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PIVOT

by TOTTER

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about

This album features Totter with The Well Tempered Players, Fire in the Pines and FERAL. All songs were recorded live in the studio or in front of a studio audience. There are explicit lyrics on track 5.

credits

released July 2, 2012

Totter Todd~voice (all songs), guitar (trks. 2,3,5,8), sax (trks. 4,7)
Jeb Eagle Bows~violin (trks. 1,3,4,5,6,7)
Reverend James Calvin Thompson~bass (trks. 1,4,6,7)
Ryan Jalbert~guitar (trks. 1,4,6,7)
Alan Ward~drum kit (trks. 1,4,6,7)
Ben Worley~bass (trks. 2,3,5)
Nick Lochman~drum kit (trks. 2,3,5)
Roman Kosins~throat, jaw harp (trk. 8), lapsteel (trk. 2)
CA-LEB-ULA~on percusion (trk. 8)
George Johnson (Rudement)~bass (trk. 8)
Joseph Calitri~cardboard box/trash kit (trk. 8)
Chistophe Nelson~lead guitar (trk. 2)
Patch~live dubbing (trk. 8)
Resurrector~live dubbing (trk. 8)


All Songs Written by Totter Todd (except for Passion’s
Sleeves-traditional)
Produced by Totter Todd
Marvel, Lucy Lu, Passion's Sleeves, and Compulsion's Widows Performed by Totter and The Well Tempered Players
Rabid Dog, Now Is Not The Time, and Evil L.A. performed by Totter and Fire In The Pines
The Birth (Sultry Mad Fire (Live)) performed by FERAL

Trks. 1,4,6 & 7 recorded live in the studio in Boulder CO
Trks 2,3&5 recorded live in The Garage Studio San Marcos TX by Fkir Eledercake, Totter Todd and Christophe Nelson
Trk 8 recorded live at Hunan Garden in Boulder CO by David,
Resurrector & Patch
Mixed by Totter Todd

Mastered by Oz Fritz

Album Design by Totter Todd & Virginia Lee
Album Art and San Luis Potosi Photo Montage by Adam Cooper-Terán


Totter Todd thanks: above, below, the north, the south, the east, the west, the here, Sylvia Todd, Reginald E. Todd, Teri-Chad and Family, Nathan-Jaimie & Family, Memaw & Pap, Pee-paw & Mama-Two, Virginia Lee Worley, The Todds, The Pettys, Cindy Neely, Taurmini Fentress, Adam Cooper-Terán, Chuck “Big Mama” Fitzgerald, Patch, Sean Leonard, Resurrector, Stero-Lion, Jeff”Apostle”Campbell, dr. Israel, Cochrane Mcmillan, Oz Fritz, Myles Boison, Anastasia Louise, Fkir Elderfae, Jessica Silverelk Bowman, Leda Lum, Kaya, Dee Coulter, Jane Faigo, Bataan, La Bruja, Enrique Ugalde, Chris Richards, Melinda Sherod, Ramaya Soskin, Benton Coons, Burr Neely, Jon/Jennifer/Woody/Bob Hickam, Jeremy Averitt, Penny Lane, Angus the Aussie, Jerry Mcdaniel, Andrew McNew, NorCal Crew, Scott Wolfe, Shiloh Boss, Rich Meyers, Bill Keys, Tres Altman, 21 Dread, Jen Stinnett, Unstoppable One, Eric Wiggs, Andrew Linstrom, Josh Ivy, Jillian Ann, Guillaume, Big E, Till Pistorious, Katako, Davey Diamonds, Eduardo De Castro, John Williams, Muse Sassalot, Heather Tyler, Summit Tyler, Trilogy, Carlton Pride, All Fire In The Pines, All the musicians and audiences involved in these recordings~

Warning / Explanation of Explicit Content on my album "Pivot"

After much deliberation, I feel obliged to give a warning and explanation pertaining to the explicit nature of some of the lyrics, and music for that matter, which exist on the album "Pivot" that I just released into the world. Although it is in my nature to be mysterious even to myself, I have come to believe through my correspondences with others that I might be misunderstood and have chosen to shed some light on the subject.
Track #4 is "Lucy Lu". Let it be known that from the vantage point this song was written and performed, Lucy Lu is a cute name for the Devil and is short for Lucifer. Hopefully this being known will dispel the thought that I am singing that I will make love to and murder, among other explicit acts, the actress with a similar name or any other human being. Exactly what the Devil is, the idea of the Devil is, or which tradition I am speaking from or referencing, I leave to the listener to ponder, for I know I have and was doing so during this song.
Track #7 is called "Compulsion's Widows". Therefore it could be said, it is about that which is left behind once compulsion is dissolved, as well as the journey to get to this point. Amongst other explicit lyrics in this song, the one that would most likely stand out to the average listener is: "I'm wondering through the cold alley ways, in search of a child to curb my hunger." To clear the air, I am speaking metaphorically here. In this case the metaphoric meaning could be said to be as such: "On what I believe to be my journey towards losing my compulsions, therefore my sense of self, and becoming one with all things light and dark, I hit a supremely lonely and honestly quite scary place of realization; that nothing here is new and singular. Upon this realization a mad frenzy arises in which I am desperately grasping for something new and of its own. I am yearning for something not connected to or controlled by the seemingly whimsical movements of the celestial bodies, something not made from that which has come before it, something fresh, younger than youth, something timeless, something not made by its nature or nurture, so to speak." In this song the child is the symbol of this, which I am hungry for and striving after.
Lastly, for now, I would like to confess that on track #5 "Evil L.A." I use the F word.

Sincerely,
Totter

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TOTTER San Marcos, Texas

"(Totter's) music is a little bit crazy, but genius"-Tom Rowles,  Not MTV.tv
"Totter Todd's moody, lyrical live score provides an evocative soundscape..."-Robert Hurwitt, SF Chronicle

Totter's music moves through electronica, blues, americana, grind-core, jazz, dub and into realms that, as of yet, have no name.
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