Story Behind the Song
January 3, 2001, Aaron's house: Dan came up for a week to work at the library with Aaron moving the archives. With lots of spare time on our hands, we had an idea that it may be fun to do some recording. We thought it might be funny to record some short love songs in different styles, and give them to you (Katie and Danica) as a Valentine's Day gift or something. So began what became a whirlwind of brainstorming, songwriting, and recording. Within a span of five days, we had recorded nine songs, some better than others, but nonetheless, nine songs.
We went into each song with the intent to use language that would only be used in that style of music, and to use clichés and stereotypes as much as possible (for example, you would never use the phrase "I was burning up the dance floor" (from "Discotheque Love") in a Bossanova style song such as "Elevator Love."
The first song we recorded is the last one on the album, "Industrial Love." Though the lyrics are few (and hard to decipher), they probably sum up our intent with this album the best: humor, yet some weird sort of expression of love and appreciation for the women in our lives.
In retrospect, it seems amazing to us that we were able to get nine (short) songs written and recorded in only five days. Probably the main reason that we were able to do that is because we had all day while we were moving boxes and dusty old books the size of a small car, to talk about ideas for songs. Some of the ideas never made the cut. We made a feeble attempt at recording a barbershop quartet style song, but quickly found out that that type of music is incredibly complex in its harmonies. We were able to get about the first line down and that was it. Then, there was the short-lived ideas of the jazz song, the opera song, and the late idea of a "short" punk song (punk songs are generally short as it is, so this one would have been about 10-15 seconds long). We probably would have done this had we thought of it earlier. The idea didn't come until Dan was on his way back to the cities.
Then, there was "Elevator Love." We almost canned that song too. Getting the melody down was so difficult that by the time we were done, we had recorded around 300 separate recordings of our vocals. We became so sick of it and frustrated that we thought it was not worth putting on the album (needless to say, we gained a new appreciation for Frank Sinatra). Then we decided that we should listen to it the next day to see what we thought. We ended up deciding that it wasn't too bad and that it was funny enough (if nothing else in its cheesiness) to put on the album. Even now, if you listen to the "final" recording our vocals are pretty shaky here and there.
Another song that just barely made it onto the album was "Amor Picante." The night before Dan had to head back down to the cities, we decided to give it a whirl. We were up until all hours of the night trying to get things wrapped up. We went to town doing stereotypical Mexican yells and whoops in the background. We felt that it was only right that we add some "hand clap tracks" on the chorus too. We came up with the idea of writing it all in Spanish (to pay homage to Dan's heritage) and then giving an English translation. That also led us to come up with the idea of writing an "English" translation of "Ghetto Love." As we tried to decide how to end the song, we came up with the idea of singing "TACO JOHNS!" at the end, but decided that that would seem to commercialized and cheesy (as if everything's not cheesy enough). So, we ended up just saying "cha cha cha," noticing afterwards that it sounded unbelievably gay (as in homosexual).
"Bumpkin Love" was intended to be just a typical twangy country song similar to Garth Brooks, but by the time it got done, it had turned into an all out jug blowin', washboard strummin', spoon playin', hillbilly masterpiece. For the best we think.
In the past, we have always talked about how it would be funny to play some sort of a Boyz II Men song for a talent show or something…something that had a monologue in the middle. Whenever we talk about this, we always say "Baby, you know all those lonely nights…" That's basically where the "inspiration" for "Lonely Love" came from.
As we sat down to write "Ghetto Love," we were juiced to say the least. Rap is hands down the most easily stereotyped music of all. Throw in a bass line, some drums, some ebonics, and some ripped off sounds and clips, and PRESTO! You have a rap song. As we began writing the lyrics, it only seemed to become funnier and funnier. We found a George Bush clip on the internet, a police siren, etc. Aaron dipped into his past knowledge of rap to add the "Where you at?" part at the end, and things just progressed from there. As we began writing the lyrics, we just knew that we wanted to use some clichés, never realizing that we would end up writing a story about a gangsta' falsely accused of committing a drive by shooting, with pipe dreams of flashy cars. We also thought it would be funny to insert a police siren somewhere in the song, not knowing how fitting it would be later on. One note…during the "bleep" on this song, there were no, repeat NO swear words uttered. It was simply put there for authentic stereotyping.
Another interesting thing about this album is to listen to some of the different songs and listen to how they get progressively smoother in their production (overall). (As Dan would say, "hmm…how very uninteresting"). Here's the order in which they were recorded: Industrial Love, Bumpkin Love, Lonely Love, Jamaica Love, Rockabilly Love, Discotheque Love, Ghetto Love, Elevator Love, and Amor Picante. As we recorded, we were able to come up with more and more ideas to make the songs sound a little sharper.
One more final note about recording these songs: on industrial love, at about 23 seconds into the song, there is this screaming and whooping that sounds like a Mexican with a really sore throat. It's actually Dan doing some whooping and yelling through a bunch of distortion. After we recorded it, we'd listen to it and then laugh for about a minute or two, then do the same thing again.
One thing that we will always associate with this although is staying up until all hours of the night. We finished recording "Jamaica Love" late one night at about 2:00 am, and then decided to start writing/recording another one. It wasn't until about 4:30 am that we finished writing and recording "Rockabilly Love." Most of the songs were written and recorded past 11 pm.
Lyrics
(uh uh uh uh)
In my pimped out Caddy I was cruisin' the strip
I spied a messy drive by with some Bloods and some Crypts
The pigs came a knockin' for me at my door
I said "no one by that name lives here anymore"
They took me down town, I was dead where I stood
I was even disrespected by my homies in my hood
Bacon was laughing they were having a ball
That's when I said, "I want my phone call"
I gave props to my lady who drives my Mercedes
I dialed up her digits on my cell
She said "oh baby, I know you ain't crazy, you didn't do it, no way in heck"
That's the smack that I'm layin
And no, I ain't playin'
That's the kind of baby that I've got
I got other brotha's wishin'
Their girlz they be dissin'
'Cause my lady is so dang hot
Read my lips*
White Choc, where you at? I'm over here
Been up all night just a layin' the tracks
V Fudge, where you at? I'm over here
Been up all night just a layin' the tracks
(English translation)
In my very nice Cadillac, I was driving down the street.
I saw a drive by shooting occur between members of the Bloods and members of the Crypts.
Police officers came to my house and asked for me by name. I told them "there is no one in this house who is known by that name."
The police officers took me to the police station downtown, and I felt as though it was assumed that I was guilty before it was proved that I was guilty.
The police officers were having a great time laughing at my expense. At that point, I told them that I wanted my one phone call.
I wanted to respect my girlfriend, who I allow to drive my Mercedes, so I used my cell phone to call her and told her what had happened. She told me, "Sweetheart, I know that you're not a lunatic. I know that you didn't do that, there is absolutely no way."
That's what happened. I'm not kidding around here. That's what my girlfriend is like.
There are many other men who are wishing that they could have my girlfriend. In fact, they disrespect their own girlfriends because my girlfriend is so beautiful.
Aaron, where are you? I'm over here. I have been up all night recording these songs.
Dan, where are you? I'm over here. I have been up all night recording these songs.
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