September 29, 2025 • 28 mins
The fourth track of the Of Fungi and Foe record, Boonville Stomp was composed specifically for the film Pig Hunt, which takes place in and around Boonville in the woods of northern California. Les Claypool has a small role in the film, as well, if you're at all curious. This tune has cinematic elements to it, which stands to reason. Does it all come together as a standalone song for an album? That's the question we grapple with in this episode. Plus, we spit some boontling at you brightlighters.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
It's Josh Freaky with a couple of dump shits.
Speaker 2 (00:19):
Hello, Primates, that sounds familiar. You found Primus Tracks. Congratulations,
many places to find us. You found the best version
of us. I am Josh. I am one of the
hosts of Primus Tracks. He is on the thirty ninth
floor of Primus Tracks towers stomping all around the people
on the thirty eighth floor of Noidy. What's going on?
It's Frankie Berestein. Hey, Josh, welcome back once again, Frankie.
(00:43):
We are still talking about a fungi and foe. I'm
slowly but surely coming around to understanding this record more
than I did in two thousand and nine when I
listened to it once and put it away.
Speaker 3 (00:56):
How strange, It's as if we had just spoken a
moment to go.
Speaker 2 (01:00):
It feels like a sense of deja vu because we
are talking yet again about a fungui in foe in
such a.
Speaker 3 (01:07):
Short time, and you're even repeating your outfit.
Speaker 2 (01:10):
Hey, hey, hey, hey, it's us. If no time at
all past, or maybe I've been wearing the same outfit
for an entire week and I just smell carry will
could be the case yes, yes, today we were talking
about Booneville Stomp at his track Quattro on your Fungi
Info record, CD, digital release whatever it is that you have.
(01:35):
This one is four minutes and fifty one seconds, Frankie,
from what I can tell, the credits, Less claytool everything,
that's what I've got, remember, Frankie. This was one of
many tracks on the record that was made for a
piece of media prior to this album being conceived. The
(01:57):
first two tracks on this record we discussed their origins
in the Mushroom Men video game and this track, Boonville Stomp,
was written for a film titled Pig Hunt. If you
have not seen it, you haven't seen it. If you
have seen it, you've heard this song before.
Speaker 3 (02:17):
Wasn't Less a preacher in that movie?
Speaker 2 (02:20):
Yes, a little bit on Pig Hunt. It was filmed
in and around the Booneville area in northern California. It's
inland a bit of a ways in the woods of
northern California. It's not an entirely isolated community, but it is.
It's out there, I'll say that, off the beaten path.
(02:42):
And this film. Less is in the film playing a
deranged preacher. As I've seen it described, and he does
wear the collar, and he has a few lines in it,
and he has some choice words in it, Frankie, So
if you want to hear him yelling for a letter words,
definitely view Pig Hunt. But I would say, and of course, infamously,
(03:06):
he broke his pinky during the filming of that movie.
I think his biggest contribution is a couple of tunes
that were fully formed, including Boonville Stomp. And what's curious
about this, Frankie, is this tune was fully formed in
the sense that there were already vocals on it, and
the instances of Boonville Stomp played as bumper music or
(03:28):
background music throughout the film. You can hear the vocals
in them.
Speaker 3 (03:31):
Wow.
Speaker 2 (03:32):
He knew what he was getting into, clearly, because he
made these lyrics and this title Boonville Stomp, knowing the
nuts and bolts of the film. What do you have
on this one, Frankie, I.
Speaker 3 (03:45):
Know that Liz really likes the song. If you look
at the live history, it was performed quite extensively by
the Fung Guy band, and when it was passed on
to do with a twang, they also performed that quite extensively.
The latest performance to date, taking place in twenty twenty
three at a wine party, which actually meets beats Rich
(04:06):
State Girl in terms of recent performances.
Speaker 2 (04:09):
Wow.
Speaker 3 (04:10):
Yeah, I think Les really likes this song. As for me,
I mean, it's not that I dislike it. I think
it's a great number, but it's a song that I
only revisit when I'm playing the record back to back.
Speaker 1 (04:25):
Ah.
Speaker 2 (04:25):
Okay, so this one doesn't have the same replay value
as some of the first or as the first three
tracks on this record for you, exactly Okay. As far
as my own live history goes, I had I had
the pleasure of seeing Red State Girl in Boonville Stomp
in two thousand and nine with the Fun Guy Band,
and both of those tracks performed in twenty thirteen with
(04:47):
du de Twang Wiley Woods set in on Booneville as well. Cool,
so I've gotten both versions live. I have more memories
of the do a de Twang performance because it was
at a hemp festival and the first thing Keho said
when he took the stage was I smoked a shitload
(05:09):
of weed before coming up here, or something of that nature,
and it was a raucously good time. So Boonville Stomp.
This was a less Claypool special once again, so no
no outside instrumentation or contributions from other humans. He had
this one all prepared for the film and put it
(05:32):
verbatim on the records. It's a clay tool concoction. A
clay tool concoction. Oh, he better trademark that, because I'm
about to. I'm registering that with a trademark office today.
Brad Sands, you're unnoticed. So this one, to me, Frankie
has a cool, clanky sound to it as far as
(05:54):
the doughbro goes. I like the I like the soundscapes
that's that has been achieved here, really cool percussion, decent vocals.
I kind of like that whiny, for lack of a
better term, sound. It's not it's not really the not
the don Nott's voice. It's a it's in a different direction,
but it's way out here, and so everything is there
(06:20):
for it to be a memorable tune. And it's even
got like thunderous percussion to it. It's very cinematic in
that regard, but it I guess it just doesn't all
come together for me, And maybe it's because it was
made for a film. Like I listen. I like listening
to film music when I'm watching the film. I can't
(06:42):
think of too many film scores that I would go
back and listen to on their own. And I'm mostly
talking about modern film because the score is there to
serve the film, and you know, a lot of that
stuff it sounds more or less the same. There are
some brilliant film scores out there that people should certainly
(07:06):
check out if you're into that sort of thing, but
at this point in my life, most of them blend
together and are not memorable. And so I don't know
if that's that I'm lumping Boone into that category undeservedly,
but just knowing that, and I've seen the film, so
it's serving as bumper music and background music, I find
(07:28):
myself treating it like that at this point. So in
two thousand and nine it just didn't grab me. And
now I'm putting it in this box of music that's
useful for a purpose but not useful on a record
on its own, I suppose, And that might be unfair.
But where does where does it rank for you? In
(07:51):
terms like that? Is it do you like the sound?
Is it the song itself? Where do you find yourself
putting this.
Speaker 3 (08:00):
I enjoy the versus and the instrumentation. I like how
the percussion becomes very dramatic at one point in the song.
But I find the coda to kind of over extend
the song a little.
Speaker 2 (08:20):
Yes, I feel like it. I feel like it sticks
around for a long time.
Speaker 3 (08:24):
Yes.
Speaker 2 (08:26):
And there's a really long intro and outro to this
one too.
Speaker 3 (08:29):
I feel it could have benefited from some editing. It's
still a great song, just I think a little too long, Okay.
Speaker 2 (08:38):
I think it's one of the longer ones on the
record as I recall, although what I recall this record
is very little, So it's just it's got a lot
of the trappings. It just doesn't come together for me.
I wanted to play a little bit of it so
we can get a taste. I'm going to move forward
(09:00):
a stone.
Speaker 4 (09:01):
On Star Stone, Tobias Stone Whist, Star Warstone, bist List
Star Warstone Stone, the List.
Speaker 2 (09:19):
Startupstoned, So that gives you a nice preview of what
you're in for. With Boonville Stomp, I love the clanky
dough bro It sounds like he's putting vibrato on the
on that drone note too. Which sounds really cool. You know,
you get some of that deep, thunderous cinematic percussion, you
(09:42):
get some high register whaling I would imagine on the upright,
you know, above the nut or whatever. I don't know.
I just don't know why. Maybe it's the slower pace,
but the pieces are there.
Speaker 3 (09:55):
I don't know.
Speaker 2 (09:56):
It does tell an interesting story though. As we noted,
we have du a to Twang version of this as
well and a music video. So this is the second
video from the Funguy Info record. This came about a
month after Red State Girl as far as posting YouTube goes,
(10:18):
and the video Frankie was filmed at the same location
as far as footage of the band members, so I
wonder if they knocked these out in one day.
Speaker 3 (10:26):
The only difference is the is the lightning.
Speaker 2 (10:31):
There's some different lighting, Yeah, and I think there's some
different like camera effects too, Yes, and some scenes of
the film uh interjected throughout. Yes, But I do like
the contrast.
Speaker 3 (10:43):
I mean Red State Girl is literally a red light
during the video, whereas Bundle Stamp has a green light
throughout the video. Ah lets unless he's a standing on
the same corner during the entire video.
Speaker 2 (10:58):
Yes, with a dope.
Speaker 3 (11:00):
Oh yeah, so we get we get more of a
silhouette on Boon Bild.
Speaker 2 (11:05):
Yeah. I wonder if they ran through the Red State
Girl footage and then somebody just came up, swapped his
instruments and his outfit and the light bulb, and they
pressed record again for the next one. Just let's knock
out both of them, why not? And then interspersing the
Pig Hunt footage once again. If you're if you're making
(11:26):
a low budget music video and you've just contributed this
song to a film, I'm sure you can negotiate with
the filmmaker to be allowed to use pieces from the
film in your music video. And of course this music
video appears as a bonus feature on the Pig Hunt DVD.
Speaker 3 (11:48):
Yes, very cool.
Speaker 2 (11:50):
So it's yeah, it's pretty cool that they were able
to work that out. I mean noticed that, in.
Speaker 3 (11:56):
Similar fashion to how Redsted Girl picks up tempo in
the live performances near Dakota Booneville, Stump also becomes faster
near the end of the song.
Speaker 2 (12:08):
On the Fung Guy record, Fun Guy and Live.
Speaker 3 (12:13):
Oh.
Speaker 2 (12:13):
Certainly in the live setting, a lot of these songs
are augmented in that regard. I think we saw that
a lot with we're certainly seeing that actually a lot
with the tunes from this record, and I think we
saw that with of course we famously see that with
D's Diner, and so I think that has become a
(12:34):
general trend to kick it up a notch, I suppose
for those mid tempo tunes or slower tempo tunes to
reward the audience. I think we get a bit of
that in the dou to Twang version of Boonville Stomp
as well, let's hear it not there, I'm going to
afford it.
Speaker 3 (12:54):
There we go.
Speaker 2 (12:56):
Oh yeah, so after a tempo that it matches the
Fungi record, this is what we get on the last
half of the tune for twang. Yeah, but Kio sounds
(13:31):
great there letting it rip.
Speaker 3 (13:34):
Uh.
Speaker 2 (13:34):
So that is ah, that's a change of course for
the do It to Twang record and live performances. So
we get a we've gotten a taste of both. And
I asked her this last week Frankie Wink Wink last
week twang or fung Guy version of Boone Twang all
the Way, Twang all the Way?
Speaker 3 (13:57):
And it makes I think it makes perfect sense because
on the Twang version. B Liz is literally stumping throughout
the whole track.
Speaker 2 (14:06):
Great point. He's got his little stompbox for the for
Dua de Twang. You're right, the name of the tune
begs for it Boonville stomp. Of course, Frankie, that makes
perfect sense. I think I'm on the Duda twang wagon
for Boonville. Last week for Red State Girl, I stuck
with the fung Guy version, but I think this double
(14:29):
time as it were for the last part of due
to twang and keyho letting it rip, certainly catches my ears.
I don't know what it is about this kind of instrumentation, Frankie,
and I'm talking about what we get on the large,
throughout large portions of the Fungi record as well. Of
(14:49):
course on the Twang record, I just wanted to be
up tempo. Maybe that's just from listening to a lot
of psychotic bluegrass over the years and that sort of
thing that's really really high tempo and moving. I guess
that's just what I expect from it, but it's also
what I really like. So when it's slower, I can
dig it for a while, but eventually I just wanted
(15:12):
to kick it in an overdrive and go for it.
So I'm with you on the twang in there. So
of course we get the Boonville stomp that is repeated
quite a bit throughout the tune. Seems like we get
a lot of pieces, Frankie, we get a pastiche of
life in Booneville here. So we start with a guy
(15:34):
who was working in forestry and well known throughout the
Pacific Northwest. Is the decline of the timber industry about
forty fifty years ago now, and people who worked in
forestry and in the timber business were making a great
living and then the bottom dropped out of it, much
like Monty here, couldn't make ends meet, and he went
(15:56):
into hydro and meaning you know, he's grown weed now
and so sound familiar. That will sound familiar if you've
seen pig Hunt. Saddie knew the preacher man she pairedicured
his wife, told the boys in town, and soon they
came and threatened to take his life. Oh my goodness.
Then we get Robert and he threw a hardball fast
(16:18):
and now he's part of the greasy cast. I have
no idea what that means. Obviously, the hardball fast sounds
like he was a baseball player. So he's just telling
these little slices of life from these characters. Betsy was
a floor to Lee, tried to be the homecoming queen.
Ali had a few more trinkets than something in between.
And Betsy had a near for music, a voice of
(16:39):
unique tone, but at nineteen had a baby. Boys or
are dreams, never had a chance to roam. And then
we get that repeating of a repetition of very far
from home.
Speaker 3 (16:48):
So these characters are these characters from the.
Speaker 2 (16:50):
Film, I don't believe. So they just sound like slice
of life people living in the backwoods, trying to just
trying to live their lives, okay, and you know, in
a way, some of them are tragic characters. Betsy had
a dream and could never chase it, and Monty had
(17:13):
to find a way to you know, to pay the
bills and it worked out for him, I suppose, even
though he's grown illegal weed at the time. So these
are people just trying to live their lives in Boonville.
I suppose you get a lot. You do actually get
some of that slice of life in the film. I
think the filmmakers attempted to show the disparate groups of
(17:34):
people that were living in that area. And there's illegal
weed factors in as a plot point, a hippie commune
factors in as a plot point. There's there's a country
store where the proprietor actually tosses some boot lin out,
which is the jargon of the locale. I'm sure there's
(17:55):
plenty of people that still speak bootling. It's a kind
of a coded legge, but and it's got a it's
a very interesting one, Frankie, I don't know if you've
heard any bootlink, no or boot lin. I suppose. I
have an article from the Paris Review of All Places
from twenty to fifteen that has a few Bootland terms.
(18:16):
And it's funny because some of them are pulled straight
from Spanish, so they pulled from a lot of different sources.
And so some of these terms are just named after people,
like I think the telephone, the term for telephone is
just named after the first guy to get a telephone
in Boonville. And in the movie or in the Pig
(18:37):
Hunt film, the protagonist walk into a country store there
and he says the proprietor says something about, what are
you bright lighters doing here? And bright lighters are city
folk or people from out of town. And it kind
of makes sense linguistically because bright lighters bright lights, big city,
that sort of thing. You don't see a lot of
bright lights in the countryside, especially to the intensity that
(19:00):
you do in the city. A couple more here. Fence jumping, Frankie,
what do you think fence jumping might mean?
Speaker 3 (19:07):
Fence jumping like jumping over somebody's fence to break into
their property.
Speaker 2 (19:12):
You are not as far off as you might think.
Fence jumping is actually a term for adultery, as in
jumping over your own fence and waring off. Yeah, there's
plenty of articles about bootleging out there, and you can
have a lot of fun with figuring out the etymology
(19:33):
of these words or there or their origins. Here's an
example of one from Spanish. Frankie, A ganal is an apple,
but it's apparently it's Spanish for a certain type of apple. Ghano.
Does that sound or ghano? Does that sound familiar to you?
Speaker 3 (19:51):
No?
Speaker 2 (19:52):
Okay?
Speaker 1 (19:54):
Oh.
Speaker 2 (19:54):
One of my favorites, Frankie is equalizer. What do you
think that might represent? Bootlink?
Speaker 3 (20:01):
Equalized sir, yep, it's a name you.
Speaker 2 (20:04):
Wish it's a gun. Oh, make it a fair fight,
I suppose if somebody else pulls a firearm on you.
A lot of great stuff in bootlengk. It makes me
want to go down the rabbit hole.
Speaker 3 (20:20):
Made me remember when I read the cloakwork Runch novel
and I had to keep going back to the appendix.
Speaker 2 (20:28):
Oh, of course, because there's a lot of drug jargon
in that, right, Yep, for sure. Yeah. Boone is similar
in that it's just this invented language by people who
perhaps just wanted to be able to speak in code
around outsiders, or just wanted to confound anybody who wasn't
(20:49):
in the club. It's probably a mix of both. That
beautiful tune you here is the theme for Primates Takes.
If you would like your takes read right here on
the podcast, all you have to do is go to
Patreon dot com Ford Slash Primus tracks are many ways
(21:11):
of sport, Judge Josh and Frankie can't even say my
own name, and the most the ubiquitous. I hate saying
reward Frankie. The ubiquitous feature there is Primates Takes. Our
pal Jesse Caulton. Frankie says this about Boonville Stop. The
music fits the whole found instruments via of the album,
(21:32):
I e. Dusty, mildew rusted instruments you find in a
backwood shed that have been sitting there since the eighteen nineties.
The lyrics, however, feel like a half baked Springsteen song.
Not really sure what Robert throwing fastballs has to do
with joining the greasy cast. Jesse echoing something we said earlier,
(21:52):
so some of the lyrics a bit septeric. Eric and
Australia says Stomp is the first of the certified bangers. Yes,
less getting the George Thorogood on the stutter. Great, He'll oh,
that's true. The bad to the bone. I'm sure you've
heard that one. Frankie great hillbilly swing in a true
tale of woe. The drum sound is fantastic. Eric's been
(22:17):
in a delightful mood this record, and I don't want
it to stop. John Shreeves says Boonville Stomp is like
a dark hillbilly Barnshoven tune. Take your shoes off, go outside,
feel the grime. And Mickey Waters wraps it up with
the following Frankie Boonville's Stomp is so dark in atmospheric
with a lot of tension. Another favorite, very cinematic percussion.
(22:40):
I love this version, but prefer the second half tempo
change on the Twang version. There's another one in club
Twang Frankie. Yeah, mixed conversation on Boonville Stomp from the
Prime Matrons, and you know I should throw out it
might feel like we're going this one short shrift, but
(23:02):
you know when when it doesn't come together, it just
doesn't come together for the listener. And that's okay, as
a wise man once said Frankie and or titled music compilation.
They can't all be Zingers, ah exactly. And for those
of you that love this track, get down with your
(23:23):
bad self because it has its moments for sure. And
I really do like that Twang version, like legitimately like
the Twang version. So I found one that works for me.
Live cuts a Gem Vehicle Live Cuts for the Gem
Vehicle Live Cuts, what's going on here? For live cuts Today,
Frankie has given us a singular live rendition of Boonville
(23:47):
Stomp and it's the Fun Guy Band. At Summer Camp,
May twenty third, two thousand and nine. We're back to
Summer camp, Frankie, it.
Speaker 3 (23:57):
Was a great performance.
Speaker 2 (24:00):
Let me queue it up so we can hear it.
Speaker 1 (24:03):
My bad.
Speaker 2 (24:12):
False ending. Sam got some great sounds out of that Shello,
(24:58):
so we get a bit of a hodown Hello solo,
which is not a term a lot of people know
or have ever heard in their lives. And then we
moved towards the end. Yeah. So in a lot of
(25:57):
the less Claypool solo works. If it's a more upbeat tune, Frankie,
we might see it stretched out as long as twenty
minutes sometimes, but when it's more of a mid tempo,
slow tempo, we up the tempo in the last half
of the last couple of minutes to get the audience
going exactly. And those are not cheap tricks. That's what
(26:21):
you do to engage your audience. And I credit Less
for doing that with the tunes off of this record
for the Fung Guy Band, as well as do to Twang.
Final thoughts on Boonville Stop, Frankie, you plan it on
visiting Boonville anytime soon.
Speaker 3 (26:43):
I'll always enjoy it. In the context of the records,
I got to say.
Speaker 2 (26:54):
It's funny that he in the lyrics mentions a guy
who throws a hardball fast, Frankie, because a bad you know,
like a pitcher, because a batter in Boontling is a
bachelor or a masturbator. Good stuff, Well, Boonville Stomp, take
(27:17):
your boots off, relax, join me and looking up more
dirty words because you've been tracked. Next time, Frankie, I
can honestly tell you, I don't know what follows Booneville
Stomp on the record. What I remember about Fungui Infoe
from sixteen years ago is confined almost entirely to the
(27:37):
first four tracks.
Speaker 3 (27:39):
Next up, Sir George Martin.
Speaker 2 (27:42):
Oh, I guess we'll find what he would do. At
least I remember the title. Thanks thanks to your context, clue, primates,
prime matrons, boonvillions, people of Earth. Thank you all so
much for listening and for your support. Talk to you
next time, Later days, Willa Mace
It's Josh Freaky with a couple of dump shits.
Speaker 2 (00:19):
Hello, Primates, that sounds familiar. You found Primus Tracks. Congratulations,
many places to find us. You found the best version
of us. I am Josh. I am one of the
hosts of Primus Tracks. He is on the thirty ninth
floor of Primus Tracks towers stomping all around the people
on the thirty eighth floor of Noidy. What's going on?
It's Frankie Berestein. Hey, Josh, welcome back once again, Frankie.
(00:43):
We are still talking about a fungi and foe. I'm
slowly but surely coming around to understanding this record more
than I did in two thousand and nine when I
listened to it once and put it away.
Speaker 3 (00:56):
How strange, It's as if we had just spoken a
moment to go.
Speaker 2 (01:00):
It feels like a sense of deja vu because we
are talking yet again about a fungui in foe in
such a.
Speaker 3 (01:07):
Short time, and you're even repeating your outfit.
Speaker 2 (01:10):
Hey, hey, hey, hey, it's us. If no time at
all past, or maybe I've been wearing the same outfit
for an entire week and I just smell carry will
could be the case yes, yes, today we were talking
about Booneville Stomp at his track Quattro on your Fungi
Info record, CD, digital release whatever it is that you have.
(01:35):
This one is four minutes and fifty one seconds, Frankie,
from what I can tell, the credits, Less claytool everything,
that's what I've got, remember, Frankie. This was one of
many tracks on the record that was made for a
piece of media prior to this album being conceived. The
(01:57):
first two tracks on this record we discussed their origins
in the Mushroom Men video game and this track, Boonville Stomp,
was written for a film titled Pig Hunt. If you
have not seen it, you haven't seen it. If you
have seen it, you've heard this song before.
Speaker 3 (02:17):
Wasn't Less a preacher in that movie?
Speaker 2 (02:20):
Yes, a little bit on Pig Hunt. It was filmed
in and around the Booneville area in northern California. It's
inland a bit of a ways in the woods of
northern California. It's not an entirely isolated community, but it is.
It's out there, I'll say that, off the beaten path.
(02:42):
And this film. Less is in the film playing a
deranged preacher. As I've seen it described, and he does
wear the collar, and he has a few lines in it,
and he has some choice words in it, Frankie, So
if you want to hear him yelling for a letter words,
definitely view Pig Hunt. But I would say, and of course, infamously,
(03:06):
he broke his pinky during the filming of that movie.
I think his biggest contribution is a couple of tunes
that were fully formed, including Boonville Stomp. And what's curious
about this, Frankie, is this tune was fully formed in
the sense that there were already vocals on it, and
the instances of Boonville Stomp played as bumper music or
(03:28):
background music throughout the film. You can hear the vocals
in them.
Speaker 3 (03:31):
Wow.
Speaker 2 (03:32):
He knew what he was getting into, clearly, because he
made these lyrics and this title Boonville Stomp, knowing the
nuts and bolts of the film. What do you have
on this one, Frankie, I.
Speaker 3 (03:45):
Know that Liz really likes the song. If you look
at the live history, it was performed quite extensively by
the Fung Guy band, and when it was passed on
to do with a twang, they also performed that quite extensively.
The latest performance to date, taking place in twenty twenty
three at a wine party, which actually meets beats Rich
(04:06):
State Girl in terms of recent performances.
Speaker 2 (04:09):
Wow.
Speaker 3 (04:10):
Yeah, I think Les really likes this song. As for me,
I mean, it's not that I dislike it. I think
it's a great number, but it's a song that I
only revisit when I'm playing the record back to back.
Speaker 1 (04:25):
Ah.
Speaker 2 (04:25):
Okay, so this one doesn't have the same replay value
as some of the first or as the first three
tracks on this record for you, exactly Okay. As far
as my own live history goes, I had I had
the pleasure of seeing Red State Girl in Boonville Stomp
in two thousand and nine with the Fun Guy Band,
and both of those tracks performed in twenty thirteen with
(04:47):
du de Twang Wiley Woods set in on Booneville as well. Cool,
so I've gotten both versions live. I have more memories
of the do a de Twang performance because it was
at a hemp festival and the first thing Keho said
when he took the stage was I smoked a shitload
(05:09):
of weed before coming up here, or something of that nature,
and it was a raucously good time. So Boonville Stomp.
This was a less Claypool special once again, so no
no outside instrumentation or contributions from other humans. He had
this one all prepared for the film and put it
(05:32):
verbatim on the records. It's a clay tool concoction. A
clay tool concoction. Oh, he better trademark that, because I'm
about to. I'm registering that with a trademark office today.
Brad Sands, you're unnoticed. So this one, to me, Frankie
has a cool, clanky sound to it as far as
(05:54):
the doughbro goes. I like the I like the soundscapes
that's that has been achieved here, really cool percussion, decent vocals.
I kind of like that whiny, for lack of a
better term, sound. It's not it's not really the not
the don Nott's voice. It's a it's in a different direction,
but it's way out here, and so everything is there
(06:20):
for it to be a memorable tune. And it's even
got like thunderous percussion to it. It's very cinematic in
that regard, but it I guess it just doesn't all
come together for me, And maybe it's because it was
made for a film. Like I listen. I like listening
to film music when I'm watching the film. I can't
(06:42):
think of too many film scores that I would go
back and listen to on their own. And I'm mostly
talking about modern film because the score is there to
serve the film, and you know, a lot of that
stuff it sounds more or less the same. There are
some brilliant film scores out there that people should certainly
(07:06):
check out if you're into that sort of thing, but
at this point in my life, most of them blend
together and are not memorable. And so I don't know
if that's that I'm lumping Boone into that category undeservedly,
but just knowing that, and I've seen the film, so
it's serving as bumper music and background music, I find
(07:28):
myself treating it like that at this point. So in
two thousand and nine it just didn't grab me. And
now I'm putting it in this box of music that's
useful for a purpose but not useful on a record
on its own, I suppose, And that might be unfair.
But where does where does it rank for you? In
(07:51):
terms like that? Is it do you like the sound?
Is it the song itself? Where do you find yourself
putting this.
Speaker 3 (08:00):
I enjoy the versus and the instrumentation. I like how
the percussion becomes very dramatic at one point in the song.
But I find the coda to kind of over extend
the song a little.
Speaker 2 (08:20):
Yes, I feel like it. I feel like it sticks
around for a long time.
Speaker 3 (08:24):
Yes.
Speaker 2 (08:26):
And there's a really long intro and outro to this
one too.
Speaker 3 (08:29):
I feel it could have benefited from some editing. It's
still a great song, just I think a little too long, Okay.
Speaker 2 (08:38):
I think it's one of the longer ones on the
record as I recall, although what I recall this record
is very little, So it's just it's got a lot
of the trappings. It just doesn't come together for me.
I wanted to play a little bit of it so
we can get a taste. I'm going to move forward
(09:00):
a stone.
Speaker 4 (09:01):
On Star Stone, Tobias Stone Whist, Star Warstone, bist List
Star Warstone Stone, the List.
Speaker 2 (09:19):
Startupstoned, So that gives you a nice preview of what
you're in for. With Boonville Stomp, I love the clanky
dough bro It sounds like he's putting vibrato on the
on that drone note too. Which sounds really cool. You know,
you get some of that deep, thunderous cinematic percussion, you
(09:42):
get some high register whaling I would imagine on the upright,
you know, above the nut or whatever. I don't know.
I just don't know why. Maybe it's the slower pace,
but the pieces are there.
Speaker 3 (09:55):
I don't know.
Speaker 2 (09:56):
It does tell an interesting story though. As we noted,
we have du a to Twang version of this as
well and a music video. So this is the second
video from the Funguy Info record. This came about a
month after Red State Girl as far as posting YouTube goes,
(10:18):
and the video Frankie was filmed at the same location
as far as footage of the band members, so I
wonder if they knocked these out in one day.
Speaker 3 (10:26):
The only difference is the is the lightning.
Speaker 2 (10:31):
There's some different lighting, Yeah, and I think there's some
different like camera effects too, Yes, and some scenes of
the film uh interjected throughout. Yes, But I do like
the contrast.
Speaker 3 (10:43):
I mean Red State Girl is literally a red light
during the video, whereas Bundle Stamp has a green light
throughout the video. Ah lets unless he's a standing on
the same corner during the entire video.
Speaker 2 (10:58):
Yes, with a dope.
Speaker 3 (11:00):
Oh yeah, so we get we get more of a
silhouette on Boon Bild.
Speaker 2 (11:05):
Yeah. I wonder if they ran through the Red State
Girl footage and then somebody just came up, swapped his
instruments and his outfit and the light bulb, and they
pressed record again for the next one. Just let's knock
out both of them, why not? And then interspersing the
Pig Hunt footage once again. If you're if you're making
(11:26):
a low budget music video and you've just contributed this
song to a film, I'm sure you can negotiate with
the filmmaker to be allowed to use pieces from the
film in your music video. And of course this music
video appears as a bonus feature on the Pig Hunt DVD.
Speaker 3 (11:48):
Yes, very cool.
Speaker 2 (11:50):
So it's yeah, it's pretty cool that they were able
to work that out. I mean noticed that, in.
Speaker 3 (11:56):
Similar fashion to how Redsted Girl picks up tempo in
the live performances near Dakota Booneville, Stump also becomes faster
near the end of the song.
Speaker 2 (12:08):
On the Fung Guy record, Fun Guy and Live.
Speaker 3 (12:13):
Oh.
Speaker 2 (12:13):
Certainly in the live setting, a lot of these songs
are augmented in that regard. I think we saw that
a lot with we're certainly seeing that actually a lot
with the tunes from this record, and I think we
saw that with of course we famously see that with
D's Diner, and so I think that has become a
(12:34):
general trend to kick it up a notch, I suppose
for those mid tempo tunes or slower tempo tunes to
reward the audience. I think we get a bit of
that in the dou to Twang version of Boonville Stomp
as well, let's hear it not there, I'm going to
afford it.
Speaker 3 (12:54):
There we go.
Speaker 2 (12:56):
Oh yeah, so after a tempo that it matches the
Fungi record, this is what we get on the last
half of the tune for twang. Yeah, but Kio sounds
(13:31):
great there letting it rip.
Speaker 3 (13:34):
Uh.
Speaker 2 (13:34):
So that is ah, that's a change of course for
the do It to Twang record and live performances. So
we get a we've gotten a taste of both. And
I asked her this last week Frankie Wink Wink last
week twang or fung Guy version of Boone Twang all
the Way, Twang all the Way?
Speaker 3 (13:57):
And it makes I think it makes perfect sense because
on the Twang version. B Liz is literally stumping throughout
the whole track.
Speaker 2 (14:06):
Great point. He's got his little stompbox for the for
Dua de Twang. You're right, the name of the tune
begs for it Boonville stomp. Of course, Frankie, that makes
perfect sense. I think I'm on the Duda twang wagon
for Boonville. Last week for Red State Girl, I stuck
with the fung Guy version, but I think this double
(14:29):
time as it were for the last part of due
to twang and keyho letting it rip, certainly catches my ears.
I don't know what it is about this kind of instrumentation, Frankie,
and I'm talking about what we get on the large,
throughout large portions of the Fungi record as well. Of
(14:49):
course on the Twang record, I just wanted to be
up tempo. Maybe that's just from listening to a lot
of psychotic bluegrass over the years and that sort of
thing that's really really high tempo and moving. I guess
that's just what I expect from it, but it's also
what I really like. So when it's slower, I can
dig it for a while, but eventually I just wanted
(15:12):
to kick it in an overdrive and go for it.
So I'm with you on the twang in there. So
of course we get the Boonville stomp that is repeated
quite a bit throughout the tune. Seems like we get
a lot of pieces, Frankie, we get a pastiche of
life in Booneville here. So we start with a guy
(15:34):
who was working in forestry and well known throughout the
Pacific Northwest. Is the decline of the timber industry about
forty fifty years ago now, and people who worked in
forestry and in the timber business were making a great
living and then the bottom dropped out of it, much
like Monty here, couldn't make ends meet, and he went
(15:56):
into hydro and meaning you know, he's grown weed now
and so sound familiar. That will sound familiar if you've
seen pig Hunt. Saddie knew the preacher man she pairedicured
his wife, told the boys in town, and soon they
came and threatened to take his life. Oh my goodness.
Then we get Robert and he threw a hardball fast
(16:18):
and now he's part of the greasy cast. I have
no idea what that means. Obviously, the hardball fast sounds
like he was a baseball player. So he's just telling
these little slices of life from these characters. Betsy was
a floor to Lee, tried to be the homecoming queen.
Ali had a few more trinkets than something in between.
And Betsy had a near for music, a voice of
(16:39):
unique tone, but at nineteen had a baby. Boys or
are dreams, never had a chance to roam. And then
we get that repeating of a repetition of very far
from home.
Speaker 3 (16:48):
So these characters are these characters from the.
Speaker 2 (16:50):
Film, I don't believe. So they just sound like slice
of life people living in the backwoods, trying to just
trying to live their lives, okay, and you know, in
a way, some of them are tragic characters. Betsy had
a dream and could never chase it, and Monty had
(17:13):
to find a way to you know, to pay the
bills and it worked out for him, I suppose, even
though he's grown illegal weed at the time. So these
are people just trying to live their lives in Boonville.
I suppose you get a lot. You do actually get
some of that slice of life in the film. I
think the filmmakers attempted to show the disparate groups of
(17:34):
people that were living in that area. And there's illegal
weed factors in as a plot point, a hippie commune
factors in as a plot point. There's there's a country
store where the proprietor actually tosses some boot lin out,
which is the jargon of the locale. I'm sure there's
(17:55):
plenty of people that still speak bootling. It's a kind
of a coded legge, but and it's got a it's
a very interesting one, Frankie, I don't know if you've
heard any bootlink, no or boot lin. I suppose. I
have an article from the Paris Review of All Places
from twenty to fifteen that has a few Bootland terms.
(18:16):
And it's funny because some of them are pulled straight
from Spanish, so they pulled from a lot of different sources.
And so some of these terms are just named after people,
like I think the telephone, the term for telephone is
just named after the first guy to get a telephone
in Boonville. And in the movie or in the Pig
(18:37):
Hunt film, the protagonist walk into a country store there
and he says the proprietor says something about, what are
you bright lighters doing here? And bright lighters are city
folk or people from out of town. And it kind
of makes sense linguistically because bright lighters bright lights, big city,
that sort of thing. You don't see a lot of
bright lights in the countryside, especially to the intensity that
(19:00):
you do in the city. A couple more here. Fence jumping, Frankie,
what do you think fence jumping might mean?
Speaker 3 (19:07):
Fence jumping like jumping over somebody's fence to break into
their property.
Speaker 2 (19:12):
You are not as far off as you might think.
Fence jumping is actually a term for adultery, as in
jumping over your own fence and waring off. Yeah, there's
plenty of articles about bootleging out there, and you can
have a lot of fun with figuring out the etymology
(19:33):
of these words or there or their origins. Here's an
example of one from Spanish. Frankie, A ganal is an apple,
but it's apparently it's Spanish for a certain type of apple. Ghano.
Does that sound or ghano? Does that sound familiar to you?
Speaker 3 (19:51):
No?
Speaker 2 (19:52):
Okay?
Speaker 1 (19:54):
Oh.
Speaker 2 (19:54):
One of my favorites, Frankie is equalizer. What do you
think that might represent? Bootlink?
Speaker 3 (20:01):
Equalized sir, yep, it's a name you.
Speaker 2 (20:04):
Wish it's a gun. Oh, make it a fair fight,
I suppose if somebody else pulls a firearm on you.
A lot of great stuff in bootlengk. It makes me
want to go down the rabbit hole.
Speaker 3 (20:20):
Made me remember when I read the cloakwork Runch novel
and I had to keep going back to the appendix.
Speaker 2 (20:28):
Oh, of course, because there's a lot of drug jargon
in that, right, Yep, for sure. Yeah. Boone is similar
in that it's just this invented language by people who
perhaps just wanted to be able to speak in code
around outsiders, or just wanted to confound anybody who wasn't
(20:49):
in the club. It's probably a mix of both. That
beautiful tune you here is the theme for Primates Takes.
If you would like your takes read right here on
the podcast, all you have to do is go to
Patreon dot com Ford Slash Primus tracks are many ways
(21:11):
of sport, Judge Josh and Frankie can't even say my
own name, and the most the ubiquitous. I hate saying
reward Frankie. The ubiquitous feature there is Primates Takes. Our
pal Jesse Caulton. Frankie says this about Boonville Stop. The
music fits the whole found instruments via of the album,
(21:32):
I e. Dusty, mildew rusted instruments you find in a
backwood shed that have been sitting there since the eighteen nineties.
The lyrics, however, feel like a half baked Springsteen song.
Not really sure what Robert throwing fastballs has to do
with joining the greasy cast. Jesse echoing something we said earlier,
(21:52):
so some of the lyrics a bit septeric. Eric and
Australia says Stomp is the first of the certified bangers. Yes,
less getting the George Thorogood on the stutter. Great, He'll oh,
that's true. The bad to the bone. I'm sure you've
heard that one. Frankie great hillbilly swing in a true
tale of woe. The drum sound is fantastic. Eric's been
(22:17):
in a delightful mood this record, and I don't want
it to stop. John Shreeves says Boonville Stomp is like
a dark hillbilly Barnshoven tune. Take your shoes off, go outside,
feel the grime. And Mickey Waters wraps it up with
the following Frankie Boonville's Stomp is so dark in atmospheric
with a lot of tension. Another favorite, very cinematic percussion.
(22:40):
I love this version, but prefer the second half tempo
change on the Twang version. There's another one in club
Twang Frankie. Yeah, mixed conversation on Boonville Stomp from the
Prime Matrons, and you know I should throw out it
might feel like we're going this one short shrift, but
(23:02):
you know when when it doesn't come together, it just
doesn't come together for the listener. And that's okay, as
a wise man once said Frankie and or titled music compilation.
They can't all be Zingers, ah exactly. And for those
of you that love this track, get down with your
(23:23):
bad self because it has its moments for sure. And
I really do like that Twang version, like legitimately like
the Twang version. So I found one that works for me.
Live cuts a Gem Vehicle Live Cuts for the Gem
Vehicle Live Cuts, what's going on here? For live cuts Today,
Frankie has given us a singular live rendition of Boonville
(23:47):
Stomp and it's the Fun Guy Band. At Summer Camp,
May twenty third, two thousand and nine. We're back to
Summer camp, Frankie, it.
Speaker 3 (23:57):
Was a great performance.
Speaker 2 (24:00):
Let me queue it up so we can hear it.
Speaker 1 (24:03):
My bad.
Speaker 2 (24:12):
False ending. Sam got some great sounds out of that Shello,
(24:58):
so we get a bit of a hodown Hello solo,
which is not a term a lot of people know
or have ever heard in their lives. And then we
moved towards the end. Yeah. So in a lot of
(25:57):
the less Claypool solo works. If it's a more upbeat tune, Frankie,
we might see it stretched out as long as twenty
minutes sometimes, but when it's more of a mid tempo,
slow tempo, we up the tempo in the last half
of the last couple of minutes to get the audience
going exactly. And those are not cheap tricks. That's what
(26:21):
you do to engage your audience. And I credit Less
for doing that with the tunes off of this record
for the Fung Guy Band, as well as do to Twang.
Final thoughts on Boonville Stop, Frankie, you plan it on
visiting Boonville anytime soon.
Speaker 3 (26:43):
I'll always enjoy it. In the context of the records,
I got to say.
Speaker 2 (26:54):
It's funny that he in the lyrics mentions a guy
who throws a hardball fast, Frankie, because a bad you know,
like a pitcher, because a batter in Boontling is a
bachelor or a masturbator. Good stuff, Well, Boonville Stomp, take
(27:17):
your boots off, relax, join me and looking up more
dirty words because you've been tracked. Next time, Frankie, I
can honestly tell you, I don't know what follows Booneville
Stomp on the record. What I remember about Fungui Infoe
from sixteen years ago is confined almost entirely to the
(27:37):
first four tracks.
Speaker 3 (27:39):
Next up, Sir George Martin.
Speaker 2 (27:42):
Oh, I guess we'll find what he would do. At
least I remember the title. Thanks thanks to your context, clue, primates,
prime matrons, boonvillions, people of Earth. Thank you all so
much for listening and for your support. Talk to you
next time, Later days, Willa Mace
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