Someone’s knocking at the front gate – I can hear them. Anti Lincoln, can you see who it is? No, of course you can’t see them from down here in the basement. I meant go up stairs and take a look. Jesus …. how did you EVER serve as president? (Actually, I think I may now know the answer.)
Well, I spent this week counting the number of balls I’ve dropped since the start of the summer. And I don’t mean ping pong balls. No, I’m talking about projects started and never finished, plans laid but not implemented, sandwiches assembled but not eaten, sentences commenced but never …. what was I saying? Oh yeah. I never finish anything, and this summer is no exception, folks.
First there was the archive project. I will admit, I did get further on this one than any of the others. I’ve resurrected about 200 songs, by my rough count, all recorded in the eighties and early to mid nineties. I have the files … I haven’t done anything with them, but I HAVE them. And possession is nine tenths of the law. It’s also about ten tenths of this project. No, I haven’t abandoned it, but I did need a break from archive land, just as Matt has needed some extra time to go chasing falcons around (see the Utica Peregrine Falcon project site at http://www.big-green.net/falcon).
Then there’s the interstellar tour idea we were kicking around. What happened to that? Well, apparently someone kicked it into next week, figuratively speaking. I’m not ruling it out, but no one aside from Marvin (my personal robot assistant) and his inventor, our mad science advisor Mitch Macaphee has any inclination towards doing the fucker. And frankly, neither one of them can play an instrument (though Mitch can use instruments in his work … and Marvin sometimes makes a noise like a fire whistle). That’s not the kind of band I can bring to Neptune! Those crystalline ice creatures would laugh us out of orbit, and THEN where would we be.
Okay, so archives all but abandoned, check. Tour forgotten, check. What’s left? Project zero? Let’s get to work then. But first … answer the freaking door!
It’s an exhausting undertaking, particularly when you are as work-averse as I am. Still, I’ve made pretty good progress. I’ve gotten most of them transferred to digital, and now I’m pruning around the edges, looking for songs that I know exist but haven’t located on tape as of yet. I’m also trying to fit all of Matt’s Christmas song collections into appropriate buckets — he did about eleven of them, starting with a handful of songs in 1985 up through 1995. They represent a subset of his total output, but even so, it amounts to about 60 – 70 songs. I’m curating them so that at some point interested parties can listen to each year’s collection in its original sequence.
I’m guessing there’s a little pill we can take for stage fright. And there’s probably one we can take for 290 degrees below, too. I’m sure we’re not the only band to grapple with these types of questions. Why, I hear Mumford and Sons spent a week on Neptune waiting for a connecting flight to Proxima Centauri. Nobody said this was going to be easy, people. Look on the bright side. We have Mitch Macaphee, our own in-house mad scientist, who will no doubt contrive (or perhaps borrow from one of his fellow madmen) an appropriately appointed interstellar spacecraft. We’ve got, I don’t know … Marvin, who can … lift very heavy things. We’ve got the mansized tuber who … will not be joining us because he’s taken root in the garden. Okay, scratch that.
Okay, so …. here’s the hole we dug ourselves into, at least on paper (or, rather, concrete). Two weeks of engagements in the greater Jovian system – you know, the Great Red Spot, then on to Io, Europa, Ganymede, and Callisto (we limit ourselves to the Galilean moons because, well, they’re more well-rounded). As stop-over at Saturn and Titan (always a lively show). Then from there, straight out of the solar system, assuming we can rent a vessel that will handle interstellar travel. Our mad science adviser Mitch Macaphee says he knows a guy. We’ll see about that.
Small wonder the heads on my antiquated cassette tape machine have picked up a charge; I’ve been running hours of tape through that thing as part of my summer project to archive and restore Big Green’s early recordings (1984-96) as well as some even more primordial stuff from the early 80s. Since practically all of the songs were recorded on analog audio cassette, which doesn’t hold up all that well over the decades, it’s just as well that I’m getting to this now. By the end of the process, I hope to have remastered early mixes of 150 to 200 songs, the vast majority written by my illustrious brother, Matt. That shiny tape makes for a bewildering trail (which is, in fact, pretty close to the title of one of those 200 songs).
There were songs before Big Green, of course, and I’ve been digging through those as well. Matt started recording pretty much as soon as he could tell one end of a guitar from the other. Both he and I were always fascinated by tape recorders and other gear. We had a shrimpy little portable monaural reel-to-reel machine when we were kids, about the size of a steno pad, which we would use to record hastily contrived audio plays, jokes, and other bullshit. Matt recorded his first songs on an old SONY stereo reel-to-reel that kind of half worked. I remember working out a method for overdubbing, using a digital delay – you could arm one of the two channels for recording, run the playback of the other channel through the delay, and it would line up pretty closely. Then came the four-track cassette portastudio.
Teller. A literally incendiary musical rant sung in the voice of Edward Teller while in Ned’s body. Think of it as a love sonnet to the H-bomb. Super.
My summer pass-times usually include deep archive stuff – you know, threading old reel-to-reel tapes onto antiquated and dysfunctional playback machines, just to get a momentary listen in to what they contain. We have a few of those, and many, many audio cassettes with both stereo and four-track content. We also have Hi-8 DAT tapes from our Tascam DA-88 days (the system we used to record our first album, 
It took a couple of years, but at some point we moved up to a Panasonic audio cassette deck, the kind that you would use in a home stereo system. We used that and a couple of mics to record ourselves playing in the living room, etc. (Excerpts of those sessions made it on to Matt’s very early compilation, “The Todd Family Chronicles”.) Matt got a second deck and started bouncing tracks, overdubbing, then around 1985 he bought his first cassette portastudio. That kind of took us to a different place musically, though where that place is, I’m not entirely certain. As we could, we got better gear, but our songwriting and recording process has remained about the same as it was with that first portastudio.
Let’s face it … we’re crappy capitalists. (Or crapitalists, if you will.) Matt has no interest in money or notoriety. As for me, well, I couldn’t sell songs to my mother … and I did ask nicely. In a world that measures quality in terms of the price the product commands, we strain to reach the lowest rung. Our production quality is commensurate with the resources available to us. (i.e., we’re not recording at Big Blue North, even though it’s right up the freaking street.) We are evolving in that respect, but like Issa’s snail, slowly … slowly.