Red Krayola Wiki - User contributions [en]

Shows/1982-10-09

2025-12-01T06:47:07Z

Dotclub: /* Program */

{{ConcertInfo
|Date =October 9, 1982
|Venue =Rote Fabrik
|Country =CH
|City =Zürich
|Image1=Shows-1982-10-09-poster3.jpg
|Image2=
|Event =Musik Ausser Kontrolle Festival
|Tour =
|Billing =
* [[The Red Crayola]]
}}

== Ephemera ==

=== Posters ===
Designed by Peter Bäder<ref>https://www.emuseum.ch/objects/110255/mak-festival--musik-ausser-kontrolle--710-okt-82-</ref>
<gallery mode="packed">
File:Shows-1982-10-09-poster3.jpg|Poster<ref>Romantic Warriors II (2012)</ref>
File:Shows-1982-10-09-poster3-detail.jpg|Poster detail<ref>Romantic Warriors II (2012)</ref>
File:Shows-1982-10-09-poster.jpg|Poster<ref>https://strapazin.ch/bildwerk/archiv/poster.html</ref>
File:Shows-1982-10-09-poster2.jpg|Poster<ref>https://strapazin.ch/bildwerk/archiv/poster.html</ref>
</gallery>

=== Program ===
<gallery mode="packed">
File:Shows-1982-10-09-program-front.jpg|Cover
File:Shows-1982-10-09-program.jpg|Red Crayola page
</gallery>

<blockquote>
RED CRAYOLA LANDEN WIEDER

Begonnen hatte das Unternehmen Mitte der 60er Jahre und mutierte unter der Leitung von Mayo Thompson, während all der Jahre zu den verschiedensten Gruppen und Konzepten. 1979 zum ersten Mal in der Schweiz, in einer Trio -Besetzung mit [[Mayo Thompson]], [[Jesse Chamberlain]] und [[Lora Logic]], Ein zweites Konzert der R.C. im Kon ext mit "Art an Language" einer politisch motivierten Künstlergruppe. Das Dokument dieser Verbindung heisst: KANGAROO Diesmal erscheint R.C. in folgender Besetzung: [[Alan Ravenstine]] (ex Pere-Ubu) key, Mayo Thomspon guitar, voc, [[Ben Annesley]] bass, [[Chris Taylor]] drums. Mit Mayo Thompson und Alan Ravenstine sind 2 wichtige Musiker der inzwischen aufgelösten PERE UBU zu hören. Insbesondere Mayos Sprechgesang und seine schroffen, nervösen Riffs geben R.C. ihr Gepräge. Wir dürfen gespannt auf die dritte Landung von R.C. in Zürich God save the Red Crayola and all who sail with it...
</blockquote>

== Recording ==
Full show {{MediaLink|YouTube=https://www.youtube.com/watch?v=KuCi_lv_1K4}}

=== Set list ===
*[[Portrait of V. I. Lenin in the Style of Jackson Pollock, Part I]]
*[[Ratman, the Weightwatcher]]
*[[Café Twenty-One]]
*[[Horses]]
*[[Hurricane Fighter Plane]]
*[[Gynaecology in Ancient Greece]]
*[[Portrait of You]]
*[[Hedges]]
*[[Black Snakes (song)|Black Snakes]]
*[[Future Pilots]]
== References ==
{{Shows|1982}}

[[Category:Shows]]

Shows/2025

2025-11-22T00:04:37Z

Dotclub: /* The Red Krayola */

== The Red Krayola ==
{| class="wikitable"
!
!
!Date
!City
!
!Venue
|-
|{{flagdeco|1=US}}
|[[File:Shows-2025-11-20-poster.jpg|center|frameless|35x35px]]
|[[Shows/2025-11-20|November 20, 2025]]
|Los Angeles
|CA
|Wiltern
|-
|{{flagdeco|1=US}}
|[[File:Shows-2025-11-21-poster.jpg|center|frameless|35x35px]]
|[[Shows/2025-11-21|November 21, 2025]]
|Los Angeles
|CA
|Hollywood Palladium
|}

==References==
{{Shows|2025}}

Main Page

2025-11-22T00:03:48Z

Dotclub: /* The Red Krayola */

Note: This site is under construction

== The Red Krayola ==
{{RandomImage}}

* '''[[Discography]]''' (1967-)
** [[Songs]]
* [[Shows|'''Gigography''']] (1966-)
** [[Live recordings]]
* [[:Category:People|People]]
** [[Mayo Thompson|'''Mayo Thompson''']]
** [[Art & Language bibliography|Art & Language]]
* "[http://white-rose.net/redcrayola/dc257bio2.pdf The Story So Far of The Red Crayola & The Red Krayola]" (2005)
* "[[A Manifesto for The Red Krayola]]" (2012)
* "[[The Group as It Is Today]]" (1967)

=== Upcoming ===
* November 21, 2025: [[Shows/2025-11-21|The Red Krayola will open for Cap'n Jazz at Hollywood Palladium in Los Angeles]]
* [[Corky Returns|Mayo Thompson is working on an a new solo album (previously titled ''Corky Returns'')]]
* [https://www.instagram.com/billingsgatemedia/p/DDrxMq8P5ob/ Author Bill Perrine is working on a book about The Red Krayola]

=== Recent news ===

* November 20, 2025: [[Shows/2025-11-20|The Red Krayola performed at the Wiltern in Los Angeles, opening for Cap'n Jazz]]
* June 2025: [https://www.furious.com/perfect/pereubu-thompson.html Mayo Thompson was interviewed about the late David Thomas of Pere Ubu in ''Perfect Sound Forever'']
* July 23, 2024: [https://www.lissongallery.com/news/in-memoriam-mel-ramsden Mel Ramsden of Art & Language has passed away at the age of 80]
* April 10, 2024: [https://open.spotify.com/episode/2rqgabQvfSRws51Fwjuuct Mayo Thompson was interviewed by Markly Morrison for ''Low Profile'' podcast]
* March 10, 2024: [https://riylcast.com/episode/episode-641-mayo-thompson-the-red-krayola Mayo Thompson was interviewed by Brian Heater for ''RIYLcast'']
* December 2, 2023: [[Shows/2023-12-02|Mayo Thompson & The Corky Band performed live in New York City]]
* October 31, 2023: [https://www.psychedelicbabymag.com/2023/10/red-krayola-interview-mayo-thompson.html Mayo Thompson was interviewed by Klemen Breznikar for ''Psychedelic Baby Magazine'']
* September 1, 2023: Mayo Thompson released his second novella ''[[After Math]]''
* August 31, 2023: [[Shows/2023-08-31|Mayo Thompson & The Corky Band performed live in Los Angeles]]
* June 22, 2023: Mayo Thompson performed with Pere Ubu at the Lodge Room in Los Angeles
* June 8, 2023: J. Spaceman and John Coxon's tribute album [[Play The Red Krayola Live 1967|''Play The Red Krayola Live 1967'']] was [https://treader-recordings.bandcamp.com/album/play-the-red-krayola-live-1967 released digitally]
* May 13, 2023: [https://www.mixcloud.com/louderthanwar/stay-sick-turn-blue-12th-may-2023/ Mayo Thompson was interviewed by David Thomas for ''Stay Sick, Turn Blue Radio''] (interview at 39:45)
* April 30, 2023: [https://falloutpodcast3557.podbean.com/e/falloutpodcast-ep74-and-all-who-sail-in-her/ Mayo Thompson was interviewed on ''F.A.L.L.O.U.T.'' podcast]

== Red Krayola Wiki ==

* [[FAQ]]

=== Recent updates ===

* September 13, 2025: Added page for in-store performance on [[Shows/2000-01-11|January 11, 2000]]
* May 27, 2025: Added live recording from [[Shows/1999-10-09|October 9, 1999]]
* May 25, 2025: Migrated Red Krayola Wiki to a new web host
* December 26, 2024: Added pages for the unreleased 1985 songs "[[Little Flower]]" and "[[The Great State]]"
* December 21, 2024: Added five illustrations by [[Mayo Thompson]] that appeared in the ''Texas Observer'' (1972-1973)
* December 15, 2024: Added ''[[The Red Crayola Songbook]]'' zine (1979)
* July 1, 2024: Migrated Red Krayola Wiki to a new web host
* January 26, 2024: Added [[Shows/Berkeley Folk Music Festival 1967|Berkeley Folk Music Festival 1967]]
* January 25, 2024: Added essay "[[The Group as It Is Today]]" (1967)
* January 1, 2024: Rewrote ''[[Dairymaid's Lament (single)|Dairymaid's Lament (1967 single)]]''
* December 4, 2023: Added unreleased book ''[[Regular Everything II]]'' (1971)
* September 2023: 1 year anniversary of Red Krayola Wiki
* August 31, 2023: Added transcript to ''[[God Bless the Red Krayola and All Who Sail With It (documentary)]]'' (2006)
* August 24, 2023: Added partial transcript to ''[[The Red Krayola in Tokyo]]'' (1995)
* August 18, 2023: Added cancelled [[Art & Language]] opera ''[[Red Faces]]'' (1975)
* July 6, 2023: Revised [[Letters to the Jackson Pollock Bar in the Style of the Red Krayola|''Letters to the Jackson Pollock Bar in the Style of the Red Krayola'']] (2012) and added ''[[Ode to Galesburg]]'' (2015)
* June 27, 2023: Added live a recording from [[Shows/1995-01-11|January 11, 1995]]
* June 26, 2023: Added the painting on the back of [[Born in Flames (single)|''Born in Flames'']] (1980)
* June 22, 2023: Migrated Red Krayola Wiki to a new web host
* June 21, 2023: Added live recordings from [[Shows/1982-10-09|October 9, 1982]] and [[Shows/2006-12-13|December 13, 2006]]
* June 13, 2023: Added [[Jörg Schlick & Megabody (single)|''Jörg Schlick & Megabody'']] (1987), [[Wild Thing (single)|''Wild Thing'']] (1990), and the Red Crayola's lost [[Lost album with John Fahey|album with John Fahey]] (1967)

Art-Language Vol. 3 No. 1

2025-11-16T08:45:38Z

Dotclub:

'''Note:''' A digital copy of this issue is included in the free [[Home From Home Kit D'exposition|''Home From Home Kit D'exposition'']].{{PeriodicalInfo
|Publication=[[Art-Language]]
|Image1=AL-3-1-front.jpg
|Date=September 1974
|Volume=3
|Number=1
|Publisher=
|Editor=Ian Burn, [[Mel Ramsden]], Terry Smith
}}

== Contents ==
Draft For An Anti-Textbook

{| class="wikitable"
!
!Title
!pg.
!Reprinted in
|-
|1.
|''Caution''
|1
|
|-
|2.
|''Somewhere to Begin''
|2-4
|
|-
|3.
|''Language has a Hold on us''
|5-7
|
|-
|4.
|''Market Relations''
|8-9
|
|-
|5.
|''Apodictic Tableaux''
|10-12
|
|-
|6.
|''Ideal Speakers...''
|13-14
|
|-
|7.
|''Annotations... Selective Memory (Histrionics?)...''
|15-17
|
|-
|8.
|''Cacophonous...''
|18-19
|
|-
|9.
|''Bureaucracy...''
|20
|
|-
|10.
|''Points of Order?''
|21-22
|
|-
|11.
|''No Refuge in 'Audience'...''
|23-26
|
|-
|12.
|''<nowiki/>'Sometimes I feel like an Artist...'''
|27-31
|
* ''[[Art & Language (Van Abbemuseum, 1980)|Art & Language]]'' (1980)
|-
|13.
|''Institutional Serenity''
|32-35
|
|-
|14.
|''A 'Logic' of Going-On?''
|36
|
|-
|15.
|''Do We Have Anything like 'Assertion'?''
|37-41
|
|-
|16.
|''What are we doing in Language?''
|42-43
|
|-
|17.
|''<nowiki/>'Consistency' is an Ideological Postulate''
|44-47
|
* ''[[Art & Language (Van Abbemuseum, 1980)|Art & Language]]'' (1980)
|-
|18.
|''Dead Horse...''
|48-49
|
|-
|19.
|''Iteration''
|50
|
|-
|20.
|''More Exhortations?''
|51-53
|
|-
|21.
|''Joseph Kosuth says that the group is a Cultural Ghetto''
|54-55
|
|-
|22.
|''...Overboard about Kierkegaard''
|57-59
|
|-
|23.
|''Fur Teacups''
|60-61
|
|-
|24.
|''Straight Talk?''
|62-63
|
|-
|25.
|''Equivocating...''
|64-67
|
|-
|26.
|''Routine...''
|68
|
|-
|27.
|''...Corpse of Official Language''
|69-70
|
|-
|28.
|''We Wish they had a Dictionary''
|71-73
|
|-
|29.
|''...Concatenation...''
|74-75
|
|-
|30.
|''Bxal-ing''
|76-79
|
|-
|31.
|''Endless Revisability...''
|80-82
|
|-
|32.
|''Striving in the Uproar''
|83-86
|
|-
|33.
|''Art-Career Components''
|87-89
|
|-
|34.
|''The Unreality of this Culture''
|90-97
|
|-
|35.
|''Modeish about Cultural Indeterminacy''
|98-100
|
|-
|36.
|''Exploitation... Education...''
|101-103
|
|-
|37.
|''Shop-Floorish?''
|104-105
|
|-
|38.
|''Leftish Critique''
|106-108
|
|-
|39.
|''Sporadic Encounter''
|109-110
|
|}

== Retrospectives ==
[[Charles Harrison]], 1991<ref>[[Essays on Art & Language]], pg. 114</ref>
<blockquote>In recognition of the increasingly transatlantic character of the group, ''Art-Language'', vol. 3, no. 1, was composed entirely of transcripts from conversations recorded in New York and was edited by Burn, Ramsden, and Smith. This edition of the journal was published in September 1974 with the subtitle 'Draft for an Anti-Textbook'. That this publication was largely disregarded in England, however, served only to emphasize the grounds of divergence of interests. With the publication of ''[[The Fox]]'' in New York the following April, the quorateness of Art-Language itself was finally called into question.</blockquote>

== Reviews ==

=== Art & Language International ===
2016<ref>pg.70-76</ref>

Robert Bailey

== References ==
{{Navbox-Art-Language}}<references />
[[Category:Art-Language]]

Boogie

2025-11-16T04:19:42Z

Dotclub: /* Chronology */

== Lyrics ==
{{Lyrics|
(instrumental)
}}

== Chronology ==
* Recycled guitar riff from "[[Portrait of V. I. Lenin in the Style of Jackson Pollock, Part II]]" on ''[[Kangaroo?]]''
* {{RLink|Hazel}} {{MediaLink|YouTube=https://www.youtube.com/watch?v=vwry-JfkYzU}}
* {{RLink|Deliverance}} - alternate mix

== References ==
{{Hazel}}

[[Category:Songs]]
[[Category:Instrumentals]]

Portrait of V. I. Lenin in the Style of Jackson Pollock, Part II

2025-11-16T04:18:37Z

Dotclub: /* Chronology */

[[File:A-L-Portrait-Lenin-Pollock-Charangovitch-2.jpg|thumb|upright|[[Portrait of V.I. Lenin in the Style of Jackson Pollock|Portrait of V. I. Lenin by V. Charangovitch (1970) in the style of Jackson Pollock II]] (1980) by [[Art & Language]]]]

== Lyrics ==
{{Lyrics|
It was in nineteen-seventeen
That Russia's Revolution was led by Lenin
Lenin led the Revolution
If history had a problem
He'd got the real solution
Lenin created Soviets
Out of war, chaos and confusion
The Revolution shook the world
Ten days to its conclusion
The revolution shook the world
It lasted for ten days
It wouldn't shake without him
There were no other ways
(When) it didn't shake enough for him
He hoped it was a 'phase'
There some contradictions —
But perseverance pays

Lenin is the leader of
The whole world's working class
He explained all history to
The stormy thundering mass
At midnight in his tomb he lays
His face against the glass
Lenin: "If you think culture's revolution
Stick it up your arse."
}}

== Chronology ==
* {{RLink|Kangaroo}} {{MediaLink|YouTube=https://www.youtube.com/watch?v=cPjLNkoCfdE}}
** [[Mayo Thompson]] - vocals
** [[Lora Logic]] - saxophone
** {{RLink|Dark}}
* "[[1917]]" - instrumental reprise
* "[[Boogie]]" on ''[[Hazel]]'' - recycled the opening guitar riff

== Retrospectives ==
[[Art & Language]], 1981<ref>Art & Language and The Red Crayola, ‘[https://www.art-language.org/texte/a/TI71h.htm#anglais Notes on the Songs]’, booklet published in connection with L.P. ''Kangaroo?,'' Rough Trade records, London, 1981.</ref><blockquote>Art & Language made some pictures of [[Portrait of V.I. Lenin in the Style of Jackson Pollock|V. I. Lenin in the style of Jackson Pollock]]. They were monstrosities. Part I rehearses a representation of Pollock, Part II a representation of V. I. Lenin. But Part I might be a song that refers to Lenin, Part II might be a song that refers to Pollock in the sense that culture’s heroes are cultural products.</blockquote>

== Interpretations ==
The song gets its title from Art & Language's ''[[Portrait of V.I. Lenin in the Style of Jackson Pollock|Portraits of V. I. Lenin in the Style of Jackson Pollock]]'' paintings from 1979-80.

== References ==

{{Navbox-Kangaroo}}

[[Category:Songs]]
[[Category:Lyrics by Art & Language]]

Diedrich Diederichsen

2025-11-16T04:05:07Z

Dotclub: /* Writing related to the Red Crayola */

{{PersonInfo
| Image1=
| Image2=
| Born= 1957
| Died=
| Country= DE
| Discogs=
| Wikipedia=https://en.wikipedia.org/wiki/Diedrich_Diederichsen
| RYM=
}}

German critic<ref>https://diedrich-diederichsen.de/publications.htm</ref>

== Writing related to the Red Crayola ==
{| class="wikitable"
!Date
!Description
!Publication
!
|-
|April 1981
|Interview with [[Mayo Thompson]]
|''Sounds''
|[https://diedrich-diederichsen.de/publications.htm#:~:text=Pere%20Ubu/Red%20Crayola '''Full article''']
|-
|June 1981
|Announcement for [[Shows/1981-06-08|June 8, 1981]] show
|''Szene Hamburg''
|[https://diedrich-diederichsen.de/publications.htm#:~:text=Red%20Crayola%E2%80%9C%20%5BKonzertank%C3%BCndigung%5D '''Full article''']
|-
|August 1981
|Interview with [[Mayo Thompson]]
|''Sounds''
|[https://diedrich-diederichsen.de/publications.htm#:~:text=The%20Red%20Crayola%20%E2%80%93%20ein%20weiteres%20fragmentarisches%20Interview '''Full article''']
|-
|November 1981
|Review of [[Rattenmensch/Gewichtswächter (single)|''Rattenmensch/Gewichtswächter'']]
|''Sounds''
|[[Rattenmensch/Gewichtswächter (single)#Reviews|'''Full article''']]
|-
|November 1982
|Review of ''[[Corrected Slogans]]''
|''Sounds''
|[[Corrected Slogans#Reviews|'''Full article''']]
|-
|1991
|Lyrics for "[[All Together Now]]"
|
|
|-
|January 1997
|Review of ''[[Hazel]]'' and ''[[Deliverance]]''
|''Spex''
|'''[https://archive.org/details/spex-1997-01/page/81/mode/1up Full article]'''
|-
|January 1998
|Interview with [[Mayo Thompson]]
|''Artforum''
|'''[https://www.artforum.com/features/company-man-201657/ Full article]'''
|-
|1998
|Interview with [[Mayo Thompson]]
|''Jahresring 45''
|
|-
|2009
|''Rock-Paper-Scissors'' exhibition: [[Karaoke Bar|''Karaoke Bar'']]
|
|
|-
|December 12, 2009
|Liner notes for [[Shotgun Wedding|''Shotgun Wedding'']]
|
|[http://www.sven-akejohansson.com/en/sven-aake-johansson/texts/#:~:text=Nr.%2028)%C2%A01996-,Shotgun%20Wedding,-by%20Diedrich%20Diedrichsen '''Full text''']
|-
|October 31, 2016
|Review of [[Baby and Child Care|''Baby and Child Care'']]
|''Taz''
|[https://taz.de/Mayo-Thompson-und-Scott-Walker/!5349040/ '''Full article''']
|-
|November 13, 2018
|Review of [[Art, Mystery|''Art, Mystery'']]
|''Taz''
|[https://taz.de/Romandebuet-von-Mayo-Thompson/!5549257/ '''Full article''']
|}

== References ==
[[Category:People|Diederichsen, Diedrich]]

Diedrich Diederichsen

2025-11-16T04:04:48Z

Dotclub: /* Writing related to the Red Crayola */

{{PersonInfo
| Image1=
| Image2=
| Born= 1957
| Died=
| Country= DE
| Discogs=
| Wikipedia=https://en.wikipedia.org/wiki/Diedrich_Diederichsen
| RYM=
}}

German critic<ref>https://diedrich-diederichsen.de/publications.htm</ref>

== Writing related to the Red Crayola ==
{| class="wikitable"
!Date
!Description
!Publication
!
|-
|April 1981
|Interview with [[Mayo Thompson]]
|''Sounds''
|[https://diedrich-diederichsen.de/publications.htm#:~:text=Pere%20Ubu/Red%20Crayola '''Full article''']
|-
|June 1981
|Announcement for [[Shows/1981-06-08|June 8, 1981]] show
|''Szene Hamburg''
|[https://diedrich-diederichsen.de/publications.htm#:~:text=Red%20Crayola%E2%80%9C%20%5BKonzertank%C3%BCndigung%5D '''Full article''']
|-
|August 1981
|Interview with [[Mayo Thompson]]
|''Sounds''
|[https://diedrich-diederichsen.de/publications.htm#:~:text=The%20Red%20Crayola%20%E2%80%93%20ein%20weiteres%20fragmentarisches%20Interview '''Full article''']
|-
|November 1981
|Review of [[Rattenmensch/Gewichtswächter (single)|''Rattenmensch/Gewichtswächter'']]
|''Sounds''
|[[Rattenmensch/Gewichtswächter (single)#Reviews|'''Full article''']]
|-
|November 1982
|Review of ''[[Corrected Slogans]]''
|''Sounds''
|[[Corrected Slogans#Reviews|'''Full article''']]
|-
|1991
|Lyrics for "[[All Together Now]]"
|
|
|January 1997
|Review of ''[[Hazel]]'' and ''[[Deliverance]]''
|''Spex''
|'''[https://archive.org/details/spex-1997-01/page/81/mode/1up Full article]'''
|-
|January 1998
|Interview with [[Mayo Thompson]]
|''Artforum''
|'''[https://www.artforum.com/features/company-man-201657/ Full article]'''
|-
|1998
|Interview with [[Mayo Thompson]]
|''Jahresring 45''
|
|-
|2009
|''Rock-Paper-Scissors'' exhibition: [[Karaoke Bar|''Karaoke Bar'']]
|
|
|-
|December 12, 2009
|Liner notes for [[Shotgun Wedding|''Shotgun Wedding'']]
|
|[http://www.sven-akejohansson.com/en/sven-aake-johansson/texts/#:~:text=Nr.%2028)%C2%A01996-,Shotgun%20Wedding,-by%20Diedrich%20Diedrichsen '''Full text''']
|-
|October 31, 2016
|Review of [[Baby and Child Care|''Baby and Child Care'']]
|''Taz''
|[https://taz.de/Mayo-Thompson-und-Scott-Walker/!5349040/ '''Full article''']
|-
|November 13, 2018
|Review of [[Art, Mystery|''Art, Mystery'']]
|''Taz''
|[https://taz.de/Romandebuet-von-Mayo-Thompson/!5549257/ '''Full article''']
|}

== References ==
[[Category:People|Diederichsen, Diedrich]]

Deliverance

2025-11-16T04:03:44Z

Dotclub: /* Reviews */

[[File:Deliverance-front.jpg|thumb|Front]]
[[File:Deliverance-back.jpg|thumb|Back]]''[[Deliverance]]'' is a 1996 compilation of unreleased Red Krayola recordings compiled by [[Albert Oehlen]] and released on his label ''[[Leiterwagen]]''.

== Track listing ==
{| class="wikitable"
!
!Title
!
!Notes
!Est. year
!Original release
|-
|1.
|"Intro"
|1:19
|Speculation: An outtake of the counting section of "[[14]]"?

Sample: ''Deliverance'' (1972)
|1993
|
|-
|2.
|"[[Boogie]]"
|4:06
|Alternate instrumental mix

Sample: ''Deliverance'' (1972)
|1996
|{{RLink|Hazel}}
|-
|3.
|"[[Woof]]"
|4:58
|Remix of an outtake from ''[[Corky's Debt to His Father]]''
|1970/1996
|
|-
|4.
|"[[Organize]]"
|2:28
|Speculation: An outtake from ''[[The Red Crayola on Forty-Five (single)|The Red Crayola on Forty-Five]]''?
|1993
|
|-
|5.
|"[[Decaf the Planet]]"
|2:16
|Alternate take

Sample: ''Deliverance'' (1972)
|1996
|{{RLink|Hazel}}
|-
|6.
|"[[Voodoo Child]]"
|1:40
|Demo
|1994
|{{RLink|Self}}
|-
|7.
|"[[If 'S' Is]]"
|2:43
|Demo
|1994
|{{RLink|Self}}
|-
|8.
|"Guitar I"
|0:17
|
|
|
|-
|9.
|"Olympia Act I"
|5:03
|Speculation: Demo of music for ''[[Victorine]]''?

4:05 bass riff from "[[Sherlock Holmes]]"
|1994
|
|-
|10.
|"Guitar II"
|1:23
|Guitar backing track from "[[Natura Facit Saltus]]"
|1975
|{{RLink|Corrected}}
|-
|11.
|"[[Luster|Cluster]]"
|2:19
|Demo/instrumental alternate take of "[[Luster]]"
|1995
|{{RLink|Amor}}
|-
|12.
|"[[Hurricane Fighter Plane|Hurricane Fighterplane]]"
|2:45
|Rerecording, likely by Thompson and Oehlen as a duo
Sample: "Chameleon" by Herbie Hancock
|
|{{RLink|Parable}}
|}

== Background ==
"Authorized Bootleg"

== Personnel ==

=== Technical ===

* [[Albert Oehlen]] (as Wendy Gondeln) - mixing and compiling

== Retrospectives ==

== Reviews ==

=== Spex ===

January 1997<ref>https://archive.org/details/spex-1997-01/page/81/mode/1up</ref>

[[Diedrich Diederichsen]]

<blockquote>
[...] "Deliverance" ist eine von einem Bandmitglied unter dem Namen [[Wendy Gondeln]] zusammengestellte Platte mit Material aus 27 Jahren RK-Geschichte in unveröffentlichten Versionen, von dem alten Hit "[[Hurricane Fighter Plane]]" bis zu "[[Boogie]]" (um das Thema des Thompson-Klassikers "A Portrait Of V.I.Lenin In The Style Of Jackson Pollock, Part 2" herum angelegt) und "[[Decaf The Planet]]" von "[[Hazel]]". Auch das gehört offensichtlich zum neuen Produktionsverständnis bei RK, daß sich jederzeit jeder an dem Materialfundus interessant vergreifen kann.

»Interessant« gerade in Bezug auf diese neue reguläre Platte, die beste Red Krayola ever, ist der Song "[[Organize]]". Hatte Thompson schon in den Siebzigern, etwa bei "[[Ergastulum]]" von der Red Crayola/Art-&-Language-LP von '76 (später in anderen Versionen), die Marxsche Mehrwert-Theorie zu einer Folk-Melodie gesungen, hört man ihn hier auf "Organize" einen anderen marxistischen Text erst zu Musik sprechen und dann eigenartig feierlich in Gesang übergehen. Genau dieses alte und relativ plakative Experiment zur Frage der Mitteilbarkeit von »Inhalten« und dem Status von Musik und Text in Songs steht am Anfang einer Entwicklung, deren ausgereiftes Zwischenergebnis dieser Platte ihre Autorität verleiht. Wer mit Text und Musik arbeitet, kommt daran sicherlich einige Jahre nicht vorbei.

</blockquote>

=== Earpiece ===
Summer 1999<ref>http://white-rose.net/earpeace2a.html#the%20red%20crayola</ref>

b. wildered<blockquote>''deliverance'' is reportedly an "authorized bootleg" of recordings dating 1969-1996, compiled by the psuedonymous [[Albert Oehlen|wendy gondeln]]. is this [[Mayo Thompson|mayo]]? [[David Grubbs|david grubbs]]? the puzzle remains unsolved here at earpeace world headquarters. the mystery continues as the [[Drag City|drag city]] logo appears beneath the cd. however, the folks at the a-musik collective in cologne, germany claim this as one of their ([[leiterwagen]]) releases. anyway, i am pleased to have access to this compilation. it features somewhat unfinished sounding versions of several songs from the drag city releases, ''[[woof]]'', which has also appeared on a single included with a certain british psychedelic magazine, and a piece called ''olympia act 1'', which is the only recorded evidence i have been able to unearth of the red krayola with art & language opera, ''[[Victorine|olympia]]'', which reported ly concerns a murder in manet's paris. in between these are snippets from, you guessed it, the movie "deliverance". my suspicion is that this is a way to release some of the archival stuff for which some of the rights remain nebulous. by the way, what ever happened to drag city's reissue of ''[[Malefactor, Ade|malefactor, ade]]'', the 1989 record which originated in germany and was released on glass records? do i sense legal difficulties?</blockquote>

== References ==

[[Category:Leiterwagen]]

Push Comes to Love

2025-11-16T03:54:15Z

Dotclub: /* Reviews */

[[File:Push-Comes-to-Love-front.jpg|thumb|{{MediaLink|YouTube=https://www.youtube.com/playlist?list=OLAK5uy_lLG0xEyT-PpS6IwmZJ6Nq1rnmiMW4nuww}}]]
[[File:Push-Comes-to-Love-vinyl-front.jpg|thumb|Vinyl cover]]

''[[Push Comes to Love]]'' is a 1999 album by [[Stephen Prina]] released by [[Drag City]].

== Track listing ==
{{tracklist
| title1 = [[Cums for Shove]]
| length1 = 3:41
| title2 = [[The Devil, Probably]]
| length2 = 3:32
| title3 = [[Too Strong]]
| length3 = 0:52
| title4 = [[The Sobriquet]]
| length4 = 3:39
| title5 = [[No One Calls Me Friend]]
| length5 = 5:49
| title6 = [[Trevor]]
| length6 = 5:39
| title7 = [[The Achiever]]
| length7 = 4:10
| title8 = [[Little Lips]]
| length8 = 7:00
| note8 = A Little Tidbit, by Dr. Seuss
| title9 = [[Community]]
| length9 = 4:48
| title10 = [[This Is Not It]]
| length10 = 3:32
| title11 = [[Hand in Glove]]
| length11 = 3:02
}}

== Background ==

* Recorded in 1997
* Released in 1999 by [[Drag City]]
* Listening party on March 26, 1999 in Los Angeles<ref>https://web.archive.org/web/19990419202412/http://www.dragcity.com/tourprina.html</ref>
* Shares a name with Prina's painting series

== Retrospectives ==

[[Stephen Prina]], 2025<ref>https://www.frieze.com/article/david-grubbs-stephen-prina-253</ref>

<blockquote>
I had never written a song before. But the writing of those songs was so intertwined with the recording of that album, because, if you ([[David Grubbs]]) remember, I didn’t come into it with any finished songs. I came in with musical ideas, and I travelled to Chicago to work with you and [[Jim O'Rourke]] in the recording studio, and we structured the music for all the songs. I then took all of that recorded material back to LA to develop melodies and set the lyrics to them. I had asked a variety of friends who are writers – such as Amy Gerstler and Benjamin Weissman – to write some material for me.

[...] I couldn't contact Dennis Cooper, so I just took one of his poems and got permission after the fact. [...] I sent him the recording. If I remember correctly, his response was, 'Well, I cried.' And I thought, if I made Dennis Cooper cry, that's an achievement.
</blockquote>

== Personnel ==
* Produced by [[David Grubbs]] and [[Jim O'Rourke]]
* Recorded by [[Jim O'Rourke]], [[John McEntire]], Brandon King

=== Cover art ===
Artwork and design by Barbara Bloom. It is similar to her 1997 "Color Chart" piece.

<gallery mode="packed">
File:Barbara-Bloom-Color-Chart.jpg|''Color Chart'', 1997
</gallery>
==== Source images ====
Snakes: Appears to be based on John J. Janecek's 1936 illustration from Franz Albrecht Theodor Reuss' 1930 photograph of ''Vipera berus'' mating.<ref>https://archive.org/details/courtshipmatingb2022davi/page/266/mode/1up</ref>

Zebras: Photo by Des & Jen Bartlett, ''National Geographic'', March 1983 pg.361

Arm wrestling: Very similar to a promotional image for Sylvester Stallone's ''Over The Top'' (1987). The photo appears on posters and the cover of the novelization. Likely another take from the same shoot.

Horses: Thunderhoof and Valerie from the 1927 silent Western ''Wild Beauty.''<ref>https://www.youtube.com/watch?v=Q4OS53t9-70</ref>

Birds: Photo by Steven C. Wilson, Texas 1979. Appeared in ''National Geographic'' (February 1981, pg.162-63) then ''Odyssey: The Art of Photography at National Geographic'' (1988).<ref>https://archive.org/details/cor5_0_s06_ss01_boxrg5_0_2008_022_18/page/n176/mode/1up</ref>

Turtles: The American Museum Journal (1900)<ref>https://archive.org/details/americanmuseumjo11amer/page/210/mode/1up</ref>

Wolves (back cover): Photo "Wolf Song" by Heather Parr Fentress, Nova Scotia, Canada, 1991<ref>https://archive.org/details/motherearththrou00boic/page/73/mode/1up</ref>

Zebras (back cover): Image appeared on a 1992 stamp from São Tomé and Príncipe.<ref>https://www.shutterstock.com/image-photo/sao-tome-principe-circa-1992-stamp-87193798</ref>

<gallery mode="packed">
File:Janecek-Reuss-Vipera-berus.jpg|''Mating dance of the Vipera berus'', 1936
File:Des-and-Jen-Bartlett-zebra-1983.jpg|1983
File:Over-the-Top-novelization.jpg|''Over The Top'', 1987
File:Wild-Beauty-1927-still.jpg|''Wild Beauty'', 1927
File:Steven-C-Wilson-birds-1979.jpg|''Mated pair of reddish egrets in an aerial altercation'', 1979
File:Wax-casts-of-fighting-spotted-turtles-1900.jpg|''Wax casts of fighting spotted turtles (Chelopus guttatus)'', 1900
File:Heather-Parr-Fentress-Wolf-Song-1991.jpg|''Wolf Song'', 1991
File:São-Tomé-e-Príncipe-zebras-stamp-1992.jpg|''Proteção da Natureza Congresso Ecologico no Rio de Janeiro (Brasil)'', 1992
</gallery>
== Reviews ==

=== Spex ===

April 1999<ref>https://archive.org/details/spex-1999-04/page/61/mode/1up</ref>

Hartwig Vens

=== Monitor ===
April 1999<ref>https://archive.org/details/monitor-iii-serie-55-abril-99/page/n16/mode/1up</ref>

<blockquote>
Perante os registos de [[David Grubbs]], Archer Prewitt, Sam Prekop, [[Jim O'Rourke]] e agora [[Stephen Prina]], curiosamente todos em nome próprio, creio ser possível afirmar que começa a revelar-se um fenómeno de recuperação da pop na sua vertente mais reconfortante. Se ela tem sido desde sempre autoproclamada pelos ingleses como sua propriedade, a verdade é que estes americanos (por acaso de Chicago) dão-lhe um sabor muito mais apetitoso. Não fosse esse apetite buscar o tempero principal à obra de Burt Bacharach, cuja influência na pop contemporânea tem crescido a olhos vistos.

Conta-se que, certo dia, estava Stephen Prina a trabalhar em mais um álbum dos Red Krayola, Jim O'Rourke e David Grubbs lhe apareceram com um desafio: compor um álbum pop. Prina, artista conceptual e músico conceituado, aceitou o desafio com entusiasmo.

Para além dos já citados O'Rourke e Grubbs, mentores dos extintos (?) Gastr Del Sol e que também assinam a produção, juntaram-se à festa mais três pesos-pesados de Chicago: o inevitável John McEntire, Sam Prekop e Rob Mazurek. A verdade é que o resultado não é nada pesado. Pelo contrário, é um conjunto de melodias deliciosas e suaves, com pequenas nuances perfeitamente enquadradas, que se acompanham com prazer do princípio ao fim. Um álbum simples e gracioso. A faceta conceptual e melancólica de Prina concentra-se nas letras. As que não foram escritas pelo próprio Prina encontraram inspiração em Benjamin Weissman, Robert Bresson, David Grubbs, Amy Gerstler, Mayo Thompson, Lynne Tillman e Dennis Cooper.

Pode não ter nada a ver (isto de gostar de música não tem nada de racional), mas a empatia que senti por «Push Comes To Love» fez-me lembrar, noutra área musical com certeza, «Signals for Tea» de Steve Beresford. São composições muito pessoais, às quais o coração não consegue resistir.
</blockquote>

=== Boston Phoenix ===
May 14, 1999<ref>https://archive.org/details/sim_boston-phoenix_may-14-20-1999_28_20/page/n95/mode/1up</ref>

Alec Hanley Bemis

<blockquote>
An LA conceptual artist and a member of the current Red Krayola line-up, [[Stephen Prina]] spends most of his solo debut playing intriguing word games. “Cums for, cums to/That's where he came/My modest, one-room home/He pushed it in/And then he pulled it ouch,” he sings on “[[Cums for Shove]],” the disc’s opening track. It’s a punning narrative fragment that might be about a rape or just an extremely detached sexual encounter, and its peculiarity is heightened by Prina’s cold, lounge-singer vocals and Teletubby synths. This chilling contrast between the sterile tone of the vocals and music and the violently sensual content of the lyrics is a specialty Prina shares with Krayola’s [[Mayo Thompson]] and [[Gastr del Sol]]’s [[David Grubbs]], though he doesn't have either's penchant for art-rock, avant-noise, and jazz flourishes. Instead, despite backing here by Grubbs and [[Jim O'Rourke]], he relies mostly on peppy trumpets and cheesy keyboard tones.

It's also worth noting that the lyrics Prina intones with such hermetic panache are mostly the work of other people: LA spiatter-pop novelist Dennis Cooper, poet Amy Gerstler, New York fiction writer Lynne Tillman. Still, ''Push Comes to Love'' is a fascinating example of what pop music might sound like if Brian Eno and Marcel Duchamp were muses more popular than the Beatles.
</blockquote>

=== Earpiece ===
Spring 1999<ref>http://white-rose.net/earpiece1.html</ref>

b.wildered

<blockquote>
the most immediately reference for this disk is ''[[The Red Krayola|the red krayola]]'', due to prina's role in the drag city incarnation of [[Mayo Thompson|mayo thompson]]'s long-running collective. the next referent is that this was co-produced by the [[David Grubbs|david grubbs]] and [[Jim O'Rourke|jim o'rourke]], late of ''[[Gastr del Sol|gastr del sol]]''. i am only familiar with prina due to his involvement with ''the red krayola'', but i have seen several articles mentioning him as an artist/composer, working and teaching, i believe, at the pasadena college of the arts. there is a dominant theme involving sexual/social interactions, with the cover art featuring animal pairs. this recording seems to be an exercise in collaboration, with a variety of individuals contributing and prina, grubbs and o'rourke, in various combinations, providing the musical settings. o'rourke's settings are reminiscent of his work as an arranger/producer with such artists as ''untitled'' (cynthia dahl), and ''edith frost'', in that they are spare and appropriate, enhancing rather from distracting. i am impelled by this work to revisit my ''krayola'' cds to sniff out the prina aspects. my impression is that it is going to take awhile to sift thru this. on first few listens, it seems slight, tho perhaps this is due to my being often distracted by other activities when it is on. i definitely recommend this to those who appreciate the aforementioned nineties ''the red krayola'', while it might be less appreciable by those who are pursuing the chicago/''gastr del sol'' connection, due to the lack of immediately perceptible complexity, expecially in the musical side of this. those who like a diverting lyrical experience, with some whimsy involved, and with the inclination to ponder meaning, would be well served by hearing this a few times. it is definitely in my rotation, for the present time. i have found song called "[[trevor]]" to be particularly caught in my brain pan, with it's rumination on an unwashed dog's life and catchy chorus with horns part.
</blockquote>

=== AllMusic ===
Jason Ankeny<ref>https://www.allmusic.com/album/push-comes-to-love-mw0000599878</ref>

<blockquote>
Produced by [[David Grubbs]] and [[Jim O'Rourke]], [[Stephen Prina]]'s solo debut falls somewhere between the experimental sound of latter-day [[Gastr del Sol]] efforts and classic West Coast pop. Featuring collaborations with diverse figures ranging from writers Dennis Cooper and Lynne Tillman to the Sea & Cake's [[John McEntire]] and Sam Prekop, Push Comes to Love is both smart and breezy, although it's occasionally a little too self-conscious for its own good.
</blockquote>

=== Scaruffi ===
Piero Scaruffi<ref>https://www.scaruffi.com/vol5/prina.html</ref>

<blockquote>
[[Stephen Prina]] is a Chicago musician who grew up in Red Krayola and met all the fine minds of the city's post-rock intellighentia. They helped him out on his first solo album, but Push Comes To Love (Drag City, 1999) sounds like a kinder, lighter copy of Sam Prekop's first solo album. The guests are kept at arm's length and what prevails is a fragile pop candor.
</blockquote>

== References ==
{{Push Comes to Love}}

[[Category:Drag City]]

File:Spex-1999-09-front.jpg

2025-11-16T03:46:50Z

Dotclub:

Press

2025-11-16T03:46:41Z

Dotclub: /* Spex, Sep 1999 */

== Features ==

=== {{flagdeco|US}} Mother No.2, 1968 ===
<gallery mode="packed">
File:Mother-02-1968-front.jpg|Cover
File:Mother-02-1968-pg-22.jpg|pg.22
File:Mother-02-1968-pg-23.jpg|pg.23
File:Mother-02-1968-pg-24.jpg|pg.24
File:Mother-02-1968-pg-25.jpg|pg.25
File:Mother-02-1968-pg-26.jpg|pg.26
</gallery>

* "[[The Group as It Is Today]]" by The Red Crayola, June 1967

* "Red Krayola Interview" conducted January 16, 1968 by Jack Villagomez and Larry Sepulvado

[https://mattendahl.blogspot.com/2014/09/interview-with-red-krayola-1968.html '''Read full article''']

=== {{flagdeco|US}} Not Fade Away Vol.1 No. 2, 1977 ===
<gallery mode="packed">
File:Not-Fade-Away-01-02-1977-front.jpg|Cover
File:Not-Fade-Away-01-02-1977-pg20.jpg|pg.20
</gallery>

* "Red Krayola Interview" (reprinted from ''Mother No.2'')
* ''[[Corky's Debt to His Father]]'' ad

=== {{flagdeco|UK}} Comstock Lode No.4, 1978 ===
<gallery mode="packed">
File:Comstock-Lode-04-1978-front.jpg|Cover
</gallery>

* Interview with Mayo Thompson (reprinted in ''[[The Red Crayola Songbook]]'')

=== {{flagdeco|UK}} Negative Reaction, Sept-Oct 1978 ===
<gallery mode="packed">
File:Negative-Reaction-07-09-front.jpg|Cover
</gallery>

=== {{flagdeco|UK}} Howdy from Texas the Lone Star State, Oct 1978 ===
Main article: [[Howdy from Texas the Lone Star State|''Howdy from Texas the Lone Star State'']]<gallery mode="packed">
File:Howdy-front.jpg|Cover
</gallery>

* "Lelan Rogers Interview" by Jon Savage
* "Baghdad on the Bayous?" by [[Mayo Thompson]]

=== Outlet No.11, May 1979 ===

* The Red Crayola

=== {{flagdeco|UK}} New Musical Express, July 21, 1979 ===
<gallery mode="packed">
File:New-Musical-Express-1979-07-21-front.jpg|Cover
File:New-Musical-Express-1979-07-21-pg27.jpg|pg.27
File:New-Musical-Express-1979-07-21-pg28.jpg|pg.28
</gallery>

* "Mayo Thompson of The Red Crayola" by Andy Gill

=== {{flagdeco|UK}} The Red Crayola Songbook, 1979 ===
Main article: ''[[The Red Crayola Songbook]]''

<gallery mode="packed">
File:Soldier-Talk-zine-cover.jpg|Cover
</gallery>

* Interview with Mayo Thompson (reprinted from ''Comstock Lode'')
* Solder-Talk lyrics
* The future of the Red Crayola
* Micro-Chips & Fish lyrics

=== {{flagdeco|UK}} Crash Smash Crack Ring No.2, 1979 ===
<gallery mode="packed">
File:Crash-Smash-Crack-Ring-02-front.jpg|Cover
</gallery>

* Red Crayola

=== {{flagdeco|UK}} Common Knowledge No.1, 1979 ===
<gallery mode="packed">
File:Common-Knowledge-01-1979-front.jpg|Cover
</gallery>

* "Mayo Thompson Interview"

=== {{flagdeco|UK}} Vague No.2, Dec 1979 - Jan 1980 ===
<gallery mode="packed">
File:Vague-02-1979-12-front.jpg|Cover
</gallery>

=== {{flagdeco|US}} New York Rocker, June 1980 ===
<gallery mode="packed">
File:New-York-Rocker-1980-06-front.jpg|Cover
File:New-York-Rocker-1980-06-pg42-43.jpg|pg.42-43
</gallery>

* "Easy on the Mayo (Thompson)" by Uday Mohan

=== {{flagdeco|UK}} Voice of Buddha No.2, 1980 ===
<gallery mode="packed">
File:Voice-of-Buddha-02-1980-cover.jpg|Cover
File:Voice-of-Buddha-02-1980-pg01.jpg|pg.1
File:Voice-of-Buddha-02-1980-pg02.jpg|pg.2
File:Voice-of-Buddha-02-1980-pg03.jpg|pg.3
File:Voice-of-Buddha-02-1980-pg04.jpg|pg.4
</gallery>

* Mayo Thompson interview

=== {{flagdeco|UK}} Step by Step No.1, 1980 ===
<gallery mode="packed">
File:Step-by-Step-zine-1980-front.jpg|Cover
File:Step-by-Step-zine-1980-pg12.jpg|pg.12
File:Step-by-Step-zine-1980-pg13.jpg|pg.13
File:Step-by-Step-zine-1980-pg14.jpg|pg.14
File:Step-by-Step-zine-1980-pg15.jpg|pg.15
File:Step-by-Step-zine-1980-pg16.jpg|pg.16
File:Step-by-Step-zine-1980-pg17.jpg|pg.17
File:Step-by-Step-zine-1980-pg18.jpg|pg.18
File:Step-by-Step-zine-1980-pg19.jpg|pg.19
</gallery>

* "Two Men and a Bird Adrift in a Sinking Life Boat" by [[Mayo Thompson]] and Ian Penman<ref>https://www.flickr.com/photos/stillunusual/albums/72157718189437608/</ref>

=== {{flagdeco|DE}} Rock Session No.4, 1980 ===

* Interview with Mayo Thompson

=== {{flagdeco|DE}} Sounds, April 1981 ===
<gallery mode="packed" heights="150">
Sounds-1981-04-pg32.jpg|pg.32
Sounds-1981-04-pg33.jpg|pg.33
Sounds-1981-04-pg34.jpg|pg.34
Sounds-1981-04-pg35.jpg|pg.35
</gallery>

=== {{flagdeco|DE}} Spex, June 1981 ===
<gallery mode="packed" heights="150">
File:Kangaroo-Spex0.jpg|Cover
File:Kangaroo-Spex1.jpg|pg.18
File:Kangaroo-Spex2.jpg|pg.19
</gallery>

* "Kraft und Satire: The Red Crayola with die Krupps" ([[Shows/1981-06-06|June 6, 1981]])

=== {{flagdeco|NL}} Vinyl No.6, Sept 1981 ===
<gallery mode="packed">
File:Vinyl-06-1981-09-front.jpg|Cover
File:Vinyl-06-1981-09-pg32.jpg|pg.32
File:Vinyl-06-1981-09-pg33.jpg|pg.33
File:Vinyl-06-1981-09-pg36.jpg|pg.36
</gallery>

* "Mayo Thompson"

=== {{flagdeco|NO}} El Djarida No.7, 1987 ===
<gallery mode="packed">
File:El-Djarida-07-1987-front.jpg|Cover
</gallery>

=== {{flagdeco|US}} R.O.O.M., 1989 ===
<gallery mode="packed">
File:ROOM-1989-front.jpg|Cover
</gallery>

* "Mayo Thompson: Red Crayola. Interview" by Fareed Armaly

=== {{flagdeco|JP}} Exile Osaka No.3, 1995 ===
<gallery mode="packed">
File:Exile-Osaka-03-1995.jpg|Cover
File:Shows-1994-10-21-review-Exile-Osaka.jpg|
</gallery>

* "Mayo Thompson (Red Krayola) Live at Fandango". ([[Shows/1994-10-21|October 21, 1994]])

=== {{flagdeco|US}} Warped Reality No.3, Summer 1995 ===

* Mayo Thompson interview ([[Shows/1995-01-04|January 4, 1995]])

[https://warpedrealitymagazine.com/2005/12/bring-me-the-head-of-the-red-krayola.html '''Read full article''']

=== {{flagdeco|US}} Homotiller No.13, 1997 ===
<gallery mode="packed">
File:Homotiller-13-1997-front.jpg|Cover
</gallery>

=== Magnet No.27, Feb-Mar 1997 ===
<gallery mode="packed">
File:Magnet-27-1997-02-front.jpg|Cover
</gallery>

=== Artforum Vol.36 No.5, Jan 1998 ===

<gallery mode="packed">
File:Artforum-36-05-1998-01-front.jpg|Cover
File:Artforum-36-05-1998-01-pg82.jpg|pg.82
File:Artforum-36-05-1998-01-pg83.jpg|pg.83
File:Artforum-36-05-1998-01-pg84.jpg|pg.84
File:Artforum-36-05-1998-01-pg85.jpg|pg.85
File:Artforum-36-05-1998-01-pg126.jpg|pg.126
</gallery>

* "Company Man" by [[Diedrich Diederichsen]]

[https://www.artforum.com/features/company-man-201657/ '''Read full article''']

=== The Wire No.179, Jan 1999 ===
<gallery mode="packed">
File:The-Wire-179-1999-01-front.jpg|Cover
File:The-Wire-179-1999-01-pg10.jpg|pg.10
</gallery>

* "Fast Tracks: The Red Crayola" interview by Edwin Pouncey

=== Spex, Sep 1999 ===
<gallery mode="packed">
File:Spex-1999-09-front.jpg|Cover
File:Spex-1999-09-pg51.jpg|pg.51
File:Spex-1999-09-pg52.jpg|pg.52
File:Spex-1999-09-pg54.jpg|pg.54
File:Spex-1999-09-pg55.jpg|pg.55
File:Spex-1999-09-pg56.jpg|pg.56
File:Spex-1999-09-pg57.jpg|pg.57
</gallery>

* "Phantom Avantgarde" Interview with Mayo Thompson

[https://archive.org/details/spex-1999-09/page/50/mode/2up '''Read full article''']

=== The Wire No.258, August 2005 ===
<gallery mode="packed">
File:The-Wire-258-2005-08-front.jpg|Cover
File:The-Wire-258-2005-08-pg34.jpg|pg.34
File:The-Wire-258-2005-08-pg35.jpg|pg.35
File:The-Wire-258-2005-08-pg36.jpg|pg.36
File:The-Wire-258-2005-08-pg37.jpg|pg.37
File:The-Wire-258-2005-08-pg38.jpg|pg.38
File:The-Wire-258-2005-08-pg39.jpg|pg.39
File:The-Wire-258-2005-08-pg40.jpg|pg.40
File:The-Wire-258-2005-08-pg41.jpg|pg.41
</gallery>

* "The Red Krayola" by David Keenan

== References ==

File:Spex-1999-09-pg57.jpg

2025-11-16T03:45:21Z

Dotclub:

File:Spex-1999-09-pg56.jpg

2025-11-16T03:45:14Z

Dotclub:

File:Spex-1999-09-pg55.jpg

2025-11-16T03:45:08Z

Dotclub:

File:Spex-1999-09-pg54.jpg

2025-11-16T03:45:01Z

Dotclub:

File:Spex-1999-09-pg52.jpg

2025-11-16T03:44:55Z

Dotclub:

File:Spex-1999-09-pg51.jpg

2025-11-16T03:44:50Z

Dotclub:

Press

2025-11-16T03:44:34Z

Dotclub: /* Spex, Sep 1999 */

== Features ==

=== {{flagdeco|US}} Mother No.2, 1968 ===
<gallery mode="packed">
File:Mother-02-1968-front.jpg|Cover
File:Mother-02-1968-pg-22.jpg|pg.22
File:Mother-02-1968-pg-23.jpg|pg.23
File:Mother-02-1968-pg-24.jpg|pg.24
File:Mother-02-1968-pg-25.jpg|pg.25
File:Mother-02-1968-pg-26.jpg|pg.26
</gallery>

* "[[The Group as It Is Today]]" by The Red Crayola, June 1967

* "Red Krayola Interview" conducted January 16, 1968 by Jack Villagomez and Larry Sepulvado

[https://mattendahl.blogspot.com/2014/09/interview-with-red-krayola-1968.html '''Read full article''']

=== {{flagdeco|US}} Not Fade Away Vol.1 No. 2, 1977 ===
<gallery mode="packed">
File:Not-Fade-Away-01-02-1977-front.jpg|Cover
File:Not-Fade-Away-01-02-1977-pg20.jpg|pg.20
</gallery>

* "Red Krayola Interview" (reprinted from ''Mother No.2'')
* ''[[Corky's Debt to His Father]]'' ad

=== {{flagdeco|UK}} Comstock Lode No.4, 1978 ===
<gallery mode="packed">
File:Comstock-Lode-04-1978-front.jpg|Cover
</gallery>

* Interview with Mayo Thompson (reprinted in ''[[The Red Crayola Songbook]]'')

=== {{flagdeco|UK}} Negative Reaction, Sept-Oct 1978 ===
<gallery mode="packed">
File:Negative-Reaction-07-09-front.jpg|Cover
</gallery>

=== {{flagdeco|UK}} Howdy from Texas the Lone Star State, Oct 1978 ===
Main article: [[Howdy from Texas the Lone Star State|''Howdy from Texas the Lone Star State'']]<gallery mode="packed">
File:Howdy-front.jpg|Cover
</gallery>

* "Lelan Rogers Interview" by Jon Savage
* "Baghdad on the Bayous?" by [[Mayo Thompson]]

=== Outlet No.11, May 1979 ===

* The Red Crayola

=== {{flagdeco|UK}} New Musical Express, July 21, 1979 ===
<gallery mode="packed">
File:New-Musical-Express-1979-07-21-front.jpg|Cover
File:New-Musical-Express-1979-07-21-pg27.jpg|pg.27
File:New-Musical-Express-1979-07-21-pg28.jpg|pg.28
</gallery>

* "Mayo Thompson of The Red Crayola" by Andy Gill

=== {{flagdeco|UK}} The Red Crayola Songbook, 1979 ===
Main article: ''[[The Red Crayola Songbook]]''

<gallery mode="packed">
File:Soldier-Talk-zine-cover.jpg|Cover
</gallery>

* Interview with Mayo Thompson (reprinted from ''Comstock Lode'')
* Solder-Talk lyrics
* The future of the Red Crayola
* Micro-Chips & Fish lyrics

=== {{flagdeco|UK}} Crash Smash Crack Ring No.2, 1979 ===
<gallery mode="packed">
File:Crash-Smash-Crack-Ring-02-front.jpg|Cover
</gallery>

* Red Crayola

=== {{flagdeco|UK}} Common Knowledge No.1, 1979 ===
<gallery mode="packed">
File:Common-Knowledge-01-1979-front.jpg|Cover
</gallery>

* "Mayo Thompson Interview"

=== {{flagdeco|UK}} Vague No.2, Dec 1979 - Jan 1980 ===
<gallery mode="packed">
File:Vague-02-1979-12-front.jpg|Cover
</gallery>

=== {{flagdeco|US}} New York Rocker, June 1980 ===
<gallery mode="packed">
File:New-York-Rocker-1980-06-front.jpg|Cover
File:New-York-Rocker-1980-06-pg42-43.jpg|pg.42-43
</gallery>

* "Easy on the Mayo (Thompson)" by Uday Mohan

=== {{flagdeco|UK}} Voice of Buddha No.2, 1980 ===
<gallery mode="packed">
File:Voice-of-Buddha-02-1980-cover.jpg|Cover
File:Voice-of-Buddha-02-1980-pg01.jpg|pg.1
File:Voice-of-Buddha-02-1980-pg02.jpg|pg.2
File:Voice-of-Buddha-02-1980-pg03.jpg|pg.3
File:Voice-of-Buddha-02-1980-pg04.jpg|pg.4
</gallery>

* Mayo Thompson interview

=== {{flagdeco|UK}} Step by Step No.1, 1980 ===
<gallery mode="packed">
File:Step-by-Step-zine-1980-front.jpg|Cover
File:Step-by-Step-zine-1980-pg12.jpg|pg.12
File:Step-by-Step-zine-1980-pg13.jpg|pg.13
File:Step-by-Step-zine-1980-pg14.jpg|pg.14
File:Step-by-Step-zine-1980-pg15.jpg|pg.15
File:Step-by-Step-zine-1980-pg16.jpg|pg.16
File:Step-by-Step-zine-1980-pg17.jpg|pg.17
File:Step-by-Step-zine-1980-pg18.jpg|pg.18
File:Step-by-Step-zine-1980-pg19.jpg|pg.19
</gallery>

* "Two Men and a Bird Adrift in a Sinking Life Boat" by [[Mayo Thompson]] and Ian Penman<ref>https://www.flickr.com/photos/stillunusual/albums/72157718189437608/</ref>

=== {{flagdeco|DE}} Rock Session No.4, 1980 ===

* Interview with Mayo Thompson

=== {{flagdeco|DE}} Sounds, April 1981 ===
<gallery mode="packed" heights="150">
Sounds-1981-04-pg32.jpg|pg.32
Sounds-1981-04-pg33.jpg|pg.33
Sounds-1981-04-pg34.jpg|pg.34
Sounds-1981-04-pg35.jpg|pg.35
</gallery>

=== {{flagdeco|DE}} Spex, June 1981 ===
<gallery mode="packed" heights="150">
File:Kangaroo-Spex0.jpg|Cover
File:Kangaroo-Spex1.jpg|pg.18
File:Kangaroo-Spex2.jpg|pg.19
</gallery>

* "Kraft und Satire: The Red Crayola with die Krupps" ([[Shows/1981-06-06|June 6, 1981]])

=== {{flagdeco|NL}} Vinyl No.6, Sept 1981 ===
<gallery mode="packed">
File:Vinyl-06-1981-09-front.jpg|Cover
File:Vinyl-06-1981-09-pg32.jpg|pg.32
File:Vinyl-06-1981-09-pg33.jpg|pg.33
File:Vinyl-06-1981-09-pg36.jpg|pg.36
</gallery>

* "Mayo Thompson"

=== {{flagdeco|NO}} El Djarida No.7, 1987 ===
<gallery mode="packed">
File:El-Djarida-07-1987-front.jpg|Cover
</gallery>

=== {{flagdeco|US}} R.O.O.M., 1989 ===
<gallery mode="packed">
File:ROOM-1989-front.jpg|Cover
</gallery>

* "Mayo Thompson: Red Crayola. Interview" by Fareed Armaly

=== {{flagdeco|JP}} Exile Osaka No.3, 1995 ===
<gallery mode="packed">
File:Exile-Osaka-03-1995.jpg|Cover
File:Shows-1994-10-21-review-Exile-Osaka.jpg|
</gallery>

* "Mayo Thompson (Red Krayola) Live at Fandango". ([[Shows/1994-10-21|October 21, 1994]])

=== {{flagdeco|US}} Warped Reality No.3, Summer 1995 ===

* Mayo Thompson interview ([[Shows/1995-01-04|January 4, 1995]])

[https://warpedrealitymagazine.com/2005/12/bring-me-the-head-of-the-red-krayola.html '''Read full article''']

=== {{flagdeco|US}} Homotiller No.13, 1997 ===
<gallery mode="packed">
File:Homotiller-13-1997-front.jpg|Cover
</gallery>

=== Magnet No.27, Feb-Mar 1997 ===
<gallery mode="packed">
File:Magnet-27-1997-02-front.jpg|Cover
</gallery>

=== Artforum Vol.36 No.5, Jan 1998 ===

<gallery mode="packed">
File:Artforum-36-05-1998-01-front.jpg|Cover
File:Artforum-36-05-1998-01-pg82.jpg|pg.82
File:Artforum-36-05-1998-01-pg83.jpg|pg.83
File:Artforum-36-05-1998-01-pg84.jpg|pg.84
File:Artforum-36-05-1998-01-pg85.jpg|pg.85
File:Artforum-36-05-1998-01-pg126.jpg|pg.126
</gallery>

* "Company Man" by [[Diedrich Diederichsen]]

[https://www.artforum.com/features/company-man-201657/ '''Read full article''']

=== The Wire No.179, Jan 1999 ===
<gallery mode="packed">
File:The-Wire-179-1999-01-front.jpg|Cover
File:The-Wire-179-1999-01-pg10.jpg|pg.10
</gallery>

* "Fast Tracks: The Red Crayola" interview by Edwin Pouncey

=== Spex, Sep 1999 ===
<gallery mode="packed">
File:Spex-1999-09-pg51.jpg|pg.51
File:Spex-1999-09-pg52.jpg|pg.52
File:Spex-1999-09-pg54.jpg|pg.54
File:Spex-1999-09-pg55.jpg|pg.55
File:Spex-1999-09-pg56.jpg|pg.56
File:Spex-1999-09-pg57.jpg|pg.57
</gallery>

* "Phantom Avantgarde" Interview with Mayo Thompson

[https://archive.org/details/spex-1999-09/page/50/mode/2up '''Read full article''']

=== The Wire No.258, August 2005 ===
<gallery mode="packed">
File:The-Wire-258-2005-08-front.jpg|Cover
File:The-Wire-258-2005-08-pg34.jpg|pg.34
File:The-Wire-258-2005-08-pg35.jpg|pg.35
File:The-Wire-258-2005-08-pg36.jpg|pg.36
File:The-Wire-258-2005-08-pg37.jpg|pg.37
File:The-Wire-258-2005-08-pg38.jpg|pg.38
File:The-Wire-258-2005-08-pg39.jpg|pg.39
File:The-Wire-258-2005-08-pg40.jpg|pg.40
File:The-Wire-258-2005-08-pg41.jpg|pg.41
</gallery>

* "The Red Krayola" by David Keenan

== References ==

Press

2025-11-16T03:43:03Z

Dotclub: /* Spex, Sep 1999 */

== Features ==

=== {{flagdeco|US}} Mother No.2, 1968 ===
<gallery mode="packed">
File:Mother-02-1968-front.jpg|Cover
File:Mother-02-1968-pg-22.jpg|pg.22
File:Mother-02-1968-pg-23.jpg|pg.23
File:Mother-02-1968-pg-24.jpg|pg.24
File:Mother-02-1968-pg-25.jpg|pg.25
File:Mother-02-1968-pg-26.jpg|pg.26
</gallery>

* "[[The Group as It Is Today]]" by The Red Crayola, June 1967

* "Red Krayola Interview" conducted January 16, 1968 by Jack Villagomez and Larry Sepulvado

[https://mattendahl.blogspot.com/2014/09/interview-with-red-krayola-1968.html '''Read full article''']

=== {{flagdeco|US}} Not Fade Away Vol.1 No. 2, 1977 ===
<gallery mode="packed">
File:Not-Fade-Away-01-02-1977-front.jpg|Cover
File:Not-Fade-Away-01-02-1977-pg20.jpg|pg.20
</gallery>

* "Red Krayola Interview" (reprinted from ''Mother No.2'')
* ''[[Corky's Debt to His Father]]'' ad

=== {{flagdeco|UK}} Comstock Lode No.4, 1978 ===
<gallery mode="packed">
File:Comstock-Lode-04-1978-front.jpg|Cover
</gallery>

* Interview with Mayo Thompson (reprinted in ''[[The Red Crayola Songbook]]'')

=== {{flagdeco|UK}} Negative Reaction, Sept-Oct 1978 ===
<gallery mode="packed">
File:Negative-Reaction-07-09-front.jpg|Cover
</gallery>

=== {{flagdeco|UK}} Howdy from Texas the Lone Star State, Oct 1978 ===
Main article: [[Howdy from Texas the Lone Star State|''Howdy from Texas the Lone Star State'']]<gallery mode="packed">
File:Howdy-front.jpg|Cover
</gallery>

* "Lelan Rogers Interview" by Jon Savage
* "Baghdad on the Bayous?" by [[Mayo Thompson]]

=== Outlet No.11, May 1979 ===

* The Red Crayola

=== {{flagdeco|UK}} New Musical Express, July 21, 1979 ===
<gallery mode="packed">
File:New-Musical-Express-1979-07-21-front.jpg|Cover
File:New-Musical-Express-1979-07-21-pg27.jpg|pg.27
File:New-Musical-Express-1979-07-21-pg28.jpg|pg.28
</gallery>

* "Mayo Thompson of The Red Crayola" by Andy Gill

=== {{flagdeco|UK}} The Red Crayola Songbook, 1979 ===
Main article: ''[[The Red Crayola Songbook]]''

<gallery mode="packed">
File:Soldier-Talk-zine-cover.jpg|Cover
</gallery>

* Interview with Mayo Thompson (reprinted from ''Comstock Lode'')
* Solder-Talk lyrics
* The future of the Red Crayola
* Micro-Chips & Fish lyrics

=== {{flagdeco|UK}} Crash Smash Crack Ring No.2, 1979 ===
<gallery mode="packed">
File:Crash-Smash-Crack-Ring-02-front.jpg|Cover
</gallery>

* Red Crayola

=== {{flagdeco|UK}} Common Knowledge No.1, 1979 ===
<gallery mode="packed">
File:Common-Knowledge-01-1979-front.jpg|Cover
</gallery>

* "Mayo Thompson Interview"

=== {{flagdeco|UK}} Vague No.2, Dec 1979 - Jan 1980 ===
<gallery mode="packed">
File:Vague-02-1979-12-front.jpg|Cover
</gallery>

=== {{flagdeco|US}} New York Rocker, June 1980 ===
<gallery mode="packed">
File:New-York-Rocker-1980-06-front.jpg|Cover
File:New-York-Rocker-1980-06-pg42-43.jpg|pg.42-43
</gallery>

* "Easy on the Mayo (Thompson)" by Uday Mohan

=== {{flagdeco|UK}} Voice of Buddha No.2, 1980 ===
<gallery mode="packed">
File:Voice-of-Buddha-02-1980-cover.jpg|Cover
File:Voice-of-Buddha-02-1980-pg01.jpg|pg.1
File:Voice-of-Buddha-02-1980-pg02.jpg|pg.2
File:Voice-of-Buddha-02-1980-pg03.jpg|pg.3
File:Voice-of-Buddha-02-1980-pg04.jpg|pg.4
</gallery>

* Mayo Thompson interview

=== {{flagdeco|UK}} Step by Step No.1, 1980 ===
<gallery mode="packed">
File:Step-by-Step-zine-1980-front.jpg|Cover
File:Step-by-Step-zine-1980-pg12.jpg|pg.12
File:Step-by-Step-zine-1980-pg13.jpg|pg.13
File:Step-by-Step-zine-1980-pg14.jpg|pg.14
File:Step-by-Step-zine-1980-pg15.jpg|pg.15
File:Step-by-Step-zine-1980-pg16.jpg|pg.16
File:Step-by-Step-zine-1980-pg17.jpg|pg.17
File:Step-by-Step-zine-1980-pg18.jpg|pg.18
File:Step-by-Step-zine-1980-pg19.jpg|pg.19
</gallery>

* "Two Men and a Bird Adrift in a Sinking Life Boat" by [[Mayo Thompson]] and Ian Penman<ref>https://www.flickr.com/photos/stillunusual/albums/72157718189437608/</ref>

=== {{flagdeco|DE}} Rock Session No.4, 1980 ===

* Interview with Mayo Thompson

=== {{flagdeco|DE}} Sounds, April 1981 ===
<gallery mode="packed" heights="150">
Sounds-1981-04-pg32.jpg|pg.32
Sounds-1981-04-pg33.jpg|pg.33
Sounds-1981-04-pg34.jpg|pg.34
Sounds-1981-04-pg35.jpg|pg.35
</gallery>

=== {{flagdeco|DE}} Spex, June 1981 ===
<gallery mode="packed" heights="150">
File:Kangaroo-Spex0.jpg|Cover
File:Kangaroo-Spex1.jpg|pg.18
File:Kangaroo-Spex2.jpg|pg.19
</gallery>

* "Kraft und Satire: The Red Crayola with die Krupps" ([[Shows/1981-06-06|June 6, 1981]])

=== {{flagdeco|NL}} Vinyl No.6, Sept 1981 ===
<gallery mode="packed">
File:Vinyl-06-1981-09-front.jpg|Cover
File:Vinyl-06-1981-09-pg32.jpg|pg.32
File:Vinyl-06-1981-09-pg33.jpg|pg.33
File:Vinyl-06-1981-09-pg36.jpg|pg.36
</gallery>

* "Mayo Thompson"

=== {{flagdeco|NO}} El Djarida No.7, 1987 ===
<gallery mode="packed">
File:El-Djarida-07-1987-front.jpg|Cover
</gallery>

=== {{flagdeco|US}} R.O.O.M., 1989 ===
<gallery mode="packed">
File:ROOM-1989-front.jpg|Cover
</gallery>

* "Mayo Thompson: Red Crayola. Interview" by Fareed Armaly

=== {{flagdeco|JP}} Exile Osaka No.3, 1995 ===
<gallery mode="packed">
File:Exile-Osaka-03-1995.jpg|Cover
File:Shows-1994-10-21-review-Exile-Osaka.jpg|
</gallery>

* "Mayo Thompson (Red Krayola) Live at Fandango". ([[Shows/1994-10-21|October 21, 1994]])

=== {{flagdeco|US}} Warped Reality No.3, Summer 1995 ===

* Mayo Thompson interview ([[Shows/1995-01-04|January 4, 1995]])

[https://warpedrealitymagazine.com/2005/12/bring-me-the-head-of-the-red-krayola.html '''Read full article''']

=== {{flagdeco|US}} Homotiller No.13, 1997 ===
<gallery mode="packed">
File:Homotiller-13-1997-front.jpg|Cover
</gallery>

=== Magnet No.27, Feb-Mar 1997 ===
<gallery mode="packed">
File:Magnet-27-1997-02-front.jpg|Cover
</gallery>

=== Artforum Vol.36 No.5, Jan 1998 ===

<gallery mode="packed">
File:Artforum-36-05-1998-01-front.jpg|Cover
File:Artforum-36-05-1998-01-pg82.jpg|pg.82
File:Artforum-36-05-1998-01-pg83.jpg|pg.83
File:Artforum-36-05-1998-01-pg84.jpg|pg.84
File:Artforum-36-05-1998-01-pg85.jpg|pg.85
File:Artforum-36-05-1998-01-pg126.jpg|pg.126
</gallery>

* "Company Man" by [[Diedrich Diederichsen]]

[https://www.artforum.com/features/company-man-201657/ '''Read full article''']

=== The Wire No.179, Jan 1999 ===
<gallery mode="packed">
File:The-Wire-179-1999-01-front.jpg|Cover
File:The-Wire-179-1999-01-pg10.jpg|pg.10
</gallery>

* "Fast Tracks: The Red Crayola" interview by Edwin Pouncey

=== Spex, Sep 1999 ===
<gallery mode="packed">
File:Spex-1999-09-pg51.jpg|pg.51
File:Spex-1999-09-pg52.jpg|pg.52
File:Spex-1999-09-pg54.jpg|pg.54
File:Spex-1999-09-pg55.jpg|pg.55
File:Spex-1999-09-pg56.jpg|pg.56
File:Spex-1999-09-pg57.jpg|pg.57
</gallery>

* Interview with Mayo Thompson

[https://archive.org/details/spex-1999-09/page/50/mode/2up '''Read full article''']

=== The Wire No.258, August 2005 ===
<gallery mode="packed">
File:The-Wire-258-2005-08-front.jpg|Cover
File:The-Wire-258-2005-08-pg34.jpg|pg.34
File:The-Wire-258-2005-08-pg35.jpg|pg.35
File:The-Wire-258-2005-08-pg36.jpg|pg.36
File:The-Wire-258-2005-08-pg37.jpg|pg.37
File:The-Wire-258-2005-08-pg38.jpg|pg.38
File:The-Wire-258-2005-08-pg39.jpg|pg.39
File:The-Wire-258-2005-08-pg40.jpg|pg.40
File:The-Wire-258-2005-08-pg41.jpg|pg.41
</gallery>

* "The Red Krayola" by David Keenan

== References ==

Press

2025-11-16T03:42:10Z

Dotclub: /* The Wire No.179, Jan 1999 */

== Features ==

=== {{flagdeco|US}} Mother No.2, 1968 ===
<gallery mode="packed">
File:Mother-02-1968-front.jpg|Cover
File:Mother-02-1968-pg-22.jpg|pg.22
File:Mother-02-1968-pg-23.jpg|pg.23
File:Mother-02-1968-pg-24.jpg|pg.24
File:Mother-02-1968-pg-25.jpg|pg.25
File:Mother-02-1968-pg-26.jpg|pg.26
</gallery>

* "[[The Group as It Is Today]]" by The Red Crayola, June 1967

* "Red Krayola Interview" conducted January 16, 1968 by Jack Villagomez and Larry Sepulvado

[https://mattendahl.blogspot.com/2014/09/interview-with-red-krayola-1968.html '''Read full article''']

=== {{flagdeco|US}} Not Fade Away Vol.1 No. 2, 1977 ===
<gallery mode="packed">
File:Not-Fade-Away-01-02-1977-front.jpg|Cover
File:Not-Fade-Away-01-02-1977-pg20.jpg|pg.20
</gallery>

* "Red Krayola Interview" (reprinted from ''Mother No.2'')
* ''[[Corky's Debt to His Father]]'' ad

=== {{flagdeco|UK}} Comstock Lode No.4, 1978 ===
<gallery mode="packed">
File:Comstock-Lode-04-1978-front.jpg|Cover
</gallery>

* Interview with Mayo Thompson (reprinted in ''[[The Red Crayola Songbook]]'')

=== {{flagdeco|UK}} Negative Reaction, Sept-Oct 1978 ===
<gallery mode="packed">
File:Negative-Reaction-07-09-front.jpg|Cover
</gallery>

=== {{flagdeco|UK}} Howdy from Texas the Lone Star State, Oct 1978 ===
Main article: [[Howdy from Texas the Lone Star State|''Howdy from Texas the Lone Star State'']]<gallery mode="packed">
File:Howdy-front.jpg|Cover
</gallery>

* "Lelan Rogers Interview" by Jon Savage
* "Baghdad on the Bayous?" by [[Mayo Thompson]]

=== Outlet No.11, May 1979 ===

* The Red Crayola

=== {{flagdeco|UK}} New Musical Express, July 21, 1979 ===
<gallery mode="packed">
File:New-Musical-Express-1979-07-21-front.jpg|Cover
File:New-Musical-Express-1979-07-21-pg27.jpg|pg.27
File:New-Musical-Express-1979-07-21-pg28.jpg|pg.28
</gallery>

* "Mayo Thompson of The Red Crayola" by Andy Gill

=== {{flagdeco|UK}} The Red Crayola Songbook, 1979 ===
Main article: ''[[The Red Crayola Songbook]]''

<gallery mode="packed">
File:Soldier-Talk-zine-cover.jpg|Cover
</gallery>

* Interview with Mayo Thompson (reprinted from ''Comstock Lode'')
* Solder-Talk lyrics
* The future of the Red Crayola
* Micro-Chips & Fish lyrics

=== {{flagdeco|UK}} Crash Smash Crack Ring No.2, 1979 ===
<gallery mode="packed">
File:Crash-Smash-Crack-Ring-02-front.jpg|Cover
</gallery>

* Red Crayola

=== {{flagdeco|UK}} Common Knowledge No.1, 1979 ===
<gallery mode="packed">
File:Common-Knowledge-01-1979-front.jpg|Cover
</gallery>

* "Mayo Thompson Interview"

=== {{flagdeco|UK}} Vague No.2, Dec 1979 - Jan 1980 ===
<gallery mode="packed">
File:Vague-02-1979-12-front.jpg|Cover
</gallery>

=== {{flagdeco|US}} New York Rocker, June 1980 ===
<gallery mode="packed">
File:New-York-Rocker-1980-06-front.jpg|Cover
File:New-York-Rocker-1980-06-pg42-43.jpg|pg.42-43
</gallery>

* "Easy on the Mayo (Thompson)" by Uday Mohan

=== {{flagdeco|UK}} Voice of Buddha No.2, 1980 ===
<gallery mode="packed">
File:Voice-of-Buddha-02-1980-cover.jpg|Cover
File:Voice-of-Buddha-02-1980-pg01.jpg|pg.1
File:Voice-of-Buddha-02-1980-pg02.jpg|pg.2
File:Voice-of-Buddha-02-1980-pg03.jpg|pg.3
File:Voice-of-Buddha-02-1980-pg04.jpg|pg.4
</gallery>

* Mayo Thompson interview

=== {{flagdeco|UK}} Step by Step No.1, 1980 ===
<gallery mode="packed">
File:Step-by-Step-zine-1980-front.jpg|Cover
File:Step-by-Step-zine-1980-pg12.jpg|pg.12
File:Step-by-Step-zine-1980-pg13.jpg|pg.13
File:Step-by-Step-zine-1980-pg14.jpg|pg.14
File:Step-by-Step-zine-1980-pg15.jpg|pg.15
File:Step-by-Step-zine-1980-pg16.jpg|pg.16
File:Step-by-Step-zine-1980-pg17.jpg|pg.17
File:Step-by-Step-zine-1980-pg18.jpg|pg.18
File:Step-by-Step-zine-1980-pg19.jpg|pg.19
</gallery>

* "Two Men and a Bird Adrift in a Sinking Life Boat" by [[Mayo Thompson]] and Ian Penman<ref>https://www.flickr.com/photos/stillunusual/albums/72157718189437608/</ref>

=== {{flagdeco|DE}} Rock Session No.4, 1980 ===

* Interview with Mayo Thompson

=== {{flagdeco|DE}} Sounds, April 1981 ===
<gallery mode="packed" heights="150">
Sounds-1981-04-pg32.jpg|pg.32
Sounds-1981-04-pg33.jpg|pg.33
Sounds-1981-04-pg34.jpg|pg.34
Sounds-1981-04-pg35.jpg|pg.35
</gallery>

=== {{flagdeco|DE}} Spex, June 1981 ===
<gallery mode="packed" heights="150">
File:Kangaroo-Spex0.jpg|Cover
File:Kangaroo-Spex1.jpg|pg.18
File:Kangaroo-Spex2.jpg|pg.19
</gallery>

* "Kraft und Satire: The Red Crayola with die Krupps" ([[Shows/1981-06-06|June 6, 1981]])

=== {{flagdeco|NL}} Vinyl No.6, Sept 1981 ===
<gallery mode="packed">
File:Vinyl-06-1981-09-front.jpg|Cover
File:Vinyl-06-1981-09-pg32.jpg|pg.32
File:Vinyl-06-1981-09-pg33.jpg|pg.33
File:Vinyl-06-1981-09-pg36.jpg|pg.36
</gallery>

* "Mayo Thompson"

=== {{flagdeco|NO}} El Djarida No.7, 1987 ===
<gallery mode="packed">
File:El-Djarida-07-1987-front.jpg|Cover
</gallery>

=== {{flagdeco|US}} R.O.O.M., 1989 ===
<gallery mode="packed">
File:ROOM-1989-front.jpg|Cover
</gallery>

* "Mayo Thompson: Red Crayola. Interview" by Fareed Armaly

=== {{flagdeco|JP}} Exile Osaka No.3, 1995 ===
<gallery mode="packed">
File:Exile-Osaka-03-1995.jpg|Cover
File:Shows-1994-10-21-review-Exile-Osaka.jpg|
</gallery>

* "Mayo Thompson (Red Krayola) Live at Fandango". ([[Shows/1994-10-21|October 21, 1994]])

=== {{flagdeco|US}} Warped Reality No.3, Summer 1995 ===

* Mayo Thompson interview ([[Shows/1995-01-04|January 4, 1995]])

[https://warpedrealitymagazine.com/2005/12/bring-me-the-head-of-the-red-krayola.html '''Read full article''']

=== {{flagdeco|US}} Homotiller No.13, 1997 ===
<gallery mode="packed">
File:Homotiller-13-1997-front.jpg|Cover
</gallery>

=== Magnet No.27, Feb-Mar 1997 ===
<gallery mode="packed">
File:Magnet-27-1997-02-front.jpg|Cover
</gallery>

=== Artforum Vol.36 No.5, Jan 1998 ===

<gallery mode="packed">
File:Artforum-36-05-1998-01-front.jpg|Cover
File:Artforum-36-05-1998-01-pg82.jpg|pg.82
File:Artforum-36-05-1998-01-pg83.jpg|pg.83
File:Artforum-36-05-1998-01-pg84.jpg|pg.84
File:Artforum-36-05-1998-01-pg85.jpg|pg.85
File:Artforum-36-05-1998-01-pg126.jpg|pg.126
</gallery>

* "Company Man" by [[Diedrich Diederichsen]]

[https://www.artforum.com/features/company-man-201657/ '''Read full article''']

=== The Wire No.179, Jan 1999 ===
<gallery mode="packed">
File:The-Wire-179-1999-01-front.jpg|Cover
File:The-Wire-179-1999-01-pg10.jpg|pg.10
</gallery>

* "Fast Tracks: The Red Crayola" interview by Edwin Pouncey

=== Spex, Sep 1999 ===
<gallery mode="packed">
File:Spex-1999-09-pg51.jpg|pg.51
File:Spex-1999-09-pg52.jpg|pg.52
File:Spex-1999-09-pg54.jpg|pg.54
File:Spex-1999-09-pg55.jpg|pg.55
File:Spex-1999-09-pg56.jpg|pg.56
File:Spex-1999-09-pg57.jpg|pg.57
</gallery>

=== The Wire No.258, August 2005 ===
<gallery mode="packed">
File:The-Wire-258-2005-08-front.jpg|Cover
File:The-Wire-258-2005-08-pg34.jpg|pg.34
File:The-Wire-258-2005-08-pg35.jpg|pg.35
File:The-Wire-258-2005-08-pg36.jpg|pg.36
File:The-Wire-258-2005-08-pg37.jpg|pg.37
File:The-Wire-258-2005-08-pg38.jpg|pg.38
File:The-Wire-258-2005-08-pg39.jpg|pg.39
File:The-Wire-258-2005-08-pg40.jpg|pg.40
File:The-Wire-258-2005-08-pg41.jpg|pg.41
</gallery>

* "The Red Krayola" by David Keenan

== References ==

Fingerpainting

2025-11-16T03:37:34Z

Dotclub: /* Spex */

[[File:Fingerpainting-front.jpg|thumb|{{MediaLink|YouTube=https://www.youtube.com/playlist?list=OLAK5uy_lDkBOFcwPe1CE0WydkLAUKPQIfVEyA3Ro}}]]

== Track listing ==
{{tracklist
| title1 = [[George III]]
| length1 = 1:50
| title2 = [[Bad Medicine]]
| length2 = 3:30
| title3 = A Hybrid Creature of Greed, Ignorance and Powers of Comprehension Plays a Vaulted Drum Kit. The Playing Corresponds Completely to the Event. There Are Entrances and Exits. And There Is Gravitation, Where It Is Needed - Tears for Example
| length3 = 2:22
| title4 = [[There There Betty Betty]]
| length4 = 2:29
| title5 = The Greed of a Clarinet That Is Puffy from Crying Gets Tossed in Butter and Spread by Notes. This Process Depresses the Entire Orchestra So Much That It Only Plays Behind a Golden Partition. The Partition Is Decorated With Semi-Precious Attractive Diamonds
| length5 = 4:41
| title6 = [[Vile Vile Grass]]
| length6 = 2:31
| title7 = A Sow With an Abbess's Bonnet Is Sitting on Four Rock-Objects and Singing Along With Them. The Song Sounds Like a Cheater, And Is Imprisoned in a Striped Toy Box Because Its Aims Are Not Recognizable. On Top of the Box Is a Head That Could Be Elvis's, If He Had Survived This
| length7 = 5:48
| title8 = [[Mother]]
| length8 = 2:16
| title9 = Out of a Trombone That Is Divided Lengthways by a Partition of Gold Sound Seven Violins of Dynamite That Are Cut Sideways into Thin Slices. They Are Played by the Thrown Out Ex-Members of a Very Bad Band and Blown Up
| length9 = 4:17
| title10 = In My Baby's Ruth, Sandy's Drums With David & Shadwell, Filthy Lucre
| length10 = 15:02
}}

== Background ==
* Rerecordings of some of the band's earliest songs
* Album structure mimicking {{RLink|Parable}}
* Concept was [[Albert Oehlen]]'s idea
* {{RLink|Fingerpointing}}

== Ephemera ==

=== Press release ===
<gallery mode="packed">
File:Fingerpainting-press-release.jpg|<ref>https://www.ebay.com/itm/296424249062</ref>
</gallery>

=== Press kit ===
<gallery mode="packed">
File:Fingerpainting-press-kit1.jpg|
File:Fingerpainting-press-kit2.jpg|
File:Fingerpainting-press-kit3.jpg|
File:Fingerpainting-press-kit4.jpg|
</gallery>

== Personnel ==

=== Musicians ===
[[David Grubbs]], [[George Hurley]], [[Elisa Randazzo]], [[Albert Oehlen]], [[Stephen Prina]], [[Mayo Thompson]], [[Tom Watson]], [[Sandy Yang]]

=== Sampled musicians ===
[[Frederick Barthelme]], [[Steve Cunningham]], [[Bobby Henschen]]

=== Cover art ===
Designed by [[Christopher Williams]]. There is evidence to suggest the artwork was created by [[Sandy Yang]].

== Retrospectives ==
[[Mayo Thompson]], 1999<ref>The Wire, January 1999, pg.10</ref><blockquote>The next record is called ''Finger Painting'' and it's modelled on ''[[The Parable of Arable Land|Parable]]''. It features new recordings of the rejects from the Parable sessions, and freakouts with today's line-up. It is now something like [[The Familiar Ugly]] in that we can have completely terrible stuff happening onstage and still get away with it!</blockquote>[[Tom Watson]], 1999<ref>https://web.archive.org/web/20010702024914/http://www.newtimesla.com/issues/1999-06-10/music3.html</ref><blockquote>The basic song structures were done in an afternoon with me and [[David Grubbs|David]] [Grubbs] and [[Mayo Thompson|Mayo]] [Thompson] playing three guitars, trying to synchronize with rhythm tracks from [[Albert Oehlen|Albert]] [Oehlen]. But there are also bits from live performance, little parts he might have asked me to play at a show two years ago, and there's a lot of collage work, using digital tape the way people used to use analog tape. There was a lot of compiling of bits and pieces from different sources, so I have a feeling this record was something Mayo had considered for a long time.</blockquote>[[Mayo Thompson]], 2010<blockquote>''Fingerpainting'' and ''[[Fingerpointing]]'' are based on ''[[The Parable of Arable Land]]'', they’re structured in exactly the same way. Freak-out, song, freak-out, song, like that. The material that’s on ''Fingerpainting'' is material that we didn’t record for ''Parable of Arable Land'', it’s material that dates from those days. Like ‘[[There There Betty Betty|There There, Betty Betty]],’ that’s a song from that time, and ‘Shadwell’ is something that we recorded together as well. That was when we had stopped playing songs altogether. That’s like the time of ''[[Coconut Hotel]]'' and the time in Berkeley, when we were playing at the Berkeley Folk Festival, we did that stuff with Fahey. We were playing what we called feedback music, and [<nowiki/>[[Frederick Barthelme]] and [[Steve Cunningham]]] were involved in that. [...] On ‘Shadwell,’ they appear [...] that’s the period piece. And there’s also, that piano player that you hear in the background of ‘Shadwell,’ the last thing that you hear on ''Fingerpainting''—it’s not on ''[[Fingerpointing]]''—that’s [[Bobby Henschen]], the piano player I worked with in ’71. Rick [Barthelme] and I worked with him in Houston together. That’s an album that’s made out of material that comes from 40 years ago. It wasn’t 40 at the time, it was made in 1999. And ''[[Fingerpointing]]'' was [[Jim O'Rourke|O'Rourke]]’s mix of the same material, which when I first heard it I thought, ‘No, this is not what I had in mind.’ I wanted something that was more actually one-to-one with the first record.</blockquote>[[Mayo Thompson]], 1999<ref>https://web.archive.org/web/20010702024914/http://www.newtimesla.com/issues/1999-06-10/music3.html</ref><blockquote>The alternation isn't quite so coherent, on-and-off. There's only a couple of instances where you get a pure blast from the past, so to speak. The rest of the time you might find--if you cared, or knew, or if it mattered, even--that it's embedded in other kinds of material recorded at other times and other places. All the tunes are vintage material--'[[Bad Medicine]]' is a tune that [Steve] [[Steve Cunningham|Cunningham]] had when we met him. But the recordings of the songs are all contemporary versions, handled in a certain way. There is obviously a game of alternation being played: This is a song structure, this is another kind of structure--what kind of structure is this?"</blockquote>

== Reviews ==

=== Aiding & Abetting ===
June 7, 1999<blockquote>The usual large conglomeration of fine folks backing up Mayo Thompson (though Jim O'Rourke is on holiday), producing the usual twisted Red Krayola fare.

On this disc, Mayo reaches back and takes some songs of his from yesteryear and gives them a new spin. The sound is much more electronically dominated. I know, that was always there, but it's like the issuance of those old Moebius-Conny Plank-Mayo tapes inspired the guy to dig into that side of things more.

Who knows? I've given up trying to guess anything when it comes to the Red Krayola. Much better to just sit there and let the looniness wash over like a comfy blanket. There is method to the madness, but madness it is. Music for the discerning lunatic. I'm happy to count myself among those folks.

This sounds like a work in progress. all Red Krayola discs do, though, and I can handle that. Just another missal to the warped masses. I'm already craving another hit.</blockquote>

=== New Times L.A. ===
June 10, 1999<ref>https://web.archive.org/web/20010702024914/http://www.newtimesla.com/issues/1999-06-10/music3.html</ref>

Franklin Bruno<blockquote>[...] The Red Krayola's new double positive, Fingerpainting, may surprise (and initially frustrate) fans of the band's guitar-driven, song-centered work on Chicago indie Drag City, which started releasing Thompson's records in 1994--about the time he took a teaching position at Pasadena's Art Center College of Design after two decades in Europe. The first clue that something's up is the record's personnel. The current core participants are all present, but so are founding members [[Frederick Barthelme]] and [[Steve Cunningham]], with whom Thompson recorded the band's debut, [[The Parable of Arable Land|Parable of Arable Land]], back in 1966. Typically, the packaging (and Thompson) are slightly mysterious about who played what--or when. The disc opens with "[[George III]]," a minimal guitar piece recorded in England in the '80s, which cross-fades into "[[Bad Medicine]]," a mangled blues with bad-trip lyrics ("How can I keep you around in the state you're in?/You're bad medicine, baby") and MIDI rhythms constructed by [[Albert Oehlen]], a German visual artist who's been a Krayola associate since the mid-'80s. After this, there's a burst of clattering improvisation, topped with Art Center colleague [[Stephen Prina]]'s calm repetition of what Thompson has just sung. Similarly, sometime vocalist [[Sandy Yang]] (who came into the fold as an Art Center undergrad) begins wailing the lyrics to "[[There There Betty Betty]]" immediately after the "straight" version is finished. And so it goes, song and nonsong interrupting one other for the length of the disc, all with a smudged, gestural quality befitting its title.

In this way, Fingerpainting is consciously modeled after Parable, which alternated acid anthems like "[[Transparent Radiation]]" with sprawling "free" tracks performed by the core trio plus the [[The Familiar Ugly|Familiar Ugly]], a loose amalgam of Texas hippies who congregated around the band early on. On Fingerpainting, the "open sections," as Thompson now calls them, include unreleased material from the original Barthelme/Cunningham/Thompson era, but the record's running order isn't as simple as old noise/new song.

[...] In a sense, Fingerpainting extends Thompson's collaborative ethos by forcing disparate periods of the band's history into dialogue with one another. It's a challenging piece of work, but a rewarding one: Once you get past their peculiar handling, the songs stick in the head (especially "[[Vile Vile Grass]]"), and after a few plays, even the most difficult sections reveal a wealth of structure and detail. It's too restless and irreverent to be termed a "career retrospective," but it is something arguably more worthwhile: an extended inquiry into what it might mean to file three decades in the contested space between popular music and contemporary art under one slightly silly two-word name.

[...] It might be interesting to know that [[Bobby Henschen]] was a jazz pianist (still active in Houston) who the band knew in its early days or that his contribution to "Filthy Lucre," which ends the album, dates from the early '70s. But you don't need this information to get the point of superimposing Henschen's florid, expressive piano cadenza and Oehlen's implacable MIDI beat--two utterly incompatible ways of organizing sound--each pointing out the other's limitations. Still, Thompson sometimes speaks of Fingerpainting as if it were a full-dress cover version of Parable of Arable Land.

[...] The differences between the Red Krayola circa 1966 and 1999 may have less to do with the sounds it makes than how it talks about them. On Parable, these open sections were identically titled "[[Free Form Freak-Out|Freeform Freakout]]," a trippy description Thompson seems to regret, but on Fingerpainting, each gets an elaborate title that mocks the possibility of giving a rational account of such abstract music. The funniest, in its entirety, is: "A Sow with an Abbess's Bonnet Is Sitting on Four Rock-Objects and Singing Along with Them. The Song Sounds Like a Cheater, and Is Imprisoned in a Striped Toy Box Because Its Aims Are Not Recognizable. On Top of the Box Is a Head That Could Be Elvis's, If He Had Survived This." Stranger still, the title is actually a useful guide for listening. The cheap-sounding keyboard that runs through the piece could well be compared to "a striped toy box," and the strong backbeat that ends it could, conceivably, have something to do with Elvis. [...] Fingerpainting includes a manifesto of sorts as well, but it's cagier, rather than Cagean, a punning take on the universalist tone of free-jazz liner notes [...]</blockquote>

=== Drawer B ===
June 1999<ref>https://web.archive.org/web/20000619041631/http://www.drawerb.com/99/09/krayola.htm</ref>

Eric G.<blockquote>The Red Krayola prides itself on being uncategorizable, and that, in and of itself, is an impressive feat for a band that's evolved through three decades and countless line-up changes. The only original member to sustain all of the band's incarnations, though, is [[Mayo Thompson]], whose predictably unpredictable approach to composition continues to push the envelope of what is or is not "music." Sometimes Thompson's adventures veer into an esoteric land that only noise freaks and pretentious wankers would claim to enjoy, but, I must say, it is never boring.

Fingerpainting is a fairly involved experiment, featuring a slew of musical luminaries (including ex-Squirrel Bait and ex-[[Gastr del Sol|Gastr Del Sol]] guitarist [[David Grubbs]]), wherein Thompson has dug up some of the band's oldest songs predating the first LP, [[The Parable of Arable Land|The Parable Of Arable Land]], and had the current line-up record them while mixing tapes of the band's previous incarnations together with it. The result is a fair share stranger than it sounds. Drum machines pound way too loud while the band clinks and clanks its way through a countrified melange of 'songs', explosive noiseburts, and an all around bizarre racket.

The music seems to randomly ebb and flow. The group will fall to pieces at strange intervals, which is disarming when your ear is trained to expect certain cadences and climaxes. The songs are tracked individually but untitled. Thompson's fragile voice nervously shuffles along with the jangly yet distant guitars, bringing the Velvet Underground to mind. This is not the kind of music you can stop and come back to later in the middle; it's almost certainly a one shot deal- you either sit through it all in one listen or you don't bother at all, and depending on your tolerance for badly produced free form freakouts you'll either be consumed or enraged.</blockquote>

=== Earpiece ===
Summer 1999<ref>http://white-rose.net/earpeace2a.html#the%20red%20crayola</ref>

b.wildered<blockquote>''fingerpainting'' is the brand-spanking newest, and within, the revisitation and revision of the past continues. firstly, the participants credited include [[Frederick Barthelme|frederick barthelme]] and [[Steve Cunningham|steve cunningham]] of the 1967 lineup, as well as folks like [[David Grubbs|david grubbs]], [[Tom Watson|tom watson]], [[Stephen Prina|stephen prina]], [[George Hurley|george hurley]] and [[Albert Oehlen|albert oehlen]]. five more or less songs are interspersed with 1999 versions of the ''[[Free Form Freak-Out|freeform freakout]]'' segments delivered by ''[[The Familiar Ugly|the familiar ugly]]'' on ''[[The Parable of Arable Land|the parable of arable land]]''. one of these segments is titled "''a sow with an abbess's bonnet is sitting on four rock-objects and singing along with them. the song sounds like a cheater, and is imprisoned in a striped toy box because its aims are not recognizable. on top of the box is a head that could be elvis's, if he had survived this.''". the song "''[[Vile Vile Grass|vile, vile grass]]''" is an old one, having been released on the (bootleg?) ''[[Epitaph for a Legend|epitaph for a legend]]'' [[International Artists|international artists]] label compilation in a different version. there are lots of ringing guitars, bleating analog synths and muffled drum machines, produced in much less clear manner than the past couple of studio the red krayola releases, perhaps due to the mixing of tracks recorded over many years? that is only a guess.

also included (with the package i purchased) is a [[Come on Down (single)|second cd]] with just one song, "''[[Come on Down|come on down]]''", which is a much cleaner recording, and a rather fetching tune, with very arresting production. upon repeated listening, i perceive a reference to debilitating habits, with mayo wrapping things up by asking, "when are you going to come on down?". but that could just be where i am at.</blockquote>

=== Spex ===

September 1999<ref>https://archive.org/details/spex-1999-09/page/63/mode/1up</ref>

Felix Klopotek

=== NY Rock ===
February 2000<ref>https://web.archive.org/web/20011221133727/http://www.nyrock.com/streetbeat/0200.asp</ref>

Bill Ribas<blockquote>An apt title since this offering is as erratic as it is experimental. Imagine a distorted drum machine as the most prominent instrument; throw in some faint vocals, a host of background noises and static, and some jangly guitar reminiscent of the Velvet Underground and you have the Red Krayola's "Fingerpainting." The randomness, the free association/improv is definitely not everyone's cup of tea, but there is something here, and, like a good scotch, it takes a bit getting used to. [[Mayo Thompson]] has been the steadfast member of the group since its first release in 1967, and though, at times, this comes off as more of a performance art piece, he knows what he's doing. Even if the audience doesn't.</blockquote>

=== Pitchfork ===
Nick Mirov<ref>https://web.archive.org/web/20000816185006/http://www.pitchforkmedia.com:80/record-reviews/r/red-krayola/fingerpainting.shtml</ref><blockquote>[...] "Yeah, things were going fine, except there was this one CD I just didn't know how to review-- The Red Krayola's ''Fingerpainting''. Have you heard it?"

[...] This goddamn Red Krayola album." I start pacing around the room anxiously. "I mean, I've reviewed avant crap like this before, but not from [[Drag City]], and certainly not from a band that's ostensibly been around for thirty-odd years and therefore should garner at least some respect!"

"Look, Mirov, I don't want to have to tell you how to do your job, but it's a fucking record review, not rocket science."

"I mean, how the hell am I supposed to be inspired to write about such a bafflingly dull album? Mind you, I've written actual real reviews of ''Fingerpainting'', but they're all as dull as the album itself. What can you expect from 4-track recordings of [[Mayo Thompson]] singing and playing the guitar badly on purpose over silly Casio rhythms, which are then pulverized by a bunch of Drag City avant noisemakers? Would you ''want'' to read a review that reflected that sort of aimless pretension?"

Ryan rolls his eyes and presses a button on his intercom. "Julie, would you get me security? Mr. Mirov is having another one of his episodes."

"And then! And then, giving tracks titles like 'Out Of A Trombone That Is Divided Lengthways By A Partition Of Gold Sound Seven Violins Of Dynamite That Are Cut Sideways Into Thin Slices. They Are Played By The Thrown Out Ex-Members Of A Very Bad Band And Blown Up', now ''that's'' just fucking stupid. But why the hell would Drag City put their name on this? I mean, I could understand the whole U.S. Maple thing, but this? Am I missing something here?" I'm waving my arms around now, as if I'm working up the will to take flight through Ryan's fiftieth-story plate glass window.

"It'll be okay, Nick. You just need to go somewhere and relax for a while. We'll give you something easier to work on, okay? Like the new Ben Harper album, maybe?"

"You understand, right? It's about entertainment. It's about giving the reader something interesting to read. But ''Fingerpainting'' has nothing to do with entertainment. Or even art. So what am I supposed to give the reader? Something that has fuck-all to do with the Red Krayola, that's for sure! Seriously, Ryan, wouldn't you rather read about me being a big fucking loser than read about the Red Krayola? Wouldn't you rather read about me getting my heart broken by Janeane Garofalo? Wouldn't you? Isn't that entertainment?"</blockquote>

== Links ==
* [https://en.wikipedia.org/wiki/Fingerpainting_(album) Album on Wikipedia]
* [https://www.discogs.com/master/54874-The-Red-Krayola-Fingerpainting Album on Discogs]

== References ==
[[Category:Studio albums]]
[[Category:Drag City]]
[[Category:Releases with unclear credits]]

Fingerpainting

2025-11-16T03:37:23Z

Dotclub: /* Earpiece */

[[File:Fingerpainting-front.jpg|thumb|{{MediaLink|YouTube=https://www.youtube.com/playlist?list=OLAK5uy_lDkBOFcwPe1CE0WydkLAUKPQIfVEyA3Ro}}]]

== Track listing ==
{{tracklist
| title1 = [[George III]]
| length1 = 1:50
| title2 = [[Bad Medicine]]
| length2 = 3:30
| title3 = A Hybrid Creature of Greed, Ignorance and Powers of Comprehension Plays a Vaulted Drum Kit. The Playing Corresponds Completely to the Event. There Are Entrances and Exits. And There Is Gravitation, Where It Is Needed - Tears for Example
| length3 = 2:22
| title4 = [[There There Betty Betty]]
| length4 = 2:29
| title5 = The Greed of a Clarinet That Is Puffy from Crying Gets Tossed in Butter and Spread by Notes. This Process Depresses the Entire Orchestra So Much That It Only Plays Behind a Golden Partition. The Partition Is Decorated With Semi-Precious Attractive Diamonds
| length5 = 4:41
| title6 = [[Vile Vile Grass]]
| length6 = 2:31
| title7 = A Sow With an Abbess's Bonnet Is Sitting on Four Rock-Objects and Singing Along With Them. The Song Sounds Like a Cheater, And Is Imprisoned in a Striped Toy Box Because Its Aims Are Not Recognizable. On Top of the Box Is a Head That Could Be Elvis's, If He Had Survived This
| length7 = 5:48
| title8 = [[Mother]]
| length8 = 2:16
| title9 = Out of a Trombone That Is Divided Lengthways by a Partition of Gold Sound Seven Violins of Dynamite That Are Cut Sideways into Thin Slices. They Are Played by the Thrown Out Ex-Members of a Very Bad Band and Blown Up
| length9 = 4:17
| title10 = In My Baby's Ruth, Sandy's Drums With David & Shadwell, Filthy Lucre
| length10 = 15:02
}}

== Background ==
* Rerecordings of some of the band's earliest songs
* Album structure mimicking {{RLink|Parable}}
* Concept was [[Albert Oehlen]]'s idea
* {{RLink|Fingerpointing}}

== Ephemera ==

=== Press release ===
<gallery mode="packed">
File:Fingerpainting-press-release.jpg|<ref>https://www.ebay.com/itm/296424249062</ref>
</gallery>

=== Press kit ===
<gallery mode="packed">
File:Fingerpainting-press-kit1.jpg|
File:Fingerpainting-press-kit2.jpg|
File:Fingerpainting-press-kit3.jpg|
File:Fingerpainting-press-kit4.jpg|
</gallery>

== Personnel ==

=== Musicians ===
[[David Grubbs]], [[George Hurley]], [[Elisa Randazzo]], [[Albert Oehlen]], [[Stephen Prina]], [[Mayo Thompson]], [[Tom Watson]], [[Sandy Yang]]

=== Sampled musicians ===
[[Frederick Barthelme]], [[Steve Cunningham]], [[Bobby Henschen]]

=== Cover art ===
Designed by [[Christopher Williams]]. There is evidence to suggest the artwork was created by [[Sandy Yang]].

== Retrospectives ==
[[Mayo Thompson]], 1999<ref>The Wire, January 1999, pg.10</ref><blockquote>The next record is called ''Finger Painting'' and it's modelled on ''[[The Parable of Arable Land|Parable]]''. It features new recordings of the rejects from the Parable sessions, and freakouts with today's line-up. It is now something like [[The Familiar Ugly]] in that we can have completely terrible stuff happening onstage and still get away with it!</blockquote>[[Tom Watson]], 1999<ref>https://web.archive.org/web/20010702024914/http://www.newtimesla.com/issues/1999-06-10/music3.html</ref><blockquote>The basic song structures were done in an afternoon with me and [[David Grubbs|David]] [Grubbs] and [[Mayo Thompson|Mayo]] [Thompson] playing three guitars, trying to synchronize with rhythm tracks from [[Albert Oehlen|Albert]] [Oehlen]. But there are also bits from live performance, little parts he might have asked me to play at a show two years ago, and there's a lot of collage work, using digital tape the way people used to use analog tape. There was a lot of compiling of bits and pieces from different sources, so I have a feeling this record was something Mayo had considered for a long time.</blockquote>[[Mayo Thompson]], 2010<blockquote>''Fingerpainting'' and ''[[Fingerpointing]]'' are based on ''[[The Parable of Arable Land]]'', they’re structured in exactly the same way. Freak-out, song, freak-out, song, like that. The material that’s on ''Fingerpainting'' is material that we didn’t record for ''Parable of Arable Land'', it’s material that dates from those days. Like ‘[[There There Betty Betty|There There, Betty Betty]],’ that’s a song from that time, and ‘Shadwell’ is something that we recorded together as well. That was when we had stopped playing songs altogether. That’s like the time of ''[[Coconut Hotel]]'' and the time in Berkeley, when we were playing at the Berkeley Folk Festival, we did that stuff with Fahey. We were playing what we called feedback music, and [<nowiki/>[[Frederick Barthelme]] and [[Steve Cunningham]]] were involved in that. [...] On ‘Shadwell,’ they appear [...] that’s the period piece. And there’s also, that piano player that you hear in the background of ‘Shadwell,’ the last thing that you hear on ''Fingerpainting''—it’s not on ''[[Fingerpointing]]''—that’s [[Bobby Henschen]], the piano player I worked with in ’71. Rick [Barthelme] and I worked with him in Houston together. That’s an album that’s made out of material that comes from 40 years ago. It wasn’t 40 at the time, it was made in 1999. And ''[[Fingerpointing]]'' was [[Jim O'Rourke|O'Rourke]]’s mix of the same material, which when I first heard it I thought, ‘No, this is not what I had in mind.’ I wanted something that was more actually one-to-one with the first record.</blockquote>[[Mayo Thompson]], 1999<ref>https://web.archive.org/web/20010702024914/http://www.newtimesla.com/issues/1999-06-10/music3.html</ref><blockquote>The alternation isn't quite so coherent, on-and-off. There's only a couple of instances where you get a pure blast from the past, so to speak. The rest of the time you might find--if you cared, or knew, or if it mattered, even--that it's embedded in other kinds of material recorded at other times and other places. All the tunes are vintage material--'[[Bad Medicine]]' is a tune that [Steve] [[Steve Cunningham|Cunningham]] had when we met him. But the recordings of the songs are all contemporary versions, handled in a certain way. There is obviously a game of alternation being played: This is a song structure, this is another kind of structure--what kind of structure is this?"</blockquote>

== Reviews ==

=== Aiding & Abetting ===
June 7, 1999<blockquote>The usual large conglomeration of fine folks backing up Mayo Thompson (though Jim O'Rourke is on holiday), producing the usual twisted Red Krayola fare.

On this disc, Mayo reaches back and takes some songs of his from yesteryear and gives them a new spin. The sound is much more electronically dominated. I know, that was always there, but it's like the issuance of those old Moebius-Conny Plank-Mayo tapes inspired the guy to dig into that side of things more.

Who knows? I've given up trying to guess anything when it comes to the Red Krayola. Much better to just sit there and let the looniness wash over like a comfy blanket. There is method to the madness, but madness it is. Music for the discerning lunatic. I'm happy to count myself among those folks.

This sounds like a work in progress. all Red Krayola discs do, though, and I can handle that. Just another missal to the warped masses. I'm already craving another hit.</blockquote>

=== New Times L.A. ===
June 10, 1999<ref>https://web.archive.org/web/20010702024914/http://www.newtimesla.com/issues/1999-06-10/music3.html</ref>

Franklin Bruno<blockquote>[...] The Red Krayola's new double positive, Fingerpainting, may surprise (and initially frustrate) fans of the band's guitar-driven, song-centered work on Chicago indie Drag City, which started releasing Thompson's records in 1994--about the time he took a teaching position at Pasadena's Art Center College of Design after two decades in Europe. The first clue that something's up is the record's personnel. The current core participants are all present, but so are founding members [[Frederick Barthelme]] and [[Steve Cunningham]], with whom Thompson recorded the band's debut, [[The Parable of Arable Land|Parable of Arable Land]], back in 1966. Typically, the packaging (and Thompson) are slightly mysterious about who played what--or when. The disc opens with "[[George III]]," a minimal guitar piece recorded in England in the '80s, which cross-fades into "[[Bad Medicine]]," a mangled blues with bad-trip lyrics ("How can I keep you around in the state you're in?/You're bad medicine, baby") and MIDI rhythms constructed by [[Albert Oehlen]], a German visual artist who's been a Krayola associate since the mid-'80s. After this, there's a burst of clattering improvisation, topped with Art Center colleague [[Stephen Prina]]'s calm repetition of what Thompson has just sung. Similarly, sometime vocalist [[Sandy Yang]] (who came into the fold as an Art Center undergrad) begins wailing the lyrics to "[[There There Betty Betty]]" immediately after the "straight" version is finished. And so it goes, song and nonsong interrupting one other for the length of the disc, all with a smudged, gestural quality befitting its title.

In this way, Fingerpainting is consciously modeled after Parable, which alternated acid anthems like "[[Transparent Radiation]]" with sprawling "free" tracks performed by the core trio plus the [[The Familiar Ugly|Familiar Ugly]], a loose amalgam of Texas hippies who congregated around the band early on. On Fingerpainting, the "open sections," as Thompson now calls them, include unreleased material from the original Barthelme/Cunningham/Thompson era, but the record's running order isn't as simple as old noise/new song.

[...] In a sense, Fingerpainting extends Thompson's collaborative ethos by forcing disparate periods of the band's history into dialogue with one another. It's a challenging piece of work, but a rewarding one: Once you get past their peculiar handling, the songs stick in the head (especially "[[Vile Vile Grass]]"), and after a few plays, even the most difficult sections reveal a wealth of structure and detail. It's too restless and irreverent to be termed a "career retrospective," but it is something arguably more worthwhile: an extended inquiry into what it might mean to file three decades in the contested space between popular music and contemporary art under one slightly silly two-word name.

[...] It might be interesting to know that [[Bobby Henschen]] was a jazz pianist (still active in Houston) who the band knew in its early days or that his contribution to "Filthy Lucre," which ends the album, dates from the early '70s. But you don't need this information to get the point of superimposing Henschen's florid, expressive piano cadenza and Oehlen's implacable MIDI beat--two utterly incompatible ways of organizing sound--each pointing out the other's limitations. Still, Thompson sometimes speaks of Fingerpainting as if it were a full-dress cover version of Parable of Arable Land.

[...] The differences between the Red Krayola circa 1966 and 1999 may have less to do with the sounds it makes than how it talks about them. On Parable, these open sections were identically titled "[[Free Form Freak-Out|Freeform Freakout]]," a trippy description Thompson seems to regret, but on Fingerpainting, each gets an elaborate title that mocks the possibility of giving a rational account of such abstract music. The funniest, in its entirety, is: "A Sow with an Abbess's Bonnet Is Sitting on Four Rock-Objects and Singing Along with Them. The Song Sounds Like a Cheater, and Is Imprisoned in a Striped Toy Box Because Its Aims Are Not Recognizable. On Top of the Box Is a Head That Could Be Elvis's, If He Had Survived This." Stranger still, the title is actually a useful guide for listening. The cheap-sounding keyboard that runs through the piece could well be compared to "a striped toy box," and the strong backbeat that ends it could, conceivably, have something to do with Elvis. [...] Fingerpainting includes a manifesto of sorts as well, but it's cagier, rather than Cagean, a punning take on the universalist tone of free-jazz liner notes [...]</blockquote>

=== Drawer B ===
June 1999<ref>https://web.archive.org/web/20000619041631/http://www.drawerb.com/99/09/krayola.htm</ref>

Eric G.<blockquote>The Red Krayola prides itself on being uncategorizable, and that, in and of itself, is an impressive feat for a band that's evolved through three decades and countless line-up changes. The only original member to sustain all of the band's incarnations, though, is [[Mayo Thompson]], whose predictably unpredictable approach to composition continues to push the envelope of what is or is not "music." Sometimes Thompson's adventures veer into an esoteric land that only noise freaks and pretentious wankers would claim to enjoy, but, I must say, it is never boring.

Fingerpainting is a fairly involved experiment, featuring a slew of musical luminaries (including ex-Squirrel Bait and ex-[[Gastr del Sol|Gastr Del Sol]] guitarist [[David Grubbs]]), wherein Thompson has dug up some of the band's oldest songs predating the first LP, [[The Parable of Arable Land|The Parable Of Arable Land]], and had the current line-up record them while mixing tapes of the band's previous incarnations together with it. The result is a fair share stranger than it sounds. Drum machines pound way too loud while the band clinks and clanks its way through a countrified melange of 'songs', explosive noiseburts, and an all around bizarre racket.

The music seems to randomly ebb and flow. The group will fall to pieces at strange intervals, which is disarming when your ear is trained to expect certain cadences and climaxes. The songs are tracked individually but untitled. Thompson's fragile voice nervously shuffles along with the jangly yet distant guitars, bringing the Velvet Underground to mind. This is not the kind of music you can stop and come back to later in the middle; it's almost certainly a one shot deal- you either sit through it all in one listen or you don't bother at all, and depending on your tolerance for badly produced free form freakouts you'll either be consumed or enraged.</blockquote>

=== Earpiece ===
Summer 1999<ref>http://white-rose.net/earpeace2a.html#the%20red%20crayola</ref>

b.wildered<blockquote>''fingerpainting'' is the brand-spanking newest, and within, the revisitation and revision of the past continues. firstly, the participants credited include [[Frederick Barthelme|frederick barthelme]] and [[Steve Cunningham|steve cunningham]] of the 1967 lineup, as well as folks like [[David Grubbs|david grubbs]], [[Tom Watson|tom watson]], [[Stephen Prina|stephen prina]], [[George Hurley|george hurley]] and [[Albert Oehlen|albert oehlen]]. five more or less songs are interspersed with 1999 versions of the ''[[Free Form Freak-Out|freeform freakout]]'' segments delivered by ''[[The Familiar Ugly|the familiar ugly]]'' on ''[[The Parable of Arable Land|the parable of arable land]]''. one of these segments is titled "''a sow with an abbess's bonnet is sitting on four rock-objects and singing along with them. the song sounds like a cheater, and is imprisoned in a striped toy box because its aims are not recognizable. on top of the box is a head that could be elvis's, if he had survived this.''". the song "''[[Vile Vile Grass|vile, vile grass]]''" is an old one, having been released on the (bootleg?) ''[[Epitaph for a Legend|epitaph for a legend]]'' [[International Artists|international artists]] label compilation in a different version. there are lots of ringing guitars, bleating analog synths and muffled drum machines, produced in much less clear manner than the past couple of studio the red krayola releases, perhaps due to the mixing of tracks recorded over many years? that is only a guess.

also included (with the package i purchased) is a [[Come on Down (single)|second cd]] with just one song, "''[[Come on Down|come on down]]''", which is a much cleaner recording, and a rather fetching tune, with very arresting production. upon repeated listening, i perceive a reference to debilitating habits, with mayo wrapping things up by asking, "when are you going to come on down?". but that could just be where i am at.</blockquote>

=== Spex ===

Felix Klopotek

September 1999<ref>https://archive.org/details/spex-1999-09/page/63/mode/1up</ref>

=== NY Rock ===
February 2000<ref>https://web.archive.org/web/20011221133727/http://www.nyrock.com/streetbeat/0200.asp</ref>

Bill Ribas<blockquote>An apt title since this offering is as erratic as it is experimental. Imagine a distorted drum machine as the most prominent instrument; throw in some faint vocals, a host of background noises and static, and some jangly guitar reminiscent of the Velvet Underground and you have the Red Krayola's "Fingerpainting." The randomness, the free association/improv is definitely not everyone's cup of tea, but there is something here, and, like a good scotch, it takes a bit getting used to. [[Mayo Thompson]] has been the steadfast member of the group since its first release in 1967, and though, at times, this comes off as more of a performance art piece, he knows what he's doing. Even if the audience doesn't.</blockquote>

=== Pitchfork ===
Nick Mirov<ref>https://web.archive.org/web/20000816185006/http://www.pitchforkmedia.com:80/record-reviews/r/red-krayola/fingerpainting.shtml</ref><blockquote>[...] "Yeah, things were going fine, except there was this one CD I just didn't know how to review-- The Red Krayola's ''Fingerpainting''. Have you heard it?"

[...] This goddamn Red Krayola album." I start pacing around the room anxiously. "I mean, I've reviewed avant crap like this before, but not from [[Drag City]], and certainly not from a band that's ostensibly been around for thirty-odd years and therefore should garner at least some respect!"

"Look, Mirov, I don't want to have to tell you how to do your job, but it's a fucking record review, not rocket science."

"I mean, how the hell am I supposed to be inspired to write about such a bafflingly dull album? Mind you, I've written actual real reviews of ''Fingerpainting'', but they're all as dull as the album itself. What can you expect from 4-track recordings of [[Mayo Thompson]] singing and playing the guitar badly on purpose over silly Casio rhythms, which are then pulverized by a bunch of Drag City avant noisemakers? Would you ''want'' to read a review that reflected that sort of aimless pretension?"

Ryan rolls his eyes and presses a button on his intercom. "Julie, would you get me security? Mr. Mirov is having another one of his episodes."

"And then! And then, giving tracks titles like 'Out Of A Trombone That Is Divided Lengthways By A Partition Of Gold Sound Seven Violins Of Dynamite That Are Cut Sideways Into Thin Slices. They Are Played By The Thrown Out Ex-Members Of A Very Bad Band And Blown Up', now ''that's'' just fucking stupid. But why the hell would Drag City put their name on this? I mean, I could understand the whole U.S. Maple thing, but this? Am I missing something here?" I'm waving my arms around now, as if I'm working up the will to take flight through Ryan's fiftieth-story plate glass window.

"It'll be okay, Nick. You just need to go somewhere and relax for a while. We'll give you something easier to work on, okay? Like the new Ben Harper album, maybe?"

"You understand, right? It's about entertainment. It's about giving the reader something interesting to read. But ''Fingerpainting'' has nothing to do with entertainment. Or even art. So what am I supposed to give the reader? Something that has fuck-all to do with the Red Krayola, that's for sure! Seriously, Ryan, wouldn't you rather read about me being a big fucking loser than read about the Red Krayola? Wouldn't you rather read about me getting my heart broken by Janeane Garofalo? Wouldn't you? Isn't that entertainment?"</blockquote>

== Links ==
* [https://en.wikipedia.org/wiki/Fingerpainting_(album) Album on Wikipedia]
* [https://www.discogs.com/master/54874-The-Red-Krayola-Fingerpainting Album on Discogs]

== References ==
[[Category:Studio albums]]
[[Category:Drag City]]
[[Category:Releases with unclear credits]]

March No. 14

2025-11-08T05:39:09Z

Dotclub:

== Lyrics ==
{{Lyrics|
Lack of ideals supposedly turns men into beasts
? for beasts
But isn't it time that that ceased
Isn't it time that that ceased
Isn't it time that that, isn't it time that that
Isn't it time that that ceased

If ambling is aimed and plagued by teleological drain
Then ideals interfere and certain clouds rear
Their dark and thunderous heads

And hits wreck statistical claims
And hits wreck statistical claims
And hits wreck statistical claims
}}

== Chronology ==
* Backing music in "[[Gross and Conspicuous Error No. 9]]"
* {{RLink|Now}} (instrumental) {{MediaLink|YouTube=https://www.youtube.com/watch?v=v6cnevh5bPc&t=253s}}
* {{RLink|Soldier}}

== Interpretations ==
* Other marches: "[[March No. 12]]," "[[Marches No's 23, 24, 25]]"

== Various artists compilations ==

* 1981: [https://www.discogs.com/release/5591794-Various-Bomb-Catalogue-1981 Bomb Catalogue 1981] (Canada)

== References ==
{{Soldier-Talk}}

[[Category:Songs]]

Shows/1998-08-30

2025-10-27T00:26:49Z

Dotclub: /* Discorder */

{{ConcertInfo
|Date =August 30, 1998
|Venue =Starfish Room
|Country =CA
|City =Vancouver, BC
|Image1=
|Image2=
|Event =
|Tour =
|Billing =
* [[The Red Krayola]]
* [[David Grubbs]]
}}

== Listings ==
=== Discorder ===
August 1998
== Reviews ==
=== Discorder ===
October 1998

Julie Colero
<blockquote>
I really liked ... no, let's start again. I couldn't have expected ''a worse'' ... um, still not quite capturing the evening. I liked [[David Grubbs]]' punk rawkin' whilst Red Krayola-ing. There. Perfect.
</blockquote>

== Interview ==

=== Discorder ===

August 29, 1998

Mark Szabo and Randy Gelling

<blockquote>
The Red Krayola have been making records since 1966. Their rather out-of-place place in pop music is secure, because instigator Mayo Thompson has popped up every time since its birth when there was an opportunity to make music that was truly experimental. Their latest album, Hazel, is on Drag City and features such current luminaries as David Grubbs and John McEntire. The collaborative effort that is The Red Krayola has stayed fresh by a willingness to rigorously experiment, musically and conceptually.

Mayo Thompson was jointly interviewed on Sunday, August 29th, in the alley behind the Starfish Room, by Randy Gelling for Offbeat and Mark Szabo for Discorder.

Offbeat: The first Red Krayola album that I bought was Coconut Hotel. I was wondering what you think of that album today?

Mayo: I stand by every record I've made. I don't think we've made a false step yet. I hope that doesn't sound too self-congratulatory, but, in fact, I think that Coconut Hotel is one of our best albums. When we made the first album, Parable of Arable Land, we just didn't want to repeat it. We thought, 'What are you gonna do after that?' We made Coconut Hotel before God Bless The Red Krayola And All Who Sails With It. Another key record will come out in October, which is the live '67 stuff, the feedback stuff we were doing at the Berkeley Folk Festival [with] John Fahey, who sat in with us. Unfortunately, the tapes we made with John Fahey in the studio I cannot find, and I have been trying. We went into the studio and made some stuff with him which was wonderful. It's lost. I think it's in Nashville. On Coconut Hotel, I think one hears [what] we started in the '60s. The idea - and it's kinda coherent with modernism - was to push the envelope, push the limits. It is a question of saying, 'How about this? How about this? Does this meet it?' and not in a sort of platonic idea, a fixed idea of what the ontology of the item might be, and then simply satisfying it in some sort of mimetic or representational sort of relation, but in a more inductive relation. Two in one headed auras and all those kinds of things make a difference to the way the things are put together. The other thing that makes a difference is, if you think you're going to make extreme music in the '60s, and the '60s was very much about being extreme, right? Grateful Dead? That's not extreme. What's so extreme about a blues revival? This looks like business as fucking usual to me. It was about being there and who you are a sense of who you're with. You could be playing 'Mary Had A Little Lamb' and why not? Not to say anything against 'Mary Had A Little Lamb.' It's a nice tune. What I'm saying is that it doesn't matter what value you slug in there, it doesn't make that much difference.

Offbeat: It seems that many of the bands that survived the '60s least appealed to the hippies at the time, like the Velvets.

They were emblematic of the opposite of everything anybody thinks they hold holy, anywhere in the whole wide world. Our game was, we didn't like many people at all. We didn't like anything, much. We listened to a lot of music, and felt strongly about this and that. When we got to California, they asked us in Berkeley, 'Who do you want to meet?' and we said John Fahey. He was the only person we could think of who was doing something that was responsive to the things we were interested in, such as Albert Ayler, Miles Davis, all the findings in jazz, and also Morton Feldman, and John Cage, and Stockhausen. I think Stockhausen is wonderful. Great theatrics and wonderful play on ideas and words; Cage is more pedantic, in the long run, but fine. He's more of a teacher, a guru figure. That's another thing about the '60s, I don't give a fuck about no guru.

Offbeat: Don't you think that the hippie viewpoint still dominates -

Like German ideology won the war, right?

Offbeat: Still dominates most underground rock?

It certainly does. I've got nothing against hippies as long as they stay out of my way. They run good record companies, sometimes they open decent coffee shops, because they are fastidious about detail, but for me it's an extension of possessive individualism. It relies on some coherent philosophy of individualism as such.

Discorder: I'd like to talk a bit about the Rough Trade days. You went to London...

In '77. The situation [transcription incomplete]
</blockquote>

<gallery mode="packed">
File:Shows-1998-08-30-interview1.jpg|
File:Shows-1998-08-30-interview2.jpg|
</gallery>

== References ==
{{Shows|1998}}

Old Tom Clark

2025-09-29T06:36:10Z

Dotclub: /* Interpretations */

[[File:Old-Tom-Clark-front.jpg|thumb|[[Old Tom Clark (single)|''Old Tom Clark'']] Side A]]

== Lyrics ==
{{Lyrics|
Now, old Tom Clark
He rode in the dark
In his boats of Spanish gold
In his boots he concealed
A map which revealed
The location of his soul
Some said it was sold
For the price of the gold
But I don't know what to say to you if you believe it

Oh, Tom daydreamin' at the rail
Starin' at the sky so pale
What a wife to be constantly courting
In his heart, his heart so old
The winds are blowing very cold
Like those ices on a northern morning
Some say his feelings are never felt
That he plays his life below the belt
But I don't know what to say to you if you believe it

Oh, saints and sinners dancin' on graves
You know they cannot save
But I know someone who
Can always help you
And if you wish upon a star
And wake up where those wishes are
You'll know you're not among
The ones the dragons slew
Some say his blade is deadly hot
His bullets will kill you, like as not
But I don't know what to say to you if you believe it

Old Tom Clark met his doom
As all mortals must
It was in a crowded room
That he bit the dust
At cops and robbers he did play
But the cops they do just what they may
They believe that crime don't pay
So they did him in
You know it was a sin
But they are men who always
Go on believing
}}[[Frederick Barthelme]] / [[Mayo Thompson]]

== Chronology ==
* {{RLink|Old}} {{MediaLink|YouTube=https://www.youtube.com/watch?v=52UshW4H9gA}}
** [[Frank Davis]] - vocals
** {{RLink|Singles}}
* {{RLink|Kunst}} {{MediaLink|YouTube=https://www.youtube.com/watch?v=A_fcA20cOek}}
** [[Mayo Thompson]] - vocals
* {{RLink|Shotgun}} {{MediaLink|Bandcamp=https://saj-rec.bandcamp.com/track/old-tom-clark-2}}
** [[Mayo Thompson]] - vocals

== Interpretations ==
* "And if you wish upon a star / And wake up where those wishes are" is likely a reference to Judy Garland's "Over the Rainbow" (1939): "Someday I'll wish upon a star / And wake up where the clouds are far / Behind me"

== Live recordings ==
{| class="wikitable"
!Show
!
!
|-
|{{RLink|Tokyo}}
|video, partial
|
|-
|[[Shows/1995-01-11|January 11, 1995]]
|
|vocals: [[Mayo Thompson]]
|-
|[[Shows/2000-04-21|April 21, 2000]]
|video
|vocals: [[David Grubbs]]
|}

== References ==
{{Navbox Corky's Debt to His Father}}
{{Singles}}

[[Category:Songs]]

Old Tom Clark

2025-09-29T06:35:49Z

Dotclub: /* Interpretations */

[[File:Old-Tom-Clark-front.jpg|thumb|[[Old Tom Clark (single)|''Old Tom Clark'']] Side A]]

== Lyrics ==
{{Lyrics|
Now, old Tom Clark
He rode in the dark
In his boats of Spanish gold
In his boots he concealed
A map which revealed
The location of his soul
Some said it was sold
For the price of the gold
But I don't know what to say to you if you believe it

Oh, Tom daydreamin' at the rail
Starin' at the sky so pale
What a wife to be constantly courting
In his heart, his heart so old
The winds are blowing very cold
Like those ices on a northern morning
Some say his feelings are never felt
That he plays his life below the belt
But I don't know what to say to you if you believe it

Oh, saints and sinners dancin' on graves
You know they cannot save
But I know someone who
Can always help you
And if you wish upon a star
And wake up where those wishes are
You'll know you're not among
The ones the dragons slew
Some say his blade is deadly hot
His bullets will kill you, like as not
But I don't know what to say to you if you believe it

Old Tom Clark met his doom
As all mortals must
It was in a crowded room
That he bit the dust
At cops and robbers he did play
But the cops they do just what they may
They believe that crime don't pay
So they did him in
You know it was a sin
But they are men who always
Go on believing
}}[[Frederick Barthelme]] / [[Mayo Thompson]]

== Chronology ==
* {{RLink|Old}} {{MediaLink|YouTube=https://www.youtube.com/watch?v=52UshW4H9gA}}
** [[Frank Davis]] - vocals
** {{RLink|Singles}}
* {{RLink|Kunst}} {{MediaLink|YouTube=https://www.youtube.com/watch?v=A_fcA20cOek}}
** [[Mayo Thompson]] - vocals
* {{RLink|Shotgun}} {{MediaLink|Bandcamp=https://saj-rec.bandcamp.com/track/old-tom-clark-2}}
** [[Mayo Thompson]] - vocals

== Interpretations ==
* "And if you wish upon a star / And wake up where those wishes are" is likely a reference to Judy Garland's "Over the Rainbow" (1939): "Someday I'll wish upon a star / And wake up where the clouds are far"

== Live recordings ==
{| class="wikitable"
!Show
!
!
|-
|{{RLink|Tokyo}}
|video, partial
|
|-
|[[Shows/1995-01-11|January 11, 1995]]
|
|vocals: [[Mayo Thompson]]
|-
|[[Shows/2000-04-21|April 21, 2000]]
|video
|vocals: [[David Grubbs]]
|}

== References ==
{{Navbox Corky's Debt to His Father}}
{{Singles}}

[[Category:Songs]]

Micro-Chips & Fish (single)

2025-09-22T23:57:32Z

Dotclub: /* Rough Trade press release */

{{ReleaseInfo
|Title=Micro-Chips & Fish
|Image1=Micro-Chips-front.jpg
|Image2=Micro-Chips-back.jpg
|Artist=[[The Red Crayola]]
|Type=Single
|ReleaseDate=October 5, 1979
|Year=1979
|RecordingDate=~July 1979
|Studio=
|RecordingLocation=
|Label={{RLink|Rough}}
|DragCity=
|Discogs=https://www.discogs.com/release/700965-The-Red-Crayola-Micro-Chips-Fish
|RYM=https://rateyourmusic.com/release/single/the-red-crayola/micro-chips-and-fish/
|Wikipedia=
|Bandcamp=
|YouTube=
|AppleMusic=
|Spotify=
|Genius=
|UbuWeb=
|AllMusic=
|Archive=
|IMDB=
}}

== Track listing ==
* [[Micro-Chips & Fish]]
* [[The Story so Far]]

== Background ==
=== Rough Trade press release ===
<blockquote>Did you hear the one about [[The Red Crayola]], [[Radar Records]], WEA [Warner Arista Elektra], Red Records and [[Rough Trade]]? It seems that the band's latest single, 'Micro Chips And Fish' c/w 'The Story So Far', was recorded a full three months back. It was a test. WEA money went into it via [[Radar]] but WEA didn't want to know so Radar was going to let the Crayola put it out on their own label, Red. But, 'Red' was already a record company and Radar weren't 'in a position to manufacture', i.e. no money was available for such projects. (Enter Rough Trade) The record had been produced by [[Geoff Travis]] and [[Mayo Thompson]] and Rough Trade offered to put it out. After much ado over the details of the release of the single and the band from Radar, Rough Trade announces the release of this dogged record. Therefore, the press release which previously announced this release has been rescinded and is replaced by this one. In conclusion: 'Micro Chips & Fish'/'The Story So Far' is released this week on Rough Trade Records, a happy ending to a pathetic shuffle.</blockquote>

<gallery mode="packed" heights="150">
File:Micro-Chips-new-releases.jpg|Rough Trade new releases October/November 1979
File:Micro-Chips-press-release.jpg|"Micro-Chips" press release
</gallery>

=== Cover art ===
The back cover photo was taken at the Temple of Poseidon on Cape Sounion, Greece. [[Mayo Thompson]] visited Greece in the summer of 1973. See: [[Manos Hadjidakis]]

<gallery mode="packed" heights="150">
File:Temple-of-Poseidon.jpg|Temple of Poseidon<ref>https://followinghadrian.com/2014/05/05/photoset-the-temple-of-poseidon-at-cape-sounion-greece/</ref>
</gallery>

== Personnel ==

=== The Red Crayola ===

* [[Gina Birch]] - vocals
* [[Epic Soundtracks]] - drums
* [[Lora Logic]] - saxophone
* [[Mayo Thompson]] - vocals, guitar

=== Aswad ===

* George Oban - bass
* Angus Gaye - drums

=== Technical ===

* [[Mayo Thompson]] - producer
* [[Geoff Travis]] - producer

== Reviews ==

=== John Peel ===

=== Slash ===
October 1979<ref>https://archive.org/details/slash_circulation_zero/page/n827/mode/1up?q=%22Red+crayola%22</ref>

Kick<blockquote>I keep playing this rather regularly. It doesn't hurt one bit, convincing structure, nice sound, modern feel, all that. But I'm waiting to feel something, anything in me once it's over. There is a lot of that sax/funk bass combination that is usually so lethal, but here it is more toyed with than slung across (as with the Contortions) and all you end up is a few minutes of sophisticated hip doodlings. These people have decided that in the future the form will be the content and act accordingly. And the couple of abrupt changes in style and tempo that are scattered about don’t seem to erupt from necessity but from restless impatience with their own approach. The front and back cover of the record are rather obsessed with tourism for some unclear reason: a bunch of postcards are used for the lettering on the front, and the back is a picture of typical tourists aimlessly wandering amidst some antique ruins. Does that mean Mayo Thompson feels like a tourist in today’s music world? Looking for artifacts and clues that will enable him to relate to his surroundings??</blockquote>

=== Record Mirror ===
November 10, 1979<blockquote>Or should that be micro chips and fish? Or microchips and fish? These and other such questions prod and provoke me brain as The Red Crayola plink their way through their minimalist paradise. Brings a new meaning to the word accessibility: sampled in the same small doses as the click of a light switch or the whirr of the coffee grinder, it is truly illuminating.</blockquote>

=== Smash Hits ===
November 10, 1979<ref>https://archive.org/details/smash-hits-1979-11-01/page/n10/mode/1up?q=%22Red+crayola%22</ref><blockquote>Better things from the special one-off line up of Red Crayola and their intense experimental 12 incher "Micro Chips and Fish"/"The Story So Far"--well worth checking out.</blockquote>

=== Vague ===
December 1979<ref>https://web.archive.org/web/20220812203820/http://www.vaguerants.org.uk/vague-2/</ref>

<blockquote>
We found Red Crayola nice enough but rather arty. [[Mayo Thompson]] is from Texas and is 35, he looks like the manager but does in fact sing and play guitar. His musical influences are Pere Ubu, Can and James Blood Ulmer. [[Lora Logic]] is 19 and plays sax and sings, as she does with her own band Essential Logic. She told us she had no regrets about her X-Ray-Spex days and really enjoyed that scene. Lora and [[Gina Birch]] from the Raincoats reminisce about the Roxy but that’s as far as it goes, Red Crayola are essentially progressive. Lora’s influences are T Rex and Split Enz. Next came [[Epic Soundtracks]], the drummer from Swell Maps (later of Nick Cave’s Bad Seeds). He told us he likes Can, TV Personalities, PIL, Robert Wyatt and Subway Sect. His ambition is to go on Multi-coloured Swap Shop and be a walking dictionary. I think Mayo said he is very morose. At this point Gina went off playing with some roadies who pushed her around the hall on a speaker. We continued talking to Mayo, who said [[Rough Trade]] were proving a good outlet for the different musical directions he was taking.

Red Crayola have in fact been going for 23 years, I think. None of the original line-up are there anymore but Mayo has been with them since the 60s. Red Crayola signed with [[Radar Records|Radar]] in 1978 and did their first gig since 1967 at the Hope and Anchor. Their 1967 album ‘[[The Parable of Arable Land|The Parable of the Arable Land]]’ was re-released, and also a new single ‘[[Wives in Orbit (single)|Wives in Orbit]]’. Then they played support to Pere Ubu on their European tour and their album ‘[[Soldier-Talk|Soldier Talk]]’ was recorded with help from Pere Ubu. After the album was released Red Crayola embarked on their own tour supported by Scritti Politti. Their new single ‘Micro-chips and Fish’ also features George Oban and Angus Gaye from Aswad. The second album from 1968 ‘[[God Bless the Red Krayola and All Who Sail With It|God Bless the Red Crayola and All Who Sails With It]]’ has also been reissued. Red Crayola is a weird set up and what they are about still isn’t clear to me. They told us about another incarnation as a heavy rock band called Womaniser which I think we believed.
</blockquote>

== References ==
{{Singles}}

[[Category:Singles]]
[[Category:Rough Trade]]

Micro-Chips & Fish (single)

2025-09-22T23:56:43Z

Dotclub: /* Rough Trade press release */

{{ReleaseInfo
|Title=Micro-Chips & Fish
|Image1=Micro-Chips-front.jpg
|Image2=Micro-Chips-back.jpg
|Artist=[[The Red Crayola]]
|Type=Single
|ReleaseDate=October 5, 1979
|Year=1979
|RecordingDate=~July 1979
|Studio=
|RecordingLocation=
|Label={{RLink|Rough}}
|DragCity=
|Discogs=https://www.discogs.com/release/700965-The-Red-Crayola-Micro-Chips-Fish
|RYM=https://rateyourmusic.com/release/single/the-red-crayola/micro-chips-and-fish/
|Wikipedia=
|Bandcamp=
|YouTube=
|AppleMusic=
|Spotify=
|Genius=
|UbuWeb=
|AllMusic=
|Archive=
|IMDB=
}}

== Track listing ==
* [[Micro-Chips & Fish]]
* [[The Story so Far]]

== Background ==
=== Rough Trade press release ===
<blockquote>Did you hear the one about [[The Red Crayola]], [[Radar Records]], WEA [Warner Arista Electra], Red Records and [[Rough Trade]]? It seems that the band's latest single, 'Micro Chips And Fish' c/w 'The Story So Far', was recorded a full three months back. It was a test. WEA money went into it via [[Radar]] but WEA didn't want to know so Radar was going to let the Crayola put it out on their own label, Red. But, 'Red' was already a record company and Radar weren't 'in a position to manufacture', i.e. no money was available for such projects. (Enter Rough Trade) The record had been produced by [[Geoff Travis]] and [[Mayo Thompson]] and Rough Trade offered to put it out. After much ado over the details of the release of the single and the band from Radar, Rough Trade announces the release of this dogged record. Therefore, the press release which previously announced this release has been rescinded and is replaced by this one. In conclusion: 'Micro Chips & Fish'/'The Story So Far' is released this week on Rough Trade Records, a happy ending to a pathetic shuffle.</blockquote>

<gallery mode="packed" heights="150">
File:Micro-Chips-new-releases.jpg|Rough Trade new releases October/November 1979
File:Micro-Chips-press-release.jpg|"Micro-Chips" press release
</gallery>

=== Cover art ===
The back cover photo was taken at the Temple of Poseidon on Cape Sounion, Greece. [[Mayo Thompson]] visited Greece in the summer of 1973. See: [[Manos Hadjidakis]]

<gallery mode="packed" heights="150">
File:Temple-of-Poseidon.jpg|Temple of Poseidon<ref>https://followinghadrian.com/2014/05/05/photoset-the-temple-of-poseidon-at-cape-sounion-greece/</ref>
</gallery>

== Personnel ==

=== The Red Crayola ===

* [[Gina Birch]] - vocals
* [[Epic Soundtracks]] - drums
* [[Lora Logic]] - saxophone
* [[Mayo Thompson]] - vocals, guitar

=== Aswad ===

* George Oban - bass
* Angus Gaye - drums

=== Technical ===

* [[Mayo Thompson]] - producer
* [[Geoff Travis]] - producer

== Reviews ==

=== John Peel ===

=== Slash ===
October 1979<ref>https://archive.org/details/slash_circulation_zero/page/n827/mode/1up?q=%22Red+crayola%22</ref>

Kick<blockquote>I keep playing this rather regularly. It doesn't hurt one bit, convincing structure, nice sound, modern feel, all that. But I'm waiting to feel something, anything in me once it's over. There is a lot of that sax/funk bass combination that is usually so lethal, but here it is more toyed with than slung across (as with the Contortions) and all you end up is a few minutes of sophisticated hip doodlings. These people have decided that in the future the form will be the content and act accordingly. And the couple of abrupt changes in style and tempo that are scattered about don’t seem to erupt from necessity but from restless impatience with their own approach. The front and back cover of the record are rather obsessed with tourism for some unclear reason: a bunch of postcards are used for the lettering on the front, and the back is a picture of typical tourists aimlessly wandering amidst some antique ruins. Does that mean Mayo Thompson feels like a tourist in today’s music world? Looking for artifacts and clues that will enable him to relate to his surroundings??</blockquote>

=== Record Mirror ===
November 10, 1979<blockquote>Or should that be micro chips and fish? Or microchips and fish? These and other such questions prod and provoke me brain as The Red Crayola plink their way through their minimalist paradise. Brings a new meaning to the word accessibility: sampled in the same small doses as the click of a light switch or the whirr of the coffee grinder, it is truly illuminating.</blockquote>

=== Smash Hits ===
November 10, 1979<ref>https://archive.org/details/smash-hits-1979-11-01/page/n10/mode/1up?q=%22Red+crayola%22</ref><blockquote>Better things from the special one-off line up of Red Crayola and their intense experimental 12 incher "Micro Chips and Fish"/"The Story So Far"--well worth checking out.</blockquote>

=== Vague ===
December 1979<ref>https://web.archive.org/web/20220812203820/http://www.vaguerants.org.uk/vague-2/</ref>

<blockquote>
We found Red Crayola nice enough but rather arty. [[Mayo Thompson]] is from Texas and is 35, he looks like the manager but does in fact sing and play guitar. His musical influences are Pere Ubu, Can and James Blood Ulmer. [[Lora Logic]] is 19 and plays sax and sings, as she does with her own band Essential Logic. She told us she had no regrets about her X-Ray-Spex days and really enjoyed that scene. Lora and [[Gina Birch]] from the Raincoats reminisce about the Roxy but that’s as far as it goes, Red Crayola are essentially progressive. Lora’s influences are T Rex and Split Enz. Next came [[Epic Soundtracks]], the drummer from Swell Maps (later of Nick Cave’s Bad Seeds). He told us he likes Can, TV Personalities, PIL, Robert Wyatt and Subway Sect. His ambition is to go on Multi-coloured Swap Shop and be a walking dictionary. I think Mayo said he is very morose. At this point Gina went off playing with some roadies who pushed her around the hall on a speaker. We continued talking to Mayo, who said [[Rough Trade]] were proving a good outlet for the different musical directions he was taking.

Red Crayola have in fact been going for 23 years, I think. None of the original line-up are there anymore but Mayo has been with them since the 60s. Red Crayola signed with [[Radar Records|Radar]] in 1978 and did their first gig since 1967 at the Hope and Anchor. Their 1967 album ‘[[The Parable of Arable Land|The Parable of the Arable Land]]’ was re-released, and also a new single ‘[[Wives in Orbit (single)|Wives in Orbit]]’. Then they played support to Pere Ubu on their European tour and their album ‘[[Soldier-Talk|Soldier Talk]]’ was recorded with help from Pere Ubu. After the album was released Red Crayola embarked on their own tour supported by Scritti Politti. Their new single ‘Micro-chips and Fish’ also features George Oban and Angus Gaye from Aswad. The second album from 1968 ‘[[God Bless the Red Krayola and All Who Sail With It|God Bless the Red Crayola and All Who Sails With It]]’ has also been reissued. Red Crayola is a weird set up and what they are about still isn’t clear to me. They told us about another incarnation as a heavy rock band called Womaniser which I think we believed.
</blockquote>

== References ==
{{Singles}}

[[Category:Singles]]
[[Category:Rough Trade]]

14

2025-09-18T01:38:52Z

Dotclub:

== Lyrics ==
{{Lyrics|
You got an arm
You got a needle
You do no harm
I kill a Beatle
John, George, Ringo, or Paul
It really doesn't matter at all

The guillotine of 45
That is what I made my wife

Cut off the heads of your imperialistic shithead
Send my royalties to where I sit
Shit, la la la
Means I love you
Shit, la la la la
Means I love you

1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14

You've got an arm
You've got a needle
You do no harm
I kill a Beatle
John, George, Ringo, or Paul
It really doesn't matter at all

The guillotine of 45
That is what I made my wife

Cut off the heads of your imperialistic shit
Send my royalties to where I sit
Shit, la la la
Means I love you
Shit, la la la la
Means I love you
Shit, la la
Means I love you
}}Writers: [[Mayo Thompson]], [[Albert Oehlen]], [[Werner Büttner]]

== Chronology ==
* {{RLink|14}} {{MediaLink|YouTube=https://www.youtube.com/watch?v=bGf7cDOjF24}}
** [[Mayo Thompson]] - vocals, guitar
** [[David Grubbs]] - guitar
** [[John McEntire]] - drums
** {{RLink|Singles}}
* The first section also appears in "[[Come on Down]]" on ''[[Fingerpainting]]''

== Interpretations ==
* Originally titled "Song to GEMA" ("Gesellschaft für musikalische Aufführungs- und mechanische Vervielfältigungsrechte" [Society for musical performing and mechanical reproduction rights])
* "Shit la la la means I love you" is a reference to Barry White's "Sha La La Means I Love You" (1978)
*Possibly making a connection between monarchical royalty and royalty payments in the music industry

== Live recordings ==
{| class="wikitable"
!Show
!
|-
|[[Shows/1994-10-04|October 4, 1994]]
|
|-
|{{RLink|Tokyo}}
|video
|-
|[[Shows/1995-01-11|January 11, 1995]]
|
|-
|[[Shows/2000-04-21|April 21, 2000]]
|video
|-
|[[Shows/2005-03-20|March 20, 2005]]
|
|}

== References ==
{{Singles}}

[[Category:Songs|Fourteen]]

The Red Krayola (album)

2025-09-16T22:11:26Z

Dotclub: /* Retrospectives */

{{ReleaseInfo
|Title=The Red Krayola
|Image1=The-Red-Krayola-front.png
|Image2=The-Red-Krayola-back.jpg
|Artist=[[The Red Krayola]]
|Type=Studio album
|ReleaseDate=September 19, 1994
|Year= 1994
|RecordingDate= January 1994
|Studio=
|RecordingLocation=
|Label={{RLink|Drag}}
|DragCity=https://www.dragcity.com/products/the-red-krayola
|Discogs=https://www.discogs.com/master/173011-The-Red-Krayola-The-Red-Krayola
|RYM=https://rateyourmusic.com/release/album/the-red-krayola/the-red-krayola/
|Wikipedia=https://en.wikipedia.org/wiki/The_Red_Krayola_(album)
|Bandcamp=https://theredkrayola.bandcamp.com/album/the-red-krayola
|YouTube=https://www.youtube.com/playlist?list=OLAK5uy_nS3Xh4P92fUeinOmu3MiM4J2IQTpp6csM
|AppleMusic=https://music.apple.com/us/album/the-red-krayola/67964957
|Spotify=
|Genius=
|UbuWeb=
|AllMusic=
|IMDB=
|Archive=
}}

== Track listing ==
{{tracklist
| title1 = [[Jimmy Silk/Supper Be Ready Medley]]
| length1 = 1:57
| title2 = [[Pride]]
| length2 = 1:06
| title3 = [[Book of Kings]]
| length3 = 2:40
| title4 = [[Pessimisty]]
| length4 = 2:50
| title5 = [[Worms, Worms, Thirst]]
| length5 = 1:38
| title6 = [[People Get Ready (The Train's Not Coming)]]
| length6 = 3:22
| title7 = [[If 'S' Is]]
| length7 = 2:06
| title8 = [[Miss X]]
| length8 = 2:37
| title9 = [[Rapspierre]]
| length9 = 2:44
| title10 = [[Stand-Up]]
| length10 = 2:42
| title11 = [[Art-Dog]]
| length11 = 1:09
| title12 = [[I Knew It]]
| length12 = 1:54
| title13 = [[101st]]
| length13 = 1:54
| title14 = [[(Why) I'm So Blasé]]
| length14 = 2:07
| title15 = [[The Big Macumba]]
| length15 = 2:42
| title16 = [[Voodoo Child]]
| length16 = 1:47
| title17 = [[Suddenly]]
| length17 = 1:51
}}

== Background ==
[[Shows/1994]]

=== Liner notes ===
Rian Murphy, 1994

<blockquote>
Lives rush towards any semblance of higher order. Some structure would make all the world worthwhile for them. We can build solutions for our problems; stack stories on top of each other; design parking facilities to protect vehicles meant to transport us faster. Alas, not every vicarious story-child can except such a consummation, and so many are left undone.

On the window sill, the China cat hovers over what we accept as our everyday vista. Worry not over the tender path of love or when one body transposes over another. These are elements, and to science they belong. Letting science take care of it, we allow them to be. Magnets account for attraction; gravity lords it under all. Fresh from flying around in an airplane, one will grow and change in some fashion, whether or not it is the statement. What do you stand for?

Fairwagons are grounded at the end of our street. Once again, these minstrels have returned. The children start. Somehow it has changed. In the heat of the breeze that goes from East to West through our passway come new sounds, little bites we'll scratch over in the dawn. For some, this comes easier than others. Dirt-stained, the curious disperse. What substitute is there for minutes of your time? A caravan, like a verse against the long black night, where every song is another light? '94? I remember form, start to finish. And there, without missing a beat, autumn, the new Red Krayola album. Welcome one and all to another collection. Let them live alongside in bits and pieces for the likes of man to squabble over. A more than simple story is tantamount to a stack of turtles and all that they survey.
</blockquote>

=== Ephemera ===
==== Postcard ====
<gallery mode="packed">
File:The-Red-Krayola-postcard-front.jpg|Front
File:The-Red-Krayola-postcard-back.jpg|Back
</gallery>

==== Press kit ====
<gallery mode="packed">
File:The-Red-Krayola-press-kit-photo.jpg|Photo
File:The-Red-Krayola-press-kit-pg1.jpg|pg.1
File:The-Red-Krayola-press-kit-pg2.jpg|pg.2-3
</gallery>

== Personnel ==

=== Musicians ===
[[David Grubbs]] (guitar), [[John McEntire]] (drums), [[Albert Oehlen]] (electronics), [[Jim O'Rourke]] (Moog<ref>The Wire, January 1995, pg.19</ref>), [[Stephen Prina]], [[Mayo Thompson]] (writing, vocals, guitar), [[Tom Watson]] (guitar)

=== Cover art ===
The cover photo was taken by [[Albert Oehlen]]. It appears to depict the Volksparkstadion stadium in Hamburg, Germany.<ref>https://wolfbulls-stadionwelt.de.tl/Volksparkstadion-HAMBURG_BAHRENFELD.htm</ref> The visible advertisements are for "Nova Versicherungen," an insurance company, and "Tom T" — maybe Tom Tailor, a clothing brand based in Hamburg and a major sponsor of the Hamburger SV team until 2003.<ref>https://www.welt.de/print-welt/article695362/Tom-Tailor-prueft-Partnerschaft-mit-dem-HSV.html</ref>

<gallery mode="packed">
File:Volksparkstadion-1990.jpg|Volksparkstadion, 1990<ref>https://wolfbulls-stadionwelt.de.tl/Volksparkstadion-HAMBURG_BAHRENFELD.htm</ref>
</gallery>

== Retrospectives ==
[[Mayo Thompson]], 2015<ref>https://bombmagazine.org/articles/mayo-thompson/</ref>

<blockquote>
After [the [[Shows/1993-03-23|1993 concert]] in] Graz [Austria] I got the bug again and started to play the guitar more, wrote five or six tunes and recorded them four-track with an eye to hitting up a record company for a deal and along came a chance. [...]

One day [[David Grubbs]] rang. He asked what I was up to and I gave him a dub of the four-track stuff, telling him of my plan to go to the bank. He asked if he might send it to [[Drag City]] in Chicago, urging me to hold off getting back in the mainstream grinder. It turned out Dan Koretzky and Dan Osborn liked the stuff. During Christmas '93, when I was home in Texas visiting my mother, Dan rang. He was able to persuade me to give Drag City a chance. I swallowed my qualms about working again indie style. Eventually, [[Albert Oehlen|Albert]] [Oehlen] and I went to Chicago and did our first work with the label, a song called "[[Columbia]]," maybe another. Ultimately we made the eponymous LP at Steve Albini's studio, building the set around the tunes from Germany, David playing, along with [[John McEntire]] from Bastro, [[Tom Watson]] from Slovenly, and [[Stephen Prina]]—an artist I’d gotten to know at the Pasadena art center. I won’t name everybody. The names are on the cover. Sure enough things kind of clicked and we got gigs. I should say too that I met [[Jim O'Rourke]] then, but didn’t know at first what to do with him. I’m glad to say we were able finally to get him involved.
</blockquote>

[[David Grubbs]], 2002<ref>The Wire, April 2002 pg.22</ref>

<blockquote>
Robert [Nedelkoff] had the idea of Mayo producing Squirrel Bait and wrote to him, back in 1984. I think he was in Düsseldorf at the time. Then in 1989 Bastro was playing at the Rose Club in Cologne, and we did a version of "[[Dear Betty Baby]]" from Mayo's solo record, ''[[Corky's Debt to His Father]]'', which is one of my absolute favorite records. The German music critic [[Diedrich Diederichsen]] told me afterwards that Mayo was living about 40 kilometres away, writing a novel about Albania [''[[Art, Mystery]]''], and gave me his phone number. I gave him a call the next day. When the first [[Gastr del Sol|Gastr Del Sol]] record, [1993's] ''The Serpentine Similar'', came out, I sent a copy to him in Germany, and got a call in Chicago about dinner time asking me when I was next in Europe so we could 'go ahead and do this', as if I'd proposed some kind of working arrangement. I met Mayo in Munich - I'd just given a paper on Ezra Pound in Rapallo, Italy, figuring out that I didn't want to be an academic specialising in modernist poetry - and I think at that point he'd already had an offer to teach in Pasadena, California, where he still is. I came back to Chicago where we had a weekly poker game with Dan Koretzky and Dan Osborn from [[Drag City]], and halfway through the evening I said, 'I've got this tape with me of the new Red Krayola song'. I think that one of the provisos of any label putting out The Red Krayola - they spell it with a 'K' in the US, out of fear of lawsuits - is that there would need to be an equal or greater commitment to new material, as well as shepherding into reissuing all these fantastic records, and Drag City were immediately enthusiastic about it. So next week at the poker game I showed up with a Gastr Del Sol tape. [laughs]
</blockquote>

[[David Grubbs]], 2025<ref>https://www.frieze.com/article/david-grubbs-stephen-prina-253</ref>

<blockquote>
Before [[Stephen Prina]] and I officially met, through the miracle of multi-track recording we had both played on the 1994 self-titled Red Krayola album.
</blockquote>

[[Stephen Prina]], 2025<ref>https://www.frieze.com/article/david-grubbs-stephen-prina-253</ref>

<blockquote>
I met [[Mayo Thompson]] in the early 1990s, when he was living in Düsseldorf. We were introduced by mutual friends – I believe [[Albert Oehlen]] was involved. Around the same time, some Los Angeles musicians connected to the art world were putting together a double-CD compilation, ''Oostende 1994'', and they invited me to participate. I submitted 'Etude for Percussion (Square Root Function II)' [1980] – which I had written for two percussionists, each playing two snare drums and a woodblock.

While recording, a friend asked me to play piano and sing on one of his tracks. There was a Fender Rhodes in the studio, so I did it. Some musicians there, a band called Sweet Cream, encouraged me to perform more. They kept inviting me to open for them, and I kept saying no, the excuse being that they hadn't given me enough time to prepare. At one point they recognized my avoidance technique and gave me six months' warning and at that point I couldn't refuse.

I thought: if I’m going to be a kind of pop performer, what form should it take? The result was the arrangement ''Sonic Dan'' [...] During the performance I play piano, sing and use a foot pedal to control the volume of a recording of Webern's ''Complete String Quartets'', which begins the performance and fades in and out throughout. The performance alternates between Steely Dan and Sonic Youth, with entr'acte and 'guitar solos' supplied by the Webern. [...]

I performed ''Sonic Dan'' as a work in progress, as an opener for Sweet Cream at a club in West Hollywood. I thought, what do I have to lose? No one’s going to show up. As it turns out, [[Diedrich Diederichsen]] was there, and Lillian Ball, Amy Gerstler, Mike Kelley, David Reed, [[Mayo Thompson]] and Benjamin Weissman. [...]

I was a little concerned, since I hadn't performed in public for years. But I went up there and did what I had to do. I performed for 20 minutes, after which Mayo came up to me and asked if I would sing on his new album. I was like, 'Great, I’m finally going to get the backup vocal credit I always wanted on a pop record.' I went into this tiny vocal booth in Pasadena to record my part and when that eponymous Red Krayola album came out, I was listed as a member of the band. The Red Krayola gave me the opportunity to work collaboratively in a way that had not been part of my practice in the same way before, which was often solitary. A generative experience, truly.
</blockquote>

[[Jim O'Rourke]], 1994<ref>https://groups.google.com/g/rec.music.misc/c/Z3olBudNF8w/m/LYkKTZTRPRIJ</ref>

<blockquote>
there will be a new album, The red krayola, out soon. It features [[Mayo Thompson|Mayo]] along with [[Tom Watson]], [[Stephen Prina|Steven Prina]], [[Albert Oehlen|Albert Oehlin]], [[John McEntire]], [[David Grubbs|Dave Grubbs]], and myself. it's great (i personally think mayo and dave are an impeccable team.) There is also this great [[Old Tom Clark (single)|Saddle sore 7"]], which was recorded i think just a month after [[Corky's Debt to His Father|Corky's debt]]. It's just so damn beautiful.....
</blockquote>

[[John McEntire]], 1994<ref>https://archive.org/details/no_trend_press_20/page/74/mode/2up</ref>

<blockquote>
M: Wie kommt es, daß Red Crayola wieder aktiv sind?

John: [[David Grubbs|Dave Shrubb]] von Bastro und [[Gastr del Sol]] nahm 1990 Kontakt mit [[Mayo Thompson|Majo Thompson]] auf, als Bastro gerade in Europa auf Tour waren. Majo Thompson lebte zu der Zeit in Köln. Sie hatten dann regelmäßige Korrespondenz und schließlich entschied sich Majo 1992 dazu, wieder Musik machen zu wollen.

M: Wann hatte er Red Crayola zuletzt beiseite gelegt?

John: Red Crayola gibt es in welcher Form auch immer seit 1966. Seither gibt es immer wieder längere Perioden, in denen die Band nicht aktiv ist.

M: Warst Du 1966 überhaupt schon geboren?

John: Ich bin 1970 zur Welt gekommen.

M: Muß doch ein seltsames Gefühl sein, in einer Band zu spielen, die älter ist als man selber.

John: Manchmal schon, wir spielen sogar Songs, die geschrieben wurden, als es mich noch nicht gab. Jedenfalls entschied sich Majo dazu, mit Dave zusammenzuarbeiten und sie gaben drüben in Europa ein paar Konzerte. Daraus entstand die Idee zu einem neuen Album, was wir im Januar ’94 aufnahmen und was jetzt bei Drag City veröffentlicht wurde. Vor zwei Wochen waren wir in Japan und gaben zwei Konzerte, die ziemlich großartig waren.

M: Wie groß waren die Läden?

John: Eher klein, aber wir haben unser Geld wieder reinbekommen, der Promoter war ziemlich gut. Majo ist noch drüben und arbeitet schon an den nächsten Geschichten mit dortigen Musikern. Er hat ein richtiges Netzwerk an Musikern und Kontakten.

M: Wie läßt es sich mit ihm arbeiten und in welchem Alter ist er jetzt?

John: Er ist 50. Es ist spannend mit ihm zu arbeiten, er hat eben einen völlig anderen Background. Seit Anfang der 70er Jahre ist er stark mit der Kunstwelt verknüpft, spielte dann mit dieser englischen Band ''[[Art & Language]]'' - ein Kollektiv konzeptioneller Künstler - und seine Rhetorik ist ein wenig zu ...(überlegt angestrengt) ... sagen wir einfach: es kommt manchmal zu leichten Kommunikationsproblemen, weil er oftmals unterschiedliche Begriffe verwendet für eine bestimmte Sache, gerade im Hinblick auf Musik, z.B. wenn du einen Song ausarbeitest. Es kann schwierig werden auf einer theoretischen Stufe, was aber in Ordnung ist, und letztendlich zu interessanter Musik führt. Davon abgesehen ist es großartig mit ihm zu arbeiten, es macht wirklich spaß, vor allem wenn er guter Laune in Tokyo ist.

M: Wie sieht's mit einer Tour in Amerika oder Europa aus?

John: Wir haben darüber gesprochen, aber wenn überhaupt, dann vielleicht 2-3 Konzerte an der Ostküste oder dergleichen. Ich kann mir Majo nicht unbedingt 3 Wochen in einem Bandbus vorstellen. Eine größere Tour wird es jedenfalls nicht geben.

M: Wie würdest Du das neue Album beschreiben?

John: Es ist sicherlich Red Crayolas’ stärkste Annäherung an eine Rock-Platte bisher, was zum einen an den Musikern liegen dürfte, die Songs sind kurz und bündig und die Produktion ist entsprechend. Ich glaube aber nicht, daß ich der Platte unbedingt einen Dienst erweise, wenn ich sie als Rock-Scheibe bezeichne, denn dafür passiert doch einfach auch zu viel.

M: Wie kommt die Platte an?

John: Hervorragend, gerade in Japan. Ich war wirklich beeindruckt von der Masse an Leuten, die dort mit diesen riesigen Red CrayolaSammlungen ankamen, all diese komischen Bootlegs und limitierten Pressungen, keine Ahnung, wo sie das Zeug herkriegen. Ich war vor allem von der Reaktion bei den Live-Auftritten erstaunt. Jeder hatte mir erzählt, wie zurückhaltend das Publikum sich verhalten würde und dann kreischten sie wie verrückt, das war beeindruckend.</blockquote>

== Reviews ==

=== Aiding & Abetting ===
August 31, 1994<ref>https://www.aidabet.com/archives/archR.html#REDK</ref><blockquote>If you remember the [[Mayo Thompson]] re-issue from earlier in the summer, you should be prepared.

Having been around for over 25 years, The Red Krayola is the main vehicle of Thompson's muse. He gets a few friends together and they play some very odd music. In years past it might have been called "psychedelic pop", I suppose, but that term has mutated over the years, and I don't think that's quite right now.

I think I like "eclectic pop" better. The Red Krayola folks turn traditional rhythms ad melodies on their heads, exposing them as the true opiates of the masses. It can be difficult listening to an album with so many discordant statements, but as you know, I like that sort of thing.

Anything that makes me think this much is certainly fine. And if this music doesn't haunt your mind like a pissed off secret, then you didn't listen hard enough the first time. Like it says, "Play Extremely Loud."</blockquote>

=== Chicago Reader ===
January 19, 1995<ref>https://chicagoreader.com/music/long-lived-rock/</ref>

Bill Meyer

<blockquote>
[...] The Red Krayola’s sound has varied widely over the years, but [[Mayo Thompson|Thompson]]’s distinctive voice and guitar playing have always been immediately identifiable. His voice is high, quavery, and resolutely off key, but it is nevertheless a remarkable instrument. He is a master of phrasing, nimbly negotiating tricky rhythms and irregular song structures with ease. His vocal delivery suits his lyrics; on the new album’s “[[Rapspierre]],” a dense Marxist social critique, he is by turns professorial, chiding, and sorrowful. The perpetual catch in his throat emphasizes the song’s outrage and regret. Thompson’s guitar playing is precise, clipped, and acerbic; he’s prone to off-kilter melodic runs that take the songs on unexpected tangents.

The Red Krayola is the most guitar-heavy record Thompson’s ever recorded. He and [[David Grubbs|Grubbs]], joined by guitarists [[Tom Watson]] and [[Stephen Prina]], pack terse, interlocking riffs around [[John McEntire|McEntire]]’s nimble drumming on the album’s 17 brief tunes. There is no bassist–the thick tone would only get in the way of the other instruments. [[Jim O'Rourke|Jim O’Rourke]] and [[Albert Oehlen]] contribute squiggly synthesizer noises, buzzing around and commenting on the guitar parts rather than fulfilling the traditional keyboard role of filling up harmonic space. [...]
</blockquote>

=== Suburban Voice ===
1995<ref>https://archive.org/details/suburban_voice_36/page/n68/mode/1up</ref><blockquote>A new album from [[Mayo Thompson]], who brings in new compatriots to keep the Krayola name alive — among them, [[Jim O'Rourke]] and [[David Grubbs]] ([[Gastr del Sol]]) and [[Tom Watson]] (Slovenly). Original, yet haphazard, featuring sparse instrumentation and understated vocals. Fractured psychedelic pop, somber minimalism and much of it comes off like Lou Reed on a downer (or Pavement without the self-consciousness), although Thompson's been making music just as long as Mr. Reed. Intriguing, in spots. </blockquote>

=== Brutarian ===
1990s<ref>https://archive.org/details/brutarian-14/page/64/mode/1up</ref><blockquote>So let me get this straight. A musician fails to realize that ever since he stopped taking LSD and smoking pot some twenty-five years ago he's become totally incapable of producing anything of even passing interest. And because people can't believe it and, furthermore, are too embarrassed to tell him he's a loser, they instead take to calling the bum a legend? What for? So he won't kill himself? I say, "Give this man a gun." A big gun. Still, it's hard to believe this rancid collection of moronic dada rock and meandering, inconsequential AOR nonsense was penned by the guy who wrote the amazing "[[Hurricane Fighter Plane]]" and put it on the even more amazing ''[[The Parable of Arable Land|Parable of Arable Land]]'' lp. Maybe not. Especially if you've heard the execrable stuff he did with [[Art & Language]].</blockquote>

=== The Trouser Press guide to '90s rock ===
1997<ref>https://archive.org/details/trouserpressguid00robb_1/page/597/mode/1up</ref><blockquote>Recorded by a collective of seven (including guitarists [[David Grubbs]], [[Jim O'Rourke]] and [[Tom Watson]], drummer [[John McEntire]] and German synthesist [[Albert Oehlen]]), The Red Krayola is a potent modern exposition of [[Mayo Thompson|Thompson]]'s Beefheart-ian musical inventions and wickedly offbeat lyrics. For all its idiosyncratic juxtapositions, the album is a relatively straightforward electric affair — alternatively engaging and patience testing — that sends antagonistic elements (noisy guitar, catatonic electronic blips, contrary rhythms) out to disrupt the calmly logical organization of restrained, tuneful inventions like the waltz-time "[[Jimmy Silk/Supper Be Ready Medley|Jimmy Silk/Supper By Ready Medley]]," "[[Pride]]," "[[Book of Kings]]," (which paraphrases Carly Simon ''and'' quotes children's verse), the courtly, Roxy Music-like "[[Miss X]]," the chromatic "[[Art-Dog]]" and "[[Suddenly]]," crooned as a sweet harmony vocal exercise. Traditionally cavalier in his appreciation of song structures, Thompson fleshes out the album with "[[Rapspierre]]" (another of his accelerated Marxist theory courses, this one containing sing-song doggrel about monkeys, random keyboard noises and turntable scratches), the ripping drive-gear "[[People Get Ready (The Train's Not Coming)]]" near-instrumental and the catchy mantra "[[I Knew It]]." Provocative and, for the most part, highly entertaining.</blockquote>

== References ==
{{The Red Krayola (album)}}

[[Category:Studio albums]]
[[Category:Drag City]]

The Red Krayola (album)

2025-09-16T22:08:41Z

Dotclub: /* Retrospectives */

{{ReleaseInfo
|Title=The Red Krayola
|Image1=The-Red-Krayola-front.png
|Image2=The-Red-Krayola-back.jpg
|Artist=[[The Red Krayola]]
|Type=Studio album
|ReleaseDate=September 19, 1994
|Year= 1994
|RecordingDate= January 1994
|Studio=
|RecordingLocation=
|Label={{RLink|Drag}}
|DragCity=https://www.dragcity.com/products/the-red-krayola
|Discogs=https://www.discogs.com/master/173011-The-Red-Krayola-The-Red-Krayola
|RYM=https://rateyourmusic.com/release/album/the-red-krayola/the-red-krayola/
|Wikipedia=https://en.wikipedia.org/wiki/The_Red_Krayola_(album)
|Bandcamp=https://theredkrayola.bandcamp.com/album/the-red-krayola
|YouTube=https://www.youtube.com/playlist?list=OLAK5uy_nS3Xh4P92fUeinOmu3MiM4J2IQTpp6csM
|AppleMusic=https://music.apple.com/us/album/the-red-krayola/67964957
|Spotify=
|Genius=
|UbuWeb=
|AllMusic=
|IMDB=
|Archive=
}}

== Track listing ==
{{tracklist
| title1 = [[Jimmy Silk/Supper Be Ready Medley]]
| length1 = 1:57
| title2 = [[Pride]]
| length2 = 1:06
| title3 = [[Book of Kings]]
| length3 = 2:40
| title4 = [[Pessimisty]]
| length4 = 2:50
| title5 = [[Worms, Worms, Thirst]]
| length5 = 1:38
| title6 = [[People Get Ready (The Train's Not Coming)]]
| length6 = 3:22
| title7 = [[If 'S' Is]]
| length7 = 2:06
| title8 = [[Miss X]]
| length8 = 2:37
| title9 = [[Rapspierre]]
| length9 = 2:44
| title10 = [[Stand-Up]]
| length10 = 2:42
| title11 = [[Art-Dog]]
| length11 = 1:09
| title12 = [[I Knew It]]
| length12 = 1:54
| title13 = [[101st]]
| length13 = 1:54
| title14 = [[(Why) I'm So Blasé]]
| length14 = 2:07
| title15 = [[The Big Macumba]]
| length15 = 2:42
| title16 = [[Voodoo Child]]
| length16 = 1:47
| title17 = [[Suddenly]]
| length17 = 1:51
}}

== Background ==
[[Shows/1994]]

=== Liner notes ===
Rian Murphy, 1994

<blockquote>
Lives rush towards any semblance of higher order. Some structure would make all the world worthwhile for them. We can build solutions for our problems; stack stories on top of each other; design parking facilities to protect vehicles meant to transport us faster. Alas, not every vicarious story-child can except such a consummation, and so many are left undone.

On the window sill, the China cat hovers over what we accept as our everyday vista. Worry not over the tender path of love or when one body transposes over another. These are elements, and to science they belong. Letting science take care of it, we allow them to be. Magnets account for attraction; gravity lords it under all. Fresh from flying around in an airplane, one will grow and change in some fashion, whether or not it is the statement. What do you stand for?

Fairwagons are grounded at the end of our street. Once again, these minstrels have returned. The children start. Somehow it has changed. In the heat of the breeze that goes from East to West through our passway come new sounds, little bites we'll scratch over in the dawn. For some, this comes easier than others. Dirt-stained, the curious disperse. What substitute is there for minutes of your time? A caravan, like a verse against the long black night, where every song is another light? '94? I remember form, start to finish. And there, without missing a beat, autumn, the new Red Krayola album. Welcome one and all to another collection. Let them live alongside in bits and pieces for the likes of man to squabble over. A more than simple story is tantamount to a stack of turtles and all that they survey.
</blockquote>

=== Ephemera ===
==== Postcard ====
<gallery mode="packed">
File:The-Red-Krayola-postcard-front.jpg|Front
File:The-Red-Krayola-postcard-back.jpg|Back
</gallery>

==== Press kit ====
<gallery mode="packed">
File:The-Red-Krayola-press-kit-photo.jpg|Photo
File:The-Red-Krayola-press-kit-pg1.jpg|pg.1
File:The-Red-Krayola-press-kit-pg2.jpg|pg.2-3
</gallery>

== Personnel ==

=== Musicians ===
[[David Grubbs]] (guitar), [[John McEntire]] (drums), [[Albert Oehlen]] (electronics), [[Jim O'Rourke]] (Moog<ref>The Wire, January 1995, pg.19</ref>), [[Stephen Prina]], [[Mayo Thompson]] (writing, vocals, guitar), [[Tom Watson]] (guitar)

=== Cover art ===
The cover photo was taken by [[Albert Oehlen]]. It appears to depict the Volksparkstadion stadium in Hamburg, Germany.<ref>https://wolfbulls-stadionwelt.de.tl/Volksparkstadion-HAMBURG_BAHRENFELD.htm</ref> The visible advertisements are for "Nova Versicherungen," an insurance company, and "Tom T" — maybe Tom Tailor, a clothing brand based in Hamburg and a major sponsor of the Hamburger SV team until 2003.<ref>https://www.welt.de/print-welt/article695362/Tom-Tailor-prueft-Partnerschaft-mit-dem-HSV.html</ref>

<gallery mode="packed">
File:Volksparkstadion-1990.jpg|Volksparkstadion, 1990<ref>https://wolfbulls-stadionwelt.de.tl/Volksparkstadion-HAMBURG_BAHRENFELD.htm</ref>
</gallery>

== Retrospectives ==
[[Mayo Thompson]], 2015<ref>https://bombmagazine.org/articles/mayo-thompson/</ref>

<blockquote>
After [the [[Shows/1993-03-23|1993 concert]] in] Graz [Austria] I got the bug again and started to play the guitar more, wrote five or six tunes and recorded them four-track with an eye to hitting up a record company for a deal and along came a chance. [...]

One day [[David Grubbs]] rang. He asked what I was up to and I gave him a dub of the four-track stuff, telling him of my plan to go to the bank. He asked if he might send it to [[Drag City]] in Chicago, urging me to hold off getting back in the mainstream grinder. It turned out Dan Koretzky and Dan Osborn liked the stuff. During Christmas '93, when I was home in Texas visiting my mother, Dan rang. He was able to persuade me to give Drag City a chance. I swallowed my qualms about working again indie style. Eventually, [[Albert Oehlen|Albert]] [Oehlen] and I went to Chicago and did our first work with the label, a song called "[[Columbia]]," maybe another. Ultimately we made the eponymous LP at Steve Albini's studio, building the set around the tunes from Germany, David playing, along with [[John McEntire]] from Bastro, [[Tom Watson]] from Slovenly, and [[Stephen Prina]]—an artist I’d gotten to know at the Pasadena art center. I won’t name everybody. The names are on the cover. Sure enough things kind of clicked and we got gigs. I should say too that I met [[Jim O'Rourke]] then, but didn’t know at first what to do with him. I’m glad to say we were able finally to get him involved.
</blockquote>

[[David Grubbs]], 2002<ref>The Wire, April 2002 pg.22</ref>

<blockquote>
Robert [Nedelkoff] had the idea of Mayo producing Squirrel Bait and wrote to him, back in 1984. I think he was in Düsseldorf at the time. Then in 1989 Bastro was playing at the Rose Club in Cologne, and we did a version of "[[Dear Betty Baby]]" from Mayo's solo record, ''[[Corky's Debt to His Father]]'', which is one of my absolute favorite records. The German music critic [[Diedrich Diederichsen]] told me afterwards that Mayo was living about 40 kilometres away, writing a novel about Albania [''[[Art, Mystery]]''], and gave me his phone number. I gave him a call the next day. When the first [[Gastr del Sol|Gastr Del Sol]] record, [1993's] ''The Serpentine Similar'', came out, I sent a copy to him in Germany, and got a call in Chicago about dinner time asking me when I was next in Europe so we could 'go ahead and do this', as if I'd proposed some kind of working arrangement. I met Mayo in Munich - I'd just given a paper on Ezra Pound in Rapallo, Italy, figuring out that I didn't want to be an academic specialising in modernist poetry - and I think at that point he'd already had an offer to teach in Pasadena, California, where he still is. I came back to Chicago where we had a weekly poker game with Dan Koretzky and Dan Osborn from [[Drag City]], and halfway through the evening I said, 'I've got this tape with me of the new Red Krayola song'. I think that one of the provisos of any label putting out The Red Krayola - they spell it with a 'K' in the US, out of fear of lawsuits - is that there would need to be an equal or greater commitment to new material, as well as shepherding into reissuing all these fantastic records, and Drag City were immediately enthusiastic about it. So next week at the poker game I showed up with a Gastr Del Sol tape. [laughs]
</blockquote>

[[Stephen Prina]], 2025<ref>https://www.frieze.com/article/david-grubbs-stephen-prina-253</ref>

<blockquote>
I met [[Mayo Thompson]] in the early 1990s, when he was living in Düsseldorf. We were introduced by mutual friends – I believe Albert Oehlen was involved. Around the same time, some Los Angeles musicians connected to the art world were putting together a double-CD compilation, Oostende 1994, and they invited me to participate. I submitted 'Etude for Percussion' (Square Root Function II)’ [1980] – which I had written for two percussionists, each playing two snare drums and a woodblock.

While recording, a friend asked me to play piano and sing on one of his tracks. There was a Fender Rhodes in the studio, so I did it. Some musicians there, a band called Sweet Cream, encouraged me to perform more. They kept inviting me to open for them, and I kept saying no, the excuse being that they hadn't given me enough time to prepare. At one point they recognized my avoidance technique and gave me six months' warning and at that point I couldn't refuse.

I thought: if I’m going to be a kind of pop performer, what form should it take? The result was the arrangement ''Sonic Dan'' [...] During the performance I play piano, sing and use a foot pedal to control the volume of a recording of Webern's ''Complete String Quartets'', which begins the performance and fades in and out throughout. The performance alternates between Steely Dan and Sonic Youth, with entr'acte and 'guitar solos' supplied by the Webern. [...]

I performed ''Sonic Dan'' as a work in progress, as an opener for Sweet Cream at a club in West Hollywood. I thought, what do I have to lose? No one’s going to show up. As it turns out, [[Diedrich Diederichsen]] was there, and Lillian Ball, Amy Gerstler, Mike Kelley, David Reed, [[Mayo Thompson]] and Benjamin Weissman. [...]

I was a little concerned, since I hadn't performed in public for years. But I went up there and did what I had to do. I performed for 20 minutes, after which Mayo came up to me and asked if I would sing on his new album. I was like, 'Great, I’m finally going to get the backup vocal credit I always wanted on a pop record.' I went into this tiny vocal booth in Pasadena to record my part and when that eponymous Red Krayola album came out, I was listed as a member of the band. The Red Krayola gave me the opportunity to work collaboratively in a way that had not been part of my practice in the same way before, which was often solitary. A generative experience, truly.
</blockquote>

[[Jim O'Rourke]], 1994<ref>https://groups.google.com/g/rec.music.misc/c/Z3olBudNF8w/m/LYkKTZTRPRIJ</ref>

<blockquote>
there will be a new album, The red krayola, out soon. It features [[Mayo Thompson|Mayo]] along with [[Tom Watson]], [[Stephen Prina|Steven Prina]], [[Albert Oehlen|Albert Oehlin]], [[John McEntire]], [[David Grubbs|Dave Grubbs]], and myself. it's great (i personally think mayo and dave are an impeccable team.) There is also this great [[Old Tom Clark (single)|Saddle sore 7"]], which was recorded i think just a month after [[Corky's Debt to His Father|Corky's debt]]. It's just so damn beautiful.....
</blockquote>

[[John McEntire]], 1994<ref>https://archive.org/details/no_trend_press_20/page/74/mode/2up</ref>

<blockquote>
M: Wie kommt es, daß Red Crayola wieder aktiv sind?

John: [[David Grubbs|Dave Shrubb]] von Bastro und [[Gastr del Sol]] nahm 1990 Kontakt mit [[Mayo Thompson|Majo Thompson]] auf, als Bastro gerade in Europa auf Tour waren. Majo Thompson lebte zu der Zeit in Köln. Sie hatten dann regelmäßige Korrespondenz und schließlich entschied sich Majo 1992 dazu, wieder Musik machen zu wollen.

M: Wann hatte er Red Crayola zuletzt beiseite gelegt?

John: Red Crayola gibt es in welcher Form auch immer seit 1966. Seither gibt es immer wieder längere Perioden, in denen die Band nicht aktiv ist.

M: Warst Du 1966 überhaupt schon geboren?

John: Ich bin 1970 zur Welt gekommen.

M: Muß doch ein seltsames Gefühl sein, in einer Band zu spielen, die älter ist als man selber.

John: Manchmal schon, wir spielen sogar Songs, die geschrieben wurden, als es mich noch nicht gab. Jedenfalls entschied sich Majo dazu, mit Dave zusammenzuarbeiten und sie gaben drüben in Europa ein paar Konzerte. Daraus entstand die Idee zu einem neuen Album, was wir im Januar ’94 aufnahmen und was jetzt bei Drag City veröffentlicht wurde. Vor zwei Wochen waren wir in Japan und gaben zwei Konzerte, die ziemlich großartig waren.

M: Wie groß waren die Läden?

John: Eher klein, aber wir haben unser Geld wieder reinbekommen, der Promoter war ziemlich gut. Majo ist noch drüben und arbeitet schon an den nächsten Geschichten mit dortigen Musikern. Er hat ein richtiges Netzwerk an Musikern und Kontakten.

M: Wie läßt es sich mit ihm arbeiten und in welchem Alter ist er jetzt?

John: Er ist 50. Es ist spannend mit ihm zu arbeiten, er hat eben einen völlig anderen Background. Seit Anfang der 70er Jahre ist er stark mit der Kunstwelt verknüpft, spielte dann mit dieser englischen Band ''[[Art & Language]]'' - ein Kollektiv konzeptioneller Künstler - und seine Rhetorik ist ein wenig zu ...(überlegt angestrengt) ... sagen wir einfach: es kommt manchmal zu leichten Kommunikationsproblemen, weil er oftmals unterschiedliche Begriffe verwendet für eine bestimmte Sache, gerade im Hinblick auf Musik, z.B. wenn du einen Song ausarbeitest. Es kann schwierig werden auf einer theoretischen Stufe, was aber in Ordnung ist, und letztendlich zu interessanter Musik führt. Davon abgesehen ist es großartig mit ihm zu arbeiten, es macht wirklich spaß, vor allem wenn er guter Laune in Tokyo ist.

M: Wie sieht's mit einer Tour in Amerika oder Europa aus?

John: Wir haben darüber gesprochen, aber wenn überhaupt, dann vielleicht 2-3 Konzerte an der Ostküste oder dergleichen. Ich kann mir Majo nicht unbedingt 3 Wochen in einem Bandbus vorstellen. Eine größere Tour wird es jedenfalls nicht geben.

M: Wie würdest Du das neue Album beschreiben?

John: Es ist sicherlich Red Crayolas’ stärkste Annäherung an eine Rock-Platte bisher, was zum einen an den Musikern liegen dürfte, die Songs sind kurz und bündig und die Produktion ist entsprechend. Ich glaube aber nicht, daß ich der Platte unbedingt einen Dienst erweise, wenn ich sie als Rock-Scheibe bezeichne, denn dafür passiert doch einfach auch zu viel.

M: Wie kommt die Platte an?

John: Hervorragend, gerade in Japan. Ich war wirklich beeindruckt von der Masse an Leuten, die dort mit diesen riesigen Red CrayolaSammlungen ankamen, all diese komischen Bootlegs und limitierten Pressungen, keine Ahnung, wo sie das Zeug herkriegen. Ich war vor allem von der Reaktion bei den Live-Auftritten erstaunt. Jeder hatte mir erzählt, wie zurückhaltend das Publikum sich verhalten würde und dann kreischten sie wie verrückt, das war beeindruckend.</blockquote>

== Reviews ==

=== Aiding & Abetting ===
August 31, 1994<ref>https://www.aidabet.com/archives/archR.html#REDK</ref><blockquote>If you remember the [[Mayo Thompson]] re-issue from earlier in the summer, you should be prepared.

Having been around for over 25 years, The Red Krayola is the main vehicle of Thompson's muse. He gets a few friends together and they play some very odd music. In years past it might have been called "psychedelic pop", I suppose, but that term has mutated over the years, and I don't think that's quite right now.

I think I like "eclectic pop" better. The Red Krayola folks turn traditional rhythms ad melodies on their heads, exposing them as the true opiates of the masses. It can be difficult listening to an album with so many discordant statements, but as you know, I like that sort of thing.

Anything that makes me think this much is certainly fine. And if this music doesn't haunt your mind like a pissed off secret, then you didn't listen hard enough the first time. Like it says, "Play Extremely Loud."</blockquote>

=== Chicago Reader ===
January 19, 1995<ref>https://chicagoreader.com/music/long-lived-rock/</ref>

Bill Meyer

<blockquote>
[...] The Red Krayola’s sound has varied widely over the years, but [[Mayo Thompson|Thompson]]’s distinctive voice and guitar playing have always been immediately identifiable. His voice is high, quavery, and resolutely off key, but it is nevertheless a remarkable instrument. He is a master of phrasing, nimbly negotiating tricky rhythms and irregular song structures with ease. His vocal delivery suits his lyrics; on the new album’s “[[Rapspierre]],” a dense Marxist social critique, he is by turns professorial, chiding, and sorrowful. The perpetual catch in his throat emphasizes the song’s outrage and regret. Thompson’s guitar playing is precise, clipped, and acerbic; he’s prone to off-kilter melodic runs that take the songs on unexpected tangents.

The Red Krayola is the most guitar-heavy record Thompson’s ever recorded. He and [[David Grubbs|Grubbs]], joined by guitarists [[Tom Watson]] and [[Stephen Prina]], pack terse, interlocking riffs around [[John McEntire|McEntire]]’s nimble drumming on the album’s 17 brief tunes. There is no bassist–the thick tone would only get in the way of the other instruments. [[Jim O'Rourke|Jim O’Rourke]] and [[Albert Oehlen]] contribute squiggly synthesizer noises, buzzing around and commenting on the guitar parts rather than fulfilling the traditional keyboard role of filling up harmonic space. [...]
</blockquote>

=== Suburban Voice ===
1995<ref>https://archive.org/details/suburban_voice_36/page/n68/mode/1up</ref><blockquote>A new album from [[Mayo Thompson]], who brings in new compatriots to keep the Krayola name alive — among them, [[Jim O'Rourke]] and [[David Grubbs]] ([[Gastr del Sol]]) and [[Tom Watson]] (Slovenly). Original, yet haphazard, featuring sparse instrumentation and understated vocals. Fractured psychedelic pop, somber minimalism and much of it comes off like Lou Reed on a downer (or Pavement without the self-consciousness), although Thompson's been making music just as long as Mr. Reed. Intriguing, in spots. </blockquote>

=== Brutarian ===
1990s<ref>https://archive.org/details/brutarian-14/page/64/mode/1up</ref><blockquote>So let me get this straight. A musician fails to realize that ever since he stopped taking LSD and smoking pot some twenty-five years ago he's become totally incapable of producing anything of even passing interest. And because people can't believe it and, furthermore, are too embarrassed to tell him he's a loser, they instead take to calling the bum a legend? What for? So he won't kill himself? I say, "Give this man a gun." A big gun. Still, it's hard to believe this rancid collection of moronic dada rock and meandering, inconsequential AOR nonsense was penned by the guy who wrote the amazing "[[Hurricane Fighter Plane]]" and put it on the even more amazing ''[[The Parable of Arable Land|Parable of Arable Land]]'' lp. Maybe not. Especially if you've heard the execrable stuff he did with [[Art & Language]].</blockquote>

=== The Trouser Press guide to '90s rock ===
1997<ref>https://archive.org/details/trouserpressguid00robb_1/page/597/mode/1up</ref><blockquote>Recorded by a collective of seven (including guitarists [[David Grubbs]], [[Jim O'Rourke]] and [[Tom Watson]], drummer [[John McEntire]] and German synthesist [[Albert Oehlen]]), The Red Krayola is a potent modern exposition of [[Mayo Thompson|Thompson]]'s Beefheart-ian musical inventions and wickedly offbeat lyrics. For all its idiosyncratic juxtapositions, the album is a relatively straightforward electric affair — alternatively engaging and patience testing — that sends antagonistic elements (noisy guitar, catatonic electronic blips, contrary rhythms) out to disrupt the calmly logical organization of restrained, tuneful inventions like the waltz-time "[[Jimmy Silk/Supper Be Ready Medley|Jimmy Silk/Supper By Ready Medley]]," "[[Pride]]," "[[Book of Kings]]," (which paraphrases Carly Simon ''and'' quotes children's verse), the courtly, Roxy Music-like "[[Miss X]]," the chromatic "[[Art-Dog]]" and "[[Suddenly]]," crooned as a sweet harmony vocal exercise. Traditionally cavalier in his appreciation of song structures, Thompson fleshes out the album with "[[Rapspierre]]" (another of his accelerated Marxist theory courses, this one containing sing-song doggrel about monkeys, random keyboard noises and turntable scratches), the ripping drive-gear "[[People Get Ready (The Train's Not Coming)]]" near-instrumental and the catchy mantra "[[I Knew It]]." Provocative and, for the most part, highly entertaining.</blockquote>

== References ==
{{The Red Krayola (album)}}

[[Category:Studio albums]]
[[Category:Drag City]]

The Shirt

2025-09-16T22:07:53Z

Dotclub: /* Interpretations */

== Lyrics ==
{{Lyrics|
[There There Betty Betty]
Down here at the poolside
I see myself in the surface
My mirror's broken, baby
Won't serve its purpose

No, my Cadillac can never fly
No matter how hard it might try
You know eighty-nine
Is a game that I don't even recognize

So there, there, there, there
There
There, there, Betty, Betty

[In My Baby's Ruth]
Oh, when I come to see her
Ask her, let me in
She always opens wide the doors
To that one place within

Once inside, it is so good
That I know I will come again
Now while in my baby's room

[Mother]
Oh, this is her name
Baby she's not a game
You cannot play her on a field of nine
Oh she's not a game
She will never, never, never
Never be the same
}}

== Chronology ==
* {{RLink|God}} {{MediaLink|YouTube=https://www.youtube.com/watch?v=atQKZkvhaZs}}
** [[Mayo Thompson]] - vocals, guitar
** [[Steve Cunningham]] - bass

== Interpretations ==
* The lyrics are taken from three of the Red Crayola's earliest written songs. Each song was later recorded separately for ''[[Fingerpainting]]'' (1999)
** "[[There There Betty Betty]]"
** "[[In My Baby's Ruth]]"
** "[[Mother]]"

== Retrospectives ==
[[David Grubbs]], 2002<ref>The Wire, April 2002 pg.22</ref>

<blockquote>
''God Bless The Red Crayola'' for years made no sense to me - it was such an elusive, difficult to fathom record. What were those slapping sounds in the track "The Shirt"? Wet shirts being slapped on a concrete floor?

The Wire: Didn't Mayo ever tell you what they were?

Yes, but I don't know if I'm permitted to say in a publication. It's not wet shirts being slapped on concrete [laughs].
</blockquote>

[[Mayo Thompson]], 2010<ref>[https://books.google.com/books?id=22WxDAAAQBAJ&pg=PA168 House of Hits: The Story of Gold Star/SugarHill Recording Studios pg.168]</ref>

<blockquote>
I guess that we had the funniest use of the Gold Star reverb chambers. One night we just decided to do something funny in the chambers. So we went to a 7-11 store and got a whole bunch of those little paper bags. . . . So we had a whole stack of these things, and we opened up the chamber and crawled in there. We put a guitar in one corner, then we started blowing up the bags with air, and then popped them, wadded them up, and threw them at the guitar. We recorded the whole process and used it in a song called "The Shirt." We added some tracks to that, but it was basically the song.

I think we were the only guys at the time — except the engineers who moved mics around in them — who ever saw the insides of the reverb chamber. The studio had a spring reverb and a plate reverb in those days, but we had the live chambers. If you asked the engineer for a longer reverb time, he would disappear for a few minutes and then come back, and it would be done.
</blockquote>

== References ==
{{Navbox God Bless the Red Krayola and All Who Sail With It}}

[[Category:Songs|Shirt, The]]

The Shirt

2025-09-16T22:06:49Z

Dotclub: /* Retrospectives */

== Lyrics ==
{{Lyrics|
[There There Betty Betty]
Down here at the poolside
I see myself in the surface
My mirror's broken, baby
Won't serve its purpose

No, my Cadillac can never fly
No matter how hard it might try
You know eighty-nine
Is a game that I don't even recognize

So there, there, there, there
There
There, there, Betty, Betty

[In My Baby's Ruth]
Oh, when I come to see her
Ask her, let me in
She always opens wide the doors
To that one place within

Once inside, it is so good
That I know I will come again
Now while in my baby's room

[Mother]
Oh, this is her name
Baby she's not a game
You cannot play her on a field of nine
Oh she's not a game
She will never, never, never
Never be the same
}}

== Chronology ==
* {{RLink|God}} {{MediaLink|YouTube=https://www.youtube.com/watch?v=atQKZkvhaZs}}
** [[Mayo Thompson]] - vocals, guitar
** [[Steve Cunningham]] - bass

== Interpretations ==
* The lyrics are taken from three of the Red Crayola's earliest songs. Each song was later recorded separately for ''[[Fingerpainting]]'' (1999)
** "[[There There Betty Betty]]"
** "[[In My Baby's Ruth]]"
** "[[Mother]]"

== Retrospectives ==
[[David Grubbs]], 2002<ref>The Wire, April 2002 pg.22</ref>

<blockquote>
''God Bless The Red Crayola'' for years made no sense to me - it was such an elusive, difficult to fathom record. What were those slapping sounds in the track "The Shirt"? Wet shirts being slapped on a concrete floor?

The Wire: Didn't Mayo ever tell you what they were?

Yes, but I don't know if I'm permitted to say in a publication. It's not wet shirts being slapped on concrete [laughs].
</blockquote>

[[Mayo Thompson]], 2010<ref>[https://books.google.com/books?id=22WxDAAAQBAJ&pg=PA168 House of Hits: The Story of Gold Star/SugarHill Recording Studios pg.168]</ref>

<blockquote>
I guess that we had the funniest use of the Gold Star reverb chambers. One night we just decided to do something funny in the chambers. So we went to a 7-11 store and got a whole bunch of those little paper bags. . . . So we had a whole stack of these things, and we opened up the chamber and crawled in there. We put a guitar in one corner, then we started blowing up the bags with air, and then popped them, wadded them up, and threw them at the guitar. We recorded the whole process and used it in a song called "The Shirt." We added some tracks to that, but it was basically the song.

I think we were the only guys at the time — except the engineers who moved mics around in them — who ever saw the insides of the reverb chamber. The studio had a spring reverb and a plate reverb in those days, but we had the live chambers. If you asked the engineer for a longer reverb time, he would disappear for a few minutes and then come back, and it would be done.
</blockquote>

== References ==
{{Navbox God Bless the Red Krayola and All Who Sail With It}}

[[Category:Songs|Shirt, The]]

The Shirt

2025-09-16T22:06:02Z

Dotclub: /* Retrospectives */

== Lyrics ==
{{Lyrics|
[There There Betty Betty]
Down here at the poolside
I see myself in the surface
My mirror's broken, baby
Won't serve its purpose

No, my Cadillac can never fly
No matter how hard it might try
You know eighty-nine
Is a game that I don't even recognize

So there, there, there, there
There
There, there, Betty, Betty

[In My Baby's Ruth]
Oh, when I come to see her
Ask her, let me in
She always opens wide the doors
To that one place within

Once inside, it is so good
That I know I will come again
Now while in my baby's room

[Mother]
Oh, this is her name
Baby she's not a game
You cannot play her on a field of nine
Oh she's not a game
She will never, never, never
Never be the same
}}

== Chronology ==
* {{RLink|God}} {{MediaLink|YouTube=https://www.youtube.com/watch?v=atQKZkvhaZs}}
** [[Mayo Thompson]] - vocals, guitar
** [[Steve Cunningham]] - bass

== Interpretations ==
* The lyrics are taken from three of the Red Crayola's earliest songs. Each song was later recorded separately for ''[[Fingerpainting]]'' (1999)
** "[[There There Betty Betty]]"
** "[[In My Baby's Ruth]]"
** "[[Mother]]"

== Retrospectives ==
[[Mayo Thompson]], 2010<ref>[https://books.google.com/books?id=22WxDAAAQBAJ&pg=PA168 House of Hits: The Story of Gold Star/SugarHill Recording Studios pg.168]</ref>

<blockquote>
I guess that we had the funniest use of the Gold Star reverb chambers. One night we just decided to do something funny in the chambers. So we went to a 7-11 store and got a whole bunch of those little paper bags. . . . So we had a whole stack of these things, and we opened up the chamber and crawled in there. We put a guitar in one corner, then we started blowing up the bags with air, and then popped them, wadded them up, and threw them at the guitar. We recorded the whole process and used it in a song called "The Shirt." We added some tracks to that, but it was basically the song.

I think we were the only guys at the time — except the engineers who moved mics around in them — who ever saw the insides of the reverb chamber. The studio had a spring reverb and a plate reverb in those days, but we had the live chambers. If you asked the engineer for a longer reverb time, he would disappear for a few minutes and then come back, and it would be done.
</blockquote>

[[David Grubbs]], 2002<ref>The Wire, April 2002 pg.22</ref>

<blockquote>
''God Bless The Red Crayola'' for years made no sense to me - it was such an elusive, difficult to fathom record. What were those slapping sounds in the track "The Shirt"? Wet shirts being slapped on a concrete floor?

The Wire: Didn't Mayo ever tell you what they were?

Yes, but I don't know if I'm permitted to say in a publication. It's not wet shirts being slapped on concrete [laughs].
</blockquote>

== References ==
{{Navbox God Bless the Red Krayola and All Who Sail With It}}

[[Category:Songs|Shirt, The]]

The Red Krayola (album)

2025-09-16T22:01:37Z

Dotclub: /* Retrospectives */

{{ReleaseInfo
|Title=The Red Krayola
|Image1=The-Red-Krayola-front.png
|Image2=The-Red-Krayola-back.jpg
|Artist=[[The Red Krayola]]
|Type=Studio album
|ReleaseDate=September 19, 1994
|Year= 1994
|RecordingDate= January 1994
|Studio=
|RecordingLocation=
|Label={{RLink|Drag}}
|DragCity=https://www.dragcity.com/products/the-red-krayola
|Discogs=https://www.discogs.com/master/173011-The-Red-Krayola-The-Red-Krayola
|RYM=https://rateyourmusic.com/release/album/the-red-krayola/the-red-krayola/
|Wikipedia=https://en.wikipedia.org/wiki/The_Red_Krayola_(album)
|Bandcamp=https://theredkrayola.bandcamp.com/album/the-red-krayola
|YouTube=https://www.youtube.com/playlist?list=OLAK5uy_nS3Xh4P92fUeinOmu3MiM4J2IQTpp6csM
|AppleMusic=https://music.apple.com/us/album/the-red-krayola/67964957
|Spotify=
|Genius=
|UbuWeb=
|AllMusic=
|IMDB=
|Archive=
}}

== Track listing ==
{{tracklist
| title1 = [[Jimmy Silk/Supper Be Ready Medley]]
| length1 = 1:57
| title2 = [[Pride]]
| length2 = 1:06
| title3 = [[Book of Kings]]
| length3 = 2:40
| title4 = [[Pessimisty]]
| length4 = 2:50
| title5 = [[Worms, Worms, Thirst]]
| length5 = 1:38
| title6 = [[People Get Ready (The Train's Not Coming)]]
| length6 = 3:22
| title7 = [[If 'S' Is]]
| length7 = 2:06
| title8 = [[Miss X]]
| length8 = 2:37
| title9 = [[Rapspierre]]
| length9 = 2:44
| title10 = [[Stand-Up]]
| length10 = 2:42
| title11 = [[Art-Dog]]
| length11 = 1:09
| title12 = [[I Knew It]]
| length12 = 1:54
| title13 = [[101st]]
| length13 = 1:54
| title14 = [[(Why) I'm So Blasé]]
| length14 = 2:07
| title15 = [[The Big Macumba]]
| length15 = 2:42
| title16 = [[Voodoo Child]]
| length16 = 1:47
| title17 = [[Suddenly]]
| length17 = 1:51
}}

== Background ==
[[Shows/1994]]

=== Liner notes ===
Rian Murphy, 1994

<blockquote>
Lives rush towards any semblance of higher order. Some structure would make all the world worthwhile for them. We can build solutions for our problems; stack stories on top of each other; design parking facilities to protect vehicles meant to transport us faster. Alas, not every vicarious story-child can except such a consummation, and so many are left undone.

On the window sill, the China cat hovers over what we accept as our everyday vista. Worry not over the tender path of love or when one body transposes over another. These are elements, and to science they belong. Letting science take care of it, we allow them to be. Magnets account for attraction; gravity lords it under all. Fresh from flying around in an airplane, one will grow and change in some fashion, whether or not it is the statement. What do you stand for?

Fairwagons are grounded at the end of our street. Once again, these minstrels have returned. The children start. Somehow it has changed. In the heat of the breeze that goes from East to West through our passway come new sounds, little bites we'll scratch over in the dawn. For some, this comes easier than others. Dirt-stained, the curious disperse. What substitute is there for minutes of your time? A caravan, like a verse against the long black night, where every song is another light? '94? I remember form, start to finish. And there, without missing a beat, autumn, the new Red Krayola album. Welcome one and all to another collection. Let them live alongside in bits and pieces for the likes of man to squabble over. A more than simple story is tantamount to a stack of turtles and all that they survey.
</blockquote>

=== Ephemera ===
==== Postcard ====
<gallery mode="packed">
File:The-Red-Krayola-postcard-front.jpg|Front
File:The-Red-Krayola-postcard-back.jpg|Back
</gallery>

==== Press kit ====
<gallery mode="packed">
File:The-Red-Krayola-press-kit-photo.jpg|Photo
File:The-Red-Krayola-press-kit-pg1.jpg|pg.1
File:The-Red-Krayola-press-kit-pg2.jpg|pg.2-3
</gallery>

== Personnel ==

=== Musicians ===
[[David Grubbs]] (guitar), [[John McEntire]] (drums), [[Albert Oehlen]] (electronics), [[Jim O'Rourke]] (Moog<ref>The Wire, January 1995, pg.19</ref>), [[Stephen Prina]], [[Mayo Thompson]] (writing, vocals, guitar), [[Tom Watson]] (guitar)

=== Cover art ===
The cover photo was taken by [[Albert Oehlen]]. It appears to depict the Volksparkstadion stadium in Hamburg, Germany.<ref>https://wolfbulls-stadionwelt.de.tl/Volksparkstadion-HAMBURG_BAHRENFELD.htm</ref> The visible advertisements are for "Nova Versicherungen," an insurance company, and "Tom T" — maybe Tom Tailor, a clothing brand based in Hamburg and a major sponsor of the Hamburger SV team until 2003.<ref>https://www.welt.de/print-welt/article695362/Tom-Tailor-prueft-Partnerschaft-mit-dem-HSV.html</ref>

<gallery mode="packed">
File:Volksparkstadion-1990.jpg|Volksparkstadion, 1990<ref>https://wolfbulls-stadionwelt.de.tl/Volksparkstadion-HAMBURG_BAHRENFELD.htm</ref>
</gallery>

== Retrospectives ==
[[Mayo Thompson]], 2015<ref>https://bombmagazine.org/articles/mayo-thompson/</ref>

<blockquote>
After [the [[Shows/1993-03-23|1993 concert]] in] Graz [Austria] I got the bug again and started to play the guitar more, wrote five or six tunes and recorded them four-track with an eye to hitting up a record company for a deal and along came a chance. [...]

One day [[David Grubbs]] rang. He asked what I was up to and I gave him a dub of the four-track stuff, telling him of my plan to go to the bank. He asked if he might send it to [[Drag City]] in Chicago, urging me to hold off getting back in the mainstream grinder. It turned out Dan Koretzky and Dan Osborn liked the stuff. During Christmas '93, when I was home in Texas visiting my mother, Dan rang. He was able to persuade me to give Drag City a chance. I swallowed my qualms about working again indie style. Eventually, [[Albert Oehlen|Albert]] [Oehlen] and I went to Chicago and did our first work with the label, a song called "[[Columbia]]," maybe another. Ultimately we made the eponymous LP at Steve Albini's studio, building the set around the tunes from Germany, David playing, along with [[John McEntire]] from Bastro, [[Tom Watson]] from Slovenly, and [[Stephen Prina]]—an artist I’d gotten to know at the Pasadena art center. I won’t name everybody. The names are on the cover. Sure enough things kind of clicked and we got gigs. I should say too that I met [[Jim O'Rourke]] then, but didn’t know at first what to do with him. I’m glad to say we were able finally to get him involved.
</blockquote>

[[David Grubbs]], 2002<ref>The Wire, April 2002 pg.22</ref>

<blockquote>
Robert [Nedelkoff] had the idea of Mayo producing Squirrel Bait and wrote to him, back in 1984. I think he was in Düsseldorf at the time. Then in 1989 Bastro was playing at the Rose Club in Cologne, and we did a version of "[[Dear Betty Baby]]" from Mayo's solo record, ''[[Corky's Debt to His Father]]'', which is one of my absolute favorite records. The German music critic [[Diedrich Diederichsen]] told me afterwards that Mayo was living about 40 kilometres away, writing a novel about Albania [''[[Art, Mystery]]''], and gave me his phone number. I gave him a call the next day. When the first [[Gastr del Sol|Gastr Del Sol]] record, [1993's] ''The Serpentine Similar'', came out, I sent a copy to him in Germany, and got a call in Chicago about dinner time asking me when I was next in Europe so we could 'go ahead and do this', as if I'd proposed some kind of working arrangement. I met Mayo in Munich - I'd just given a paper on Ezra Pound in Rapallo, Italy, figuring out that I didn't want to be an academic specialising in modernist poetry - and I think at that point he'd already had an offer to teach in Pasadena, California, where he still is. I came back to Chicago where he had a weekly poker game with Dan Koretzky and Dan Osborn from [[Drag City]], and halfway through the evening I said, 'I've got this tape with me of the new Red Krayola song'. I think that one of the provisos of any label putting out The Red Krayola - they spell it with a 'K' in the US, out of fear of lawsuits - is that there would need to be an equal or greater commitment to new material, as well as shepherding into reissuing all these fantastic records, and Drag City were immediately enthusiastic about it. So next week at the poker game I showed up with a Gastr Del Sol tape. [laughs]
</blockquote>

[[Stephen Prina]], 2025<ref>https://www.frieze.com/article/david-grubbs-stephen-prina-253</ref>

<blockquote>
I met [[Mayo Thompson]] in the early 1990s, when he was living in Düsseldorf. We were introduced by mutual friends – I believe Albert Oehlen was involved. Around the same time, some Los Angeles musicians connected to the art world were putting together a double-CD compilation, Oostende 1994, and they invited me to participate. I submitted 'Etude for Percussion' (Square Root Function II)’ [1980] – which I had written for two percussionists, each playing two snare drums and a woodblock.

While recording, a friend asked me to play piano and sing on one of his tracks. There was a Fender Rhodes in the studio, so I did it. Some musicians there, a band called Sweet Cream, encouraged me to perform more. They kept inviting me to open for them, and I kept saying no, the excuse being that they hadn't given me enough time to prepare. At one point they recognized my avoidance technique and gave me six months' warning and at that point I couldn't refuse.

I thought: if I’m going to be a kind of pop performer, what form should it take? The result was the arrangement ''Sonic Dan'' [...] During the performance I play piano, sing and use a foot pedal to control the volume of a recording of Webern's ''Complete String Quartets'', which begins the performance and fades in and out throughout. The performance alternates between Steely Dan and Sonic Youth, with entr'acte and 'guitar solos' supplied by the Webern. [...]

I performed ''Sonic Dan'' as a work in progress, as an opener for Sweet Cream at a club in West Hollywood. I thought, what do I have to lose? No one’s going to show up. As it turns out, [[Diedrich Diederichsen]] was there, and Lillian Ball, Amy Gerstler, Mike Kelley, David Reed, [[Mayo Thompson]] and Benjamin Weissman. [...]

I was a little concerned, since I hadn't performed in public for years. But I went up there and did what I had to do. I performed for 20 minutes, after which Mayo came up to me and asked if I would sing on his new album. I was like, 'Great, I’m finally going to get the backup vocal credit I always wanted on a pop record.' I went into this tiny vocal booth in Pasadena to record my part and when that eponymous Red Krayola album came out, I was listed as a member of the band. The Red Krayola gave me the opportunity to work collaboratively in a way that had not been part of my practice in the same way before, which was often solitary. A generative experience, truly.
</blockquote>

[[Jim O'Rourke]], 1994<ref>https://groups.google.com/g/rec.music.misc/c/Z3olBudNF8w/m/LYkKTZTRPRIJ</ref>

<blockquote>
there will be a new album, The red krayola, out soon. It features [[Mayo Thompson|Mayo]] along with [[Tom Watson]], [[Stephen Prina|Steven Prina]], [[Albert Oehlen|Albert Oehlin]], [[John McEntire]], [[David Grubbs|Dave Grubbs]], and myself. it's great (i personally think mayo and dave are an impeccable team.) There is also this great [[Old Tom Clark (single)|Saddle sore 7"]], which was recorded i think just a month after [[Corky's Debt to His Father|Corky's debt]]. It's just so damn beautiful.....
</blockquote>

[[John McEntire]], 1994<ref>https://archive.org/details/no_trend_press_20/page/74/mode/2up</ref>

<blockquote>
M: Wie kommt es, daß Red Crayola wieder aktiv sind?

John: [[David Grubbs|Dave Shrubb]] von Bastro und [[Gastr del Sol]] nahm 1990 Kontakt mit [[Mayo Thompson|Majo Thompson]] auf, als Bastro gerade in Europa auf Tour waren. Majo Thompson lebte zu der Zeit in Köln. Sie hatten dann regelmäßige Korrespondenz und schließlich entschied sich Majo 1992 dazu, wieder Musik machen zu wollen.

M: Wann hatte er Red Crayola zuletzt beiseite gelegt?

John: Red Crayola gibt es in welcher Form auch immer seit 1966. Seither gibt es immer wieder längere Perioden, in denen die Band nicht aktiv ist.

M: Warst Du 1966 überhaupt schon geboren?

John: Ich bin 1970 zur Welt gekommen.

M: Muß doch ein seltsames Gefühl sein, in einer Band zu spielen, die älter ist als man selber.

John: Manchmal schon, wir spielen sogar Songs, die geschrieben wurden, als es mich noch nicht gab. Jedenfalls entschied sich Majo dazu, mit Dave zusammenzuarbeiten und sie gaben drüben in Europa ein paar Konzerte. Daraus entstand die Idee zu einem neuen Album, was wir im Januar ’94 aufnahmen und was jetzt bei Drag City veröffentlicht wurde. Vor zwei Wochen waren wir in Japan und gaben zwei Konzerte, die ziemlich großartig waren.

M: Wie groß waren die Läden?

John: Eher klein, aber wir haben unser Geld wieder reinbekommen, der Promoter war ziemlich gut. Majo ist noch drüben und arbeitet schon an den nächsten Geschichten mit dortigen Musikern. Er hat ein richtiges Netzwerk an Musikern und Kontakten.

M: Wie läßt es sich mit ihm arbeiten und in welchem Alter ist er jetzt?

John: Er ist 50. Es ist spannend mit ihm zu arbeiten, er hat eben einen völlig anderen Background. Seit Anfang der 70er Jahre ist er stark mit der Kunstwelt verknüpft, spielte dann mit dieser englischen Band ''[[Art & Language]]'' - ein Kollektiv konzeptioneller Künstler - und seine Rhetorik ist ein wenig zu ...(überlegt angestrengt) ... sagen wir einfach: es kommt manchmal zu leichten Kommunikationsproblemen, weil er oftmals unterschiedliche Begriffe verwendet für eine bestimmte Sache, gerade im Hinblick auf Musik, z.B. wenn du einen Song ausarbeitest. Es kann schwierig werden auf einer theoretischen Stufe, was aber in Ordnung ist, und letztendlich zu interessanter Musik führt. Davon abgesehen ist es großartig mit ihm zu arbeiten, es macht wirklich spaß, vor allem wenn er guter Laune in Tokyo ist.

M: Wie sieht's mit einer Tour in Amerika oder Europa aus?

John: Wir haben darüber gesprochen, aber wenn überhaupt, dann vielleicht 2-3 Konzerte an der Ostküste oder dergleichen. Ich kann mir Majo nicht unbedingt 3 Wochen in einem Bandbus vorstellen. Eine größere Tour wird es jedenfalls nicht geben.

M: Wie würdest Du das neue Album beschreiben?

John: Es ist sicherlich Red Crayolas’ stärkste Annäherung an eine Rock-Platte bisher, was zum einen an den Musikern liegen dürfte, die Songs sind kurz und bündig und die Produktion ist entsprechend. Ich glaube aber nicht, daß ich der Platte unbedingt einen Dienst erweise, wenn ich sie als Rock-Scheibe bezeichne, denn dafür passiert doch einfach auch zu viel.

M: Wie kommt die Platte an?

John: Hervorragend, gerade in Japan. Ich war wirklich beeindruckt von der Masse an Leuten, die dort mit diesen riesigen Red CrayolaSammlungen ankamen, all diese komischen Bootlegs und limitierten Pressungen, keine Ahnung, wo sie das Zeug herkriegen. Ich war vor allem von der Reaktion bei den Live-Auftritten erstaunt. Jeder hatte mir erzählt, wie zurückhaltend das Publikum sich verhalten würde und dann kreischten sie wie verrückt, das war beeindruckend.</blockquote>

== Reviews ==

=== Aiding & Abetting ===
August 31, 1994<ref>https://www.aidabet.com/archives/archR.html#REDK</ref><blockquote>If you remember the [[Mayo Thompson]] re-issue from earlier in the summer, you should be prepared.

Having been around for over 25 years, The Red Krayola is the main vehicle of Thompson's muse. He gets a few friends together and they play some very odd music. In years past it might have been called "psychedelic pop", I suppose, but that term has mutated over the years, and I don't think that's quite right now.

I think I like "eclectic pop" better. The Red Krayola folks turn traditional rhythms ad melodies on their heads, exposing them as the true opiates of the masses. It can be difficult listening to an album with so many discordant statements, but as you know, I like that sort of thing.

Anything that makes me think this much is certainly fine. And if this music doesn't haunt your mind like a pissed off secret, then you didn't listen hard enough the first time. Like it says, "Play Extremely Loud."</blockquote>

=== Chicago Reader ===
January 19, 1995<ref>https://chicagoreader.com/music/long-lived-rock/</ref>

Bill Meyer

<blockquote>
[...] The Red Krayola’s sound has varied widely over the years, but [[Mayo Thompson|Thompson]]’s distinctive voice and guitar playing have always been immediately identifiable. His voice is high, quavery, and resolutely off key, but it is nevertheless a remarkable instrument. He is a master of phrasing, nimbly negotiating tricky rhythms and irregular song structures with ease. His vocal delivery suits his lyrics; on the new album’s “[[Rapspierre]],” a dense Marxist social critique, he is by turns professorial, chiding, and sorrowful. The perpetual catch in his throat emphasizes the song’s outrage and regret. Thompson’s guitar playing is precise, clipped, and acerbic; he’s prone to off-kilter melodic runs that take the songs on unexpected tangents.

The Red Krayola is the most guitar-heavy record Thompson’s ever recorded. He and [[David Grubbs|Grubbs]], joined by guitarists [[Tom Watson]] and [[Stephen Prina]], pack terse, interlocking riffs around [[John McEntire|McEntire]]’s nimble drumming on the album’s 17 brief tunes. There is no bassist–the thick tone would only get in the way of the other instruments. [[Jim O'Rourke|Jim O’Rourke]] and [[Albert Oehlen]] contribute squiggly synthesizer noises, buzzing around and commenting on the guitar parts rather than fulfilling the traditional keyboard role of filling up harmonic space. [...]
</blockquote>

=== Suburban Voice ===
1995<ref>https://archive.org/details/suburban_voice_36/page/n68/mode/1up</ref><blockquote>A new album from [[Mayo Thompson]], who brings in new compatriots to keep the Krayola name alive — among them, [[Jim O'Rourke]] and [[David Grubbs]] ([[Gastr del Sol]]) and [[Tom Watson]] (Slovenly). Original, yet haphazard, featuring sparse instrumentation and understated vocals. Fractured psychedelic pop, somber minimalism and much of it comes off like Lou Reed on a downer (or Pavement without the self-consciousness), although Thompson's been making music just as long as Mr. Reed. Intriguing, in spots. </blockquote>

=== Brutarian ===
1990s<ref>https://archive.org/details/brutarian-14/page/64/mode/1up</ref><blockquote>So let me get this straight. A musician fails to realize that ever since he stopped taking LSD and smoking pot some twenty-five years ago he's become totally incapable of producing anything of even passing interest. And because people can't believe it and, furthermore, are too embarrassed to tell him he's a loser, they instead take to calling the bum a legend? What for? So he won't kill himself? I say, "Give this man a gun." A big gun. Still, it's hard to believe this rancid collection of moronic dada rock and meandering, inconsequential AOR nonsense was penned by the guy who wrote the amazing "[[Hurricane Fighter Plane]]" and put it on the even more amazing ''[[The Parable of Arable Land|Parable of Arable Land]]'' lp. Maybe not. Especially if you've heard the execrable stuff he did with [[Art & Language]].</blockquote>

=== The Trouser Press guide to '90s rock ===
1997<ref>https://archive.org/details/trouserpressguid00robb_1/page/597/mode/1up</ref><blockquote>Recorded by a collective of seven (including guitarists [[David Grubbs]], [[Jim O'Rourke]] and [[Tom Watson]], drummer [[John McEntire]] and German synthesist [[Albert Oehlen]]), The Red Krayola is a potent modern exposition of [[Mayo Thompson|Thompson]]'s Beefheart-ian musical inventions and wickedly offbeat lyrics. For all its idiosyncratic juxtapositions, the album is a relatively straightforward electric affair — alternatively engaging and patience testing — that sends antagonistic elements (noisy guitar, catatonic electronic blips, contrary rhythms) out to disrupt the calmly logical organization of restrained, tuneful inventions like the waltz-time "[[Jimmy Silk/Supper Be Ready Medley|Jimmy Silk/Supper By Ready Medley]]," "[[Pride]]," "[[Book of Kings]]," (which paraphrases Carly Simon ''and'' quotes children's verse), the courtly, Roxy Music-like "[[Miss X]]," the chromatic "[[Art-Dog]]" and "[[Suddenly]]," crooned as a sweet harmony vocal exercise. Traditionally cavalier in his appreciation of song structures, Thompson fleshes out the album with "[[Rapspierre]]" (another of his accelerated Marxist theory courses, this one containing sing-song doggrel about monkeys, random keyboard noises and turntable scratches), the ripping drive-gear "[[People Get Ready (The Train's Not Coming)]]" near-instrumental and the catchy mantra "[[I Knew It]]." Provocative and, for the most part, highly entertaining.</blockquote>

== References ==
{{The Red Krayola (album)}}

[[Category:Studio albums]]
[[Category:Drag City]]

The Red Krayola (album)

2025-09-16T22:01:12Z

Dotclub: /* Retrospectives */

{{ReleaseInfo
|Title=The Red Krayola
|Image1=The-Red-Krayola-front.png
|Image2=The-Red-Krayola-back.jpg
|Artist=[[The Red Krayola]]
|Type=Studio album
|ReleaseDate=September 19, 1994
|Year= 1994
|RecordingDate= January 1994
|Studio=
|RecordingLocation=
|Label={{RLink|Drag}}
|DragCity=https://www.dragcity.com/products/the-red-krayola
|Discogs=https://www.discogs.com/master/173011-The-Red-Krayola-The-Red-Krayola
|RYM=https://rateyourmusic.com/release/album/the-red-krayola/the-red-krayola/
|Wikipedia=https://en.wikipedia.org/wiki/The_Red_Krayola_(album)
|Bandcamp=https://theredkrayola.bandcamp.com/album/the-red-krayola
|YouTube=https://www.youtube.com/playlist?list=OLAK5uy_nS3Xh4P92fUeinOmu3MiM4J2IQTpp6csM
|AppleMusic=https://music.apple.com/us/album/the-red-krayola/67964957
|Spotify=
|Genius=
|UbuWeb=
|AllMusic=
|IMDB=
|Archive=
}}

== Track listing ==
{{tracklist
| title1 = [[Jimmy Silk/Supper Be Ready Medley]]
| length1 = 1:57
| title2 = [[Pride]]
| length2 = 1:06
| title3 = [[Book of Kings]]
| length3 = 2:40
| title4 = [[Pessimisty]]
| length4 = 2:50
| title5 = [[Worms, Worms, Thirst]]
| length5 = 1:38
| title6 = [[People Get Ready (The Train's Not Coming)]]
| length6 = 3:22
| title7 = [[If 'S' Is]]
| length7 = 2:06
| title8 = [[Miss X]]
| length8 = 2:37
| title9 = [[Rapspierre]]
| length9 = 2:44
| title10 = [[Stand-Up]]
| length10 = 2:42
| title11 = [[Art-Dog]]
| length11 = 1:09
| title12 = [[I Knew It]]
| length12 = 1:54
| title13 = [[101st]]
| length13 = 1:54
| title14 = [[(Why) I'm So Blasé]]
| length14 = 2:07
| title15 = [[The Big Macumba]]
| length15 = 2:42
| title16 = [[Voodoo Child]]
| length16 = 1:47
| title17 = [[Suddenly]]
| length17 = 1:51
}}

== Background ==
[[Shows/1994]]

=== Liner notes ===
Rian Murphy, 1994

<blockquote>
Lives rush towards any semblance of higher order. Some structure would make all the world worthwhile for them. We can build solutions for our problems; stack stories on top of each other; design parking facilities to protect vehicles meant to transport us faster. Alas, not every vicarious story-child can except such a consummation, and so many are left undone.

On the window sill, the China cat hovers over what we accept as our everyday vista. Worry not over the tender path of love or when one body transposes over another. These are elements, and to science they belong. Letting science take care of it, we allow them to be. Magnets account for attraction; gravity lords it under all. Fresh from flying around in an airplane, one will grow and change in some fashion, whether or not it is the statement. What do you stand for?

Fairwagons are grounded at the end of our street. Once again, these minstrels have returned. The children start. Somehow it has changed. In the heat of the breeze that goes from East to West through our passway come new sounds, little bites we'll scratch over in the dawn. For some, this comes easier than others. Dirt-stained, the curious disperse. What substitute is there for minutes of your time? A caravan, like a verse against the long black night, where every song is another light? '94? I remember form, start to finish. And there, without missing a beat, autumn, the new Red Krayola album. Welcome one and all to another collection. Let them live alongside in bits and pieces for the likes of man to squabble over. A more than simple story is tantamount to a stack of turtles and all that they survey.
</blockquote>

=== Ephemera ===
==== Postcard ====
<gallery mode="packed">
File:The-Red-Krayola-postcard-front.jpg|Front
File:The-Red-Krayola-postcard-back.jpg|Back
</gallery>

==== Press kit ====
<gallery mode="packed">
File:The-Red-Krayola-press-kit-photo.jpg|Photo
File:The-Red-Krayola-press-kit-pg1.jpg|pg.1
File:The-Red-Krayola-press-kit-pg2.jpg|pg.2-3
</gallery>

== Personnel ==

=== Musicians ===
[[David Grubbs]] (guitar), [[John McEntire]] (drums), [[Albert Oehlen]] (electronics), [[Jim O'Rourke]] (Moog<ref>The Wire, January 1995, pg.19</ref>), [[Stephen Prina]], [[Mayo Thompson]] (writing, vocals, guitar), [[Tom Watson]] (guitar)

=== Cover art ===
The cover photo was taken by [[Albert Oehlen]]. It appears to depict the Volksparkstadion stadium in Hamburg, Germany.<ref>https://wolfbulls-stadionwelt.de.tl/Volksparkstadion-HAMBURG_BAHRENFELD.htm</ref> The visible advertisements are for "Nova Versicherungen," an insurance company, and "Tom T" — maybe Tom Tailor, a clothing brand based in Hamburg and a major sponsor of the Hamburger SV team until 2003.<ref>https://www.welt.de/print-welt/article695362/Tom-Tailor-prueft-Partnerschaft-mit-dem-HSV.html</ref>

<gallery mode="packed">
File:Volksparkstadion-1990.jpg|Volksparkstadion, 1990<ref>https://wolfbulls-stadionwelt.de.tl/Volksparkstadion-HAMBURG_BAHRENFELD.htm</ref>
</gallery>

== Retrospectives ==
[[Mayo Thompson]], 2015<ref>https://bombmagazine.org/articles/mayo-thompson/</ref>

<blockquote>
After [the [[Shows/1993-03-23|1993 concert]] in] Graz [Austria] I got the bug again and started to play the guitar more, wrote five or six tunes and recorded them four-track with an eye to hitting up a record company for a deal and along came a chance. [...]

One day [[David Grubbs]] rang. He asked what I was up to and I gave him a dub of the four-track stuff, telling him of my plan to go to the bank. He asked if he might send it to [[Drag City]] in Chicago, urging me to hold off getting back in the mainstream grinder. It turned out Dan Koretzky and Dan Osborn liked the stuff. During Christmas '93, when I was home in Texas visiting my mother, Dan rang. He was able to persuade me to give Drag City a chance. I swallowed my qualms about working again indie style. Eventually, [[Albert Oehlen|Albert]] [Oehlen] and I went to Chicago and did our first work with the label, a song called "[[Columbia]]," maybe another. Ultimately we made the eponymous LP at Steve Albini's studio, building the set around the tunes from Germany, David playing, along with [[John McEntire]] from Bastro, [[Tom Watson]] from Slovenly, and [[Stephen Prina]]—an artist I’d gotten to know at the Pasadena art center. I won’t name everybody. The names are on the cover. Sure enough things kind of clicked and we got gigs. I should say too that I met [[Jim O'Rourke]] then, but didn’t know at first what to do with him. I’m glad to say we were able finally to get him involved.
</blockquote>

[[David Grubbs]], 2002<ref>The Wire, April 2002 pg.22</ref>

<blockquote>
Robert [Nedelkoff] had the idea of Mayo producing Squirrel Bait and wrote to him, back in 1984. I think he was in Düsseldorf at the time. Then in 1989 Bastro was playing at the Rose Club in Cologne, and we did a version of "[[Dear Betty Baby]]" from Mayo's solo record, ''[[Corky's Debt to His Father]]'', which is one of my absolute favorite records. The German music critic [[Diedrich Diederichsen]] told me afterwards that Mayo was living about 40 kilometres away, writing a novel about Albania [''Art, Mystery''], and gave me his phone number. I gave him a call the next day. When the first [[Gastr del Sol|Gastr Del Sol]] record, [1993's] ''The Serpentine Similar'', came out, I sent a copy to him in Germany, and got a call in Chicago about dinner time asking me when I was next in Europe so we could 'go ahead and do this', as if I'd proposed some kind of working arrangement. I met Mayo in Munich - I'd just given a paper on Ezra Pound in Rapallo, Italy, figuring out that I didn't want to be an academic specialising in modernist poetry - and I think at that point he'd already had an offer to teach in Pasadena, California, where he still is. I came back to Chicago where he had a weekly poker game with Dan Koretzky and Dan Osborn from [[Drag City]], and halfway through the evening I said, 'I've got this tape with me of the new Red Krayola song'. I think that one of the provisos of any label putting out The Red Krayola - they spell it with a 'K' in the US, out of fear of lawsuits - is that there would need to be an equal or greater commitment to new material, as well as shepherding into reissuing all these fantastic records, and Drag City were immediately enthusiastic about it. So next week at the poker game I showed up with a Gastr Del Sol tape. [laughs]
</blockquote>

[[Stephen Prina]], 2025<ref>https://www.frieze.com/article/david-grubbs-stephen-prina-253</ref>

<blockquote>
I met [[Mayo Thompson]] in the early 1990s, when he was living in Düsseldorf. We were introduced by mutual friends – I believe Albert Oehlen was involved. Around the same time, some Los Angeles musicians connected to the art world were putting together a double-CD compilation, Oostende 1994, and they invited me to participate. I submitted 'Etude for Percussion' (Square Root Function II)’ [1980] – which I had written for two percussionists, each playing two snare drums and a woodblock.

While recording, a friend asked me to play piano and sing on one of his tracks. There was a Fender Rhodes in the studio, so I did it. Some musicians there, a band called Sweet Cream, encouraged me to perform more. They kept inviting me to open for them, and I kept saying no, the excuse being that they hadn't given me enough time to prepare. At one point they recognized my avoidance technique and gave me six months' warning and at that point I couldn't refuse.

I thought: if I’m going to be a kind of pop performer, what form should it take? The result was the arrangement ''Sonic Dan'' [...] During the performance I play piano, sing and use a foot pedal to control the volume of a recording of Webern's ''Complete String Quartets'', which begins the performance and fades in and out throughout. The performance alternates between Steely Dan and Sonic Youth, with entr'acte and 'guitar solos' supplied by the Webern. [...]

I performed ''Sonic Dan'' as a work in progress, as an opener for Sweet Cream at a club in West Hollywood. I thought, what do I have to lose? No one’s going to show up. As it turns out, [[Diedrich Diederichsen]] was there, and Lillian Ball, Amy Gerstler, Mike Kelley, David Reed, [[Mayo Thompson]] and Benjamin Weissman. [...]

I was a little concerned, since I hadn't performed in public for years. But I went up there and did what I had to do. I performed for 20 minutes, after which Mayo came up to me and asked if I would sing on his new album. I was like, 'Great, I’m finally going to get the backup vocal credit I always wanted on a pop record.' I went into this tiny vocal booth in Pasadena to record my part and when that eponymous Red Krayola album came out, I was listed as a member of the band. The Red Krayola gave me the opportunity to work collaboratively in a way that had not been part of my practice in the same way before, which was often solitary. A generative experience, truly.
</blockquote>

[[Jim O'Rourke]], 1994<ref>https://groups.google.com/g/rec.music.misc/c/Z3olBudNF8w/m/LYkKTZTRPRIJ</ref>

<blockquote>
there will be a new album, The red krayola, out soon. It features [[Mayo Thompson|Mayo]] along with [[Tom Watson]], [[Stephen Prina|Steven Prina]], [[Albert Oehlen|Albert Oehlin]], [[John McEntire]], [[David Grubbs|Dave Grubbs]], and myself. it's great (i personally think mayo and dave are an impeccable team.) There is also this great [[Old Tom Clark (single)|Saddle sore 7"]], which was recorded i think just a month after [[Corky's Debt to His Father|Corky's debt]]. It's just so damn beautiful.....
</blockquote>

[[John McEntire]], 1994<ref>https://archive.org/details/no_trend_press_20/page/74/mode/2up</ref>

<blockquote>
M: Wie kommt es, daß Red Crayola wieder aktiv sind?

John: [[David Grubbs|Dave Shrubb]] von Bastro und [[Gastr del Sol]] nahm 1990 Kontakt mit [[Mayo Thompson|Majo Thompson]] auf, als Bastro gerade in Europa auf Tour waren. Majo Thompson lebte zu der Zeit in Köln. Sie hatten dann regelmäßige Korrespondenz und schließlich entschied sich Majo 1992 dazu, wieder Musik machen zu wollen.

M: Wann hatte er Red Crayola zuletzt beiseite gelegt?

John: Red Crayola gibt es in welcher Form auch immer seit 1966. Seither gibt es immer wieder längere Perioden, in denen die Band nicht aktiv ist.

M: Warst Du 1966 überhaupt schon geboren?

John: Ich bin 1970 zur Welt gekommen.

M: Muß doch ein seltsames Gefühl sein, in einer Band zu spielen, die älter ist als man selber.

John: Manchmal schon, wir spielen sogar Songs, die geschrieben wurden, als es mich noch nicht gab. Jedenfalls entschied sich Majo dazu, mit Dave zusammenzuarbeiten und sie gaben drüben in Europa ein paar Konzerte. Daraus entstand die Idee zu einem neuen Album, was wir im Januar ’94 aufnahmen und was jetzt bei Drag City veröffentlicht wurde. Vor zwei Wochen waren wir in Japan und gaben zwei Konzerte, die ziemlich großartig waren.

M: Wie groß waren die Läden?

John: Eher klein, aber wir haben unser Geld wieder reinbekommen, der Promoter war ziemlich gut. Majo ist noch drüben und arbeitet schon an den nächsten Geschichten mit dortigen Musikern. Er hat ein richtiges Netzwerk an Musikern und Kontakten.

M: Wie läßt es sich mit ihm arbeiten und in welchem Alter ist er jetzt?

John: Er ist 50. Es ist spannend mit ihm zu arbeiten, er hat eben einen völlig anderen Background. Seit Anfang der 70er Jahre ist er stark mit der Kunstwelt verknüpft, spielte dann mit dieser englischen Band ''[[Art & Language]]'' - ein Kollektiv konzeptioneller Künstler - und seine Rhetorik ist ein wenig zu ...(überlegt angestrengt) ... sagen wir einfach: es kommt manchmal zu leichten Kommunikationsproblemen, weil er oftmals unterschiedliche Begriffe verwendet für eine bestimmte Sache, gerade im Hinblick auf Musik, z.B. wenn du einen Song ausarbeitest. Es kann schwierig werden auf einer theoretischen Stufe, was aber in Ordnung ist, und letztendlich zu interessanter Musik führt. Davon abgesehen ist es großartig mit ihm zu arbeiten, es macht wirklich spaß, vor allem wenn er guter Laune in Tokyo ist.

M: Wie sieht's mit einer Tour in Amerika oder Europa aus?

John: Wir haben darüber gesprochen, aber wenn überhaupt, dann vielleicht 2-3 Konzerte an der Ostküste oder dergleichen. Ich kann mir Majo nicht unbedingt 3 Wochen in einem Bandbus vorstellen. Eine größere Tour wird es jedenfalls nicht geben.

M: Wie würdest Du das neue Album beschreiben?

John: Es ist sicherlich Red Crayolas’ stärkste Annäherung an eine Rock-Platte bisher, was zum einen an den Musikern liegen dürfte, die Songs sind kurz und bündig und die Produktion ist entsprechend. Ich glaube aber nicht, daß ich der Platte unbedingt einen Dienst erweise, wenn ich sie als Rock-Scheibe bezeichne, denn dafür passiert doch einfach auch zu viel.

M: Wie kommt die Platte an?

John: Hervorragend, gerade in Japan. Ich war wirklich beeindruckt von der Masse an Leuten, die dort mit diesen riesigen Red CrayolaSammlungen ankamen, all diese komischen Bootlegs und limitierten Pressungen, keine Ahnung, wo sie das Zeug herkriegen. Ich war vor allem von der Reaktion bei den Live-Auftritten erstaunt. Jeder hatte mir erzählt, wie zurückhaltend das Publikum sich verhalten würde und dann kreischten sie wie verrückt, das war beeindruckend.</blockquote>

== Reviews ==

=== Aiding & Abetting ===
August 31, 1994<ref>https://www.aidabet.com/archives/archR.html#REDK</ref><blockquote>If you remember the [[Mayo Thompson]] re-issue from earlier in the summer, you should be prepared.

Having been around for over 25 years, The Red Krayola is the main vehicle of Thompson's muse. He gets a few friends together and they play some very odd music. In years past it might have been called "psychedelic pop", I suppose, but that term has mutated over the years, and I don't think that's quite right now.

I think I like "eclectic pop" better. The Red Krayola folks turn traditional rhythms ad melodies on their heads, exposing them as the true opiates of the masses. It can be difficult listening to an album with so many discordant statements, but as you know, I like that sort of thing.

Anything that makes me think this much is certainly fine. And if this music doesn't haunt your mind like a pissed off secret, then you didn't listen hard enough the first time. Like it says, "Play Extremely Loud."</blockquote>

=== Chicago Reader ===
January 19, 1995<ref>https://chicagoreader.com/music/long-lived-rock/</ref>

Bill Meyer

<blockquote>
[...] The Red Krayola’s sound has varied widely over the years, but [[Mayo Thompson|Thompson]]’s distinctive voice and guitar playing have always been immediately identifiable. His voice is high, quavery, and resolutely off key, but it is nevertheless a remarkable instrument. He is a master of phrasing, nimbly negotiating tricky rhythms and irregular song structures with ease. His vocal delivery suits his lyrics; on the new album’s “[[Rapspierre]],” a dense Marxist social critique, he is by turns professorial, chiding, and sorrowful. The perpetual catch in his throat emphasizes the song’s outrage and regret. Thompson’s guitar playing is precise, clipped, and acerbic; he’s prone to off-kilter melodic runs that take the songs on unexpected tangents.

The Red Krayola is the most guitar-heavy record Thompson’s ever recorded. He and [[David Grubbs|Grubbs]], joined by guitarists [[Tom Watson]] and [[Stephen Prina]], pack terse, interlocking riffs around [[John McEntire|McEntire]]’s nimble drumming on the album’s 17 brief tunes. There is no bassist–the thick tone would only get in the way of the other instruments. [[Jim O'Rourke|Jim O’Rourke]] and [[Albert Oehlen]] contribute squiggly synthesizer noises, buzzing around and commenting on the guitar parts rather than fulfilling the traditional keyboard role of filling up harmonic space. [...]
</blockquote>

=== Suburban Voice ===
1995<ref>https://archive.org/details/suburban_voice_36/page/n68/mode/1up</ref><blockquote>A new album from [[Mayo Thompson]], who brings in new compatriots to keep the Krayola name alive — among them, [[Jim O'Rourke]] and [[David Grubbs]] ([[Gastr del Sol]]) and [[Tom Watson]] (Slovenly). Original, yet haphazard, featuring sparse instrumentation and understated vocals. Fractured psychedelic pop, somber minimalism and much of it comes off like Lou Reed on a downer (or Pavement without the self-consciousness), although Thompson's been making music just as long as Mr. Reed. Intriguing, in spots. </blockquote>

=== Brutarian ===
1990s<ref>https://archive.org/details/brutarian-14/page/64/mode/1up</ref><blockquote>So let me get this straight. A musician fails to realize that ever since he stopped taking LSD and smoking pot some twenty-five years ago he's become totally incapable of producing anything of even passing interest. And because people can't believe it and, furthermore, are too embarrassed to tell him he's a loser, they instead take to calling the bum a legend? What for? So he won't kill himself? I say, "Give this man a gun." A big gun. Still, it's hard to believe this rancid collection of moronic dada rock and meandering, inconsequential AOR nonsense was penned by the guy who wrote the amazing "[[Hurricane Fighter Plane]]" and put it on the even more amazing ''[[The Parable of Arable Land|Parable of Arable Land]]'' lp. Maybe not. Especially if you've heard the execrable stuff he did with [[Art & Language]].</blockquote>

=== The Trouser Press guide to '90s rock ===
1997<ref>https://archive.org/details/trouserpressguid00robb_1/page/597/mode/1up</ref><blockquote>Recorded by a collective of seven (including guitarists [[David Grubbs]], [[Jim O'Rourke]] and [[Tom Watson]], drummer [[John McEntire]] and German synthesist [[Albert Oehlen]]), The Red Krayola is a potent modern exposition of [[Mayo Thompson|Thompson]]'s Beefheart-ian musical inventions and wickedly offbeat lyrics. For all its idiosyncratic juxtapositions, the album is a relatively straightforward electric affair — alternatively engaging and patience testing — that sends antagonistic elements (noisy guitar, catatonic electronic blips, contrary rhythms) out to disrupt the calmly logical organization of restrained, tuneful inventions like the waltz-time "[[Jimmy Silk/Supper Be Ready Medley|Jimmy Silk/Supper By Ready Medley]]," "[[Pride]]," "[[Book of Kings]]," (which paraphrases Carly Simon ''and'' quotes children's verse), the courtly, Roxy Music-like "[[Miss X]]," the chromatic "[[Art-Dog]]" and "[[Suddenly]]," crooned as a sweet harmony vocal exercise. Traditionally cavalier in his appreciation of song structures, Thompson fleshes out the album with "[[Rapspierre]]" (another of his accelerated Marxist theory courses, this one containing sing-song doggrel about monkeys, random keyboard noises and turntable scratches), the ripping drive-gear "[[People Get Ready (The Train's Not Coming)]]" near-instrumental and the catchy mantra "[[I Knew It]]." Provocative and, for the most part, highly entertaining.</blockquote>

== References ==
{{The Red Krayola (album)}}

[[Category:Studio albums]]
[[Category:Drag City]]

The Red Krayola (album)

2025-09-16T21:58:47Z

Dotclub: /* Retrospectives */

{{ReleaseInfo
|Title=The Red Krayola
|Image1=The-Red-Krayola-front.png
|Image2=The-Red-Krayola-back.jpg
|Artist=[[The Red Krayola]]
|Type=Studio album
|ReleaseDate=September 19, 1994
|Year= 1994
|RecordingDate= January 1994
|Studio=
|RecordingLocation=
|Label={{RLink|Drag}}
|DragCity=https://www.dragcity.com/products/the-red-krayola
|Discogs=https://www.discogs.com/master/173011-The-Red-Krayola-The-Red-Krayola
|RYM=https://rateyourmusic.com/release/album/the-red-krayola/the-red-krayola/
|Wikipedia=https://en.wikipedia.org/wiki/The_Red_Krayola_(album)
|Bandcamp=https://theredkrayola.bandcamp.com/album/the-red-krayola
|YouTube=https://www.youtube.com/playlist?list=OLAK5uy_nS3Xh4P92fUeinOmu3MiM4J2IQTpp6csM
|AppleMusic=https://music.apple.com/us/album/the-red-krayola/67964957
|Spotify=
|Genius=
|UbuWeb=
|AllMusic=
|IMDB=
|Archive=
}}

== Track listing ==
{{tracklist
| title1 = [[Jimmy Silk/Supper Be Ready Medley]]
| length1 = 1:57
| title2 = [[Pride]]
| length2 = 1:06
| title3 = [[Book of Kings]]
| length3 = 2:40
| title4 = [[Pessimisty]]
| length4 = 2:50
| title5 = [[Worms, Worms, Thirst]]
| length5 = 1:38
| title6 = [[People Get Ready (The Train's Not Coming)]]
| length6 = 3:22
| title7 = [[If 'S' Is]]
| length7 = 2:06
| title8 = [[Miss X]]
| length8 = 2:37
| title9 = [[Rapspierre]]
| length9 = 2:44
| title10 = [[Stand-Up]]
| length10 = 2:42
| title11 = [[Art-Dog]]
| length11 = 1:09
| title12 = [[I Knew It]]
| length12 = 1:54
| title13 = [[101st]]
| length13 = 1:54
| title14 = [[(Why) I'm So Blasé]]
| length14 = 2:07
| title15 = [[The Big Macumba]]
| length15 = 2:42
| title16 = [[Voodoo Child]]
| length16 = 1:47
| title17 = [[Suddenly]]
| length17 = 1:51
}}

== Background ==
[[Shows/1994]]

=== Liner notes ===
Rian Murphy, 1994

<blockquote>
Lives rush towards any semblance of higher order. Some structure would make all the world worthwhile for them. We can build solutions for our problems; stack stories on top of each other; design parking facilities to protect vehicles meant to transport us faster. Alas, not every vicarious story-child can except such a consummation, and so many are left undone.

On the window sill, the China cat hovers over what we accept as our everyday vista. Worry not over the tender path of love or when one body transposes over another. These are elements, and to science they belong. Letting science take care of it, we allow them to be. Magnets account for attraction; gravity lords it under all. Fresh from flying around in an airplane, one will grow and change in some fashion, whether or not it is the statement. What do you stand for?

Fairwagons are grounded at the end of our street. Once again, these minstrels have returned. The children start. Somehow it has changed. In the heat of the breeze that goes from East to West through our passway come new sounds, little bites we'll scratch over in the dawn. For some, this comes easier than others. Dirt-stained, the curious disperse. What substitute is there for minutes of your time? A caravan, like a verse against the long black night, where every song is another light? '94? I remember form, start to finish. And there, without missing a beat, autumn, the new Red Krayola album. Welcome one and all to another collection. Let them live alongside in bits and pieces for the likes of man to squabble over. A more than simple story is tantamount to a stack of turtles and all that they survey.
</blockquote>

=== Ephemera ===
==== Postcard ====
<gallery mode="packed">
File:The-Red-Krayola-postcard-front.jpg|Front
File:The-Red-Krayola-postcard-back.jpg|Back
</gallery>

==== Press kit ====
<gallery mode="packed">
File:The-Red-Krayola-press-kit-photo.jpg|Photo
File:The-Red-Krayola-press-kit-pg1.jpg|pg.1
File:The-Red-Krayola-press-kit-pg2.jpg|pg.2-3
</gallery>

== Personnel ==

=== Musicians ===
[[David Grubbs]] (guitar), [[John McEntire]] (drums), [[Albert Oehlen]] (electronics), [[Jim O'Rourke]] (Moog<ref>The Wire, January 1995, pg.19</ref>), [[Stephen Prina]], [[Mayo Thompson]] (writing, vocals, guitar), [[Tom Watson]] (guitar)

=== Cover art ===
The cover photo was taken by [[Albert Oehlen]]. It appears to depict the Volksparkstadion stadium in Hamburg, Germany.<ref>https://wolfbulls-stadionwelt.de.tl/Volksparkstadion-HAMBURG_BAHRENFELD.htm</ref> The visible advertisements are for "Nova Versicherungen," an insurance company, and "Tom T" — maybe Tom Tailor, a clothing brand based in Hamburg and a major sponsor of the Hamburger SV team until 2003.<ref>https://www.welt.de/print-welt/article695362/Tom-Tailor-prueft-Partnerschaft-mit-dem-HSV.html</ref>

<gallery mode="packed">
File:Volksparkstadion-1990.jpg|Volksparkstadion, 1990<ref>https://wolfbulls-stadionwelt.de.tl/Volksparkstadion-HAMBURG_BAHRENFELD.htm</ref>
</gallery>

== Retrospectives ==
[[Mayo Thompson]], 2015<ref>https://bombmagazine.org/articles/mayo-thompson/</ref>

<blockquote>
After [the [[Shows/1993-03-23|1993 concert]] in] Graz [Austria] I got the bug again and started to play the guitar more, wrote five or six tunes and recorded them four-track with an eye to hitting up a record company for a deal and along came a chance. [...]

One day [[David Grubbs]] rang. He asked what I was up to and I gave him a dub of the four-track stuff, telling him of my plan to go to the bank. He asked if he might send it to [[Drag City]] in Chicago, urging me to hold off getting back in the mainstream grinder. It turned out Dan Koretzky and Dan Osborn liked the stuff. During Christmas ’93, when I was home in Texas visiting my mother, Dan rang. He was able to persuade me to give Drag City a chance. I swallowed my qualms about working again indie style. Eventually, [[Albert Oehlen|Albert]] [Oehlen] and I went to Chicago and did our first work with the label, a song called “[[Columbia]],” maybe another. Ultimately we made the eponymous LP at Steve Albini’s studio, building the set around the tunes from Germany, David playing, along with [[John McEntire]] from Bastro, [[Tom Watson]] from Slovenly, and [[Stephen Prina]]—an artist I’d gotten to know at the Pasadena art center. I won’t name everybody. The names are on the cover. Sure enough things kind of clicked and we got gigs. I should say too that I met [[Jim O'Rourke]] then, but didn’t know at first what to do with him. I’m glad to say we were able finally to get him involved.
</blockquote>

[[David Grubbs]], 2002<ref>The Wire, April 2002 pg.22</ref>

<blockquote>
Robert [Nedelkoff] had the idea of Mayo producing Squirrel Bait and wrote to him, back in 1984. I think he was in Düsseldorf at the time. Then in 1989 Bastro was playing at the Rose Club in Cologne, and we did a version of "[[Dear Betty Baby]]" from Mayo's solo record, ''[[Corky's Debt to His Father]]'', which is one of my absolute favorite records. The German music critic [[Diedrich Diederichsen]] told me afterwards that Mayo was living about 40 kilometres away, writing a novel about Albania, and gave me his phone number. I gave him a call the next day. When the first [[Gastr del Sol|Gastr Del Sol]] record, [1993's] ''The Serpentine Similar'', came out, I sent a copy to him in Germany, and got a call in Chicago about dinner time asking me when I was next in Europe so we could 'go ahead and do this', as if I'd proposed some kind of working arrangement. I met Mayo in Munich - I'd just given a paper on Ezra Pound in Rapallo, Italy, figuring out that I didn't want to be an academic specialising in modernist poetry - and I think at that point he'd already had an offer to teach in Pasadena, California, where he still is. I came back to Chicago where he had a weekly poker game with Dan Koretzky and Dan Osborn from [[Drag City]], and halfway through the evening I said, 'I've got this tape with me of the new Red Krayola song'. I think that one of the provisos of any label putting out The Red Krayola - they spell it with a 'K' in the US, out of fear of lawsuits - is that there would need to be an equal or greater commitment to new material, as well as shepherding into reissuing all these fantastic records, and Drag City were immediately enthusiastic about it. So next week at the poker game I showed up with a Gastr Del Sol tape. [laughs]
</blockquote>

[[Stephen Prina]], 2025<ref>https://www.frieze.com/article/david-grubbs-stephen-prina-253</ref>

<blockquote>
I met [[Mayo Thompson]] in the early 1990s, when he was living in Düsseldorf. We were introduced by mutual friends – I believe Albert Oehlen was involved. Around the same time, some Los Angeles musicians connected to the art world were putting together a double-CD compilation, Oostende 1994, and they invited me to participate. I submitted 'Etude for Percussion' (Square Root Function II)’ [1980] – which I had written for two percussionists, each playing two snare drums and a woodblock.

While recording, a friend asked me to play piano and sing on one of his tracks. There was a Fender Rhodes in the studio, so I did it. Some musicians there, a band called Sweet Cream, encouraged me to perform more. They kept inviting me to open for them, and I kept saying no, the excuse being that they hadn't given me enough time to prepare. At one point they recognized my avoidance technique and gave me six months' warning and at that point I couldn't refuse.

I thought: if I’m going to be a kind of pop performer, what form should it take? The result was the arrangement ''Sonic Dan'' [...] During the performance I play piano, sing and use a foot pedal to control the volume of a recording of Webern's ''Complete String Quartets'', which begins the performance and fades in and out throughout. The performance alternates between Steely Dan and Sonic Youth, with entr'acte and 'guitar solos' supplied by the Webern. [...]

I performed ''Sonic Dan'' as a work in progress, as an opener for Sweet Cream at a club in West Hollywood. I thought, what do I have to lose? No one’s going to show up. As it turns out, [[Diedrich Diederichsen]] was there, and Lillian Ball, Amy Gerstler, Mike Kelley, David Reed, [[Mayo Thompson]] and Benjamin Weissman. [...]

I was a little concerned, since I hadn't performed in public for years. But I went up there and did what I had to do. I performed for 20 minutes, after which Mayo came up to me and asked if I would sing on his new album. I was like, 'Great, I’m finally going to get the backup vocal credit I always wanted on a pop record.' I went into this tiny vocal booth in Pasadena to record my part and when that eponymous Red Krayola album came out, I was listed as a member of the band. The Red Krayola gave me the opportunity to work collaboratively in a way that had not been part of my practice in the same way before, which was often solitary. A generative experience, truly.
</blockquote>

[[Jim O'Rourke]], 1994<ref>https://groups.google.com/g/rec.music.misc/c/Z3olBudNF8w/m/LYkKTZTRPRIJ</ref>

<blockquote>
there will be a new album, The red krayola, out soon. It features [[Mayo Thompson|Mayo]] along with [[Tom Watson]], [[Stephen Prina|Steven Prina]], [[Albert Oehlen|Albert Oehlin]], [[John McEntire]], [[David Grubbs|Dave Grubbs]], and myself. it's great (i personally think mayo and dave are an impeccable team.) There is also this great [[Old Tom Clark (single)|Saddle sore 7"]], which was recorded i think just a month after [[Corky's Debt to His Father|Corky's debt]]. It's just so damn beautiful.....
</blockquote>

[[John McEntire]], 1994<ref>https://archive.org/details/no_trend_press_20/page/74/mode/2up</ref>

<blockquote>
M: Wie kommt es, daß Red Crayola wieder aktiv sind?

John: [[David Grubbs|Dave Shrubb]] von Bastro und [[Gastr del Sol]] nahm 1990 Kontakt mit [[Mayo Thompson|Majo Thompson]] auf, als Bastro gerade in Europa auf Tour waren. Majo Thompson lebte zu der Zeit in Köln. Sie hatten dann regelmäßige Korrespondenz und schließlich entschied sich Majo 1992 dazu, wieder Musik machen zu wollen.

M: Wann hatte er Red Crayola zuletzt beiseite gelegt?

John: Red Crayola gibt es in welcher Form auch immer seit 1966. Seither gibt es immer wieder längere Perioden, in denen die Band nicht aktiv ist.

M: Warst Du 1966 überhaupt schon geboren?

John: Ich bin 1970 zur Welt gekommen.

M: Muß doch ein seltsames Gefühl sein, in einer Band zu spielen, die älter ist als man selber.

John: Manchmal schon, wir spielen sogar Songs, die geschrieben wurden, als es mich noch nicht gab. Jedenfalls entschied sich Majo dazu, mit Dave zusammenzuarbeiten und sie gaben drüben in Europa ein paar Konzerte. Daraus entstand die Idee zu einem neuen Album, was wir im Januar ’94 aufnahmen und was jetzt bei Drag City veröffentlicht wurde. Vor zwei Wochen waren wir in Japan und gaben zwei Konzerte, die ziemlich großartig waren.

M: Wie groß waren die Läden?

John: Eher klein, aber wir haben unser Geld wieder reinbekommen, der Promoter war ziemlich gut. Majo ist noch drüben und arbeitet schon an den nächsten Geschichten mit dortigen Musikern. Er hat ein richtiges Netzwerk an Musikern und Kontakten.

M: Wie läßt es sich mit ihm arbeiten und in welchem Alter ist er jetzt?

John: Er ist 50. Es ist spannend mit ihm zu arbeiten, er hat eben einen völlig anderen Background. Seit Anfang der 70er Jahre ist er stark mit der Kunstwelt verknüpft, spielte dann mit dieser englischen Band ''[[Art & Language]]'' - ein Kollektiv konzeptioneller Künstler - und seine Rhetorik ist ein wenig zu ...(überlegt angestrengt) ... sagen wir einfach: es kommt manchmal zu leichten Kommunikationsproblemen, weil er oftmals unterschiedliche Begriffe verwendet für eine bestimmte Sache, gerade im Hinblick auf Musik, z.B. wenn du einen Song ausarbeitest. Es kann schwierig werden auf einer theoretischen Stufe, was aber in Ordnung ist, und letztendlich zu interessanter Musik führt. Davon abgesehen ist es großartig mit ihm zu arbeiten, es macht wirklich spaß, vor allem wenn er guter Laune in Tokyo ist.

M: Wie sieht's mit einer Tour in Amerika oder Europa aus?

John: Wir haben darüber gesprochen, aber wenn überhaupt, dann vielleicht 2-3 Konzerte an der Ostküste oder dergleichen. Ich kann mir Majo nicht unbedingt 3 Wochen in einem Bandbus vorstellen. Eine größere Tour wird es jedenfalls nicht geben.

M: Wie würdest Du das neue Album beschreiben?

John: Es ist sicherlich Red Crayolas’ stärkste Annäherung an eine Rock-Platte bisher, was zum einen an den Musikern liegen dürfte, die Songs sind kurz und bündig und die Produktion ist entsprechend. Ich glaube aber nicht, daß ich der Platte unbedingt einen Dienst erweise, wenn ich sie als Rock-Scheibe bezeichne, denn dafür passiert doch einfach auch zu viel.

M: Wie kommt die Platte an?

John: Hervorragend, gerade in Japan. Ich war wirklich beeindruckt von der Masse an Leuten, die dort mit diesen riesigen Red CrayolaSammlungen ankamen, all diese komischen Bootlegs und limitierten Pressungen, keine Ahnung, wo sie das Zeug herkriegen. Ich war vor allem von der Reaktion bei den Live-Auftritten erstaunt. Jeder hatte mir erzählt, wie zurückhaltend das Publikum sich verhalten würde und dann kreischten sie wie verrückt, das war beeindruckend.</blockquote>

== Reviews ==

=== Aiding & Abetting ===
August 31, 1994<ref>https://www.aidabet.com/archives/archR.html#REDK</ref><blockquote>If you remember the [[Mayo Thompson]] re-issue from earlier in the summer, you should be prepared.

Having been around for over 25 years, The Red Krayola is the main vehicle of Thompson's muse. He gets a few friends together and they play some very odd music. In years past it might have been called "psychedelic pop", I suppose, but that term has mutated over the years, and I don't think that's quite right now.

I think I like "eclectic pop" better. The Red Krayola folks turn traditional rhythms ad melodies on their heads, exposing them as the true opiates of the masses. It can be difficult listening to an album with so many discordant statements, but as you know, I like that sort of thing.

Anything that makes me think this much is certainly fine. And if this music doesn't haunt your mind like a pissed off secret, then you didn't listen hard enough the first time. Like it says, "Play Extremely Loud."</blockquote>

=== Chicago Reader ===
January 19, 1995<ref>https://chicagoreader.com/music/long-lived-rock/</ref>

Bill Meyer

<blockquote>
[...] The Red Krayola’s sound has varied widely over the years, but [[Mayo Thompson|Thompson]]’s distinctive voice and guitar playing have always been immediately identifiable. His voice is high, quavery, and resolutely off key, but it is nevertheless a remarkable instrument. He is a master of phrasing, nimbly negotiating tricky rhythms and irregular song structures with ease. His vocal delivery suits his lyrics; on the new album’s “[[Rapspierre]],” a dense Marxist social critique, he is by turns professorial, chiding, and sorrowful. The perpetual catch in his throat emphasizes the song’s outrage and regret. Thompson’s guitar playing is precise, clipped, and acerbic; he’s prone to off-kilter melodic runs that take the songs on unexpected tangents.

The Red Krayola is the most guitar-heavy record Thompson’s ever recorded. He and [[David Grubbs|Grubbs]], joined by guitarists [[Tom Watson]] and [[Stephen Prina]], pack terse, interlocking riffs around [[John McEntire|McEntire]]’s nimble drumming on the album’s 17 brief tunes. There is no bassist–the thick tone would only get in the way of the other instruments. [[Jim O'Rourke|Jim O’Rourke]] and [[Albert Oehlen]] contribute squiggly synthesizer noises, buzzing around and commenting on the guitar parts rather than fulfilling the traditional keyboard role of filling up harmonic space. [...]
</blockquote>

=== Suburban Voice ===
1995<ref>https://archive.org/details/suburban_voice_36/page/n68/mode/1up</ref><blockquote>A new album from [[Mayo Thompson]], who brings in new compatriots to keep the Krayola name alive — among them, [[Jim O'Rourke]] and [[David Grubbs]] ([[Gastr del Sol]]) and [[Tom Watson]] (Slovenly). Original, yet haphazard, featuring sparse instrumentation and understated vocals. Fractured psychedelic pop, somber minimalism and much of it comes off like Lou Reed on a downer (or Pavement without the self-consciousness), although Thompson's been making music just as long as Mr. Reed. Intriguing, in spots. </blockquote>

=== Brutarian ===
1990s<ref>https://archive.org/details/brutarian-14/page/64/mode/1up</ref><blockquote>So let me get this straight. A musician fails to realize that ever since he stopped taking LSD and smoking pot some twenty-five years ago he's become totally incapable of producing anything of even passing interest. And because people can't believe it and, furthermore, are too embarrassed to tell him he's a loser, they instead take to calling the bum a legend? What for? So he won't kill himself? I say, "Give this man a gun." A big gun. Still, it's hard to believe this rancid collection of moronic dada rock and meandering, inconsequential AOR nonsense was penned by the guy who wrote the amazing "[[Hurricane Fighter Plane]]" and put it on the even more amazing ''[[The Parable of Arable Land|Parable of Arable Land]]'' lp. Maybe not. Especially if you've heard the execrable stuff he did with [[Art & Language]].</blockquote>

=== The Trouser Press guide to '90s rock ===
1997<ref>https://archive.org/details/trouserpressguid00robb_1/page/597/mode/1up</ref><blockquote>Recorded by a collective of seven (including guitarists [[David Grubbs]], [[Jim O'Rourke]] and [[Tom Watson]], drummer [[John McEntire]] and German synthesist [[Albert Oehlen]]), The Red Krayola is a potent modern exposition of [[Mayo Thompson|Thompson]]'s Beefheart-ian musical inventions and wickedly offbeat lyrics. For all its idiosyncratic juxtapositions, the album is a relatively straightforward electric affair — alternatively engaging and patience testing — that sends antagonistic elements (noisy guitar, catatonic electronic blips, contrary rhythms) out to disrupt the calmly logical organization of restrained, tuneful inventions like the waltz-time "[[Jimmy Silk/Supper Be Ready Medley|Jimmy Silk/Supper By Ready Medley]]," "[[Pride]]," "[[Book of Kings]]," (which paraphrases Carly Simon ''and'' quotes children's verse), the courtly, Roxy Music-like "[[Miss X]]," the chromatic "[[Art-Dog]]" and "[[Suddenly]]," crooned as a sweet harmony vocal exercise. Traditionally cavalier in his appreciation of song structures, Thompson fleshes out the album with "[[Rapspierre]]" (another of his accelerated Marxist theory courses, this one containing sing-song doggrel about monkeys, random keyboard noises and turntable scratches), the ripping drive-gear "[[People Get Ready (The Train's Not Coming)]]" near-instrumental and the catchy mantra "[[I Knew It]]." Provocative and, for the most part, highly entertaining.</blockquote>

== References ==
{{The Red Krayola (album)}}

[[Category:Studio albums]]
[[Category:Drag City]]

The Red Krayola (album)

2025-09-16T21:58:22Z

Dotclub: /* Retrospectives */

{{ReleaseInfo
|Title=The Red Krayola
|Image1=The-Red-Krayola-front.png
|Image2=The-Red-Krayola-back.jpg
|Artist=[[The Red Krayola]]
|Type=Studio album
|ReleaseDate=September 19, 1994
|Year= 1994
|RecordingDate= January 1994
|Studio=
|RecordingLocation=
|Label={{RLink|Drag}}
|DragCity=https://www.dragcity.com/products/the-red-krayola
|Discogs=https://www.discogs.com/master/173011-The-Red-Krayola-The-Red-Krayola
|RYM=https://rateyourmusic.com/release/album/the-red-krayola/the-red-krayola/
|Wikipedia=https://en.wikipedia.org/wiki/The_Red_Krayola_(album)
|Bandcamp=https://theredkrayola.bandcamp.com/album/the-red-krayola
|YouTube=https://www.youtube.com/playlist?list=OLAK5uy_nS3Xh4P92fUeinOmu3MiM4J2IQTpp6csM
|AppleMusic=https://music.apple.com/us/album/the-red-krayola/67964957
|Spotify=
|Genius=
|UbuWeb=
|AllMusic=
|IMDB=
|Archive=
}}

== Track listing ==
{{tracklist
| title1 = [[Jimmy Silk/Supper Be Ready Medley]]
| length1 = 1:57
| title2 = [[Pride]]
| length2 = 1:06
| title3 = [[Book of Kings]]
| length3 = 2:40
| title4 = [[Pessimisty]]
| length4 = 2:50
| title5 = [[Worms, Worms, Thirst]]
| length5 = 1:38
| title6 = [[People Get Ready (The Train's Not Coming)]]
| length6 = 3:22
| title7 = [[If 'S' Is]]
| length7 = 2:06
| title8 = [[Miss X]]
| length8 = 2:37
| title9 = [[Rapspierre]]
| length9 = 2:44
| title10 = [[Stand-Up]]
| length10 = 2:42
| title11 = [[Art-Dog]]
| length11 = 1:09
| title12 = [[I Knew It]]
| length12 = 1:54
| title13 = [[101st]]
| length13 = 1:54
| title14 = [[(Why) I'm So Blasé]]
| length14 = 2:07
| title15 = [[The Big Macumba]]
| length15 = 2:42
| title16 = [[Voodoo Child]]
| length16 = 1:47
| title17 = [[Suddenly]]
| length17 = 1:51
}}

== Background ==
[[Shows/1994]]

=== Liner notes ===
Rian Murphy, 1994

<blockquote>
Lives rush towards any semblance of higher order. Some structure would make all the world worthwhile for them. We can build solutions for our problems; stack stories on top of each other; design parking facilities to protect vehicles meant to transport us faster. Alas, not every vicarious story-child can except such a consummation, and so many are left undone.

On the window sill, the China cat hovers over what we accept as our everyday vista. Worry not over the tender path of love or when one body transposes over another. These are elements, and to science they belong. Letting science take care of it, we allow them to be. Magnets account for attraction; gravity lords it under all. Fresh from flying around in an airplane, one will grow and change in some fashion, whether or not it is the statement. What do you stand for?

Fairwagons are grounded at the end of our street. Once again, these minstrels have returned. The children start. Somehow it has changed. In the heat of the breeze that goes from East to West through our passway come new sounds, little bites we'll scratch over in the dawn. For some, this comes easier than others. Dirt-stained, the curious disperse. What substitute is there for minutes of your time? A caravan, like a verse against the long black night, where every song is another light? '94? I remember form, start to finish. And there, without missing a beat, autumn, the new Red Krayola album. Welcome one and all to another collection. Let them live alongside in bits and pieces for the likes of man to squabble over. A more than simple story is tantamount to a stack of turtles and all that they survey.
</blockquote>

=== Ephemera ===
==== Postcard ====
<gallery mode="packed">
File:The-Red-Krayola-postcard-front.jpg|Front
File:The-Red-Krayola-postcard-back.jpg|Back
</gallery>

==== Press kit ====
<gallery mode="packed">
File:The-Red-Krayola-press-kit-photo.jpg|Photo
File:The-Red-Krayola-press-kit-pg1.jpg|pg.1
File:The-Red-Krayola-press-kit-pg2.jpg|pg.2-3
</gallery>

== Personnel ==

=== Musicians ===
[[David Grubbs]] (guitar), [[John McEntire]] (drums), [[Albert Oehlen]] (electronics), [[Jim O'Rourke]] (Moog<ref>The Wire, January 1995, pg.19</ref>), [[Stephen Prina]], [[Mayo Thompson]] (writing, vocals, guitar), [[Tom Watson]] (guitar)

=== Cover art ===
The cover photo was taken by [[Albert Oehlen]]. It appears to depict the Volksparkstadion stadium in Hamburg, Germany.<ref>https://wolfbulls-stadionwelt.de.tl/Volksparkstadion-HAMBURG_BAHRENFELD.htm</ref> The visible advertisements are for "Nova Versicherungen," an insurance company, and "Tom T" — maybe Tom Tailor, a clothing brand based in Hamburg and a major sponsor of the Hamburger SV team until 2003.<ref>https://www.welt.de/print-welt/article695362/Tom-Tailor-prueft-Partnerschaft-mit-dem-HSV.html</ref>

<gallery mode="packed">
File:Volksparkstadion-1990.jpg|Volksparkstadion, 1990<ref>https://wolfbulls-stadionwelt.de.tl/Volksparkstadion-HAMBURG_BAHRENFELD.htm</ref>
</gallery>

== Retrospectives ==
[[Mayo Thompson]], 2015<ref>https://bombmagazine.org/articles/mayo-thompson/</ref>

<blockquote>
After [the [[Shows/1993-03-23|1993 concert]] in] Graz I got the bug again and started to play the guitar more, wrote five or six tunes and recorded them four-track with an eye to hitting up a record company for a deal and along came a chance. [...]

One day [[David Grubbs]] rang. He asked what I was up to and I gave him a dub of the four-track stuff, telling him of my plan to go to the bank. He asked if he might send it to [[Drag City]] in Chicago, urging me to hold off getting back in the mainstream grinder. It turned out Dan Koretzky and Dan Osborn liked the stuff. During Christmas ’93, when I was home in Texas visiting my mother, Dan rang. He was able to persuade me to give Drag City a chance. I swallowed my qualms about working again indie style. Eventually, [[Albert Oehlen|Albert]] [Oehlen] and I went to Chicago and did our first work with the label, a song called “[[Columbia]],” maybe another. Ultimately we made the eponymous LP at Steve Albini’s studio, building the set around the tunes from Germany, David playing, along with [[John McEntire]] from Bastro, [[Tom Watson]] from Slovenly, and [[Stephen Prina]]—an artist I’d gotten to know at the Pasadena art center. I won’t name everybody. The names are on the cover. Sure enough things kind of clicked and we got gigs. I should say too that I met [[Jim O'Rourke]] then, but didn’t know at first what to do with him. I’m glad to say we were able finally to get him involved.
</blockquote>

[[David Grubbs]], 2002<ref>The Wire, April 2002 pg.22</ref>

<blockquote>
Robert [Nedelkoff] had the idea of Mayo producing Squirrel Bait and wrote to him, back in 1984. I think he was in Düsseldorf at the time. Then in 1989 Bastro was playing at the Rose Club in Cologne, and we did a version of "[[Dear Betty Baby]]" from Mayo's solo record, ''[[Corky's Debt to His Father]]'', which is one of my absolute favorite records. The German music critic [[Diedrich Diederichsen]] told me afterwards that Mayo was living about 40 kilometres away, writing a novel about Albania, and gave me his phone number. I gave him a call the next day. When the first [[Gastr del Sol|Gastr Del Sol]] record, [1993's] ''The Serpentine Similar'', came out, I sent a copy to him in Germany, and got a call in Chicago about dinner time asking me when I was next in Europe so we could 'go ahead and do this', as if I'd proposed some kind of working arrangement. I met Mayo in Munich - I'd just given a paper on Ezra Pound in Rapallo, Italy, figuring out that I didn't want to be an academic specialising in modernist poetry - and I think at that point he'd already had an offer to teach in Pasadena, California, where he still is. I came back to Chicago where he had a weekly poker game with Dan Koretzky and Dan Osborn from [[Drag City]], and halfway through the evening I said, 'I've got this tape with me of the new Red Krayola song'. I think that one of the provisos of any label putting out The Red Krayola - they spell it with a 'K' in the US, out of fear of lawsuits - is that there would need to be an equal or greater commitment to new material, as well as shepherding into reissuing all these fantastic records, and Drag City were immediately enthusiastic about it. So next week at the poker game I showed up with a Gastr Del Sol tape. [laughs]
</blockquote>

[[Stephen Prina]], 2025<ref>https://www.frieze.com/article/david-grubbs-stephen-prina-253</ref>

<blockquote>
I met [[Mayo Thompson]] in the early 1990s, when he was living in Düsseldorf. We were introduced by mutual friends – I believe Albert Oehlen was involved. Around the same time, some Los Angeles musicians connected to the art world were putting together a double-CD compilation, Oostende 1994, and they invited me to participate. I submitted 'Etude for Percussion' (Square Root Function II)’ [1980] – which I had written for two percussionists, each playing two snare drums and a woodblock.

While recording, a friend asked me to play piano and sing on one of his tracks. There was a Fender Rhodes in the studio, so I did it. Some musicians there, a band called Sweet Cream, encouraged me to perform more. They kept inviting me to open for them, and I kept saying no, the excuse being that they hadn't given me enough time to prepare. At one point they recognized my avoidance technique and gave me six months' warning and at that point I couldn't refuse.

I thought: if I’m going to be a kind of pop performer, what form should it take? The result was the arrangement ''Sonic Dan'' [...] During the performance I play piano, sing and use a foot pedal to control the volume of a recording of Webern's ''Complete String Quartets'', which begins the performance and fades in and out throughout. The performance alternates between Steely Dan and Sonic Youth, with entr'acte and 'guitar solos' supplied by the Webern. [...]

I performed ''Sonic Dan'' as a work in progress, as an opener for Sweet Cream at a club in West Hollywood. I thought, what do I have to lose? No one’s going to show up. As it turns out, [[Diedrich Diederichsen]] was there, and Lillian Ball, Amy Gerstler, Mike Kelley, David Reed, [[Mayo Thompson]] and Benjamin Weissman. [...]

I was a little concerned, since I hadn't performed in public for years. But I went up there and did what I had to do. I performed for 20 minutes, after which Mayo came up to me and asked if I would sing on his new album. I was like, 'Great, I’m finally going to get the backup vocal credit I always wanted on a pop record.' I went into this tiny vocal booth in Pasadena to record my part and when that eponymous Red Krayola album came out, I was listed as a member of the band. The Red Krayola gave me the opportunity to work collaboratively in a way that had not been part of my practice in the same way before, which was often solitary. A generative experience, truly.
</blockquote>

[[Jim O'Rourke]], 1994<ref>https://groups.google.com/g/rec.music.misc/c/Z3olBudNF8w/m/LYkKTZTRPRIJ</ref>

<blockquote>
there will be a new album, The red krayola, out soon. It features [[Mayo Thompson|Mayo]] along with [[Tom Watson]], [[Stephen Prina|Steven Prina]], [[Albert Oehlen|Albert Oehlin]], [[John McEntire]], [[David Grubbs|Dave Grubbs]], and myself. it's great (i personally think mayo and dave are an impeccable team.) There is also this great [[Old Tom Clark (single)|Saddle sore 7"]], which was recorded i think just a month after [[Corky's Debt to His Father|Corky's debt]]. It's just so damn beautiful.....
</blockquote>

[[John McEntire]], 1994<ref>https://archive.org/details/no_trend_press_20/page/74/mode/2up</ref>

<blockquote>
M: Wie kommt es, daß Red Crayola wieder aktiv sind?

John: [[David Grubbs|Dave Shrubb]] von Bastro und [[Gastr del Sol]] nahm 1990 Kontakt mit [[Mayo Thompson|Majo Thompson]] auf, als Bastro gerade in Europa auf Tour waren. Majo Thompson lebte zu der Zeit in Köln. Sie hatten dann regelmäßige Korrespondenz und schließlich entschied sich Majo 1992 dazu, wieder Musik machen zu wollen.

M: Wann hatte er Red Crayola zuletzt beiseite gelegt?

John: Red Crayola gibt es in welcher Form auch immer seit 1966. Seither gibt es immer wieder längere Perioden, in denen die Band nicht aktiv ist.

M: Warst Du 1966 überhaupt schon geboren?

John: Ich bin 1970 zur Welt gekommen.

M: Muß doch ein seltsames Gefühl sein, in einer Band zu spielen, die älter ist als man selber.

John: Manchmal schon, wir spielen sogar Songs, die geschrieben wurden, als es mich noch nicht gab. Jedenfalls entschied sich Majo dazu, mit Dave zusammenzuarbeiten und sie gaben drüben in Europa ein paar Konzerte. Daraus entstand die Idee zu einem neuen Album, was wir im Januar ’94 aufnahmen und was jetzt bei Drag City veröffentlicht wurde. Vor zwei Wochen waren wir in Japan und gaben zwei Konzerte, die ziemlich großartig waren.

M: Wie groß waren die Läden?

John: Eher klein, aber wir haben unser Geld wieder reinbekommen, der Promoter war ziemlich gut. Majo ist noch drüben und arbeitet schon an den nächsten Geschichten mit dortigen Musikern. Er hat ein richtiges Netzwerk an Musikern und Kontakten.

M: Wie läßt es sich mit ihm arbeiten und in welchem Alter ist er jetzt?

John: Er ist 50. Es ist spannend mit ihm zu arbeiten, er hat eben einen völlig anderen Background. Seit Anfang der 70er Jahre ist er stark mit der Kunstwelt verknüpft, spielte dann mit dieser englischen Band ''[[Art & Language]]'' - ein Kollektiv konzeptioneller Künstler - und seine Rhetorik ist ein wenig zu ...(überlegt angestrengt) ... sagen wir einfach: es kommt manchmal zu leichten Kommunikationsproblemen, weil er oftmals unterschiedliche Begriffe verwendet für eine bestimmte Sache, gerade im Hinblick auf Musik, z.B. wenn du einen Song ausarbeitest. Es kann schwierig werden auf einer theoretischen Stufe, was aber in Ordnung ist, und letztendlich zu interessanter Musik führt. Davon abgesehen ist es großartig mit ihm zu arbeiten, es macht wirklich spaß, vor allem wenn er guter Laune in Tokyo ist.

M: Wie sieht's mit einer Tour in Amerika oder Europa aus?

John: Wir haben darüber gesprochen, aber wenn überhaupt, dann vielleicht 2-3 Konzerte an der Ostküste oder dergleichen. Ich kann mir Majo nicht unbedingt 3 Wochen in einem Bandbus vorstellen. Eine größere Tour wird es jedenfalls nicht geben.

M: Wie würdest Du das neue Album beschreiben?

John: Es ist sicherlich Red Crayolas’ stärkste Annäherung an eine Rock-Platte bisher, was zum einen an den Musikern liegen dürfte, die Songs sind kurz und bündig und die Produktion ist entsprechend. Ich glaube aber nicht, daß ich der Platte unbedingt einen Dienst erweise, wenn ich sie als Rock-Scheibe bezeichne, denn dafür passiert doch einfach auch zu viel.

M: Wie kommt die Platte an?

John: Hervorragend, gerade in Japan. Ich war wirklich beeindruckt von der Masse an Leuten, die dort mit diesen riesigen Red CrayolaSammlungen ankamen, all diese komischen Bootlegs und limitierten Pressungen, keine Ahnung, wo sie das Zeug herkriegen. Ich war vor allem von der Reaktion bei den Live-Auftritten erstaunt. Jeder hatte mir erzählt, wie zurückhaltend das Publikum sich verhalten würde und dann kreischten sie wie verrückt, das war beeindruckend.</blockquote>

== Reviews ==

=== Aiding & Abetting ===
August 31, 1994<ref>https://www.aidabet.com/archives/archR.html#REDK</ref><blockquote>If you remember the [[Mayo Thompson]] re-issue from earlier in the summer, you should be prepared.

Having been around for over 25 years, The Red Krayola is the main vehicle of Thompson's muse. He gets a few friends together and they play some very odd music. In years past it might have been called "psychedelic pop", I suppose, but that term has mutated over the years, and I don't think that's quite right now.

I think I like "eclectic pop" better. The Red Krayola folks turn traditional rhythms ad melodies on their heads, exposing them as the true opiates of the masses. It can be difficult listening to an album with so many discordant statements, but as you know, I like that sort of thing.

Anything that makes me think this much is certainly fine. And if this music doesn't haunt your mind like a pissed off secret, then you didn't listen hard enough the first time. Like it says, "Play Extremely Loud."</blockquote>

=== Chicago Reader ===
January 19, 1995<ref>https://chicagoreader.com/music/long-lived-rock/</ref>

Bill Meyer

<blockquote>
[...] The Red Krayola’s sound has varied widely over the years, but [[Mayo Thompson|Thompson]]’s distinctive voice and guitar playing have always been immediately identifiable. His voice is high, quavery, and resolutely off key, but it is nevertheless a remarkable instrument. He is a master of phrasing, nimbly negotiating tricky rhythms and irregular song structures with ease. His vocal delivery suits his lyrics; on the new album’s “[[Rapspierre]],” a dense Marxist social critique, he is by turns professorial, chiding, and sorrowful. The perpetual catch in his throat emphasizes the song’s outrage and regret. Thompson’s guitar playing is precise, clipped, and acerbic; he’s prone to off-kilter melodic runs that take the songs on unexpected tangents.

The Red Krayola is the most guitar-heavy record Thompson’s ever recorded. He and [[David Grubbs|Grubbs]], joined by guitarists [[Tom Watson]] and [[Stephen Prina]], pack terse, interlocking riffs around [[John McEntire|McEntire]]’s nimble drumming on the album’s 17 brief tunes. There is no bassist–the thick tone would only get in the way of the other instruments. [[Jim O'Rourke|Jim O’Rourke]] and [[Albert Oehlen]] contribute squiggly synthesizer noises, buzzing around and commenting on the guitar parts rather than fulfilling the traditional keyboard role of filling up harmonic space. [...]
</blockquote>

=== Suburban Voice ===
1995<ref>https://archive.org/details/suburban_voice_36/page/n68/mode/1up</ref><blockquote>A new album from [[Mayo Thompson]], who brings in new compatriots to keep the Krayola name alive — among them, [[Jim O'Rourke]] and [[David Grubbs]] ([[Gastr del Sol]]) and [[Tom Watson]] (Slovenly). Original, yet haphazard, featuring sparse instrumentation and understated vocals. Fractured psychedelic pop, somber minimalism and much of it comes off like Lou Reed on a downer (or Pavement without the self-consciousness), although Thompson's been making music just as long as Mr. Reed. Intriguing, in spots. </blockquote>

=== Brutarian ===
1990s<ref>https://archive.org/details/brutarian-14/page/64/mode/1up</ref><blockquote>So let me get this straight. A musician fails to realize that ever since he stopped taking LSD and smoking pot some twenty-five years ago he's become totally incapable of producing anything of even passing interest. And because people can't believe it and, furthermore, are too embarrassed to tell him he's a loser, they instead take to calling the bum a legend? What for? So he won't kill himself? I say, "Give this man a gun." A big gun. Still, it's hard to believe this rancid collection of moronic dada rock and meandering, inconsequential AOR nonsense was penned by the guy who wrote the amazing "[[Hurricane Fighter Plane]]" and put it on the even more amazing ''[[The Parable of Arable Land|Parable of Arable Land]]'' lp. Maybe not. Especially if you've heard the execrable stuff he did with [[Art & Language]].</blockquote>

=== The Trouser Press guide to '90s rock ===
1997<ref>https://archive.org/details/trouserpressguid00robb_1/page/597/mode/1up</ref><blockquote>Recorded by a collective of seven (including guitarists [[David Grubbs]], [[Jim O'Rourke]] and [[Tom Watson]], drummer [[John McEntire]] and German synthesist [[Albert Oehlen]]), The Red Krayola is a potent modern exposition of [[Mayo Thompson|Thompson]]'s Beefheart-ian musical inventions and wickedly offbeat lyrics. For all its idiosyncratic juxtapositions, the album is a relatively straightforward electric affair — alternatively engaging and patience testing — that sends antagonistic elements (noisy guitar, catatonic electronic blips, contrary rhythms) out to disrupt the calmly logical organization of restrained, tuneful inventions like the waltz-time "[[Jimmy Silk/Supper Be Ready Medley|Jimmy Silk/Supper By Ready Medley]]," "[[Pride]]," "[[Book of Kings]]," (which paraphrases Carly Simon ''and'' quotes children's verse), the courtly, Roxy Music-like "[[Miss X]]," the chromatic "[[Art-Dog]]" and "[[Suddenly]]," crooned as a sweet harmony vocal exercise. Traditionally cavalier in his appreciation of song structures, Thompson fleshes out the album with "[[Rapspierre]]" (another of his accelerated Marxist theory courses, this one containing sing-song doggrel about monkeys, random keyboard noises and turntable scratches), the ripping drive-gear "[[People Get Ready (The Train's Not Coming)]]" near-instrumental and the catchy mantra "[[I Knew It]]." Provocative and, for the most part, highly entertaining.</blockquote>

== References ==
{{The Red Krayola (album)}}

[[Category:Studio albums]]
[[Category:Drag City]]

The Red Krayola (album)

2025-09-16T21:57:35Z

Dotclub: /* Retrospectives */

{{ReleaseInfo
|Title=The Red Krayola
|Image1=The-Red-Krayola-front.png
|Image2=The-Red-Krayola-back.jpg
|Artist=[[The Red Krayola]]
|Type=Studio album
|ReleaseDate=September 19, 1994
|Year= 1994
|RecordingDate= January 1994
|Studio=
|RecordingLocation=
|Label={{RLink|Drag}}
|DragCity=https://www.dragcity.com/products/the-red-krayola
|Discogs=https://www.discogs.com/master/173011-The-Red-Krayola-The-Red-Krayola
|RYM=https://rateyourmusic.com/release/album/the-red-krayola/the-red-krayola/
|Wikipedia=https://en.wikipedia.org/wiki/The_Red_Krayola_(album)
|Bandcamp=https://theredkrayola.bandcamp.com/album/the-red-krayola
|YouTube=https://www.youtube.com/playlist?list=OLAK5uy_nS3Xh4P92fUeinOmu3MiM4J2IQTpp6csM
|AppleMusic=https://music.apple.com/us/album/the-red-krayola/67964957
|Spotify=
|Genius=
|UbuWeb=
|AllMusic=
|IMDB=
|Archive=
}}

== Track listing ==
{{tracklist
| title1 = [[Jimmy Silk/Supper Be Ready Medley]]
| length1 = 1:57
| title2 = [[Pride]]
| length2 = 1:06
| title3 = [[Book of Kings]]
| length3 = 2:40
| title4 = [[Pessimisty]]
| length4 = 2:50
| title5 = [[Worms, Worms, Thirst]]
| length5 = 1:38
| title6 = [[People Get Ready (The Train's Not Coming)]]
| length6 = 3:22
| title7 = [[If 'S' Is]]
| length7 = 2:06
| title8 = [[Miss X]]
| length8 = 2:37
| title9 = [[Rapspierre]]
| length9 = 2:44
| title10 = [[Stand-Up]]
| length10 = 2:42
| title11 = [[Art-Dog]]
| length11 = 1:09
| title12 = [[I Knew It]]
| length12 = 1:54
| title13 = [[101st]]
| length13 = 1:54
| title14 = [[(Why) I'm So Blasé]]
| length14 = 2:07
| title15 = [[The Big Macumba]]
| length15 = 2:42
| title16 = [[Voodoo Child]]
| length16 = 1:47
| title17 = [[Suddenly]]
| length17 = 1:51
}}

== Background ==
[[Shows/1994]]

=== Liner notes ===
Rian Murphy, 1994

<blockquote>
Lives rush towards any semblance of higher order. Some structure would make all the world worthwhile for them. We can build solutions for our problems; stack stories on top of each other; design parking facilities to protect vehicles meant to transport us faster. Alas, not every vicarious story-child can except such a consummation, and so many are left undone.

On the window sill, the China cat hovers over what we accept as our everyday vista. Worry not over the tender path of love or when one body transposes over another. These are elements, and to science they belong. Letting science take care of it, we allow them to be. Magnets account for attraction; gravity lords it under all. Fresh from flying around in an airplane, one will grow and change in some fashion, whether or not it is the statement. What do you stand for?

Fairwagons are grounded at the end of our street. Once again, these minstrels have returned. The children start. Somehow it has changed. In the heat of the breeze that goes from East to West through our passway come new sounds, little bites we'll scratch over in the dawn. For some, this comes easier than others. Dirt-stained, the curious disperse. What substitute is there for minutes of your time? A caravan, like a verse against the long black night, where every song is another light? '94? I remember form, start to finish. And there, without missing a beat, autumn, the new Red Krayola album. Welcome one and all to another collection. Let them live alongside in bits and pieces for the likes of man to squabble over. A more than simple story is tantamount to a stack of turtles and all that they survey.
</blockquote>

=== Ephemera ===
==== Postcard ====
<gallery mode="packed">
File:The-Red-Krayola-postcard-front.jpg|Front
File:The-Red-Krayola-postcard-back.jpg|Back
</gallery>

==== Press kit ====
<gallery mode="packed">
File:The-Red-Krayola-press-kit-photo.jpg|Photo
File:The-Red-Krayola-press-kit-pg1.jpg|pg.1
File:The-Red-Krayola-press-kit-pg2.jpg|pg.2-3
</gallery>

== Personnel ==

=== Musicians ===
[[David Grubbs]] (guitar), [[John McEntire]] (drums), [[Albert Oehlen]] (electronics), [[Jim O'Rourke]] (Moog<ref>The Wire, January 1995, pg.19</ref>), [[Stephen Prina]], [[Mayo Thompson]] (writing, vocals, guitar), [[Tom Watson]] (guitar)

=== Cover art ===
The cover photo was taken by [[Albert Oehlen]]. It appears to depict the Volksparkstadion stadium in Hamburg, Germany.<ref>https://wolfbulls-stadionwelt.de.tl/Volksparkstadion-HAMBURG_BAHRENFELD.htm</ref> The visible advertisements are for "Nova Versicherungen," an insurance company, and "Tom T" — maybe Tom Tailor, a clothing brand based in Hamburg and a major sponsor of the Hamburger SV team until 2003.<ref>https://www.welt.de/print-welt/article695362/Tom-Tailor-prueft-Partnerschaft-mit-dem-HSV.html</ref>

<gallery mode="packed">
File:Volksparkstadion-1990.jpg|Volksparkstadion, 1990<ref>https://wolfbulls-stadionwelt.de.tl/Volksparkstadion-HAMBURG_BAHRENFELD.htm</ref>
</gallery>

== Retrospectives ==
[[Mayo Thompson]], 2015<ref>https://bombmagazine.org/articles/mayo-thompson/</ref>

<blockquote>
After [the [[Shows/1993-03-23|1993 concert]] in] Graz I got the bug again and started to play the guitar more, wrote five or six tunes and recorded them four-track with an eye to hitting up a record company for a deal and along came a chance. [...]

One day [[David Grubbs]] rang. He asked what I was up to and I gave him a dub of the four-track stuff, telling him of my plan to go to the bank. He asked if he might send it to [[Drag City]] in Chicago, urging me to hold off getting back in the mainstream grinder. It turned out Dan Koretzky and Dan Osborn liked the stuff. During Christmas ’93, when I was home in Texas visiting my mother, Dan rang. He was able to persuade me to give Drag City a chance. I swallowed my qualms about working again indie style. Eventually, [[Albert Oehlen|Albert]] [Oehlen] and I went to Chicago and did our first work with the label, a song called “[[Columbia]],” maybe another. Ultimately we made the eponymous LP at Steve Albini’s studio, building the set around the tunes from Germany, David playing, along with [[John McEntire]] from Bastro, [[Tom Watson]] from Slovenly, and [[Stephen Prina]]—an artist I’d gotten to know at the Pasadena art center. I won’t name everybody. The names are on the cover. Sure enough things kind of clicked and we got gigs. I should say too that I met [[Jim O'Rourke]] then, but didn’t know at first what to do with him. I’m glad to say we were able finally to get him involved.
</blockquote>[[David Grubbs]], 2002<ref>The Wire, April 2002 pg.22</ref><blockquote>[...] Robert [Nedelkoff] had the idea of Mayo producing Squirrel Bait and wrote to him, back in 1984. I think he was in Düsseldorf at the time. Then in 1989 Bastro was playing at the Rose Club in Cologne, and we did a version of "[[Dear Betty Baby]]" from Mayo's solo record, ''[[Corky's Debt to His Father]]'', which is one of my absolute favorite records. The German music critic [[Diedrich Diederichsen]] told me afterwards that Mayo was living about 40 kilometres away, writing a novel about Albania, and gave me his phone number. I gave him a call the next day. When the first [[Gastr del Sol|Gastr Del Sol]] record, [1993's] ''The Serpentine Similar'', came out, I sent a copy to him in Germany, and got a call in Chicago about dinner time asking me when I was next in Europe so we could 'go ahead and do this', as if I'd proposed some kind of working arrangement. I met Mayo in Munich - I'd just given a paper on Ezra Pound in Rapallo, Italy, figuring out that I didn't want to be an academic specialising in modernist poetry - and I think at that point he'd already had an offer to teach in Pasadena, California, where he still is. I came back to Chicago where he had a weekly poker game with Dan Koretzky and Dan Osborn from [[Drag City]], and halfway through the evening I said, 'I've got this tape with me of the new Red Krayola song'. I think that one of the provisos of any label putting out The Red Krayola - they spell it with a 'K' in the US, out of fear of lawsuits - is that there would need to be an equal or greater commitment to new material, as well as shepherding into reissuing all these fantastic records, and Drag City were immediately enthusiastic about it. So next week at the poker game I showed up with a Gastr Del Sol tape. [laughs]
</blockquote>

[[Stephen Prina]], 2025<ref>https://www.frieze.com/article/david-grubbs-stephen-prina-253</ref>

<blockquote>
I met [[Mayo Thompson]] in the early 1990s, when he was living in Düsseldorf. We were introduced by mutual friends – I believe Albert Oehlen was involved. Around the same time, some Los Angeles musicians connected to the art world were putting together a double-CD compilation, Oostende 1994, and they invited me to participate. I submitted 'Etude for Percussion' (Square Root Function II)’ [1980] – which I had written for two percussionists, each playing two snare drums and a woodblock.

While recording, a friend asked me to play piano and sing on one of his tracks. There was a Fender Rhodes in the studio, so I did it. Some musicians there, a band called Sweet Cream, encouraged me to perform more. They kept inviting me to open for them, and I kept saying no, the excuse being that they hadn't given me enough time to prepare. At one point they recognized my avoidance technique and gave me six months' warning and at that point I couldn't refuse.

I thought: if I’m going to be a kind of pop performer, what form should it take? The result was the arrangement ''Sonic Dan'' [...] During the performance I play piano, sing and use a foot pedal to control the volume of a recording of Webern's ''Complete String Quartets'', which begins the performance and fades in and out throughout. The performance alternates between Steely Dan and Sonic Youth, with entr'acte and 'guitar solos' supplied by the Webern. [...]

I performed ''Sonic Dan'' as a work in progress, as an opener for Sweet Cream at a club in West Hollywood. I thought, what do I have to lose? No one’s going to show up. As it turns out, [[Diedrich Diederichsen]] was there, and Lillian Ball, Amy Gerstler, Mike Kelley, David Reed, [[Mayo Thompson]] and Benjamin Weissman. [...]

I was a little concerned, since I hadn't performed in public for years. But I went up there and did what I had to do. I performed for 20 minutes, after which Mayo came up to me and asked if I would sing on his new album. I was like, 'Great, I’m finally going to get the backup vocal credit I always wanted on a pop record.' I went into this tiny vocal booth in Pasadena to record my part and when that eponymous Red Krayola album came out, I was listed as a member of the band. The Red Krayola gave me the opportunity to work collaboratively in a way that had not been part of my practice in the same way before, which was often solitary. A generative experience, truly.
</blockquote>

[[Jim O'Rourke]], 1994<ref>https://groups.google.com/g/rec.music.misc/c/Z3olBudNF8w/m/LYkKTZTRPRIJ</ref>

<blockquote>
there will be a new album, The red krayola, out soon. It features [[Mayo Thompson|Mayo]] along with [[Tom Watson]], [[Stephen Prina|Steven Prina]], [[Albert Oehlen|Albert Oehlin]], [[John McEntire]], [[David Grubbs|Dave Grubbs]], and myself. it's great (i personally think mayo and dave are an impeccable team.) There is also this great [[Old Tom Clark (single)|Saddle sore 7"]], which was recorded i think just a month after [[Corky's Debt to His Father|Corky's debt]]. It's just so damn beautiful.....
</blockquote>

[[John McEntire]], 1994<ref>https://archive.org/details/no_trend_press_20/page/74/mode/2up</ref>

<blockquote>
M: Wie kommt es, daß Red Crayola wieder aktiv sind?

John: [[David Grubbs|Dave Shrubb]] von Bastro und [[Gastr del Sol]] nahm 1990 Kontakt mit [[Mayo Thompson|Majo Thompson]] auf, als Bastro gerade in Europa auf Tour waren. Majo Thompson lebte zu der Zeit in Köln. Sie hatten dann regelmäßige Korrespondenz und schließlich entschied sich Majo 1992 dazu, wieder Musik machen zu wollen.

M: Wann hatte er Red Crayola zuletzt beiseite gelegt?

John: Red Crayola gibt es in welcher Form auch immer seit 1966. Seither gibt es immer wieder längere Perioden, in denen die Band nicht aktiv ist.

M: Warst Du 1966 überhaupt schon geboren?

John: Ich bin 1970 zur Welt gekommen.

M: Muß doch ein seltsames Gefühl sein, in einer Band zu spielen, die älter ist als man selber.

John: Manchmal schon, wir spielen sogar Songs, die geschrieben wurden, als es mich noch nicht gab. Jedenfalls entschied sich Majo dazu, mit Dave zusammenzuarbeiten und sie gaben drüben in Europa ein paar Konzerte. Daraus entstand die Idee zu einem neuen Album, was wir im Januar ’94 aufnahmen und was jetzt bei Drag City veröffentlicht wurde. Vor zwei Wochen waren wir in Japan und gaben zwei Konzerte, die ziemlich großartig waren.

M: Wie groß waren die Läden?

John: Eher klein, aber wir haben unser Geld wieder reinbekommen, der Promoter war ziemlich gut. Majo ist noch drüben und arbeitet schon an den nächsten Geschichten mit dortigen Musikern. Er hat ein richtiges Netzwerk an Musikern und Kontakten.

M: Wie läßt es sich mit ihm arbeiten und in welchem Alter ist er jetzt?

John: Er ist 50. Es ist spannend mit ihm zu arbeiten, er hat eben einen völlig anderen Background. Seit Anfang der 70er Jahre ist er stark mit der Kunstwelt verknüpft, spielte dann mit dieser englischen Band ''[[Art & Language]]'' - ein Kollektiv konzeptioneller Künstler - und seine Rhetorik ist ein wenig zu ...(überlegt angestrengt) ... sagen wir einfach: es kommt manchmal zu leichten Kommunikationsproblemen, weil er oftmals unterschiedliche Begriffe verwendet für eine bestimmte Sache, gerade im Hinblick auf Musik, z.B. wenn du einen Song ausarbeitest. Es kann schwierig werden auf einer theoretischen Stufe, was aber in Ordnung ist, und letztendlich zu interessanter Musik führt. Davon abgesehen ist es großartig mit ihm zu arbeiten, es macht wirklich spaß, vor allem wenn er guter Laune in Tokyo ist.

M: Wie sieht's mit einer Tour in Amerika oder Europa aus?

John: Wir haben darüber gesprochen, aber wenn überhaupt, dann vielleicht 2-3 Konzerte an der Ostküste oder dergleichen. Ich kann mir Majo nicht unbedingt 3 Wochen in einem Bandbus vorstellen. Eine größere Tour wird es jedenfalls nicht geben.

M: Wie würdest Du das neue Album beschreiben?

John: Es ist sicherlich Red Crayolas’ stärkste Annäherung an eine Rock-Platte bisher, was zum einen an den Musikern liegen dürfte, die Songs sind kurz und bündig und die Produktion ist entsprechend. Ich glaube aber nicht, daß ich der Platte unbedingt einen Dienst erweise, wenn ich sie als Rock-Scheibe bezeichne, denn dafür passiert doch einfach auch zu viel.

M: Wie kommt die Platte an?

John: Hervorragend, gerade in Japan. Ich war wirklich beeindruckt von der Masse an Leuten, die dort mit diesen riesigen Red CrayolaSammlungen ankamen, all diese komischen Bootlegs und limitierten Pressungen, keine Ahnung, wo sie das Zeug herkriegen. Ich war vor allem von der Reaktion bei den Live-Auftritten erstaunt. Jeder hatte mir erzählt, wie zurückhaltend das Publikum sich verhalten würde und dann kreischten sie wie verrückt, das war beeindruckend.</blockquote>

== Reviews ==

=== Aiding & Abetting ===
August 31, 1994<ref>https://www.aidabet.com/archives/archR.html#REDK</ref><blockquote>If you remember the [[Mayo Thompson]] re-issue from earlier in the summer, you should be prepared.

Having been around for over 25 years, The Red Krayola is the main vehicle of Thompson's muse. He gets a few friends together and they play some very odd music. In years past it might have been called "psychedelic pop", I suppose, but that term has mutated over the years, and I don't think that's quite right now.

I think I like "eclectic pop" better. The Red Krayola folks turn traditional rhythms ad melodies on their heads, exposing them as the true opiates of the masses. It can be difficult listening to an album with so many discordant statements, but as you know, I like that sort of thing.

Anything that makes me think this much is certainly fine. And if this music doesn't haunt your mind like a pissed off secret, then you didn't listen hard enough the first time. Like it says, "Play Extremely Loud."</blockquote>

=== Chicago Reader ===
January 19, 1995<ref>https://chicagoreader.com/music/long-lived-rock/</ref>

Bill Meyer

<blockquote>
[...] The Red Krayola’s sound has varied widely over the years, but [[Mayo Thompson|Thompson]]’s distinctive voice and guitar playing have always been immediately identifiable. His voice is high, quavery, and resolutely off key, but it is nevertheless a remarkable instrument. He is a master of phrasing, nimbly negotiating tricky rhythms and irregular song structures with ease. His vocal delivery suits his lyrics; on the new album’s “[[Rapspierre]],” a dense Marxist social critique, he is by turns professorial, chiding, and sorrowful. The perpetual catch in his throat emphasizes the song’s outrage and regret. Thompson’s guitar playing is precise, clipped, and acerbic; he’s prone to off-kilter melodic runs that take the songs on unexpected tangents.

The Red Krayola is the most guitar-heavy record Thompson’s ever recorded. He and [[David Grubbs|Grubbs]], joined by guitarists [[Tom Watson]] and [[Stephen Prina]], pack terse, interlocking riffs around [[John McEntire|McEntire]]’s nimble drumming on the album’s 17 brief tunes. There is no bassist–the thick tone would only get in the way of the other instruments. [[Jim O'Rourke|Jim O’Rourke]] and [[Albert Oehlen]] contribute squiggly synthesizer noises, buzzing around and commenting on the guitar parts rather than fulfilling the traditional keyboard role of filling up harmonic space. [...]
</blockquote>

=== Suburban Voice ===
1995<ref>https://archive.org/details/suburban_voice_36/page/n68/mode/1up</ref><blockquote>A new album from [[Mayo Thompson]], who brings in new compatriots to keep the Krayola name alive — among them, [[Jim O'Rourke]] and [[David Grubbs]] ([[Gastr del Sol]]) and [[Tom Watson]] (Slovenly). Original, yet haphazard, featuring sparse instrumentation and understated vocals. Fractured psychedelic pop, somber minimalism and much of it comes off like Lou Reed on a downer (or Pavement without the self-consciousness), although Thompson's been making music just as long as Mr. Reed. Intriguing, in spots. </blockquote>

=== Brutarian ===
1990s<ref>https://archive.org/details/brutarian-14/page/64/mode/1up</ref><blockquote>So let me get this straight. A musician fails to realize that ever since he stopped taking LSD and smoking pot some twenty-five years ago he's become totally incapable of producing anything of even passing interest. And because people can't believe it and, furthermore, are too embarrassed to tell him he's a loser, they instead take to calling the bum a legend? What for? So he won't kill himself? I say, "Give this man a gun." A big gun. Still, it's hard to believe this rancid collection of moronic dada rock and meandering, inconsequential AOR nonsense was penned by the guy who wrote the amazing "[[Hurricane Fighter Plane]]" and put it on the even more amazing ''[[The Parable of Arable Land|Parable of Arable Land]]'' lp. Maybe not. Especially if you've heard the execrable stuff he did with [[Art & Language]].</blockquote>

=== The Trouser Press guide to '90s rock ===
1997<ref>https://archive.org/details/trouserpressguid00robb_1/page/597/mode/1up</ref><blockquote>Recorded by a collective of seven (including guitarists [[David Grubbs]], [[Jim O'Rourke]] and [[Tom Watson]], drummer [[John McEntire]] and German synthesist [[Albert Oehlen]]), The Red Krayola is a potent modern exposition of [[Mayo Thompson|Thompson]]'s Beefheart-ian musical inventions and wickedly offbeat lyrics. For all its idiosyncratic juxtapositions, the album is a relatively straightforward electric affair — alternatively engaging and patience testing — that sends antagonistic elements (noisy guitar, catatonic electronic blips, contrary rhythms) out to disrupt the calmly logical organization of restrained, tuneful inventions like the waltz-time "[[Jimmy Silk/Supper Be Ready Medley|Jimmy Silk/Supper By Ready Medley]]," "[[Pride]]," "[[Book of Kings]]," (which paraphrases Carly Simon ''and'' quotes children's verse), the courtly, Roxy Music-like "[[Miss X]]," the chromatic "[[Art-Dog]]" and "[[Suddenly]]," crooned as a sweet harmony vocal exercise. Traditionally cavalier in his appreciation of song structures, Thompson fleshes out the album with "[[Rapspierre]]" (another of his accelerated Marxist theory courses, this one containing sing-song doggrel about monkeys, random keyboard noises and turntable scratches), the ripping drive-gear "[[People Get Ready (The Train's Not Coming)]]" near-instrumental and the catchy mantra "[[I Knew It]]." Provocative and, for the most part, highly entertaining.</blockquote>

== References ==
{{The Red Krayola (album)}}

[[Category:Studio albums]]
[[Category:Drag City]]

The Red Krayola (album)

2025-09-16T21:56:43Z

Dotclub: /* Retrospectives */

{{ReleaseInfo
|Title=The Red Krayola
|Image1=The-Red-Krayola-front.png
|Image2=The-Red-Krayola-back.jpg
|Artist=[[The Red Krayola]]
|Type=Studio album
|ReleaseDate=September 19, 1994
|Year= 1994
|RecordingDate= January 1994
|Studio=
|RecordingLocation=
|Label={{RLink|Drag}}
|DragCity=https://www.dragcity.com/products/the-red-krayola
|Discogs=https://www.discogs.com/master/173011-The-Red-Krayola-The-Red-Krayola
|RYM=https://rateyourmusic.com/release/album/the-red-krayola/the-red-krayola/
|Wikipedia=https://en.wikipedia.org/wiki/The_Red_Krayola_(album)
|Bandcamp=https://theredkrayola.bandcamp.com/album/the-red-krayola
|YouTube=https://www.youtube.com/playlist?list=OLAK5uy_nS3Xh4P92fUeinOmu3MiM4J2IQTpp6csM
|AppleMusic=https://music.apple.com/us/album/the-red-krayola/67964957
|Spotify=
|Genius=
|UbuWeb=
|AllMusic=
|IMDB=
|Archive=
}}

== Track listing ==
{{tracklist
| title1 = [[Jimmy Silk/Supper Be Ready Medley]]
| length1 = 1:57
| title2 = [[Pride]]
| length2 = 1:06
| title3 = [[Book of Kings]]
| length3 = 2:40
| title4 = [[Pessimisty]]
| length4 = 2:50
| title5 = [[Worms, Worms, Thirst]]
| length5 = 1:38
| title6 = [[People Get Ready (The Train's Not Coming)]]
| length6 = 3:22
| title7 = [[If 'S' Is]]
| length7 = 2:06
| title8 = [[Miss X]]
| length8 = 2:37
| title9 = [[Rapspierre]]
| length9 = 2:44
| title10 = [[Stand-Up]]
| length10 = 2:42
| title11 = [[Art-Dog]]
| length11 = 1:09
| title12 = [[I Knew It]]
| length12 = 1:54
| title13 = [[101st]]
| length13 = 1:54
| title14 = [[(Why) I'm So Blasé]]
| length14 = 2:07
| title15 = [[The Big Macumba]]
| length15 = 2:42
| title16 = [[Voodoo Child]]
| length16 = 1:47
| title17 = [[Suddenly]]
| length17 = 1:51
}}

== Background ==
[[Shows/1994]]

=== Liner notes ===
Rian Murphy, 1994

<blockquote>
Lives rush towards any semblance of higher order. Some structure would make all the world worthwhile for them. We can build solutions for our problems; stack stories on top of each other; design parking facilities to protect vehicles meant to transport us faster. Alas, not every vicarious story-child can except such a consummation, and so many are left undone.

On the window sill, the China cat hovers over what we accept as our everyday vista. Worry not over the tender path of love or when one body transposes over another. These are elements, and to science they belong. Letting science take care of it, we allow them to be. Magnets account for attraction; gravity lords it under all. Fresh from flying around in an airplane, one will grow and change in some fashion, whether or not it is the statement. What do you stand for?

Fairwagons are grounded at the end of our street. Once again, these minstrels have returned. The children start. Somehow it has changed. In the heat of the breeze that goes from East to West through our passway come new sounds, little bites we'll scratch over in the dawn. For some, this comes easier than others. Dirt-stained, the curious disperse. What substitute is there for minutes of your time? A caravan, like a verse against the long black night, where every song is another light? '94? I remember form, start to finish. And there, without missing a beat, autumn, the new Red Krayola album. Welcome one and all to another collection. Let them live alongside in bits and pieces for the likes of man to squabble over. A more than simple story is tantamount to a stack of turtles and all that they survey.
</blockquote>

=== Ephemera ===
==== Postcard ====
<gallery mode="packed">
File:The-Red-Krayola-postcard-front.jpg|Front
File:The-Red-Krayola-postcard-back.jpg|Back
</gallery>

==== Press kit ====
<gallery mode="packed">
File:The-Red-Krayola-press-kit-photo.jpg|Photo
File:The-Red-Krayola-press-kit-pg1.jpg|pg.1
File:The-Red-Krayola-press-kit-pg2.jpg|pg.2-3
</gallery>

== Personnel ==

=== Musicians ===
[[David Grubbs]] (guitar), [[John McEntire]] (drums), [[Albert Oehlen]] (electronics), [[Jim O'Rourke]] (Moog<ref>The Wire, January 1995, pg.19</ref>), [[Stephen Prina]], [[Mayo Thompson]] (writing, vocals, guitar), [[Tom Watson]] (guitar)

=== Cover art ===
The cover photo was taken by [[Albert Oehlen]]. It appears to depict the Volksparkstadion stadium in Hamburg, Germany.<ref>https://wolfbulls-stadionwelt.de.tl/Volksparkstadion-HAMBURG_BAHRENFELD.htm</ref> The visible advertisements are for "Nova Versicherungen," an insurance company, and "Tom T" — maybe Tom Tailor, a clothing brand based in Hamburg and a major sponsor of the Hamburger SV team until 2003.<ref>https://www.welt.de/print-welt/article695362/Tom-Tailor-prueft-Partnerschaft-mit-dem-HSV.html</ref>

<gallery mode="packed">
File:Volksparkstadion-1990.jpg|Volksparkstadion, 1990<ref>https://wolfbulls-stadionwelt.de.tl/Volksparkstadion-HAMBURG_BAHRENFELD.htm</ref>
</gallery>

== Retrospectives ==
[[Mayo Thompson]], 2015<ref>https://bombmagazine.org/articles/mayo-thompson/</ref>

<blockquote>
After [the [[Shows/1993-03-23|1993 concert]] in] Graz I got the bug again and started to play the guitar more, wrote five or six tunes and recorded them four-track with an eye to hitting up a record company for a deal and along came a chance. [...]

One day [[David Grubbs]] rang. He asked what I was up to and I gave him a dub of the four-track stuff, telling him of my plan to go to the bank. He asked if he might send it to [[Drag City]] in Chicago, urging me to hold off getting back in the mainstream grinder. It turned out Dan Koretzky and Dan Osborn liked the stuff. During Christmas ’93, when I was home in Texas visiting my mother, Dan rang. He was able to persuade me to give Drag City a chance. I swallowed my qualms about working again indie style. Eventually, [[Albert Oehlen|Albert]] [Oehlen] and I went to Chicago and did our first work with the label, a song called “[[Columbia]],” maybe another. Ultimately we made the eponymous LP at Steve Albini’s studio, building the set around the tunes from Germany, David playing, along with [[John McEntire]] from Bastro, [[Tom Watson]] from Slovenly, and [[Stephen Prina]]—an artist I’d gotten to know at the Pasadena art center. I won’t name everybody. The names are on the cover. Sure enough things kind of clicked and we got gigs. I should say too that I met [[Jim O'Rourke]] then, but didn’t know at first what to do with him. I’m glad to say we were able finally to get him involved.
</blockquote>[[David Grubbs]], 2002<ref>The Wire, April 2002 pg.22</ref><blockquote>[...] Robert [Nedelkoff] had the idea of Mayo producing Squirrel Bait and wrote to him, back in 1984. I think he was in Düsseldorf at the time. Then in 1989 Bastro was playing at the Rose Club in Cologne, and we did a version of "[[Dear Betty Baby]]" from Mayo's solo record, ''[[Corky's Debt to His Father]]'', which is one of my absolute favorite records. The German music critic [[Diedrich Diederichsen]] told me afterwards that Mayo was living about 40 kilometres away, writing a novel about Albania, and gave me his phone number. I gave him a call the next day. When the first [[Gastr del Sol|Gastr Del Sol]] record, [1993's] ''The Serpentine Similar'', came out, I sent a copy to him in Germany, and got a call in Chicago about dinner time asking me when I was next in Europe so we could 'go ahead and do this', as if I'd proposed some kind of working arrangement. I met Mayo in Munich - I'd just given a paper on Ezra Pound in Rapallo, Italy, figuring out that I didn't want to be an academic specialising in modernist poetry - and I think at that point he'd already had an offer to teach in Pasadena, California, where he still is. I came back to Chicago where he had a weekly poker game with Dan Koretzky and Dan Osborn from [[Drag City]], and halfway through the evening I said, 'I've got this tape with me of the new Red Krayola song'. I think that one of the provisos of any label putting out The Red Krayola - they spell it with a 'K' in the US, out of fear of lawsuits - is that there would need to be an equal or greater commitment to new material, as well as shepherding into reissuing all these fantastic records, and Drag City were immediately enthusiastic about it. So next week at the poker game I showed up with a Gastr Del Sol tape. [laughs]</blockquote>[[Jim O'Rourke]], 1994<ref>https://groups.google.com/g/rec.music.misc/c/Z3olBudNF8w/m/LYkKTZTRPRIJ</ref><blockquote>
there will be a new album, The red krayola, out soon. It features [[Mayo Thompson|Mayo]] along with [[Tom Watson]], [[Stephen Prina|Steven Prina]], [[Albert Oehlen|Albert Oehlin]], [[John McEntire]], [[David Grubbs|Dave Grubbs]], and myself. it's great (i personally think mayo and dave are an impeccable team.) There is also this great [[Old Tom Clark (single)|Saddle sore 7"]], which was recorded i think just a month after [[Corky's Debt to His Father|Corky's debt]]. It's just so damn beautiful.....
</blockquote>

[[Stephen Prina]], 2025<ref>https://www.frieze.com/article/david-grubbs-stephen-prina-253</ref>

<blockquote>
I met [[Mayo Thompson]] in the early 1990s, when he was living in Düsseldorf. We were introduced by mutual friends – I believe Albert Oehlen was involved. Around the same time, some Los Angeles musicians connected to the art world were putting together a double-CD compilation, Oostende 1994, and they invited me to participate. I submitted 'Etude for Percussion' (Square Root Function II)’ [1980] – which I had written for two percussionists, each playing two snare drums and a woodblock.

While recording, a friend asked me to play piano and sing on one of his tracks. There was a Fender Rhodes in the studio, so I did it. Some musicians there, a band called Sweet Cream, encouraged me to perform more. They kept inviting me to open for them, and I kept saying no, the excuse being that they hadn't given me enough time to prepare. At one point they recognized my avoidance technique and gave me six months' warning and at that point I couldn't refuse.

I thought: if I’m going to be a kind of pop performer, what form should it take? The result was the arrangement ''Sonic Dan'' [...] During the performance I play piano, sing and use a foot pedal to control the volume of a recording of Webern's ''Complete String Quartets'', which begins the performance and fades in and out throughout. The performance alternates between Steely Dan and Sonic Youth, with entr'acte and 'guitar solos' supplied by the Webern. [...]

I performed ''Sonic Dan'' as a work in progress, as an opener for Sweet Cream at a club in West Hollywood. I thought, what do I have to lose? No one’s going to show up. As it turns out, [[Diedrich Diederichsen]] was there, and Lillian Ball, Amy Gerstler, Mike Kelley, David Reed, [[Mayo Thompson]] and Benjamin Weissman. [...]

I was a little concerned, since I hadn't performed in public for years. But I went up there and did what I had to do. I performed for 20 minutes, after which Mayo came up to me and asked if I would sing on his new album. I was like, 'Great, I’m finally going to get the backup vocal credit I always wanted on a pop record.' I went into this tiny vocal booth in Pasadena to record my part and when that eponymous Red Krayola album came out, I was listed as a member of the band. The Red Krayola gave me the opportunity to work collaboratively in a way that had not been part of my practice in the same way before, which was often solitary. A generative experience, truly.
</blockquote>

[[John McEntire]], 1994<ref>https://archive.org/details/no_trend_press_20/page/74/mode/2up</ref>

<blockquote>
M: Wie kommt es, daß Red Crayola wieder aktiv sind?

John: [[David Grubbs|Dave Shrubb]] von Bastro und [[Gastr del Sol]] nahm 1990 Kontakt mit [[Mayo Thompson|Majo Thompson]] auf, als Bastro gerade in Europa auf Tour waren. Majo Thompson lebte zu der Zeit in Köln. Sie hatten dann regelmäßige Korrespondenz und schließlich entschied sich Majo 1992 dazu, wieder Musik machen zu wollen.

M: Wann hatte er Red Crayola zuletzt beiseite gelegt?

John: Red Crayola gibt es in welcher Form auch immer seit 1966. Seither gibt es immer wieder längere Perioden, in denen die Band nicht aktiv ist.

M: Warst Du 1966 überhaupt schon geboren?

John: Ich bin 1970 zur Welt gekommen.

M: Muß doch ein seltsames Gefühl sein, in einer Band zu spielen, die älter ist als man selber.

John: Manchmal schon, wir spielen sogar Songs, die geschrieben wurden, als es mich noch nicht gab. Jedenfalls entschied sich Majo dazu, mit Dave zusammenzuarbeiten und sie gaben drüben in Europa ein paar Konzerte. Daraus entstand die Idee zu einem neuen Album, was wir im Januar ’94 aufnahmen und was jetzt bei Drag City veröffentlicht wurde. Vor zwei Wochen waren wir in Japan und gaben zwei Konzerte, die ziemlich großartig waren.

M: Wie groß waren die Läden?

John: Eher klein, aber wir haben unser Geld wieder reinbekommen, der Promoter war ziemlich gut. Majo ist noch drüben und arbeitet schon an den nächsten Geschichten mit dortigen Musikern. Er hat ein richtiges Netzwerk an Musikern und Kontakten.

M: Wie läßt es sich mit ihm arbeiten und in welchem Alter ist er jetzt?

John: Er ist 50. Es ist spannend mit ihm zu arbeiten, er hat eben einen völlig anderen Background. Seit Anfang der 70er Jahre ist er stark mit der Kunstwelt verknüpft, spielte dann mit dieser englischen Band ''[[Art & Language]]'' - ein Kollektiv konzeptioneller Künstler - und seine Rhetorik ist ein wenig zu ...(überlegt angestrengt) ... sagen wir einfach: es kommt manchmal zu leichten Kommunikationsproblemen, weil er oftmals unterschiedliche Begriffe verwendet für eine bestimmte Sache, gerade im Hinblick auf Musik, z.B. wenn du einen Song ausarbeitest. Es kann schwierig werden auf einer theoretischen Stufe, was aber in Ordnung ist, und letztendlich zu interessanter Musik führt. Davon abgesehen ist es großartig mit ihm zu arbeiten, es macht wirklich spaß, vor allem wenn er guter Laune in Tokyo ist.

M: Wie sieht's mit einer Tour in Amerika oder Europa aus?

John: Wir haben darüber gesprochen, aber wenn überhaupt, dann vielleicht 2-3 Konzerte an der Ostküste oder dergleichen. Ich kann mir Majo nicht unbedingt 3 Wochen in einem Bandbus vorstellen. Eine größere Tour wird es jedenfalls nicht geben.

M: Wie würdest Du das neue Album beschreiben?

John: Es ist sicherlich Red Crayolas’ stärkste Annäherung an eine Rock-Platte bisher, was zum einen an den Musikern liegen dürfte, die Songs sind kurz und bündig und die Produktion ist entsprechend. Ich glaube aber nicht, daß ich der Platte unbedingt einen Dienst erweise, wenn ich sie als Rock-Scheibe bezeichne, denn dafür passiert doch einfach auch zu viel.

M: Wie kommt die Platte an?

John: Hervorragend, gerade in Japan. Ich war wirklich beeindruckt von der Masse an Leuten, die dort mit diesen riesigen Red CrayolaSammlungen ankamen, all diese komischen Bootlegs und limitierten Pressungen, keine Ahnung, wo sie das Zeug herkriegen. Ich war vor allem von der Reaktion bei den Live-Auftritten erstaunt. Jeder hatte mir erzählt, wie zurückhaltend das Publikum sich verhalten würde und dann kreischten sie wie verrückt, das war beeindruckend.</blockquote>

== Reviews ==

=== Aiding & Abetting ===
August 31, 1994<ref>https://www.aidabet.com/archives/archR.html#REDK</ref><blockquote>If you remember the [[Mayo Thompson]] re-issue from earlier in the summer, you should be prepared.

Having been around for over 25 years, The Red Krayola is the main vehicle of Thompson's muse. He gets a few friends together and they play some very odd music. In years past it might have been called "psychedelic pop", I suppose, but that term has mutated over the years, and I don't think that's quite right now.

I think I like "eclectic pop" better. The Red Krayola folks turn traditional rhythms ad melodies on their heads, exposing them as the true opiates of the masses. It can be difficult listening to an album with so many discordant statements, but as you know, I like that sort of thing.

Anything that makes me think this much is certainly fine. And if this music doesn't haunt your mind like a pissed off secret, then you didn't listen hard enough the first time. Like it says, "Play Extremely Loud."</blockquote>

=== Chicago Reader ===
January 19, 1995<ref>https://chicagoreader.com/music/long-lived-rock/</ref>

Bill Meyer

<blockquote>
[...] The Red Krayola’s sound has varied widely over the years, but [[Mayo Thompson|Thompson]]’s distinctive voice and guitar playing have always been immediately identifiable. His voice is high, quavery, and resolutely off key, but it is nevertheless a remarkable instrument. He is a master of phrasing, nimbly negotiating tricky rhythms and irregular song structures with ease. His vocal delivery suits his lyrics; on the new album’s “[[Rapspierre]],” a dense Marxist social critique, he is by turns professorial, chiding, and sorrowful. The perpetual catch in his throat emphasizes the song’s outrage and regret. Thompson’s guitar playing is precise, clipped, and acerbic; he’s prone to off-kilter melodic runs that take the songs on unexpected tangents.

The Red Krayola is the most guitar-heavy record Thompson’s ever recorded. He and [[David Grubbs|Grubbs]], joined by guitarists [[Tom Watson]] and [[Stephen Prina]], pack terse, interlocking riffs around [[John McEntire|McEntire]]’s nimble drumming on the album’s 17 brief tunes. There is no bassist–the thick tone would only get in the way of the other instruments. [[Jim O'Rourke|Jim O’Rourke]] and [[Albert Oehlen]] contribute squiggly synthesizer noises, buzzing around and commenting on the guitar parts rather than fulfilling the traditional keyboard role of filling up harmonic space. [...]
</blockquote>

=== Suburban Voice ===
1995<ref>https://archive.org/details/suburban_voice_36/page/n68/mode/1up</ref><blockquote>A new album from [[Mayo Thompson]], who brings in new compatriots to keep the Krayola name alive — among them, [[Jim O'Rourke]] and [[David Grubbs]] ([[Gastr del Sol]]) and [[Tom Watson]] (Slovenly). Original, yet haphazard, featuring sparse instrumentation and understated vocals. Fractured psychedelic pop, somber minimalism and much of it comes off like Lou Reed on a downer (or Pavement without the self-consciousness), although Thompson's been making music just as long as Mr. Reed. Intriguing, in spots. </blockquote>

=== Brutarian ===
1990s<ref>https://archive.org/details/brutarian-14/page/64/mode/1up</ref><blockquote>So let me get this straight. A musician fails to realize that ever since he stopped taking LSD and smoking pot some twenty-five years ago he's become totally incapable of producing anything of even passing interest. And because people can't believe it and, furthermore, are too embarrassed to tell him he's a loser, they instead take to calling the bum a legend? What for? So he won't kill himself? I say, "Give this man a gun." A big gun. Still, it's hard to believe this rancid collection of moronic dada rock and meandering, inconsequential AOR nonsense was penned by the guy who wrote the amazing "[[Hurricane Fighter Plane]]" and put it on the even more amazing ''[[The Parable of Arable Land|Parable of Arable Land]]'' lp. Maybe not. Especially if you've heard the execrable stuff he did with [[Art & Language]].</blockquote>

=== The Trouser Press guide to '90s rock ===
1997<ref>https://archive.org/details/trouserpressguid00robb_1/page/597/mode/1up</ref><blockquote>Recorded by a collective of seven (including guitarists [[David Grubbs]], [[Jim O'Rourke]] and [[Tom Watson]], drummer [[John McEntire]] and German synthesist [[Albert Oehlen]]), The Red Krayola is a potent modern exposition of [[Mayo Thompson|Thompson]]'s Beefheart-ian musical inventions and wickedly offbeat lyrics. For all its idiosyncratic juxtapositions, the album is a relatively straightforward electric affair — alternatively engaging and patience testing — that sends antagonistic elements (noisy guitar, catatonic electronic blips, contrary rhythms) out to disrupt the calmly logical organization of restrained, tuneful inventions like the waltz-time "[[Jimmy Silk/Supper Be Ready Medley|Jimmy Silk/Supper By Ready Medley]]," "[[Pride]]," "[[Book of Kings]]," (which paraphrases Carly Simon ''and'' quotes children's verse), the courtly, Roxy Music-like "[[Miss X]]," the chromatic "[[Art-Dog]]" and "[[Suddenly]]," crooned as a sweet harmony vocal exercise. Traditionally cavalier in his appreciation of song structures, Thompson fleshes out the album with "[[Rapspierre]]" (another of his accelerated Marxist theory courses, this one containing sing-song doggrel about monkeys, random keyboard noises and turntable scratches), the ripping drive-gear "[[People Get Ready (The Train's Not Coming)]]" near-instrumental and the catchy mantra "[[I Knew It]]." Provocative and, for the most part, highly entertaining.</blockquote>

== References ==
{{The Red Krayola (album)}}

[[Category:Studio albums]]
[[Category:Drag City]]

Push Comes to Love

2025-09-16T21:52:31Z

Dotclub: /* Retrospectives */

[[File:Push-Comes-to-Love-front.jpg|thumb|{{MediaLink|YouTube=https://www.youtube.com/playlist?list=OLAK5uy_lLG0xEyT-PpS6IwmZJ6Nq1rnmiMW4nuww}}]]
[[File:Push-Comes-to-Love-vinyl-front.jpg|thumb|Vinyl cover]]

''[[Push Comes to Love]]'' is a 1999 album by [[Stephen Prina]] released by [[Drag City]].

== Track listing ==
{{tracklist
| title1 = [[Cums for Shove]]
| length1 = 3:41
| title2 = [[The Devil, Probably]]
| length2 = 3:32
| title3 = [[Too Strong]]
| length3 = 0:52
| title4 = [[The Sobriquet]]
| length4 = 3:39
| title5 = [[No One Calls Me Friend]]
| length5 = 5:49
| title6 = [[Trevor]]
| length6 = 5:39
| title7 = [[The Achiever]]
| length7 = 4:10
| title8 = [[Little Lips]]
| length8 = 7:00
| note8 = A Little Tidbit, by Dr. Seuss
| title9 = [[Community]]
| length9 = 4:48
| title10 = [[This Is Not It]]
| length10 = 3:32
| title11 = [[Hand in Glove]]
| length11 = 3:02
}}

== Background ==

* Recorded in 1997
* Released in 1999 by [[Drag City]]
* Listening party on March 26, 1999 in Los Angeles<ref>https://web.archive.org/web/19990419202412/http://www.dragcity.com/tourprina.html</ref>
* Shares a name with Prina's painting series

== Retrospectives ==

[[Stephen Prina]], 2025<ref>https://www.frieze.com/article/david-grubbs-stephen-prina-253</ref>

<blockquote>
I had never written a song before. But the writing of those songs was so intertwined with the recording of that album, because, if you ([[David Grubbs]]) remember, I didn’t come into it with any finished songs. I came in with musical ideas, and I travelled to Chicago to work with you and [[Jim O'Rourke]] in the recording studio, and we structured the music for all the songs. I then took all of that recorded material back to LA to develop melodies and set the lyrics to them. I had asked a variety of friends who are writers – such as Amy Gerstler and Benjamin Weissman – to write some material for me.

[...] I couldn't contact Dennis Cooper, so I just took one of his poems and got permission after the fact. [...] I sent him the recording. If I remember correctly, his response was, 'Well, I cried.' And I thought, if I made Dennis Cooper cry, that's an achievement.
</blockquote>

== Personnel ==
* Produced by [[David Grubbs]] and [[Jim O'Rourke]]
* Recorded by [[Jim O'Rourke]], [[John McEntire]], Brandon King

=== Cover art ===
Artwork and design by Barbara Bloom. It is similar to her 1997 "Color Chart" piece.

<gallery mode="packed">
File:Barbara-Bloom-Color-Chart.jpg|''Color Chart'', 1997
</gallery>
==== Source images ====
Snakes: Appears to be based on John J. Janecek's 1936 illustration from Franz Albrecht Theodor Reuss' 1930 photograph of ''Vipera berus'' mating.<ref>https://archive.org/details/courtshipmatingb2022davi/page/266/mode/1up</ref>

Zebras: Photo by Des & Jen Bartlett, ''National Geographic'', March 1983 pg.361

Arm wrestling: Very similar to a promotional image for Sylvester Stallone's ''Over The Top'' (1987). The photo appears on posters and the cover of the novelization. Likely another take from the same shoot.

Horses: Thunderhoof and Valerie from the 1927 silent Western ''Wild Beauty.''<ref>https://www.youtube.com/watch?v=Q4OS53t9-70</ref>

Birds: Photo by Steven C. Wilson, Texas 1979. Appeared in ''National Geographic'' (February 1981, pg.162-63) then ''Odyssey: The Art of Photography at National Geographic'' (1988).<ref>https://archive.org/details/cor5_0_s06_ss01_boxrg5_0_2008_022_18/page/n176/mode/1up</ref>

Turtles: The American Museum Journal (1900)<ref>https://archive.org/details/americanmuseumjo11amer/page/210/mode/1up</ref>

Wolves (back cover): Photo "Wolf Song" by Heather Parr Fentress, Nova Scotia, Canada, 1991<ref>https://archive.org/details/motherearththrou00boic/page/73/mode/1up</ref>

Zebras (back cover): Image appeared on a 1992 stamp from São Tomé and Príncipe.<ref>https://www.shutterstock.com/image-photo/sao-tome-principe-circa-1992-stamp-87193798</ref>

<gallery mode="packed">
File:Janecek-Reuss-Vipera-berus.jpg|''Mating dance of the Vipera berus'', 1936
File:Des-and-Jen-Bartlett-zebra-1983.jpg|1983
File:Over-the-Top-novelization.jpg|''Over The Top'', 1987
File:Wild-Beauty-1927-still.jpg|''Wild Beauty'', 1927
File:Steven-C-Wilson-birds-1979.jpg|''Mated pair of reddish egrets in an aerial altercation'', 1979
File:Wax-casts-of-fighting-spotted-turtles-1900.jpg|''Wax casts of fighting spotted turtles (Chelopus guttatus)'', 1900
File:Heather-Parr-Fentress-Wolf-Song-1991.jpg|''Wolf Song'', 1991
File:São-Tomé-e-Príncipe-zebras-stamp-1992.jpg|''Proteção da Natureza Congresso Ecologico no Rio de Janeiro (Brasil)'', 1992
</gallery>
== Reviews ==

=== Monitor ===
April 1999<ref>https://archive.org/details/monitor-iii-serie-55-abril-99/page/n16/mode/1up</ref>

<blockquote>
Perante os registos de [[David Grubbs]], Archer Prewitt, Sam Prekop, [[Jim O'Rourke]] e agora [[Stephen Prina]], curiosamente todos em nome próprio, creio ser possível afirmar que começa a revelar-se um fenómeno de recuperação da pop na sua vertente mais reconfortante. Se ela tem sido desde sempre autoproclamada pelos ingleses como sua propriedade, a verdade é que estes americanos (por acaso de Chicago) dão-lhe um sabor muito mais apetitoso. Não fosse esse apetite buscar o tempero principal à obra de Burt Bacharach, cuja influência na pop contemporânea tem crescido a olhos vistos.

Conta-se que, certo dia, estava Stephen Prina a trabalhar em mais um álbum dos Red Krayola, Jim O'Rourke e David Grubbs lhe apareceram com um desafio: compor um álbum pop. Prina, artista conceptual e músico conceituado, aceitou o desafio com entusiasmo.

Para além dos já citados O'Rourke e Grubbs, mentores dos extintos (?) Gastr Del Sol e que também assinam a produção, juntaram-se à festa mais três pesos-pesados de Chicago: o inevitável John McEntire, Sam Prekop e Rob Mazurek. A verdade é que o resultado não é nada pesado. Pelo contrário, é um conjunto de melodias deliciosas e suaves, com pequenas nuances perfeitamente enquadradas, que se acompanham com prazer do princípio ao fim. Um álbum simples e gracioso. A faceta conceptual e melancólica de Prina concentra-se nas letras. As que não foram escritas pelo próprio Prina encontraram inspiração em Benjamin Weissman, Robert Bresson, David Grubbs, Amy Gerstler, Mayo Thompson, Lynne Tillman e Dennis Cooper.

Pode não ter nada a ver (isto de gostar de música não tem nada de racional), mas a empatia que senti por «Push Comes To Love» fez-me lembrar, noutra área musical com certeza, «Signals for Tea» de Steve Beresford. São composições muito pessoais, às quais o coração não consegue resistir.
</blockquote>

=== Boston Phoenix ===
May 14, 1999<ref>https://archive.org/details/sim_boston-phoenix_may-14-20-1999_28_20/page/n95/mode/1up</ref>

Alec Hanley Bemis

<blockquote>
An LA conceptual artist and a member of the current Red Krayola line-up, [[Stephen Prina]] spends most of his solo debut playing intriguing word games. “Cums for, cums to/That's where he came/My modest, one-room home/He pushed it in/And then he pulled it ouch,” he sings on “[[Cums for Shove]],” the disc’s opening track. It’s a punning narrative fragment that might be about a rape or just an extremely detached sexual encounter, and its peculiarity is heightened by Prina’s cold, lounge-singer vocals and Teletubby synths. This chilling contrast between the sterile tone of the vocals and music and the violently sensual content of the lyrics is a specialty Prina shares with Krayola’s [[Mayo Thompson]] and [[Gastr del Sol]]’s [[David Grubbs]], though he doesn't have either's penchant for art-rock, avant-noise, and jazz flourishes. Instead, despite backing here by Grubbs and [[Jim O'Rourke]], he relies mostly on peppy trumpets and cheesy keyboard tones.

It's also worth noting that the lyrics Prina intones with such hermetic panache are mostly the work of other people: LA spiatter-pop novelist Dennis Cooper, poet Amy Gerstler, New York fiction writer Lynne Tillman. Still, ''Push Comes to Love'' is a fascinating example of what pop music might sound like if Brian Eno and Marcel Duchamp were muses more popular than the Beatles.
</blockquote>

=== Earpiece ===
Spring 1999<ref>http://white-rose.net/earpiece1.html</ref>

b.wildered

<blockquote>
the most immediately reference for this disk is ''[[The Red Krayola|the red krayola]]'', due to prina's role in the drag city incarnation of [[Mayo Thompson|mayo thompson]]'s long-running collective. the next referent is that this was co-produced by the [[David Grubbs|david grubbs]] and [[Jim O'Rourke|jim o'rourke]], late of ''[[Gastr del Sol|gastr del sol]]''. i am only familiar with prina due to his involvement with ''the red krayola'', but i have seen several articles mentioning him as an artist/composer, working and teaching, i believe, at the pasadena college of the arts. there is a dominant theme involving sexual/social interactions, with the cover art featuring animal pairs. this recording seems to be an exercise in collaboration, with a variety of individuals contributing and prina, grubbs and o'rourke, in various combinations, providing the musical settings. o'rourke's settings are reminiscent of his work as an arranger/producer with such artists as ''untitled'' (cynthia dahl), and ''edith frost'', in that they are spare and appropriate, enhancing rather from distracting. i am impelled by this work to revisit my ''krayola'' cds to sniff out the prina aspects. my impression is that it is going to take awhile to sift thru this. on first few listens, it seems slight, tho perhaps this is due to my being often distracted by other activities when it is on. i definitely recommend this to those who appreciate the aforementioned nineties ''the red krayola'', while it might be less appreciable by those who are pursuing the chicago/''gastr del sol'' connection, due to the lack of immediately perceptible complexity, expecially in the musical side of this. those who like a diverting lyrical experience, with some whimsy involved, and with the inclination to ponder meaning, would be well served by hearing this a few times. it is definitely in my rotation, for the present time. i have found song called "[[trevor]]" to be particularly caught in my brain pan, with it's rumination on an unwashed dog's life and catchy chorus with horns part.
</blockquote>

=== AllMusic ===
Jason Ankeny<ref>https://www.allmusic.com/album/push-comes-to-love-mw0000599878</ref>

<blockquote>
Produced by [[David Grubbs]] and [[Jim O'Rourke]], [[Stephen Prina]]'s solo debut falls somewhere between the experimental sound of latter-day [[Gastr del Sol]] efforts and classic West Coast pop. Featuring collaborations with diverse figures ranging from writers Dennis Cooper and Lynne Tillman to the Sea & Cake's [[John McEntire]] and Sam Prekop, Push Comes to Love is both smart and breezy, although it's occasionally a little too self-conscious for its own good.
</blockquote>

=== Scaruffi ===
Piero Scaruffi<ref>https://www.scaruffi.com/vol5/prina.html</ref>

<blockquote>
[[Stephen Prina]] is a Chicago musician who grew up in Red Krayola and met all the fine minds of the city's post-rock intellighentia. They helped him out on his first solo album, but Push Comes To Love (Drag City, 1999) sounds like a kinder, lighter copy of Sam Prekop's first solo album. The guests are kept at arm's length and what prevails is a fragile pop candor.
</blockquote>

== References ==
{{Push Comes to Love}}

[[Category:Drag City]]

Push Comes to Love

2025-09-16T21:52:16Z

Dotclub: /* Retrospectives */

[[File:Push-Comes-to-Love-front.jpg|thumb|{{MediaLink|YouTube=https://www.youtube.com/playlist?list=OLAK5uy_lLG0xEyT-PpS6IwmZJ6Nq1rnmiMW4nuww}}]]
[[File:Push-Comes-to-Love-vinyl-front.jpg|thumb|Vinyl cover]]

''[[Push Comes to Love]]'' is a 1999 album by [[Stephen Prina]] released by [[Drag City]].

== Track listing ==
{{tracklist
| title1 = [[Cums for Shove]]
| length1 = 3:41
| title2 = [[The Devil, Probably]]
| length2 = 3:32
| title3 = [[Too Strong]]
| length3 = 0:52
| title4 = [[The Sobriquet]]
| length4 = 3:39
| title5 = [[No One Calls Me Friend]]
| length5 = 5:49
| title6 = [[Trevor]]
| length6 = 5:39
| title7 = [[The Achiever]]
| length7 = 4:10
| title8 = [[Little Lips]]
| length8 = 7:00
| note8 = A Little Tidbit, by Dr. Seuss
| title9 = [[Community]]
| length9 = 4:48
| title10 = [[This Is Not It]]
| length10 = 3:32
| title11 = [[Hand in Glove]]
| length11 = 3:02
}}

== Background ==

* Recorded in 1997
* Released in 1999 by [[Drag City]]
* Listening party on March 26, 1999 in Los Angeles<ref>https://web.archive.org/web/19990419202412/http://www.dragcity.com/tourprina.html</ref>
* Shares a name with Prina's painting series

== Retrospectives ==

[[Stephen Prina]], 2025<ref>https://www.frieze.com/article/david-grubbs-stephen-prina-253</ref>

<blockquote>
[...] I had never written a song before. But the writing of those songs was so intertwined with the recording of that album, because, if you ([[David Grubbs]]) remember, I didn’t come into it with any finished songs. I came in with musical ideas, and I travelled to Chicago to work with you and [[Jim O'Rourke]] in the recording studio, and we structured the music for all the songs. I then took all of that recorded material back to LA to develop melodies and set the lyrics to them. I had asked a variety of friends who are writers – such as Amy Gerstler and Benjamin Weissman – to write some material for me.

[...] I couldn't contact Dennis Cooper, so I just took one of his poems and got permission after the fact. [...] I sent him the recording. If I remember correctly, his response was, 'Well, I cried.' And I thought, if I made Dennis Cooper cry, that's an achievement.
</blockquote>

== Personnel ==
* Produced by [[David Grubbs]] and [[Jim O'Rourke]]
* Recorded by [[Jim O'Rourke]], [[John McEntire]], Brandon King

=== Cover art ===
Artwork and design by Barbara Bloom. It is similar to her 1997 "Color Chart" piece.

<gallery mode="packed">
File:Barbara-Bloom-Color-Chart.jpg|''Color Chart'', 1997
</gallery>
==== Source images ====
Snakes: Appears to be based on John J. Janecek's 1936 illustration from Franz Albrecht Theodor Reuss' 1930 photograph of ''Vipera berus'' mating.<ref>https://archive.org/details/courtshipmatingb2022davi/page/266/mode/1up</ref>

Zebras: Photo by Des & Jen Bartlett, ''National Geographic'', March 1983 pg.361

Arm wrestling: Very similar to a promotional image for Sylvester Stallone's ''Over The Top'' (1987). The photo appears on posters and the cover of the novelization. Likely another take from the same shoot.

Horses: Thunderhoof and Valerie from the 1927 silent Western ''Wild Beauty.''<ref>https://www.youtube.com/watch?v=Q4OS53t9-70</ref>

Birds: Photo by Steven C. Wilson, Texas 1979. Appeared in ''National Geographic'' (February 1981, pg.162-63) then ''Odyssey: The Art of Photography at National Geographic'' (1988).<ref>https://archive.org/details/cor5_0_s06_ss01_boxrg5_0_2008_022_18/page/n176/mode/1up</ref>

Turtles: The American Museum Journal (1900)<ref>https://archive.org/details/americanmuseumjo11amer/page/210/mode/1up</ref>

Wolves (back cover): Photo "Wolf Song" by Heather Parr Fentress, Nova Scotia, Canada, 1991<ref>https://archive.org/details/motherearththrou00boic/page/73/mode/1up</ref>

Zebras (back cover): Image appeared on a 1992 stamp from São Tomé and Príncipe.<ref>https://www.shutterstock.com/image-photo/sao-tome-principe-circa-1992-stamp-87193798</ref>

<gallery mode="packed">
File:Janecek-Reuss-Vipera-berus.jpg|''Mating dance of the Vipera berus'', 1936
File:Des-and-Jen-Bartlett-zebra-1983.jpg|1983
File:Over-the-Top-novelization.jpg|''Over The Top'', 1987
File:Wild-Beauty-1927-still.jpg|''Wild Beauty'', 1927
File:Steven-C-Wilson-birds-1979.jpg|''Mated pair of reddish egrets in an aerial altercation'', 1979
File:Wax-casts-of-fighting-spotted-turtles-1900.jpg|''Wax casts of fighting spotted turtles (Chelopus guttatus)'', 1900
File:Heather-Parr-Fentress-Wolf-Song-1991.jpg|''Wolf Song'', 1991
File:São-Tomé-e-Príncipe-zebras-stamp-1992.jpg|''Proteção da Natureza Congresso Ecologico no Rio de Janeiro (Brasil)'', 1992
</gallery>
== Reviews ==

=== Monitor ===
April 1999<ref>https://archive.org/details/monitor-iii-serie-55-abril-99/page/n16/mode/1up</ref>

<blockquote>
Perante os registos de [[David Grubbs]], Archer Prewitt, Sam Prekop, [[Jim O'Rourke]] e agora [[Stephen Prina]], curiosamente todos em nome próprio, creio ser possível afirmar que começa a revelar-se um fenómeno de recuperação da pop na sua vertente mais reconfortante. Se ela tem sido desde sempre autoproclamada pelos ingleses como sua propriedade, a verdade é que estes americanos (por acaso de Chicago) dão-lhe um sabor muito mais apetitoso. Não fosse esse apetite buscar o tempero principal à obra de Burt Bacharach, cuja influência na pop contemporânea tem crescido a olhos vistos.

Conta-se que, certo dia, estava Stephen Prina a trabalhar em mais um álbum dos Red Krayola, Jim O'Rourke e David Grubbs lhe apareceram com um desafio: compor um álbum pop. Prina, artista conceptual e músico conceituado, aceitou o desafio com entusiasmo.

Para além dos já citados O'Rourke e Grubbs, mentores dos extintos (?) Gastr Del Sol e que também assinam a produção, juntaram-se à festa mais três pesos-pesados de Chicago: o inevitável John McEntire, Sam Prekop e Rob Mazurek. A verdade é que o resultado não é nada pesado. Pelo contrário, é um conjunto de melodias deliciosas e suaves, com pequenas nuances perfeitamente enquadradas, que se acompanham com prazer do princípio ao fim. Um álbum simples e gracioso. A faceta conceptual e melancólica de Prina concentra-se nas letras. As que não foram escritas pelo próprio Prina encontraram inspiração em Benjamin Weissman, Robert Bresson, David Grubbs, Amy Gerstler, Mayo Thompson, Lynne Tillman e Dennis Cooper.

Pode não ter nada a ver (isto de gostar de música não tem nada de racional), mas a empatia que senti por «Push Comes To Love» fez-me lembrar, noutra área musical com certeza, «Signals for Tea» de Steve Beresford. São composições muito pessoais, às quais o coração não consegue resistir.
</blockquote>

=== Boston Phoenix ===
May 14, 1999<ref>https://archive.org/details/sim_boston-phoenix_may-14-20-1999_28_20/page/n95/mode/1up</ref>

Alec Hanley Bemis

<blockquote>
An LA conceptual artist and a member of the current Red Krayola line-up, [[Stephen Prina]] spends most of his solo debut playing intriguing word games. “Cums for, cums to/That's where he came/My modest, one-room home/He pushed it in/And then he pulled it ouch,” he sings on “[[Cums for Shove]],” the disc’s opening track. It’s a punning narrative fragment that might be about a rape or just an extremely detached sexual encounter, and its peculiarity is heightened by Prina’s cold, lounge-singer vocals and Teletubby synths. This chilling contrast between the sterile tone of the vocals and music and the violently sensual content of the lyrics is a specialty Prina shares with Krayola’s [[Mayo Thompson]] and [[Gastr del Sol]]’s [[David Grubbs]], though he doesn't have either's penchant for art-rock, avant-noise, and jazz flourishes. Instead, despite backing here by Grubbs and [[Jim O'Rourke]], he relies mostly on peppy trumpets and cheesy keyboard tones.

It's also worth noting that the lyrics Prina intones with such hermetic panache are mostly the work of other people: LA spiatter-pop novelist Dennis Cooper, poet Amy Gerstler, New York fiction writer Lynne Tillman. Still, ''Push Comes to Love'' is a fascinating example of what pop music might sound like if Brian Eno and Marcel Duchamp were muses more popular than the Beatles.
</blockquote>

=== Earpiece ===
Spring 1999<ref>http://white-rose.net/earpiece1.html</ref>

b.wildered

<blockquote>
the most immediately reference for this disk is ''[[The Red Krayola|the red krayola]]'', due to prina's role in the drag city incarnation of [[Mayo Thompson|mayo thompson]]'s long-running collective. the next referent is that this was co-produced by the [[David Grubbs|david grubbs]] and [[Jim O'Rourke|jim o'rourke]], late of ''[[Gastr del Sol|gastr del sol]]''. i am only familiar with prina due to his involvement with ''the red krayola'', but i have seen several articles mentioning him as an artist/composer, working and teaching, i believe, at the pasadena college of the arts. there is a dominant theme involving sexual/social interactions, with the cover art featuring animal pairs. this recording seems to be an exercise in collaboration, with a variety of individuals contributing and prina, grubbs and o'rourke, in various combinations, providing the musical settings. o'rourke's settings are reminiscent of his work as an arranger/producer with such artists as ''untitled'' (cynthia dahl), and ''edith frost'', in that they are spare and appropriate, enhancing rather from distracting. i am impelled by this work to revisit my ''krayola'' cds to sniff out the prina aspects. my impression is that it is going to take awhile to sift thru this. on first few listens, it seems slight, tho perhaps this is due to my being often distracted by other activities when it is on. i definitely recommend this to those who appreciate the aforementioned nineties ''the red krayola'', while it might be less appreciable by those who are pursuing the chicago/''gastr del sol'' connection, due to the lack of immediately perceptible complexity, expecially in the musical side of this. those who like a diverting lyrical experience, with some whimsy involved, and with the inclination to ponder meaning, would be well served by hearing this a few times. it is definitely in my rotation, for the present time. i have found song called "[[trevor]]" to be particularly caught in my brain pan, with it's rumination on an unwashed dog's life and catchy chorus with horns part.
</blockquote>

=== AllMusic ===
Jason Ankeny<ref>https://www.allmusic.com/album/push-comes-to-love-mw0000599878</ref>

<blockquote>
Produced by [[David Grubbs]] and [[Jim O'Rourke]], [[Stephen Prina]]'s solo debut falls somewhere between the experimental sound of latter-day [[Gastr del Sol]] efforts and classic West Coast pop. Featuring collaborations with diverse figures ranging from writers Dennis Cooper and Lynne Tillman to the Sea & Cake's [[John McEntire]] and Sam Prekop, Push Comes to Love is both smart and breezy, although it's occasionally a little too self-conscious for its own good.
</blockquote>

=== Scaruffi ===
Piero Scaruffi<ref>https://www.scaruffi.com/vol5/prina.html</ref>

<blockquote>
[[Stephen Prina]] is a Chicago musician who grew up in Red Krayola and met all the fine minds of the city's post-rock intellighentia. They helped him out on his first solo album, but Push Comes To Love (Drag City, 1999) sounds like a kinder, lighter copy of Sam Prekop's first solo album. The guests are kept at arm's length and what prevails is a fragile pop candor.
</blockquote>

== References ==
{{Push Comes to Love}}

[[Category:Drag City]]

Push Comes to Love

2025-09-16T21:52:00Z

Dotclub: /* Background */

[[File:Push-Comes-to-Love-front.jpg|thumb|{{MediaLink|YouTube=https://www.youtube.com/playlist?list=OLAK5uy_lLG0xEyT-PpS6IwmZJ6Nq1rnmiMW4nuww}}]]
[[File:Push-Comes-to-Love-vinyl-front.jpg|thumb|Vinyl cover]]

''[[Push Comes to Love]]'' is a 1999 album by [[Stephen Prina]] released by [[Drag City]].

== Track listing ==
{{tracklist
| title1 = [[Cums for Shove]]
| length1 = 3:41
| title2 = [[The Devil, Probably]]
| length2 = 3:32
| title3 = [[Too Strong]]
| length3 = 0:52
| title4 = [[The Sobriquet]]
| length4 = 3:39
| title5 = [[No One Calls Me Friend]]
| length5 = 5:49
| title6 = [[Trevor]]
| length6 = 5:39
| title7 = [[The Achiever]]
| length7 = 4:10
| title8 = [[Little Lips]]
| length8 = 7:00
| note8 = A Little Tidbit, by Dr. Seuss
| title9 = [[Community]]
| length9 = 4:48
| title10 = [[This Is Not It]]
| length10 = 3:32
| title11 = [[Hand in Glove]]
| length11 = 3:02
}}

== Background ==

* Recorded in 1997
* Released in 1999 by [[Drag City]]
* Listening party on March 26, 1999 in Los Angeles<ref>https://web.archive.org/web/19990419202412/http://www.dragcity.com/tourprina.html</ref>
* Shares a name with Prina's painting series

== Retrospectives ==

[[Stephen Prina]], 2025<ref>https://www.frieze.com/article/david-grubbs-stephen-prina-253</ref>

<blockquote>
[...] I had never written a song before. But the writing of those songs was so intertwined with the recording of that album, because, if you [[[David Grubbs]]] remember, I didn’t come into it with any finished songs. I came in with musical ideas, and I travelled to Chicago to work with you and [[Jim O'Rourke]] in the recording studio, and we structured the music for all the songs. I then took all of that recorded material back to LA to develop melodies and set the lyrics to them. I had asked a variety of friends who are writers – such as Amy Gerstler and Benjamin Weissman – to write some material for me.

[...] I couldn't contact Dennis Cooper, so I just took one of his poems and got permission after the fact. [...] I sent him the recording. If I remember correctly, his response was, 'Well, I cried.' And I thought, if I made Dennis Cooper cry, that's an achievement.
</blockquote>

== Personnel ==
* Produced by [[David Grubbs]] and [[Jim O'Rourke]]
* Recorded by [[Jim O'Rourke]], [[John McEntire]], Brandon King

=== Cover art ===
Artwork and design by Barbara Bloom. It is similar to her 1997 "Color Chart" piece.

<gallery mode="packed">
File:Barbara-Bloom-Color-Chart.jpg|''Color Chart'', 1997
</gallery>
==== Source images ====
Snakes: Appears to be based on John J. Janecek's 1936 illustration from Franz Albrecht Theodor Reuss' 1930 photograph of ''Vipera berus'' mating.<ref>https://archive.org/details/courtshipmatingb2022davi/page/266/mode/1up</ref>

Zebras: Photo by Des & Jen Bartlett, ''National Geographic'', March 1983 pg.361

Arm wrestling: Very similar to a promotional image for Sylvester Stallone's ''Over The Top'' (1987). The photo appears on posters and the cover of the novelization. Likely another take from the same shoot.

Horses: Thunderhoof and Valerie from the 1927 silent Western ''Wild Beauty.''<ref>https://www.youtube.com/watch?v=Q4OS53t9-70</ref>

Birds: Photo by Steven C. Wilson, Texas 1979. Appeared in ''National Geographic'' (February 1981, pg.162-63) then ''Odyssey: The Art of Photography at National Geographic'' (1988).<ref>https://archive.org/details/cor5_0_s06_ss01_boxrg5_0_2008_022_18/page/n176/mode/1up</ref>

Turtles: The American Museum Journal (1900)<ref>https://archive.org/details/americanmuseumjo11amer/page/210/mode/1up</ref>

Wolves (back cover): Photo "Wolf Song" by Heather Parr Fentress, Nova Scotia, Canada, 1991<ref>https://archive.org/details/motherearththrou00boic/page/73/mode/1up</ref>

Zebras (back cover): Image appeared on a 1992 stamp from São Tomé and Príncipe.<ref>https://www.shutterstock.com/image-photo/sao-tome-principe-circa-1992-stamp-87193798</ref>

<gallery mode="packed">
File:Janecek-Reuss-Vipera-berus.jpg|''Mating dance of the Vipera berus'', 1936
File:Des-and-Jen-Bartlett-zebra-1983.jpg|1983
File:Over-the-Top-novelization.jpg|''Over The Top'', 1987
File:Wild-Beauty-1927-still.jpg|''Wild Beauty'', 1927
File:Steven-C-Wilson-birds-1979.jpg|''Mated pair of reddish egrets in an aerial altercation'', 1979
File:Wax-casts-of-fighting-spotted-turtles-1900.jpg|''Wax casts of fighting spotted turtles (Chelopus guttatus)'', 1900
File:Heather-Parr-Fentress-Wolf-Song-1991.jpg|''Wolf Song'', 1991
File:São-Tomé-e-Príncipe-zebras-stamp-1992.jpg|''Proteção da Natureza Congresso Ecologico no Rio de Janeiro (Brasil)'', 1992
</gallery>
== Reviews ==

=== Monitor ===
April 1999<ref>https://archive.org/details/monitor-iii-serie-55-abril-99/page/n16/mode/1up</ref>

<blockquote>
Perante os registos de [[David Grubbs]], Archer Prewitt, Sam Prekop, [[Jim O'Rourke]] e agora [[Stephen Prina]], curiosamente todos em nome próprio, creio ser possível afirmar que começa a revelar-se um fenómeno de recuperação da pop na sua vertente mais reconfortante. Se ela tem sido desde sempre autoproclamada pelos ingleses como sua propriedade, a verdade é que estes americanos (por acaso de Chicago) dão-lhe um sabor muito mais apetitoso. Não fosse esse apetite buscar o tempero principal à obra de Burt Bacharach, cuja influência na pop contemporânea tem crescido a olhos vistos.

Conta-se que, certo dia, estava Stephen Prina a trabalhar em mais um álbum dos Red Krayola, Jim O'Rourke e David Grubbs lhe apareceram com um desafio: compor um álbum pop. Prina, artista conceptual e músico conceituado, aceitou o desafio com entusiasmo.

Para além dos já citados O'Rourke e Grubbs, mentores dos extintos (?) Gastr Del Sol e que também assinam a produção, juntaram-se à festa mais três pesos-pesados de Chicago: o inevitável John McEntire, Sam Prekop e Rob Mazurek. A verdade é que o resultado não é nada pesado. Pelo contrário, é um conjunto de melodias deliciosas e suaves, com pequenas nuances perfeitamente enquadradas, que se acompanham com prazer do princípio ao fim. Um álbum simples e gracioso. A faceta conceptual e melancólica de Prina concentra-se nas letras. As que não foram escritas pelo próprio Prina encontraram inspiração em Benjamin Weissman, Robert Bresson, David Grubbs, Amy Gerstler, Mayo Thompson, Lynne Tillman e Dennis Cooper.

Pode não ter nada a ver (isto de gostar de música não tem nada de racional), mas a empatia que senti por «Push Comes To Love» fez-me lembrar, noutra área musical com certeza, «Signals for Tea» de Steve Beresford. São composições muito pessoais, às quais o coração não consegue resistir.
</blockquote>

=== Boston Phoenix ===
May 14, 1999<ref>https://archive.org/details/sim_boston-phoenix_may-14-20-1999_28_20/page/n95/mode/1up</ref>

Alec Hanley Bemis

<blockquote>
An LA conceptual artist and a member of the current Red Krayola line-up, [[Stephen Prina]] spends most of his solo debut playing intriguing word games. “Cums for, cums to/That's where he came/My modest, one-room home/He pushed it in/And then he pulled it ouch,” he sings on “[[Cums for Shove]],” the disc’s opening track. It’s a punning narrative fragment that might be about a rape or just an extremely detached sexual encounter, and its peculiarity is heightened by Prina’s cold, lounge-singer vocals and Teletubby synths. This chilling contrast between the sterile tone of the vocals and music and the violently sensual content of the lyrics is a specialty Prina shares with Krayola’s [[Mayo Thompson]] and [[Gastr del Sol]]’s [[David Grubbs]], though he doesn't have either's penchant for art-rock, avant-noise, and jazz flourishes. Instead, despite backing here by Grubbs and [[Jim O'Rourke]], he relies mostly on peppy trumpets and cheesy keyboard tones.

It's also worth noting that the lyrics Prina intones with such hermetic panache are mostly the work of other people: LA spiatter-pop novelist Dennis Cooper, poet Amy Gerstler, New York fiction writer Lynne Tillman. Still, ''Push Comes to Love'' is a fascinating example of what pop music might sound like if Brian Eno and Marcel Duchamp were muses more popular than the Beatles.
</blockquote>

=== Earpiece ===
Spring 1999<ref>http://white-rose.net/earpiece1.html</ref>

b.wildered

<blockquote>
the most immediately reference for this disk is ''[[The Red Krayola|the red krayola]]'', due to prina's role in the drag city incarnation of [[Mayo Thompson|mayo thompson]]'s long-running collective. the next referent is that this was co-produced by the [[David Grubbs|david grubbs]] and [[Jim O'Rourke|jim o'rourke]], late of ''[[Gastr del Sol|gastr del sol]]''. i am only familiar with prina due to his involvement with ''the red krayola'', but i have seen several articles mentioning him as an artist/composer, working and teaching, i believe, at the pasadena college of the arts. there is a dominant theme involving sexual/social interactions, with the cover art featuring animal pairs. this recording seems to be an exercise in collaboration, with a variety of individuals contributing and prina, grubbs and o'rourke, in various combinations, providing the musical settings. o'rourke's settings are reminiscent of his work as an arranger/producer with such artists as ''untitled'' (cynthia dahl), and ''edith frost'', in that they are spare and appropriate, enhancing rather from distracting. i am impelled by this work to revisit my ''krayola'' cds to sniff out the prina aspects. my impression is that it is going to take awhile to sift thru this. on first few listens, it seems slight, tho perhaps this is due to my being often distracted by other activities when it is on. i definitely recommend this to those who appreciate the aforementioned nineties ''the red krayola'', while it might be less appreciable by those who are pursuing the chicago/''gastr del sol'' connection, due to the lack of immediately perceptible complexity, expecially in the musical side of this. those who like a diverting lyrical experience, with some whimsy involved, and with the inclination to ponder meaning, would be well served by hearing this a few times. it is definitely in my rotation, for the present time. i have found song called "[[trevor]]" to be particularly caught in my brain pan, with it's rumination on an unwashed dog's life and catchy chorus with horns part.
</blockquote>

=== AllMusic ===
Jason Ankeny<ref>https://www.allmusic.com/album/push-comes-to-love-mw0000599878</ref>

<blockquote>
Produced by [[David Grubbs]] and [[Jim O'Rourke]], [[Stephen Prina]]'s solo debut falls somewhere between the experimental sound of latter-day [[Gastr del Sol]] efforts and classic West Coast pop. Featuring collaborations with diverse figures ranging from writers Dennis Cooper and Lynne Tillman to the Sea & Cake's [[John McEntire]] and Sam Prekop, Push Comes to Love is both smart and breezy, although it's occasionally a little too self-conscious for its own good.
</blockquote>

=== Scaruffi ===
Piero Scaruffi<ref>https://www.scaruffi.com/vol5/prina.html</ref>

<blockquote>
[[Stephen Prina]] is a Chicago musician who grew up in Red Krayola and met all the fine minds of the city's post-rock intellighentia. They helped him out on his first solo album, but Push Comes To Love (Drag City, 1999) sounds like a kinder, lighter copy of Sam Prekop's first solo album. The guests are kept at arm's length and what prevails is a fragile pop candor.
</blockquote>

== References ==
{{Push Comes to Love}}

[[Category:Drag City]]

Main Page

2025-09-16T20:36:38Z

Dotclub: /* Recent news */

Note: This site is under construction

== The Red Krayola ==
{{RandomImage}}

* '''[[Discography]]''' (1967-)
** [[Songs]]
* [[Shows|'''Gigography''']] (1966-)
** [[Live recordings]]
* [[:Category:People|People]]
** [[Mayo Thompson|'''Mayo Thompson''']]
** [[Art & Language bibliography|Art & Language]]
* "[http://white-rose.net/redcrayola/dc257bio2.pdf The Story So Far of The Red Crayola & The Red Krayola]" (2005)
* "[[A Manifesto for The Red Krayola]]" (2012)
* "[[The Group as It Is Today]]" (1967)

=== Upcoming ===
* November 21, 2025: [[Shows/2025-11-21|The Red Krayola will open for Cap'n Jazz at Hollywood Palladium in Los Angeles]]
* [[Corky Returns|Mayo Thompson is working on an a new solo album (previously titled ''Corky Returns'')]]
* [https://www.instagram.com/billingsgatemedia/p/DDrxMq8P5ob/ Author Bill Perrine is working on a book about The Red Krayola]

=== Recent news ===

* June 2025: [https://www.furious.com/perfect/pereubu-thompson.html Mayo Thompson was interviewed about the late David Thomas of Pere Ubu in ''Perfect Sound Forever'']
* July 23, 2024: [https://www.lissongallery.com/news/in-memoriam-mel-ramsden Mel Ramsden of Art & Language has passed away at the age of 80]
* April 10, 2024: [https://open.spotify.com/episode/2rqgabQvfSRws51Fwjuuct Mayo Thompson was interviewed by Markly Morrison for ''Low Profile'' podcast]
* March 10, 2024: [https://riylcast.com/episode/episode-641-mayo-thompson-the-red-krayola Mayo Thompson was interviewed by Brian Heater for ''RIYLcast'']
* December 2, 2023: [[Shows/2023-12-02|Mayo Thompson & The Corky Band performed live in New York City]]
* October 31, 2023: [https://www.psychedelicbabymag.com/2023/10/red-krayola-interview-mayo-thompson.html Mayo Thompson was interviewed by Klemen Breznikar for ''Psychedelic Baby Magazine'']
* September 1, 2023: Mayo Thompson released his second novella ''[[After Math]]''
* August 31, 2023: [[Shows/2023-08-31|Mayo Thompson & The Corky Band performed live in Los Angeles]]
* June 22, 2023: Mayo Thompson performed with Pere Ubu at the Lodge Room in Los Angeles
* June 8, 2023: J. Spaceman and John Coxon's tribute album [[Play The Red Krayola Live 1967|''Play The Red Krayola Live 1967'']] was [https://treader-recordings.bandcamp.com/album/play-the-red-krayola-live-1967 released digitally]
* May 13, 2023: [https://www.mixcloud.com/louderthanwar/stay-sick-turn-blue-12th-may-2023/ Mayo Thompson was interviewed by David Thomas for ''Stay Sick, Turn Blue Radio''] (interview at 39:45)
* April 30, 2023: [https://falloutpodcast3557.podbean.com/e/falloutpodcast-ep74-and-all-who-sail-in-her/ Mayo Thompson was interviewed on ''F.A.L.L.O.U.T.'' podcast]

== Red Krayola Wiki ==

* [[FAQ]]

=== Recent updates ===

* September 13, 2025: Added page for in-store performance on [[Shows/2000-01-11|January 11, 2000]]
* May 27, 2025: Added live recording from [[Shows/1999-10-09|October 9, 1999]]
* May 25, 2025: Migrated Red Krayola Wiki to a new web host
* December 26, 2024: Added pages for the unreleased 1985 songs "[[Little Flower]]" and "[[The Great State]]"
* December 21, 2024: Added five illustrations by [[Mayo Thompson]] that appeared in the ''Texas Observer'' (1972-1973)
* December 15, 2024: Added ''[[The Red Crayola Songbook]]'' zine (1979)
* July 1, 2024: Migrated Red Krayola Wiki to a new web host
* January 26, 2024: Added [[Shows/Berkeley Folk Music Festival 1967|Berkeley Folk Music Festival 1967]]
* January 25, 2024: Added essay "[[The Group as It Is Today]]" (1967)
* January 1, 2024: Rewrote ''[[Dairymaid's Lament (single)|Dairymaid's Lament (1967 single)]]''
* December 4, 2023: Added unreleased book ''[[Regular Everything II]]'' (1971)
* September 2023: 1 year anniversary of Red Krayola Wiki
* August 31, 2023: Added transcript to ''[[God Bless the Red Krayola and All Who Sail With It (documentary)]]'' (2006)
* August 24, 2023: Added partial transcript to ''[[The Red Krayola in Tokyo]]'' (1995)
* August 18, 2023: Added cancelled [[Art & Language]] opera ''[[Red Faces]]'' (1975)
* July 6, 2023: Revised [[Letters to the Jackson Pollock Bar in the Style of the Red Krayola|''Letters to the Jackson Pollock Bar in the Style of the Red Krayola'']] (2012) and added ''[[Ode to Galesburg]]'' (2015)
* June 27, 2023: Added live a recording from [[Shows/1995-01-11|January 11, 1995]]
* June 26, 2023: Added the painting on the back of [[Born in Flames (single)|''Born in Flames'']] (1980)
* June 22, 2023: Migrated Red Krayola Wiki to a new web host
* June 21, 2023: Added live recordings from [[Shows/1982-10-09|October 9, 1982]] and [[Shows/2006-12-13|December 13, 2006]]
* June 13, 2023: Added [[Jörg Schlick & Megabody (single)|''Jörg Schlick & Megabody'']] (1987), [[Wild Thing (single)|''Wild Thing'']] (1990), and the Red Crayola's lost [[Lost album with John Fahey|album with John Fahey]] (1967)

Main Page

2025-09-16T20:34:45Z

Dotclub: /* Recent news */

Note: This site is under construction

== The Red Krayola ==
{{RandomImage}}

* '''[[Discography]]''' (1967-)
** [[Songs]]
* [[Shows|'''Gigography''']] (1966-)
** [[Live recordings]]
* [[:Category:People|People]]
** [[Mayo Thompson|'''Mayo Thompson''']]
** [[Art & Language bibliography|Art & Language]]
* "[http://white-rose.net/redcrayola/dc257bio2.pdf The Story So Far of The Red Crayola & The Red Krayola]" (2005)
* "[[A Manifesto for The Red Krayola]]" (2012)
* "[[The Group as It Is Today]]" (1967)

=== Upcoming ===
* November 21, 2025: [[Shows/2025-11-21|The Red Krayola will open for Cap'n Jazz at Hollywood Palladium in Los Angeles]]
* [[Corky Returns|Mayo Thompson is working on an a new solo album (previously titled ''Corky Returns'')]]
* [https://www.instagram.com/billingsgatemedia/p/DDrxMq8P5ob/ Author Bill Perrine is working on a book about The Red Krayola]

=== Recent news ===

* June 2025: Mayo [https://www.furious.com/perfect/pereubu-thompson.html Thompson interview tribute to David Thomas of Pere Ubu in ''Perfect Sound Forever'']
* July 23, 2024: [https://www.lissongallery.com/news/in-memoriam-mel-ramsden Mel Ramsden of Art & Language has passed away at the age of 80]
* April 10, 2024: [https://open.spotify.com/episode/2rqgabQvfSRws51Fwjuuct Mayo Thompson was interviewed by Markly Morrison for ''Low Profile'' podcast]
* March 10, 2024: [https://riylcast.com/episode/episode-641-mayo-thompson-the-red-krayola Mayo Thompson was interviewed by Brian Heater for ''RIYLcast'']
* December 2, 2023: [[Shows/2023-12-02|Mayo Thompson & The Corky Band performed live in New York City]]
* October 31, 2023: [https://www.psychedelicbabymag.com/2023/10/red-krayola-interview-mayo-thompson.html Mayo Thompson was interviewed by Klemen Breznikar for ''Psychedelic Baby Magazine'']
* September 1, 2023: Mayo Thompson released his second novella ''[[After Math]]''
* August 31, 2023: [[Shows/2023-08-31|Mayo Thompson & The Corky Band performed live in Los Angeles]]
* June 22, 2023: Mayo Thompson performed with Pere Ubu at the Lodge Room in Los Angeles
* June 8, 2023: J. Spaceman and John Coxon's tribute album [[Play The Red Krayola Live 1967|''Play The Red Krayola Live 1967'']] was [https://treader-recordings.bandcamp.com/album/play-the-red-krayola-live-1967 released digitally]
* May 13, 2023: [https://www.mixcloud.com/louderthanwar/stay-sick-turn-blue-12th-may-2023/ Mayo Thompson was interviewed by David Thomas for ''Stay Sick, Turn Blue Radio''] (interview at 39:45)
* April 30, 2023: [https://falloutpodcast3557.podbean.com/e/falloutpodcast-ep74-and-all-who-sail-in-her/ Mayo Thompson was interviewed on ''F.A.L.L.O.U.T.'' podcast]

== Red Krayola Wiki ==

* [[FAQ]]

=== Recent updates ===

* September 13, 2025: Added page for in-store performance on [[Shows/2000-01-11|January 11, 2000]]
* May 27, 2025: Added live recording from [[Shows/1999-10-09|October 9, 1999]]
* May 25, 2025: Migrated Red Krayola Wiki to a new web host
* December 26, 2024: Added pages for the unreleased 1985 songs "[[Little Flower]]" and "[[The Great State]]"
* December 21, 2024: Added five illustrations by [[Mayo Thompson]] that appeared in the ''Texas Observer'' (1972-1973)
* December 15, 2024: Added ''[[The Red Crayola Songbook]]'' zine (1979)
* July 1, 2024: Migrated Red Krayola Wiki to a new web host
* January 26, 2024: Added [[Shows/Berkeley Folk Music Festival 1967|Berkeley Folk Music Festival 1967]]
* January 25, 2024: Added essay "[[The Group as It Is Today]]" (1967)
* January 1, 2024: Rewrote ''[[Dairymaid's Lament (single)|Dairymaid's Lament (1967 single)]]''
* December 4, 2023: Added unreleased book ''[[Regular Everything II]]'' (1971)
* September 2023: 1 year anniversary of Red Krayola Wiki
* August 31, 2023: Added transcript to ''[[God Bless the Red Krayola and All Who Sail With It (documentary)]]'' (2006)
* August 24, 2023: Added partial transcript to ''[[The Red Krayola in Tokyo]]'' (1995)
* August 18, 2023: Added cancelled [[Art & Language]] opera ''[[Red Faces]]'' (1975)
* July 6, 2023: Revised [[Letters to the Jackson Pollock Bar in the Style of the Red Krayola|''Letters to the Jackson Pollock Bar in the Style of the Red Krayola'']] (2012) and added ''[[Ode to Galesburg]]'' (2015)
* June 27, 2023: Added live a recording from [[Shows/1995-01-11|January 11, 1995]]
* June 26, 2023: Added the painting on the back of [[Born in Flames (single)|''Born in Flames'']] (1980)
* June 22, 2023: Migrated Red Krayola Wiki to a new web host
* June 21, 2023: Added live recordings from [[Shows/1982-10-09|October 9, 1982]] and [[Shows/2006-12-13|December 13, 2006]]
* June 13, 2023: Added [[Jörg Schlick & Megabody (single)|''Jörg Schlick & Megabody'']] (1987), [[Wild Thing (single)|''Wild Thing'']] (1990), and the Red Crayola's lost [[Lost album with John Fahey|album with John Fahey]] (1967)

Shows/2000-01-11

2025-09-13T23:04:39Z

Dotclub: /* Set list */

{{ConcertInfo
|Date = January 11, 2000
|Venue =Other Music
|Country =US
|City = New York, NY
|Image1=
|Image2=
|Event = In-store performance
|Tour =
|Billing =

}}

== Photos ==

<gallery mode="packed">
File:Shows-2000-01-11-photo1.png|[[Mayo Thompson]] (front)<ref>https://www.instagram.com/reel/DObqKzYEuzU/</ref>
File:Shows-2000-01-11-photo2.png|[[Stephen Prina]], [[David Grubbs]]
</gallery>

== Set list ==

Incomplete set list

* "[[Farewell to Arms]]" — [https://www.instagram.com/reel/DObqKzYEuzU/ '''Instagram'''] (video 2:57)

== References ==
{{Shows|2000}}

Shows/2000

2025-09-13T23:04:07Z

Dotclub:

{| class="wikitable"
!
!
!Date
!City
!
!Venue
!Notes
!Video
|-
|{{flagdeco|US}}
|[[File:Shows-2000-01-11-photo1.png|center|frameless|36x36px]]
|[[Shows/2000-01-11|January 11, 2000]]
|New York City
|NY
|Other Music
|In-store performance
|📹
|-
|{{flagdeco|US}}
|
|[[Shows/2000-01-15|January 15, 2000]]
|New York City
|NY
|Knitting Factory
|
|
|-
|{{flagdeco|US}}
|[[File:Shows-2000-04-21-poster.jpg|center|frameless|36x36px]]
|[[Shows/2000-04-21|April 21, 2000]]
|Atlanta
|GA
|The Earl
|WREK FM 32nd anniversary
|📹
|}

==References==
{{Shows|2000}}

Main Page

2025-09-13T23:01:24Z

Dotclub: /* Recent updates */

Note: This site is under construction

== The Red Krayola ==
{{RandomImage}}

* '''[[Discography]]''' (1967-)
** [[Songs]]
* [[Shows|'''Gigography''']] (1966-)
** [[Live recordings]]
* [[:Category:People|People]]
** [[Mayo Thompson|'''Mayo Thompson''']]
** [[Art & Language bibliography|Art & Language]]
* "[http://white-rose.net/redcrayola/dc257bio2.pdf The Story So Far of The Red Crayola & The Red Krayola]" (2005)
* "[[A Manifesto for The Red Krayola]]" (2012)
* "[[The Group as It Is Today]]" (1967)

=== Upcoming ===
* November 21, 2025: [[Shows/2025-11-21|The Red Krayola will open for Cap'n Jazz at Hollywood Palladium in Los Angeles]]
* [[Corky Returns|Mayo Thompson is working on an a new solo album (previously titled ''Corky Returns'')]]
* [https://www.instagram.com/billingsgatemedia/p/DDrxMq8P5ob/ Author Bill Perrine is working on a book about The Red Krayola]

=== Recent news ===

* July 23, 2024: [https://www.lissongallery.com/news/in-memoriam-mel-ramsden Mel Ramsden of Art & Language has passed away at the age of 80]
* April 10, 2024: [https://open.spotify.com/episode/2rqgabQvfSRws51Fwjuuct Mayo Thompson was interviewed by Markly Morrison for ''Low Profile'' podcast]
* March 10, 2024: [https://riylcast.com/episode/episode-641-mayo-thompson-the-red-krayola Mayo Thompson was interviewed by Brian Heater for ''RIYLcast'']
* December 2, 2023: [[Shows/2023-12-02|Mayo Thompson & The Corky Band performed live in New York City]]
* October 31, 2023: [https://www.psychedelicbabymag.com/2023/10/red-krayola-interview-mayo-thompson.html Mayo Thompson was interviewed by Klemen Breznikar for ''Psychedelic Baby Magazine'']
* September 1, 2023: Mayo Thompson released his second novella ''[[After Math]]''
* August 31, 2023: [[Shows/2023-08-31|Mayo Thompson & The Corky Band performed live in Los Angeles]]
* June 22, 2023: Mayo Thompson performed with Pere Ubu at the Lodge Room in Los Angeles
* June 8, 2023: J. Spaceman and John Coxon's tribute album [[Play The Red Krayola Live 1967|''Play The Red Krayola Live 1967'']] was [https://treader-recordings.bandcamp.com/album/play-the-red-krayola-live-1967 released digitally]
* May 13, 2023: [https://www.mixcloud.com/louderthanwar/stay-sick-turn-blue-12th-may-2023/ Mayo Thompson was interviewed by David Thomas for ''Stay Sick, Turn Blue Radio''] (interview at 39:45)
* April 30, 2023: [https://falloutpodcast3557.podbean.com/e/falloutpodcast-ep74-and-all-who-sail-in-her/ Mayo Thompson was interviewed on ''F.A.L.L.O.U.T.'' podcast]

== Red Krayola Wiki ==

* [[FAQ]]

=== Recent updates ===

* September 13, 2025: Added page for in-store performance on [[Shows/2000-01-11|January 11, 2000]]
* May 27, 2025: Added live recording from [[Shows/1999-10-09|October 9, 1999]]
* May 25, 2025: Migrated Red Krayola Wiki to a new web host
* December 26, 2024: Added pages for the unreleased 1985 songs "[[Little Flower]]" and "[[The Great State]]"
* December 21, 2024: Added five illustrations by [[Mayo Thompson]] that appeared in the ''Texas Observer'' (1972-1973)
* December 15, 2024: Added ''[[The Red Crayola Songbook]]'' zine (1979)
* July 1, 2024: Migrated Red Krayola Wiki to a new web host
* January 26, 2024: Added [[Shows/Berkeley Folk Music Festival 1967|Berkeley Folk Music Festival 1967]]
* January 25, 2024: Added essay "[[The Group as It Is Today]]" (1967)
* January 1, 2024: Rewrote ''[[Dairymaid's Lament (single)|Dairymaid's Lament (1967 single)]]''
* December 4, 2023: Added unreleased book ''[[Regular Everything II]]'' (1971)
* September 2023: 1 year anniversary of Red Krayola Wiki
* August 31, 2023: Added transcript to ''[[God Bless the Red Krayola and All Who Sail With It (documentary)]]'' (2006)
* August 24, 2023: Added partial transcript to ''[[The Red Krayola in Tokyo]]'' (1995)
* August 18, 2023: Added cancelled [[Art & Language]] opera ''[[Red Faces]]'' (1975)
* July 6, 2023: Revised [[Letters to the Jackson Pollock Bar in the Style of the Red Krayola|''Letters to the Jackson Pollock Bar in the Style of the Red Krayola'']] (2012) and added ''[[Ode to Galesburg]]'' (2015)
* June 27, 2023: Added live a recording from [[Shows/1995-01-11|January 11, 1995]]
* June 26, 2023: Added the painting on the back of [[Born in Flames (single)|''Born in Flames'']] (1980)
* June 22, 2023: Migrated Red Krayola Wiki to a new web host
* June 21, 2023: Added live recordings from [[Shows/1982-10-09|October 9, 1982]] and [[Shows/2006-12-13|December 13, 2006]]
* June 13, 2023: Added [[Jörg Schlick & Megabody (single)|''Jörg Schlick & Megabody'']] (1987), [[Wild Thing (single)|''Wild Thing'']] (1990), and the Red Crayola's lost [[Lost album with John Fahey|album with John Fahey]] (1967)

Shows/2000-01-11

2025-09-13T22:54:29Z

Dotclub: /* Photos */

{{ConcertInfo
|Date = January 11, 2000
|Venue =Other Music
|Country =US
|City = New York, NY
|Image1=
|Image2=
|Event = In-store performance
|Tour =
|Billing =

}}

== Photos ==

<gallery mode="packed">
File:Shows-2000-01-11-photo1.png|[[Mayo Thompson]] (front)<ref>https://www.instagram.com/reel/DObqKzYEuzU/</ref>
File:Shows-2000-01-11-photo2.png|[[Stephen Prina]], [[David Grubbs]]
</gallery>

== Set list ==

Incomplete set list

* [[Farewell to Arms]] — [https://www.instagram.com/reel/DObqKzYEuzU/ '''Instagram'''] (2:57)

== References ==
{{Shows|2000}}