Allmusic had this to say about the Residents: "Over the course of a recording career spanning several decades, the Residents remained a riddle of Sphinx-like proportions; cloaking their lives and music in a haze of willful obscurity, the band's members never identified themselves by name, always appearing in public in disguise -- usually tuxedos, top hats and giant eyeball masks -- and refusing to grant media interviews. Drawing inspiration from the likes of fellow innovators including Harry Partch, Sun Ra, and Captain Beefheart & His Magic Band, the Residents channelled the breadth of American music into their idiosyncratic, satiric vision, their mercurial blend of electronics, distortion, avant-jazz, classical symphonies and gratingly nasal vocals reinterpreting everyone from John Philip Sousa to James Brown while simultaneously expanding the boundaries of theatrical performance and multimedia interaction.
It was commonly accepted that the four-member group emigrated to San Francisco, California from Shreveport, Louisiana at some point in the early '70s. According to longtime group spokesman Jay Clem -- one member of the so-called Cryptic Corporation, the band's representative body -- they received their name when Warner Bros. mailed back their anonymous demo tape, addressed simply "for the attention of residents". Finding no takers for their oddball sounds, the Residents founded their own label, Ralph Records, for the purposes of issuing their 1972 debut "Santa Dog", released in a pressing of 300 copies which were mailed out to luminaries from Frank Zappa to President Richard Nixon. Their debut full-length, 1974's "Meet the Residents", reportedly sold fewer than 50 copies before the group was threatened with a lawsuit from Capitol Records over its cover, a twisted, dada-esque parody of the art to "Meet the Beatles".
The follow-up, 1974's neoclassical excursion "Not Available", was recorded with the intention of its music remaining unissued; locked in cold storage upon its completion, only a 1978 contractual obligation resulted in its eventual release. 1976's "The Third Reich 'N Roll" was the next official offering, a collection of pop oldies covers presented in a controversial jacket portraying Adolf Hitler clutching an enormous carrot. After a 1976 concert in Berkeley, California which cloaked the Residents behind an opaque screen, wrapped up like mummies -- the most famous of only three live performances mounted during their first decade of existence -- they issued an abrasive 1977 cover of The Rolling Stones' "Satisfaction", which became an underground hit on both sides of the Atlantic at the peak of the punk movement. As the decade drew to a close, the group released a flurry of recordings, further building upon their growing cult following; among them were 1978's "Duck Stab", 1979's "Eskimo" (purportedly a collection of native Arctic chants) and 1980's "Commercial Album", a compilation of 40 one-minute "pop songs" that aired on San Francisco radio only because the Residents played them during the advertising time they bought.
In 1981 the Residents embarked upon their "Mole Trilogy", a prog rock collection of albums -- 1981's "Mark of the Mole", 1982's "The Tunes of Two Cities" and 1985's "The Big Bubble" -- recounting an epic battle between a pair of tribes named the Moles and the Chubs; a lavish, multimedia tour, "The Mole Show", followed. In the interim, the group also mounted another ambitious project, the "American Composer" series, although only two of the projected titles -- 1984's "George & James" (a reinterpretation of songs by George Gershwin and James Brown) and 1986's "Stars & Hank Forever" (celebrating John Philip Sousa and Hank Williams) -- ever appeared. Instead, in the wake of financial and corporate difficulties which resulted in the creation of a New Ralph label, the Residents issued the one-off "God in Three Persons" (a talking blues outing), and 1989's "The King and Eye" (a reinterpretation of Elvis Presley standards).
After losing control of the Ralph label as well as their back catalog, the Residents regained the rights to their music in 1990 and began reissuing long-out-of-print material as well as the new "Freak Show", a meditation on circus sideshows and carnival dementia. Four years later, Freak Show was reissued as a CD-ROM, marking the group's first leap into the new digital interactive technology; "Have a Bad Day" followed in 1996, and included the soundtrack to the CD-ROM game "Bad Day on the Midway." In 1997, the band celebrated their silver anniversary with the release of the career-spanning overview "Our Tired, Our Poor, Our Huddled Masses". "Wormwood: Curious Stories From the Bible" followed the next year, with "Roadworms" (songs from Wormwood as performed in the stage show) being issued in mid-2000. They followed that up with the awesome "Icky Flix" DVD, an incredibly detailed collection of their videos that featured both old and new soundtracks, 5.1 Digital Stereo Surround sound, countless hidden videos and in-depth histories of each individual track. That was followed by another one of their rare tours, which saw them incorporate the DVD into their live act and bring out guest singer Molly Harvey for some truly creative duets. The "Petting Zoo" retrospective followed in the spring of 2002, acting as a budget sampler for new fans and giving old fans something to tide them over while several high concept projects neared completion. The first was "Demons Dance Alone", a complicated pop album that hearkened back to the catchier material from "Duck Stab" and the "Commercial Album". That was followed in 2002 by a live retrospective called "Kettles Of Fish On The Outskirts Of Town" that contained 3 cd's and a DVD, and a further look at their past via remasters and remixes put out by EuroRalph (including a remix of their previously unreleased and notorious "Warner Brothers Demo"). A DVD of the Demons Dance Alone tour came out in 2004 and another new project, "Animal Lover" was released in 2005."
Summer of 2006 brought the internet download project, The River of Crime: Episodes 1-5. River of Crime was their first project with Warner Music Group's Cordless label. Following the success of "River of Crime", The Residents launched their weekly Timmy video project on YouTube. In 2007 they did the music for the documentary "Strange Culture" and also released a double instrumental album, "Night of the Hunters". On the Fourth of July, 2007, the planned October release of their latest project with Mute Records, The Voice of Midnight (a music theater adaptation of E.T.A. Hoffmann's short story Der Sandmann), was announced on their website.
On the 21st of May 2008 they announced on their website that their first North America tour since "Demons Dance Alone" for a project entitled "The Bunny Boy" is set to begin on October 9th in New York — later an earlier date was added for Santa Cruz. Soon, it was announced that the tour will also include Europe, starting November 13th. On June 3rd, the Residents.com website boasted the planned release of "The Bunny Boy" which was released on September 1st. The website had posted information in which Foxboro claimed this would be a Farewell Tour; it was later revealed that this was nothing more than a mistake by Foxboro.
In October 2017, Hardy Fox identified himself as both the anonymous primary composer and producer for The Residents as well as the pseudonymous Charles Bobuck.
Hardy Fox died on October 30, 2018.
Semolina
The Residents Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Semolina
Semolina
Loves the seashells
At the shore she
Loves the seashells
Sometimes shining on the sea
Reflecting from the flying fishes
Wishing she could be
A little piece of sand that's blown
Above the ocean's breeze
But all she has is thoughts of all
Those fingers peeling seeds
And leaving them to mold among
The women watching weeds
Semolina
Semolina
Semolina
Loves the seashells
At the shore she
Loves the seashells
Semolina
Semolina
Semolina
Semolina
Semolina
[Incomprehensible]
[Incomprehensible]
The lyrics to The Residents' song Semolina are both enigmatic and deeply contemplative in nature, with a sense of longing and yearning that pervades the entire composition. The central figure of the song is Semolina, a woman who is entranced by the beauty and wonder of the seashells that she gathers along the shore. She watches as the light reflects off the sea, wishing that she could be a part of the landscape, a tiny grain of sand that is lifted by the breeze and carried out to sea on the currents.
However, despite her dreams and aspirations, Semolina remains stuck in her mundane existence, constantly reminded of the drudgery and banality of daily life. She can only think of the women around her, peeling seeds and watching weeds grow, as she becomes lost in her thoughts and fantasies. And yet, despite everything, she remains in love with the seashells, with the endless variety of shapes and sizes that they come in, and with the boundless potential and possibility that they represent.
The Residents' Semolina is a haunting and memorable composition that stays with the listener long after the song has ended. It is a meditation on the fragility and fleetingness of existence, and on the power of dreams and imagination to transport us beyond our mundane realities. Above all, it is a testament to the enduring beauty and mystery of the natural world, and to our eternal fascination with and reverence for its wonders.
Line by Line Meaning
Semolina
Introduction of the singer of the song named Semolina.
Semolina
Reiteration of the singer's name, setting the tone of the song.
Semolina
Repetition of Semolina's name, acting like a refrain in the song.
Loves the seashells
Semolina loves the seashells present at the shore.
At the shore she
Semolina is situated at the shore.
Loves the seashells
Another reiteration of Semolina's love for seashells.
She can see the silver
Semolina can view the reflection of silver in the water.
Sometimes shining on the sea
The silver that is reflected in the water is sporadic and intermittent.
Reflecting from the flying fishes
The silver being reflected stems from the flying fishes present in the water.
Wishing she could be
Semolina desires to become a part of the shimmering reflection.
A little piece of sand that's blown
Semolina wishes to be a small sand particle that is flown above the ocean's breeze.
Above the ocean's breeze
The aforementioned sand particle would be above the ocean's breezy currents.
But all she has is thoughts of all
Semolina is only capable of having thoughts, unfortunately.
Those fingers peeling seeds
Semolina associates her thoughts with the act of peeling seeds.
And leaving them to mold among
After peeling, the seeds are left to rot among.
The women watching weeds
The seeds left to rot are being observed by women who are monitoring nearby vegetation.
Semolina
Another repetition of the artist's name.
Semolina
The continuation of the refrain utilizing Semolina's name.
Semolina
The repetition of Semolina's name one last time to finalize the song.
[Incomprehensible]
Hard to transcribe due to it being inaudible.
[Incomprehensible]
Similar to the previous line, it is unclear what is being said as it is incomprehensible.
Contributed by Carter C. Suggest a correction in the comments below.
Jimbo
on BUCKAROO BLUES: The Stampede
A true mirror of American culture. The Residents are a national treasure