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The Residents|The King & Eye

The King & Eye

The Residents

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Given that the Residents had always been working towards finding out ways to take songs from 'traditional' sources and doing something with them/to them/about them, a whole concept album about Elvis Presley is, perhaps, not too surprising in retrospect. By all accounts, the stage show and tour the group mounted at that point was one of its most fascinating, but as an album this might seem a little too tame or forced. The lead singer's exaggerated Southern drawl may be used to make a point throughout -- and to his credit he's not actually trying to imitate Elvis per se -- but the feeling is almost a bit lazy and often contemptuous, a joke that doesn't quite work. The arrangements are something else again -- everything's slowed down and stretched out to turn the implicit joy of the music chosen into something looming and strange. If there's something which is at once a problem and a perverse advantage to the album, it's the band's choice of musical approach at that time -- namely, very '80s technology through and through, then semi-state of the art keyboards and drum machines. They're used to approximate Tom Waits' approach to music at his most spookily cabaret-like without actually sounding like Waits, and set against the familiar lyrics it's a combination that's at once head-scratching and creepily effective. When vocals and music combine just right the results can be at once contemplative and disturbing, as in "Return to Sender." The occasional skits throughout telling the story of 'the baby king' are more bemusing than anything else, but somehow fit in well enough. This isn't deathless Residents, and eventually grinds down with its fairly one-note approach, but it still has its points.

© Ned Raggett /TiVo

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The King & Eye

The Residents

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1
Blue Suede Shoes
00:02:36

The Residents, MainArtist - Carl Perkins, Composer, Writer

© 1989 Cherry Red Records ℗ 2017 Cherry Red Records

2
The Baby King, Pt. 1
00:01:14

The Residents, MainArtist - Homer Flynn Iii, Composer - Hardy Fox, Composer

© 1989 Cherry Red Records ℗ 2017 Cherry Red Records

3
Don't Be Cruel
00:02:58

Elvis Presley, Composer, Writer - Otis Blackwell, Composer, Writer - The Residents, MainArtist

© 1989 Cherry Red Records ℗ 2017 Cherry Red Records

4
Heartbreak Hotel
00:01:55

Mae Boren Axton, Composer, Writer - Tommy Durden, Composer, Writer - Elvis Presley, Composer, Writer - The Residents, MainArtist

© 1989 Cherry Red Records ℗ 2017 Cherry Red Records

5
All Shook Up
00:02:03

Elvis Presley, Composer, Writer - Otis Blackwell, Composer, Writer - The Residents, MainArtist

© 1989 Cherry Red Records ℗ 2017 Cherry Red Records

6
Return to Sender
00:02:58

Otis Blackwell, Composer - Winfield Scott, Composer - The Residents, MainArtist

© 1989 Cherry Red Records ℗ 2017 Cherry Red Records

7
The Baby King, Pt. 2
00:01:20

The Residents, MainArtist - Homer Flynn Iii, Composer - Hardy Fox, Composer

© 1989 Cherry Red Records ℗ 2017 Cherry Red Records

8
Teddy Bear
00:03:20

Bernie Lowe, Composer - Kal Mann, Composer - The Residents, MainArtist

© 1989 Cherry Red Records ℗ 2017 Cherry Red Records

9
Devil in Disguise
00:02:56

Bill Giant, Composer - Florence Kaye, Composer - The Residents, MainArtist - Bernie Baum, Composer - Paralyzer, Remixer

© 1989 Cherry Red Records ℗ 2017 Cherry Red Records (catalogue)

10
Stuck on You
00:02:13

AARON SCHROEDER, Composer - The Residents, MainArtist - Leslie McFarland, Composer

© 1989 Cherry Red Records ℗ 2017 Cherry Red Records

11
Big Hunk O' Love
00:02:47

AARON SCHROEDER, Composer - The Residents, MainArtist - Sid Wyche, Composer

© 1989 Cherry Red Records ℗ 2017 Cherry Red Records

12
A Fool Such as I
00:02:33

Bill Trader, Composer - The Residents, MainArtist

© 1989 Cherry Red Records ℗ 2017 Cherry Red Records

13
The Baby King, Pt. 3
00:01:26

The Residents, MainArtist - Homer Flynn Iii, Composer - Hardy Fox, Composer

© 1989 Cherry Red Records ℗ 2017 Cherry Red Records

14
Little Sister
00:02:55

Doc Pomus, Composer - Mort Shuman, Composer - The Residents, MainArtist - Homer Flynn Iii, Composer - Hardy Fox, Composer

© 1989 Cherry Red Records ℗ 2017 Cherry Red Records

15
His Latest Flame
00:02:38

The Residents, MainArtist - Homer Flynn Iii, Composer - Hardy Fox, Composer

© 1989 Cherry Red Records ℗ 2017 Cherry Red Records

16
Burning Love
00:03:04

The Residents, MainArtist - Dennis Linde, Composer

© 1989 Cherry Red Records ℗ 2017 Cherry Red Records

17
Viva Las Vegas
00:03:09

Doc Pomus, Composer - Mort Shuman, Composer - The Residents, MainArtist

© 1989 Cherry Red Records ℗ 2017 Cherry Red Records

18
The Baby King, Pt. 4
00:01:47

The Residents, MainArtist - Homer Flynn Iii, Composer - Hardy Fox, Composer

© 1989 Cherry Red Records ℗ 2017 Cherry Red Records

19
Love Me Tender
00:04:54

Elvis Presley, Composer - The Residents, MainArtist - George Poulton, Composer - VERA MATSON, Composer

© 1989 Cherry Red Records ℗ 2017 Cherry Red Records

20
The Baby King, Pt. 5
00:01:06

The Residents, MainArtist - Homer Flynn Iii, Composer - Hardy Fox, Composer

© 1989 Cherry Red Records ℗ 2017 Cherry Red Records

21
Hound Dog
00:02:18

Jerry Leiber, Composer, Writer - Mike Stoller, Composer, Writer - The Residents, MainArtist

© 1989 Cherry Red Records ℗ 2017 Cherry Red Records

Chronique

Given that the Residents had always been working towards finding out ways to take songs from 'traditional' sources and doing something with them/to them/about them, a whole concept album about Elvis Presley is, perhaps, not too surprising in retrospect. By all accounts, the stage show and tour the group mounted at that point was one of its most fascinating, but as an album this might seem a little too tame or forced. The lead singer's exaggerated Southern drawl may be used to make a point throughout -- and to his credit he's not actually trying to imitate Elvis per se -- but the feeling is almost a bit lazy and often contemptuous, a joke that doesn't quite work. The arrangements are something else again -- everything's slowed down and stretched out to turn the implicit joy of the music chosen into something looming and strange. If there's something which is at once a problem and a perverse advantage to the album, it's the band's choice of musical approach at that time -- namely, very '80s technology through and through, then semi-state of the art keyboards and drum machines. They're used to approximate Tom Waits' approach to music at his most spookily cabaret-like without actually sounding like Waits, and set against the familiar lyrics it's a combination that's at once head-scratching and creepily effective. When vocals and music combine just right the results can be at once contemplative and disturbing, as in "Return to Sender." The occasional skits throughout telling the story of 'the baby king' are more bemusing than anything else, but somehow fit in well enough. This isn't deathless Residents, and eventually grinds down with its fairly one-note approach, but it still has its points.

© Ned Raggett /TiVo

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