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Transmissions ...

4.2 out of 5 stars 28 customer reviews

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58th Annual GRAMMY Awards
Discover this year's nominees on CD and Vinyl, including Album of the Year, Artist of the Year, Best New Artist of the Year, and more. Learn more

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Product Details

  • Audio CD (July 20 1993)
  • Number of Discs: 1
  • Label: Warner Bros
  • ASIN: B000002ML7
  • Other Editions: Audio CD  |  Audio Cassette  |  LP Record
  • Average Customer Review: 4.2 out of 5 stars 28 customer reviews
  • Amazon Bestsellers Rank: #11,141 in Music (See Top 100 in Music)
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1. Turn It On
2. Pilot Can At The Queer Of God
3. Oh My Pregnant Head
4. She Don't Use Jelly
5. Chewin The Apple Of My Eye
6. Superhumans
7. Be My Head
8. Moth In The Incubator
9. ******* [Plastic Jesus]
10. When Yer Twenty-Two
11. Slow Nerve Action

Product Description


For so long, The Flaming Lips were indie-rock's Least Likely To's. For more than 10 years, these ever-shifting American psychedelists made some of the oddest records known to man or beast. And with 1993's Transmissions From The Satelite Heart they had their first hit. "She Don't Use Jelly", the hit in question, is accessible fuzz-guitar psyche-rock; indeed, by Flaming Lips standards, Transmissions... is comparatively normal. True, it still includes songs called "Oh My Pregnant Head (Labia In The Sunlight)" and "Pilotcan At The Queer Of God", but despite the ever-present perverse streaks, the glorious, celebratory crunch of "When Yer Twenty-Two" is the sound of The Flaming Lips finally embracing their listener. Transmissions From The Satellite Heart proved the detractors wrong--this is an album of incandescent loveliness and chemically-assisted good humour. --Louis Pattison

Customer Reviews

Top Customer Reviews

Format: Audio CD
The first album of the Lips I heard was Yoshimi, followed by The Soft Bulletin, and then Transmissions From The Satellite Heart. After being disappointed by the Soft Bulletin I was a little bit hesitant in picking up another album of theirs. But I'm very glad I did. Transmissions shows that once upon a time the Flaming Lips could really rock, power chords and all. Yes, unlike future albums this one has plenty of grueling guitar and its all for the better, it makes it a lot more edgy. Wayne Coyne's voice is probably at the roughest I've heard it but it doesn't really matter because they fit in with the hard, rough tunes. The whole album has a bit of a Western flair to it as shown in Chewin the Apple Of Your Eye. The song is like a western ballad in the same vein as later Velvet Underground or a much better Bright Eyes, Coyne's crackling, rough voice though manages to make the song much more tragic than Bulletin's and Yoshimi's bombastic ballads. This also has the Lips only break into MTV airplay, with the song She Don't Use Jelly. The song seems to be a bit of a predessesor for the Soft Bulletin and has some very humorous lyrics. The real highlight of this album has to be When Yer Twenty-Two. It shows the Lips at the heighth of their artistry and catchiness in this period. Be My Head has an abundance of a Lip's staple, really dumb lyrics. But again, like usual this isn't a problem for them due to the great melody. Really though there isn't a weak point in this album and it doesn't let up at all throughout. I really hope that the Lips have the chops to match this album sometime in the future, and I think with the originality of Coyne they just might...
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Format: Audio CD
In the early 90's, it was possible for all sorts of strange bands to be signed to major labels. With noise-mongers ranging from the dark post-punk of Sonic Youth to the chaotic bursts insanity from The Boredoms, it seemed as if perhaps these strange, but wonderful artists might gain more exposure. Sadly, this wasn't the case, but it was still interesting to see records like The Flaming Lips' Transmissions From The Satellite Heart released by a giant corporation (Warner Bros. in this case). Strangely enough, Transmissions is a less accessible record than the Lips' major label debut Hit To Death In The Future Head, although Transmissions features the Lips' fluke hit "She Don't Use Jelly." To anyone who bought this for the strange, yet sunny "Jelly," they were possibly taken aback by the manipulated guitar fuzz, tape loops, and lo-fi acoustic excursions. There are a few pop gems in the vein of "Jelly" including "Turn It Up" and "Superhumans," but songs like "Oh My Pregnant Head" and "Slow Nerve Action" as as bizarre as their titles may suggest. While Hit To Death... had some interesting orchestral touches melded in with the abundance of guitar noise, Transmissions is a much more stripped-down affair, focusing on creating an atmosphere that perhaps not surprisingly hints at mind-altering substances. Transmissions From The Satellite Heart is an artistic statement by one of the nineties' most relentlessly creative bands, not just an album of weird filler book-ending a hit single. It's too bad nobody really started to realize just how brilliant the Lips were until The Soft Bulletin. Fans of new Flaming Lips work might be a tad confused, but it's a fun ride for anyone who thought maybe the Meat Puppets and The Jesus And Mary Chain should have jammed together.
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Format: Audio CD
I bought this cd in 1995 when i was a kid in 5th grade, trying desperately to fit in. Another kid who was, at the time, an authority on what was cool, told me a little bit about a new CD that he thought was great. Of course, i rushed out and bought it. This was a rare instance of where the trendsetter actually knew what he was talking about.
It is absolutely one of the greatest albums I have ever owned. Certainly in contention for my favorite. Most rock snobs like me can pinpoint the album or a couple albums that truly solidified music as the thing that interested them. For me, this is that album. Somehow, even then, having only listened to the oldies that my parents played on the radio, I was completely absorbed by how unique the sound is. It is an exercise in contrast, between layers of nearly-unlistenable (in that beautiful, irresistible way) noise, and a guitar and vocals with the mid way up and the bass and treble way down. Just like it's on a radio. By the way, I find that one of the most interesting themes in rock music is the band's relationship and treatment of the radio and its place in music and history. This disc can be regarded, I think, as a concept album with this theme at the core. Think the quality of Elvis Costello's "Radio, Radio," and you get the idea.
It is an amazing combination of folk-rock, fuzz-rock and the wonderful 80s indie scene; one that is sensitive and reverent to the traditions of each. It shows pangs of the electronic, avant-garde folk rock that the Lips would become, as evident on Yoshimi Battles the Pink Robots, but is more grounded in that sort of mid-90s neo-classic rock thing that was going on.
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