SNAKEFINGER
Manual Of Errors - (1982)

Philip Lithman led a schizophrenic career, trying to make his way out of obscurity into the light of mainstream success, but then found a living as a valued sideman to the most obscure pop group of the '70s and '80s: the Residents. His dramatic, slanted runs up the fretboard have its antecedents in the British blues scene and art rock, most particularly Robert Fripp and Fred Frith (the latter also lending guitar to Residents recordings); his fingerwork earned him the nickname "Snakefinger." In the end, he died (suddenly, of a heart attack) while in limbo: not weird enough for the Residents, not normal enough for chart success or critical recognition. (allmusic.com)

http://www.mediafire.com/?q39rfhkhi5kt9is

SNAKEFINGER
Philip Charles Lithman aka Snakefinger - (1993)

Philip Charles Lithman aka Snakefinger is a posthumous collection released by The Residents' fan club organization, Uncle Willie's Eyeball Buddies, or UWEB. It features unreleased tracks spanning Snakefinger's career from 1971 to 1987. The first, second, and last tracks are live performances of songs which were intended to be recorded on the next album ("We hope," Snakey quips to the audience). "Death Collage" is a track assembled by The Residents in tribute to their departed friend. To round out the compilation, some obscure b-sides are included as well as unreleased demos from the mid-1970's.

http://www.mediafire.com/?mqn0akixmmv

*** BY REQUEST ***
THE RESIDENTS
Snakey Wake - (1988)

The second release on the Residents' fan club label is a studio recording of music written for the wake of their longtime guitarist and friend Philip "Snakefinger" Lithman, who died of a heart attack while on tour in 1987. This 20-minute suite begins with a propulsive, almost danceable version of Hank Williams' "Six More Miles to the Graveyard," which the group had already covered a year before on Stars & Hank Forever. What follows is a four-part composition that brings in old English laments, church bell scales, a twisted bossa nova beat, cathartic screams, and distant yelps. Maybe unsurprisingly, there is no guitar to be heard anywhere on the album. A very personal album, hence its limited release, but better than a lot of what they had been currently working on. The group was able to channel some of their anguish into the following God in Three Persons project as well, but a great chapter of the group's career had come to an end.

http://www.mediafire.com/?jyggzjj2ztk

CHILLI WILLI AND THE RED HOT PEPPERS
Kings Of The Robot Rhythm - (1972)

Chilli Willi and the Red Hot Peppers were one of the main British pub rock groups of the early '70s, playing a laid-back yet rocking mixture of rock & roll, R&B, country, and folk. The band has its origins in a folk-rock duo formed by ex-Junior's Blues Band members Martin Stone (vocals, guitar, mandolin) and Phil "Snakefinger" Lithman (vocals, guitar, piano, lap steel, fiddle). Lithman moved to San Francisco in the late '60s, leaving Stone to play with Savoy Brown and Mighty Baby. The duo reunited in the early '70s, recording Kings of Robot Rhythm with vocalist Jo-Ann Kelly and various members of Brinsley Schwarz. Kings was released in 1972; that same year, the duo expanded to a band, adding Paul "Dice Man" Bailey (guitar, banjo, saxophone), Paul Riley (bass), and drummer Pete Thomas. During the next two years, Chilli Willi and the Red Hot Peppers became a popular live act in Britain. The full band released Bongos Over Balham in 1974, yet the record sold poorly and the band split in February 1975. Thomas became the drummer for Elvis Costello's backing band, the Attractions, Riley played with Graham Parker, Bailey formed Bontemps Roulez, and Stone played with the Pink Fairies before quitting the music business. Lithman moved back to San Francisco where he began to work with his former associates, the Residents, under the name Snakefinger. (allmusic.com)

http://www.mediafire.com/?d24mm5nj0hq

SNAKEFINGER'S VESTAL VIRGINS
Live In Chicago - (1986)

Live In Chicago is a set that captures the impressive music talents of the entire band during 1986. As a guitarist, Snakefinger had a style where he was constantly sounding as though he was one note from being entirely off-kilter, yet never losing the thread of the song. The ten songs on Live In Chicago are cultivated from his solo career but do not have any in common with The Vestal Virgins' Night of Desirable Objects, the studio album released around the same period of time. The most intriguing aspect of the album is that while earlier in his career, Snakefinger sounded like he was trying too hard to be weird. With The Vestal Virgins, the oddness of the music is completely unforced and just naturally oozes from the music.

http://www.mediafire.com/?mdj30mznugi

SNAKEFINGER
Greener Postures - (1980)

This is the peculiar and unique material of a cult guitarist extraordinaire. Each song is a quirky island in a sea of sonic oddity. The gamut on Greener Postures runs from the edgy depression ballad "Living in Vain" to "I Come From an Island" with an oppressive beat and stark message that could come from the Residents' The Mole Show. A listen to this album forces consideration of his immense contribution to the Residents' sound.

http://www.mediafire.com/?mzhwztgj0mz

SNAKEFINGER
The Ralph Records Singles - (1978,79,80,87)

Philip Charles Lithman (June 17, 1949 - July 1, 1987), who performed under the stage name Snakefinger, was an English musician, singer and songwriter. A multi-instrumentalist, he was best known for his guitar and violin work and his collaborations with The Residents.
Lithman was born in Tooting, South London, and came from the British Blues scene. He moved to San Francisco in 1971 and became associated with The Residents. It is said he was given the name 'Snakefinger' by The Residents themselves when they saw his proficiency with the guitar during their first live performance together. Another explanation for the name comes from a story concerning a party in San Francisco, at The Residents' collective, wherein all in attendance watched Lithman's fingers dart snake-like at the neck of his violin. Lithman performed with The Residents on their 13th Anniversary Tour in 1986. On July 1, 1987, Snakefinger and his band, The Vestal Virgins, arrived in Linz, Austria, on the European Night tour. On the next morning - before his scheduled performance in the Posthof Club, he was found dead in a guestroom of the Posthof: Lithman had suffered a fatal heart attack. On the day of his death, his single, "There's No Justice in Life", was released.

http://www.mediafire.com/?sharekey=300c8e89fa751bc3ab1eab3e9fa335ca2059b91efa9b5031

SNAKEFINGER
Chewing Hides The Sound - (1979)

English avant-guitarist Philip Charles Lithman, aka Snakefinger, began an association with the Residents in 1969, before the group even had that name. The Residents co-produced his two albums with Snakefinger. Chewing Hides Sound from 1979 includes a cover of Kraftwerk's "The Model." This is very appropriate because both groups relied heavily on mechanical, angular rhythms and lyrics loaded with more visual metaphor than meaning, like "Jesus Was a Leprechaun." This is the peculiar and unique material of a cult guitarist extraordinaire. Each song is a quirky island in a sea of sonic oddity. "Here Comes the Bums" is hip and cool while "Who Is the Culprit and Who Is the Victim?" is tense and neurotic. A listen to this album forces consideration of his immense contribution to the Residents' sound. (allmusic.com)

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