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Instead of talking about this latest offering from the inimitable trio comprising the 21st century Butterscott, why don’t I instead inform you that the tradition of humor, at least in early rock, is strong. From the Lieber and Stoller songs written for the Coasters to “Chantilly Lace” and “Stranded in the Jungle”… No, wait. Maybe I had better talk about the record in depth, something which is sure to suck all the fun out of it. Warning: Spoilers ahead! OK. So. This latest offering begins with a cover of “Little Bit O’ Soul,” but the band calls it “My Favorite Friend” and it has a Bay City Rollers-style chant. “Female Trouble” is an amazingly twisted foray into rap, and station identification jingles. “Frumpi Grumpi” sees the trio concocting yet another 60’s dance craze. “Do the Nothing” is a sardonic descent into early 80’s synth rock and trance music. “Glorioski” is a debased doo-wop song, replete with authentic strings. “Not a Bad Idea” is a ’20s-era hokum spectacular, crammed with hilarious jokes. (Why they repeat the song later on is a mystery for the ages. Maybe they lost track or something.) “Kangaroovy” is a prime example of bubblegum psychedelia. “Undercover Jesus” is actually a profound statement disguised as a blasphemous Philadelphia Soul pastiche. “All My Fault” is an astute impersonation of an angry punk rocker. “The Technological Love Song” uses click tracks and vocorder to completely take the piss out of–well, techno(logy). “Sage Advice From the Islands” takes the lessons of “Get An Ugly Girl To Marry You” to a predictably risible extreme. “Star wars for X-MeSS” tears apart the franchise for good and all – because somebody had to do it. “The Dynamite Eating Goat” made me laugh out loud, but that’s just the kind of guy I am. This is followed by a cover of “Diamond Girl,” only they call it “Choc Van Shake.” “When the Dustbunnies Blew Away” is a song which the Peanut Butter Conspiracy should have covered. Just sayin’. “Dime a Dozen Daddy” skewers the ominous pretentions of goth – or is it spaghetti western soundtracks? You decide! “Showtune” does a great deal to wash away the sour taste of the, duh, show tune genre out of one’s mouth. But it’s not as catchy as “In the Good Old Summertime” as sung by the Jurgis Rudkis Choir. (“There seems to be something hypnotic about this, with its endlessly recurring dominant. It has put a stupor upon every one who hears it, as well as upon the men who are playing it. No one can get away from it, or even think of getting away from it; it is three o’clock in the morning, and they have danced out all their joy, and danced out all their strength, and all the strength that unlimited drink can lend them – and still there is no one among them who has the power to think of stopping.”) (Note: According to Kenneth Anger, “Rosebud” was actually Marion Davies’ clitoris, which is the real reason why William Randolph Hearst was so miffed at Orson Welles.) The band then covers “Woman From Tokyo,” only they call it “New Song.” And they use it to explain “the purpose of new songs in rock ’n’ roll shows.” What a cynical bunch! There’s also a cover of “For No One” with vocals by my good friend Walter Sickert. No French horn, though – bummer. This is funnier than Beach Boys Party and Jan & Dean meet Batman, and almost on a par with The Who Sell Out and The Turtles Present the Battle of the Bands. Like most good satire, it informs the future about the inane preoccupations of the past and present. I’ve spent worse hours. Well done, my good and faithful servants!