Zombies: More Recent Dead (6 page)

“Maybe,” I said, and reached out to take her hand. She smiled, and then we both zipped our jackets and went to sleep sitting up.

Jay Wilburn

The man walked into the dark room and closed the door behind him. He put on the headphones and sat down on the stool. Images of zombies flashed on the screen in front of him. He ignored them and opened the binder on the stand. He pulled the microphone a little closer and waited.

In the darkness, a voice came over the headphones and said, “Go ahead and read the title card again for us slowly so we can set levels.”

The man read with particular slowness and articulation, “Dead Doc. Productions presents
The Legend of Tiny ‘Mud Music’ Jones
in association with After World Broadcasters and Reaniment America, a subsidiary of the Reclaiment Broadcasters Company, with permission of the Reformed United States Federal Government Broadcasters Rights Commission.”

He waited silently after he finished.

The voice finally came back on, “Sounds good. We’re going to get coverage on the main text for alternate takes. We’re also going to have you read the quotes as placeholders until we get character actors to replace them. Read them normally without any affected voice. If we need another tone or tempo, we’ll let you know and we’ll take another pass at that section. There is also some new material we are adding into the documentary.”

“Okay,” the man answered.

The voice ordered, “When you’re ready, go ahead with section one, then stop.”

The man took a drink of water, swallowed, and then waited for a couple beats. He began, “Dead World Records was one of the first music companies to come online after order was restored. They were recording and signing artists during the height of the zombie plague. Tobias Baker and Hollister Z are credited with founding the company.

“They operated from a trailer and storage building on Tobias’s family farm, surviving off the land, and clearing zombies from the property between recording and editing.”

A black and white image of zombie pits scrolled across the screen as the guys in the booth ran the images to check timing. The man ignored it.

He continued, “They do deserve credit for recognizing the continued value of musical culture and history while everyone else was focused purely on survival. They had the vision to gather and record the unique musical evolution of the Dead Era which shaped all music that came after it.”

A grainy video of the men working in their studio rolled on the screen. The man stopped and watched as he waited.

The video froze and the voice said, “Skip to section four. The text is edited from the last time you read it. Read it over once and tell us when you are ready.”

The man obliged them by scanning it over. He said, “Ready.”

The voice said, “We’re rolling on section four.”

The man took another drink before he began, “The real unsung heroes of the rise of Dead World Records Incorporated are clearly the collectors that agreed to bring the recordings back to the studio. Many of them were musicians themselves and trekked hundreds of miles through zombie-infested territory to find musical gatherings of the various unique pockets of survivors.”

A picture of Tiny flashed on the screen with his name under it. He was wearing shorts, hiking boots, and holding a walking stick. A picture of another man wearing a helmet and carrying a bat replaced it. The name below it was Satchel Mouth Murderman.

The man continued, “Music from this period is clearly defined by both isolation and strange mixtures of people and cultures. The gatherings of these musical laboratories (many of which were destroyed and lost long before the zombies were) is the legacy of men like Tiny ‘Mud Music’ Jones.”

Stills of Tiny with arrows pointing him out passed over the screen.

The man read on, “Tiny traveled farther and gathered more than any other collector. His introverted style and musical talent won trust and entry into enclaves of people no one else could penetrate. Some historians believe much of what we know of Dead Era culture is built off the exploration of Tiny Jones.”

The man stopped.

The voice ordered, “Go with section six when ready.”

The man began as soon as he had the page, “Tiny was so named due to his four-foot-eleven-inch stature. Even Tobias Baker and Hollister Z didn’t know him by any other name besides Tiny. He carried a pack that looked heavier than him with more instruments and recording equipment than food and clothes. He usually played for his supper and, in turn, got others to play for him with tape rolling.”

After a short pause, the voice said, “Section seven needs to have a foreboding tone. It’s going to be over some heavy music. Articulate it well. Go when ready.”

The man read, “He is also the source of the Mud Music legend making three infamous trips into Dead Era Appalachia in search of it.”

The voice said, “Let’s do that again. Try a little more flow, but a darker tone.”

The man read it again. The voice acknowledged, “That was good. Go with section ten now when you’re ready.”

The man began, “Tiny discovered Donna Cash, whereabouts unknown. Donna Cash is the most quoted artist on the Tribute Wall on Survivor Book. Bootleg recordings of her work are still in the top one hundred downloads each year. Donna Cash was best known for mash-ups of Madonna and Johnny Cash on the drag queen circuit. She was touring when doing so was deadly even for individuals not in drag.

“Tiny is responsible for the only known original recordings of ‘True Folsom Blues,’ ‘Vogue the Line,’ ‘When the Ray of Light Comes Around,’ ‘Like a Ring of Fire,’ and many other songs that have been covered thousands of times by both straight and drag acts in the Recovery Era. Donna Cash has also been documented more times on the missing person Sighting Wall on Survivor Book than any other person. Mr. S. Parker, the current CEO of Survivor Book, has put a permanent block on Donna Cash sightings.

“Other popular artists on the Dead Era drag circuit that were first recorded by Tiny included Pink Orbosin, Ms. Britt Britt Rotten, and Jerri Leigh Lopper.”

The man stopped again and took a drink of water. The voice said, “Let’s go with section fourteen.”

The man scanned the first few lines before he started, “Tiny Jones recorded examples of New Swing from Pittsburgh, Philadelphia, and Cincinnati. The music was originally used as a distraction for zombies while scavengers went out into the cities for supplies. Traditionally, it is played on rooftops. New Swing is a blend of Big Band, modern Jazz, fifties Rock, and R-and-B. It is defined by a reverb off of buildings. Most modern New Swing musicians create the sound electronically. Tiny recorded P. City Warriors, The Big Bloods led by the late Cap Kat Krunch, and the New Philly Phunk which still plays in Las Vegas with a new lineup.

“ ‘We let Tiny record after he fought his way to the building and knocked on the door holding two zombie heads in his hands. Would you say no to a cat that showed up like that?’—Miles Diddy, P. City Warriors original line-up.”

The man paused again.

The voice asked, “Do you need a break?”

“No, I’m fine,” the man answered.

The voice said, “Turn to section twenty-one and start from the third line on to the end of that section.”

The man recited, “Glam Grass was discovered outside of Nashville. A tour group of old eighties metal stars ended up in a militia compound with a religious cult. After the fire, Tiny’s recordings were the only record of the founders of this musical form. It was defined by electric guitars accompanied by traditional blue grass instruments. The Glam Grass artists usually sang about religious subject matter, often out of the book of Revelation. The style is described as typically heavy, but surprisingly upbeat.”

The voice said, “Now section twenty-seven.”

The man read, “Across the South, a style known as Death Gospel emerged from places where churches became the refuge of nonbelievers. It was a movement where metal influence came against traditional hymns. Unlike Glam Grass, Death Gospel was darker, slower, featuring minor chords, and was usually played acoustically. This style was documented by several collectors and is still a staple of churches in the Deep South.”

The voice directed, “Section twenty-nine.”

The man turned one page and found his place, “Tiny was involved in spreading the music and not just recording it. This is noticed most in the style known as Cherokee R-and-B or Red Blues. Tiny is credited with moving the music from North Carolina all the way to Oklahoma.

“ ‘The day he came to the fences, the zombies parted and allowed him through. He was the first white man admitted to the Cherokee Nation Compounds.’—Chief Blue Wolf Pine, rhythm guitar and vocals, The Silent Dead Players.

“With variations across the South and West, Red Blues included Native American chants combined with tradition blues instrumentation and riffs. Later, Red Blues diverged more from this original formula. The later style was sometimes referred to as Blue Sioux.”

After a longer pause, the voice came back and said, “Section thirty-five has been rewritten. Start that from the beginning.”

The man read it silently, then began, “Shock-a-Billy was one of Tiny Jones’s favorite collections. It featured shock rocker make-up, dark subjects, and Punk/Country combinations. It was mostly advanced by touring acts. Tiny expressed that he felt a kinship with the traveling musicians. Shock-a-Billy artists that stayed in one place were looked on as cowards within the community, posers. The tour busses were often dragsters pulled by animals.

“ ‘There were competitions between the Shockers to see who could get the most elaborate dragster. At one point, my band had the three-story “Tarmansion.” It was built on the chasse of a tractortrailer and was pulled by twenty-six horses. It’s a wonder we didn’t get eaten by zombies trying to put on a show just traveling from point A to point B.’ – Big Bubba Tarmancula, Big Bubba Tarmancula and the Tarmen, Rock and Roll Hall of Fame.

“Shock-a-Billy T-shirts, tour posters, and images are infused in pop culture throughout the Recovery Era.”

The voice said, “Read section forty now.”

The man drank the rest of his water and then read, “Several styles of urban infusion developed during the Dead Era and were all connected by and counter-influenced by one another through Tiny’s travels.

“Gangster and Western was defined by rivalry as opposed to isolation. Vocals are considered more melodic than traditional BZ Era rap. There were often references to local blood feuds between ranches that don’t make much sense to modern listeners.

“The ranchers herded animals for food and herded zombies between ranches to foil rustlers and to threaten rival ranches. The results were often quite bloody and costly to human life. Tiny was the only collector to ever go to certain sections of Texas, Arizona, and New Mexico.

“The most infamously violent ranch war was between Big Daddy Bronco and His Boys versus the Lincoln County OGs. Tiny was the only one who succeeded in recording music from both camps.

“Hip Bach is the tag given to another style of music Tiny documented where inner city orchestras and concert halls became the shelters for local populations.

“ ‘In all the history of time, you have never heard a style as close to God and as close to the street as this. This music allowed people to transcend the situation and see the secrets of life while being surrounded by the walking dead.’—Mr. Butter Hands, Low Town Symphony.

“Tiny Jones often traced music back to its source as he did with Slam Jo. Tiny traveled all the way to the Lud Mine Camp in the Sierra Nevada Mountains. Slam Jo featured spoken word over banjo. New Wave Slam Jo documented by Tiny and other collectors began to incorporate other instruments.

“Tiny Jones was a legend in the Zed Head community. He was deeply involved in documenting the evolution of this daring style of music which mixed techno and house music over recordings of zombies.

“The most famous story of Tiny’s involvement was the two weeks he accompanied DJ RomZom out in the open in a gathering expedition through Los Angeles.

“Many fans question modern Zed Head since most DJ’s don’t gather their own moan tracks anymore.

“The recent release of the alleged ‘final recording’ of Tiny ‘Mud Music’ Jones has resulted in a rebirth of the Zed Head movement. Border Patrol forces and security have been increased to discourage Zed Head gatherers from attempting to perform unauthorized expeditions into the uncleared, gray zones.”

The voice clicked back into the headphones, “You’re doing a great job. Turn to section sixty-four. This is all new material.”

The man turned to the page.

“Go when ready,” the voice requested.

The man read, “ ‘Tiny and the Mud Music Legend is the modern Area Fifty-one, Brown Mountain Lights, and Kennedy Assassination rolled into one. How do you tell a ghost story to a generation of people that either witnessed Z-Day and survived all the way to the Recovery or that were born in the world after the Dead Era began? What are you going to say that can scare a generation that treats the zombie drills in school like a tornado drill? You tell them about Tiny and the Mud Music. I hadn’t stopped being scared since that day.’—Kidd Banjo, former Dead World Records collector and solo artist.”

A map of the BZ Era United States with red lines drawing themselves across it appeared on the screen and distracted the man for a split second, but he found his place in the script and continued like a professional, “The first expedition Tiny Jones made into the Appalachian territory took him into the area that today roughly constitutes the border of Gray Zone Three. This collection exposed him to traditional, mountain music not unlike recordings from the early nineteen-twenties’ BZE from the same area. Tiny described trailers with wooden add-ons and trinket trash, folk art he saw on the expedition that expressed the same style, character, and sentiment of the music that had managed to stay unchanged through a century and a zombie invasion.”

The map now had blue lines appearing and drawing deeper into the mountains. The man read, “The second expedition into the infamous region known as Gray Zone Four came back with a corrupted recording that could not be found later.