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Artist:Chemical Brothers,Flaming Lips
Format:Record
Material:Vinyl
Type:Single
Genre:Dance & Electronica
Record Label:Freestyle Dust
Record Size:12″
Style:2000s,Electro,Synth-Pop
Speed:45 RPM
Release Year:2003
Record Grading:Excellent (EX)
Release Title:The Golden Path
Sleeve Grading:Very Good (VG)
Features:Import
Country/Region of Manufacture:United Kingdom
Catalog Number:CHEMST18
Number of Audio Channels:Stereo
Special Attributes:Picture Sleeve
Number of Discs:1 Disc
Label Info:Clean!
Record Condition Comment:EX or Better
Sleeve Condition Info:Picture sleeve has sticker residue and storage wear, but no writi

Record: Excellent (EX) EX or Better Cover: Very Good (VG) Labels: Clean! Chemical Brothers,Flaming Lips The Golden Path 2003 United Kingdom Freestyle Dust CHEMST18 12″ Stereo 45 RPM Vinyl Single SB-59675 Chemical Brothers,Flaming LipsThe Golden Path 2003 United Kingdom Freestyle Dust 12″ Single Vinyl RecordHard to Find Euro import onlyConditionVinyl: Excellent (EX) EX or BetterSleeve: Very Good (VG) Picture sleeve has sticker residue and storage wear, but no writing or cuts Please see item specifics section above for more details Tracks:Chemical Brothers Featuring The Flaming Lips – The Golden Path Label: Freestyle Dust – CHEMST18, Virgin – 0724355291462 Format: Vinyl, 12″, 45 RPM, Single, 180g Country: Europe Released: Sep 15, 2003 Genre: Electronic Style: House, Electro, Synth-pop A01 The Chemical Brothers Featuring The Flaming Lips– The Golden Path Recorded By – Andy Nunez, Trent Bell Vocals – Steven Drozd, Wayne Coyne 4:46 B01 The Chemical Brothers– Nude Night 6:17 Phonographic Copyright ℗ – Virgin Records Ltd. Copyright © – Virgin Records Ltd. Copyright © – EMI Records Ltd. Published By – Universal Music Publishing Ltd. Designed At – Blue Source Recorded At – Miloco Studios Recorded At – Bell Labs Lacquer Cut At – The Exchange Pressed By – Portal Space Art Direction, Design – Blue Source Engineer – Steve Dub Lacquer Cut By – Mike* Photography By – Toby McFarlan Pond Producer, Art Direction, Design – The Chemical Brothers Written-By – Simons*, Drozd* (tracks: A), Rowlands*, Coyne* (tracks: A) Recorded at Miloco Studios, London. Vocals on The Golden Path recorded at Bell Labs. ℗&© 2003 Virgin Records Limited. The copyright in this recording is owned by Virgin Records Limited. © 2003 EMI Records Limited. Printed in E.U. Barcode (Text): 7 24355 29146 2 Barcode (Scanned): 724355291462 Label Code: LC03098 Rights Society: bel BIEM Price Code: PM214 Matrix / Runout (Etched / machine stamp runout side A): MIKE’S ™-THE EXCHANGE CHEMSTDJ 18 A -1-1 Matrix / Runout (Etched / machine stamp runout side B): MIKE’S ™-THE EXCHANGE CHEMSTDJ 18 B -1-1CHEMICAL BROTHERS Flaming Lips 12″ The Golden Path he Chemical Brothers are an English electronic music duo[1] formed by Ed Simons and Tom Rowlands in Manchester in 1992.[2][3] They were pioneers in bringing the big beat genre to the forefront of pop culture. Originally known as The Dust Brothers, they changed their name due to the existence of another band with the same name.[4] Their first album Exit Planet Dust sold over one million copies and debuted at No. 9 on the UK Albums Chart. After attracting Virgin Records, the duo achieved further success with their second album Dig Your Own Hole (1997), which topped the UK chart. They have had six No. 1 albums and 13 top-20 singles in the UK, including two chart-toppers. They have won six Grammy Awards, including Best Rock Instrumental Performance, Best Dance Recording, and Best Dance/Electronic Album.[5] History 1984–1995: Formation and early incarnations Ed Simons (born 9 June 1970) was born the son of a barrister mother and a father he described as “absent”.[6] After finishing at Dulwich College, an “expensive” public school with 11 O levels and three A levels, he studied history, at the University of Manchester.[6][7] Tom Rowlands (born 11 January 1971) was raised in Henley-on-Thames. He met Simons at the University of Manchester in 1989; they shared an interest in raves and club-going.[8] Rowlands chose Manchester primarily to immerse himself in its music scene, particularly the Fac 51 Hacienda.[9] Rowlands was in a band called Ariel prior to meeting Simons.[3] He formed Ariel in London with friends Brendan Melck and Mathew Berry. Their first single was “Sea of Beats”, which was essentially a white label. Before Philip Brown set up Echo Logik Records, their first promo was “Bokadilo”. Other songs, released on 12-inch, included “Mustn’t Grumble” and their best-known, “Rollercoaster”.[3] After a year on Echo Logik they signed to the record label deConstruction. They insisted on a female singer and they recruited former Xpansions frontwoman Sally Ann Marsh, and after some disappointing songs such as “Let It Slide” (Rowlands would later describe it as “a stinker”), the band fell apart. One of the last things Ariel did was the song “T Baby”, which was remixed by the pair. Rowlands and Simons started to DJ in 1992 at a club called Naked Under Leather, located in the back of a pub called the Swinging Sporran (later renamed Retro Bar and currently operated by the University of Manchester[3]). There, they were known by the alias “237 Turbo Nutters”,[8] after the number of their house on Dickenson Road in Manchester and a reference to their Blackburn raving days. The pair would play hip hop, techno, and house.[10] The two called themselves The Dust Brothers[3] after the US production duo, famous for their work with the Beastie Boys. After a while, Rowlands and Simons began to run out of suitable instrumental hip hop tracks to use, so they started to make their own. Using a Hitachi hi-fi system, an Atari ST, a sampler, and a keyboard, they recorded “Song to the Siren”, which sampled This Mortal Coil.[11] “Song to the Siren” was released on their own record label, which they called Diamond Records (after Ed’s nickname). At this point the Dust Brothers were the first-ever backroom DJs in the Sumptuous Locarno Lounge at The Job Club in Gossips night club in Dean Street, Soho from April 1992 till April 1993. In October 1992, they pressed 500 white-label copies and took them to dance-record shops around London, but all refused to play it, saying it was too slow (the track played at 111 BPM). They sent a copy to London DJ Andrew Weatherall, who made it a permanent fixture in his DJ sets. In May 1993 Steven Hall signed the duo and Junior Boy’s Own released “Song to the Siren”.[3] Around June 1993, the Dust Brothers recorded their first remixes. The first was “Packet of Peace” for Justin Robertson’s Lionrock group, followed by songs from Leftfield, Republica, and the Sandals. Later in 1993, Rowlands and Simons completed work on their Fourteenth Century Sky EP, released in January 1994.[3] It contained the groundbreaking “Chemical Beats”, which epitomised the duo’s genre-defining big beat sound.[3] The EP also contained “One Too Many Mornings”, which for the first time showed their less intense, more chilled-out side. Both “One Too Many Mornings” and “Chemical Beats” would later appear on their debut album. Fourteenth Century Sky was followed later in 1994 by the My Mercury Mouth EP.[3] “Chemical Beats” was also part of the soundtrack for the first edition of the Wipeout video game series, having been featured in Wipeout for the PlayStation in 1995. In October 1994, the Dust Brothers became resident DJs at the small but influential Heavenly Sunday Social Club at the Albany pub in London’s Great Portland Street.[8] Noel Gallagher, Paul Weller, James Dean Bradfield, and Tim Burgess were regular visitors. The Dust Brothers were subsequently asked to remix tracks by Manic Street Preachers and the Charlatans, plus Primal Scream’s “Jailbird” and the Prodigy’s “Voodoo People”. These two remixes received television exposure, being playlisted by MTV Europe’s “The Party Zone” in 1995. In March 1995, the Dust Brothers began their first international tour, which included the United States – where they played with Orbital and Underworld – then a series of European festivals. Also around this time, objections were filed by the original Dust Brothers over the use of their name, and so Rowlands and Simons had to decide on a new name.[3] They decided to call themselves the Chemical Brothers after “Chemical Beats”. In June 1995, they released their fourth single, the first under their new identity. “Leave Home” was released on Junior Boy’s Own, as a preview of the imminent debut album and became the band’s first chart hit, peaking at No. 17.[3] 1995–1998: Exit Planet Dust and Dig Your Own Hole In July 1995, the Chemical Brothers released their debut album Exit Planet Dust (the title inspired by their name change) on Junior Boy’s Own. It debuted on the UK chart at No. 9,[3] and featured guest vocalist Beth Orton on the song “Alive Alone”. It eventually went on to sell over a million copies worldwide, and was used on the soundtrack of the science fiction TV series pilot Virtuality. Shortly after its release, the Chemical Brothers signed to Virgin Records, to which they took their own offshoot label, Freestyle Dust. For their next single, “Life Is Sweet”, released in September 1995, they again used a guest vocalist, featuring their friend Tim Burgess, singer of the Charlatans. It reached No. 25 in the UK singles chart.[3] The single was also Select magazine’s “Single of the Month” for October.[12] The release included a Daft Punk remix of “Life Is Sweet”. In October 1995, the duo returned to the Heavenly Sunday Social for a second and final run of DJ dates. They then became residents of Heavenly Social on Saturdays at Turnmills and also in Liquid Rooms in Tokyo. In November, the Chemical Brothers played the Astoria Theatre in London. The duo also supported The Prodigy in December on dates at Brixton Academy and in Blackpool. In January 1996, Exit Planet Dust was certified gold. The Chemical Brothers released their first new material in six months on Virgin, the Loops of Fury EP. The four-track release was limited to 20,000 copies, but is now available for digital download. It entered the UK chart at No. 13. NME described the lead track as “splashing waves of synths across hard-hitting beats”. The EP also contained a Dave Clarke remix of “Chemical Beats”, and two other new tracks, “Get Up on It Like This” and “(The Best Part Of) Breaking Up”. In February 1996, Select magazine published a list of the 100 best albums of the 1990s thus far. Exit Planet Dust was listed at Number 39. In August 1996, the Chemical Brothers supported Oasis at Knebworth, where 125,000 people attended each of the two shows. During the 1995 Glastonbury Festival, Noel Gallagher had told them how much he liked Exit Planet Dust, and asked if he could sing on a future track, similar to the way Tim Burgess had worked on “Life Is Sweet”. They did not think much of the offer at the time, given how busy Gallagher would be with the release of Oasis’ (What’s the Story) Morning Glory?, plus the complexities of dealing with each other’s record companies. However, the duo later worked on a track they thought would benefit from a vocal. They sent Gallagher a tape of what they had done so far. He worked on it overnight, and left a message early next morning that he was ready to record it. The track was called “Setting Sun” and was finally released in October 1996. It entered the UK chart at the top, giving the duo their first ever No. 1 single.[3] “Setting Sun” was backed by a longer instrumental version, and also a new track “Buzz Tracks”, which was not much more than a DJ tool. The three remaining members of the Beatles’ lawyers later wrote to the Chemical Brothers, mistakenly claiming they had sampled “Tomorrow Never Knows”. Virgin Records hired a musicologist to prove they did not sample the song. In 1996, Live at the Social Volume 1 was released by Heavenly Records, which became the Chemical Brothers’ first mix CD (excluding Xmas Dust Up, a free album that came in a 1994 issue of NME). It was also the duo’s first live album (excluding the EP Live 05). In March 1997, the Chemical Brothers released the second track from their forthcoming album. “Block Rockin’ Beats” contained a Schoolly D vocal sample and re-working of the bass-line from 23 Skidoo’s single “Coup”.[13] The NME named it “Single of the Week” and said: “It throbs like your head might if you had just done a length underwater in a swimming pool full of amyl.” It later won them a Grammy Award for Best Rock Instrumental Performance.[14] In the US at this time, “Setting Sun” was sitting at Number 80 in the Billboard Hot 100, after selling around 80,000 copies. Sales from Exit Planet Dust were also around 150,000. On 7 April 1997, the Chemical Brothers released their second album, Dig Your Own Hole. It was recorded at the band’s own south London studio, with the title taken from graffiti on the wall outside. The album was well received,[15] with Mixmag rating it 10/10 and calling it “mad enough to be thrilling, slick enough for not even remotely trendy coffee tables”. During the summer of 1997, the Chemical Brothers toured extensively, particularly in the United States. In August, the Chemical Brothers achieved a rapprochement with the US Dust Brothers, and asked them to remix the forthcoming single “Elektrobank”. They themselves also became highly sought-after for remixes for other artists. In September, the next single from Dig Your Own Hole, “Elektrobank” was released. In November, the pair played at Dublin’s Point Theatre, with support from Carl Cox. They also began a US tour in Detroit. At the end of the year, Dig Your Own Hole’s final track, the nine-minute-long “The Private Psychedelic Reel”, gave rise to a limited-edition mini-EP of the same name. The B-side consisted of a live version of “Setting Sun”, recorded at the Lowlands Festival, Netherlands on 24 August 1997. Also in December, following four sold-out US shows, the Chemical Brothers toured the UK, concluding in a sold-out show at Brixton Academy, London. In 1998, they concentrated more on DJing, although some remixes did see the light of day, including “I Think I’m in Love” from Spiritualized. Both a vocal remix and an instrumental remix were included in the single release. Each clocked in at over seven-and-a-half minutes. Another remix completed by the Chemical Brothers was “Delta Sun Bottleneck Stomp” by Mercury Rev. This was another extension in the association between the two bands, since Mercury Rev’s Jonathon Donahue contributed to “The Private Psychedelic Reel” on Dig Your Own Hole. In September 1998, a second mix album, Brothers Gonna Work It Out, was released. It contains some of their own tracks and remixes, as well as songs from artists who have influenced their sound, such as Renegade Soundwave, Meat Beat Manifesto, Carlos “After Dark” Berrios, and Kenny ‘Dope’ Gonzales. 1999–2002: Surrender and Come with Us In May 1999, the Chemical Brothers played three UK dates, their first since December 1997. Also that month, they released their first new original material in two years, a track called “Hey Boy Hey Girl”. This was more house-influenced than big beat. In interviews at the time, Rowlands and Simons indicated that the track was inspired by nights out at Sheffield club Gatecrasher. The track was also one of their more commercially accessible tracks and went to number 3 in the UK chart. Their third album, Surrender, was released in June 1999. It featured vocals from Noel Gallagher, Mercury Rev’s Jonathan Donahue, and Mazzy Star’s Hope Sandoval. As “Hey Boy Hey Girl” had suggested, the album was more house-oriented than the previous two. On one of the album’s stand out tracks, “Out of Control”, New Order’s Bernard Sumner supported by Primal Scream’s Bobby Gillespie provided vocals. It reached No. 1 in the UK Albums Chart. The Michel Gondry-directed music video for “Let Forever Be”, which utilised ground-breaking video and film effects in its depiction of a young woman’s nightmares, also received a lot of attention. Later that summer, the Chemical Brothers performed at the Woodstock ’99 concert on 24 July, with positive reception. They later headlined the Glastonbury dance tent on the Friday night, followed by a UK tour which ended in December and included Homelands Scotland on 4 September. In November, “Out of Control”, featuring Sumner and Gillespie on vocals, was released as a single. The release also contained the Sasha remix. The final single from Surrender, in February 2000, was the five track “Music: Response” EP, containing the title track and two remixes, plus Electronic Battle Weapon 4, named “Freak of the Week”, and a track called “Enjoyed”, which was essentially a remix of “Out of Control” by the Chemical Brothers themselves. A CD copy of Surrender was placed in the third Blue Peter time capsule, buried in January 2000. That same month, they appeared on Primal Scream’s album Xtrmntr at track 11 with a remix. In June 2000, they played the Pyramid stage at the Glastonbury Festival. In August 2000 they played to a large crowd at the main stage at Creamfields festival, Ireland. In December 2000, the Chemical Brothers aired one of their new tracks, “It Began in Afrika” at their New York DJ gigs, supporting U2. In 2001, they were active with releases and live performances. Early in the year, they began working on a fourth album, provisionally titled Chemical Four. The first track which fans got a taste of was “It Began in Afrika”, as previously played in their DJ set in New York. The track would make its live debut in California in April 2001, at the Coachella Valley Music and Arts Festival. Another new track, “Galaxy Bounce”, also got its public debut at Coachella. As had become customary for their releases and experiments, “It Began in Afrika” was first pressed as a promo, as part of the “Electronic Battle Weapon” series. It received much airplay on dance music radio shows in the UK, and became more and more popular in clubs over the course of the summer. It also became one of the “anthems” in Ibiza as the summer progressed. It was given a full commercial single release in September, reaching No. 8 in the UK singles chart, even though no promotional video was made for the track. Rowlands and Simons also remixed a track from Fatboy Slim’s Halfway Between the Gutter and the Stars, entitled “Song for Shelter”. This remix was released as a single on 3 September 2001 (one week before “It Began in Afrika”) as the CD2 single for “Song for Shelter / Ya Mama”. It reached No. 30 in the UK singles chart (sales were combined with the CD1 single). The Chemical Brothers finished work on another album, Come with Us, in October 2001. It featured collaborations with Richard Ashcroft of the Verve (“The Test”), and long-time collaborator Beth Orton (“The State We’re In”). The album was released in January 2002, preceded by a single, “Star Guitar”, a melodic Balearic beat number, with a promotional video by Michel Gondry that featured passing scenery synchronised to the beat viewed through a train window. What would be the second track on the album, “It Began in Afrika”, was released 10 September 2001 to be circulated around the clubbing scene where it was a popular hit. “Star Guitar” was also released as a DVD single, the pair’s first. Come with Us, was less well received than their previous albums, but nonetheless went straight to No. 1 in the UK Albums Chart in the first week of its release, selling 100,000 copies. In April, the title track from the album was released as a single with remixes by Fatboy Slim as part of a double A-sided release with “The Test”. During the summer of 2002, the Chemical Brothers travelled the festival circuit to promote the album. Later in 2002, they released two EPs, one specifically aimed at Japan and the other the US (entitled AmericanEP). Both contained remixes, live versions and B-sides. Additionally, the band produced New Order’s “Here to Stay”, written for the film 24 Hour Party People and released as a single to promote the soundtrack, and remixed the song as well. One of their other major songs from this album was “Galaxy Bounce”, which was popular and featured as the main title music for the Xbox game Project Gotham Racing. It was also included on the soundtrack for the movie Lara Croft: Tomb Raider. “Star Guitar” was featured as a song on the PlayStation Portable’s Lumines II. Two other songs, “Come with Us (Introduction)” and “Star Guitar (Title Screen)”, were featured on a PlayStation 2 racing game titled WRC II: Extreme. Both songs are instrumental. The song “My Elastic Eye” from the album Come with Us was played in the 2004 film The Butterfly Effect[16] starring Ashton Kutcher and Amy Smart. 2003–2006: Push the Button Early 2003 saw Rowlands and Simons back in the studio working on new material, including “The Golden Path”, a collaboration with Wayne Coyne of the Flaming Lips. This was released in September 2003, at the same time as a “best of” album, entitled Singles 93–03, marking ten years of the Chemical Brothers’ releases. Singles 93–03 included most, but not all, of their singles. A second new track, in addition to “The Golden Path”, was included on the album, called “Get Yourself High”. Singles 93–03 was also released on DVD, with extra features including selected live performances and interviews with Rowlands, Simons, and many of their collaborators from throughout the period. “Get Yourself High”, which featured Canadian rapper k-os on vocals, was released as a single in November 2003. In late 2003 and 2004, the Chemical Brothers continued to work in the studio on new material and a remix of “Slow” by Kylie Minogue. After being released on rare white label vinyl, it was subsequently given a commercial release in March on CD (on her next single “Red Blooded Woman”) and on 12-inch vinyl picture disc (containing two other Minogue remixes). In Summer 2004 they returned to the festival circuit, including appearances at the Glastonbury Festival, Tokyo, Scotland, and Ireland. They also visited South America for the second time (the first time being in 1999), arriving at Chile, Argentina, and Brazil. It was during these sets that they played new material, including “Acid Children”, which proved to be one of the most popular new tracks. In September 2004, the Chemical Brothers released the seventh “Electronic Battle Weapon”. “Electronic Battle Weapon 7” was being released as a one-sided promo-only 12-inch, containing “Acid Children”. A marked departure from the Chemical Brothers’ previous musical endeavours, it featured a screeching 303 bassline and a distinctive vocal sample; a pitch-altered vocal sample proclaiming “You Are All My Children Now!”, which is lifted from the horror film A Nightmare on Elm Street 2: Freddy’s Revenge. It was coupled with the projection of a sinister clown mouthing these same words at their live gigs. The “Electronic Battle Weapon” series of promo releases have typically been newly recorded Chemical Brothers tracks, released on promo to allow DJs to test them in a club environment, and to gauge their popularity. In 2004, the Chemical Brothers began work on Push the Button, their fifth studio album, which features collaborations with Tim Burgess, Kele Okereke, and Anwar Superstar, amongst others. The album was released on 24 January 2005. “Galvanize”, which features rapper Q-Tip on vocals, was the first single to be taken from Push the Button, and premiered on iTunes. The single was released on 17 January 2005, and entered the UK chart at No. 3. The second single, “Believe” (featuring Kele Okereke from Bloc Party), failed to crack the top 10, but still made it into the top 20, peaking at No. 18. “The Boxer”, featuring Tim Burgess, became the duo’s first single to fail to crack the top 40. The album and single “Galvanize” won a Grammy at the Grammy Awards of 2006. The track “Surface to Air” features a pulsing chord progression and bassline reminiscent of the intro to the Strokes song “The Modern Age”.[17] An unofficial, remixed version of the album entitled Flip the Switch was released as a free download, along with the Believe EP, featuring six further remixes of “Believe”.[18] In September 2006, the Chemical Brothers were revealed as the first musicians to be involved in Tate Tracks.[19][20] Tate Modern invited various groups and songwriters to choose a work that inspired them from the gallery’s collection of modern art and then write a track about it. The Chemical Brothers’ submission, Rock Drill, was inspired by the Jacob Epstein sculpture Torso in Metal from the Rock Drill, and could be heard on headphones in front of the work in the gallery.[19] From October 2006, it also became available to hear online at the Tate Tracks website.[19] The Flaming Lips are an American psychedelic rock band formed in 1983 in Oklahoma City, Oklahoma. The band currently consists of Wayne Coyne (vocals, guitars, bass, keyboards), Steven Drozd (bass, guitars, keyboards, drums, vocals), Derek Brown (guitars, keyboards, percussion), Matt Duckworth Kirksey (keyboards, percussion, drums) and Tommy McKenzie (bass). Coyne and Drozd have remained the band’s only consistent members since 1991, with Coyne being the only remaining founding member following the departure of bassist and keyboardist Michael Ivins in 2021. The group recorded several albums and EPs on an indie label, Restless, in the 1980s and early 1990s. After signing to Warner Brothers they released Hit to Death in the Future Head (1992), followed by Transmissions from the Satellite Heart (1993) and the hit single “She Don’t Use Jelly” which broke the band into the mainstream. They later released The Soft Bulletin (1999), which was NME magazine’s Album of the Year, followed by the critically acclaimed Yoshimi Battles the Pink Robots (2002). In February 2007, they were nominated for a BRIT Award for “Best International Act”. The group has won three Grammy Awards, including two for Best Rock Instrumental Performance. They were placed on Q magazine’s list of the “50 Bands to See Before You Die” in 2002. History Early history and releases (1983–1990) The Flaming Lips formed in Oklahoma City in 1983 with Wayne Coyne on guitar, his brother Mark singing lead vocals, Michael Ivins on bass and Dave Kotska on drums. The band debuted at Oklahoma City’s Blue Note Lounge. After they hired Dave Kotska as the drummer, Richard English joined the band in 1984. That same year they recorded The Flaming Lips EP, their only release with Mark singing lead vocals. There are several theories as to how the band chose their name. One possibility is that it was inspired by the 1953 feature film Geraldine, in which comedian Stan Freberg sings several songs, including one named “Flaming Lips”. Another possible source is from the 1964 Shirley MacLaine film What a Way to Go! in which Gene Kelly’s character stars in a film titled Flaming Lips. However, according to an article in the September 16, 1993, issue of Rolling Stone, Mark and Wayne[1] came up with the name as a reference to a rumor about a classmate who contracted genital herpes after receiving cunnilingus from a partner with active cold sores. Wayne elaborated: When Mark and I were in, I think it was Junior Year in High School, there was a rumor about this girl who got herpes from this guy at a party. He went down on her with a cold sore. I don’t think we knew the girl, and I’m not sure if she even existed, you know how kids just spread bullshit. But when we were thinking of band names one night over a pack of Schlitz and some left-handed cigarettes and remembered how we joked that they both had “Flaming Lips” and it just stuck. After his brother’s departure, Wayne assumed the vocal duties and the band recorded their first full-length album, Hear It Is, on Pink Dust Records (the psychedelic-rock imprint of Enigma Records) in London’s Southern Studios, in 1986. This line-up recorded two more albums: 1987’s Oh My Gawd!!! and 1989’s Telepathic Surgery, the latter originally planned to be a 30-minute sound collage. Drummer Nathan Roberts replaced English and guitarist Jonathan Donahue (also a member of the alternative rock band Mercury Rev) joined in 1989. In a Priest Driven Ambulance, their first album with producer Dave Fridmann, was recorded at the State University of New York in Fredonia for $5 an hour on a $10,000 budget.[2] The album was host to a marked expansion in the band’s sound and their previous experiments in tape loops and effects were given a more prominent role. During this period, Coyne made his transition to a higher, more strained vocal style akin to Neil Young, which he first used on Telepathic Surgery’s “Chrome Plated Suicide” and has employed ever since. In 1990, the band caught the attention of Warner Bros. Records and was signed promptly after a label representative witnessed a show at which the band almost burned down the venue (American Legion Hall in Norman, Oklahoma) with the use of pyrotechnics.[3] Signed to Warner Bros. (Hit to Death in the Future Head to Clouds Taste Metallic) (1991–1996) In 1991, the band started recording their major label debut Hit to Death in the Future Head. The album’s release was halted for nearly a year because of the use of a sample from Michael Kamen’s score for the film Brazil in the track “You Have to Be Joking (Autopsy of the Devil’s Brain)”, which required a lengthy clearance process. After the recording of this album, Donahue left the band to concentrate on Mercury Rev, and Roberts left the band as well, citing creative differences. They were replaced by Ronald Jones and Steven Drozd, respectively. In 1993, they released Transmissions from the Satellite Heart. This was the only studio album since In a Priest Driven Ambulance, to date, in which Dave Fridmann has not been involved. Because of the success of the album and the single “She Don’t Use Jelly”, the band was featured on four popular television series: Beverly Hills, 90210, Late Show with David Letterman, Charmed and Beavis and Butt-head. The success of this record led to long stints of touring, opening for bands including Red Hot Chili Peppers and Candlebox. Clouds Taste Metallic was released to much critical fanfare in late 1995, though it did not achieve the commercial success of its predecessor. The strain of the year-long Clouds tour, added to the stress from the three years touring in support of Transmissions, was a major factor in the departure of Jones in late 1996. He was said to be suffering from a severe case of agoraphobia, although the documentary Fearless Freaks states that he left because of his growing concerns over Drozd’s drug use. In September 2014, the band paid tribute to Jones and the impact his music had on their developing sound by performing Transmissions from the Satellite Heart live at First Avenue. In February 2015, they performed Clouds Taste Metallic at the same venue. Later, in December, a 20th anniversary box set called Heady Nuggs: 20 Years After Clouds Taste Metallic 1994–1997, was released. Zaireeka (1997–1998) The departure of Jones and a general dissatisfaction with standard “rock” music led to the three remaining members of the group redefining the direction of the band with the experimental Zaireeka (1997), a four-CD album which is intended to be heard by playing all four CDs in four separate CD players simultaneously. The music incorporated both traditional musical elements and “found” sounds (as in musique concrète), often heavily manipulated with recording studio electronics. As part of the development of this project, the band conducted a series of “parking lot experiments” and then later, “boombox experiments”. In the parking lot experiments up to 40 volunteers were given cassettes created by the band to be played at a parking lot in their cars’ stereo systems simultaneously. In the “boom box experiments” an orchestra composed of up to 40 volunteers with modified “boombox”-type tape players was “conducted” – directed to vary the volume, speed or tone of the tape they were playing (again composed by the band) – by Wayne Coyne.[4] Meanwhile, a series of unfortunate events (recounted in the 1999 song “The Spiderbite Song”) beset the band. Drozd’s arm was almost amputated needlessly because of what he claimed was a spider bite (it turned out to be abscessed as a result of Drozd’s heroin use),[5] Ivins was trapped in his car for several hours after a wheel spun off of another vehicle into his windshield, and Coyne’s father died after a long battle with cancer. Mainstream breakthrough (The Soft Bulletin and Yoshimi Battles the Pink Robots) (1999–2002) Though their experimental endeavors received some press coverage, their real breakthrough came with the 1999 release, The Soft Bulletin. Marrying more traditional catchy melodies with synthetic strings, hypnotic, carefully manipulated beats, booming cymbals and oddball but philosophical lyrics (sung much more strongly than on earlier releases), the album quickly became one of the underground hits of the year, even widely considered to be one of the best albums of the entire decade. Compared by many music critics to the Beach Boys’ Pet Sounds because of its inclusion of harmonies and orchestrated sounds, The Soft Bulletin also featured greater use of synthesizers, drum machines, sound effects and more studio manipulation. After this album was released, Coyne stated that, “if someone was to ask me what instrument do I play, I would say the recording studio.”[6] As the band considered an attempt to recreate this complex album live solely with additional musicians to be complex and expensive, they decided to tour as a three-piece and make extensive use of pre-recorded music to fill out those parts that were not performed live by the members of the band. This led to the decision to have the drummer Drozd play primarily keyboards and guitar live instead of the drums. This, in turn, led to a decision to utilize video recordings and projections of Steven playing the drums for some of the band’s older songs, so the band added Kliph Scurlock on drums and percussion, Drozd focused on guitars, keyboards, bass (when he plays bass, Ivins plays keyboards), drums and occasional vocals, when he sings, Coyne plays guitars, keyboards and theremin. Wayne Coyne in concert in January 2004 To enhance the live experience for their audience and to accurately reproduce the sound of The Soft Bulletin live, the Lips devised the concept of the “Headphone Concert”. A low-powered FM transmitter was set up at shows, and the concert was simultaneously broadcast to small Walkman-style receivers and headphones made available for free to audience members. This would, in theory, allow the audiences greater sonic clarity while still feeling the power of a full live P.A. This concept was debuted in Dallas, Texas, and at the South by Southwest conference in Austin, Texas, in March 1999, and was subsequently used on the International Music Against Brain Degeneration Revue tour. This tour featured Japanese band Cornelius, Sebadoh, Robyn Hitchcock, Sonic Boom’s E.A.R. and IQU. Three years later, in the summer of 2002, the Flaming Lips joined bands Cake and Modest Mouse on the Unlimited Sunshine Tour. They also released the full-length Yoshimi Battles the Pink Robots to much critical acclaim. Featuring guest musician Yoshimi P-We (who inspired the album’s title track) and demonstrating more use of electronic instruments and computer manipulation than The Soft Bulletin, Yoshimi is widely considered to be the Flaming Lips’ first critical and commercial success after nearly twenty years as a band. The final track on the album, “Approaching Pavonis Mons by Balloon (Utopia Planitia)” earned a 2003 Grammy Award for Best Rock Instrumental Performance, and the album was certified gold on April 10, 2006. In March 2007, the band revealed that they had recently teamed up with screenwriter Aaron Sorkin to produce a Broadway musical based on the album. In January 2012, Pitchfork TV released a forty-five-minute documentary on The Soft Bulletin. The documentary featured several rare archival photos and videos along with interviews from the members, producer Dave Fridmann, and manager Scott Booker.[7] The same year, Yoshimi Battles the Pink Robots was adapted into a musical after being in development for years after the album’s release. Both The Soft Bulletin and Yoshimi Battles the Pink Robots have been released on DVD-Audio. Following the success of “Yoshimi”, Steven Drozd completed rehab for heroin addiction. This decision was spurred by a physical altercation between Drozd and Wayne Coyne. Continued success (At War with the Mystics) (2002–2006) Shortly after Yoshimi and The Soft Bulletin, the Flaming Lips released two EPs in the same vein of their previous album’s robotic theme which contain remixed songs from Yoshimi, Fight Test and Ego Tripping at the Gates of Hell. They also appeared on the track “Marching the Hate Machines (Into the Sun)” on the Thievery Corporation album The Cosmic Game. In 2002 they were invited to work with The Chemical Brothers. Steven Drozd performed lead vocals, while Wayne Coyne performed harmony vocals, on the single “The Golden Path”, which was included on The Chemical Brothers compilation album, Singles 93-03. In 2002, they performed as the opening act, as well as the backup band, for singer Beck on his Sea Change tour. In the summer of 2004, it was announced that the Flaming Lips would appear among the headliners on the 2004 Lollapalooza tour, alongside such artists as Sonic Youth and Morrissey; however, the tour was canceled because of lack of revenue.[8] Also in 2004, the band recorded the song “SpongeBob and Patrick Confront the Psychic Wall of Energy” for the soundtrack of The SpongeBob SquarePants Movie. Following the concerts’ cancellation, the band entered Tarbox Road Studio with producer Dave Fridmann and began work on their eleventh album, the more organic-sounding At War with the Mystics. The record, aimed to be a more guitar-based and heavier effort than recent albums, featured more politically conscious lyrics than any of their previous releases, and was released in April 2006 to a mixed yet mostly positive reception. In 2005 the band was the subject of a documentary called Fearless Freaks, featuring appearances by other artists and celebrities such as Gibby Haynes, The White Stripes, Beck, Christina Ricci, Liz Phair, Juliette Lewis, Steve Burns, Starlight Mints, and Adam Goldberg. In that same year, the Flaming Lips contributed a version of “Bohemian Rhapsody” to the album Killer Queen: A Tribute to Queen. Also in this year, the Flaming Lips released the DVD VOID (Video Overview in Deceleration), which chronicles all of their ventures into music video that have been produced since they signed with Warner Bros in 1991. In October 2005, the Flaming Lips recorded a cover of “If I Only Had a Brain” for the soundtrack of the video game Stubbs the Zombie, which features modern rock bands covering songs from the 1950s and 1960s. Additionally, the band released one new song, “Mr. Ambulance Driver”, for the soundtrack of the 2005 film Wedding Crashers (a slightly edited version of the song found its way onto the new record). The Flaming Lips at Dfest in July 2007 The band released two singles from At War With the Mystics: “The W.A.N.D.”, which was featured in a Dell commercial and which was originally put out as a download-only single in early 2006, and “The Yeah Yeah Yeah Song”, which became their highest-charting single on the UK Singles Chart, peaking at No. 16. A 4-track EP, entitled It Overtakes Me, was released later in the UK that year. The only instrumental on the album, “The Wizard Turns On… The Giant Silver Flashlight and Puts on His Werewolf Moccasins”, earned a 2006 Grammy Award for Best Rock Instrumental Performance,[9] making it twice in a row the Lips have been nominated in that category and won. Following the April 4, 2006, release of At War with the Mystics, the band began a tour to support the album in the United Kingdom, including a finale at the Royal Albert Hall and performances at the O2 Wireless Festival. At the Leeds England date of the festival, the band opened for The Who, of whom they are long standing fans. Flaming Lips Alley in Oklahoma City The band continued to tour throughout the fall of 2006 stopping in Montreal, the Virgin Festival on the Toronto Islands, Atlantic City’s House of Blues, The University of Vermont in Burlington, their hometown Oklahoma City, the Austin City Limits Music Festival in Austin, Texas, and New York City, NY as well as several other cities. The homecoming show in Oklahoma City was performed at the Zoo Amphitheater and included the unveiling of a new UFO stage prop, and would provide footage for the U.F.O.s at the Zoo concert DVD. In November 2006 then mayor of Oklahoma City Mick Cornett proposed naming a downtown alley after the band. Vince Gill and Charlie Christian were also to be given street names by the city.[10] Flaming Lips Alley is at the center of Oklahoma City’s entertainment district, Bricktown. At the official dedication in 2007, Coyne said of Oklahoma City, “…We’re on the way to becoming, I think, the fucking coolest city in America.”[11] Chemical Brothers,Flaming Lips The Golden Path 2003 United Kingdom Freestyle Dust CHEMST18 12” Cover: Very Good (VG) Picture sleeve has sticker residue and storage wear, but no writing or cuts Record: Excellent (EX) EX or Better Labels: Clean! SB-59675This exquisite slice of retro music history is a vinyl sound recording (not a CD). 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