If Weird Al Yankovic, Boots Riley and Mel Brooks got together to write a musical, it might sound something like Brooke Maxwell and Jacob Richmond’s Ride the Cyclone. In the original soundtrack’s twenty-two tracks, streaming at Spotify, no style of music is off limits to this duo’s merciless satire. American and foreign hip-hop, circus rock, corny G-rated Lawrence Welk church-parlor pop, macho Russian crooner balladry, cabaret, emo and EDM all get a good thrashing at the hands of an eclectically talented cast of singers and players.
In one typical number, the amazingly versatile band here chew up ELO, Zapp and Roger, Huey Lewis bar-band rock, 1970s top 40 ersatz soul music and then spit them out, hard. Another song starts by spoofing phony-sensitive Conor Oberst sweaterboy sounds and ends making fun of the Osmonds. The jokes are too good to give away and are not limited to lyrics. This is the rare comedy record that stands up to repeated listening because the snark and savagery comes at you so fast that if you try to multitask, you’ll miss the best parts.
The musical’s Greek chorus is Coney Island character The Amazing Karmack, whose job it is to predict the hour of a person’s death. Adding an amusing level of meta, he gets to deliver some of the most corrosively hilarious punchlines. The story begins as the St. Cassian Chamber Choir, of Uranium City, Saskatchewan arrive at the end of the train line for a roller coaster ride. As you might imagine, considering Karmack’s involvement, things are not going to be quite so carefree as the cheery Canadians expect. A headless body is involved.
The characters are straight out of central casting, with several twists: this is also a parody of musicals in general. The dorky boy dreaming of louche life in the big city; a whiny Veruca Salt type; an operatic piano-thumping wannabe Sylvia Plath; and an oligarch’s kid posing as hip-hop star all get what they deserve, right down to the minute details. Where does Misha Bachinsky, “the best Ukrainian rapper in northeast Saskatchewan,” take his entourage to drink Cristal and roll blunts? No spoilers.
If Bill Withers and Jeff Lynne had teamed up to write the worst song of their lives, it would be It’s Not a Game, It’s Just a Ride. One of the soundtrack’s funniest interludes, Be Safe, Be Good, has sobering resonance in an era of 24/7 fearmongering from the corporate media. The cruel punchline at the end comes in the form of an American Idol-style New Nashville singalong. In a year of relentless gloom and a likely holocaust looming on the horizon, we desperately need albums like this.