Buckethead - Colma
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CD Details
Artist: BucketheadEdition: Music CD
CD Release Date: 1998-03-24
Music Label: Higher Octave
Soundtracks:
- Whitewash
- For Mom
- Ghost
- Hills Of Eternity
- Big Sur Moon
- Machete
- Wishing Well
- Lone Sal Bug
- Sanctum
- Wondering
- Watching The Boats With My Dad
- Ghost/Part 2
- Colma
Music reviews of Colma
Music Review: A Spellbinding Morsel of Obese Proportions
Rating: 5 Stars
One of the few regrets in life that I have is that I didn't discover this man earlier. Let me explain. The first time I ever heard about Buckethead was in the summer of 2000. He was playing with Axl Rose's new Guns N' Roses at the MTV Awards. The instant I saw him I laughed. The whole yellow raincoat, bucket and mask persona seemed like such a stupid gimmick at the time. I thought he was a pseudo musician, like the members of KISS. Fast forward 6 years. An online buddy of mine, Elliott, convinced me to listen to him. I reluctantly agreed. However, surprisingly I immediately felt like new life was breathed into me by a fiery dragon. Like a defibrillator to my eardrums I was musically revived.
I'll give you a track by track, diddy by diddy breakdown.
'Whitewash' gets things off and rolling and out of the gates very effectively. Like a bull in a rodeo trying to release its prairie oysters from the grip of a whiskey scent rope. The first 4 notes instantly draw you in like the smell of grilled cheese, airborne and wofting through a quaint bungalow. Indications known, the listener is aware that they're in for a tasty vittle. The song is definitively avant-garde, minus the eccentricity. Its full of little quirks that give it that special sauce recipe. The reverb on the drums is a really haunting touch that merges perfectly with each verse. The song is intricately orchestrated and is surprisingly not repetitive due to the variable fills thrown into said verse. The transition between the main structure of the song into the outro ('into the outro' sounds like a Led Zeppelin record) is brilliantly executed like a guillotine to a peasant's head. The guitar sounds as if it was conceived and delivered through a Caesarian section of David Byrne's (Talking Heads) ab meat and fathered by Brian Eno, Phil Spector or Peter Gabriel. Possibly all three. All seriousness aside, It's a wonderful, intriguing song that sets a strong precedent for the record.
'For Mom' is a tender ballad dedicated to Buckethead's aunt. Just kidding. The main guitar line of the song reminds of a clydesdale galloping along the foothills of a Norwegian fjord, awaiting a hoof replacement by a viking foot master. There's enough 'melody' in this song to make Elmer Fudd and Yosemite Sam 'merry.' Like Leatherhead from the Teenage Mutant Ninja Turtles often put it, "I guarantee." My favourite part of this song though is the solo that leads to its conclusion. Everytime I listen to it I get an all encompassing chilling warmth throughout my body. The only other thing that usually does that to me is a refreshing bowel movement. This is one of my favourite songs on the album and a beautiful thank you note to Mrs. Carroll.
Next on the docket...
'Ghost' is probably my favourite Buckethead song. The drums in the intro echo the sound of a ticking time bomb set to a pirate's cannon. Fittingly, the guitar has a beckoning call to it that invokes a paranormal resonance. His playing is supreme and full of subtle nuances that give you a feeling of pleasurable discomfort. The duration of the 2:26 mark of the song to approximately 3:23 is one of the most perfect, serene moments in musical history. I can't recall how many tears I've cried while listening to that. That 1 minute for me is a complete suspension from the harshness of reality. It takes me to an otherworldly place. Aside from Jeff Buckley no other musician has ever done that to me. Its one of very few songs that leaves me at a loss for words. I kind of contradicted that sentiment with the whole description of the song.
'Hills of Eternity' is the song that solidified my love for Buckethead and his seemingly endless limitations as a musician. Its a touching lament. The first time I heard this song was during September of '06 while driving to a small country town for my cousin's wedding. I remember looking out the passenger window and staring at the electrical towers that rose from the fields along the highway side. Though the song and record at that point were already 8 years old they felt brand new to me and restored my faith in contemporary music. There's a striking incandescence throughout the song. The ascending melody sounds like a psychological stair climb to an elevated pantry drawer full of all sorts of forbidden goodies and treats that elude a sweaty cafeteria of rambunctious brats. The aspect of the song that really makes it work so well is the electrical effects that fizzle in the background. They add a three dimensional depth to the song that would otherwise be lacking. I'm usually not a fan of scratching and other dj effects but these sounds compliment the music exquisitely.
'Big Sur Moon' is not so much a song but rather a cobblestone segway between 'Hills of Eternity' and 'Machete.' Its a chaotic rainbow of sound that rushes through the white and red cells of the bloodstream like moonshine and peyote at a cowboy/Indian shindig. There's not much else to say. Its a cool little number.
'Machete' is one of only two electric guitar appearances on 'Colma.' The first few notes sound reminiscent of 'Ghost' but you shortly hear the vast difference between the two. This was one of the last songs I discovered on the record because I repetitively played the classical based songs to an obsessive extent. This song is full of vivid imagery. The volume swells from his guitar that lead into the solo sound as if there is a string accompaniment but only if it falls on the ears of a novice listener. The solo is one of the most amazing wails I've ever heard a guitar cry. Its as if his soul was ripped from his being and poured out like a waterfall of syrup onto a stack of grandma's old fashioned pancakes. Its so powerful in its climax that on close listen you hear the drums stop at 4:34-4:36 as if they needed to take a breath and catch pace with the building ejaculatory intensity. The crashing halt to the song sounds as if a robot went over Niagara Falls in a barrel and is shattering into pieces on the jagged rocks below.
'Wishing Well' is an accurate depiction of the dew drop like effect on Buckethead's guitar in this track. Its a simple song that follows a basic structure two times around. On the third measure the songs breaks into a short little solo that takes the song from humdrum to pleasing. I would have liked to have heard him go somewhere else with the solo. It seems as if he held back on this one. Maybe he was on a diet at the time and didn't want to audibly pig out?
'Lone Sal Bug' is such a simplistic song yet somehow doesn't seem like it. Its similar to 'Hills of Eternity' in the sense that its repetition is shot down because of the interesting, soulful little fills that are implemented. When listening to it you feel a sort of optimism. Almost as if he's trying to tell you, 'hang in there through thick and thin. Things will be ok.' Like 'Hills of Eternity' there are numerous ambient sound effects that give the song a circumference to work around. The cello at the 3:36-4:05 mark of the song is one of those moments like the one mentioned in my 'Ghost' synopsis, that baffles the mind to know that something so beautiful is humanly possible. I think Buckethead was hunting for nose critters when he wrote this song. He just mispelled, 'boog.'
'Sanctum' is arguably the most interesting song on the album. It sounds as if it was recorded with an electric guitar in a bathtub and then had the cellophane ripped out of the cassette by a pesty babysat child and scraped with a blunt, peanut butter smeared knife. Or you could say it sounds like he infused Pop Rocks into his guitar cord and like Jimi, 'let the good times roll.' A very enjoyable, mesmerizing song with a great bass hook.
'Wondering' is stripped to the bonez. There's not much going on in this song. Its a nice melody but one of the least listened to by myself. To me it sounds a bit rushed and not fully realised. It had potential for expansion but it remains a nice listen nonetheless.
'Watching The Boats With My Dad' I'm not sure who he had in mind when he wrote this song? Mysteries aside its one of the most emotional, heartfelt songs I've ever listened to. Paco De Lucia and Al Di Meola would wet themselves like grown men with urinary tract infections if they heard this. The song reveals images of seaside harmony between man and nature. There's a very touching sentiment that lingers from the opening chord to the last slide of the D string. Whomever this songs was written for I'm sure she'd be overwhelmed with appreciation.
'Ghost Part II' is a creeper. It onces again displays Buckethead's genius ability to spook the listener with a strange simplicity. I picture a really dark, gothic, subterranean temple whenever I hear this song. It has an almost diabolical presence that scares you but lures you in for a closer listen.
'Colma' is my least favourite song on the record. Its extremely unorthodox and it doesn't really add anything to the mix. Personally I think its predecessor would have been a perfect ending to a brilliant album. I can appreciate 'Colma' for what it is but its not something I usually go out of my way to listen to. That said, if it was released today it would probably be the greatest current song in the world thanks to the Big League Chew bubble gum tripe that fills the airwaves.
If you haven't already heard this record then mark down June 9th, 2017 on your calendar as a day trip to your local record store. If they still exist at that time.
Steven Bodrug
Toronto, Canada
December 17, 2008
Description of Colma
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