I began listening to the Holy Modal Rounders in late August 2023. The first two albums were repackaged as 1 & 2 in 1999 and fixes the sequencing issues on their second album while nicely combining the two albums together. Thus, I almost exclusively listen to 1 & 2, which is amongst my favorite albums of all time.
The Holy Modal Rounders (1964): A
The Holy Modal Rounders 2 (1965): A-
Indian War Whoop (1967): B
The Moray Eels Eat the Holy Modal Rounders (1968): B
Good Taste Is Timeless (1971): B-
Alleged in Their Own Time (1975): C+
Michael Hurley/The Unholy Modal Rounders/Jeffrey Frederick & the Clamtones: Have Moicy! (1976): A-
Last Round (1978): B-
Peter Stampfel and the Bottlecaps: People's Republic of Rock n' Roll (1989): B
Peter Stampfel and the Bottlecaps: Demo '84 (2020): B-
Too Much Fun! (1999): B+
1 & 2 (1999): A+
The Holy Modal Rounders (1964):
This debut by duo Steve Weber and Peter Stampfel is hilarious because it combines modern lyrics with highly authentic old-time fiddle music and singing. It's also brilliant because nobody (nobody!) is doing this. On the recordings, Weber gives the authenticity and solemnity while Stampfel gives the wacky and free-spirit. Funny enough, however, it's Stampfel who's the workhorse, the songwriter, and the visionary. Weber meanwhile is the hedonist, the wicked womanizer, and the terrifying druggie who has to be dragged kicking and screaming to the studio. Although the appeal of this juicy old-time music will never be understood by people who can't even get into Hank Williams while the bohemian misadventures of these speed-freak goofballs won't ever be appreciated by those who take "Talkin' World War III Blues" seriously, its appeal is as obvious as one plus one equals two for the rest of us. I'll be listening to this more than the Mississippi Sheiks. A
The Holy Modal Rounders 2 (1965):
This only has about half the highlights that their debut had and the album is poorly sequenced, making the second side feature their most unessential recordings so far. Otherwise, their approach continues to be both funny and charming. A-
Indian War Whoop (1967):
Although they were unmistakably old-timey from the beginning, their debut contains the first known use of "psychedelic" on an album. With this in mind, it's not so unbelievable they would make this incredible shift towards zany psychedelia. Pretentious though it might always be, their third album is still very much rooted in folk music and at the very least the Holy Modal Rounders offer up a completely different take on the genre that so many cheaply taste-tested in this oh-so-important year. Highlights are thin--"Cocaine Blues" and "Bay Rum Blues" are maybe all that I'll return to--but the sum is greater than the parts. B
The Moray Eels Eat the Holy Modal Rounders (1968):
As interesting as I find these two psychedelic albums, there are limited highlights and it's almost impossible to determine which of them is better. Like the last one, this one shines by taking many traditional folk songs and putting them through the psychedelic blender. Sometimes it produces weird but beautiful tracks and sometimes it produces hair-pulling anti-music. With a clear goal and a sense of humor throughout, the worst moments at least have an acceptable context. B
Good Taste Is Timeless (1971):
Although the Rounders added two members (including Sam Shepard) to their lineup on the last two albums, their presence wasn't particularly felt. Now, they have three new members who all sing and two of them write. McCarty and Annas make limited contributions but Robin Remaily sings on four songs. Nevertheless, this is still clearly Weber and Stampfel's vision. Although they entirely drop the psychedelic flavorings, their first folk-rock affair leaves more to be desired, especially in terms of songwriting and performance. B-
Alleged in Their Own Time (1975):
After a folk-rock album in 1971, Stampfel and Weber entered the studio in 1972 and moved back to their roots with a more traditional album. Their lineup includes more than just Stampfel and Weber (Remaily and Luke Faust make limited contributions) but at least in spirit, it's just an album by just the duo. Like their last one, however, this one is mostly uninteresting. The additional members don't distract too much from the two powerful personalities but the traditional recordings (whatever these songs are--there are no credits but I recognize parts of the album as building upon old folk songs) aren't as lively or funny as normal. I mean, I have no problem with Stampfel's voice but it's best when he's leaning into the crazy when he sings. C+
Michael Hurley/The Unholy Modal Rounders/Jeffrey Frederick & the Clamtones: Have Moicy! (1976):
Stampfel and Weber ceased working together for an extended period after 1972 when Weber moved to Portland, Oregon, where he continued performing as the Holy Modal Rounders. Stampfel formed his own rival band the Unholy Modal Rounders in 1975 and entered the studio with a number of old buddies: Michael Hurley, Jeffrey Frederick, and the Clamtones. What resulted was a homespun album that mixed top-notch material from Stampfel, Hurley, and Frederick who all had developed their own unique brand of silly songwriting. "Don't you monkey with my widow when I'm gone," "I'll make a wish for a potato," and "This man, he got onto the bus/Pointed a water gun at us" are just three of the many funny lyrics from the three respective singers. Although it doesn't maintain the quality of its highlights, the best songs are undoubtedly some of the most charming songs this side of lackadaisical songwriting: "Robbin' Banks," "Jackknife/Red Newt," "Griselda," "What Made my Hamburger Disappear?," "Sweet Lucy," "Jealous Daddy's Death Song," and "Driving Wheel." A-
Last Round (1978):
This album was recorded when Weber and the Clamtones returned to the East Coast and reunited with Stampfel. Because Alleged in Their Own Time was mostly a recording of just the duo, this is the first proper album of the classic band lineup. Weber's carefree lifestyle just doesn't jive with the studio, so he only sings lead on three songs while Stampfel and Remailly sing the rest and write all the new material. The redos of old material don't reveal much while the new songs usually aren't very inspired because the big lineup never quite sounds comfortable in the studio. Unfortunately, for the album that finally brings the whole band together, the three best tracks ("Oriental Lady, "Sweet William," and "Silly Boys") are stripped down solo numbers by Stampfel and Remailly. B-
Peter Stampfel and the Bottlecaps: People's Republic of Rock n' Roll (1989):
With much more studio polish and the most complex arrangements and recordings that Stampfel has put his name too, this is an interesting project. Although never as commercial as They Might Be Giants, the Bottecaps are similarly quirky and living in their own world. Whenever Stampfel's inspiration strikes, I'm perfectly comfortable submitting to his worldview. But this album doesn't have any classics to elevate the charming gibberish. It's a step in the right direction, but perhaps his next one will be the one worth returning to. B
Peter Stampfel and the Bottlecaps: Demo '84 (2020):
Stampfel formed a rock band, the Bottlecaps, after the Rounders left for the West Coast and they released their eponymous debut in 1986. Because streaming platforms and even YouTube don't have this debut available for listening, I'm stuck with these demos, which supposedly aren't too different from the final album, that were recorded the same year as their debut. Although there are a number of weird and purposefully funny lyrics, the demos leave more to long for. Part of it would come from additional studio polish, more would come from more focused songwriting. B-
Too Much Fun! (1999):
As Stampfel and Weber's first recorded collaboration since 1979 when they did Going Fast Nowhere (didn't get a chance to listen to it because it wasn't available anywhere online), Too Much Fun! is a stripped-back recording, with longtime Rounders bassist Dave Reisch and slide guitarist Don Rooke joining infrequently. Because a small band is generally how their talents are best heard, the album offers a few great tracks. Although there are only a few new songwriting efforts, there are hardly any familiar songs to longtime Rounders fans, with only three songs I recognize. Best of all, "Happy Rolling Cowboy," "Penny's Farm," and "Precious Jewel" are excellent traditional songs with wacky arrangements that would have felt right at home on their debut. Weber's voice has lost some of its power and he isn't as unfathomably charming as he used to be but with Stampfel at the wheel, the album stays on track and offers the band's most enjoyable front-to-back album since their second LP. B+
