In the new issue of Chunklet, comedian/angry guy Lewis Black discusses why his proposed sitcom never got off the ground. "The only thing that kept us off the air was that they wanted to do it with a laugh track, and I wanted to do it with a live audience. That was the only way they were going to sell me," he says. "What would have happened was you'd make that exchange; the writing of that character becomes broader... because I'm pushing the envelope to get laughs, because instinctively I know how to work an audience, I know where to go."

To some, it might seem like Black is being a little picky, yet another victim of the ages-old beggars-can't-be-choosers rhetoric. But anyone who's ever stood before a crowd of onlookers-- be they eight or 800-- and performed, knows the difference an audience makes. For many, the audience is a terrifying factor; one they'll do almost anything to avoid. But for a select few, the audience is as necessary to the creative process as watermelons and giant hammers are to Gallagher (to stick with the stand-up theme). It's the catalyst that kicks them into gear, starts the adrenaline pumping, and allows them to tell jokes, play music, dance, act, or do whatever it is they do on a level they'd be incapable of reaching otherwise.

Bullfrog, a Canadian band gaining crazy-style exposure thanks to their turntablist, Eric "Kid Koala" San, would seem to fit into this latter category. Ever since I came to the conclusion a while back that Koala is God's gift to the turntable, I've made a point of collecting recordings and catching him wherever I can. And I must say, that when it comes to live performance, his band Bullfrog puts on a hell of a show, stepping up from their backing role on Koala's Carpal Tunnel Syndrome and generally holding their own.

Bullfrog's music isn't anything stupendously original (they function as a laid-back combination of hip-hop, funk, R&B;, and Phish-y hippie music, not unlike, say, G. Love and Special Sauce), nor are their lyrics particularly demanding (despite song titles like "Ya Ya" and "Ababa" which might suggest otherwise), and the content rarely elevates above standard party-rockin', good-time-havin' fare. By all logic, Bullfrog should suck royally. But something about the live performance galvanizes the band. Live, they're on top of their game, a great party band, and ready to start the motors of even the most initially indifferent crowd.

But when it comes to recorded music... well, maybe Bullfrog should've taken a cue from Lewis Black. Try though they might to capture the spirit of their live performances, the generally lackluster nature of Bullfrog's self-titled debut proves that the band just isn't the same without an audience to play to. Sure, Bullfrog has its moments. "Slow Down" is nice enough, teetering between a cappella 50s-pop and laid-back reggae-inspired jam-band fare; "Bullfrog Theme" carries a certain confidence not present elsewhere in the album; and Kid Koala's collage intermission "Extra Track II" is a fun mockery of music industry politics. Unfortunately, these are the exceptions, not the rule. Though all six members of the group remain technically proficient or better, they generally lack the energy and passion in a recording session that makes their live show so much fun.

One gets the feeling that someone at Atlantic realized this at some point as-- presumably to capture some of the energy of the live show-- someone has taken the liberty of peppering this recipe with various clips from live performances. However, the recording quality of Bullfrog's live content is, to put it gently, fucking terrible. Many of the live tracks stop or start at awkward moments in the middle of songs, vocals echo across rooms, much of the content sounds canned and muffled, and Koala's contributions are often mixed far too low, making them impossible to hear over rollicking drums. Rather than adding spice to the flavor, these tracks stand out like an ugly hair at the bottom of your soup.

Ultimately, this package reeks of having been thrown together on the run (no doubt in an attempt to capitalize on Koala's Touring-With-Radiohead status before the Yorke groupies forgot his name). And while its tough to criticize a band for attempting to grab hold at what's likely their best bet for success, it's a damned shame it had to go like this. They may not be the most amazing band in the world, but Bullfrog deserves better than this. Maybe the future will bring us a proper live album from this band, but in the meantime, potential listeners would be better suited holding their breath till the band rolls into town.

-David M. Pecoraro, January 2nd, 2002