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.


Monday, August 31, 2020

The Persecuted, Terrorist U.S.A. (Rabbit Rabbit Records, 2020)

 


By SoDak

 

In dropping the needle on the new seven-inch record by The Persecuted, a band from both Salt Lake City, Utah, and Austin, Texas, the opening notes remind me of the U.K. Subs and other early British punk bands. The vocals, however, are more reminiscent of U.S. bands such as Resist, Deprived, and Aus-Rotten, from the late 1980s and early 90s. This is straight-forward, no frills, no bullshit, political punk rock, which can be refreshing, as it has been a while since I have heard new music in this vein. 

 

The opening track, “Terrorist U.S.A.,” is a medium-paced song, focused on the deaths associated with U.S. foreign policy, where bombing for peace is the American way.

 

Run through the flock while the reaper is calling,

Search for your family in the rubble that’s burning

No way to escape the bombs that are falling

An innocent victim of terrorist knowledge…

 

33 thousand civilians were killed

Bombs dropping like flies in the sands of the hills

Corpses decaying lying dead in the streets

All in the name of bringing freedom and peace.

 

The pace of the songs increases with the second track, “The Prisoner.” The chorus is to similar to the famous D.O.A. song with the same title, given the repeating of “the prisoner,” which has always been catchy. The third song, “Enslaved,” addresses being trapped in wage-slavery, as our lives are wasted, from “the cradle to the grave.” Both “So Many Lies” and “Brussel Bombs” focus on news media, misinformation, and the creation of fear. “State Patrol” takes aim at the role of the state and police in imposing control and domination through oppression. The drums and guitar on the final song, “Nixon’s Back,” have a driving beat, that is a bit hypnotic with the rhythmic vocals. The lyrics address the ongoing rise of fascism in the United States, where power and greed dominate, invoking the response:

 

Ridiculous politician

Should be shot

Has no concern for life at all

Begging from the poor

While the rich stay rich

The rich stay rich

The poor stay fucked.

 

The seven songs on this record clock-in at just over twelve minutes. They are catchy with gruff vocals, inviting the listener to sing along, expressing anger at the powers that be, who create so much death and misery. 

 

The packaging for the record is quite nice, perfectly fitting the style of music. The lyric booklet in particular, a five-by-five, is well-done, filled with classic punk graphics. This is the third release from Rabbit Rabbit Records, out of Chicago. Kudos. 

 

Persecuted Bandcamp:

https://the-persecuted.bandcamp.com

 

Rabbit Rabbit Records:

https://rabbitrabbitrecordspress.bigcartel.com/

 

Saturday, August 22, 2020

SoDak’s Funeral Songs

From time to time, we present questions to our fellow taint ticklers. Recently, we asked: “What are five to ten songs that you would like to have played at your funeral?” There are numerous ways to approach this question. For music addicts, it is hard to limit the number of songs. Furthermore, the list is likely to change many times, as we remember additional songs and hear new music. Nevertheless, it is worth going through this process, as it is helpful to plan, and fun to share various musical connections. Below is SoDak’s list.  

 

By SoDak

 

“Immortal death,” as Lucretius remarked, is the end of life. In this, death is meaningless to the one who has died. I will exist no more. What others do, if they choose to mark this moment, is really up to them. Perhaps a few friends, who I have been lucky enough to share life with, will gather to tell some stories and enjoy their time together. What I list below are a handful of songs that folks may elect to play, if they need suggestions to get things going. 

 

Son Volt, “Windfall” (1995). 

Son Volt is home to me. I find much comfort when listening to their records. As I approach the Black Hills of South Dakota to visit friends, I almost always play Trace and from the first notes of the opening song, “Windfall,” I am happy. 

 

Five Stairstep, “O-o-h Child” (1970).

Throughout my life, “O-o-h Child” has moved me. The song is grounded in hardship, but filled with hope for a better future. Still chokes me up to this day. 

 

Willie Nelson, “Angel Flying too Close to the Ground” (1981), “Blue Eyes Crying in the Rain” (1975), “Help Me Make It through the Night” (1980), “Your Memory Won’t Die in My Grave” (1996), or “The Scientist” (2012).

As a child, I was captivated by Willie Nelson, and he has consistently accompanied me through the years. As each day passes, I fall more and more in love with his music. He is one of my all-time favorite singers. His guitar playing is mesmerizing as well. There are long stretches where I only listen to Willie. This is not a casual experience, as I tend to be overwhelmed with emotions when listening to him. For me, Willie is the voice of earth. I hear it reverberating everywhere. He soothes my heart. Here I list some song options, as there are so many great Willie songs. I am particularly partial to many songs that feature Mickey Raphael, as he has accompanied Willie for decades playing the harmonica and has a very distinctive sound. 

 

Johnny Cash, “Hurt” (2002).

Johnny fucking Cash. My folks had very few records or tapes in the 1970s, but they had a couple by Johnny. I remember being in the car, as a very young child, as an 8-track tape played Johnny over and over. The boom-chicka-boom and deep voice might as well have been part of the car. At the house, I would repeatedly play their copy of I Walk the Line (1964) on the console stereo. The record is loaded with outstanding songs, including the title song, “Folsom Prison Blues,” “Give Me Love to Rose,” “Hey Porter,” “I Still Miss Someone,” and “Big River.” I also listened obsessively to “Ring of Fire” on another collection—the voice and the horns are so fucking powerful. Once I had money for records, I bought each Johnny record, following him through the years. His cover of “Hurt” by Nine Inch Nails still floors me every time I hear it and is appropriate for this moment. 

 

Gillian Welch, “Leaving Train” (1998) or “Hickory Wind” (1999). 

Could flip a coin here. Gillian creates a calming space for reflection. 

 

Robert Earl Keen, “So I Can Get My Rest” (1993).

Another one for comfort. 

 

Jason Isbell, “If We Were Vampires” (2017).

Perfect song. Important reminder to make the most of life and to try not to waste it. 

 

New Model Army, “Green and Grey” (1989).

New Model Army remains one of my favorite bands. They are part of what constitutes me.

 

Bonnie “Prince” Billy, “I See a Darkness” (1999).

My preference is the very mellow version of “I See a Darkness” rather than the upbeat version that was released years later. 

 

Blue Öyster Cult, “(Don’t Fear) The Reaper” (1976).

Have been enthralled by this song since I first heard it in the 1970s. Still love it. 

 

Iron Maiden, “When the Wild Wind Blows” (2010).

Another constant thread throughout my life has been Iron Maiden. Have enjoyed so many Maiden concerts with dear friends and loved ones. Has been great growing older with the band.

 

Subhumans, “No” (1983).

One of my favorite punk rock bands. Short and to the point. 

 

Black Sabbath, “Children of the Grave” (1971).

This song still gives me goosebumps. It is fucking brilliant. It remains a great call for revolution.  

 

Mike Ray, “Lucretian Eulogy” and “Bone and Blood.”

Assuming my dear friend Mike is still present when I die, I hope he will play a couple songs for friends. His voice and songs are always in my head. 

 

As folks move toward sitting around a campfire, they may want to play songs by: Tracy Chapman, Iris Dement (“No Time to Cry”), Nomeansno (“Heaven Is the Dust Beneath My Shoes” and “Now”), Townes Van Zandt, Merle Haggard, John Gorka (“Temporary Road”), Bill Morrissey, Don Williams, Dave Alvin, Jimmie Dale Gilmore, Lucy Kaplansky (“Still Life”), Alejandro Escovedo, Tom Rush (“Child’s Song”), Richard Shindell (“I Saw My Youth Today”), Warren Zevon (“Keep Me in Your Heart”), Tom Petty, Mary McCaslin (“Prairie in the Sky”), Dead Silence (“Hope”), Dissent, Richard Buckner (“Blue and Wonder”), Journey, Highwaymen, (“Highwayman” and “Silver Stallion”), A.P.P.L.E. (“If in Heaven”), The Cure (“A Forest”), Neil Young (“Old Man”), Bruce Springsteen (“The River”), The Everybodyfields, early to mid-R.E.M., William Ackerman (“Conferring with the Moon”), Built to Spill (“Goin’ Against Your Mind”), Patti Smith (“Dancing Barefoot”), Cringer (“Blasphemous”), Depeche Mode (“Blasphemous Rumours”), Modern English (“I Melt with You”), Whiskeytown, The Psychedelic Furs (“Torch”), Citizen Fish, Bad Religion (“Sorrow”), Mandolin Orange (“Hey Stranger” and “Golden Embers”), Uncle Tupelo, Thad Cockrell (“Some Tears”), June Star, Bruce Cockburn (“Child of the Wind”), Jawbreaker, Samiam, Frog Holler, Rush, Steve Earle (“Me and the Eagle”), Guy Clark, The Replacements (“Here Comes a Regular”), John Denver (“Poems, Prayers, and Promises”), Nick Drake, Emmylou Harris, Jackson Browne (“These Days”), Firehose, Bill Withers (“Ain’t No Sunshine”), The Clash, Jesse Sykes (“Reckless Burning”), Varnaline (“Hear the Birds Cry”), Bastard Sons of Johnny Cash (“Burn Down” and “Beautiful Cage”), Strawman, J Church, Motörhead, Marvin Gaye (“What’s Goin’ On”), Cheryl Wheeler (“Howl at the Moon”), Meat Puppets, Ramones, Waylon Jennings, Kris Kristofferson, Gaslight Anthem (“The ‘59 Sound”), Pollution Circus, Political Asylum, George Strait, Midnight Oil, Andy Irvine, Fred Eaglesmith (“Water in the Fuel”), Tom Russell, and many more Willie Nelson songs. 


Wednesday, August 19, 2020

The Psychedelic Furs, Made of Rain (Cooking Vinyl, 2020)

 


Reviewed by Null

I don’t know what you think of when you think of The Psychedelic Furs. You may simply remember them as a band that helped define an “80s sound” with their hits in that era. However, if you are a real fan of the band, then your image of them is much more dark, emotional, and complicated.  

I always think of them as a punk band, much like The Cure or Joy Division. This harkens back to a time when punk was much more diverse in its sound. The Psychedelic Furs developed a more commercial sound in the mid-80s and eventually moved to a more atmospheric version of themselves. Yet, though all of these changes, The Furs always sound like The Furs: arty, cynical, political, and, at moments, beautifully sad.

Indeed, their masterpiece, Book of Days, wasn’t recorded until 1989, when only the true fans were still listening. Book of Days is to the Furs what Disintegration is to The Cure. In 1991, their last brilliant album, World Outside, was released. 

Thus, it has been 29 years since The Furs released a new album, and the crazy thing is that Made of Rain sounds like they pick up right where they left off with World OutsideMade of Rain isn’t a nostalgic trip, nor is it some unrecognizable version of the band. Astonishingly, it achieves the impossible. Twenty-nine years later, it is a natural progression, and it’s The Furs through and though. This is even more remarkable when considering that the only two original members are Richard and Tim Butler, on vocals and bass. It speaks to how much of the band’s sound resides in the brothers’ continued collaboration. The other members of the band couldn’t really be called “new,” because most, if not all of them, have been playing live with the band for many years. Kudos to them. Beyond the brothers, the other members make, frankly, kick-ass contributions. This is a band. Made of Rain makes it clear that The Furs are currently, yes, presently, a great band. 

I feel like I just ran into an old friend who I never knew I would hear from again. The years have passed and they have changed, but they are still the same friend I knew and loved. In a world that seems to be more and more filled with disappointment, it is a small victory that I still share the planet with this old friend.

If you’re a casual fan of the band, I don’t know what you might think of this album. However, if you’re a long-time, deep fan, and actually know their body of work, you’ll love this record.