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In Knoxville, the
home of the University of Tennessee, college bands never die,
they just get remastered. In fact, Lynn Point Records seems
to be making quite a nice living, thank you, from remastering
and distributing little diamonds in the rough from the apparently
overflowing musical vaults around the Knoxville collegiate ghetto.
They've reissued the Taoist Cowboys, Mic Harrison, and Bob McCluskey's
early works and now they've issued two discs by The Swamis, a
self-titled CD originally recorded in 1990 and TURL, recorded
in 1991. It is no coincidence perhaps, since Lynn Point president
and former V-Roy Jeff Bills happened to play drums on the latter
album.
The Swamis, primarily the brainchild of boyhood friends, college
roommates, and co-writers of the Swamis' material, bassist John
Tilson and guitarist Dave Kenney, were a part of that wonderful
concept and American musical phenomenon, the garage band. In
fact, both records were recorded in Swami John Tilson's garage
(in the pretentious age we now live in, this would be known as
"the practice space"). The Swamis took their cues
from Frank Zappa, Captain Beefheart and local garage heroes Smokin'
Dave and the Premo Dopes in blending humor, social comment and
music into something at once hip and "underground."
While their smart, hip, humor-at-all-costs concept might not
have worked well in Topeka or Abilene, in a college town like
Knoxville it was a very viable and "in" thing.
There is a 60's vibe to The Swamis' garageness, lots of fuzzy
Fever Tree guitar by Daniel Moore (Taoist Cowboys) and Do-the-Jerk
danceable rhythms. Some of the playing is tick-tock tight and
some of it is just full blast abandon and ragged as hell.
But Zappaesque humor is the stock and trade of The Swamis,
and both of these albums are filled with it. Just how far out
would The Swamis go for the sake of humor and coolness? Well,
with song titles like "Phallocratic Campfire Song,"
"Veil of Beers," "Candy Crème Dream,"
"In Spiral Vision," "Cynical Wet Dream,"
"Hefty Cleft," "Wrap Your Cheese," and "100%
Chance of Pain" it's fairly obvious they'd go pretty far.
Even over the edge. Hell, they probably didn't even think there
was an edge. Or maybe they thought they were the edge. Obviously
they weren't even considering that there might be an edge when
they recorded what may be their signature work, "Mother
In Law," a song that could have been cribbed from the Country
Dick Montana/Mojo Nixon songbook.
She smells like a biker
And she cackles like a jackal
Dressed to kill in that new pants suit
You can hear the static crackle
Fix her lovely Sunday dinners
She'll complain that they're too spicy
And those migraines out the ying-yang
Like she's slurpin' on an Icee
Now if you take her out to eat
She's a thrifty little booger
She starts fillin' up her purse
With little tiny packs of sugar
And you better run for cover
If she takes off them there shoes
They must smell somethin' awful
'Cause they done turned her hair blue
She puts me on the path to heaven
By giving me some hell
The V-Roys have been rumored to cover "Mother In Law"
in some of their more alcohol-impaired performances.
The Swamis also excelled at another form of humor: the vicious
parody. Kenney and Tilson originally learned their songwriting
skills in high school by rewriting the pop songs of the day.
While their Swamis' work took them well outside the boundaries
of parody, on "Lou Reed" The Swamis mimic the New York
rocker to the music of Reed's mega-hit "Take A Walk On The
Wild Side" and in Reed's lethargic barely-got-a-pulse voice
so well it would make Weird Al jealous.
Why are you runnin' from me?
Have I got herpes or halitosis?
You don't have to agree
To nothin' you don't want, but Holy Moses
The TURL disc displays
the considerable musical development The Swamis underwent in
the year after the self-titled first album was recorded. TURL
is a tighter, surf music influenced, harder rocking, more professional
sounding record than the loose, jangly, all-over-the-place music
on the first disc. This is not to imply that the first disc
is unworthy or that TURL is somehow better. But there
is a distinct difference in the sound on the two records, with
TURL having better sound qualities and a tighter presentation.
But the humor is non-stop on TURL too, whether it is
in the form of Zappan sarcasm and cynicism or of sophomoric,
collegiate smartass Saturday Night Live shenanigans. The wistful
"Lens Cap" shows the kind of wit and situational humor
that pervades this trippy disc.
Baby, you ran the video camera
While we made love 'til dawn
But you left the lens cap on
You could have proved
That I've been moved
But now that opportunity is gone
Yeah, you left the lense cap on
But don't think The Swamis couldn't handle a love song.
Well, actually, they couldn't. But they tried. It may not have
been love, but they were at least wrestling with the concept,
searching for their sensitive side. "Talk" has a certain
Bob McCluskey influence in its sentiment and point of view.
What I said to you, did I really mean it?
Well, how can you know if I won't repeat it?
I wish I knew you well enough
To know when I could say shut up
And you would know I didn't mean it mean
You'd know that there are better things
Than talk
Both of these records are historical documents, a peek inside
the simmering, smart college garage rock world functioning on
the fringes of a dying punk movement a decade ago. They experimentally
combine numerous musical styles, from surf to psychedelic to
punk to pop, with sounds derived from Blondie ("Hefty Cleft")
to Petty to Zappa to Beefhart. And it's all done in an innocent
spirit of hijinx with a complete lack of seriousness. We don't
often see that these days and we could probably use a large dose
of it.
* Quit taking everything so seriously. Go over to
www.lynnpoint.com, plunk
down your greenbacks, then dryclean your Sunday turban while
you wait for the mail man to bring The Swamis to your spiritual
rescue.
Contact William Michael Smith at: wms-at-rockzilla.net
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