Song writing for the Beefcake Boys is (in our opinion) more complex than your average band. We are devoted to the Frank Zappa school of thought: we attempt to apply The Attitude and The Eyebrows (both of which are described in THE REAL FRANK ZAPPA BOOK) to our songs which takes A LOT of work. Another reason why song writing is more complex than your average mom is because we have Eight people who have an acute masculine version of PMS most of the time.
A Song (composition) is formed in 8 steps:
(EDITORS NOTE: CONTRARY TO POPULAR BELIEF THE FIRST "PARTS"
AND "STORY" USUALLY COMES FROM THE CREATIVE MINDS OF AARON SHERMAN
AND RYAN BAKER. THE OTHERS RARELY HAVE THE MOTIVATION, ENERGY, OR SELF CONFIDENCE
TO CONTRIBUTE IN THE BEGINNING OF THE SONG WRITING PROCESS. INSTEAD THEY
FORM SIDE PROJECTS AND EXHAUST MOST OF THEIR CREATIVE ENERGY ON THEM WHICH
IN GENERAL FRUSTRATES A.S. AND R.B. THE TWO WOULD EVENTUALLY LIKE EVERYONE
TO CONTRIBUTE EQUALLY, AND IT IS SLOWLY GETTING BETTER. IT'S JUST PART OF
BEING IN A BAND.)
(OTHER BAND MEMBERS RESPOND: YEAH, BUT WE'RE GETTING BETTER SO THERE...)
I. Parts n' Farts: These are just blocks of time we have decided to fill with patterns/rifts/improvisations created while "Freaking Out" (jamming), practicing on our own, skiing, masturbating, or parasailing It doesn't matter what style, key, or time signature it is (we don't exclude anything), If we like it or think it's funny, we play it.
II. The Story/Lyrics: The story is the grouping of words into something entertaining, stupid, or funny. Music is entertainment so the "story" should be as entertaining as possible. The entertainment factor is further accentuated by The Attitude and The Eyebrows at a later date.
III. Arrangement of parts to affix to lyrics (or vice versa): We write in blocks and we arrange them according to the story. We have no qualms about sticking a two measure grindcore part next to some ska if it fits the story. In this way some of our song writing is similar to John Zorn's quick change method which has been adopted by so many others (Mr. Bungle, Skankin' Pickle, etc.).
IV. Introduction to rhythm section: Pretty self-explanatory. Pat, Aaron, Ryan B. and possibly one of the others gets together and rehearses the format. Problems are discussed and worked out until we can play them with bags over our heads (literally).
V. Add keyboards, horns and voice: Also very self explanatory.
Ryan Q. comes in and listens to our suggestions/demands and adds his part.
Then the horn section works on their horn parts (of course) and Greg adds
his special magic to the mix. Now this (in a normal band) would be the end
of the song writing process.
BUT NNNNNNOOOOOOOOOOOOOOO!!!!!
WE'RE AARON AND RYAN,
BLAH, BLAH, BLAH
DO THIS, DO THAT
BLAH BLAH BLAH
WE'RE SO COOL
BLAH BLAH BLAH!!!!!!!!!
Anyway:
VI. THE ATTITUDE and
VII. THE EYEBROWS
It is easiest to explain these elements of FZ composition with the following visual:
| THE ATTITUDE | vs. | THE EYEBROWS |
|---|---|---|
|
----> | |
THE ATTITUDE is the "attitude in which the piece is to be performed". For example: if Wilbert has lost his groove and his shoes, and is very upset, the singer should sing it like he just lost his family, friends, and hamster.
"PUTTING THE EYEBROWS ON IT" is adding a touch of the extreme or bizarre to the composition (Anything, Any time, Anywhere, for No Reason at All) Using the same example: The vocalist while singing the line "Oh No, lose the groove!" he must stretch "groove" out as long as he can while doing obnoxious things with the pitch of the OOOOs (like an obnoxious gospel singer taken to the extreme).
By incorporating these two elements, we are able to go to great lengths to get the point across. Some of our material could be considered to be parodies of the over-used POP music cliches that have dominated the air ways since the beginning of time, which was misunderstood at first because we hadn't yet PUT THE EYEBROWS ON IT.
VIII. We play the songs in front of people and hope we have satisfied their
urge to be thoroughly entertained.