Archive Review: The Flamin’ Groovies’ Flamingo (2008)

Sadly, the back catalog of the greatest rock band of the ‘70s, the Flamin’ Groovies, is seriously FUBAR, with essential titles flying in-and-out of print with disturbing regularity. This year’s model of the band’s incredible second album doesn’t include any much-coveted Groovies bonus material, but it is available, so whatcha gripin’ about? 

Flamingo is a joyous romp through the record collections of Cyril Jordan and the soon-departed Roy Loney, a spirited collection of rootsy garage-rock, proto-punk, R&B, electric blues, Elvis, Gene Vincent, and Brit Invasion pop-rock. Recorded in glorious lo-fi, the Groovies manage to cut through the production muck nonetheless with crazed, inspired performances. 

The album’s lone cover – a manic reading of Little Richard’s "Keep a Knockin’" – will jump right from the speakers and grab you by the ears! Get it now before it’s gone again… (American Beat Records, reissue released 2008)

Review originally published by Blurt magazine...

“Return of the Body Politik” (Consolidated, Downset, Public Enemy, 1994)

Consolidated’s Business of Punishment (London Records)
Downset’s downset. (Mercury Records)
Public Enemy’s Muse Sick-N-Hour Mess Age (Def Jam)

Has it really been a mere twenty years or so since socio-political commentary was an integral part of rock music? Growing out of the protest songs of the early sixties, mainstream rockers picked up the lyrical mantle handed them by their folk-song singing brethren, utilizing their talents to lyrically attack every subject from racism and poverty to women’s rights. Somewhere along the way, though, as rock became a business, poetic commentary faded from the charts, sliding subterranean, only to surface every now and then in the angry words of hardcore punks or raging metalheads.

Rap music can be thanked for bringing a new awareness of social consciousness to popular music. The commercial success of artists like Public Enemy, Ice Cube and Ice T has served to open the doors to some dangerous thought processes being captured on disc. In this new Victorian era where garden-variety liberalism is impotent and the mainstream media is nothing more than a corporate whore for conservative philosophy, the radical left is finding its heroes among the artists of the underground.

Consolidated are one of those truly alternative, radical musical outfits. A Bay-area trio with a rapidly-growing cult following that is threatening to boil over into the mainstream, the band’s latest release, Business of Punishment, may well be the catalyst that pushes Consolidated past the 212-degree mark. These guys could never be accused of ambiguity; indeed, they proudly wear their sincerely-held beliefs on their proverbial sleeves. The band is radical to an extreme, pushing an activist party-line that is pro-feminist, pro-vegetarian, pro-choice, pro-animal rights...you know, the kind of godless commies that would give Rush Limbaugh nightmares. They’re a sorely needed artistic antidote, however, to the sort of right-wing mindset that preaches life while practicing death.

Business of Punishment treads much of the same lyrical ground as previous Consolidated albums, albeit with a bit more wisdom and experience under their belts. Over an instrumental background that incorporates elements of rap, punk, hardcore techno, and even a bit of soul along with random samples, found vocals and audience commentary, Consolidated deliver brutal rhymes that place a progressive spin on the issues of the day. “Born of A Woman” presents an insightful look at women’s roles in society while “Butyric Acid” tackles folks like Operation Rescue with its unrelenting chorus of “if you don’t want an abortion don’t get one.” 

“Dog + Pony Show” skewers the recording industry even while damning the “alternative” elitism that exists in music while the brilliant “Today Is My Birthday” takes a sad look at AIDS. There are fifteen thought-provoking cuts in all on Business of Punishment, every one guaranteed to slam dunk your frontal lobes, disturb your status quo and shake up the very core of your beliefs. Musical activism is alive and well and its name is Consolidated.

Downset are the new kids on this block, but they’re fully-grown and fully-loaded. This West Coast posse kicked out an impressive EP on Metal Blade a year or so back, even having the cajones to cover Public Enemy’s “By the Time I Get To Arizona.” They’re back, larger than ever, with their self-titled debut and believe me, it’s one mean mutha....

Like a nightmarish vision of Winston Smith, the cover of downset. features a painting of John Q. Citizen all trussed up, gagged with the flag while the constitution burns in the background. No greater truth in labeling has ever been plastered on an album jacket. Downset hail from the police state that is L.A. and that’s the turf they explore lyrically on this powerful collection of songs. 

Musically, they’re somewhere slightly to the left of Body Count, with Rey Anthony Oropeza’s rhymes backed by the twin monster guitars of Rogelio Lozano and Ares, thrashing with abandon, slinging molten riffs while the message is one of freedom and brotherhood in the face of oppression. From women’s fear of rape to the powder keg that is most of L.A., from racism to economic injustice that fosters poverty, Downset explore the socio-political edge of lyrical themes with the language of the street but with a wisdom and insight that defies their relatively young ages.

That Public Enemy should resurface with a new album that is at once both fresh and familiar should surprise no one. That Chuck D. still has an important message to relate, something important to say, should also come as no surprise. These greybeards of rap still have a lot of life left in them, and they’ve got a trick or two to show the young ‘uns.

Muse Sick-N-Hour Mess Age is Public Enemy’s most adventurous effort to date, a conceptual album set in one of many possible futures. Racism has become institutionalized and a bigot sits in the White House. The environment is in shambles, the Black community is a soulless plantation and violence, natural disasters and hate threaten man’s very existence.

Review originally published by R.A.D! zine, November 1994

Archive Review: Brownie McGhee’s The Complete Brownie McGhee (1994)

That Brownie McGhee’s career should span several decades really comes as no surprise. The energetic and charismatic bluesman has managed to wear many hats during his lengthy musical life, appealing to several disparate audiences throughout the years without ever changing his basic style or direction.

Born in Tennessee in 1915 and raised in a musical family, a crippling childhood bout with polio kept McGhee housebound, and thus able to hone his musical skills. He was already in his 20s when he graduated from high school, a short time after which an operation provided the young artist with near total mobility. He began his musical career as a traveling bluesman, playing towns across Tennessee, West Virginia, and Virginia. He made his way to North Carolina, where he was discovered by J.B. Long, manager for the popular blues artist “Blind Boy” Fuller.

Collecting the initial sides recorded by McGhee for OKeh/Columbia during 1940 and 1941, The Complete Brownie McGhee showcases a talented artist developing his style from record to record. McGhee seems to have enjoyed a fair degree of commercial success with several songs, including “Me and My Dog Blues” and “Picking My Tomatoes,” but a number of the 47 recordings presented on The Complete Brownie McGhee are previously-unreleased sides.

His fluid vocals are accompanied by his own guitar, the harmonica playing of old friend Jordan Webb, and maybe a washboard player, offering up a healthy dose of traditional southern blues, mixing the best of that musical history with strains of gospel and hillbilly music in the creation of a style and performance that remains unique to this day. (Sony Legacy Recordings, released 1994)

Review originally published by R.A.D! zine, July 1994

Archive Review: Blind Willie McTell’s The Definitive Blind Willie McTell (1994)

This two disc set provides a wonderful overview of the life of blues legend Blind Willie McTell, literally collecting nearly every side he ever recorded (only a handful of songs that couldn’t be found in any form were omitted). A pioneer of 12-string guitar playing, McTell’s unspectacular commercial career would prove to be quite influential nonetheless.

Born at the turn of the century in Georgia as Willie Samuel McTier (the origin of the McTell spelling is unclear), he picked up on music at an early age, evidently discarding it while attending several schools for the blind, only to pick it up again sometime in the 1920s. Throughout his career, McTell traveled constantly, performing for both white and black audiences, earning a reputation by word of mouth. If there was a crowd, whether in a club or on the street, McTell would play for them.

Lawrence Cohn, producer of The Definitive Blind Willie McTell, has done an impressive job of collecting the various widespread recordings of McTell. He had recorded sessions for a number of labels during the 1920s and ‘30s, often under a pseudonym. Many times, only a few hundred copies of a disc were pressed and distributed. McTell’s thin, trebly voice, with its Southern twang, and his distinctive guitar style were undeniably his own, however, under whatever name he chose to record under. 

The Definitive Blind Willie McTell offers them all, 41 songs total, including his
best-known composition, “Statesboro Blues.” McTell incorporated a myriad of influences into his style, from talking blues to ragtime. The collection offers fascinating look at an artist who built a legend entirely on the strength of his talents and his music. (Sony Legacy Recordings, released 1994)

Review originally published by R.A.D! zine, July 1994

Archive Review: James Blood Ulmer’s Blues Preacher (1994)

A veteran of over two decades in the business of music, James Blood Ulmer sums it up best in the liner notes to Blues Preacher, the latest milestone in an already not insignificant musical career. “See, we have rappers and we have R&B, we have blues singers, and jazz singers and classical singers. But what I call this is ‘blues preaching.’ This isn’t actually singing, it’s preaching. It’s like putting music to a Baptist minister’s sermon....”

To be perfectly honest, Blues Preacher is a mix of old-time religious fervor, classic jazz improvisation, traditional blues riffs, and soulful rhythm and blues. Above it all, though, there’s a sort of prophetic musical interplay that takes the best of all the aforementioned styles and takes it into a futuristic musical landscape. Ulmer has assembled a strong, diverse band for Blues Preacher: the rhythm section of bassist Mark E. Peterson and drummer Aubrey Dayle providing a funky undercurrent to the material while Ulmer’s raw guitar work is matched lick for lick by Ronnie Drayton’s razor-sharp six-string finesse. 

This tense contradiction of styles works to the album’s advantage, breathing life and energy into cuts like “Justice For Us All,” “Jazz Is The Teacher” and “Angel.” If you find yourself bored to tears with the Hot Hundred or formulaic FM radio, plug into Blues Preacher for a taste of something at once old and new, different and familiar. (DIW/Columbia Records, released 1994)

Review originally published by R.A.D! zine, July 1994

Also on that Devil Music: James Blood Ulmer’s Birthright CD review 

Archive Review: The Beat Farmers’ Viking Lullabies (1994)

Forget about all of these Stetson-clad poseurs roaming the streets of the Music City, claiming that they grew up listening to both George Jones and the Rolling Stones. For reckless country soul, few bands can top the frenzy whipped up by these boys, the Beat Farmers. Sure, it’s been a few years, but the Farmers have returned with a new disc – Viking Lullabies – on Austin’s Sector 2 label and let me tell ya, hoss, this sucker ROCKS!

The opening cut, “Southern Cross,” offers up a guitar line reminiscent of D.L. Byron’s long lost album, setting the stage for a baker’s dozen that run the gamut from the sublime (“Garden”) to the absurd (“Are You Drinkin’ With Me Jesus?,” and the hilarious closing cut, “Lakeside Trailer Park”). Vocals on the former two songs – honest-to-god, beer swilling, tears-in-the-eyes numbers that even Ernest Tubb would be proud of – are courtesy of the legendary Country Dick Montana, who has bounced back from throat cancer to deliver these near classic performances. 

Long ago, the Beat Farmers built a reputation for excellent showmanship and solid performances, blending hard-edged roots rock with country traditionalism. Along with Nashville’s own Jason and the Scorchers, they transcended the unfortunate early ‘80s “cowpunk” label to create a true musical bridge between the two genres. With Viking Lullabies, possibly the band’s best effort yet, you can say that the Beat Farmers have come roaring back. (Sector 2 Records, released 1994)

Review originally published by R.A.D! zine, November 1994

Archive Review: Jello Biafra & Mojo Nixon’ Prairie Home Invasion (1994)

At long last! A full length Jello Biafra and Mojo Nixon CD! Thank-you, Jesus! Hallelujah!

Folks, I’ve played this disc until my ears bled, then I played it some more. I’ve even masturbated to this CD; it’s that good. Thirteen kick-ass songs, poking fun at everything from lumberjacks to atomic power, McDonald’s, liberals, Jesus (again, thanks Jesus!), truckers, Nashville, even “nostalgia for an age that never existed.” The music is way cool pseudo-country that wouldn’t sound too out of place on most of Nashville’s radio stations; the lyrics, however, would probably get said radio station burned to the ground if any of the locals really listened to what was being said. 

Jello does most of the singing, with Mojo’s vocals taking a lesser role. Mojo plays instruments on a few tracks, though. The backing band is Mojo’s Toadliquors (of course). Notably absent is ex-Beat Farmers’ Country Dick. The CD insert was constructed by John Yates and Jello, with contributions from a whole slew of folks, including regular Biafra collaborator Winston Smith. There are a few Tom Tomorrow cartoons scattered about the insert as well. 

As for Prairie Home Invasion, three thumbs up, way high in the air. Throttle your local music store salesperson if they don’t have it. Play it at 300 dB when you get it! The whole shebang was recorded in the Promised Land – Austin, Texas. Mojo wants you to send him UFO, hillbilly, & ninja information at P.O. Box 620-816, San Diego, CA 92162. Hallelujah! (Alternative Tentacles Records, released 1994)

Review originally published by R.A.D! zine, July 1994 

Archive Review: The Ramones’ Acid Eaters (1993)

When the generally useless Guns ‘N’ Roses went to the well to draw forth an album of covers to record, they turned mostly to 1970s-era punk and metal in illustrating their somewhat shallow roots. Even though bands like the Damned, Fear, and the Germs produced some great music, the first rule in remaking a song is to improve upon it; failing that, honor it by playing it as close to the original as possible. G’N’R did neither, instead merely coming across as tired poseurs cranking out an album to meet contractual obligations.

The Ramones’ Acid Eaters

Now along comes Acid Eaters, the Ramones’ entry into this covers circus. That the foursome from Queens should do an album of cover tunes should really come as no surprise to longtime fans of the band. It certainly came as no surprise to this critic – the handful of brief interviews that I’ve had with frontman Joey Ramone have always degenerated into drunken discussions of old records. That Joey, et al should reach into their record collections and pull out such a handful of musical gems is a testimony not only to their collective tastes, but also to the hidden talents of a band most often dismissed as ‘one dimensional.’

Whereas the aforementioned chart idols predictably championed the ‘70s as their main musical influence, the Ramones turn to the ‘60s godfathers and forebears of punk for their cover selections, including on Acid Eaters a number of expected choices and more than a few pleasant surprises. There’s really not a bad cut to be found on Acid Eaters, as the Ramones provide their typical edge and three-chord manic energy to such oldies as the Who’s “Substitute,” the Stones’ obscurity “Out of Time,” or Love’s “7 and 7 Is.” 

Quite surprising is the inclusion of John Fogerty’s CCR classic, “Have You Ever Seen the Rain,” a Byrds-influenced rendition of Dylan’s “My Back Pages,” and an inspired nod to the Animals with Eric Burdon’s “When I Was Young.” Covers of the Yardbirds, the Amboy Dukes (the 17-year-old Ted Nugent’s first band), the Beach Boys, Jefferson Airplane, the Troggs, and Sky Saxon round out Acid Eaters.

The Reverend’s Bottom Line

At its best, recording an album of other people’s songs should showcase an artist’s roots, the influences that served in creating his or her own work. At its worst, an album of covers still managed to introduce young fans to the work of older artists. With Acid Eaters, the Ramones accomplish both, and do it well, opening new musical doors for its young listeners even while the band pays their respects to their elders and peers. No higher praise could be given... (Radioactive Records, released December 1st, 1993)

Review originally published by R.A.D! zine, March 1994

The Ramones photo by Danny Clinch, courtesy Fox Broadcasting

 

Archive Review: Psychic TV’s Hex Sex (1994)

By now, all of you certainly know the story – Throbbing Gristle, the artistic progenitors of Psychic TV, created the genre of industrial music back during the seventies punk era. Since their subsequent founding in 1982, Psychic TV has further supported and influenced the industrial style, infusing it with elements of Crowley and the occult, primitive ritual and ancient mythology and an anarchistic spirit. Fifteen years down the road, however, and look where it’s gotten us...the original focus of industrial music has been lost as apocalyptic pop stars grace the Top 40.

Lost among the many musical achievements of PTV is one startling truth, however, that you may not know, or don’t realize: Psychic TV may be a lot of things, but first and foremost, they’re a great pop band. That said, let’s move on to the proof: Hex Sex, the first of two discs collecting the cream of PTV’s prolific output of 7” and 12” singles. Relegated to cult status on this side of the pond, PTV has nonetheless had a healthy ride upon the British charts, and most of those hits can be found here. 

From the band’s energetic reworking of the Beach Boys’ “Good Vibrations” to their passionate ode to the late Rolling Stone Brian Jones, “Godstar”; from the brutal exclamation of “Eve of Destruction” to their orgasmic rendering of “Je T’aime” or original, more experimental cuts like “Supermale” or “Magick Defends Itself,” Psychic TV have defined the cutting edge of creativity. 

At their best, Psychic TV will make you rethink what you know and believe about music, society and yourself; at their worst, PTV is still artistically exciting. Hex Sex is a fine documentary of some of the band’s more accessible moments...which is not to say that these cuts won’t draw blood. This is 21st century pop for those unafraid to look into the abyss, and should be treated as such. (Cleopatra Records, released 1994)

Review originally published by R.A.D! zine, March 1994

Psychic TV