About Us

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 end up adopting a single review system, such as five stars, or each reviewer may use his own or none at all. 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. Pull down your knickers, lube up and join us in tickling yours and our taints.

If you are in a band, have released a physical (rather than an MP3) CD or record, and would like us to review your efforts, contact us at tickleyourtaint@yahoo.com

Monday, October 23, 2017

George Young (1946-2017)

By SoDak

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 (1939-2017)

By SoDak

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.

Sunday, October 22, 2017

Oi Polloi, “Donald Trump—Fuck You”

By SoDak

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.

Wednesday, October 18, 2017

Charles Bradley (1948-2017)

By SoDak

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 in 2016. 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.

Tuesday, October 17, 2017

Ice Cube, “Good Cop, Bad Cop” song/video


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.


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.