The short answer is "This song is about the rise of the interstate freeway system under Eisenhower." And yes, it is. To me at least. But it's also about meeting strange people. Of all the songs on Generic Mayhem, this is the one that is most like the songs from the previous CD, old man will travel, and might actually fit better on that album what with its narrative of an old man travelling and all.
Karl wrote this song entirely by himself if I remember correctly and it's certainly in my personal top five Karl composed songs. I remember him patiently instructing me about how exactly the rhythmic feel and the tempo changes from section to section. I may have suggested a few chord changes between sections - E7 to set up the peppy verses in A, G7 to set up the return to C - and I worked on harmonies perhaps. But if you check with the copyright office in DC I think you will find it's Karl's name on the ticket.
I love performing this song, especially shouting out the brief one-note line "Search 'til tomorrow!" because it always makes me think of a soap opera. The juxtaposition of a soap opera title and the rather more murky dramatic story being told in this song is enjoyable and I always enjoy shouted one- note harmonies complementing a moving melody anyway.
The Jabba section is fun because even though we almost always sing it exactly four times we always check with each other to make sure the other guy is ready to move on. There was once in Zumbrota where a little child was dancing so when we checked with each other we realized we would just keep going until that kid was worn out or bored.
I think this song is about the same man as the song Zo Bid, who is not quite Hanno, the guy on the cover of old man will travel. It's sort of about the changing of the world from big open spaces you must (or may) deal with to big open spaces you can get through and past really quickly in your new car on your new road.
This old man, who I guess in this song is called Buffalo Bill, has not come to terms with the reality of what the interstate highway system has done to his country. "Why don't people slow down and look around anymore? There's plenty of stuff to see! Why you don't even have to walk very far! We put it right next to your stinking highway! (Or was it the other way around?) In fact, look here! When I fucking DIED I moved to my GRAVE which, for your CONVENIENCE is right next to your God Damned HIGHWAY! Now can you stop for two seconds and spare a thought for me?"
And the author is rewarded for stopping, visiting, and travelling with the old man through the course of his life and what eminent nutcase Greil Marcus called "The Old, Weird America". This was all in Karl's imagination of course and left open to interpretation by his good sense of what to say, what not to say, and how to say the things you really mean.
Minutae:
-"floater wire" see also "Driver 8", R.E.M.
You know what? I just read the lyrics. I haven't actually read them for a long time. Most of that stuff I just said is ridiculous. It's valid as an emotional interpretation, but if you just read the lyrics it's kind of different. This song is much more accessible and makes much more sense than I thought. There are also more characters in this song than I thought. I thought there were two but there are four. For convenience sake I've given them the following names:
1. Narrator
2. Karl
3. Hanno
4. Buffalo Bill
The narrator of the first verse and chorus, who we'll just call Narrator, describes a modern day man we'll call Karl climbing a mountain. Narrator describes a meeting and conversation between Karl and an old man who we'll call Hanno. When they meet, Hanno is searching for the grave of Buffalo Bill but is despairing of ever finding it. This is the first appearance of the sad chorus, "Buffalo Bill was a very old man...:
The narrator leaves and Karl the character is suddenly telling the story in the first person. The song speeds up, and a road movie with Karl and Hanno trying to find Buffalo Bill's Grave ensues. They drive around, find clues, have campfires, and maybe stumble upon the gang from Chimney. Ultimately as they attempt to find their way back to the old America, they unwittingly embrace and are seduced by the new America with its speed, its freeways, and its mobility. The seduction dooms Hanno, the leader of the quest, to die before it is finished, like Moses before the Israelites reach Canaan.
Karl is never really sure what the "gig is about" and as they reach the graveyard with its promise of answers and doorways the car peters out and Hanno dies within inches of their goal. Karl tries desperately to revive him, beating on his chest. The narrator left early, Buffalo Bill was dead before the song even began, and now Karl's spirit guide Hanno has abandoned him at the very doorstep of the fulfillment of their quest.
Karl is left alone and so consoles himself with the reappearance of the second and final sad chorus. Hanno's sad song has become Karl's sad song. Karl is now the sad old man. Perhaps when he leaves the graveyard he will go sit at the top of some mountain. Maybe it was best that their quest was never fulfiled, he reasons, "because Buffalo Bill was a very old man..."
Good Lord, that's a great song! And even though I always liked it I never even knew how great. My question for Karl now is this. How intentional were the narrative shifts, the structure, the character and plot developments, and when did you realize how great this song was?
Memphis Evans
12-20-03
Kaptain Karl's Essay About Buffalo Bill's Grave
Order the CD Generic Mayhem featuring the song "Buffalo Bill's Grave"
Read lyrics for Buffalo Bill's Grave
Memphis Evans vs. Kaptain Karl Song Essay Wars index
GUH Index