Wednesday, July 15, 2015

"GIMME WAR" [OFFICIAL MUSIC VIDEO]


Bobby: “Gimme War’ is all out, loud and heavy. Very bare bones, but that’s the way I like it. This is the song that wakes you up in the morning when all you have to drink is decaf. We filmed in a junkyard during one of the hottest days of the summer, which I think helped the intensity of the video. We even did it in a single take. How can ya beat that? Crank your speakers to 11 and get fucking wild!”

Friday, March 20, 2015

CALABRESE "Lust For Sacrilege" Official Album Stream

(The Dark is Who I Am)
We wrote this one in the studio, it's one of quickest songs we've ever written and one of the coolest songs to date. We wrote it with Bog Hoag, producer madman, who laid down some really great synths and shaped it into the song it is. Heavily influenced by Goblin and Giallo soundtracks from the 70's and 80's.

(Down in Misery)
Understanding who you are is the smartest move you can make. It's freeing. It's not giving a shit. This song is kind of our "anti-hero song," it's about being a miserable person and liking it. Getting down into your own misery. Why not? No one likes you for who you are and what you do, but so what? Who cares? I think if you know, deep down, that you're a miserable person, it's almost like you aren't miserable anymore. It's accepting yourself on your own terms. Why be something you're not?


(Teenage Crimewave)
This song was originally intended for "Born With a Scorpion's Touch," so it has more of a garage-y, punk tone to it, which fit perfectly at the time. It eventually made it's way to the new record, which I think breaks it up a bit. Influenced by madmen, weirdos and crime spree thrill seekers. It's a bloodbath in the concrete jungle.


(Flesh and Blood)
A love song, plain and simple. Down to the core it's very animalistic, violent and strange.

(Lust For Sacrilege)
I wanted a song that could capture the entire mood of the album. Heavy drums, large choruses and an emphasis on evil. This is what we're about. It's about falling in love with death and destruction. It's about knowing who you are and your burning lust for sacrilege.


(Wanted Man)
Another lone-wolf song, we wrote this really quick and easily. It came out natural and really to the point. A lot of our songs are influenced by loneliness, depravity and just not giving a shit.

(Serpentflame)
I love New Orleans. Who doesn't dig New Orleans? We wanted a song that could capture the murky, creepy atmosphere of the city. It's about evil women, voodoo and death. It's got a very Cult-like vibe to it, which I think is great. The Cult are fantastic. Crank this jam to 11.


(Gimme War)
GIMME WAR is all out, loud and heavy. Very bare bones, but that's the way I like it. This is the song that wakes you up in the morning when all you have to drink is decaf. The solo is very Greg Ginn, whom I think is the coolest punk guitarists of all time. Dissonant chords and bizarre timing, it's total genius and totally shitty at the same time. Nothing gets better than that. All hail Black Flag.


(New York Ripper)
I love the chugging riff to this one. It's heavy and melodic and sucks you in from the start of the distorted drums. The song is pretty self-explanatory. "Her dead body broken in the river." Pretty heavy stuff.


(Lords of the Wasteland)
We live in a desert, lots of dirt, dead plants and empty spaces. We're heavily influenced by the landscape in which we live, so a lot of our songs tend to reflect that. A lot of post-apocalyptic films and books definitely help. Everyone gets the feeling of living in a nowhere town, a black hole in the middle of a dead civilization. This song is for all you wastelanders.


(Drift Into Dust)
A lot of our songs tend to revolve around serial killers, I have no idea why but it always manifests it's way into our music. This song is no exception. It's Roy Orbison meets Chris Isaak meets Elvis Presley. It's about love and death and everything that leads up to it.

Purchase LUST FOR SACRILEGE:
(iTunes): https://itunes.apple.com/us/artist/calabrese/id261384
(Physical): http://www.spookshowrecordsstore.com

Tuesday, June 3, 2014

The Traveling Vampire Show - A Rock ‘n’ Roll Memoir

Since we had such a fun time remembering our first album, 13 HALLOWEENS, I thought we’d keep the trend going and bring you an insiders look at our second album from way back in 2006. So once again, hit play on your CD player and join us as we take a look back at THE TRAVELING VAMPIRE SHOW!

In 2006, we hit the studio hard and heavy with our follow up CD, THE TRAVELING VAMPIRE SHOW. The guitars, even though they are heavy metal-ish, still had a punk feel and the drums, even though they were triggered, don’t sound overbearing. Bobby also added a lot of little guitar over dub solo parts that really spiced up the album. THE TRAVELING VAMPIRE SHOW was our biggest sounding album to date and had a more "produced" feeling. It truly felt as if magic happened in the studio that time around. Bobby mentioned, he could die happy since we, at least, had such a great album under our belts!

Bobby about to rock the mic!

We wanted this album to sound different than 13 HALLOWEENS and since we recorded the MIDNIGHT SPOOKSHOW EP and 13 HALLOWEENS CD with Aaron Carey, we decided to find a new engineer and studio. The place that we kept hearing about at the time was Mind's Eye Studio ran by Larry Elyea, AKA Larry Love. I believe this location was the first for Mind's Eye. The studio was built into half of a residential house. You would pull into a normal looking middle class neighborhood, but hiding within the normal facade was the musician’s playground, Mind's Eye. I believe they converted the garage into the studio.

Larry using that newfangled Pro Tools.

The process for recording was the same as the first record. We recorded master tracks for the drums while Bobby and I played scratch tracks. After the drums were finished, I laid down the bass line and then Bobby put down the guitar tracks. The last piece of the puzzle was the vocals, which always feel rushed since they are the last to be recorded. Since this was a digital studio, we were able to record on the weekends for about a month. The benefit to having the breaks in-between meant we didn't get burnt out nor did we get ear fatigue. We were able to listen to the music and our performances with fresh ears each time we started recording again.

The isolation room.

While on tour last January in Reno Nevada, we stopped at a random Starbucks before a show and shot the shit about what we could remember about THE TRAVELING VAMPIRE SHOW.

“So, guys, what do you remember about the studio?” I asked.

Davey was the first to respond. “Clean, nicely decorated, and they had a nice couch. I know, 'cause I slept on it."

Davey sitting on the comfy couch.

Bobby chimed in. “It was tiny. I remember Larry loved big dogs and he let them roam around in the studio and it was very scary cause they were big and I hated it and he didn’t care. Ha! The studio was connected to his house so the dogs would pop into the sound studio and I’d be like ‘Oh my God!’ or they would be there in his house when you had to take a leak. Oh man!”

Jimmy laying down the bass.

I reminded them that the studio was basically two rooms. One room had the control center and the other held the isolation booth.

Davey adding more cowbell to the mix.

“I thought Mind’s Eye was cool,” Bobby recalled. "The number one reason we wanted to record with Larry cause what he was doing sounded really cool. At the time, AFI’s SING THE SORROW just came out and we thought Larry could make us sound like that. It didn’t, but it sounded really good. Ha! Larry had me use Krank amps and those amps were kinda big at the time and they were really expensive but now they're really cheap 'cause no one wants them. Ha! It sounded really good, though. More of a metal type guitar sound, but I thought it sounded pretty neat.”

Davey-tude.

“The drums were easier to record this time around since we’d been in a studio a few times before.” Davey, now buzzing from his coffee, quickly said. “No click track on this album, it was really hard to do since we never practiced to a click.”

I leaned forward in my chair. “Since we were old pros at this studio thing, this time we came prepared, we brought comics (for the boring parts), drinks, snacks and packed our lunch. We learned it wasted a lot of time making the drive to pick up food, not to mention trying to decide where to eat!”

Comics!

“Concerning the bass,” I said. “It was run direct into the board. Nothing too fancy was added to the bass sound. We just found a nice beefy tone and stuck with it for the whole album.”

Just call me the "Bass Line Killer".

“I’m not sure if we kept any guitar scratch tracks,” Bobby said sipping his coffee. “Probably not, we had multiple guitar tracks, at least two and the most four. Larry did help with some of the solo parts, like with INSIDE THIS COFFIN. I had a little end lead and he said it wasn't ‘creepy enough’ so he re-wrote the guitar part I had. The funny thing is, I can’t even remember the original way I played it.”

Bobby strums the studio guitar.

“I do remember we doubled the guitars on the bridges which makes the album sound bigger and heavier.” I said pulling my chair closer to the group. “Larry had a few tricks up his sleeve for guitar that helped,” Bobby recalled. “I think he made fun of me and my singing to make me sing better...he’d call me ‘marble mouth’ so I had to keep doing the singing over and over again to get it to sound better. He made fun of me but it worked. He would stop the track and try and guess what I was saying and then laugh at me because it sounded completely different than what I was singing.”

A fresh faced Bobby.

I laughed at the memory of Larry hassling Bobby. “Luckily, I learned how to pronunciate when I sang in my band during high school, 'cause they were really on me about pronunciation. I think being in grade school and high school choir also helped me with that as well. Also, with the vocals, we doubled each of our voice so it was in a sense tripled on the choruses so it gave a huge gang-vocal feel.

Perfect pitch!

During the mixing of the album we had time to kill so we cut out “back patches” from botched shirts that our old t- shirt printers screwed up. It was a pain in the ass to hand cut all those shirts with scissors, but we didn’t know what else to do. We didn’t want to trash them.

Making lemons out of shit shirts!

A lot of song titles came from book titles that Bobby and I were reading at the time. We were obsessed with the horror author Richard Laymon. The songs, although they were named after his books, were not so much about the books but more about the imagery and the “aroma” of his twisted tales. We've made it a fact to never have any blatant horror movie lyrics. It seems too boring to title the song after a movie and then just sing about the story line. “It’s hard to tell if we matured from the first album cause I don’t remember any of it.” Bobby recalls. “I don’t remember practicing it or writing it. I don’t remember a single damn thing. The only thing I remember is that I wanted to do the classic thing of watching a horror movie with a guitar and have it magically write a song, like DANZIG would be sitting in his NJ basement writing HORROR HOTEL. I was watching the movie THE PRINCE OF DARKNESS and I wrote the little riff and chorus for VAMPIRES DON’T EXIST, so it actually worked! But it never worked again, 'cause it’s too forced, too fake.”


For this album, unlike 13 HALLOWEENS, we chose not to include the lyrics because we wanted to add some mystery. What we remembered about the MISFITS was that all the copied tapes that were passed around of their music never had any lyrics. This was back in high school before the internet, and so much time and speculation was spent trying to figure out what the lyrics actually were. We hoped people would do the same thing with our music and they did!


“The demo of the songs for THE TRAVELING VAMPIRE SHOW was done on a 4 track cassette recorder,” Bobby remembered. “We posted some of those demos on a secret Myspace page for the bare-bones fan club. It was hard at the time to send demos out so we put a few demo songs on Myspace and gave the members the special link. The demos are still up there if you can find it. People said the demos sounded like AFI so I was super stoked. It would be interesting to hear those again.”


The process on how we find samples for songs has pretty much been the same from the start. Before we go into the studio, we record a demo of the songs on a 4 or 8 track recorder and then we find movies that fall into the Public Domain category. We would sit and watch all these crappy movies, or just listen to the movie while we did other things. We would listen for an actor to say something cool/emotional/creepy or a sound that jumped out at us. Once we had the samples, we then start pasting them into the demo versions of the songs to see if they can enhance the music or the meaning of the song. We've also combined several different samples to make a "new" sample. The process is pretty "trial and error" but it's really fun when the samples and music blend together for the perfect fit.

Bagely's rough sketch.

“Tom Bagely created the album artwork,” Bobby said. “We liked his work that he did for FORBIDDEN DIMENSION and for the stuff he did for the Canadian pop punk band CHIXDIGGIT! When we originally contacted him to create the album art, he couldn’t do it, but then at the last minute he was able to do it for us!”

I should mention that our long time pal, Andrew Barr, drew the inside panels, the cd disk art and did the art design for the layout. 

Barr's first idea for the CD insert.

We thought it would be fun to have a giveaway for the pre-orders, so we bought shrunken heads that we signed and shipped out with every order. It turned out to be a pretty cool idea that people liked.

I can't believe we still have one sitting at Calabrese Manor!

During the Traveling Vampire Show era, back in 2006-2007 we used to have some really amazing Phoenix Halloween shows. Our buddy, Kelly Carcinogen, who was on the road with us remembers his first CALABRESE show which was a Halloween show. It was one week before he moved to Arizona from Alaska in October 2006.

Bobby Halloween 2006.

“HOUR OF THE WOLF, a phenomenal hardcore band from Prescott AZ played first,” Kelly remembers. “They dressed up like lumber jacks with fake beards and flannel shirts and they did a great cover of HORROR BUSINESS. It was awesome.”

Jimmy Halloween 2006

“Then ZOMBEAST played and had blood covering all over themselves. The bass player Brian had a bass string wrapped around him like Eerie Von. That was really cool. But when CALABESE played, it was really awesome, it was my first show. You had the green lights, and throughout the set you would throw out handfuls of hard candy into the audience. I got hit in the face a couple times by the candy. Ha! You guys had a fake skeleton at the end of the show that Davey tossed out into the crowd. People were grabbing it and it tearing it apart. People were running around with skeleton arms and parts. It was awesome!“

Davey Halloween 2006

Bobby finishing his coffee, sits up with a memory. “During the Halloween show, this dude wanted to film it, I’m not really sure why, but it was cool. I think Youtube was just starting to get big back then. I don’t know what he was planning on doing with that, but he recorded it. He did put up the cover of Halloween on Youtube. We recently saw him at the Salt Lake City show and I asked why he never put the rest of the show on the internet and he said he got lazy. He said it was still on his computer and he still needs to find it. I told him it would be cool to see it.“

“We gave away 100 dollar gift certificates to Inkbomb Tattoo,” Davey recalls. “Also horror movie DVDs and other stuff for a raffle. We went all out and made it a big Halloween show!"

For this last section of the blog, I listened to each song and will share with you all my thoughts and memories. You, too, can play along at home and listen to each song while you read. Sometimes when we play a song, I get the impression of a color. If I had to describe this album as a color, I'd say it had a blue/purple aura to it.

Animated banner from back when people did this kinda thing.

1. Death Eternal

This was a great time for the band and this album captured a part of that. People started coming out to shows and following us around and sang our songs. We were actually growing a fan base. This song always rocks the house. This gave the kids a chance to mosh, jump off the stage and go insane.

2. Voices of the Dead

This song has touched a lot of people. I've been told how it has personally got people through tough times. To me, that's the most rewarding, to hear how our music has touched another person and has helped them. We shot a music video for this song which was also a huge success for us. I wrote about the music video on this part of the blog HERE. I have so many good feelings when I hear this song. I can see countless faces singing this song with us at shows. It's always been a great way to close a show.

3. Vampires Don't Exist

I remember hearing this song when it was done in the studio and loving it. I just knew it was going to be a hit and it was.



4. Inside This Coffin

In the first verse I was trying to build a CALABRESE Army by turning the youth of America against their parents and to follow us. I love singing those lines at shows.

5. Night In The Lonesome October

This song reminds me of playing shows in Hollywood for some reason. We always got good support in California

6. Come Alive

I love hearing this song cause I wrote this back in an apartment I was living in with my sister in Illinois. This was before the band was even an idea. Back then the beginning sample was from the movie Young Frankenstein. This was the same apartment I would have dreams about playing bass for the MISFITS. This was also the time when I first heard Michael Graves sing for the MISFITS and I was so disappointed that I gave away my copy of the CD to Bobby. I thought that should be me singing on for the MISFITS (I have now made my piece with Michael's vocal style and now enjoy it). I'm much more happier that I created something new with my brothers instead.

7. Children Of The Night

This is another song that's a good example of our evolution of song writing. We started off with four chord songs with catchy “whoa” choruses (mostly because I was the main riff writer) but once Bobby started mastering the guitar, he was able to create some bad ass guitar riffs which has taken us to a new level.

8. Saturday Night Of The Living Dead

A classic Calabrese song if there ever was one. It has a killer intro sample, the theremin in the bridge, along with a group chant and a great pun in the chorus! All in one song!

9. The Young Princes Of Darkness

We named this song after our pals in ZOMBEAST. They had a band before ZOMBEAST called THE YOUNG PRINCESS OF DARKNESS. ZOMBEAST was the next coming of DANZIG and we knew they were going to be huge, but like a nuclear reaction the band became too powerful and exploded. I remember coming up with some of the lyrics for the chorus on the drive back from Flagstaff after a show with ZOMBEAST.

Even more animation!

10. Darkness, Tell Us

It was bound to happen, a song about Oujia boards. I think it was in Denver that a fan gave us a homemade Ouija board. We have the best fans ever!

11. Your Ghost

Another song that has touched our fans. Kids that were in high school when this album came out are now telling us how this song got them through tough times. When I hear this song, I can remember sitting in my bedroom writing the lyrics and at one point I left the room to do something else when inspiration struck and I instantly ran back in to try out a line for the verse, "She's into the paranormal, black cats and the occult."

12. The House Of Mysterious Secrets

"We'll just drink you blood" is one of the lines that fans love to scream. What a great song to end the album. I wrote some of these lyrics while in a different band back in Illinois. The lyrics represent the situation of those times.

Tour poster.

It seemed like we really captured some magic with THE TRAVELING VAMPIRE SHOW, it felt good, it sounds really good and it holds up to the test of time. It was really awesome.

Monday, December 23, 2013

13 Halloweens - A Rock ‘n’ Roll Memoir



While trying to think about a topic to blog about, I thought it would be fun to listen to each song from our first album, "13 Halloweens" and write down all the thoughts and memories that would come to me.  As a way to kill time on our drive to our Las Vegas, I also played the CD for Bobby and Davey to see what they remembered as well.  So hit play on your CD player and join us as we go back to the future where it all began!

When you hear "13 Halloweens," you probably think that’s exactly how we wanted it to sound -- dual rectifier guitars, triggered drums, massive wall of vocals, etc., but in actuality, we just showed up and the project took off on its own.   The studio had better equipment than we did so we just used what we had access to. We had an idea of what we wanted but we didn't know how to achieve it or how to properly explain it. Having said all that, I love how our first full length album eventually turned out and it was mostly due to the engineer, Aaron Cary. We just showed up and he turned the knobs. I know when we went into the studio we wanted a more raw sound like the early Misfits recordings but I remember Aaron explaining that they got that sound 'cause that’s all they could afford.  I also think Aaron didn’t want to put his name on a crappy sounding recording!  Either way, he did a great job capturing "the sound of Calabrese" at that time period. On a side note, I feel our album "Dayglo Necros" is closer to our original vision as to what we wanted our sound to be.


We recorded this at Studio Z in 2004 and the place was a house converted into a studio which was managed by Jimmy Z (a totally cool guy who used to party with the band Korn and loved to mention it whenever we saw him) and ran by Aaron. I think we went to check out the studio once Aaron e-mailed us after finding our 4 track demo we posted on the internet. He had the same influences we did so we knew it would be a good match.  Plus, the place was affordable. Every time we enter a studio we get to learn all the tips and tricks the engineer has picked up from all the other musicians they've met. I love the studio not only for the recording process but for all the great stuff you learn and great people you meet.

We never took any photos during our time recording "13 Halloweens," or if we did we don’t know where they are. I do remember there used to be some weirdo crackheads who lived next door and they would wander over sniffing around. They were constantly fixing their cars and since Aaron was a gear head he’d talk to them about how to fix their shit. Since the studio was all digital we were able to record and mix the album over many weekends since Davey was still in school and Bobby and I were working. I also remember we held a contest to name the CD, and while we were sitting in the studio we read all the title submissions. The best title by far was the one we went with -- "13 Halloweens" by our first fan, Nil Failstorm. He came to our very first show at the Modified Arts after seeing a flyer we left somewhere. He was the only person at the show that wasn't a friend or immediate family. He was literally our first fan!

Nil with a homemade Calabrese shirt!

After playing the CD for Bobby while driving he looked off into the Nevada sunset deep in thought. “I remember it was very, very boring during editing process. Now in the studio the time flies by. I remember Davey would sleep the entire time on the ratty old couch cause he hated it. I remember never wanting to be there during the editing too. I just wanted to go home. It was our first time in the studio so I didn’t have any suggestions. I was like ‘whatever, it all sounds good to me, I guess’. But now in the studio we get so nitpicky we can spend a month in there. Vocals were very hard to record. I probably still don’t know how to sing but back then I extra-extra didn’t know how to sing. Singing was very hard for me and my voice was always blowing out. I didn’t know how to sing in key, I didn’t understand that. Aaron would play back a portion of the song over, and over, and over and I still couldn’t sing it correctly. I couldn’t understand why I was not in key. I don’t know how you pick up how to sing in key but I guess you do. I was very nervous singing.”


Bobby adjusted himself in the passenger seat and continued. “It was the first time someone telling me what would sound cool on guitar at certain parts, I was probably pissed about it because I didn’t like people telling me what to do. But it sounds fine. It was my second time in the studio, and the studio was kinda like you would think it would be from the movies. It was definitely skuzzier but what it had was a Hollywood type scum, like porno magazines, marijuana roaches on the floor, empty beer cans. It was actually kinda dirty, which was pretty cool at the time as long as everything got done, but wow it was real life in old Studio Z! I remember that Aaron Carey loved soda or Mountain Dew cause he would suck on a 2 liter all day long and would smoke the entire time. And he really liked Hawaiian BBQ, he’s Hawaiian so that probably explains why he wore sandals all the time.”

After 13 Halloweens came out we won some local punk awards. It was like we received instant acceptance from the cool kids, something I never felt before with any other band I was in.

Best Album from the Ska Punk Awards, I believe.

Davey laughing at the cobwebbed memories, spoke up from the back bench seat. “After the recording of '13 Halloweens,' Bobby just graduated from high school and I was still in high school and I was very proud of the band. It turned out that my school was putting on a battle of the bands, so I was like ‘let's be a part of this.' So I went to the person in charge of putting on the show and she said ‘no, you can’t do it’. I was like ‘why not?’ ‘Well two of the members are not part of the school.' I was like ‘one of the members just graduated and I’m here. What’s the problem?’ ‘We’ll you just can’t do it.' I was really mad. The day of the battle, I finally convinced them to let us play but not as contestants but more as guest players. So we got to play the show and we sold our 2 t-shirts on a little table. I really wanted to show off at high school. I wanted to let people know who they were walking near. Everyone wants to show off when they are in high school.”

The infamous battle of the bands!
Davey and his buddy made a poster for the show. I still have that poster hanging in my garage!

I also remember at that battle of the bands show we needed to borrow someone’s PA. They forgot to mention to Davey that each band had to bring their own PA. So I asked one of the kids in another band if we could borrow theirs and he said “Umm, no it’s my dad's and he’s not here.” Luckily, a different band let us use their PA. And as it turned out the same kid who rejected our request ran up to me and asked if he could borrow a cable and with a smirk I said “Sorry man, it’s my dad’s and he’s not here.” In your face!

No wonder Davey wanted to show off at school.

Davey also reminded us that around this time we played a show at the Phoenix YMCA on the floor of the gym. “It might have been another battle of the bands or just some weird random show. I just remember waiting for us to play and I had my sticks in my hand clicking them on the basketball court wood floor and a friend or someone said ‘Don’t do that, everyone can hear that, you don’t want someone to do that when you’re playing, do you?’ I guess the clicks were really loud bouncing off the walls. I also remember at this time I was wearing a lot of wife beaters and sweat bands – we really didn’t have our look down then.”

Davey trying out his wife beater and sweat band combo.
The random YMCA show.

I remember at that YMCA show it was our first time we had people standing in front of us to watch us play.  It felt really cool to have people standing that close to us when we played.

I have to admit I thought I’d remember a lot more about these songs especially stuff that has happened at shows but after many years of playing these songs all the shows start to melt together like a gooey pizza topping -- delicious but hard to pick apart.

1. Zombie I   - When this song first came out, girls would ask what the line, “But the pressure was too much, and the girl she gave it up” meant. What also comes to mind was playing in a basement on Halloween with our friends and when we would play the opening sample people would scream.

Davey remembered that we brought in a big old box TV and a VCR to capture the movie sample clips. We plugged the VCR directly into the board and Aaron hit record on the studio console.

2. Resurrection   - Now listening to the bass intro sounds it sounds so weak I think we just plugged it direct into the board but at the time it sounded great. The guitars were played through a dual rectifier giving the album a “metal” sound and we really layered the vocals for the chorus (we really liked that).

3. Death of Me   - Reminds me that we took out some business size ads in Rue Morgue and local music magazines, which seemed to help get the word out about the band. Our super fan, Kristen Symons, was the first to get some of the lyrics from this song tattooed. I was blown away that she did that!



4. One of Us   - I remember listening back to this song and being amazed that Davey could play the kick drum so fast. It sounds like a real punk song! My favorite line “I pull the wings off little souls, only I say only goes.”

5. Midnight Spookshow   - Still one of the fan favorites! So many great times playing this song live. I like how Bobby and I help sing the end of each other lines in the verse. The album was mastered in New Zealand at Edgewood Studios and I thought that was cool because Peter Jackson is from New Zealand and he made "Bad Taste" and "Dead Alive" (my favorite splatter comedies!).

6. Backseat of My Hearse   - One of my favorite surf riffs. People at shows always scream out the lines “like a horror movie on a Friday night” and “why do you act like everybody.” I remember that the mastering had a hard time getting the album to sound good he kept adding too much high end and mids. We mastered it as least 3 or 4 times 'til we got it right.

Outside of Jugheads, one of the few bars that would let Davey play since he was so young!

7. Eyes Down   - I love how we matched the movie sample to the guitars on the intro. It was all by accident but it somehow fit so perfectly. A match made in hell? Bobby was having a real hard time singing the chorus on this song for some reason. “Anything can happen and it probably has” always gets a great response live, people love to scream that with me. I love it. This song was originally going to be played really slow like a Type-O-Negative song, but we’ve always had the need for speed. It was so easy to write these songs 'cause everything was still new and open...we had a TON of spooky word combination we never used yet. I remember playing this song at some show in Texas and some drunk lady was rubbing her beer bottle against my strings from the stage as we played, and she spilled beer all over me. I appreciated the enthusiasm but not getting my bass and shoes soaked in Lone Star beer.


8. Shrunken Head Kids   - While in the studio the intern (a man who looked like he was 40 years old) said he took the songs with him over the weekend and listened to Shrunken Head Kids on his buddy’s boat. He swore the chorus to this song was “drunk and reckless.” Yes, sir, you are correct. For you, in the chorus we sing “drunk and reckless.” Davey used a tambourine in the bridge on this song, cause we used a lot of different techniques on the album to get different sounds when they were starting out. After that Davey didn’t have much use for the tambourine so he set it aside and completely forgot he had it. It got buried in a corner under a pile of fan mail. And years later when we were writing the song “Evil Inside” (from our new album Born With A Scorpion’s Touch) which has a very bare-bones drum beat with just the kick and the snare it sounded kinda empty and he rediscovered his tambourine - the same exact one - from this "13 Halloweens" album. It was just sitting in a corner for years waiting.


9. Evening   - Still one of my favorite songs, I really like my bass line and how the guitars play off the riff. But I’m still fuming that in one of our first reviews someone said this song was a “fumble” on the record. How dare he use a football analogy to review our music!

10. Blood In my Eyes   - Gotta love the tambourine at the start. I thought this was a pretty “rock 'n' roll” song. It’s so simple and catchy I can’t believe I wrote the main riff on a broken mini ukulele guitar.

Bobby mastering the deathrock look.

11. Every Day's a Funeral   - All I can say is that the sample we used at the start of the song is a classic fit.

12. Crizila   - We recorded Aaron’s muscle car in the front of the studio trying to get the sound of tires squealing. It was on gravel and the wheels shot a rock into the studio's window breaking it. He quickly parked his car, put a piece of cardboard in front of the window to hide the broken glass and we never talked about it again. Especially not to Jimmy Z the owner! In the end, we just used a combination of car sounds found on the internet and a sound effect from a movie instead.

13. Phantasmagoria – We thought this song would be the “big hit” off the record but it didn’t take off quite like we expected. In one of the first reviews of the album they mentioned my controversial line, “through the Ouija board you said you were family, so I slit my writs to follow you” – we were shocking!

One of our first promo photos.