Weird Revolution, classic or dud?

everything after Pioughd has been a let down (and, to an extent, that too)

agreed.

All downhill after "Locust" really, wasn't it? Although side one of "Hairway to Steven" sounded pretty damn hot at the time.

When did Rembrandt Pussyhorse come out? I like that one, too. Also, Hairway To Steven had some classics like I Saw An X-Ray of a Girl Passing Gas, John E. Smoke, Fast, Rocky and Julio Iglesias. True, that whole Jimi first part is neat, but I really like the regular songs on that album. In my opinion, they are some of the best.

Rembrandt Pussyhorse = 1986
Locust Abortion Techician = 1987
Hairway to Steven = 1988
HtoS has tracks at difft speeds: 45 and 33 rpm alternately. How d'you do THAT on CD eh? EH?!

Hairway to Steven has been played live in it's entirety many times. It's supposed to sound like that. If there was an actual note about what speed the songs on the album were to be played (which I doubt, because there was practically no writing on the tape or CD, just squiggly pen sketches to name each song), it was most likely to further the oddness, like Non's several-drill-holed locked groove release.

The opening track on H to S is supposed to sound slow and gooey and it does sound this way when performed live. Gibby's vocal machine does the work, not a slowing down of the music. Same with Paul's guitar. He uses a pitch modulator. On the CD there is only the slow trudging version of Jimi (opening track). I would be curious to hear what it sounds like on 45 rpm, but that's not how it's SUPPOSED to sound.

I quite liked INDEPENDENT WORM SALOON. But I like their first album best of all. And that hilarious gibbersih opening "John E. Smoke".

Okay, well, I got the Weird Revolution on Independence Day (the bombs bursting in air) and, I must admit, it's pretty damn normal for a band with that starts off with a call to arms about being abnormal. There are some downright funny parts that make me smile. It's a pop record, plain and simple, with plenty of trance filler. The entire thing has fake drums, samples, layered voices (reminds me of The Corrs at times!) and plenty of sitar or Indian sounding instruments of some sort. If that sounds kinda dated, I did some research and, surprise, it is!

Seems if it wasn't for Capitol, this would have been out 5 years ago and they would have been on to other territories already. The Buttholes had to sue them (for 4 years) to get the rights to their songs, which Capitol simply pulled the plug on. At a time when Buttholes were pretty big MTV-wise and were positioned to sell a million units of whatever they released, Capitol changed some staff members and the new guys said, "Screw this record." But, being the major label scumbags they are, they refused to let the band out of their contract because any competition is still competition. In other words, if another label released it, it would be competing with Capitol simply for college kids' money and Capitol would rather have college kids buy music from Capitol. This is how major label bands destroy careers and lives.

All that noted, I can't blame them for this record. 5 years ago it would have been pretty neat. It still is, actually. It's funny and catchy and less abrasive than past releases, which is good, because, I think, like the buttholes themselves, the fans have grown up a little bit. I know I don't need to hear loud fucked up noise all the time.

It's a good album, not the best, not groundbreaking, but not terrible like the snotnose critics are sure to say. I have faith that the next release will be a decent release also with a completely new sound. Remember, the Buttholes have reinvented themselves with every single album and that's kind of what makes them interesting whenever they come back around with something new for us.