Snufmegology often references the totality of Snufmeg production in regards to two periods: those of the pre-1985 "American Snufmeg" and post-1985 "Universal Snufmeg" eras. The "American" period saw the origination of Snufmeg and the Cheese Mites, specifically, the "Universal Era" saw an expansion of not only the names of creators in and associated with Snufmeg, but a broadening of the aesthetic of what it means to be Snufmeg. While experts wrestle over the precise qualities which saitsfy to define it, the community of those who passed through the Snufmeg milieu grew as a result of the "Universal" experience. In this post, two wildly divergent examples of post-1985 Snufmeg production are presented.
First, the one-off "reunion" of Sin for a re-working of the Snufmeg repertory classic "Vomit Your Senses." Second, is the Johnny B Dub production of Baritone's (the late Dwayne Francis) "Brownskin Girls" demo, which continues the trajectory established in the "Persuasion" collection in the previous post. Both recordings were undated, but most circumstantial evidence places them between 1987-1989.
Showing posts with label Vomit Your Senses. Show all posts
Showing posts with label Vomit Your Senses. Show all posts
Monday, February 8, 2021
Saturday, April 25, 2020
(She's My All Night) Penis Garage
Probably the most vexing song in the Cheese Mites catalog, "(She's My All Night) Penis Garage" (PG), this requires attention of its own.
Recorded most likely in 1990, it first appeared in the collection "Calling Doctor Death." It belongs in that pantheon of "early" Cheese Mites songs, along side "Vomit Your Senses" and "I Want to be Happy," though clearly dating outside of the "American Snufmeg Era," which closed in 1985.
It is as musically traditional a toe-tapping "hit from the Sixties" could be, with a light peppy beat, tuneful transitions, hummable melody all chugging away with a basic rock and roll band augmented by a chirpy Farfisa organ keyboard. The disarmingly catchy nature of the music, however, is seemingly at variance with lyrics, which continue to provoke responses of those incapable of laboring to scrutinize the underlying moral message.
Naturally, the title and refrain are unrepentantly repellent in their provocation, which to the lazy and casual observer see it as nothing more than merely lasciviously tantalizing and offensive. However, knowing the historical use of humor and agitation (for it's own sake) as Johnny & Williwill have established throughout their career, even to this point, allows, for those with stronger intellectual prowess, one to see the song and lyrics for what it is: fun and funny. Humor, as is often held, is a chief component in the expression of higher mental functions. Insults intended.
They call him the dark lord of the Underworld
But, he is my pal.
I've learned all the tricks of Anton Levay
And they got me my gal.
She's my all night penis garage
She makes things so very convenient for me.
Recorded most likely in 1990, it first appeared in the collection "Calling Doctor Death." It belongs in that pantheon of "early" Cheese Mites songs, along side "Vomit Your Senses" and "I Want to be Happy," though clearly dating outside of the "American Snufmeg Era," which closed in 1985.
It is as musically traditional a toe-tapping "hit from the Sixties" could be, with a light peppy beat, tuneful transitions, hummable melody all chugging away with a basic rock and roll band augmented by a chirpy Farfisa organ keyboard. The disarmingly catchy nature of the music, however, is seemingly at variance with lyrics, which continue to provoke responses of those incapable of laboring to scrutinize the underlying moral message.
Naturally, the title and refrain are unrepentantly repellent in their provocation, which to the lazy and casual observer see it as nothing more than merely lasciviously tantalizing and offensive. However, knowing the historical use of humor and agitation (for it's own sake) as Johnny & Williwill have established throughout their career, even to this point, allows, for those with stronger intellectual prowess, one to see the song and lyrics for what it is: fun and funny. Humor, as is often held, is a chief component in the expression of higher mental functions. Insults intended.
They call him the dark lord of the Underworld
But, he is my pal.
I've learned all the tricks of Anton Levay
And they got me my gal.
She's my all night penis garage
She makes things so very convenient for me.
She's my all night penis garage
She makes things so very convenient for me.
She makes things so very convenient for me.
She used to be so shy
Now all that has changed
With the devil's helping hand
Her mind's been rearranged.
She's my all night penis garage
She makes things so very convenient for me.
She makes things so very convenient for me.
She's my all night penis garage
She makes things so very convenient for me.
She makes things so very convenient for me.
I am Lucifer's desciple
She is Satan's slave
Our love will last forever
Way beyond the grave
She's my all night penis garage
She makes things so very convenient for me.
She makes things so very convenient for me.
And yet, some people take that seriously and are offended!
For those who require hand-holding - come along. We are presented with a tale of a "Mister Lonely," an In-cel, of sorts, desperate for human contact in the manner which dates back ages, to wit: the hand of a girl. So at a disadvantage in life is he, that he will go to any lengths to catch the attention of his desire, even if it means dabbling in the "dark arts."
At the chorus we hear that all of his wants, especially those of a carnal nature have, indeed, been satisfied. So, we press on. The girl, it seems, was of a reserved and reluctant nature. Her will to resist, however, was no match for his chosen machinations of the most diabolical sort, and she has succumbed. Perhaps, Mister Lonely doesn't deserve her affection? It was for that reason he resorted to the most underhanded of methods.
The message thus far is, contrary to the gasping reaction of the prudes and Puritans of our age, that it is precisely the walled thinking of such prudes and Puritans, who deceive themselves with their artificial tolerances, which must be overcome. The power of love is beyond the grasp of such people, though, the substance here is presented in the manner of a fun-house mirror. We find, at the bridge, that our lovers have embraced each other, and their emotional bond transcends the coarse judgement and phony moralism of our cultural mandarins.
This song is, in its own very peculiar and idiosyncratic manner, a protest for Love. And that just wrangles some people.
For those who require hand-holding - come along. We are presented with a tale of a "Mister Lonely," an In-cel, of sorts, desperate for human contact in the manner which dates back ages, to wit: the hand of a girl. So at a disadvantage in life is he, that he will go to any lengths to catch the attention of his desire, even if it means dabbling in the "dark arts."
At the chorus we hear that all of his wants, especially those of a carnal nature have, indeed, been satisfied. So, we press on. The girl, it seems, was of a reserved and reluctant nature. Her will to resist, however, was no match for his chosen machinations of the most diabolical sort, and she has succumbed. Perhaps, Mister Lonely doesn't deserve her affection? It was for that reason he resorted to the most underhanded of methods.
The message thus far is, contrary to the gasping reaction of the prudes and Puritans of our age, that it is precisely the walled thinking of such prudes and Puritans, who deceive themselves with their artificial tolerances, which must be overcome. The power of love is beyond the grasp of such people, though, the substance here is presented in the manner of a fun-house mirror. We find, at the bridge, that our lovers have embraced each other, and their emotional bond transcends the coarse judgement and phony moralism of our cultural mandarins.
This song is, in its own very peculiar and idiosyncratic manner, a protest for Love. And that just wrangles some people.
Saturday, March 24, 2018
Experiment in Stupidity (Part 1)
The exact date of this debut compilation is hotly disputed amongst the faithful in Snufmeg. Ambitious chroniclers place it in 1979. Those with a more conservative view of events date it no later than 1981. Regardless of the precise date, this collection marked the beginning of the "American" era of the Cheese Mites, lasting until 1985.
The true collection, in cassette format, consisted of the songs: "Love", "Sex", "War" and "Music". These were created all within the same session. A later, modified collection included "Hey, Saul". The collection assembled for the Bandcamp website consists of the first four songs, the first official Cheese Mites recording of "Vomit Your Senses", and the regrettably low fidelity recordings, even by Snufmeg standards, of four more songs by the Cheese Mites with special guest Edmund (aka Fish Sticks), on percussion and voice.
It is upon the "true four," however, that Experiment in Stupidity earns it's merit. "Love" is a primal, reverb-soaked voice and drums assault with few comparatives in the Snufmeg canon. The lyrics are cloaked in effect, shrieked and croaked. Few words are comprehensible, save fleeting descriptions of decay and misery, when finally Johnny B Dub screams "And where is love?" One hardly gets the impression he is serious in his quest; not that he is mocking it, more like he has just given up. Propelling the song to it's merciful end at 1:33, Williwill pounds a jerky, untimed beat, accenting occasionally with a moan of mockery.
The ambience continues to drip with reverb, echoes and noise. A more subdued vocal performance follows with "Sex", although no sensual sensitivity caresses the ears of the listener. Echoed guitar, spastic drumming and squeals of feedback, the apparent hallmarks of EiS, complete the arrangement. The lyrics are a juvenile stab at a psuedo-poetic stream of veiled sexual innuendos, outright offensive imagery and a childish, backwards view of intimacy. Though free of obscenity, the redeeming value found here is that it was a cathartic exercise on a topic the participants had little to no business in examining.
Suddenly, the tone shifts. The quasi-martial introduction to "War" oozes in mockery. An apparent musical sense was adopted for this song, although shortly after establishing on one theme, another is selected. The lyrics are, again, virtually undecipherable, yet, there sounds as if there is an urgency underlying the vocalization. Then, for no apparent reason, the song ends softly, with a jazz inflection.
The fourth song, ironically titled "Music", is an epic length (17:25) excursion with guitars, drums, feedback squeals, tape loops, echoes, and reverb. For all of the "experimentation" and dissonance, "Music" never truly repels or alienates the listener, so long as one puts aside an expectation of traditional harmony and melody - of which there is none. There is a continues sense that something is going to happen, a quarter hour of foreplay.
Departing from the "true four" of the EiS collection, but continuing as directed by digital compilations, is the Snufmeg standard "Vomit Your Senses." Although, often erroneously credited as a Cheese Mites original, this song found its first iteration on the "Live at the Lyle Garage" collection by Sin from 1978. As often was the case for the Cheese Mites, restatement and repurposing became a mode of creation, and it was first established with this cover of VYS. Where the Sin original intended to establish a rock type song with traditional style and credibility, though falling well short, the Mites version built upon the mode of the EiS true-four with noise and chaos, and paired it with (questionably) traditional song structure. The inclusion of VYS in this early collection broadens the scope of what the Cheese Mites were to later venture into. From a free/noise structureless base, they now pointed to standard song form.
The final four (the back-four) songs of the digitized collection were originally from an unnamed compilation. Culled from a session with special guest Edmund, these incredibly poorly recorded songs showed the Mites in a less frantic mood. There was still a loose, free-form manner. The pretense of poly-rhythms make the continuing thread throughout "The Bad Fish," "We Two Three," "The Big Ocean," and "A Pond of Our Own."
This will be continued in the next installment.
Sources:
https://thecheesemites.bandcamp.com/album/experiment-in-stupidity
The true collection, in cassette format, consisted of the songs: "Love", "Sex", "War" and "Music". These were created all within the same session. A later, modified collection included "Hey, Saul". The collection assembled for the Bandcamp website consists of the first four songs, the first official Cheese Mites recording of "Vomit Your Senses", and the regrettably low fidelity recordings, even by Snufmeg standards, of four more songs by the Cheese Mites with special guest Edmund (aka Fish Sticks), on percussion and voice.
It is upon the "true four," however, that Experiment in Stupidity earns it's merit. "Love" is a primal, reverb-soaked voice and drums assault with few comparatives in the Snufmeg canon. The lyrics are cloaked in effect, shrieked and croaked. Few words are comprehensible, save fleeting descriptions of decay and misery, when finally Johnny B Dub screams "And where is love?" One hardly gets the impression he is serious in his quest; not that he is mocking it, more like he has just given up. Propelling the song to it's merciful end at 1:33, Williwill pounds a jerky, untimed beat, accenting occasionally with a moan of mockery.
The ambience continues to drip with reverb, echoes and noise. A more subdued vocal performance follows with "Sex", although no sensual sensitivity caresses the ears of the listener. Echoed guitar, spastic drumming and squeals of feedback, the apparent hallmarks of EiS, complete the arrangement. The lyrics are a juvenile stab at a psuedo-poetic stream of veiled sexual innuendos, outright offensive imagery and a childish, backwards view of intimacy. Though free of obscenity, the redeeming value found here is that it was a cathartic exercise on a topic the participants had little to no business in examining.
Suddenly, the tone shifts. The quasi-martial introduction to "War" oozes in mockery. An apparent musical sense was adopted for this song, although shortly after establishing on one theme, another is selected. The lyrics are, again, virtually undecipherable, yet, there sounds as if there is an urgency underlying the vocalization. Then, for no apparent reason, the song ends softly, with a jazz inflection.
The fourth song, ironically titled "Music", is an epic length (17:25) excursion with guitars, drums, feedback squeals, tape loops, echoes, and reverb. For all of the "experimentation" and dissonance, "Music" never truly repels or alienates the listener, so long as one puts aside an expectation of traditional harmony and melody - of which there is none. There is a continues sense that something is going to happen, a quarter hour of foreplay.
Departing from the "true four" of the EiS collection, but continuing as directed by digital compilations, is the Snufmeg standard "Vomit Your Senses." Although, often erroneously credited as a Cheese Mites original, this song found its first iteration on the "Live at the Lyle Garage" collection by Sin from 1978. As often was the case for the Cheese Mites, restatement and repurposing became a mode of creation, and it was first established with this cover of VYS. Where the Sin original intended to establish a rock type song with traditional style and credibility, though falling well short, the Mites version built upon the mode of the EiS true-four with noise and chaos, and paired it with (questionably) traditional song structure. The inclusion of VYS in this early collection broadens the scope of what the Cheese Mites were to later venture into. From a free/noise structureless base, they now pointed to standard song form.
The final four (the back-four) songs of the digitized collection were originally from an unnamed compilation. Culled from a session with special guest Edmund, these incredibly poorly recorded songs showed the Mites in a less frantic mood. There was still a loose, free-form manner. The pretense of poly-rhythms make the continuing thread throughout "The Bad Fish," "We Two Three," "The Big Ocean," and "A Pond of Our Own."
This will be continued in the next installment.
Sources:
https://thecheesemites.bandcamp.com/album/experiment-in-stupidity
Saturday, May 20, 2017
Snufmeg and the Year 1978
The year 1978 marked the beginning of a phase of creativity for Snufmeg, and the Cheese Mites, in which the scope was to broaden considerably in setting the foundation for future endeavors. WK built upon the discoveries made in previous years, and Johnny B Dub established a presence by creating material which would define major aspects of the Snufmeg craft. Although known to one another, this period finds them converging from separate paths, pursuing a vision which became the bedrock of Snufmeg.
While 1978 holds remarkable importance, there still is doubt regarding the creation date of some of the material. "Cartoon Music," a cassette single released by Williwill, in all likelihood was created prior to 1978, and certainly not later. This piece is a short study of sounds and motifs meant to accompany the visual representation of animated behavior. Culled from pre-existing sources, Williwill champions techniques and modes later crassly aped by others for the mere purpose of remunerative exploitation. However, as in all things Snufmeg, the framework for development transcends that of general commercial technique.
Lesser known was the composition "Radio Noise," found on the WK "Rarities and Friends" compilation. It was mysteriously uncredited and undated, although some experts have concluded that it was an early electronic experiment by Johnny B Dub from around the 1978 era. It is a brief development of a chord from electronic generators, which turn wildly into a menage of atonality.
In Snufmeg lore, if "Cartoon Music" is a pinnacle of 1978, it's sister peak is found in "Vomit Your Senses." Written in February of that year, "Vomit Your Senses" (also know simply as "VYS") takes the raw simplicity of a rock music motif and combines it with a lyrical exploration of decay and cultural crapulence. It quickly became a standard in the community, as an expression of frustration at the most primal level. The earliest recorded version of VYS was in the collection "Live from the Lyle Garage" by Sin. This recording reflects Sin in its most primitive condition, Johnny B Dub and JP, sharing duties on vocals and various guitars. Included alongside VYS are an unfortunately edited version of "Rock Slide," full length versions of "Please Wait," "Black Suger,"(sic) and the near-epic length "She's All Alone." With the exception of "Black Suger," all pieces from this collection have found comfortable inclusion as Snufmeg traditionals.
There was no shortage of material from 1978 to be found in the classic "History of WK" compilation. In addition for the previously noted "Backwards Tape" and "Delay," the year found such gems as "Blues Progression," "Backwards Trumpet," "Psychedelic Song," and two different songs entitled "R&B/Hard Rock." Also from that year was "Backwards Bells," "Avant Garde Drum Solo," "Avant Garde Bells Solo," "Guitar Solo," "Avant Garde Drumming," and the "Backwards Bells Variations," all found on the WK compilation "Rarities and Friends." Other selections are found in various authorized compilations.
The groundwork was being set. The two greatest members of the community, WK and Johnny B Dub, were preparing the creative paths which soon would find them in a collaboration spanning decades, musical styles, philosophies and disciplines - the Cheese Mites.
Sources:
https://snufmeg.bandcamp.com/album/pros-jam-with-pros-the-snufmeg-scene-compilation-featuring-the-cheese-mites
https://snufmeg.bandcamp.com/album/cartoon-music
https://snufmeg.bandcamp.com/album/rarities
https://snufmeg.bandcamp.com/album/live-at-the-lyle-garage
While 1978 holds remarkable importance, there still is doubt regarding the creation date of some of the material. "Cartoon Music," a cassette single released by Williwill, in all likelihood was created prior to 1978, and certainly not later. This piece is a short study of sounds and motifs meant to accompany the visual representation of animated behavior. Culled from pre-existing sources, Williwill champions techniques and modes later crassly aped by others for the mere purpose of remunerative exploitation. However, as in all things Snufmeg, the framework for development transcends that of general commercial technique.
Lesser known was the composition "Radio Noise," found on the WK "Rarities and Friends" compilation. It was mysteriously uncredited and undated, although some experts have concluded that it was an early electronic experiment by Johnny B Dub from around the 1978 era. It is a brief development of a chord from electronic generators, which turn wildly into a menage of atonality.
In Snufmeg lore, if "Cartoon Music" is a pinnacle of 1978, it's sister peak is found in "Vomit Your Senses." Written in February of that year, "Vomit Your Senses" (also know simply as "VYS") takes the raw simplicity of a rock music motif and combines it with a lyrical exploration of decay and cultural crapulence. It quickly became a standard in the community, as an expression of frustration at the most primal level. The earliest recorded version of VYS was in the collection "Live from the Lyle Garage" by Sin. This recording reflects Sin in its most primitive condition, Johnny B Dub and JP, sharing duties on vocals and various guitars. Included alongside VYS are an unfortunately edited version of "Rock Slide," full length versions of "Please Wait," "Black Suger,"(sic) and the near-epic length "She's All Alone." With the exception of "Black Suger," all pieces from this collection have found comfortable inclusion as Snufmeg traditionals.
There was no shortage of material from 1978 to be found in the classic "History of WK" compilation. In addition for the previously noted "Backwards Tape" and "Delay," the year found such gems as "Blues Progression," "Backwards Trumpet," "Psychedelic Song," and two different songs entitled "R&B/Hard Rock." Also from that year was "Backwards Bells," "Avant Garde Drum Solo," "Avant Garde Bells Solo," "Guitar Solo," "Avant Garde Drumming," and the "Backwards Bells Variations," all found on the WK compilation "Rarities and Friends." Other selections are found in various authorized compilations.
The groundwork was being set. The two greatest members of the community, WK and Johnny B Dub, were preparing the creative paths which soon would find them in a collaboration spanning decades, musical styles, philosophies and disciplines - the Cheese Mites.
Sources:
https://snufmeg.bandcamp.com/album/pros-jam-with-pros-the-snufmeg-scene-compilation-featuring-the-cheese-mites
https://snufmeg.bandcamp.com/album/cartoon-music
https://snufmeg.bandcamp.com/album/rarities
https://snufmeg.bandcamp.com/album/live-at-the-lyle-garage
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