We got another one of those notes, man. One of those neighbor notes about the uncut lawn. Let’s say they’re a little disappointed in us. I have to admit, I’m disappointed in us, too. We really SHOULD have mowed that lawn, but we were too damn LAZY and SHIFTLESS. (Please share this post with our neighbors so that they will feel validated.)
Anyway, here we are in the abandoned Cheney Hammer Mill, no validation in sight … not even for our parking. You know, I think we might be the subject of yet another community effort to rid the neighborhood of ne’er do wells. Frankly, I object to being termed in such a way. I may not always do well, but I certainly sometimes do well. I can’t speak for any of the other members of our entourage, but I for one try to remain on the straight and narrow. (It’s been a bit too narrow lately, though.)
Call in the lawn robots
Now SOME people I know, and I won’t say who, hire robots to mow their lawn. I’m not super comfortable with that idea. The part I’m not comfortable with, I should add, is the “hire” part. Why buy the milk when you own the cow, right? We have our own damn robot, thank you very much. His name is Marvin (my personal robot assistant), and if you Google his full name, you’ll come up with about twenty years of posts on this very blog. Or some nonsensical artificial intelligence story. Same damn thing.
Thing is, the lawn robots descend onto your property in a swarm and cut the grass in about ten minutes – just a big flurry of activity, then they’re gone. Marvin could NEVER do that. If he tried to get a job with the lawn robots, he would never get past the first interview. They would laugh him out of Utica, for chrissake. Think of that: Laughed out of Utica. Good name for a band, I think. But I digress. I can’t ask Marvin to do our lawn. It’s a matter of principle. Marvin was created for greater purposes, like vacuuming the hall. I can’t allow him to lower himself in that way.
Sign ’em if you got ’em
What Marvin really needs is a contract. We used to have one of those, with that crazy corporate label Hegemonic Records and Worm Farm, Inc., of Indonesia. It was signed in red ink, actually, though it may have been blood, now that I think of it. Those guys were kind of rough. They weren’t getting us to do shit by using Jedi mind tricks. It was more the truncheon and tire iron method. But hey, you don’t want to hear about our contract signing ceremony under duress. This is supposed to be a HAPPY occasion.
It’s actually a good thing we’re no longer under contract to Hegemonic. We can release our new songs into the wild like birds and let them fly on their own volition. Labels always make you do dumb shit you don’t want to do, then cut up your albums to make two or three. You call that value? Jesus Christmas. What an industry! Even our mad science advisor, exploiter of the intergalactic time warp, Mitch Macaphee thinks that’s unjust, and he’s crazy as a loon. Maybe crazier.
From green to red
Yeah, so there are drawbacks. And the first is no money to pay the damn bills. A smarter band would just let them do what they want with their music, but nobody ever accused us of being smart. At least not to our faces.
Well, I’ve wandered a bit. But the point I’m trying to get to is this: we tend to write happy little songs about big nasty things. This month we appear to be back on the fascist beat again. Next month, who knows? Some other grave subject matter that can be turned into a nursery rhyme or a mambo. That’s the way it works round these parts. Those are our principles. And if you don’t like them … we have other principles. (Yes, I’m a Marxist. My favorite is Groucho, but it’s not a strong preference.)
Of course, it’s not like it was in the old days. Way back then, we would write songs the old-fashioned way: by knocking branches against rocks for a few hours, then scratching the changes out in the dirt floor of our primitive caves. A little later on, the trombone was invented, though that was of little utility since none of us actually plays the trombone. (True story: Every time Matt tries to play trombone, he loses a tooth … which is just another way of saying that he only has a limited number of plays in him.) No, it wasn’t until the discovery of the Lowery Organ that we began to move forward expeditiously into an era of serious songwriting. Then we got silly. Super silly.
So, if I’m treating every songwriting project like the evolutionary ascent of man, that amounts to a lot of banjo-plucking primates. And that’s where many of my songs start out. I’ll find a chair somewhere in this big old barn of a place, throw my cheap-seat Martin D-1 across my leg and start playing the five chords I know best. If I stumble upon some progression or melody worth repeating, I can’t rely on memory alone. Fortunately, Marvin (my personal robot assistant) has an audio recording module, and if I can get him to stand still long enough, I can capture whatever the hell it is I’m working on and play it back later. If it happens in the middle of the night, the playback sounds like …. you guessed it …. banjo-plucking primates.
Telling figures indeed. (Note: I may have transposed a couple of digits here and there, but no matter.) So, from start to finish, a Big Green song consumes 1,045 calories per person. That’s less than a standard hoagie from the corner deli. (Granted, they are bigger than the average hoagie.) If you were to try to put a precise cost on our songwriting enterprise, you could express it in terms of hoagie units, or you could convert the hoagies to dollars and cents. That would make it a more costly enterprise on a Monday than on Thursday, since Thursday is $2.99 hoagie day.