The first track, "Down in a Mirror", is solo Jandek, playing his guitar and singing in his ghostly voice that seems to be filtered through some strange effects. The sound is probably just caused by whatever lo-fi recording setup he used, I suppose. His guitar playing doesn't seem to have the same depressive blues feel to it that was present throughout most of Ready for the House; It's still sparse and spooky, but not quite as sparse and spooky as before. Another oddity is the constant ticking or thumping sound in the background. Is it a clock that got picked up in the recording? If it is, it sounds like he's sped the recording up a little, because it's a little faster than 60 beats per minute. Is it a metronome? Jandek doesn't strike me as a person who cares much for keeping time. Could it actually be someone else playing a very simple drum pattern?

On "European Jewel", which we heard the "incomplete" version of on Ready for the House, Jandek gets more aggressive than I've ever heard him, bringing in someone (who knows who, there are no credits on the liner notes) to bang on the drums while he plays and sings. At times it sounds like there might be someone playing bass in there, too. It doesn't sound much like the previous version at all. His guitar is louder and probably tuned differently, and similar themes don't come up very often.

Jandek continues playing aggressively on "Unconditional Authority", but on "Poor Boy" he brings it closer to his previous level. "You Think You Know How to Score" is a very interesting and aggressive piece. It's primarily instrumental, with the usual guitar strumming, but the wildly-blown harmonica is a new addition. I don't know who's playing it (maybe Jandek, maybe someone else), but whoever it is has even less technical skill on it than Jandek has on the guitar. Near the end of the track Jandek shouts the song's title, it's only lyric.

"Nancy Sings" might be the track the album is most well-known for, since Jandek brings in a guest vocalist, presumably named Nancy. And the most surprising thing is that she's actually a really good singer. Jandek's playing is incredibly sparse here, playing only single notes, no chords. I suspect even people who hate Jandek could like this song. A lot of people wonder how Jandek got her to sing on his album if he's supposedly such a recluse. I imagine that Jandek still went to church, no matter how antisocial he was (after all, he's Texan, right?), and he heard this woman singing in the church choir and asked her to sing on his album. Well, my guess is probably way off, but it's a situation I think could possibly happen. There are female vocals on the next track, "No Break", too. I don't know if it is the same woman as before, but it sort of sounds like it. These vocals are mostly spoken however. I imagine her standing at the microphone in disbelief and exclaiming "you're nuts!" to Jandek as he strums erratically at his guitar.

The rest of the album doesn't hold many surprises, as it's mostly just the "old" Jandek. There aren't any more guests or new instruments or changes in style. But I believe the first half offers some insight into the life of Jandek, who was perhaps not as reclusive as people had previously believed him to be.

Oh, would that I had met a mugger or vicious dog in her stead down this path I took, for now my stomach is filled with dread and misgiving and conflict to the point of actual physical pain. Why did you find me, Florence Foster Jenkins? Why can't you leave me alone?

For those of you not familiar with the name, Florence Foster Jenkins was an eccentric heiress in the early 20th century born with a passion for music. As a young girl, she took voice lessons but showed absolutely no aptitude for singing. Her parents became aware of her lack of talent fairly early on, but apparently she did not; she ran away from home in order to follow her dream when her parents refused to support her in her chosen vocation. When her parents died, FloFo became wealthy and decided to use her fortune to enter the world of the arts full-time. She funded a music appreciation society, and it was there that she surrendered to her soprano destiny.

She embarked on her performing career at age 60, with the encouragement of friends such as Enrico Caruso. She gave concerts for friends at the Ritz-Carlton once a year, and she was horrible. Horrible, but enthusiastic. She sang with all the heart in the world, and indulged in frequent absurd costume changes in order to enhance the theatrics. She was met with as much enthusiasm as she gave, and the two energies (along with cryptic reviews from dumbfounded critics) snowballed to such a degree that eventually she sang to a sold-out house at Carnegie Hall. A month after the Carnegie performance, she died. By most accounts, she died a happy woman.

So why is my stomach so tied up in knots thinking about her? It's mainly because of the differing accounts of her performances. Some have written that Ms. Jenkins gave her audience genuine joy from her passion, and therefore their applause was 100% genuine; if this is true, I agree with it, understand it, and I'm fine with everything. The appeal of a great deal of music, "outsider" or not, comes from this very notion. You can be a professional without passion, but you can't be an artist. How much emotional resonance did Wayne Coyne sacrifice by altering his real singing voice by pitch correction on the last few Flaming Lips albums? (Peanut gallery says: "Enough to score a Kraft salad dressing commercial...".)

But back to FloFo, and the idea that troubles me. Her accompanist Cosme McMoon once noted in an interview that people were mainly applauding to mask the sounds of their laughter, and it's even been noted in some reports that Cosme himself was making terrible faces behind her back while they performed. Just the possibility of this being true is incredibly painful to me, even though I have also read an account noting that she was vain and mean and not really a nice person at all in her non-performing life.

Also, this confusion of accounts brings up so many more questions: Is it okay to laugh at mean people? If people really were laughing at her, did she ever hear it? Did she ever take it to heart? Would it have been better for her to have understood that she had absolutely no musical skill, or would that have just been cruel? What is self-delusion and pretension, and what is dedication to a dream? This path is dark and scary and full of questions I can't answer. Jonathan and Darlene, where are you when I need you?

1- ruth – mon pote – compilation "thierry müller: rare & unreleased [1974-84]" (réédit. fractal, 2007)
 2- ray pacino ensemble – huckugeka – dble lp "be my lonely night / golden greats" (lal lal lal / zeikzak, 2008)
======
 3- napoleon xiv – they're coming to take me away, ha-haaa! – 7" – (warner, 1966)
 4- hugo de groot – ze nemen me eindelijk mee, ha-haa! – compilation "napoleon complex" – (vampire, 1999)
 5- evariste – connais-tu l'animal qui inventa le calcul intégral? – 7" – (az, 1967)
 6- henry the ix – don't take me back, oh-nooo! - compilation "napoleon complex" – (vampire, 1999)
 7- napoleon xiv – !aaah-ah, yawa em ekat ot gnimoc er'yeht – 7" – (warner, 1966)

======
 8- the valerie project – introduction – "the valerie project" (drag city, 2007)
 9- lubos fiser – [the magic yard] – o.s.t. "valerie and her week of wonders" (1970 - réédit. finders keepers, 2006)
======
10- thomas mapfumo – confusion – "chimurenga singles" (1976-80 – réédit. shanachie, 1990)

11- lidaju sisters – come and dance – "sunshine"
12- thomas mapfumo – black people – "chimurenga singles" (1976-80 – réédit. shanachie, 1990)

======
13- luie luie – el touchy – "touchy" (penstar productions, 1971)
14- tiny tim – the viper – "for all my friends" (reprise, 1969)
15- abner jay – i wanna job – compilation "one man band" (subliminal sounds, 2007)
16- lucia pamela – flip flop fly – "into outer space with lucia pamela" (1969 – réédit. arf! arf! arf! arf!, 1992)

17- luie luie – touch of the pharaohs – "touchy" (penstar productions, 1971)
======
18- cian nugent – ceremony – "the real one" e.p. (autoprod., 2007)
19- mouthus – your far church – "saw a halo" (load, 2007)
20- paolo angeli + hamid drake – beslan – "uotha" (nu bop, 2004)
21- tom carter + christian kiefer – the coo-coo bird [clarence ashley cover] – "from the great american songbook" (preservation, 2008)

======
22- spires that in the sunset rise – java pop – "curse the traced bird" (secret eye, 2008)
23- laxmikant pyarelal – aa jaane jaan - o.s.t. "intaqam" (1969)
==
== 

MU
“deux heures de contrastes en musiques mutines et mutantes”
est l’émission radio que j’anime presque tous les dimanches de 20.30 à 22.30
sur radio campus bruxelles (107.2 mhz à bruxelles ou en streaming)
avec david menessier (arlequin, dj rupert pupkin) et david zabala 

+ + + + + + + +
+ + + + + + +
+ + + + + + + +

From the little I know of outsider music, Jandek is one of the biggest, if not the biggest player in the scene. This debut album was released in 1978 by the mysterious and reclusive Texan on his Corwood Industries label. I'm sure you can read plenty about him elsewhere on the Internet.

How is the music? Well, it seems a lot of people don't care for it much at all, claiming that it's atonal, that his guitar is out of tune, that he just plays random notes, that he only plays one chord, that his lyrics are on the level of teenage poetry, and that he's more interested in the image than the music. So I guess I'll just go through that list. Is it atonal? Well, it may or may not be in a conventional western key (I don't really know enough or care enough to look into it), and if not being in a conventional key is the definition of atonal, then yes, it could be atonal. In other words, I don't care. Is it out of tune? Maybe, probably even. But I don't care. Does he just play random notes? It doesn't sound like it to me, but maybe he does. Maybe he randomly generated notes that just happened to sound interesting. Or are his notes the complete opposite of random, just a single chord? Maybe, all of the songs do sound pretty similar, I don't think it's just one chord. He plays individual notes a lot of the time. Does he write poetry for suicidal teenagers? I typically don't pay much attention to lyrics or care about them at all, so I wouldn't know too well, but they don't seem to be on the level of, say, Linkin Park. Occasionally a line will strike me, though. I really like the delivery of "Wait! You are my fate!" on "Cave in on You". Is Jandek more about the image than the music? I'm sure it's that way for some listeners, but for Jandek himself? I don't know, I'm not Jandek. I doubt it, though.

But how is the music? I like it. The whole album has a similar sound and there's hardly any variation at all, but the music is good. Maybe not the tonality, or the tuning, or the notes played, or the chord progressions, or the words, or the motives of the fans or even the artist himself, but who cares about those things? They're not necessary for an album to be good.

I dödsannonser brukar det ju stå något om att man ska tänka på Cancerfonden eller liknande (som alternativ till att köpa en krans), men i Kalle Sändares fall finns följande uppmaning: Tänk gärna på Gris- och Skridskoföreningen, bankgiro 5766-8592.

Det bästa av allt är ändå den dikt som publiceras i annonsen, författad av föremålet själv:

Ödsliga åkrar
vakar över bondens nevr
Ej tidens fara
Utan ånger är du rädd
Böljande känslor
Får mig att tro
Blått och svart
I främlings spår

Herreminjeochskapare! Stort! Ultrastort!

Anteckna redan nu den 29 augusti i din kalender. Då arrangeras en minnesföreställning till Kalle Sändares ära på Scalateatern i Stockholm. Redan färdig artist är Sunkitstammisen Janne Schaffer. Alltings tycks hänga samman på ett högst ologiskt sätt...

Dick Pålsson har gjort en mjukt bluegrassdoftande version, som kan avnjutas på hans "profil" på MySpace:

> Dick Pålsson på MySpace

Snart nog räknas väl låten till "den svenska visskatten" och blir obligatorisk på skolavslutningar...

> AgeMix på MySpace

Av deras vänlista att döma, så är väl succén inte riktigt i hamn... än. ;-)

In 1974, while working as a graphic designer, Peter Grudzien quietly and independently wrote, performed, and recorded "The Unicorn", a 14 song LP featuring an odd marriage of country and psychedelic music. Grudzien attempted to sell copies - of which there were a mere 500 pressings and no label involvement - in local bookstores and out of his briefcase after shows with little success.

To be fair, the record - a surrealist hillbilly psychedelic garage masterpiece exploring themes of religion, death, and sex - provided an uneasy space for most listeners to inhabit. The narratives contain often apocalyptic imagery. Distant tape manipulations echoing throughout songs like the epic "Kentucky Candy" sound like a choir of ghosts. Furthermore, the frequent allusions to homosexuality surely tested the average country listeners' tolerance of gay culture at the time. The record went virtually unheard.

Grudzien was born and raised in Astoria, Queens, New York. In the 1950s, he developed a love for Christian and Hillbilly music, and soon found musical kinship in artists like Hank Williams and Johnny Cash. In the late '50s, he started a band with which he wrote and recorded music.

As an art student in the early 1960's, he developed a passion for Bob Dylan and hallucinogenic drugs, later documenting a peyote trip in his 1964 song "I Don't Complain". In 1969, he was involved in the Stonewall Riots, an event widely considered a precursor to the Gay Rights movement. He later recorded a song about the events, which began as a harsh criticism of the circumstances leading to the riots- claiming individuals were paid to incite violence - and eventually digressed into a paranoid claim that a government created clone was being used to erase his true identity (Grudzien apparently believed this clone theory to be true - he allegedly refused to give Johnny Cash one of his tapes because he believed he was a copy.)

A little over a decade after the apparent failure of "The Unicorn" LP, it was rediscovered by Paul Major, a collector/archivist and small label entrepeneur. A few years later, he met Grudzien in person.

"[I met him] in a downtown drag bar. He was like something out of the Addams family: really tall and skinny, in an obviously slept in tuxedo, 55 years old. He wanted me to go out to his car and listen to this song he'd recorded the morning before, and when we walked down the sidewalk in Greenwich Village, every head turned on both sides of the street! I got into the car, it was covered with cigarette stains and grease and smelled strongly of gas - I was afraid that when he turned the key in the ignition to play the tape deck, the car would explode. He turned out to be a walking encyclopedia of early country music, he had met a lot of big country stars."

Grudzien remains unaware of his music's strangeness by societal standards, a mark of a "true" musical outsider. "[He] doesn't realize exactly how his music is perceived as being so strange. He's still trying to break into the Nashville Country scene in a normal sort of way," explains Major.

Though only two LPs ("The Unicorn" and "Garden of Love") are commercially available through the Subliminal Sounds record label, Grudzien claims to have written over 900 songs throughout his career. He apparently still records and independently distributes music at his incredibly rare live gigs.

For the musically adventurous, "The Unicorn" provides a thrilling, unexpected experience. Download it here. The lesser known "Garden of Love" LP is also available for download here.

Inspelningarna var så speciella, så skruvat oväntade att de gavs ut på skiva. "File under: Outsider music" skulle det kunna stå på omslaget.

Anton Gustavsson var i yngre tonåren. Han bodde hemma hos sina föräldrar. Han hade t-shirt med hårdrockstryck. Han hade runda glasögon. Han satt och pulade med sina grejor i sitt rum. Kanske urtypen för en nörd, men i så fall så är väl miljoner fans till Iron Maiden (och andra band) nördar, fast man vill ju helst inte låtsas om det.

Egentligen tror jag inte att det var hans covers som gjorde att jag först fick upp ögonen för Anton Gustavsson. Anton lärde sig programmeringsspråket Basic när han var nio, han var tidigt en aktiv deltagare på internet. Det är lätt att glömma bort, men tidigt på 1990-talet kunde det finnas en renässansfurste i vilken buske som helst - den svenska webben var en tillräckligt liten community för att man skulle kunna känna till personer bara för att de fanns på internet.

Anton växte vidare och fick andra intressen. Han fortsatte att skildra sitt liv på sin hemsida, men kring 2000 meddelade han att "Anton Maiden" var ett avslutat kapitel för sin del.

En klubbkväll på Sunkit 2003 kom min vän Dan Edman, på sitt sätt ett världskänt namn som samlare av oerhört obskyr hårdrock, fram och sa att "Anton Gustavsson är försvunnen, han har varit borta i flera dar". Som den naturligaste sak i världen, men också på ett sätt som jag tänkt på efteråt... det kändes som att den där grabben hade en roll i ens liv, som en släkting på håll. Några dagar senare hittades Anton Gustavsson död i skogarna utanför Borås.

Det är alltid väldigt tragiskt när en ung människa väljer att ta sitt liv. Det är alltid tragiskt, men för en person som bara blev 23 känns det som att livet aldrig riktigt fick en chans. Eller hur man ska uttrycka saken.

Hursomhelst så kunde jag idag notera, att Anton Gustavssons webbplats fortfarande är publicerad; den underhålls av hans familj. Där finns framförallt Antons pappas minnestal vid begravningen, det är värt att läsa och begrunda.

Tanken väcks: Hur skulle mitt tal till mina närmaste låta? Det kanske är dags att hålla det nu, medans de ännu kan höra...

Jag är en man som träffat många kvinnor
Även på krogar och bordeller
Men något svar på mitt behov av ömhet och förståelse
har ingen kunnat ge, utom min första kärlek
Yvonne var hennes namn...

Åke Uppman blev tyvärr inte äldre än 50 år, men hans kompis Jan Grönborg - som skrev texterna - lever och har hälsan. Sunkits Henrik Martinell har träffat honom och på Sunkits webbplats berättar Jan om sin vän Åke och hur skivan kom till.

Ingen kioskvältare i den stora världen, kanske, men i sunkadeliska sammanhang är det inget annat än en sensation. Läs och njut!

> Min vän Åke Uppman, intervju med Jan Grönborg på sunkit.com

Tack till Henrik Martinell, naturligtvis :-)

Kalle Sändares humor får anses ha varit i kranskommunen till bisarr, och många av hans inspelningar är rent sunkadeliska. Visst, det kan vara kul med ett Hassan-nummer då och då, men inte kommer de upp i samma dadaistiska stollerier som Sändare.

Vila i frid, Kalle. Vi andra läser på på den utmärkta webbplatsen om honom:

> Kalle Sändares officiella webbplats

Själv är jag väldigt förtjust i Johnstons tidiga alster, då han på det tidiga 1980-talet gav ut egenhändigt ihopknåpade kassetter - en period som finns dokumenterad på CD:n Hi, how are you? Ärligt talat så är jag inte alls imponerad av resten. Det beror nog till del på ren snobbism, en känsla av att allt blir mindre intressant ju populärare det blir... Men främst tror jag faktiskt att Daniel Johnstons storhet ligger i de udda inspelningarna. Den hemmagjorda känslan är inte bara en inramning, det är en stor del av den musikaliska upplevelsen. Daniel Johnston experimenterar och utforskar i sina ensamma inspelningar - när han spelar i ett band blir det ordinärt... och lite tråkigt.

Kanske är det bara en fråga om tycke och smak.

Jag har inte bestämt mig, men jag tror inte att jag kommer att se Daniel Johnston när han den 18 juli 2008 har turnépremiär på Berns i Stockholm. En bidragande orsak är att jag gång på gång upplevt Berns som en riktigt sugig konsertlokal. Försök att se något av artisten om Berns är fullsatt! Inom parentes kan man väl också lägga till att det brukar vara ganska sugig publik; många exemplar som "är för fina för den här världen".

Vi får väl se om han somnar. Eller kommer hit alls. På Daniel Johnstons webbplats står det att han ska spela på Sticky Fingers i Stockholm (Sticky Fingers ligger i Göteborg) och Berns i Göteborg (ja, Berns ligger ju i Stockholm). Vågar du chansa?

Kuchibiru's appeal to the world states reassuringly: "Sweet & bloody music comes from my soul! Feel this, you will be next lip!"

Like their onchi godmothers The Shaggs, these two Kyoto girls spout naive wisdom over an untutored playing style that always seems to be on the verge of collapse but never stops meandering in search of a melody.

Curry Tonight is a deadpan love song of sorts. But who wrote it? Clearly these girls are real - real enough to have played live with Limited Express (Has Gone?) two months ago - but Perfectdancer's shadowy origins can be traced back to the Kyoto-resident artist Soju Tao and his Okamepro stable of bizarre musical acts. This next video for Perfectdancer was posted by Okamepro and bears all the hallmarks of Tao's whimsical style:

Those guitars really do mesh together like a cloth of window cleaning! We'll definitely have to inspect this closer when they tootle up to Tokyo. Perfectdancer are unsigned.

Lorsqu’il ne chante pas, il semblerait que chaque moment de la vie de Larry Fischer soit d’une difficulté insurmontable. Il apparaîtrait même qu’en dehors de ces quelques moments de création sauvage, sa vie ne soit que souffrance et confusion. Et pourtant, tous les deux jours environ, Larry Fischer décide de quitter le monde du show-business. Il donne pour cette décision de bonnes raisons, entre autres le fait que la CIA et Frank Zappa se sont associés pour mettre sa tête à prix et envoyer à ses trousses des hélicoptères remplis de mercenaires. Né en 1945, Larry Fischer a passé une grande partie de sa vie à fuir des menaces imaginées comme celle-ci, et à désespérer les quelques personnes qui voulaient lui venir en aide. La vie trépidante de Larry Fischer, maniaco-dépressif, schizophrène et paranoïaque clinique, est telle qu’on peut l’imaginer, en dents de scie dans le meilleur des cas. Il est renvoyé de l’école parce qu’incapable de s’empêcher de chanter en classe, envoyé une première fois à l’asile par ses parents, ne sachant plus que faire de lui, libéré puis renvoyé à nouveau après avoir attaqué sa mère avec un couteau de cuisine. Ses séquences paranoïaques lui font rejeter ses amis les uns après les autres et les accepter à nouveau dès l’accès de colère passé. Il passe ainsi de l’amitié la plus sincère à de terribles scènes d’accusation et, parallèlement, de l’enthousiasme le plus exalté à des délires de persécution. Il se représente le monde entier, et surtout l’industrie de la musique, comme rempli de menteurs et de voleurs (Liar & Thief, Don’t Be a Singer.) Et qui pourrait lui prouver le contraire? Sur la jaquette de l’album An Evening With Wild Man Fischer qu’il produisit, Frank Zappa dit de lui : « Wild Man Fischer est une personne réelle qui vit à Hollywood. Enfant, il était très timide. Il n'avait pas d'amis. Un jour, il décida de devenir un peu plus agressif. Il écrivit ses propres chansons et les chanta aux gens qu'il rencontrait en leur expliquant qu'il n'était plus timide désormais. Tous le prirent pour un fou. Sa mère le fit deux fois enfermer dans un hôpital psychiatrique. (…) Attendez plusieurs écoutes avant de décider si vous aimez ce type ou non. Il a quelque chose à vous dire, que vous vouliez l'entendre ou non. » Le portrait-documentaire qu’en a réalisé Josh Rubin en 2005 : Derailroaded est peut-être la meilleure introduction à sa vie et son œuvre. C’est peut-être aussi un des reportages musicaux les plus émouvants qui soit. On y voit un homme entièrement immergé dans son propre délire, jusqu’à la noyade.
Selon la légende, c’est donc Frank Zappa qui découvrit l’homme sauvage. À cette époque (vers 1968) Larry Fischer était un musicien de rue, un excentrique qui avait ses habitudes sur les trottoirs du Sunset Strip d’Hollywood et se produisait dans tous les talent-shows de la région. Zappa décide sur un coup de tête de produire un album de ce qui lui semble être un des musiciens et des chanteurs les plus originaux de son temps et le plus digne de figurer sur son nouveau label Bizarre. L’album deviendra un double album de chansons inqualifiables (c’est à dire impossibles à qualifier, à ranger, comme à juger) mêlant histoires autobiographiques, monologues et chansons exaltées, mélanges de chansons d’enfant (Merry-Go-Round) et de ballades pop décalées. Un album qui sera reçu à l’époque par un grand mouvement d’incompréhension, les uns criant à la provocation facile, les autres à l’exploitation. Peu de gens saisiront le talent et la sincérité de Fischer et mettront cet album sur le compte d’une lubie stupide de Zappa, voire d’une mauvaise blague. La collaboration entre les deux hommes tournera rapidement court, après une sombre question de royalties selon les uns et, selon d’autres, après que les crises de violence de Fischer aient commencé à mettre en danger l’entourage de Zappa et surtout ses enfants. Fischer ne pardonnera jamais à Zappa, qui deviendra pour lui une figure démoniaque récurrente, réapparaissant à intervalles irréguliers dans sa vie (même si Zappa décida alors de ne plus jamais revoir Fischer) et dans ses chansons (Frank sur l’album Pronounced Normal.)
Sa deuxième chance viendra de Rhino Records, un magasin de disques de Los Angeles, où Larry Fischer avait l’habitude de traîner jusqu’au jour où un membre du personnel le reconnaîtra. Fischer, fier, heureux et reconnaissant, s’empressera de composer une chanson en l’honneur du magasin qui en fera sa première sortie discographique (« Go to Rhino Records »), un 45T qu’ils distribueront à leurs clients fidèles dans un premier temps, avant de se décider à le vendre ensuite. Il sera suivi en 1977 d’un album entier: Wildmania, premier album du label. Il faudra ensuite attendre 1981 pour que Fischer enregistre son troisième album Pronounced Normal, toujours chez Rhino Records, un album enregistré avec la complicité du duo de producteurs-musiciens Barnes & Barnes, qui produiront également l’album suivant : Nothing Scary en 1984. Il chantera également avec Rosemary Cloney et Smegma.
Une discographie assez succincte (quatre albums en seize ans, et toujours rien depuis) qui apportera néanmoins à Larry Fischer un public de fans extrêmement fidèle. Il reste aujourd’hui un personnage et un artiste sans commune mesure, ayant construit de toutes pièces un style vocal unique, mélange de chant à tue-tête entrecoupé de ruptures soudaines et d’effets sonores étranges (claquements de langue, onomatopées, etc.) Il s’accompagne quelquefois d’une guitare qui semble étrangement jouer
un morceau différent de celui qu’il chante. Ses textes, généralement autobiographiques, et comme on peut le deviner généralement assez dépressifs (« In the year of 1963, I was committed to a mental institution ! » dans The Story of Wild Man Fischer, « My mother hates me /My sister despises me /My brother-in-law – shwiiit ! - likes to throw darts at me » dans I'm working for the Federal Bureau of Narcotics), sont transfigurés par la fougue de son interprétation, et de tristes complaintes en deviennent des chansons à reprendre en chœur, ce qu’il ne manque pas d’exiger lors de ses rares apparitions publiques. Et comment lui résister…?

C'mon let's merry go, merry go, merry go round! Boop boop boop !
Merry go, merry go, merry go round! Boop boop boop !
Merry go, merry go, merry go round! Boop boop boop !
Me and you can go merry go round !
It's very easy, just go up and down !
C'mon, c'mon let's merry go, merry go, merry go round! Boop boop boop !
Merry go, merry go, merry go round! Boop boop boop !
Merry go, merry go, merry go round! Boop boop boop !
(…)

Mary taught me to go merry go round !
We're all going merry go round !
C'mon, c'mon let's merry go, merry go, merry go round! Boop boop boop !
Merry go, merry go, merry go round! Boop boop boop !
Merry go, merry go, merry go round !
say let's merry go, merry go, merry go round !
say let's merry go, merry go, merry go…
Benoît Deuxant

Discographie
- Nothing Scary - XF387P
- Pronounced Normal - XF387O
- Wildmania - XF387Q

Le premier album de Larry Fischer, An evening with Wild Man Fisher produit par Frank Zappa en 1968, n’est hélas toujours pas réédité.

"Derailroaded - Inside the Mind of Larry « Wild Man » Fischer" : Josh RUBIN
(États-Unis, 86’, coul., 2005)
TB2422 (DVD)