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Some Purgatory

by Mitch Gettman

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1.
Fool Theme 00:26
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2.
Typical Fool (feat. Jocelyn) 03:45
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3.
World Thru a Lens 03:47
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4.
Bed Bugs 04:50
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5.
I Don't Wanna Go Outside 07:14
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6.
Empathy 08:18
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7.
People 05:17
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8.
No One on Your Side 04:20
lyrics
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The crowd seems too humble I think it's time I quit The way they look at each other It weirds me out a bit People so glued to their vices they just can't tell what's it The friends we call our brothers who's brothers did us in When you've got no one on your side when you've got no one on your side when you've got no one on your side when you've got no one on your side Well I have been empty-handed I never left with much I watched you slide out the back door but I promised, oh, that I never would touch and now all these people with their bleeding eyes want me to strike a pose But I never posed for nuthin'--uh uh-- I was merely froze When you've got no one on your side when you've got no one on your side When you've got no one on your side Yeah, you got no one on your side Well then we go doo-doo-doo-doo-doo doo-doo-doo-doo-doo doo-doo-doo-doo-doo doo-doo-doo-doo-doo Now all the jokers keep smiling the mommas they wash their clothes and that vampire man on down the hall just gave someone a lethal dose And now all these children they're still wearing smiles across their young unenlightened faces and the juke-box man is giving my heart one-too-many breaks When you've got no one on your side when you've got no one on your side When you've got no one on your side Yeah, you got no one on your side Well then we go doo-doo-doo-doo-doo doo-doo-doo-doo-doo doo-doo-doo-doo-doo
9.
Fool Theme (Reprise) 01:28
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10.
It's Gonna Be Okay, Darling (I Know) 08:50
lyrics
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The moon is bright but the night is young my love don't pay no mind to the attentive stars above relax for once and let yourself stay remained in my arms The moon is bright but the night is young my love No need to cry if it reminds you where you came from Relax for once and let yourself stay remained It's gonna be okay darlin' I know It's gonna be okay darlin' I know It's gonna be okay they always did say you'd be a star and you are The moon is bright but the night is young my love look towards the light and you will find out what you're made of Relax for once and let your soul softly sway It's gonna be okay darlin' I know It's gonna be okay darlin' I know It's gonna be okay they always did say you'd be a star and you are The moon still shines though the sun begins to show The east it cries to the west that's sounding low Embrace the noise and beauty that is displayed It's gonna be okay darlin' I know It's gonna be okay darlin' I know It's gonna be okay they always did say you'd be a star and you are

about

Ah, it's been a long time coming with this one. I don't know about you but I've been waiting on this since the beginning of 2016! I seriously thought we would just go into the studio, (that was me, Carlos Figueroa on drums and Jon Ochsner on bass) Jeremy would press record and we'd have our man after each 4th or 5th take. We'd have the whole thing finished in a month! I don't know what I was thinking 'cause this album grew a lot from that first session with Jeremy where we recorded a rough demo of "Typical Fool" and my vocals really sounded like I was trying to be John Lennon because of this super wet slap-back delay effect we had on 'em. It was cool but I realized I wasn't ready to record the album like I thought I was and all the variables weren't even right yet.

Things really started coming together when I got Cricket on bass and Adam Stoltenburg on drums--who had played guitar with me at shows since the "We Are the Mad Ones" days, the multi-faceted motherfucker. They were the perfect rhythm section for this project because they had so much experience playing with each other in Custom Catacombs and they just grooved along so well to everything I brought to them. Adam was always a great guitar player and it really amazed me to see him transition so fast and so well to the drum kit, even though I already knew he could play well. Cricket had a couple of fretless basses and he ended up using this cream colored fretless Fender P bass for every one of these recordings. He would suggest trying out some different basses and I'd just say something like, "I think that bass you've got in your hands right now is just what this next song needs" and I wouldn't let him use any of those other basses. It really gave each of these songs a unique sound and character to support the low end, and it gave Jeremy a unique challenge when it came to mixing that bottom end in the mastering stages.

Yeah, we worked on this stuff for a while, mostly gigging in Omaha throughout 2016 while we were still shaping the songs. We would practice in Cricket's basement and he recorded every single one to Pro Tools. He would usually have a new Dropbox folder ready for us just a few days later with recordings from the latest practice. I don't know how many of those recordings I listened to but needless to say, I was pretty tired of hearing these songs before we even started recording them for real.

I'm gonna skip all the details from the actual recording of this album cause I've gotta have something to tell about in my auto-biography someday but for those of you who are following the Mitch-Gettman-narrative right now (probably just me and my Uncle) I can tell you that this sucker is DONE, and not without the help of some good ol' folks from Omaha, NE, U.S.A. (check the album credits!) who were so kind as to share their talents on this record. Without those people this album would be a lot more bare-boned, to say the least, and my Uncle would be a little more pleased with the results...

But alas this is the product that I have been dreaming on for some 3 years now and I am nothing short of delighted to share this with you, while you go about your lives in that private corner of this rock you call "home", looking out from within at the big-ever-changing world surrounding you, trying to keep up, trying to make sense of it all, trying not to worry but wonder at the vast totality of everything.

-MG

credits

released September 14, 2018

In alphabetical order by first name:

Adam Roberts: recording engineer
Adam Stoltenberg: drums, percussion, trombone
Blake DeForest: trumpet
Carl Miller: classical guitar (track 2)
Cody Fenske: album artwork design
Cricket: Bass
Dan McCarthy: piano (track 6)
James Cuato: saxophone
Jeremy Garrett: producer, recording engineer, mixing, mastering
Jocelyn: vocals (track 2)
Jon Ochsner: recording engineer
Kaitlyn Kukloy: violins, viola
Kyle Forrest: photographer (album cover & back)
Mary Quinn: background vocals (tracks 4, 8 & 9)
Michael Stevens: violins (track 2)
Megan Siebe: cello, viola
MG: vocals, electric guitars, acoustic and 12 string guitars, ebow guitar, coin guitar, bowed guitar, pianos, fender rhodes, pump organ, Hammond M3 & J100 organs, MIDI instruments, cello, triangle, guiro, tambourine, bowed cymbal, kazoo, radio, delay noise, production, recording, mixing, songwriter
Molly Gaughan: guitar (track 6), background vocals (tracks 3, 4 & 8)

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Mitch Gettman Omaha, Nebraska

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