1/  Jump Man                                   (Buckethead,Scaturro)         4.42
  2/  Stick Pit                                  (Buckethead,Claypool,Mantia)  3.38
  3/  The Ballad of Buckethead                   (Buckethead,Claypool,Mantia)  3.38
  4/  Sow Thistle                                (Buckethead,Freeman,Collins)  4.28
  5/  Revenge of the Double-Man                  (BK,Disk,Claypool,Mantia)     3.34
  6/  Night of the Slunk                         (Buckethead)                  5.43
  7/  Who Me?                                    (Buckethead)                  2.08
  8/  Jowls                                      (Buckethead,Scaturro,Mantia)  4.25
  9/  The Shape vs. Buckethead                   (Buckethead,Freeman,Collins)  5.40
  10/ Stun Operator                              (Buckethead,Claypool,Mantia)  4.15
  11/ Scapula                                    (Buckethead,Scaturro,Mantia)  4.04
  12/ Nun Chuka Kata                             (BK,Disk,Claypool,Mantia)     4.28
  13/ Remote Viewer                              (Buckethead)                  4.18

          Tracks 1,8 and 11 recorded at Horn of Zeus
          Tracks 2,3,5,7,10,12 and 13 recorded at Rancho Relaxo Studios
          Tracks 4 and 9 recorded at the Embalming Plant
          Track 6 recorded at Orange Music, Orange, New Jersey
          Additional recording on tracks 1,4 and 9 done at Bootzilla Re-hab
            P-form School
          Tracks 2,3,5,7,10,12 and 13 engineered by Oz Fritz
          Track 6 engineered by Robert Musso
          Tracks 1,8 and 11 produced and mixed by Pete Scaturro and Rob Beaton
          Tracks 2,3,5,7,10,12 and 13 produced by Les Claypool
          Tracks 4 and 9 produced by Extrakd
          Track 6 produced by Bill Laswell
          Additional production on tracks 1,4 and 9 by Bootsy Collins
          Mastered by Don. E. Tyler at Precision Mastering
Buckethead: guitar, carpel tunnel, bass (1,8,11); Les Claypool: bass (2,3,5,10,12,13), vocal (3); Brain: drums (2,3,5,8,10,11,12,13); Phonosycographdisk: turntable scrapes, skratches and sounds (3,5,8,10,12,13); Bootsy Collins: vocal (1,4,9); Oui-wey: rap (9); DJ Eddie Def : turntable (4,9); Max Robertson: vocal (11); The Chicken Scratch Choir (Bob Cock, Les, Elee & Herbie): background vocals (3).

          1999 - CyberOctave (USA), COCD 47499 (CD)
          1999 - CyberOctave (Japan), TOCP 65194 (CD)
Note: Track 13 only appears on the Japanese version.


Mixing metallic guitar heroics with funk, hip-hop, electronica, and a cinematic soundtrack feel, Buckethead's Monsters and Robots is yet another eclectic opus inspired in large part by low-budget monster/horror, martial arts, and science fiction movies, especially those of Japan. Like any Buckethead album, the music does meander in spots, but this outing does improve on its predecessor Colma by employing a variety of guest bassists; Primus' Les Claypool (as well as drummer Brain), Bootsy Collins, and Bill Laswell all enliven the music's rhythmic underpinnings in ways that Buckethead's own bass playing on Colma didn't. Plus, the contributions of guest DJs Phonosycograph Disk, DJ Eddie Def, and Xtrakd are inventive and stimulating, complementing rather than confusing the musical mix. It may not be completely consistent, but Monsters and Robots offers more than enough musical derangement to satisfy.

Steve Huey (courtesy of the All Music Guide by way of the Get Music website)


Produced by Les Claypool, former bassist/leader of jokey alternative band Primus (which Mantia had joined in the interim). More consistently enjoyable than most of Buckethead's work: the approach is close to Giant Robot, with hyperspeed metal vamps, quick-cut collage, and a variety of genre exercises (the solo acoustic "Who Me?," a rap from Oui-Wey on "The Shape Vs. Buckethead"), but without the stupid voice-overs. Even the metal riff bonanzas are better than usual ("Revenge Of The Double-Man"); the only real disappointment is Laswell's cut-and-paste electronica "Night Of The Slunk." Again, largely instrumental, with some spoken word ("The Ballad Of Buckethead"). There's a fair amount of techno percussion and loops - making comparison to Jeff Beck's Who Else! inevitable, I suppose, but since I haven't listened to that one yet, you'll have to wait. When Mantia's actually drumming, he lays down his usual sound foundation plus unexpected accents. In addition to his usual guitar tricks, Buckethead plays Bootsy-style bass on three tracks ("Jowls"), and Bootsy himself adds vocals and production to three more ("Sow Thistle"). Phonosycographdisk (who may be DJ Disk by another name) adds some turntable scratches. No covers this time: everything's by Buckethead alone, or with bandmates.

4 stars out of 5

David Bertrand Wilson (courtesy of the Wilson and Alroy's Record Reviews website)


Buckethead's Electric Opus

While Colma may have shown the best of Bucket's softer side, Monsters and Robots takes the cake for Buckethead's electric work. And what an album it is. Allow me to take a song-by-song review:

1.) Jump Man- Great song, an effervescent opener that reall gets the blood flowing. Bootsy cracks me up on this track, and all of Buckethead's trademark shredding is in place. 5/5

2.) Stick Pit- Awesome follow-up to Jump Man, Stick Pit continues the shredfest with its high-pitched sampling and non-stop guitar. 5/5

3.) The Ballad Of Buckethead- The "single" from the album, this is really more of a Les Claypool song. Whereas Les sits off to the side on most tracks such as Stick Pit, Revenge of the Double Man, and Nun Chuka Kata, his bass is clearly the centerpoint of this tune. The lyrics are excellent, the bass and drums booming, and Bucket's chilling guitar adds greatly to the song, although minimally- that is, until the solo kicks in. 5/5

4.) Sow Thistle- This song includes Bootsy talking over a loop, while Buckethead adds some creepy horror movie guitar. This is an example of Buckethead's techno side, with shredding of course. Not for everyone, definitely for me though. 5/5

5.) Revenge Of The Double Man- This song is one of my favorites on the record: Les and Brain hold the groove while Buckethead tears. PhonosycographDISK, also known as DJ Disc, adds a great scratch solo over the top of this tune. Buckethead then proceeds to rip his guitar in half (or so it sounds) on another amazing guitar solo. 5/5

6.) Night Of The Slunk- An acoustic, laid-back version of the groove from Jump Man. Buckethead then picks up the slack with some electric guitar, and really adds some interesting licks and solos amidst the acoustic setting. Out of nowhere come insane guitar patches, only to recede back into darkness to let the acoustic guitar shine through again. A wah-wah solo closes the tune. Quite a good track indeed. 5/5

7.) Who Me?- Up until now, the album has been pretty much going strong and running wild. Here, Buckethead slows things down with an acoustic interlude. However, gentle as it may be, menacing it remains, as in the background, there seems to be the sounds of something terrible happening...unless thats just Buckethead breathing through his mask. You be the judge. 5/5

8.) Jowls- My favorite song on here. Jowls is the best example of a great Buckethead song- Tremendous grooves, insane ripping, loops, horror-movie licks, and absolutely terrifying vocals and guitar patches. Can one ask for more from a Buckethead tune? 5/5

9.) The Shape Vs. Buckethead- Buckethead and Michael Myers face off- Double M with his giant blade, Bucket with his guitar pyrotechnics. Bootsy and Ovi Wey narrate the battle, and PhotosychographDISK adds sound effects. The winner?...listen to find out. 5/5

10.) Stun Operator- If you were on a rollercoaster from hell in Buckethead's theme park Bucketheadland, this song would be playing as gravity took you to your demise. Needless to say, a creepy and excellent song. 5/5

11.) Scapula- TechnoBucket. I'd list this under "songs that might not be for everyone" along with The Shape Vs. Bucket and Sow Thistle. This song includes a very dance floor-type guitar pattern, with soloing over the top of it. A great tune, and an excellent addition to the album. Still, a very strange Buckethead tune nonetheless. 5/5

12.) Nun Chuka Kata- There is only one way to end a Buckethead album, and that is to shred until there is nothing left to give. Nun Chuka Kata encapsulates what is left to give from Buckethead, as he serves it to us with a one-two punch. The album ends on a great note as Buckethead launches into a full-on solo that truly makes the album complete. 5/5

Yes, I realize I gave every song a perfect rating. But that is because they all contribute to, in my opinion, Buckethead's finest effort thus far. Although parts aren't for everyone, if you are truly a Bucket fan, you will definitely enjoy every second of music on here, like me. Beginners out there, buy this and Colma to start, and then make your call. Veteran fans, add this to your collection and make your Buckethead variety loads better. Skeptics, pick this up and prove yourselves wrong.

5 stars out of 5

fats "al" (courtesy of the Amazon.com website)