This song, like the one before it on this album, has also been a long time coming. Production on it, other than the Slim Thug instrumental, began at least around late June 2007 through early July 2007. An additional freestyle verse, in addition to mine, was sought by Me at Berklee College of Music during the 2007 Five-Week Summer Performance Program, in the TV common room on the fourth floor of the dorms on Massachusetts Avenue, from a Scottish kid, but was eventually scrapped because the recording wasn't clear and no one would cooperate because they didn't want to. I actually completely forgot about that part of the story until now (January 2018), since I'm consolidating all the info for these old tracks into more professional and comprehensive forms than they were previously in. Luke-Aaron Heart's freestyle was recorded later, in early December 2007, and included an additional beatboxing beat by Me. Amber Scanlan, Derek Piotr, John "Jake" Ridge and Jennifer Egloff's vocals and additional vocals by Reuben Walton were recorded around September 2007 to October 2007. This song is another multi-minute extravaganza. This one is set to the instrumental for Slim Thug's song "Diamonds (Main Remix feat. Killa Kyleon, Slick Pulla and Jeezy)". That instrumental just has the hook and no verses, so I was free to fill in the other space. It's chock full o' features and has vocals and lyrics by Reuben Walton, Amber Scanlan, Luke-Aaron Heart, Derek Piotr, John "Jake" Ridge and Jennifer Egloff. When I first recorded my rapped vocals to this beat, they fit the beat more or less perfectly. Somewhere along the line in making the song, I slowed down the beat slightly or something and my vocals got pitched up slightly, so that's why they're completely out of sync with the beat. My part where I'm speaking in the intro was basically quoted from the intro to a rap song that my late friend Amber Scanlan's former boyfriend Brian Guest made where he said basically the same stuff. As usual, there are numerous references made in the lyrics to a variety of things. Amber's lyrics in this song feature hardly any rapping, and mostly just her conversation. Luke-Aaron Heart contributes a rapped verse that I think was a freestyle and Derek Piotr sings some lyrics from an earlier song we had worked on called "Free Per Minute". With these types of songs we were not all in the studio together recording, there wasn't even a studio really to speak of. It was Me inserting the various vocal recordings into the GarageBand project, other than my rapped verses which I recorded using the built-in microphone on my MacBook, in Amber's bedroom in her house at F-22 Chilmark Drive, East Falmouth, MA 02536, United States 🇺🇸. A Sherlock is a marijuana pipe in the shape of a traditional tobacco pipe, like the one used by Sherlock Holmes. During Amber's conversation with John "Jake" Ridge, we were stoned and I occasionally would repeat different words and/or phrases that she had just said. The three of us were in her car, parked I think in front of the gates at the entrance to the Falmouth Old Burying Ground on the side of Mill Road. When I say my line "Gareth Wareth..." it's to the tune of the words "There is someone" from the song "Turn Around, Look at Me", written by Jerry Capehart and first released in a version by Glen Campbell. The version of the song by The Lettermen was the first version of it that I heard because that version was featured in the film Final Destination 3, which Amber and I watched together on DVD. However, in that movie the song was often cut to only include the first few lines, thus transforming it from a love song to the stalkers' creed. It was also used as a warning for death in the film. I pretty much forget who Gareth was or who he was friends with that we knew. The Eddie that Amber is referring to is the late Eddie Lopes. The part where I'm talking to Derek and I say that "Now we can be more Matmos-like" means that I had discovered that I could record in Sound Studio what the automatic filter effect in GarageBand was doing as I adjusted it, rather than having it set to one setting or level for the project and not changing. Judging by me saying that, I think I might not have known yet about automation beyond just volume level in GarageBand. I may have meant being able to adjust the automatic filter in a very live way, not knowing I could also write that adjustment into the GarageBand project using automation. "Matmos-like" is referring to Matmos, an experimental electronic music duo originally from San Francisco but now residing in Baltimore. Derek and I were aware of them because they worked with Björk, first on her 2001 album Vespertine, a favorite of mine. They toured with her as part of her live band for that album, and they made full use of live electronic effects and experimental electronic sounds being made and adjusted in real time with the performance, as opposed to just being played from a recording. So that's what I meant when I said that to Derek. The drums towards the end are Apple Loops that have been treated with the Vocal Transformer effect, which gives them a really interesting and unconventional timbre. Holly Bourque is the mother of a former friend I had that Amber also knew, and more than that I dare not say. When I was talking to Jennifer Egloff, my mom, on my phone, the phone I was using was a flip phone 📱. I remember when I was either in the process of working on this song or when I had finished it, I played it for Amber and Luke-Aaron and Luke-Aaron said it sucked. Amber's line "Can you do anything else?" suggests that by that point in the recording of Luke-Aaron's verse, after he had finished the main part of his lyrics, she had grown bored with the beatboxing rhythms I was doing. I think I was doing some pretty simple but danceable and rappable rhythm influenced by mid-2000's Hip-Hop/Rap club bangers. Maybe she wanted me to do something really wild and virtuosic like RZA from the Wu-Tang Clan. This song was originally uploaded to my SoundClick music page at www.soundclick.com/bands/default.cfm?bandID=541671&content=music on Sunday 12/30/2007. Like other songs from this era, I originally listed it on SoundClick as being on my album Blunt Juice. In this case I didn't specify Disc 1 or Disc 2, probably because I meant Disc 1. However, as I've said before, that album never really panned out for a number of reasons, one of which is the fact that SoundClick doesn't allow you to group songs into albums with their own page, and instead it's just a main music page with one long list of songs. So this song ended up being formally included on this album, Up from the Vaults: a Retrospective. The track artwork for this song is a blurry sepia-toned picture of Amber next to the counter in her living room with the front of her body facing towards the kitchen, with her head turned to the right, looking towards me taking the picture. This picture was taken with my Mom's old digital camera.