Customer Reviews

Live Love Larf & Loaf

5 star:		(1)
4 star:		(3)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

This is an oddball supergroup. You have amazing avant-garde players like Henry Kaiser (guitar) and Fred Frith (here playing bass, like he did with John Zorn's Naked City, though much of his reputation is built on guitar work). You have Richard Thompson, a fantastic singer-songwriter. French I can't comment on, except to say that he can keep up with the others musically and he has a screwball sense of humor.

The album veers all over the place, a mixture of (mostly) obscure covers and original songs. There's some jerky, rhythmically complex progressive rock songs, there's a post-punk type song, there's a very silly cover of surfin' usa, there are some very nice instrumental tracks, there's a japanese folk song, there are some great Thompson-style songs, it finishes out with a pretty standard blues track. Thompson does most of the singing, although I think French sings some of the songs. Eclectic and quirky.

However, don't buy it if you're hoping to hear Kaiser and Frith play completely freaky oddball stuff. Although the playing is twisted and unusual, it doesn't veer too far from standard rock-and-roll styles. It's more about them just having fun and relaxing.

(To add to the last review, John French was the percussionist for Captain Beefheart for many years. You can hear him stand alone quite well on "Drum Boogie.")

The entire album is entertaining and showcases each artist's talents. Highlights include "Where's the Money," a powerful rant written by Fred Frith, who uses the song to carry not only his wit but also his oddly timbred, thumping, and complex bass stylings. Perhaps my favorite song is the traditional Okinawan folk song, "Hai Sai Oji-San." It has a melody that is fun, unforgettable, and infectious. It may be the greatest drinking song ever composed (sorry, Mr. Waits).

Perhaps the only reason why the fifth star is missing is because the album is not so much an album as it is a loose collection of remarkable songs. Let not the absence of one star dissuade you; I highly recommend it, especially to fans of any of the band members. It's an album where sounds can be deceiving; there's so much wonderful oddness slightly camoflaged under each pop song facade.

This is the first of two collaborations between folk/rock guitar legend Richard Thompson, avant-garde guitarist Henry Kaiser and bassist Fred Frith, and former Beefheart drummer John French. While it's not a bad listen, you get the impression that they were throwing things at the recorder to see what would stick. The album is all over the map, going from the frantic and funny "Where's the Money" and a joyously silly "Hai Sai Oji-San" (an Okinawan folk song) directly into "Drowned Dog Black Night", a tremendously depressive song of the type only Thompson can write, and then into a goof on Chuck Berry's "Surfin' USA". My favorite cut is "Bird in God's Garden", a Sufi song given a big assist by Frith's violin playing. Thompson contributes the good but minimalist unrequited-love song "A Blind Step Away" and "Killerman Gold Posse", a ditty about a youth gang that was reprised on the "Mirror Blue" tour. French and Frith also provide a catchy rocker, "The Second Time". There is a cover of Willie Dixon's "The Same Thing" (a LOT of bands I like have covered this one). To keep the album from building any momentum, there is a five-minute drum solo in the middle. Overall, I prefer these guys' second CD, "Invisible Means".

Not much to add to some of the other reviews opinions, except how can you rate an album this much F-U-N less than 5 stars? Maybe the songs don't hang together thematically except for the fact that all are individually enjoyable, but variety is the spice of a well-rounded taste in music, ain't it? Worth it for so many reasons, the group's Peter Lorre/Boris Badenov vocal's in "Surfin' USA" , more examples of John French's criminally underrated song stylings, Henry Kaiser's usual genius guitar utilities, Fred Frith's ranting & raving masterpiece "Where's The Money", and of course Richard Thompson's K-I-L-L-E-R solo in "Drowned Dog Black Night" where his guitar actually sounds like someone drowning a struggling beast, CHILLING to say the least. Don't miss out for the second time if you're sick of the same thing over & over, get this while it's still in print!

The only supergroup worth a darn outside of The Traveling Wilburys and Blind Faith (no others need apply), French, Firth, Kasier and Thompson's first album "Live, Love, Larf & Loaf" is a fun hodge podge of styles that don't quite mesh but that's part of the fun of the album--having these first class musicians plays on a Richard Thompson song...a Henry Kaiser song...a John French song...a Fred Firth song AND even a Beach Boys song. The highlights include "Killerman Posse" and "Bird in God's Garden" but really the highlights outweigh the weaker tracks on the album.

The remaster here sounds pretty good overall. The packaging reflects the original Rhino packaging AND we get four live tracks from a show the band performed in Berkeley, CA.

The follow up album "Invisible Means" is a bit more consistent but it also doesn't have any truly brilliant tracks like the best here (excepting "March of the Plastic Surgeons" Richard Thompson's witty mini-rock opera). It's still a fine champion piece to this album and I keep hoping that these brilliant musicians will reform and give us a third album. Third time;s the charm after all and I don't doubt that these guys could deliver a truly great album.

This is the first of two collaborations between folk/rock guitar legend Richard Thompson, avant-garde guitarist Henry Kaiser and bassist Fred Frith, and former Beefheart drummer John French. While it's not a bad listen, you get the impression that they were throwing things at the recorder to see what would stick. The album is all over the map, going from the frantic and funny "Where's the Money" and a joyously silly "Hai Sai Oji-San" (an Okinawan folk song) directly into "Drowned Dog Black Night", a tremendously depressive song of the type only Thompson can write, and then into a goof on Chuck Berry's "Surfin' USA". My favorite cut is "Bird in God's Garden", a Sufi song given a big assist by Frith's violin playing. Thompson contributes the good but minimalist unrequited-love song "A Blind Step Away" and "Killerman Gold Posse", a ditty about a youth gang that was reprised on the "Mirror Blue" tour. French and Frith also provide a catchy rocker, "The Second Time". There is a cover of Willie Dixon's "The Same Thing" (a LOT of bands I like have covered this one). To keep the album from building any momentum, there is a five-minute drum solo in the middle. Overall, I prefer these guys' second CD, "Invisible Means".