Mr. Music Head
Mr. Music Head is the fourth solo studio album by American musician Adrian Belew, released in 1989.[1] It marks Belew's debut release on Atlantic Records and features a blend of art rock, experimental pop, and innovative guitar techniques characteristic of his solo work.[2][3] The album includes the single "Oh Daddy," which peaked at number 5 on Billboard's Modern Rock Tracks chart in September 1989.[4] Produced by Belew and recorded at Royal Recorders in Lake Geneva, Wisconsin, Mr. Music Head showcases his multi-instrumentalist talents, with Belew handling vocals, guitars, keyboards, and programming.[3] The record comprises 12 tracks, including "House of Cards," "Coconuts," and "Hot Zoo," exploring themes of whimsy, introspection, and social commentary through eclectic arrangements.[5] Critically, it received positive attention for its accessible yet avant-garde sound, earning a 7.5 out of 10 rating on AllMusic and highlighting Belew's evolution from his King Crimson and David Bowie collaborations.[3] The album's cover art, featuring Belew's face morphing into musical instruments, underscores its playful title and conceptual focus on music as an extension of the self.[2]Background and Recording
Conception and Development
Mr. Music Head is Adrian Belew's fourth solo album, released in 1989.[6] Following the disbandment of his band the Bears in 1989 due to poor record sales and lack of label support after their final album The Bears (1988), Belew transitioned back to a solo career.[7] Belew signed with Atlantic Records for this project, marking his first release with the label and a significant shift in his professional trajectory after previous solo efforts on Island Records. The deal came about after an Atlantic A&R representative overheard a demo of the song "Oh Daddy," leading to a three-record contract. This opportunity allowed Belew to pursue more personal and experimental directions in his music without the constraints of band dynamics. The album's initial concept drew heavily from Belew's personal life, particularly his family experiences. A key example is the duet "Oh Daddy," which Belew created as a playful collaboration with his 11-year-old daughter Audie, who expressed interest in singing in the studio; this track not only influenced the album's lighthearted tone but also played a pivotal role in securing the label deal. Belew adopted a multi-instrumental approach to realize his vision, handling most instrumentation himself to capture an intimate, homegrown feel.[4][8]Recording Sessions
The recording sessions for Mr. Music Head took place from 1988 to 1989 at Royal Recorders in Lake Geneva, Wisconsin, a studio that later adopted the album's title as its own.[6][4] Following the disbandment of the Bears, Belew immersed himself in the project as a means to explore his solo vision without band constraints.[6] Belew served as the sole producer, embracing a DIY ethos by handling the writing, performance, and much of the recording independently to maintain creative control.[6][4] He performed nearly all instruments, drawing on an array of tools including processed guitars for backwards effects and unconventional solos, an old baby grand piano for melodic foundations, electric upright bass, dobro tuned to DADDAD, log drums, and even Japanese fans struck with a pencil for percussion, alongside sounds from an 8-note toy ray gun.[4] These elements, combined with the studio's extensive sound effects library—particularly in tracks like "Cruelty to Animals"—enabled Belew to craft intricate, layered textures that defined the album's sonic palette.[4] The sessions yielded 12 tracks totaling 45:09 minutes, capturing Belew's experimental yet accessible style through multi-tracked arrangements built around piano bass lines, finger snaps, and toy-like effects in songs such as "Motor Bungalow" and "Hot Zoo."[4][9]Music
Musical Style
Mr. Music Head represents a fusion of art rock, contemporary pop/rock, experimental rock, guitar virtuoso techniques, and subtle jazz-rock influences, marking Adrian Belew's exploration of eclectic sonic landscapes. The album draws from Belew's pop upbringing, incorporating Motown and Beatles-inspired elements to craft catchy, radio-friendly structures, while layering in experimental guitar phrases and quirky arrangements that nod to his progressive rock roots.[8][10] This blend creates a sound that balances accessibility with innovation, evident in the use of polyrhythmic drum patterns that evoke jazz-rock complexity.[11] Central to the album's texture is Belew's signature processed guitar effects, which generate unconventional sounds such as backward treatments, animal-like wails, and found-sound integrations, showcasing his virtuoso command of the twang bar and bent-note techniques. These elements produce dense, atmospheric layers that push beyond traditional rock guitar, often resembling synthesizers in their timbral variety. Drum programming and electronic treatments further enhance the experimental edge, contributing rhythmic intricacy that borders on polyrhythm without overpowering the melodic core.[11][6] The lyrical themes are humorous and whimsical, often infused with playful, personal narratives that contrast sharply with the instrumentation's avant-garde leanings, adding a layer of ironic charm to the proceedings. Belew's multi-instrumental approach, handling much of the production himself, amplifies this duality. Compared to his earlier solo albums like Lone Rhino and Twang Bar King, which leaned heavily into abstract experimentation, Mr. Music Head shifts toward more approachable pop sensibilities while preserving progressive intricacies.[12][10][8]Track Listing
All tracks are written by Adrian Belew, except where noted.[4]- "Oh Daddy" – 3:05
- "House of Cards" – 3:44
- "One of Those Days" – 3:21
- "Coconuts" (Belew, Stan Hertzman) – 3:29
- "Bad Days" – 3:06
- "Peaceable Kingdom" – 3:36
- "Hot Zoo" – 4:24
- "Motor Bungalow" – 3:36
- "Bumpity Bump" – 3:46
- "Bird in a Box" – 3:16
- "1967" – 5:23
- "Cruelty to Animals" – 4:23