:29 was left in because it fit so well. He just barked because everyone else was singing and staggering around the room getting into character.
5- Last Call
LYRICS
As the moon rose, the sorry vagrants of London stumbled into the night, until all that was left was a handful of drunks, including several Naval officers under the command of the distinguished Captain Basil. A veteran of both war and whiskey, Basil was in the company this evening of a vibrant flower. This Rose, however beautiful, acted as all roses do in the clutch of disrespect. In response to slander, she stung the faces of several brash sailors, and stormed into the night. Undetected by all save me and King, the sailors stole out the door after Rose.
STORY NOTES
Narration chosen again for it's ability to convey a lot in a short amount of time. The pub song tapers off as drunk patrons leave the pub for the night. We are introduced to Captain Basil and Rose. Rose is insulted, slaps the officers, and leaves by the alley door. King and Jonesy both see the officers follow her.
PRODUCTION NOTES
Gradually the sound of the crowd singing thins out, and the door opens and closes as people leave and the music fades out to just a few people.
6- Derringer
LYRICS
Just outside the scuffle breaks, dance that dance that shakes her conscience • On their breath the devil speaks, that makes men lust, the flower shrieks • Insinuating glances bare, the mark of sin on her soft skin • That glows beneath the lamp outside, with no one there to hear her cry • She’s breaking down, she’s breaking down, she’s breaking down, she’s breaking down • No one is the name of he, who sees the evil in the night • King is no one to deceive, but for his Rose he fights the fight • Stand for her who makes you quake, may chivalry reclaims it’s face • For her he draws the battle line, for her he raises hell tonight • He joins the show, of misery, he joins the show of misery • To keep the virgin maiden’s power, to find the justice in a man • As cold as one in Satan’s land, to be there in her darkest hour ••• Come what may, as fate would say, cloaked in sailor’s visage • The product of a fearing world, one shot to kill a man • Residing in the hand of his, resounding in the night • Whiskey cannot wake the dead, thus the guilty take their flight ••• Bloody, battered, he stands alone, she’s grateful but her horror shows • And the Captain’s standing behind him, and death is on his hands
STORY NOTES
The officers attack Rose in the alley. King steps outside, followed by Jonesy, who sees it all. The normally peaceful King comes to her rescue, taking on all the men. An officer's gun is discharged, killing one of them. The officers flee the scene, and then Basil hears the commotion and comes outside. He finds Rose with torn clothing, a dead officer, and a bloodied King.
PRODUCTION NOTES
This was actually the first song that was written and recorded. The opening guitar sound was actually inspired by the beginning of Hendrix's Foxy Lady. The gunshot was recorded behind Jacob's house with his dad's gun. Jacob handles the acoustic guitar for this one. This song was released on our first album as a preview of the rock opera to come, but it works so much better here in context.
7- The Verdict
LYRICS
Rose, Rose, where is your heart? Who is this man? My officers, how could they? How could they have touched my Rose? The shot. That man had no gun. What did they call him - the Admiral? I’ll send him to hell! I’ll send them all to hell. She’s mine, she’s mine. My officers are innocent. They wouldn’t, they couldn’t. No, not Rose. It had to have been that man. • Basil, Basil, Basil. Calm yourself down. King will be punished and sent away. Rose will be mine. My men in the fray will be forgotten. No one saw it. No one can prove it wasn’t him.
STORY NOTES
A journey into Captain Basil's thoughts. It's significant that The Verdict comes before the Trial. King's fate is already decided. Basil also questions King's name ("what did they call him - the Admiral?"). This can be interpreted as "Admiral" is not a title, but rather a nickname, but the origin is unclear. A symbol of age or respect, or a tie to past deeds? It isn't until the beginning of Part I that it begins to take on new meaning. So, how much time passes as Basil rages internally? Minutes? Hours? Days? He finally gains control of his emotions and decides to frame King for the murder. This transitions into the precision military escort that takes King to the trial. The time represented is probably several days while King awaits trial.
PRODUCTION NOTES
Random and building into chaos to show Basil's descent into madness over what he sees. At :35, he gains control over his emotions, and Basil's cello theme is heard. The crisp efficient field snares (complete with Kevlar heads) make the perfect military escort. They were recorded by members of the 2007 Blue Coats Drum and Bugle Corps on the 50 yard line at Denison University during breaks in their 12-14 hour daily rehearsals. Once they heard about the project, they wanted to be a part of it. They were outstanding to work with. This part was slaved over (5-stroke roll? 7-stroke roll? buzz roll? butt end? tip? top or bottom drum head? center or edge of the head? rim shot at end? It was great to watch these pros work out the details. The extra rim shot at the end adds the perfect finishing touch.
8- Trial and Testimony
LYRICS
How could such a man in such a time be not the one? • Guilty is as guilty does, and guilty is who shot the gun • Take this man away • [CHORUS] ‘Twas grace to face that killed the man, merry men crossed the line • The officers fled their own crime, and King will bite the bullet • This is my testimony, injustice must not take its toll • Unbind this man and leave him be • Let this man be free! • After much deliberation and in much anticipation • There appears there is no contest, and it’s much to our dismay • Take this man away • [CHORUS] • Taking one last chance, I stood in a frenzied rage, ranted and raved • My patience runs dry, how can this decision be? • You filthy little monster, you were paid off by the sea • You have no proof, the only witness was the man • I saw the scene. He’s being framed. Ask his maiden. No, not the captain’s, she is King’s! • Apprehended, I was taken, I was beaten, I had lost • On his throne of lies, he sat spitting • Take these men away
STORY NOTES
This takes place in the courtroom as a back-and-forth between the judge and Jonesy. Jonesy is a passionate witness, but loses to the calm and detached power of the judge and the system. King and Jonesy are sentenced to exile.
PRODUCTION NOTES
The judge is in the left channel with special processing to make his voice deeper and less real, and Jonesy is in the right. This definitely has echoes of the trial scene in Pink Floyd's The Wall. The rising music really helps communicate Jonesy's frenzy in his desparate plea for justice, and then it falls again as he gets beaten down again and again. As soon as the vedict is announced, a triumphant piece of Basil's theme is played.
9- Waves and Chains
LYRICS
instrumental
STORY NOTES
Many, many Irish were sent by the English on prison ships to Tasmania, basically a penal colony. It's likely that, although probably English, King and Jonesy were tossed onto one of those ships with Irish prisoners bound for exile. The trip was a long hard one in bad conditions. The song takes the ship to Capetown, South Africa, where it is docking for supplies. The change in pace at the end might be an indication of a growing but unspoken resolve to not give up in the face of this seemingly hopeless situation. "Back Home In Derry", our only recorded cover song which is on our first album, is Bobby Sands' tale of just such a ship.
PRODUCTION NOTES
This simple instrumental is a transitional piece that is used to describe a long bad time at sea. Probably the best-recorded cymbals on the album because we moved the mic to focus on them. The minor chords and coughs and groans help establish the sickness and despair of the prisoners. The faster part at the end is a musical representation of their growing desperation, but also excitement at the coming chance to fight back.
10- Capetown
LYRICS
Hear me men, our time has come. Break free our bonds, we’ll take this ship • [CHORUS] • Without a fight, without resistance, our prison became our prize • By his resolve and my insistence, our breakout to the skies • Breakdown! ••• At the port where most men sell their souls, we began our true adventure • Where most men are sold as slaves, we retrieved our freedom • With our newly taken ship, we set out towards the rising sun • With neither rhyme nor reason, we sailed away - Free Men! • [CHORUS]
STORY NOTES
As they approach Capetown, they plan to take over the ship and free themselves. The action is initiated by King, and assisted by Jonesy. The overthrow is mostly told through building instrumental solos. They overthrow the ship and sail away, not sure of where they are heading, but reveling in the fact that they have captured the ship, escaped and are free.
PRODUCTION NOTES
From the very first notes, you can tell the mood of the prisoners has changed. We have no idea what chords Jacob was playing on the electric guitar, but it was perfect. The horns are the Bluecoats again, but we had to travel down near Cincinnati to record them, again on their generously sacrificed break, but in the parking lot this time. The last semi-dissonant horn chord in the opening really seems to set things up for the coming fight. The bass solo could be them quietly escaping from the chains and getting into position across the ship under cover of night. The mandolin solo could be the first stealthy attacks on the guards and then their taking control of the ship. The guitar could be their triumphant pushing off and sailing away. The drums could be a lot of things - the sails catching the wind, the futile shouts from shore, the furious activity of the men on deck as they escape, the crash of the waves as they hit the waves of the open sea. Matt's guitar solo at the end sings of their triumph as they head for the horizon, ending Part I.
Part Two
11- Luck of the Damned
LYRICS
It was dark and grey on that stormy day, when the ship set sail for the sea • Though the wind was a’ howlin’ and the waves were high, the ship fought on with a rage • The crew worked as hard as the dogs that they were, though they knew not where they were to go • For their fate rested, lo, in the hands of a man, a man named Admiral King.
STORY NOTES
King and the Irish crew are now free, but it is tough sailing. They trust him, but have no real idea of where they are headed. They begin their journey by simply sailing ahead, knowing only that they must press on. However, from the title of the song we can guess that their fate hasn't changed, despite this current good fortune.
PRODUCTION NOTES
The lyrics and melody are from the original Admiral King song we wrote back in 2003 or 2004. It was sort of our tribute to the song that got the whole thing started. Of course, it never sounded this good. Same chord structure, but with better dynamics, better bass, better guitar, better drums, better vocals, and new tin whistle and Irish drum. It's actually almost unrecognizeable unless you were part of the original. Except for the louder part in the middle, it is arranged to sound a little like a sea tale being told on the deck of a ship with whatever accompanying instruments might be handy - tin whistle and drum.
12- Seven Seas
LYRICS
instrumental
STORY NOTES
The instrumental chronicles their journey around the globe, to both exotic and primitive locations.
PRODUCTION NOTES
This was originally intended to be many pieces, all with the sound of a different nationality - China, Australia, Africa, South America, Carribean. They would all have the same melody, but with different instrumentation. As part of developing ideas, Tim decided to use only cymbals for the China piece and only toms for the Australian piece. They were recorded with the overall melody Jacob wrote. As we moved into final production, only these two pieces were used to represent the journey around the globe to the Caribbean. Didgeradoo was added to make the Australia/jungle/uncharted island part even more primitive.
13- French Antilles
LYRICS
Just about a year since we left that awful place, but my heart still beats steady for her grace • And though the wind is at our back, it seems I have to face the fact, that we travel further from Rose every day • [CHORUS] • And so we go, about our way, quite content, for now we stay • In the French Antilles, until the day, the waves bring us back • We spend our days at ease, doing anything we please, these islands have so many pretty girls • But my heart has never failed, and it’s clear that soon we sail, towards the rotten soil that harbors lovely Rose • [CHORUS]
STORY NOTES
The ship has landed in the French Antilles. Think Tortuga. They are able to enjoy life for a while, singing, drinking, living in the Caribbean. The longing for the people they loved never fades, and they know they will have to leave, but they can enjoy the time while they are there.
PRODUCTION NOTES
The happiest music of the story. The accordion really carries the melody, and the backing mandolin, acoustic, and drums have a definite nod to bluegrass. It's tough to listen to without bouncing a little, which is a good thing. The whistles were one of the typical ideas Ben tossed out in the middle of recording. Ben: "Could you whistle here?" Scott: "Sure, I'll give it a try." That's how a lot of the album was detailed. One of us said "what about adding a _____?", and another one of us made it happen.
14- Staring At The Moon
LYRICS
It’s so late, and I’m so tired, and I’m just sitting here, just killing time • but I’m alright, I’m alright, I’m alright, I’m alright • It’s been too long since I’ve seen your face, but by providence or by simple grace • I shall find you,
I shall find you, I shall find you, I shall find you • [CHORUS] • Staring at the moon, I’m in love with you, deep beneath its glow I come home • Restlessly awaiting I pray some day we’ll be one • Staring at the moon, I’m in love with you, deep beneath its glow I come home • Restlessly waiting I pray this travesty’s done • It’s so hard without one as you, with your soft eyes, and your soft soul, and you’re on my mind as I stare at the stars • we’re so close but you’re so far, and you’re so far, you’re so far, you’re so far, you’re so far • [CHORUS]
STORY NOTES
King is outside by himself, alone with his thoughts against a background of singing insects. He is realizing that he cannot continue wandering the seas alone. He needs to go back for Rose, the woman he has been thinking about since the night in the alley, and perhaps even longer.
PRODUCTION NOTES
This song is the only one from this album we ever played live all the way through. It started as our only true ballad, and we definitely had mixed feelings about it. It was also our only live song that we performed regularly that we didn't record for our first album. When we were looking for the right transitional song to lead King on his journey back for Rose, we realized it was the one. Ben changed a few of the lyrics, but it's basically the same song. However, by being able to work with it in the studio, change the chorus arrangement, and make the sound richer and more complex, we now all agree Ben wrote a great song. There is a decent amount of notes that are outside of the typical pattern, which adds to the listenability. Stuff is in time, but the changes in accents and patterns make it more interesting. The increase in intensity at the end matches King's increasing understanding and resolve to go back for Rose.
Part Three
15- The Return of the Ragged Saint
LYRICS
Lonely, lowly, dogged scum, banished by the smoking gun • We were meant to be forgotten, to the fish and to the rum • But we’re back to claim what’s ours, despite the wounds, despite the scars • We’re still the men we used to be, though the sea is now our home • [CHORUS] • It’s the return of the Ragged Saint. The time is nigh, to meet our fate • Sailing forward, in the night, ever closer, out of sight • The return of the Ragged Saint, her broken heart can hardly wait • And as London sleeps tonight, the crew’s work hastens, silently • No mercy’s held in English waves, as both the Saint and coastline know • Though the ship and coast share little, the stone-faced men don’t let it show • their fear is near, but muscled down. They sail for King, but not for crown • The sea, it roars tenaciously, but King and crew don’t make a sound • [CHORUS] • Having sailed around the world, having seen so many girls • Having kissed the sea mist at dawn, daggers drawn, black flag unfurled •
[CHORUS]
STORY NOTES
The Ragged Saint, both the name of the ship and a reference to King, returns to London. Under the cover of darkness, it silently slips into the English port to find Rose for King. It's easy to picture pirates hanging off the riggings, daggers ready, quietly approaching their target, unnoticed by all. These are men, made pirates by their circumstances, and now strong, courageous, and determined.
PRODUCTION NOTES
Tim's brother Andrew came up with the ship name "Ragged Saint". The opening notes of the song are the same as in Overture, but then the driving riff of the sailing ship kicks in. As usual, Tim's bass drum/hi-hat rhythm is both unusual and fits perfectly. Extra deep electric bass was added to give the theme added weight. This is one big, bad ship. The crew's "hey's" are infectious and really fun to yell with a raised fist. They also help give the impression of the whole crew being present and alert. The quiet parts also make the louder parts better. The last "silently...." was a last-minute idea that ended up being the perfect break before the letting the riff carry the ship on into the dark towards the port.
16- Reunited with Rose
LYRICS
instrumental
STORY NOTES
King and Rose are reunited. The music tells it all. Tender, cautious, building, true. At the end, Basil shouts in disbelief and rage as he learns King has returned and is leaving with Rose.
PRODUCTION NOTES
The melody to Rose's theme was inspired by some idle singing in the car by Tim's sister Megan after a choir performance. The flute was used to represent Rose. Jacob's brother David's cello provided the perfect counterpoint to the flute. Basil's theme comes in at the end, and then is given extra power, symbolizing his rage and the mobilization of his troops and ships.
17- Escape
LYRICS
The wind is on our side, no longer have to hide • From evil we are free, forever may we be, joyous • We live in peace, we live in peace • Brothers we have been, survived the lie of sin • Rose may now be safe, forever in a place, solace • Running and running, we escape • Running and running, we escape • Running and running, we escape • Running and running, we escape
STORY NOTES
King, Rose, and the rest of the crew flee London in their ship. They feel exhuberant and victorious. Unfortunately, their celebration might be premature…
PRODUCTION NOTES
This song has the most unique rhythm in the opera. It was inspired by an unknown piece played during a middle-school band concert by Tim's brother Andrew. Ben supplied the growing vocal harmonies at the end.
18- The Storm
LYRICS
instrumental
STORY NOTES
Heading away from London as fast as they can, the ship sees a growing storm on the horizon. They make preparations to keep going, but the wind and waves force them to give up and turn back.
PRODUCTION NOTES
The thunder was recorded around 2am while sitting on the covered front porch in the dark. Always have your recording gear ready, because you never know when the thunder you need will show up. It's panned left to right to make it seem more realistic and enveloping. Tim's cymbals make the perfect wave crashes. Slowing adding the raindrops of staccato bass, then mandolin, then guitar, and finally drums, it gradually builds to a crescendo like the storm.
19- Misfortune On the Bay of Biscay
LYRICS
Here we are again, at the end of this affair • And after all we find, we had lost before the start • It appears that we, being nothing but forgotten • Were swallowed by the ocean, and spit out into darkness • [CHORUS] • The ship was swaying, our hearts were weighing • The fate of our existence, in the hands of such a saint • And the wind was crying, our hope was dying • Misfortune had its way, misfortune had its way • Fleeing towards our refuge, it was Spain that we did seek • It was Spain that would accept us. It was there that we’d be free! • It appears that we, being nothing but forsaken • Were followed by the demon, and now we meet our end • [CHORUS]
STORY NOTES
Heading back towards London in the middle of the storm, they realize their dream of finding refuge in Spain might be in vain. Basil had followed them with his ships, and they were caught between his mighty force and the impenetrable storm.
PRODUCTION NOTES
The foreshadowing song that was introduced in Track 2 finds its chronological place in the story. This time Ben's voice has an edge that ramps up the intensity, and the drum beat switches to a syncopated classic punk beat.
20- The End of the Fuse
LYRICS
Hey, hey, bullets fly, sailors shout and sailors die • Hey, hey, cutlass drawn, dead men sing their farewell song • Hey, hey, battle call, moon will rise as good men fall • Hey, hey, come what may, but none will live another day • Hic sunt dracones!
STORY NOTES
King and his crew valiantly dive into the fight, knowing the odds against them are overwhelming. Shouting "Hic sunt dracones!", or "here be dragons!", they refuse to surrender, and commit to fighting to the last man.
PRODUCTION NOTES
This song begins with the Morse Code for S.O.S., growing in intensity with the imminent battle. When Basil's men board King's ship, the cannon fire are recordings of the local fireworks. The choir is Tim's sister Megan and her two friends Emily and Anna, with Megan hitting the final high note at the end. Guest guitarist Matt's blistering guitar solo comes in for the final fevered pitch of the battle.
21- The Fall of the King
LYRICS
Sabres drawn, and sabres met, no mercy here, and no forgiveness • They circle round, and stare each other down ••• King is felled, and Basil bled, Rose lays on her death bed • None of them shall see another day • It was never meant to be like this, as King draws in another kiss from Rose • Soon they’ll place our names among the stars! • Soon we’ll be at peace among the stars • He spoke to her, and then he closed his eyes
STORY NOTES
King and Basil face off man-to-man on the deck of the Ragged Saint. They have a fierce sword fight, and in the end, King, Basil, and Rose all lay mortally wounded. King and Rose have a last kiss before King breathes his last.
PRODUCTION NOTES
The bodhran drum sets a funeral march tone before the swordfight begins. King is represented by the snare, and Basil by the crisp field drums. The mandolin paints a picture of the agility and skill of the swordwork, before it all builds to the tragic climax.
22- Fin
LYRICS
This tale will never be forgotten, wherever the salt is in the air • Wherever bold songs are passed along, wherever good men and rebels dare • Some fight for glory, and some for gold • For Rose and freedom, this bell did toll • Their flag was black, but their cause was just • no matter if destined for ashes or dust • Their tale will live on in the flap of the sails and the creak of the ropes, and the pluck of the string • This man named Admiral King, this man named Admiral King • His name will be carried on the wings of the wind, and the ships and the sails, and the waves and the gales • This man named Admiral King, this man named Admiral King ••• His name will be carried on the wings of the wind, the ships and the sails, and the waves and the gales • This man named Admiral King, this man named Admiral King, this man named Admiral King
STORY NOTES
The tale of Admiral King lives on, retold and celebrated as a sea shanty.
PRODUCTION NOTES
The simple song features King's instrument of choice, the mandolin. The cymbals provide a few crashing waves for atmosphere.
23- Devon and West Portshead
LYRICS
random pub voices
STORY NOTES
We are back in the pub, listening to the sounds of the regulars with the mandolin performing in the background. Some listeners have commented that this suggests the entire album was a story being retold as part of a regular evening at the pub.
PRODUCTION NOTES
This is a bonus track, and is simply a remix of "Round One" with the crowd sounds brought to the front, and the music sent to the background. The random pirate banter from Ben, Tim, and a bunch of their friends seemed too rich to just leave in the background of Tracks 3, 4, and 5.
The Fedoras - Ben, Jacob, Tim, and Scott
If you liked this, you should check out our first album!
