Songs
1. Main Titles
Genre: Instrumental/Soundtrack
Comedy Scale: Serious
Key: Fm, C#
Influences: Danny Elfman's Corpse Bride Soundtrack
Story: Many times, I have an idea for a very full, orchestral sounding song, and very often I determine that that will require an awful lot of work and I end up with something much less full-sounding. Sometimes I give up altogether and just play video games. On this song, however, I said 'screw it' and spent 14 hours one day hammering out nearly all of the 15 tracks on this song. Aside from leaving out the chorus, which I think was for artistic reasons and not labor saving ones, it came out exactly as I had imagined. Plus a gong. Now if only I had a good orchestral sound module... or better yet a real orchestra...
Interesting Notes: One of the very few songs I left room in which (for me) to solo.
2. Women Are Insane
Genre: Acapella/Barbershop/Chant
Comedy Scale: Comic
Key: C#
Influences: Austin Lounge Lizards The Drugs We Need, the weird chant part of the performance piece Land of Dreams that I had to sit through too many times
Story: Based on my knowledge, albeit limited, of women, I needed to pen a little ditty that best put my feelings towards them out there. Why it ended up being a combination of barbershop quartet and African chant is still a bit of a mystery. It stands unrivalled as my most sexist song to date.
Interesting Notes: See the notes for Parade Rag. Also note that there are actually 10 me's in this song. You might ask why I bothered to have Fenk come in and sing one line. Well, I ain't no tenor.
3. Memo to All Potential Girlfriends
Genre: Vocal/Folk
Comedy Scale: Serious
Key: G
Influences: Bryan Fenkart's Empty Handed
Story: Bryan had written a great song that warned girls of what to expect from a relationship from him. Having just gotten out of my fifth relationship in the exact same fashion as my other four, I thought I'd write a song warning all my potential girlfriends of the pattern I'd fallen into. It got podcast play on a comedy radio station. I don't know, I thought it was a sad song.
Interesting Notes: The weird plucked instrument is a melody harp. It's a poor-man's autoharp that my brother gave me as a present and I've been itching to use in a song for years. And it just sounded better with a delay.
4. Something Great
Genre: Punk-Pop/50's
Comedy Scale: Tweener
Key: Bb, C
Influences: Bowling for Soup (entire catalog), That Thing That You Do
Story: I originally wrote this song about one girl in my life, but immediately thought it was all lies. So for a while I thought it was about nobody in particular, when it suddenly occurred to me that Something Great is about an amalgam of girls that have come through my life. There's probably references to a dozen different people in there. I tried counting but it hurt my head.
Interesting Notes: I recorded the vocal track one day after the worst case of food poisoning I'd ever had in my life. It explains why my voice sounds weak and whiny (which I felt appropriate, given the genre). Yeah, for some reason I wrote this song too high to sing normally, and in my sickened state, I was able to hit all the high notes. As for Ron's drums, as we were driving to the place where we were going to record them, Ron listened to a demo version of the song for the first time. So he played his drum track more or less on the fly. Sidedish is good people.
5. That's How We Do It (In the Suburbs)
Genre: Hip-Hop
Comedy Scale: Comic
Key: Bbm
Influences: None
Story: Several years ago, friend and one-time Head of Carbonation member Kevin "T. Mob" Gilbert was in town and we decided that it wasn't fair that rappers got to reap the financial benefits from having an Eastside/Westside battle. Since he lives in the suburbs of Los Angeles, and I live in the suburbs of New York, it seemed only fitting that we add fuel to the already blazing fire of costal hatred, only in a much sillier way. I have drawn first blood in this feud. We'll have to see if T. Mob answers.
Interesting Notes: This song was once inexplicably described as 'pretty cute'. Until I see any royalties come from our feud, there ain't nothin' 'cute' about it. Also, it's pretty interesting to note that Bryan, when asked what his supporting rapper guy name would be, immediately answered with Froz'n Dakree, complete with spelling. That frightened me.
6. Will You Still Love Me (When You're Sober)?
Genre: Country/Folk
Comedy Scale: Comic
Key: D, E
Influences: Arrogant Worms Lonely Lab of Broken Hearts, A Kiss At the End of the Rainbow from A Mighty Wind
Story: Another song born from a joke held long ago. A friend of mine would get herself drunk so she could hook up with me without feeling guilty. And one day, I asked her, "Will you still love me when you're sober" and we both agreed it would make a killer country/folk love ballad. Just don't ask me if this is parody, homage, or actually an attempt at a real country love ballad, because it dangerously dances around all three of these monikers.
Interesting Notes: Sam Brown, who sings the lead, says she probably can't ever perform this song live because her mom comes to all her shows. That's a shame. Also, it's possibly my first ever deliberate accordion solo since the days of Head of Carbonation.
7. Sand Daggers
Genre: Instrumental
Comedy Scale: Serious
Key: Abm, E, Fm
Influences: none
Story: none
Interesting Notes: The original title of this song was "Knitting Sand". This title came to me as I was about to drift off to sleep, and I somehow remembered it the next morning.
8. The Truck Song
Genre: Derek
Comedy Scale: Tweener
Key: A
Influences: none
Story: While in Arizona for the Amateur World Disc Golf Championships, I spent much time with my friend and fellow Faction member Dave "R.C." "Cromwell" McHale. While driving one day, he was stuck behind a truck when he started singing this little melody. Also combining it with his insistence that I 'don't call it a come-uppance', this song was all but written. All I did was add a fake tuba and boom, it's music history (or, I guess, music obscurity).
Interesting Notes: Cromwell didn't seem all that impressed with the early mix I sent him. It was, however, pre-fake tuba.
9. Snake
Genre: Goth
Comedy Scale: Tweener
Key: Gm
Influences: Evanescence's album "Fallen"
Story: I had just been getting heavily into Evanescence when I chanced to hear Paula Abdul's old 80's hit Cold-Hearted Snake spill out of my radio. Though I'd heard the song hundreds of times before, I only then realized that the chord progression in Snake was essentially the same as the chord progressions that dominated Evanescence's album "Fallen". Putting these two ideas together was easier than I thought. I only wish I had the recording capabilities and the musical resources to add the full choir and string symphony that I had wanted to. Maybe on the remix.
Interesting Notes: Mike had purchased his talk box years ago to perform one song live. Obviously, this was not a wise financial decision. He has subsequently used it for me on two straight albums now. He says it is finally paying for itself. I think he's forgetting that I'm having him use the talk box in the middle of a cover of a Paula Abdul song.
10. Parade Rag
Genre: Ragtime
Comedy Scale: Tweener
Key: B
Influences: Scott Joplin, Jelly Roll Martin, C.L. Johnson
Story: I had written an instrumental a while back that I played for my uncle (who is, in his own right, a phenomenal pianist). He complimented it, though he said it was a 'great ragtime song'. For some reason, this got under my skin, because to me it didn't even sound vaguely like The Entertainer (or any other Joplin). So from there, I set out to write an actual rag song. I wasn't going to include this on the album, but it seemed to be a good lead-in to Bourbon Street, so I included a sample of the rag song.
Interesting Notes: The original song that my uncle called a rag eventually would turn into Women Are Insane. Now does that sound like ragtime?
11. Bourbon Street
Genre: Derek
Comedy Scale: Serious
Key: various
Influences: none
Story: While in New Orleans, I went to a karaoke bar on Bourbon Street. There, I sang two songs in front of a crowd of hundreds. I sang the karaoke classic, You've Lost That Lovin' Feeling, and What's Up (by Four Non Blondes). During these songs, I had the crowd eating out of my hand and I honestly felt like the king of the place. So for a while I would tell this happy story, but in telling it, I realized something. How popular and cool was I, really? Nobody asked me to hang out afterwards, and aside from random compliments as I passed by and someone handing me a test tube shot, nobody even stopped to talk to me. This weird in-retrospect thought left me with an empty feeling. It was a decidedly happy event, but I felt really bad about it. What squeezed out as a result was this song, which explains why the lyrics sound much happier than the music implies.
Interesting Notes: This song clearly illustrates the limitations of my sound module.
12. The Biscuit Blues
Genre: Blues
Comedy Scale: Comic
Key: F#
Influences: None
Story: I had already had a song warning a girl about a guy (Snake), so I figured I needed a song warning guys about a girl. I also figured those old-school blues songs where they compare women to odd objects are priceless, so I needed to hop on that bandwagon. This let Mike actually bust out some old school blues riffs, so needless to say he had a good time with it.
Interesting Notes: The last two songs written for the album were this and Women Are Insane. I began to feel a bit bad about this, as if I had become a misogynist. I might very well be, but I also determined that these two songs were pretty funny, so they deserved to be kept on the album. Also, Mike had never heard the song before the day we recorded it. It goes to show that blues is blues no matter what, and that Knuckles is a guitar god.
13. Askance Dance
Genre: Dance/Derek
Comedy Scale: Tweener
Key: C#m
Influences: none
Story: For some reason, on each album I like to have one gothic song and one dance song. This was the first song I recorded for the album, and I had no idea at the time that I'd eventually write Main Titles, so I decided to try to make a dance song as if Danny Elfman were doing it. I figured he would make weird minor changes and sing, for some reason, in a European accent of some sort. In terms of success, I think I failed.
Interesting Notes: This song was only even written because as I was browsing through the various tones on my sound module, I came across this one sound effect (the 'bong' noise you hear in the beginning of the song, and throughout). I felt I needed to base a song around this noise. In fact, it was the noise that determined what key the song would be in. As for the term "Askance Dance", it came about years ago in a conversation between Susan and I. Susan named the song Instead on the last album. I guess in addition to putting one dance song on each album, Susan's gotta name one of the songs on each album.
14. Reprise
Genre: Showtunes/Derek
Comedy Scale: Tweener
Key: Am
Influences: none
Story: Since Death by Song, I noticed that my songwriting had simplified a bit. I was concentrating much more heavily on composition and orchestration than on actual songwriting. With only a few exceptions (Before You Go and Something Great being two of them, and those were the first two songs written for this album), the number of chords in my songs had lessened and everything had become much simpler to play. Long gone were the days of 100 Songs and Everybody Wants My Angel. So I decided I wanted to play a song that incorporated more of my multi-chordal attack. I think this song fits the bill.
Interesting Notes: The chord that plays under "I don't recall this part at all..." is a chord I can't readily name. For you music enthusiasts, you name it. It's an F#, G, A, B, and D# all over a D#.
15. Christmas at the Armenian Prison
Genre: Christmas
Comedy Scale: Comic
Key: A for most of it
Influences: Weird Al's Christmas at Ground Zero, Arrogant Worms album Christmas Turkey
Story: I noticed something about comedy Christmas songs. They're all inherently negative. Universally, they're bad things happening around Christmas. Grandma Got Run Over By a Reindeer being the most famous. But as I listened to the Arrogant Worms' Christmas CD, I noticed that every song was negative – Santa getting arrested, family getting a stomach virus, Santa kicking your ass... The same goes for the Bob Rivers Christmas CD's – 12 Pains of Christmas, most notably. So I set out to write a funny Christmas song that was positive. Obviously, by setting it in a Turkish Prison, it just sets the groundwork for a positive, uplifting song. I think I actually achieved my goal, though there are naysayers out there who say otherwise.
Interesting Notes: Sam Brown originally did both female vocal parts, but she sounds really creepy when she harmonizes with herself for some reason. So I got longtime compatriot Stephanie Adams to come in and help me out, as well as Writhing Kumquats' bandmate Aaron Bell.
16. Before You Go
Genre: Ballad
Comedy Scale: Serious
Key: Eb
Influences: none
Story: I don't remember writing this one all that much, truthfully. It was written just after Death By Song was finished. It is widely considered to be my best song, and though that used to upset me because it was my most serious song, I've come to accept that it is pretty solid – musically, lyrically, and vocally. It also doubles as a nice, light, jazzy instrumental piece that I can play as background music almost anywhere.
Interesting Notes: I played this song live, and Sam Brown came up to me afterwards, having heard it for the first time. She was very complimentary, and she went as far as pointing out, "You even made that girl in the front row cry by the time you were done." I smiled and said, "She's who it's about."
Liner Notes:
Derek Sonderfan is:
Derek "Fats" Sonderfan – keyboards, accordion, piano, melody harp, vocals
Mike "Knuckles" Lucibello – guitar on Something Great, Will You Still Love Me (When You're Sober), Snake, and Biscuit Blues
Sam "Defender of the Universe" Brown – vocals on Will You Still Love Me (When You're Sober), Snake, and Christmas at the Armenian Prison
Ron "Sidedish" Zampini – drums on Something Great
Aaron "Eesup" Bell - vocals on Christmas at the Armenian Prison
Stephanie "Scrubs" Adams – vocals on Christmas at the Armenian Prison
With extra-special guest:
Bryan "Froz'n Dak-ree" Fenkart – vocals on Women Are Insane, Something Great, and That's How We Do It (In the Suburbs); affirmation on Before You Go
All songs on Love is Kinda Funny Sometimes by Derek Sonderfan except:
Snake by Elliot Wolff
And The Truck Song by McHale/Sonderfan
Bryan Fenkart appears courtesy of Wake Me Music. No, seriously.
Sam Brown appears courtesy of divine intervention.
Ron just sorta appears now and again.
Cover Art and all photography by Samara Gomez
Derek would like to thank:
- All the girls who have ever come into his life, whether for years or minutes. Without you, my music would be emptier and less aggravating. You all know who you are.
- Bryan for being less imperfect than me, Mike for the apologizing and loaning me the microphone for probably over a year, Sam Brown for making this album sound infinitely classier, Ron for finding the time to help, Aaron for the chunk lite, and Stephanie for just about everything else.
- Jason Lawton for the inestimable time spent trying to make my career happen.
- Samalama for the awesome ideas and for finally working on something together, and for not having a nervous breakdown.
- Mountain Dew
- John Taglieri for your guidance and help.
- Lico for being Lico.
- My family for tolerating all my piano playing when I wasn't very good.
- Brit, Brockett, Bunter, Corey, Cromwell, Cyrus, Erika, Jaclyn, J-Mar, Jamieson, Jessica P., Jon Q, Jules, Kelly, Kristy & Stacey, Mark & Rachel, Mike Lamparello, The Mullet Man-Mittenz Fondleham Bitch-Tits Mitch Ripley, Prokop, ReisMAN, Rob, the Jester, The Ladies, Suds, T. Mob, Tink, TT, and Will.
- Everyone who I didn't name personally who has helped me/inspired me/not sued me along the way.
- Monkeys
- Lastly, everyone who has supported me in any way whatsoever, whether it be purchasing this album, seeing a comedy show of mine, or simply telling me that I'm pretty funny. Your kind words mean the world to me.