  |
|
|
 |
|
DVD video |
| 4.593 Ft
|
|
| 1. | Genesis [instrumental]
|
| 2. | God's Business
|
| 3. | Skull Speech 1
|
| 4. | How to Get a Head (Salome)
|
| 5. | Mister Misery (Jeremiah)
|
| 6. | Tent Peg in the Temple (Jael)
|
| 7. | Skull Speech 2
|
| 8. | God's Magic Finger
|
| 9. | Dinah and the Unclean Skin
|
| 10. | Cain and Abel (Cain)
|
| 11. | Skull Speech 3
|
| 12. | Burn Baby Burn [Jephthah's Daughter]
|
| 13. | Fire Fall (Lot)
|
| 14. | Intermission
|
| 15. | King of Kings [instrumental] Residents
|
| 16. | Prayer/American Band
|
| 17. | Skull Speech 4
|
| 18. | Abraham [Abraham & Sarah]
|
| 19. | Bridegroom of Blood [Moses and Zipporah]
|
| 20. | Skull Speech 5
|
| 21. | David, Pt. 1: David's Dick (Michal)
|
| 22. | David, Pt. 2: Bathsheba Bathes [David and Michal]
|
| 23. | David, Pt. 3: Attitude Is Everything [David and Tamar]
|
| 24. | David, Pt. 4: Hanging by His Hair (Absalom)
|
| 25. | Judas Saves [Mr. Skull as Judas]
|
The Cryptic Corporation presents The Residents live in Wormwood Bonn, Germany, July 16, 1999 with guests Molly Harvey, Nolan Cook, Toby Dammit, Carla Fabrizio. This 105-minute performance was taken from a Web Cast for Museumsmeile.
The one-of-a-kind avant-garde rock band The Residents perform live in Germany in this concert release from Music Video Distributors. Recorded in 1999, The Residents: Wormwood includes the songs "Tent Peg in the Temple," "Dinah and the Unclean Skin," "Burn Baby Burn," and many others. ~ Matthew Tobey, All Movie Guide
Residents
Active Decades: '70s, '80s, '90s and '00s
Born: 1966 in Shreveport, LA
Genre: Rock
Styles: Avant-Garde, Experimental, Post-Punk, No Wave, Mixed Media
Over the course of a recording career spanning several decades, the Residents remained a riddle of Sphinx-like proportions; cloaking their lives and music in a haze of willful obscurity, the band's members never identified themselves by name, always appearing in public in disguise -- usually tuxedos, top hats and giant eyeball masks -- and refusing to grant media interviews. Drawing inspiration from the likes of fellow innovators including Harry Partch, Sun Ra, and Captain Beefheart, the Residents channeled the breadth of American music into their idiosyncratic, satiric vision, their mercurial blend of electronics, distortion, avant-jazz, classical symphonies and gratingly nasal vocals reinterpreting everyone from John Philip Sousa to James Brown while simultaneously expanding the boundaries of theatrical performance and multimedia interaction.
It was commonly accepted that the four-member group emigrated to San Francisco, CA, from Shreveport, LA, at some point in the early '70s. According to longtime group spokesman Jay Clem -- one member of the so-called Cryptic Corporation, the band's representative body -- they received their name when Warner Bros. mailed back their anonymous demo tape, addressed simply "for the attention of residents." Finding no takers for their oddball sounds, the Residents founded their own label, Ralph Records, for the purposes of issuing their 1972 debut "Santa Dog," released in a pressing of 300 copies which were mailed out to luminaries from Frank Zappa to President Richard Nixon. Their debut full-length, 1974's Meet the Residents, reportedly sold fewer than 50 copies before the group was threatened with a lawsuit from Capitol Records over its cover, a twisted Dadaesque parody of the art to Meet the Beatles.
The follow-up, 1974's neo-classical excursion Not Available, was recorded with the intention of its music remaining unissued; locked in cold storage upon its completion, only a 1978 contractual obligation resulted in its eventual release. Released in 1976, Third Reich 'n' Roll was the next official offering, a collection of pop oldies covers presented in a controversial jacket portraying Adolf Hitler clutching an enormous carrot. After a 1976 concert in Berkeley, CA which cloaked the Residents behind an opaque screen, wrapped up like mummies -- the most famous of only three live performances mounted during their first decade of existence -- they issued an abrasive 1977 cover of the Rolling Stones' "Satisfaction," which became an underground hit on both sides of the Atlantic at the peak of the punk movement. As the decade drew to a close, the group released a flurry of recordings, further building upon their growing cult following -- among them were 1977's Duck Stab/Buster & Glen; 1979's Eskimo (purportedly a collection of native Arctic chants); and 1980's Commercial Album, a compilation of 40 one-minute "pop songs" that aired on San Francisco radio only because the Residents played them during the advertising time they bought.
In 1981 the Residents embarked upon their Mole Trilogy, a prog rock collection of albums -- 1981's The Mark of the Mole, 1982's The Tunes of Two Cities, and 1985's The Big Bubble -- recounting an epic battle between a pair of tribes named the Moles and the Chubs; a lavish, multimedia tour, The Mole Show, followed. In the interim, the group also mounted another ambitious project, the American Composer series, although only two of the projected titles -- 1984's George and James (a reinterpretation of songs by George Gershwin and James Brown) and 1986's Stars and Hank Forever (celebrating John Philip Sousa and Hank Williams) -- ever appeared. Instead, in the wake of financial and corporate difficulties which resulted in the creation of a New Ralph label, the Residents issued the one-off God in Three Persons (a talking blues outing), and 1989's The King and Eye (a reinterpretation of Elvis Presley standards).
After losing control of the Ralph label as well as their back catalog, the Residents regained the rights to their music in 1990 and began reissuing long out of print material as well as the new Freak Show, a meditation on circus sideshows and carnival dementia. Four years later, Freak Show was reissued as a CD-ROM, marking the group's first leap into the new digital interactive technology; Have a Bad Day followed in 1996, and included the soundtrack to the CD-ROM game Bad Day on the Midway.
In 1997, the band celebrated their silver anniversary with the release of the career-spanning overview Our Tired, Our Poor, Our Huddled Masses. Wormwood: Curious Stories from the Bible followed the next year, with Roadworms (songs from Wormwood as performed in the stage show) being issued in mid-2000. They followed that up with the Icky Flix DVD, an incredibly detailed collection of their videos that featured both old and new soundtracks, 5.1 digital stereo Surround Sound, countless hidden videos, and in-depth histories of each individual track. A subsequent tour incorporated the DVD, while guest singer Molly Harvey joined the band on-stage for some truly creative duets. Several high concept projects followed the 2002 compilation Petting Zoo. The first was Demons Dance Alone, a complicated pop album that recalled the catchier material from Duck Stab and The Commercial Album. The live retrospective Kettles of Fish on the Outskirts of Town contained three CDs and a DVD. Despite the release of so much old content, new material wasn't in short supply. Their releases throughout the latter end of the 2000s' first decade included Animal Lover (2005), Tweedles! (2006), The River of Crime (2006), The Voice of Midnight (2007), The Bunny Boy (2008), The Ughs! (2009), and Ten Little Piggies (a sneak peak at projects in the pipeline, released in 2009). Much of it, of course, was highly conceptual.
---Jason Ankeny, All Music Guide |
|
CD bolt, zenei DVD, SACD, BLU-RAY lemez vásárlás és rendelés - Klasszikus zenei CD-k és DVD-különlegességek |  | | Webdesign - Forfour Design |
|
|
[ PAL ] (???)