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Red Red Meat-Bunny Gets Paid-(Remastered)-2CD-2009-KzT

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Torrent File Content (24 files)

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Red_Red_Meat-Bunny_Gets_Paid-(Remastered)-2CD-2009-KzT



1. Carpet of Horses

2. Chain Chain Chain

3. Rosewood, Wax, Voltz + Glitter

4. Buttered

5. Gauze

6. Idiot Sun

7. Variations On Nadia's Theme

8. Oxtail

9. Sad Cadillac

10. Taxidermy Blues In Reverse

11. There's Always Tomorrow

12. Chain Chain Chain (4-track demo)

13. Idiot Son (single version)

14. Words (Low cover)

15. Mousish (Dub mix)

16. Carpet of Horses (Cleversly version)

17. St Anthony's Jawbone

18. Wishing



Bunny Gets Paid catches Red Red Meat three-quarters of the way through its deconstruction of blues rock, its tempos
slowed, its textures murkier and more ruminative than on Jimmywine Majestic, its temperature much cooler than the
hard-kicking, slide-stinging roots rock of, say, “Smokey Mountain Double Dip.” Instead, Bunny pursues a
gritty, world-weary, wandering sort of aesthetic, song structure subordinated to slow-moving sonic exploration. Red Red
Meat fans argue about whether Bunny Gets Paid represents an advance or retreat from Jimmywine, and the answer seems to
depend on how badly you want Red Red Meats songs to be songs, rather than fever dreams, filmic landscapes or
hallucinations.



Consider how the album starts on “Carpet of Horses,” with a series of slow blues chords that ebb and recede,
a solitary bent note ending each phrase, hanging on endlessly after it’s struck. It’s more like a warm up
than an introduction, hesitantly sketching mood but not giving away any melody. Rutili’s voice, when it comes, is
similarly hushed, pocked with silences, tentative, buried even here under the barest mesh of sounds. The song builds at
a glacial pace, taking shape from a confluence of murmurs, chords and rhythms, until it fully inhabits its space. The
reissue’s alternate version of “Carpet of Horses,” call the “Cleversly” version, is, in
many ways more accessible, faster by a slight margin, and anchored by the hard distortion of bass, the booming kick of
drums. It turns into a recognizable song almost immediately, while the album version coalesces only gradually out of
wreathes of smoke. The alternate shows that Red Red Meat could have made a fairly conventional song out of “Carpet
of Horses,” but elected not to. Obscurity over clarity, evocation over description, texture over narrative, Bunny
Gets Paid makes the difficult choice every time.



These difficulties extend notably to the production. The album, even in its remastered iteration, is crusted over with
dirt and static. Non-musical sounds like someone coughing (“Carpet of Horse”), a phone ringing
(“Gauze”) and the low hum of idle amplifiers (everywhere) are allowed to flourish in the margins. The
microphones often seem to be focused on the wrong things, forcing you to hear incidental sounds up front, while
obscuring melody-carrying elements like guitar or voice. And silence – or at least the sound of a room with no one
playing – is the unacknowledged sixth member of Red Red Meat. These songs are full of negative space, not quiet
exactly, but the interstices between musical ideas.



The remastered, repackaged reissue includes a second bonus disc of material – a 4-track demo of “Chain Chain
Chain,” the alternate “Carpet of Horses,” the single version of “Idiot Son” and some cuts
that may be wholly new, even to long-time fans. A cover of Low’s “Words” is eerily predictive of
Sparhawk’s later, electrified approach on albums like The Great Destroyer and last year’s Retribution Gospel
Choir. A closing version of Flock of Seagulls “Wishing,” crusted with distortion and sung in a whiskey
croak, unexpectedly coaxes vulnerability and soul out of a new wave chestnut. (Rutili has always had a penchant for
imbuing silly, commercially-successful songs with heart. The original Bunny Gets Paid ends with a quite affecting take
on “There’s Always Tomorrow”, from the clay-mation Rudolph the Red Nosed Raindeer, and he once sang a
whole verse of Cher’s “Believe” to me on the phone during an interview, surreal but much more
interesting than the original.) The big find, though is the previously unreleased “St. Anthony’s
Jawbone,” a sweaty, swaggering hulk of a blues-rock song, with blaring, funk saxophones bursting from its
overstuffed seams.



The additional materials only confirm what the maddening, difficult and ultimately wonderful body of Bunny Gets Paid
suggests. None of the songs are immediately obvious –even the live-sounding, country-raver “Rosewood, Stax,
Volts and Glitter” is hidden behind a screen of echo and distortion – and, as a result, all reward repeat
listening. I wouldn’t be surprised if no one simply likes this album. It either changes your life or leaves you
cold.



By Jennifer Kelly

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