The b-side is an Iggy Pop cover, “Billy is a Runaway.” It’s even fuzzier (with some truly signature Segall buzz) accented with saxophone (played by Zumi Oneiro) and an intentionally off-kilter rhythm section, making it a wonky cacophony of weirdness. It’s pretty great.

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We all got a sneak peek into the vibe of this latest release back in September with the single “Eggman” which is a great, super-weird T.Rex-ish track with an ever weirder video. I’m fairly certain he played it when we saw him this past October and would have happily paid extra (oh wait, we were on the guest list!) to see him eat eggs hilariously/disturbingly like he does here:

My top track is the super-groovy, wicked ass-shaking “ I Hear” which is all bass and beats, massive buzzy, bendy guitar. I also really like the opener “The Bell” which has a 60’s psych/twee thing going on: think Donovan but then morphs into a Zeppelin IV jam and “Move” which is sung by, I think, his wife Denée Segall: it’s weird as hell. Since Three Bells technically isn’t out yet, I can’t include any links for those tracks…and likely will not remember to come back to edit this post so go look them up online starting tomorrow [UPDATE: I remembered to come back and include links!]. In the meantime, here’s a delightful video from the Three Bells track “My Best Friend” which is available – it’s not one of my top tracks but Ty’s best friend is simply adorable so I’m 100% including it.

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Hello, Hi is a mostly mellow acoustic album (he opened his show at First Avenue with “Good Morning” from Hello, Hi and possibly “Saturday Pt. 1” and “Saturday Pt. 2“). Much of its sound is reminiscent of pre-glam T. Rex when Marc Bolan and Steve Peregrin Took were doing their psychedelic folk thing, sounding like they would be most comfortable strumming a lute around the May Pole. Recorded in 2020 during the pandemic shutdown (the closing song “Distraction” pretty much perfectly sums up those weird months), Hello, Hi feels very introspective, intimate and quiet: many tracks are just Ty alone with his guitar, his voice frequently high and a little warbly as if just at the edge of being overcome by emotion – see especially “Blue” when his overdubbed harmonies croon “you can’t erase the pain.” His cover of The Mantles‘ “Don’t Lie” is lovely and lilting and “Looking At You” is simply beautiful, a little reminiscent of Led Zeppelin’s mellower work, and one of my favorite songs on the record. He does add in some electric buzz and fuzz as the song builds toward its end. My top track is the total, all-out buzzed and fuzzed title track rocker “Hello, Hi.”

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It was an awesome show that started with him playing solo acoustic for a couple of songs before his Freedom band joined and tore the roof off in a maelstrom of fuzz and buzz. We had secured a spot right up front which was excellent – until it wasn’t. There had been a small pit that formed and unformed throughout the concert, which was mildly irritating but manageable. However at the final encore, a couple of guys charged the security fence and leaped over. This is where things get hazy for me and I didn’t see what happened but the next thing I know, a guy apparently must have made it up onstage and dived – right onto me. He hit me at the base of my neck/top of my thoracic spine and I went down. I was pulled from the crowd and made it to a wall where I think I was surrounded by security asking me if I was OK. I was able to respond to indicate that I did not want them to call an ambulance as I was able to move my head and process thought enough to know what was going on (and to know that I did not want the medical bills associated with an ambulance ride and ER visit). When the last song ended and Joe went to get the car (no way was I up for walking through downtown Minneapolis to get to where we parked), security got me a massive bag of ice from the bar and I literally laid down on the floor of First Ave, draped over that ice. After a few minutes, Ty himself came out to check on me and find out how I was doing. He apologized profusely (I let him know it wasn’t his fault!), we commiserated on how the kids these days don’t know pit and stage-dive etiquette (Ty: “You make direct eye contact first! Then you go!”). He also expressed his love for Spotted Cow beer when he learned I was from Wisconsin (you can’t get Spotted Cow outside of the state and he had loaded up while driving through) and offered me one (I declined). He also offered me free tickets to any of his shows from here on out. (I’ve been in contact with his manager and she’s confirmed free shows for me!) So I guess that’s cool even though I still am sore and have weird nerve shit happening in my arms and hands two days later.

Anyway, Manipulator: it too is fuzzy, buzzy and awesome. My top tracks are “It’s Over,” the groovy ass-shaker “Feel,” the extra-glammy/Marc Bolan-dentical “The Clock,” “The Hand” and the Stooges-inspired “The Crawler.”

Another top track is the super-catchy “Tall Man Skinny Lady” – the video linked below is from Ty and his Manipulator Band performing at Grimey’s in Nashville, which is perfect because that’s where we picked up this copy of Manipulator just a few weeks ago. (Two of the guys in the band are in his current Freedom band: though the guitarist is now on drums.)

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My top tracks are the lead song “Taste,” the trippy “I Worship the Dog,” the super-excellent, 60′s pop-psych groove (with killer mandolin!) of both “The Arms” and “I Sing Them,” the ass-shaking funk of the short instrumental “When I Met My Parents (Part 1)” (there’s also a “When I Met My Parents (Part 3)” but no Part 2 🤷‍♀️) and the mandolin and pipe flute-infused “Lone Cowboys” that feels  like an English folk tune (think Jethro Tull) dropped into a jazzy spaghetti western with a hit of flamenco. Weird weird shit but super-groovy.

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