There is a good chance you found us accidentally by using the word “taint” in your search (If you found us on purpose, you deserve our accolades). Of course, we don’t know what you were looking for, but you stumbled on a damn cool project. Look around; let us help send you on a musical journey. Here you will find a number of album reviews from the strange and extreme to the tame and mainstream. Our reviewers are a bunch of obsessive miscreants. Most of us are avid music collectors and have been involved in the music world for decades. A couple of us have been in or are still in bands.
There are no rules on Tickle Your Taint Blog. Our reviewers might make you laugh, or piss you off; both results are legitimate. One reviewer might write a glowing review of an album; another might tear it apart. We may have a new review every week, or we could end up with one every six months. This blog exists as a social experiment to build community among a diverse group of music maniacs – our reviewers and hopefully you.
One of my favorite songs from the 1960s is “Sorry” by The
Easybeats (1964-1969), an underappreciated band from Australia. It opens with
an infectious guitar riff that is very punchy and that is maintained throughout
the song. It creates excitement. It has a delightful bounce. If I were alive in
1966, when it was released, I would have been rolling around on the ground,
flooring moshing if you will, going nuts while listening to this song. It grabs
me the same way that “You’re Gonna Miss Me” by 13th Floor Elevators
does. George Young, who played guitar, co-wrote most of the songs for The
Easybeats, including such great songs as “Something Wrong,” “I’ll Make You
Happy,” “Friday on My Mind,” “Come and See Her,” “Saturday Night,” and “Tell
Your Mother.” The Easybeats fit nicely with The Animals, Beatles, Rolling
Stones, and Kinks. They had a raw, rambunctious energy. The Easybeats released
six records and disappeared. George Young, who was the brother of Malcolm and
Angus Young, went on to produce the first six AC/DC records, which is notable.
But I will always remember him for throwing down the riff in “Sorry.” Love it.
Don Williams, the “Gentle Giant,” has been a calming
presence throughout my entire life. I remember hearing his songs on the radio
before I was in kindergarten. His rich baritone voice was very smooth. It
creates a sense of comfort. He sang the occasional heartbreak song like other
country musicians, but he also had many that celebrated love. His songs are
simple, direct, and accessible. They are very mellow, somewhere between country
and folk music. The songs are short, even though Don Williams is never in a
hurry.
The list of his hit songs is long, including such greats as
“Come Early Morning,” “Atta Way To Go,” “We Should Be Together, “I Wouldn’t
Want To Live If You Didn’t Want Me,” “You’re My Best Friend,” “(Turn Out The
Light And) Love Me Tonight,” “Till The Rivers Run Dry,” “Say It Again,” “She
Never Knew Me,” “Some Broken Hearts Will Never Mend,” “I’m Just A Country Boy,”
“Rake & Ramblin’ Man,” “Lay Down Beside Me,” “Love Me Over Again,” “Good
Ole Boys Like Me,” “I Believe In You,” “Lord, I Hope This Day Is Good,” “If I
Needed You,” “If Hollywood Don’t Need You,” and “Maggie’s Dream.” Some of his
records in the 1980s suffered from orchestral arrangements and the general production
at the time. Despite these problems, his voice would often shine through the
schlock. When he came out of retirement, around the time he was inducted into
the Country Music Hall of Fame, he made several solid records.
Two of my favorite records by him are Expressions (1978) and Portraits
(1979). There are wonderful songs beyond the hits, such as “You’ve Got a
Hold on Me,” “All I’m Missing Is You,” “It Only Rains on Me,” “Circle
Driveway,” and “Woman You Should Be In Movies.” While Don Williams usually sang
songs written by other folks, he penned a few through the years. One of my
favorite songs he wrote is “You Get To Me.” Whenever I hear it, I have a strong
desire to dance with my wife, preferably doing a two-step as the sun is
setting.
Don Williams is linked to many fond memories growing up,
such as sitting around the fireplace, listening to the radio, on cold winter
nights. My mother and I would wash dishes while playing his records. His music
always made her happy, and she would sing along, while tapping her feet. My
parents would listen to his tapes while riding the motorcycle across the
country. Late at night, driving through the Black Hills with friends, we would
listen to a country radio station, relishing the times a Don Williams song would
be played. When I have a really shitty day at work, I often put on a Don
Williams record when I get home, as it helps me relax. I was able to see Don Williams
perform three times. He always sat in a chair, surrounded by a few other
musicians. Even on his last tour, his voice was still strong and filled with
warmth. The Gentle Giant will always have a special place in my life.
Daily life
is hard enough due to the constant degradation of life and the planet under the
capital system. But now, everyday is a cluster fuck, given the putrid pile of
shit wrapped in human flesh, known as Donald Trump. The constant media cycle
surrounding this fuckin’ fascist is deafening. Thus, it is refreshing to hear a
song, even if it is simple, express general rage related to this moment.
Oi Polloi,
a Scottish punk rock band formed in the early 1980s, is dependable for such a
situation. They play basic, straightforward punk rock, as heard on “Boot Down
the Door.” They support direct action against racism, sexism, animal abuse, and
fascism. Since the late 1980s, I have picked up their CDs, LPs, and seven
inches whenever I come across them. A revolving cast of musicians has played in
the band, which has influenced the sound. Nevertheless, the approach is the
same—music that is in your face. I still get goosebumps when I hear the opening
guitar on the song “The Right to Choose,” which is followed by “Victims of a
Gas Attack” on the 1994 split seven inch with Blownapart Bastards. “Guilty”
rails against class exploitation, calling for direct confrontation. “When Two
Men Kiss,” from In Defence of Our Earth (1990),
addressed the discrimination and violence associated with homophobia.
As part of
their ongoing efforts to foster resistance to fascists, Oi Polloi have released
a two-song seven inch, which includes the song “Donald Trump—Fuck You.” Rather
than writing a song that tries to cover the long list of offences and atrocities
of President Trump, they elected “to keep it short and simple.” Yes, “Donald
Trump—Fuck You.” Repeat this over and over, until the shitbag is gone.
Charles Bradley was the type of person you wanted to hug.
Chances are if you met him, he would hug you, as he deeply appreciated the
opportunity to share his music with fans. He lived much of his life in poverty,
working odd jobs just trying to survive. He often performed as a James Brown
impersonator. Late in life, he found moderate success with three strong
retro-soul records. His first full-length record, No Time for Dreaming, was released in 2011. The record opens with
the exceptional song, “The World (Is Going Up In Flames),” which hits the
listener in the heart, given the beautiful soul sound and the lyrics that speak
to the general disregard for humanity that is all too common today. Bradley’s
voice is rough, but captures the emotional depth of the lyrics in each song.
This debut also includes a cover of Neil Young’s “Heart of Gold,” with a
wonderful vocal performance. He sang his heart out on each record. His most
captivating songs touched upon his own struggles and experiences. I am
particularly fond of “Strictly Reserved for You” from Victim of Love (2013) and “Good to Be Back Home,” “Nobody but You,”
and his cover of Black Sabbath’s “Changes,” which serves as the title of his
final record in2016. At times, his
voice has the power of Otis Redding, just with more age. Bradley was easily
moved to tears, as he was compassionate and desired a more humane world. His
music continues to serve as an open hand to connect to each other.
I really liked Ice Cube’s albums AmeriKKKa’s Most Wanted (1990), Death
Certificate (1991), and The Predator
(1992). The Predator is a full on
American classic. You might not want to hear it, but you should. He was on a
role in the early 1990s. The records are some of the funkiest I have ever
heard, and Cube can spit out a rhyme with eloquence, anger, and humor. The
lyrics are often disturbing, violent, sexist, and at times racist in regard to
Koreans. They present a particular perspective. Before “gangster rap” became a
thing, the guys in N.W.A. called it “reality rap.” The social commentary on
Cube’s first solo albums is important and should be heard—warts and all.
I didn’t keep up with his later releases. I have never seen
any of his movies; people say they are funny. Nevertheless, when I happened
upon this new song/video by accident this summer, I was very impressed.
Apparently, Ice Cube still has it. Everything good about his
music is present in “Good Cop, Bad Cop” This is a song for the United States
2017, or any year, really. It makes me angry, as we all should be. It also
makes me want to do a funky dance, as we all should be doing. Somewhere in
between the lines, it also makes me smile. Well, of course mace “has a terrible
fucking taste.”
As for the visuals in the opening of the video, many people
feel as if they live in a police state: poverty, war, racism, and murder—all of
which is systemic and true blue.
By the end of the video, I no longer want to dance. Another
victim’s blood is mopped up off the floor, followed by a gavel proclaiming no
one is accountable.
Say what you want about Ice Cube, but the fact that he
recorded this song and put this video out makes him more relevant than most
artists these days, with a few exceptions. There are so many artists with so
little to declare in times like these—at least at his level of popularity,
wealth, and fame.
SoDak:
My knowledge of hip-hop music is limited to Public Enemy,
The Coup, Dead Prez, and a few other bands. In 1988, my friends and I would
listen to N.W.A.’s first record, Straight
Outta Compton, while playing basketball on the school playground. It
marked a dramatic improvement over the Kool Mo Dee and LL Cool J tapes that
were the staple for years. The opening notes and lines of the record demanded
attention. For obvious reasons, “Fuck tha Police” was our favorite song. The
sentiment resonated with punk rock and metal kids. But more than this, it was
the direct condemnation of police violence and the killing of black men that
was so important. The consequences of structuralism racism were put front and
center in a powerful way. This song continues to be relevant in so many ways.
At Riot Fest several years ago, Ice Cube performed “Fuck tha Police,” while a
video of police beatings played in the background. It was emotional and
powerful, forcing the audience to bear witness to one of the consequences of
systemic racism.
I am quite intrigued by Ice Cube’s “Good Cop, Bad Cop.” The
song is fuckin’ funky and soulful. Ice Cube does a great job with the delivery
of the lines, as he takes aim at corrupt, abusive, and violent cops. “Black
Lives Matter is not chit chatter, because all they [i.e., racist cops] want to
do is scatter brain matter. A mind is a terrible thing to waste. A nine is
terrible in your face. The mace has a terrible fucking taste. The pen is a
terrible fucking place.” Ice Cube has penned an important song for this
historical moment, where black men continue to be beat and shot by police and
where cops are exonerated. We need more frank songs such as this, and more
people in the streets organizing for revolution.
