Published on Sep 15, 2000
There are bands who spend years (even decades) busting their
humps and mastering their instruments before a label will take a
look at them. The list of artists who had to suffer through hunger
and cold and long trips and no money is never-ending. This cuts the
wheat from the chaff — forcing those who are truly determined to
triumph to not give up. At the same time, bands end up using this
period to create their own, unique, sounds and voices. Still, being
original and great do not guarantee you success. Even longer is the
list of artists who never made it. They were intent in creating
music from their hearts and making something new and original that
would touch people and create change.
Then, there’s the Bloodhound Gang. Musical artistry? No.
Originality? Nope. Integrity? None whatsoever.
Imagine if you took the Beastie Boys, the Jerky Boys and the
outtakes from Howard Stern’s show (the one with the transsexual
midget that loves lesbians) and you got the gist of everything the
Bloodhound Gang is trying to say. The group, fronted by the one-two
vocal punch of Jimmy Pop Ali and Lupus Thünder, has nothing to
offer save rude jokes, bad visuals and disgusting lyrics.
I liked it.
After striking some minor airplay with their indie label single,
“Fire Water Burn,” the Gang had been picked up by DGC — the second
time they were on a major label after Columbia dropped them.
Hooray For Boobies was their debut album on DGC and it had
to wait for release here on the States due to the titles on two
songs! If one thing is clear is that Pop, Lupus, bassist Evil Jared
Hasselhoff, drummer Willie the New Guy and newcomer DJ Q-Ball are
all intent on getting their label sued by everyone under the sun.
That
ought to teach them!
The album kicks off with the funny and amusing “I Hope You Die,”
which tackles all those fantasies we have for those people we
dislike. Featuring Nerfherder’s Parry on guest vocals, this is the
kind of song that the Gang easily churns out – quick modern
references, double entendres (a game called “Balls On Chin”?) and a
hard rock edge mixed with their funky jams. Other neo-classics in
this vein include “The Inevitable Return Of The Great White Dope”
(which isn’t about coke) and the album closer “Along Comes Mary.”
Also include their second single, “Mope,” which, for a song about
nothing, manages to mix samples from Duran Duran, Metallica and
Falco. (BTW, Jimmy Pop’s dedication at the start of “Mope” to Falco
is hilarious).
Of course, I can’t forget to talk about “The Bad Touch,” which
is fast became a hit thanks to the funny video and to the line “You
and me, baby, ain’t nothing but mammals/So let’s do it like they do
it on the Discovery Channel.” What I found most amusing is that,
while very danceable and funny, the music reminded me of old
disco.
Besides that you have some very minimalistic songs that sound
like, of all bands, Cake. Songs like “Take The Long Way Home,”
“Right Turn Clyde” (which borrows “Another Brick In The Wall” for
its chorus) and “Hell Yeah.” You gotta like the attitude and the
meanings behind some of these songs. I mean, “Hell Yeah,” according
to Jimmy, is about not trusting a Phish fan with your eternal
salvation. Gotta laugh at that.
Meanwhile, they also take some softer turns like “A Lap Dance Is
So Much Better When The Stripper Is Crying,” which could count as
their country song. Also include here “The Ballad Of Chasey Lain,”
where the band desires to do something to the notorious adult star.
While it would have been nice if they had tried for something
deeper, the song is amusing. Even funnier is her response in
“R.S.V.P.” I’d wager that would be the response for most of us.
(This, by the way, ends up being the funniest skit out of the ones
they have in the whole album.)
Missteps? A few. Appropriately enough, they were the ones that
held the album’s release back here in the States. One is “Three
Point One Four,” which was originally titled “Vagina.” While it is
funny trying to find out what words can rhyme with vagina, the song
is sophomoric and idiotic — even for their standards. “Yummy Down
On This” is ingenious in its verses, but the loud chorus brings it
way down. And “Magna Cum Nada” has a weird sound and a strange
chorus. Not bad, just not as good as the others.
Nevertheless, kudos have to go out to the entire band. They’re
able to bring in as many references to pop culture (
Party of Five, Bo Jackson, Chasey Lain, etc) and their
musical chops are on most of the time. What’s so incredible is that
they work so damn hard at coming up with the kind of songs that
will offend everyone around them. Imagine if they were trying to do
this for some higher purpose. (Nah, wouldn’t work!)
Hooray For Boobies is the kind of album that you put on to
annoy your parents, in-laws, neighbors, pastors, spouses, and
possibly your own children. It’s rude, crude and offensive. If you
can get past all of that, you will find an amusing and funny album.
Therefore, avoid it if you can’t stomach foul language. Still, this
is one of those albums that you will enjoy if you like rude and
annoying music.