HERE IS WHY for those curious.
Harrison Ford has three identifiable portions, verses, choruses, and the What It Is Right Now bit. The verses and choruses were each played using my original keyboards drum settings, arpeggios, and bass chords. The conflict, both for the verses and the choruses, was that the beat, tempo, chords, and other lesser noticable elements changed distinctly between parts. I recorded each part seperately, and then strung them together.
As much as I hear that I need to take less time setting things up at my shows, as the guy who knows what my equipment does, it's rather contradictory that just as strongly I hear people demanding that I play Harrison Ford. Switching settings between songs tries your patience? How bout I switch 'em between verses and choruses. I'm sure that would be rockin'.
So now, for years after it's original inception, I have sequenced what I consider to be the mutant god-child of Harrison Ford. It's structurally similar, the words fit with it, if you use your imagination it kinds resembles the original.
I was worried about how the listeners would take to the change, if it would be accepted to take up the mantle from the original, unplayable tune.
Thankfully Josh, probably one of the stronger advocates for Harrison Ford being brought into the live fold, has given me preliminary good feedback on the new version. This gives me hope that it may yet still thrill listeners in the live atmosphere, even if by this point a more-or-less parody-of-sorts of a song that was released four years previously is totally pop-culturally irrelevant.
But the one question which remains is: do I like the song?
Do I even care any more? This song has been plaguing me, haunting me, ever since I created it. I couldn't love it in the sense that I could love songs I knew I could in some form or another replicate live, or songs that I would never begin to want to play live. Harrison Ford has suffered a detatchment which the rest of my library has never had to experience. Even as I was sequencing and singing along to the newly recorded mutant god-child, I wasn't sure what my own opinion on the matter was.
I'll tell you this though; I felt rather posessed to do it, and I'd say I gave it my all. Even if my 'all' is only the equivalent of other peoples 'most'. I've been spending a lot of time with my sequencer this past week, backing stuff up (which I'd not done for over a year much to my surprise!), making lots of new sounding things, and Harrison Fording. I went back and checked several times, singing along with it before recording anything just to make sure the parts were where they needed to be, make sure I included enough measures for the choruses, making it all nice and smoothed out. I recorded the vocals several times until I came up with one I liked. So I'm not going to let myself be told that I wasn't deticated to this. It's just that through all that detication I am not sure that there was love.
It feels like a child has returned, one whom I as a father have not seen for over a decade. I am not sure how to welcome it. I wish I could love it, accept it, greet it with enthusiasm, but there's so much hurt feelings, years of backstabbing, of flinching at the mention of it's name.
So everybody I've gotta ask, before you go yelling out for Harrison Ford, just... give me time to heal.