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.
Does anybody need another John Lennon collection? That answer is clearly “no.” However, there are a few things to consider with this new collection of remixes.
I became familiar with John Lennon’s solo albums when I was still in high school. I thought they were all great. I liked the radical politics, the confrontational spirit, the emotional and confessional honesty, and, later, the calmer, domesticated albums about settling down and growing old that were released shortly before and after he was murdered in 1980. I even liked the Yoko songs, as they made the albums a bit more interesting and dynamic, and, to be honest, some of them are just great tracks.
Though I had all of his solo albums, it was always necessary to buy one of the many compilations of his work because that was the only way to get the non-album singles that didn’t appear on any of the albums, most notably, “Instant Karma,” “Cold Turkey,” “Give Peace a Chance,” and “Happy X-mas (The War is Over).”
Gimmie Some Truth: The Ultimate Remixes is available in several different formats, which is just another annoying trend. I wasn’t throwing down over a hundred bucks for shit I already have, so the “deluxe” rip off version wasn’t even considered. Also, the single disc version would be wholly insufficient. Therefore, I settled for the only real option, the two-disc version. It’s basically a “Best of,” but I was surprised to find a few deep cuts buried in the 36 tracks. Most notably the song “Angela,” written as a tribute to the great revolutionary Angela Davis, who was imprisoned at the time. This song appeared on the album Sometime in New York. I never thought I would hear it on a compilation album.
I’m not a big fan of remixes, so I was suspicious about this release. I feel okay about remastering albums, but remixing always feels like revisionist history. As a music junkie it feels blasphemous. However, being very familiar with these songs, I was surprised how fresh and clear they sound. Like clean fresh water. I’m not going to say they are better than the original album versions, but it was really cool to hear some of the instrumentation rise above the often muddy ghost of Phil Spector that seemed to creep into the corners of some of these records. Nothing against Phil’s “Wall of Sound,” as it has it’s time and place. So, I wanted to kick myself for buying this stupid collection, but at the end of the day, I’m glad I did. I’ve been enjoying the hell out of it. It sounds fantastic, and I really haven’t listened to my Lennon albums in quite some time.
Now, this isn’t a replacement for the solo albums. There aren’t that many and they are all good in their own right. If you like Lennon, then you need them. Who can live without “Meat City,” “Tight A$,” “Luck of the Irish,” or even Yoko’s “Sisters, O Sisters” and “Born in a Prison”? None of which appear on this collection. However, if you are new to Lennon and need those non-album tracks, this is a great place to get them, and you will also get some pretty kick ass remixes of raunchy, angry, and some truly moving, beautiful album tracks.
The first solo album by the Crowbar mastermind sounds kind of like a Crowbar album, but moodier and mellower. I would have been up for KW moving in an entirely unexpected direction, but this is a nice complement to the Crowbar style. His cover of “Aqualung” is an added bonus.
Dool, Summerland.
Thank you to SoDak for this recommendation. I don’t usually go looking for new music like this (dark hard rock?), but this album is truly excellent. Plus, there’s a certain vibe here that reminds me of the most recent, and sadly, final, Rush albums.
The Harry Smith B-Sides.
Someone had the simple but fucking brilliant idea to put together a collection of all the B-sides to the songs from the influential Anthology of American Folk Music, compiled by Harry Smith in 1952. The packaging and extensive liner notes are a reminder, if you needed one, of the glories of physical media.
Emmylou Harris and the Nash Ramblers, At the Ryman.
I picked this up after watching Ken Burns’s newest documentary series, Country Music. People who are better informed and more opinionated than me will probably find 1,001 things to critique in that series, but I thought it was, on the whole, pretty enjoyable and absorbing. It also reminded me that I needed to get this album, one that helped bring attention to the Ryman Auditorium when it was in a bad state of neglect, long after the Grand Old Opry had moved out. It’s a solid Emmylou live recording with a great set list.
Ozzy Osbourne, Ordinary Man.
I listened to the opening track, “Straight to Hell,” on the radio, and when I heard Ozzy sing this line, “I’ll make you scream, I’ll make you defecate,” I knew I would be buying this album. And it turned out to be a more than pretty good Ozzy album. In 2020, I’ll take it!
Well my musical kittens…it’s been quite a year. I hope this finds you and yours safe and healthy. My uterine-deep-felt thoughts are with you. Especially with those of you who have suffered loss in these most difficult times. The constant for many of us is art; and nothing quite lifts my sagging vagina like music. I must admit, 2020 was weird for me too. I felt uncreative and experienced more than one bout of malaise. I listened a lot. Most times, I couldn’t hear the music above the cries for justice, equality, reason, and basic decencies. These are heavy flow times, and it’s been hard to focus on much else. Just the cramping of our country. But remember my dear friends, with the flow comes the contractions of periodic cleansing. The festering and the unwelcome are removed from the collective. With that release comes a chance for a new breath, a new lining, a new world. Music is our heartbeat, our life, our voice. So, with that, I wish you all the best in the coming new year.
Now, let’s take a look at the tunes that helped guide us through the birth canal of 2020.
Forever yours, Anita
Rating System:
5 smears = the best, most perfect offering a band/artist can do—it’s downright malignant.
4 smears = almost perfect, pretty sure it’s malignant.
3 smears = middle of the road—not bad, not awesome—it’s a biopsy moment.
2 smears = you best change your diet and exercise right quick.
1 smear = benign—no good.
The songs/albums listed below have all earned the coveted 5 smear rating.
Best songs of 2020, in no particular order:
Arab Strap, “Comparison Part 1,” from As Days Get Dark.
Full CD out 2021. This is a perfect song for a road trip.
Thee Oh Sees, “If I Had My Way,” from Protean Threat.
If I had cool badges to give out, this band would get one. Their musical library is filled with great tunes. This song was a standout in 2020:
I’m a little bit dry
I’m a little bit wet
I’m a little bit concerned with that compost on your breath
I’m a little bit high
I’m a little bit low
I’m all filled with nonsense since you talk so goddamn slow
Tricky, “Fall Please,” from Fall to Pieces.
Marta sings quite a bit on this CD and I have always felt that Tricky is at his best with her. I was drawn to this song in particular, as the lyrics take on deeper meaning as the video story is told.
Idles, “Grounds,” from Ultra Mono.
The Bristol, England, band hits a home run on their third release. Great tunes for people who give a fuck.
Holy Fuck, “Deleter,” from Deleter.
It’s a dancey gem that features Angus Andrew from the band, Liars. Really decent CD too.
Yves Tumor, “Gospel for a New Century,” from Heaven to a Tortured Mind.
Sean Bowie has been on my radar for a while now. Born in Tennessee, now living in Turin, Italy, “Gospel for a New Century” is a fantastically catchy tune. Sean states Throbbing Gristle as a major influence. I also hear Prince, Anthony Kiedis, and more in his music. Cin Cin!
My Morning Jacket, “Magic Bullet,” The Waterfall II.
Great record and a timely tune about the connection between gun violence and mental health.
That low feeling starts to get to me
Need to find escape
So smoke it fills the lungs
And drink corrupts the brain
And morals get confused
In a desperate mind
And there ain’t no wrong or right
In a desperate time
Perfume Genius, “On the Floor,” from Set My Heart on Fire Immediately.
It’s upbeat musically, but this song is about struggles with unrequited love, forbidden love, and the demons that hold a person in shame when society “doesn’t approve.” It could easily be about the relationship to one’s body after a violation. I dig songs with multiple meanings. This is catchy, beautiful, and deep.
The Strokes, “The Adults Are Talking,” from The New Abnormal.
It’s had tons of airplay, so it really doesn’t need my support. The song is undeniably catchy, and The Strokes deserve credit for churning out great songs over these last 22 years.
Moby, “Power Is Taken,” which features D.H. Peligro, from All Visible Objects.
Moby is king. He is so talented and makes amazing music that everyone from kids to geriatrics can love. Another great album and the video for “Power Is Taken” is a summation of America’s disgusting underbelly.
Black Lips, “Hooker Jon,” from Sing in a World That’s Falling Apart.
Black Lips are one of my favorite bands. What I like about them is their ability to put out great punk-lite songs that get their ideology across with humor. This song was my favorite off Sing in a World That’s Falling Apart. Great live too! I highly recommend catching them at a venue near you next time they come around.
Jake Bugg, “Rabbit Hole,” single.
This guy! So good.
Unloved, “Strange Effect,” single.
It’s like The Supremes on acid. Yum!
Baxter Dury, “The Night Chancers,” from The Night Chancers.
Yup. Son of that Dury (Ian). Not that it’s important, but when you hear his voice, the question will come to mind. When Baxter is on, he is on! I have attached evidence.
Faithless, “What Shall I Do?” from All Blessed.
This is an important song and there’s no video (insert sad face here). You can listen to the song and read lyrics here:
Paul Weller, “Mirror Ball,” from On Set.
Gorgeous, fucking song.
Chromatics, “Twist the Knife,” from Faded Now.
Their last couple albums haven’t been up to par, if you ask me (you did, didn’t you?). No matter, I still love them, and one of the disappointments of 2020 was the cancellation of their U.S. tour. Nice tune here.
The Go Go’s, “Club Zero,” single.
The chorus says it all, “Zero Fucks Given.” These women should be in the Rock & Roll Hall of Fame.
Best Full-Length Albums in 2020, in no particular order:
Glass Animals, Dreamland.
It’s everything you would want from Glass Animals and more. If you haven’t seen them live, I highly recommend it. They are vibrant, bubbly, and whimsical, while still having something to say. Best tracks include: “Domestic Bliss,” “Space Ghost Coast to Coast,” and “Tangerine” (there is a nice version of this song with Arlo Parks on YouTube).
Jamie Lenman, King of Clubs.
I discovered Jamie last year when he released brilliant covers of Cyndi Lauper’s “She Bop” and Seal’s “Killer.” He was immediately on my forever radar. A former illustrator and bandmate of England’s Reuben, he embarked on his solo career several years ago. I was late to Lenmania. King of Clubs is a continuation of his artistic abilities and marks songs with the most important themes of this weird year. It’s the closest I get to “Cookie Monster Rock.” He doesn’t hang out in the scream zone too long though. Just enough to release that pent up 2020 anger. I have included 3 videos that are must views: “The Future Is Dead” (featuring Illaman), “I Don’t Wanna Be Your Friend,” and “Like Me Better.”
Death Valley Girls, Under the Spell of Joy.
I’m a fan and have been since the first album. This record is a bit more accessible, but they didn’t skimp on songwriting or musical content. Great CD. Best tracks include: “Little Things,” “I’d Rather Be Dreaming,” “Bliss Out,” and the single “Hold My Hand.”
Michael Kiwanuka, Kiwanuka (2019).
This guy! He is responsible for more earworms over the past year than anyone else. His self-titled CD rolled out in November of 2019, so it was just getting into full swing at the turn of the year. It’s a beautiful disc with some very strong tracks: “Rolling,” “Hero,” and “Final Days.” Although the track I included isn’t on this new release, if you haven’t heard 2017’s “Cold Little Heart,” I put it here for you. It’s pure beauty.
Lunar Twin, Ghost Moon Ritual.
This is beautiful. Bryce has a voice that will haunt the recesses of your mind. Each of this duo’s Eps are distinct and gorgeous. Ghost Moon Ritual is a full-length release of immense beauty and a wee bit o’ broodiness. The songwriting is luscious; the music is mesmerizing. Favorite tracks include: “Cinema,” “Electric Lights,” “Hawks,” and “Mountains Turn To Dust.”
Black Rainbows, Cosmic Ritual Supertrip.
Another solid release from these crunchy psychedelic rockers. Favorite tracks include: “Universal Phase,” “Radio 666,” “Isolation,” and “Glittereyzed.”
Yello, Point.
This was an unexpected musical surprise. What a fun, energetic, well-crafted release from these colorful pioneers. My favorites are: “Waba Duba,” “Out Of Sight,” “Arthur Spark,” and “Hot Pan.”
The Pack A.D., It Was Fun While It Lasted.
For you, annual smear readers, the presence of The Pack A.D. on my list is not a surprise. Canadian powerhouse duo, Maya & Becky, never disappoint. The songwriting is lit and the influences on It Was Fun While It Lasted conjur The Cramps and Sonic Youth. Every album is chalk full of great songs and their wall of sound is similar to that of The White Stripes (purr) and The Kills (double purr). Favorite tracks include: “Soul Warden,” “Change Kills,” and the attached-for-your-pleasure “Give Up” and “Reprogram.”
Golf Dolls, Die Trying.
Dare I say this is accessible punk? It’s fucking great whatever the identifying tag. The songwriting is whimsical and serious, the rhythms upbeat with just the right amount of fuzz. “Microchip Your Children,” “Que Responsible,” and “WWIII Ace” are gems. “Magic Mirror” makes me happy.
Mark Lanegan, Straight Songs of Sorrow.
Another familiar name on my annual best of list, Mr. Lanegan. The album closely follows his memoir, Sing Backwards and Weep. Personal, reflective lyrics (wouldn’t expect anything else) that are relatable and heartfelt. Some real beauties on here include: “Ketamine,” “Bleed All Over,” and “Ballad of A Dying Rover.” From “Skeleton Key”:
I spent my life, tryin’ every way to die
Is it my fate to be the last one standin’?
Don’t you know it’s a crime? All the shadowy peaks I climb
And I have yet to ever be remanded
Yes, I have yet to ever be remanded
Holy, holy
All of your religions are a lie
Hold me, don’t you try to hold me
I clearly see my own way to the other side
Yes, I will make my own way to the other side
Fantastic Negrito, Have You Lost Your Mind Yet?
Blown away by this guy. I found him a couple years ago (maybe he found me?) with his Please Don’t Be Dead (which is a must for any musicphile). Have You Lost Your Mind Yet? is a gift in 2020. It’s everything you require, you only need listen. Included here, the videos for “How Long” and, for the pandemic listener inspired, “Chocolate Samurai.”
Clan Of Xymox, Spider on The Wall.
Tasty, tasty goth right here. These guys have been around long enough to know exactly what they are doing. Just as good as ever with “She,” “All I Ever Know,” “I Don’t Like Myself,” and “When We Were Young.”
Joywave, Possession.
Tunes like “Blank Slate,” “Funny Thing About Opinions,” and the “Obsession” solidify Joywave into a 5 smear rating. Undeniably vibrant and yet easily able to inspire reflection. Possession is a great set of songs.
Night Club, Die Die Lullaby.
It’s dark, it’s synth, it’s dancey…why are these two not the King & Queen of the prom? Anywho, this record was co-produced by the one and only Dave Ogilvie (Skinny Puppy, NIN). I saw Night Club perform live in a tiny venue and they have what it takes to hit it big. Here’s hoping! GothPop at its finest. “Civil War,” “Die In The Disco,” and the Carrie-inspired “Miss Negativity.”
Gorillaz, Song Machine: Season One.
Sigh…. It’s the Gorillaz. They also published a coffee table book, Almanac, filled with the amazing cast of animated characters (including the band) who have helped create the Gorillaz’s unique brand. They collaborated with alt-favs Peter Hook (Joy Division) and Robert Smith (The Cure), among many others. It’s a fabulous CD!
Best Cover Songs of 2020:
The National, “Never Tear Us Apart” (INXS).
Crocodiles, “Burning Up” (Madonna).
Father John Misty, “One of Us Cannot Be Wrong” (Leonard Cohen).
Joan As Police Woman, “I Keep Forgetting” (Michael McDonald).
Sharon Jones & The Dap Kings, “Just Dropped In (To See What Condition My Condition Is In)” (The First Edition) and “Take Me with You” (Prince). RIP Queen.
The past year was full of anxiety and absence. It was topped off, like it is every year, with well-meaning-but-misguided friends wishing me a merry CHRIST-MYTH even though they have been asked to stop. Those few disrespectful words automatically spoken or typed send me into a multiday funk. It is in this fuck jesus mood that I write my year-end musical obsession list. Therefore, I must put a compilation of Mercyful Fate’s early evil songs in the number one spot. This doesn’t mean it was my favorite album of the year, but it definitely belongs on the list. Live by the horns!
Mercyful Fate, The Beginning (Metal Blade Records, 2020).
I have never thought of myself as a Mercyful Fate fan. I developed a dislike for King Diamond when I was in high school. I thought his vocal style was silly. A friend sent me a copy of The Beginning a few months ago. I have changed my mind about King Diamond and MF. After thirty years of ignoring anything King Diamond related, I am ready to admit that I was wrong. The music is great, and the vocals add an important element of creepiness and surprise.
Cirith Ungol, Forever Black (Metal Blade Records, 2020).
Forever Black is an album I have been looking forward to for years. For those unaware of Cirith’s recent history, they were coaxed out of retirement several years ago to play the headlining slot of the Frost and Fire festival held every year in Ventura, California. The annual festival was doing well, and it seemed inevitable there would be a new Cirith Ungol album. Forever Black is not for everyone, but I feel like it was produced for me. Forever Black is a natural extension of what the band was doing in the mid-1980s. Forever Black has better production than past records, but the style and sound are unapologetically ‘80s Cirith Ungol.
Gerry Paul Nestler, Mama’s Child (The Wild Red Mother Records, 2018).
I stumbled upon Mama’s Child accidently. I am a fan of the band Philm, featuring Dave Lombardo of Slayer. I was trying to find information about the band and a date for a new album (Lombardo left the band; there will be no new Philm records). Nestler was Philm’s guitarist and vocalist, and I believe he was the driving artistic force behind the project. I found his website. I listened to a few tracks from Mama’s Child and was completely blown away by it. It has sweet folksy moments and bluesy moments. It is a very earnest record by a very earnest artist.
Mel Tillis, Mr. Entertainer (MCA Records Inc, 1979).
This is a strange record. Is it country? How about pop? Rock? I guess it is all three. It is country with rock/pop sensibilities, particularly the rhythm section. I even heard a jazz flourish in one song. It also has that bullshit orchestration that Chet Atkins popularized as the Nashville sound. The orchestration on this record contributes to its odd character. When I was a kid, I would see Mel Tillis on television, often playing the straight man for the jokes of others. The jokes were usually about Mel’s speech impediment. I suppose I had heard him sing as well, but I have no memory of it. I consider Mr. Entertainer my first introduction to Tillis. I think what really grabs me about Mel Tillis and this record is the quality of his voice. There is no shortage of great voices or dominating voices like George Jones or Dolly Parton in country music. Tillis has a big voice that cuts across through the music. There is no twang in Tillis’ voice; it works well for all musical styles.
Joy Division, Closer (Rhino/Warner Brothers, 2020).
I am embarrassed to admit that until 2020 I was more or less oblivious of Joy Division. I knew songs covered by other bands, but little more than that. The phrase, “holy shit!” sums up my response to JD and Closer. I will be exploring JD and New Order in 2021.
Mary Halvorson’s Code Girl, Artlessly Falling (Firehouse 12 Records, 2020).
Mary Halvorson has become one of my favorite guitarists over the past few years, but she is one that I approach cautiously. Mary’s jazz vision can get a little too experimental for my taste. Artlessly Falling is loaded with Mary’s chicken-cluck guitar style, as well as odd vocalizations and tempo changes, but it is brilliantly done. The album is weird, but also very listenable. This my favorite Mary Halvorson album.
Sodom, Genesis XIX (Ent. One Music, 2020).
In the 1980s, I avoided Sodom. They seemed like the lesser of the thrash bands coming from Germany. Actually, I avoided all of the German bands at that time. I still find the early albums by Kreator and Sodom to be unlistenable. The 1980s metal bands grew up as their audience grew up. The albums became more political while the music remained aggressive but more accessible. Some of this is probably due to the band members becoming better musicians while metal fans developed a better or more particular ear. Sodom probably won’t replace Kreator as my favorite German metal band, but they are solidly in second place. Genesis XIX is their best album to date.
The Fall, Re-Mit (Cherry Red Records, 2013).
The Fall is a difficult band to love. The vocalist, recites poetry to music. Some of it makes sense and some of it is contradictory; it is all mumbled. Fans of the Fall tend to pan Re-Mit and most of the later Fall albums as uninteresting. I couldn’t disagree more. Mark E. Smith’s rants became less noisy, but musically the later albums are much better. I think Re-Mit is one of the top three albums in the Fall’s catalog.
Unknown Instructors, Unwilling to Explain (Org Music, 2019).
Mike Watt! All anyone should ever have to say when describing a Watt project is “Mike Watt!” Those two words tell you the album is going to be interesting. Unknown Instructors, I believe, is a nod to the Kraut rock band, CAN. I love CAN. I CANnot easily explain the style of CAN, but here goes nothing: it is art rock with hypnotically spoken words, backed up by raucous and repetitive music. It is wonderful. Unknown Instructors didn’t go for the hypnotic element, or as much repetition, but the CAN influence is unmistakable.
Ray Russel, Fluid Architecture (Cuneiform Records, 2020).
This album contains ethereal new age passages, progressive rock, and jazz. To me there are both Pink Floyd and Bill Frissell influences.
Rubba, In Motion: Modern Progressive Group Sounds (Music De Wolfe, 2020).
The best way I can describe the music of Rubba is to call it progressive pop. It is much lighter on the rock than I usually like my prog. I liked the album right away, but I wasn't obsessed with it until it had spent a couple hours on the turntable. The friend that recommended this album led off with "this is going to be your new favorite record." It's not. But it is one my favorite new discoveries of 2020.
Honorable mentions:
Bill Frissell, Valentine (Blue Note, 2020)
Shabaka and the Ancestors, Wisdom of the Elders (Brownswood, 2016)
