Creativity Through Sampling?

A Look at the Inventive Use of Sampling in Popular Music of the Past Nineteen Years:

I find that the stigma associated with sampling is that it's a tool for the uninspired - a legal (sometimes) form of plagiarism of sorts, abused by the likes of Eminem, and that low sort of ilk. After all, why should Vanilla Ice have to write a catchy bassline when Queen's "Under Pressure" is so convenient?

But, this isn't always the case. Now, I present to you four brilliant albums in which sampling plays a vital role, debunking the negative stereotype aboot sampling.

The Beastie Boys - "Paul's Boutique" (1989): While I think I'll always prefer the live jazz grooves of "Check Your Head" (by a teensy margin), this album virtually reinvented sonic hip-hop production, with a little help from The Dust Brothers. I mean, for Christ's sake, there's an entire site dedicated to identifying every goddamn sample and obscure reference on the thing! Of course they were gonna alienate the MTV crowd that latched onto "(You Gotta) Fight For Your Right (To Party)", but it was worth it to experience this psychedelic smorgasboard of 70's stoner vibes, sampling everything from Paul McCartney to Sly & The Family Stone. And the songs are just fantastic - "Johnny Ryall" is a groovy ode to a local bum, "Looking Down the Barrel of A Gun" is a badass fantasy built around Pink Floyd's "Time" chords, and "Egg Man" is self-explanatory...with the added bonus of Drew Barrymore's scream in E.T.! Listen close to the ping-pong game at the beginning of "3 Minute Rule". The centerpiece, however, has got to be the Beatles'-worshipping "The Sounds of Science"; an entire book could be written about that song, but I suppose that's why there's an entire site listing every fucking sample on the album!

"I'm just chillin', like Bob Dylan
Yeah I smoke cheeba, it helps me with my brain
I might be a little dusted but I'm not insane
People come up to me and they try to talk shit, man
I was making records when you were sucking your
mother's dick"


DJ Shadow - "Endtroducing..." (1996): "Guess who's coming!? Guess who's coming!?" So, if I'm not mistaken, this little record made it into the Guiness Book of World Records as the first (paraphrased) "album made entirely from samples." I have no idea how it's done, but I know I'll never get bored soaking into the textures of "Endtroducing...", ever since I bought it at some shady shop in Toronto that summer. The samples however, are taken out of context and incorporated into a haunting melting pot, somewhere in between hip hop, pop and jazz (let's call it Trip Hop!) Shadow supposedly has one of the largest private vinyl collections in the world, so it's only natural that an achievement like this would be possible. As for highlights, I love the haunting moaning melody and drum manipulation on "Building Steam with a Grain of Salt", or the absolutely sublime textures of "Midnight in a Perfect World" (perfect title, by the way.) "Organ Doner" (a pun!) also rules; check out the way the come in at 20 seconds, totally reinterpreting the downbeat of the rhythm. Recommended to all fans of......music, I guess.

The Avalanches - "Since I Left You" (2001): It's no wonder that these Australian masterminds have been unable to get a follow-up together after six years or so - this recording really is a unique piece of work. I've always viewed all 18 songs as really one long dream-sequence of sorts. It all flows as a unity, sort of a mess of influences and samples and implied melodies and...golly gee, I really can't describe it. "Frontier Psychiatrist" somehow became a left field hit, in all its twisted, therapeutic glory. "Two Hearts in 3/4 Time" is like a Disney waltz on mars in 2029. The rest is really up to you to describe, though. It's a planet of sound, with layers reaching China and back. Like "Endtroducing...", I believe it was created 100% from samples sounds. Probably one of the five or ten greatest records of the millenium so far, and I expect music fans and archeologists alike will still be gazing at its scope in another thousand years.

"Flight 22 is off to Honolulu!"

The Go! Team - "Thunder, Lightning, Strike" (2004): 35 minutes, and they're filled up with a sonic palette smothering your headphones with....happiness! Smiles! Cheerleader samples! Horns! Innapropriate exclamation points! It's all a bit gross, but irresistable. I guess these guys just had nothing better to do than make music just for the sake of music, and we should all be thankful. "The Power is On", "Ladyflash" and "Huddle Formation" are better than you! Give the Go! Team a chance to swallow your soul in this super-saturated high-fat noise!

"One, two, three, four!"



Good night.

'70's Glam Rock

It was a decade of glitter, my friends. And I am just the chap to give you a brief overview. Brief indeed, as Glam Rock only ever really took place in England, although some more educated scholars may perhaps argue otherwise. Do not recall the American Glam Rock of the '80's, as those were dark days for the great nation, but rather, take a little trip back to the '70's and steer that damn Mayflower ship on back to Mother England, because we're about to boogie down real horrorshow and then some! Firstly, let's make clear that the original Pink Floyd Mad Cap Syd Barrett himself was very much a precursor to this arguably experimental genre of Rock, and let it be put on record that Marc Bolan of T-Rex and David Bowie of David Bowie were huge Syd Barrett fans. Now then, even filmmaking legend Stanley Kubrick factors into the equation, it's true! 2001 inspired Bowie to write a catchy tune that I need not point out to you, and A Clockwork Orange very much inspired Bowie's Ziggy Stardust era fashion, and yes, fashion was an integral part of the genre, at least on a superficial level.

They all seemed to shoot out at us at once at the beginning of the '70's, and being born in 1980 myself personally, just take my word for it, matey. Dig, Roxy Music, David Bowie, T-Rex! These are the real monsters of Rock, and the beauty about the original English Glam Rock, unlike Metal, is that not only was the music often well played, but that Glam Rockers could actually come up with some worthwhile lyrics to boot. T-Rex started out as Tyrannosaurs Rex for Marc Bolan, a sort of trippy Syd Barrett inspired Folk Rock duo, but later, became a full on Rock outfit, albeit, with the trippy Syd Barrett lyrical stylings conveniently still intact. Of course, then there's Bowie. I am of the opinion that his greatest material was actually released in the late '70's, and quite a lot of which was produced by fellow Glam veteran Brian Eno. But I am also of the opinion, that had not Bowie fully gone through his Ziggy Stardust fiasco, then he would have never reached those great creative heights that closed out his recorded output at the end of the '70's.

I mentioned Brian Eno in the previous paragraph, clever, aren't I? Now then, Mr. Brian Eno was an original member of the quintessential Glam Rock band appropriately given the moniker of Roxy Music. Wowie Zowie, were these guys ever tight, and this might very well be the best out and out musically talented band of the Glam Rock era. I'm telling you, those sparkling glossy gentlemen in Roxy Music could really Rock with some genuine gusto, and Phil Manzanera was a totally rad-assed guitarist to be reckoned with once upon a midnight dreary. Sure, Phil Manzanera may have not exactly been Robert Fripp, but it all boils down to personal taste, my little angel! And perhaps, the less said about cheesy game show host Bryan Ferry the better, hmmm? All of the twerps mentioned released some killer material, and even inadvertently influenced an inferior genre called Punk Rock. I suggest you research your little heart out and find the best of the best by the bands that I have mentioned to you.

T-Rex!



David Bowie!



Roxy Music!



Take that, Margaret Thatcher!

Bubblegum Pop!

An important genre in music, quite probably the best. Do keep in mind that Bubblegum Pop runs the gamut, as it's not just The Archies, if you catch my bleedin' drift, matey. Bubblegum Pop also encompasses Baroque Pop when Brian Wilson of The Beach Boys is in fact Sad, Sunshine Pop when Brian Wilson of The Beach Boys is in fact Happy, and finally, Psychedelic Pop when Brian Wilson of The Beach Boys is in fact High. Now then, we've got The Beach Boys covered. Great! As we all know "Pet Sounds" contains a great many Baroque Pop jam, and it goes without saying that Bubblegum Pop is essentially Vocal Pop, Proto-Carpenters, if you will. The hilarious duo known as The Turtles had their share of Sunshine Pop singles, and even got out and out Psychedelic on a few numbers. The Beatles "Revolver" is in fact Psychedelic Pop at its finest, and even The Monkees themselves explored this genre with a fair amount of success as well.

Often times, Bubblegum Pop artists were one-hit-wonders and then some; just take The Ohio Express with "Yummy, Yummy, Yummy," for example. Of course, some Bubblegum Pop outfits scored multiple hits, such as was the case with The Association. Australia's The Seekers had a great hit with the title cut from the film "Georgy Girl." America's own The Cyrkle had an awesome hit of the Psychedelic Pop genre with "Red Rubber Ball," and who can forget "The Rain, The Park and Other Things" by The Cowsills? Answer me! Christ, do I love this genre. If you find out that you have terminal cancer, just put on "This Diamond Ring" by Gary Lewis & The Playboys and all negativity will simply wash away 100%, guaranteed! Of course, you don't have to be dying of some incurable disease to enjoy the virtues of Bubblegum Pop, and here's hoping that the Banana Splits eventually make an appearance on ye olde DVD format. Even the background music to various Brady Bunch episodes keeps that fantastical Bubblegum Pop ideal convienently intact, and that's a show available on DVD right now, my friends!

Dig in, mates. Turn that frown upside down forever and ever, forget about Sonic Youth's "Bull In The Heather," as Bubblegum Pop is the genre for you!

Yes!



Super Yes!



Thanks for stopping by!

Journey Through the Past: Live Neil Young Albums Through The Ages

From the bottom-of-the-ocean depression of "Tonight's The Night" to the timeless singer-songwriter nostalgia of "After the Gold Rush", it's really no secret that Neil Young's lengthy careet (more like Neil Old! LOLZZZ!!!!!) produced some of the finest records of the twentieth century. However, any big Neil fan (I'm only about 120 pounds myself) can attest to the fact that much of his best (and worst) work stems form pure spontaneity - a recent example would be "Living With War", his 2006 protest album, written, recorded and released within a month, with the simplest of lyrics and melodies. Thus, it's really no surprise that so many of his greatest accomplishments can be found on his many, many live albums (often with the mighty Crazy Horse). In honor of his most recent archives release, "Live at Massey Hall", I present to you a look at some of his greatest and most essential live recordings.

-"Time Fades Away" (1973) Despite the internet petitions circulating around, Neil's first, and long out-of-print live album has, to this date, never been released on CD. (Thank you, dad's vinyl collection!) When one listens to the album (on that handy-dandy family turntable, of course), it's really no wonder ol' Shakey refuses to give in, considering the memories this much bring back for the guy. "Time Fades Away" is generally regarded as the lost installment in the Ditch Trilogy; if "Tonight's the Night" is the fuckig Irish Wake funeral of an album, expelling all the demons, and "On The Beach" is the worn-out comedown (no doubt, aided by the presence of one Rusty Kershaw), then "Time Fades Away" is the descent into the ditch: a documentation of Neil's depression and frustration during the disastrous tour following the deaths of Horse guitarist Danny Whitten and roadie Bruce Berry. In his own words:

"My least favorite record is "Time Fades Away". I think it's the worst record I ever made - but as a documentary of what was happening to me, it was a great record. I was onstage and I was playing all these songs that nboody heard before, recording them, and I didn't have the right band."

I'd say this is one of those albums where the tension, the bad vibes, the mood, the out-of-place backup vocals - it all fits and becomes something bigger than the sum of its parts. In 35 minutes, it's an album of true rawness and frustration that still sounds relevant in 2007. In a typical "fuck you" to the fans waiting for "Heart of Gold", Neil begins with the title track. We get our rock and rollin` piano and polka-ish rhythm, as Neil drunkenly moans about "14 junkies too weak to work." "Yonder Stands the Sinner" is a similar blues-rocker ("This will be kinda experimental..."). The album also includes the autobiographical "Don't Be Denied", three lovely ballads ("Love In Mind", "The Bridge" and "Journey Through the Past") and the epic closer "Last Dance", which just seems to epitomize the burnt-out mood, as Neil just sounds more and more fucked-off and apathetic at the bitter climax ("Monday morning, wake up, wake up, wake up! It's time to go to work! No, no, no! No, no, no!") It's not an easy listen, but it's an essential document in this madman career. (For those who haven't heard it, and obviously ain't gonna find it at their local Walmart, I'd be glad to upload the album. Just ask.)

"Rust Never Sleeps" (1979): A stunning return to form (though it's not like he went anywhere...). Total perfection, this is. "Rust Never Sleeps" is in the same format as Dylan before him, with an acoustic and electric side, yet somehow it's even better. It's bookended by dual versions of "My My, Hey Hey"/"Hey Hey, My My", both classic rock staples, quoted in Cobain's suicide note. Side one also boasts the gorgeous and reflective "Thrasher", the catchy Napoleon Dynamite theme song "Ride My Llama", and Native American tribute "Pocahontas". On Side Two, Crazy Mothafuckin` Horse turns the distortion up to ten.

"And I just turned 22. I was wondering what to do. The closer they got, the more those feelings grew."

"Powderfinger" is a brilliant amalgamation of storytelling lyrics, fuzz gee-tar, and "oooooooooohhhhhhh" backing vocals. "Welfare Mothers" rocks with the swagger of a war protester on crystal meth, with bonus handclaps. "Sedan Delivery" is better than you. I apologize for over-using the word "brilliant". Everyone should own this album.

-"Weld" (1991): Alright, flash back to 1991. The gulf war is ragin`, The `Horse is touring behind "Ragged Glory" (a rockin` return to droney, beautiful guitar jams) and I'm rolling around my crib in a wet diaper. But can you name another rock `n roller in his mid `40's who's released a live album this intense, noisy and flat-out badass? I dare you to try. Can ya? All two hours of this double disc are, in a word, relentless. Full-on sonic assault for the Crazy Horse fanatics out there. On the political side of the spectrum, there's even a distortion-laden cover of "Blowing in the Wind", with bomb sound effects. For shits `n giggles, check out the blissfully profane "Fuckin` Up". And then there's the stunning rendition of "Cortez the Killer", a 9:46 lesson in all that can be done with that magnificent six-stringed instrument. "Like A Hurricane" is every bit as triumphant as it sounds in your dreams. "Tonight's the Night" and "Roll Another Number" bring us back to the hazy, fucked-up Ditch trilogy vibe.

But my favorite song on this glorious package? Check out the punkish intensity of "Welfare Mothers". Fast forward 3-4 minutes, the solo comes to a close (how does this guy noodle around with the distortion and yet it never gets boring?). The song descends into a noisy bass drone, as Neil and Billy scream at each other through the racket.

"PUT THE KIDS IN THE STATION WAGON, YOU MOTHERFUCKER!"
-"HEY MOM!!! I'M HUNGRY"

This leads into a psychotic moaning chant: "Welfare mothers! Make better lovers! Aaaaaaaaahhhh!" Pound the overdrive! Swallow the noise! Bite into the chicken leg! Argh.

"Live At Massey Hall 1971" (2007) This brings us to the newest release in his archive project, a concert recording from 2007. Neil has regarded this as a missing link between "After the Gold Rush" and "Harvest", as Neil performs an intimate solo set including many tracks from both albums, and a ton of other songs to appear in new forms on his later albums. Backed with only an acoustic guitar or piano, Mr. Young converses with the crowd pleasantly and plays a 67 minute set of much richness and beauty. Check out the rare acoustic version of "Down by the River" and "Cowgirl in the Sand" (acoustic? Naw!). Listen to his awkward photographer-scolding at the beginning of "Old Man". Opener "On The Way Home" introduces the to that high, shakey voice and haunting melodic tendency. Even two of "Time Fade Away"'s mellow tunes make an appearance, along with an early version of vaguely mysognist anthem "A Man Needs A Maid", with different lyrics. The special edition comes with a DVD bonus, fo` yo` info`mation.

Also recommended:
"Live Rust": "When I get big, I'm gonna get an electric guitar. When I get real big."
"Live at the Fillmore East": Crazy Horses' smokey 2006 archive offering, smothered in Danny Whitten's unique presence.
"Unplugged" Acoustic re-interpretations of electric chargers, or familiar versions of familiar songs, it's all good.



Good night.

The Turtles and Flo & Eddie

The music of The Turtles is the most delicious Bubblegum Pop in the history of dry land. The vocal harmonies of duel vocalists Howard Kaylan and Mark Volman are perhaps only second to The Beach Boys at their finest, and arguably, The Cowsills. We all know and love "Happy Together," but The Turtles were by no means a one-hit-wonder by any stretch of the imagination, heavens no. Between the years of 1965 thru 1970, The Turtles had puttin' near ten Top Ten hits, how 'bout that, huh? Better than anything you could do, wise guy! Other classic gems include "You Baby" and the Howard Kaylan penned "Eleanor." The very best record by The Turtles is in fact their final, and it's an awesome gem of the Psychedelic Pop genre that was produced by none other than Ray Davies of The Kinks! The record in question is entitled "Turtle Soup," and do try your best to find the original vinyl LP because the sound is absolutely delish!

Another little interesting curiosity in The Turtles catalogue is their 1968 epic concept record called "The Turtles Present The Battle of The Bands." This record kicks genuine goose nards all night long and then some, my sweet, sweet treasure. On each cut The Turtles play the role of a fictional band, and on one tune they pretend to be Acid Rockers with a little jam called "Atomic Enchilada." You really ought to give these guys a shot, because The Turtles are Bubblegum Pop with a wee bit of Sophistication, because we're not talking about The Ohio Express here, ladies and gentle bears! So don't even front with that noise, because daddy likes to boogie. And so, there you have The Turtles. Although, the journey does not end there, because in the next paragraph I will introduce you to the post-Turtles career of The Fluorescent Leech & Eddie.

Hello, and welcome to the next paragraph! (They sure don't get this irreverent over at Mark Prindle Dot Com, do they, tough guy?) Now then, The Turtles got their collective buttocks into a legal scrap with their label to where they no longer owned The Turtles trademark, but it was Frank Zappa to the rescue, and the second Mothers of Invention were then birthed real horrorshow. Things got really strange with Howard and Mark around this time, as they now advertised themselves as Flo & Eddie respectively. Just watch Frank Zappa's 200 Motels to get a vague idea, in short, a lot of drugs, mate...quite a lot. Flo & Eddie are the chubby duo that gave the amazing backing vocal performances for Zappa in the early '70's and in 200 Motels they take a little trip to Centerville (A nice place to raise your kids!). Indeed, The Turtles were given a bit of street cred at this time, and celebrated by opening gigs for the original Alice Cooper group in '73 that was on "The Billion Dollar Babies" tour at that time.

Once ultimately parting ways with Zappa then, Flo & Eddie released a handful of Comedy Rock albums throughout the majority of the '70's and into the '80's. That's right, Ween wasn't the first duo to get genuinely wacky with massive drug use and the weird music that came out of it. And being such quality and diverse Pop music vocalists, The Turtles offered their services to a great many artist of Rock Royalty, such as John Lennon, and most notably with Marc Bolan and his T-Rex Glam Rock outfit, as it is Flo & Eddie you hear screaming the high-pitched backing vocals on Mark's smash hit "Bang A Gong (Get It On)." In fact, they are all over T-rex's "Electric Warrior" and "The Slider." These days, The Turtles have long since settled their legal jargon and now own their rightful name, but unfortunately, they've been pretty much on the Oldies circuit since 1985. However, dig in and investigate the music of The Turtles and Flo & Eddie, because I think you are going to find something substantial buried underneath the surface. Are they in fact underrated? Oh, yes, indeed they are, my friend. Indeed they are...

And here they are getting weird on the old Mike Douglas show:



It was just drugs and fun back in those days, mate.

Michael Nesmith - "Magnetic South."

And you thought that he was just a Monkee, huh? Well, you're wrong! Good old Papa Nez practically invented a little genre in music called Country Rock, and certainly made it a hell of a lot more tuneful than Dylan could ever hope to. And no question that he made it far less boring than that snore-fest known as The Eagles. Michael Nesmith is the high priest of the Yodel and Southern Drawl backwards hipness to this very day, but I like totally digress or something. We all know the very best and most enduring cuts by The Monkees weren't penned by Neil Diamond, hell no! Cuts like "Sweet Young Thing" and "You Just May Be The One" are what it's all about, my babies. What I am going to do for you at this particular juncture is take the time to give you a brief overview of Mike's second record that was given the title of "Magnetic South," his first record is not really legit in my mind, since it was just some little Country leaning side project deal he recorded while still very much a Monkee Man.

Check it, can you believe that this chap used to refer to himself as Michael Blessing? 'Tis true as all get out, but his short-lived existence as the Jesus of the '60's Folk revival was not destined to last, and so, the rich Texan creep, the son of the woman who invented Liquid Paper got bit by the acting bug real horrorshow upon his relocation to Los Angeles, and a Monkee was born. His background in music was quite useful, with Mike being a more than apt rhythmic guitarist, songwriter and vocalist. And so, The Monkees did in part play at least some of the instrumentation on their records, and by the time that 1967's "Headquarters" saw the light of day, they were very much in full control of their unique blend of Bubblegum Pop and Country-tinged Psychedelia. Even before Papa Nez was a Monkee Man, he had some success in the songwriting department in the mid '60's when a tune he penned called "Mary, Mary" became a hit for a chap named Paul Butterfield. Later, the Stone Poneys had a big-ass hit with a tune Mike penned called "Different Drum."

Now that you have a better idea of this underrated talent, let's discuss "Magnetic South" in some detail. Graham Parsons don't mean a thing to me, see? Michael Nesmith is diverse as hell, and here comes the REAL Country Rock! Do you remember 1970? Dig, after tiring of being a Monkee and being forced to use the restroom after Davy Jones and all the goofy episodes of the TV series that ruled late '60's teenage life; Mike was then more than damn ready to put on the cowboy boots and a shit-eating grin to match, while making clear to all listeners that we would be going for a little ride in the motherfuckin' country, playa! This groovy little opus opens with the Jazzy Acoustic Rock vibes of "Calico Girlfriend." Keep in mind that Mike has a smooth vocal delivery and a top-notch backing band of veteran Country players referred to on this and subsequent albums as The First National Band. Track one blends seamlessly into the trippy Folk ballad stylings of "Nine Times Blue," and right from there we are transported to the fun little Rocker called "Little Red Rider." One musician in particular on this album is just astounding, and I am referring to a steel guitarist by the name of Red Rhodes. This is not typical steel guitar playing by any stretch that one might hear on a George Jones record, as with Mike and his music, the instrument is put to great use in terms of creating a majestic quality and it is almost as if it is actually used at times as a replacement for what would normally be a lead guitar break on a traditional Rock song.

Mike even landed a bit of chart success as a solo act with the somber Folk of "Joanne." To make clear, this is not some novelty artist. And it is especially by this point that Mike knew his way around a recording studio. In fact, it is quite likely that Mike essentially produced this record himself in his deluxe home studio, of which, the late Folk Pop artist Judee Sill recorded most of the tracks for her unreleased third album. Michael Nesmith and his First National Band would go on to produce critically enjoyed Country Rock variations until the end of the '70's, at which point Mike focused upon motion picture and video production, and quite probably invented a little something called MTV as well. Since his days as a big cheese wearing the goofy cowboy garb, Papa Nez has kept more than busy creatively as well, as he produced the hilarious cult film of the '80's called "Tapeheads," and promoting his own unique musical humor with the curious "Elephant Parts" video extravaganza (Now available on DVD!). In more recent years the occasional album has been released for apparently just the hell of it and PBS has been sued, most recent updates on the Brainy Monkee can be found here: Video Ranch.

Zappa meets Papa Nez:



It's all good...

Super Furry Animals Work On Their New Album

Watch & Hear Super Furry Animals as they work on their new album. The two songs are "Semi-Pro" and "Hot Nutz"

Rapid Eye Movement (R.E.M.): Four Essential Albums

As for R.E.M., there's really no introduction needed. You've already been there right? You've flossed your teeth while watching the "Losing My Religion" video, you've chortled along with "It's The End of the World As We Know It (and I Feel Fine)" in the Barber Shop, you've gagged while seeing "Shiny Happy People" on Sesame Street...




...perhaps you've even had the pleasure of rubbing Michael Stipe's bald head.

But, when we step back from the vehicle, I feel that, no matter how uncool and dull R.E.M. has been as of recent albums, there are a few (four, in fact) albums that I deem essential and, due to my violently random R.E.M. kick this week, I think I'll share them with you, dear reader. In chronological order:

-"Murmur" (1983) Ha! Ha! More like "Mumble"! Ha! But, really, I find that it doesn't matter that I can't understand a friggin` word young Michael Stipe is saying, and if ya read the lyrics, it all seems pretty meaningless anyway ("They called the clip a two headed cow"??). The truth is, the guitars bristle and shine with that familiar Byrds-ey twang, Mike Mill's gleeful backing vocals provide a lovely counterpart to Stipe, the drum's back everything up with that post-punk groove, and the melodies smother everything in a tuneful sense of timelessness; it all adds up to one of my favorite debuts in rock history. But most of all, the melodies! From the wonderful reverb-covered chorus/bridge of "Pilgrimage", to the call and response of "Catapult". There's the almost-funky swagger and guitar arpeggios of "We Walk" and the winding piano ballad of "Perfect Circle". Even the awkwardly-sincere Velvet Underground cover, it's all here! A perfect beginnning to their career...

-"Document" (1987) It was always my favorite, as a kid. I remember first being fascinated by the catchy, yet mysterious "The One I Love", my first R.E.M. song. Often misintrepreted a love song (and even used as a wedding some for some couples), Stipe claims it's about betrayal. "A simple prop, to occupy my time. This one goes out to the one I love....FIIIRRREEE!!!!" Probably my favorite R.E.M. song to this day. I remember being entertained by the free-association singalong of "It's The End of the World As We Know It (And I Feel Fine)" ("Leonard Bernstein. Leonid Breshnev, Lenny Bruce and Lester Bangs.
Birthday party, cheesecake, jelly bean, boom!"). I remember my first exposure to Wire being the "Strange" cover, and I remember falling in love with the oddly upbeat horn-infected "Exhuming McCarthy", about the senator of the same name. Such a wonderful album, and often pinpointed as their transition from college folk rock group to high-profile rock group. Worth the dough. It even has a cool cover!

-"Automatic for the People" (1992) Yeah, yeah. This is the one everybody has had on their CD racks since 1992, the one that got R.E.M. respect all over the board, from the elevator music programmers to the flannel-wearing indie/grunge kidz. But it ain't none of the above - it's a sobering collection of songs on mortality and loss, with strings arranged by Pope John Paul Jones and a title named after a Georgia restaurant. More than anything, it's nostalgic for me, as I remember my dad playing it quite a bit growing up, in between the early Zappa and the Steeley Dad. "Try Not To Breathe", "Drive", "Find the River", these songs are all haunting, familiar, and, once again, timeless. But, despite popular misconception, it's not all death ballads. Other highlights include a rocking Montgomery Clift tribute ("Monty Got A Raw Deal") the quite beautiful piano ode to skinny-dipping ("Nightswimming"), an song about Andy Kaufman later used in the movie of the same name ("Man on the Moon") and one nifty organ instrumental ("New Orleans Instrumental No. 1"). While I will probably always prefer the aforementioned `80's records for personal records, I can't deny the sheer beauty this album holds.

-"New Adventures in Hi-Fi" (1996) I guess this would be the unpopular choice here, since there's never much love for this eclectic 65-minute 1996 effort, which was recorded all over the place during the "Monster" tour. I have no idea how a tour for such a weak album could produce such inspired songwriting, but I would certainly point to this as their last truly great record. It might not be as groundbreaking as the early indie classics, but these are just damn good songs. The band has described this as being inspired by Neil Young's "Time Fades Away", since it was recorded often onstage during soundchecks, whenever they could. It's a sprawling length (for this band, at least) but there's nary a weak song on here. From the jazzy opener to the lovely closer, it's a joy to listen to. Some highlights:
-The haunting chords and voices "E-bow the Letter": "This fame thing, I dont get it...
I wrap my hand in plastic to try to look through it

I would lick your feet
But is that sickest move?
I wear my own crown and sadness and sorrow"
-"Leave", which happens to be the longest, and one of the strangest and most rocking songs of their career.
-"New Test Leper": another perfect acoustic ballad.

Bonus feature: Top three R.E.M. records to avoid at all costs:
-"Monster": We have guitar! Distortion! Tremolo! We can rock like the hip kids! We forgot to write any good songs!
-"Reveal": (Hey! No drummer!) *snore*
-"Around the Sun": *snore* *snore* *snooooooooorrrrrreeeeeeeee*



Good night.

Frank Zappa Essentials, both Mothers and Non.

We all know about Frank Zappa, so I will skip a detailed biography for your perusal, but rather, will list what I feel are Zappa's essential albums, both solo and as a Mother of Invention. You will absolutely want to peruse my selections to the utmost, as the case might be. If you do not happen to own the albums that I am about to list, then by all means...locate yourself a third job, slacker. I work 40 hours a week to provide for my family, so don't act like you are better than me just because you graduated from college! Now then, here we go...

Freak Out! - This is the record that started it all back in the year of our Lord 1966, which was incidentally when The Monkees released their first album as well. Coincidence? Highly probable that it is, yes. Even those cranky drunks in Ween have no issue with the first offering by Frank and his filthy Mothers. Tunes like the hilarious "Wowie Zowie" simply can't be beat, and is a song that is certainly superior to an album by Pavement that sounded the same but was written slightly differently. While this album does not make obvious Zappa's epic guitar heroics, it clearly points him out as a contemporary composer of note. The Doo-Wop vibes on the record are sincere, as Zappa was reportedly quite a fan of the genre, which is essentially the music of his youth. The experimental streak, however, was there from the onset and is made obvious on such bizarre numbers like "Who Are The Brain Police?" It's a bit manifesto, a bit social commentary, and a whole lotta Doo-Wop, so dig in!

We're Only In It For The Money - Quite probably the most celebrated record by the original Mothers, and rightly so. Mocking Hippie values may have been commonplace in the more so rebellious forms of music in the late 70's, but in 1968? Sure, the Velvet Underground had a very subtle way of making clear their collective indifference to the Hippie juggernaut of the time period by essentially inventing the Goth look, but leave it to Zappa and his band of ironically long-haired anti-Hippies to spell out their disgust of the culture in plain English. When thinking about these bizarre little ditties on the record, such as "Flower Punk" and "Let's Make The Water Turn Black," one can't help but be quite aware that Zappa and his Mothers were literally decades ahead of their time. Also, I hear a lot of early Ween on this record, and perhaps much to their chagrin. Various weirdo twerps who rose to prominence in the corny Alternative Rock of the 90's essentially owe their very souls to this record. As always with Zappa, a lot of thought is put into the music. There is such a cohesion to these 19 cuts that it stands the test of time as to what the power of the album format can mean creatively, and is certainly better than the Beatles painfully overrated Sergeant Pepperoni.

Uncle Meat - Shucks, I would even think that Stereolab themselves owe at least a little something to this tasty and bizarre Jazz Rock masterpiece, keep in mind that Frank Zappa was essentially one of the accidental founders of the very genre. The epic monster that is "Uncle Meat", was actually the film score for what was ultimately and now quite obviously an unreleased film. This could very well be Frank's most powerful musical testament with the original Mothers. It is purely a musical experience that no established musician or casual music fan would want to ever dare make light of. Frank's compositional work on this record is complex as hell, and appropriately was a sort of sampler in a great many respects as to the sort of sound that he would feature on the best of his solo outings, and keep in mind that this is the last real legit original Mothers record as well. You seem to get the best of both worlds on this album, which could very well be argued as Frank's finest, as the weirdo humor of his merry band is well intact, but yet, there's a great deal of instrumental bliss throughout, and this is where Frank tends to shine best in his music.

Hot Rats - Indeed, Frank takes to being a solo artist like Condi Rice takes to being extremely ugly. Jazz Rock is born, my babies! You can't even front on this record, that is, if you had enough gumption to front in the first place, playa! Let's examine the Captain Beefheart contribution "Willie The Pimp." Damn good track, and it is here where Zappa really let's the listener know that he is in fact an inventive guitarist on par with the very best of them, no question. The opening cut is one of Zappa's most endearing and musically worthwhile compositions, and I am of course referring to "Peaches en Regalia." What a delicious record, I mean, it's practically fucking editable! GET YOUR MUNCH ON! The rest of the album unfolds like the masterpiece that it is, with one amazing extended Jazz Rock composition after the other. Simply tasty as fuck, and arguably the best.

Weasels Ripped My Flesh - Now this is when an album mishmash actually works, for this is when pubic hairs actually shave themselves and I totally shat you in a manner that is not! Here we have splendid live material of bizarre avant garde gems with such charming titles like, "Prelude to the Afternoon of a Sexually Aroused Gas Mask." Of course, there's the familiar Zappa sense of humor tossed in for good measure on cuts like "My Guitar Wants to Kill your Mama." Personally, for me, the best cut on the record is a little Bubblegum Pop jam tossed in simply entitled "Oh No." One of the last cuts on the record is a great jam called "Orange County Lumber Truck," and as always, Zappa knows how to structure an album, and to the point where the live cuts mingled with the studio material merge together in what can almost be referred to as musical bliss. You should really dig on this record, or chances are I might have to pummel upon your furry buttocks with my rancid caveman fists, and nobody wants that...

So, that's how I feel. I am one of those abstract conservative Baptist blokes who feel that Zappa was at his most musically worthwhile during the late 60's and very early 70's. I know many a man who will have qualms and say, "Dude, whereabouts Over-Nite Sensation?" But whatever! As for me, it isn't about the Zappa humor, which mainly appealed to Hipsters of the time period, but rather, I am observing Zappa when he made his mark with a sort of music that was timeless, and to where it was not 100% anchored to a certain time and place due to painfully dated humor. The records I have listed cannot be denied or ignored, so like I say, if you don't own them already, do indeed get your purchase on real horror show, mates.

Zappa & Beefheart set to some animation and the like as "Willie The Pimp" plays like all get out, my babies...

Belly of the Heart, Belly Full of Bats: The Top Ten Flaming Lip Songs Ever

Detailed introduction:

The Flaming Lips are my favorite band ever and these are their top ten songs ever. Is that okay with you, pumpkin?

The Top Ten (in sort-of order):

1. "You Have To Be Joking (Autopsy of the Devil's Brain)" Ever since I first heard it on the audio section of the band's website some time in 2003, I've been awed by this achingly-beautiful acoustic track, an uncharacteristically quiet song off of 1992's "Hit To Death in the Future Head". Instrumentally, it's mostly just an acoustic guitar, string samples and some bongos, and yet I wouldn't hesitate to call it Wayne Coyne's greatest accomplishment as a songwriter. It has a haunting quality of a Stones or Neil Young ballad, with an eerie echo effect on the vocals and a bizarre strings sample at about the two-thirds mark. Lyrically, it seems to capture a reaction to something so horrific and unbelievable, Wayne's in denial. "You have to be joking...they wouldn't do such unspeakable things." The epiphany comes during the bridge, when he declares, "Seems to me that God and the devil are both the same." Please seek out this song.

I was reminded of my love for this song while in the front row, when the band unexpectedly performed it as the second encore at a show in New York, last September. Wayne prefaced it by saying that they hadn't performed it for at least ten years, and then proceeded to play an amazing version of the song, with only a keyboard backing him. I only regret not mentioning my gratitude when I met him afterwards. Here's a video of the event:



2. "The Gash" I've often proclaimed The Lips' "The Soft Bulletin" to be my favorite album ever and it most certainly would not be the same without this freakishly epic ode to perserverance. Essentially, it's a combination of what sounds like a church choir on crack, a climatic orchestra and some booming, echo-drenched drums that makes this song beyond description. Wayne takes a accusatory lyrical approach, demanding to know why this gash on your leg has caused you to "lose all the will to battle on."

Will the fight for our sanity be the fight of our lives?
Now that we've lost all the reasons that we thought that we had

Aaaaaaaaaaahhhhhhhhhhhhhh!

(Even the last second of this song is beyond brilliant, as these Oklahoma weirdos end it with a amazingly effective piano ting.)

A performance of the song from Webster Hall, 3/31/06:



3. "Slow Nerve Action" Oh, and speaking of booming drums, I think these are my favorite drums in any song, ever. It begins with an indescribably "bwwwwoing!", but I could write a four-page thesis paper just attempting to describe the significance that that first second has for me. I truly believe that drummer/multi-instrumental genius/God Steven Drozd should be declared Pope, win a Nobel Prize and an Academy Award solely for his performance in this song. The drums burst out of the speakers with enough intensity, distortion and, well...sound to kill a moose. Jesus Christ, those drums....But the actual song itself! Incredible Lips' albums like "Transmissions from the Satellite Heart" (from which this song is pulled) seem to be all about contrast to me; the way the sweet innocent xylophone line contrasts with the insane noise-guitar riff, or the way the catchy vocal melodies fits against those aforementioned drums. Oh, and listen to that feedback-guitar solo (that word doesn't begin to describe it) at 2:57. Ronald Jones, I salute you! Where the fuck have you gone? The lyrics are typically confusing:

She had a cool invisible dog that she called Paul
We'd always sit around the house watching her feed the dog.

The song ends the same way it started: a full-on static assault of satanic drumming. A lo-fi mini-masterpiece.

Performance from 10/23/1999:



4. "Satellite of You" There are songs, and then there are songs. "Satellite of You" (no, not the Lou Reed tune) is a real song, the type of song that you feel and love and want to have sexual intercourse with. Due to the divine nature of the sessions for "The Soft Bulletin", even the surplus material (found on "The Soft Bulletin Companions") is godspoken and better than your favorite band's best work. This incredible outtake from said album has been described by the band as a "cross between Frank Sinatra and Led Zeppelin", though it sounds like the type of music I'd imagine God himself would listen to. Drenched in gorgeous strings, booming drums (sensing a pattern here), gorgeous harmonies and just the right amount of harmonica, this is the type of song that makes me think I can jump into oncoming traffic and land in an ice cream sundae.

`cause your the earth
And I'm just the moon
In orbit so faithfully...
A satellite true

The Sinatra/Zeppelin (hey, more of that contrast theme!) is heard most clearly during the last minute or so, as the booming drums reach some sort of epic, cosmic agreement with the floating harmonies, letting the song fade out gracefully.

5. "March of the Rotten Vegetables" Some say that the band's ambitious (an understatement, no?) 1997 album "Zaireeka" is one of the most brilliantly unique recordings ever; others describe it as pointlessly pretentious and impractical (*cough*PITCHFORK REVIEW*cough*). I've always been firmly in the former camp, as listening to this record on four CD players the way it's meant to be heard is truly one of the most unique and engaging musical experiences I've ever had. If "Slow Nerve Action" is my favorite drum intro, then I suppose this is my favorite drum solo. (I might as well just marry Steven Drozd at this point.) Allow me to give you Wayne's description of the song, found in the liner notes:

"I envisioned this as music for a cartoon about a group of determined vegetables who feel like the place where they're growing is.. no good. So they uproot and head for better soil.. encountering hardship and heroism along the way.. as they parade through Meatville they are BOOed, then they are attacked by bats, but eventually, before they rot, they must find better ground.. CD No.1 plays the main theme. CD No.3 takes over during the "here come the bats" part and all the CD's join in as the bats "attack." You may hear this as a freakish drum solo."

Yeah, no shit, pa! After the creepily foreboding piano + synth melody subsides, the obnoxious drums fully hijack the track, with only a cute little piano melody for accompaniment. I'd imagine Mssr. Drozd was fuckin` gasping for air after a solo of such epic proportions. Oh, and it descends into pure white noise, at one point. You know, because those are the bats. Wayne said so. That makes sense, right? God, I love this band.



6. "Enthusiasm for Life Defeats Internal, Existential Fear" It's a crime that so many casual Lips fans have been robbed of the oppurtunity to hear this beautiful ode to life's innocence. It's a crime that this song was left off of the band's most recent album, "At War with the Mystics", though the band's claim that it just don't fit is reasonable enough. It's a crime that Phil Spector killed that prostitute that one time in 2003. But enough about that.

Because, even if the documentary The Fearless Freaks (add it to your Netflix pronto if you haven't viewed it) consisting of nothing but Michael Ivins making burping noises for 90 minutes straight, it'd still be worth it to hear this song during the credits. (And yes, every time I hear the song, I think of those credits. Those wonderful credits, since, for about a year, they were my only soource of hearing this song.) The song has a raw, laid-back, acoustic acid-country feel to it, reminiscent of the soundtrack to "Okie Noodling". Somehow, this musical backdrop manages to invoke pure, unadulterated nostalgia and reflection. Slow, now honey, keep it slow. The tune manages to make beautiful usage of a banjo solo, as well, and eventually fades out to the tune of an oncoming train. But not a menacing train; a calm, reflective train, if ya catch my drift. I don't care if you have to tackle a helpless, old woman on the way, please find a way to acquire this song.

Last night I had a horrible dream
But the dogs barking in the morning came and chased it all away

7. "When You Smile/Psychiatric Explorations of the Fetus with Needles" Fun fact: This is the only time I can recall seeing "fetus" and "smile" appear together in the same song title. Anyway, this 12-minute live medley appears on "The Fearless Freaks" soundtrack. Like, there was this, like, guy named Ronald Jones and he made incredible noises with a guitar that no one else could and then he went insane and left the band. The end.

This live recording isn't of great sound quality, yet the intensity oughta be illegal. It begins with a noisy rendition of "Clouds Taste Metallic"'s gorgeous ditty "When You Smile". Just listen to the sounds coming out of that amplifier at the 3:14 mark! This segways into a lengthy introduction to "Psychiatric Explorations of the Fetus" (yeah, that's actually the title). The bass grooves on and on as the guitar moans and groans all over the top. It builds up and finally explodes into orgasmic bliss at about 7 and a half minutes with enough noise-driven madness to wake Terri Schiavo.

The chromosomes seem not to want the feeeeeeeeeeeeeettusssssss!!!!!!!!!

8. "Jesus Shootin` Heroin" The amateurish chaos of the Lips` first three records certainly needed some representation over hurr, and I feel that this song, more than any other, demonstrates Wayne's early potential and unique vision as a songwriter. It begins with three moody, reverb-drenched minor chords, as Wayne muses on the mystery of religion.

I've never really understood religions
Expect it seems a good reason to kill
Everybody's got their own conceptions
And you know, they always will.

The chorus pulls us headfirst into a slow-burning, noisy battle cry of "Aaaahhhhhh-Aaaaaaaaaaaah", like a bunch of heroin-addicts invading a church. The quietly creepy "aahhhhhh" refrain lends a background to the confusing guitar solo and final verse narration about a tragic police accident in New York City. A song like this may not have the polished sheen of "Yoshimi Battles the Pink Robots", or the one-of-a-kind fractured noise rock genius of "In A Priest Driven Ambulance", but it most certainly shows that the genius of this unique group was there from the beginning, albeit in a different form.

9. "Bad Days (Aurally Excited Version)" "Bad Days" (originally found on the "Batman Forever" soundtrack) is the type of song that you just can't imagine anyone frowning during. Because you have to sleep late when you can. It's true. All your bad days will end.

The band's prevalent optimism shines through here. Oh, and remember that old theme of contrast? Who the fuck else sings of blowing a boss's head off over a musical backdrop of yippy xylophones and upbeat "oooohh--ooooh" harmonies? Of course, it's a Drozd/Jones party, and the fuzzy guitars and insanely-loud drums are invited as well. But not an exercise in wankery; it's an exercise in pure sugar-drenched melody and happiness and upbeat whistling. Even up to that obnoxiously catchy coda and xylophone solo (!), this song is pretty much perfect, and that's that.

Don't miss out on the disgustingly happy video:




10. "Do You Realize??" Ahahahahahahahahahaha! You thought I was gonna neglect this double question-marked gem in favor of my obscure, indie elitism. Disclaimer: I'm not too cool for "Do You Realize??" No one is. It doesn't fucking matter if you first heard it in a car commercial, a radio in Starbucks or from Wayne Coyne himself at a concert. This song, in all of its mellotron-soaked, key-change glory, is better than all of us. Because everyone you know someday will die.

And, no, I'm not even gonna bother trying to describe the song. You've heard it before, and you'll hear it again. But, in the meantime, why not watch the video for the thousandth time? After all, it's just an illusion caused by the world spinning `round.



Honorable mention: Track 11 on "Hit To Death in the Future Head" Because we're red-blooded Amrrrrrricans and we like 29 minutes and 16 seconds of speaker-jumping sonic chaos after a delicious, 1992 noise-pop album!

Good night.

CPE Bach

Is there really much of anything in this life better than a Handel opera? Regardless, this article pertains to the son of Johann Sebastian Bach, whom was a decent enough bloke that went by the name of Carl Phillip Emanuel Bach (CPE Bach for short). This gentleman was a bridge if you will, as his progressive approach to the Classical form not only waved in the legit Classical era from the previous Baroque style of his very gifted father, but in some respects was even a precursor to the Romantic era bliss of the Classical form that chaps like Beethoven are best known for. CPE was Da Bomb, which is really the most educated way possible of describing all the musical ground of the Classical form that this trailblazer drug his massive buttocks across.

CPE Bach offers something for everyone, regardless of your taste in Classical, excluding perhaps the Renaissance era. Much like his father J. S. Bach, CPE was a master keyboard player. In fact, later in life, he even wrote a book entitled Essay on the True Art of Playing Keyboard Instruments, and needless to say this is probably someone you wouldn't want to encounter in a dark alley at night. There is no question that my main man CPE would quite probably fuck your shit up if you looked at him cross-eyed, oh my brothers, and rather hardcore at that, player! Ha-ha! Deal with it! Anyhow, CPE Bach was no doubt very well schooled in the playing of keyboard instruments, as he learned from the master of Baroque era Classical, his father Johann. I want to present a few quotes for you, and as taken from CPE's Music Theory text. The first of which relates to the supposed purity of clavichords and the like, "The purest of all instruments, for others may be more purely tuned but they cannot be purely played." He is in fact stating that the tonal control of keyboard instrumentation simply cannot be beat, and regardless of the fact that during the time period, the tuning of said instruments was by no means a simple task as would be the case for a viola, for example.

To get the proper tones then, the texture in which one approaches the instrument is also of great importance, and CPE Bach explains as much thusly, "The keys must be gripped firmly and with strength. However, they must not be flogged; but on the other hand there must not be too much restraint." And while CPE Bach was the second eldest son of the Old Master, both he and his slightly older brother Johann Christian Bach were more widely known and successful during the Classical era and certainly more so celebrated during the later Romantic era, although today, it is the Old Master himself that is given the greatest praise for creating a music so intricate and even mathematically dead on, that when most persons hear the name Bach, they no doubt automatically think of J. S. himself. However, while elder brother J. C. Bach was a composer of note, and perhaps most notable today for his friendship and influence on a very young Wolfgang Amadeus Mozart, it is ultimately CPE Bach who was the more progressive of the two, and in his way, on par with his father. Wolfgang himself later acknowledged CPE's direct influence when he was quoted as saying, " He is the father, we are the children."

Beethoven admitted to owing a great deal of his dramatic keyboard interpretations to CPE Bach's early exploration of Romantic era Classical terrain. Joseph Haydn, whom had a rather great influence on Mozart as well in terms of string quartets of the Classical era, owed a great deal of his own success to the intense study he gave to the works of CPE Bach. When popular Baroque era Italian composer Georg Philipp Telemann died in the late 1760's, his own godson Carl Phillip Emmanuel Bach inherited his respectable position in Hamburg as music director to a series of local churches. CPE Bach continually progressed in leaps and bounds both as a composer and keyboard player during this time period, until his own eventual death in 1788. A man once vaguely described as an intense sweaty frog on the harpsichord, thought that music should be a highly personal revelation for the respective listener to indulge in, and often went against the more clinical and arguably emotionally anonymous approach of his father. And when you do hear the best by Wolfgang or Ludwig, do realize that CPE Bach was not too far from their collective minds.

I suggest purchasing the following double-cd collection that is available for under ten dollars:

CPE Bach: Symphonies (Wq 182, 183); Cello Concertos (Wq 170-172) /Bylsma * OAE * Leonhardt

Godspeed, you filthy mongrels.

Syd Barrett is out-gunned, what is the outcome? Will they do him like Malcolm?

Word up, me droogies. I am here to review Syd Barrett's second and final solo album, a little jaunt through a fractured psyche simply given the moniker of Barrett. On his solo debut which was released earlier in 1970, Syd was a bit all over the place at times, but there's a tight cohesion on this record that is truly beneficial to the listener. No doubt, having old chum David Gilmour along for the proceedings and helping out to the best of his ability by playing additional pieces of instrumentation really did make the whole affair seem like a Pink Floyd album of sorts, and especially on mesmerizing numbers like the eerie and atmospheric "Dominos." Syd gets to showcase his erratic acoustic guitar playing and fractured lead guitar work in great abundance, but as mentioned, the professional quality and delicious musicianship of the gentlemen backing him helps to anchor Syd's musical insanity. In a lot of respects, even the casual Rock fan could find something to enjoy on this record. On a personal note, I have heard few songs in my life more haunting and sincere than "Love Song," it has such a lovely little melody and a rather sad sack vocal by Syd that it simply cannot be denied.

Syd's lyrics have always been outstanding and universally strange, but they really glue themselves to the listener on this record in particular, I feel. It is as if Syd is essentially saying good-bye and knows very well that he means it. While later attempts to get things cooking in the old Abbey Road studios were labored over as late as 1974, it is unfortunate that nothing did come of these sessions. Some say it was only really during a few years in the late '60's that Syd wrote all of his Psychedelic gems in a fit of creative frenzy, and perhaps all of the material on Barrett essentially represents this time and place from just a few years previously near 100%. Songs like "Rats" no doubt make clear that Syd is a lyrical master on par with the greatest in the history of Pop, but the sense of drama in his vocal delivery is truly unmatched. His strange music was no doubt equally as sincere as his strange mental condition. Some songs almost have a majestic and intellectual quality about them, like the trippy Psychedelic Folk Rock of "Wined And Dined."

Certainly, Syd's material with the Floyd may in some respects be his finest, but to this day, it is obvious that his two solo outings in 1970 are indeed underrated. As to how great his influence, this is something I find to be truly un measurable, there may be entire generations of "weird" Rockers whom are blissfully unaware that Syd's influence on their recorded output is indeed direct. As Syd would say, "It is obvious." Perhaps it is safe to say that Syd's death in the summer of 2006 was a troubling and important event for all those interested in a sort of music in which ideas and imagination reign free, and while Syd was quintessentially English, he was also a very early voice in what can only be referred to as musical freedom and on an epic scale. There are any number of different formats for purchasing the curious little Barrett album, but my suggestion is actually part of the larger CD box set from 1993 called "Crazy Diamond." This wonderful set contains three discs, two containing each of Syd's solo records, the first being "The Mad Cap Laughs," and the third disc is the rarities collection "Opel." And as part of this unique collection, even Syd's two legit solo records contain a wide array of alternate takes, and this genuinely serves as a rare opportunity to crawl inside of Syd Barrett's brain for a few brief minutes.

For there can be no doubt about the sex of this motion picture soundtrack...

The film is Orlando, the star is Tilda Swinton, the director is Sally Potter, and the soundtrack kicks major buttocks forever. The film's director and an English chap created the hauntingly original score to the film adaptation based upon Virginia Woolf's "Biography." There is authentic period music that is very appropriate for the Elizabethan Age in which this delightful little romp based upon gender transformation and living for 400 years does indeed begin. We even have Jimmy Somerville along for the ride, who is a fellow best known for rocking out in such acclaimed Punk bands like Bronski Beat and The Communards. Here, Somerville wails frantically into the microphone about how he is one with the human face, and all the while sounding like a toy poodle in ecstasy. The song John contributes vocals to is essentially the musical theme to the film, a little number referred to as "Coming," which on the soundtrack, also appears at the very end in two different remixed versions. Perhaps Techno-Dance is the right way to refer to this tune? Anyhow, the majority of the soundtrack consists of well orchestrated moaning female voices and cool atmospheric touches on violin strings and icy synthesizers.

Of course, one is best intrigued by the music when actually watching the film, which features an endless array of close-ups of Tilda Swinton's lovely face, and both as a man and a woman, as is the case for this particular film. The film's primary composer, Mr. David Motion, essentially conjures up the Romantic era of Classical music at times, but in such a way that it could almost be referred to as Romantic Minimalism. With such impressive sounds coming from this movie score, it is too bad that Mr. Motion is not somewhat better known, but such is life, oh my doughy little brothers. I rarely speak of album artwork, but this soundtrack contains images to die for. We see Tilda Swinton in a number of different snappy outfits that take place at different points in the film, all of them rather fun to stare at for hours on end. I would like to applaud David Motion as well for some wonderful and period-specific horn arrangements that pop up in places on the soundtrack, truly delightful.

In a lot of respects, this soundtrack reminds me of the one released for Stanley Kubrick's Barry Lyndon, and I think you will find it charming and guaranteed to increase your IQ by at least 160 points. All that is left for you to do is to purchase the DVD for Sally Potter's Orlando, and be sure to investigate the impressive filmography of Scottish princess Tilda Swinton, and with a specific interest in reading the novel on which the film is based by Virginia "Hatchet-faced" Woolf, and perhaps even a biography on Woolf herself, if you have the guts? Fear of a Humanist planet? Ha, I think not!

Dig the trailer for the film to get a better idea of what I mean, as merging beautiful music with a beautiful visual is a art unto itself they call The Film Score...



Also, someone out there in the world of mainstream film: Give that poor bastard David Motion another flick to score, as he's not half bad.

Captain Beefheart & His Magic Music

Don Van Vliet is quite probably the most original artist in the history of modern music. He started his career in art appropriately enough as a small child, which was a time period that saw his impressive animal sculptures showcased on local TV in Southern California, which is where Don spent much of his life. As a teenager he was offered a scholarship to study the Fine Arts in Italy, although his parents wouldn't hear of it. And so, the only child was left to his own devices, which included a penchant for collecting old Blues and Hard Bop Jazz records. One of Don's childhood friends was Frank Zappa, and they would often spend time in Don's room playing along to records and sipping Pepsi by the barrelful. The name of Captain Beefheart actually came from an unpublished film script that Don and Frank were working on in the early 1960's, which was given the working title of "Captain Beefheart Meets The Grunt People." A few years later, Zappa would form the Mothers, and it was around this time as well that Don became Captain Beefheart and went about forming his first Magic Band.

While I will spare you a detailed biography, I will in fact hip you to what I feel are Don's top three records under the Captain Beefheart moniker, as Don did eventually retire in the mid 80's to concentrate on painting. It is rumored that Don became relatively independently wealthy with his peculiar and appropriately abstract visual extravaganzas, and this is only right, since his musical career certainly left him unfortunately lacking in terms of a hefty bank account. Now then, here we have what I feel is the good Captain's most magical recorded output...

Trout Mask Replica - So much guitar interplay on this record, which was originally released as a triple LP set back in the year of our Lord 1969. Who knows what many listeners thought when this was first released, but in a lot of respects it fit the time period nicely, while at the same time, it couldn't help but be ahead of its time as well. The absolutely out-to-lunch lyrical content is truly beyond words. The good Captain's growl is in full force and everything he barks into the microphone has an eerie air of truth to it, which is very frightening when some of the lyrics pertain to squids eating dough and someone watching you vomit beautifully. Making use of traditional Rock instrumentation in such an abstract way is indeed inventive, and makes the listener wonder, did Captain Beefheart despise the genre? All of the music is carefully orchestrated and was rehearsed for months, and appropriately, all of the proceedings were produced by Frank Zappa and released on his Straight Records label, which was a label that housed its share of strange and out there music during the time period. Dig into these 28 cuts of surreal poetry and gut wrenching Psychedelic Blues Rock that is turned up to 11.

Lick My Decals Off, Baby - Now you know something is up with an album title like that, and apparently it relates to the Captain's disgust of people labeling themselves as human beings and supposedly painting themselves into a corner by doing so. If "Lick My Decals Off, Baby" isn't a call to personal freedom of some sort, then I don't know what is. Here you have what is essentially a condensed version of "Trout Mask Replica," as it was released just one year later. Instead of three LPs to digest, in this instance we have one to work with. This is in fact the better record, and quite probably Captain Beefheart's best album. Nearly all members of the classic Magic Band lineup were involved in this project, and it is a record that shows just how successfully they have honed their trademark sound within the context of a single year. There is more of a lyrical focus by the Captain, and even an occasional sense of humor on such cuts as "I Love You, You Big Dummy." Other songs express the Captain's sincere interest in the environment and his love for wildlife.

Ice Cream For Crow - Released in 1982, this is the good Captain's musical farewell, and why some might be surprised as to why I did not include the 1980 "comeback" record "Doc At The Radar Station," I happen to be of the opinion that "Ice Cream For Crow" is indeed the best of Don's latter albums. Much of the material here is actually based upon compositions leftover from the Trout Mask sessions. One composition in particular is so sublime and beautiful, it is an instrumental cut that appears early on the record entitled "Semi-Multicoloured Caucasian," and is the sort of song that any music fan could groove on. My favorite number is a nightmarish sea shanty that speaks of Satan's red rolling hatred waters and clinging the vine that choked Mary's only son. The song is paranoia bliss that could give Lou Reed's "Waves Of Fear" a run for its money, the song in question is called "The Host The Ghost The Most Holy-O."

So, there you have it. Do purchase these albums mentioned. Of course, all is personal preference. And I do know that some fans enjoy the original Magic Band on the Blues Rock of their 1967 debut "Safe As Milk," but I tend to prefer the good Captain at his most bizarre, because few in music tackle this frame of mind better. I should make clear nearly all of Captain Beefheart's rather vast catalog of albums has been recently re-released on CD, digitally remastered as fuck and with more bonus tracks than you can shake a trout mask at.

Educate yourself:

The Good Captain Gets funky...



The Good Captain Gets scary...



Fast 'n' Bulbous, indeed!

Proton Proton/Busdriver Busdriver/Deerhoof Deerhoof

So I recently (give or take a month) attended a Deerhoof show at the lovely Irving Plaza in New York. In fact, it was my second time seeing them, since I saw `em open for the Flaming Lips at their now legendary Hammerstein Lazer Pointer Experiment show. So, I saw them twice out of my own free will! How many people can say that?

Indeed, the show rocked my face off (seriously, I needed surgery). However, if you don't mind, I'd like to discuss the very special and unique openers that I witnessed on that fateful night.



After a healthy amount of creepy animation showing, Proton Proton took the stage (I wonder if their fans regularly refer to them as Bi-Proton...?). Proton Proton is a delicious new trio from Brooklyn, formed in 2005. As their myspace describes it:

proton proton began during long spontaneous sessions in a dark carpet-lined room on the mediterranean coast.
aron from a band called hominid.
paul from his solo thing.
gass is a bass and a guitar.


Anyway, I dug this immensely-talented group so much, I was moved to purchase one of the self-titled EPs from their site, but I wouldn't hesitate to say they were better live. Noisy guitars, unusual poly-rhythms, and psychedelic lights swirled around in a intensely melodic stew, underneath a singer who looks like a caveman and sounds a bit like David Byrne on crack. A very high, moaning voice, yet strangely compelling. The most easily-recognizable influences in the music include everything from CAN to Fugazi to the Talking Heads (duh!).

One of my favorites is "Plates": A bleeping guitar leads the beat-driven song, as the singer describes "Sitting around, just to watch plants grow", with a noisy frenzy of a chorus. Then there's "Sand", a blissfully creative show-opener, somehow balancing booming tom-tom drums (a recurring theme) with a xylophone ting.

"Chinese Dancer", however, may be the most memorable number of the set. Beginning with a simple bass riff, singer Paul Fuster lays out the honest and poignant lyrics:

"I wanna be a chinese dancer,
A chinese dancer
I wanna be...a Chinese Dancer
Dancer....Dancer"

(Cue noisy, freak-out frenzy, singer runs around stage wildly with a tambourine)

"I want to see you naked
I wanna see you naked
I want to see you naked
Naked....naked...."

(Lather, rinse, repeat)

(Random xylophone solo, "I love you!", off-kilter bridge)

Yeah, these guys kinda rule in that can't-quite-describe-it-but-instinctively-really-like-it way. I highly suggest listening to the tracks on their Myspace, and perhaps purchasing the EP from there. Or, if it better suits you, check out this lovely video performance of "Aloha" (good song, as well) from the show:



Alright, next up was opener number two: Busdriver.

Anyway, having been completely unfamiliar with Busdriver prior to this performance (I knew he was a rapper, towards the bizarre side of the spectrum, which is what I told the polite young man next to me, who inquired), I can safely say the bloke was a complete trip, an experience to savior. Mr. Busdriver, clad in a Run DMC shirt and christmas lights (!!) managed to rhyme "fender bender" with "chicken tender", sample the Super Furry Animals, and lead the crowd in a chant of "Kill Your Employer!" (seemingly his most popular song), all within the constraints of a 40-60 minutes set. Yeah, I'll stop it with the parantheses. Not really.

While I have little interest in seeking out an album (it just wouldn't be the same), the guy makes Public Enemy sound like Kenny G. Beyond description. A flow the speed of light. Spastic movements. One of my favorite songs feautured the chorus (paraphrased) "I am the first black astronaut...in a hot air balloon." Whoop-de-doo!

`driver interacted with the crowd wonderfully, and really satisfied my quest for insanity. Here's a video for "Imaginary Places", to give you taste:



DDEEEEERRRRRHHOOOOOFFFFFFFFFFF


At some point, San Francisco's own Deerhoof took the stage, promoting their fantastic new album, "Friend Oppurtunity" (seriously, buy it, get it, steal it!). If you're unfamiliar, these guys (and gal) tread the line between soft `n cuddly, and satanically noisy. Deerhoof feautures the Elmo-like vocal presence (and cute dance motions!) of Satomi Matsuzaki, the screechingly-loud guitar manhandling of John Dieterich and the incredibly powerful drum shredding of Greg Saunier (possibly the best drummer since the mighty Drozd). Since early this millenium, this trio has churned out the most consistently unique sounds and melodies to make you grin until your face hurts. I recommend "The Runners Four" as a starting point, though it's hard to go wrong.

Anyway, they came out amid much cheering and performed a triumphant version of "Reveille"'s lovely pop ditty, "The Eyebright Bugler". In fact, 2002's "Reveille" was feautured surprisingly often in the mind-melting tracklist - I was also treated to the wordless bliss of "Our Angel's Ululu", the noisy 1:18 groove of "Holy Night Fever", and, at some point, "This Magnificent Bird Will Rise", I think. I was amazed by the catchiness and intensity to these lil snippets of pop songs.

Throughout the setlist (aboot 20 songs), Greg Saunier broke his bass drum at least twice, most notably during the intro to "Milk Man" (which drew my attention away from this couple near me, doing this bizarre dance movement to the opening guitar chords). Mr. Saunier is a complete animal on the drums, stealing the show, and causing at least half the crowd to shit their pants in indescribable intensity.

Other highlights:
Of course, I'd be remiss not to mention the one-word ectasy of "Flower" (like a nursery school singalong on crack). And how could I possibly attempt to describe the experience of about 2,000 people singing along with the lyrics "Panda panda panda! Panda panda pan...panda!"? Or the raw grooves of "Twin Killers" and "Wrong Time Capsule", making me move in spastic, unpredictable motions that almost, but not quite qualify as dancing...

And I haven't even mentioned the new album tracks, which were truly fine additions to the already orgasmic setlist. They played "Kidz Are So Small", which sounds like a companion piece of sorts to "Dog on the Sidewalk" (actually lyrics: "If I were a man, and you a dog / I'd throw a stick for you!") I love how the guitar replaces the lovely horn riff in newest single, "+81", all leading to a brilliant chorus of "choo choo choo choo, beep bepp!"

"Believe E.S.P" deserves its own paragraph. You think I use phrases like "sick groove!" and "woof! cowbell!" for my own amusement? Easily one of the best songs to ever come out of the warped minds of these three individuals. Deerhoof on a funk kick. No full sentences here. This song. Hot. Hot. Lalala lalalalalalalala...crossing the line....". So good.

The encore included a mesmerizing rendition of 11:45 closer "Look Away". Gooey, noisy Deerhoof goodness. I highly suggest you revisit this show when the time machine appears on your doorstep. However, for now, videos videos videos. Let `em rock your balls off, too:







Dog on the sidewalk! Dog on the sidewalk! Dog on the sidewalk! I saw! I saw!

Good day.

(Copyright 2007 for Hilbert_Cheesecake productions)

Top Ten Noisepop Bands/Releases of the 90's

This list was compiled by Randall noisepop expert. I'm posting it here with his permission.

1. The Flaming Lips - In a Priest Driven Ambulance With Silver Sunshine Stares

Sunkissed explosions of sound, melody, and weirdness. Absolutely perfect and very necessary.

2. Sixteen Deluxe - Backfeedmagnetbabe

Taking their cue from mid-period lips, 16D constructs jubilant and bittersweet pop songs ensconced in layers of reveb and feedback. Not as experimental as Dingus or ronald, but just as satisfying.

3. Helium - The Dirt of Luck

Mary Timony is one of the unsung guitar heroes of the 90's. GKGuitar can attest to this. Her guitar sound is beyond unusual, her voice is at once innocent and paranoid. Creepy noisepop music for yr head.

4. Small Factory - I Do Not Love You

Songs range from the gorgeous cover of Lois Maffeo's "Valentine," to the razor-sharp pop jangle of "What to Want," resting uncomfortably atop the noisy crescendo of album closer "Junkie on a Good Day."

5. Dambuilders - Encendedor

Soild, catchy, and noisy pop anthems for young adults buoyed by Jeff Buckley's most excellent ex, violinist Joan Wasser,

6. Outragreous Cherry - S/T

Sometimes a bit too slavish to the 60's, retro-popsters OC borrows from the books of VU, JAMC, and other underground acronyms.

7. Mercury Rev - See You on the Other Side

The experimental phase that began with David Baker shines in an ecstatic light on this first post-Baker release. Jazz-inflected, soaring, pop songs that are as beautiful as they are loud.

8. Unrest - Perfect Teeth

Another perfect merge of the experimental and traditional pop structure. Highlights are the ecstatic jangle of "Make out Club", to the pop genius of "Cath Carroll." Not as stunning as Imperial f.f.r.r. (An Imperial Full Frequency Range Recording, but "Make Out Club" just kills me. Sorry, Pickle.

9. Th' Faith Helaers - Imaginary Friend

Guitarist Tom Cullinan belongs up there with Ronald Jones. This is one noisy, imaginative, and trance-like pop album. You should also check out Tom's new band Quickspace.

10. Yo La Tengo - Painful

Gorgeous, sublime, stunning, bittersweet, jarring, noisy, amazing. YLT at their best.

Top 10 Bands/Artists Of The 60s

To follow up my list of my favorite 10 Bands/Artists of the 90s I'm moving back in time to the 60s. Again this list will not be in any specific order and only represents my favorites not an argument that these are the 10 most important or the 10 most influential.

The Beatles - My favorite band of all time by quite some margin. I'm one of those Beatles freaks. I don't really feel I need to explain their inclusion on this list. It'd be a ridiculous list without them.

The Who - I think The Who are sometimes overlooked or under appreciated although many of their songs are staples of the classic rock radio stations. Possibly these songs are overplayed and it becomes harder to appreciate them? The Who had some great albums and songs but I think it's live where they really set themselves apart.

The Rolling Stones - I think the fact that they've been constantly in the media for 40+ years has actually hurt the appreciation of their really great music in the 60s (and 70s.) Not to say I'm one of those people who thinks they should have retired 30 years ago. I think it's fantastic that they are doing what they love at age 60+. I think we all should be. But I do think that the younger generations have a harder time getting into them than say the aforementioned Beatles because of the fact that they see The Stones still around looking like their grandfather. Sure you see the same thing with Paul McCartney but somehow that doesn't effect the Beatles legacy because of him being solo and not using the name. Anyway The Stones had many classic songs in the 60s that one cannot imagine rock n roll without.

The Pink Floyd - I love Syd Barrett's Floyd and Pipers at the Gates of Dawn is one of my favorite albums. A totally different Pink Floyd from the one that became huge in the 70s (and I'm a big fan of that Pink Floyd too.)

The Beach Boys - A ton of excellent pop songs and the masterpiece Pet Sounds. Good enough to get on this list. Hell just Pet Sounds alone would probably get them on the list!

Bob Dylan - Essential. You can't have a list of the best of the 60s without Bob Dylan obviously. I was just making you sweat a bit by having him lower in the list. See it's in no specific order. The order of a mad man, perhaps. Anyway Dylan was on fire in the 60s as I'm sure you know. He was releasing album after album of great material. If I had to choose just one it'd probably be Highway 61 Revisited or Blonde On Blonde.

Van Morrison - Unlike most music critic types I prefer Moondance to Astral Weeks. Perhaps thats partly nostalgia as Moondance was constantly being played by my parents when I was growing up but I think Moondance is a pretty perfect album. So many amazing songs. Astral Weeks is very cool but in comparison I have to be in the mood to listen to it. Although I just checked to make sure and Moondance was actually released in 1970. Well you know what, to hell with you. He's going on this list anyway. Astral Weeks came out in '68.

Jimi Hendrix - I think it's a bit hard to truly appreciate Hendrix because he's become so deified. That being said I've got a lot of joy out of listening to his music. I must admit I haven't been able to listen to him for quite some time having been thoroughly burnt out on most of his well known stuff. I do think I may be able to open my ears up to him again soon though.

Frank Zappa - The 60s are definitely my favorite Zappa period. While I enjoy some of his later stuff in smaller doses, it's the really freaky stuff with the Mothers that I really get into.

The Band - Music From The Big Pink and the self titled The Band are both really great albums.

I know I've left off some really great bands and artists but I can't find it in my heart to bump any of these to make way for The Velvet Underground. But I'm considering it. Where are The Kinks? As good as The Kinks are I've never been as into them as any of these bands/artists. Led Zeppelin? I and II were released in 1969 but I think of them as a 70s band. They're also a band I have a hard time listening to lately due to over exposure.

Well hopefully this list will start off some good debate with plenty of people calling me an ignorant knob head. Who's going to start it off?

Top 10 Bands/Artists Of The 80s.

Thinking back on the 1980's, oh my brothers, this is clearly the best decade ever. Just think about it, what other Pop culture era can you conjure up to rival the sheer originality of that 80's production sheen? Let me introduce to you the greatest bands and artists that defined this particular time and place musically, and in no particular order:

New Order - Give me a break, New Order is Da Man! Rising from the ashes of Joy Division and causing one to shake their respective buttocks well into the late evening hours. Please buy "Power, Corruption & Lies" in the very new future, I beg of you!

Devo - Now this is a band that owns the very essence of my taint, and what could be better than that? Their 1980 epic "Whip It" pretty much defined the decade, albeit, a decade that was also kind enough to see the rise of Nintendo.

The Cars - Rik Ocasek and his funeral home friends essentially redefined what Bubblegum Pop music was all about, and went about introducing it to a greasy generation of video game arcade enthusiasts. She is your "Best Friend's Girl" indeed, Mr. Ocasek! Ha! Yeah, you right, me droogie! And is it me, or is the music video for The Cars "Since You're Gone" like one of the most awesome things ever? And I am like so not joking! God, I just love it! It gives me the tingles! Tee-hee! Thanks for the tingles, fellas!

Wall of Voodoo - Say what you will, but thanks to these chaps I am in fact forever on "Mexican Radio," and I totally yet endlessly shat you not! Stanard Q. Ridgway left Wall of Voodoo right at the height of Voodoo Mania, as I like to affectionately refer to it. Mr. Ridgway had solo success with eerie songs about mosquitos and stuff. He still tours, I believe. Isn't that rad? Thanks to the early days of MTV, the fun and sexy "Mexican Radio" video really gave these gentlemen a second life. Wall of Voodoo originally formed as a group of gents with an interest in doing film scores. Bet you didn't know that, did ya? Ha! I'm so sweet.

The Smiths - Let's face it, Morrissey is the high priest of us all. The Smiths are no doubt one of the most rebellious bands in the history of Pop. And boy, could that Johnny Marr ever wail on a guitar or what? The dude is awesome with the string bending hierarchy. Steven Patrick Morrissey is one of the most highly intelligent songwriters in the history of dry land, my babies. He probably does quadratic equations in his sleep. Morrissey solo material that closed out the 80's is very much worth looking into if you haven't already.

Kate Bush - Sure, she came to light at the end of the 70's, and thanks in part to the tutelage of one David Gilmour, but that's another nightmare. Kate Bush is one of the most independent artists I can claim to have an extra special crush on. Too bad more American broads didn't follow Kate's lead into the land of high drama and intense theatrics, you know? Instead, at least for a great many, it was the poor role model of that dastardly and smutty Madonna. Kate Bush is very far from being grodie or a renob, so please seek out her albums, if the spirit in fact moves you...and it should. She's just too rad for words.

Hüsker Dü - Before Nirvana, there was this band. These guys were so ahead of their time, but unfortunately spent much of their time in a not particularly lucrative field known as the American Underground. Wee! Lots of fun that must have been. Needless to say, their cover of The Byrds "Eight Miles High" certainly makes clear that the Hippie era had nothing on Alex P. Keaton. Bob Mould would close out the Back to the Future decade with a pretty gnarly solo album which featured his massive hit "See A Little Light," and boy, is that song ever cool. Contemporary Adult Rock actually mattered in the 80's, my friends, and don't you ever forget that.

PiL - Oh yeah, John Lydon got sick of being rotten once he removed himself from the Sex Pistols finger trap and made his epic debut with a new band. Things turned up roses in 1978 when John Lydon and his mates released the first Public Image Limited record. Two albums would close out the 70's before John gave us a magnificent feat in beat with the terribly underrated gem known as "The Flowers of Romance." While PiL started to lag by the end of the 80's, they did dazzle our collective ears with such minor hits as "This Is Not A Love Song" and "Rise." Give these poor old sods a chance, as I think you'll like their unique brand of Death Disco and Experimental Pop. Post-Punk was a pretty rad genre, no?

Siouxsie And The Banshees - Speaking of Post-Punk! Much like PiL, Siouxsie and her chums formed in the late 70's, but then later went on to some tasty commercial success throughout the 80's and featured various incarnations of sound. First, they were all weird and scary and shit, but then later, they got all Poppy on my cute little furry bottom. Anything by Siouxsie and The Banshees is pretty sweet. Siouxsie has an awesome stage presence and such a haunting voice. This band of Goth creeps really had some eye catching fashion sense, which indeed served them well during the music video heyday.

Butthole Surfers - Such an underrated band, and especially in today's new market of supposedly Experimental Rock. The Surfers are a genre unto themselves, a musical world to get lost in, much like Captain Beefheart. Certainly, the very best band to emerge out of the American Underground, and while they later transformed into a radio-friendly Hip Hop outfit, their 80's output is unrivaled in terms of epic strangeness. Paul Leary could really transform into a screaming elderly woman with his panic approach to string bending. Gibby Haynes delivered effects-laden vocal sermons from Hell, all the while Mr. King Coffey pounded his drum kit as if he were on a perpetual death march. I tell you, little compares to the Butthole Surfers "Locust Abortion Technician," a lovely little album that one is.

So, there you have the epic list of THE most important bands and artists of the 80's. Allow me to leave you with the following Warhol quote, "Making money is art, and working is art and good business is the best art."

Mexican Radio!