Hot Wax: Bad Brains’ I Against I (1986/2024)

Innovative, eccentric, unpredictable, fickle, high-energy, reticent, talented, pioneering, troubled, unrelenting…all of these words (and many more) can be used to describe Bad Brains. Much as Nashville’s Afrikan Dreamland was reinventing and reinvigorating reggae music in the 1980s by adding a dash of blues, so too was Bad Brains leavening punk rock with reggae grooves. The Washington D.C. hardcore heroes seem to have wanted to be anything but a hardcore punk band even as they pushed beyond the traditional barriers of rock, reggae, punk, and funk music like no other band in rock ‘n’ roll history.

Formed in 1976 as Mind Power, a jazz-rock fusion outfit not dissimilar to Return to Forever, it wasn’t long until the fresh and exciting sound of punk rock infected the band and they radically changed their sound towards a guitar-driven hardcore style. Original Mind Power singer Sid McCray – ostensibly responsible for introducing the band to punk in the first place – left shortly thereafter and guitarist H.R. (née Paul Hudson) took over the microphone. The rest of the band was comprised of guitarist Dr. Know (née Gary Miller), bassist Darryl Jenifer, and drummer Earl Hudson (Paul’s brother). Around this same time (i.e. 1977 or so), the band experienced the legendary Bob Marley in concert, igniting a shared interest in reggae music and the Rastafari movement.

Hardcore Punk & Reggae

With punk and reggae as their magnetic poles, Bad Brains pursued a performance style that blitzed the audience with unrelenting energy and total creative abandon. H.R. was an incendiary frontman, Dr. Know a skilled guitarist nevertheless capable of grinding it out in the trenches, and the Brains’ rhythm section could swing or slam as the occasion merited. They quickly built up a loyal fan base in the D.C. area and were inevitably blacklisted by local clubs due to their chaotic and unpredictable performances. Bad Brains moved northward to New York City in 1980, where they became the blowtorch that ignited the city’s emerging and soon-to-be-notorious hardcore punk scene.

By 1982, Bad Brains were CBGB regulars, performing several nights a week at the infamous Bowery club. Their self-titled debut album was really just a document of the band’s ever-evolving live show, released exclusively on cassette by the specialty label Reachout International Records (ROIR). Featuring liner notes by New York Rocker writer Ira Kaplan (later a founding member of indie rockers Yo La Tengo), the tape’s fold-out insert also included lyrics – the ultimate in fan service. They were subsequently signed to the indie PVC Records label for their sophomore effort, 1983’s Rock For Light. Produced by Ric Ocasek of the Cars and reprising five songs from the debut, the pop-meister smoothed down some of the band’s raw edges but ultimately delivered an enduring and high-octane record.

Creative tensions within the band caused Bad Brains to break up after the release of Rock For Light, the first of many such implosions over the course of the band’s career. The original line-up reunited in 1986, signing with the legendary SST Records label, which by that point could boast of a catalog that represented a veritable “who’s who” of influential underground rockers like Black Flag, the Meat Puppets, the Minutemen, and Hüsker Dü, among others. All of which brings us around to I Against I, the Bad Brains’ “breakthrough” and arguably their best-known and beloved recording. Recently-reissued as the eighth title in the band’s restoration of its back catalog with help from the good folks at ORG Music, the audio has been remastered by Dave Gardner and the vinyl produced by Furnace Record Pressing. A landmark effort, I Against I is worthy of rediscovery as a groundbreaking album that influenced generations of musicians to follow.

Bad Brains photo by Steven Hanner, courtesy Org Music

Bad Brains’ I Against I

I Against I eschews the Brains’ reggae obsessions entirely, the opening track (appropriately titled “Intro”) a plodding doom-metal instrumental with delusions of grandeur and a powerful performance with start-stop guitar shred and ringing instrumentation guaranteed to give the listener tinnitus. The title track bullies its way off the disc, through your speakers, corkscrewing itself into your ears. A 90mph moshpit punker with metallic edging, “I Against I” was a hurricane-strength revelation to the possibilities of expanding hardcore into thrash- and speed-metal. Throw Ronnie James behind the microphone and “House of Suffering” could easily pass for a late-period Black Sabbath track, the perfect breeding of machinegun hardcore riddims and whiplash six-string heavy metal bombast.

The band expands its musical blueprint by a lick or two for “Re-Ignition,” in which you can clearly hear the future of Ice T’s Body Count and any half-dozen vintage ‘90s Lollapalooza bands in the song’s staggered rhythms, swaggering vocal delivery, and muscular git riffs. “Secret 77” is a clever outlier, punky but with tinges of “new wave” pop fused to a funk-metal groove that forged a blade for Fishbone to later hone into a deadly weapon. The rampaging “Let Me Help” performs a fancy head-fake with its pseudo-Zeppelin intro exploding into a punkish storm while “She’s Calling You” provides a bright spotlight for Dr. Know’s fluid fretwork, even though it may be the only wan song on the LP.

“Sacred Love” is a dinosaur-stomper that leaves heavy footprints with its discordant instrumentation; even cooler is the weird effect they got by recording H.R.’s vocals via jailhouse phone when the singer was locked up for a pot bust. Sounding like an early ‘80s Alice Cooper session outtake, “Hired Gun” allows Dr. Know to show off his six-string dexterity, the otherwise panoramic punk-metal construct embroidered with jazzy licks and avant-garde abandon. I Against I closes with the furious and feverish “Return To Heaven,” which offers one of H.R.’s most nuanced vocal takes soaring above a daunting instrumental soundtrack that blazes like 1970s-era stadium rock but offers – often hidden deep in the mix – sly and innovative musical ideas that other bands would exploit for years. I Against I was produced near perfectly by Ron St. Germain, who would earn a certain amount of street cred by working with the Brains that he’d later apply to records by Sonic Youth, 311, and Living Colour, among others.

The Reverend’s Bottom Line

Despite their relative obscurity, Bad Brains’ influence extends far beyond its meager commercial profile. They were nominated for the Rock ‘n’ Roll Hall of Fame in 2016 (though, unsurprisingly, they weren’t inducted) and their music has inspired bands as diverse as the Beastie Boys, Fishbone, the Red Hot Chili Peppers, Rage Against the Machine, Sublime, Nirvana, Green Day, and Faith No More (whose original frontman, Chuck Mosley, was the Brains’ vocalist for a short while), among many others. Although Brains’ band members have experienced various health issues over the last few years, they continue to perform and turn heads to this day.

Working with ORG Music, Bad Brains has taken back control of their considerable and acclaimed catalog of music, and they’ve been busy reissuing every album on both CD and vinyl for discovery by a new generation of restless youth. Check out the band’s catalog at www.badbrainsrecords.com.  

Short Rounds: Gene Clark, Kinky Friedman, David Olney, The Posies, Boz Scaggs & Southside Johnny (2018)

New album releases in 150 words or less…

Gene Clark – Gene Clark Sings For You (Omnivore Recordings)
Upon leaving the Byrds, Gene Clark was just another hippie muso struggling to get a record deal or, at a minimum, make some much-needed cash from his songs. Gene Clark Sings For You rescues the long-lost acetate of song demos recorded by the talented singer/songwriter in 1967; the uniformly high quality of these songs makes one wonder why Clark wasn’t signed to a label deal earlier. Featuring Clark’s honeyed vocals and skilled fretwork, songs like the lovely “On Her Own,” the Dylanesque “Past My Door,” and the folkish “One Way Road” would have made a strong foundation for a full-length album. Omnivore’s long-anticipated release of these recordings includes an acetate provided to the Rose Garden with five fine Clark-penned tunes, including the bluesy “Big City Girl” and the electric rocker “Doctor Doctor.” Providing another essential piece to the singer’s growing legacy, Gene Clark Sings For You is an important find. Grade: B+   BUY IT!

Kinky Friedman – Circus of Life (Echo Hill Records)
The first album from Texas wordsmith Kinky Friedman in over 40 years finds the country singer/songwriter in fine form, stiletto-sharp if seemingly subdued somewhat by age. Friedman’s voice and lyrics are weathered by a lifetime of experience, with rowdy country songs like “A Dog Named Freedom” and “Zoey” showcasing his intelligent wordplay even as they display hard-won wisdom. “Copper Love” is twangy folk tune while the somber “Jesus In Pajamas” is the sort of witty story-song with which Friedman earned his reputation. Sounding much like Guy Clark did at this stage of life; Friedman is accompanied by some fine musicians, talents like Texas Tornado Augie Meyers, guitarist Joe Cirotti, and his friend and longtime band member, pianist “Little Jewford” Shelby. Friedman’s masterful Circus of Life gazes lovingly upon the past, with songs haunted by years of regrets and emotions felt acutely by the talented, too-often underrated Pagliacci of Texas music. Grade: B   BUY IT!

* If you're a Kinky Friedman fan and haven’t read Mary Lou Sullivan’s excellent Everything's Bigger In Texas: The Life and Times of Kinky Friedman well, bunkie, here’s your chance...

David Olney – This Side or the Other (Black Hen Music)
Singer/songwriter David Olney has been making music in Nashville for over 40 years, and the humble, talented scribe has bene exploring the depths of folk, rock, and country music just as long, breaking through genre barriers years before anybody coined the “Americana” term. This Side or the Other, Olney’s debut for Steve Dawson’s Black Hen label, proves to be a snug artistic fit, the like-minded Dawson producing and adding his considerable six-string skills to the songs. Backed by the cream of the Music City – folks like Justin Amaral, Fats Kaplin, and the legendary Charlie McCoy – Olney spins somber tales of romance and betrayal, loss and uncertainty above a gorgeous soundtrack. Olney’s poetic wordplay, intriguing story-songs, and world-weary vocals put him in a class by himself, the man’s talents transcending mediocrity to deliver the truly magnificent with This Side or the Other. RIYL Townes Van Zandt, Leonard Cohen, or James McMurtry. Grade: A   BUY IT!

The Posies – Dear 23 (Omnivore Recordings)
One of the great overlooked bands of the ‘90s, avowed Big Star acolytes the Posies took Alex Chilton’s ‘60s-bred power-pop sensibilities and blew the sound up large for the grunge decade. This approach left the band woefully out-of-date at the time, but their music became timeless as a result. Dear 23 is the first of Omnivore’s reissues that will restore the band’s amazing three-album major label catalog. The album’s British Invasion influences and charming songwriting – courtesy of the band’s Jonathan Auer and Ken Stringfellow – is ready-made for the tuneless 21st century, its original ten tracks wonderfully melodic, with the duo’s gorgeous vocal harmonies, and whip-smart, insightful lyrics. The two-disc Dear 23 reissue tacks on another 27 cool songs, mostly-unreleased obscurities, studio outtakes, and demo recordings sure to tickle the fancy of the hardcore fan while also revealing the band’s often-circuitous creative process. RIYL Jellyfish, Matthew Sweet and, yup, Big Star… Grade: B+   BUY IT!

Boz Scaggs – Out of the Blue (Concord Music, vinyl)
Boz Scaggs began his career as a bona fide bluesman, and his 1970s-era hit LPs like Slow Dancer and Silk Degrees offered some of the best blue-eyed soul you’ll hear. As such, Out of the Blue is more of a return to form for the singer than anything less. Scaggs brought talents like guitarists Doyle Bramhall and Charlie Sexton into the studio to record this fine set of spirited originals and inspired cover songs. Scaggs croons his way through Bobby Bland’s R&B classics “I’ve Just Got To Forget You” and “The Feeling Is Gone” while originals like the jaunty honky-tonk blues of “Little Miss Night and Day” show that the singer has a lot of gas left in the tank. A curious cover of Neil Young’s “On the Beach” is transformed into a bluesy dirge that proves, almost 50 years after his classic debut album, Boz is still the boss. Grade: B   BUY IT!

Southside Johnny & the Asbury Jukes – Live From E Street (Leroy Records/MVD, vinyl)
I’m a huge mark for anything connected with Bruce Springsteen, which initially led me to Southside Johnny Lyon in the mid-‘70s. The Springsteen/Southside connection runs deep and spans decades, so it’s no surprise that SJ and the Asbury Jukes would record a set of Springsteen songs. Live From E Street is a four-track vinyl EP featuring four Bruce originals recorded at a private party in Asbury Park. The obscure “Jack of All Trades” (from 2012’s Wrecking Ball) is somber and reflective but the rowdy “Cover Me” is provided an emotional edge by Lyon’s soulful vocals and the Jukes’ blasting horns. The menacing “Murder Incorporated” is an unabashed rocker with R&B undercurrent while the strutting “Tenth Avenue Freeze-Out” is a fine, funky jam. The 12” EP is pricey considering the sparse content, which could have fit on 7” or 10” wax at half the price, but the performances themselves are priceless. Grade: B+   BUY IT!

Previously on That Devil Music.com:
Short Rounds, July 2018: The Damnation of Adam Blessing, Elvin Bishop’s Big Fun Trio, Howlin’ Rain & the Rockers OST
Short Rounds, May 2018: Brinsley Schwarz, Eric Corne, Roger McGuinn & Shuggie Otis
Short Rounds, April 2018: Catfish, Jimmie Vaughan Trio, King Crimson & Memphis Rent Party

Vinyl Review: Frank Zappa's Chunga's Revenge (1970/2018)

Rock legend Frank Zappa, a/k/a ‘The Maestro’, was quite a busy little beaver during the year spanning (roughly) late 1969 to late 1970. He broke up his longtime band the Mothers of Invention due to the cost of paying nine musicians full-time wages in the face of dwindling record sales. He wiggled out of his MGM Records contract, allegedly tired of the label’s interference with his music, and he subsequently talked Warner Brothers into setting up his own boutique imprint, Bizarre Records, run by his manager Herb Cohen, which would also release albums by artistic eccentrics like Captain Beefheart and Wild Man Fischer.

Working with former Mothers band member Ian Underwood and musical guests like Don “Sugarcane” Harris, Jean-Luc Ponty, Lowell George, and Shuggie Otis, Zappa recorded and released his second solo album, Hot Rats and then, in early 1970, released a pair of Mothers’ albums – Burnt Weeny Sandwich and Weasels Ripped My Flesh – that were “frankensteined” together using previously-recorded material by the original band. To top off the year, Zappa put together a new version of the Mothers dubbed simply “The Mothers” (which itself would soon be dropped, with new music issued solely under Zappa’s name).

Frank Zappa’s Chunga’s Revenge

The revised version of the Mothers featured Zappa’s old pal, multi-instrumentalist Underwood, along with guitarist/bassist Jeff Simmons, keyboardist George Duke, journeyman British drummer Aynsley Dunbar, and three former members of 1960s-era hitmakers the Turtles – bassist Jim Pons and singers Mark Volman and Howard Kaylan (i.e. “The Phlorescent Leech & Eddie” or, simply, “Flo & Eddie”). This is pretty much the line-up that went into the studio to record what would become Zappa’s third solo album (and second in a year’s time), Chunga’s Revenge. Released in October 1970, Chunga’s Revenge closed out a madcap year for ‘The Maestro’ that included four albums of new material, the early creative stirrings of his 200 Motels film project, and the formation of the new band.

Under supervision by the Zappa Family Trust, Universal Music has reissued Chunga’s Revenge on shiny, thick 180-gram audiophile vinyl, cut directly from the original analog master tapes. The album has been unavailable on vinyl for better than 30 years, last appearing on wax in 1986 as part of Zappa’s rare and long out-of-print Old Masters, Box Two set released on his own independent Barking Pumpkin label. The reissue LP features the original album artwork and is packaged in a gatefold outer sleeve and swanky, plastic-lined inner sleeve for maximum vinyl protection. It sounds as good as ever, and the luxurious vinyl captures all of the album’s sonic nuances.

Transylvania Boogie

As he was wont to do, Zappa changed musical directions again with this third solo album, eschewing both the social satire of early Mothers of Invention albums and (mostly) the jazz-rock fusion of Hot Rats (tho’ he’d further explore the possibilities of the fusion style a couple years later with the Waka/Jawaka and The Grand Wazoo albums). Really, Chunga’s Revenge is all over the board, musically, and if it served as ‘ground zero’ for Zappa’s growing fascination with sex and groupies, it also showcases Zappa’s mastery of a wide range of musical styles. Zappa had originally conceived of Chunga’s Revenge as a precursor to the story of his upcoming film, and while it was widely criticized at the time of its release, it has since found some acclaim in that context. Zappa’s “sex and groupie” phase would last throughout 1971 and the release of the live LP Fillmore East – June 1971 and the 200 Motels movie and soundtrack album, after which Frank would return to making “serious music.”

Chunga’s Revenge kicks off with some good, old-fashioned six-string pyrotechnics, the lengthy instrumental jam “Transylvania Boogie” putting the guitarist through his paces with a firecracker performance that skews towards the proggier end of jazz-rock fusion. Zappa bends and twists his notes into a pretzel-like apparition throughout the track while Underwood’s keyboards and Dunbar’s busy drum fills round out the sound. By the end of the song, Zappa has begun channeling some ghost of the Delta blues into his playing, and a human named Max Bennett lays down some funky fine bass lines. Bennett was evidently a jazz bassist of some renown, and an in-demand session guy who had previously played on Hot Rats as well as albums by the Monkees and the Partridge Family before being enlisted into Zappa’s studio corps.

Tell Me You Love Me

Zappa photo by Greg Gorman, courtesy UMe

Zappa further hones his blues chops on the devastating fretwork that frames the story-song “Road Ladies,” which lyrically delves into the travails of a rock ‘n’ roll band on the road and the availability of, well “road ladies.” Flo & Eddie make their first appearance with Zappa here on backing vocals, and jazz legend George Duke provides some tasty keyboard accompaniment alongside Zappa’s flamethrower licks. The short “Twenty Small Cigars” is a holdover from the Hot Rats sessions and hews to a similar musical template. Zappa’s subtle guitarwork is subdued here in support of the overall performance, which is dominated by Zappa’s use of a harpsichord to create a lounge-like ambience, a point further emphasized by Underwood’s jazzy piano playing.

The three-part suite “The Nancy & Mary Music” is a nine-minute live track that offers Zappa’s imaginative guitar noodling set against a solid rhythmic backdrop provided by bassist Jeff Simmons and drummer Dunbar. The song meanders a bit, featuring an obligatory drum solo (it was the ‘70s, after all), before morphing into a scorching, chaotic rocker that spotlights Duke’s eclectic keyboard notes and syncopated percussion before devolving into a jazzy jam that includes scat-vocals by Flo & Eddie. Side two of Chunga’s Revenge cranks the amps from the first note, “Tell Me You Love Me” as hard-hitting a rock song as Zappa ever delivered, with Flo & Eddie front and center in the mix with a soulful vocal performance that slides right in under Zappa’s greasy, fatback fretwork and Dunbar’s driving, explosive percussion.

Rudy Wants To Buy Yez A Drink

“Would You Go All The Way?” is a longtime personal favorite, a callback to Zappa’s beloved doo-wop of the sorts featured on 1968’s Cruising with Ruben & the Jets album. Flo & Eddie deliver some swinging harmony vocals with a few gymnastics as Zappa changes time signatures mid-song to take advantage of his talented rhythm section (Simmons and Dunbar) and Underwood’s electric piano. The song quickly moves on from its opening doo-wop flavor to become an oddball pop tune complete with a George Duke trombone solo. The title track is another extended instrumental jam that makes good use of the talents involved, Zappa pushing the musicians out of their comfort zones, with Underwood playing an electric alto sax through a wah-wah pedal and violinist Sugarcane Harris tasked with providing keyboards; both men acquit themselves nicely.

The minute-and-a-half long “The Clap” is an intriguing mini-instrumental that features Zappa creating in a percussive performance, playing drums, wood blocks, tom-toms, and such before the song jumps headfirst into “Rudy Wants To Buy You A Drink,” a throwback to the Absolutely Free era Mothers. A melodic and lyric-heavy satirical song that, musically, careens from one extreme to another like a runaway pinball – offering shades of doo-wop, ‘60s pop, and lounge jazz – Flo & Eddie’s hilarious vocal delivery effortlessly slots into the song’s instrumental arrangement. The lusty “Sharleena” closes out Chunga’s Revenge, the song a R&B tinged soul ballad that makes good use of twin keyboardists Underwood (piano) and Duke (organ) to create a sultry atmosphere beneath Zappa’s vocals and Flo & Eddie’s backing harmony. Zappa’s guitar spits out some funky notes that sit adjacent to Shuggie Otis while Duke’s wiggy keyboard fills add an interesting texture to the performance.

The Reverend’s Bottom Line

If the preceding Zappa/Mothers albums – Burnt Weeny Sandwich and Weasels Ripped My Flesh – served as an artistic catharsis necessary for Zappa to move on from his original vision for the Mothers and towards “phase two,” Chunga’s Revenge reveals his pure joy in playing with a new and, arguably, more highly-skilled cast of musicians. The addition of two talented vocalists in Volman and Kaylan to the band added a new dimension to the musical possibilities, and if they were largely wasted over the following couple of years on needlessly juvenile material (although “Billy the Mountain” is still a hoot), they also largely freed Zappa from the microphone and allowed him to develop the innovative and influential guitar style that is a large part of his enduring legacy.

Chunga’s Revenge is the result of that aforementioned artistic catharsis, Zappa opening the decade of the ‘70s with a solid roadmap of musical ideas that he would go on to exploit extensively with a prolific slate of recordings that would enjoy both critical and commercial success. Chunga’s Revenge found Zappa exploring various musical avenues, after which he would deliver enduring works like Over-Nite Sensation and Apostrophe(’), which were his two most commercially-successful LPs, both earning Gold™ Record status, as well as fan favorites like Roxy & Elsewhere and Bongo Fury, a collaboration with Captain Beefheart. Chunga’s Revenge represented the dawn of a new era and the beginning of Zappa’s “solo career” in earnest. Grade: B+ (Zappa Records released July 20, 2018)

Buy the vinyl from Amazon.com: Frank Zappa’s Chunga’s Revenge

Also on That Devil Music: 
The Mothers of Invention - Burnt Weeny Sandwich LP review

Short Rounds: The Damnation of Adam Blessing, Elvin Bishop's Big Fun Trio, Howlin' Rain & Rockers OST (2018)

New album releases in 150 words or less…

The Damnation of Adam Blessing – The Damnation of Adam Blessing (Exit Stencil Records, vinyl reissue)
The heavy, psych-drenched guitar rock and molten sludge riffs of the self-titled 1969 debut album by Cleveland, Ohio’s The Damnation of Adam Blessing was easily five years ahead of its time. Band namesake Blessing’s vocals are of the period, strongly bluesy with power and nuance, but the band’s complex, textured, and highly-amplified hard rock sound reminds of Blue Cheer while beating Black Sabbath to the gates of doom with guitarists Bob Kalamasz’s blistering leads and Jim Quinn’s thick rhythmic designs. Original tunes like the slightly-jazzy “Dreams,” the riff-happy “Hold On,” or the mournful, dark-hued “Lonely” play to the band’s instrumental strengths, but a cover of Bonnie Dobson’s “Morning Dew” (a Grateful Dead fave) is hauntingly beautiful with its stinging fretwork, and the Monkees’ “Last Train To Clarksville” is provided a deeply funky instrumental groove and joyfully delivered with all the glee of a dog playing with a chew toy. Grade: A   BUY IT!

The Damnation of Adam Blessing – The Second Damnation (Exit Stencil Records, vinyl reissue)
A high-priced “Holy Grail” of psych-rock collectors, indie vinyl reissue label Exit Stencil Records has brought both of the legendary Cleveland rock band’s first two albums back to shiny black vinyl. Released in 1970, The Second Damnation features the same players but displays a modicum of artistic growth beyond the debut’s bludgeoning riffs and gale-force rhythms. Opening track “No Way” is delightfully doom-drenched while the molten licks and muscular rhythms of “Driver” are in a league with contemporary metallic-blues outfits like Cactus and Josephus. “Back To the River” is a dense, bluesy jam featuring Bob Kalamasz’s stunning fretwork, the socially-conscious “Money Tree” rumbles like a gang-fight with switchblade guitars, and the locomotive “In the Morning” welds a funky groove to an uncompromising hard rock din. The Second Damnation falls just short of the debut, but is every bit as rockin’. Kudos to Exit Stencil, too, for the über-cool gatefold repro cover! Grade: B+   BUY IT!

Elvin Bishop’s Big Fun Trio – Something Smells Funky ‘Round Here (Alligator Records)
Elvin Bishop’s Big Fun Trio is a lean, mean, blues-making machine, and with the band’s second effort, Something Smells Funky ‘Round Here, they pursue a tack similar to their self-titled 2017 debut. The musical chemistry of these three talented veterans undeniable; and Bishop’s trademark sense of humor sharply defines the politically-charged title track, the story-song “Lookin’ Good,” and the loping “That’s The Way Willy Likes It.” Beautifully-performed vintage R&B covers like “I Can’t Stand the Rain” feature Willy Jordan’s deeply-soulful vocals while the instrumental “Bob’s Boogie” displays pianist Bob Welsh’s fleet fingers and infectious sense of rhythm. Bishop’s twangy instrumental “Stomp” is the perfect showcase for his often-underrated six-string skills while “My Soul” is a juicy, Cajun-styled blues romp that shows off the trio’s individual chops. Elvin Bishop’s Big Fun Trio doesn’t break any new ground here, but they’re having a hell of a time just makin’ music! Grade: B   BUY IT!

Howlin’ Rain – The Alligator Bride (Silver Current Records)
A damn fine rock band, Howlin’ Rain nevertheless brings a soupçon of its previous Americana-styled twang to the songs on The Alligator Bride, their fifth album. Infusing deceptively complex tunes with elements of the Grateful Dead, Neil Young, and even Joe Walsh, The Alligator Bride provides a shining display of frontman Ethan Miller’s songwriting chops and the band’s immense instrumental skills. There are a lot of echoes of the past in these grooves, the album evincing a convincing early ‘70s rock vibe, each song’s sonic bliss driven by Miller’s plaintive vocals, the twin ringing guitars of Miller and Dan Cervantes, and a rock-solid rhythm section. There are only seven songs, clocked at a breakneck 40 minutes, but with flamethrowers like the epic title track and the raging “Missouri,” or the dreamy “Speed,” you won’t get whiplash. The album’s wonderfully-balanced musical dynamics make it sound like it’s 1975 all over again. Grade: A   BUY IT!

Various Artists – Rockers OST (MVD Audio, vinyl reissue)
Reissued on red, green, and yellow-splashed vinyl that looks simply glorious spinning on your turntable, this soundtrack to the 1978 semi-documentary film Rockers provides a brief but toothsome history of the reggae genre. The LP hits many of the expected notes – Junior Murvin’s hypnotic “Police & Thieves” (later covered by the Clash), Peter Tosh’s blistering “Stepping Razor,” the Maytones’ melodic “Money Worries,” and Burning Spear’s powerful spiritual expression “Jah No Dead – but it offers a few pleasant surprises as well. Junior Byles’ “Fade Away” is a damning indictment of social inequality featuring haunting vocals and staccato rhythms; Bunny Wailer offers an equally devastating performance on the album’s title track, sounding like Curtis Mayfield singing to a reggae beat; and Gregory Isaacs’ “Slave Masters” is simply mesmerizing, its caustic lyrics matched by a deceptive rhythmic drone. Featuring fourteen burning tracks, Rockers is “must have” LP for any serious reggae collection. Grade: A   BUY IT!


Previously on That Devil Music.com:
Short Rounds, May 2018: Brinsley Schwarz, Eric Corne, Roger McGuinn & Shuggie Otis
Short Rounds, April 2018: Catfish, Jimmie Vaughan Trio, King Crimson & Memphis Rent Party
Short Rounds, March 2018: 6 String Drag, The Doors, the Nick Moss Band & Jack White

Vinyl Review: The Mothers of Invention's Burnt Weeny Sandwich (1970/2018)

Released in February 1970, the Mothers of Invention’s Burnt Weeny Sandwich was the band’s sixth album (and eighth overall “official” Zappa release when you include two previous ‘solo’ LPs). An often overlooked entry in the Maestro’s canon, it’s both a transitional work as well as a signpost for creative directions that Zappa would take in the future. One of two albums released by Zappa that year (the other being the audacious Weasels Ripped My Flesh), it came in the wake of the break-up of the original Mothers as Zappa struggled artistically, professionally, and financially to bring his ever-shifting musical vision to his small but loyal group of fans. Under supervision by the Zappa Family Trust, Universal Music has reissued Burnt Weeny Sandwich on vinyl, correcting the sonic errors that marred earlier CD reissues (which likely had perfectionist Frank spinning in his crypt).

This vinyl reissue of Burnt Weeny Sandwich is pressed on shiny, thick 180-gram audiophile black vinyl and includes a stocky gatefold sleeve with the original album artwork. The reissue was mastered from the original ¼” stereo safety master tapes by Bernie Grundman, a veteran engineer who put the final stamp of approval on albums by folks like Prince, Steely Dan, Michael Jackson, and Kendrick Lamar, among many others. Unavailable on vinyl for over 30 years, last included as part of Zappa’s Old Masters Box Two box set, the reissue also includes a reproduction of the original album’s cool eight-panel, double-sided fold-out B&W poster featuring photos of the various band members. Cal Schenkel’s original oddball front cover is a stunning and prescient bit of post-industrial collage art while the cryptic back cover art offers an enigmatic cartoon thought bubble.

The Mothers of Invention’s Burnt Weeny Sandwich

Burnt Weeny Sandwich is the first Mothers’ album to combine studio and live recordings, a technique that Zappa would pursue throughout the remainder of his career. In many ways, it displays Zappa’s creative genius in reset mode, the bandleader running out of steam after releasing seven studio albums (including two double-discs) in roughly five years, a heady workload to be sure. The album holds up well in spite of its Frankenstein-styled construction, due not only to Zappa’s talents but also that of musical collaborators like violinist Sugarcane Harris, pianist Ian Underwood, and guitarist Lowell George (who left the Mothers by “mutual agreement” and formed Little Feat in 1969). The record also features the not-inconsiderable skills of Mothers OGs like Roy Estrada, Jimmy Carl Black, Don Preston, and the horn section of Bunk and Buzz Gardner.

Burnt Weeny Sandwich gets the party started with Zappa reaching back into his past with a cover of the Five Deuces’ doo-wop classic “WPLJ” complete with gorgeous backing harmonies and an arrangement that relies more on vocal delivery than on its sparse instrumentation. Not a year removed from the creative exercise that was Cruising with Ruben & the Jets, Zappa would revisit his beloved doo-wop and 1950s-era rock ‘n’ roll more than once in the years to come. “Igor’s Boogie, Phase One” and the following “Phase Two” are brief tone poems named in tribute to favored composer Igor Stravinsky; the former leads into the tinkling instrumental “Overture to A Holiday In Berlin” and the latter into the lengthier “Holiday In Berlin, Full Blown,” which extends musical themes that the Mothers had previously explored on the Absolutely Free and We’re Only In It For the Money albums. The improvised hornplay by the brothers Gardner here is as wild and innovative as anybody in the late ‘60s while Zappa’s imaginative fretwork is miles beyond that of his peers in the world of rock ‘n’ roll, save for Jimi Hendrix, who played in a universe entirely his own.

Little House I Used To Live In

Zappa photo by Bruce Linton, courtesy Universal Music

In between this handful of tracks falls “Theme From Burnt Weeny Sandwich,” a guitar-driven four-and-a-half-minute instrumental jam that anchors the album’s first side and showcases Zappa’s six-string skills, his guitar solo repurposed from an unused earlier recording originally put on tape for an extended version of “Lonely Little Girl” from We’re Only In It For The Money. The first side closes with the cleverly-titled “Aybe Sea,” a vigorous piano solo by Ian Underwood that seems absolutely Elizabethan in its construction, his instrument sounding more like a harpsichord than a standard piano. It wouldn’t be the last time that Zappa would mix classical elements with jazz-fusion experimentation, and in the hands of the immensely-talented Underwood, the performance offers a fine conclusion to the first side.

The second side of Burnt Weeny Sandwich is comprised of but two songs, but Zappa’s original, eighteen-minute live performance of “House I Used To Live In” is a masterpiece of modern classical composition that itself would presage the Maestro’s various musical obsessions in years to come. Starting out small with Underwood’s discordant piano notes serving as the song’s intro, the performance reminds of Zappa’s fascination with avant-garde composers like John Cage, launching into a rich brew of syncopated rhythms, machinegun time changes, and overall chaotic instrumentation. The song careens off the boards like a pinball machine set to ‘tilt’ with whiplash musical directions and unexpected curves like Sugarcane Harris’s clattering but exhilarating violin solo (also previously-recorded but fitting here perfectly) and Underwood’s staccato piano-pounding. Burnt Weeny Sandwich closes out in the same manner as it opened, with a cover of Jackie and the Starlites’ doo-wop tune “Valarie,” an inspired reading supported by shimmering instrumentation and heartfelt vocals.

The Reverend’s Bottom Line

Surprisingly enough, Burnt Weeny Sandwich would become the Mothers’ highest-charting album to date in the U.K. while barely scraping into the Top 100 on the U.S. charts. The album’s piecemeal construction, mostly instrumental compositions, and its ongoing experimentation with musical themes began a year previous with the Uncle Meat double-album played true to Zappa’s intent to shake fans from their complacency and make them think. Along with the subsequent Weasels Ripped My Flesh, the two albums serve as a final conclusion to the original era of the Mothers of Invention. From this point on, the band’s sole focus would be on Zappa as it slowly evolved into a creative vehicle exclusively for Zappa’s solo efforts.

Zappa would later put together a new version of the Mothers centered on the vocal talents of former Turtles members Mark Volman and Howard Kaylan (a/k/a “Flo & Eddie”) and including talented musicians like veteran British drummer Aynsley Dunbar (John Mayall’s Bluesbreakers) and bassist Jim Pons (The Turtles) as well as longtime Mothers Ian Underwood and Don Preston. Subsequent recordings would feature Zappa as a smutty comedic storyteller (Just Another Band From L.A.) and jazz-fusion pioneer (The Grand Wazoo) before hitting his commercial peak with the pop-influenced rock LPs Over-Nite Sensation and Apostrophe. Taken in this context, Burnt Weeny Sandwich and Weasels Ripped My Flesh served as an artistic catharsis necessary for Zappa to move on from his original vision for the Mothers and into the wide-open future. Grade: B- (Zappa Records/UMe, released June 22, 2018)

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