Giant Robot | ||||
---|---|---|---|---|
Studio album by | ||||
Released | November 3, 1994[1] (Sony Japan) September 18, 2000 (CyberOctave) | |||
Genre | Heavy metal, experimental rock, experimental metal, hard rock, funk metal, progressive rock, spoken word | |||
Length | 73:31 | |||
Label | Sony Japan / CyberOctave | |||
Producer | Bill Laswell | |||
Buckethead chronology | ||||
|
Review scores | |
---|---|
Source | Rating |
Allmusic | [2] |
Giant Robot is the second studio album by avant-garde guitarist Buckethead (not to be confused with the 1996 Giant Robot, also featuring Buckethead) and loosely following the same "amusement park" concept as his previous album (Bucketheadland). It has some re-recorded songs from Buckethead's band Deli Creeps, as well his earlier demo tape Bucketheadland Blueprints. Giant Robot has a more professional sound than its predecessor in terms of recording and production value; the re-recorded tracks have lost their initial "basement" or "video game" sounding beats and guitar licks. As with Bucketheadland, the album was originally only released in Japan.
Unlike later Buckethead solo albums, the Bill Laswell-produced Giant Robot contains many vocal contributions from guests such as Iggy Pop, Bill Moseley, Throatrake and Julian Schnabel's kids Stella and Vito.[3] The album also features many high-profile instrumentalists such as Sly Dunbar, Bootsy Collins and Karl Berger.[4]
The reason "Binge and Grab" is noted as being an "instrumental version" is because it was originally a Deli Creeps song with lyrics by Maximum Bob. There is no known studio recording of the Deli Creeps version but there are many bootleg copies from live shows which can be found among collectors.
The track "Pure Imagination" features an introduction message that recalls Mudbone, a character that regularly appeared in the stand-up routines of comedian Richard Pryor.
The cover art features a shadow of a giant robot and sets the tone for the music on the album. The original release contained a comic inside the booklet.[5]
Overall, the music has been described as "an equally unique sound from P-Funkadelic grooves, shoddy sci-fi dialogue samples and the wickedest six-string shredding this side of Steve Vai."[6]
The album was re-issued in 2000 through CyberOctave, making it more widely available.
{{cite web}}
: CS1 maint: unfit URL (link)