Head Same Remains the Change - Volume 6
First Pressing - Almost Sold Out
Head Same Remains the Change (HSRC) is the ongoing project of Headchange Records in Long Beach CA. We work with local and regional bands to record and produce a compilation record at our recording headquarters - The Compound in Long Beach CA. We release a compilation record every year or so.
This years’ release, HSRC Volume 6, turned out to be a concept album. The 11 songs on the album tell the story of the life of a rock star named Reign. The song order follows his life from the big time (Livin in Time...No Room at the Top) through the destruction caused by fame and drugs (Crack Me Open..Feels Just Like I Remember) to a spiritual and artistic rebirth (My Fate...Make a Change), to the final stage of his musical life as a blues singer and the ultimate realization that the music he created and the life he led was for all his fans, not just himself (Time and Will).
Head Same Remains the Change Volume 6 - Elder D Breaks it Down
Elder D was driving to Long Beach and realized the new Headchange compilation CD is a concept album. He figures out the song order and drops some facts on the recordings and musicians involved. Head Same Remains the Change Volume 6 is coming out June 2014.
HSRC Volume 6 features the following bands:
This is Michael (Miguel) Happoldt’s new band - founded around 3 years ago. The core is a 3 piece with Miguel on guitar and vocals, Mike Long on bass and Mudd Lowther on drums. They recently released a vinyl only record, Smokin’ Scorpion Tails, on Miguel’s label Skunk Records. Several of the songs on that record were recorded at the same session as the HSRC recordings. I am happy to say Miguel has been working quite a bit at The Compound with Antoine Arvizu since we did these sessions.
Livin’ in Time by Perro Bravo: This is a punk rock song with a memorable guitar riff and distorted Lee Reynaldo style vocals. For some reason it reminds me of the old Costa Mesa band Big Drill Car. As far as I can tell, it is about dealing with the big time in the major label BS world.
Make a Change by Perro Bravo: This is a catchy dub reggae number about the Occupy Movement. He calls it some “commie shit”, but it is just a true take on reality as far as I’m concerned. An alternate version of this song is on the Perro Bravo record. These are the only Perro Bravo songs that will be available in the digital download format at this time.
I met Miguel in late 1989 / early 1990 after he saw my band Imagining Yellow Suns. He invited me and Tim Bugge over to his place in LB to jam. He gave me some tapes of the music he was working on at the time. The Ziggens first tape (he was lead guitarist at the time) and Jah Won’t Pay the Bills by Sublime. In spring of 1990, I ended up moving to LB right across the street from his place on 3rd and Coronado. I spent a lot of time partying at that house and met several people that ending up being good friends like Eric Warren and Greg Abramson. Meanwhile, Miguel quit the Ziggens and focused on recording 40 Oz to Freedom by Sublime. When I heard that CD it changed everything. I realized bands could record and release your own music without a label. Not long after that, I founded Headchange Records. Miguel was always down to help us out over the years even though Sublime was taking most of his time. In 1993 he recorded a live show of my band Long Beach Cake at 5902 (Nightmoves) in HB. Later, in early 1994, Miguel recorded the first Shave release, Discover Yourself, at Utter Prattish’s studio in HB. After that, Sublime hit and he was pretty much gone until 1996. But he always got us in Sublime shows - “Sharon Needles” was always on the list. I actually “mastered” the Juice Bros recording they sent to their label to get out of their MCA record deal. That’s some thick, ugly punk rock and one rocking version of The Trooper by Iron Maiden. (Maybe someday Headchange Records will bootleg that one).
Headchanger is solo project of material written by Elder D of Shave. Some of Elder’s songs just don’t fit on a Shave record so he founded Headchanger to get his stuff out there. The core of the band is Elder D on most instruments and vocals. Drums are by Scott Devours, Antoine Arvizu or Billy Blaze. Also, second guitar is often Dave Shea, backup vocals Dave Cornblum, Rebecca Lynn, bass is usually 12 Foot Bill Lanum.
No Room at the Top by Headchanger: This is an accidental song that happened one day Elder D was recording at the Compound. As often happens, Professor G (Mike Glines) was there making some music when the Elder showed up. Elder D got on the drums and played a beat that was in his head. Elder had to take a side trip to get some medicinals and when he returned about 30 minutes later, Professor G had the drums all looped out with a bass line, guitars, birimbao and other random sounds. Elder D had a vocal part in his head and put down some ideas. After a while a full song developed. Antoine put some live drums on it, Elder added bass and guitars, and Cornblaster added backup vocals and had the idea for his Lou Rawls part (“I feel them rays on my skin…”). About 50 arrangements and mixes later this song came out. Although this is a metaphor for income inequality, I actually wrote the chorus one day when I climbed Mt. San Jacinto and there was literally no room at the top because of all the people up there.
Can’t Smack the Truth by Headchanger: In the early 2000’s Cornblaster (Dave Cornblum) started Smack Chat. It was a web forum where people from the LB music scene would gather and talk some serious shit (smack). Several death threats and near fist fights later, the site was mysteriously taken down by someone called The Truth. A couple years back I was walking and writing lyrics when Can’t Smack the Truth came to me. It seemed to make sense in a more global way and it related to Smack Chat in a funny way so I wrote the song. I had Scott Devours come into the Compound to play drums for a recording session and we tracked the basics for this song. Since he did not know it until the day we recorded, it has an edgy feel. I had Antoine edit a few takes together and we came up with this version. Cornblaster and Rebecca Lynn put some backup vocals on it and I overdubbed some guitar and added the piano part for the bridge from another song I had with the same chords.
Shave was founded in 1993 by Dave Cornblum (Cornblaster) and Dave Shea. Rob Fadtke and Steve Cross (Elder D) joined after their first acoustic show and they still play shows, write and record to this day (Fadtke flew the coop a while back). Shave has had the great fortune to play with some world class drummers (Mike Miley, Scott Devours, Antoine Arvizu, Billy Blaze, Greg Ernst, Robin Fadtke, et. al.) over the years. Their first CD release, Jesus Shaves, is a classic Long Beach album. They are currently finishing up a new record that Headchange is working on putting out later this year.
Crack Me Open by Shave: This song is music by Shea and lyrics by Cornblum. It was written right around the time we moved Headchange Records into the Compound in 1997. We have recorded several versions over the years and this one with Scott Devours on drums is very solid. Billy Blaze noticed we cut a section - it was a little too long.
All Hi Hat Action by Shave: Around 1996 Shave had a show at the Blue Cafe in downtown LB. After the show, there was a (literally) crazy black freak who called himself Katfish, hanging out on the patio. He was beat boxing and freestyling lyrics and heaping all kinds of praise on Shave. I think he came back to the Cake House (our rehearsal / recording studio at that time) and we partied and recorded some music. After that, it was pretty hard to get rid of “The Fish Who Treads Water”. I was Recording Jesus Shaves at that time and Katfish added some pretty sweet backups to that record. He even sang live with Shave for a few shows, but he was a bit overpowering and we shut that down pretty quick. One night we were jamming at the Cake House and Katfish was dropping a beat and telling Fadtke to play it with him. Fish said, “It’s All Hi Hat Action” to Rob. The actual recording of that moment is at the end of this song on the HSRC 6 CD. A few months later, we moved into The Compound and recorded this version of the song. It is a fully live take with Robin Fadtke on drums and Scott Evers (Fever) on second guitar. It is one of the few recordings to come out of the Compound that was tracked the current control room instead of the big room (another example is Shave’s biggest selling song, Handle the Messiah). Antoine mixed All Hi Hat Action and I am very happy how great he made it sound considering the cheap ass equipment we had at The Compound back then. A great engineer on a Pro Tools rig can do miracles.
Dave Cornblum always said that if he ever made a solo record, he would call the band “After Shave”. I think he should call his first album “Smells Like Bob Marley”
Unwind by After Shave: Last year, R Scott (Scott Dibble) emailed Cornblaster some music he wrote and asked Corn to write some lyrics. One of the tracks was destined to become this song. Cornblaster wrote the words and melody and emailed it back to R Scott. R Scott then recorded the rest of the instruments including Deyo Glines on bass and Autumn Vander Linden on backing vocals. Antoine Arvizu added some live drums to the mix at The Compound.
I met vocalist and front man JT Tyler (Jackhammer of Love) back when the very first Long Beach Cake tape came out, around 1992. I recorded his band, Dean Martin’s Liver, on our 4 Track in the Cake House Garage way back then. They had some stellar tunes. Since then his Forty Rod band has been involved in some Headchange shenanigans around the Compound every now and then. This is the first time I was able to make some pro recordings of their work. Gomez writes this music from what I hear. Scott Obey is the guitar hero. I cranked up his solos, cause...if you’re gonna play ‘em… Antoine and myself are both big fans of Tim on bass. I really dig his approach, dynamics and placement. Mike Schuerman played drums on these tracks.
Feels Just Like I Remember by Forty Rod: This sounds like some 1950’s tune. It was all done live at the Compound with only vocal overdubs. Both Forty Rod tracks got sauced up with Mike Malone on Hammond B-3 Organ.
Blue Number by Forty Rod: JT always said something like, “When I’m old, I’ll be happy to be a fuckin’ blues singer”. I believe this is his version of some greazy elder blues, SoCal style. I like that solo, I turned that shit up loud in the mix. This song was like, 35 minutes long. Elder D and Antoine took some big ass scissors on this edit. Like Iggy Pop always says, “cut the ramen”.
Daniel Chavez - Bass, Mathew Hill - Vocals and Guitar, Kai Kaner - Drums
I met Daniel Chavez a couple years back when he played bass in Long Beach Cake for Robin Fadtke’s big birthday bash. He was a music schooler over at CSULB with my (Cake) band-mate (and musical monster) Rebecca Lynn. Turns out he had this progressive insanity rock band called Thy Squid. I saw them play live and asked them if they wanted to be on the compilation. They came in The Compound and did about five songs like most bands do. I picked the two I liked best and tweaked them every way I could think of. Antoine gets extra credit on these takes for getting the vibe of the band. It was his idea to have them record the same song live about 3 or 4 takes. We then edited those together with the best vocal takes on each one and got a great live feel on the recording.
Headchange Records and The Compound Recording Studio: In 1997 Headchange Records’ Elder D founded The Compound Recording Studio in Long Beach CA. We have been recording and mixing there ever since. Over the years, it has evolved into a world class professional studio. We no longer own the studio but we have a great professional relationship with Antoine Arvizu who now runs the place. We record at the Compound because it has a great sounding tracking room, a sonically balanced control room, and the overall environment is very relaxed and conducive to creativity. Anthony is a top notch engineer, in fact, mastering legend, John Golden, enthusiastically told me he is very impressed with the drum sounds Antoine gets on our recordings. Also, because of our history at The Compound, we love to make our records there. Any money you can contribute will ultimately help to keep this Long Beach local small business up and running for the the benefit of all musicians and producers who love the place as much as we do.