Listen to this track by jam-oriented power trio supergroup Oysterhead. It’s “Oz Is Ever Floating”, a cut off of their sole (to date!) album The Grand Pecking Order from 2001. The song was a highlight on their associated tour around that time, having played it on their Late Night with Conan O’Brien appearance, among other musical locales.
The band was comprised of some very heavy hitters, instrumentally speaking. On guitar and other (sometimes very bizarre) stringed instruments was Phish head boy Trey Anastasio. On bass was Primus main mover Les Claypool. On drums was Stewart Copeland, sticksman for The Police and well-known film and soundtrack composer by the beginning of the century. His film and TV work was his day job, involving very meticulous processes and meetings with directors in order to satisfy its demands. Not very rock ‘n’ roll.
It would take a brash proposal to get Copeland out of film-and-TV-score land, and to get him behind the kit again, a role he’d virtually ignored for almost a decade.
Listen to this track by Oklahoman new-psych art rock trio The Flaming Lips. It’s “A Spoonful Weighs A Ton”, the second track off of their 1999 magnum opus The Soft Bulletin. That album was not only a landmark album in their career, being their ninth. It also became a landmark album for the times as well, a sumptuous and artfully realized goodbye to the twentieth century.
This song is one of many that laid out a new template for the ‘Lips for which they continue to be associated today. On it, they decided to cut back on the guitars a bit, and focus more on varied textures. Part of this was an embrace of electronics, which was a natural progression for rock bands in the nineties. The walls between rock music and electronic music were very thin indeed then, and certainly musically permeable without the artists being self-conscious about it. Another was a more expansive approach to production (handled here in part by the band themselves) and to arrangements that included orchestral instruments, including harp, strings, and gong, the latter played (whacked?) by lead singer and head writer Wayne Coyne when they toured the record that summer. Seeing him wail on the gong live on stage was a musical highlight for me that year.
But, getting back to the idea that this album and this song seemed to be a marker of the late twentieth century, there are certainly threads to follow that tie it to pop music of several decades earlier. Perhaps the most remarkable thing about this song, and about The Soft Bulletin in general is that it captures something that is quintessentially twentieth century; optimism and idealism when it comes to the future. Read more
Listen to this track by San Franciscan psychedelic power trio and heavy metal seed planters Blue Cheer. It’s “Come And Get It”, a cut off of their 1968 LP Outsideinside. The song would help to show off their, um, mettle as a band that specialized in “heavy” music, before many bands explored the range of back to basics loudness in quite this way.
The most obvious comparison for many to what Blue Cheer represented at the time may be the Jimi Hendrix Experience. But, that comparison is mostly cosmetic. Hendrix’s music was about ecstatic excursions that included Dylanesque influences mixed with R&B, and culminating in an outward expansion of rock music as a form. Blue Cheer went the other way; inward, and back.
They went back to the roots of the music itself, their most famous example being their take on Eddie Cochran’s “Summertime Blues”. With that tune, they boiled the song down to its essentials, and turned up the heat (and the amps). A similar approach can be found on their take on the Stones’ “Satisfaction”, on which they took the original, hit it over the head with a lead pipe, kicked it while it was down, went through its pockets for loose change. They did all with the best results.
But, what of this song which is an original composition? Read more