The Cheese Mites - Table Manners

   The "Universal Snufmeg" era was, and continues to be, fraught with confusion. Although Williwill and Johnny explored musical paths on separate continents, collaboration took on different forms, depending on factors peculiar to each particular instance. As a result of the bi-continental paradigm, much work was completed often under a variety of names, some of which manifest themselves enough to warrant their own legacy. Some of those include the Raw Mommies, Bulb, the Little Engine, solo DJ Johnny B Dub & Williwill, Speed Blimp, DJ Big Pretzel, DJ Lunar Canine, Brian Fripe, the Master Cylinder, Top Ranking Officials, Jerry Vile, Top o' the Mornin', and the Vanilla Penis Explosion. Others, such as Alternateen, Scrounger, the Snufmeg Kru, and the Danicing Bears found their material cannibalized by the Cheese Mites. The reason for much of the absorbtion was the overwhelming quality of what it "meant" to be the Cheese Mites, especially in light of the fact that much of it was, ultimately Johnny & Williwill. Collaboration took on the form of material being solely created by one or the other, and in the more traditional fashion of live or long-distance technological enhancement by both parties.

   "Table Manners" reflects the multi-dimensional approach to collaboration. The collection opens with the misanthropic "Invaders Have Landed on Martian Soil," originally intended for Scrounger in the late 1990's, and then for Alternateen shortly thereafter but reworked for the Cheese Mites by 2010. "Rock DIcks Melody" was intended for the Rock Dicks, but repurposed for the Cheese Mites in 2012. "And I Think of You" was a 1984 "American Snufmeg" era production, revealing a

   "Table Manners" takes on the "establishment" pomposity of modern, academic electro-acoustic music, in a way hinted at by the early Cheese Mites audio terror experiments. Owing a great debt to mid-Twentieth Century electronic music, "Table Manners," like "Between Spaces," "Front and Back," "New Man," "Stellar," and "Teeth" express the true spirit of electro-acoustic music in a way that utterly devastates the effete pretentiousness of the dreadful and uninspired creations from the SEAMUS/ICMA affiliated "hallowed halls" of modern accredited experimental drivel. The Cheese Mites reclaim electronic music from the precipice of the affected insular intellectuals and make it a near-folk music for the ages of electricy.

Bulb

The release of "Bulbs and Whistles" by Bulb (1990), is often overlooked for it's importance in the "Universal Snufmeg" era. Though a brief compilation of songs, it is both a forward and read-view-mirror nexus of artistic elements and personalities, like few other artificats in the Snufmeg catalog. The material iteself is comprised from some staples of the Snufmeg index: "The Truth Comes Out," "Pros Jam with Pros" and "Clarinet," all find new interpretions (and not the last time they are rendered), plus "Barriers." Notable, however, is the arangement of Johnny B Dub and Scott D, who later appear in the Raw Mommies. A special provocative guest appearance is made by DJ Williwill on "Pros Jam with Pros" with a vocal message of chastisement.

For further information on the Raw Mommies see https://rawmommies.blogspot.com/

Doug B

The early days of the post-1985 "Universal Snufmeg" era saw an expanse in the names of collaborators in the Snufmeg experience. From approximately 1990, Johnny B Dub briefly worked with Doug B to produce the "Charity" EP. An accomplished songwriter and musician, Doug contributed three songs for treatment in Snufmeg style, as exemplified in this collection. Recorded over several sessions, Doug's gifted creativity proved to be flexible enough for the forward/retro exploration which was becoming ever more developed in the growth of the Snufmeg environment.

Snufmeg in the Second Half of the 1980's

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.

Now Let's Have a Chat About "Cultural Influences"

   The marginalization of Snufmeg was, and continues to be, a worldwide conspiracy. From the onset, agents have sought to undermine and alienate the public at large from the near salvific creations under the banner of Snufmeg.
   At some point during 1983, a campaign was launched against the community in the form of psychological warfare. A concerted effort was made to destabilize and atomize the members. One such attack came in the form of casual dismissal of Snufmeg, but the Cheese Mites in particular, for failing to embrace "Cultural Influences." This became hotly debated and served to initiate severances amongst interested parties. It was eventually determined by Phynqafis Himself, after a prolonged forum of cogitation over Snuff and Nutmeg, he pronounced the best practice was to use such elements against the enemies of Snufmeg. The community soon enthusiastically accepted.
   What, however, was intended by "cultural influences"? The agents in the matter never revealed. But, by the guidance of Phynqafis a plan was concocted. What follows are examples from as early as 1983.
   This collection created and compiled by Johnny B. Dub, with the title "DJ" preceding his name, introduces the use of computers and synthesizers into musical mix. The results are generally taut and enjoyable in a way which differs from the traditional modes produced in Snufmeg.
   Of special note is the rendition of "Mutual Attraction." Like the selections included in "Themes, Motifs and Snufmeg," this song found itself covered by several Snufmeg related artists. Originally composed in (or around) 1985, the song has been found to be malleable enough to fit several stylistic interpretations.

Themes, Motifs and Snufmeg

   Culled from a thirty-seven year span of the Snufmeg Library, the album "Themes, Motifs and Snufmeg" explores the flowering of cogent and structured expression which lurked beneath the chaotic and harsh innovations from which Snufmeg, in general, and the Cheese Mites, in particular, sprang. Absent here are the loops and feedback. Echoes remain, but, then old habits die hard. The overall thread throughout is the presentation of versions of standards and others over the span of time.
   Opening the collection is "Echo Song." This version captures the 'Mites at the crucial time where customary song forms were phasing out the riotous tone poems. The thematic phrasing of this song was dominant in the early "freak-out" performances, archived in as yet undisclosed versions. For tracks 11 and 14, these renditions, from as late as 2005 (although other sources date it in 2015), showcase the depth and deftness exclusively of Williwill's guidance, as he recreates "Echo Song" with brilliance and beauty only hinted at in the original. Track 6 is listed as "Untitled," which was the working title until "Echo Song" simply sufficed. This version is orchestrated by Johnny B. Dub. What we encounter is a comparison of the unique voices or sensibilities when juxtaposing the version by Johnny versus those by Williwill. They serve to establish how the two approaches work together, as well as the identifiable idiosyncrasies, in creating the broad methods and conceptualizations of the music of the Cheese Mites and much of the Snufmeg catalog.
   The mono and stereo versions of "The Monkey's Gonna Get You," seek to pay respect in an homage to the "swinging Sixties." With an open, spacious production, the classic sound of early 60's hits is recreated, yet with Cheese Mites absurdity in a lyrical tale of alarm fitting for "Planet of the Apes."
   Occupying tracks 3, 7, 10 & 12, "Out in the Sun" was one of the first major structured works by the Cheese Mites, and penned by Williwill. Track 3 is ambitious in its production esthetic, incorporating echoed guitars and French Horns. Conversely, track 7, is a simpler, two guitar version, with an almost rockabilly modality to it. While track 10 most likely predates the "official" recording (track 3), it nonetheless stands as a valid version, revealing a looser feel, probably due to the development of the song's themes. Williwill commands the production on track 12, featuring a tighter rhythm section, snappier up-tempo beat, and cleaner production than the lads had to endure in the old days.
   Like "Out in the Sun," Williwill led the charge in professionally crafted pop masterpieces, and "Speak" was no exception. It contributed considerably in changing the course in Snufmeg, and for the Cheese Mites. Two versions are included here; track 4 from 1982, and a Johnny B. Dub produced remake (track 8) from around 2005. Though the latter version is cleaner, it does not possess the mood of the former.
   Finally, we have two versions (tracks 5 & 9) of "Pros Jam with Pros." Intended as a mock of "musicians wanted" ads, the song experienced iterations outside of the Cheese Mites, notably by Bulb, and The Little Engine (both to be examined in upcoming posts).

Video Collaboration with Fruzsi Nemes

Below is video art, "Metrometro," created by artist/film-maker Fruzsi Nemes, which includes The Cheese Mites' "Funk You" from "I Can Read About Any Book That Someone Gives Me".

https://vimeo.com/fruzsinemes

(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.

     She's my all night penis garage
     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's my all night penis garage
     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.

   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.