Buckethead

Mosh's reviews so far...
Mosh said:
Bucketheadland ~ 5/10

While there were a few songs on here I enjoyed, I don't know if I'd get much out of repeated listens. I prefer more of a balance of real songs and noise tracks, or for it to be completely one or the other. The studio experimentations on this one didn't really interest me and they take up too much album space. The good stuff shows a lot of potential however.
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Mosh said:
Giant Robot ~ 7/10

This is superior to the previous album in every way. The production is better, the songs are better, and the concept is fully realized. This one actually feels like a tour of Bucketheadland, where the last one seemed to meander a bit. It is a bit on the long side, but the more experimental tracks on here are still pretty enjoyable and don't sound just like noise. Still, part of the reason I don't listen to this often is how long it is. A lot of it is filler but the whole flow of the album still works. I could see myself putting many songs from this album (including songs I didn't list as favorites) on a Buckethead playlist. Or a condensed version of this album.
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Mosh said:
Day of the Robot ~ 3/10

This one had a promising start with the opening track, but is way too same-y. I like the atmosphere of the album and many of the electronic beats, but 4/5 songs are pretty much the same thing. I'd say check out Destroyer and skip the rest.
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Mosh said:
Colma ~ 8/10

I criticized the previous album for being too same-y. You could argue the same thing with this album, as every song is the same style/mood. But I think it works in the album's favor this time. There is more variety within the songs than on Day Of the Robot and there's a hypnotic quality to listening to the entire album. It's like one long jam session. Very intimate listening experience. I put the whole album on my Buckethead playlist though. It's my favorite so far.
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Mosh said:
Monsters and Robots ~ 7/10

Cool album. No filler on this, every track seems well thought out and arranged. Probably the most direct album so far. The turntable stuff is cool and unique. Les Claypool also enhances all the songs he appears on. Definitely going to be revisiting this one in the future.
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Mosh said:
Somewhere Over the Slaughterhouse ~ 5/10

I'm starting to realize that I don't find Buckethead's electronic stuff very interesting. It's not bad, but it's very one-note and repetitive. I get that it's more just creating a vibe, but there are other electronic artists I can listen to that do that better. Although Buckethead's guitar playing does set this stuff apart, it is not enough to carry the music.
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Mosh said:
Funnel Weaver ~ 5/10

This is probably the first "filler" album I've heard. Can't think of any reason to listen to this again, although there are some good songs. Even if they're very brief songs. Some cool vibes and actually more variety than the previous album. It is better in that regard, although the brevity of the songs makes it hard for anything to really stick. I actually think a lot of these songs would work in the shuffle of a Buckethead playlist. So I went ahead and put the whole album on the playlist. Second time I've done that, the first being Colma.
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Mosh said:
Bermuda Triangle ~ 6/10

Some of the albums feel more like dance beat after dance beat with some weird noises layered on top. This album has that too, but it also has more vibe-y atmospheric stuff. The sounds are more varied and the guitar blends better with the electronics. Beats are also better and more inspired. This sounds more like a competent electronic release as opposed to an amateur just experimenting with various sounds. I guess that's thanks to Extrakd. Second half of the album wasn't as good as the first, but still some OK stuff.
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Mosh said:
Electric Tears ~ 8/10

Not as good as Colma, but another great album. I was impressed at how different this sounded in comparison to Colma. With something as basic as mostly clean/acoustic guitars and nothing else, I expected something pretty similar but this album has quite a different mood. It's not as relaxing as Colma, there are actually some tense/heavy moments, despite being mellow overall. The arrangements of the guitars also very. Sometimes it's all clean guitars. Sometimes it's a mixture of clean and acoustic. Then there are guitars with effects. I still think that Buckethead is at his best in this mode.
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Mosh said:
Bucketheadland 2 ~ 7/10

I enjoyed this one. It's a bit heavy on the spoken/comedy/experimental tracks, but they're actually pretty good on here. Those tracks also feature more variety than on the first Bucketheadland. Songs like John Merrick-Elephant Man Bones Explosion which are more focused on studio noises and dialog are still entertaining to listen to. A definite step up from the "noisy" parts of the original Bucketheadland. There's still interesting stuff on many of these tracks, even though I didn't include them in my favorites. That being said, there are still too many of them. They overshadowed the actual songs on the album again. I still liked the album but I wish it was more balanced. Overall, the production values, playing, and writing were all a huge step above the original Bucketheadland. Definitely one of his better albums in general. If it was more balanced it could be a contender for my favorite.
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Mosh said:
Island of Lost Minds ~ 8/10

Awesome album. This is my favorite since Colma. I had no idea what to expect going into this but it really impressed me. No tracks dedicated to noise or studio experimentation, this one was all about the music. This album does have its weirder moments, but it's all built around a song. Some tracks are just Buckethead jamming to a drum beat, but that's enjoyable to listen to also.
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I haven't really organized anything yet. Still thinking of ways to approach that.
 
Population Override
The wikipedia description on this one sounds interesting.
Population Override is the twelfth studio album by Buckethead, but it could be seen as his first full collaboration with keyboardist Travis Dickerson. The album is a tribute to the "great vinyl records of the '60s and '70s",[2] with songs more often than not drifting off into long jams.


“ Almost all the music is just us communicating as we play. The songs started as a riff that either I or Bucket would start playing and then we would all go from there. On some of the tracks we worked out some cord [sic] changes but a lot of them were just made up as we went. We worked out a lot of stuff as overdubs and that helped give it structure. (...) We recorded the little guitar snippets just for what they were used for, track segues. ”

I like hearing Buckethead collaborate with other musicians. Love hearing a group of competent musicians jamming. Also the heavy presence of a synthesizer player is new. High hopes for this one!

Favorite Songs
Unrestrained Growth - This is already off to a great start. Love the synth playing. I'm impressed with Dickerson's ability to play synth both as a lead and a support instrument. Most keyboard players usually switch to an organ or electric keyboard when they aren't in the lead, hearing a synth complement the lead is really unusual but it works here. Anyway, this tune fits exactly what I imagined based on the wikipedia description. If this is indicative of the whole album, this might be even better than the previous one.

Too Many Humans - Wow. Really tasty guitar playing here. The keyboards are such a nice touch. An added texture we haven't really heard with Buckethead before. Some of Buckethead's most emotive playing I've heard so far too. The keyboards really build up nicely. Starting with organ and electric keyboards before exploding into some screaming synth leads. I also really dig the drum work. This is probably the most interactive group I've heard on a Buckethead album. Sounds like a true collaboration rather than Buckethead and a backing group.

Population Override - This one has a groovy start before going into something more sublime. The guitar harmonizing with the keyboards on the main theme is a cool touch. Love the sudden tempo and feel changes outlined by the drums. Very abrupt changes from funky to majestic. But it feels seamless at the same time. Some nice unexpected weirdness at the end.

A Day Will Come - This one is pretty heavy but without losing the 70s tribute concept. Who knew a synth odyssey under crushing metal riffs would blend so well? Love the interaction between guitar and keyboards on those fast runs.

Clones - I like the exotic feel to this one and the high pitched synth sounds.

Super Human - Nice mellow tune to wrap things up.

The verdict
Another great album from Bucket. Even better than the last one. I was not expecting it to be this good, but it might be my favorite of them all so far. Once again, it's nothing but good music. No filler tracks here. Just an hour of great playing from 3 solid musicians. I was actually reminded of Hot Rats by Frank Zappa listening to this, which is considered a landmark album of his by most fans. That's another album that is largely made up of long jams. But there are some moments that are clearly composed, just like on here. This comparison also made me realize one difference between Zappa and Buckethead: With Zappa the musicians behind him were just as important. That is rarely the case with Buckethead, but it happens on this album and I think it's better for it. I look forward to more collaborative albums in the future. I know there are at least a few.

The one flaw with this album is the track order. The final three songs feel almost tacked on when they could've actually broken up the longer jams a little bit. I'm thinking something like this would be better:
Unrestrained Growth
...
Too Many Humans
Super Human
Population Override
Humans Vanish
Cruel Reality of Nature
Earth Heals Herself
Clones
A Day Will Come

Or something else in that vein.

Anyway, fantastic album. I recommend this to anyone who enjoys great improvisational music. You also actually hear a pretty strong jazz fusion influence, though more from Dickerson than Buckethead. But it's a new color added to the palette. The songs are all in a similar style, but that's the case for most Buckethead albums anyway. If you enjoy the first song, you'll probably like the whole thing. I was personally blown away. Definitely revisiting this one in the future.

Opeth take notes. This is how you pay homage to the 70s.

9/10
 
Although listed on Wiki as a "Buckethead" album (& released as such) this should, I think, be regarded as a full collaboration with Dickerson, as Wiki suggests. Unfortunetly for you Mosh, you're not going to find any other Buckethead solo albums that sound like this. Lots of albums came out of these sessions though & it would be worth exploring them if you like this style/sound: Chicken Noodles, Chicken Noodles II, Iconography, Left Hanging, Gorgone, & The Dragons of Eden; and the four Thanatopsis albums, Thanatopsis, Axiology, Anatomize, & Requiem. (Wait, did I just recommend you listen to another ten albums?!) If you want to dip into any of them I'd listen to the first Thanatopsis album, that's pretty damn good --it explores what you mentioned above: a synth odyssey under crushing metal riffs...
Forostar said:
You've got another [thing] coming. ;)
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Exactly. The next album couldn't be more different. Brutal.
 
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Mosh said:
Population Override
The wikipedia description on this one sounds interesting.
Population Override is the twelfth studio album by Buckethead, but it could be seen as his first full collaboration with keyboardist Travis Dickerson. The album is a tribute to the "great vinyl records of the '60s and '70s",[2] with songs more often than not drifting off into long jams.


“ Almost all the music is just us communicating as we play. The songs started as a riff that either I or Bucket would start playing and then we would all go from there. On some of the tracks we worked out some cord [sic] changes but a lot of them were just made up as we went. We worked out a lot of stuff as overdubs and that helped give it structure. (...) We recorded the little guitar snippets just for what they were used for, track segues. ”
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Just to add, here's what Travis has up on his website at TDRS:
~Population Override~
Buckethead
Travis Dickerson
Pinchface

Buckethead and I had talked about doing a bit of a nod to some of the great vinyl records of the '60s and '70s for some time. Some of the records we were talking about included John Mayall's Blues Breakers with Eric Clapton, Hendrix's "Electric Ladyland," Traffic and some of the post-James Brown-inspired funk of the '70s. After finishing the sessions that became the Cornbugs' "Brain Circus," where the three of us -- Bucket, Pinchface and I -- jammed under Choptop's vocalizing, we thought the circumstances might be right. So, armed with his white Les Paul and my brother's old Tele, Bucket turned his amp up to 10, and I threw an analog synth on top of my suitcase Rhodes and pushed them next to my Hammond B3. Pinch played my studio Gretsch kit, and for two days we played for hours while the tape rolled. Over the next few weeks we culled the stuff we thought had the vibe we were looking for, adding bass and a few guitar and keyboard overdubs.

Thanks to Big D, who after listening to the tracks came up with the inspired concept and song titles, and Frankenseuss, who came up with the equally inspired marriage of images to the concept. -- Travis
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There's also loads of backgroud information at TDRS in regard to all the sessions (& subsequent albums) I mentioned above:
Buckethead started working at TDRS in 1996. While working on Viggo Mortensen's "One Less Thing To Worry About," Viggo invited Buckethead to the studio to contribute guitar to the CD. We all had a good time, and later Buckethead asked if I would produce the first "Cobra Strike" CD. "Cobra Strike II" followed.
While working on that CD, I played Buckethead a track I was working on and asked if he would like to play on it. He did, and that track was included on "CSII," and that was the beginning of more tracks that became the first Thanatopsis CD.
Over the years we made Death Cube K "Tunnel," "Funnel Weaver," "Somewhere Over The Slaughterhouse," Thanatopsis "Axiology" and "Anatomize," "The Dragons of Eden," "Population Override," the "Chicken Noodles" CDs and many others.
I have tried to maintain as many CDs in print that were put out on TDRS music as I can. Some CDs that we carried are on other labels, and some of those labels are gone, as are the CDs. Below is a list of the projects we worked on here and links to our store or other stores where you can get them.
TDRS also distributed other Buckethead CDs for a period when he had no other distribution. Most of those we no longer carry, but we do have a few, and they are listed in the TDRS music store. Others are no longer in print but still can be had as downloads from iTunes. The ones we do carry will be linked to our store. Others are, I'm afraid, just hard to find and have become collectors' items.
Recently, Buckethead has concentrated on producing and distributing his music on his own Pikes website. I get asked about this because there is some confusion when those CDs can't be found here. Go to the Buckethead Pikes website for those. Mostly I'm concentrating on music produced here, but whenever I can, I'll try to point you in the right direction for music we carried here at one time but no longer do. -- Travis
~
We have spent countless hours together in the studio under all kinds of circumstances. The photo at left is from the session we did for Viggo's "Pandemoniumfromamerica." When Viggo arrived at the studio, he told us we would be visited by three hobbits from "Lord of the Rings." Buckethead had arrived without a bucket and mask, and since pictures would be taken, a mask was needed. Fortunately, he had a box of alternatives, which he dumped on the floor.
For most sessions, the floor would be covered in pedals, and between takes there would be a blitz of cables, loud buzzing, frustration, plugging, clicking, stomping, unplugging, tossing aside, walking over and recovering, more plugging, pops, sizzles and, finally, incredible sounds. I think anyone who has seen Buckethead live may have witnessed the incredible balancing act of keeping his chain of FX working. I don't know how many takes, while ripping away while the tape was rolling, he would just stop mid-note; then, plugging, unplugging, stomping and so on.
~
A lot of solos on the records we made were taken from multiple passes and cut together to create the perfect solo. But one of the great feats of musicianship I've witnessed was while doing the solo for the song "Jordan," which is several minutes long. The take ultimately used was played in one unbroken, unedited pass. Amazing.
Guitars have come and gone. We did the "Cobra Strike" records with Jackson customs. He used my 1968 Les Paul and my brother's black Telecaster. We used the flying V, and then he got his custom white Les Paul sometime in the mid-2000s.
Below is our setup for "Chicken Noodles." Note that the Tele is plugged into no pedals -- very rare. -- Travis
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CriedWhenBrucieLeft said:
Exactly. The next album couldn't be more different. Brutal.
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Well I mean within the albums, he usually sticks to one style throughout. But he does switch things up from album to album. I am somewhat familiar with the next one, as far as the sound and background goes. Looking forward to it!
 
Will check out related stuff like Praxis and those other Travis Dickerson collaborations after I've covered the main Buckethead discography. :p
 
The Cuckoo Clocks of Hell
I've heard of this one before. Knew a guy in school who was a huge Primus and Buckethead fan and cited this album a few times as an example of Buckethead's versatility. From what I've heard, this is his heaviest album and ventures into extreme metal. This also has Brain from Primus on drums, who I'm familiar with through the podcasts that Cried linked.

Favorite Songs
Descent of the Damned - This is heavy but still groovy. Love the dissonance. Some really insane shredding too.
Spokes For the Wheel of Torment - The syncopated riffing here is very cool.
Treeman - This one has some cool mood shifts. Having a live drummer to interact with really brings songs like this to life.
One Tooth of the Time Train - More chaotic changes. Despite the songs all being in a similar style, they still remain unpredictable. That's impressive.
Bedlam's Buff - Starting to introduce electronics in all this. Blends great.
Beaten With Sledges - Wasn't expecting the clean guitar outro. Still dark and heavy without the distortion. The thrashy opening riffs were cool too.
Yellowed Hide - Nice emphasis on the bass here. Missed his bass playing on previous albums.
Haven of Tar Black Pitch - Love the groove at the end.
The Escape Wheel - The majestic start to this is cool and I wasn't expecting the funky middle section. This whole tune reminds me of some of the stuff on Bucketheadland and Giant Robot.

But I put every song on my playlist because they're all enjoyable. Yet another album with no filler to be found.

The Verdict
The streak continues! This must be Buckethead's golden age. I was surprised at how engaging this album was for its entirety. I expected this to be a mixture of good riffing and noisier less entertaining moments. I was also expecting to lose interest in the style eventually, but I enjoyed it to the very end. Buckethead is a great riff writer and a master at mixing brutality with grooves. There are showy guitar moments but they all fit the song. It never has the generic structure of "main theme riff/melody -> solo section -> repeat riff". The soloing is more integrated with the songs and is used tastefully. Great arrangements on this album. Also some unexpected moments of softness, but without losing this album's dark edge. Even at its heaviest, Bucket never loses his taste for awesome grooves and syncopated rhythms. The drumming from Brain is, as expected, incredible. So far it seems like Buckethead is at his best when working with a great drummer. I have to say I wasn't expecting to enjoy this album as much as I did. I also didn't expect it to have as much depth.

8/10

I've got high expectations for the next album. Really excited to hear Buckethead collaborate with some singers.
 
Well when rating things I try not to compare it to anything other than the artist's other work. Favorite groups are generally held to higher standards. So a Buckethead album with a 9 isn't necessarily better than an Iron Maiden album with an 8, for example. But overall it's mostly just a rough gauge of my level of enjoyment.
 
So, unfortunately, we do not know how much Mosh really likes these albums. The fate of relative ranking per artist. At least we know some sort of order of albums and after all this is a right topic for such an overview. But it would be even more interesting and insightful if Buckethead's work was placed in context of other (all) music.

I know, I know, artists make different music. But, so does Buckethead, and in the end, no matter the artist, it comes down to a level of enjoyment. And that can be compared, and that decides the rating.

If favourite groups have higher standards, then give higher ratings.

What if a favourite record by a not very favourable artist would sound like an idiot barking into an occasionally flushing toilet, to give that a 10, because it is still more enjoyable than another of theirs with vocals that resemble a North Korean leader bleating among sick sheep. Now that would be ridiculous wouldn't it?
 
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I've said this before: I use a 5-star rating (since that's what WMP has); and it's not artist relative, it's for all music. As a consequence, and since I don't listen to very much (or rate) music that I don't like, my ratings for (say) Buckethead or Iron Maiden tend to be 3-star or greater. Within that rating I obviously have in mind a more nuanced rating (i.e. 3-star = 5-6/10; 4-star = 7-8/10; 5-star = 9-10/10) but this remains unrecorded; I tend to waver enough with certain types of music/tracks that I would find using a 10-star rating to be just too fine-tuned, too ephemeral a rating e.g. an 8-star would be a 7-star depending on my listening mood.

1-star is unlistenable & practically without any merit.
2-star is not enjoyable to listen to & has various serious problems.
3-star is distinctly average/boring bordering on poor; certainly with faults I struggle to look past for an artist I like.
4-star is good/enjoyable right up to VG, but still with something really special/magic missing.
5-star is very enjoyable up to exceptional. It doesn't have to be a masterpiece.

To be honest I just can't be bothered doing anything more detailed or complicated than this.
 
Jordan is awesome, it's the song that introduced me to Buckethead. It's not on any of his main albums right?
 
No, indeed. He recorded it for Guitar Hero II (see my interview link on pg. 1). in 2006. It then went on iTunes in 2009, Amazon etc later I guess. He used to play the opening/main riff live before he recorded it but never any solos (i.e. like in the clip posted above); my guess is he only wrote the solo section when he did the recording for Guitar Hero. Since then he's played the solo section live.

It's a very iconic piece, very representative of his post-Guns phase I suppose.
 
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OK I need to look at all of those interviews you linked. :p

The main riff does have a similar feel to the GNR stuff, now that you mention it.
 
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