By fusing the high-concept comic vision of
Stan Freberg with the expansive studio experimentation of the
Beatles, the
Firesign Theatre singlehandedly dragged the comedy album into the psychedelic era. Creating densely layered montages of improvisational routines, overheard dialogue, media manipulation, commercial parodies and sound effects, the four-man troupe devised a hallucinatory brand of surrealist comic performance and Joycean satire laced with puns, metaphors and obscure literary allusions which redefined the very concept of recorded comedy.
Comprised of Phil Austin, Peter Bergman, David Ossman and Philip Proctor, the
Firesign Theatre debuted on Los Angeles' KPFK radio on November 17, 1966 with a performance of "The Oz Film Festival," a three-hour improvisational piece.
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By fusing the high-concept comic vision of
Stan Freberg with the expansive studio experimentation of the
Beatles, the
Firesign Theatre singlehandedly dragged the comedy album into the psychedelic era. Creating densely layered montages of improvisational routines, overheard dialogue, media manipulation, commercial parodies and sound effects, the four-man troupe devised a hallucinatory brand of surrealist comic performance and Joycean satire laced with puns, metaphors and obscure literary allusions which redefined the very concept of recorded comedy.
Comprised of Phil Austin, Peter Bergman, David Ossman and Philip Proctor, the
Firesign Theatre debuted on Los Angeles' KPFK radio on November 17, 1966 with a performance of "The Oz Film Festival," a three-hour improvisational piece. Their recorded bow,
Waiting for the Electrician or Someone Like Him, followed in 1968; loaded with obvious drug references and clearly reflective of the hippie mentality of the times, the record won the troupe a tremendous following on college campuses and among the acid culture.
Their 1969 follow-up, How Can You Be Two Places at Once When You're Not Anywhere at All?, featured the first appearance of Nick Danger, their popular parody of Sam Spade and hardboiled crime fiction.
With 1970's
Don't Crush That Dwarf, Hand Me the Pliers,
Firesign perfected the formula, offering a fragmentary, cut-and-paste set of mock news broadcasts and radio drama satires. Their studio trickery became even pronounced with 1971's I Think We're All Bozos on This Bus, an absurdist look at the future set at a World's Fair-like festival, while 1972 brought two diverse efforts: the first, the 12-record set Dear Friends, sampled 1970-71 moments from the
Theatre's syndicated radio program, and the second, Not Insane Or Anything You Want To, featured all new material.
After a two-year hiatus, the
Firesign Theatre returned in 1974 with both The Tale of the Giant Rat of Sumatra and Everything You Know Is Wrong! After the sci-fi paranoia of 1975's In the Next World You're on Your Own, the group's longtime association with Columbia ended, and they moved to the Butterfly label for 1977's Just Folks: A Firesign Chat. As times changed and drug use tapered off, the troupe's core collegiate following began to dwindle; after 1979's Fighting Clowns, the members of
Firesign began working on solo projects, but reunited in 1985 for Eat or Be Eaten. After again parting ways, they reteamed for a series of 1993 performances later documented on Back From the Shadows.
Give Me Immortality or Give Me Death followed in 1998, and a year later the troupe returned with
Boom Dot Bust. ~ Jason Ankeny, All Music Guide
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