1. Visions-Studio Version King Lizzard 5:29
  2. Mirage King Lizzard 2:19
  3. Things We Wouldn't Do (fast) King Lizzard 2:49
  4. Turning (ft Lille DeVine) King Lizzard 4:06
  5. Just Imagine (ft Rikki Tim Tim) King Lizzard 3:41
  6. One of Thousands REMIX 3:55
  7. The Lovers Last Waltz King Lizzard 3:11
  8. City Lights REMIX King Lizzard 4:46
  9. I'm Falling (ft Misty B) Living Karma 3:53
  10. Living Karma (ft Misty B) 3:46
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Happy New Year to all from Las Vegas. I can still smell the gunpowder in the air as 400,000 people make their way back to their homelands. It’s a time to keep in our hearts and thoughts those we lost in 2015, be grateful for those we still have with us now, and to get off our asses and finally make something happen! It is going to be the year of the Red Fire Monkey, so:

Happy New Year
feliz año nuevo
nav varsh ki subhkamna
Frohes neues Jahr
bonne année


EPICK has won The Akademia Music Award for Best Alternative Rock / Electronica Album in the November 2015 Akademia Music Awards.

‘This collection of intensely original tracks by the King Lizzard offers a feast of feverish lyrics and valiantly exerted instrumental interludes that is destined to become a classic.’

Go HERE to see the award page.


I don’t know why, but I’ve really been getting into clean, surf rock guitar from the early to mid-sixties. Songs from the Ventures, Dick Dale and others. I’ll probably do a medley of surf songs, which would have the Hawaii Five-O theme, Batman, The Munsters Theme, Misirlou, Walk Don’t Run and Pipeline…but in the meantime, here’s an original song from me, by me.
It’s called Things We Wouldn’t Do. It features a Fender Stratocaster (57 reissue) going through a Fender Reverb amp, a Fender Jazz Bass (74 reissue) and a Dean 12-String electric going through a Vox amp in the background.
I start it out like a scratchy old 45 record and ends with the tone arm lifting up and shutting off, just like the old record players of the sixties.

It has lyrics, but, for now, I’m releasing it as a guitar instrumental.

  1. California Sunset 3:02
  2. Things We Wouldn't Do (fast) King Lizzard 2:49
  3. Surf Monster 2:35

You know what? I don’t like the way the iTunes/Amazon version of The EPICK Overture turned out. So I redid part of it and I’m offering it up free, right here.

That’s one of the bad things about global distribution is you can’t change anything once it’s out there. So, if you bought the EPICK Overture you can download a better version here for free and, if you email info@kinglizzard.com with your receipt number I’ll get you another track of your choice for free.




Just looking over the results and the number one country downloading EPICK is the United Kingdom, followed by U.S. of A., Sweden, Spain, the Netherlands and Germany. Glad that you blokes on the other side of the pond are digging it. Maybe someday I can develop Madonna’s Syndrome. That’s where someone from Detroit starts talking and acting British.
Would love to someday go abroad.


As with films, there’s a lot of an album that winds up on the cutting floor for various reasons. Either the sound wasn’t right, the hook didn’t work, the chorus didn’t fit, or it plain sucked. Some of the tracks that didn’t make the final cut deserve at least a passing mention here.

Instead of Digitalis, I was working on a track called I Will Kill All Music, which was more of a Lady Gaga type of dance track which featured SIRI on main vocals. Yes, Apple’s SIRI. It was an interesting concept of taking a digitized voice and through manipulation and Auto-tune to turn it into a full blown vocal track. Between slicing and dicing words, changing the individual word pitches with Melodyne and touching them up with Auto-Tune I was able to make my iPad a singer. The problem was it sounded like a real chick who couldn’t sing on key. The novelty of SIRI singing was totally lost. Maybe with more manipulation it can sound more real. To note, the female vocal in The Awakening is actually a digitized voice.

Another idea was to use the Overture from “Das Rheingold” as the EPICK Overture. It’s a very dramatic piece that’s about 9 minutes long. The only problem is a very slow beginning. A veeeerrrrrrrrrrryyyyyyyyy ssssllllooooooowwwwww beginning. Like movies, you want to grab people’s interest within the first few minutes. If they start out the album and are bored to death within 2 minutes they won’t give anything else a chance. So, for the Overture I pieced together different themes from the songs included to make a dramatic soundscape which, hopefully, won’t put you to sleep in 2 minutes. I’ll release it as an additional track called The Descent.

There were four other songs which were good…but not with me singing them. Down the road I’ll get together with other musicians and put them in a separate project. One track was Things We Wouldn’t Do, which is a Beatlesque/ surf music-type of early 60s song using 12-string electric Rickenbacker guitar to sound like the Byrds and the Beatles, which needs someone who can do the Beatles. My singing was just for the birds.

I had a couple of country tunes, Only Passing Through and Time After Time. Only Passing Through I’ve officially designated to be sung at my funeral and is a beautiful acoustic guitar and strings song, which really needs a deep, rich country voice like Trace Adkins. Time After Time is a honky tonk mandolin based song about living the fast life versus settling down. I somehow hear Garth Brooks, not Ozzy Osbourne (which is more my lane).

There was a song that I’ve been playing around with for over 20 years called I’m Sorry Jesus which is kind of like the beginning of Bohemian Rhapsody, where a man on death row is apologizing to everyone in his life from his wife to his parents to Jesus for being such a failure. Good song and my vocals can handle it…it just is missing something that makes me go “That’s a wrap.”

These may all show up in later projects, but, for now, they just didn’t make the cut.


I have always loved Elton John’s “Funeral for a Friend/ Love Lies Bleeding.” Legacy did a bang up monster version of it when we toured (using a Jupiter 8 and ARP Synthesizer and 3 guitars) and, to me, it’s one of the quintessential classic rock gargantuan songs, right up there with Queen’s “Bohemian Rhapsody.” Now in doing a full double-album of 18 songs, many of them over 8 minutes, there wasn’t a critical need to throw in a 42-year-old cover tune from Elton John…except it became my Mt. Everest. Couple of things any musician with balls has to do before he dies…a cover of “Bohemian Rhapsody,” a cover of “Voodoo Child (Slight Return)” and this one.
So, in business there’s a phrase, “How do you eat an elephant?” and the answer is “one bite at a time.” So I started biting. I started by getting the sheet music and studying the different parts. The whole tune is ten-and-a-half minutes long, with “Funeral for a Friend” (hence forward to be abbreviated as FfaF) taking up about six of it. Now, I’m really good on guitar and bass. I’m adequate on keyboard…and this has a shitload of keyboard. So I tackled the keyboard with the same philosophy, taking one small section at a time. I would rehearse the shit out of a section, then record it and move on to the next section. I wanted to do a spacey, hard rock kind of interpretation, so I started out with lots of far-out sounds. Then I did “Love Lies Bleeding” with little-to-no keyboard. In listening to the first drafts, it sounded like a stoned hippy trying to play FfaF/LLB on a Moog synthesizer. The classic sound of FfaF is an ARP Synthesizer, but I didn’t have an ARP, or a satisfactory ARP soft synth. I had access to an Oberheim OB-X, but that has too sharp of a sound. So, I used a classic church organ sound and went from there. I had the wind, the bells bonging in the distance, etc., which really harkened to the original. Instead of doing a far-out hard rock version of LLB I decided to do what Legacy did, a straight up cover.
To make a very long story short (it took me 2 years to finally get a satisfactory version), this track was fraught with tons of “fucks,” “God damn it!”s and “you gotta be shitting me”s. The first was, after piecing together the entire track in the original key of A (since that’s what my sheet music was in), I started out to lay down the vocals. Now I have tons of songs in the key of A. My most comfortable keys are G and A. But when I started out to sing this, I could not for the life of me hit the notes…it was way too high for me. I started going back to my vocal exercises and tried the range extending exercises for a couple of weeks. Nope. This was “you gotta be shitting me” number one of many. OK, no biggie, I have Antares Autotune, Melodyne and other pitch correction software…I can just adjust what sounds rough. After a week of that it sounded more like a Ke$ha or Black Eyed Peas song. OK…if the dude that can’t be mentioned or drawn anymore can’t go the mountain, let’s bring the mountain down to the dude. Let’s take all of the tracks and drop them down to G. After a week of that it sounded like someone putting their finger on a vinyl LP or a Quaalude hallucination. Slow, deep and wavery. So, I have 27 tracks all in the wrong key. Two possible courses of action: 1) Shitcan and forget the whole thing, or 2) Re-record it in a new key. COA 1 was what I opted for. But then came the snarky, “I knew you didn’t have enough hair on your ass to climb Everest” thing so, I started from scratch and re-learned the whole fucking thing in the key of G…which is very different fingering on keyboard, bass and guitar.
So, six months later I had the new tracks in the key of G, which I was able to sing very comfortably without pitch correction. The project took 2 computer files each about 3GB with close to 40 tracks.
Getting the rights for this was also a venture. I had originally wanted to include this in my world-wide release of EPICK. However, when inquiring into world-wide mechanical and compulsory license provisions (a fee that must be paid every year you have the beast in distribution) the statutory rate (not rape, but it felt like it) came into another “you gotta be shitting me” moment. So, I pulled the track from the world-wide release and released it separately on iTunes and Amazon American markets only. If you go to my EPICK store page on my official website you can purchase a special EPICK Disc 1 and Disc 2 which is laid out in concept album format and includes FfaF/LLB, as well as other tracks, which are not released globally.
So, in my unveiling of my journey to Mt Everest I actually had some nimrods say, “it’s okay…it’s not as good as the original…”
Of course it’s not as good as the original you fucking nut job!
1) I am not a rock star who has toured worldwide for five decades and is worth $450 million like Elton John. I am King Lizzard.
2) This was not recorded in a luxury studio at the Château d’Hérouville in France, it was recorded in a 14 X 13 converted den in Las Vegas.
3) This was not recorded on $11 million worth of studio equipment with union session musicians and Gus Dudgeon engineering, this was recorded on a computer with $10,000 worth of instruments and King Lizzard producing and engineering.
4) This was all performed, sung and engineered by one person…me.
This was my Mt Everest. I could have easily used, but did not use, Karaoke tracks or MIDI tracks as my background. I learned how to play all of the elements in 2 different keys. Do I hear some things that I would have done differently? Yes, but I could keep tinkering with all of my tracks for decades… Leonardo da Vinci said “Art is never finished, only abandoned.”
So there you have it. I’ve since also recorded my version of “Voodoo Child (Slight Return)”. Next stop, “Bohemian Rhapsody”…Hoo-Yah.


First off, I never wanted to release EPICK on the worldwide download retailers (iTunes, eMusic, Amazon, et al). The reason is most listeners don’t download songs anymore they stream them. And every time a fan streams a song an artist loses his wings. Or his money. We artists get a whopping .001 cent from every stream. That means I would have to have 39,000,000 streams just to break even for privilege uploading my album to these services. Actual downloads we get 1 cent from every 99 cents you pay. Plus, I wanted to retain the integrity of the song order and throw in some cover tunes (“Love Lies Bleeding” and “Voodoo Child”) for good measure. In order to do the cover tunes I would have to limit the marketing of this release to the United States only. Or pay massive licensing fees for world wide release. I wanted to release the album solely on kinglizzard.com, but, if I don’t release on the “reputable” market I can’t qualify for Grammy nomination or retain some of my licensing privileges. So, my strategy is to release on the world wide download market, yet still retain enough rights that I can sell EPICK online in its full form, including some bonus tracks and cover tunes. I may release the cover tunes later to the United States markets. Selling EPICK on kinglizzard.com allows me to control more rights, more artistic integrity and get a shitload more money. I’ve also got the wild hair up my ass that I will release 500 double vinyl LPs, all autographed, on Amazon.com…but I need to come up with $15K for that.
So, anyway, into the production of EPICK. I acquired the new and world instruments as I needed them for the songs. One of the things that I’ve heard is “Oh joy, two hours of listening to King Lizzard caterwauling, what torture.” And I can also hear the reviews: “King Lizzard EPICK Fail!” I even had a musician (ex) friend of mine tell me “Brother, nobody’s gonna listen to that shit” which may be true, but as I told him, I’m doing this album for me. It’s my cathartic way of shitting out my creativity and toxins, come what may.
My initial idea was to get other vocalists to sing to lessen the agony of these tracks. Hell, I even offered up good money. But, in the long run, NO ONE could get the phrasing, the tempo and the feel of what I was going for. Money down the crapper. The only guest vocalist that made it to the final cut was Baby G on “Dawn of the New Age” with his mini rap section. The rap section was originally much longer, but this is what I could get. Strangely enough, I am the best person to sing my songs. And that was the same when I was doing live shows. Now, my vocal chords can’t handle several hours of singing, so I would always get a lead vocalist for live shows, but on the recorded versions it was always me. In fact, most people would say at the time “any similarity between the recorded and the live version is purely a coincidence.” My voice falls into the unique zones of Bob Dylan, Tom Petty, Johnny Cash and David Bowie…all of whom are not very good singers but in the context of their songs are the best voice for their songs. So, I actually have been taking both vocal and guitar lessons to get my chops more up tp speed. I even shelled out cash for Antares plugins (including the world infamous Auto Tune) but didn’t use them as much as I anticipated.
In EPICK 99.98 percent of what you hear is me actually playing. The drums are a combo of drum loops, clips, MIDI “Session Drummer” and me playing electronic drums.
Let me get into what was supposed to be the cornerstone of the project, a track called “Dawn of a New Age: The Last Song.” The song, in its entirety, is 15 minutes long. It includes a scripted “radio show” scene of Mr. MUGI dying in the hospital. A nurse brings him a radio and he relives his past efforts: good and bad. Before he passes on he creates one last Magnum Opus. It talks about life never being long enough, or getting what you want. It moves into a modern rap sequence about the birth of music. It includes public domain clips of Vocali Consort from Vergine Bella, Beethoven’s 9th Symphony, some boogie woogie, “Mississippi” John Hurt’s Avalon Blues, on through a rock guitar solo as showing the history and evolution of music. At the end of the song, in its climax, Mr. MUGI flat lines (the erratic beeping and flat lining of a heart monitor). MUGI becomes pure energy as he blasts into the universe to create purely electronic music (“Digitalis”).
It took 47 individual tracks broken into 3 files to create. The main file is 8 GB. I used an Oberheim OB-X synthesizer from the 80s (the same synth used in Van Halen’s “Jump,” Styx’s “Mr. Roboto,” Rush’s “Tom Sawyer,” The Eurhythmics’ “Sweet Dreams (Are Made of This)” and various tracks by Queen and Prince–this a great sounding machine), some soft synths (Dimension Pro, sFz, Z3TA and Rapture Pro), an Epiphone Casino, Gibson Dove, and ‘59 Gibson Les Paul guitars going through various VOX amps recorded with a mike, and a 74 Fender Jazz Bass direct in.
The vocals and the background vocals were done by me. The rap part by L.A. Rapper George Lawson known as Baby G. The electronic female voice at the end was my iPhone’s SIRI voice and the part of the nurse was played by my wife, Lana, the Queen Lizzard.
The tracks were assembled on Roland’s Sonar X3 Producer and mastered on Sound Forge with Ozone’s Izotope 5 software. For the iTunes release I had to forsake the hospital radio show intro and break off “Digitalis” into a separate song. It took 118 man hours over 2 years to create, mix and master.


B.B. King brought the Blues to the world in a way no one else ever had or ever will. Considered one of the most influential blues musicians of all time, his signature guitar style and powerful vocal delivery influenced generations of musicians and defined the genre.

A tireless performer, King toured the world year-round into his late eighties, regularly performing over 200-plus shows annually across his six-decade career. His formidable number of recordings earned him 15 Grammy awards, including a Lifetime Achievement Award and a Hall of Fame award for his iconic song, “The Thrill Is Gone.”

With dozens of other prominent career awards, King was recognized by three different American Presidents receiving the National Medal of Arts in 1990, the Presidential Medal of Freedom in 2006, and awarded the Kennedy Center Honors in 1995.

Riley B. King was born on September 16, 1925, on a cotton plantation near the town of Itta Bena, Mississippi, the son of sharecroppers. His professional music career started in 1948, when he performed on Sonny Boy Williamson’s radio program on KWEM in West Memphis, Arkansas, gaining the nickname “Beale Street Blues Boy”, which was later shortened to “Blues Boy” and finally to B.B.

His first Number One hit came in 1951 with “3 O’Clock Blues.” In the Sixties, his appeal catapulted into another category, thanks to the popularity of blues-based British rock bands and performances with Eric Clapton and the Rolling Stones. More hit records followed including, “The Thrill is Gone” which earned a Grammy in 1970.

King lived with Type II diabetes for nearly 30 years and was a high-profile spokesperson in the fight against the disease. Last October, he was forced to cancel eight tour dates due to dehydration and exhaustion and was hospitalized last month for dehydration.

On May 1, 2015, after two hospitalizations caused by complications from high blood pressure and diabetes, King announced on his website that he was in hospice care at his home in Las Vegas, Nevada. He passed away there on May 14 at 9:40PM.

“He is without a doubt the most important artist the blues has ever produced,” Eric Clapton wrote in his 2008 biography, “and the most humble and genuine man you would ever wish to meet.”

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