Back-up Vocal~ So, we approach the conundrum of the cover artwork for the second DBS 3© album. I can’t speak to how much tension the subject may spark in other bands. Yet, longtime readers may recall that this particular matter has brought out the opinionated control freak in all my boys before. The fleet of conflicting visions bandied about by all parties concerned seems to break down to a group stream of consciousness gone horribly wrong. A few notions remain to true to form: Bo demanding proper and genuine cultural representation. Hapler’s fixation with cross-dressing pandas has reared its head again (newer readers need only refer to Comic #38 for the lowdown) and Yoga Boy’s obsession with The Osmonds only spirals even further off the rails. I’m afraid I can’t offer any explanation on the pound cake angle as of this writing. That one was a curveball, even to me. Perhaps we may be offered clarity at some point down the line. Of late, he has become as difficult as Manny regarding sharing his thoughts. Can’t say I blame him, getting struck by lightning to make someone else’s dream live would make anyone a bit closed off. Time will tell. We also see the Soxx and Hapler fascination with Mireille Enos back on full display. While any time is a good time to mention this incredible actress, she crops up again now as I have just finished watching Season 2 of “Hanna”. Fantastic series. Thus, a nod in her direction was appropriate.

The wild rabbit character is another relatively new blip on the radar I never saw coming. First, let me say I’m glad Hapler has made himself a friend. Not traditionally a talent in his wheelhouse. The little fella may prove more of a presence in the future. For now, it seems they largely hit it off because they share an absolute disregard for boundaries. If the Roadie’s opinion of album art holds not one single drop of weight with a band, then the pontifications of the Roadie’s friend should mean even less. When I think of the covers to the most legendary Prog Rock albums, two names always spring to my mind first: Roger Dean, especially for his work on records by Yes and Asia, with Mark Wilkinson right next to him for his works on 1980’s Marillion albums. Since Manny sees most of the suggestions from the gang as a first-class ticket to legal action and the worst kind of fame, crafting the artwork becomes his job and his job alone. I can only offer one crumb of advice for those brave enough to follow where this train goes next: Buckle up.