Not Available Featured On. Devo: Influences Apple Music Alternative. Albums You May Also Like. Ege Bamyasi Remastered Can. Off the Bone The Cramps. Even in , post- Captain Beefheart , pre-rediscovery of The Shaggs , this would have come off as heady stuff at best, or at worst a bunch of stoned weirdos banging around a recording studio. Non-traditional musical forms, atonal sounds, off-kilter rhythms. I wish I could say I got into Trout Mask first.
But, here we are. I tend to think of the whole first six tracks as one complete work, with a part that stands well on its own. The boys, probably aided by Snakefinger , slip into a tight and almost funky guitar groove. Does it matter? No, but often attractiveness can play a major part in a band's success. And also, pop music has entirely too little Dada!
Funnily enough, the Residents fix both problems. Not only do the Residents bypass the problem of appearance by never revealing their faces, they buck pretty much every other "rule" of pop music. It moves into some chanting and psych prog instrumentation until a xylophone chimes a ditty and then there are brass blasts before some percussion accompanies.
At this stage all bets are off, this is asylum music and completely out of the box. The real appeal is that this is so dangerously different and ferociously original. It is to be either admired or discarded altogether, there is no middle ground. At 8 minutes in, the track switches to a droning monotone chant with barber shop quartet harmonies.
So ends the debut for the irreverent Residents. They really challenge music itself and will certainly not appeal to all tastes.
But for the brave this is a real ear opener, nowhere near as creepy as albums to come, and I found this to be an entertaining romp; quite a lot of fun in the interim.
The performances are rudimentary, at best. The production is lower than lo-fi. And the instrumentation is so basic it looks almost silly: amateur horns, primitive electronics, clattering percussion, and a cheap acoustic piano salvaged from the dusty basement of a nearby social hall. None of it is played very well, but even at this early stage of the group's evolution there's an obvious integrity to their weirdness Sometimes I think The Residents advance the illusion of being a quartet only because that's the standard arrangement of a traditional rock band, as seen in their cheerfully desecrated portrait of the Fab Four on the album's original front cover.
Don't be surprised by the rare moment of melodic beauty, in the ghostly piano interlude of "Rest Aria" and elsewhere. But the album works best when the band keeps its collective avant-garde tongue firmly in cheek, for example in the mock-operatic vaudeville of "Spotted Pinto Bean".
Side Two of the original vinyl is less effective because it takes itself a little more seriously, never the best strategy for a group of iconoclastic nut cases.
But even here you'll find a startling preview of their upcoming anti-Top masterpiece "Third Reich 'n Roll", in a subversive deconstruction of the Human Beinz chestnut "Nobody But Me". After introducing it as a turntable sing-along, the first verse is quickly sidetracked into a looping mantra that worms its way under your skin and into your DNA: a classic moment of Residential satire.
Forty-plus years later the album is still remarkably strange. To the uninitiated this embryonic effort can sound in a good way like dirty fingernails scraped down a blackboard, almost literally in a song like "Skratz".
But as The Residents themselves all but plead in the original liner notes, "Listen closely to the record. Let the strangeness wear off through a couple of plays. Soon you too will whistle the merry tunes Or else run screaming headlong into the nearest brick wall, they might have added. Either reaction is perfectly acceptable. I have to say I had no idea this was the Nancy Sinatra song that's how much they deconstructed this piece.
The first six songs are all short and blend into each other often making this feel like one piece of music. We even get female vocals on "Breath And Length". During this first section we get lots of horns, electronics, beats and piano all made to sound anything but melodic.
Piano and horns stand out in this one. It's all instrumental from one minute to the end. So not their best in my opinion but a great start to their careers which I understand still continues. Despite having released well over 70 albums up to when one of its co-founders Hardy Fox passed away in , the band has remained utterly unclassifiable as its art expanded well past music and reached into multimedia, CD-ROM technologies and many films.
The band has also been known as one of the most outrageously over-the-top live acts and single-handedly redefined the limits of surreality in the context of record album. Fittingly this debut was released on April 1st, and displayed a Zappa-esque contempt of popular music of the day with the album's famous defaced version of "Meet The Beatles.
There is a clear show tune sort of feel to the whole thing although one where the entire band as well as the audience were tripping on heavy doses of illegal substances.
The world would have to catch up to the bizarre world that THE RESIDENTS would construct but in the ensuing decades the band has certainly gained the respect that it deserves for its brash and unbridled creativity run amok. While this strange amalgamation or pop collage failed to sell little more than 40 albums during its initial release, the magazine Sounds gave a favorable review in and the band slowly but surely became a cult underground sensation and it's not hard to hear why while listening to this.
Despite the bizarre mix weirdness including dog barks for percussive beats, female vocalists chanting with nonsensical words driven by jittery zigzagging rhythms and herky jerky angst, the melodies themselves are quite cute and cuddly and provide the instant connection needed to appreciate this errant world of freakery. THE RESIDENTS were and have always been about being weird for weird's sake and that's what makes them so friggin endearing as they didn't give a flying friggie wig about any trends and went against every grain that they could possibly imagine.
On newer CD releases these four tracks are tacked on to the album and well worth the price of admission.
While these tracks are slightly more primitive with more emphasis on pop deconstruction and hypnotic anti-melodies almost in a no wave fashion, the band took time off between releases to work on a huge film project called the Vileness Fats project. While the band would release too many albums to count over the decades, MEET THE RESIDENTS remains one of my absolute favorites for its untimely boldness that emerged in the musical freedom years of the early 70s but even by the era's standards, this one is about as far out as it gets in terms of unorthodoxies ruling the roost.
Masters of the outlandish quirkiness! The world of avant-rock and experimental rock can be a dark and twisted place, yet no band was able to do it as well as the Residents did with their debut album. The genre can also be near unlistenable, which is what I think many people would feel about the Residents, even prog-fans who apprecia Report this review Posted by Mr. It was on this release that we really did get to meet the Residents, their first official full-length LP. For what it is, this album is incredibly important.Recorded as a break from their film project Vileness Fats, the album was home-produced and recorded throughout with help from fellow musician Snakefinger and based around N. Senada 's "Theory of Phonetic Organization." Its album cover brought the band to prominence, being a parody of Meet the Beatles!, the Beatles ' second US album release.