The Fourth and Final (???) album by Frozen Taco. All songs are original and were recorded at the Bedside, Columbus, GA (splay). Copyright 1989-2004, Frozen Taco. Produced, engineered, and remixed by Theron Welch and David Dault at the Bedside, Columbus. This album is dedicated to the old spirit of the splay yet yo Frozen Taco. Frozen Taco was: Theron Welch, David Dault, Carlos Viera, Matt Reiss
Listen to the entire album:
Or download the tracks:
|01_Black Cow.mp3||2.6 MB||8/15/2012 6:23 am||02_Drumsticks a Backwards Car.mp3||3.5 MB||8/15/2012 6:26 am||03_Grey Poupon.mp3||1.7 MB||8/15/2012 6:27 am||04_Cow Black.mp3||1.6 MB||8/15/2012 6:32 am||05_Why.mp3||432.0 KB||8/15/2012 6:31 am||06_The Lock.mp3||1.7 MB||8/15/2012 6:27 am||07_Him Book.mp3||4.7 MB||8/15/2012 6:33 am||08_Los Espanoles - live.mp3||2.7 MB||8/15/2012 6:21 am||09_Black Cow - live.mp3||2.4 MB||8/15/2012 6:27 am||10_No Sense of Direction.mp3||4.6 MB||8/15/2012 6:25 am||11_Keep Me Moving.mp3||3.0 MB||8/15/2012 6:29 am||12_Samurai Garage Sales.mp3||3.2 MB||8/15/2012 6:31 am||13_Black Cow - Creeping Death Version.mp3||3.6 MB||8/15/2012 6:23 am||14_Outside My Window.mp3||4.9 MB||8/15/2012 6:30 am||15_Sittin There.mp3||3.0 MB||8/15/2012 6:22 am|
It’s been 17 years since this album came out, and for the life of me, I can’t remember why the band almost broke up. We’ve made 11 albums since then, each one arguably stronger than the last. It is mystifying to me that all of FT’s subsequent history apparently hung by a thread for “Aftermath of a Shoeleg.” I wonder whether the band had some horrible fight that I’ve erased from my memory. I did break my foot in 1987. I thought that I broke it while playing for my high school soccer team; maybe I actually broke it by kicking Theron’s amp in a fit of rage. Whatever the reason for our near collapse, I’m relieved that in the aftermath of “Aftermath,” FT held it together. It has been an unending source of joy and creativity for me through the years.
-Matthew Reiss, Kansas City, October 2004
Aftermath, in my opinion, is the most bizarre album that Frozen Taco ever produced. What other album has four different version of the same song ranging from a tinker toy instrumentation to a cheerily violent rhythm with electric guitars? Overall, I see this album as a creation of all the weird elements (and a few extras) that made early FT albums. One of the instrumentals even features an angry mom pounding on the Bedside’s door! I suppose this concoction is what gives this misfit album its charm. The contained tracks also hint at the FT to come: solo projects by Dave and I as well as solo pieces. This particular CD includes two bonus tracks from the same weird era: “Sittin’ There” and “Samurai Garage Sales”.
-Theron Welch, Seattle, December 2003
This album was a “landmark,” or perhaps a “speedbump,” depending on how you look at it. The FT that followed this was focused more on composition and instrumentation-the FT that preceded it was possessed of the ability and drive to make music out of any moment or object. The FT that made this album didn’t think it was making an album – it thought (we thought) it was falling apart. Aftermath was an album very much in limbo, as I recall. The “band” as such was largely moving in individual, separate directions, and there was an abiding sense that FT was pretty much over. There was some sadness to the proceedings (although “proceedings” may give too much of a sense of planning or structure. There wasn’t much, if any). At the same time, there was tremendous creativity and activity, and the album collected a lot of anarchic, momentary, and marginal bits that didn’t necessarily fit any place else-an aspect that has always appealed to me. Looking back, Aftermath is one of my favorite FT albums for exactly these reasons: Matt was finding a stronger voice as a songwriter, Theron and I were collaborating on the “Edison’s Group” pieces, and there were vestiges of the crazy, improvised insta-songs that marked our earliest work with Carlos. The song order of it emphasizes all of these elements and gives it real cohesion, despite the circumstances in which it was created. When I hear it now, the blend of all these strong currents makes this an incredibly listenable body of work, and I find it’s the FT album that I return to the most.
-David Dault, Nashville, December 2003