Somehow the composition
and recording of the song was put off for months after the idea
was conceived, perhaps because the electronic style I had in mind
could be done in individual installments, and so our scarce time
together was spent on other songs. Before our Skidmore session,
I explained the Texas song concept to SacFly. He had the chords
and melody for the chorus ready to rock that weekend, but the song
didn’t unfold further until he and I got together in Andover
on a chilly winter’s day. As SacFly and I mined my recording
programs for beats and synth samples, he began rhyming through the
chorus with his guitar. Inspired by his thinly veiled implication
of our unfortunate president as the answer to each question in the
chorus, I began to reweave my conspiracy threads that spun through
the connections I had made when originally inspired.
When I recalled that the Rangers play, not quite in Dallas, but
in Arlington, I thought of the famous cemetery which shares that
name near where I grew up (Baltimore) in D.C.; the national cemetery
swirled with images of the assassination of JFK in Dallas and soon
the conspiracies coagulated into the verse lyrics for the song.
The X in Teixeira was a natural way to begin inserting the actual
Rangers baseball players in the lyrics. After the Nolan Ryan reference
rhymed its way in, wordplay fell into place with the newer Rangers
(Young and Lamb) who have replaced future hall of famers Alex and
Ivan Rodriguez (the two Rods). So the lyrics were written.
Inspired by the ridiculous synth intro we stumbled upon, Sacfly
improvised the Monster Truck Style vocal intro to the song, parodying
the corporate, suburban stripmall character the Rangers have come
to embody—one take. We measured the length of the verses and
choruses and laid the electronic music out in the computer and then
recorded the guitar. We sang the choruses. I discovered the Cher-esque
bitcrusher effect for my vocals in the verses which were also quickly
recorded in the basement in Andover. The song needed something,
and it got more.
Sometime in February, in Manchester, NH, I sat down with Backstop
and coached her through the Spanish lyrics that El Donut had provided
for the final choruses. I asked for vocal style somewhere between
Bono and Cher and I think Backstop delivered the goods. I sent the
song to High Cheese to be finished, leaving the crucial mid section
open for his wizardry. I requested spaced-out XTC triphop rave sounds,
but I got something entirely more disturbing. I got George W.
High Cheese had mined countless soundbytes of our unfortunate president
and edited down to a the handful of phrases now in the song. I was
mortified for quite a while, but everyone that heard the song was
amazed and amused to hear the part. I compromised with the band
after High Cheese added other soundscapes in behind the presidential
samples. In the end, as with most Farmhands bridgework, I think
the part makes the song. For me, it’s the perfect break from
the song, yet the ever awkward voice sounds as if he is trying to
participate in the song, perhaps even from the DJ booth. Whether
you hear it as a culmination or a farcical break, the verses and
choruses before grow in stature and the outro becomes all the more
triumphant with High Cheese’s presidential cameo.
I hope someday the Rangers will take the field to this song.--fungo
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