spoon579

[spoon579]

The Making of “Seasons (Macca’s Song)”

CONCEPT

I have this ongoing mission (or project, I guess) to create some kind of recording of every song I've written (or had a hand in writing) over the years. This is partly to ensure that I'm not relying on my ever decreasing brain capacity to ensure these musical gems don't get lost in the mists of time, and partly to see how I can take stuff I wrote 20 years ago and reimagine them with my current abilities and recording capabilities. This track is an exercise in the latter.

HISTORY

Back in 91 or so, I was in a band with some friends and we were all trying our hand at song writing. One Saturday I came in to a jam session with a new chord progression, and our drummer (Macca) came in with some lyrics. We decided that fate wanted us to put them together to make a song and so we did. The upbeat major key chord progression combined with the teen angsty lyrics (combined with the pseudo Morrison-esque vocal stylings our singer was trying on) meant that the whole thing didn't really work. We pretty much dropped it (with no title - we just called it Macca's Song) and moved on.

THE RECORDING (TAKE 1)

So when it came to recording it this time round, I spent a while trying to work out how it could sound. And I thought about the music that Macca and I were into at the time (which was a lot of REM). I listened to a bunch of early REM (all jangly riffs and arpeggios and not a block chord in sight) and thought I'd give it a bash.

I came up with some jangly riffy things that I liked, and so I set to work recording the whole thing. Electric guitars, bass, acoustic guitars and, because I can't play drums, one of GarageBand's inbuilt drummers. I played around with the melody a little and wrote a harmony vocal part and in the end had an arrangement that I was pretty happy with.

In that time Macca had got himself onto Facebook, and so I sent it to him. He liked it and said "would you like me to record a real drum track". I said "yes please!" and before I knew it, I had 10 track of raw drum audio, from mics placed around the kit. I experimented with mixing those and, once I was happy with the sound, dropped it into the recording. 

It sounded awful.

My playing has never been exactly "in the pocket". My years of recording to GarageBand's click tracks have improved it, but nonetheless I am, quite frankly, all over the shop. Now, when played to the GB beat that I had, it sounded OK. But put a human drummer over the top, and it all sounded wrong. I knew I would need to re-record the guitars. This dispirited me somewhat, and so I left it, for well over a year.

THE RECORDING (TAKE 2)

Earlier this year I received my (signed!) Brian May Red Special. While wondering what I should first record with it, I remembered Macca's Song, and thought it would be good (as I already knew the parts, and the guitar is wonderfully versatile). I ended up re-recording all 6 guitar parts, including the acoustic parts, with Maysie. Finally, it needed a new title. I asked Macca and he said "it's your track now, it's up to you". I decided on something, he agreed, and so I present you with "Seasons (Macca's Song):

https://clyp.it/otjevevo

[spoon579]

They Might Be Giants - Flood

Why is the world in love again? Why are we marching hand in hand? Why are the ocean levels rising up? It's a brand new record for 1990. They Might Be Giants' brand new album, Flood.

This one I owe to my  (at the time, brand new) friend Ty. The year was indeed 1990. This album has just come out and I had never heard anything like it before. It was weird, it was funny and it was just two guys. It was interesting (and not in the way we used the word to describe my mother's more adventurous meals).

I recognised the single, Istanbul, but not their version. After hearing this album I remember immediately wanting to leap into their back catalogue, which consisted of only two other albums. While this third album was definitely more polished, they all had a quirkiness that hid a deeper intelligence. "Your Racist Friend" is an excellent example of a song which is musically bubbly and bouncy, while lyrically quite dark.

I could go through all the tracks, like Bruce McAveney indiscriminately listing Australian Olympic athletes, but I won't. But I do have to mention Birdhouse in your Soul. It seems at first listen just a bunch of nonsense lyrics (I'm your only friend, I'm not your only friend, but I'm a little glowing friend but really I'm not actually your friend but I am). But the more your listen, the more you realise that this song, sung from the first person point of view of a night light, really serves as a metaphor for protection in a relationship and is really quite amazing.

Basically, I love TMBG. They are, I think, the band I have seen live the most, and this album, for me, started it all.

[spoon579]

Led Zeppelin’s untitled fourth album (1971)

"I could play Stairway to Heaven when I was twelve. Jimmy Page didn't write it until he was 22. I think that says something." - Vim Fuego.

There are a few key "phases" in my musical journey through life. Led Zeppelin strongly represent the second phase, where I went from the radio based pop of 3BO into a more "old school rock" area.

Unlike a few other albums of this personal era (some of which will also feature in this little adventure) I don't have a specific memory of being given or lent this one. I know it must have happened, though. And I know that it was my friend Budge that got me into them. I think he gave me a tape that had Led Zeppelin III on one side and this one on the other.

But it's this one (generally known as IV) that really grabbed me. It has hard rocking riff tracks like Rock and Roll alongside gentle acoustic tracks like Going to California. It has songs with weird-arse timings, like Black Dog and Four Sticks, and, of course, it has fantasy and Tolkien references in Misty Mountain Hop and Battle of Evermore. It’s all there waiting for a nerdy wannabe-muso to lap it all up. 

Let me set the scene. It was the very late 80s, leading into the very early 90s. I had just started teaching myself guitar, and I had short, polite hair. My biggest act of rebellion was (and probably still is to this day) wearing grey fake leather shoes with zips, despite the school rules regarding black leather footwear. What I’m saying is that I was, in no way, a “long haired rock'n’roll rebel”. But I was just getting into the idea of "the guitarist" as something worthy of attention. And os because of this album, Jimmy Page very rapidly became my favourite guitarist (out of a very small pool of ones I had heard of). He played with a such a casual style, he made it seem so effortless - never fighting the guitar, but working with it. When he played a solo he was clearly making it up as he went along, and he looked cool doing it.

But of course this album also contains Stairway to Heaven, which, in a single track, contains all of the elements of the album that I mentioned above. However it was important to me, in this specific era of time, for another reason. 

At around the same time I was getting into this band, Andrew Denton's show The Money or the Gun was airing. One of its gimmicks was that every single episode would end with a cover of Stairway. Sometimes these would be performed by “cover” bands (so a band called The Beatnix did a Beatles-style version and a band called “The Rock Lobsters” did a B-52s version) and sometime original artists would do their own take. Two memorable ones for me were Doug Anthony All Stars (with guest Barry Crocker) and, of course, Rolf Harris. I think Denton’s idea was that this song was “untouchable”, but he would challenge that weekly and with as much humour as possible. I lapped it up bigtime. 

But honestly, by appealing to that silliness in me, I think it helped me get deeper into Zeppelin than I would have otherwise. 

[spoon579]

The power of hippy thinking

It's the new year, and that means that there are a higher than normal number of what I call "hippy" posts on facebook.

You know the kind of thing. Pretty pictures with text on them, telling you to love yourself, to be passionate in what you do, to let yourself be happy. Posts that tell you simultaneously that you have the power to make change happen but also that you are perfect just as you are. Posts that tell you that if people don't like you, it's THEM that has a problem. Posts that tell you that if you love your job, then you'll never have to work a day in your life, and if you really want something then the universe will make it happen.

That kind of thing.

Now, I like hippies. My brother is a hippy. The reason I see this sort of thing on facebook is because I am friends with hippies. But these posts do get on my tits after a while. I usually don't buy what they're selling, and I don't want to be a hippy. So I scroll on by.

But I was thinking about someone the other day which kind of changed that for me. Someone who should be, in my mind, the poster boy for such hippy positive thinking. Someone who was in a job that they hated, who decided that there was something better that they wanted to do, who made the decision to change, followed that decision up with hard work and determination, had a bit of luck (that's the universe helping out there, no doubt) and who is now not only incredibly successful, but is happy with who he is, how he looks, and is in the job of making people laugh. I'm pretty sure he's even a vegetarian.

The thing is, a lot of people think Ricky Gervais is an arrogant arsehole. And I don't think anyone thinks of him as a hippy.

But, and here's where his hippiness really kicks in, he brushes those detractors off. He tells them that they are welcome to their opinion, but it's not going to change who he is. JUST LIKE THE HIPPIES TELL US TO.

So what does this mean?

These posts made by my friends tell you how to be and think, and in doing so offer the promise of inner peace and happiness. In theory, this brought to my mind images of caftans and sitars and flowers. Fine if that's what you want to be, but like I said, I don't want to be a hippy.

But in reality it might actually mean I'll turn into Ricky Gervais. I think I'd be OK with that.

But would the hippies? 

[spoon579]

They Might Be Giants have a very special gift for you  http://www.theymightbegiants.com/firstalbumlive/

We respectfully request that all you fine folks on tumblr reblog this free offering. We would sincerely appreciate you spreading the good word of this project.

They Might Be Giants’ first album, or “pink album,” was a turning point for both the band and for the burgeoning world of indie rock. Performing in downtown NYC clubs, the band had become a fixture on the East Village scene where performance art and music flowed together in a vivid late night club scene. In those earlier years, the band was making recordings for their Dial-A-Song service and their demos were actively passed around town. While the album’s release in late 1986 was met with raves from critics (including the rare “A” rating from the Village Voice’s Robert Christgau), with no major label push or immediate radio interest, it seemed destined to settle comfortably into the Miscellaneous T section within a number of months. All that would change quickly when the band collaborated with video director Adam Bernstein on a series of original clips that would get serious play on MTV…

[spoon579]

"May we say that puberty begins in the mouth?"

I am a very old man. I imagine I’ll die soon. Not today, I don’t think, but sooner, likely, than you will. I hope I do anyway, unless you’re young and no good. If you’re wondering if you’re no good, you’re probably reasonably good, so don’t take some foul-smelling old man’s cavalier musings as...

[spoon579]

Stagger Lee (SFW)

Here's a version of Nick Cave's "Stagger Lee" with the swears taken out. (Inspired by the TV edit of "Snakes on a Plane")

It was back in '32 when times were hard

He had a Colt .45 and a deck of cards

Stagger Lee

He wore rat-drawn shoes and an old Stetson hat

Had a '28 Ford, had payments on that

Stagger Lee

His woman threw him out in the ice and the snow

And told him, "Never ever come back no more"

Stagger Lee

So he walked though the rain an he walked through the mud

Till he came to a place called The Bucket Of Blood

Stagger Lee

He said, "Mr Monkey fighter, you know who I am"

And the barkeeper said, "No, I don't give a good gosh darn"

To Stagger Lee

He said, "Well bartender, it's plain to see

I'm that bad motor scooter called Stagger Lee"

Mr. Stagger Lee

Barkeep said, "Yeah, I've heard your name down the way

And I kick mortgage folding assets like you everyday"

Mr Stagger Lee

Well, those were the last words that the barkeep said

'Cause Stag put four holes in his mighty funny head

Just then in came a broad called Nellie Brown

Was known to make more money than any bank in town

She struts across the bar, hitching up her skirt

Over to Stagger Lee, she starts to flirt

With Stagger Lee

She saw the barkeep, said, "O God, he can't be dead!"

Stag said, "Well just count the holes in the masterforger's head"

She said, "You look like you ain't scored in quite a time.

Why not come to my pad? It won't cost you a dime"

Mr. Stagger Lee

"But there's something I have to say before you begin

You'll have to be gone before my man Billy Dilly comes in,

Stagger Lee"

"I'll stay here till Billy Dilly comes in, till time comes to pass

And furthermore I'll fold Billy's Laundry in his mother's laundry house"

Said Stagger Lee

"I'm a bad muffin fluffer, don't you know

But I'll crawl over fifty good playgrounds just to get one fat boy's icecream

Said Stagger Lee

Just then Billy Dilly rolls in and said, "You must be

That bad muddy finger called Stagger Lee"

Stagger Lee

"Yeah, I'm Stagger Lee and you better get down on your knees

And swab my deck, because if you don't you're sure to be dead"

Said Stagger Lee

Billy Dilly dropped down and baked a loaf of bread

And Stag filled him full of lead

Oh yeah.

[spoon579]

Dire Straits Walk of Life: An analysis

There are three main sections to the song, and to this clip.

Part 1 The clip opens up with a series of shots of various sports people getting ready to go play intermingled with shots of Dire Straits getting ready to go on stage. A football glove is being put on while Mark Knopfler’s trademark sweatband is being put on.

Before the vocals start we see shots of cheerleaders mascots and fans, all getting enthusiastic for the upcoming event. Likewise we see shots of the members of Dire Straits starting to play and sharing a look which might well say “here we go!”

Put simply, they are equating preparing for a sports event with preparing for playing a song. The clear message is “Dire Straits and the sports people are the same”.

Part 2 Once the singing starts, however, things take a downhill turn. The next sequence is a series of shots of the sports people spectacularly failing (falling down, missing their shots, hurting themselves, etc). This is all intermingled with shots of Dire Straits playing and Mark Knopfler singing. Note that Dire Straits aren’t shown (at least overtly) to be failing. They are simply singing the song.

Part 3 Once the last chorus is sung, however, things take another turn. For the last minute or so of the clip, the sports people start succeeding. There is a kind of redemption here. Where previously a slam dunk would result in the ball bouncing off the rim and the player bouncing off the court, here it results in a triumphant score. Celebrations are shown.

Musically there’s very little change throughout the song. However the band, who previously were simply playing their parts are now dancing around together, interacting. It too, seems celebratory.

So what does this tell us?

One interpretation is that Dire Straits are making a commentary on this stage of their career. They started hopeful, have had many failures and are now happy that those days are behind them. The success of Brothers in Arms, the album that this song adorns, certainly supports that idea. It is Dire Straits most popular albums, and one of the most popular of all time. It could be seen as their long awaited touchdown after a number of tackles.

But the clip doesn’t show their career as a whole. It shows them performing this song. And what separates the sections of the clip isn’t an arbitrary point in the song. It’s a specific moment in the song: when the vocals start. Up to that point, everyone is hopeful. After that point everyone is winning. But at that moment, and for the whole time it’s happening, it’s nothing but pain, disappointment and failure. 

Put simply, when Mark Knopfler starts singing, things start to go terribly wrong for everyone, and when he stops, things get instantly better.

Make of this what you will.

[spoon579]

The Peter Pan Vibrator story

In high school I studied drama, and an optional end of year activity for the Year 11&12 Drama students each year was to do a pantomime which we would workshop, and tour around the primary schools in Bendigo. In 1991, my final year of school, that panto was Peter Pan and somehow I landed the lead role.

One of the running gags that we had workshopped was that every time Captain Hook came out on stage, he had a different thing for a hook. A hammer, a coat hanger, a toothbrush. That kind of thing. The kids absolutely loved it.

Anyway, there was something of a tradition with this end of year panto that, at the end of the tour, we would do a performance for our teachers. Usually that performance was a bit raunchy. For example, I remember Peter (i.e. me) saying to Wendy "would you like to come with me down to the fields?" and she replied "oh Peter I thought you'd never ask... but do you have protection?" to which I replied "well... I've got my sword".

ho ho ho etc.

So when we were working out what extra jokes to do for the teachers someone said how funny it would be if Captain Hook had a dildo.

We all laughed, and didn't really think anything more of it. Anyway, on the day of the performance, one of the cast members (a girl who, according to one other cast member "wouldn't normally say 'boo' to a goose") brought in a giant black vinyl vibrator, with batteries.

Her sister's apparently.

It wasn't your sleek "hello kitty back massager" affair, either. It was a big cock shaped thing, with veins and balls and everything.

As you can imagine, to a bunch of 17 year olds this was the best thing ever. All day we were constantly mucking around with it, turning it on and poking people with it. Great fun. But Aaron (who was playing Captain Hook) and I were a bit hesitant to use it. It was a bit TOO risqué, and we were the ones that were going to be out there on stage with it.

So we left it backstage... but then, in one particular scene, Captain Hook came out with an electric toothbrush (turned on, of course) as his hook. One of the teachers (yes, one of the teachers!) yelled out "it's a vibrator!" and, of course, everyone laughed.

After we got backstage and Aaron said "I'm doing it!"

The next scene is the big climactic fight scene. I was already on stage, and just before he came on, Aaron turned on the vibrator, pulled his sleeve over it, and jumped heroically onto the stage.

Thing is, we'd all been playing with it so much its batteries were starting to wear down. So instead of it brightly buzzing around, it just sort of whirred and gyrated really slowly, with a huge amount of effort as the weakened batteries fought gravity with each spasm.

We were supposed to have a big sword fight, but we couldn't stop giggling. I think, in the end I just stabbed him and ran off... it was too much.

We were so sure we were going to get in trouble, but I expect the teachers were as embarrassed about the whole thing as we were, and it was never spoken of again.