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Photo by​ Amanda Koellner A few days prior to the release of his band’s ninth album, you might expect the prolific Les Claypool to be locked away in some mysterious laboratory, cooking up some kooky ideas, thick, nebulous smoke bubbling beneath his feet. But instead the Primus frontman dials in after staying the night at a bed and breakfast in the middle of New Jersey, noshing on a bowl of pistachios.

“It was this little, old lady’s house, and it smelled like mothballs,” he laughs. It’s a guttural chuckle.

A beautiful, bellowing chime that exemplifies his passion for life. But don’t think for a second that Claypool will be taking a break from his fearless rock and roll eccentricities to start crocheting doilies.

He and his wife were merely taking a day off before he returned to New York to jam with Sean Lennon, his partner in The Claypool Lennon Delirium. Between the many different lineups of Primus and his many friends and family members that contributed to the band’s success, Claypool has a lot of moving pieces and characters to remember when looking back through his 28-year catalog. Each successive album jars a few more nutty names and legendary musician pals.

With very few musicians would a guy called Flouncin’ Fred be lauded in the same breath as Tom Waits. But that’s the key to Claypool’s career: finding extraordinary, unexpected connections in music and twisting his desires into existential songwriting — and having a goddamnfucking great time doing so. Now, click ahead as Claypool takes you from Suck on This to new album, tracing his career from a cat named Tommy and a fisherman named John through to a set of goblins who steal the color out of the world. __________________________________________________________ Suck on This (1989) All the way back in 1984, Les Claypool teamed up with guitarist Todd Huth and a drum machine to become Primate.

That drum machine would be replaced by a revolving door of drummers, until a group with a similar name forced Claypool to change his band’s name, thus beginning the era of Primus. We didn’t have the money to go into the studio and make a proper record, but we had all these fans, locally. We were actually pretty popular in the area. I borrowed three thousand dollars from my father, who didn’t have a lot of money.

I said, “Dad, we have enough fans, and if we press a thousand records, I think we could sell them all!” So it was this live album, and we pressed up a thousand records, and we sold all of them. I took that money, paid him back, and then pressed up a thousand more and sold those. And then we made a thousand more and sold those. We sold the records, and he got his money back. My dad saw that we were doing well. He saw that we would fill up clubs and how the fans were very passionate. We were selling a shitload of t-shirts.

That’s how me and Ler [LaLonde] were making a living there for a while: we would print out all our own t-shirts and sell them for five bucks that day. Each show was a different t-shirt. We could get an extra hundred dollars or something per night.

Zhiznj kotoruyu vi rodilisj prozhitj knigu. So, he saw that there was something going on, and I just gave him the numbers. And then when it was obvious that things were starting to take off for us in an underground way, he signed for a loan for us to get a motor-home, so we could tour the country. He’s very cool.

Before that, every time a record label would approach us, they’d say, “You know, do you guys ever think about getting a lead singer? You ever think of maybe combing your hair like the Guns N’ Roses guys?” It was always shit like that, so we were always like, “Fuck these people.” It was always a compromise. I was never big on compromises. As a kid watching Chitty Chitty Bang Bang and all those Disney films, that shit was amazing, and it influenced my songwriting. Sapr tp vertikalj 2014 torrent. I always listened a bit harder if there was a narrative.