Skip to main content

Out Come The Freaks

At the time of writing, this is my very latest addtion to Discogs: it's one of nine records I brought back from my last trip to Chepstow nineteen days ago: five were LPs, four were singles. I was aware that Was (Not Was) had recorded multiple songs under the title 'Out Come The Freaks', out of which I was only properly familiar with the one on their album What Up, Dog? I wondered if this might be one of the others so picked it up.

If I'd taken longer than a moment to glance at the back cover, I could have seen that this was the 1987 version I already knew, here titled '(Stuck Inside Of Detroit With The) Out Come The Freaks (Again)' and not the 1981 original 'Out Come the Freaks' nor '(Return to the Valley of) Out Come the Freaks' (1983). Musically it still sounds good, but lyrically it hasn't aged terribly well. Aiming to be a sort of sardonic rogues' gallery, it comes across now as more of a sad reflection of its times.

For example, in the second verse we hear about Tara Venus, a "rent-a-stripper" and her bodyguard "Jack the Human Knife" whose presence is required to prevent assaults from her audiences ("He'd slice you silly if you got too friendly / If you value living better treat her gently"). 'Earth to Doris', the B-side, was a track on the US release of What Up, Dog but not on the UK version I had - it sounds like a comedy skit set to off-kilter music, somewhat like 'Dad I'm in Jail' - only less funny.

Comments

Popular posts from this blog

Complete String Quartets

While the string quartets of Nikolai Yakovievich Myaskovsky (1881-1950) were all published in the Soviet era, a few of them had pre-revolutionary origins. Two quartets he wrote in 1911 and '09 while a conservatory student re-surfaced some twenty years later designated as Quartets Nos. 3 and 4.  An even earlier "schoolboy" piece was later re-worked more radically as Quartet No. 10, premiered in 1945. Myaskovsky partook of an ample share of the turmoil and tragedy of his times: he was wounded and shell-shocked after service on the front line in World War I, and his father, who had been a high-ranking military engineer, was brutally murdered by a revolutionary mob. Despite that, his music, even at its most sombre, hasn't the black bile or biting sarcasm of Shostakovich's, or of his friend Prokofiev's. Of the works collected here, in excellent early '80s performances by the Taneyev Quartet, only Quartet No. 1 has any significantly metallic tang of early S...

Ein Schattenspiel, etc.

Georg Friedrich Haas is a contemporary Austrian composer of "art music". "Haas's style recalls that of György Ligeti in its use of micropolyphony, microintervals and the exploitation of the overtone series; he is often characterized as a leading exponent of spectral music" says wikipedia. Only a relative few of his many compositions have been issued on CD - many more of them can be found on YouTube. On this 2020 disc are three of his works in which standard classical instrumentation is augmented and altered by "live electronics". Two are string quartets and one is for solo piano. Is a string quartet still really a quartet if there are meanwhile some other people with laptops busily twizzling the sound? There is a live performance video of the 'String Quartet No. 7', the first work on the disc, where the JACK Quartet are supplemented by a trio of sound boffins to realise the composition. Whether it's properly a quartet or a septet is neithe...

Onslow

George Onslow was an odd-man-out among 19th-century French composers. Born into wealth and privilege, the grandson of an English Earl, he had no need to follow the operatic gravy train, with string quartets (of which he wrote 36) and string quintets (there are another 32 of those) forming the bulk of his compositional output. The present disc contains his 28th, 29th and 30th quartets, in compelling performances by the Quatuor Diotima. These quartets were written toward the end of a prolifically-creative period for Onslow in the years 1829-35. Viviane Niaux, in her informative booklet notes, ascribes this to the composer's having heard performances of two of Beethoven's late quartets for the first time in 1828, at their Paris première. Like many of his contemporaries, Onslow was at once "fascinated and disconcerted", and, although he considered them "extravagant", they seem to have been powerfully inspirational. A further spur to creativity may have been his ...