When discussing the music of Pete & Pete, it all starts with Polaris. The wonderfully ’90s theme song “Hey Sandy” was penned by Mark Mulcahy, originally the frontman for Miracle Legion (a group compared to R.E.M., even as they opened for Bjork’s Sugarcubes). But when Nickelodeon needed a house band for their grungy new show about brotherly love, Mulcahy brought together Polaris, and the rest is history. The title track still pops into many a twentysomething or thirtysomething’s head and gets stuck for days, despite the indecipherability of one line. While Mulcahy has been forthcoming with almost every lyric, the third line (after “Hey smilin’ strange, you’re looking happily deranged”) has never been revealed. Theories abound, but the happy medium we’ve found is to just mumble out some nonsense.

Polaris also appeared in the classic episode “A Hard Day’s Pete”, in which Danny Tamborelli’s Little Pete happens across a song that instantly ingrains itself as his all-time favorite, Polaris’s “Summerbaby”. But in the pre-SoundHound/Google era, Little Pete has no idea what the song is and goes on a quest to find it (those were some difficult days, kids). He broadcasts his own cover over his pirate radio station, WART– pretty hip moves for a grungy little dude. Fans these days can grab Polaris’s Music From The Adventures of Pete & Pete and get that song, the title theme, and 10 other familiar tracks that should keep the nostalgia going for a while.

But the musical guest stars certainly don’t end there. Iggy Pop may be the most readily featured musician of the bunch, playing Nona’s dad, James “Pop” Mecklenberg. The punk rock wild man kept his flowing locks but played the occasionally overbearing, over-protective dad, a knowingly ironic move from a knowingly ironic decade. In “A Hard Day’s Pete”, Little Pete’s backing band featured singer/songwriter Marshall Crenshaw as electricity meter reader “Lightning” Mel Ratner. Former Sonic Youth drummer (and Ferris Bueller valet/thrill seeker) Richard Edson plays a lovelorn janitor, Violent Femmes frontman Gordon Gano portrays a broken substitute math teacher, and Blondie’s Debbie Harry turns out to be one of Pete’s neighbors.

Big Pete’s many crushes include singer/songwriter Juliana Hatfield as a surprisingly young lunch lady, while the utterly urban New York Dolls frontman David Johansen is a park ranger in the Pete & Pete bizarro world. Similarly twisted, rap bad boy LL Cool J turns up as a middle school teacher, while kooky B-52s vocalist Kate Pierson is a lonely suburbanite. Plus, the booking of Luscious Jackson as the band for the school dance made all of us jealous that our middle schools got Wacky Dave, DJ Extraordinaire. But in perhaps the top bill, R.E.M. frontman Michael Stipe plays Mr. Tastee’s competition, Captain Scrummy, purveyor of the ick-tastic Sludgecicle.

The background music proved to be just as star-studded. Beyond Polaris, the heavy inclusion of Stephin Merritt’s work (with Magnetic Fields, The Gothic Archies, and The 6ths) makes for some pretty beautifully moody ’90s moments. The Apples in Stereo, the Drop Nineteens, and Poi Dog Pondering all contribute their own magnificent gleeful, jammy eccentricities, while Chug and Racecar amp things up. To this day, very few TV shows (aimed at kids or otherwise) have displayed this level of musical mastery.

To help you revisit some of these tunes, we put together a special playlist for you via Spotify.

Check Out: Krebstar Mixtape 2000

In news more unexpected than any mother-approved physical altercation, UK arena rockers Kasabian have tapped rapper/gym rat/Deep Blue Sea star LL Cool J for a cameo on a remix to their new single, “Days Are Forgotten”. The remix, which was put together by New York City’s DJ Z-Trip, is a surreal musical moment not even Carnac the Magnificent couldn’ve seen coming. Even still, it’s a catchy track that adds something fresh to Kasabian’s sound.

In addition to the remix, make sure to also check out the original version of “Days Are Forgotten” below. Kasabian’s new album Velociraptor! is in stores September 20th via RCA.

“Days Are Forgotten” (Z-Trip Remix)

“Days Are Forgotten”

Velociraptor! Tracklist:
01. Let’s Roll Like We Used To
02. Days Are Forgotten
03. Goodbye Kiss
04. La Fée Verte
05. Velociraptor
06. Acid Turkish Bath (Shelter from the Storm)
07. I Hear Voices
08. Re-wired
09. Man of Simple Pleasures
10. Switchblade Smiles
11. Neon Noon

The now-classic program first aired on November 26, 1989, but the idea for the show dates back to about a decade prior. A benefit concert known as The Secret Policeman’s Ball in June ’79 featured a performance from Pete Townshend, where he performed “Pinball Wizard” and “Won’t Get Fooled Again” acoustically. This had been a groundbreaking performance, because it was very rare to hear someone play one of their biggest songs in such a stripped-down interpretation. Two years later, a follow-up benefit known as The Secret Policeman’s Other Ball featured Phil Collins and Sting also doing acoustic performances. These sessions would prove to be the inspiration for the show Unplugged, created by producers Jim Burns and Robert Small in the late 80′s.

You can still catch new Unplugged sessions on the Palladia network, and it’s still entertaining to see artists take away the big production that albums have now and just play the songs the way they were probably written. However, unlike today’s performances, there was a certain vibe you would get from watching an Unplugged premiere. These were the biggest names in music, and what they were doing had not been done before. It was exciting to watch what worked, what didn’t, and the odd things that would occur at a small, live performance.

The first acts billed were Squeeze, Syd Straw, and Elliot Easton, and these show’s successes opened the door to bigger acts for MTV. As a result, the first season ran 13 episodes and featured 10,000 Maniacs, Elton John, Don Henley, Hall & Oates, and Stevie Ray Vaughn.

Once the first season finished, acts were lining up to take part in the special concert series. This was an opportunity for artists and bands to shed new light on some of their biggest hits, and in some cases, make themselves relevant once again. Soon enough, Unplugged spawned a list of participants who are some of the best known acts in the business. Aerosmith, Paul McCartney, Sting, Elvis Costello, The Cure, and many more, all played that intimate setting, usually in New York City, and this was all within two years of the series debut. An array of Hall of Fame talent saw that this series was something special, and the public was aware of this as well.

In 1991, Unplugged aired the first ever acoustic rap performances on the program, featuring LL Cool J, A Tribe Called Quest, MC Lyte, and De La Soul. Each performed a couple of acoustic tracks and, in doing so, made history. Today, it seems many of the more recent shows are by hip-hop artists performing in front of a live band, most notably 2010′s B.o.B performance.

Perhaps the most memorable moment surfaced in 1993, when Nirvana took center stage. Dave Grohl proclaimed that the band had seen other performances, and they decided they didn’t like them and wanted to do their own thing. The band didn’t play their biggest hits and instead chose some lesser-known tracks in addition to six covers. The best of these was the cover of David Bowie’s “The Man Who Sold the World”. This show was historic, because it was one of the final televised performances by Kurt Cobain, who would die only five months later.

Maybe the oddest moment in the series arrived in 1996 when Oasis performed – mostly because of the backstory. At the day of the performance, the band readied themselves for the show, the crowd had filed into their seats, when, out of nowhere, singer Liam Gallagher pulled out at the last minute, citing a sore throat. This stirred the pot a little, but didn’t prohibit the show from happening as brother Noel Gallagher said that he would take over the singing duties, instead. The show went on as planned, without Liam on stage, but he didn’t leave the building. He sat above the band on a balcony, got drunk, and heckled his bandmates and brother throughout the entire performance. Looking back, it’s amazing the band lasted as long as they did.

With so many varying genres showcased, the show catered to a wide demographic – including those both young and old. For example, on one night you’d see Stone Temple Pilots and the next you’d see Rod Stewart. Both proved worthwhile. The former featured a young, bearded Scott Weiland sitting in what appeared to be a huge throne of sorts, churning out acoustic renditions of “Big Empty” and “Plush”. It’s hard to not be moved by Stewart, either. Between his cover of Van Morrison’s “Have I Told You Lately” and the fact that the performance marked the first time he had reunited with Ronnie Wood, his former Faces bandmate, it was the stuff rock historians dreamt up. For producers, this meant one thing: ca-ching. Because of this, several artists would later release their performances as an album, and they often did very well commercially.

Critically, too. Not only were these albums popular amongst fans, but in the eyes of the Grammy boards, as well. Eric Clapton won album of the year in 1993, while Nirvana took home “Best Alternative Music Album” in the same year. The series propelled to new heights around this time, and one thing that the audience always loved was when the artist would perform a cover. It wasn’t until Mariah Carey’s rendition of the Jackson 5′s “I’ll Be There” in 1992 that this became a staple. The version went to number one on the Billboard Charts and remains one of the more memorable moments in the series.

Say what you will about the station as a whole nowadays, but to date, MTV Unplugged remains a revolutionary and cultural landmark in the music industry. Although, like many things today, it doesn’t carry the weight it once did – although, it’s trying, what with upcoming performances by Lykke Li? – critics and fans can remember those special moments with legendary artists who have now come and gone. Who would have thought you could reach such a wide audience just by unplugging your guitar?

Kind of like how we still care about the Grammys, we also put a lot of faith into the absurdity that is the Rock and Roll Hall of Fame inductees. So much so in fact that we gave you a giant write-up on this year’s nominees a few months back. Now, the child-like eagerness and speculation ends as the the class of 2011 has been revealed. Still no Brian Eno, FYI.

The New York Times reports that Tom Waits, Alice Cooper, Neil Diamond, Dr. John, and Darlene Love will be announced as the Rock and Roll Hall of Fame’s newest inductees during a ceremony Wednesday morning. Other honorees include Leon Russell, who is receiving an award for musical excellence, along with Elektra Records founder Jac Holzman and Specialty label head Art Rupe, both of whom will receiver non-performer honors.

Like previous years, even those not allowed in are worthy of mention. Because of their exclusion, the likes of Bon Jovi, LL Cool J, and the Beastie Boys will have to wait ’till next year before possibly gaining entry into rock’s most prestigious club.

The 26th annual ceremony goes down March 14th at the Waldorf-Astoria in New York City.

Since 1986, The Rock & Roll Hall of Fame has been inducting those who have made an impression on the evermore detailed map of pop and rock music. And yeah, the ceremony might be a little chintzy, and some may consider the whole think a giant joke, and the whole argument of contemporary relevance is all but hurled out the the window, and the fact that ABBA is in there and Brian Eno isn’t is enough to set yourself on fire — but it beats the living hell out of any other televised American music awards show, and usually the ceremony ekes some gnarly performances out of the inductees. This year, 15 nominees were selected, and on average, five to seven of those nominees will be selected. So, without further ado, here are your 2011 Rock & Roll Hall of Fame Performer Nominees. Who do you think should make the cut?

Alice Cooper

The original rock nemesis Alice Cooper, along with lead guitarist Glen Buxton, rhythm guitarist Michael Bruce, bass player Dennis Dunaway and drummer Neal Smith, paved the way for future harbingers of shock heavy metal. In addition to his box-office record-breaking live show in the 70s, The Coop continued to rock well into the 90s and, sure, 2010. If ABBA’s already in the R&RHoF, it’d be a shame for Cooper not to make it this year. Take a chance on him.

Beastie Boys

Now here’s a little story I’ve got to tell about three bad brothers you know so well. Mike D, Ad-Rock, and MCA have kicked out the jams for years, pioneering hip-hop, sampling, production, and white-boy fashion since the 80s. If inducted, Beastie Boys would be the third hip-hop group in the hall of fame, alongside Grandmaster Flash and Run DMC. You got a long wait ahead of you, Weezy.

Bon Jovi

If The Bon misses out this year, I at least think it’s about time for his ripped, acid-washed jeans to garner a glass case in the Smithsonian. Not quite hair metal New Jersey blue-collar rockers are a household name for pretty much everyone in America who’s been to a bar at least once in their life. Jon can steal your heart with those steely blue eyes of his, and define a rock song. Does it get more real than “Bed Of Roses”? That’s a man who knows what rock & roll love is.

Chic

Chic are probably best known for “Le Freak”, but they assisted the hip-hop movement in a major way with their increasingly funkier disco sounds. More soul and less….ABBA…. meant Sugar Hill Gang could totally start copping their stuff. Band members also went on to produce albums for Madonna, Mick Jagger, and David Bowie.

Neil Diamond

If his half-decade of amazing songs doesn’t get him in, maybe they should just show the selection committee this clip. Diamond can do anything.

Donovan

World music connoisseur Donovan explored the globe to find his sounds. But before Donovan got trippy and jazzy, he wrote some beautiful folk songs that paved the way for Brit-folk in the 60s. We can also credit him for Nick Drake, Belle & Sebastian, and being at the center of The Beatles pilgrimage to the Maharishi’s ashram in 1968, thus teaching Paul and George how to finger pick the guitar, thus allowing “Dear Prudence” and “Blackbird” to exist. Shoe-in?

Dr. John

This New Orleans staple has been culling the feelings of the city for years and perpetuating Cajun stereotypes for years. Yeah, he’s mighty talented, but I prefer his alter-ego.

J. Giels Band

The only two things I’ve learned from these guys it that, truthfully, love stinks, and that he’s actually not Robert Palmer.

LL Cool J

Now we’re talking: Ladies Love Cool James himself up against the boys from Brooklyn. Obviously, only one hip-hop artists can make it in (blame whitey), but how awesome would it be if they did a performance together? “Going Back To Cali/No Sleep Til Brooklyn” would be the shit.

Darlene Love

Singer for 60s pop group The Blossoms, 72-year old Darelene Love has been singing professionally since being a sophomore in high school. Since then, she’s worked with Phil Spektor, U2, and Danny Glover. She played his wife in all four Lethal Weapon movies. Career versatility: 5 points.

Laura Nyro

Posthumous nominee and folk prodigy Laura Nyro recorded with David Geffen and Columbia Records for 25 years starting at the ripe age of 19.  Her songs were performed by Fifth Dimension, Three Dog Night, and Barbra Streisand and, rather unfortunately, not all at the same time. Elton John said of her: “The soul, the passion, the out-and-out audacity of her rhythmic and melody changes was like nothing I’d ever heard before.”

Donna Summer

My mom played Donna Summer a lot when I was a kid, and I think I heard “Love To Love You Baby” a little too young. Things have been really messed up for me since then. But she’s stayed fresh and in the mainstream since as she starred as Steve Urkel’s Aunt Oona in 1994 and again in 1997 (I’m sensing a trend…)

Joe Tex

You know how Ronnie James Dio claimed he invented the devil horn hand gesture? Well, Joe Tex coined the term “rap”. At age 31, the southern-soul singer had two dozen consecutive R&B/pop crossover hits in rotation, including the song “I Ain’t Gonna Bump No More With No Big Fat Woman”. That title alone gets him a ticket in. And whoa! Label-mate James Brown shot at him in a night club!

Tom Waits

I’ll redirect you to our article on Mr. Tom Waits, which will expound on his defense on getting into the hall of fame. Suffice it to say, if I could use all my votes for one man, it would be him. The breadth of his career, his growth as a songwriter, his talent as a producer earns him a spot in the Hall of Fame.

Chuck Willis

’50s pop singer Chuck Willis, known as “The King of the Stroll”,  is a testament to roots of rock & roll. Unfortunately , he was recording 50 years before today, so I’m clearly not a big fan of his oeuvre, nor one who understands his importance. But because I’m a logical person, I logically see his reason for being on the list. Another case of “If it wasn’t for Chuck Willis…” Elvis Presley, Otis Redding, and Kanye West samples would never exist. May logic prevail!

SSSC’s followup to its first LP will be called The Ghetto Blaster EP and, in addition to a remix of its single “Promenade”, the effort includes covers M.I.A.’s “Paper Planes” and LL Cool J’s “Mama Said Knock You Out”, both of which have been previously performed live. The rest of the seven-track EP will be filled up with new songs.

The Ghetto Blaster EP is out July 27th via Warner Music Group. About a month later, they’ll support the release by appearing on at this year’s Rock The Bells music festivals.

The Ghetto Blaster EP Tracklist:
01. Ghetto Blaster
02. Everythang
03. Paper Planes (M.I.A. Cover)
04. The New Fuck You
05. Scars (Hold That Pose)
06. Mama Said Knock You Out (LL Cool J cover)
07. Promenade (Guitar Fury Remix)

Aside from those items, it’s hard to find any more “positives” from this “We Are the World: 25″. For one, the song is completely overtaken by auto-tune midway through — you can thank Lil Wayne, Jamie Foxx, and T-Pain for this! That’s of course before it turns into a full-fledged hip-hop song, complete with club beats, which doesn’t make much sense when you consider that the first half of the song features Justin Bieber, Barbra Streisand, the dude from Maroon 5, a Michael Jackson montage, and a really pitchy chorus. I guess what I’m trying to say is the whole thing feels like a misguided and undefined mishmash of various solo talents that never really comes together. Oh well, it still was for a good cause…

If you feel compelled, you can download/donate via world25.org. And just for kicks, here is the original version of “We Are the World”, which is still really, really good…

But wait, it got worse! The Grammys gave the Black Eyed Peas’ five minutes, while Jeff Beck, who was paying homage to the late Les Paul, received just two, LL Cool J, a man who hasn’t been relevant in 10 years, presented an award, and tonight, yes tonight as in January 31, 2010, marked the first time Neil Young won a Grammy — for best art direction on a boxed or special limited edition package. Sure, it might not be about the indies, but when Lance Armstrong questions the Grammys, you know something is wrong. In summary, the Grammys don’t get it. At all.

We’d be remiss, however, not to mention the few minutes actually worth watching, compliments of a wonderful performance by Green Day and the cast of American Idiot, a duet between Lady Gaga and Sir Elton John, and the stunning vocals of Mrs. Jay-Z,. Plus, props to the Grammys for giving Phoenix the award for Best Alternative Album (even if they didn’t air it!). But by the time it was all said and done, the evening once again proved to be a waste of three-and-a-half hours. The Black Eyed Peas? Seriously, need I say more?

Fortunately for you (those who were sensible enough to do something more worthwhile on Sunday night), we sat through the whole shindig (note the rather enjoyable NSFW live blog below!) just so we could pick out the few highlights and post them below. Enjoy (because we surely didn’t)!

A list of the 2010 Grammy “Winners”:

Album of the Year: Taylor Swift – Fearless

Song of the Year: Beyonce — “Single Ladies (Put a Ring On It)”

Record of the Year: Kings of Leon – “Use Somebody”

Best Rock Album: Green Day — 21st Century Breakdown

Best Solo Rock Performance: Bruce Springsteen — “Working on a Dream”

Best Rap/Sung Collaboration: Jay-Z, Rihanna, Kanye West – “Run This Town”

Best Alternative Music Album: Phoenix — Wolfgang Amadeus Phoenix

Best Rock Performance By A Duo Or Group With Vocals: Kings of Leon — “Use Somebody”

Best New Artist: Zac Brown Band

Best Contemporary R&B Album: Beyonce — I Am… Sasha Fierce

Best Electronic/Dance Album: Lady Gaga — The Fame

Best Hard Rock Performance: AC/DC — “War Machine”

Best Rap Solo Performance: Jay-Z — “D.O.A. (Death Of Auto-Tune)”

Best Rap Album: Eminem — Relapse

Best Comedy Album: Stephen Colbert — A Colbert Christmas: The Greatest Gift Of All!

Among those left out this year include LL Cool J, the Red Hot Chili Peppers (Whoa has it been a bad week!), Kiss, and singer/songwriter Laura Nyro.

To be eligible for the Hall of Fame, an act must have released its first single or album 25 years before the nomination.

The 25th annual induction ceremony will be held on March 15th at the Waldorf-Astoria in Manhattan, New York.

Yes, this is indeed what will be happening when the legendary comedian drops Bill Cosby Presents the Cosnarati: State of Emergency, a 14-track effort designed to bring awareness and social consciousness to troubling issues in hip-hop culture.

But don’t worry, the 72-year-old Cosby won’t actually be dishing out the rhymes. Instead, he served as a producer and co-writer, leaving the rapping to the aforementioned list of high-profile guests. What’s more, longtime musical colleague William “Spaceman” Patterson and Patterson’s partner, Ced-Gee, co-founder of the hip-hop group Ultramagnetic MCs, also served as collaborators.

“I don’t like referring to the music as clean,” Cosby said of the album in an interview with The Boom Box. “What I like is what you’re not going to do. You’re not going to curse. You’re not going to put women down. You’re not going to put the glory of the gun somewhere. And you’re not going to put a whole lot of violence up front like that’s the thing that will cleanse you and make you feel better.”

State of Emergency will be released digitally on October 20th and physically on November 24th (via Avery Ennis LLC). However, right this very second, you can stream the album in its entirety at billcosby.com. As for a live performance? Well, on October 19th, Cosby’s Cosnarati Band will perform songs from the album during a virtual town hall meeting in New York.

To clarify, Judge began with two animated shorts, the rambunctious duo that is Beavis and Butt-head and the lonely yet rattled Milton. By sheer coincidence, the pseudo-geniuses in music video critique became the basis for an entire series riddled with fart flames, head banging and rather cruel outlooks on ’80s bands, all glazed over with basic crude humor that hallmarked our nation’s “benevolent” youth. While Judge may be remembered now for his cult classic hit Office Space, or his longest running victory, King of the Hill, it’s the success of Beavis and Butt-head that allotted Judge these pop-culture marvels. So, what about …Do America?

The animated film was probably the last thing anyone expected to receive praise by Siskel & Ebert, but lo and behold the critics gave many positive reviews. And while it cost about five million to make (pocket change nowadays), …Do America grossed over $60 million dollars for its domestic box office run, a feat attributed to timing as the height of Beavis and Butt-head‘s popularity only dwindled shortly thereafter. Though, in the moments before Judge’s creation found its grave, this movie became a pop culture icon cementing a laundry list of beyond stupid catchphrases like “Come to Butt-head!” or “I am Cornholio” into our feeble teen minds. The duo who shunned “wussy” bands like Winger or Poison and hailed both Metallica and Radiohead were given their own big screen debut, so one had to wonder what to expect from their corresponding soundtrack?

Turns out this album is essentially the love child of late ’90s alternative and Beavis and Butt-head-approved metal, only with a little comic relief for good measure — a perfect mix for such a confused yet brilliant decade. The on-screen duo get the ’70s buddy cop treatment with the late Issac Hayes turning their TV show theme song into the “Theme From Shaft”‘s evil twin, and it’s all aptly titled, “Two Cool Dudes”. This is perceived by some as foreshadowing of Hayes’s later animated dealings, most specifically, his portrayal of Chef on South Park. Though as popular the Academy Award-winning composer was, he couldn’t compete with the album’s most popular track, the Red Hot Chili Peppers’ envisioning of The Ohio Players tune, “Love Rollercoaster”. It was the first official single and remains an alternative radio staple with Flea’s infectious funk bass and Keidis’ muffled rap verses. It also became a favorite video on MTV2 featuring the band as animated theme park attendees/daredevils, naturally interspersed with footage from the movie (namely Beavis and Butt-head dancing in Las Vegas).

Switching gears (and genres), “Ain’t Nobody” by LL Cool J was the second single off the record, but unfortunately only charted at #46 in the States. For nostalgic fans, the song holds steady, but on the whole it feels out of place amidst the funk, punk and metal. Yes, the metal. Anyone who has actually seen this movie remembers Beavis’s desert hallucination vividly (noted by The Nostalgia Critic as #5 on his Top 11 Nostalgic Mindfucks countdown), and the ensuing sonic mayhem, as well.

Inspired by Rob Zombie’s artwork and played in sync to White Zombie’s “Ratfinks, Suicide Tanks & Cannibal Girls”, the imagery results from Beavis eating a cactus. The song itself makes for the soundtrack’s heaviest metal performance, second and third easily being AC/DC’s “Gone Shootin’” and Rancid ft. Stubborn All-Stars’ “I Wanna Riot”, respectively. Known as the final recording by White Zombie, as it hit streets around the release of Rob Zombie’s Hellbilly Deluxe, this segment of the film pays homage to Beavis and Butt-head’s critic days with Beavis claiming what he sees is “like a music video!” – and for the most part, he is right on the money.

Another interesting last (as well as first) is the track “Walk On Water” by none other than Ozzy Osbourne. While the demo was featured in the film, this polished studio version boasts the only performance of guitarist Joe Holmes on an Osbourne studio recording (though he was schooled by the late Randy Rhoads and co-wrote three tracks on Down To Earth before leaving the band). While not the best of the tracks in the Osbourne catalog, the notoriety it brings to this soundtrack leaves much to aspire towards, especially alongside White Zombie’s courteous donation.

Onto ’90s territory, we have the presence of some old school No Doubt (you know, before Stefani became the second coming of Cyndi Lauper?) and Butthole Surfers. In a similar fashion to Filter, Butthole Surfers have the one song everyone knows (“Pepper”), and a healthy dose of soundtrack appearances (MI:2, Romeo & Juliet, etc.). While Filter might have been much more successful in the long run, a Butthole Surfers song by band name alone is almost a necessity on the …Do America OST, and thus we get “The Lord Is A Monkey (Rock Version)” thrown in for good measure. A bit bizarre to the point of mimicking White Zombie in some aspects, this psychotropic sound scape fits well amongst the wickedness that is Beavis and Butt-head.

Complementing the funkier Red Hot Chili Peppers we get No Doubt’s “Snakes”, which rather than scoring two slackers, actually belongs in a strip club. In fact, the animators should have put in a deleted stripper scene specifically for this song, because the lyrics by themselves are only made more provocative with Stefani’s sexy vocals and the occasional wails (“Open the basket/listen to the flute play”). While it might have taken some practice to get the dancer’s rhythm on point, boy would that have been so worth it. Where the hell is Jessica Rabbit when you really need her?

Closing out this twisted joyride of musical gene splicing (perhaps “genre splicing”), we have a song covered by Engelbert Humperdinck entitled “Lesbian Seagull”, which is played by Beavis and Butt-head’s hippy school teacher during an FBI raid, and later during the end credits by Humperdinck himself. This acts as the album’s comic relief next to Hayes’s theme song interpretation, but even more, because it’s absolutely random by all accounts. It neither adds or takes away from the film, but if they had to pick a song for the hippy teacher’s “Kumbayah” moment I suppose this is as good a satirical jab as any.

Suffice it to say that in this site’s eyes, Beavis and Butt-head Do America was Mike Judge’s crowning achievement, surpassed only by Office Space for no other reason than the “O” face. Granted, …Do America was only as successful as the TV series allowed it to be, but let’s consider the name players involved, both musically or otherwise. It’s a rag tag team of Demi Moore, Bruce Willis and even the guy fromUnsolved Mysteries (Robert Stack, for those uninformed) — all of them had voices slapped to this very vulgar film. Nobody had seen such a transition from TV to film, at least not animated. In some respects, it was very influential on South Park’s Bigger, Longer, and Uncut, only Judge lacks that musical background that both Trey Parker and Matt Stone pride themselves in. Nevertheless, the soundtrack here, and the enormity of the bands present on it, is more than enough to make you want to go: “Come to Butt-head”.

This isn’t the only Beavis and Butthead-endorsed album. Before this, there was a little collection called The Beavis and Butt-head Experience, which featured prominently heavy metal bands praised by the cartoon duo. Though this album was exceptionally better in terms of simple compilation novelty, the soundtrack of Beavis and Butt-head Do America has something for almost anyone — and even if your only initial reason for buying this soundtrack was “Love Rollercoaster”, chances are you kept it because of the other stellar tunes to follow (kind of like buying the Coneheads OST simply for “Soul To Squeeze”).  Above all else, this throwback to the ’90s is novelty but on a higher echelon of such, as it reminds us that at one time or another we all thought Cornholio was hilarious.

Beavis & Butthead Original Motion Picture Soundtrack tracklist:
01. “Two Cool Guys” – Isaac Hayes
02. “Love Rollercoaster” – Red Hot Chili Peppers
03. “Ain’t Nobody” – LL Cool J
04. “Ratfinks, Suicide Tanks and Cannibal Girls” – White Zombie
05. “I Wanna Riot” – Rancid with Stubborn All-Stars
06. “Walk on Water” – Ozzy Osbourne
07. “Snakes” – No Doubt
08. “Pimp’n Ain’t EZ” – Madd Head
09. “The Lord Is a Monkey (Rock Version)” – Butthole Surfers
10. “White Trash” – Southern Culture on the Skids
11. “Gone Shootin’” – AC/DC
12. “Lesbian Seagull” – Engelbert Humperdinck