November 17, 2025 • 35 mins
This week, we cover tracks 10 and 11 from Of Fungi and Foe: Pretty Little Song with guest Bryonn Bain, as well as the title track. These tracks are buried on the back end of the record and have never been performed live, so they're obscure nuggets in the catalog. Wail and gnash your teeth along with us as we explore the agony of Pretty Little Song and what the title tracks tells us about the whole album experience.
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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. O.
Speaker 2 (00:18):
Hello Primates, You've found Primus Tracks. Congratulations. There are so
many places to find Primus Tracks. The podcast is a
great start. If you would like a digital extension of
these voices coming at you, we are at Primus Tracks
on Instagram, threads, Facebook, and if you want to interact
with these voices, you can email Primus Tracks pod at
(00:40):
gmail dot com. I'm Josh. I am one of the
hosts of Primus Tracks. He is coming to you from
the thirty ninth floor of Primus Tracks Towers. It's Frankie.
Speaker 3 (00:50):
Hey, Josh, welcome back.
Speaker 2 (00:52):
Frankie.
Speaker 3 (00:53):
Do you remember when years ago when we had Skerrick
on the show and you said hello, welcome Primus Tracks
and then scary Key yelp.
Speaker 2 (01:03):
Should should I clip that and bring it back?
Speaker 3 (01:06):
Yeah? We should. We should sample that now for every
every opening.
Speaker 2 (01:12):
Scarek is with us in screaming spirit. Yes, yes, we
should do that. Maybe even we can remix today's track
pretty Little Song and have Scarek screaming in the background.
It would fit. Yes, have listened to for the for
today's song. Today, we are indeed talking about pretty Little song.
It's track ten from your of Fungi and fou record.
(01:33):
But as we do from time to time, we must
preface with miscellaneous debris.
Speaker 3 (01:42):
Four new sleeks will be available homing November twenty second,
at ten am PT. If you're interested in grabbing one
of these four examplars, make sure Josh that you have
eighty seven hundred dollars ready in your bank account.
Speaker 2 (02:03):
Eighty seven hundred dollars, Well, I'll tell you what that is.
That is a screaming deal for one of those sleek
packeter and bases. When I was playing sports in college,
my number was eighty seven, So I wow, an intimate
kid time. Yes, it's a sign I have to empty
my retirement account to buy one of these hunks of furniture.
Speaker 3 (02:24):
We have shared all the features, the phone facts, and
the information that you need to know about the comments
leaks on the Primus tracks Facebook, So swing by, read
the information and share your comments. Thank you very much.
Speaker 2 (02:40):
Those sleek bases are indeed slick.
Speaker 3 (02:43):
Yes, and as the website specifies, not two exemplars are
the same.
Speaker 2 (02:50):
Oh, that's true, because they're handmade, So they're going to.
Speaker 3 (02:52):
Have handmade works of art.
Speaker 2 (02:54):
Yes, subtle differences that do not affect playability. Yeah, yes,
because they are handmade expertly.
Speaker 3 (03:03):
Yes, I don't another piece of debris. I don't know
if you if you notice this, but Herbs Tama Star
Classic Chocolate Drum Kit is up for sale, as you will.
Speaker 2 (03:16):
That's upon reverb.
Speaker 3 (03:18):
It's it's reverb still available. However, there's a notification that
it's lying in someone's shopping cart, so better make up
your mind.
Speaker 2 (03:31):
Perhaps that's a faint to get somebody else to buy it.
It could be, you know, manipulating the market, like, oh,
somebody wants it.
Speaker 3 (03:39):
Oh like Eve right when they say Sean Warner's watch.
Speaker 2 (03:43):
That's right. Yeah, three other people are watching this item. Great,
sounds sounds good. I'm watching a lot of items.
Speaker 3 (03:50):
Yeah.
Speaker 2 (03:52):
I love the pressure tactics that they put on you. Uh.
And if you are curious about that one, we will
tell you. It's just the drums, the chocolate fils drums,
no symbols, no hardware.
Speaker 3 (04:04):
Just the no her no herb either.
Speaker 2 (04:06):
No herb doesn't come in the box with it. I
tell you. For that price point, I think he should.
Speaker 3 (04:12):
He might as well deliver it himself.
Speaker 2 (04:14):
Right, he's got experience. Yeah, Josh dropping in here to
tell you you can also find a tribute to King's
drum set on eBay that Tim has put up for
auction and all proceeds benefit a Bay Area nonprofit.
Speaker 3 (04:27):
That that reminds me a few years ago when I
was doing research about some of the most expensive boxes
ever ever sold. Number one on the list, of course,
was the Residents Fridge.
Speaker 2 (04:40):
Oh, of course, yes, the million dollar fridge or something.
Speaker 3 (04:42):
The million dollar fridge. And another interesting entry on the
list was a Jeene Simmon's Strong Box, which was really huge,
really heavy, and really expensive. But if you if you
had the necessary funds to purchase that. It did include
(05:04):
Gene Simmons because he delivered at your home free of charge,
of course, and not only did he deliver it, but
he sat down with you to unbox it and gaze
at the contents.
Speaker 2 (05:18):
That's pretty rad.
Speaker 3 (05:20):
I think that is really amazing.
Speaker 2 (05:22):
Yeah, I love that. Idea was Gene and his kiss makeup?
Speaker 3 (05:26):
I don't recall, but no, no, you know what, No,
I don't. I don't think so. I think he was
wearing his civilian outfit.
Speaker 2 (05:35):
That's a decent compromise. I'd be all right with Geene
in the street clothes hanging at my house while I
opened a box of all kinds of kiss stuff. That's great.
I like that idea. So maybe a suggestion for Tim
Alexander hop in the truck and personally deliver the goods
(05:56):
and help him set it up.
Speaker 3 (05:58):
Yeah? Please. You know what what I did notice about
the pictures of this chocolate drum kit. It comes with
the with the octo bands that were used for I
think that chocolate factory performance. But it's it's really magical
how everything looks so professional and cool from the audience perspective,
(06:22):
but once you you get up close, you realize how
di I y some of these things are. Because yeah,
the candy spirals on on the on on the tombs,
I mean those were hand drum.
Speaker 2 (06:36):
Yeah, that's cool. That's a great detail. Right, you got
about the candy spiral, so those are those are one
of one heads, so yeah, don't break them, play very
lightly on the octabon. Very cool.
Speaker 3 (06:52):
It is.
Speaker 2 (06:52):
It is great that herbs throwing that kind of stuff
out there for consideration.
Speaker 3 (06:56):
But you know, I mean the the pork by kid
is at I mean, see him in Phoenix. Now he's
letting go of the Chocolate kit, and I, if I'm
not mistaken, he also sold the Hellucinogenetics Tama White kid
right several years back.
Speaker 2 (07:13):
I can't remember if he had that in a barn
somewhere in pieces or if he ended up selling that one.
Speaker 3 (07:21):
Yeah, I have a vague memory of that being sold.
So it seems like he's he's really cut him back
on the drum kits.
Speaker 2 (07:29):
They take up a lot of space.
Speaker 3 (07:31):
Yes, he might be at a point where he's going
to settle with one drum kit, right.
Speaker 2 (07:38):
I think so. Yeah, He's he's got his drum room
set up for his online learning and teaching, and that's
probably all he needs.
Speaker 3 (07:47):
Yeah, for sure.
Speaker 2 (07:50):
All right, let's talk about pretty little song Frankie. It
is track ten on a Fungi and Foe checks in
at four minutes and eight seconds. Creditsr as follows less
claypool or clay tool play tool Frankie's a clay tool man.
Percussion bass, plenty of envelope filter, I'll say that upfront,
(08:12):
and vocals. We also have Brian bain On an additional
vocal and additional lyric, and that lyric you hear looped
throughout the tune. All that death can do is set
you free. Sam Bass also appears on Cello. Brian Bain
we should talk about quickly, Frankie. He co stars with
Less in pig Hunt, although I don't think they're ever
(08:35):
on screen at the same time. Bain is an actor, poet,
he's a slam poetry performer. I watched a few of
his videos and he is powerful. He's an activist, and
I believe at this time he's a Harvard Law graduate,
and I believe at this time he's on the faculty
at UCLA and he founded a prison education program. So
(08:55):
he is doing all kinds of great stuff out in
the world.
Speaker 3 (08:58):
What is a slam put.
Speaker 2 (09:00):
Slam poetry is a form of poetry that's performed, and
it is often performed in a theatrical way to deliver
the message or really hammer home the message that the
words are conveying. So you would often see when I
was in college, actually there are slam poetry nights and
I would go attend. You know, on a college campus,
(09:23):
it's hit or miss, but there were some really powerful
pieces of people going up to a microphone and reciting
something they'd written in a really powerful way. So that's
why it's called slam. And the best part is at
a more traditional poetry reading, it's it's fairly quiet. There's
polite applause after the reading has completed, but with slam,
(09:45):
the audience is encouraged to shout their support and indicate
when they hear something that's moving. So it's a bit
more interactive to high energy stuff.
Speaker 3 (09:56):
Wow.
Speaker 2 (09:57):
Yeah, slam had a moment I think in the middle
there was I believe deaf Poetry Jam was on showtime
or something. I can't remember what it was on. Uh,
and it was it was something that I couldn't find it,
but I was able to see clips from time to time.
I integrated it into my teaching for a while when
I was working with primarily high risk, at risk kids,
(10:20):
and it was pretty engaging for them.
Speaker 3 (10:24):
In the classroom.
Speaker 2 (10:24):
We were slamming. Absolutely had we had our own slam
in our classroom one day. It was great.
Speaker 3 (10:30):
Wow.
Speaker 2 (10:30):
Yeah, kids got some stuff out.
Speaker 3 (10:32):
And that's the correct lyric is all death can do
is said, you're free. See that's the thing about athlete lyrics.
I never get them right.
Speaker 2 (10:41):
Oh gotcha? Yes, And this one, this one, of course,
the it's it's slowed down and in a lower register,
so maybe it's difficult to parse out, but that's what
I hear is all that death can do is set
you free.
Speaker 3 (10:52):
All right? You know how there are four characters on
the front cover of the album.
Speaker 2 (10:59):
Yes, those of us watching on video can see the
four characters right over my shoulder.
Speaker 3 (11:04):
Yes, for me, at least, for some reason, every time
I hear Pretty Little Song, I feel like that song
belongs to the guy with the mustache and the spider
on his had.
Speaker 2 (11:19):
So the guy the upper left quadrant.
Speaker 3 (11:22):
Yes, it's just very evocative of him.
Speaker 2 (11:25):
All right, So he is the Pretty Little Song emblem. Interesting,
what do you think that connection is? That's very and
I would never have considered pairing each of these tracks
with one of the guys on the cover. But so
what attaches him to Pretty Little Song in your mind?
Do you think?
Speaker 3 (11:43):
I guess it could be a combination of the strings
on this song, which are really fantastic, and the imagery
that his portrait and the music convey. When I see
this ei there on his head and I listened to
the cello on the song, it instantly puts my mind
(12:07):
in things like Tim Burton beetle juice, you know, that
kind of world.
Speaker 2 (12:13):
Oh okay, yeah, I can see it going in that direction.
Then absolutely interesting idea. Now we have to retroactively assign
each figure on the cover to a track. Damn it,
you had a compelling idea on the tenth of twelve tracks.
(12:35):
We have to do pre planning next time. So we
must also tell our listeners Frankie that there is a
heavy dose of irony to the track title Pretty Little Song.
It starts with terrified screaming and wailing for crying out loud,
and this little bass strum that is ping ponging across
(12:56):
the stereo spectrum, so you are immediately disoriented and wondering
what in the world is going on.
Speaker 3 (13:04):
So there's Yeah, is it the Carl Thompson.
Speaker 2 (13:09):
Two thousand and nine. Yeah, I would think so. I
think he's just strumming on that regular four.
Speaker 3 (13:16):
Yeah, that's what it sounds like. But I love, I
love the effect on the base for this track is
really fantastic.
Speaker 2 (13:24):
Yeah, there's a couple of different effects going on depending
on the base track you're talking about. So there's that
that one that repeats and loops pretty much all the
way through is just some strumming that ping pong's back
and forth, and then there's the as you would term it,
envelope filter delight on another bas track on this song,
so you are just and you know the the word
(13:46):
I used to describe it in my notes is swampy.
This is a swampy.
Speaker 3 (13:50):
Track and I would agree completely.
Speaker 2 (13:52):
And you like like a pig rolling in it. You
must be happier than anybody else about it?
Speaker 3 (13:58):
Yes, can you sound? Can you sample a little bit
of the song?
Speaker 2 (14:02):
I would be delighted. I think I even had a
time code that I wanted to get to. Oh, I
was gonna get to the cello. But let's hear how
Less drops us into this.
Speaker 3 (14:15):
One and all of the drifting doom, all the drift.
Speaker 2 (14:24):
Wailing, gnashing of teeth, percussion that sounds like torture devices O.
Speaker 3 (14:38):
Scare.
Speaker 2 (14:42):
So you love the envelope filter, Frankie, but it's being
paired with people who sound like they're suffering greatly. So
do you do you connect those at all?
Speaker 3 (14:54):
Yes? And it makes it even more delightful.
Speaker 2 (14:58):
Okay, So when you're at the show and the envelope
filter turns on and I start screaming and falling to
my knees, holding my ears that I'm of course exaggerating.
The envelope filter's fine, but you take delight in in
the fact that others are suffering as a result of
the envelope filter. Yes, it's kind of psychotic, man, now,
(15:20):
I think I think for something as innocuous as the
envelope filter, you're allowed it. That's pretty funny.
Speaker 3 (15:27):
Though.
Speaker 2 (15:37):
This is fairly typical of what you're going to get
over the four minutes. It's it's very swampy. We get
the little single variation here and there, a little bit, absolutely,
especially on the envelope filter track. I believe that he's
laying down that that strummy loop I think is pretty
(15:57):
much the same throughout, and then that vocal delivery is
actually fairly clean. Yes, And he's saying, you know, sing
a pretty little song when you're when you're then there's
the irony when you're when you're in the soup, you
can get through it, sing a pretty little song. So
he's and it's like we are wading through this swampy
marsh and trying to get to the other side.
Speaker 3 (16:18):
Right. I also love I also love the contrast of
the kind of imminent disaster that that he that he
mentions during the song because you have something as innocuous
as being accused of not flossing. Bailey, Yes, so some
really awful health conditions are mentioned as well.
Speaker 2 (16:40):
Yeah, having kidney stones, gallstones, and like that's a lot
more severe than having halatosis from not regularly flossing. But
he he says, it's something as simple as that, tell
them they're wrong and sing your little song. That's great.
But yeah, he goes from he actually I think he
(17:01):
structures the lyrics in a sense that it's it's the
worst of us at the beginning, imminent disaster, questioning your
own abilities, and then kidney stones and then having bad
breath or not philosophy daily.
Speaker 3 (17:15):
Please remind me, is this a fung guy or a
faux track?
Speaker 2 (17:19):
A Pretty Little Song is a faux track. This is
straight out of the Pig Hunt film. It appears a
few times for a short period throughout the film, generally
near the end of the film when we are at
the cult compound and the pig, the titular pig is revealed,
(17:45):
and it's a very disorienting environment for the people who
are about to be subjected to the pig. So there's
it's a pretty good use of this track in the
film because it's it's very weird part. Brian Bain, who's
on this track as the cult leader, is leading this
(18:06):
part of the film, so there's a lot connecting this
to that part of the film for sure. So yeah,
we have ourselves our final Foe track. This is the
third of three tunes that we know of that are
on Pig Hunt, as well as a Fungi and Foe.
I mentioned it last episode. I still have not gone
(18:28):
back to look for Goblins in the Forest because I
do believe that pretty Little Song is Male Organ Grinder
as credited on Pig Hunt. So just to restack that
what you're looking at boy, oh sorry, I should probably
say that right when you're looking at more is primed
by twenty nine and Boonville Stomp is in Pig Hunt.
(18:50):
Also Boonville Stomp, so that was an easy one. And
Male Organ Grinder I believe to be pretty Little Song
Goblins in the Forest. I don't remember hearing it at
all in the film, like a fourth separate track, It
could very well be something that appears on this record.
Speaker 3 (19:06):
Hopefully.
Speaker 2 (19:07):
If you want to brave one hundred minutes of Pig
Hunt as I did, Please do and tell me where
Goblins in the Forest appears. I have a pretty good
idea like a as far as a range of time
in the film, I just need to go back and
scrub through and find it. Will that happen? I do
not know?
Speaker 3 (19:26):
And we here. Can you sample a little bit of
the cello?
Speaker 2 (19:29):
I would be very happy to do that. That is
an addition to the tune that I think is.
Speaker 3 (19:35):
It really takes it to the next level.
Speaker 2 (19:38):
It's very helpful because it comes in a little over
halfway through the tune. So at the two minute mark,
we've gotten what we're going to get, but the cello
does appear and takes us places, and of course that
(20:04):
vocal delivery.
Speaker 1 (20:05):
Pretty little zog.
Speaker 2 (20:21):
So some fun with the the cello there, and there's
a bit more cello, and then there's a crescendo and
then we're out. So this is one of those tunes, Frankie,
where we're just stuck in the swamp. We're in this morass.
It stings the eyes, it pelts the skin, but we
(20:43):
can still have our little acts of defiance, maybe singing
that pretty little closing our eyes and singing that pretty
little song as we march through. And that's what I
appreciate about the percussion. It's resonant, it's got some reverb
to it, it sounds big, and it has that plotting
element to it, as if we are on a slow
march through some crap to get to the other side,
(21:05):
whether it's itching in the crotch or passing a kidney
stone or not floss on your teeth. So you know
there's that. I guess the message is to keep a
positive attitude or distract yourself while you're in it. And then,
paired with the Brian Bain line, all that death can
do is set you free. It also gives a feeling
(21:27):
of that we have nothing to lose, even when it's
at its worst. We have nothing to lose because death
will set us free. So it's an interesting message that
I'm pulling from it from pretty Little Song.
Speaker 3 (21:42):
Now.
Speaker 2 (21:42):
I remember back in two thousand and nine, this was
probably the one I was most turned off by. Really, yes,
it just did not resonate with me. I just thought,
what are we doing for four minutes here? Now? That
was my first That was that initial listen that I
never came back to right until this record. As we
(22:03):
are speaking to about it now. It just didn't resonate.
It just felt like it went nowhere, and it brought
back that memory as music can do. Right. We tend
to connect memories to music and it helps with recalls.
So I do remember being most of the second half
of this record just being stymied by it. And so
(22:25):
this one, it's swampy, It's got its charms. As far
as coming back to it again, I don't know, maybe not,
but I think I have more of an appreciation for
it because I think by this time and the record,
on that initial listen, I was already turned off, so
I was every track beyond maybe the halfway point, I
(22:45):
was already kind of hunched over, rolling my eyes and
not too into it at that point. So I wasn't
giving the back half of a record a fair listen
for sure. Where do you stand on this one?
Speaker 3 (23:00):
It's one of the songs on the record that I
enjoy more than others actually do tell I love the baseline,
the envelope filter of course, and the cello. I think
musically it's a really compelling number.
Speaker 2 (23:19):
So where would you We do not task ourselves with
ranking the tracks on a record because it's largely pointless.
But in your hypothetical, would this make it to the
top half of the record in your estimation?
Speaker 3 (23:33):
So if I had to choose a top five, I
would go with Prime by twenty nine. Of course, Amanitas
would also make the cut. Pretty Little Song would also
be in there. And for the other two slots, I
guess Ruscoe because I think it's also a really strong track.
(23:56):
And then I'm kind of torn because I mean, mushroom
Man is right, but Errol is also good. Yeah, that
could be up in the air. But for a little song, yeah,
it makes the cut for sure.
Speaker 2 (24:11):
Fascinating. I don't do a very good knee mooy. Well,
we've talked about it enough. Let's hear what the Primates
have to say. If you would like to engage in
(24:31):
the discussion about today's track or any future track, all
you have to do is go to patreon dot com
forward slash Primus tracks. The constant reward. The constant reward
is Primemates takes among the many tears as sport for
Josh and Frankie. Frankie, we have a few Primates takes
on Perty Little Song. Mickey Waters says, I'd say this
(24:53):
is more like an unsettling little song. I'm just now
thinking this, but this song is almost a companion piece
to Primed by twenty nine. It's like the aftermath of
the excess that people do in their teens and twenties.
I'm not an interpretation expert. I'll leave that up to
you guys. Also, there's a sample of the cult leader
in pig Hut chanting all that death can do is
(25:13):
set you free, so dark and ominous. Mickey gave us
a couple of things that you on there, Frankie, it
is indeed a sample from pig Hunt. I don't know
that I specified that. Oh, but a companion piece to
Prime by twenty nine. What do you think?
Speaker 3 (25:31):
Yeah, so that reminds me that Bite out of Life.
It is another song that I like, So that would
be my number five. Oh, okay, out of Life. So
this is interesting because I said that Prime by twenty
nine was the companion piece to Bite out of Life.
So Prime is the aftermath of Bite. And now the
new theory is that pretty Little Song is the aftermath
(25:53):
of Prime by twenty nine.
Speaker 2 (25:55):
I suppose. So, so we have a trilogy on the record.
We have an unofficial trilogy at our very feet. So
our our anonymous protagonist takes a bite out of life,
but in nine is not thrilled by it, takes it
to excess. And now we're in the now. He's got
(26:15):
kidney stones, you know, he's got kidney stones and his crotchitches. Yes,
because because as a result I suppose of those excesses
and taking those drugs to get a better, better experience. Yes,
so he's just gotta sing that pretty little song to
himself maybe while he's going through with drawls and drying out.
(26:35):
You never know. I would buy that as a trilogy.
I would. I would say it largely follows. I'm I
don't know if that was intended by any means, but
we we can claim it. Thank you, Mickey, I like that.
Speaker 3 (26:48):
Thank you, Micky.
Speaker 2 (26:50):
Eric in Australia, who is probably saddened that we are
careening towards the final track of this record says horrendously
to de Lightful, I love them psych word lamentations in
the background, stiff upper lip, jeeves nice reference. The psych
(27:11):
word lamentations is a great interpretation I wrote in my
notes wailing and gnashing of teeth. But yes, these are
people who are suffering one way or another, and I
do love that the percussion toys that Less is banging
on sound like instruments of torture to pair with them.
So Eric and I think are on the same page there,
and our pal John Shreve says this is the primust
(27:34):
version of Monty Python's always look on the bright Side
of Life from Life of Brian, dark but humming of
trying to be positive. This song specifically reminds me of
coming out of surgery wondering why pain meds weren't working.
What a connection, John Shreeve, always comes with the good stuff,
(27:55):
the connection to always look on the bright side of life.
I'm buying that lockstock and smoking barrel because that is
absolutely a parallel. You're familiar with that one, right, Frankie. Yes,
great song. Life's a piece of shit when you look
at it, you know, love that line always, So yeah,
(28:18):
life sucks, but we can look on the bright side.
And of course the guy singing it and whistling along
are being crucified in the movie, so they're they're really
in it. At that point, I think I'd rather have
gallstones with an experience what they are, but they're just
singing always look on the bright side life, of Brian
(28:38):
I haven't seen in a while. I think I'm due
a great connection John Shreeve, as we know, Lesa is
a huge Monty Python fan and a fan of British humor,
especially the dark stuff and the Lewde stuff from over
the years. So I think and and of course we
have a photo of him with Eric Idol puddles, we're
(29:00):
all Yankovic. I can't remember who else was in the photo.
A couple of big time producers. I think so really
cool that he's making that connection. I also just saw
a post by Kevin Neelan, the comedian and actor who
who went to a house. I'll give you the short version.
(29:20):
He said, I went to this I went to visit
someone at this house and I recognized it. It's the
house I lived in with Dana Carvey in our early
days in LA and who eventually bought the house Eric Idol.
So he's hanging with Eric Idol at a house he
lived in, you know, thirty years prior when he was
just cutting his teeth in La. Pretty funny and that's
(29:45):
it for Primates takes. Thank you for your takes, Primates. Frankie,
do we have live cuts? A pretty little song zero
sad face, but I bring you good news, Frankie. We
have a second track to talk about. It's the title
track of fung Guy Info. It's track eleven. There goes
(30:05):
the notebook page of your Funguy Info record, and it
is indeed the title track. It is one minute and
fifty two seconds. Based on our credits, Less Claytool does
everything on this track. It's all him. This one I
really appreciate for its brevity. Frankie.
Speaker 3 (30:24):
Yes, it's interesting how the title track of a record
would be so brief. Usually the title track tends to
be the centerpiece of the album, but in this case,
I would classify it as a polit cleanser and not
much more.
Speaker 2 (30:40):
It's it is interesting that it's the shortest track. It's
the penultimate track, so it's somewhat buried on the record,
but I think that it gives us a taste of
what we're going to get on the record at the
end of the record. So, yes, this is the back
off Turkey right exactly of this record. But it's track
(31:02):
eleven as opposed to track one. If if somebody coming
to this record for the first time, and by the way,
if you're listening to this episode and you haven't heard
this record, the hell are you doing? Good for you?
I guess, But I would recommend to somebody coming to
this record for the first time to listen to track
eleven so they know what they're going to get, because
(31:24):
I think it certainly represents the fun guy aspect of things,
the faux aspect of things, and the instrument.
Speaker 3 (31:32):
Yeah, the overall sound of the record.
Speaker 2 (31:36):
Absolutely to its credit. It's nice and short, and I
do think that there are a couple other tracks on
this record that could benefit from that level of brevity.
But it's also cleverly placed, Frankie between a faux track
pretty little Song and a fun guy track Old Rosco,
because that Old Rosco was initially written for the Mushroom
(31:59):
Men soundtrack, so pretty clever to slot them in between
those two tracks. It's a it's a it's just a
fun little guy. I'm actually gonna play my favorite part
because it builds uh to this crescendo at about one
minute and twenty three seconds, and at this point in
the tune, everything that you've heard before it is all
(32:20):
coming together to provide you this It's a tonal, it's driving,
(32:50):
it's syncopated.
Speaker 3 (32:51):
It's cool.
Speaker 2 (32:54):
Now if more of the records sounded like that, with
that level of intensity, I think I I think I
would have had a rosier outlook on it then and now.
So we get bits and pieces of that throughout the record.
But that's really fun. And as an interstitial we we
don't say a lot about them because they're they're they're
(33:14):
sort of there, you know. We use the term palette cleanser,
we use we use the term transition. There's not much
to talk about lyrically because he just says a fun
guy info a few times, right and then but we're
in and we're out, and it's a soundscape. But I
think that is what's representative of this record, because he's
creating soundscapes for a video game, for a film, and
(33:39):
working his creativity into the vision or for the vision
of others. And I think that's what sets this record
apart as well. It was it was to match somebody
else's visual element. So they're inextricably linked. In my mind,
these don't stand alone on their own because of those connections. Now,
(34:01):
there are some tracks that do stand alone, like Red
Steak Girls its own thing. I think we identified a
couple others, but the ones that are in the film
and in the video game. I cannot pull them apart.
I just keep that idea in my head that this
song was written for something else, and then it was
either verbatim put on the record or gussied up for
(34:22):
the record.
Speaker 3 (34:24):
I will echo everything that you said. I think it
perfectly encapsulates the moove, the atmosphere and the sound of
the records, and it's very cleverly placed on the album.
Speaker 2 (34:38):
Indeed, so I will reiterate my warning to you if
you have a friend who wants to experiment with Fungi
and foe, first of all, make sure they're in a
safe place, and second of all, tell them to listen
to track eleven first. They'll thank you later. I guess
that's all we have for pretty little song and the
title track, Frankie. So I'll say this pretty little song,
(35:03):
I've got a new song for you. It's called You've
been tracked and a fun guy and Foe. You are
what you are, That's what I appreciates about you. Primates,
prime matrons, people of Earth, people of fung Guy, people
of foe. Thank you all so much for listening. Next time, Frankie,
have you seen old Roscoe.
Speaker 3 (35:22):
He likes to He likes to drive when he drinks. Jerk.
Speaker 2 (35:28):
We'll talk about him next time later days.
Speaker 3 (35:33):
Willa Mace
It's Josh Freaky with a couple of dump shits. O.
Speaker 2 (00:18):
Hello Primates, You've found Primus Tracks. Congratulations. There are so
many places to find Primus Tracks. The podcast is a
great start. If you would like a digital extension of
these voices coming at you, we are at Primus Tracks
on Instagram, threads, Facebook, and if you want to interact
with these voices, you can email Primus Tracks pod at
(00:40):
gmail dot com. I'm Josh. I am one of the
hosts of Primus Tracks. He is coming to you from
the thirty ninth floor of Primus Tracks Towers. It's Frankie.
Speaker 3 (00:50):
Hey, Josh, welcome back.
Speaker 2 (00:52):
Frankie.
Speaker 3 (00:53):
Do you remember when years ago when we had Skerrick
on the show and you said hello, welcome Primus Tracks
and then scary Key yelp.
Speaker 2 (01:03):
Should should I clip that and bring it back?
Speaker 3 (01:06):
Yeah? We should. We should sample that now for every
every opening.
Speaker 2 (01:12):
Scarek is with us in screaming spirit. Yes, yes, we
should do that. Maybe even we can remix today's track
pretty Little Song and have Scarek screaming in the background.
It would fit. Yes, have listened to for the for
today's song. Today, we are indeed talking about pretty Little song.
It's track ten from your of Fungi and fou record.
(01:33):
But as we do from time to time, we must
preface with miscellaneous debris.
Speaker 3 (01:42):
Four new sleeks will be available homing November twenty second,
at ten am PT. If you're interested in grabbing one
of these four examplars, make sure Josh that you have
eighty seven hundred dollars ready in your bank account.
Speaker 2 (02:03):
Eighty seven hundred dollars, Well, I'll tell you what that is.
That is a screaming deal for one of those sleek
packeter and bases. When I was playing sports in college,
my number was eighty seven, So I wow, an intimate
kid time. Yes, it's a sign I have to empty
my retirement account to buy one of these hunks of furniture.
Speaker 3 (02:24):
We have shared all the features, the phone facts, and
the information that you need to know about the comments
leaks on the Primus tracks Facebook, So swing by, read
the information and share your comments. Thank you very much.
Speaker 2 (02:40):
Those sleek bases are indeed slick.
Speaker 3 (02:43):
Yes, and as the website specifies, not two exemplars are
the same.
Speaker 2 (02:50):
Oh, that's true, because they're handmade, So they're going to.
Speaker 3 (02:52):
Have handmade works of art.
Speaker 2 (02:54):
Yes, subtle differences that do not affect playability. Yeah, yes,
because they are handmade expertly.
Speaker 3 (03:03):
Yes, I don't another piece of debris. I don't know
if you if you notice this, but Herbs Tama Star
Classic Chocolate Drum Kit is up for sale, as you will.
Speaker 2 (03:16):
That's upon reverb.
Speaker 3 (03:18):
It's it's reverb still available. However, there's a notification that
it's lying in someone's shopping cart, so better make up
your mind.
Speaker 2 (03:31):
Perhaps that's a faint to get somebody else to buy it.
It could be, you know, manipulating the market, like, oh,
somebody wants it.
Speaker 3 (03:39):
Oh like Eve right when they say Sean Warner's watch.
Speaker 2 (03:43):
That's right. Yeah, three other people are watching this item. Great,
sounds sounds good. I'm watching a lot of items.
Speaker 3 (03:50):
Yeah.
Speaker 2 (03:52):
I love the pressure tactics that they put on you. Uh.
And if you are curious about that one, we will
tell you. It's just the drums, the chocolate fils drums,
no symbols, no hardware.
Speaker 3 (04:04):
Just the no her no herb either.
Speaker 2 (04:06):
No herb doesn't come in the box with it. I
tell you. For that price point, I think he should.
Speaker 3 (04:12):
He might as well deliver it himself.
Speaker 2 (04:14):
Right, he's got experience. Yeah, Josh dropping in here to
tell you you can also find a tribute to King's
drum set on eBay that Tim has put up for
auction and all proceeds benefit a Bay Area nonprofit.
Speaker 3 (04:27):
That that reminds me a few years ago when I
was doing research about some of the most expensive boxes
ever ever sold. Number one on the list, of course,
was the Residents Fridge.
Speaker 2 (04:40):
Oh, of course, yes, the million dollar fridge or something.
Speaker 3 (04:42):
The million dollar fridge. And another interesting entry on the
list was a Jeene Simmon's Strong Box, which was really huge,
really heavy, and really expensive. But if you if you
had the necessary funds to purchase that. It did include
(05:04):
Gene Simmons because he delivered at your home free of charge,
of course, and not only did he deliver it, but
he sat down with you to unbox it and gaze
at the contents.
Speaker 2 (05:18):
That's pretty rad.
Speaker 3 (05:20):
I think that is really amazing.
Speaker 2 (05:22):
Yeah, I love that. Idea was Gene and his kiss makeup?
Speaker 3 (05:26):
I don't recall, but no, no, you know what, No,
I don't. I don't think so. I think he was
wearing his civilian outfit.
Speaker 2 (05:35):
That's a decent compromise. I'd be all right with Geene
in the street clothes hanging at my house while I
opened a box of all kinds of kiss stuff. That's great.
I like that idea. So maybe a suggestion for Tim
Alexander hop in the truck and personally deliver the goods
(05:56):
and help him set it up.
Speaker 3 (05:58):
Yeah? Please. You know what what I did notice about
the pictures of this chocolate drum kit. It comes with
the with the octo bands that were used for I
think that chocolate factory performance. But it's it's really magical
how everything looks so professional and cool from the audience perspective,
(06:22):
but once you you get up close, you realize how
di I y some of these things are. Because yeah,
the candy spirals on on the on on the tombs,
I mean those were hand drum.
Speaker 2 (06:36):
Yeah, that's cool. That's a great detail. Right, you got
about the candy spiral, so those are those are one
of one heads, so yeah, don't break them, play very
lightly on the octabon. Very cool.
Speaker 3 (06:52):
It is.
Speaker 2 (06:52):
It is great that herbs throwing that kind of stuff
out there for consideration.
Speaker 3 (06:56):
But you know, I mean the the pork by kid
is at I mean, see him in Phoenix. Now he's
letting go of the Chocolate kit, and I, if I'm
not mistaken, he also sold the Hellucinogenetics Tama White kid
right several years back.
Speaker 2 (07:13):
I can't remember if he had that in a barn
somewhere in pieces or if he ended up selling that one.
Speaker 3 (07:21):
Yeah, I have a vague memory of that being sold.
So it seems like he's he's really cut him back
on the drum kits.
Speaker 2 (07:29):
They take up a lot of space.
Speaker 3 (07:31):
Yes, he might be at a point where he's going
to settle with one drum kit, right.
Speaker 2 (07:38):
I think so. Yeah, He's he's got his drum room
set up for his online learning and teaching, and that's
probably all he needs.
Speaker 3 (07:47):
Yeah, for sure.
Speaker 2 (07:50):
All right, let's talk about pretty little song Frankie. It
is track ten on a Fungi and Foe checks in
at four minutes and eight seconds. Creditsr as follows less
claypool or clay tool play tool Frankie's a clay tool man.
Percussion bass, plenty of envelope filter, I'll say that upfront,
(08:12):
and vocals. We also have Brian bain On an additional
vocal and additional lyric, and that lyric you hear looped
throughout the tune. All that death can do is set
you free. Sam Bass also appears on Cello. Brian Bain
we should talk about quickly, Frankie. He co stars with
Less in pig Hunt, although I don't think they're ever
(08:35):
on screen at the same time. Bain is an actor, poet,
he's a slam poetry performer. I watched a few of
his videos and he is powerful. He's an activist, and
I believe at this time he's a Harvard Law graduate,
and I believe at this time he's on the faculty
at UCLA and he founded a prison education program. So
(08:55):
he is doing all kinds of great stuff out in
the world.
Speaker 3 (08:58):
What is a slam put.
Speaker 2 (09:00):
Slam poetry is a form of poetry that's performed, and
it is often performed in a theatrical way to deliver
the message or really hammer home the message that the
words are conveying. So you would often see when I
was in college, actually there are slam poetry nights and
I would go attend. You know, on a college campus,
(09:23):
it's hit or miss, but there were some really powerful
pieces of people going up to a microphone and reciting
something they'd written in a really powerful way. So that's
why it's called slam. And the best part is at
a more traditional poetry reading, it's it's fairly quiet. There's
polite applause after the reading has completed, but with slam,
(09:45):
the audience is encouraged to shout their support and indicate
when they hear something that's moving. So it's a bit
more interactive to high energy stuff.
Speaker 3 (09:56):
Wow.
Speaker 2 (09:57):
Yeah, slam had a moment I think in the middle
there was I believe deaf Poetry Jam was on showtime
or something. I can't remember what it was on. Uh,
and it was it was something that I couldn't find it,
but I was able to see clips from time to time.
I integrated it into my teaching for a while when
I was working with primarily high risk, at risk kids,
(10:20):
and it was pretty engaging for them.
Speaker 3 (10:24):
In the classroom.
Speaker 2 (10:24):
We were slamming. Absolutely had we had our own slam
in our classroom one day. It was great.
Speaker 3 (10:30):
Wow.
Speaker 2 (10:30):
Yeah, kids got some stuff out.
Speaker 3 (10:32):
And that's the correct lyric is all death can do
is said, you're free. See that's the thing about athlete lyrics.
I never get them right.
Speaker 2 (10:41):
Oh gotcha? Yes, And this one, this one, of course,
the it's it's slowed down and in a lower register,
so maybe it's difficult to parse out, but that's what
I hear is all that death can do is set
you free.
Speaker 3 (10:52):
All right? You know how there are four characters on
the front cover of the album.
Speaker 2 (10:59):
Yes, those of us watching on video can see the
four characters right over my shoulder.
Speaker 3 (11:04):
Yes, for me, at least, for some reason, every time
I hear Pretty Little Song, I feel like that song
belongs to the guy with the mustache and the spider
on his had.
Speaker 2 (11:19):
So the guy the upper left quadrant.
Speaker 3 (11:22):
Yes, it's just very evocative of him.
Speaker 2 (11:25):
All right, So he is the Pretty Little Song emblem. Interesting,
what do you think that connection is? That's very and
I would never have considered pairing each of these tracks
with one of the guys on the cover. But so
what attaches him to Pretty Little Song in your mind?
Do you think?
Speaker 3 (11:43):
I guess it could be a combination of the strings
on this song, which are really fantastic, and the imagery
that his portrait and the music convey. When I see
this ei there on his head and I listened to
the cello on the song, it instantly puts my mind
(12:07):
in things like Tim Burton beetle juice, you know, that
kind of world.
Speaker 2 (12:13):
Oh okay, yeah, I can see it going in that direction.
Then absolutely interesting idea. Now we have to retroactively assign
each figure on the cover to a track. Damn it,
you had a compelling idea on the tenth of twelve tracks.
(12:35):
We have to do pre planning next time. So we
must also tell our listeners Frankie that there is a
heavy dose of irony to the track title Pretty Little Song.
It starts with terrified screaming and wailing for crying out loud,
and this little bass strum that is ping ponging across
(12:56):
the stereo spectrum, so you are immediately disoriented and wondering
what in the world is going on.
Speaker 3 (13:04):
So there's Yeah, is it the Carl Thompson.
Speaker 2 (13:09):
Two thousand and nine. Yeah, I would think so. I
think he's just strumming on that regular four.
Speaker 3 (13:16):
Yeah, that's what it sounds like. But I love, I
love the effect on the base for this track is
really fantastic.
Speaker 2 (13:24):
Yeah, there's a couple of different effects going on depending
on the base track you're talking about. So there's that
that one that repeats and loops pretty much all the
way through is just some strumming that ping pong's back
and forth, and then there's the as you would term it,
envelope filter delight on another bas track on this song,
so you are just and you know the the word
(13:46):
I used to describe it in my notes is swampy.
This is a swampy.
Speaker 3 (13:50):
Track and I would agree completely.
Speaker 2 (13:52):
And you like like a pig rolling in it. You
must be happier than anybody else about it?
Speaker 3 (13:58):
Yes, can you sound? Can you sample a little bit
of the song?
Speaker 2 (14:02):
I would be delighted. I think I even had a
time code that I wanted to get to. Oh, I
was gonna get to the cello. But let's hear how
Less drops us into this.
Speaker 3 (14:15):
One and all of the drifting doom, all the drift.
Speaker 2 (14:24):
Wailing, gnashing of teeth, percussion that sounds like torture devices O.
Speaker 3 (14:38):
Scare.
Speaker 2 (14:42):
So you love the envelope filter, Frankie, but it's being
paired with people who sound like they're suffering greatly. So
do you do you connect those at all?
Speaker 3 (14:54):
Yes? And it makes it even more delightful.
Speaker 2 (14:58):
Okay, So when you're at the show and the envelope
filter turns on and I start screaming and falling to
my knees, holding my ears that I'm of course exaggerating.
The envelope filter's fine, but you take delight in in
the fact that others are suffering as a result of
the envelope filter. Yes, it's kind of psychotic, man, now,
(15:20):
I think I think for something as innocuous as the
envelope filter, you're allowed it. That's pretty funny.
Speaker 3 (15:27):
Though.
Speaker 2 (15:37):
This is fairly typical of what you're going to get
over the four minutes. It's it's very swampy. We get
the little single variation here and there, a little bit, absolutely,
especially on the envelope filter track. I believe that he's
laying down that that strummy loop I think is pretty
(15:57):
much the same throughout, and then that vocal delivery is
actually fairly clean. Yes, And he's saying, you know, sing
a pretty little song when you're when you're then there's
the irony when you're when you're in the soup, you
can get through it, sing a pretty little song. So
he's and it's like we are wading through this swampy
marsh and trying to get to the other side.
Speaker 3 (16:18):
Right. I also love I also love the contrast of
the kind of imminent disaster that that he that he
mentions during the song because you have something as innocuous
as being accused of not flossing. Bailey, Yes, so some
really awful health conditions are mentioned as well.
Speaker 2 (16:40):
Yeah, having kidney stones, gallstones, and like that's a lot
more severe than having halatosis from not regularly flossing. But
he he says, it's something as simple as that, tell
them they're wrong and sing your little song. That's great.
But yeah, he goes from he actually I think he
(17:01):
structures the lyrics in a sense that it's it's the
worst of us at the beginning, imminent disaster, questioning your
own abilities, and then kidney stones and then having bad
breath or not philosophy daily.
Speaker 3 (17:15):
Please remind me, is this a fung guy or a
faux track?
Speaker 2 (17:19):
A Pretty Little Song is a faux track. This is
straight out of the Pig Hunt film. It appears a
few times for a short period throughout the film, generally
near the end of the film when we are at
the cult compound and the pig, the titular pig is revealed,
(17:45):
and it's a very disorienting environment for the people who
are about to be subjected to the pig. So there's
it's a pretty good use of this track in the
film because it's it's very weird part. Brian Bain, who's
on this track as the cult leader, is leading this
(18:06):
part of the film, so there's a lot connecting this
to that part of the film for sure. So yeah,
we have ourselves our final Foe track. This is the
third of three tunes that we know of that are
on Pig Hunt, as well as a Fungi and Foe.
I mentioned it last episode. I still have not gone
(18:28):
back to look for Goblins in the Forest because I
do believe that pretty Little Song is Male Organ Grinder
as credited on Pig Hunt. So just to restack that
what you're looking at boy, oh sorry, I should probably
say that right when you're looking at more is primed
by twenty nine and Boonville Stomp is in Pig Hunt.
(18:50):
Also Boonville Stomp, so that was an easy one. And
Male Organ Grinder I believe to be pretty Little Song
Goblins in the Forest. I don't remember hearing it at
all in the film, like a fourth separate track, It
could very well be something that appears on this record.
Speaker 3 (19:06):
Hopefully.
Speaker 2 (19:07):
If you want to brave one hundred minutes of Pig
Hunt as I did, Please do and tell me where
Goblins in the Forest appears. I have a pretty good
idea like a as far as a range of time
in the film, I just need to go back and
scrub through and find it. Will that happen? I do
not know?
Speaker 3 (19:26):
And we here. Can you sample a little bit of
the cello?
Speaker 2 (19:29):
I would be very happy to do that. That is
an addition to the tune that I think is.
Speaker 3 (19:35):
It really takes it to the next level.
Speaker 2 (19:38):
It's very helpful because it comes in a little over
halfway through the tune. So at the two minute mark,
we've gotten what we're going to get, but the cello
does appear and takes us places, and of course that
(20:04):
vocal delivery.
Speaker 1 (20:05):
Pretty little zog.
Speaker 2 (20:21):
So some fun with the the cello there, and there's
a bit more cello, and then there's a crescendo and
then we're out. So this is one of those tunes, Frankie,
where we're just stuck in the swamp. We're in this morass.
It stings the eyes, it pelts the skin, but we
(20:43):
can still have our little acts of defiance, maybe singing
that pretty little closing our eyes and singing that pretty
little song as we march through. And that's what I
appreciate about the percussion. It's resonant, it's got some reverb
to it, it sounds big, and it has that plotting
element to it, as if we are on a slow
march through some crap to get to the other side,
(21:05):
whether it's itching in the crotch or passing a kidney
stone or not floss on your teeth. So you know
there's that. I guess the message is to keep a
positive attitude or distract yourself while you're in it. And then,
paired with the Brian Bain line, all that death can
do is set you free. It also gives a feeling
(21:27):
of that we have nothing to lose, even when it's
at its worst. We have nothing to lose because death
will set us free. So it's an interesting message that
I'm pulling from it from pretty Little Song.
Speaker 3 (21:42):
Now.
Speaker 2 (21:42):
I remember back in two thousand and nine, this was
probably the one I was most turned off by. Really, yes,
it just did not resonate with me. I just thought,
what are we doing for four minutes here? Now? That
was my first That was that initial listen that I
never came back to right until this record. As we
(22:03):
are speaking to about it now. It just didn't resonate.
It just felt like it went nowhere, and it brought
back that memory as music can do. Right. We tend
to connect memories to music and it helps with recalls.
So I do remember being most of the second half
of this record just being stymied by it. And so
(22:25):
this one, it's swampy, It's got its charms. As far
as coming back to it again, I don't know, maybe not,
but I think I have more of an appreciation for
it because I think by this time and the record,
on that initial listen, I was already turned off, so
I was every track beyond maybe the halfway point, I
(22:45):
was already kind of hunched over, rolling my eyes and
not too into it at that point. So I wasn't
giving the back half of a record a fair listen
for sure. Where do you stand on this one?
Speaker 3 (23:00):
It's one of the songs on the record that I
enjoy more than others actually do tell I love the baseline,
the envelope filter of course, and the cello. I think
musically it's a really compelling number.
Speaker 2 (23:19):
So where would you We do not task ourselves with
ranking the tracks on a record because it's largely pointless.
But in your hypothetical, would this make it to the
top half of the record in your estimation?
Speaker 3 (23:33):
So if I had to choose a top five, I
would go with Prime by twenty nine. Of course, Amanitas
would also make the cut. Pretty Little Song would also
be in there. And for the other two slots, I
guess Ruscoe because I think it's also a really strong track.
(23:56):
And then I'm kind of torn because I mean, mushroom
Man is right, but Errol is also good. Yeah, that
could be up in the air. But for a little song, yeah,
it makes the cut for sure.
Speaker 2 (24:11):
Fascinating. I don't do a very good knee mooy. Well,
we've talked about it enough. Let's hear what the Primates
have to say. If you would like to engage in
(24:31):
the discussion about today's track or any future track, all
you have to do is go to patreon dot com
forward slash Primus tracks. The constant reward. The constant reward
is Primemates takes among the many tears as sport for
Josh and Frankie. Frankie, we have a few Primates takes
on Perty Little Song. Mickey Waters says, I'd say this
(24:53):
is more like an unsettling little song. I'm just now
thinking this, but this song is almost a companion piece
to Primed by twenty nine. It's like the aftermath of
the excess that people do in their teens and twenties.
I'm not an interpretation expert. I'll leave that up to
you guys. Also, there's a sample of the cult leader
in pig Hut chanting all that death can do is
(25:13):
set you free, so dark and ominous. Mickey gave us
a couple of things that you on there, Frankie, it
is indeed a sample from pig Hunt. I don't know
that I specified that. Oh, but a companion piece to
Prime by twenty nine. What do you think?
Speaker 3 (25:31):
Yeah, so that reminds me that Bite out of Life.
It is another song that I like, So that would
be my number five. Oh, okay, out of Life. So
this is interesting because I said that Prime by twenty
nine was the companion piece to Bite out of Life.
So Prime is the aftermath of Bite. And now the
new theory is that pretty Little Song is the aftermath
(25:53):
of Prime by twenty nine.
Speaker 2 (25:55):
I suppose. So, so we have a trilogy on the record.
We have an unofficial trilogy at our very feet. So
our our anonymous protagonist takes a bite out of life,
but in nine is not thrilled by it, takes it
to excess. And now we're in the now. He's got
(26:15):
kidney stones, you know, he's got kidney stones and his crotchitches. Yes,
because because as a result I suppose of those excesses
and taking those drugs to get a better, better experience. Yes,
so he's just gotta sing that pretty little song to
himself maybe while he's going through with drawls and drying out.
(26:35):
You never know. I would buy that as a trilogy.
I would. I would say it largely follows. I'm I
don't know if that was intended by any means, but
we we can claim it. Thank you, Mickey, I like that.
Speaker 3 (26:48):
Thank you, Micky.
Speaker 2 (26:50):
Eric in Australia, who is probably saddened that we are
careening towards the final track of this record says horrendously
to de Lightful, I love them psych word lamentations in
the background, stiff upper lip, jeeves nice reference. The psych
(27:11):
word lamentations is a great interpretation I wrote in my
notes wailing and gnashing of teeth. But yes, these are
people who are suffering one way or another, and I
do love that the percussion toys that Less is banging
on sound like instruments of torture to pair with them.
So Eric and I think are on the same page there,
and our pal John Shreve says this is the primust
(27:34):
version of Monty Python's always look on the bright Side
of Life from Life of Brian, dark but humming of
trying to be positive. This song specifically reminds me of
coming out of surgery wondering why pain meds weren't working.
What a connection, John Shreeve, always comes with the good stuff,
(27:55):
the connection to always look on the bright side of life.
I'm buying that lockstock and smoking barrel because that is
absolutely a parallel. You're familiar with that one, right, Frankie. Yes,
great song. Life's a piece of shit when you look
at it, you know, love that line always, So yeah,
(28:18):
life sucks, but we can look on the bright side.
And of course the guy singing it and whistling along
are being crucified in the movie, so they're they're really
in it. At that point, I think I'd rather have
gallstones with an experience what they are, but they're just
singing always look on the bright side life, of Brian
(28:38):
I haven't seen in a while. I think I'm due
a great connection John Shreeve, as we know, Lesa is
a huge Monty Python fan and a fan of British humor,
especially the dark stuff and the Lewde stuff from over
the years. So I think and and of course we
have a photo of him with Eric Idol puddles, we're
(29:00):
all Yankovic. I can't remember who else was in the photo.
A couple of big time producers. I think so really
cool that he's making that connection. I also just saw
a post by Kevin Neelan, the comedian and actor who
who went to a house. I'll give you the short version.
(29:20):
He said, I went to this I went to visit
someone at this house and I recognized it. It's the
house I lived in with Dana Carvey in our early
days in LA and who eventually bought the house Eric Idol.
So he's hanging with Eric Idol at a house he
lived in, you know, thirty years prior when he was
just cutting his teeth in La. Pretty funny and that's
(29:45):
it for Primates takes. Thank you for your takes, Primates. Frankie,
do we have live cuts? A pretty little song zero
sad face, but I bring you good news, Frankie. We
have a second track to talk about. It's the title
track of fung Guy Info. It's track eleven. There goes
(30:05):
the notebook page of your Funguy Info record, and it
is indeed the title track. It is one minute and
fifty two seconds. Based on our credits, Less Claytool does
everything on this track. It's all him. This one I
really appreciate for its brevity. Frankie.
Speaker 3 (30:24):
Yes, it's interesting how the title track of a record
would be so brief. Usually the title track tends to
be the centerpiece of the album, but in this case,
I would classify it as a polit cleanser and not
much more.
Speaker 2 (30:40):
It's it is interesting that it's the shortest track. It's
the penultimate track, so it's somewhat buried on the record,
but I think that it gives us a taste of
what we're going to get on the record at the
end of the record. So, yes, this is the back
off Turkey right exactly of this record. But it's track
(31:02):
eleven as opposed to track one. If if somebody coming
to this record for the first time, and by the way,
if you're listening to this episode and you haven't heard
this record, the hell are you doing? Good for you?
I guess, But I would recommend to somebody coming to
this record for the first time to listen to track
eleven so they know what they're going to get, because
(31:24):
I think it certainly represents the fun guy aspect of things,
the faux aspect of things, and the instrument.
Speaker 3 (31:32):
Yeah, the overall sound of the record.
Speaker 2 (31:36):
Absolutely to its credit. It's nice and short, and I
do think that there are a couple other tracks on
this record that could benefit from that level of brevity.
But it's also cleverly placed, Frankie between a faux track
pretty little Song and a fun guy track Old Rosco,
because that Old Rosco was initially written for the Mushroom
(31:59):
Men soundtrack, so pretty clever to slot them in between
those two tracks. It's a it's a it's just a
fun little guy. I'm actually gonna play my favorite part
because it builds uh to this crescendo at about one
minute and twenty three seconds, and at this point in
the tune, everything that you've heard before it is all
(32:20):
coming together to provide you this It's a tonal, it's driving,
(32:50):
it's syncopated.
Speaker 3 (32:51):
It's cool.
Speaker 2 (32:54):
Now if more of the records sounded like that, with
that level of intensity, I think I I think I
would have had a rosier outlook on it then and now.
So we get bits and pieces of that throughout the record.
But that's really fun. And as an interstitial we we
don't say a lot about them because they're they're they're
(33:14):
sort of there, you know. We use the term palette cleanser,
we use we use the term transition. There's not much
to talk about lyrically because he just says a fun
guy info a few times, right and then but we're
in and we're out, and it's a soundscape. But I
think that is what's representative of this record, because he's
creating soundscapes for a video game, for a film, and
(33:39):
working his creativity into the vision or for the vision
of others. And I think that's what sets this record
apart as well. It was it was to match somebody
else's visual element. So they're inextricably linked. In my mind,
these don't stand alone on their own because of those connections. Now,
(34:01):
there are some tracks that do stand alone, like Red
Steak Girls its own thing. I think we identified a
couple others, but the ones that are in the film
and in the video game. I cannot pull them apart.
I just keep that idea in my head that this
song was written for something else, and then it was
either verbatim put on the record or gussied up for
(34:22):
the record.
Speaker 3 (34:24):
I will echo everything that you said. I think it
perfectly encapsulates the moove, the atmosphere and the sound of
the records, and it's very cleverly placed on the album.
Speaker 2 (34:38):
Indeed, so I will reiterate my warning to you if
you have a friend who wants to experiment with Fungi
and foe, first of all, make sure they're in a
safe place, and second of all, tell them to listen
to track eleven first. They'll thank you later. I guess
that's all we have for pretty little song and the
title track, Frankie. So I'll say this pretty little song,
(35:03):
I've got a new song for you. It's called You've
been tracked and a fun guy and Foe. You are
what you are, That's what I appreciates about you. Primates,
prime matrons, people of Earth, people of fung Guy, people
of foe. Thank you all so much for listening. Next time, Frankie,
have you seen old Roscoe.
Speaker 3 (35:22):
He likes to He likes to drive when he drinks. Jerk.
Speaker 2 (35:28):
We'll talk about him next time later days.
Speaker 3 (35:33):
Willa Mace
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