the filet-o-fish jingle + lyrics

In 2009, McDonald’s aired a television commercial featuring a Big Mouth Billy Bass-type character named Frankie the Fish. This “copyfish” sang an annoying jingle to a Casio keyboard-quality tune and made its way into our heads like a parasite.

With Lent going on right now, many restaurants have brought back their fish, shrimp, and seafood menu items. Mickey D’s has been promoting their Filet-O-Fish® with the accompanying jingle returning to the airwaves.

If you have been living in a cave for the past month, have never heard it, or want to make your ears bleed, then push Play to hear this infamous jingle:


McDonald’s Filet-O-Fish® Jingle
by Frankie the Fish

Recorded from 101.5 KROX FM on 2010-03-16 with a Mambo Clamp.

><(({°>

McDonald’s Filet-O-Fish® Jingle Lyrics

Gimme back that Filet-O-Fish®!
Gimme that fish! (ah!)

Gimme back that Filet-O-Fish®!
Gimme that fish!

What if it were you hanging up on this wall?
If it were you in that sandwich, you wouldn’t be laughing at all!

<°}))><

Modern Soapbox and all of its affiliates are not sponsored by and do not endorse McDonald’s, the Filet-O-Fish® sandwich, and the no-talent ass clown Frankie the Fish. This post has been provided for information and entertainment purposes only.

the lords of sound | guitar center interview with the lord-alge brothers

Producers and recording engineers get much praise for how a record sounds, but much of that credit should really go to mixing engineers, who transform raw performances into the polished final product.

Two mixing engineers in particular – the brothers Chris and Tom Lord-Alge — deserve much praise for crafting the sound of hundreds of influential and chart-topping records over the last quarter century. Between the two of them, they mix an average of 70 records a year (that’s more than one a week) for everyone from pop stars like Miley Cyrus, the Jonas Brother and Pink to perennial legends like Santana, Tina Turner and Steve Winwood to today’s biggest bands like Green Day the Dave Matthews Band and U2.

The Lord-Alge brothers have remained some of the music industry’s most sought-after mixers for so long because they’re more concerned about making great sounding, timeless records than keeping up or competing with current trends. “It’s all about the music, and it has always been about the music,” says Tom. “What we do as artists and mixers is try to be creative. We can’t be creative when the only thing we’re thinking about is technology.”

“The mix has to sound awesome,” adds Chris. “Not to pat ourselves on the back, but it’s just that something has to be at a very high level of quality for us to like it. If we like it, the artist or band we’re working with almost always likes it as well because we’re way fussier than they are. We favor wearing the mixing hat because we don’t have to worry about how a recording gets there. We just have to worry about where it’s going. We’re the last guys in the creative chain, and we’re the most important part of the process. We make sure that the music gets to the consumer the way it was intended to. We take the dreams of the artist and the producer, merge it into one, make them all completely at ease and deliver to them their finished product.”

Over their long and illustrious careers Chris and Tom Lord-Alge have grown accustomed to working with the best of the best – both artists and equipment. While the studios they work in may be equipped with high-end and vintage mixing consoles, compressors, EQs, preamps and microphones, they’ve been instrumental in making these sounds accessible and affordable to aspiring engineers, producers and mixers. For example, Chris has worked closely with Waves Audio to develop the CLA Classic Compressor plug-in software packages, which were modeled from favorite classic LA-2A, LA-3A and 1176LN compressors from his personal collection and feature a variety of his own custom presets.

In fact, Waves CLA Classic Compressor software is the first thing both Chris and Tom recommend for anyone who wants to soup up their recording and mixing setup. “I use them all the time, and not just because I’m his brother,” jokes Tom. “His presets are great starting points. They are truly great plug-ins.”

“I highly recommend spending your money on a variety of good plug-ins and virtual instruments,” says Chris. “Hopefully you should already have a good audio interface to start off with. Pro Tools is an industry standard, so I would recommend the Digi 003 with Pro Tools LE software. As far as recommended plug-ins go, the Waves API Collection bundle and their LI Ultramaximizer are just a few of my go-to, everyday necessities.”

The legendary SSL 4000 console, introduced in the 1980s, is the one piece of hardware that Chris and Tom say they cannot live without. “The SSL 4000 remains the biggest tool in our arsenal today,” says Tom. “It has a very specific sound. It was the first console to have compression and dynamics built into every channel. I couldn’t do one mix without my SSL.”

While most home studio engineers don’t have the space or budget for a real SSL 4000, they can enjoy the same sounds and sonic advantages with the Waves SSL 4000 Collection bundle, which includes the SSL G-Equalizer, SSL G-Master Buss Compressor and the SSL G-Channel and E-Channel channel strip plug-ins. As an added bonus, each plug-in includes a wide variety of Chris Lord-Alge’s own presets, which he consistently uses when mixing records. His drum presets can add new life and added punch to otherwise dull and lifeless sounding drum tracks, and his vocal presets can help you achieve that elusive professional quality that will make your recordings stand out.

These plug-in packages share a lot of the mixing know-how that the Lord-Alge brothers have developed over the last 25 years, but both feel that home studio engineers would be wise to also invest in equipment that will help them capture pristine performances before trying to make mixes that compete with their seasoned experience. “You can always call one of us to mix your recording,” says Tom. “Performance is king. Music is about emotion, and most of the emotion is based on performance. Don’t let mediocre performances make your record, and don’t expect technology to fix it. Rather, use technology to enhance your recording to your advantage.” Today’s technology can perform virtual miracles when it comes to fixing things in the mix, but Chris and Tom prefer to work with recordings that sound as good as possible before they reach the mixing stage. As a result, they recommend that aspiring engineers invest in a variety of good microphones and mic preamps to help them lay down initial tracks that sound great from the start.

Because singers’ vocal styles and sounds can vary so much, the Lord-Alges suggest that vocalists audition a variety of mics before choosing the ones that are right for them. “Look at your budget,” says Chris. “Guitar Center will definitely help you select the right mic that is within your budget. There are so many new microphone companies. Use your ear to pick the mic that you think sounds the clearest. And then spend a little bit more of your money on your vocal chain – the mic preamp and the limiter. That makes just as much difference as the microphone. “The Focusrite ISA 430 MKII Producer Pack offers really good bang for the buck and the sound quality is really good,” continues Chris. “It combines a mic pre, EQ, compressor and limiter in one device, which is really helpful. It’s all in one chain so it gets you familiar with how all of that stuff works together.” “Start with one of those, and as you become more comfortable and confident making recordings you’ll be ready to step it up,” adds Tom. “Then you’ll want to do some research and demo other equipment to come up with something that sounds even better. I like individual pieces, like the mic preamps and compressors that Universal Audio makes. If you can afford to spend more I highly recommend upgrading your setup with a few pieces of their gear.” If you’re recording electric guitars, the Lord-Alges both highly recommend the Shure SM57. “It’s a workhorse that really does great things,” says Tom.

“The simplest way to start is with an SM57 pointed just off the speaker cone,” says Chris. “Use one mic, one mic preamp and record straight to tape. Find the best place in the room to place your amp and dial in your sound before you record.”

“If you can’t get the sound you want with your setup, you may want to rethink what amp or guitar you’re using,” adds Tom. “Get another guitar or amp. A lot of players use two or three amps these days, but it’s better to use just one amp and get your sound from that. Simpler is always better.”

Both also suggest using a similar approach when recording bass. “I love my bass sound,” says Chris. “Put a mic on it. Let’s hear what the bass sound is. If you get a bass sound out of your amp that you like, mic it up and see how it sounds. If you have a good microphone that can pick up the full frequency range of a bass, by all means use a mic. Using a DI along with a mic can present a few phasing problems, but Guitar Center sells all kinds of boxes that will fix that.” The Radial Engineering Phazer is a highly recommended direct box that can fix phasing problems commonly encountered when recording direct and mic’d signals at the same time.

One often overlooked but crucial element for achieving satisfactory results in a home studio environment is a good set of monitors. Chris and Tom are both big fans of the legendary and now discontinued Yamaha NS10 monitors, but since those speakers are no longer available they recommend auditioning the various sets of powered monitors offered at Guitar Center.

“Bring your favorite mix,” suggests Chris. “Bring your iPod and a cable to the store or bring a CD and make sure you’re getting a flat signal from the CD player. Listen to music that you’re really familiar with through different sets of speakers. We’ve sat in front of NS10 speakers for more than 20 years, so that’s what we know and what we like. But don’t let us force you to choose what we like. It’s a personal decision and maybe you can come up with a set of monitors that work better for you. Powered speakers are the best way to go because you don’t have to worry about using a separate power amp that can change the sound.” “Powered monitors can sound great in a small home studio,” adds Tom. “You just plug them in and go. Get a pair of good powered monitors with a powered subwoofer and you’re off to the races. I highly recommend using a subwoofer because you want to be able to reproduce the bottom end that so much music relies upon nowadays. Owning a good pair of powered monitors is a big advantage if you travel to different studios to work because your point of reference is always the same.”

Not surprisingly, the Lord-Alge brothers use their own records as points of reference when recording in unfamiliar studios and when they’re working on new mixes for other artists. Tom likes his brother’s work on Green Day’s American Idiot: “It’s a great reference point for anyone making a rock and roll record. I would want my record to sound like that.” Chris returns the favor, preferring Tom’s mixing work on Steve Winwood’s 1986 classic, Back in the High Life: “That’s still tough to beat, so I play that.”

For more information and to see the rest of the interview, go to guitarcenter.com/interview

Source | At: Guitar Center, February 2010

the nesesary audioverload + the wurkweek rootene

My schedule during the weekdays have been very routine for the past several months now. I try to be in bed by 11pm each night and asleep before midnight. I first wake up in the morning when the first alarm goes off on my cell at 5:16am. Three more alarms at 5:47am, 5:57am and 6:05am plus the 10-minute snoozes continue to go off on my phone as I cradle the device with me enjoying the last moments of half-asleep before my alarm clock fires off full blast at 6:00am with the last song before The Morning X with Jason and Deb commences.

I sleep through the 6am news and usually out of bed getting ready for work by the time Morning X Rewind is played. I go through the morning weekday routine: pack my lunch, shower, dress up, and gather my portable audio devices and other necessary items I carry around with me (wallet, keys, cell). By the time I’m putting on my clothes, Morning X Sports is playing. On a good day, I’m out the door before the 1st hour Sports segment ends. On a normal day, I’m looking over at the clock on the microwave in the kitchen and it reads 6:40, 6:41, or 6:42.

I exit my dwelling unit, lock the door, and I’m in my car and warming it up during this time of the year. The face plate goes on my CD player and 101X is tuned to continue Morning X. Commercials or a song are usually playing at this time as I make the very short trek to work. Depending on whether or not I catch the light, the commute averages around seven minutes.

I get to work, scan in at the entrance to the fortress where I’ll be for the next eight hours, put my lunch in the break room fridge, go to my desk, clock in somewhere between 6:55-6:59, and start the grind. While my application loads, I equip my ears with ear buds and continue Morning X on the portable HD radio that my Maribell got me for the holiday. From the time I arrive ’til about 10am, I am tuned in to 101X listening to my favorite morning show of all time.

When Morning X concludes (now click that Play button but adjust your volume first) and the commercials starts to play again, I disconnect my headphones from the HD radio and plug in my custom-engraved iPod Shuffle I received as a gift for being the Best Man at one of my best friend’s wedding. I go through the playlist on shuffle ’til about ten minutes ’til noon.

At 11:50am, I switch back to the HD radio, exit my app, log my break, go to the break room, grab my lunch, exit the building, and stroll to my car. I enter my car, remove my headphones, and turn on the radio. I text my request to Flashback Lunch as soon as the lines open then proceed to consume my lunch which has been mostly the same thing every weekday: a can of soda (usually Coke® Zero™) and a sandwich (premium bread + premium sliced cheese + white chicken or turkey that was formed and packaged into a cylinder).

While I eat my lunch, I text the daily trivia question to TW. I hang out in my car for the radio ads to play and the first couple Flashback Lunch requests hoping that txt to 29217 was picked. When I finish my lunch and ready to return to the grind, the headphones go back on as I listen to Flashback Lunch for the hour.

Flashback Lunch finishes around 1pm. If Lawless is DJing, he plays a track from across the pond for UKTX. This is where I heard “Dominos” by The Big Pink and got into them. I scored a promo copy of their debut album at Cheapo Discs and really like it. UKTX recently played “Velvet” off the same album, A Brief History of Love, and that’s an excellent track, too.

After UKTX, I plugged back into the Shuffle and continue the mix ’til my shift ends at around 3pm. I remove my headphones, clock out, log off, and go back to my car. By this time, Toby is DJing and it’s about time for his 3 O’Clock Whatever. He was going to play Soul Coughing’s “Soft Serve” today but opted for System of a Down’s “Psycho.” He’s played “Soft Serve” before, but that song is a great jam and should be his go-to track if he doesn’t have anything else queued up.

I make the short drive home or to run an errand or two with the radio playing, and the audio doesn’t stop ’til the car stereo turns off when I pull into a parking space, shut off the car, remove the face plate, and enter my abode after a usual day at work.

the txdot click it or ticket radio jingles

The Texas Department of Transportation (TxDOT)’s Click It or Ticket campaign raises awareness to drivers and passengers about the importance of wearing safety belts. Catchy jingles about “clicking it” can be heard on the radio as part of this advertising campaign.

Here are a couple versions that are currently playing on 101.5 KROX FM Austin.

<[ Push the French onion green play button! ]>

Texas Department of Transportation
Click It Song (Explosion)

Recorded 2009-06-16 from 101X with a Sony ICF-S10MK2 Pocket AM/FM Radio.

_____________~* SONG LYRICS *~_____________

Click It Song (Explosion)

Click it. Click click it.
Click click it. Click it.

Click it if you’re tall.
Click click it if you’re short.
Click it in your automobile before you start.
Click it for your babies, toddlers, and kids.
Don’t just pretend to and say you did.

Click it if you’re a rebellious teen.
Click it even if your two-year-old screams.

Click it.

Click it if you’re driving one short block.
Click it if you’re driving around the clock.
Click it if you’re on time or running late.
Click it automatically. Don’t hesitate.

Is there ever going to be a time when I don’t have to click it?
The answer is “No! No! No! No! No!” You’ll get a ticket.

(Drivers and passengers, whether you’re going two blocks or two-hundred miles, be sure to buckle up. If you don’t, you could be fined up to two-hundred dollars. Click it or ticket. Brought to you by the Texas Department of Transportation.)

Click it. Click it.

_____________~* MP3 DOWNLOAD *~_____________

For those of you who lack Flash support on your browser (or just want your own copy) can click the MP3 icon to download it to your computer.

_____~*~_____

(^^,)

<[ Push the French onion green play button! ]>

Texas Department of Transportation
Click It Song (Cecilio)

Recorded 2009-06-12 from 101X with a Sony ICF-S10MK2 Pocket AM/FM Radio.

_____________~* SONG LYRICS *~_____________

Click It Song (Cecilio)

Buckle up. Buckle up. Now click it.

Click it if you’re tall.
Click it if you’re short.
Click it in your car before you start.
Click it for your babies, toddlers, and kids.
Don’t just pretend to and say you did.

Click it if you’re a rebellious teen.
Click it even if your two-year-old screams.
Click it if you’re driving one short block.
Click it if you’re driving around the clock.

Buckle up. Buckle up. Now click it.

Click it if you’re on time or running late.
Click it automatically. Don’t hesitate.

(Is there ever a time not to click it?)
The answer is “No” ’cause you’ll get a ticket. (Oh.)

Buckle up. Buckle up. Now click it.

(Drivers and passengers, whether you’re going two blocks or two-hundred miles, be sure to buckle up. If you don’t, you could be fined up to two-hundred dollars. Click it or ticket. Brought to you by the Texas Department of Transportation.)

Buckle up. Buckle up. Now click it.

_____________~* MP3 DOWNLOAD *~_____________

For those of you who lack Flash support on your browser (or just want your own copy) can click the MP3 icon to download it to your computer.

_____~*~_____

The Texas Click It or Ticket campaign’s home page is located at this link. More jingles and other campaign materials can be found at the Click It or Ticket page on TxDOT’s website.

(^^,)

the first single off green day’s 21st century breakdown (know your enemy)

Today, Green Day released Know Your Enemy, the first single off their upcoming album 21st Century Breakdown. Their eighth studio album which was produced by Butch Vig will be released on May 15th.

At 8:40 during Morning X on 101X, Know Your Enemy was played on the radio for the first time in Austin.

<[ Push the French onion green play button! ]>

Green Day
Know Your Enemy

Recorded today at 8:40 from Morning X on 101X with a Mambo Clamp.

(^^,)
_____________~* BONUS *~_____________

For those of you who lack Flash support on your browser (or just want your own copy) can click the MP3 icon to download it to your computer.

_____~*~_____

Notes about the recording hosted here:
The audio was recorded in mono from a local radio station broadcast. The quality is inferior to the actual single and is supplied here for reference purposes only. The introduction to the song is spoken by Jason Dick of Morning X on 101X. Please pardon the small bits of static in the audio. The concrete walls of the fortress where I work my day job causes interference.
(^^,)

the thundercloud subs radio jingle

Fellow Austinites who tune into 101X have probably heard the annoying jingle that Thundercloud Subs is currently playing. I would have to say that it is currently tied with the Reid’s Cleaners jingle that is currently playing on television but loses severely to the local Gatti’s commercial (“Dial 4 5 9 22 22 and get a Mr. Gatti’s pizza delivered…real cheese… real h0tt…”). Thundercloud’s previous jingle was mostly tolerable at least.


Thundercloud Subs
2009 Radio Jingle

Recorded from 101.5 KROX FM on 2009-03-27 at 0748 with a Mambo Clamp.

*
***
*****
_____________~* BONUS *~_____________

For those of you who have never heard this and have been told to listen but may lack Flash support on your browser (or just want your own copy) can click the MP3 icon to download it to your computer.

_____~*~_____
*****
***
*

*
***
*****
_____________~* DOUBLE BONUS *~_____________

Thundercloud Subs Radio Jingle lyrics

When I’m really hungry and I want something good,

I go to the Thundercloud in my neighborhood.

The sandwich makers are friends of mine ’cause I’m in there all the time.

When my stomach starts to grumble, you can bet I happily stumble into Thundercloud Subs!

For a hometown vibe with delicious grub…

Thundercloud Subs!

It’s a tasty place that everybody loves.

Armadillo lady on a date with a stallion,

She’s a Veggie Delight and he’s a New York Italian.

You gotta eat. You know it’s true.

While you’re in the neighborhood, here’s what you do…

You go to Thundercloud Subs!

(roast beef avocado)

Thundercloud Subs!

_____~*~_____
*****
***
*

It was drilled into my brain for a couple days, but I have yet to succumb to its temptation by getting one of their delicious NY Italians. We’ll see.

Please share your thoughts and/or opinions to the rest of the world about what you think of this jingle, since you’ve stumbled across this page almost by accident. I’m sure you’d like to be heard, and everyone will read what you wrote and might have the courage to comment, too.

the 21st century breakdown title track

Around 10am this morning on 101X after the Morning X concluded, the station played a new song from Green Day. The song is the title track of the upcoming album, 21st Century Breakdown, which will be released this upcoming May. The album was produced by Butch Vig, and the first single titled Know Your Enemy will flood the airwaves on April 20th.

Green Day’s 21st Century Breakdown (Demo) MP3 is currently being distributed via BitTorrent. You can also get a copy by clicking this icon.