Oysterhead provides some seafood for thought October 2, 2001 - St. Louis Post-Dispatch by Daniel Durchholz In strict economic terms, does the supply of talent in the music business exceed the public demand for product (a word that few musicians would choose to describe what they'd prefer to think of as art)? On the one hand, you'd probably have to say yes, give the fact that so many albums out there go begging these days while just a few key releases keep the entire industry propped up. On the other hand, you might question just how much talent is actually in evidence, since many of the releases cranked out these days are barely worth the aluminum and plastic discs they're printed on. One thing there certainly seems to be a glut of is side projects and solo albums -- you know, the CDs released by musicians working outside their usual group, sometimes in collaboration with other players who are also in search of a new situation or source of artistic inspiration. Let's face it--you're not a made man (or woman) in the music biz these days unless you've got a side project (or two) on the back burner. No one seems more aware of this than bassist Les Claypool, whose main claim to fame was being the frontman of Primus, a group that, in a nutshell, was Rush for the "South Park" set. Though that band has seemingly split, Claypool continues to flit from one side project to another. First there was Sausage, then Colonel Les Claypool's Fearless Flying Frog Brigade, and now Oysterhead. (Say what you will about Claypool; the man's got a notebook somewhere that's just full of oddball band names.) Along for the ride this time out are guitarist/vocalist Trey Anastasio, whose group, Phish, is also on indefinite hiatus, and ex-Police drummer Stewart Copeland, who has been biding his time in recent years making movie soundtracks. On paper, it seems like an iffy proposition. Both Claypool and Anastasio's artistic sensibilities are skewed, but in completely different directions. Their prowess as players is considerable, though, and one would hope that Copeland—long one of rock's most kinetic, yet rock-steady drummers, could somehow keep the other two tethered to the earth, at least for the duration of one CD. Happily, that's pretty much how it plays out on "The Grand Pecking Order" (released today). Claypool's rubber band basslines and Anastasio's stratospheric guitar excursions keep the level of instrumental intrigue high, while Copeland turns in some of his best work in years. Problems arise, as you might imagine, in the album's lyrical content. Claypool and Anastasio are not particularly known for their linear thinking, and listening to tracks like "Little Faces," Oz Is Ever Floating" and "Army's on Ecstasy" you don't get much to hang your hat on. Claypool's lyrics tend to be off-the-cuff and full of inside jokes, while Anastasio's seem to be sketched out immediately after waking from feverish dreams. Neither of the two is a particularly great vocalist, either. But it's the music and overall vibe of the album that carries the day here, from the deep grooves of "Mr. Oysterhead" to the lighter touch on "Radon Balloon" and the swinging "Rubberneck Lions" (Copeland really shines on this track). As with most side projects, this "The Grand Pecking Order" is most likely for diehard fans of the participants, nevermind about mainstream acceptance. That may go against conventional economic thinking, but for now, at least, it seems to be working for this exceedingly unconventional trio.