Huh. Never saw THAT one before. Do that again, Anti Lincoln. Wow. Are you sure that was developed in the 1850s? It looks a little post modern to me.
Ah, readers. Greetings. Here’s a handy tip: You know you have waaaay too much time on your hands when you spend a perfectly good afternoon listening to the antimatter 16th president explain that po-mo was invented by General McClellan. For chrissake … everybody knows it didn’t emerge until the later on in the Grant administration. I’ll tell you, in Anti Lincoln’s tiny mind, history is a total confidence game. If he were the actual Great Emancipator (or Posi-Lincoln, as it were), he would understand the importance of history. Posi-Lincoln loved history more than chicken fricassee. (And he loved chicken fricassee.)
We’re still in songwriting mode over here at the abandoned Cheney Hammer Mill in upstate New York. Every day I pick up my superannuated acoustic guitar and start strumming the five chords I learned as a teenager, hoping to coax another number out of them. How many possible combinations are there? I’m going to find out! Note: if you know the answer to this eternal question, put it in the comments. I’m sure it involves some kind of advanced mathematical calculation that is considerably beyond my ken. Though why I’m always asking Ken to figure stuff out for me I don’t know.
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.
The rest is history, folks. You can read all about it right here. Now, back to that new dance step. And a one, and a two …
The simple fact is, when we are producing a piece of music, our only resource is ourselves. We can’t go out and hire people to score and perform orchestral parts – that’s prohibitively expensive …. in that it would cost more than the fifteen bucks I have hidden in the mattress. No, sir …. Big Green forages for what it needs, plucking banjos and bagpipes from the junk pile of music history. That’s part of our thing, actually – found sound made with found instruments. What the hell … if we didn’t do that, we would have to get another thing.
Okay, I admit it … sometimes it’s hard to arrange a song when you’ve only got two musicians in the room, and one of them is me … and the other is my brother. (That’s brother of the same mother, Matt Perry.) The palette is limited, let us say, and of course Matt can’t play guitar and bass at the same time. (I’ve had more than one talk with him about his shortcomings.) And my keyboarding is, well, mostly confined to piano like objects, organs, etc. We’re recording new, mostly very silly songs, and they call for stuff we can’t do ourselves. At least, not without some modifications.