Butthole Surfers Albums (8)
What The Critics Say
When compared to past albums like Rembrandt Pussyhorse and Independent Worm Saloon, the Butthole Surfers' After the Astronaut is rather tame. There's been a total change stylistically -- gone are the days of puzzling demented humor, real drums (almost the entire album features a beat box or drum machine of some sort), and shockingly over-the-top performances. Wildman Gibby Haynes used to have a singing style all his own, with distortion and other effects added to his voice, but now he seems to be caught in a rut, sounding uncannily like John Lydon at times ("Jet Fighter" and "Venus"). And there's also a shortage of material that leaves any sort of long-lasting impression. The band seems to be obsessed with water-related sound effects, used on "Yentel," "Mexico," and "I Don't Have a Problem." The only standout tracks on the album are the stiff and geeky "Intelligent Guy," and the album closer "Turkey & Dressing," which is the only song in which the band can muster up enough energy to almost match past spirited performances. Hopefully, this once-great cutting-edge band will wake up from their lackadaisical hibernation and make music that matters. [This album went unreleased when critical and label reception was unanimously negative, and Weird Revolution eventually came out in this album's place] ~ Greg Prato, All Music Guide
What The Critics Say
On Electriclarryland, their second major-label album, the Butthole Surfers continue the streamlined direction they began with Independent Worm Saloon, which basically means it's a loud guitar rock album. Even though there's potential for the record to become unnecessarily generic, it's to the Buttholes' credit that they still have the desire to throw enough bizarre wrenches into the machinery to keep most of their diehard audience satiated. Certainly, Electriclarryland will sound way too tame for fans of Locust Abortion Technican and Hairway to Steven, and they're right, to a certain extent. For listeners accustomed to their unhinged, perverse '80s recordings, there is nothing on this guitar-heavy record to please them. But Electriclarryland is a logical maturation for the band. It's odd to think of the Buttholes maturing, but that is the case with this album. They have a couple of jangly pop numbers that appear to be played relatively straight and the heavier numbers have a piledriving inevitability that make them memorable. In short, Electriclarryland rocks and it rocks hard, with enough energy for bands half of the Buttholes' age. And underneath the seemingly normal surface, the Buttholes have thrown in enough jokes and have twisted around enough clichés to prove that the band may mature, but they'll never really grow up. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Essentially a self-released bootleg, Double Live is a mammoth collection of 29 songs (on the CD version) featuring a cover of R.E.M.'s "The One I Love." Unfortunately, the band can't quite duplicate its manic studio sound onstage, given their reliance on tape manipulation and effects, but the album still gets crazy in places. ~ Steve Huey, All Music Guide
'Independent Worm Saloon'
Release Date 1/1/1993
Tracks 17
Label Capitol
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What The Critics Say
After Pioughd's semi-misfire and Rough Trade's subsequent collapse, the Surfers were in a surprising position. Not only were they courted and signed to Capitol thanks to the Nirvana-led alternative explosion, they also got high-profile arranger and Led Zeppelin legend John Paul Jones to produce the new album. When Saloon surfaced in early 1993, some accused the band of basically cloning Haynes' memorable collaboration with Ministry, "Jesus Built My Hot Rod," for the entire album. It's true that "Some Dispute Over T-Shirt Sales," simply takes the lyrics from that number and grafts it onto a quick rip from the band, but Saloon is far from a clone of Ministry or anything else. More energetic than the straggling Pioughd and benefiting from Jones' brilliant ear and tight, crisp arrangements, Saloon starts with the fierce "Who Was In My Room Last Night?"; from there, the Surfers tear through hilarious and strong numbers. Creating radio-friendly unit shifters was clearly the last thing on the band's mind, as numbers like "The Annoying Song," with Haynes sounding like what a radar dish would do if it could sing, and the wittily solemn acoustic ditty "The Ballad of Naked Man" demonstrate. The Surfers' taste for rude grostequerie surfaces throughout -- the foul "Chewin' George Lucas' Chocolate," the series of vomit sounds that conclude the record after "Clean It Up"'s heavy trudge and the extremely disturbing artwork are just a few examples. Combined with numerous examples of Surfer-mania at its finest -- the dipsomaniacal rager "Alcohol," the electric country hoedown "You Don't Know Me" and more -- and Saloon is that rarest of records, a major-label debut that surpasses the indie release preceding it. ~ Ned Raggett, All Music Guide
What The Critics Say
Pioughd was the Buttholes' first album of original material in three years, and considering the time it took to make the record, it's a bit of a disappointment. Not that it's bad; in fact, some of it is their best. But it's rather uninspired and restates many of their old ideas in a more streamlined, accessible fashion. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
The final album for the Surfers' legendary run on Touch and Go got a reception probably not even the band figured on -- lead reviews in major music magazines, increasingly higher profiles, and more. As it is, though, Hairway is actually a touch lazy in comparison to the previous releases, sometimes sounding almost all too normal. When it connects, though, Steven works wonders, whether continuing in the punk/psychedelic fusion vein of the past or exploring a gentler, tuneful side. The lengthy opener "Jimi" is the album's high note, and as one might guess from the title it's something of a tribute to Hendrix -- at least, if "Third Stone From the Sun" sounded like it was recorded in a sewer tunnel and was even more gone than it already was. Haynes' alternately deep and hyper-high-pitched vocals work perfectly against Leary's searing, crazed guitar noises, while the Pinkus/Coffey rhythm section lays down a massive beat. Everything concludes with deceptive peacefulness: acoustic guitar, tweeting birds, sounds of bowling, and the like. Other highlights include "I Saw an X-Ray of a Girl Passing Gas," a relatively straightforward, mostly acoustic-plus-rhythm section number sung clearly (!) by Haynes, and the mock live recording "John E. Smokes," with Haynes often sounding like a rural preacher gone mad. The humming guitar buzz of "Backass" and the quick blast of "Fart Song" concludes Steven with vim. As a final note, the song titles themselves can't be found anywhere on the release -- instead, and quite notoriously, a series of cartoon drawings stand in for them. Some are fairly calm, but most show things like nude women displaying their butts and rabbits taking dumps on deer. Juvenile? Of course, but the Butthole Surfers never pretended to be nice and sweet. ~ Ned Raggett, All Music Guide
'Locust Abortion Technician'
Release Date 4/11/1990
Tracks 11
Label Touch & Go
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What The Critics Say
The aural equivalent of a nightmarish acid trip and arguably the band's best album (or worst, depending on your point of view), Locust Abortion Technician tops the psychedelic, artsy sonic experimentation of Rembrandt Pussyhorse while keeping one foot planted firmly in the gutter. The record veers from heavy Sabbath sludge (even parodying that band on "Sweat Loaf") to grungy noise rock to progressive guitar and tape effects to almost folky numbers in one big, gloriously schizophrenic mess. Gibby Haynes debuts his "Gibbytronix" vocal effects unit here as well. ~ Steve Huey, All Music Guide
'Psychic...Powerless...Another Man's Sac'
Release Date 1/1/1985
Tracks 11
Label Fundamental
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What The Critics Say
The Surfers' Touch and Go debut remains their highlight for many fans, an inspired blast of ugly noise, knowing idiocy, drugged-out insanity and some backhanded surprises. Haynes is still relatively interpretable here; the vocal distortions are only on a few songs, like the opening "Concubine," and what one can't quite understand one can still sense. The band's self-production brings out the mighty rumbles of drummers Coffey and Nervosa and Leary's avant-junkyard guitar work with clarity and a big, thick punch. Leary begins with screwy blues and gentle strums, then cranks up the amps and lets fly. The band also officially recorded their semi-theme song "Butthole Surfer," after which they were accidentally named; the bizarro backing vocals and sudden sped-up shifts at the end are just part of the oddities on display. "Negro Observer" is one of the most straightforward, calmest songs of the bunch, and even that's saying something, with Haynes going off about the title characters -- described as aliens coming to "count heads in singles bars" -- like a barely stable street crazy, insane laughter and all. When it comes to full-on craziness, though, nothing beats the obscene "Lady Sniff," which sounds like an amped-up blues act fronted by a 100-year-old man, and the hallucinatory "Mexican Caravan," with Haynes raving about "that heroin BROWN!" The nods to rock history are subtle but present, from the Black Sabbath-quoting (specifically "Children of the Grave") opening rhythm of "Dum Dum" to the fried Tex/Mex-ranting of "Gary Floyd," written about the legendary Dicks bandleader. However, the Surfers' crazy blend is completely distinctive, taking punk and the inspiration of their acid-addled Texas forebears to new heights. ~ Ned Raggett, All Music Guide
