Word: claypool
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...Claypool himself has clearly spent more time than is healthy with various species of bass guitar, taking great pleasure in the slinky swoops on a fretless upright before demolishing a bow in a brief three-minute solo. His signature fat, swampy bass sound gives way under his fantastically intricate pluckings, strummings and slappings to raucous lead guitar riffs that leave the actual guitar almost redundantly backgrounded...
Swathed in smoke and murky lighting in the Avalon Ballroom on We. Nov. 13th, Les Claypool hunched over to sing into his distorted microphone. Though he resembles the Child-Catcher from Chitty Chitty Bang Bang, complete with lank hair and bowler hat and a somewhat more modest nose, he is something of a visionary as well. After four decades of bite-sized, digestible songs of appropriate lengths and recognizable lyrics, there may be something of a crisis brewing in certain music circles. What is there left to do? One response is Sigur Ros’ experiments with wordlessness and nameless...
...excuse to add Claypool’s nasal vocals to the Flying Frog’s sonic stew. Songs are extended almost indefinitely, mutating as they go. It’s as though Sigur Ros got very drunk and woke up in Vermont playing blues for rock fans. Claypool even led the crowd in a Viking chant...
...headbanging, caveman-muscled percussionist Mike Dillon (who needed no costume to appear right at home amongst the Frogs), outrageous excess is the name of the game. “I’m scared…this could be sodomy by saxophone…,” warned Claypool announcing a solo by Skerik and a sax-playing buddy who appeared for the song before vanishing back into the audience. A percussion solo between the kit and caveman, one of the centerpieces of the set, lasted a good 15 minutes. The kit looked set to implode on the drummer under...
...correct: “Shadow of a Man” is all about Billy who came back from Vietnam. The brilliant “Pseudo Suicide,” sounds like Jimi back in the afro-haired prime of the Experience. Copeland’s fills are hysterical as Claypool hollers, “There ain’t no cure for suicide!” Anastasio clearly enjoys himself abundantly as well: His tracks “Radon Balloon” and “Birthday Boys” are sublime psychedelic acoustic jams that sound a bit like...