The Residents – Meet The Residents
Label: |
Ralph Records – RR0677 |
|---|---|
Format: |
Vinyl
, LP, Album, Reissue, Repress, Stereo
|
Country: |
US |
Released: |
|
Genre: |
Electronic |
Style: |
Experimental |
Tracklist
| A1 | Boots | 0:54 | |
| A2 | Numb Erone | 1:07 | |
| A3 | Guylum Bardot | 1:19 | |
| A4 | Breath And Length | 1:44 | |
| A5 | Consuelo's Departure | 0:59 | |
| A6 | Smelly Tongues | 1:44 | |
| A7 | Rest Aria | 5:09 | |
| A8 | Skratz | 1:43 | |
| A9 | Spotted Pinto Bean | 5:27 | |
| B1 | Infant Tango | 5:28 | |
| B2 | Seasoned Greetings | 5:13 | |
| B3 | N-ER-GEE (Crisis Blues) | 7:16 |
Companies, etc.
- Manufactured By – Cryptic Corporation
- Phonographic Copyright ℗ – Cryptic Corporation
- Copyright © – Cryptic Corporation
- Published By – Pale Pachyderm Publishing
- Lacquer Cut At – Sonic Arts
Credits
- Composed By, Arranged By – The Residents (tracks: A2 to B3)
- Design [Cover] – Pore No Graphics
- Lacquer Cut By – LKIKS*
- Liner Notes – The Cryptic Corporation
- Producer [Originally Produced By] – The Residents
- Reissue Producer – The Cryptic Corporation
Notes
Album originally released April 1974: Meet The Residents (Ralph Records, RR0274) with a different cover.
This is the third in a series of reissues. The front cover sleeve has a darker orange lettering than the previous reissues, the back cover is in color instead of black and white previously. The back cover reproduce the original liner notes and the original picture sleeve of the album. At last, this 1979 reissue is a repress with new matrix/runout (new cut).
All selections composed and arranged by The Residents and published by Pale Pachyderm Publishing (BMI) except Boots by Lee Hazelwood (ASCAP), Nobody But Me by Human Beinz used courtesy of Capitol Records.
Special thanks to Wool, R. Essex, J. Whitaker, Zeibak, P. Freihofner, J. Aaron, B. Tangey.
© 1979, The Cryptic Corporation.
Ralph Records, a division of The Cryptic Corporation RR0677
© ℗ 1977 The Cryptic Corp.
Durations are not listed on the release.
[Liner notes:]
"About this pressing...
Meet The Residents was originally released in 1974, on the Ralph Records label. The tapes were monaural recordings on home equipment and suffered further fidelity loss in the mastering and pressing stages. In 1976, The Cryptic Corporation came into legal possession of The Residents recordings, and began working on how to restore these original tapes to studio quality. Using the master tape as a directive, the album was disassembled, reprocessed, and reconstructed into this stereophonic version. No re-recording was employed. The artists who appear on this recording have personally approved this as an authorized realization of the original LP.
The Cryptic Corporation"
This is the third in a series of reissues. The front cover sleeve has a darker orange lettering than the previous reissues, the back cover is in color instead of black and white previously. The back cover reproduce the original liner notes and the original picture sleeve of the album. At last, this 1979 reissue is a repress with new matrix/runout (new cut).
All selections composed and arranged by The Residents and published by Pale Pachyderm Publishing (BMI) except Boots by Lee Hazelwood (ASCAP), Nobody But Me by Human Beinz used courtesy of Capitol Records.
Special thanks to Wool, R. Essex, J. Whitaker, Zeibak, P. Freihofner, J. Aaron, B. Tangey.
© 1979, The Cryptic Corporation.
Ralph Records, a division of The Cryptic Corporation RR0677
© ℗ 1977 The Cryptic Corp.
Durations are not listed on the release.
[Liner notes:]
"About this pressing...
Meet The Residents was originally released in 1974, on the Ralph Records label. The tapes were monaural recordings on home equipment and suffered further fidelity loss in the mastering and pressing stages. In 1976, The Cryptic Corporation came into legal possession of The Residents recordings, and began working on how to restore these original tapes to studio quality. Using the master tape as a directive, the album was disassembled, reprocessed, and reconstructed into this stereophonic version. No re-recording was employed. The artists who appear on this recording have personally approved this as an authorized realization of the original LP.
The Cryptic Corporation"
Barcode and Other Identifiers
- Matrix / Runout (Side A, hand-etched runout): !Meet the RZ! RZ 0677 A Re4 LKIKS [⊏◯⊐ stamp]
- Matrix / Runout (Side B, hand-etched runout): RZ 0677 B Re4 LKIKS [⊏◯⊐ stamp]
- Rights Society: BMI
- Rights Society: ASCAP
Other Versions (5 of 49)
View All| Title (Format) | Label | Cat# | Country | Year | |||
|---|---|---|---|---|---|---|---|
| Meet The Residents (LP, Album, Mono) | Ralph Records | RR0274 | US | 1974 | |||
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New Submission
|
Meet The Residents (LP, Album, Test Pressing, White Label) | Ralph Records | RR 0274 | US | 1974 | ||
|
Recently Edited
|
Meet The Residents (LP, Album, Reissue, Stereo) | Ralph Records | RR0677 | US | 1977 | ||
|
Recently Edited
|
Meet The Residents (LP, Album, Reissue, Stereo) | Ralph Records | RR0677 | US | 1977 | ||
|
Recently Edited
|
Meet The Residents (LP, Album, Reissue, Test Pressing, Stereo) | Ralph Records | RR 0677 | US | 1977 |
Recommendations
Reviews
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As far as experimental music goes, this is actually almost enjoyable. The listing has it as electronic, but honestly, I'm not sure how much electronic is on it. Most of it sounds like anastruments. I mean, clearly there is some, but most is actual instruments just - repeating. Wikipedia says they didn't get their first emulator until the 1980s.
But as I said, it's not a bad experimental album which makes it a good experimental album. I probably inherited this from my father. He loved this sort of thing. -
The first time I heard 'Meet the Residents', I was disappointed by its poor sound quality, but dazzled by its inventive genius. I was shaken by what I heard. There was nothing to hold onto, beside a few melodies entangled in a bizarre chaos. The musical language of the Residents was revolutionary. It reminded experiments of the Krautrock band 'Faust', but more tripped. Some sound incursions appeared to be headed toward electronic music without making it all the way. “On Rest Aria,” a detuned piano and a xylophone plunged us into a nostalgia that seemed to go back to 1920’s. Something old emerged from this music expertly deconstructed. As if America’s myths were streamed on a screen during the silent film era. Incursions of saxophone and other brass betrayed the group’s origins by echoing New Orleans. It ended with “N-ER-GIE (Crisis Blues),” a long collage full of interesting ideas where a song of the 1960s was cleverly deconstructed and placed in the middle of more or less grotesque tunes. The strangest thing is that the more we listened to this album, the more we tasted it.
© Alain Cliche 2016
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