What Are They Saying About C. Goff III?

One Twenty Twenty One

A supreme oddity by American sound maverick Charles Rice Goff III, a stalwart of the 1990s DIY cassette scene, still very much active today. One Twenty Twenty One consists of live improvisations recorded during Joe Biden’s inauguration ceremony on 20th January 2021 plus heavily processed vocal excerpts from the radio broadcast of the same ceremony. Played on various Korg and Moog keyboards, the music was originally recorded on a Tascam 4-track cassette recorder and later expertly mixed-down digitally. The 40mn continuous track is actually an assemblage of various themes, sequences and textures where the constant flow of Kosmische musik synth and weird vocal utterings combine for a highly Surrealist, LSD-infused experience, the craziest music I’ve heard in a long while.

Review by Laurent Fairon (Continuo), Continuo's Documents, March, 2021

Swinging From Loose Hinges

My introduction to the wild, whacky, wonderful world of Charles Rice Goff III was in 2001 when he submitted a CD by his band the Magic Potty Babies for review in my online zine Aural Innovations. My positive response to what I described at the time as "cosmic but crazy, meditational but chaotic", and my inclusion of the album on my Best of 2001 list, led to what has been an 18 years and still counting journey into the work of an artist who sounds like no one but himself (and that includes his many band projects).

Regular visitors to the EC site will recall a few songs inspired by The Doors that Charles posted in recent months. If you enjoyed those then you'll be tickled to know that he has now released a full nine song album. And you'll know exactly what I mean when I say that Charles doesn't "cover" Doors songs. As he says in the notes to the Swinging From Loose Hinges collection, "The interpretations presented here showcase how the Doors' approaches to composition, performance, experimentation, and expression, affect me as an artist, right here in the 21st Century. While these recordings all contain elements of their antecedents, they each have a life of their own."

The "right here in the 21st Century" part is important to note, because Charles explains that the Doors have been a powerful life-long inspiration, having recorded the first album of contemporary music he ever possessed (he was 8 years old, now 60). I like to get immersed in an artist's music. And I mean reeeeeally get my brain matter all gnarly wrapped around an album. And Charles make immersion enticing with his penchant for detailed album and track notes. The music? Come with meeeeeeee.

The set opens with "Moonlight Drive". Charles plays the song acoustic guitar singer/songwriter style, retaining the light, whimsical nature of the original as he embellishes the proceedings with trippy ambient waves, mystical melody and bells, and oddball percussion. After about three minutes the music briefly full band rocks out before receding into a pastorally spaced out finale. Charles' take on The Doors' "My Wild Love" hews closely to the lazy tribal chant of the original, but colors the vocal/percussion core with electronic splashes, soundscapes, spectral choir, and other fun effects. I love the alien bubbling/gurgling/symphonic electronics, keyboard melody, and guitar on "The Unknown Soldier", creating a nicely flowing song that's chock full of collage craftsmanship and oodles of freaky effects fun.

"Wishful Sinful" is all Goff. He starts off like he's going to do "Touch Me", but then starts to recite other Morrison lyrics and layers in collaged vocals from, hold on to your hats - The Book of Revelations. The music then melts into a dreamily pop rocking version of "Wishful Sinful". I love the way Charles creates the pop-orchestral elements of the song. There's lots of lysergic montage effects fun, and near the end we briefly descend into psychedelic darkness and then, finally, a brief but lulling acoustic finale. Lots going on here, with many twists and turns, and Charles makes it flow seamlessly. I had no idea until reading Charles' track notes that The Doors' "L'America", which was on the L.A. Woman album, was originally written to be part of the soundtrack to Michelangelo Antonioni's 1970 movie Zabriskie Point, though Antonioni rejected it. Interesting historical factoid. Charles begins with the vocals to the song, peppering it with jittery electronics. But it soon starts to alternate between and blend with a succession of psychedelic dreamland and quirkily eccentric themes.

"The Crystal Ship" is one of my personal favorite Doors songs. It's so seductively and 60s psychedelically pop song mesmerizing. Charles touched on it during his rendition of "Wishful Sinful", but here takes it into experimental outer space. Charles sings the core song, though the music is like some zany but beautifully crafted avant-prog composition and includes bits of Morrison himself reciting his poetry. "Blue Sunday" is such a beautiful Doors song and includes the loveliest of guitar leads. Charles recreates the vibe of the song as only he can, sounding like an intergalactic piano bar crooner. AND, though completely different from the Robbie Krieger guitar of the original, Charles plays a luscious acoustic guitar lead, accompanied by piano and dreamily spaced out harmonies.

"Aztec Wall Of Vision" caught my attention because I didn't recognize the title and it's credited to Jim Morrison/C. Goff III. Charles explains that it's excerpted from Morrison poems that were never set to music by the Doors. The result is a stream of passionately recited poetry, supported by Frippertronic guitar, clatter percussion, and more. "When The Music's Over" is personal favorite in the Doors' catalog. It's classic West Coast 60s psych, with a soulfully grooving edge, and at nearly 11 minutes takes off into the cosmos with some killer jamming. Yet it's trademark Doors, with lots of room for the Lizard King poet to stretch out. Charles' version kicks off as an acoustic and electronic song with a slightly dissonant yet strangely lulling melody. The melody/rhythm is like a choppy, warbled march, punctuated by effects that are both searing and gurgling. It's a hell of a roller coaster ride, veering from psychedelically bucolic segments to wigged out gloms of deep space effects, creating one big passionate blend of music, vocals, effects, and creative editing.

Review by Jerry Kranitz, Electronic Cottage, July, 2019

Metal Clad Static

I like how Swayed And Half Collapsed starts off subtle and gets increasingly complex while remaining an overall laid back affair. I like the trio combo of melody, Goffotronics, and spaaaaaaace, with more fun avant-space sounds, weird voices and efx kicking in as the piece progresses. "He swayed and half collapsed AWAY... " Boom, end, nice. A Real Canoe Tipper goes into interesting different territory. I love the combination of off kilter space-dance sorta rhythms with swirling UFO efx and edgy mind-bending guitar, which later goes totally into freaky zany electro space, followed by some cool playful guitar jamming anchored by the bubbling space efx... lotsa fun!

review by Jerry Kranitz

Recording Begets Anastasis

Cool darkly quirky electronica... simultaneously robotic, dreamily flowing, melodious, electro avant-orchestral, alien buzz swarm, sci-fi soundtrack, short wave radio cosmo freaky...head spinning spaaaaaaaaced OUT!!! This was a start to finish fun one.

review by Jerry Kranitz

Recording Begets Anastasis is made for headphones. I have wonderful synthy sounds appearing and disappearing in all parts of my head. Generally the sounds are similar to whenever I'm visiting an insect colony.

review by Ken Clinger

The Idea Of Hell In The Bible

I love the way this evolves over the course of nearly an hour. It starts off innocently enough with percussive bell kinda patterns, garbled voices, drawn out drone-sighs, staccato static and radio waves and other fun sounds traipsing along. Nice combination of hallucinatory flow and off kilter contrast, as well as blend of ambience, spaced out alien freakiness, and little whacky infusions. I like the robot efx'd religious discourse and deep space intensity, all culminating in a cosmic zany orchestral soundtrack and Frippy psychy space warbling mind bender. Bit of a shock when it all cuts to your slice and dice surgery on the hell in the bible rant with urgently nervous clatter, squeaks, and zany witchy siren howls. LOTS happening that seriously fucks with the head. As always.

review by Jerry Kranitz

The Idea of Hell in the Bible is more like tapping into the radio waves of an entire planet, all at the same time. I move thru various levels and textures, having my attention drawn in one direction and then another.

review by Ken Clinger

Droned And Confused

Droned and Confused is very dreamlike (are dreams droney?). Very much a sense of floating, as various sonic entities move past, or floating past them. Tho towards the end, things become rather intense, perhaps several sonic entities in perpetual collusion.

review by Ken Clinger

Eliminating The Competition

Eliminating the Competition has more of a focused human (vocal) element, in both pieces. Most of the time, someone is speaking, tho quite often other things get in the way to attempt to obscure what is being spoken, so that there are general themes, but the speakers' intensions are often thwarted.

review by Ken Clinger

Tone Telegrams

Totally coherent sonic aesthetics. The amount of care that goes into these recordings is phenomenal. Charles Rice Goff III rewards each increase in attentiveness with sonic treats. This is serious music with a lightness, a light heartedness, that is completely free of pretensions, yet rewards any amount of serious listening (think Pauline Oliveros, classical symphonic music, the most heartfelt jazz) with revelations.

review by Eric Matchett, Gerbil Bliss

Genre Party

Ever listen to Rundgren's A Wizard, A True Star...well, first off ya need to, second this homemade, one-man show album Genre Party by CRG III is about as close to a 2nd coming of said Rundgren LP as you are likely to stumble across on ye ol' interwebs. Recorded and produced over about a year's time, one can really hear the care taken to capture the sonic details. According the artist, eight of these pieces originated via sound collaborations with tapegerm.com as well as taking inspiration from his sleep/dreams. The musicality of the album is impressive. Definitely a headphone listen and one that should appeal to a great many adventurous music fans.

review By Mr. Mom, Catch A Tomato, Teflon Beast

By way of a privileged perch at Tapegerm Collective I've had the pleasure of seeing parts of this album unfold. And by "pleasure" I mean this album tickles many of my pleasure points. It's a challenging album. Charles Goff's invention always sounds in peak form, and his invention here is constantly percolating some kind of brew or another -- and it's going to taste surprising whatever it turns out becoming. Revolution 999, for instance is a cover of the Beatles' Revolution 9. Beloved for ranging reasons by experimental music lovers, the original has a firm place in our minds and takes many of back to a different time. Goff has reinterpreted here while keeping the original's sense and feel. What I kept finding intriguing and beautiful is how Charles weaves various motifs from 9 into 999, always unexpectedly. I find myself caught up in the interplay of sounds and then harkening back to the original as a familiar theme makes an appearance. Goff calls the style of Genre Party "dada" which effectively describes the idea of a "Genre Party" -- a wild mix of genres. There is everything from twenties swing to electronics composed and melodic. It often bends decidedly off-kilter and is decidedly fun while doing so.

review by Bryan Baker, Gajoob

I'm slowly becoming goofy for Goff. I really do wonder if he's the illegitimate child of R. Stevie Moore. That said, I was in an awful funk when I starting listening to this album. The tunes pulled me out of that like Liberace at a Kool & the Gang concert. Had me laughing and stompin' along to the music.

review by Jack Hertz, Encyclotronic

Genre Party blew me away. Freakin' awesome! Cool songs, an Avant-Prog feel on much of it and lots of nifty thematic shifts throughout. But also alternately dreamy, whimsical, fun lyrics and totally freaky with killer incorporation of efx/voices/samples... everything is stitched together beautifully. I loved Revolution 999 (and got a kick out of the notes). Definitely caught the spirit of #9 and made it his own. Should send We're Going Over to Donald Trump. Made me want to grab a flag and start marching down Main Street. Adoramus Te is another where the notes caught my attention. Very interesting. I love the combination of chant vocals and sci-fi melodic-drone-song soundscapes, before melting into an orchestral and then space-symphonic segment, and then wrapping up with a Father Charles finale. Great stuff, a work of craftsmanship, seriously.

review by Jerry Kranitz, Aural Innovations

What a great album. I really can appreciate the immense amount of work it must of taken to create it. The production is seamless. You've totally mastered the MIDI software. Also, I've listened to it enough that I'm able to start focusing on the lyrics. Nice...

review by Eric Matchett, Gerbil Bliss

1914-2014: Same Game New Targets

1914-2014: Same Game New Targets is Charles Rice Goff III�s commemoration of the 100th anniversary of the start of World War I. Four of the five tracks are improvisations and one was originally created for the Silber Records released digital compilation, QRD � The Guitarists, an ambitious 55 track, 231 minute collection.

Goff�s audio tools arsenal consists of guitars, synthesizers, percussion, voice, Balinese flute, cassette player and pre-recorded cassettes, and a variety of toys and effects. Gurney Deprived Of Logic is a symphonic electronic Space-Prog gurney journey with a cosmic orchestral ebb and flow that I enjoyed. Things get even more interesting later when a slowly soloing Frippertronic styled guitar joins in, adding licks that are spaced out but jam a bit too. I think I even hear Charles� efx�d voice woven in with the space-wave synths. Sighs Of A Thirsty Flower is a cool and strange combination of bubbly Psych guitar and trippy Frippy guitar sonics, making for a freeform cauldron of somber moody Psychedelics. Maginot Lines on My Facebook is an experimental yet pleasant Space-Ambient and rhythmically playful excursion. Despite being deep in space, it reminded me of the jellyfish display at the awesome Newport, Kentucky aquarium, which from my perspective is a pretty Psychedelic experience by itself. The sounds are quicker paced than the jellies are, but it does conjure up images of the creatures slowly flitting about their seemingly choreographed aquatic ballet. Falling Fired Frozen Flaked is the track Charles contributed to the QRD Guitarists compilation. It�s a pleasantly dissonant, multi-layered Psych symphony of guitars, including weirdly Bluesy guitar and wildly raw soloing, making for quite a freaky stew. Finally, the 23 minute Hallowed Chants Of Hollow Chance is the track that, though still spaced out, brought my mind back to the WWI theme of the album. It�s an experimental collage of sound patterns, effects and guitar, all swirling, throbbing, buzzing and howling. The throb is a like a continuous plunge that is uncomfortably hypnotic. The mood is smoldering battlefield dark, ominous and chaotic, though it flows smoothly and decisively in its own turbulent way. There�s a lot happening at once, with frenzied and more carefully considered elements tooling along in tandem, creating a strange feeling of edgy intensity and mind-bending confusion. Wherever this scenario is playing out, I�m glad I�m not there, but quite enjoying the listen from the safety of another time and/or dimension. I really liked this piece, both for the image inducing experience and the cavalcade of sounds. Overall there�s much in this set that begs and rewards repeated listens.

review by Jerry Kranitz, Aural Innovations

Have Shimmy Corrected Here

Have Shimmy Corrected Here is a hodgepodge of creations by veteran hometaper Charles Rice Goff III, consisting of 4 tracks and 58 minutes of music. The Case Of The Cut Down Cut Up is a sci-fi, cut-up, film noir radio drama that Charles created for the Sample Science Moon Zero Four project and first appeared as a post at tapegerm.com. In short, it�s a riot, coming across as Sam Spade meets the Outer Limits in Ralph Records land, with Charlie Goff as the good fer nuthin� bad guy. Fun stuff indeed. Post Characteristic Crayon Daub is a Midi recorded, pleasantly melodic space-orchestral soundtrack to I don�t know what, but its passionate, intense, and playful, with a distinctly narrative feel.

The 15+ minute Fleshy Fuliform Vilok is Charles� attempt to emulate some of the moods and atmospheres of the 1973 French film Fantastic Planet. Charles created the piece for the Jack Hertz Fantastic Planet project and this is another one that first appeared at tapegerm.com. It�s a fun and freaky space trip, part soundscape and effects excursion and part avant-garde radio drama, with voice samples in French, farm animals, twisted Forbidden Planet effects, and all manner of atmospheric development, creating a cerebral glom of tape manipulation artistry and more cut up fun. I haven�t seen Fantastic Planet in years and this inspired me to put it in my Netflix queue.

Finally, Charles created the nearly 30 minute Homichlophobia (Fear Of Fog) in response to a challenge by Jack Hertz to create a �fog music� recording. Hertz rejected the piece, though his reasons zeroed in on precisely what Charles intended to create, which was to �emulate in sound the nightmarish psychological experiences spawned by fog, as it erases the physical world�s familiar guideposts from people�s sight�. It�s all very mind-bendingly spacey, cavernously claustrophobic, and spectral alien creepy. I guess this is how fog feels on the planet Lysergia.

Reviewed by Jerry Kranitz, Aural Innovations

Black And Decker Q Tips

Charles Rice Goff III is a veteran of the homemade musician underground, with a massive and varied body of work that dates back to the late 1970s. Black And Decker Q Tips is Volume 39 in the �Uncooked� series, and in the Uncooked spirit, all the music is performed solo, without the addition of effects or overdubs. The 3 track, 40 minute set was recorded on October 25, 2013 and are all unrehearsed improvisations. Charles utilizes loops to create multiple layers of accompaniment, jamming away on his Stratocaster, aided by various phaser, distortion and wah devices. He also inputs a microcassette recorder (with original tape recordings), music boxes, vibrators and toys into the guitar pickups. And to ensure you have fun at the hootenanny, he uses the following as guitar string preparations: Metal Slide, Sea Shell, Beaver Jaw/Teeth, Plectrums (Acetate, Felt, Metal), Fishing Lure, Vibrators, Marbles, Meat Tenderizer, Arrow Heads, Playing Cards.

Cordless Cerumen opens the set, with Charles jamming away in an acid-rock solo style, and this serves as the core for all the freakier spaced out soundscapes and avant-lysergic effects that slip, slide and glide along with it. Antimicrobial Carbide Teeth starts off with an eerie, warbling fuzz-drone and spacey effects, soon joined by Frippertronic inspired guitar. But Charles� take on Frippertronics includes other elements, the whole being an oddly pleasant and melodic, as well as slightly harsh and distorted, guitar and effects excursion that occupies one of the more experimental points on the space-psych axis. Random Orbit Swab struck me as being like an acid-fuzz-drone soundtrack to an avant-garde sci-fi film. It really does have an image inducing narrative quality. Charles creates waves of steadily weaving worm-like fuzz-scapes, along with anguished whining acid mind-fuck licks and other fun effects, the whole glom causing throbbing phase shifts in my brain. And for the last minute Charles goes off into what sounds like a freakout nod to Hendrix. Recommended to psychonauts who like experimental guitar improvisations that are deep in psychedelic space.

Review by Jerry Kranitz, Aural Innovations

Diminutive Dispatches

Man o man Swami Goff! DIMINUTIVE DISPATCHES is a veritable philosopher's stone full of mystical mayhem! Dreams, exorcisms, cats from the ether and Catholic paraphernalia. Inspiring and inspired, this listen takes us through the sub-cavernous consciousness of dreams both awake and asleep. I'm still processing it, but needless to say, I may need re-programming. I have to say your attempts at bringing dreamtime to the waking world are a huge success! Thank you for your insights into the making of this amazing music!

Review by Boyd Nutting, Contact Group of Experimental & Electronic Music and Noise

Just spent the afternoon unwinding to the Diminutive Dispatches. They are really not so Diminutive to me. I can tell a lot of work and patience went into this set. It is very personal, something I always admire and like about an artists work. My fave tracks currently are "Tables", "Ballad" and "Time Wiggle". I also enjoyed the from-the-heart delivery of "I'll Never Love Laughter" and the unique use of Tape Germ loops is something I've thought about doing. There's also a vicious lead guitar sample in there too.

The melodies on my favorites are memorable (and on other songs too) and the arrangements are always engrossing and while not "swinging" are compelling and interesting. The use of the third person in the liner notes perks my interest too. All in all, a fascinating listen and one I will be repeating no doubt, soon and often. Glad to finally get Time Wiggle a waggle. Great tune I sing it all the time now.

Review by Don Campau, Lonely Whistle


OK, Goff - there's no doubt about it - you've gone FAR TOO FAR this time... the descendants of Herbert (Hoover) have got you in their sights this time, no doubt... cruelty to MANtis'... on "Mantis Meal", you pretend to be playing nursery rhymes (albeit for Karloff films) and introduce our youngsters to cannibalistic scenes of one bug being eaten by the other.... pretty good parody of politicians, I thought, but entirely too graphic for malleable minds - oh, I see, that was the whole idea... make the IPOD gen-x-ers squirm with a dose of visual cruelty... ha! ha! ha! That "Trip To The Fair" gives a pretty good perspective on all us turkeys tied up in knots over the whirligig state of the economy, along with a snatch or 2 of "Animal Farm". Exit experiments in homemade sonic wonder that may not win a Grammy, but will have Granny in stitches as she watches. Excellent quality DVD for those not afraid to tackle the "same old scenes" you'd find in that town in Ohio with some new interpretations from Mr. Goff. I rate it as MOST HIGHLY RECOMMENDED, to be sure!

review by Rotcod Zzaj, Improvijazzation Nation

Sweat On A Blacksmith's Apron

1. The Ballad of William Burroughs Creek. Great way to start the album, the psuedo country thing works well, and you have a) a great story here, and b) a bony-fied classic line about "my friends in the good ol' avant-garde". I listened to this album 2.5 times while doing them dishes (it was a 16-ton load), and this line made me laugh all 3 times.
2. Ei Bod etc. Great melodies & guitar tones. Reminds me of Mike Oldfield before his output became 9/10 lame. (For me, his shark jump started after "Ommadawn".)
3. Lilly Of The West: Love this version. I think what I like best about it is its absolute musical adherence to the underlying horror in the lyrics (specifically carried by backing vocals)- something that traditional versions would obviously not deal with. Unless perhaps performed by Phantom of the Grand Ol' Opry.
4. Way Too Soon: Fun and well written lyrics, more people should realize this sort of thing. Nonetheless I always thought rebound sex was fun. And, quoth Parliament Funkadelic: "Spit don't make babies". The standout for me on this track was the slide guitar, which reminded me a bit of early '70s Dave Gilmour. Nice.
5. I Am The Law: Bizarre and interesting, in good ways, but to be honest I haven't quite got a handle on this one yet. Which sound is the groove card? What does it do? Gotta hand it to Bret, he's an inventive feller.
6. The Old Lady Of Life: totally dug it. Great lyrics, hilarious title metaphor (how often I have felt that way), and Eric's singing reminds me a bit of Roger Waters (I mean this as a compliment). Your embellishments work really well, particularly like the "boinging" jew's harp.
7. Quantrill: Like "Lilly Of The West", the music treats the subject matter properly, as the horror story it deserves to be shown for. Didn't know that much about Quantrill before reading your liner notes. Kind of typical of the whole time period that he became known as a hero. Not that I believe in hell, but at least in metaphor he and Custer could share a spit over a particularly hot BBQ.
8. H&RA: Never heard Laura Nyro, believe it or not. Needless to say I'll take this as a recommendation. A pretty melody, but for someone reason the whole piece doesn't stick in my mind as sharply as some of the other ones. Good nonetheless.
9. The Old Maid's Last Hope: dug it, coulda bin from an old Uncle John's reader but of course it's older. Very funny. The music has that dizzy, warped and sick comic sound that fits just right.
10. Hurdy Gurdy Man: Hard for me to be objective about this song, having done a version with Cold Sky (which I cut from the "Cold Sky Live at BeBop" CD but may release online some day). I like this version and it certainly goes in places the original doesn't, but I'm so attached to the original that it's difficult for me to hear this without weighing it against that (which I don't think I ought to be doing). My own version was fairly traditional sounding, just fuzzier and harder. This has melody by Donovan, music by the Art Ensemble with special guests Harry Partch and John Cage. All of whom I like; I will just have to give this more listens and let it sink in.
11. Chantey Dance In Dada Pants: one of my two favorite pieces on the album, just terrific. Great melodies, fun lyrics, just flat out good. I should have more to say about it but this seems to sum it up for me.
12. The Hands Of The Clock: My other favorite on the CD. Not only would this fit snugly into Nashville, it's just plain old good. When I really get into something I pretty much always start thinking about what I would do with it if I played it, and that happened a lot to me when listening to this CD, but most strongly with this track and "Chantey Dance". "Hands" could actually work really well with a heavy, fuzzy country/psych feel. Probably kinda overblown but whatthafuk. Massively good, bra. Even if it was meant as a joke it still kicks serious butt, much like the Turtles "Eleanor", which was definitely meant as a parody but succeeded too well as a killer pop tune.

review by Greg Segal, Phantom Airship

No one can ever accuse this magazine of not having an "open review" policy... CRG III's been sending us his crafts for eons now, & SOABA is one of the best ever... there's even a "country flavor" on parts of the CD (which might be something you'd expect with an album title like that. Rampant talent shines through on the opener, "The Ballad Of Burroughs Creek"... if you can imagine a country blacksmith backed by a chorale of monks, you'll have a hint. "Lilly Of The West" makes me think that maybe Lilly was eating pieces of that cacti found in her western desert... interesting synths & "whoosh" sounds prop up the sonics for a very pleasant listen. "Quantrill" takes us in a different direction, with fuzz guitar intro that will penetrate you down to your knees! "Chantey Dance In Dada Pants" is my favorite track on the album, in great part because of the title, but the lyrics are definitely in dada-land, too, which will make it a favorite for all you "stream of consciousness" types. For anyone who loves music that's never been heard before, this gets a MOST HIGHLY RECOMMENDED!

review by Rotcod Zzaj, Improvijazzation Nation

More Little Statements About "Sweat" Or About Its Individual Pieces:

another dish of authentic folk music from a place that only exists on planet Goff...

a perfect blend of folk, electronics and dada...

a slice of Americana rewound through the Goffinator and truly warped beyond belief. Scary and compelling...

a real classic, and I can't think of anyone doing this twisted type of psych/country/traditional/avant garde...

one of the great dramatic vocalists of the DIY community. Sort of a cross between David Tomlinson and Hank Williams...

you just sound more in control -- of the voices, of the beatboxes, of the bleeps, of the bloops -- than ever before. You are running the avante gardishness -- it is not running you.

FANTASTIC. Mr. Burroughs is smiling with delight!

Pink Wooden Bodies

August 2006 brings a new feature to Farces Wanna Radio. It is the Featured Album Of The Month. In this inaugural month, the album is Charles Rice Goff IIIs new album Pink Wooden Bodies. Although you may not have heard of Charles, his output has been prodigious and nearly continuous since the 80s. Charles is part of the hometaping movement that florished in the 90s and, oddly enough, seems to still be going strong even in the age of big harddrives and YouTube.

I have been corresponding with Charles for many years now, but sadly I have never met the man. Charles has so much material, it can be imposing for the n00b. My take is that he really clicked in around 2003 or 2004, about the time I moved to Canada. Right around the time he did 7 versions of Auld Lang Syne to welcome in a new 2004. Actually, I think Hole In the Donut, a song that made me realize how computer generated music should sound came a bit before that even. Anyway, the dood is clicking along on all cylinders now and his carburetor is full of genius juice. You will notice that I havent talked much about the new record yet. I have only heard part of it once, and then my car stereo decided it didnt like the CDR. Especially speaking as someone who sends out lots of CDRs, let me just say I hate it when that happens. Based on the partial lissen, I think this may be his best yet, probably his most consistently lissenable, too. The rhythms and voice are not offputting as they have sometimes been in the past. The focus is on Goff painting impressionistically with sounds and stream-of-consciously with words. Anyways, I am sure to get better acquainted now that the songs are being cycled through the radio loop four at a time, throughout the doggyday month of August 2006. Like that man with the drugs useta say: tune in, turn on, and Goff out.

As I edit this entry, Goff's song Deep In the Cake has come up in the loop. Per the titular suggestion, the song is Deep In the Cake. People are lost in this song in a strange place, like those Superman villains in space or Homer in the real world on Simpsons or Spock in 1960s LA on Star Trek or those people vitrifying in JG Ballards The Crystal World. Final thought: Charles is also a part time Farces Wanna Mo now and I am honored to have him contributing to the new record which is being intensely labored over every weekend to slow progress nowadays.

review and thoughts by Dave Woycechowsky

I've little doubt that the (real) reason Mr. Goff sent this particular CD to me for review is that he uses a (pink, natch) Mahalo Ukelele, as well as a (pink) Mattel Barbie violin to create soundscapes for his somewhat rather rabid vocalizations... ha ha. What better sounds to write a review for.. I mean I can almost see the original natives of these islands cringing in their burial grounds as they scope out "Deep In The Cake", or "Lulled On The Shores of Atmosphere" - I mean, the waves are there - RIGHT IN yer' earlobes. Th' rhythmic contrasts on track 7, "Pisces in Peril" will make you realize how close this world is to disaster. It's been a long time since we've had the pleasure of reviewing the absolute & enchanting "odd-istry" that Charles is so fully capable of, & "Pink Wooden Bodies" will upset more applecarts than did Johnny (Appleseed). This outing earns him a HIGHLY RECOMMENDED from our ears.

review by Rotcod Zzaj, Improvijazzation Nation

Don Campau writes to Goff III: Yes, I just heard Pink Wooden Bodies this afternoon. Its another milestone. Extremely enjoyable and another highwater mark for you which immediately gets compared to "Beaten And Pureed" of your recentish releases. That one is outstanding but this one may be equally as good. Eclectic and wacky but also fully engaging and thoroughly "Goff". Your style has been even more finely honed with this CD. Of course I will have radio play for it.

Handwritten Greg Stomberg Review Of Pink Wooden Bodies on pdf file

Dada For The Twenty First Century

Last year we reviewed a whole bunch of releases by Charles Goff III, but more recently things were quiet again. This new release contains not only music, but also films. Actually it's the films that count here, it's a CDR-rom with seventeen short films in the Mpeg 1 format. Goff takes material from old films, newer documentaries, old and new photo's, original art and samples the sound from them and plays along new music. Sometimes the films are perhaps a bit too easy made using sampling of images and spoken word, such as in 'Odokta!' or a too long exerciseexcircise with lights in '333', but 'Flight Of The Dresses', with it's classical piano theme and processed choreography make a good poetic homogeneity. Or 'Cigarren', presented as a poem by Kurt Schwitters, which as nice retro twenties film and a dadaesq soundtrack. It would be a bit much to describe all the films in detail, but there are some very nice ones, as well as some lesser ones. The soundtracks are not always great, which is a pity, but the whole thing would surely do well at your local experimental film night.

Review by Frans DeWaard, Vital Weekly

Beaten And Pureed

The new CD by Charles Rice Goff III is somewhat of a milestone in the career of this home producing musician. On "Beaten and Pureed" Goff dips into a variety of styles and in fact creates a genre that is hard to define, it's pure Goff. His addition of printed lyrics and a beautifully done cover only heightens the complete experience for me.

Many of the tracks are avant pop workouts flooded with John Oswald-like sample magic. His humor is evident on several tracks such as the goofy "Sanppy Rappy" and his heartfelt ballad "Vast" is more Todd than the Rundgren cover he actually does ( "No World Order"). His voice can take a little getting used to and his keyboard based musical backings can be chaotic but ultimately they are rewarding when you allow yourself to be feted by a real person. These are well thought out songs and bear repeated listening. C3 is real, don't miss him. As creative now as he was on any of his tapes from back in the day.

Review by Don Campau

Handwritten Greg Stomberg Review Of Beaten & Pureed On PDF

Byting The Ram On The Big Digit

Last month I purchased the 2-DVD "Experimental Cinema of the 1920's and 30's", recently released by Kino Video, which includes new scores by contemporary musicians. I've done little investigation into avant-garde film but a local musician whose work I follow was one of the composers commissioned to contribute to the project which is what sparked my interest. And it proved to be quite an interesting set of short films, for the first time having the opportunity to experience early works by the likes of Man Ray, Marcel Duchamp and many others.

With these films in mind I enjoyed Charles Rice Goff III's Byting The Ram On The Big Digit audio and MPEG video set. A veteran of many years on the homemade experimental music scene, Charles has been producing some very interesting work with MPEG video married to his music and sounds. In my review of Charles' audio-visual work from earlier this year (see AI #30) I compared them to some of Graeme Whifler's Ralph Records videos. That's similarly the case with Byting The Ram On The Big Digit, though Terry Gilliam also comes to mind, plus the spirit of a lot of what I observed in the Kino set, as well as a general atmosphere of psychedelia and a good bit of Goff humor. Sometimes I felt like I was watching a documentary while under the influence of some hallucinogenic. At other times I felt like I was strolling through the Louve (my brain laced with the same drugs) and all the paintings were coming to life, jumping out from the walls, dancing and mutating. And that's the real fun of Charles' animations; this sensation of surreal paintings come to life, colors developing steadily along with the imagery.

The accompanying music covers a lot of ground, and also comes as a stand alone audio CD. It's playful, avant-garde, spacey, ambient-orchestral, and has the soundtrack quality you would expect to accompany such visuals. Charles does a great job of fitting the music with the imagery. It also includes some political commentary, which won't surprise long time fans of his work. "The Ultimate Terror" is a good example of humorous political statement, while "The Dumbing" is much more sobering.

In summary, as much as I enjoy his audio CD's, I'd say Charles is really on to something with these fuller audio-visual works. Enjoy it for freaky psychedelic visual fun to accompany the music, or dig in for a deeper multi-media experience.

review by Jerry Kranitz, Aural Innovations

Anyone who has had their brains dented by our pal Charles Goff before will now find themselves in need of complete air bag replacement... he has moved into the "video" realm, & tho' it ain't "Holly-gloss", it's very clearly a competitor for other "vid-iests" we know, like 99 Hooker! The music "behind" the graphics is seamless, woven totally into the production, & just as "odd" as we've come to expect from CRG III. Don't get me wrong... this is not "Saturday matinee" fare.... this is definitely 21st Century art, to be watched & listened to without preconception, & open to the total image he is painting for your eyes & ears.

If Charles were given the resources of a big studio, he would make something stranger than "Strangelove", I've no doubt... this CD/DVD is absolute proof of his grasp of the craft, & we're really looking forward to more productions like this from him. I give this a MOST HIGHLY RECOMMENDED, but with the caution that you must view this totally sober (at least the first time 'round), or you may find yourself so absorbed in the fantastic scenarios he's weaving that you'll wind up in the same abode that Tim Leary currently stays in (you know, the "negative image" ward). DO NOT pass this opportunity for insanity up!

review by Rotcod Zzaj, Improvijazzation Nation

Arduous Girdling

Charlie Goff is a one-man freakshow, a home-recording noise machine who specializes in archiving audio relics of the long lost 1980's cassette culture. When he's not poring over endless hours of discarded Memorex, he's locked away in his basement laboratory, composing aural hallucinations guaranteed to crawl under your skin. His two most recent CDs offer a challenge to even the most jaded local music fan.

Arduous Girdling consists of synth-heavy soundscapes in the vein of Matmos or latter-era Skinny Puppy. No new ground is broken in this genre, but Goff shows a sure and steady hand when it comes to establishing mood and intent. A supremely controlled feeling of tension connects every song on this album, drawing each element towards a climax that is somewhat predictable, yet ultimately satisfying.

Review by Rob Gillaspie, The Lawrencian

Bacterial Culture

Fasten your seatbelts kiddies because we're taking a ride with the Willie Wonka of the sound-art world. Charles Rice Goff III's Bacterial Culture consists of 18 short tracks that are loaded with his trademark surgical studio cut 'n paste and an almost urgent sense of fun. We've got all kinds of free-improv acoustic stylings with a mish-mash of voice samples layered in, from TV and radio samples and who knows what else... avant-garde orchestrations, one that seems to nod in Phillips Glass' direction but with George W. Bush babbling along with it (by no means the only political statement on the album)... proggy electronic orchestrated freakouts with lysergic voicings... an assortment of imaginative studio splice 'n dice, which anyone who has heard much of Charles' constructions will know he excels at... sound art insanity which makes for the ultimate avant-garde psychedelic experience... and on we go. The Goff palette includes music, sounds and voice samples, and the magic lies in the mix. Who needs hallucinogenics when you can simply crank this stuff into your cranium? If Dr. Demento hosted an avant-garde show Charles would be in heavy rotation.

Review by Jerry Kranitz, Aural Innovations

Each track here insert its own head further into its rectal cavity than the song before, most of which achieve this goal, leaving you banging your head against the wall, praying for it to stop. After listening to this you feel dirty. And not in a good way.

Review by Merje L�hmus, Giag

Bacterial Culture is a different beast entirely. Eighteen tracks of sample-heavy social statements (think of a less fun Negativland) that revolve around the same 1984 analogy that was already played out when Reagan took office. We all get it: Bush is evil, the whole world is DOOMED. Everyone knows this by now, and anyone who doesn't probably isn't going to hear this album anyway, so the point is moot. Goff's spooky ambience has been replaced with jarring tape loops and enough nerve-shredding repetition to drive off even the most ardent industrial purists.

Review by Rob Gillaspie, The Lawrencian


The spirit of Dada is still alive. This video CDr contains 28 short movies with soundtracks, to be played on your computer. If Kurt Schwitters was alive today this is the kind of thing he would be making instead of collages on paper. In some of the movies the paintings of Salvador Dali seem to come alive too. The movies on this release are all very different, from psychedelic shadings of colours to manipulated images from newscasts to Aboriginal cave-paintings and everything in between. Charles Goff III uses all kind of manipulation techniques to distort these images.

Also the music on this CDr shows a lot of variety. There are many synthesizers to be heard. Sometimes melodic, more often deranged. But also some short pieces of noise ("Noise Wheezer") or musical paranoia (in "The Horrors Of Drug Abuse" with images from the local head shop). Most of the music is made by Charles himself but on some tracks he is assisted by other musicians like Buzzsaw, Magic Potty Babies, Herd Of The Ether Space, Hal McGee, Mikadams, Don Campau and others.

review by Marcel Herms, Rigodon

Panaramania is a set of 28 Mpeg 1 Animations that can be played on Windows Media Player (and some DVD players, but not mine). The musical accompaniment is primarily by Charles but he gets help throughout by such usual suspect types as Buzzsaw, Mikadams, Eric Matchett, Killr Kaswan, Bret Hart, Hal McGee and Don Campau. The movies range in length from several seconds to not quite 2 minutes. We get artwork, photography and computer graphics presented, distorted and juxtaposed in a variety of ways. Some of these reminded me of the old Graeme Whifler Ralph Records videos. And political statements are exactly the kind of avant garde collage fun one might expect to visually represent Charles' audio work. Oh, and let's not forget the nude soccer.

Charles has a real flair in his use of bright colors, a good example being "Ohio Street", which stands out all the more given its depiction of anytown USA. And I really dig the RIO'ish music that accompanies it. It was fun seeing visuals added to Charles' Gerd piece, which I'd heard on a previous album. In fact, watching these movies really hits home how amenable Charles' audio work is to visual accompaniment. Similarly, "Mister Clean" got a chuckle out of me, as Charles has run more than a couple commercials through the Goff morphogrinder and the visuals are just what the doctor ordered. Honorable mention has to go to one of my favorites - "Bring Your Own Bug Powder" - on which Charles plays the William Castle horror movie theater experience showman. I got a kick out of that one. I haven't said much about the audio content, but this is an audio-visual presentation and I experienced it as such, with the music and sounds including a little bit of everything that Charles is about.

review by Jerry Kranitz, Aural Innovations

Visuals And Sonics

Visuals & Sonics is a 2 disc set, one being a DVD of images and the other a CD of music. The liner note instructions are to insert both the CD & DVD, set both to random or shuffle play, and listen and watch until bored. I ended up exchanging a couple emails with Charles after having difficulty at first figuring out how to play a DVD of jpg images. But I got it sorted out he and elaborated on his intent to see things differently each time it's viewed and heard. As he says, the idea is to get a different experience from every observation when it works as designed, so you may see new and different things every time. My instruction to observe until bored is meant to enhance the variation with every observation as well.

The result is a similar experience to Panaramania, the difference of course being instead of animations we've got a slideshow of graphics. Each successive image is completely different than the previous, and Charles does lots of fun and creative things with political themes, jabs at the advertising world, surreal and trippy psychedelic imagery, lots of cats, and I think I counted 3 images of Peter Gabriel. Oh, and did you know that Charles is one of the Power Puff Girls? I recently watched a DVD of the Beatles' Yellow Submarine and some of the succession of imagery on Visuals & Sonics reminded me of that film. Another difference from Panaramania is the more powerful role the music played for me. It's darkly atmospheric, spacey, quirky, sometimes somber, and sometimes intense. I'd recommend both of these releases to sound art fans who would like some visual accompaniment for a change, and pretty much anyone who would appreciate a creative visual and audio art experience.

review by Jerry Kranitz, Aural Innovations

Coo Sticky

C. Goff III Sculpts With Eric Matchett, Mikadams, Killr Kaswan, Hal McGee, Eric Wallack, Brian Noring, Bret Hart, Mark Kissinger, Buzzsaw, Don Campau

COO STICKY is a beautiful and relentless mind-fuck from start to finish. A perfectly assembled/processed avalanche of mystery sound that left me feeling buried in a subliminal snow-slide with only one leg protruding for the Saint Bernards. Way too much to absorb in one sitting and I need to go back and take it all in again a few tracks at a time.

Some of my initial favorites: Macromolecular; Little Purple Pills (fascinating narrative made even more mesmerizing by the accompanying music/sounds); Holes (laughed out loud on this one); Bland and Stewed (exceptional lyrics); Fiber Con (loved the guitar playing, and interesting that I received a CD from another friend several months ago with a song entitled "Reagan Was Right About Something", also about media influence); Randomize (generates a remarkable and pretty much impossible-to-describe effect; should definitely be listened to with headphones; hypnotic); World Bank Boogie; Contradictions (more great guitar/mysterious lyrics). The sleeve art is every bit as hip-weird-cool as the music it adorns.

Goff continues to be a shining example of what the underground music scene is, and should be, all about...and I look forward to opportunities where I can say to people, "Did you say 'creativity'? Here...let me show you what creativity's all about." And then I'll shove this CD in their hands and wait for them to come back shaking their heads.

review by Mark Kissinger

Coo Sticky consists of 26 tracks of various collaborations between Charles Rice Goff III and Eric Matchett, Killr Kaswan, Mike Adams, Bret Hart, Eric Wallack, Hal McGee, Brian Noring, Don Campau and Mark Kissinger. Charles produced the album by editing and mixing samples of acoustic instruments and (mostly) non-electrically created sounds to create a mish-mosh of sound-art fun. The collaborators supplied the raw sounds and Dr. Charles performed the surgery. A Bluesy Bret Hart guitar gets overlaid with strange off-key voices. The always phenomenal guitar of Eric Wallack is paired with space waves and, of course, oddball voices. Guitarist Mark Kissinger gets ganged up on by Charles, Brian Noring and Hal McGee. Hearing free-improv guitar stylings serving as the backing for Charles belting out a song with wacky lyrics is something unique indeed. Well... the burps and farts were a nice touch too. But I think the guitar tracks were definitely among my favorites as they provided fodder for some of the best blending of contrasts on the album.

We also get Charles' acoustic vocal numbers, some of which are fairly "normal" relative to the rest of the album. "Bland And Stewed" is a nice folky tune I enjoyed. "Fiber Con" stands out as what must be the dreamiest song ever sung about Spiro Agnew. "Diga Diga Doo" is a cool Bluesy boogie woogie tune. And "Little Lizard King" wins the prize for best fairy tale of the set. I'm gonna get drunk and jump up on the bar proclaiming myself a subject of the lizard king. (Of course everyone will probably just think I'm a stuck-in-the-60's Doors fan.)

Hal McGee and Charles' "Little Purple Pills" is by far the longest track of the set, and is a wild mixture of string noodlings and scratching techniques, assorted sounds, and layered rambling narrations, the robotic voice monolog being pretty hysterical despite my having difficulty following it. Another highlight is the tribal, spacey, mindfucked "Beyond The Onion" by Charles, Hal and Mark Kissinger.

In summary, I give Coo Sticky an A+ for being completely nuts and having loosened me up after a long crappy day at work. It's a big glom of weirdness in which all the many pieces somehow seem to fit together like a glove. Of course you have to approach this with a sense of fun and appreciation for the kind of wild eyed tape editing that chuckles to itself knowing that it's creating something weird but putting a tremendous amount of craft and care into the process. Carnival groupies will love this album. Sound-art and tape manipulation fans will find much to enjoy too.

review by Jerry Kranitz, Aural Innovations

I've finally made the time to give Coo Sticky several close, uninterrupted listens and I have to say it's one of the most compelling and rewarding recordings I've ever heard. It's one of those records that continues to yield new suprises with each spin - it's complex and full of subtle (and not so subtle detail). Aurally and conceptually challenging, Coo Sticky holds together as a complete narrative and despite the input from so many different artists, it has an overall unity and connectedness that holds it all together. This is a REALLY important record that MANY people NEED to hear.

review by Eric Wallack

A highly inventive, really super creative work. Entertaining as hell. And it holds together well as a whole, thematically, conceptually and sound-wise. A smooth listening experience with lots of variety. I am blown away by "Little Purple Pills". Whoa, what a great piece of sound work. I think it's the best piece on the cd -- and not just because I am on it / in it... complex, rich in associations, fuckin weird, and humorous. Brilliant stuff. I bow to Goff on this one. The whole "Fiber Con" routine is funny and is "right on" -- I couldn't agree more. The bit with the excerpt of Agnew's speech is the best manifestation of this set of routines. I would promote the hell out of this cd. It might very well be the ultimate Charlie album. Seriously. it has everything going for it.

review by Hal McGee

Here we go again. Another adventure into the land of surprise, aural orgasms, astounding sounds and yes, amazing journeys. Twenty six tracks, each one a veritable galaxy of samples, effects, superbly clever editing and the odd musical instrument thrown in for good measure. As is often the case, the influence of The Residents is more than hinted at, especially with the odd vocals on here. It's incredibly difficult knowing really where to begin as a lot of the tracks seem to blend and merge, but all the colours of the rainbow, as well as some off the spectrum, are all here for the taking. A fantastic experimental aural drive-by.

review by Dave Hughes, Modern Dance

The fidelity is fantastic, the editing is razor sharp, the balance and sequencing very good. I do not sense a theme per se but the underlying acoustic nature was a good idea to spring from. Goff's vocals have reached a comfy spot for me, this is some of his strongest singing.

review by Don Campau

Last week I reviewed a CDR release by Hal McGee who collaborated with Bret Hart and Charles Rice Goff III and from the latter I just received a CDR released from his own Taped Rugs Productions. Goff has been producing 'avant recordings' since the late 1970's under his own name, as well as such names as Disism, Herd of the Ether Space, Turkey Makes Me Sleepy, and others. Here he works together with a whole bunch of people who send him raw sound material to use, including Hal McGee and Bret Hart. Since this is my first encounter with Goff's music, I don't know if this is representative for his 'avant recordings'. Generally speaking this is completely outsider music, alternative strumming of guitars, coupled with vocal/speech samples and eerie electronics coupled with strange, naive percussion. A whole range of alternative popmusic drops by, from The Residents to Half Japanese to R. Stevie Moore. It's certainly a most curious bunch of music that is actually quite pleasant to hear. The only problem might be that it is at twenty-six tracks maybe a long CD. Like with so many of these things, it's not necessary to put seventy minutes of music, whereas forty minutes would have been a pretty strong CD too.

review by Frans DeWaard, Vital Weekly

Why are amateurish creations sometimes charming? Is it because we are so used to all the errors and wrinkles of real life being removed, that sometimes when music or art revels in its 'wrongs', in its non-professional standards that the effect can be a refreshing change. COO STICKY presents us with an hour and ten minutes of willfully naive acoustic guitar tracks, plundered voices and computers reading out the dream diaries of dope-heads. The easiest musical comparison is that of The Sun City Girls and in a similar way this release can be at times both desperately annoying and deliciously appealing.

Charles Rice Goff III and his many collaborators construct short tracks approximating songs with a few soundscape noises but mostly the album seems composed of acoustic instruments that have either been electronically treated or just very badly recorded. Voices are prominent with the stories and word games seeming to supersede traditional lyrics. When the tracks are successful, the irrelevant joy of COO STICKY comes across very well, but with titles like 'Beyond the onion' 'Brainoyed Buzzsaw' and 'Diga Diga Doo 3' it would suggest that this album is a joke most of the time. Unfortunately this playfulness can also act as a barrier to stop the listener from really looking behind the jokes.

The aspects of otherworldliness, wonder and mystery that the lyrics and sound suggest are difficult to penetrate, because of the unbalanced emphasis on irony. This is a shame because there is plenty to be had behind the jokes. COO STICKY is an oddity that annoyed as much as it entertained.

review by Mark Mclaren, Furtherfield

Christmas Songs

Noel Porter's Holiday Collection / Laughing All The Way

Good ol' Charles Rice Goff III is a veritable factory when it comes to music. I hate to use the word, churn, but he does have one hell of a busy schedule of releases. Check out his Taped Rugs Production website (www.geocities.com/padukem) to see what I mean! I think he's released more albums than EMI. Anyways, what could be classed as an Aural Xmas Card contains the four-part Noel Porter's Holiday Collection, and the five-part Laughing All The Way. It has to be said that hardcore Residents fans will love the Noel part, it's heavy going, for sure. Overlayered vocals and odd, strange guitar parts combine to give us a glimpse into Bedlam. Laughing All The Way is one hell of an alternative Xmas album to be playing as the kids (or parents) open the pressies. I'd probably need the rest of the mag to describe the stuff that's going on... needless to say, this is weird, well weird, but... fun.

Review by Dave Hughes, Modern Dance

Here's a split CD with some thoroughly untraditional Christmas music from the Goff archives. Noel Porter's Holiday Collection (In Four Parts) was recorded in 1983 but never released until now. It's raw stuff but will be of interest to veteran Goff fans who will enjoy hearing the young artist full of creative piss 'n vinegar. Charles jams away on guitar doing all kinds of wailing freakouts and some guitar stuff that sounds influenced by Fripp from his earliest excursions with Eno. But along with this is Charles singing Christmas songs in a variety of voices and lovingly demolishing them. It's a great mixture of sonic insanity and comic relief. The lengthy part 2 has a segment that sounds like The Residents' Eskimo album with Up on the housetop, good Saint Nick lyrics that abruptly transitions to multi-layered street carnival madness. Charles layers in the singing too, and does so in some pretty wild ways, at one point turning Christmas into a surreal ethno tribal tape mish-mash thing. We also get what must be the most frantic "Jingle Bells" delivery ever recorded. The young Charles is all over the place but clearly exploring the creative possibilities of the tape recorder and doing some impressively outrageous stuff. And as I recall where I was at in my listening (and substance use) in 1983, having had the chance to hear this would have been quite a mind blower.

Fast forward a decade and Charles is still paying his respects to Christmas traditions. Laughing All The Way (Five Jingle Bells) was originally released on cassette in 1993 and features... you guessed it... five uniquely Goff interpretations of "Jingle Bells". On the surface it sounds like "Classical Jingle Bells" is being played as a straight acoustic guitar song. But it's embellished by weird backup bits, and also some of Charles more passionate singing, an offbeat style which I happen to be a fan of. "Celebrity Jingle Bells" sounds like a twisted tape spliced version of a Bing Crosby holiday television special. And indeed the parade of voices that bob and weave throughout the mix sound like they were indeed pulled from TV shows or holiday song record albums. "Noisey Jingle Bells" is exactly as described. Ditto for "Spacey Jingle Bells". Can you picture Robbie the Robot in a Santa Claus outfit? Finally, "Joker Jingle Bells" is pure chaotic fun that includes the old Jingle Bells, Batman smells, Robin laid an egg lyrics. This was really funny to hear because right around the same time I heard this my step-daughters 6-year old son was singing the same, having heard it at school, and was in stitches when I played the Charles version for him. The young reviewers laughing comment... That's silly papa.

review by Jerry Kranitz, Aural Innovations

Happy New Year

7 Interpretations of Auld Lang Syne

Mark Kissinger: An absolutely INCREDIBLE piece of work. Utterly description-defying, and it's hard to comment on something as mind-breakingly original as what you've produced here. But I'm getting kind of accustomed to that sort of thing from you.

Patrick Parent: For the New Year here are the seasoned greetings from CHARLES RICE GOFF III . 17 minutes long for 7 tracks. These are variations on the same theme. A great work never annoying and full of humour. Ask him a copy. I laugh each time i listen to it. Sometimes makes me think of THE RESIDENTS.

Scotty Irving: Best New Years cd ever. I like this version better than Dan Fogelberg's...

Jerry Kranitz: Some fun stuff there. How would you feel about my New Years show including ALL of them... scattered throughout the show? I'll put them on Drool Trough, which will have a nice freaky variety of music, making for a cool and strange show to ring in the new year.

Dave Woycechowsky: Sounds great. I especially like where you sing in your Todd Rundgren voice on track 3.

Buzzsaw: The cute diminutive lil' thing. All was well done and another testimnony the Goffian crafts. Trak Two, for some undefinable reason prevailed and obtained the thrill of my fancy.

Gary Fosster: Your interpretations made more sense to me than the traditional song. By the wonders of modern technology I will now start the next Eternal Fusion show with "odd lang syne".

Tim Jones: EXCELLENT New Year CD. Brilliant/unique ideas as always. We will feature tracks from it in the next batch of shows. In fact it will probably start off the new series of Alchemical Radio in the New Year.

Bret Hart: Very nice work, indeed. one of the voice treatments made my wife comment, softly, "...weeeerd....". some very spanking guitar playing as well. the variations stand apart well.

Rotcod Zzaj: 2004 will BE different 'coz o' that album. Do so WISH someone'd break into MY abode & steal my troubles away... OR, that I could do like a "Zzaj Touch" & pass 'em on to worthy criminals, just via thee finger.... heh heh.

Julia May: I would have to say I thought they were all odd language signs, in the finest sense of course. Sometimes I did find them disturbing. I really liked the lunar one.

A101 Usui Tadashi: I downloaded all and now enjoying them. Did I say my wife is the big fan of your lounge musics? She is SATISFIED, me TOO.

Dave Hughes: Great ear candy. Played it lots - reminded of a more my-kinda Residents. Superb.

Tom Bollinger: Nice work... tasty. Glad to hear you're busy and pushing that bubble further. These recordings certainly show that. What does Auld Lang Syne mean anyway? I've always wondered that?


Bloody Hell. The Residents meets Zappa in an opium lounge. Actually, this stuff is incredibly goooooood. The Zappa period we're talking here is around the Jazz From Hell, Perfect Stranger (especially Jonestown) and the Residents, well, mainly because it has that gorgeously rich inventiveness. Fourteen tracks make up this great album, and there's a mix of synths (sounding a lot like the synclavier), guitar, wind instruments and a planet-load of atmosphere. Who is, or what is Whirledly? The guy/gal sure knows how to paint some aural masterpieces here. Tracks like Fishbowled Over, Boom, Blush and Jumping Beans. A real treat for anyone who enjoys any of Zappa's more adventurous electronic instrumentals, and/or first class soundscapes of a daring nature. Many of the vocal samples he uses as well are pretty scary and add such an intensity and depth where they're used. God, this is good stuff.

Review by Dave Hughes, Modern Dance

On Whirledly, Charles offers up a set of tunes that are mostly electronic but include guitar, piano and, of course, a hodgepodge of voice samples. The atmosphere is like a dreamy lysergic carnival. I often felt like I was part of a surreal musical child's tale... though the music can be atmospheric and even somber at times. And... well... it's kinda cute... in a seriously-in-need-of-medication sorta way. Actually much of this could get the job as the demented mans Rugrats soundtrack (which Mothersbaugh is perfectly capable of but obviously can't).

The CD opens with "JH1374R", a quirky freaky tune with a nice rockin edge. The keyboard style reminds me of a lot of Carl "Nomuzic" Howard's recordings. "Boom" is similar, consisting of an interesting blend of intricate piano and percussion and voice samples that give a zany complexity to the music. "Jumping Beans" is also similar but with a cool spacey intensity. "Fishbowled Over" is a highlight that has an atmospheric orchestral sound, but there's also some cool acid guitar in the background providing an odd contrast. "Laredo Tornado" is a warped Residents styled cover of an old ELO song. "Hole In The Donut" is like a surreal children's play world that also has an old Anthony Phillips Private Parts & Pieces feel. "Touchingly Neatly Cleverly" is similar but with freaky alien sounds. "Picante" is a zany tune that gets my thumbs up as best of the set. "Marlboro" features Charles singing a heartfelt Marlboro commercial. Pretty funny. And finally, "Queen Beatle" is fun tune credited to Mercury Lennon McCartney. The music is "Killer Queen" OD'd on Valium, though the words are a collage of Beatles lyrics. Overall, one hell of a good fun set of creative songs and crazy collages.

Review by Jerry Kranitz, Aural Innovations

Okay, let me just say this to start. It sounds like an alien carnival exploded out of my keuyboard rig all over this cd (Wow, this rocks.). Okay, now that that's out of my system, I'll go on. "Tubesteak Symphony" is a wonderful, and need I say, much needed tribute to the all american cuisine (Hot Dogs), while "Marlboro" is a cool loungy smoking advertisement. Lots and lots of instrumental madness here, like what a clown's nightmares might sound like. "Queen Beatle" is a beautiful piece of rambling cover music that keeps circling in a haunted-house-muzak manner. Creatively dynamic throughout.

Review by Steve Zimmerman, Orange Entropy

Pop Psychle

Delightful disc full o' chompy nuggets, much like the liner notes describe. Lots of hooky-flavourings and pop-meanderings here. 17 cuts here, with oft-time arrangements sounding like a delightful amalgam of Early White Noise (if you know the stuff, then you know the STUFF) and Joseph Byrd's bastard twin brother on some of those newer designer drugs that even he didn't know about in the 60's, From multiple (yes, I said Multiple) tunes about baseball (I missed much of Rickey Henderson glory as well.) to a go-for-it-in-your-face-not-quite-what-you'd-expect-but-ya-keep-on-listening blues number (Union Blues), this is quite a dandy release, sure to please just about everyone that actually tunes in. Thumbs way the hell up.

Review by Steve Zimmerman, Orange Entropy


-Re is a compilation of music recorded by Charles in 1979-1980, plus one lengthy track from 1984. There's lots of interesting ideas here and having been immersed in Charles' music I enjoyed hearing the budding creative spirit experimenting and exploring with all the ideas that were clearly swimming around in his head. Charles covers varied territory that includes Fripp/Eno styled loops and other guitar experimentations, electronic space excursions, free-improvisation, freaky layered collages of sound, and artsy oddball songs. I really like Charles' vocal style which brings to mind an avant-garde version of Bill Murray's classic lounge singer. "Hallways Of Always" is a standout with its intriguing blend of strained guitar, song, and bang-clang percussion ensemble. "Truth Lies In Trust" gets pretty crazy as Charles has an out of control crying fit accompanied by shooting electronics which sound like a beehive that got whacked with a baseball bat.

"Doublespeak" is a 42 minute tape collage political commentary with racism, the inequalities of American styled democracy, and general policy tomfoolery as the focus. The title of the track seems apt as we're treated to tapes of what sounds like Richard Nixon are played alongside a preaching Jesse Jackson, ads for the sicko conservative Washington Times, and oodles of speeches and discussions. Music is a secondary element, but among the bits that crop up are wailing free-jazz sax and winds, melodic guitar patterns, Beefheart styled guitar, Frippoid guitar, and other fun sounds. This was probably heavy stuff in 1984 when hometaping was just becoming widespread and artists realized what huge statements they could make with a little imaginative (and devilish) cut and splice.

Review by Jerry Kranitz, Aural Innovations

OK, finally listened to -Re. I really dug "Newscene At Six"- it reminded me of my favorite work by Ralph Lundsten, back in his early days before he got cheesy. Goff's working with sounds and sound frequencies there in a way most people wouldn't expect. Also seriously dug "The Space At Night"- really creative use of guitar there, and I like the way it went from the clicking textures into wailed notes. "Toothpaste" is fun, has a very nice squiggly quality. Love the way it builds- excellent. "Hallways of Always" was a surprise- almost like Frippertronics meets Beefheart (although of course the vocal style is much different- don't know if I've heard anything like it, actually). And I like the kitchen percussion. (Great sounds.) "Truth Lies In Trust"...really liked the high-end guitar sounds on that, like insects or heat waves rising off asphalt or buzzing power lines. The crying at the end actually gave me "White Noise" flashbacks. "Frozen Stasis" is very distant, primitive and warped sounding- excellent. "Radial" is really nice- it's the kind of thing I can imagine Kandinsky or Miro doing if they'd been musicians. And "Doublespeak"....massive. A really adventurous and very well done piece. (What a flashback to hear all the old politico-speech. Never heard the Nixon one!) It's like an album all by itself.

This is a great collection. There's a "pure sound" aspect to these recordings that I really enjoy. I was left with a really good feeling at the end of the CD, a feeling I only get after spending some soaking up real art.

Review by Greg Segal

Foraged For, Found, & Forged

A glorious descent into the crawlspace "under the ether". CRG has provided (many of) us with sonic onslaughts to appendages aural for a whole collection of years now. This outing features some amazing "cutups" based on loops of radio shows, jazz clips, "hound-dawgs from Hell", with even a burp or 2 tossed in for good measure. The listener must be dedicated to insanity, or will walk away with such a jaded sense of reality that they will put the "leathernecks" in their community to shame. Track 6, "Dressing For Sex", is my favorite cut on the album, for the haunting qualities as well as the title. If you've never heard CRG III before, this is th' one to start with. VERY well recorded, some of the best work I've ever heard him do. This gets a HIGHLY RECOMMENDED from us, especially for those who are on the verge of a visit to thee asylum.

Review by Rotcod Zzaj, Improvijazzation Nation #55

Vulnerable & Volatile

Here's something quite different. A set that features Charles singing songs and playing acoustic guitar. I wasn't prepared for serious and personal songs but that's certainly what these are. The music is accessible relative to much of Charles' work, though he throws a lot of passionate weirdness into the mix along with just enough dissonance in the guitar to give the songs an off-kilter edge. Charles also does a couple cover tunes. "Depend On Me" is written by Gordy-Robinson, and while I don't know the song I'm going to guess it's an old Smokey Robinson song. Some passionate crooning on this one. And "Wouldn't Have Made Any Difference" is a Todd Rundgren song I didn't recognize, though a quick web search revealed it's from the Almost Famous soundtrack. Actually there's lots of nice guitar here if you can tune yourself into the lo-fi song thing. And I've been growing fond of Charles' singing style so I found the simple combination of vocals and acoustic guitar to work well. It's definitely not the place to start exploring Charles' music. But it's a nice set of songs and certainly a refreshing alternative to the mass market singer/songwriter molded to perfection.

Review by Jerry Kranitz, Aural Innovations

Bean Dip Yo Yo

Charles Rice Goff III, aka Swami Loopynanda, has spent his entire musical career as a prodigious and obsessive hometaper, making in various guises, releasing (on his own Taped Rugs Productions label), and swapping tapes of experimental music with other hometapers from around the world. Since the early '90s, he has also worked under his own name, building sound collages out of tape loops. Bean Dip Yo Yo is a compilation of some of those pieces covering the years 1992 to 1999. Despite the time span, the chosen compositions have a sonic cohesion due in part to Goff's distinctly warped worldview, or more correctly, his ability to imagine a warped world and bring it to life like a {%Frankenstein} monster. The songs are inspired amalgams that serve the same overall purpose: creating an alternate universe from virtually nothing. That alternate dimension is part machine-age grind and part stoned ganja stomp, but it is especially a disturbingly militaristic sci-fi dreamscape full of paranoia and impending dread. The fact that it has a deep-seeded sense of humor about itself contributes to the subversiveness of the whole undertaking. "Magic Potty Baby," for instance, marries a corny baby doll commercial from television with an insurgent house beat, but by replaying certain key phrases ("squeeze your potty baby!") ad infinitum, it turns an innocent bit of pop culture detritus into a kind of frightening comment on that culture similar to Aphex Twin in a relentlessly stalking song such as "Milkman." The type of electronic music that Goff's pieces most recall, though, is early Detroit techno. "Orange Nose Cones" could nearly pass for the real thing. The vibrancy in his work comes via the wickedly unconventional juxtapositions he tries. On paper, nothing logically fits together, but Goff nevertheless builds a surreal otherworld in which events take on their own rationale, at once unnervingly believable and impossibly at odds with itself, a fragmented post-apocalyptic nowhere that seems to float off in its own murky ether behind clouds of laboratory smoke.

Review by Stanton Swihart, Get Music

Bean Dip Yo Yo is a compilation of Charles' solo recordings from 1992-1999. It's packed with good fun songs and Charles' trademark creative use of voice samples. Listening to the 14 tracks on this CD I couldn't help but imagine a scenario in which the TV Land channel hired the Residents to record music to go along with all the old television shows and commercials they broadcast. Among the highlights is "Hall Crazy" which features UFO electronics, miscellaneous sounds and efx, and repetitive percussive bits, all working together to pay tribute to the song "Bicycle Built for Two". There's plenty of robotic dancey Residents styled weirdness on "The Will Of Landru". (I love that Star Trek episode.) "Pus Wheezer" is similar and quite a catchy tune. One of my favorites among Charles' songs. "Me With A Moustache" is also similar but with garagey rock guitar soloing. "Magic Potty Baby" and "FYI" both poke fun at commercials, the former being hysterically scatological. "Fly Away" is a folky acoustic tune featuring Charles' lounge singer guy, and accompanied by ear piercing keyboards. Y'know, parts of this remind me of McCartney's "Every Day". I think Paul would dig this. "Something Strange On My Sensors" consists of rumbling drones and a generally stormy atmosphere along with Native American dance and Star Trek samples. "Serial Cannibal" is an excellent track with space electronics and intense keyboards that make for a wild combination. It's got kind of a lo-fi Magma feel. The lyrics tell the story of an early 20th century Jeffrey Dahmer/Hannibal Lector type who was imprisoned yet continued eating his fellow inmates. Finally, "Orange Nose Cones" gives us an interesting glimpse into Charles' surreal dream world. Overall, Charles covers lots of interesting territory for an enjoyably freaky time.

Review by Jerry Kranitz, Aural Innovations

One thing's for sure, come rain or shine, rock or ballad, Mr. Goff does his own thaaang. The man's been going now for over twenty years, and although I've only heard a smidgeon of what he's released, I like what I hear. It's like the man's running from an off-world base, and doesn't have any contact with what's going on, which, let's face it, is no great loss sometimes! If there were any influences I could level at the man it would simply be Frank Zappa. This album was released on the Australian label Yippee Bean, and all the fourteen tracks were picked by the label owner, Tom Bollinger. Imagine, if you can, William Burroughs using his cut up technique with Zappa as artistic director and ol' Goff III realising it all. Samples of radio/tv cut in and out of the whole, with angular soundscapes from a variety of instruments, and yet they all intrigue and fascinate. The earliest pieces hail from 1991, taking us up to 1999. You realise, though, that since 1999, Goff III has probably written and produced another 500 albums. Amazing stuff.

Review by Dave Hughes, Modern Dance

Charlie lives in a real strange universe , a rather devolved one really, a place where anything can and will happen. Disjointed rhytmic craziness, some found sound, a wailing falsetto Mr Goff, an odd pop sensibility underlined with a child like go- for- the- gusto experimentalism. If you crossed Stockhausen with Todd Rundgren you might not be far off. This one is on the Yippie Bean label from Australia. There are some pieces here that tend to bemoan a point (sorry can't quite read the song titles on the back of the CD) and could probably be edited. A plentiful, modern psychedelic trip.

Review by Don Campau

14-track retrospective of experimental John Cagery spanning 1991-99. Goff is known for his work as a member of Turkey Makes Me Sleepy, Herd of the Ether Space and as a solo artist. So what are the tracks like? Most feature askew samples looped to infinity and backdropped by odd vocal samples of, uh, whatever. Sometimes tending toward the musical though seemingly unintentionally. "Magic Potty Baby" is a scatological sound collage based around a commercial for a girls' toy. A one-man orchestra of found sound. "Fly Away" offers some unaccompanied guitar strummage and totally over the top singing. I've said before though probably not to you personally that Goff's got a uniquely rad voice that he should put to use more often. "Pus Wheezer" is a sped-up goof like Ween maybe. I'm a sucker for this kind of silliness (I know, I'm just a sucker period), but the chipmunk-speed line "Give me your cash, I'm so poor I need some more" makes me laugh. "Knocking at my consciousness Door" brings it full-circle for me since that was my first exposure to Goff's wackjob stylings.

Review by Ian C Stewart, Autoreverse

Under The Influences

If you've ever been arrested for D.U.I.C.G., you'll know how ridiminous it feels... I mean (on this outing,anyway), yer' listenin' to covers.... so, why didn't they arrest all those doods (I grew up with in th' '50's) who were diggin' on Wolfman Jack? Th' work Goff duz' on "Glass Onion" woulda' made that maharishi think it wuz' some kind o' grass (as in cannabis) onion this boy had smoked. Ol' Tennessee Ernie (Ford) is rollin' over in his grave when he hears th' "IIId's" rendition of "Sixteen Tons"... har. har. I nearly fell outta' my chair when I heard "It's A Family Affair" (Sly Stone? Any significance, mee-ster Goff?). This is like a "best of" album for Mr. Goff, methinks, & it will thrill those bent on bending oldies-but-goodies into shapes that are totally foreign & (prob'ly) filled with various viral thangs. We like it so much we're giving it our MOST HIGHLY RECOMMENDED rating, but if your ears aren't able to deal with adventures in listening, go sort thru th' vinyl racks.

Review by Rotcod Zzaj, Improvijazzation Nation #57


CR is still weird here but poppy too. He does some cool cover songs, Fixing A Hole, Take A Giant Step, that create new ideas for the old faves. His nasal voice can be grating, but on these numbers he works within his range nicely and sincerely. His arrangements are very creative here, almost like a lo-fi Leonard Bernstein. His own songs are perhaps not as immediately memorable but most defenitely challenging and quirky. Think Bearsville with special guest David Tudor.

Review by Don Campau

Cocktails Will Be Served

Dennis Briggs: "this time you have really outdone yourself. "Cocktails will be served" I'm sure will provide me with many hours of listening pleasure. I keep find myself whistling, "you make me feel so young."

Jack Engard: "I would have to say you hit pay dirt. Your tape gave me pleasure and laughs. Lounge and crooning (twisty styled of course) is your epiphany. For Patsy Cline it came after she sang "Crazy" and realized she was essentially a torch singer. Likewise, the timeless standards and lounge stuff seemed to capture you most fully: satirizingly tounge-in-cheek send-ups of those songs we both really have affection for (or at worst love to mock their absurdities in light of todays norms and attitudes). How amazing, just as I was thinking of Frank Zappa, "Peaches en Regalia" came on from Hot Rats. Always one of my favorite albums. Keep it up lad!!"

A101: "How dare you and another you sing with Ahmad Jamal's ultra beautiful trio? I was a dedicated fan of him before you. I have four LPs of THE trio. But it's good! Ok someday I will try the same thing with Miles Davis on My Funny Valentine.(This song is in my repertoire actually.)

Mikadams: "i feel like having a cocktail, maybe several.. and renting all the rat pack movies I can get my hands on."

Buzzsaw: "I am currently listening to the cassette and suddenly an even greater component of meself than gristle is admiration and praise. I quite love the tape, my thoughts fondling the very case. Your covers of Day by Day and MacArthur Park are glorious!"

Eric Rowland: "I paricularily enjoyed your rendition of " MacArthur Park." Inspired!!"

Don Campau: "Only heard the first track so far but I loved it! Great and fun stuff! You croon big time and I loved the "yeahs" on Feel So Young.Check out playlist below. Can't wait to report on the rest of the tape...I can't tell how how much fun I've had with the latest tape, especially in the car. Not only did I enjoy the karaoke stuff but the other original music things were cool too. "Tiny Bubbles" is classic!"

Jeff Setzecorn: "Macarthur Park!! Damn, you had us in stitches the other night. You are one twisted individual. Twisted in a good way like the rest of us. :)"

Jan Bruun: "I just listened to the tape today, very crooner-like, it's enjoyable, and Kjersti liked it too and said you have a good voice, similar to Edwin Collins (Orange Juice?)"

Lord Litter: ".. just listened twice to your W O W new tape ... EXACTLY the stuff I'm listening to at the moment when I'm not listening to the underground thingy ... always wanted to tell you should try songs like these .. your voice is perfect for that sound! ... I'm a BIG BIG fan of Nelson Riddle etc. .. you can bet I'll not just listen but sure also broadcast the tape! Some very cool Swing people active since the 40's (!!!!!!!) got in touch with me this year so that sound tops my personal charts now! I told ya I love this tape!"

Killr Mark Kaswan: "The tape is delightful. I especially enjoyed the 3 songs on the second side. Zoe really liked MacArthur Park. Aahh, that fine Goffian croon!"

Eric Gerbilbliss Matchett: "Coctails was received. I'm going to have to listen to it again. It is definitely some new for you. I don't quite know how to react to it and I think that's a good thing. It's unsettling is where I'm at with it now. It's definitely not the first thing I would play for anybody that I wanted to introduce to your music. Without taking it in the context of your other work the boldness of the experiment would be lost. Have you seen a movie called Buffalo 66? There's a scene in there that speaks to me of "Cocktails." Just a side note, the paper that you printed your booklet on really annoyed me. The little specks of goop in the paper gave me the willies. I don't know why it just did. Maryrose thought is was attractive.

Greg Stomberg: "I listened to it several times and I found it most enjoyable. Day by Day was my favorite."

Tim Jones/Terri B. (Stonepremonitions): "Cocktails Will Be Served" was playing on New Years Eve here and a few of us had heard it a couple of times before that. It's bloody excellent and extremely funny! Another GEM from Taped Rugs. If we get the opportunity to present any more radio shows, it will definitely be featured."

Norine Johnson: "Thanks for the tape. I made a big production of playing it for our New Year's Eve Party. We all agreed that was a good tape. I can relate to those songs. Does that mean I'm as old as the hills?"

Mike Bowman (MJB, Semper Lo Fi): "I've listened to 2 cocktails so far, I love it! I think its great you put Pink Floyd's tune in there!"

Chris Phinney (Harsh Reality, Mental Anguish): "Yes indeed grooved to the cocktails indeed,nice tape,got one coming back at ya in a short, Thanx muchos for it."

Tom Bollinger (Yippie Bean, Stinking Badger of Java): "Thanks for the Martini music-very cleverly done. I'm glad you waited till old blue eyes kicked it to release this one-his envy could have lead to a contract on your life."

Marcia Epstein: The images in my head - my description is like one of those viewmaster projector things, where you click the thing on the side and see a new picture. Well my pictures as I listen to your tape are like: Charlie in lounge lizard attire, microphone in hand, leaning toward the ladies; Charlie in gorilla suit, as above; and Charlie in flannel bathrobe and house slippers, as above. What can I say. It makes me smile lots.

Chad Reasoner: good tape man. on first glance i like the version of pink floyd's time. you got a great voice man... especially for this jazzie loungie stuff. either that or i'm under the influence. i like the picture on the inside cover of the last page... is that a circa highschool goff portrait? suave. not in the rico suave sort of way... more the right said fred too sexy for those sideburns kinda way.

Daisy Drew: YOU ARE AS MAD AS A TRUMPET !!! Who is THIS singing ??? is he sane ??? Sounds like Carl Wayne !! lol. Mr Cabaret !! DAY BY DAY !!!!! Are you SUPPOSED to have your audiences in fits of laughter ? silly question ! lol !!! oh dear !! SOMEONE LEFT THE CAKE OUT IN THE RAIN !!!!!!!!!!!!!! oh give me strength !!!! ROFL !

Absolutely Lumpy and Default

Midi instro a tad Zappa,a touch Residents, full on Mr Goff, Renaissance Man for the new millenium.

Review by Don Campau

Lasting Hymns

A collection of eight hymns from the turn of the last century with accompanying text. Seriously! Using the usual array of hometaper implements such as keyboards and drum machine, GOFF performs the hymns in a somewhat straightforward manner (ie-there's no screaming or anything). His singing voice is a cross between TORY Z STARBUCK (neXt rAdio) and that dude who used to sing in the UK band BREATHLESS. Great voice. "Beware Of The Bowl" is especially terrifying, though I must say I endorse the lyrics wholeheartedly: "Wine is a mocker and strong drink is raging." This is a highly unique and freaky project. GOFF's warbly voice is borderline cabaret, which is perfectly suited for the fervent religiosity of the material. And your great grandmother might dig it too! Then again...

Review by Ian C Stewart

What would it sound like if They Might Be Giants recorded a small collection of Christian Hymns? Now we know, "Lasting Hymns". The playing is delightfully cheesy (all music performed on a keyboard) and the singing holds well (in a lounge act sort of way). If you like your Hymns a little on the freakish side, make contact..

Review by Michael Breece

The Somnambulist

Opens with a Casio-frenzy version of the Beatles' "Good Morning" with all kindsa noisy shit going on, sure to raise the ire of all Beatlefans within 20 yards, as well it should. Equal parts "experimental" and "pop" with just enough of each to isolate absolutely everyone. "The Universe Within" is a ricky-ticky Goff instrumental overlaid with a prerecorded spoken, um, thing. Meanwhile "Only Yesterday" gets full noizepopassault treatment with Goff's Tory Z Starbuck-sounding voxxx and a rather sizzling synth solo that sounds rather like an electric razor. Tape thoughtfully brief at 30 minutes!

Review by Ian C. Stewart

Knocking At My Consciousness Door

Our intro to "Taped Rug Productions"... wotta' "wake-up call". A mix of wacked feedback git-fiddle, folk-rock balladeering & other madmornin' stuph. These works REQUIRE more than one listen, tho', because as "simple" as they sound, there are VOLUMES spoken here. Most ASSUREDLY an effort that stands out as RAW & classic D.I.Y. You won't mistake this for "radio plastique" from th' mass-production mill. I enjoyed the electronic sections more; in fact, Goff has a real FEEL for intermixing voxpatches. There's some serious "texture" here, & a musical bent that blends really well with the spoken parts & loops. (& those of you who read this 'zine on a reg'lar basis know that I'm not often a "fan" of purely noize spoken-word works, preferring a lil' "order" in such). If you want a taste of the '90's "one-man-band" phenomenon, GET THIS. If you're more inclined to convention, you prob'ly will have to run fer' cover on th' first few barz. Glad Charles sent this in, it's quite an "experience". RECOMMENDED.

Review by Rotcod Zzaj,Improvijazzation Nation,Issue #20

A seriously fucked affair. "Powder" is catchy in a SKINNY PUPPY kind of not-really-catchy-at-all-but-you-still-sing-along-anyway way. The rolling, bass-heavy instrumental backing is indistinct while a distorted guitar and double-tracked vocals go on about "pow pow pow powders" until you can take no more. You nod to the speakers in agreement and you say "pow pow pow powder" in defeated glee. By will power alone this song will kick your ass. "Another Song" is pure smarm, acoustic guitars and piano and double-tracked sappy vocals. The title track is a distorted exercise for Casio presets with faux mystical vocal ramblings. "Mystery History' is fiddly acoustic guitar with a vocoded casio beat and a spooky backward vocal track. "For The Love Of Marie" has a nondescript chord change with samples of numerous old women on the phone saying "I love you." Very distracting.

Review by Ian Stewart

Fluctuates between serious guitar and relaxing keyboard driven. Charles has outdone himself and has perfect timing.

Review by Gianni Santillie, Ecto

People Make The World Go Round

This Goff III guy is very reminiscent of Zappa's work in the 60's, but where Frank was notoriously virgin regarding psychedelics, CRGIII has obviously had his hand in the cookie jar. From the humor of "Taped Rugs" to the political satire of "Texas Two Step" to the skin-crawly "Half Crazy" to the social commentary of "Bleeping Song About Anger," this awesome album is a must for anyone who views music primarily as a medium of communication. Mr. Goff III has a lot to say and not only says it incredibly well, but in a style that is creative, intensely personal and uniquely his. Three thumbs up!

Review by Bob Hawks, Gajoob

Volatile Volitions

Simple sketches of rock and pop songs livened up by a wide variety of instruments and found noises, to fill out Charles' basic voice and guitar sound. It's a bit reminiscent of Daniel Johnston in simplicity and concentration on lyrics. After a while I started wishing some of the material here had been filled out and developed a bit further, though.

Review by Factsheet Five

Vaporbar Basesheet

Using strangely treated cutups of electric and acoustic guitars and plenty of uneasy to understand lyrics, Goff leads his listeners on a journey through his tormented subconsciousness. This is a great recording for relieving anxiety.

Review by Anti-System

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