An audio tour of Bucketheadland, complete with killer riffs, super-fast shred solos, simple drum programming, and audio clips from different rides around Bucketheadland. Also includes Buckethead's audio take on Giant Robot versus Guillatine, with samples from the show mixed in with robotic guitar sounds like only Buckethead knows how. Disc 2 is a selection of extended dance remixes. Utterly unique.
The Day of the Robot
Super fast thrash metal-style riffing, slower, more death metal-y riffing, classic rock soloing, and ambient peaceful noise like nobody else can do -- and that's all within the first 13-minute long, multi-part epic track that is "Destroyer." The other four tracks sound like rave-style dance music... that is, if that kind of music normally had the virtuoso-in-the-chicken-bucket on guitar.
Relaxed, mellow, ambient acoustic and electric guitar work, over beats created by Brain and bass from Bill Laswell. The sounds heard on this release represent the feelings Buckethead experienced when visiting the town of Colma, California, where the dead outnumber the living.
Funnel Weaver is kind of like when you go to a pizza place where
they cut the pizza into small squares instead of larger slices. The pizza is
still delicious, but sometimes you just wish you had a bigger wedge to sink
your teeth into. Grade A riffs are the meat of this disc, covering a
crisp crust of tight beats, and spiced up with a few saucy samples. There is
little or no soloing to speak of --- just Buckethead riffing out in the
coop, using various effects, and coming up with some heavy and trippy
Monsters and Robots
Funk-metal, complete with dance-influenced riffing ("Jump Man"), hip-hop-tinged beats ("The Shape -vs- Buckethead"), and some of the fastest playing Buckethead has ever recorded ("Nun Chuka Kata"). Features guest performances from Brain, Bootsy Collins, and Les Claypool, among others.
Somewhere Over the Slaughterhouse
Simple drum n' bass style loops, with Buckethead riffing and soloing over them. He plays keyboards on a few tracks, too. This sounds like Buckethead making the kind of home recordings all musicians make, just much, much better.
A collage of hip-hop and electro-esque beats, dark and eerie samples, and live instrumentation created by Buckethead and producer Extrakd. Brain makes an appearance, playing drums on "Flight 19."
This CD is just Buckethead playing multi-layered acoustic and electric guitars. No other instruments. If you're looking for wild, shredding, weird, funk-metal, then don't get this. But, if you're looking for the most sad, mellow, beautiful, calming, relaxing music on the planet, your search stops here.
Heavier than its predecessor, and with less soloing. Albert, a down-on-his-luck ex-slaughterhouse employee, makes his debut on some acoustic songs, while Li'l Littles gives great advice such as "a gorey head stump can mean good luck." While the previous Bucketheadland CD was like an audio tour of the park, this one seems more like the kind of CD you'd get with your advance-order tickets, to prepare you for your next trip.
Island of Lost Minds
While Bucketheadland and Bucketheadland 2 were audio tours of the whole of Bucketheadland, this disc focuses solely on the area of the park named "The Island of Lost Minds." Released as a Bucketheadland album -- not a Buckethead album, this wedge is full of superfast and superheavy riffs. There are some nice classical type solos that show up very unexpectedly in the middle of songs and make the listener do a doubletake. By the time you get to "Lobotomizer" (scariest rollercoast of all time), just be thankful you are still alive.
This is more of a keyboard oriented album than a guitar oriented album. It has a
little bit of blues with some crazy synthesizer playing, and tracks like "A Day Will Come" and "Population
Override" are filled with amazing keyboard solos by Travis Dickerson.
The Cuckoo Clocks of Hell
Willie Nelson used to tell a story about his wife sewing him up in a bedsheet and then beating him with a baseball bat. This album is like that, but with your mind. Are those blast-beats I hear, Brain? The heaviest, most punishing Buckethead album to date.
The first Cobra Strike album starts off with nice heavy solid beats
and chunky guitar. Three tracks in, you start to hear some crazy
tapping and a little bit of shredding. There are no vocals or samples used on this album, but shredding,
tapping, chunky riffing, low end dub and mellow tracks with strong
beats are all available.
Cobra Strike II
The second Cobra Strike album is much like the first Cobra Strike in
the sense that shredding, tapping, chunky riffing, low end dub and
mellow tracks with strong beats are all available. However, unlike the
first album, there are both samples and spoken words used. More
shredding is on this album than on the first Cobra Strike, and it has a generally more "upbeat" feel.
Spot the Psycho
A raw production is brought to life by ChopTop and Buckethead
and their unique jams. ChopTop brings a manic joy
to crazy clever lyrics, fueled by Buckethead on guitar and bass. The riffs are constant and prominent and blend amazingly
well with the rambling vocals. The songs are a mix of the surreal
and absurd, and the line between horror and comedy is effectively balanced. Spot
the Psycho sets the standard for the trademark fun of this great pair.
The Cornbugs second effort is a departure from Spot the Psycho, but still
carries what makes them great. Cemetery Pinch is a dark ride, with ChopTop singing and reading poetry about his takes on death, skeletons, and Ed Gein over beats and guitar riffs laid down by Buckethead. The low-budget kitchen recording helps this project. The perfect birthday present for the psycho in the family.
In an all-star band featuring Buckethead, Bootsy Collins, Brain, Bernie Worrell, AF Next Man Flip, with Bill Laswell as producer, Praxis succeeds in delivering possibly the greatest experimental funk CD of all time. Nearly every genre of music gets a look on this one, the most prominent being funk, metal, and rock. The tracks change from one style to another in the blink of an eye, and Bucket unleashes some of his most disembodied playing of all time.
Buckethead on guitar and Travis Dickerson on keyboards, jamming together to produce an incredible experimental rock/metal/funk album. Travis and Buckethead duet, harmonize and duel their way through 10 not-to-be-missed tracks.
The same idea as the first Thanatopsis CD, except this time experimenting with the more calm, mellow side of Buckethead's style. However, unlike "Colma" or "Electric Tears," a lot of this album is in major keys, making it more of an upbeat, happy album. Ideal for relaxing when you don't want your head ripped off, and aren't feeling sad.
Lord of the Harvest
Bootsy Collins comes up with not one but TWO alter egos (Zillatron and Fuzzface) for this fuzzed-out freak fest. Free-roaming spacebass is what this album is about and Bucket accompanies nicely with lots of shredding solos and riffs. A spacebass-led cyberfunk album dealing with the alien crash at Roswell and the subsequent cover-up, the ever-present Big Brotherization of America, Bootsy's addiction to crack, and the power of love defeating the darkness, all interspersed with samples from David Cronenberg's film "Naked Lunch" (among others). Don't let the extreme concepts fool you. The liner notes also describe this album as "silly." One of the true overlooked gems in Bucket and Bootsy's vast catalog.
Mortal Kombat - Soundtrack
This music is the epitome of martial arts cartoon soundtracking. It sounds exactly like two super-powered Japanese cartoon people fighting with explosions around them, floating 10 feet in the air and throwing lightning bolts at each other.
Ghosts of Mars - Soundtrack
Buckethead appears on tracks 2, 6 and 10, collaborating with Robin Finck, and Anthrax. Steve Vai also appears on several tracks. Bucketheads contributions could be described as "atmospheric metal."
Bass-led mellow grooves. This is dub music at its most pure. The rhythm team of Brain and Butthouse are locked tight, while the rest of the band experiments with different sounds all over the place. A definite "jam" album.
Heaven and Hell
One continuous beat runs through seven movements, as Buckethead, Bill Laswell and Shin Terai improvise over the top in a relaxing, "dub" style. Buckethead contributes some of his trademark beautiful natural minor soloing in Movement 3.