Of all the rites of passage young people undergo in pursuit of the adulthood they’ll regret upon actual achievement, there might be none more universal than the young attempt to create a band. Almost everyone I know harbored dreams of musical grandeur at some point in their lives, be it in the form of a Josie and the Pussycats tribute band, a clarinet quartet, or a Guitar Hero cop out. Having come from a city that could second as an indie pop production line, I’ve borne witness to band aspirations that actually attain liminal success, from ex-boyfriend’s acoustic albums and official ticket-selling concerts to reviews about former classmates’ bands in Teen Vogue, Elle, and Rolling Stone Magazine.
But beyond the unexpected success stories and the high school band kids who were–true to their pop culture pigeonhole–sexually active, many bands showed potential as talented collaborations or conceptual tycoons, recorded one hit, and dissipated into the recesses of adolescent nostalgia before any substance abuse or Courtney Love maladies could set in.
Personally, I was baited by four wannabe, guitar-toting ensembles, two of which needed lead vocals on cover songs, one of which headlined as “Il Punto G” and served as a mockumentary college band more interested in costumed music videos than music itself, and the last of which was the brainchild of two friends in need of a memorable final project for a Religion and Philosophy course taught by a taller, more sardonic J.K. Simmons.
I don’t even know if the first band had a name, but it featured a gaggle of girls who’d finagled their way around a couple guitars, bass, and a tambourine, and recruited me to produce the verbose and unfamiliar lyrics of a song that served as their mantra: Death Cab for Cutie’s “Title and Registration.” Needless to say, the fledgling band suffered a Guns N’ Roses fallout almost as soon as I failed to match Ben Gibbard’s timbre and several members went on to produce actual albums with one of the aforementioned exes. Fortunately, while one or two of them may have looked like Axl Rose in his effeminate heyday, nobody grew up to look like the 51 year old comeback.
The later bands emerged almost in unison, one out of academic necessity and the other, the infamous Nostril Hair Band, out of covetousness of the first. Nostril Hair’s sole attempted claim to fame was a cover of Fastball’s “The Way,” but despite the meager track listing, promotional materials flourished as obligatory mustaches were donned, younger sisters were employed as models, and photo shoots were conducted to market a one-hit-wonder band that never properly recorded their one hit.
Thus, the only band that ever produced anything beyond some memorable, androgynous photography was Shirt & Velociraptor, a band consisting of two girls, one guitar, one synthesizer, one father’s recording setup, and a mission to encapsulate the philosophical notion of “utopia” in harmoniously comedic balladry. While titular photo shoots were dreamt up, the hassle of achieving velociraptor makeup resulted in a band whose legacy spanned a one-track audio cassette, one promotional illustration, and a cover photo shot amidst the dystopian remnants of one member’s burnt-down vacation home. Ironically enough, that lone song has garnered some pretty positive feedback from today’s hipster-manic populace.
While viral YouTube glory may not have been in the cards for any of those bands, music was certainly an organic part of my existence in those days. As if trilling away the hours in classical voice lessons wasn’t enough, I was an avid composer, crafting 18 songs to lyrical and instrumental fruition and numerous more that remained confined to the pages of various college-ruled journals. With a songbook that featured satirical numbers and full on narratives that were at once part B-52’s, part Sting, part Portishead, part Third Eye Blind, part Renée Fleming, and part Björk, my synthesizer and I were shaping up to be great composers bored to death by the hackneyed pop star hits we were bound to draft for the rest of our lives. But when the writer’s block epidemic of 2006 hit, gone was my burgeoning talent for amalgamating poetry and a perfect pitch.
It’s a shame that a songwriter’s last smidgeon of creativity was spent on a track entitled “Gojira Girl” just as positive feedback and offers for instrumental accompaniment began flowing in, and it’s an even greater shame that a band with a moniker like Shirt & Velociraptor could extinguish so quickly after finally mastering a basic TASCAM recording device. Thank goodness midlife crises and the elderly cover band phenomenon offer second comings to adolescent hopefuls keen on perking ears with the untapped talent we all swear to.