Archive Review: Jean Beauvoirs’ Drums Along the Mohawk (1986)

Jean Beauvoir is the proverbial multi-talented “jack-of-all-trades,” an item all too rare in these days of somnolent superstars, jaded lipstick-stung video vixen, and millionaire session men. Beauvoir swapped licks fast and furious with the nastiest of metalheads, punks, and rockers as guitarist/bassist for Plasmatics and Little Steven’s Disciples of Soul. His production credits include board work done for the Ramones and Lords of the New Church and, with the release of Drums Along the Mohawk, he showcases his considerable skills as a performer.

With all of the material written, produced, and performed by Beauvoir, Drums Along the Mohawk is a beguiling debut disc; at first listen, seemingly no more than your typical AOR cannon fodder, a couple of rockin’ numbers followed by the obligatory ballad. Drums is much more than this, though…it is instead a deceptively complex cycle of songs with many layers of instrumentation underscoring Beauvoir’s unique and distinct vocal style (which, not surprisingly, resembles a strong hybrid of mentor Steve Van Zandt’s nasal twang and Prince’s earthy funkiness).

The songs are interesting, self-contained vignettes, ranging in style from the rocking “Feal the Heat” (used as a theme for Sylvester Stallone’s summer film Cobra) to the reggaeish, rollicking “Rockin’ In the Street” to the beautiful, emotion-evoking “Sorry I Missed Your Wedding Day.” The result is that while certainly not a trend-setting album, Drums Along the Mohawk delivers a solid, enjoyable 40 minutes of music…what more could one ask for? (Columbia Records, released June 1986)

Review originally published by Nashville’s The Metro magazine...

Archive Review: Eugene Chadbourne’s The President, He Is Insane (1984)

The founder and guitarist of Shockabilly, a demented C&W influenced outfit that had several albums released by England’s Rough Trade label, Eugene Chadbourne is one of America’s greatest natural resources, a one-eyed man among a nation of the blind. Eugene is a social and political satirist with the tact of a sledgehammer, his original songs showing reverence for no holy cows, calling a spade a spade, and hurling pointed barbs at targets as diverse as North Carolina Senator Jesse Helms (a politician once described as standing so far to the right that he makes Reagan look like a communist), President Reagan, Jerry Falwell, ‘Women Against Pornography’ and the Ku Klux Klan.

It's all done with a sense of absurdity in a musical style that can only be described as cacophonic and unpredictable, a strange blend of rock ‘n’ roll, county, and folk influences with a dose of metal-edged guitar and sheer noisy industrial instrumentation. Chadbourne’s The President, He Is Insane is a studio-quality presentation of some of Eugene’s best material. Side one features several of his…ah, shall we say…somewhat “structured” songs, including such fan favorites as “America Stands Tall,” “10 Most Wanted List,” and “Women Against Pornography.”

Eugene Chadbourne

Side two is strictly improvisational, mixing Eugene’s guitarwork with scrap vocals from late-night movies and early morning cartoons along with background instrumentation provided by Chadbourne’s infamous electric rake and, apparently, whatever noise he can drum up with various kitchen utensils and appliances. Not for everyone, to be sure, but nevertheless interesting and unique.

Eugene is, in the American tradition, somewhat of a capitalist, offering both his solo albums and older Shockabilly material for sale from his home. He also has a catalog of some 30+ original tapes, recorded at live shows and in his home, spotlighting and documenting a truly deranged genius, raw and totally uncommercial. (Iridescence Records, released 1984)

Review originally published by Nashville’s The Metro magazine...

Archive Review: Mojo Nixon & Skid Roper’s Frenzy (1986)

With the release of Frenzy, Mojo Nixon insures his place among the pantheon of great rock eccentrics, among such strange stalwarts as Frank Zapa, Lord Buckley, and Captain Beefheart. Mojo and his sideman Skid Roper can best be described as musical minimalists, mutant madmen who swap washboard licks with demented guitar riffs and a little wild mouth harp now and then as Mojo runs amok through a musical menu that includes inspired covers of Alice Cooper’s “Be My Lover” and an amazing one-and-a-half-minute version of Iron Butterfly’s psychedelic classic, “In-A-Gadda-Da-Vida.”

Mojo’s original material is not for the weak of heart, showcasing his fervor and passion on such songs as “The Amazing Bigfoot Diet,” a good-natured swipe at those tabloids found in supermarket check-out lines; “Stuffin’ Martha’s Muffin,” a scatological anti-MTV protest song which reveals Mojo’s hidden lust for veejay Martha Quinn; and the hero worship of “The Ballad of Wendell Scott.” All totaled, Frenzy delivers over a dozen of Mojo’s finest creations, a musical blend of talking blues, roots-rock, and incredible insanity, counting among his influences artists as diverse as Howlin’ Wolf, John Lee Hooker, Lou Reed, and Iggy Pop. Mojo Nixon is a true social iconoclast.

For those of you who can’t get enough of the right Reverend Mojo Nixon and his ‘Screamin’ Church of the Epileptic Jesus, his first LP – Free, Drunk & Horny – features such classic tunes as “Jesus At McDonald’s,” “Moanin’ With Yer Mama,” and “I’m In Love With Your Girlfriend” and is also available from Enigma Records. (Enigma Records, released 1986)  

Review originally published by Nashville’s The Metro magazine...

Book Review: Richie Unterberger's Unknown Legends of Rock ‘n’ Roll (1999)

Subtitled “Psychedelic Unknowns, Mad Geniuses, Punk Pioneers, Lo-Fi Mavericks & More,” Richie Unterberger sets the bar pretty high for himself with Unknown Legends of Rock ‘n’ Roll. Luckily for we readers, Unterberger delivers the goods, providing an exhaustive, if not comprehensive history of the obscure and eccentric in rock ‘n’ roll. Delving into the netherworld of true cult artists, Unterberger offers informative profiles of over 60 singer/songwriters, touching upon dozens more in brief comments and sidebars.

Unterberger breaks Unknown Legends of Rock ‘n’ Roll up into thirteen distinct sections, ranging from “Psychedelic Unknowns” and “Punk Pioneers” to “Out of the Garage” and “Mad Geniuses & Eccentric Recluses.” Some of the artists Unterberger profiles will be familiar to any hardcore music fan – talents like Roky Erickson, Arthur Lee of Love, Syd Barrett, or Can – although relatively unknown to the great unwashed mainstream are nonetheless frequent touchstones in any serious discussion of rock music. Others artists profiled here, such as Joe Meek, Lee Hazelwood, Ronnie Dawson, or the Avengers have experienced recent surges in popularity due to CD reissues and rediscovery via zines or the Internet.

It’s with the completely obscure performers that Unterberger really shines, his journalistic prowess allowing him to research these one-shot wonders and come up with a cohesive history of long-gone artists like the Deviants, the Monks, or the United States of America. In every section, Unterberger reveals some long-lost gem of a story, but the fattest sections – those on ‘60s-era garage bands, European artists, and “mad geniuses” – seem to be those most closely looked at and covered in detail. Inside many of the sections Unterberger includes a chapter or sidebar, touching upon other artists, legendary indie record labels and trends like cassette culture. Unterberger isn’t stingy with his sources, either, recommending records/CDs for every artist as well as providing a bibliography of books and magazines. Unknown Legends of Rock ‘n’ Roll also comes with a twelve-track CD to whet your tastes with tracks by the Deviants, Penelope Houston of the Avengers, the Music Machine and Savage Rose, among others.

For any music fan who is fed up with today’s sales-oriented major label signing philosophy and cookie-cutter, carbon-copy, made-for-MTV rockers, Unknown Legends of Rock ‘n’ Roll will feel like a fresh breath of air. Discover the future of rock music by delving into its past – the artists Unterberger reveals here may not have sold a lot of records and, to be honest, some of them really had little or no talent. The styles showcased by these artists run the gamut from rockabilly, psychedelica, and pop/rock to punk, folk, and electronic experimentation. The one thing that they all had in common, however, was a singular vision, a passion for what they were creating and a sincere need to follow their muse, commercial considerations be damned. For this alone they deserve to be remembered, rediscovered and cherished for the true artists that they were. (Miller Freeman Books, published 1999)

Review originally published by Alt.Culture.Guide™ music zine...

Also on That Devil Music: Richie Unterberger's Urban Spacemen And Wayfaring Strangers book review

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