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934:, France, on November 11, 2002. The sold-out show accompanied the album's launch on Soulitude in Europe. Lynch and Neff were joined by four other musicians, including Nabet Meyer; Lynch performed electric guitar at the concert. Though Lynch was "thrilled about the opportunity" to perform, he has since referred to the experience as "torment", as well as a "traumatic thrill" and "beautiful". According to Neff, Lynch was "real nervous about playing" as he had never performed live music before. The performance was part of a music festival by the french cultural magazine
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1116:"mix the banal and the bizarre in a way that possibly only Lynch fans could truly appreciate." Phares also criticized the album's "overdependence" on Neff's vocals, writing that "his raspy, sardonic voice adds an edge to some of the tracks but wears out its welcome relatively quickly", but summarized it as "dark, disjointed, unpredictable and highly unique".
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393:; Neff would improvise the phrasing of the lyrics during takes. Describing the experience, Neff said "David has absolutely no idea of what he wants in advance. When the atmosphere is created, he gives me the . It's like raising the sail without knowing which way the wind will blow". Lynch also handled effects
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writer
Heather Phares said in a largely mixed three-out-of-five-star review that "most of the pieces aren't quite as evocative as Lynch and Neff's soundtrack work" and the tracks "aren't immediate enough to work as rock songs", but said the album contained "interesting moments" when Lynch and Neff
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and believed it "lack of a strong contrasting presence" and that "the album may seem too monotonous for some tastes. However, Neff and Lynch's creation lives up to its billing as the first 'industrial-blues' album—and much like Lynch's work in film, you either love it or hate it: but you can't deny
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originally received a limited release through Lynch's official website but was later reissued in the United States and Europe. The album received particular interest from the music press in Europe, leading to Lynch and Neff's first-and-only live performance together at the
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and because he considered
Internet distribution as "the way to go." The album was reissued in 13 European counties on Soulitude Records, an independent label owned by Pascal Nabet Meyer, in 2002, where it received "strong press interest". Soulitude reissued
646:; his second chain consisted of several Boss pedals, including a LM-2 limiter pedal, a NS-2 noise suppression pedal, an OC-2 pitch-shifting pedal and an OD-2 overdrive pedal. Lynch used three guitars during the sessions—a self-designed and custom-built
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shots of industrial equipment and musical instruments, as well as landscapes of abandoned factories. The booklet's back-cover photograph of Neff and Lynch—in which Lynch is depicted as "the Groper" from the music video for "Thank You, Judge"
367:. "Pink Western Range" was the first of four songs written during these sessions, after which the decision was made to record a complete album. Subsequent recording sessions continued until March 2000, with Lynch and Neff both heading
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Lynch and Neff never intended on recording a complete album; the two originally began recording "four or five songs" as part of a series of "experiments" while testing Lynch's home studio in April 1998. Both Lynch and Neff
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features music co-written by both Lynch and Neff and lyrics by Lynch; Neff is the album's lead vocalist. Lynch's lyrics, some of which had been written two decades before the album, incorporate themes of
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technique with a bottleneck; Neff attributed Lynch's use of slide guitar to his preference for "organic sounds". Lynch's use of a bottleneck resulted in guitar sounds featuring excessive
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Lynch's lyrics were sometimes written specifically for the album and others were selected from poems and lyrics he had written "during the last twenty years", according to Neff. The
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pedals. During the initial "experiments" sessions, Neff would program music which Lynch would then process by altering the controls on the effects pedals. Observing the sessions,
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787:(after whom one song is titled), as well as "Lynchian dark humor, sexual intrigue and dire plot twists"; a second article in the same newspaper noted lyrical themes of
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s release in the U.S., as "radio exposure outside of public and college stations unlikely." However, Lynch did not commit to the idea and it never reached fruition.
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writer Sam
Molineaux said Lynch's in-studio writing process was "an individualistic approach to composition that seems more rooted in artistic whim than
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guitars, stark production and Neff's netherworld vocals." Neff said that both he and Lynch had intended to create a "heavy blues" record and cited
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and John Neff met in
February 1997 when Neff was commissioned to design and install Lynch's home studio, Asymmetrical Studio, at his home in
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John Neff – guitar (1–4, 6, 7, 9–12), bass (1–12), vocals (1–4, 7, 8, 10-12), drums (3, 5, 6, 8, 9, 11), backing vocals (3), percussion (10)
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Absurda and only made available from his official website. Lynch opted to release the album on his website due to the "big change going on" with
761:. And there it was the reverse, the words would conjure some sort of melody. So it can go both ways. it was the lyrics that followed the music."
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707:-based guitar rig known as "Guitarkestra", which he used on three tracks: "Mountains Falling", "Pink Western Range" and "City of Dreams".
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Fevret, Christian (2002). "Hors-Série David Lynch: "Il connait la musique"" [David Lynch
Special Edition: "He knows the music"].
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tracks—featured prominently on "Rollin' Down (To My House)", "Pink
Western Range" and "City of Dreams"—were created by Lynch and Neff
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977:; "Pretty 50s", another Lynch and Neff track, is also included on the soundtrack. A music video for "Thank You, Judge"—featuring
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Molineaux, Sam (2001). "Deviations & Abstractions: Filmmaker David Lynch & John Neff
Painting Music With BOSS".
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389:, though all of the lyrics were written by Lynch. Lynch would often hand the lyrics sheet to Neff just prior to a vocal
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967:"Go Get Some" and an instrumental version of "Mountains Falling" are featured in Lynch's 2001 feature film
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791:. Lynch wrote the lyrics to all of the album's songs, which Neff performed in a "largely spoken" vocal style.
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757:"For Julee Cruise, many times the lyrics came first. I would just write out things and then I showed them to
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as "a kind of mutant music, massive and threatening to basic blues and industrial music"; Deschamps praised
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s recording sessions Lynch performed electric guitars with them placed on his lap and often used the
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s sound to be "dark music" due to Lynch's tendencies of writing several of the album's songs in
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as a mutual influence on the album's sound; Lynch had a desire to incorporate heavy industrial
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and write the instrumental basis of several songs. Lynch also performed occasionally on a real
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received mixed critical responses upon its release. In one of the album's earliest reviews in
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cymbals, but instead of performing parts with drum sticks he used his bare hands to hit the
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and audio engineer John Neff. It was released in
December 2001 on Absurda—Lynch's own
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was performed live at Lynch and Neff's first-and-only-ever live performance together at
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and effects on Neff's lead-vocal tracks on "I Cannot Do That" and "Mountains
Falling".
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was originally an experiment by Lynch and Neff that evolved into a full-length album.
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1968:"Angelo Badalamenti, David Lynch – Mulholland Drive: Original Motion Picture Score"
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Neff considered the idea of creating a multimedia theater presentation to promote
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on Neff's vocals tracks on two songs "I Cannot Do That" and "Mountains
Falling".
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1802:"Lynchland: David Lynch & John Neff about Blue Bob's concert at the Olympia"
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in his amplifiers to further affect his guitar sound. Lynch had two main guitar
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s "creepy … ambiguous and refined" lyrics and likened its sound to various
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1143:, furiously sustained." Marcus considered "Thank You, Judge" as the "
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considered "an apt description for the guttural sonic atmosphere of
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In a writing process differing from his previous projects such as
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which was recorded at Asymmetrical Studio and produced by Lynch.
1291:"Pink Western Range" (also known as "In the Pink Western Range")
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after all the music had been recorded. Explaining the method to
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Catching the Big Fish: Meditation, Consciousness, and Creativity
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1954:"Programme du festival les Inrocks / Orange 2002 - les Inrocks"
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2005:
1537:(in French). Nouvelles Editions Indépendantes. pp. 92–93.
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its inescapable mood." Bockel awarded the album a "B" rating.
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David Lynch's Mulholland Drive: Music from the Motion Picture
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bluesy atmosphere and dark scenarios", drew comparisons to
703:, Fender and Ampeg amplifiers. Neff also created a custom
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Asymmetrical Studio (Hollywood, California, United States)
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Real Life Rock: The Complete Top Ten Columns, 1986–2014
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DiPasquale, Cara; Knowles, Joe, eds. (April 14, 2003).
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with a computerized self-tuning system—through several
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and Neff engineering the sessions. Lynch and Neff also
862:, Neff said: " will not tell me." According to Lynch,
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and John Neff. Soulitude Records. 2002. BB S 1202-2.
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Entre l'oeil et la réalité : le lieu du cinéma
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1834:] (in French). Paris: Publibook. p. 323.
954:all performing at the same venue on this evening.
18:2001 studio album by David Lynch and John Neff
596:. The final sound of the album, described by the
385:Neff recorded and performed lead vocal tracks on
292:, France, in November 2002. Critical response to
1832:Between the eye and reality: the place of cinema
2036:"David Lynch and John Neff – Blue Bob – Review"
1872:: CS1 maint: others in cite AV media (notes) (
1630:: CS1 maint: others in cite AV media (notes) (
1573:: CS1 maint: others in cite AV media (notes) (
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382:the album at Precision Mastering in Hollywood.
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2077:(in French). Nouvelles Editions Indépendantes
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592:and Neff often performing keyboards in lower
460:, however Lynch and Neff used several analog
8:
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642:VG-8 emulation processor and a Roland GR-33
1996:"Hive Five: David Lynch, Music Video Maker"
1119:In his "Real Life Rock Top Ten" column for
683:was achieved by using a mixture of Gibson,
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1484:– Blue Bob | Songs, Reviews, Credits"
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813:photography by Lynch; Lynch also designed
265:, which has drawn critical comparisons to
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2067:Deschamps, Stéphane (November 30, 2001).
848:Lynch's original title for the album was
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2069:"David Lynch & John Neff – Bluebob"
1662:"David Lynch: 'Blue Velvet' to BlueBob"
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2034:Boeckel, Gentry (September 1, 2003).
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1338:All personnel credits adapted from
2435:Premonition Following an Evil Deed
1236:"Factory Interlude" (Instrumental)
484:pedal and both Boss FT-2 and AW-2
468:OD-2 overdrive pedal; a Boss OC-2
14:
1994:Patel, Paula (November 7, 2011).
1147:" of the album and called it an "
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724:the noise of different machines.
638:. His first chain consisted of a
2385:Six Men Getting Sick (Six Times)
1800:Gat, Yaron (November 12, 2002).
1440:"Welcome to the home of BlueBOB"
1386:(4, 8), ambient sound design (5)
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529:Neff has described the style of
440:Problems playing this file? See
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1923:– Blue Bob | Release Info"
776:s lyrics contain "fragments of
2962:Albums produced by David Lynch
2324:Twin Peaks: The Missing Pieces
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464:during recording, including a
1:
2850:The Angriest Dog in the World
2318:Twin Peaks: Fire Walk with Me
1762:"BLUE BOB in Paris Trailer 1"
1620:and John Neff. Absurda. 2001.
1450:and John Neff. Archived from
1389:John Neff – production,
452:was recorded digitally using
2564:Shot in the Back of the Head
2425:The Cowboy and the Frenchman
1893:(Revised ed.). London:
1280:"Go Get Some" (Instrumental)
1203:"Rollin' Down (To My House)"
841:were released in a standard
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496:or instrumental technique."
1887:Rodley, Chris, ed. (2005).
1826:Achemchame, Julien (2010).
1697:. Vol. 5, no. 1.
1247:"Blue Horse" (Instrumental)
920:in the U.S. in April 2003.
903:was originally released on
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55:December 10, 2001
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1160:All lyrics are written by
837:. Subsequent pressings of
513:Lynch and Neff's sound on
428:Lynch was responsible for
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2967:2001 collaborative albums
2906:David Lynch: The Art Life
2866:Industrial Symphony No. 1
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1151:divorce-court novelty."
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742:Floating into the Night
679:Neff's guitar sound on
650:Blackbird, a 1965
70:April 1998 – March 2000
2935:David Lynch Foundation
2642:Twin Peaks: The Return
2233:Frequent collaborators
1719:"Blue Bob (Soulitude)"
1563:. 1998. 354 980 183-2.
950:and American musician
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2916:Blue Velvet Revisited
2764:Catching the Big Fish
2590:Duran Duran: Unstaged
2105:Yale University Press
2012:on September 23, 2016
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753:in 2002, Lynch said:
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2048:on February 14, 2009
994:Professional ratings
2774:Genealogies of Pain
2733:Cellophane Memories
2240:Unrealized projects
1868:cite AV media notes
1626:cite AV media notes
1569:cite AV media notes
1415: – photography
1374:David Lynch –
1369:Technical personnel
1269:"Mountains Falling"
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1083:artists, including
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549:referred to it as "
480:pedal; a Boss NS-2
476:pedal; a Boss LT-2
472:pedal; a Boss BF-2
296:was largely mixed.
2972:David Lynch albums
2896:The Air Is on Fire
2693:Polish Night Music
2683:The Air Is on Fire
2505:Lady Blue Shanghai
2344:The Straight Story
2151:(list of releases)
2139:(list of releases)
2074:Les Inrockuptibles
1553:Jocelyn Montgomery
1534:Les Inrockuptibles
1225:"I Cannot Do That"
1214:"Thank You, Judge"
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1066:Les Inrockuptibles
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859:Les Inrockuptibles
759:Angelo Badalamenti
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517:was influenced by
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329:Jocelyn Montgomery
317:recording engineer
2957:2001 debut albums
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2573:Came Back Haunted
2525:What Did Jack Do?
2114:978-0-3002-1859-6
1933:All Media Network
1904:978-0-571-22018-2
1895:Faber & Faber
1841:978-2-7483-5781-3
1724:Los Angeles Times
1667:Los Angeles Times
1478:Phares, Heather.
1396:Tom Baker –
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948:Philippe Katerine
767:Los Angeles Times
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610:Captain Beefheart
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2107:. p. 343.
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2041:Stylus Magazine
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2015:
2013:
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1897:. p. 312.
1886:
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1864:
1858:(Album notes).
1854:
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1842:
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1806:Objectif Cinema
1799:
1798:
1787:
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1775:
1774:. July 27, 2016
1760:
1759:
1748:
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1728:Chicago Tribune
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1616:(Album notes).
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1561:Mammoth Records
1551:(Album notes).
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1454:on July 6, 2010
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1345:s album notes.
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1097:Stylus Magazine
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1050:Stylus Magazine
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826:
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811:black-and-white
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797:
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751:Objectif Cinema
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568:John Lee Hooker
519:John Lee Hooker
507:
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486:envelope filter
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2823:Jennifer Lynch
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2786:Awards by film
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2125:External links
2123:
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2059:
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1986:
1959:
1945:
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1890:Lynch on Lynch
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785:Marilyn Monroe
769:reported that
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674:tube amplifier
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470:pitch-shifting
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2713:The Big Dream
2709:
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2308:Wild at Heart
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2106:
2103:. New Haven:
2102:
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2097:Marcus, Greil
2092:
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2081:September 22,
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2052:September 22,
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2016:September 22,
2011:
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1322:Total length:
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1171:track listing
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1155:Track listing
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1102:just as it is
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999:Review scores
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913:record labels
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833:—was shot by
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569:
565:
561:
560:
556:", which the
555:
552:
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547:press release
544:
543:rock 'n' roll
541:and 1956-era
540:
536:
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524:
520:
516:
511:
504:
499:
497:
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491:
487:
483:
479:
475:
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467:
463:
462:effects units
459:
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445:
443:
431:
415:
398:
396:
392:
388:
383:
381:
377:
374:
370:
366:
362:
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350:
346:
345:drum machines
342:
338:
332:
330:
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306:
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255:rock and roll
252:
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210:(stylized as
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81:
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65:
54:
50:
46:and John Neff
45:
40:
36:
32:
27:
22:
16:
2924:
2914:
2904:
2894:
2886:Lost Highway
2884:
2874:
2864:
2848:
2839:
2802:
2793:
2772:
2762:
2752:
2731:
2723:Thought Gang
2721:
2711:
2701:
2691:
2681:
2672:
2671:
2661:
2640:
2630:
2620:
2610:
2588:
2537:Music videos
2523:
2513:
2503:
2493:
2483:
2473:
2463:
2453:
2443:
2433:
2423:
2413:
2403:
2395:The Alphabet
2393:
2383:
2362:
2352:
2342:
2334:Lost Highway
2332:
2322:
2316:
2306:
2296:
2286:
2276:
2266:
2219:Bibliography
2143:
2130:
2100:
2091:
2079:. Retrieved
2072:
2062:
2050:. Retrieved
2046:the original
2039:
2014:. Retrieved
2010:the original
1999:
1989:
1977:. Retrieved
1971:
1962:
1948:
1936:. Retrieved
1926:
1920:
1913:
1888:
1882:
1855:
1850:
1831:
1827:
1821:
1809:. Retrieved
1805:
1776:. Retrieved
1765:
1737:. Retrieved
1722:
1694:
1671:. Retrieved
1665:
1613:
1548:
1543:
1532:
1493:. Retrieved
1487:
1481:
1456:. Retrieved
1452:the original
1443:
1403:
1402:
1384:sound design
1368:
1367:
1348:
1347:
1339:
1337:
1168:
1159:
1140:Lost Highway
1138:
1130:
1129:referred to
1127:Greil Marcus
1120:
1118:
1111:
1105:
1101:
1095:
1094:Writing for
1093:
1085:Gene Vincent
1073:
1069:
1065:
1061:
1060:
1048:
968:
966:
958:
956:
940:Beth Gibbons
923:
922:
917:
909:record label
900:
899:
893:
889:
863:
857:
853:
849:
847:
838:
814:
799:
798:
770:
766:
764:
756:
750:
746:
740:
734:Julee Cruise
731:
710:
709:
680:
678:
624:slide guitar
616:
614:
597:
579:
557:
533:as "factory
530:
528:
522:
514:
494:music theory
489:
449:
448:
430:sound design
395:sound design
386:
384:
375:
333:
325:studio album
320:
303:
293:
280:
279:
251:noir fiction
241:
232:
227:
224:record label
213:
212:
206:
205:
204:
189:
181:
180:
171:
39:Studio album
15:
2858:Frank Booth
2804:Blue Velvet
2615:(1990–1991)
2546:Wicked Game
2415:The Amputee
2376:Short films
2298:Blue Velvet
2250:Directorial
2212:Discography
2205:Filmography
2186:David Lynch
2149:MusicBrainz
1860:David Lynch
1618:David Lynch
1557:David Lynch
1448:David Lynch
1391:engineering
1355:David Lynch
1258:"Bad Night"
1162:David Lynch
979:Naomi Watts
852:instead of
539:heavy metal
500:Composition
456:(now Avid)
305:David Lynch
263:heavy metal
220:David Lynch
160:David Lynch
149:David Lynch
44:David Lynch
2951:Categories
2825:(daughter)
2663:Eraserhead
2632:Hotel Room
2622:On the Air
2612:Twin Peaks
2603:Television
2515:Idem Paris
2475:Bug Crawls
2268:Eraserhead
2198:Early life
1549:Lux Vivens
1444:BlueBOB.TV
1420:References
1376:production
1359:percussion
1349:Performers
1122:City Pages
944:Portishead
888:, France (
843:jewel case
718:percussion
689:Danelectro
551:industrial
454:Digidesign
442:media help
369:production
365:snare drum
359:drums and
337:programmed
323:(1998), a
321:Lux Vivens
313:California
235:industrial
162:chronology
91:Industrial
59:2001-12-10
2832:In Heaven
2226:Accolades
1726:(via the
1398:mastering
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1125:, critic
1089:Link Wray
989:Reception
795:Packaging
668:into two
648:Fernandes
606:Tom Waits
602:space-age
564:distorted
458:Pro Tools
341:sequenced
309:Hollywood
300:Recording
275:Link Wray
267:Tom Waits
152:John Neff
135:Soulitude
2926:Lynch/Oz
2575:" (2013)
2566:" (2009)
2557:" (1995)
2548:" (1990)
2465:DumbLand
2321:(1992) (
2099:(2015).
2001:MTV News
1928:AllMusic
1921:Blue Bob
1772:Alphabet
1489:AllMusic
1482:Blue Bob
1413:Eli Roth
1393:, mixing
1135:Pere Ubu
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983:Eli Roth
835:Eli Roth
822:close-up
789:paranoia
722:sampling
701:Marshall
672:V4
478:limiting
474:flanging
380:mastered
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143:Producer
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2815:Related
2673:BlueBOB
2555:Longing
2495:Absurda
2455:Rabbits
2327:(2014))
2144:BlueBOB
2137:Discogs
2132:BlueBOB
1856:BlueBOB
1767:YouTube
1614:BlueBOB
1340:BlueBOB
1192:"9–1–1"
1169:BlueBob
1149:R&B
1131:BlueBOB
1106:BlueBOB
1074:BlueBOB
1070:BlueBOB
1062:BlueBOB
959:BlueBOB
938:, with
928:Olympia
924:BlueBOB
918:BlueBOB
901:BlueBOB
894:BlueBOB
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864:BlueBOB
854:BlueBOB
839:BlueBOB
829:Release
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807:box set
800:BlueBOB
771:BlueBOB
747:BlueBOB
711:BlueBOB
681:BlueBOB
628:vibrato
617:BlueBOB
615:During
594:octaves
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531:BlueBOB
515:BlueBOB
450:BlueBOB
387:BlueBOB
376:BlueBOB
294:BlueBOB
286:Olympia
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242:BlueBOB
240:album,
228:BlueBOB
214:ƎU⅃ᗺᗷOᗷ
207:BlueBOB
195:(2006)
186:(2001)
182:BlueBOB
177:(2001)
132:Absurda
57: (
24:BlueBOB
2929:(2022)
2919:(2016)
2909:(2016)
2879:(1997)
2869:(1990)
2777:(2011)
2767:(2006)
2757:(1994)
2754:Images
2736:(2024)
2726:(2018)
2716:(2013)
2706:(2011)
2696:(2007)
2686:(2007)
2676:(2001)
2666:(1982)
2654:Albums
2645:(2017)
2635:(1993)
2625:(1992)
2593:(2011)
2528:(2017)
2518:(2013)
2508:(2010)
2498:(2007)
2488:(2007)
2478:(2007)
2468:(2002)
2458:(2002)
2448:(2002)
2438:(1995)
2428:(1988)
2418:(1974)
2408:(1970)
2398:(1968)
2388:(1967)
2367:(2006)
2357:(2001)
2347:(1999)
2337:(1997)
2311:(1990)
2301:(1986)
2291:(1984)
2281:(1980)
2271:(1977)
2111:
1973:Amazon
1901:
1838:
1380:mixing
1184:Length
1007:Rating
1004:Source
728:Lyrics
693:Martin
685:Fender
666:stereo
659:Parker
657:and a
655:ES-330
652:Gibson
640:Roland
636:chains
109:Length
75:Studio
2745:Books
2252:works
1830:[
1734:tronc
1555:with
1343:'
1326:63:12
1181:Title
1077:'
962:'
932:Paris
886:Paris
867:'
827:(see
818:'
803:'
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737:'
714:'
670:Ampeg
632:noise
620:'
587:minor
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572:beats
554:blues
505:Music
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2109:ISBN
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2018:2016
1981:2016
1940:2016
1899:ISBN
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1780:2016
1741:2016
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1632:link
1575:link
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1316:6:21
1305:5:39
1294:4:09
1283:7:10
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1261:4:57
1250:7:21
1239:0:26
1228:4:17
1217:5:48
1206:4:55
1195:3:47
1087:and
1081:surf
952:RJD2
850:2960
781:noir
778:L.A.
705:MIDI
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2147:at
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2006:MTV
1310:12.
1299:11.
1288:10.
1177:No.
1145:hit
942:of
930:in
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662:Fly
576:PCP
349:jam
327:by
288:in
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