Since early in his career, music historian and WFMU radio host Irwin Chusid has been defining and championing a peculiar genre of music that he has termed "outsider music". Outsider Music is loosely defined as music made by people who have little or no musical training or talent, and doubtful sanity, but continue to make and record music in spite of their severe limitations. Outsider music can result from mental derangement, drug burnout or total cluelessness, but the results are often worthwhile. People with little or no self-awareness are capable of producing some of the most beguiling and ambiguous sounds you'll ever hear. Outsider musicians are boundless experimenters and low-fi geniuses - but their total sincerity and passion make the results even more astounding. For jaded music aficionados who have grown tired of the endlessly self-referential intelligentsia of the modern avant-garde, outsider music offers a completely new universe of stunning musical insight, and all of it totally accidental!
Volume 1: Key of Z
Volume 2: Gammon
Book: Cherry Red
Chusid has been the primary collector and disseminator of outsider music for the past two decades. Just last year, with the publication of his book and the subsequent release of two CD compilations, Chusid is finally making this arcane musical genre accessible to the world. Writing in an entertaining and infectiously funny style, Chusid attempts to collect all of these disparate musical oddities and arrive at a definition of the genre. Through a series of chapters highlighting the most important outsider musicians—Daniel Johnston, Tiny Tim, Wesley Willis, Jandek, Shooby Taylor, etc.—the author pieces together the "story" of outsider music. Biographies, critical views, personal anecdotes and photographs are scattered throughout, giving about as clear a picture as you could expect for his subject matter. I read the book over the course of two days; I couldn't put it down. This is certainly one of the best, non-academic books of musical theory I have ever read. Even in cases where I felt Chusid was trying to stretch the definition of the genre a little too far (as in the chapters about established musicians like Syd Barrett, Captain Beefheart and Harry Partch), the writing was still engaging.
The first volume of the two companion CDs was released last year, and is the superior of the two. It is one of the most entertaining and concise genre overviews ever compiled, containing selections both by relatively well-known outsiders like The Shaggs, Captain Beefheart, Wesley Willis and Tiny Tim, as well as totally enigmatic obscurities such as Sri Darwin Gross, Luie Luie and Arcesia. Highlights include Congress-Woman Malinda Jackson Parker's "Cousin Mosquito #1," an ode to the tropical insect, in which the word "cousin" is uttered over 500 times in the span of three minutes. Luie Luie is a Mexican bandleader who excitedly jabbers on about the new dance called "El Touchy" that he has invented. Arcesia was a middle-aged big band crooner who moved to the West Coast during the 60's and experimented with LSD, prompting him to record a preposterous psychedelic album called 'Reachin'. The track included here, "Butterfly Mind," is an amazingly emotional outpouring—one of the more intense and creepy songs on the compilation. Jandek weighs in with a typically miserable, self-hating diatribe, which he sings while randomly plucking an out-of-tune guitar. Jack Mudurian is a toothless old codger in a nursing home, who happily sings a non-stop, one-hour medley of every song he can remember in "Downloading the Repertoire (excerpt)". I love this album, and it has been on almost non-stop rotation since I first bought it more than a year ago.
The second CD has just been released on Gammon Records, and it something of an "appendix" to the first disc. It is certainly less impressive in its scope, but this is for those serious students who require further study. Shooby Taylor, the seemingly insane scat singer from the first compilation, opens up the disc with the absurdly uplifting glossolalia of "Lift Ev'ry Voice and Sing". An anonymous redneck girl sings unashamedly a cappella into a tape recorder on "Curly Toes". Thoth, a New York City street performer and resident of the fictitious land of Nular-In, sings a selection from his "solopera" named "The Herma". Clothed in a loincloth and headdress, Thoth sings in an impressive operatic falsetto while accompanying himself on the violin. The Space Lady does a haunting low-fi version of The Electric Prunes' hit "I Had Too Much to Dream Last Night". Hearing these daring and original "artists" puts all of that self-consciously low-fi indie stuff such as Jad Fair, Danielson Famile, etc. to shame. Suffice it to say that if you enjoyed the first compilation, you're probably going to have to get this one too.
Irwin Chusid deserves high praise for his book and this commendable set of albums—his obvious affection and passion for these lunatics is totally contagious. As Chusid says in his introduction, outsider music is "mutant strain of twisted sonic art that's so wrong—it's right!" Get into it.
samples volume 1:
- Jack Mudurian - Downloading the Repertoire
- Arcesia - Butterfly Mind
- Jandek - They Told Me I Was a Fool
samples volume 2:
- Bingo Gazingo & My Robot Friend - You're Out of the Computer
- The Space Lady - I Had Too Much to Dream Last Night
- Thoth - The Herma, Scene 5, Recitation/An
 
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