The Strangest Album Ever Made?!

"Trout Mask Replica"..."Eskimo"...The Shaggs...any such list is now incomplete without a mention of Five Starcle Men's  "Gomba Reject Ward Japan." Coherent biographical info on this band is hard to come by, but apparently Five Starcle Men were two nuts in the '90s making low-fi (presumably) home recordings out in the desert town of Lancaster, CA.  Or maybe they were from Austin, Texas. Or maybe they heard the works of those two town's most famous loonies, Capt Beefheart, and The Butthole Surfers, and said: "That's nuthin; get a load of this," and proceeded to lay down 28 tracks over the course of a few years that in comparison makes Ween sound like Journey.

At first, it may come off as a couple of stoners' self-indulgent mucking about on a Teac four-track, and there may be some truth to that, but keep listening, and one starts to wonder if there may be some genuine insanity at work here (apparently, one of the members killed himself, thus ending this band's "career.")  Every sound is warped beyond recognition, lyrics range from unintelligible jabbering to surreal nonsense, samples and tapes loop themselves into delirium, unnatural rhythms pound away, all adding up to a mind-melting experience. Some "songs" sound like they were made up on the spot, many are less than 30 seconds long, and a surprisingly high amount of the tracks are really quite good. Play this for over 99% of the population (even those who consider themselves "alternative"), and they will probably will scrunch up their face and say, "What are you listening to?!"

Free listening/download here:

Five Starcle Men  "Gomba Reject Ward Japan"

courtesy of 'net-label Lost Frog, who have also blessed us with releases by R. Stevie Moore, The Happy Flowers, Animals Within Animals, Big City Orchestra, and some people who make noise music out of bicycles.

T.V.O.D.

Turn on the t.v., watch a movie, what do you get? Inane sitcoms, "Transformers," cops chasing serial killers for the umpteenth time...but what's this?!  Video being put to good use for a change, producing such feasts for the eyes and ears as

Nintendo audio played by player piano and robotic percussion:

"This system allows for Nintendo gameplay audio to be played through an acoustic player piano and robotically controlled percussive instruments. The piano and percussion play live during actual gameplay."  It's true, watch the game in the upper left to see how it triggers the robot instruments.

I wrote about Gnarboot's nutty album in 2011, but this video from earlier this year isn't so much kooky as it is pretty sick 'n' twisted.  Imagine David Lynch making children's programming. Over an eerie electronic score, the title phrase "Cats In Pajamas" is chanted mantra-like by a childlike vocalist, as people in cat masks mysteriously appear and disappear.  My three-year-old came over to my computer when I was playing this, intrigued. After all, it's kitties, right?  But when the scary knife-wielding clown showed up, she ran from the room.  Thanks a lot for scaring my kid, Gnarboots!

Speaking of sick and twisted...the gold standard of such, The Everyday Film, who released an album we reviewed earlier this year, have now added video to their arsenal of weapons of mass hysteria.  It's for the short version of their song "Goool" and, like a slideshow of early Jandek album covers, features a series of blurred, discombobulated photos in as compelling a video realization of alienation and disconnection as you're ever going to see.

Need a laugh now? Another M4M fave, the absurdist mad scientist and his "singing" robot duo the Satanic Puppeteer Orchestra, have also released their debut video, "Frankenstein's Laundromat," another welcome bit of their trademark electro-poppin' surreal humor. This is a preview of the forthcoming album, "Experiments With Auto-Croon."

Swedish female duo The Haggish Moue have a bunch of videos up on the youtubes, and I watched 'em all.  Not sure if I really need to listen to their wistful brand of electro-psych on it's own, but the largely-instrumental (+ somewhat ethereal vox) music works great as a soundtrack to spacey video art acid trips that you can get lost in. Let's fall into space...

"Bangs Glitter"

Ahh...Outsider Music...

The George King/Joe Corney Space-Age Organ Sounds are back on-line.

The first thing many Americans think when they hear the phrase "folk music" is still the Joan Baez/Dylan types listlessly strumming acoustic guitars and singing protest songs in coffeehouses, none of which has much to do with actual American folk traditions. The excellent new compilation Turn Me Loose: Outsiders of Old-Time Music
features not only the weird 'n' wild obscurities you maniacs crave, but it also serves as a nice corrective to the '50s/'60s folk revival's rewriting of history. For one thing, acoustic guitars were not too common (almost no songs on this album feature them), banjos were originally a black instrument (derived from African instruments), silly humor was much more common then protest politics (e.g.: the wacked-out duo Mustard and Gravy), and plenty of "non-folk" instruments like the piano really were used in folk music, Charlie Tweedy's berserk stylings on the ivories being one of this albums' many highlights (which reminds me of Tom Lehrer's crack introducing his song "The Folk Song Army": since the piano isn't considered a folk instrument "imagine I'm playing an 88-string guitar.") Ernest Rodgers' Greek lesson "Mythological Blues" punctures holes in the notion that these were all dumb, uneducated hicks.

Most of these recordings, taken from old '78s, are by fairly professional if necessarily rough 'n' raw performers, but at least one character here, Willard Hodgin, is just flat-out nuts. To quote from compiler Frank Fairfield's extensive liner notes: "He recorded 18 sides (1927-1928) for various labels, which is quite an outstanding feat considering how unusual a performer he was. The combination of the occasional verse speckled in with his own unusual yet charming stanzas and his delirious haphazard banjo strumming make him one of the most unique performers to ever record." 18 songs?  Someone put out a complete Willard Hodgin album! (Clicky on song titles to take you to Divshare-land:)

Willard Hodgin: "Don't Get One Woman on Your Mind" Now with bonus offensive racist lyrics! 
But don't musical saws make everything better? Dig this barn dance earworm:
South Georgia Highballers: "Mister Johnson Turn Me Aloose"

Another great new comp recently purchased at my local record emporiums is "Enjoy The Experience: Homemade Records 1958-1992," a two-disc set plus 44 page booklet, all for only $15. Explore the wonderful world of private-press records! I was amused to see that the booklet featured reproductions of the covers of a couple albums I own, namely Mike Hudson and Wayne & Marin Foster. No tracks from them featured on this, but I included them on my own collection "I'll Take Las Vegas." This album goes way beyond Vegas-y lounge performers, tho, ranging from the already sorta-well known punk jazz of Gary Wilson and the middle-aged former Big Band singer-turned-hippie Arcesia, to such unknowns as the hip Christian behind this absurdly catchy upbeat bit of apocalyptic pop:

Ray Torsky: "666"

The booklet includes interviews with some of the performers the compilers were actually able to track down. The heartbreaking tale of Joe E.'s swindle at the hands of a fly-by-night record label is particularly memorable. Unfortunately nothing is known about one Vinny Roma, but he recorded what could be this blog's theme song.  Hell, it could be my (or your) life's theme song:

Vinny Roma: "Ahh...Music"

And if that's still not enough outsider music for you, Colchester, England's premier mental patient/transvestite/stoner/coprophiliac singer-songwriter has a new album out called
"Hippie Heaven" 
for your free downloading pleasure. It's like a 12" single more than an album, with the same songs appearing in slightly different forms throughout. Highlights inc the biting "Parasite Pest," and "Rock 'n' Roll Brothel" ("Why won't any of the girls have sex with me? It's quite frustrating...I could get a complex!") The backing track of "Lady Dub #1" could be by Martin Rev. And paging Yoko Ono! The final track is a 20 min field recording of wind.



   

FRANK SINATRA'S GREATEST SHITS

I love Frank Sinatra's music, got tons of his records. But anyone with a career spanning six decades has got to drop a few turds along the way, and even The Chairman of The Board is no exception. And that is what we are presenting here today: 15 examples of the worst, from the greatest.

There's the good-bad Frank, which is fun, e.g. finger-snappin' his way thru unlikely/inappropriate songs like Stevie Wonder's "You Are The Sunshine of My Life" (a staple of my Vegas road trips) or his hep-cat spin on Simon and Garfunkel; his groovy mod duets with daughter Nancy (sample lyric: "I'm lookin' out love-colored windows"); or when his take on "Mack The Knife" becomes a self-conscious history lesson on that oft-recorded classic.

And then there's bad-bad Frank. "Mama Will Bark," a duet with the now-forgotten Dagmar, a performer more known for her curvaceous figure than her singing ability, has been called the worst thing Frank recorded, and I would not argue. Literally, a dog of a record. Nothing else here is quite as cringe-worthy, but the unreleased (for good reason) disco version of "All or Nothing At All," or the appalling duet with that ghastly creature Bono come pretty damn close.  Yes, sometimes you can judge a book by it's cover: "Everybody's Twistin'" sounds exactly like you think it would. And has there ever been a good version of "Winchester Cathedral"?

This collection eases you in: at first, there doesn't appear to be anything particularly wrong with this version of "Some Enchanted Evening." The "South Pacific" standard should be a slam-dunk, right?  But it gradually becomes clear that Frank has no feel for the song whatsoever, as he's been hobbled by a terrible arrangement, and it just goes completely off the rails. Surprising that this one got out of the can. (Although I guess you could say that for most of these tracks.)

This collection come to us thru our regular contributor windy via his pal, another mad-dog record collector named MadJon, who conceived, compiled, and created the cover artwork (above) for this festering concoction. Thank (or blame) them! Jon's notes for each song below.


Frank Sinatra - "Come Suck With Me"

01some enchanted evening
02Everybodys' twistin
03 i whistle a happy tune
04mama will bark
05all or nothing at all (disco)
06winchester cathedral
07mrs robinson
08 feelin kinda sunday (w/nancy)
09 life's a trippy thing (w/nancy)
10 you are the sunshine of my life
11bad bad leroy brown
12ive got you under my skin (w/Bono)
13mack the knife (w/Quincy Jones; vibes: Lionel Hampton)
14the 12 days of christmas (w/Nancy, Frank Jr, and the rarely-heard Tina Sinatra)
15 my way

Some Enchanted Evening: The Richard Rodgers estate was very strict about licensing its songs for recording. Altho' Sinatra had recorded this tune in the past, on Columbia in 1949, they gave him a difficult time about it two decades later. Personal? Who knows, but when Sinatra finally got the rights, he made it personal and recorded this ridiculous, horrible version as revenge.

Everybody's Twistin': Sinatra craved hits as much as anyone and would lower his famous standards when required. Here, he takes an old song by Fats Waller called "Everybody's Truckin'." changes the title and imagines he has a twist hit. He didn't. In America it only went to #75.

Mama Will Bark: It's too easy to say that Mitch Miller forced Sinatra to record this. Imagine ANYONE telling Frank what to do! Sinatra puts his all into this record, and seems to be enjoying himself. The flip was the tragically beautiful "I'm A Fool To Want You" which he co-wrote. Both sides did well on the charts. It remains awful only because it's incomprehensible that he would have gone along with it.

All Or Nothing At All: Before the huge success of his Trilogy album, Sinatra was lost in the 70's, with the label he founded only releasing several singles between 1974 and 1980. Clearly desperate, Sinatra re-recorded two old hits of his as disco records in 1977, this and "Night And Day," but "All Or Nothing At All" was so awful it remained unreleased until the Complete Reprise box set in 1995.

Winchester Cathedral: Enjoying a surprise return to the Top 10 charts in the mid-60's, Sinatra decided that every other album would be "for the kids." Like the kids were waiting for this.

Mrs. Robinson: Reportedly, Paul Simon hated what Frank did with his song, as should we all.

Feelin' Kinda Sunday and Life's A Trippy Thing: Juvenile hippy crap. Worst, who could even imagine the word "trippy" appearing in a Sinatra title?

You Are the Sunshine Of My Life and Bad, Bad Leroy Brown: Both from the album Some Nice Things I've Missed (1974), it's another one "for the kids!" The latter song being a #1 hit in 1972, Reprise thought the kids would like Frank's version as a single two years later. It (#83), like the album (#48), did poorly, and so began Frank's lost decade.

I've Got You Under My Skin (duet with Bono): Inexplicably, the public made Sinatra's first Duets album a smash hit, even if it never sounded like Frank was ever in the same studio with his guests, as is most evident here. Frank sounds flat, while Bono's vocal is produced with his trademark ethereal sound. When their vocals are mixed together, their phrasing doesn't match.

Mack the Knife: Sinatra's last album, L.A. Is My Lady, produced by Quincy Jones, is almost entirely awful throughout. Here, Sinatra can't resist changing the lyrics as he salutes the members of the orchestra.

The Twelve Days of Christmas: Featuring his three children (only one of whom ever achieved success on her own) the repetition of the all-too-cute, terribly unfunny jokes quickly becomes horribly obnoxious. It is the one track on this compilation that I cannot bear listening to.

My Way: It would be easier to take if recorded by a better man with a lesser voice, but here Sinatra celebrates a life of bullying abuse which the public is well aware of. Additionally, it is ironic that at his own label, Sinatra cared less about the engineering of his records; on the line "For what is a man?" there is an over-saturation of the vocal on the tape, creating horrible distortion that technology can never fix.

I threw this collection together quickly one day, being too lazy to look for more, but I know more stinkers are out there, and perhaps in the future there will be a Volume Two.

Beat Writer's Got The Beat: William S. Burroughs Sings!

One of the most unlikely stars of the late '70s-to-early '90s punk/college rock days wasn't a musician at all, but a taciturn, elderly writer clad not in flannel shirts and Doc Martens, but a three-piece suit, hat, and cane. How a novelist with no musical background who began his career in the 1940s became so popular an alternative music figure that Kurt Cobaine backed him up on one of Cobain's last recordings is one of the odder, more fascinating footnotes in this otherwise heavily examined musical era.

William S. Burroughs is, of course, one of the most celebrated figures in 20th century literature due to his key participation in the "Beat" movement that essentially dragged American letters into the modern era, rejecting classical European/Shakespearean influences in an attempt to create a literature as unique to the U.S. as jazz is to American music. And, indeed, the cliche of the beatnik reciting stream-of-consciousness poetry over cool jazz is the first thing that pops to mind when considering the confluence of the Beats with music.

But Burroughs was never a beatnik.  He was a junkie and heroin dealer who accidentally shot and killed his wife, traveled thru Latin America and Morocco, helped popularize North African trance ritual music, dismantled literature via his "cut-up" method of chopping up and rearranging pages of writings, was put on trial for obscenity, saw his son go to prison, saw his son die, was gay in the pre-Stonewall days, and co-created a "dream machine" said to create somewhat hallucinatory experiences when activated.

In other words, he'd been thru some shit. By the late '70s, he was back in the States and started giving public readings in his now impossibly craggy, deep, world-weary voice.  This was to be his main source of income for the last years of his life. The downtown New York scene was receptive to both his writings and his voice, filled as it was with not only the weight and wisdom of a life you never led, but with an idiosyncratic rhythmic delivery. He left New York for Kansas in 1981, well on his way to becoming an icon of cool.

After a while, it wasn't enough to just listen to Burroughs read his own works, with increasingly elaborate musical backings, but to hire him to perform on other people's recordings. And that is what we have here: not Burroughs' own releases, but his various miscellaneous appearances on other bands' songs. Having Burroughs perform your music gave you instant hip cred, and gave a Bill a paycheck. As this article puts it, he was a rock star to rock stars. William S. Burroughs died in 1997, at age 83.

William S. Burroughs Sings

UPDATE 10/13: Also now up on ubu.web: http://www.ubu.com/sound/burroughs_sings.html

1. Star Me Kitten (with REM, from "Songs in the Key of X: Music from and Inspired by 'the X-Files'" - 1996)
2. Is Everybody In? (with The Doors, reciting Jim Morrison poetry, from "Stoned Immaculate: The Music of the Doors")
3. Sharkey's Night (with Laurie Anderson, from "Mister Heartbreak" - 1983)
4. What Keeps Mankind Alive (from Kurt Weill tribute album "September Songs")
5. 'T 'Aint No Sin (1920s jazz song, performed on Tom Waits' "The Black Rider" - 1993)
6. Quick Fix (w/Ministry, "Just One Fix" b-side - 1992)
7. Old Lady Sloan (w/The Eudoras, covering a song by a Lawrence, Kansas punk band from "The Mortal Micronotz Tribute!" - 1995
8. Ich Bin Von Kopf Bis Fub Auf Liebe Eingestellt (Falling In Love Again) - Marlene Deitrich cover, from "Dead City Radio" - 1988

SUPERSHRINK!

Alen Robin, a comic with a droll, very nasal voice, took the Buchanan & Goodman "Flying Saucer" concept - intercutting found recordings with original comedy - and applied it to political speeches. His "Welcome To The LBJ Ranch" hit the top of the pops in the mid '60s, and can be found in approximately 84% of American thrift-stores.

This album continues the concept, with American politicos Humphrey, Thurmond, Rockefeller, Lindsay, Nixon, LBJ, Agnew, Buckley, Reagan, and Daley finding their voices ripped out of their original context, now making various bizarre and neurotic statements to Robin, playing their psychiatrist. It's still quite funny and clever, even if you don't know much about the speakers. Even more impressive: it's recorded live. Not sure how he did it in the days before laptop samplers. Maybe he had all the voices, and pauses allowing for him to speak, pre-recorded on a long tape. If so, his timing's amazing.

The above review was taken from my review of another Alen Robin album I posted few years back, with the names of of the sampled parties changed.  There is one difference with this album, tho - the groovy psych rock of Billy Mure that abruptly cuts in and out of the funny faux-interviews.

Both sides of this album are pretty short (side two's only ten minutes long) so you just get two tracks here, one for each side:


 Alen Robin: "SUPERSHRINK!"

ZOOGZ TOOZDAY: Early Rarities

Zoogz Toozday is back, for one post - a large collection of early recordings from the late Zappa/Beefheart-inspired-bandleader-gone-punk/ comedian/ crank/ mad genius Zoogz Rift. We featured an album of Zoogz with his band The Amazing Shitheads every Tuesday for a while there, then super-awesome generous reader myxsoma laid some more on us, and, once again, he has gifted us with 3 bootlegs taken from cassettes of Zoogz and various enthusiastic cohorts chronicling his earliest recordings, some going all the way back to 1973: "The first two are apparently from his band "Zobus" which was his earlier band before the Shitheads." All 3 volumes contain text files with useful notes. Longtime sidemen Richie Hass (vibes) and Scott Colby (slide guitar) are featured. Sound quality varies, but is generally pretty good, considering.

The first folder "Zobus - the first demo - 1973" is the early stuff. In 1973 Zoogz would have been a mere 20 years old, and still in New Jersey, before he made his name in Los Angeles. If you're used to the thorny complexities of Rift's music, this stuff may surprise you - it's as much garage-rock as anything else. His style may not have gelled yet, but his attitude certainly had: the punk-before-punk "Rock 'n' Roll" has him and his bandmates howling: "I'm sick and tired of rock 'n' roll, so fuck you!" Elsewhere, there's "Jugular Vein," a Sun Ra-like freeform freakout; a latin music/Santana parody; an almost respectable bit of fusion with the not-so-respectable title "Not Drenched In Farts;" tape tomfoolery; Moog mania; and an acapella shouter, with the band exclaiming: "We've run out of ideas!" Fun, funny, and certainly unpredictable. The man was well on his way.

"Zobus 1975-1977 - Lovely Girl demo and rehearsals" is the next folder, and it's sounding better, more professionally recorded. "Would You F-I-B to the FBI" is a brilliant oddity, a Chipmunk-style novelty that turns into a circus waltz. "Tits and Ass" is cool, if a bit too obviously derivative of its inspirations: Zappa-esque lyrical crudity + Beefheartian growly vox and bluesy rock. Some of the soloing on the 6+ minute instro "Can't You See That B Can Be C Flat ?" is questionable, but is more than made up for with "Inside My Head There's A Vacuum," a live (but well-recorded) 17-minute groover from their last Jersey show before heading west. It's a downright sample-able funk-fest, with some real tasty Haas marimba solos, and spoken word nuttiness: "What do you think it's gonna be like when we finally get to California and show them our avant-garde weird music to the record companies?" "It's not gonna be any different."

"1978-1979 - Outtakes and alternates" features versions of a number of songs that did get released on a proper Zoogz album, "Idiots on the Miniature Golf Course", as well as songs that didn't make the album, inc. another version of "Would You F-I-B to the FBI", and the cowboy piss-take "The Man Who Slugged Your Mother" (did county bands ever actually use vibraphones?) No longer known as Zobus, they're Zoogz Rift's Micro Mastodons, and their playing is as tight as a drum. Loony guitarist John Trubee is now on board. Next stop: SST Records, and '80s college-rock notoriety.

Zoogz Rift - rarities

Funny (or not) - just as I was listening to this stuff today, I checked my email, and learned that Mediafire had taken down two albums from this blog. Two of those Zoogz Rift albums that I posted couple years ago.  What timing.  I'll try to get 'em back up soon.

More Experimental Music From A 3-Year-Old Girl...

...tho I think she's at least 4 years old by now. Anyway, Stinky Picnic's long-awaited (by me, at least) follow-up to last years' swell "Cockles" has dropped, and it's even more swell. So swell, it is practically swollen, with more of dad's psychedelic minimalistic grooves and his girl's lyrics about monsters, birds, lizards (and the smelliness thereof), and, er, "bear mummies." And she can count up to 22. "...nearly 100% improvised live using loop pedals and piles of instruments." "Cat Collar" has such an ill groove that even those poor souls allergic to the charms of cute li'l girls will be nodding their heads to the shoegaze-y beat.

Stinky Picnic "Peaceful and Quiet"

Pops sez: "Indigo said we should call it "Peaceful and Quiet" so that when people hear a track like 'Brains' they'll "totally freak out"! Man, I love that girl o'mine..."  I feel ya, dad: yesterday, my daughter was singing "Old MacDonald" over an instrumental version of "Twinkle Twinkle Little Star." Baby's First Mashup! And she was making up lyrics about critters I don't recall being on Ol Mac's farm, like butterflies (..."with a flap flap here, a flap flap there..."). Already showing a healthy disregard for musical traditions.

A STONER'S TRIBUTE TO CARL SAGAN (Milvia Son Records Sampler)

I've passed the 1000 posts mark. And boy are my fingers tired.

On to 1001! Milvia Son Records from up in the Bay Area sent me a batch of their vinyl-only goodies, and the first thing you should know about 'em is that they've released an album by Can's first singer Malcolm Mooney. If that doesn't automatically score cool points, what will? They didn't send me that one (it sells itself, presumably), but there's other fun to be had in their catalogue of "head music" that bears little resemblance to most psychedelia or stoner rock currently being made.

Milvia Son sampler

1. Bad Drumlin Grass "All Night Long" - Bad grass? Actually, this New Wave-y tune from a 7" is made from good stuff, like synth farts and nonsense vocals. And nekkid ladies on the cover!
2. Bad Drumlin Grass  "Can Do" (excerpt) - Speaking of Mooney-era Can, I was digging this lengthy jam, the opening track to their album "The Invigorating Scent of …" and it reminded me of Can's "Yoo Doo Right." Then I checked the song title. So probably no coincidence. The song "Out on the Tracks" is an ill synth jam; the album gets increasingly jazzy/trippy, less groove-y as it goes on and the chemicals kick in.

3. Bob Frankford "O Carl" - Totally ridiculous ode to Carl Sagan sung (?) over a mangled recording of the theme to Sagan's tv show "Cosmos." I shouldn't love this, but I really do.  From the four-track 7" sampler "Just a Little Bit of Milvia Sun," which includes a pic of Dr. Carl, and a lengthy quote allegedly from the famous astronomer himself describing how great smoking pot is, e.g.: "Experiencing orgasms while high and listening to music, particulary electronic or 'psychedelic' music, is one of the greatest pleasures of my life.'  Wow, did he really say that?
4. Jaki Jakizawa " Period Fart" - All of side one of Jaki's album is super cool disco electro improv - like Giorgio Moroder goes free jazz.  I spent part of the '90s looking for anyone who was doing to synths what Coltrane did for the sax, what Jimi did for the guitar, and not coming up with much besides Sun Ra. A much-welcome approach to the synth. The flip is drum-less cosmic electronica recommended to Tangerine Dream fans. And there might still be a few of them left.
5. Old Yeller & The Pigbites - "The Wreck of the Jerome Garcia"/"Handsome Stranger" - This no-fi mess of acoustic guitars and vocals piled on top of each other makes Daniel Johnston sound as polished as Celine Dion, but some gems do rise thru the muck. ("Handsome Stranger" = Not Safe For Work.)

By the way: If you are a Can fan, the new "Lost Tapes" box set really is a treasure-trove, not just a hodge-podge of leftovers, crappy-sounding live tracks, demos, etc, as these types of collections usually are.

ALBUM DU JOUR #9: Eno: The Lost '70s Pop Album

No, this isn't an actual album, but a collection of b-sides, bootlegs, and appearances on other artist's albums from Bri-Bri's glam-rockin' heydey.  It would have made a great album, tho, for fans of the man's "Warm Jets"-to-"Before And After Science" song-oriented work, which would include, I would imagine, most of you-all at some point in your lives. I'm surprised that Eno or his labels have never put together a collection like this, seems like a natural. As he is one of the most famous/popular avant-rockers in history, you think they'd be trying to milk it they way they're doing with the Velvet Underground.

No ambient stuff here.  The Cluster tracks are certainly atmospheric, tho still actual tunes with vocals/lyrics.  The three tracks from "Peter and the Wolf" are instrumentals, but they rock - Eno going nuts on the synth, like his solos on Roxy Music songs like "Editions of You."

"Qu'ran," which sampled Muslims chanting from their holy book, was included on the original pressings of "My Life..." (I still have my old vinyl copy!) but not only was it not included as one of the many bonus tracks on the 25th anniversary re-issue, it's not even mentioned in David Byrne's otherwise thorough liner notes. Them Muslims must be scary...

Eno: The Lost '70s Pop Album

1. Seven Deadly Finns [single, 1974]
2. The Lion Sleeps Tonight (Wimoweh) [single, 1975]
3. Big Day [from Phil Manzanera's "Diamond Head" 1975]
4. Miss Shapiro                   "
5. The Paw Paw Negro Blowtorch [live, with The Winkies 1974]
6. Totalled [live, with The Winkies 1974 - a radically different version of this song would appear on 1975's "Another Green World" album as "I'll Come Running"]
7. Fever [Peggy Lee cover; live, with The Winkies 1974]
8. Baby's On Fire [live, with Kevin Ayers, John Cale "June 1, 1974"]
9. Third Uncle [w/Phil Manzanera's band "801 Live" 1976]
10. The Fat Lady Of Limbourg  "
11. Wolf [from "Peter And The Wolf" various artists inc Phil Collins, narrator: Viv Stanshell, 1975]
12. Wolf and Duck                   "
13. Wolf Stalks                        "
14. Luneburg Heath [w/German group Harmonia featuring Michael Rother from Neu!, and Cluster, from "Harmonia 76," unreleased until 1997]
15. Broken Head [from "After The Heat" w/Cluster, 1978, initially a somewhat hard-to-find import-only album in the US]
16. The Belldog                       "
17. Tzima N'arki                      "
18. R.A.F. [w/Snatch, "King's Lead Hat" b-side, 1978]
19. Qu'ran [w/David Byrne, from first pressings of their album "My Life In The Bush of Ghosts," recorded 1979, released 1981]

Thanks to pj for the artwork!

ALBUM DU JOUR #4: POLLUTING THE MAINSTREAM

The Eagles!  Fleetwood Mac!  Styx! Marie Osmond! That's the kind of stuff I listen to now.  All that weird, experimental stuff - what was I thinking?  Writing a blog about music that so few people care about...what a sad lonely life I've been livin'...  Well, forget that, I'm gonna be NORMAL! And what a relief it is, lemme tell you - I'm gonna hang out in sports bars, watch "American Idol," stop listening to college/public radio and keep my dial set on AM talk from now on.  Hall & Oates!  Chicago!  Muthafuckin' ABBA!  Hell yeah, where's my pink Izod shirt and penny loafers?!

This playlist is no joke.  All the artist represented here making crazed noise, goofball novelties, flipped-out weirdness, and self-indulgent nonsense are the very same acts who made all those familiar mainstream hits (granted, including Joey Ramone here stretches the definition of 'mainstream' a bit).  See? The Beatles weren't the only superstars to have a "Revolution No.9" in them.


UPDATE 12/2/12: Now on Zippyshare, for those of you who had trouble with Mediafire 
POLLUTING THE MAINSTREAM

I was going to go into explanations about how these oddities came to be, like how that's Robert Fripp (!) playing on the Hall & Oates, how "Mother" was the only song by the Police that I loved, etc., but I think it's best for you to just listen to this and be amazed - play it for your friends and see if they can guess who's who.

1. Chicago "Free Form Guitar"
2. Donovan "The Intergalactic Laxative"
3. The Eagles "The Greeks Don't Want No Freaks"
4. Fleetwood Mac "Somebody's Gonna Get Their Head Kicked In"
5. Frank Sinatra "Reflections On The Future In 3 Tenses" excerpt (by Gordon Jenkins)

6. Hall & Oates "Alley Katz"
7. Heart "Hit Single"
8. Debbie Harry "In Just Spring"
9. James Brown "The Future Shock Of The World"
10. Marie Osmond "Karawane"
11. The Police "Mother"
12. Nirvana "Montage of Heck Part 1"
13. Nirvana "Montage of Heck Part 2"
14. Prince "Bob George"
15. Buddy Holly "Slippin' And Slidin' (sped-up version #1)"
16. Styx "Plexiglass Toilet"
17. Joey Ramone "The Wonderful Widow of Eighteen Springs"
18. Toto "Robot Fight"
19. Van Halen "Strung Out"
20. Willie Nelson "Cowboys are Frequently Secretly Fond of Each Other"
21. Abba "Intermezzo no.1"
22. Alice In Chains "Love Song"
23. Cat Stevens "Was Dog a Doughnut?"

Cz-, Cz-, Czech It Out: The Prague-Rock of Už Jsme Doma

Už Jsme Doma (that's easy for you to say) is the greatest Czech band that I know. Granted, they're just about the only Czech band that I know, since I have never Czeched out (sorry, I'll stop now) The Plastic People of the Universe, tho I know I should.  (Robert Christgau says that The Plastic Peeps are his favorite prog band, so that probably put me off them a bit.)

These crazies hit the American college radio scene with this 1990 release and subsequent tours, and appear to still be going strong. "Uprostøed Slov" is an ADD-riddled affair that unpredictably veers from complex prog, to Residential high-voiced silliness, to hardcore punk - and that's just in the first song. What sounds like chimes, penny whistle,  violin, and marimba compete with aggressive rock instrumentation, and vocals that range from operatic to punk shoutiness. There's a humorous air to the performances that leads me to think that their lyrics are probably pretty funny, too. (Can anyone confirm?) Listen to, say, "Soubor opatøení" if you think you don't like "progressive" rock. It is some whacked-out, fun stuff - prog you can pogo to.

Už Jsme Doma: "Uprostøed Slov"

Central/Eastern European pop/rock seems to be either the cheesiest of Eurovision/schlager pop and techno disco, or, on the other hand, complex classically-inspired metal/prog rock and jazz. Is there nothing in the middle? Poland's Gameboyzz Orchestra spring to mind with their nutty video-game pop, but otherwise I'm stumped. Maybe the trashy fun of (some) American music is a reflection of our trashy culture. Or maybe we're just too dumb to know how to dance in 14/8 time...

Captain Beefheart Karaoke Party: "Clear Spot"

As with the "Lick My Decals Off" post from a couple years ago, here are the instrumental tracks from a Captain Beefheart & His Magic Band album. In this case, it's the 1972 release "Clear Spot." An oddity in the good captain's catalogue, this one alternates the usual mad genius of songs like "Big Eyed Beans From Venus," (one of my favorite songs ever, not just by Beefheart) with attempts to be normal and commercial, tho there's nothing as egregious here as his mid-70's "Tragic Band" period. My eyes popped out when I was scanning the booklet to a recent Buckwheat Zydeco album, and saw a Captain Beefheart writing credit.  Yep, Buckwheat covered the perfectly presentable soul 'n' horns workout "Too Much Time" (tho the instro version is not featured here.)

In any case, it's another opportunity to revel in the complexity of the musical arrangements. Sing along with the Cap'n!

Captain Beefheart: "Clear Spot" Instrumental Tracks

1. My Head Is My Only House Unless It Rains
2. Clear Spot
3. Crazy Little Thing
4. Dirty Blue Gene
5. Big Eyed Beans From Venus
6. Frying Pan
7. Sun Zoom Spark
8. Nowadays A Woman's Gotta Hit A Man
9. Low Yo Stuff
10. Booglarize

The "fucking intense evil violent scary witch music" of Phantascist

The Butthole Surfers, early PiL, The Birthday Party, Pere Ubu, Flipper - heck yeah, I used to love those loonies puking up free-form psychedelic chaos. Some of the best '80s college rock, tho doomed to commercial oblivion, and unlikely to be inducted into any Rock 'n Roll Halls of Fame. A style revived, and expanded upon, by North Carolina's late Phantascist, described by former member Boogie Reverie thusly: "...we terrorized the white-bread squeeky-clean 'indie rock' scene in Chapel Hill for a good couple of years, all the while taking loads of acid, setting stuff on fire, throwing raw meat, performing nude and getting kicked out of clubs. Miss those days! ... Our albums are a bit more on the arty/exploratory side, while our live recordings are fucking intense evil violent scary witch music (no joke, we actually scared people; it became an issue)."

Lucky you, he gave us all their recordings to post. The Diamanda Galas influence listed below is for real - the female vocalist really does sing opera style!  There've been no shortage of noisy guitar and free jazz bands over the years, but throwing opera vox into the mix has got to be a first (and if there are more, I'd love to hear 'em). Anyway, Boogie Reverie lists the contents as follows:

"Phantascist was -
Sara Bloo - vocals, alto sax, percussion
Julion S. - bass, cello, percussion
Boogie Reverie - guitar/drums [at the same time!], keyboards

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'Wouldn't You Like To Know' - Our first record. It's kinda rough, playful, ugly, noisy. We were obsessed with Sun Ra, Diamanda Galas, Throbbing Gristle, Sun City Girls, The Birthday Party, and The Cows. Tracks 3 and 8 are accompanied by our friend Tom on keyboards. ["Great Freight" is my pick hit off this album - great bass line grooves along, as an opera singer loses her marbles.]
'Phantascist Live 2-19-2010' - This is a twisted raw performance we did at a house show in Chapel Hill when we started to break into the local noise/industrial scene. It was right after we recorded Wouldn't You Like To Know. The sound quality is poor, but it's a fairly accurate representation of what we were like live. [It does indeed get a bit spooky.]

'Gratitude' was our second record and really is just one 45 minute live jam divided up into three epic tracks  with freaky sound-collages weaving in and out of the music. It's meandering and noodly; not everyone's cup of tea, but it's my favorite of our two albums. It just gets weirder and weirder as it goes. At this point we were moving away from the noise-rock/punk influences and were going for a more epic post industrial jazz sound." [Fave part is 2: starts off groovy with bass melody + jazz sax skronk til the 7 minute mark when it goes into overdrive; love the bass that comes in around 10 minutes]

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To both files I've added a song from Boogie Reverie's new solo album, "Hip New Wavicle of The Unscene Star." It's "pop," not improv/noise, with song styles ranging from wonderfully retarded spazz rock to almost Beach Boys-ish vocal harmonies.


Phantascist1 - "Wouldn't You Like To Know," + 1 Boogie Reverie song

Phantascist2 - "Gratitude" "Live 2-19-10" + 1 Boogie Reverie song

ZOOGZ-APALOOZA

Last year I posted 10 albums, one a week, by the late, great Los Angeles loony Zoogz Rift and his Amazing Shitheads.  Our best-est new pal in the world myxsoma has sent us eight, count 'em, EIGHT more albums from the mad genius, including some tracks from his hopelessly rare (and awesome) first album.

Tho he's usually considered to be a disciple of Zappa and Beefheart, Rift himself has said that it's more complicated then that: throw in The Bonzo Dog Band, punk, free jazz, retarded novelty records, avant-classical, etc., etc. The hilarious, crazed, uninhibited nature of His Zoogzness can't readily be compared to anyone else.

WARNING: some tracks are missing from the earlier albums. These are not all complete, at least not the first two or three albums.  And it's all 128kbps. But I'm not complaining at all - it's still a whopping 6 hours of music, and it all rules. Some of these were cassette-only releases that Zoogz didn't want to re-issue when he went big time (by indie standards) signing to SST Records.  I have no idea why.  It's all really, really good, with every album flying off into myriad, highly original directions - from blues played on xylophones, to crazed rants, to atmospheric instrumentals. Some individual songs, however, were rescued from these tapes for his more high-profile album releases, so there are a few (but not a lot of) duplicates if you downloaded all those other albums.


Zoogz1: INTERIM RESURGENCE (1985),
VILLAGERS (1992)
Zoogz2: from WITH NO APPARENT REASON (1976),
 MUSIC SUCKS (1982)
 Zoogz3: FIVE BILLION PINHEADS CAN'T BE WRONG (1996), SCHOOL OF THE CRIMINALLY INSANE (1999)

Zoogz4: BOHEMIAN BUDDHA (2000)

Zoogz5: BORN IN THE WRONG UNIVERSE (2003) + a 45 minute long track from "school of the criminally insane" that I couldn't fit onto 'Zoogz3.'

Much thanks to myxsoma - go check out his lovely music, videos for his music, his nutty YouTube channel, and dig the video (right) he posted of Zoogz' song "Bowl of Gregmar" featuring a photo autographed by the man himself.

Big Eyed Beans From Venus

Yes, Virginia, there really is a Captain Beefheart tribute band. Even more improbably, they're really good. And you thought tribute acts were all cheeseball 'classic rock' bar bands.

As the Southern Shelter guy says: "Big Eyed Beans From Venus have obviously put in tons of work (there’s really no way to half-ass Beefheart’s music)."

This Athens, GA crew even got actual Magic Band members to sit in, like Rockette Morton, who played on early classics like "Trout Mask Replica." Dig this 20 song show, recorded live, with excellent sound quality:

Big Eyed Beans From Venus 11/16/06 @ Five Spot

Bernie Sizzey: Music For Shock Treament Lounges

Today's post is a big one, but this is a big discovery: a prolific outsider artists' complete works now available for free download. Meet Bernie Sizzey (aka Bernie aka Solitaire): mental patient, transvestite, drug user, coprophiliac, and, more importantly, singer/guitarist/keyboardist/ lo-fi home recorder and songwriter for 30 years now of everything from instrumental ambient space-rock, to unrepentant lysergic trip-outs, to confessional ballads detailing his life in catchy, upbeat songs that are never feeling sorry for themselves. He hasn't been dealt the best hand in life, but you won't hear him complain. (Well, unless maybe he runs out of pot.)

He was discovered by electronic/experimental musician Lee Ashcroft, whom some of you mashup fans may remember as "Mixomatosis." Lee writes:

"I have my friends at Colchester Arts Centre to thank for introducing me to Bernie's world. It was 2005, years before I'd heard the term "outsider music", and I went to see Matt Elliott from Third Eye Foundation live. Leaving the venue I walked past a table full of hand-made CD-Rs. Stained by tobacco and cannabis smoke and leaves, they each bore the name Bernie Sizzey. Bernie was nowhere to be seen but, after being told the Arts Centre was the only reliable place to find these discs (a fact that remains to this day - you won't find him on Bleep.com), I was told to "help myself". Few others did.

This was raw, powerful music. Through the haze of psychedelia, it seemed that one man had encompassed pop, rock, trance and hip-hop into a single, unique sound. At one moment he could be rapping about the Avon lady, the next singing a ballad to his mother, who put her son up for adoption mere days after giving birth. He had made his life an open book, and channeled his demons into some of the most exciting music I'd ever heard.

I wouldn't meet him for another four years. Arts Centre staff had told me he could often be found sitting on a wall opposite the centre, behind the local Mercury Theatre, wearing ill-fitting women's clothes and drinking special brew. And sure enough, walking through town one day, there he was. So excited to discover he had a new fan, he hastily put together a box-set of his entire repetoire from 1981 to 2007. Knowing this box-set, 'Be Kind, I'm Cute', was released in an edition of precisely two copies, I offered to put the contents online.

Finally, after two years of ironing out the myriad glitches present on the discs (some the result of poor-quality audio leads, others the result of the aforementioned drug leaves), I placed the entire collection, including materail released since, onto Bandcamp. Why am I doing this? Because this needs to be heard. All outsider art is important, because it avoids all commerical thought process. Art is often defined as something which lacks a genuine purpose. Outsider art has a purpose, if not for its audience, then for its manufacturers. It's art that exists not because it wants to, but because it NEEDS to.

Bernie's music is vital, and deserves to be heard. I consider it a real priveledge to be able to share it with the world, because I know that whatever problems Bernie faces in his life, knowing his music has an audience is something he can take a lot of comfort, satisfaction and pride in. No amount of money can achieve that.

Lee Ashcroft, January 2012

PS. Matt Elliott was unavailable for comment."

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The following text is edited from emails and transcripts from Bernie:

"Hello Mr Ashcroft. Testing, testing, hello Mr Ashcroft and the nice guy, kind guy that wants to do this (that's you Mr Fab!)... I dont understand what a blog is, see? um... right. Biography. Born 28th April 1964. I was adopted nine days later by a couple, Mr Henry and Barbara Sizzey. I used to live up Layer Road, my mum was born up there. My dad used to live in Ipswich, then to Langham. Um, that's my dad, my adopted dad. I'll tell you about the social work slags later but um...

Yeah, adopted when I was nine days old. My mum and dad were really good people. They brought up three of us children. We were all other people's children that they brought up. We grew up with an Alsation, Sheena, and then Max when Sheena died. Lived in Brightlingsea, although actually... my mummy never wanted to know me. It will remain nameless. Don't really know if I want to see her. She got rid of me once. Don't really know... anyone if... if I could stand to get rejected by another human being again like that. But my mum and dad brought me up.

Oh yeah, the social workers, they said you can look up your blood family, which I gave them the name of, and they said "but you can't look up the Sizzey family, 'cos they're not blood related, and you couldn't do that. It would be against the law," and I said "up yours, social worker"...

Yeah, um, got hurt terribly by a woman. My first girl really, up the Colne High School up there in Brightlingsea. I think it's called the Colne Community College now, or something. I went there... started there in 1976...I asked a woman... gave her a letter and stuff... that girl in my class, in my form room... if she'd um, we could like get it together. She was really posh and that, and big arse and stuff, and... you could have cut the atmosphere with a knife for the next three years. Didn't tell my mum. My mum said "did you go out with her?" and I said "yeah." But I said "she don't wanna meet you" and stuff. So I lied blatantly to my mum and kept everything in after that really.

Later, I had some good friends around me though, and uh, but later I got into, like, a bit of coprophilia and scat and stuff in the local bogs [toilets]. I could even get a few... TICs with washing lines and stuff and a few shoplifting in Woolworths. Couple of Clash tapes and things, and Buzzcocks and that. They used to keep them in the cases in them days! Ha ha!

Anyway, moving on from that. I did have a girlfriend about a year later when i was 13. 13, 14. Carol. She was a bit plain for me. She's a nice lady and... went back to school after the summer and she weren't there. Apparently she'd move on, anyway. I took it pretty badly, after the other girl as well, who'd turned me down. And um... really things took a bit of a nose dive after that. Always had a sick note for school. Always had a sick note for sport, and that. I hate sport.

Cut a long story short: About the age of 15, started playing guitar. Picked up my sister's one. It was nylon. I put steel ones on it which cut into the neck, but it still worked. I learned how to tune it to itself, and... I still don't keep it in proper, classical tune because they're all up themselves. Tune it how I want. Anyway... started having a group called Rohan. AJP, who's on 'Reel to Real', I think he's a radiotherapist now up there in Peterborough...Haven't got a lot by them anymore, all the tapes have got lost, but I have got the two songs off 'Reel to Real' that I done with AJP...They used to say "don't bring Bernie," you know, because I was obviously so strawn away and that, and dirty and that, that they just didn't want to know. So that was the end of Rohan.

Aged 16, got into Severalls. By the age I was 21, I'd already had ECT [electro-convulsive therapy aka electro-shock]. Had ECT on my 20th birthday! 21st April 1984, we all know what I was doing that morning. Getting a taxi, a paid taxi into Severalls... we was very poor though, so we got a... hospital taxi took me there.

Realistically, it was just drugs, drink, special brew. Not many girls. Couple of lays, but no actual girlfriends until I started making my music. This doctor, this psychiatrist just turned my guts so much that I felt I had to write her a few love songs, to be cute to her, and tell her she can always kidnap me, keep me in a cupboard and kill me. "How much is it?" So I made a few songs, then when I wrote 'Beacon' on 'The Game so Far', sent it to all the neighbors, hey bingo, Vanessa said she loved it. Rest of then 'til now's been history. I've been loved. I've learned how to communicate. I really love that girl Vanessa. And just recently I've got Bandcamp... and Lee's been absolutely fantastic.. you (you Mr!), you kind man, good for you. If you ever need anything sucking, come this way. I mean... I didn't mean that! I mean... if you ever need... ah, bottom."

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And that, I believe, marks the first offer of oral sex I've received on this blog. And it's about time! Anyway. Ladies and gentlemen, with no further ado, may we present:

The Complete Works (So Far) of Bernie Sizzey

Where to begin? Lee recommends the "Flux Transmissions" album, and I'd add his sampler "Hippie Scat." "Flux" contain gems like "Dream-Conduit," and the winning bubblegum of "Spinning Top!!" "Scat" is packed with hits like his insanely catchy and funny "Smokin' and Trippin' Song," the 1:30 long should-be-garage-rock-classic "Her Favourite Rubbish," an ode to a "psychedelic Avon lady in the sky...", and "Friends Forever," a great bit of space rock disco - imagine Chic covering Hawkwind. The lyrics to "Slave Shuffle" hints at the darkness in his life ("am I just a basket case/not fit for the human race?") even as the New Wave synth-pop music sets toes happily tapping.

It is these older recordings, sometimes released under the name "Solitaire," that are the most intensely personal, lyric-driven tunes, written in an informal, off-the-cuff manner, as if an uninhibited neighbor stopped you on the street to tell you what happened to him today and to share old stories. Pick hits from "Bit By Bit": "Days," "Garden" (a tribute to his recording engineer!), and "Squeeze," and from "The End Of The Game": "Moonshine Man" (about his dealer), and "Hippie Scat," which details the stupendous amounts of chemicals he ingests. Which leads to this chicken/egg question: did his mental problems/hospitalizations result from his drug use, or are the drugs a way to help him cope?

More recent releases such as "Hard-Wired," the pointedly-titled "Music For E.C.T. Lounges," and the more dance-y "Dementia Praecox" are mostly instrumentals in the Pink Floyd/Tangerine Dream school of head music. Recording quality, tho still a bit lo-fi, is definitely improving.

Much thanks to Lee for allowing us the opportunity to be the blog that gets to introduce Bernie to the world. As Bernie says, "Have a nice trip!!"

My Writing-Fu Skills Are No Match For This Album...

...because I'm at a loss as to how to describe it. It's great to encounter music that fits no known genre until you're the fumbling fool trying to review this 1993 release by German composer Helmut Neugebauer and his band Die Vogel Europas. But (*cracks knuckles*) here goes:

Mainly guitar and drums making a kind of fractured funk, like two Gang of Four records playing at the same time at 78 rpm...but with jazz sax that suggests a European Capt. Beefheart...er, more like a Raymond Scott/Carl Stalling cartoonish craziness...only with sampling and industrial-like sounds, but it's not industrial music, really....well, maybe in the Foetus sense, but it's kinda proggy, what with all the unusual time signatures and complex songwriting, only done more in the spirit of an exuberant Eastern European dance than some show-offy prog band...
I think I've embarrassed myself enough. But, hey, the Allmusic guy describes it as 'unclassifiable,' so there, it's not just me. He also says that "It's a classic and deserves to be heard by everybody."

Helmut Neugebauer & DIE VÖGEL EUROPAS - Short Stories


p.s.: Elliot Sharp plays on this album, I bet some of you have heard of him.