Category Archives: Usual Rubbish

Scratching out a whole new way of itching

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Okay, that club on Route 5 … was that the Garden Cafe or Looney Tunes? It feels more like the latter than the former, frankly. Jesus, what the hell am I asking YOU for? The only thing YOU remember is random facts about some log cabin and the battle of Gettysburg. And even THAT you get backwards. (Though to you it seems forwards.)

In case you’re worried, no, we’re not writing a memoir of Big Green. Who the fuck would buy that? If nothing else, I can practically guarantee that there will never be a (1) tell-all retrospective, (2) drippy bio-pic, or (3) lost journal having to do with this, the world’s most obscure indie rock group that ever recorded more than 100 of their own songs. That said, we will milk it for a blog post or two. The first one was last week; the second, this week. The third will have to wait its turn.

Back to the Early ’90s

So anyway, in the early nineties we made the questionable decision of basing ourselves in the Utica, NY area, our home town, which at the time was not on a particular upswing culturally. We started by working with guitarist Armand Catalano, playing clubs and campuses around the region, serving up our own songs plus an assortment of covers. As I mentioned last week, the guitar seat in Big Green was governed by the rules of musical chairs, pretty much. Armand played with us, then friend of the band Steve Bennett, and later, other friend of the band Jeremy Shaw.

This was fine, except when we got confused and called guitarists by the wrong first name. There were occasional gaps as well, unsurprisingly. But the gigs we played then represented the least of what was going on in our tiny little world. None of them were in the least high-profile events. We opened for Mere Mortals at MVCC sometime in 1991 , I think. We opened once for Joe Bonamassa’s Bloodline at what is now known as SUNY Poly in Utica, probably in 1993. We played Middlebury College one New Year’s, if I recall correctly. And then there were a bunch of dead end bars.

The output was put out

The thing was, by the early nineties, Matt Perry was writing songs like a house afire. He was writing his Christmas numbers – a new album every holiday season. And he was cranking out a bunch in-between. (No, he didn’t write songs about Saint Swithin’s day – that’s just an ugly rumor about Big Green that some meteorologist started.) We were doing piles of demo recordings, and we managed to get into a studio a few times (the former AcqRok, thanks to friend of Big Green Bob Acquaviva of Mere Mortals.)

We had some live recordings as well. We’ve played a few of them on our podcast, THIS IS BIG GREEN, and there are a few more we haven’t posted as of yet. Probably the best ones of these are the DAT recordings we made in Jeremy Shaw’s basement in 1993 (or ’94? I don’t freaking know.). Then there was the video demo done by some hipster dude named Angel who worked at a vegetarian restaurant and considered the VHS tape he recorded for us some kind of masterpiece (when it wasn’t).

Yesterday is not today

So, the upshot of all this is, we have a better audio record of the 1990s than we do of the 1980s, when the only technology we could afford was a bic lighter and a pack of Marlboros. Ever try to run sound through a pack of Marlboros? It ain’t pretty. Makes a kazoo sound like a brass freaking band.

The many incarnations of one Big Green

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Ever watch Dr. Who? Sure you have. And no doubt you’ve seen how he regenerates himself every once in a while. It’s like restarting an old computer, except that when it’s done booting, it’s a new computer. That almost NEVER happens in real life, you know. Almost never … unless you’re Big Green. (Or, frankly, any other band I’ve ever known.)

We got to talking the other day. Our mouth parts moved and sounds emerged from our throats, then floated through the air and vibrated our ear drums. Those little thingies translated the vibrations into electrical signals that were then piped up to our brains. At that point, the impulses – call them voltsters – circulate around in the brain like ants in an ant farm, until they and their confederates make their way down to the mouth and vocal cords, making the whole process begin again. It’s amazing!

Anyway, we were talking about how many versions of Big Green there had been down through the ages. We started chalking up the white board and this is what we came away with.

1979 – 1986: The Proto Period

As I’ve mentioned on the blog before, Big Green started under other names. Matt and I started learning our various instruments in the mid-1970s, and of course it occurred to us that we should play our newfound instruments in the same room at the same time, occasionally playing the same song at a similar tempo. In 1979 we decided to do that thing with some other people with instruments, and the result was a band variously named Slapstick, Mearth, Withers Backtrack, and five other things.

Did we work? Not much! A few bar gigs here and there. We spent a year in the Albany area playing one-night stands, a few outdoor events, nothing special. It was practically all covers back then. Matt was writing stuff and I was writing some as well, but mostly not the kind of material that worked well with a rock group. We have a bunch of scratchy recordings from this period, plus some studio recordings, such as Silent as a Stone, which we featured on our February 2018 episode of THIS IS BIG GREEN. That incarnation trailed off into the eighties.

1986 – 1987: The Ned Year

Yes, this was the first year we called ourselves Big Green. I met Big Green co-founder Ned Danison when we were both playing in a cheesy bar band, and together with Matt we pulled this mess together. Did we practice? One hundred percent. Did we perform? Eh … not so much. I think we played in front of an audience exactly once, at a street fair in Ballston Spa, NY. (I’ve posted photos of that heinous incident in the history of rock.)

Of course, Ned and I played a bunch of other gigs that weren’t with Big Green and had nothing to do with the cheesy bar band. One was Dale Haskell’s Factory Village, videos of which I have posted on our YouTube channel. We also did a couple of songs at the wedding of our friends, Leif and Jill Zurmuhlen (Leif is the amazing photographer who took so many pictures of us before we shriveled into our current superannuated state of disrepair.) And, well, we recorded a demo. That was the year that was.

Is this part three or two?

1988 – 1994: Musical Guitar Players

Our first year we had a problem holding on to drummers. From 1988 on, after Ned went down the road, we had trouble securing a permanent guitar player. Over the next six years, we played with Tony, Steve Bennett, and Jeremy Shaw. We also disguised ourselves as a cover band under the names I-19 and The Space Hippies. (Tony and I were going to do a duo named Seven Vertical Inches of Purgatory or SVIP, but we never got round to it.)

This last period needs a little more exploration, so I’ll save it for another post. Suffice to say, we played a fair number of gigs under the various monikers and did some recording as well.

Then came the reboot. CHIME!

One Long-ass road back from the Joyous lake

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Think we ought to go? Nah, maybe not. Though I don’t know. Maybe we CAN go. But we probably shouldn’t. And anyway, who the hell is going to pay? Not me, man. Unless they take bottle caps. With the bottles still attached.

Hello, blog friends. It may seem like you’ve caught us in another serious controversy, but that’s not the case. We’re just sitting here in the abandoned Cheney Hammer Mill, our adopted home, and shooting the breeze about this thing we should have done, this thing we shouldn’t, and so on. Kind of amazing that we all get along with each other so well after spending so many years with these dumb, lousy-ass fuckers. There’s a lot of love here.

Who caught the Katy?

What are we sparring about? Well, I’m gonna tell you. I was browsing the internets, clicking through the facebooks, and I saw an ad for Taj Mahal’s upcoming tour. No, I’m not talking about the ornate monument in Agra. I’m talking about the blues singer, Taj Mahal, who I started listening to as a wee lad of twenty-one, thanks to my dear friend Ellen Everett.

In our earliest incarnations of the band that came to be called Big Green, we played a few Taj covers and I always liked the dude. (We even included one of this songs on our 1986 demo, posted here.) When I saw that he’s planning to play Woodstock (Levon Helm studios), it reminded me of the time, back in the 80s, when a group of us humped our way down to Woodstock to hear him perform at a famous now-defunct club called the Joyous Lake.

Lost weekend … or weekdays

I can’t remember what year it was – maybe 1984? My illustrious brother Matt, our guitarist then, the late Tim Walsh, Phil Ross, our drummer, and I piled into somebody’s car, drove to Woodstock, had a cheap cafe dinner, and trooped over to the Joyous Lake to buy tickets. As we were standing there, waiting for the tix, I turned around and saw the man himself, Taj Mahal, having an early dinner, gabbing with Rick Danko from The Band.

Left me a mule to ride!

I remember him putting on a really good performance that night, mostly solo, playing an electric guitar, I think a drobo, and an upright piano. He kicked the shit out of Johnny Rivers’s Rockin’ Pneumonia and the Boogie Woogie Flu on that piano, as I recall. As an added bonus, the horn player Howard Johnson came up and accompanied Taj on a couple of songs, playing one on a tuba and the other on a piccolo. Taj also did a nice, quiet version of his arrangement for Johnny Too Bad.

Then what? I’ll tell you …

I don’t remember what happened next. We went home, we slept, we played, we slept …. rinse and repeat. Fast forward to this week, I see the ad for Taj’s gig in Woodstock, and I think, man, I should go. Only trouble is, it’s sold out at $100 a ticket for general seating. Good going, Taj! You can still pull them in.

Guess I’ll just have to suffice with another rendition of She Caught The Katy, or Fishin’ Blues, or Corrina. Where’s my non-existent dobro?

luv u,

jp