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Of the individual songs on the second side, I'd say that "I'm a Beautiful Guy" is significantly less interesting than the others (it's really dumb in melody and lyrics, though I guess that was kinda the point), while the funky "Society Pages" and the AWESOME hard rock (with vocals as loud and powerful as can be) of "Charlie's Enormous Mouth" are high points, and the rest of the tracks are all notable too.

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My bad.Joel M (12/31/06)John -Shame on you!! Did you really just let some self-professed expertschool you on jazz fusion, of all things? Never apologize for aclassification of an intangible because some loser attempts to asserthis knowledge over you. Sheesh!Of course Hot Rats is jazz fusion, and I think your definition is asgood as any. I would only add that by using rock instruments, anelement of bombast automatically enters the equation, making tone amore important (or at least more dramatic) element of jazz fusionthan in more traditional jazz. This is probably why many jazzpurists disdain jazz fusion as inelegant. Many would argue the finerpoints of this simple enough statement, but it is true enough fornow.Further, however, the silly wanker above states that Hot Rats iscompletely written. Ha!! Silly silly silly. "Willie the Pimp" isover nine minutes, and all but the first minute is an improvised solo(which I like a lot, but to each his own). "The Gumbo Variations" is16+ minutes of nothing but improvisation over a rubbery bass groove. (You could tell that, John!!) That is over half the album, leaving amere three "scripted" songs. (While I don't know for a fact, Itseems clear that parts of "Son of Mr.

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Multi-track faux-operatic rapid-fire Russell is in full-force, with a solo Russell only appearing occasionally (makingit all the more noteworthy when he does), and the music careens from "How Do I Get to Carnegie Hall?" piano to metallicheavy rock to jazzy interludes in a way that seems preposterous on first listen but makes total sense thereafter (at leastit did for me).

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The opening "Filthy Habits" has some ok parts to it, mixing blues with noisy jazz rock with occasionally decent results, but while it may be accomplished from a technical perspective (as most tracks coming from Frank's bands tend to be), it gets really tedious over seven minutes, and some of the feedback noises are awfully headache-inducing.

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"Everybody's Stupid" is pure juvenile bile in the lyrics (but all the better for it; all of the verses are glorious) set to music heavily inspired by 50s rock and doo-wop, and high-pitched "Everybody's Stupid!!!" backing vocals over the extended coda never stop being funny (if, like me, you're secretly still 14 years old inside).The other two great tracks bookend the second side and are amazing expressions of Russell/Ron's cynical attitudes towards women.

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Finally, "Coneheads" is an amusing tribute to one of the recurring Saturday Night Live acts of the late 70's (Frank had performed this song three or so years earlier on the show, and the skits had stopped running by the time this album came out), managing to make a fairly innocent sketch as suggestive as it probably could have been.The third act of the album kicks off with the title track, an uptempo rocker about a white guy who tries to make himself black, and a black guy who tries to make himself white, and how they both just make fools of themselves in the end.