Heard it all before?

Maybe. But not all in the same place, I'll warrant. A sprawling car-accident of a record designed to alienate almost everyone but the confirmed Camper fan, II & III should be listened to in its entirety for full effect (this was released back when albums were albums). Nearly every one of their other "proper" albums is better than this one, but this is still a fascinating document of a still exciting band. Stray tracks: try "Sometimes" and "Form Another Stone." "Abundance" is way groovier than it has any right to be. For a dose of tongue (in cheek), go for "We're a Bad Trip" or "No More Bullshit." No more rock stars! *belch* :/

best lp of all time

Arguably the best album ever, though the only argument is whether one of the other CVB albums might actually surpass it. Along with the third lp, I contend that this record is the most original and uniquely CVB. And nowhere else did the band fuse all of their diverse elements into such a wide ranging though cohesive whole. The instrumentals here are amazing, and range from Eastern European inspired folk to soaring psychedelic rock overtures. And as is usual with CVB, the lyrical content is vast and wonderful as well. Unfortunately the album has been changed for reissue. This is in part a good thing, but with the album order changed and the actual exclusion of the original versions of a couple songs, you may be frustrated. Making Vampire Club and some of the other demos available is a good thing, but these tracks are not up to par with the original album. The inclusion of both versions of Bad Trip makes more sense.

Admittedly, it’s understandable to see why CVB’s sense of humor rubbed some people the wrong way. Titling a second album II & III and sprinkling it with songs titled “ZZ Top Goes to Egypt” and “No Kruggerands for David” sounds more like a parody of rock rather than rock itself. That never stopped Pavement, though, and on II & III, CVB sounds as inventive and unexpectedly inspired as before, mashing its influences together into a delightful brew. However, this time the band sounds a touch more straightforward; new member Chris Pederson’s drumming sounds stronger, providing a good pace throughout and pumping up the energy on “Down And Out.” Wigginess abounds musically and lyrically — “Cowboys from Hollywood” sounds like an amped-up honky-tonk, and following it with the on-the-level country of “Sad Lovers Waltz” fits whatever master plan there was. Lowery doesn’t sing lead as much this time out; he’s still the primary singer, but often is accompanied by most of the rest of the band as well. But as always, Segel is the wild card with violin and nutty keyboards ahoy. There’s some refreshing iconoclasm at play — years before Sonic Youth became ‘the legendary Sonic Youth,’ CVB took that group’s “I Love Her All the Time” and transformed its New York art angst into a kick-up-your-heels bit of yee-haw ska. It’s worth hearing for Lowery and company’s vocal drawls alone. The album concludes with the hilarious “No More Bullshit,” mixing wanky solos with repetitive punk-rock slogans and strange comments -”Elvis Presley died! And no one knows why!” – Ned Raggett