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DVD video |
| 4.593 Ft
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| 1. | The Third Reich 'N' Roll
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| 2. | Constantinople
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| 3. | One Minute Movies
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| 4. | Kick a Picnic
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| 5. | Songs for Swinging Larvae
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| 6. | He Also Serves
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| 7. | This Is a Man's Man's World
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| 8. | Harry the Head
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| 9. | The Gingerbread Man (Concentrate)
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| 10. | Jelly Jack the Boneless Boy
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| 11. | Just for You (Disfigured Night, Pt. 7)
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| 12. | Stars and Stripes Forever
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| 13. | Where Is She?
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| 14. | Burn Baby Burn
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| 15. | Hello Skinny
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| 16. | Bad Day on the Midway (Concentrate)
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| 17. | Bileness Fats (Concetrate)
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The Residents
with guests:
N. Cook, C. Fabrizio, T. Dammit, M. Harvey
Tour Manager: H. Fokker Stage/Light Design: C. McGregor Sound: S. Frasier, G. Chapman, T. Janssen, G. Arts Video Producer: S. Sutherland
The Residents, with the help of their friends, crammed the disc full of newly created material: 4 never-before-seen music videos, video versions of their CD-Roms and a newly restored edit of Vileness Fats, their first-ever video "experiment" - and that's in addition to recording new music for the 100 minute long disc. As usual, The Residents have created a great version of an icky idea: THE RESIDENTS' ICKY FLIX.
This is exactly the sort of thing DVDs were made for. The Residents' Icky Flix collects all of their videos, starting with 1976's "The Third Reich and Roll" and continuing through to "concentrates" of the group's CD-ROMs The Gingerbread Man and Bad Day at the Midway that were completed in 2000. Not only that, the disc adds on a brilliant, terrifying, and impossibly rare video by their Ralph Records compatriots Renaldo and the Loaf, "Songs for Swinging Larvae," and a new edit of the legendary never-completed film Vileness Fats. Most impressively, the separate audio tracks for each film give the viewer the choice of hearing either the original soundtrack for each video or a newly recorded (and in most cases, radically altered) version of the music. Not only that, but the group also created four brand new videos for older pieces of music, including 1978's "Constantinople," 1992's "He Also Serves" and "Kick a Picnic," and 1999's "Burn Baby Burn." The videos are exquisitely restored. "The Third Reich and Roll" is presented in color (previous video collections had featured a black-and-white print; ironically, everything in the entire video is either black or white) with its original end titles. The Vileness Fats footage looks worlds better than it had on 1984's haphazard Whatever Happened to Vileness Fats?, and the tighter edit makes the story simultaneously more linear and more disturbing. The digitally remastered soundtracks are similarly excellent. No Residents fan should be without this disc. ~ Stewart Mason, All Music Guide
For decades, surrealist musical pranksters the Residents have confounded and amused audiences with their inimitable style and stratospherically bizarre sense of humor, and their 1980 release The Commercial Album is no exception. A sort of "top-40" of one-minute ditties (the time representing the average length of a typical television commercial), the release was accompanied by a quartet of amazingly visualized one-minute movies that served as the Residents' introduction to the world. Enlisting the aid of more than 30 contemporary artists to help them bring their original vision into the new millennium, the Residents have crafted ten new one-minute movies. Featuring 56 one-minute masterpieces in all, this undeniably outlandish release finds one of the world's most bizarre bands still in top form over two decades after the original release. ~ Jason Buchanan, 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 |
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