Old stock.

Huh. Is that what it actually sounded like? Don’t remember that at all. That’s probably down to drug use, I guess. Like all those Dead concerts I never went to. (At least I don’t remember going to any.)

Hello and welcome to another chapter of Archive Summer, with your host, Joe of Big Green. (Kind of a medieval sounding name, right? I am Cleetus of Taberg!) As I mentioned in previous posts, there’s precious little for band members to do during this time of COVID-19 social isolation, unless you’re into performing online … and have a decent internet connection. We could try to do streaming performances, but it would sound like one of those old novelty greeting cards that plays a tinny little loop of “Happy Birthday” when you open it. (Except we would NEVER play Happy Birthday. Copyright, you see …. those fuckers are litigious as hell! In fact, I shouldn’t even say the name of that song, let alone play it.)

You wouldn’t think that, living in an abandoned hammer mill, we would have much of an archive, but that’s where you’re wrong. DEAD WRONG. God no, we carry every piece of flotsam and jetsam from our previous lives along with us, like traveling hoarders. None of it’s worth anything, of course (we hocked all of that years ago), just sentimental value … with the emphasis on mental. The fact is, when you’ve been a “recording” group as long as we have, you tend to have a lot of recordings lying around. Some of them go back to the 1970s, but those are pretty rough and, well … just never mind about those. They’re a bit like those tight-fitting velour shirts dudes used to wear back then – not something you want to advertise. Like most bands, we started life badly imitating people we liked, then started to piece together the ad-hoc approach to music that Big Green is now known for. (To the extent that we’re known, of course.)

Our back catalog includes a mountain of stuff. Super early songs recorded straight to stereo on cassette machines and beat-up living room reel-to-reels. Faux “multi-track” recordings pieced together by bouncing tracks from one cheap recorder to another. A lot of Matt songs recorded on his first four-track cassette deck and subsequent similar machines – there are literally more than a hundred of these. Then we got an 8-track Tascam DA-88 deck in 1995, and we recorded 2000 Years To Christmas on that, among other things. (I’ve got some cassette submixes of unfinished songs from that system). In 2001 we moved to a Roland VS-2416 deck, which we used to make International House and most of Cowboy Scat: Songs in the Key of Rick. For the last few years, we’ve been using Cubase Artist to record the Ned Trek songs, most of which you can hear on our THIS IS BIG GREEN podcast (now on hiatus) or our Ned Trek podcast. Needless to say, there’s a ton of unreleased material, and I have Marvin (my personal robot assistant), trawling through all of it, looking for, I don’t know, caramels hidden in piles of shit. (Sounds delicious!)

Hey, it’s summer, right? We’ll start posting stuff again soon … but for now, another mint julep. (That’s a drink, Jim.)