30,000 views may not be a milestone for many blogs. But, for a blog like this which was intended mostly as a record of what I’ve read, the fact that I’ve had 30,000 views is pretty exciting. And it seems appropriate to let you, the readers know what you the other readers have been reading here. So, here is the top ten most read posts on I Just Read About That… with a director’s commentary tacked on.
1. 819 views Gordon Korman–Son of the Mob (2002) SOUNDTRACK: GORDON LIGHTFOOT-The Complete Greatest Hits
I’m pretty much 100% certain that Gordon Lightfoot is NOT the attraction that made this post my highest one. Son of the Mob is usually a summer reading book. However, I get hits on this throughout the year. I’m guessing it’s just a popular book.
Even if you don’t speak or understand Swedish, Dungen plays music that is pretty universally understood. The album feels more or less like an all instrumental affair. There are some songs with words, but they are all sung in Swedish. So, no, I have no idea what he’s singing about, and in that respect it feels all instrumental.
Like the previous discs, 4 feels like a blast from the psychedelic days. It is trippy, at times loud and raucous, (with some amazing guitar workouts) and even has flutes on a few tracks.
The big difference between this disc and the previous releases is that there’s a lot more piano. This has an overall calming effect on the music. And in some ways, I think I don’t like this disc as much as previous ones.
The piano really comes to the fore on track 2 “Målerås Finest” which to me sounds like a a tribute to one Zappa’s instrumentals (it reminds me of “Peaches en Regalia,” although I don’t mean to suggest it’s a rip off at all). “Samtidigt 1 an 2” are the major instrumentals of the disc. They also remind me of Zappa in that they feels like a snippet from some crazy guitar jam session. (Zappa releases a lot of “songs” like this on his …Guitar… albums. On this disc, we’re privy to about 3 minutes of wild guitar solo but since they fade in and then fade out at the end we have no idea how long the jam went on. The final track “Bandhagen” also feels Zappaeque, but maybe it’s just the staccato notes that Zappa also uses to such good effect.
“Fredag” has a feeling like some of the more otherworldly Flaming Lips songs. And “Mina Damer Och Fasaner” has a choppy heavy metal sound that really stands out from the disc.
Really there isn’t a bad song on the disc, but for some reason it doesn’t move me quite as much as the others. I don’t want to bring a negative vibe to the review. I’m sure if this was the first Dungen CD I had, I’d think it was amazing, I just got spoiled by them.
[READ: February 14, 2009] More Information Than You Require
John Hodgman is a man you will no doubt recognize from the Mac Vs PC ads (he’s the PC). He’s also a contributor and guest on The Daily Show. When this book was released he promoted it on The Daily Show, and on the Sound of Young America. It sounded really funny. And I was delighted that Sarah got it for me for Christmas. (more…)
Late on the bandwagon with this soundtrack. But then, I only really watch movies on TV these days, so I’m often late to the bandwagon.
Anyhow, this soundtrack was a darling in the alternative universe, and with good reason. It’s a charming collection of mellow rockers, and it suits the film quite well.
The main artist here is Kimya Dawson, formerly of the Moldy Peaches. She contributes six solo tracks and one song with the Moldy Peaches. Kimya’s solo work is very lo-fi, it sounds like she’s singing in her bedroom. Her voice has a tone that she doesn’t care if she’s in tune, and yet she always is. There’s usually some kind of multi-tracking on each song (backing vocals or some such) that belie the lo-fi-ness of the songs, and yet they all sound like they were done in her bedroom. Her lyrics are either overtly political or broken hearted/relationshippy. Since those were pretty much the only songs i didn’t already know, I was a little unsure about them at first, but I have grown to like them.
The rest of the disc comprised a great line-up of previously released songs: The Kinks: “A Well Respected Man” (this also sets the tone for the record); 2 Belle and Sebastian songs; Mott the Hoople: “All the Young Dudes” (probably my favorite song by a band that I don’t think I’ve ever heard another of their songs); The Velvet Underground: “I’m sticking with You” (the least representative song of a band ever…it’s charming and cute). And, what you would think would blow the tone of the album: a song by Sonic Youth. And yet that song is a cover of the Carpenters’ “Superstar.” It’s one of their mellowest songs and one of my favorite cover tracks ever. The effects they wrangle out of their instruments are great, the tone is amazing, and it even got me to investigate the Carpenters further.
Chances are if you like any of this music, you own most of these songs, but it’s still a great collection of, dare I say it, twee folk rock songs.
[READ: March 4, 2009] “The Invasion from Outer Space”
This was a very short (one and a half pages) story. It begins with everyone watching the skies in anticipation of an imminent invasion from outer space. The anticipation builds as they see lights in the sky. And then a fine yellow powder is dropped all over the earth.
The yellow powder is the extent of the invasion and the townspeople feel somewhat disappointed that the invasion wasn’t more dramatic. That gives away a bit of the story, but really it’s the details that make it rewarding. I rather enjoyed this one.
I’ve been a huge fan of The Cure since my friend Garry introduced me to them circa 1985. I saw them twice in concert, I overplayed Kiss Me Kiss Me Kiss Me, and even got the giant Boys Don’t Cry poster.
And then I grew up. I basically stopped getting Cure albums around Wild Mood Swings (which was only two albums before this one even though it was nearly a decade ago). I eventually got Bloodflowers when a friend said it was very good, and I agreed. But it took me a long time to get this one (I think I was tired of the persistent “last album ever” deal). Nevertheless, I still like the Cure, and I do like this one.
This self-titled disc is very familiar sounding. In fact, it’s as if someone told Robert Smith: make a greatest hits album but with all new songs. And that’s more or less what you get with this disc. It doesn’t have a theme like Disintegration or The Top. There are manic highs and lows all over the album. In fact, on several songs Robert is happy and in love, and on others he will never be in love. Rather than depression, it’s almost all schizophrenia.
It starts in a very downbeat fashion (“Lost”) with scowling, reeling vocals despite him singing about being “so happy and so young.” The mood continues on “Labyrinth” with its sinister, somewhat Egyptian sounding guitar line.
And then you get two of Robert Smith’s upbeat songs, “Before Three” (“The happiest day I ever knew…”) and “Until the End of the World” (“I couldn’t love you more!”). You know they’re happy songs when he drifts into that impossible falsetto. “Anniversary” is one of their dark songs like ” A Forest” with that great Cure drumming tribal drumming. And there’s the single “alt.end,” which is, simply, another great single from The Cure.
The sonic landscape continues with another falsetto song “(I Don’t Know What’s Going ) On.” And then we’re back to the aggrieved and angry “Us or Them” where Robert almost repeats a line from “The Kiss” “get your fucking head out of my world” (the original being “get your fucking voice out of my head”).
The only questionable song is the final one, “The Promise”. And the only reason it’s questionable is that it’s 12 minutes long. That’s not necessarily a bad thing for The Cure, since the aforementioned “The Kiss” is 6 minutes of delightfulness. But I think 12 might be a bit too long. Nevertheless, it lets the album end on an angry, bitter note, just as it began. Symmetry, after all.
I guess I’m still a Cure fan after all these years.
[READ: March 8, 2009] SkyMaul
I heard about this catalog through a plug from The Sound of Young America. They said it was selling cheap on Amazon, so I snatched up one of the last remaining copies.
This catalog is hilarious. Obviously, it is a parody of the Sky Mall catalog that you look at on airplanes when you have run out of everything else to look at, and have no intention of purchasing anything from (unless you are Barney Stinson [I tried to find a link to his Sky Mall compulsiveness, but there are no official ones, so if you just Google “barney skymall” tons of things comes up].
Many parody titles don’t live up to the hilarity they promise. This boils down to a couple of reasons: They are so true to the original it’s hard to tell them apart; they require a deep awareness of the original in order to really appreciate the joke; most people who know they original that well actually LIKE the original, and don’t want the parody.
SkyMaul however, is that rare beast: a parody that is very funny but is also full of crazily inventive and absurd humor. Unlike many of the very specific parodies that exist, SkyMaul allows for across-the-board humor, so it never gets bogged down in finding that “perfect parody moment.”
SkyMaul works similarly to The Onion, in that some of the items in this catalog are direct parodies of existing items (Atheist motivational posters; the first ever Milk vacuum–for when people put unwanted milk on your cereal), and others are simply utter nonsense (like the Llamacycle (a llama with a wheel for front legs, or the Air Straightener “Stop Breathing Disorganized Air!”)).
There were a number of things that had me laughing out loud and thinking of people who would love to read this (Happy Birthday, Matt).
The genius of the book is dividing the catalog into smaller subsections (just like the real thing) which allows them to diversify their products. Some subsections include: The Image Sharpener; The Statuetory (Meeting and Exceeding Your Home Statue Needs); J. Crewcifix (Extreme Religion Since A.D. 33); Tomorrow’s Garage Sale (Filling up you home, office, and storage areas); NASCAR Stepdad; WhadjaGITme? (Toys for demanding kids…); Shemail (Doodads for ladies) [Although that’s not as good as Arrested Development’s designer Shemále]; Heavy Petter (pushing animal product on people]; The Nicest Gift (is to let people deal with stuff on their own); Coming Soon (the store 4 sex toys ‘n’ stuff).
You get the idea of where this catalog is going. And to top it off there’s even a crossword puzzle in the back. This may have been the funniest part of the book, so don’t skip it! Sample entry: Q: Superman’s weakness. A: Chocolate.
SOUNDTRACK: THE FLAMING LIPS-Fight Test EP (2003).
The test begins NOW!
With the success of Yoshimi, the Lips put out a couple of multitrack EPs. The first one was for “Fight Test.” In addition to the title track, this EP features three great covers: “Can’t Get You Out of My Head” is a slow acoustic guitar/timpani version of the infectious Kylie Minogue hit. Despite its slowness, the “La La La” part is still catchy! Next is a cover of the Beck song “The Golden Age.” It’s also an acoustic guitar version. Finally is a cover of Radiohead’s “Knives Out.” It’s not quite as manic as the Radiohead version but it’s still very good.
The next three tracks include a 9 minute dance remix of “Do You Realize??” which is fun enough, if you like that sort of thing. “The Strange Design of Conscience” sounds like it could have been an outtake from Yoshimi. It fits in quite well with the music and themes of the CD. “Thank You Jack White (For the Fiber Optic Jesus That You Gave Me)” is a 3 and a half minute folk song relating the (presumably true) tale of a plastic Jesus that Jack White gave to Wayne.
It must be fun to be able to write a thank you song that thousands of people will hear.
Lots of times EPs aren’t really worth the time, but this is a very good one. The covers are a lot of fun, and you’ll be La La Laing right along with Wayne.
[READ: February 24, 2009] McSweeney’s 30
This issue of McSweeney’s hearkens back to their initial three issues: a white paperback with words in a graphic design on the cover. The cover design is an homage to Obama’s presidency, and has some thoughtful as well as funny lines on it (You Can Take That Canadian Flag Sticker Off Your Backpack Now). It was also printed in Iceland once again (in a nice bid to help Iceland’s economy, which is actually worse than ours) by Oddi Printing.
The contents of the issue are also pretty straightforward: eleven short stories and some occasional art by Jason Polan which ties into the stories. (more…)
The first single from the Lips last album contains three tracks: the title track, “You Got to Hold On” and “Time Travel…Yes!”
W.A.N.D is quite a departure from the previous few records, as it begins with a brash guitar line, one of the harshest sounding songs they’ve recoded in several years. Yet despite that, the lyrics are as positive an uplifting as ever. It sounds like some kind of masterful protest song from the 1970s. “You Got to Hold On” exhibits some of the sounds of the last two records, although it’s not nearly as lush. It seems like it might have been a transitional song between Yoshimi and Mystics. And the final track is a meditation on time travel, narrated by Steve from Blues Clues (he sure does get around…he appeared in Christmas on Mars too).
It was an excellent appetite whetter for the new album.
[READ: February 27, 2009] Echo #10
In Issue #10 we finally learn (although Julie herself doesn’t) just what exactly is all over Julie Martin. We also get wonderfully complex behavior from Ivy–is she sympathetic to Julie, or is she just moving in for the kill.
An intriguing series just got really exciting.
(Wow, there’s not much to say about one issue of a comic book).
There’s so much to choose from to go with this book. And yet, despite how much I loved metal in high school, I really didn’t like hair metal at all. In fact, when looking at the bands listed at the end of this book, there were very few that I own or intentionally listened to.
The bands that I liked in this book were: Ratt and Whitesnake. I also liked Motley Crue’s first two records, but I gave up on them once their makeup went from Kiss to CoverGirl. Nevertheless, I’m not going to review any of that music here, I’m just going to let you soak in the beauty of this book.
[READ: February 8, 2009] American Hair Metal
My brother-in-law received this book for Christmas. And he proudly showed it to me when we were visiting this weekend. I was immediately hooked, and rather than just flipping through the photos as I thought I might, I actually read the thing cover to cover.
So this book is a loving (or so it says) look at American hair metal of the 1980s and 1990s. The book is basically comprised of three things: outrageous photos, hilarious quotes and occasional comments from Blush. (more…)
Okay, get ready. Zaireeka comes as a 4 CD set. With a twist. Each CD is meant to be played simultaneously. So, you get yourself 4 boomboxes hit play at the same time and enjoy!
Each CD has some aspects of each song. So, on one disc you may get some vocals, maybe another has some guitars and sound effects. It all varies per disc. In fact, on one disc, track 6 is given a warning, perhaps my favorite warning ever on a CD: “This recording also contains frequencies not normally heard on commercial recordings and on rare occasion has caused the listener to become disoriented.”
And if you do a search for Zaireeka you will read the gamut of opinions about the disc and its ridiculousness or its social coolness. So I won’t go into that. I will say that one fine day many years ago I tried the experiment. I got 4 radios and synched up all the songs and it worked and it was a lot of fun. I also listened to the set in many different ways: Discs 1-4 individually. Discs 1& 2, discs 1&3, discs 1& 4, discs 2& 3, discs 2&4, discs 3&4 and then discs 1,2 & 3, discs 1, 2 & 4, discs 1, 3 & 4, and discs 2, 3 & 4. Phew. (I had a lot more free time on my hands back then). And since then, I haven’t really listened to the discs at all. Because, well, how often do you get a chance to listen to 4 discs at once?
So, online I found a stereo mixdown version of the disc. I know purists argue that that is simply not the way to listen to the disc, and they have a point…. Many of the effects are certainly lost, and since part of the point of the experiment is that the tracks are going to wobble and go out of synch, the mixdown does ruin the effect. However, if you actually want to hear the songs as songs, not as experiments, the stereo mixdown mix is the way to go (at least until they release the disc in a 5.0 DVD version (which evidently they might…maybe? in 2000, or maybe 2007, or who knows.))
But what about the songs? It’s hard to say that the songs are typical Flaming Lips songs, because that’s not really very meaningful. (Lips songs being off the wall at the best of times). However, the songs are designed to allow the different discs to go out of synch somewhat, creating echoes or even stranger sounds. As such, they are rather meandering pieces, somewhat lengthy, without a lot of heavy beats (that said, there are sections with very loud chaotic drums, they just don’t have other parts to synch up to). But this experiment allows the songwriting to shine through in th emost minute details. And it pays off on their next album in big time.
A track by track rundown goes:
“Okay I’ll Admit That I Really Don’t Understand” opens with a big drum splash and a fantastic bassline. Intermittent piano chords let you know that this song isn’t going to be typical. Fun effects and a swelling chorus add to the ambience. It’s a short song, but it sets the tone for the rest of the disc.
“Riding to Work in the Year 2025 (Your Invisible Now)” starts off in a chaotic jumble, but once it settles down it has yet has another fantastic bassline to start. The middle choral part is really beautiful, although that scream section is pretty jarring/creepy.
As the title, “Thirty-Five Thousand Feet of Despair” suggests, it’s a sad song about a depressed pilot. The effects include a plane taking off. The song is propelled by a heartbeat-like drum, and the echoing voices suit the experiment very well. There’s a “sane” vocal track and an “insane” vocal track.
“A Machine in India” is 10 minutes long. It’s got a long meandering middle section, but the slow keyboard melody remains constant. It’s also the first real occurrence of Wayne’s apparent obsession with vaginas (see Christmas on Mars). It begins sweetly as a nice acoustic song but it explores many sonic areas (according to theliner notes, Wayne and his wife were discussing her menstrual cycle, and that was the jumping off point of this song).
“The Train Runs over the Camel but Is Derailed by the Gnat” begins with a fascinating cacophony of drums and ends in a very sweet “na na na” chorus. In between you get yet another splendid trippy pop song.
“How Will We Know? (Futuristic Crashendos)” contains a shockingly high pitched sound (as warned) and yet the main body of the song is another of Wayne’s folky and very catchy melodies.
“March of the Rotten Vegetables” is probably my favorite track on the disc, despite the fact that it’s an instrumental. It starts with some really interesting squeaky sounds and a cool guitar riff. It morphs into yet another bombastic drum “solo” over a nice piano melody. The liner notes indicates there are bats involved, but I’m not quite sure I hear it.
“The Big Ol’ Bug Is the New Baby Now” is a spoken word piece in which Wayne relates a story about how his dogs treat a stuffed toy like a baby, until they get a “Big Ol’ Bug” which becomes, as you may guess, the new baby. Each disc has different ambient effects. As the song ends, a swelling chorus sings the title until the loudly barking dogs bring an end to the song and the experiment as a whole.
As I mentioned, the stereo mixdown version is one way to enjoy the music. But I must say that even listening one disc at at time can be fun (although really, that comes down to much more of an experimental music experience than anything else). The social aspect of the performance certainly appeals, but I’m pretty antisocial and can’t imagine that I’d ever do it.
If you like the Lips at all but have been afraid of this CD because of how ridiculous it is, it’s probably worth the outlay of funds to buy the set or download a track or two. It’s a fun disc that rewards patience, and, really, the songs are all very good. You could also look for the stereo mixdown, but really, you’d only be getting half the story.
[READ: February 3, 3009] Drawers & Booths
Full disclosure: Ara 13 asked if I’d like to read his book and write about it. I looked up the book on Amazon, and it sounded cool, so I agreed.
Drawers & Booths is a work of metafiction. A simple definition of metafiction, in case you don’t know, is: “a type of fiction that self-consciously addresses the devices of fiction; metafiction does not let the reader forget that he or she is reading a fictional work” (for the full Wikipedia explanation click here.)
SPOILER ALERT: Generally I try not to give anything away when I review a book. Some things are unavoidable of course, but any major plot twists or surprises I try to leave for the reader to discover by him or herself. However, because this book is metafictional, and there are twists, surprises, and massive plot alterations throughout the book, the only way I can review it at all is to give some of these things away. I don’t think I ruin anything for anyone, but tread lightly if you want nothing revealed. (more…)
SOUNDTRACK: THE FLAMING LIPS-Oh My Gawd!!!..The Flaming Lips (1987).
The cover of this disc makes a statement. And it should tell you everything you need to know about the music inside. It’s got skulls and psychedelic colors and Oh My Gawd!!! And yet, it doesn’t, exactly. It’s not quite as out there as the cover might make you think.
Because it’s funny how much this disc’s first song sounds like the Replacements (except where he starts singing about his brains falling out and everything exploding…not quite ‘Mats material). But Wayne sounds like early, sloppy Paul Westerberg, and the riffs are not too far off from some of the early ‘Mats records.
Even the wonderfully titled 9 minute epic “One Million Billionth of a Millisecond on a Sunday Afternoon” isn’t quite as much of a freak out as you might expect. In fact, the early instrumental part is one of the prettiest melodies they’ve done. It is particularly interesting given its sparse instrumentation. The song does eventually drift back into earlier Pink Floyd territory (“Astronomy Domine” etc). But it’s “The Ceiling is Bendin'” that is the freak out you’re looking for, with a fun drum fading and the chaos. “Maximum Dream for Evil Kenevil” on the other hand is a noisy mess (a fun noisy mess, but a noisy mess nonetheless).
It’s clear that they’re doing some good experimentation with audio effects. And yet “Can’t Exist” is a delicate little song with just a light touch of feedback.
The first half of “Prescription: Love” is a rocking instrumental that would not sound out of place as a Nirvana B-side (but since it came before Nirvana, let’s say maybe on an SST Records track. The second half returns to the garage rocking sound (with some funky deep vocals dubbed on…the first of many experiments with voice on future albums).
“Ode to C.C., Pt. 2” feels like it’s going to take of in an explosion but never does. But it has the excellent line “Hell’s got all the good bands anyway.” “Can’t Stop the Spring” is another fantastic riff rocking song, and it starts and end with a classical music sample. [Which I can’t place right now, sadly].
The disc ends with “Love Your Brain,” a 7 minute piano workout –which ultimately ends in the destruction of the room. It sounds like every instrument in the place is destroyed.
So this disc expands the sonic weirdness of the Flaming Lips’ first disc, and it also showcases their growth as musicians. It’s not a brilliant album by any means although it is quite good. The most interesting thing is seeing how much they are experimenting with sounds now, and how it will pay off for them later on.
[READ: Late 2006 & December 2008] Winkie
I read this book two years ago, and my memory of it is not that great. I’m only including it because I really enjoyed it at the time, and would like to make some record of having read it.
UPDATE: I have decided to re-read this book while on P breaks at work. I am now utterly unsure whether or not I read the book fully last time. I have just finished it again, and I was totally surprised by so many things (although one or two things did trigger my memory) that I really had to wonder if I finished it.
So, the story is about a stuffed bear named Winkie. Winkie was a beloved toy of the Chase family and most recently of Clifford Chase [see author’s name now]. As the story opens, Winkie, the stuffed bear, is being tackled by the FBI as they arrest him for terrorist activities. [You can re-read that sentence to see if your brain digested it.] (more…)
I’ve claimed that I love the Lips, but then I was very harsh about their cover of “White Christmas,” and I noted that I wouldn’t listen to the soundtrack of Christmas on Mars very much. So, I felt I owed them some love. But my recollection of their early stuff was that it was pretty weird and hard to listen to.
And yet, I proved myself wrong. Hear It Is is not the Flaming lips of the early 2000’s. It’s almost like the bratty younger brother of that band. Only Wayne and Michael Ivins are present, and the band is pretty much just guitar, bass and drums. The guitar is distorted and noisy (except when it’s acousticy and mellow). The album doesn’t sound too far out of place for a college radio record in the late 80s.
Except of course that Wayne and the boys are pretty out there. The music is psychedelic, acid inspired and quite punk. So you get songs like “Jesus Shootin’ Heroin” a seven minute epic of heavy riffs and screaming, but also of background “Ahhhh’s”. You also get “With You” a song that starts out like a pretty, acoustic ballad. “Godzilla Flick” is a ballad like no other. And yet despite all of the freakouts and noise, really at this stage what you get is a Led Zeppelin inspired heavy garage band having a lot of fun. To say that this is going to blow your mind would be unfair, but to anyone who says the early stuff is unlistenable, they are totally wrong. Hear It Is is sloppy, punky and a little ridiculous, the ideal incubator for what will become the Lips of 2000.
This CD comes with a cover of “Summertime Blues.” This disc was reissued along with their initial EP and some bonus tracks on the disc Finally the Punk Rockers are Taking Acid.
[READ: 1998 and January 10, 2009] McSweeney’s #1
I have been reading McSweeney’s since its inception. (My copy of this issue even has the two page typed letter that explains the failure of Might magazine and the origins of this one. However, it’s been over ten years since I read the first issues. Given my new perspective on McSweeney’s, and how I read just about everything they release, I thought it was about time to go back to the beginning and proceed through the issues until I meet up where I first started reviewing them.
Issue #1 has many features that are absent in later issues:
First is the cover. This cover is simply filled with words; practically littered with them. There are subtitles, there are jokes, there’s all sorts of things (I mean, just look at the full title of this issue).
Second is the letters column. The difference with this letters column compared to most publications is that they are all (or mostly) nonsense. One comes from an author whose piece is accepted into the issue (Morgan Phillips). Another is a funny/silly letter from Sarah Vowell. And there’s a letter to his cousin from John Hodgman (whose comic potential may not have been tapped at this point?). (more…)
30,000 views may not be a milestone for many blogs. But, for a blog like this which was intended mostly as a record of what I’ve read, the fact that I’ve had 30,000 views is pretty exciting. And it seems appropriate to let you, the readers know what you the other readers have been reading here. So, here is the top ten most read posts on I Just Read About That… with a director’s commentary tacked on.
SOUNDTRACK: Dungen-4 (2008).
Vill du tala svensk?
SOUNDTRACK: JUNO Soundtrack (2007).
Late on the bandwagon with this soundtrack. But then, I only really watch movies on TV these days, so I’m often late to the bandwagon.
SOUNDTRACK: THE CURE-The Cure (2004).
I’ve been a huge fan of The Cure since my friend Garry introduced me to them circa 1985. I saw them twice in concert, I overplayed Kiss Me Kiss Me Kiss Me, and even got the giant Boys Don’t Cry poster.
SOUNDTRACK: THE FLAMING LIPS-Fight Test EP (2003).
The test begins NOW!
SOUNDTRACK–THE FLAMING LIPS-THE W.A.N.D. (2006).
The first single from the Lips last album contains three tracks: the title track, “You Got to Hold On” and “Time Travel…Yes!”
SOUNDTRACK: Hmmm….
SOUNDTRACK: THE FLAMING LIPS-Zaireeka (1997).
Okay, get ready. Zaireeka comes as a 4 CD set. With a twist. Each CD is meant to be played simultaneously. So, you get yourself 4 boomboxes hit play at the same time and enjoy!
SOUNDTRACK: THE FLAMING LIPS-Oh My Gawd!!!..The Flaming Lips (1987).
The cover of this disc makes a statement. And it should tell you everything you need to know about the music inside. It’s got skulls and psychedelic colors and Oh My Gawd!!! And yet, it doesn’t, exactly. It’s not quite as out there as the cover might make you think.
I’ve claimed that I love the Lips, but then I was very harsh about their cover of “White Christmas,” and I noted that I wouldn’t listen to the soundtrack of Christmas on Mars very much. So, I felt I owed them some love. But my recollection of their early stuff was that it was pretty weird and hard to listen to.
