Oysterhead

Overview

In early 2000, Les was asked by Superfly Productions to put together a one time only power trio to play at the New Orleans Jazz Festival on 5/4/2000. The group that emerged also included Trey Anastasio of Phish on guitar and vocals, and Stewart Copeland, who used to be in the Police, on drums. For those of you surprised by the choice of musicians, the connection with Trey goes back to 1994, when Les first joined Phish onstage. The two men had remained friends since, and Les had wanted the opportunity to play more extensively with Trey for years. Les called up Trey and asked him what drummer he would want for a power trio gig. Despite the lack of obvious connection between Phish and the Police, Trey suggested that he had always wanted to play with Copeland. Unbeknownst to Trey, Stewart had produced the track Dirty Drowning Man off of Antipop, and had jammed with Primus during the making of that record. Claypool is a longtime Police fan; in fact Primus has over the years played several Police songs. Copeland was equally interested in getting back into a live band (he discusses in a Modern Drummer interview how Police reunions kept falling through and how he missed the band camaraderie and creativity), having been out of the loop of modern rock music for fifteen years. In fact, Copeland had no idea who Primus was when in 1999 he got the call to produce a song on their album. When he showed up and unpacked his drum cases (Primus had asked him to bring his gear for a jam), confetti from the last Police show in 1983 tumbled out! Likewise, Copeland had never heard of Phish until he came out to Trey's studio in Burlington and realized Phish's commercial success.

This trio jammed in Trey's barn in early 2000, then each member took home DAT tapes and used the jams to write song structures and lyrics. The group had one live warm up at the 2/21/00 Primus show in Burlington, VT, when Les invited Trey and Stewart onstage during Tweekers. The band then played its first full show during the New Orleans Jazz Festival. Apparently Copeland had wanted to cover an entire Zeppelin album, but Les had convinced him that a set of largely original material, heavy on the jamming, would be more exciting for the fans. Besides launching Oysterhead, the show held multiple rewards for Claypool. Just days after Primus had played its final show and disbanded, Les was able to demonstrate to the music community that he was moving on and forming other viable projects. Besides boosting his confidence, the connection with Trey and the Jazz Fest appearance gave Claypool instant access to the jam band community (in the next two months he would appear onstage with the Disco Biscuits, Galactic, and Ratdog, bands with whom he had previously not had any relationship).

The band had a mini reunion on 9/30/00 when the newly formed Frog Brigade and Phish (about to enter a long hiatus of its own) both came through Las Vegas. In the spring of 2001, between Frog Brigade and Trey Anastasio Band tours, Oysterhead recorded their first studio album in Trey's barn. The album was released in 10/01, and the band played a full fall tour. Chris Kuroda from Phish did the light work, which while nothing compared to a Phish show, was more interesting and creative than what one typically finds at theater-sized venues. Sets ranged from 80 min to two hours, and most songs involved extensive jams. While the new material was not particularly intricate or complex, it nicely showcased this trio's ability to creatively play in a variety of styles, from up-tempo rock to noodly ambient jamming to bluegrass. The only major shortcoming of the tour was the lack of material itself, although the improvisations and change ups in set list order kept most shows fresh.

As for the band's sound, it is an interesting blend of the three musicians' usual tones. Les, comfortable in the power trio format, plays aggressively, but his overall sound is softer and more legato, his role more supportive and dare we say traditional (Trey has said that Claypool adjusted his style to accommodate Copeland's ability to follow the guitar melodies drumistically). Copeland plays like his old aggressive self, although his drums and cymbals sound more washy and jazzy than the real crisp, high pitched tones for which he was known with the Police. Also gone are the reggae beats and octobans of yore, replaced by jazzy tom fills and amazingly powerful cymbal accents. While Les and Trey are well-known live powerhouses, many people had forgotten what an unbelievable drummer Copeland had been. Despite the passing years, his technique and absolute intensity remain awe inspiring (during the whole show, he just stares at his bandmates, totally locked into the music). His killer drum tones and stage presence (two drumsets, set up nearly level with Trey and Les) left little doubt that he was a major part of the trio's look and sound. Copeland also demonstrated his melodic and orchestral capabilities by creatively incorporating a second percussion setup into the band's music, thus increasing the trio's tonal options.

Perhaps the most interesting changes came from the guitar chair. While Trey had toured with his own trio in 1999, Oysterhead was the first time he had really played in a power trio format, particularly with such strong, stylistically well established band mates. While his solos and strong rhythm playing are reminiscent of his sound in Phish, the most glaring difference was his newfound creative use of loops and sound effects (during many a Phish show in 1999-2000, it seemed that Trey would get stuck within the constraints of the same delay effects, making many jams sound similar). Whether you loved the band or thought their individual styles did not mesh well enough, in 2001 Oysterhead provided a vehicle for Copeland to return to rock drumming, and for Claypool and Anastasio to break out of their molds.

Another point worth mentioning about the live shows was the contrast in fan base between the Phish heads that came primarily to hear Trey versus Les' fans. It was quite comic to see erstwhile Phish fans, who attempted to stake out their god-given turf ("I got here an hour early for this spot") and demanded personal space so that they could zone out, do drugs or noodle-dance. At the same time, much to the consternation of Trey and peace loving hippies, muscle-bound, male dominated Primus fans assaulted the stage during any rowdy song, threw their weight around and formed mosh pits wherever possible. This contrast in fan base extends to the virtual medium as well. A brief perusal of the show review section on phish.net yields mostly complaints (excerpted and paraphrased, with editorial commentary in italics):

·         The shows were too short and repetitive. Fans pointed out that despite all the "power trio" talk by the band members, they played very few covers of other famous power trios. And yes, these shows were not of the epic length to which Phish fans are accustomed (the best line is by a Phish reviewer, who at the end of the show keeps insisting that there is going to be a second set) - But what could be reasonably expected from a band with one album? As far as using covers to lengthen the set, it seems that the tour emphasis was on building band live chemistry (compare any fall show with the 5/4/00 debut) and working out the original material. It is probably for these reasons that there was also a conscious decision not to perform any Phish, Primus or Police songs. 

·         The band personalities did not gel, with particular reference to Claypool's 'antics' (e.g. 'strutting around the stage' and 'playing the same licks'). These are probably the most funny, yet tragic comments of all, since regardless of whether one likes Les as a musician, they demonstrate the delusions entertained by many Phish fans, for whom only their band can do no wrong. Yes, Claypool is an entertainer and quite the character. But how are his "antics" any worse than when Fishman acts like a fool, or when Trey runs laps around the stage waving a megaphone around? And yes, Claypool has a stock of licks and specific teases that he likes to play. But what musician doesn't? Also, these kinds of modules serve multiple purposes, and are not just a cheap joke at the audience's sake. For example, in Frog Brigade jams, Les often teases Dueling Banjos to alert his band mates that his bass solo is over and they should be ready for a composed section. These licks and teases are also a way to keep the audience on its toes, as if the musician was personally checking if the audience is paying attention. Let's not forget that Trey frequently resorts to certain riffs (how many times did he play the same delay loop between 1997-2000), or that Phish played their audience participation riffs (especially the Simpsons theme) repeatedly in the early to mid 1990s.

After a 5 year hiatus, Oysterhead played a reunion show in 2006 at the Bonnaroo festival.

Instrumentation

Les Claypool

Trey Anastasio

Besides his usual Paul Languedoc guitars, Trey also used the following instruments:

Stewart Copeland

Besides his regular kit, Copeland also used a percussion kit (with roto-toms, cymbals, bells, chimes and assorted percussion) on: Shadow Of A Man, Radon Balloon, Grand Pecking Order, Wield the Spade and Matterhorn/Whamola Jam.

Live Repertoire

Grand Pecking Order

Other Les Claypool Band Material

None to date.

Unreleased Originals

Covers

Teases

Vocal Teases / Lyrics

Official Video

Guest Performers

None to date.

Special Shows

Historically Important Shows

Radio/TV Appearances

Classic Shows


Frog Brigade

Overview

Claypool's main interest post-Primus (until he transitioned into the Fancy Band – see below), the Frog Brigade is a chameleon, having changed names, lineups and set lists since its inception in the summer of 2000 through 2005. Unlike Claypool’s other projects, within the context of the Brigade, Les has been able to act as a bandleader much in the same way that Frank Zappa operated. He has picked interesting musicians and varied the line ups, changed set lists to reflect the strengths and knowledge base of a given lineup, and acted as an overall impresario and master of ceremonies. The Frog Brigade remains Claypool’s most vital and prolific tool for improvisation and experimentation, and is the band that has cemented his reputation in the jam band community.

After two one-off shows, in 8/00 Les unveiled the first long-term version of the band, with the rather unwieldy name of “Colonel Les’ Claypool’s Fearless Flying Frog Brigade.” This six-piece band toured in 8/00, with sundry shows in the fall (Claypool has released live albums culled from the 10/8 and 10/9 shows, appropriately titled Live Frogs I and II). The year culminated with the first annual FrogOut, a two-day extravaganza with long sets and multiple guest stars. The same lineup reunited for a tour in Jan-Mar 2001, in the middle slot between headliner Galactic and various opening bands.

After a few June 2001 shows with changing lineups; a different, leaner Frog Brigade (with a shorter name, having dropped the “fearless” and “flying” adjectives) toured in the summer of 2001. This lineup premiered several new Claypool compositions, his first Frog Brigade songs with vocals. Fall 2001 was quiet, as Les toured with Oysterhead. The year finished with the second Frog Out.

2002 witnessed yet another stylistic change in lineup, as Mike Dillon of Critters Buggin’ joined on percussion and xylophones to augment the changing roster of drummers. There were three separate tours, a spring tour with shows scattered from April through early June, a summer tour during which Tim Alexander and Claypool reunited (!), and a fall tour. Claypool’s first solo album as a bandleader since Primus, the Purple Onion, was released in 2002. During the course of the year’s tours, the album material was incorporated into set lists. The year ended with the third FrogOut.

Les has said in interviews that the Purple Onion recordings were a new experience for him because it was the first time that he composed music without specific musicians in mind. Instead, he wrote the music regardless of instrumentation limitations, and then picked the right musicians to record it. Just like the addition of Dillon and the use of xylophones both compositionally and as a soloing instrument in concerts, this approach to writing and recording music was very reminiscent of Zappa’s work and mindset.

2003 saw a spring tour with yet another drummer (Paulo Baldi), followed by a stylistic shift as Eenor was replaced by Brian Kehoe (of MIRV fame) on guitar for the summer 2003 tour. This lineup played several shows only in 2004 and 2005 (including FrogOuts), at which time Claypool replaced Kehoe with Gabby La La, the drummer changed again (back to Jay Lane) and the band name became the Fancy Band (see their page for more info). Despite the similarity in setlists and lineup, Claypool has philosophically treated the Fancy Band as a distinct entity, as opposed to yet another version of Frog Brigade. Whether this spells an end to the Frog Brigade or not remains to be seen…

Musicians

Note: The following musicians played one-off Frog Brigade performances:

Instrumentation

Les Claypool – see Unusual Instruments
Todd Huth - acoustic guitar: Pigs On the Wing Pt I, Dogs
Mike Dillon – percussion includes xylophone, marimba, timbales, cowbells, cymbals, tabla, etc.
Eenor:

Live Repertoire

Purple Onion

Live Frogs Set 1

Culled from the first sets of the 10/8-9/00 shows, the first Frog Brigade album was released in early 2001 and won Les an award at the 2001 Jammys for best live album. Live Frogs I serves as a representative sample of the first set of fall 2000 shows, replete with long jams and Les’ gushing liner notes about the power and potential of his first touring live band since Primus.
The album includes mildly edited versions of:

NOTE: Song descriptions are under specific headings below for ease of readability and taxonomy.

Live Frogs Set 2

A complete rendition of the fall 2000 Set II performance of Pink Floyd’s Animals, recorded at the same time as Vol 1, but released in late 2001. All songs were premiered on 08/17/00 and played at every show until 12/30/00 (except for Pigs).

Note: While this is an all-cover set, it remains listed here for conceptual continuity with Live Frogs 1. All of these songs were first played by Claypool with this band.

Other Les Claypool Band Material

C2B3

Primus

Sausage

Note: All Sausage material was played on 2000 and winter 2001 tours only (See Fancy Band for more information).

Unreleased Originals

None to date. During summer 2003, the band sound checked (but never played live) an instrumental called Ancient Mariner, reportedly written by Les and Kehoe.

Released Covers