Broadcasting live, skinheads bowling

Since they broke up 10 years ago, Camper van Beethoven seemed to be done for good. Its members went on to various projects including Cracker and the Monks of Doom, but CVB's blend of psychedelic-pop-country-ska (and whatever other genre the band felt like parodying/paying homage to) was not to be heard from again...until now.

One of the classic college rock bands of the '80s, CVB scored minor hits with songs like "Take the Skinheads Bowling" and their cover of Status Quo's "Pictures of Matchstick Men." After at least eight lineup changes, the band finally split for good due to proverbial "artistic differences." With the release of Camper Van Beethoven Is Dead. Long Live Camper Van Beethoven, CVB's devoted legion of fans gets to hear the first "new" material—previously unreleased live, studio, and demo tracks—since the few songs on 1993's posthumous Camper Vanti-quities collection. I specify fans here not because it's a limited or fan-club-only release, but because fans are the only ones who will purchase it, and that's the way it most likely should be. That isn't to say the album isn't immensely enjoyable; it's just that as strange as some of CVB's albums were, this is the oddest.

The first track, a droning electronic tune that would fit right in as one of the Olivia Tremor Control's "experimental" songs, is worth noting mainly for its title: "Broadcasting Live from the MCI-Worldcom-AT&T-Daimler-Chrysler-Mitsubishi-Phillips-BASF-LG-Phillip- Morris-BP-Texaco-Pfizer-AOL-Time-Warner-Boeing-Microsoft-Aeroflot- United-Yoyodyne Coliseum, Strom Thurmond City, Mars." While the song itself isn't representative of the album, the title exemplifies the band's uniquely askew sense of humor, which makes up a large part of the CVB experience. This humor also comes through musically on this album, particularly in songs like the cover of Frank Zappa's "Who Are the Brain Police?" and "S.P. 37957 Medley"; the latter is a schizophrenic instrumental that jumps between numerous melodies, from psychedelic noodling to classic rock riffs to "Hava Nagila." There are a few other gems among the album's 13 songs, including the orchestral version of "All Her Favorite Fruit," replete with sweeping violins and triumphant horns, a lush lake on a track from CVB's last album Key Lime Pie; "Klondike," a sorrowful ballad which seems to be a precursor to Cracker's "Dr. Bernice;" and what may be the band's best-ever faux-Eastern European instrumental, "L'Aguardiente."

On the insert to CVB's second LP is written: "Each and every one of these songs is intended to be at the same time a well formed and complex joke but also a very serious and heartfelt piece of music: each song is very serious, each song is very humourous." Knowing this is essential to understanding the Camper Van Beethoven sensibility and to liking this album. And so the first-time listener or non-fan may mistakenly believe the band when they sing, "We're all wasted and we're wasting all your time" on the last track. It could be difficult to get through the three pieced-together non-songs (like "Broadcasting Live..."), the fragmented medley, a "dance mix," and a general lack of the offbeat catchiness that put CVB on the map.

Despite a few recent shows by a regrouped lineup, there doesn't appear to be any chance that CVB will truly reform, yet their fans should still be thankful for the opportunity to get their hands on these hitherto unheard recordings. A few of them are essential, but all will at least leave you with a chuckle. (Pitch-a-Tent)

—Sam Engel

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