Story behind the song
This song has been a long time coming, since work on it began around the beginning of 2008, or in December of 2007. It was originally listed on my SoundClick page for it as being on the second disc of my album "Blunt Juice", the title of which was thought of by my late friend Amber Scanlan. That album never fully materialized for a number of reasons, including the fact that on SoundClick there isn't really a way to group songs into albums. Now it has been properly included on this album "Up from the Vaults: a Retrospective". The title of this song, "Teething", was also thought of by Amber when I asked her what I should call it when I was in the early stages of making it, and her teeth were hurting at the time, so she said, "Teething", and so was born the song's title, which is never used in the lyrics. The beat is slightly rhythmically off because I think I hadn't yet learned that I could quantize the software instrument parts in GarageBand, so I just recorded it and looped it the best I knew how at that point. This rhythmic difference is especially apparent when the other drum loops are playing over it. Also in pitch-correcting the vocals, I hadn't yet learned that you can limit the pitch-correction to stay in one key and not be chromatic or 12-tone. Also, some of the doubles are not pitch-corrected, which is why there are different dissonant moments in the stacked duplicated vocal takes throughout the song. This song also took a long time to finish compared to the songs I had previously done because at the time I thought of it like I was perfecting the mixing in adjusting the volume automation of the audio tracks and doubling certain ones to make a chorus or make it louder. However, a lot the vocal doubles are not entirely in sync with each other. My beginning voiceover lyric "This is for promotional use only" was something I had heard on numerous Hip-Hop/Rap mixtapes that I thought sounded cool and kind of badass. The oscillating automatic filter effect that decreases in volume when the main beat comes in at the beginning is an effect I had heard in 110% Pure's production in Shawnna's song "Gettin' Some Head" and in Clinton Sparks' production on her 2006 mixtape Block Music: the Mixtape (Hosted by Clinton Sparks). The song is about how the late Eddie Lopes was moving back to Florida at the time this was recorded, among other things. In the beginning, Amber's lyrics allude to John Salman, a friend of her then-boyfriend/friend Gabriyal Kim-Independent Lorrigan. After the first chorus, there's a brief part where I'm trying to get Amber to vocally harmonize a perfect fourth with me but she won't cooperate. Part of Amber's vocals for this song were recorded during the same recording session as my song "Bless You (feat. Amber Scanlan)" in January of 2008 at her house at F-22 Chilmark Drive, East Falmouth, MA 02536. Her melody was loosely inspired by that of "The Twelve Days of Christmas", which is an English Christmas carol that enumerates in the manner of a cumulative song a series of increasingly grand gifts given on each of the twelve days of Christmas (the twelve days that make up the Christmas season, starting with Christmas Day). Incidentally, judging by how in my song "Bless You (feat. Amber Scanlan)", Amber says "On the fifth day of January", then those vocals for that part and part of her vocals in this song were recorded on Saturday 1/5/2008, and January 5th is the Twelfth Day of Christmas, or Epiphany Eve. Amber's line "Hurley the big bird snowman!" seems to be a loose combination of the rhythm of the words of the title and melody of the title of "Rudolph the Red-Nosed Reindeer", and the words of the title of "Frosty the Snowman". "Rudolph the Red-Nosed Reindeer" is a popular Christmas song that originally was a song by songwriter Johnny Marks based on the 1939 story Rudolph the Re
Lyrics
Amber Scanlan: --Alman, Salman, you wanna sell me sin?/You wanna sell me some sand?/Salman, Salman/Welman? (echo: Welman)
Reuben Walton: (Voiceover) This is for promotional use only.
AS: Did you know Velma's velman?/Sh-she's Belgian?/What? Did you know Eddie's movin'?
RW: What?
AS: To Florida, he's movin' back.
RW: Movin' back/To the cap/don't dote it back/screw the Pats/screw the Pats/
AS: Eww, he's movin'...
Chorus:
AS: He's movin' back to Florida right now, da na da na na na na na na na na na na na naaa, he's movin' da da da da/(2X)
RW: Wait, do that again.
AS: Da na da na da da da da!
RW: And then we just go, like, you go "Da da da da da", and I'll go "Da da na na na na".
RW: Da da.
AS: Da da. Eww!
RW: Do it!
AS: (faster) Da da!
RW: No, ew!
AS: (fast way) Da Da!
RW: No, not at all, Amber. You're supposed to go "Da...Da"
AS: You, get down, get down.
RW: That's what happens when I, itch my balls and I got it right back/cuz they had to send them away for a night/Seroo gavignon, ooh for someone to be used to it, oh wine, oh charpay chardonnay, seroo gavignon/
Gorilla Zoe: Big block, homie!
RW: All my ladies, put-put up your wine like this/Put up the wine like this/fine-ass dregs in this bitch/taste good too, we rich/this bitch, get, drinkin' on the wine that's in the back do'/those people were lookin' at Me, but I knew they had a track hoe/ooh, and a bowl!/it's--
AS: Take pictures. No, stop, quick.
AS: --Rectum?? (laughs)
Dylan Bozora: (laughs)
AS: What if you could do that, would if you could like--
RW: That is the most disgusting thing--
AS: No, shut up! Let me finish, what if you could vacuum the balls in the shape of a dick?
AS: Because when I try to rap/I try to, place my fingers on a map/and I try to tell ya/day of Christmas, the weed said to me: "I'm gonna go to Ha-Hawaii to get Maui Wowee, and I'll be back in 10 days."/so ten days later, there were 2 pigeons, and they brought two $20 sacks, and they dropped it on the porch/and they said, "I'm gonna be poor.", and I said, "Why?" and they said they needed Me to give them money for it. So I said, "Poor pigeons, I will, feed you a few seeds."/And then, they chirped, and then they went on their way, and, um...then they went pee/and so I proceeded into the apartment and I went into the entryway/And then I started smokin' some haze, and you KNOW how cheeva/and then Reeva came in the back door and I freaked out and burned my hands 'cause they were sore-- I put my hand on a burning stove!/Yes, I put my hand on a burning stove/I was so shocked that she knew where I lived, besides how did she get in?/Besides, how did she get in?/Did Tiger turn the doorknob, or did he just turn around? Did he just-- What? What?
RW: Nothing.
AS:...did he just meow, or did he just...say, "Meow meow"?/Um, so Reeva turned around, and she ran out the back door/'cause I screamed a couple hours and called her a whore/moley moley/um, there's someone coley coley/um um, cooley, colay, (coughs)/Aney land, aney land, aney land, aney land, aney land, aney land, aney land, aney land/Bitches get yo camera/Get yo camera on, get your camera on/break it down, nigga, get your camera o-on/turn your camera on, turn your camera off
RW: Turn it all around, 'till you hit the bong
Darren Paul Hicks: I said it was breakin'.
RW: I kn-know. I was gonna say that.
AS: Tell me mo', tell me tell me mo'...
RW: Oh, he umm...what happened?
DPH: Well, that's about it...um...I tried to tell you something a long time ago, he was (indistinct)
RW: Oh yeah.
AS: When all the...
RW: How is, um, how, h-h--is my face still gray?
DPH: No.
AS: Nope, it's--it is a pearly peach color.
DPH: (laughs)
AS: You're like Hurley, the big bird!
DPH: (laughs)
AS: Hurley the big bird snowman!
Chorus
RW: He's a drunk.
RW: Mine by the do, boy.
RW: (Coughs, looping) Oh yeah. (Coughs, looping)
