Customer Reviews

Strange Noises in the Dark

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

 

 

Arf Arf! The Lizards have really outdone themselves. The fourteen tracks on their well-produced "Strange Noises in the Dark" show their influences (and ability to proficiently play) in the stylistic genres of Latin, western swing, Klezmer, bluegrass, folk, classic country, Gypsy jazz, rock, and even Bavarian yodel music. Bob Wills meet Frank Zappa! The ninth album from "the most laughable band in show business" is a guaranteed mirthquake.

For a little historical perspective, Hank Card and Conrad Deisler began writing songs together in 1976 when both were students at Princeton. The Austin Lounge Lizards originally formed in 1980 after the pair moved to Austin (to attend Univ. of Texas law school) and hooked up with banjo and dobro-player Tom Pittman. They began playing small clubs, and then won the 1983 Kerrville Bluegrass Festival band contest. They began touring nationally in 1987. Over the years of recording and touring, they've built a slew of fans who enjoy their wacky weirdness built largely upon satire and parody. Dr. Demento meets Bill Monroe. Appearance on NPR's Morning Edition have launched them to even greater heights. The Lizards will also make a showing on television in "Mostly True Stories - Urban Legends Revealed" on The Learning Channel. Their segment covers the Saguaro Legend about a guy who goes to the desert to shoot saguaro cacti until one falls and kills him. Honored as "Best None of the Above Band," on several occasions by the Austin Chronicle Reader's Poll, the Lizards have also won "Band of the Year" award at the Kerrville Music Awards three times since 1994. Where does guitarist Hank Card find the time to work as a part-time administrative law judge part-time for the State of Texas?

On "Strangers in the Night," one can find songs about singing bedsprings, fighting, drinking gin, getting a nose job, eating dog food, blossoming love between former Senators Jesse Helms and Phil Gramm, and blowing up Saddam. The band is still in fine form, and this disc will keep you in stitches. With their off-beat humor and first-rate musicianship, the Lizards dish up the laughs. Besides their own original material, they draw repertoire from the pens of likes of Emily Kaitz, Tom Paxton, Mike Craver, Mark Graham and others. A favorite is the full band's collaborative effort, "Tastes Like Chicken," with its mouthful of food items. A bluegrassy instrumental, "Snopes' Glory," breaks up the set. The theme of "The Miracle Baby," written by Dreisler and Card, reminded me of a favorite song of mine, "Bennie's From Heaven."

Tom, Hank and Conrad are joined by Boo Resnick (bass, oboe, tambourine) and Eamon McLoughlin (violin, viola, mandolin). The eight guest artists who appear on "Strange Noises in the Dark" add accordion, pedal steel, percussion, tuba, vocals, and even an "Oy Vey" chorus on "Susie Rosen's Nose." Vocalist Kelly Willis does a particularly fine job in the country duet, "We Always Fight When We Drink Gin." It's nice to hear them cover the Red Clay Ramblers' classic "Merchant's Lunch," that was a hit for them about three decades ago. I also enjoyed Eamon's British brogue on the George Formby classic, "When I'm Cleanin' Windows." It's incredible that the University of California Banana Slugs had no fight song....but that's all changed now, thanks to the Austin Lounge Lizards.

In the mood to cop a few laughs? Throw "Strange Noises" onto your disc player and crack your pan. It's sure to tickle your crazy bone. (Joe Ross, staff writer, Bluegrass Now)

As a long time (ten years now) fan of the lizards I have to say that Strange Noises is a continuation of what makes them the funniest band around.

The title track is a tango that plays to every man's fear when it concerns ex-lovers.

We only fight continues Conrad's series of drinking songs with the added twist of a female duet.

Suzie Rosen's Nose is another Emily Kaitz gem. Although musically it reminds me of "illusion travels by stock car"

Why can't we Blow up Saddam is cute, but now no longer relevent. So Sad.

Phill & Jessie is another slam (deservedly IMO) at some republican politicians.

There is a lot to like here and I would love to know the origin of Merchant's Lunch and Bannana Slugs.

This CD's a bit like Austin weather--if you don't like what's happening, just wait a minute and something else will come up. There's no taboo subject and no musical style that the Lounge Lizards won't try. I cannot compare this offering to their other CDs--this is the first full CD of the Lounge Lizards I've purchased; however, it will not be the last.

This is my favorite Lounge Lizards album. The music is tight, the parodies of different musical styles are impressive (including some very small little jokes thrown into various songs like "When I'm Cleaning Windows"), and the clever lyrics always bring a smile to my face. The directly political material is the weakest part, but even that is strong, especially the lovely coupling of Phil Graham and Jesse Helms in "Jesse + Phil". "Susie Rosen's Nose", "Tastes Like Chicken", and "The Lonely Yodeler" are classics.

This CD is a bit of a departure from their earlier work. A bit more country, a bit less bluegrass. There are some unfamiliar vocals on the CD. There is more percussion than the usual studio venture. That said, the Lizards still combine first rate musicianship with sharp political and social wit. Jesse and Phil had me stitches during the evening commute. Hope they can make it to Albuquerque sometime soon.

O.K, I must admit that I read the first review and I was swayed by it. Then I read the second review and strayed right back! I suggest that you read both of them and you decide who has the agenda here... Apparently, someone was offended - Mercy Me - Quel Formage! (sp?)
I've played, off and on, in a loosly described circle-of-friends "band" since High School (right after High School was invented) and when we play an "outrageous" song we always preface it with the warning that a song can't be outrageous unless someone is outraged - i.e. if it's you, "Thanks" from the rest of us!
I based my 5 stars on the song snippets provided on this page (Thank You Amazon!) and I'm placing my order today!

As one who fancies himself a listener of music that is so far out of the mainstream that its not even in the 100 year flood plain, I was excited when I received a copy of the Austin Lounge Lizards latest disc, "Strange Noises in the Dark". Although I'd never actually heard the band before, I knew them from their reputation, hearing of them from various acquaintances over the years. Slipping in the disc and listening with eager anticipation I heard many things that I'm sure the band would be noted for. I heard a band with a tight sound that featured some great solo work by Eamon McLoughlin on the violin. His stinging style and rich tones clearly stood out on the title track and on "Susie Rosen's Nose". I also heard some inventive banjo and dobro work by Tom Pittman. I heard a tasty arrangement of the original instrumental entitled "Snopes Glory"; not flashy, but having a smooth expression and a tune that stuck in my cranium. I heard some creative rhythms on the title track, some thumpin' country featuring the fine vocals of singer Kelley Willis on "We Always Fight..", and some genuinely funny lyrics in "Tastes Like Chicken". I enjoyed the accents and creative voice arrangements on "The Lonely Yodeler", "Nose", and "Windows".

But overall, I found the album fairly disappointing. A band may target a particular group with their work, and I felt I really wasn't anywhere near the bands crosshairs. The high school crowd would probably find this stuff really funny. Songs for the sophomoric. Unfortunately, the lyrics represent in large part the society we are becoming: classless, debased, and singing about it song after sordid song. Here's part of the lineup: A song about a guy who can't sleep because he hears his ex having sex in the next apartment night after night; a song about a "peeping" window washer who describes his sights in more detail than I need; a song from a child's point of view about his Mom's affairs while Dad is away, producing brothers and sisters for him. Depressing stuff. Nearly all the songs have the same corrupted bent. And political schlock is fine in small doses, but a little goes along way. Here we get it in three offerings. The material becomes dated quickly, having a half life similar to that of a cold beer on a hot day.

This band could be a lot better by building on their fine musicianship, reducing the tasteless lyrics, and coming up with some more funny material.