Historian: Mark Toscano; Mockingbird Staff
"Lizards" is the linchpin of the Gamehendge saga. Nearly every disparate element of The Man Who Stepped Into Yesterday story was made to cohere into a single, multifaceted narrative with the writing of this song. When Trey finally began to write and re-work songs into some kind of a storytelling cycle in 1987, he already had four narrative elements waiting to be used – Tom Marshall’s poem “McGrupp and the Watchful Hosemasters,” Tom and Aaron Woolfe’s joke song “Wilson, Can You Still Have Fun?” and Trey’s and Jeff Holdsworth’s own compositions for Phish, “AC/DC Bag” and “Possum,” respectively.
For his Senior Study at Goddard College, Trey decided to construct a musical that would cover plenty of diverse compositional ground over the course of its continuous narrative. Sensing the potential of these four elements for an epic tale, Trey began to work on the story, extrapolating various characters, ideas, and situations from the lyrics already written, and trying to fit them into a cohesive storyline. The first fruit reaped from this harvest was “The Lizards.”
“Lizards” contains a lengthy narrative that describes Colonel Forbin’s entrance into the land of Gamehendge and his encounter with Rutherford the Brave, an errant knight. Rutherford explains the sad history of the Lizards and their subjugation by the evil King Wilson, who keeps them in check by preventing them from gaining access to the Helping Friendly Book, the sacred tome of Icculus, their god. In a state of overzealous fervor while engaging the Colonel’s promise to help, Rutherford jumps into a river and sinks, forgetting that he was encased in metal armor. As the story goes, Tela and the Unit-Monster show up just in time to save Rutherford from the watery peril, and Colonel Forbin is thus introduced to the land and inhabitants of Gamehendge.
The “Lizards” lyrics are very wordy, but their purpose is twofold: to draw the listener into the story with provocative imagery and word choices, and to lay the framework for the events that take place in later songs. Trey wanted to choose this song’s first lines very carefully, and ultimately took a cue from “The Chamber of 32 Doors,” a track on Genesis’s 1974 magnum opus, The Lamb Lies Down on Broadway. That song’s first lyric, “At the top of the stairs, there’s hundreds of people,” encouraged Trey to come up with an opening line (“Passing through the corridor...”) that grabbed listeners’ attention with the mysterious implication that it was merely part of a larger, as yet unknown story. This lyrical style set the direction for much of the musical’s storytelling, which often leaves the histories and questions about the various characters and their actions up to the whims of the listener.
With “Lizards,” Trey was also looking to ground his compositional style. At the time, he felt he was starting to get too theoretical and intellectual with his music composition, and “Lizards,” though still complex in structure, was an attempt to write songs that could be appreciated for their challenging musicality and their fun and danceable nature. This was undoubtedly the influence of his mentor, Ernie Stires, who introduced these possibilities to Trey in his Goddard years, cultivating and influencing Trey’s compositional style immensely.
In Trey’s original conception of the song, the verbose lyrics are sung over a musical construction influenced by a diversity of styles. Trey took the Irish guitar convention of a drone string and built the song’s primary chord progression around it. The chorus section of the song was based on a calypso beat, and Trey wrote it one day while Fishman repeatedly practiced such a beat in the next room. Finally, the extended coda was originally written for a children’s musical called Gus the Christmas Dog, a project on which Trey worked with his mother in the mid-’80s. The song “If I Were a Dog” was re-worked to fit onto the end of “Lizards,” and serves as a soundtrack for Rutherford’s rescue. As the narration gets more dramatic, the music moves from sweet lullaby to grandiose, heroic opera. Trey envisioned this portion of the song to swell in instrumentation with each verse, culminating in the addition of a choir of vocals. The song then finishes on a re-visit of the chord progression of the chorus.
In its live incarnation, “Lizards” is almost identical to its 4-track progenitor, with the exception of the coda’s narration which is not performed. It has never varied much from this structure, though a number of versions are decidedly more spirited than others: 4/5/90, 4/16/92, 3/22/93, 12/28/93, 5/27/94, 12/31/95, 12/8/99, 6/15/00, 8/3/03 and 10/24/10. Two other versions of “Lizards” are particularly notable for Trey’s botching of the lyrics: 2/7/91 and 7/3/95. In both cases the song was aborted. Fans of those versions should be sure to check out 11/25/92, where Trey had to stop the song twice, but persevered and ultimately finished it.
"The Lizards" – 10/24/10, Amherst, MA
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