Tag Archives: new album

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The Lincoln trilogy: a slight digression

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Now, I think you all know that Big Green is bad at predictions. We’re not prognosticators or weather forecasters, and we have no magic stone that allows us to see the future. I can tell you what I’ll have for breakfast tomorrow, but that’s only because I’ve been having the same breakfast for nigh unto thirty years. Anything harder than that is just too damn hard.

That’s a long way of saying that we won’t be releasing our new album this Fall, as we had predicted. After painstaking consideration and much rending of garments (which took about five minutes), we decided to push the release to Spring. Why, you may ask? I offer this simple explanation: the quality goes in before the name goes on. That’s right – making a Big Green album is like building a Zenith radio in the nineteen fifties. The only thing missing is the voice of Bill Conrad.

Now, quality is a relative thing, son

Yes, I know … Big Green isn’t known for maintaining stringent quality control standards. That’s not our jam, mothers. No sir – we try to get the feel right. And when that happens, we know it down to the soles of our cheap-ass shoes. If the overall quality has to suffer, so be it, my friend. Those are our principles. And if you don’t like them, well …. we have other principles.

Still, even Big Green has minimum quality standards. The mixes from this new album were just skimming the bar, low as it may be, so we need a little more time. For we will serve no wine before its …. oh, god damnit! Not another slogan!

So, anyway … we’re giving it another six months, just for good measure. And in the interim, since you’ve been such good children, I will regale you with the story of one of our early songs. As I mentioned before, our upcoming album has a bunch of kind of serious songs, or Gumby songs, if you will. The song we’ll be dissecting today comes from a previous Big Green era, when all of our songs were strange ….. very strange.

You would have liked Lincoln

Speaking of quality, the song I’m going to explore is called Quality Lincoln, and it’s actually a medley of three smaller songs, one building on the randomness of the other. Matt and I wrote it back in 1990 or 1991, I believe, and I don’t believe we ever performed it in front of an audience or recorded it seriously. (Not sure it’s possible to record such a silly song seriously, but I digress.)

We did a cheap-ass basement recording of it for our THIS IS BIG GREEN podcast back in 2016. You can find the full lyric in our lyrics section. Now you can sing along …. but what does it mean?

We don’t pretend to know the meaning of any of our songs, but here’s my take, based on years of close textual reading, tarot cards, astrological deep dives, and so on.

Shouldn’t happen to our quality nation’s president

So the song starts with:

Lincoln suffered from depression, Joe
but it wasn’t because of the war, you know
and it wasn’t because of his son who died
or the wacky behavior of his bride

Okay, picture a suburban couch potato back in the 1980s. Maybe s/he is watching something about Lincoln or reading a magazine article. This is the take-away (and I don’t mean snacks from the local noodle shop) – Lincoln had a rare disease | that turned him into a chimpanzee | They didn’t have the know-how in those days.

This is the nature of pre-internet conspiracy theory – using legacy media to fill in the blanks, connecting things that are both questionable and wholly unrelated to one another.

How do we get into outer space? It’s all about Colonel Smith, played by the character actor Henry Jones in Lost In Space. The narrator of the song sees Jones play this part (that of a cartoon-like antebellum southern colonel) but also sees Jones play a traitorous Civil War commanding officer in The Big Valley – an officer who was part of the plot to assassinate Lincoln. Same actor, same person. We make the connection like this:

I was a Reb in the guise of a Union Colonel
with all those fools
I butchered a town just to prove to them that I was a loyal
Lincoln tool
Then in order to escape my shame
I wandered into outer space
and here I am

The last section is in the voice of Colonel Smith, describing his ridiculous attempt to blow Dr. Smith sky-high with an exploding cream pie, cursing himself as “the Smith that gave all of the Smiths a bad name,” and ending on a rationalization of his conspiracy to kill Lincoln with a nod to MacBeth:

Safe until great Birnam Wood scaled high Dunsinane
He was the Lincoln who gave every king their bad name

Our promise to you

I know I promised new content in the Fall, so now my credibility is in shambles. That said, on behalf of Big Green, I solemnly promise that we will not use tortured metaphors or obscure television characters in any of the songs on our new album. Take that to the bank.

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A few weeks since we played THAT joint.

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Well, summer is almost over and I’m at the point of digging through old files again. I always get to doing that when the days start getting shorter. Last week I burrowed my way through some tax records from the 2000s. (Riveting stuff.) This week, it’s Big Green set lists. Those are perhaps marginally more interesting than old 1040s, but it largely depends on what you like.

For those of you not steeped in Big Green history, here’s the short version: we haven’t played a live gig in decades. Think Beatles post-1966 or XTC post-1982, except without the massive success, cult following, or obvious talent. Picture a handful of underfed guys in their twenties, humping their broken-down amps into some cheap dive. That’s us!

What the ancient tablets teach us

So what about those set lists? First glance, I can’t effing believe we played any of those songs. Of course, we’re talking about the late nineteen eighties, early nineteen-nineties – a time before ubiquitous cell phones, decades prior to the advent of “smart” phones with HD video cameras. The handful of times we put a show on tape, we had to get some freak to bring a VHS camcorder … which were not exactly thick in the ground, my friends.

Thing is, like most bands, we were working to fill out three, sometimes four sets. Fortunately for us, brother Matt has always been a songwriting machine, so we had plenty of material as long as we could convince a guitar player to learn a bunch of strange songs. We played clubs (most of which no longer exist) and colleges (Utica, SUNY PI, Middlebury, MVCC), as well as street fairs, outdoor concerts (usually with other groups), etc.

Strangely, I still have set lists from a couple of these college gigs. Looks like “I Hate Your Face” was always high on the roster. And that effing MVCC gig was an all-original set, no covers. What the ever-loving fuck.

Scoping out the song spectrum

You can tell from these yellowing sheets of poster board that we’ve been all over the map, musically speaking, since the late eighties. Our music runs the full spectrum from extremely silly to kind of serious. Here’s how I map it out in my own unscientific manner:

  • 1987 – 1993 Songs: Silly to Extra Silly
  • 2000 Years To Christmas (1999): Fairly Silly to Silly
  • International House (2008): Mostly Serious (except for Volcano Man)
  • Cowboy Scat: Songs in the Key of Rick (2013): Very, Very Silly

Now, with our upcoming album (still being mixed, by the way), we’re back to wearing the serious pants again. No big laugh riot on this sucker, folks … unless you’re laughing AT us. Then it’s funny as all hell.

Silly is just around the corner

For those of you who prefer the silly Big Green, fear not – we have an enormous trunk full of Ned Trek songs, all produced and waiting for remix. And trust me, there’s some silly-ass shit in that trunk. And that’s not to mention the older material we’ve recorded and never released.

So, good news / bad news: if you like the silly stuff, there’s more coming. If you hate it, well … lookout … there’s more coming.

TBT: That old used to be

You’ve probably heard them already, but here are a few selections from our stage set back in the goofball early nineties:

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Put the kazoo down, man! We’re producing here!

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They say you go to war with the army you have. (I don’t know who “they” are, but they seem to know all about it.) It’s the same with making an album, friends. You make the record with the tools available to you. When Bach made his first album, all he had was an organ. Bet you didn’t know that.

As I’m certain I’ve said before, Big Green typically makes their albums using the equivalent of stone knives and bear skins. Have you met our production budget? Let me introduce you to a little guy named ZERO. And I don’t mean Zero Mostel – I mean nothing, zip, zilch, nada, bupkis. That said, there’s enough to afford a second-hand kazoo, a discarded grade school violin, and at least one maraca.

The tools at hand

The first question is always a practical one – do we have what we need to get started? Maybe yes, possibly no. Sometimes the tools are mismatched with the project. Picture a butter knife in the hand of a hard-rock sculptor. Not that recording and mixing an album is anything like sculpting or painting. God, no! We don’t wear any smocks, and our hands are clean as a whistle. (Trouble is, the whistle is filthy as hell. And that kazoo is disgusting!)

Hey, look …. we’re making modern music. You know – the kind the kids really dig the most. Songs that feature electronic pluck-string instruments, plastic keyboards, and invisible drums. Of course, when I say “modern”, I don’t mean music like what Captured By Robots records and performs. But then we are not oppressed by malevolent automatons set on enslaving us against our will. That kind of thing can kill your buzz super easy.

The show so far

Despite the limitations of our budget and our instrumentation (to say nothing of our musicianship … or lack of same), we’ve come quite a long way on the current project. How long, you may ask? Glad you asked. As I’ve reported previously, we have recorded all of the songs and are now deep in the Pon Farr of mixing. The musicians amongst you will know that mixing is an iterative process – in other words, taking multiple passes to get to the “it” that you’re looking for. (Ergo, it-erative.) How long will the blood fever last? No man can say.

Joe attempting to take the lime back out of the coconut.
Joe attempting to take the lime back out of the coconut.

I can tell you that we’ve done preliminary mixes on about 19 songs as of this writing. We have a few more to plow through, then we’ll assess, review, mark the suckers up, and take another pass. Early on, I set up a spreadsheet to keep tabs on our progress. I of course abandoned the thing within about three weeks, as I HATE being organized. Everyone knows Big Green craves chaos. At least, everyone who knows Big Green …. which amounts to almost no one. But I digress.

Next stop: stopping!

Aside from mixing and mastering, there are a few details we need to tie up. Little things like coming up with a name for the project, developing album art, etc. With us, the biggest challenge is knowing when to stop. My guess is that the work will end kind of abruptly, sometime this Fall, and we’ll drop the album like a load of bricks. Either that or we’ll put it in a time capsule and leave it for future generations to ponder.

What’s your guess? Let us know at info@big-green.net!

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What kind of monster is it – Gumby or Ghidorah?

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Hey – any of you out there remember Milton the Monster? You know, the cartoon show about the big-hearted Frankenstein-like creature that … um … well … talked like Jim Neighbors and … oh, ask your mother!

Well, brother Matt and I find ourselves kind of reviving the role of Professor Weirdo as we continue our work on the upcoming Big Green album (our fourth, by the way, and the first one in more than a decade). As you will see from the intro to Milton the Monster (if you can stand listening to it), we too are struggling with the question of how much tincture of tenderness we should add to the mix. Milton’s theme lays the problem out pefectly:

Six drops of the essence of terror
Five drops of sinister sauce
When the stirring’s done, may I lick the spoon?
Of course, hah hah! Of course!

Now for the tincture of tenderness
But I must use only a touch
For without a touch of tenderness
It might destroy me!
Oops, too much!

Okay, so … this time around we’re a little light on the essence of terror. And we left the sinister sauce out in the rain a little too long. And as Matt tried to add a touch of tenderness, well … I bumped his elbow and the whole damn thing poured into the mix. Damn it all!

Sentimental jerk ass

This, of course, begs the question – is Big Green going soft and sentimental in its old age? Well, that question begs an answer: Hell no, man! We’ve ALWAYS been sentimental. Ask anybody who likes us. And if you can’t find anyone who likes us, then you’re just like everybody else we know. And we HATE people like that!

Seriously, think about it – what is I Hate Your Face if not a sentimental song? There’s a lot of sentiment in that sucker. Sure, maybe not the Gumby kind of sentiment, but more the Ghidorah kind. In any case, you can expect a whole lot of sentiment in our next album. That’s my personal guarantee: a sentimental monster.

Knob-twiddling our way forward

As I’ve said previously, we’ve got a lot of tweaking ahead of us on this project. We’ll be pushing sliders, twiddling knobs, occasionally pulling sliders (but mostly pushing) and plugging things into other things. I will be wrestling computers like a live thing, swearing at them bitterly as they fail and fail again. But (and this is important) we are making progress, completing our first swipe on about one third of the songs.

We will keep you all posted on how the snail is faring as it climbs Mount Fuji. One way or the other, new music will be coming your way in the foreseeable future. Whether it’s the kind that makes Gumby happy or provokes the wrath of Ghidorah, only time will tell.

News, Recording

It’s the time of the season for mixing

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Damn, it’s hot out there. Hot enough to boil a monkey’s bum, as Monty Python used to say in a mock-Aussie accent. Mind if I call you Bruce, just to avoid confusion?

Well, it is, after all, summer in the northern hemisphere, which means balmy weather for the lot of us. But for your friends in Big Green, this year the solstice means that the season for mixing has arrived. Yes, brother Matt (a.k.a. “Mr. Ears”) has left the premises to keep a keen eye on his Peregrine Falcon charges … but not before recording his final tracks on our upcoming album, titled [INSERT WORKING TITLE HERE]. After two years of tracking, it’s time to start pushing those faders. (And, of course, pulling them occasionally.)

The job ahead: hard as f#ck

Make no mistake, we have a big project ahead of us: making sense of between 20 – 25 new recordings and arranging them in the general shape of what is still somehow called an “album”. But hey, Big Green has faced challenges before. Remember when we were almost captured by Captured by Robots? No? Well, perhaps I imagined that. Nevertheless, it hasn’t always been an easy road for us. Sometimes it’s uphill, sometimes down, but there are always plenty of potholes and no freaking shoulder. (Not mention the fact that it’s a toll road.)

Getting back to mixing, we try to keep things in perspective. Like all modern DAWs, ours has a virtually endless number of tracks and tools to work with. And yet, our favorite albums are mostly from the analog four, eight, and sixteen-track era. Multitrack recording was mucho expensive in those days, and most non-famous bands had zero access to it. In the 1980s, we got into a proper studio maybe three or four times total; the rest of the time we were bouncing takes between stereo cassette machines while playing kazoos into live mics. (Ah, those were the days.)

Placing the lime inside the coconut

Anyway, despite the distinct technological advances we now enjoy that weren’t available in the 1960s, we rely heavily on our musical forebears for inspiration. In other words, if they twiddled a dial a certain way to get a certain effect, that’s good enough for us. If they put a speaker and a mic in a big closet to get reverb, well …. maybe we won’t do that, but perhaps we should. The one thing they did that we won’t do under any circumstances is work super hard. Those are our principles. And if you don’t like them, we have other principles. (Shout out to Groucho.)

Now, that doesn’t mean that we want to imitate the previous generations. I mean, there’s no point in putting the lime in the coconut again, right? That’s been done. We have to break new ground, like any other band. Maybe put the plumb in the artichoke, then mix them all up. (See illustration.)

Unpredictable prognostications

Okay, I’m not going to be irresponsible enough to predict when this album is going to be finished, released, etc. All I can tell you is that [INSERT WORKING TITLE HERE] is fully recorded and on its way to completion. Looking into my magic crystal mixing bowl, I see a Fall release on the horizon. Fall of what year? No man can say, but Fall is a good bet. TO THE MIXER!

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Did Neil blow it? Song sheds dim light on old controversy.

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My pappy always told me that, before you judge a man, you should walk a mile in his shoes. (Actually, scratch that – I’m thinking of someone else‘s pappy.) Anyway, whoever the source might be, it strikes me as a valid point. That’s why whenever I hear someone criticizing Neil Armstrong for flubbing his first words as he stepped off the lunar module, my first impulse is to say, “Hey … did YOU walk a mile on the moon? Huh? Did ya?”

The thing is, now we’re being told that Armstrong didn’t necessarily botch his little lunar speech – we just heard it wrong. In other words, he’s not the eff-up … we are for not keeping up with his speedy elocution style. Though, in fairness, the poor quality of interplanetary radio communications in 1969 should take some of the blame. I mean, listen to the dude – it sounds like he’s talking through a freaking kazoo.

As it happens, Big Green has weighed in on this contentious issue. Allow me to explain.

Art Imitates Life (Warts and All)

Some of you (and you know who you are) may be familiar with a song we did twelve years ago by the name of One Small Step. It’s a jumping little record I want my jockey to play! (No, wait – that’s Roll Over Beethoven.) Anyhow, as you can see from the video, we grapple with the vexing question of what Armstrong said as he stepped onto the moon. And by “grapple”, I mean bat it around like chimps in a bouncy house.

One Small Step, by Big Green

The chorus gets right to the point:

One small step for one bald man
Giant gaffe for all time
We did it!
Now let’s go do the other thing
for Jack-O!

Clearly, we settled on a point of view. But was it the right one? And what’s with the backing vocals? I mean, who sings “mooooon!” and “thing! thing! thing!” as a refrain? But I digress.

The Other Thing

Of course, amateur historians will tell you that the “other things” JFK was referring to in his Rice University address in 1962 had nothing to do with the moon. God, no – they were (1) climbing the highest mountain, (2) flying across the Atlantic (even if you’re a Hitler-admiring freak), and (3) some football game.

Now, it took three days to get to the moon (one-way, non-smoking, off-peak pricing). Climbing Everest took an afternoon, from a running start. True story! How long does a college football game take? Don’t ask me … just wake me up when it’s over. THE POINT IS: going to the moon took longer, so Neil and company deserve extra credit, overtime pay, and so on. That was what we were getting at. Somewhat.

And In Other News …

Work continues on Big Green’s next album. As I reported previously, we’ve got about 23 or 24 songs under construction. Right now we’re patching some rough spots, adding backing vocals, dropping in some additional parts (mostly keys). We should be in the mix phase by sometime this summer, so my wild prediction of a Fall release is still possible. (Or the whole thing might blow sky high. Who can say?)

Look for updates in the coming weeks. Or months. Try tomorrow.

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Big Green albums are hard to finish. Here’s why.

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Did you survive the total eclipse of the sun? Well, if you’re reading this right now, chances are the answer is yes. Now that we’ve fully recovered from that harrowing experience, the time is right to talk about music. (As the killer probe Nomad said on classic Star Trek, “Think about music…”)

Let’s face it – albums are never easy. They require time, patience, and great care, not to mention a crap load of luck. Of course, that dynamic is not exclusive to Big Green. What sets us apart is our process for completing an album. What process, you may ask? Allow me to offer you a brief look under the hood of this smooth-running machine.

Joe on keys

I’ve written at length in previous posts about how mother-effing slow we are. And while sloth may be our secret sauce, here are three key elements that go into building a Big Green album:

1. Specific Gravity

While it’s kind of hard to measure, we like to ensure that our songs maintain a high level of density relative to that of water. Often that process prompts us to add strings, horn sections, chunky guitars, or over-driven organ parts. We come up with arrangements, track them, then burn a rough mix to CD-R. If we drop the disc in a bucket of water and it bobs to the surface, we know our work is not done.

2. Valence

As we record a song, we ask ourselves, “How well will this song bind with other songs on the same album?” After noodling this for a few minutes, we try to put some concrete numbers together. We usually start with the total number of tracks on our last album (in this case, Cowboy Scat: Songs in the Key of Rick had 21). From that number, we subtract the number of valence electrons associated with a specific track. (Note: if you try this at home, you may need to borrow an electron microscope.)

3. Lyric Intelligibility

Hey, we’ve all been there, right? You listen to a song for a year, a decade, three decades, then one day you discover you’ve misinterpreted the lyrics. Instead of “There’s a bathroom on the right”, he’s singing “There’s a bad moon on the rise”. Well, here at Big Green, we try to keep that to a minimum. And when I say minimum, I mean a minimum of thirty instances per album. Sure, it takes work, but the more you confuse people, the more memorable you’ll be.

Matt and his Gibson.

Stream Our Asses

Hey, don’t forget – you can find Big Green’s full catalog on many (if not all) of the major music streaming platforms, including:

Add us to your playlists!

(Image by Julien BLOT from Pixabay)

News

This just in: The moon will block the sun. Flee!

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Dateline: Upstate New York, March, 2024 – We can report with some confidence that the moon will almost certainly launch an attack on the sun in the coming days. Sources tell Big Green that the assault may occur as soon as April 8, 2024, based on signals intelligence. (Note: the signals we receive come through a sophisticated device we call “television”.) Officials say that the moon’s intention is to block the sun’s rays, throwing large swaths of Central New York into near total darkness at midday.

How should you prepare? First, it’s important that you don’t panic. Remain calm at all times, and encourage those around you to do the same. Second, once you have them all lulled into a false sense of security, RUN FOR YOUR LIFE! If we all follow these simple steps, rest assured that the moon shadow shall pass and all will be as it was before. On this you have my personal guarantee.

(Important safety tip: Do not look at eclipse through a telescope … or, really, at all!)

Slow-Ass Mothers

Well, so much for the public service announcement. Now for what’s happening with Big Green. Yes, we’re still working on our new album. Doesn’t feel super new to us anymore, because we’ve been toiling away at it for – what? – two years. The important thing is that it’s new to you, our beloved listener(s).

People have asked why it takes us so long to finish an album. Well, I’d like to be able to tell you that it’s because we’re obsessed about quality and workmanship, not timeliness, but that would be ridiculous. (The second part is true: remember that we’re slow-ass mothers.) As always, the truth is far more mundane. We manage maybe one session a week, and that’s usually just for a couple of hours. I typically record and work on pre-production between those occasions, so that might add up to four or five hours a week.

All right, so … do the math. How long should it take to record an album? Ask Google, and you’ll get about fifteen different answers. (Ask Jeeves, and you’ll get lunch on a tray.) If I take the average of the wild guesses that come up in search, I get two weeks of pre-production and rehearsal, three weeks of recording, maybe another week of post. A serious band might spend 8 hours a day or more in the studio. Assuming a five-day week, that’s 120 hours of recording, plus maybe 60 of pre and post.

120 + 60 = 180; 180/4 = 45. That’s 45 weeks at our pace. And we’re still freaking behind. Jesus. Back to the blackboard.

Fall Forward, Spring Back

If I wet my finger and hold it in the air, I can get a vague notion of how hard the wind is blowing and in what direction. Predicting when our album will be finished requires more sophisticated analysis. We’ll need a divining rod for that.

If I were to guess, gun to my head, I’d say we should have something releasable by Fall 2024. (We’re doing preliminary mixes on about 25 songs at this point.) So you may be seeing a new Big Green album drop about the time you’re turning your clocks forward. Or back, depending on which mnemonic device you use to keep track of daylight savings time. (Mine is “fall forward, spring back” because that just sounds right, but don’t let me influence you.)

Illustration credit: b0red at https://pixabay.com/users/b0red-4473488/

News, Recording

In the studio with America’s most obscure band

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Dad always told us, be the best in the world at something. Actually, I don’t think it was dad who said that – probably some random stranger passing us on the street. Doesn’t matter. Find something to be best at, he said, and we went and did it. Someone had to be the most obscure band in America, we thought. Why not us?

Well, the nearly forty-year-old unknown quantity known as Big Green is back in its makeshift studio again. Another project, another album … call it what you like. We’ve got a heap of songs to record, once again, and we’re doing it the only way we know how – under the radar.

By The Numbers

So how’s the new project going? It’s going, as the old saying goes. It’s hard to qualify our progress, so I will try to quantify it for you. Here are the numbers we’re working with. And bear in mind, none of us are even amateur mathematicians.

80-plus – That’s the rough number of songs we started out with as potentially being part of this album. The vast, vast majority were written by Matt, and a handful by me (a.k.a. Joe).

40-plus – Another imprecise number, this one representing the number of recordings we’ve started since we began this project last year. This doesn’t include a couple of early demos we did prior to 2022.

24 – Finally, a solid number! This is the number of recordings we’ve concentrated on – songs that include substantially more than a reference guitar track.

20 – This is how many recordings have keyboard parts, mostly piano. Some are midi parts, some d.i. from my Korg SV-1. Coincidentally, this is also the number with main vocal tracks, 8 with backup vocals.

18 – The current number of songs with a bass track. (We’ve been furiously adding them in recent weeks.)

17 – That’s the number of tracks that have fully programmed drum parts. This is typically something that happens in pre-production, but we don’t do that. That would be preposterous.

Name That Album

When does this whole thing come to a conclusion? No man can say. We don’t even have a working title for the album. Call it Splunge or something, just for the time being. If we had a different name, the album title might suggest itself. For instance, if the name of our band was “Choosy Mothers”, the album title would almost have to be “Jif”. The name Big Green doesn’t suggest anything to me at all.

Mistaken Identity

Then there are those times when we get confused with artists that actually have a following. It’s usually the result of a coincidence in song titles. Here’s one right now:

Volcano Man, by Big Green
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In the shop for a little tune-up.

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Mother ship, this is Central New York calling – we need repairs … like, right now. Oh, and one more thing … HAAAAALP!

It will surprise exactly none of you that Big Green doesn’t have tech support in-house. That’s largely because, well, we don’t even have the “in-house” part. But hey, there’s a lesson embedded in every misfortune. And so when I tried to upgrade our recording platform – in the middle of an album project – I discovered that our corporate overlords had made this impossible. The lesson? “Right to Repair” is a thing, it turns out. And the manufacturer of our computer at some point decided that I was wrong to repair. Very wrong, indeed.

Tech for the technically challenged

Now, I’m not great with tools. I get screwdrivers mixed up with other drinks. Nevertheless, I started clawing away at my laptop computer and soon discovered that the likes of me could not open the effer. That’s when I put the tools away and called the repair shop. What we really need is something like bicycle repair man, from that old Monty Python script. In a perfect world, we could resort to such things. But alas.

How’s the project going, aside from our various technical foibles? So good of you to ask. It’s like chipping away at a mountain, actually. You just keep lopping off every piece of it that doesn’t look like your next album. We started about 40 or 45 songs, and we seem to be concentrating on maybe half of them. Matt’s adding bass parts; I’m randomly adding keyboards, voice, etc. It could use some yeast, certainly, and maybe a pinch of nutmeg. None of my bunt pans are big enough to accommodate …. oh, wait; that’s the Madison county bake-off, not the album. Apologies. Always get those mixed up in my tiny brain.

Bitter legacy

We’re working off an old legacy platform that can’t be updated, and we’re at least three versions behind on our multi-track workstation software (Cubase 9). This is a good time, it seems, to upgrade. So we bought the computer, we bought the software, we put the two things together, and … bupkis. That’s when I started working away on the computer with various screwdrivers, Allen wrenches, and the like.

Now, I suppose we could just hike up the street a few blocks and record at Big Blue North, but hey … that would take money. It may surprise you that we haven’t been given an advance on royalties by our corporate label. (If so, you must be one of the legions who have never heard of Big Green. And to you I say, welcome!)

Oh, well … we’ll manage. You’ll see. And if you want to pre-order a copy of Big Green’s next album, I would strongly advise you to wait. We’ve still got some managing to do, you see.

luv u,

jp