Oh, yes.😎Hello, gorgeous...🥳😄So, we're beginning from the scratch...🙃😉🙂Mr.B's self-titled.😊 Right away, an answer to your question: yes - the first and the second album have these weird outros, but luckily, the third one diched this rule - in a favor to the complete, listenable songs (which you already heard and witnessed).😉 On this album, outros are kind of bizarre, vulgar, movie sampled, taken from in&outdoors and stuff... goofy and clowny.. On the second one, however, they are more abstract, composed of artie-sounds and real instruments, as well as the toys 😂... just to mask the already present, "masked", clown esthetics... And indeed - what a mighty and incredible symbol a clown figure can stand for in any kind music, film, art and whatsoever!😃Like the Batman's Joker, right?😉Everlasting enigma: what's behind the mask, together with a question - who, why and how did someone make all these weird and amazing cosmetic art on someone's face making it (or himself) - a clown. 🙂The figure that can stand taller than life, made for children to represent the happiness of life itself, turning into complexity or absurdity of life for all the adults - all masterfully elaborated in Stephen King's IT, for example...Yes, it can mean something dreadful, more mysterious and agonising than any monster imagined by man, like werewolf, a vampire, zombie and whatever... lurking behind the facade of innocently painted smile. If you ask me how these guys (and Patton together with them) came to this game-changing idea of using the clown symbolics & esthetics and the carnival philosophy in their music, specifically in this one of his many projects - I would have no answer...🙂It is such a strange choice by itself, don't you think?😀I mean, Faith No More are serious, Tomahawk too, Fantomas are gloomy... but this!?😃This is just beyond any word to describe it. The mix of genres, like a clown jiggling his various colored balls in the air...Such a freedom, but also some kind of responsibility to a statement. A leading posture. Saying so, it is evident that the self-titled album is all carnivalesque as it can be!😃Simply, it's all covered in it, as you noticed. 😉🙂Starting from the album cover (this ridiculous and the grotesque clown on it's sheets) to a very music itself. The keys are dominant: funny organs and a busy pads, the striking strings do all the job to teleport you in some sort of clown world. Also, what you forgot to mention is the amazing use and soundings of the brass section, saxophones and trumpets - the instruments very unusual for any metal band...😉 But within the clown-core music, the very first of it's kind, like Mr.B. is - it all comes so natural and handy. 🙂🙃😉😊 And fun, not to forget!😇 So, the clowns are here to tell the story to a human kind, the one unheard of and very rare. And M.Patton and the crew says :"Yes, let's go!!" to all of that and boom - mystery solved! 😎😅A really genius act to do.😊🥰😇But look now... Following this album, the second in the row, Disco Volante, discards this evident clown-circus esthetics in the attempt to mask it's presence even more.😀Even more genius stuff to do!😁So, the music on this second album is even more abstract, leaning towards pure art, like in the old black'n'white pictures, with even more genres to confuse you.😎 The hybrid forms of it's songs are even more puzzling, almost impossible! And still - they're real! I mean, you've heard Desert Search for Techno Allah, say it yourself...😏Finally, the third, the last album, California, represents the final stage of self-masking: pretending to be "normal, regular".😅You've heard some of it, that lazy Pink Cigarette, and Goodbye Sober Day, which was challenging, we'll have to admit, but also uses that laid-back atmosphere. Off course it's still a circus. But it made it's full circle. As for your first review of the self-titled, let's mention that the first song, Quote Unquote, was genuinely titled Travolta.😉🙂😂Yeah, they made a fun of him, he threatened to sue them, so they changed the title of the song. True story. 🙂Yet, he is still mentioned in it, toward the end of it, Patton also sings a few words from The Grease, the most famous Travolta's movie, the line "It's the time, It's the a place, It's the motion..." blahblah, comes from the same titled song of Frankie Valli... So, they made some kind of symbolic invalid person of Travolta in this song, a long story... Anyway, I'm glad you enjoyed it so far. 🙂Looking forward for the next video. See ya!🙂😊
One of my favorite bands, and I've been lucky enough to have seen them live 4 times, including once in 1992 in Montreal that will forever be remembered. And we saw primus the next night in the same venue...
This self-titled debut is a cyclone of influences, all informing and reinforcing each other to create a collage of genres from the '50s and '60s, which has plenty of catchier elements. The overall approach can be summed up as.. "The Beatles Burning In Hell" 😂 On this album Mr. Bungle: incorporates an array of different styles, but mostly sticks to ska, funk, and thrash metal, and features a decent amount of hooks and choruses. Mike Patton. It's perhaps worth noting that his vocal range is considered to be the highest on record, being three whole notes past the singer with the second-highest range (Corey Taylor). "Carousel" includes the lyric "Will Warner Bros. put our record on the shelf?". It's uncertain whether their Self-Titled Album was actually in danger of becoming a This example contains a TRIVIA entry. It should be moved to the TRIVIA tab. Missing Episode, but they apparently felt they had to censor that lyric, as the album's liner notes don't include it in print, substituting part of "Look at Me, I'm Sandra Dee" from Grease instead. In "My Ass Is On Fire", in the last stretches of the song, the word "redundant" is repeated over and over again until everything goes full-on insane. It even has a "Boring!" chant underneath it! "Travolta" was an example, before the name change to "Quote Unquote".While mixing their debut album, a friend gave Trevor Dunn a copy of the porn starring a character named "Mr. Bungle," bizarrely containing the same name as their band's and the short that inspired it. Further, they HAD a song about porn on the album ("Girls of Porn"), and a sample of the original short already elsewhere on the album. A sample from the porn was immediately decided to be put at the beginning of "Girls".Mr. Bungle, like Faith No More, frequently performed covers of songs that did not fit their style during their shows, including 90's pop ballads (like "Vision of Love" by Mariah Carey and "Nothing Compares 2 U" by Sinéad O'Connor), cheesy 80's rock hits (such as "Working for the Weekend" by Loverboy), or lounge pop classics (like "What the World Needs Now" by Burt Bacharach). Their most infamous cover set occurred on Halloween '99; in the midst of Patton's feud with Anthony Kiedis, the band performed a mean-spirited medley of "Around the World" & "Give It Away", and later, "Scar Tissue" & "Under the Bridge" by the Red Hot Chili Peppers, while simultaneously pretending to snort cocaine and shoot heroin, making fun of the Chilis' past issues with substance abuse.Many of their songs are quite long. The longest on their three studio albums are "Egg" (10:39), "Dead Goon" (10:02), and "The Bends" (10:28). "Merry Go Bye Bye" could be considered to qualify if counted as one song with the Hidden Track (12:58; the song itself is about 6:24 and its hidden track is about 5:37).Experimental Metal: Unquestionably on their first demo and first two full-lengths, but elements are present throughout their career. Fading into the Next Song: The whole first album, most of the songs on the second, and "None of Them Knew They Were Robots" into "Retrovertigo" on the third."Egg" ends with a repetitive heavy outro, culminating in two of these. The second is especially unexpected, seemingly ad-libbed by the band in-studio, cracking up and stopping halfway through.The band was originally a straight-up Thrash Metal band. By the time they signed and recorded their first album, their Thrash background is only heard in small snippets of their Genre Roulette style. They returned to Thrash on the remake of The Raging Wrath of the Easter Bunny in 2020."Stubb (A Dub)": Crazed circus mambo metal with lyrics about a dying dog."Squeeze Me Macaroni" and "The Girls of Porn": Upbeat funk metal with ridiculously explicit lyrics.The end of "Egg" features Mike Patton repeatedly saying "There's no place like home!", gradually getting more intense each time.On the first album there is a song, called "The Girls of Porn", which makes fun of the porn industry and how it's gotten increasingly extreme, then the album ends with "Dead Goon", a disturbing song about a kid who dies during a session of auto-erotic asphyxiation and how his family finds him, and the song seems sympathetic.For a group that has basically made their entire career out of jumping through styles at random, they still bizarrely managed to pull this off: While touring United Kingdom, they started playing a significantly altered version of "My Ass Is on Fire:" drum-n-bass loops and sections of wordless chanting were added, while much of the funk metal feel was gone, and the Overly Long Gag ending was skipped entirely. Their live sets otherwise always stuck to songs from whatever their current album was, rounded out with cover songs - they must have decided that if they were going to start playing an old song again, they should try to make it interesting.The first album samples oddities such as video games, children's television programming, and porn. Most of the samples occur in between songs.Sequel Song: "Sleep (Part II): Carry Stress in the Jaw" and "Sleep (Part III): Phlegmatics" are meant to be part of a Thematic Series that they started with "Slowly Growing Deaf," each with lyrics which play physical ailments for Body Horror. The reason "Slowly Growing Deaf" isn't explicitly labeled "Sleep (Part I)" is that Trevor Dunn, who wrote the lyrics for the three songs, didn't initially set out to have a trilogy when he wrote it.Most of the songs on the first album are connected this way with samples.They have a few examples. "Egg" has a rather prominent section in 7/4. "Love Is a Fist" contains sections in 7/4 and 11/8. "Slowly Growing Deaf" features a riff in 5/4. This undoubtedly isn't all. Mr. Bungle has been less than prolific. But as individuals, they are some of the busiest musicians around. Easily the most visible member of Mr. Bungle is vocalist Mike Patton. Known primarily as Faith No More’s frontman, Patton has been mostly involved in adventurous and experimental collaborations and projects. After contributing his voice to Zorn’s Elegy in 1992, he’s become increasingly identified with the Zorn/Downtown scene, though never becoming ubiquitous. His two solo albums on Zorn’s Tzadik label contain his most esoteric work yet. Adult Themes for Voice (1995) features Patton yelping and screaming into a four track, while Pranzo Oltranzista (1997) finds Patton adding sound effects and subdued vocals to the guitar of guest Marc Ribot. His most interesting activities have occurred since Faith No More split last spring. Patton has started up a new band, Fantomas, featuring the Melvins’ Buzz Osborne on guitar, ex-Slayer drummer Dave Lombardo and Bungle bassist Trevor Dunn. Patton suggests that the music of Fantomas is constructed like a comic book. Each track on their self-titled debut is referred to as a page, which are broken down in frames. Even more "experimental" than Disco Volante, the only musical comparisons one could make would be the spastic rock of Melt-Banana or the Boredoms. But Fantomas isn’t Patton’s greatest undertaking of the moment. Along with his friend and manager, Greg Werckman, Patton has launched Ipecac Records. In addition to releasing Fantomas, Ipecac intends on putting out three new albums by the Melvins in 1999 alone, not to mention Maldoror, Patton’s collaboration with Merzbow.The members that make up Mr. Bungle have been on an odd journey since the release of their debut. Initially known to many as Mike Patton’s "other band," they’ve since become individually accomplished and respected musicians - almost naturally growing into a "supergroup" of sorts. They certainly have an unusual relationship with Warner Bros. Spruance stresses that the label does not pressure the band with release deadlines or creative constraints. Bungle and Warner Bros. are an unusual combination, and one wonders why Warners keeps them on board. It is hard to think of similar bands that are released through major labels. Only the Melvins during their short time on Atlantic seem a valid comparison. It is hard to know whether Bungle would change much if they were dropped by Warners. Could they afford to record the type of music they write without the funding of a major label? Perhaps the "pop" sound of California is an attempt to win new fans and keep Warners happy. The band insists that the sound of California felt natural and that making a Disco Volante 2 would have been too easy. It is pointless to predict the changes in the ever-evolving sound of Mr. Bungle. Historically speaking, the use of the "weirdness" component has been around for more than a century. But its popularization began during the early stages of Rock music. Works of Frank Zappa were of particular importance in this area, with majority of his early works following a satirical theme; both in the music as well as in the lyricism. Several British Rock bands also adapted this style to an extent, such as Jethro Tull. Their lyricism on some of the albums such as Thick as a Brick featured heavy emphasis on Folk inspired lyricism, with a subtle layer of satire. And as time went on, this branch of music developed on its own as well; thanks to artists such as The Residents and of course, Mr. Bungle. These two bands took two rather opposite approaches to "weird" music. The Residents went towards the "Avant-Pop" direction, while Mr. Bungle created an unorthodox blend of Metal with a bunch of different styles, which can be an accurate description for Avant-Garde Metal. And today, we shall be discussing their 1991 self-titled album. As mentioned above, this album also follows the Funky Avant Garde Metal style, with a heavy emphasis on Humorous and Satirical lyricism. The opening track "Quote Unquote" begins with complete silence for around half a minute, and then the entire band enters with an explosive instrumental phase. But immediately after that, one can understand exactly what I mean.
