Tag Archives: songwriting

All the king’s robots and all the King’s pens

September 9, 2022 Joseph

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.

Usual Rubbish

If you’re built upside-down, walk on the ceiling

September 2, 2022 Joseph

Hmmm. That’s kind of catchy. How about this one? Right …. nothing on the applause meter. Okay, your turn. That’s just goddamned awesome. Now let me try one. Sucks. WHY WAS I BORN?

Oh, hi. Yes, we’re working. As one of those performing rock/pop groups that composes its own material, we, of course, need an editorial process. You just walked in on one of our markup meetings. Here’s how it works: we write out a lyric on a big sheet of white paper, then hang it up on the wall. Everyone gets a chance to cross words out and add words in. We decide with a roll of the dice who goes first. If the winner of the dice roll is Marvin (my personal robot assistant), I have to put a bucket on my head. Then Matt is invited to draw a face on the bucket with magic marker. Got all that?

Sausage making 101

I’ve written about our creative process many times on this blog. Think of my posts as helpful tips for songwriting, especially for those who aspire to be as commercially unsuccessful as we’ve been. Now, let me just say right here and now that not everyone is cut out to reach that lofty goal. It takes a certain special something to be this big of a flop. You either got it or you don’t, as the saying goes. And baby, we got it.

How do you write a massively non-commercial song that almost no one will be able to relate to, except perhaps your neighbor’s dog? Well, it’s not as hard as it sounds. You start with subject matter – something real niche-y, like the history of cardboard. We, for example, chose Rick Perry for one of our albums. Now that may seem like a crass attempt at capitalizing on someone else’s fame, drafting behind them as they sail along. Nothing could be farther from the truth. In fact, it’s so far from the truth, it circled the globe and bumped into the truth from the other side.

The ballad of Cousin Rick

Look – if you’re going to be as unpopular as Big Green, you need to pick something to write about that’s even more unpopular. Rick Perry was low hanging fruit in that regard (see Cowboy Scat: Songs in the Key of Rick). So Matt wrote a boatload of songs about him, and I wrote a handful. That’s our usual ratio. You could say I’m more careful when I write, but that would be a lie. I rely on found words, forced rhymes, and a bottle of tempera paint so that I can squeeze it all over my lyric sheet when I decide it’s garbage. It’s cathartic, trust me – just give it a try.

Thing is, as a band we’re kind of built upside-down. I mean, Big Green started out with the weird songs. You know what I’m talking about – Sweet Treason, The Milkman Lives, Going To Andromeda, all that stuff, then those umpteen million Christmas songs. After that, it was International House weirdness, then Cowboy Scat, and finally, Ned Trek. Now we’ve got a boatload of songs about … wait for it …. interpersonal relationships. You know – the stuff that most bands start with before they go all weird and shit. We’re like freaking Benjamin Button, except that I hate that stupid movie.

Where next?

I don’t know, man …. we’ve got some recording to do. Lots of songs, damn it. There’s certainly at least one album’s worth of unreleased material, and maybe even a box set. That’s right – we could record all the songs, put them in a cardboard box, set the box out into the middle of the road, and hope our fans chance upon it. That’s called “marketing”, kids. Ask your mother.

Usual Rubbish

And having writ, the hand moves to Jersey

May 13, 2022 Joseph

Yes, that’s a whole different approach. I never thought of doing it that way. Yes, very innovative – thank you for the suggestion. Of course I’ll give you credit. I’ll write it in the sky if you insist. You insist? Hoo boy.

Lesson number one for you young songwriters out there: never take advice on your craft from a robot. Marvin (my personal robot assistant) has been putting his two cents in a lot lately, and frankly, it’s worth every penny. We’ve been trying to pull together some new songs for our next project (another word for “album”), and he’s suggesting to me that I should start every song on kazoo.

It’s all about process. Sometimes.

Now, everyone has his/her process. We’ve discussed ours on this very blog. Some songwriters have a favorite instrument, some a favorite room. Some like to start with the music, then the lyric, others the opposite, and some a random mix. Marvin obviously prefers the kazoo. I think it’s fair to say that my brother Matt did at one point in his career. The thing is, Marvin doesn’t need a kazoo to make a kazoo-like sound. He’s got a sound generator that can imitate everything from a Blue Whale to a mosquito. (You should hear his 1993 Buick Regal. It’s spot on!)

My process? Well, mostly it’s not doing anything. But when I do write songs, I typically start with a blank piece of paper. The paper stays blank for a few weeks, until I awake from a nightmare at 2 a.m. and start scribbling randomly. The next morning, I will puzzle over the illegible nonsense I scrawled out the night before, then ball up the paper and chuck it in the trash. That’s usually when I pick up a guitar. Don’t try this at home!

Those instruments!

Some of you might think that it’s better to write songs on an instrument you know. I am living proof that that’s not necessary. The fact is, I don’t know any instruments all that well. Sure, I’m on a first-name basis with a guitar or two, and my piano is a childhood friend, but that doesn’t count for much. Like many songwriters, I reach for the closest instrument in the room and start noodling. (Pro tip: If I stumble on something good, it usually means it’s been used before.)

Worried about plagiarism? Remember what Woody Guthrie said:

“I never waste my high priced time by asking or even wondering in the least whether I’ve heard my tune in whole or in part before. There are ten million ways of changing any tune around to make it sound like my own.“

Yeah, I’ll take some of that. You might also want to remember what Tom Lehrer said:

Plagiarize
Let no one else’s work evade your eyes
Remember why the good lord made your eyes
So don’t shade your eyes
But plagiarize, plagiarize, plagiarize

A case of projection

Is this a roundabout way of saying that we have an album project in the works? Well, dear reader, that would be telling! After all, we have about a hundred Ned Trek songs in the can, waiting to be released in some form, including about seven or eight that have never seen the light of day. And then there’s all that new material from Matt (a.k.a. the songwriting machine of Central New York).

Damn it, man … we have so many irons in the fire, there’s nothing left to do the ironing with. Now we have to throw all those wrinkled clothes in the fire with ’em.

BIG GREEN