(Post-Rock, Chamber Pop) [CD] Lambchop - Thriller / Hank - 1997, FLAC (image+.cue), lossless

01. My Face Your Ass (Kurt Wagner / Donald Charles Book) 3:58
02. Your Fucking Sunny Day (Kurt Wagner) 3:48
03. Hey Where's Your Girl (F. M. Cornog) 2:27
04. Crawl Away (F. M. Cornog) 3:47
05. Gloria Leonard (Kurt Wagner) 4:38
06. Thriller (Kurt Wagner / Robb Earls) 4:50
07. The Old Fat Robin (Kurt Wagner) 5:26
08. Superstar in France (F. M. Cornog) 4:49
09. I'm a Stranger Here (public domain) 4:40
10. Blame It on the Brunettes (Kurt Wagner) 6:44
11. The Tin Crime (Kurt Wagner) 4:24
12. Randi (Kurt Wagner) 4:49
13. Doak's Need (Kurt Wagner) 4:30
14. Poor Bastard (Kurt Wagner) 6:12
15. I Sucked My Bosses Dick (Marl William Trovillion) 0:39

Touted as "Nashville's most f*cked-up country band" by their label Merge Records, Lambchop was arguably the most consistently brilliant and unique American group to emerge during the 1990s. Their unclassifiable hybrid of country, soul, jazz, and avant-garde noise seemed at one time or another to drink from every conceivable tributary of contemporary music, its Baroque beauty all held together by the surreal lyrical wit and droll vocal presence of frontman Kurt Wagner. Although Lambchop's ever-rotating roster would later expand to over a dozen members, the group formed in 1986 as a simple three-piece teaming Wagner, guitarist Jim Watkins, and bassist Marc Trovillion, former high school classmates already ten years removed from the educational system. Originally dubbed Posterchild, the trio made its earliest recordings in Trovillion's bedroom, self-releasing a series of cassettes with titles like "I'm F*cking Your Daughter." In time, the lineup began to grow and the band regularly performed live in and around the Nashville area, often at the area record shop, Lucy's (not coincidentally owned by Wagner's wife, Mary).
In 1992, Posterchild -- now consisting of Wagner, Trovillion, guitarist Bill Killbrew, clarinetist Jonathan Marx, multi-instrumentalist Scott C. Chase, drummer Steve Goodhue, and percussionist Allen Lowery -- released An Open Fresca + A Moist Towlette, a split single with friends Crop Circle Hoax. The 7" brought the group to the attention of entertainment lawyer George Regis, who issued cease-and-desist orders on behalf of his clients, the noise pop band Poster Children. After rejecting the names REN, Pinnacles of Cream, and Turd Goes Back, the band settled on Lambchop, added vocalist/saxophonist Deanna Varagona, steel guitarist Paul Niehaus, and organist John Delworth, and signed to Merge to release the 1993 single "Nine." Their debut LP, I Hope You're Sitting Down (aka Jack's Tulips), followed a year later. In many ways, this album would be the most conventional Lambchop record. Its Nashville origins and torch-and-twang ambience would saddle the band with the increasingly erroneous alt-country tag, although Wagner's Lou Reed-like vocals and bizarre narrative conceits -- in particular the fan-favorite "Soaky in the Pooper," a vivid recounting of a bad LSD trip -- immediately signaled their obvious distance from the likes of Uncle Tupelo or the Jayhawks.
The lovely How I Quit Smoking appeared in 1996 (although on the subsequent "Cigaretiquette" single, Wagner would proudly announce, "I'm smoking again"). Recorded live the previous Independence Day, the Hank EP followed later in 1996. Marking the debut of drummer Paul Burch, the disc represented the apotheosis of Lambchop's Billy Sherrill-inspired phase, its lush production evoking the Nashville sound so popular three decades earlier, but by then completely passé among Music City's chart superstars. 1997's Thriller proved a major turning point; highlighted by the Muscle Shoals soul of "Your Fucking Sunny Day" and including no fewer than three songs penned by East River Pipe's F.M. Cornog, this sprawling, difficult album introduced the uncompromising eclecticism that would dominate Lambchop's work from here on out. The follow-up, 1998's What Another Man Spills, upped the ante further. On remarkably soulful covers of Curtis Mayfield's "Love Song (Give Me Your Love)" and Frederick Knight's "I've Been Lonely for So Long," Wagner's baritone drawl even gives way to a Prince-like falsetto. That same year, the group also backed Vic Chesnutt on his album The Salesman and Bernadette.
Lambchop's fifth full-length, Nixon, appeared in the spring of 2000. Supposedly a concept album exploring the presidency of the infamous Tricky Dick, Wagner even included a bibliography in the liner notes -- a direct connection to the Watergate scandal remains unidentified. Though still criminally unknown at home, Lambchop enjoyed a much more substantial following overseas, and on May 13, 2000 they appeared at the London Royal Festival Hall. The gig was recorded and made available at U.K. appearances that fall as the Queens Royal Trimma limited-edition EP. (A 2001 European tour yielded the Treasure Chest of the Enemy EP.) The 2001 collection Tools in the Dryer assembled many of Lambchop's scattered singles, compilation tracks, and remixes.
After recording the purposefully spare Is a Woman in 2002, Wagner and company moved on to their most ambitious project yet -- two simultaneously released albums, Aw C'Mon and No, You C'Mon, in which Lambchop returned to full power and joined by a lush string section. The next year, the musically experimental EP CoLAB came out, followed in the spring of 2006 by The Decline of Country & Western Civilization, Pt. 2: The Woodwind Years, an eclectic collection of tracks that had never appeared before on Lambchop records, including one new song, "Gettysburg Address," and a record of all-new material called Damaged later that summer. 2008 saw the release of the typically graceful and elegant OH (Ohio), followed in early 2012 by the group’s 11th full-length outing, the austere Mr. M., which offered up 11 lush, string-laden meditations on love and loss, all of which were dedicated to the late Vic Chesnutt. In 2015, Kurt Wagner introduced his electronic side project HeCTA, and elements of HeCTA's eclectic musical approach informed Lambchop's next project. FLOTUS (which Wagner says stands for "For Love Often Turns Us Still") was released in October 2016. (Jason Ankeny, AllMusic)

Following in the tradition of the brilliant "Cigaretiquette" single, which immediately preceded it, Thriller moves Lambchop sharply away from their signature alt-countrypolitan sound, pushing instead toward a punchier, noisier aesthetic; borrowing its title from the best-selling album of all time and devoting no less than three of its eight tracks to East River Pipe covers, it's a strange, difficult record likely to baffle even the group's most devoted fans. Opening with the surreal doo wop of "My Face Your Ass" and then sliding into the oddly funky "Your Fucking Sunny Day," which comes complete with a Muscle Shoals-styled horn section, the record defies expectations at every turn; almost completely abandoning the string-laden, Nashville sound-influenced approach of earlier efforts, Thriller is dark and dissonant, with an edgy, menacing lyrical slant to match. Not everything here works, but the album's sheer audacity alone makes it well worth a listen, again confirming Lambchop's status among the most consistently weird and fascinating bands around.
In hindsight, the seven-track Hank EP would seem to herald the conclusion of Lambchop's "straight" country period -- assuming, of course, that songs with titles like "Poor Bastard" and "I Sucked My Boss' Dick" could ever be considered pure country in the first place. The impossibly lush production which buoys tracks like "I'm a Stranger Here" and the gorgeous "Blame It on the Brunettes" screams Billy Sherrill, however, and the melancholia which permeates the disc is the stuff of which endless nights in smoky honky-tonks are made; ultimately, in their own singularly bizarre way, Lambchop has made what might just fly in under the radar as a classic country record, provided no one listens too closely. Of course, with the subsequent Thriller, they produced the most dissonant and difficult album of their career, kissing fame and fortune goodbye forever. Nashville's loss, not ours. (Jason Ankeny, AllMusic)

Kurt Wagner: guitars, vocals
Jonathan Marx: Clarinet, Cornet, Sax (Alto), Vocals
Marc Trovillion: bass
Scott C. Chase: percussion
Paul Niehaus: slide guitar, pedal steel guitar, vocals
Deanna Varagona: Sax (Alto), Sax (Baritone), Vocals
Allen Lowrey: drums
Paul Burch: drums
Hank Tilbury: banjo
Mark Nevers: guitar, engineer
Alex McManus: electric guitar
Mac: ?
John Delworth: Farfisa Organ, Organ (Hammond)