Record Stack

From Big Notebook for Easy Piano and Soaking in the Center of the Universe, Vol. 2

So the story goes that the band in its shortest official line-up (Seth Timbs, Doug Payne, Trev Wooten, and Elliott Currie—Jason Dietz had just left, and this line-up played two shows before Sam Baker resumed the drum duties) went to New York City in spring of 2000 to play in a showcase for the Songwriter’s Hall of Fame and could only play two songs. The people initially took no note of the little piano band from Nashville, treating them with the curt uppitiness of big-city folk seeing another in a long of line of country bumpkins playing for their “big break” in the big, scary city. The story goes that the band played “Make It Through” first, and then a band member, presumably Doug, turned to Seth and insisted they play “Record Stack.” The people there had never heard the song before, and although Seth was tired of it from playing it at every show since he was in Ella Minopy, he conceded. The crowd went crazy, and the band was treated very well after that. So the story goes, at least.

This is easily the single most memorable song in the entire Fluid Ounces canon. It leaps out from among the throngs, whether sitting in the middle of the record on which it was released or in the middle or at the end of a Fluid Ounces live set. There are other Fluid Ounces songs that infuse an Eastern-European groove, but none that execute it so accessibly. And more than that—it’s just so catchy! For these reasons, it has always been a crowd pleaser, and it has been a standard in the set for every line-up of Fluid Ounces and almost every show before 2006.

As Seth once said, he compacted a long, mostly bad relationship into a one-night stand and subsequent “month in sin,” to describe this song that uses rhyme as its strongest component in its lyrical tango. The chief image defining the song is when he sings, “I had her in the sack / But just that once.” Attaching anything that rhymes with “sack,” we are given the song’s title; the line, “she smoked the last in the pack;” and the high-point of the song, when Seth sings, “So I got my records back / I smashed my Marshall stack,” followed by a loud thunder of discordant piano and guitar. The chorus is the unforgettable singing-borderlined-on-shouting of “La da da da da da,” which is perhaps what makes this song both so catchy, so easily (probably too easily) accessible, and so memorable. (Using the same chords, the Features would later modify this chorus into their classic, “Thursday.”) You can hear Seth scratch his throat numerous times during the recording, giving it a remarkable intensity that is a counterpoint to the Robin Wilson comparisons that his voice would get, especially after the release of the second record.

The song goes into its final chorus after a brief pause on the recording, which Seth would turn into a moment to add something surprising to each live show—a random saying (“this song has been brought to you by chicken tenders”) or, more often than not, a snippet from a random song—from random Irish drinking songs to Self’s “Better Than Aliens” to whatever strikes Seth’s fancy when the song is performed.

By the summer of 2005, as the song was at least nine or ten years old, Seth and Brian Rogers were tired of playing “the hit,” tired of it getting yelled out by show-goers and tired of practicing it, and so it gradually fell on the back-burner, not having been performed, to my recollection, since December 9, 2005. My official prediction is that this song might get played one additional time before the band calls it quits for good.

I understand why the band is tired of it. I’m tired of it too. I’ll admit it was the first song to leap out at me when I first heard Big Notebook on the first night I ever listened to the band, and I was elated a few weeks later when I heard them live for the first time and they played it (if the recording wasn’t such low quality, I’d post that cut of it because Justin’s drumming on it is sooo tight with the band!). But as the Doug Payne era went on, I began to feel like Fluid Ounces was becoming a shadow of its former self, re-treading In the New Old-Fashioned Way songs a little too much, and this song was among those I became tired of. It was performed once with horns, at The Whole Shebang release party, which is the mp3 I’m providing here for download in all its epic glory. With the final line-up, I accepted this song as a necessary evil in each set. Now that it’s been gone so long, I find myself wishing they would rock it out one more time for a random encore some night. Here’s to hoping, I guess.

Download Live mp3

Here's a video where it is paired with "Ambiance," which I never would have put with this song and am happy to discover this new cohesive live moment.

Sick

From Soaking in the Center of the Universe, Vol. 1

This song was originally written and performed with Ella Minopy, but Seth Timbs brought it with him to help beef up the fledgling Ounces’ sets in the early days. One of the lyrics says, “You’ve known my kind to write god with a lower case g,” which is a reference to Lower Case G’s, Ella’s only studio (or perhaps semi-studio?) release. As to whether this song appeared on that EP or if this is a pre-Ounces recording, I don’t know. (Tha B, can you help us out with that one?)

The other songs around this time focus either on love gone wrong or the ills of religion exclusively, but this song blends the two together so seamlessly that it could be about either one. Either way, we know that Seth Timbs was about to be sick!

The song is filled with brilliant little lyrical moments, so many that I won’t list them here as I’d be printing the whole song, but I’ll mention that my favorites are in its contrasts (“from my Superman heart/ to your Kryptonite eyes”) and one of my single favorite religious references in any Fluid Ounces song (“from my Mennonite heart/ to your Baptismal eyes”).

Many confused this lone b-side from Big Notebook as a live track because it ends with some raucous Ounces shouting at what sounds like some sort of drunken party, but this was obviously grafted onto the studio recording as the quality is too good to be a live recording.

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Big Empty

From Big Notebook for Easy Piano and Soaking in the Center of the Universe, Vol. 1

This song begins in utter silence, with just Seth Timbs alone in the studio asking, “Is it rolling?” (Those words are not on the Soaking in the Center of the Universe version.) A single acoustic guitar then begins to lead us into a very mysterious place as whirling guitars and sustained, reverberated piano notes join it, and we hear Seth’s quietly strained words leave lots of space to breathe and think within the microcosm of this song. (It reminds me of Self’s “Placing the Blame,” only Matt Mahaffey says the word “man” at the end of a few lines, making me always think that extraneous word would work at the end of every line or every other line here.) “I’ve got bigger fish to die for,” rings out from among all the descriptions, beginning to align the many images filling the great big empty that is this relationship coming to a bitter end.

I think what makes this one jump out as a bona fide epic is when they change things up for the amazing bridge, when quietly moving along turns into shifty rhythmic piano moves as Seth begins,

“I packed my bags for a lengthy stay in a tropical place
I couldn’t keep myself contained
So, it’s official we’re ignoring monumental consequences
We just can’t erase
I love you more when you’re away
And when you’re gone I walk the floors’
I’ve got duties to ignore”

The fast delivery is juxtaposed against the space of the rest of the song, with breaking free of the “big empty” of this relationship and setting us up for “Poor Man,” the next track on the record. But the seamless transition into the end of the second half of the song shows our narrator is not quite finished with toils he’s experiencing with this relationship.

Brian Rogers has alluded to this song being a live favorite early on, describing it as both an “epic” and a “hit” (which probably explains its inclusion on the Spongebath compilation). It never emerged again on any of the line-ups I’ve ever seen, as much as I’d love to see this one performed some day.

Milk Moustache

From Big Notebook for Easy Piano, Soaking in the Center of the Universe, Vol. 2, and Remember Cassettes, Vol. 1

Cigarettes. Drugs. Caffeine. I think there are more references to drugs in this one song than the entire rest of the canon combined. Everywhere else, the references are kind of in the background, but here the speaker relishes in all of them as only a student (or former student) at a party school in a college town could.

And what’s more, this song is fun, like more-fun-than-“Have Fun” fun. We get a quick piano intro, and then the bass exclaims, “Whoopee!” as we dive in for a three-and-a-half-minute romp that includes some of my favorite vocal harmonies to be heard on Big Notebook. In between references to various vices, we get a glimpse of a common relationship trap to plague kids in high school and college: the relationship fueled by substance abuse. From chorus to chorus, the speaker goes between wanting company and not wanting the company of his girlfriend, as if the amount of alcohol or weed or mixture thereof determines his tolerance of the girl and his willingness to pursue the relationship.

The video is from the porch of the Red Rose Coffee Shop from August 24, 2001. After the song is finished, there’s a fine example of how to conduct a sound check at a venue where you have to bring your own PA system.