The Frogs
Any group that sings about child molesters, racial relations and drug-taking is going to draw my interest, but only a handful can make taboo subjects as catchy and as profoundly disturbing as this duo from Milwaukee, Wisconsin. Their trilogy of greatness (1989’s “It’s Only Right and Natural”, 1996’s “My Daughter The Broad” and 2000’s “Racially Yours” employs a toxic blend of Beatle-esque pop sensibilities with unsettling subject matters to create a uniquely American hybrid of crass musical humor that few, if any, would ever dare put out for public consumption. These three releases are hard to come by, but as is the case with anything worthwhile, it is worth the time, money and effort to have these three absurdist gems in your collection.

Bessie Jones
Discovered in 1959 by great American folklorist and musicologist Alan Lomax, Bessie Jones is the very essence of southern soul. Singing songs taught to her by her grandfather Jet Sampson (who died in 1941 at the age of 105), she helped to popularize the music and songs of her family and the Sea Island, an isolated island off the coast of Georgia that in 1861 was the first to allow former slaves during what was known as the Port Royal Experiment the right to protect themselves as a free people. The music is a hybrid of Bahamian and African influences and Jones embodied the joys and hardships of her lineage with a voice of breathtaking emotional depth. The recording, “Southern Journey Recordings, Georgia Sea Islands: Songs and Spirituals” (Rounder Records) is essential listening for anyone moved by Mahalia Jackson, Bessie Smith or Aretha Franklin.

9353
Now here’s a band from Virginia that never got its proper due. In its heyday from 1983 to 1986, 9353 was the best live band in the D.C. underground scene with songs that explored life’s darker realms with captivating hooks and melodies. Lead singer Bruce Merle sang as if he was the bastard child of Stan Ridgeway (Wall of Voodoo) and Frank Zappa. His commanding presence, supported by the equally innovative Adrian Belew-inspired guitar playing of Jason Carmer, helped make their ode to the perils of drunk driving (the hypnotic new wave of, “Famous Last Words” and suburban vandalism (the lilting aggression of, “Ghost” instant classics. It’s a shame that the group’s undeniable virtues are virtually unknown outside the D.C. area as 9353’s inimitable charms are hard to deny. For some odd, unexplainable reason, the group’s first two releases (1983’s “To Whom It May Consume” and 1986’s “We Are Absolutely Sure There Is No God” are out of print so you’ll have a hard time finding them. If you do find them, buy both immediately. They are both masterpieces.

Altaikai
Hailing from the remote Altai Mountains in Central Asia, the members of Altaikai are masters of one of the oldest vocal traditions called throat singing, a method of continuous overtone singing. Ever since I saw them perform during the Virginia Folk festival two years ago, I’ve been entranced with their otherworldly beauty. It is eerily soothing music with Ennio Morricone spaciousness (especially the spaghetti western march of “Spring Water) spread out over distantly Asian percussive and melodic sensibilities (“Shunu Warrior” and “Oyim, Oyim, Oy-oyim”. Instrumentation is acoustic featuring bowed and strummed lutes, rattles, harps and accordion with hand held drums. The virtuosic vocal performances blend and twist harmony. Whether chirping like birds, laughing like madmen or molding together for deep tonal depth, the haunting male and female voices of Altaikai resound with a presence that is like no other you will ever hear.

I never would expect to see a Frog’s album reviewed here! Good work!