What is a Githead?
by Thomas Schulte
**************************************************************
Outsight brings to light non-mainstream music, film, books, art, ideas and opinions.
Published, somewhere, monthly since July 1991. Feel free to re-print this article.
Please, keep Outsight informed: 248-623-1601 or
Email Outsight at outsight@usa.net
Ratings are (1) = :(, (5) = đ
Outsight Radio Hours Internet radio Webcasts with live interviews:
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</font></p>
KITTIE SETTLES ARTEMIS SUIT, ENTERS
STUDIO
Ontarioâs Kittie settled its lawsuit
against Artemis Records and spent
March recording its third release, titled Until the End. The band recorded
at Longview Farm Studios with producer
Steve Thompson (Metallica, Korn, Simple Plan) and engineer Ian Hatton (Bonham,
Luxx). âWe are excited that the suit is over and done with,â said guitarist/vocalist
Morgan Lander. âThe number one thing is the music and we are looking to make
a great album!â Until the End is tentative scheduled for a summer release.
Here an Outsight
interview with Kittie</a>. </font></p>
GITHEAD
Scanner announces the formation of Githead
with Colin Newman of Wire on vocals and guitar, Malka Spigel of Minimal Compact
on bass, an expensive computer on drums and Scanner on lead guitar. The new group
has already written and recorded a number of songs for performance and release.
Says Scanner, âdescribing the music has been the toughest part and all we could
conclude was that it sounded like none of our solo projects at all!! Interestingly
all the lyrics have been taken from junk emails so expect songs about mortgages,
winning prizes and Viagra. Having watched the School of Rock repeatedly Iâve learnt
a number of sharp, sexy moves to use on stage as well as finding out how best
to crowd surf!â Scannerâs new solo album is available at http://www.posteverything.com/bette.
“Entitled Double Fold, itâs loosely themed around the controversial
American book of the same title by Nicholson Baker. Double Fold is one extended
elastic track focusing on a pulse, 128 beats per minute. The book is an exploration
of the dismantling of the greatest archives of our recorded heritage, paper as
a resource now too fragile to store our history on. I collaged hundreds of fragments
from my domestic tape archive to produce what is ultimately a very listenable
and funky entertaining album, equally one to sip a martini at the end of the day
and tap your foot to, or else to begin the day with the finest Scanner aerobic
workout session,â explains Scanner. </font>
PIXIES CONCERT DATES SELL OUT
Tickets for Pixiesâ North American reunion headline dates have sold well, generally
selling out. The Pixies will wrap up this series of dates on Saturday, May 1 when
they co-headline, with Radiohead and Kraftwerk, the Coachella Music & Arts Festival
in Indio, CA. The Pixies lineup of Frank Black (vocals, guitar), Joey Santiago
(guitar), Kim Deal (bass), and David Lovering (drums) have been in a Los Angeles
rehearsal studio playing Pixies music together for the first time in eleven years.
All four agree that the âreunionâ has, so far, been great. According to Black,
âWe were all a little nervous when we first got together, but within maybe five
minutes, everything felt completely comfortable, and it was like the last eleven
years had never happened.â Bassist Kim Deal added, âI experienced what I call
âmuscle memoryâ – weâd be playing a song and I didnât even have to think about
what note came next – my fingers remembered what to play.â </font>
NRBQ TRIBUTE
Bonnie Raitt, Steve Earle, R.E.M.âs Mike Mills, Los Lobos, Widespread Panic, Yo
La Tengo, Spongebob and more pay tribute to NRBQ on a new compilation release.
The Q People is the debut release of new Massachusetts indie label, Spirithouse
Records, and marks NRBQâs 35th Anniversary. Penn Jillette wrote the liner notes
to the project that Spirithouse foundersâ Danny Bernini and Paul McNamara stipulated
must be comprised of only true NRBQ fans. Qualifying band Los Lobos, stated:
âIn my version of a perfect musical universe, NRBQ would be as big as The Beatlesâ
and R.E.M.âs Mike Mills said, âI would describe them as the perfect amalgamation
of sound.â </font>
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MIDPOINT MUSIC FESTIVAL
Registration is open for the third edition of The Midpoint Music Festival. Over
200 bands and solo artists and 25,000 music fans attended last yearâs showcases
and industry seminars in Greater Cincinnati. This yearâs Festival takes place
September 22-25, 2004. The Conference is headquartered at the Crowne Plaza Hotel.
The Festival will again be held in downtown Cincinnatiâs Mainstreet entertainment
district and Main Street Corridor over three nights. Artists interested in submitting
for showcase consideration can visit the MPMF Website
to register and apply. Final registration ends Sunday, May 16, 2004. The artist
notification process will begin in June with showcases and time slots to be announced
shortly thereafter. This year, one lucky band that registers will win MPMFâs Demolition
Song Contest and win a prize package that includes recording time, mixing, mastering
and 500 CDs from QCA. Email MPMF at info@mpmf.com. </font>
DVD REVIEWS ***************************************
Various Artists
Death Metal – A Documentary
Bill Zebub Productions/MVD
This documentary is an education for those into metal and those not. A series
of interviews elucidate the state of death metal and its history from architects
of the genre and more recent adherents. This is fleshed out with video clips and
live footage, some of it X-rated. Among the guests interviewed is Peter Steele,
vocalist for Carnivore. (3) </font>
<
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on the DVD from Amazon.com</a></font></p>
Dee Dee Ramone
Hey is Dee Dee Home
In 1992, Dee Dee Ramone met with Lech Kowalski so that Dee Dee could contribute
a filmed story to Born to Lose. In this footage Dee Dee tells the camera
several stories, often using his own tattoos as a departure point. Tales of drugs,
violence and the birth of New York punk flow from one to the other as Dee Dee
talks and Lech films. The focus on Dee Dee as a revelatory talking head is very
successful here, with shades of Errol Morris (Fog of War, A Brief History of Time).
Johnny Thunders performing âChinese Rocksâ is included as a bonus, along with some
behind-the-scenes footage. This is part of Lechâs vision of a series of films
on the founding of punk, to be called Born Losers. (4) </font>
<
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Walter Trout
Relentless
Ruf Records/MVD
This DVD is the visual side of the CD Relentless, the latest live album
from this blues guitarist that, with his band The Radicals, looms ever larger
over the contemporary blues scene. The set is bookended with two covers that exhibit
the truly relentless blues playing fans canât get enough of from Trout: âDust
My Broomâ and âServes Me Right to Sufferâ. However, the point of the 2003 recording
in Amsterdam at Paradiso was to showcase the new originals. Many of these are
very personal, intimate songs that Trout communicates well. However, in baring
himself, he dispenses with a lot of the powerfully stated blues guitar. This can
be said of âIâm Tiredâ, âCry if you Want toâ and the ode to a departed friend,
âWork No Moreâ. However, there are several good, solid blues numbers new from
Trout and the fun, lively jab at Internet dating âChatroom Girlâ. (4) </font>
<
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U.K. Subs
Punk Can Take It
Cleopatra/MVD
While U.K. Subs was at the heights of its fame, during the Another Kind of
Blues</i> era, it was filmed playing the Lyceum for use in this mockumentary.
There are episodes of the band playing live, but this is no concert DVD and there
are no complete songs. Instead, this was parody film in the tradition of World
War II morale-boosting propaganda. Punks have it tough on the front lines in this
funny film narrated by BBC voice-over legend John Snagge. Along with a photo gallery
is another bonus feature, Nicky Garratt exhibiting his collection of U.K. Subs
memorabilia. This includes albums, CDs, framed posters and news clipping with
his explanations and commentary. (3) </font>
<
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Street Spankers</a>
Sideshow Fez
Spanks-a-Lot
This August 15, 2003 concert includes Stanley Smith (clarinet and more) and Korey
Simeone (violin and more; http://www.iamkorey.com). While the current version
of the band is great, it is also great this lineup with these two talents is preserved
performing before this sold-out Portland audience. There are 21 songs performed
by the acoustic band full of wit, bawdy content and musical skill. Some Spanker
things, like Wammo performing âHick Hopâ and Korey performing âFannyâ, have to
be seen for true appreciation. That makes this DVD the best introduction to Asylum
Street Spankers that can be had. (4.5) </font>
<
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READABLES ***************************************
Dean Budnick
Jambands: The Complete Guide to the Players, Music, and Scene
Dean Budnick, through the success of his Web site http://www.jambands.com, succeeded
in popularizing the term âjambandâ and this encyclopedic resource goes far to
mark out and delineate exactly what that term covers. This detailed tome touches
on nearly 200 groups. This includes a biography of the band as well as recommended
recordings reviewed and rated. In this way, it combines elements of the All-Music
Guide</i> and The Rolling Stone Encyclopedia of Rock & Roll. Web sites
may make this resource dated on that level relatively soon, for there is frequent
mention of URLs for band sites, discussion lists, fan sites, and the like. Just
as the text highlights the important and worthwhile, it does not shirk from pointing
out albums or groups not worth serious examination. This adds credibility and
makes the book valuable for forays into the genre by the inexperienced music enthusiast
that wants to explore uncharted territory. Extra sections cover Budnickâs Jammies
awards series and the festival scene. (3.5) </font>
<
p align=”center”> <a
href=âhttp://www.amazon.com/exec/obidos/redirect?tag=outsighthomepage&path=tg/detail/-/0879307455â target=_new>
More on the book from Amazon.com</a></font></p>
CD REVIEWS ***************************************
Scott Marshall
My Life in the Gush of Boasts
The title suggests Brian Eno and David Byrneâs groundbreaking album My Life
in the Bush of Ghosts</i>. Like that album, there are elements here of electronic
music of the cerebral and dance varieties. While the album title and such piece
names as âSquirrelbrainâ (in three parts) and âDays of War, Nights of Loveâ suggest
a comedic if not frivolous attitude, the electronic music is serious and cinematic,
Eno-esque and often eerie in its organic minimalism. However, Scott is not content
with being merely a Steven Reich with a home studio. His music transmutes into
being the angular soundtrack of robot marionettes and can at times feature the
impulsive breakbeats of todayâs techno. (4)
</font>
The Master Plan
Colossus of Destiny
This is a release of a New York supergroup of sorts. Keith Streng is on guitar
and vocals here, as he was in The Fleshtones. Drummer Bill Milhizer is also from
The Fleshtones. Making for a good two-guitar lineup is Paul âPeppermintâ Johnson
(Waxing Poetics). Also adding vocals, as do all members, is bassist Andy Shernoff
(The Dictators). The music is fun, a blast of â60s garage rock. Everyone but Milhizer
is credited with songwriting, which contributes to the variety of this great rock-n-roll
record. With all the history in this band, you know some cool covers are going
to happen. That happens on side two. We get here a version of Lloyd Priceâs âJust
Becauseâ (also recorded by Freddy Fender), âAnnie Had a Babyâ the answer song
to âWork with me Annieâ, âBroken Arrowâ (Chuck Berry) and Eastern Darkâs Australian
garage pop classic âWalkingâ. (4) </font>
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Mike Allen
Cirrhotic
Mike Allen was guitarist and vocalist for Sunday Flood. Some of the dream pop
approach taken by that group can be found here. However, the pale luminescent
dawn of the nascent shoe gazer broke forth into a stormy and wind swept day of
post-industrial electronic akin to Aphex Twin and Nine Inch Nails. So, do not
come here looking for the safe sounds of Sunday Flood. Guitar textures and the
treated sounds of other instruments are broad-stroked with umbers, grays and other
dark chthonic earth tones in this portrait of nightmares and conflict. Breaking
the mood is vocal interludes recalling early Depeche Mode or The Cure becoming
warm beacons in the tempestuous night of Cirrhotic. (3.5)
</font>
Quarter</a>
No Secrets
This instrumental music album is sophisticated and rich in moving, protean arrangements.
The timbre of the music is greatly enhanced by attaching to a rock trio (guitar,
bass, drums) a cellist (Marco Allocco). The rock trio is three-quarters of the
Italian indie pop band Kash (http://www.kash.it). This gives guitarist Paride
Lanciani a new creative outlet and direction from Kash. (4) </font>
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Ferdinand</a>
Franz Ferdinand
On tracks like âTell her Tonightâ and âTake Me Outâ, this band named after the
WWII-inducing assassinated archduke, recalls New Order and the later dance club-influenced
Manchester scene. This scene, led by Stone Roses and Happy Mondays was documented
much on Factory Records and this seems to be a significant influence for Franz
Ferdinand. As dance pop goes, this is a very good album with great hooks and rhythms.
(3.5) </font>
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Les Baton Rouge
My Body – My Pistol
Punk siren vocalist Suspiria Franklyn (http://www.geocities.com/suspiriafranklyn)
leads this Berlin-by-way-of-Lisbon band. Suspiria subtitles the picture on her
Web site âa feminist woman non-stop.â That sounds right as she combines her musical
influences of Sex Pistols, Nina Hagen and The Slits with riot grrl politics and
delivery. Post-garage guru Tim Kerr (Mooney Suzuki, Monkey Wrench) produced the
album. (3) </font>
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T*Shirt
The Convincer
T*Shirt of Lawrence, Kansas had a lot of critical acclaim while it was around,
but the music rings kind of hollow in this posthumous release. The opening track
âShrineâ seems to echo this empty, unfulfilled promise of college rock that T*Shirt
is just a small chapter of. However, it must be said that a lot of what is to
be gained from songs like âBrokeâ is subtle and this album bears greater fruit
with repeated listening. The album covers 1995 to 1997 through EP and singles.
</a>
</font>
Vindictives</a>
Muzak for Robots
Teat Records
This is over an hour of instrumental music crossing Kraftwerk with a cheap Casio.
The thin keyboard music could be a homemade soundtrack for public access TV espousing
New Age philosophy and alien contact. Still, the extreme stylization adds a charm
and appeal to what could be just as easily called Vangelis Lite. One standout
track is âOberseite Ausâ (all the songs have German titles), which could be a
Wendy Carlos wannabe trying to reincarnate âThese Boots are Made for Walkingâ.
(3)
</font>
Buddy Miles Express
Hell and Back
Patriarchal funk-rock drummer Buddy Miles went from Wilson Pickett to The Electric
Flag to the unfortunately brief Band of Gypsies with Jimi Hendrix to less successful
projects to prison and from there to be the voice of cartoon raisins. Miles is
now back on track doing the progressive funk-rock he is made for and as exemplified
on this album and with his other project, Hardware. This album patiently flows
from song to song, delivering electric rock-fueled ballad soul. This version of
the Express features Nicky Skopelitis (Material, Elliot Sharp), frequent collaborator
Kevon Smith on guitars and a four-man horn section. Much of the material is familiar:
âBorn Under a Bad Signâ and âAll Along the Watchtowerâ are here. Miles also includes
his own monumental âThem Changesâ, which is present on the Band of Gypsies
album. This album still seems far seeing and progressive though it was originally
released on Rykodisc on 1994. (4) </font>
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Bill Laswell
ROIR Dub Sessions
This full-length, four-track album compiles material from ROIRâs four Laswell
releases. This is an excellent introduction to the post-dub electronica Laswell
available from Laswell on ROIR. Priced like a sampler but laden with over 45 minutes
of bass bliss, this album features Nicky Skopelitis, Aiyb Dieng, Jah Wobble and
more with Laswell. This compendium excerpts Sacred System Chapter One: Book
of Entrance, Sacred System Chapter Two, Dub Chamber 3</i>, and Book of Exit.
What this collection will not do is tell you which of the four to acquire for
further listening, they are all required for any hip CD collection. (4) </font>
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Badawi
Clones & False Prophets
On Clones & False Prophets, Badawi enhances his dub electronica with the
infusion of avant-garde guitarist Marc Ribot (John Zorn, Tom Waits), jazz drummer
Ben Perowsky (Lost Tribe, Elysian Fields) and saxophonist Doug Wieselman (Kamikaze
Ground Crew, Robin Holcomb). This allows for a mix of the expected dub flavors
(âEnter the Ethericsâ) with sophisticated, arty fare (âFire and Brimstoneâ). Carolyn
âHoneychildâ Coleman, frequent collaborator with Badawi creator Raz Mesinai, is
on hand though she provides vocals on only two tracks of this largely instrumental
album. (4.5) </font>
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Parker</a>
Your Country
Graham Parker proves himself an elder statesman of the intelligent pop song on
this latest album that is marked by subtle shades of Nashville. The songs are
largely touched by melancholy, even when on the surface this is not expected,
such as the lyrically defiant âNation of Shopkeepersâ, one of the standouts on
the album. Lucinda Williams is on hand to duet with Parker on âCruel Lipsâ. This
further accentuates the roots direction this excellent album is headed in. (4)
</font>
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Various Artists
Ennio Morricone Remixes, Vol. 2
Setting the mood for a high noon gunfight is the drifting, floating 2-CD remix
album of spaghetti western scorer Ennio Morricone. The remixes touch on scores
for My Name is Nobody and The Good, The Bad and The Ugly and beyond.
It is âIl Bruno, Il Brutto, Il Cattivoâ from The Good, The Bad and The Ugly
as remixed by Hird that really stands out here. The accentuated Western sounds
take on an almost jungle atmosphere while the plaintive melody still wistfully
rolls on like a tumbleweed. There are a lot of moments like that on this album,
such as the breathy vocalizations and disco beat on Swell Sessionâs take on âA
Lidiaâ. Other remix artists present include Chicken Lips, Tom Middleton and more.
</a>
</font>
A</a>.
Get Inside
This Johnny Aâs second release and the instrumental guitar album has many highlights,
including the country soul rendition of âPoor Side of Townâ (Johnny Rivers). Johnny
A spent much time in Peter Wolfâs solo band, but this music is more sophisticated
and less ostentatious than that association would suggest. Much of the music has
a sunny, effortless, breezy joy like the swinging âSing Singinââ. In this way,
the album straddles rock and jazz, drawing on the genres for a fine mix of muscle
and agility like an artful pugilist making sweet art out of a wicked punch. All
of this is blended together with a common theme of blues that will be keep record
store employees guessing on what section to put this disc in. (4.5) </font>
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Richard Pinhas
Tranzition
French guitarist and electronic composer Richard Pinhas offers an organic, flowing
sound where the rolling waves of processed guitar loops washes over the sedimentary
sandstone foundation of Brian Eno and Tangerine Dream. The instrumental music
effortlessly fills your deepest headphones with aural adventures aplenty. The
mesmerizing, mystic nature of this disembodied, floating music makes it right
for massage, magic-working and meteor shower parties. (4) </font>
<
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The Gay
You Know the Rules
The Gay is a bright, crystalline indie pop group featuring the group female lead
vocals from Coco Culbertson (bass, keyboards; The Tennessee Twin, Bif Naked),
Tobey Black (guitar; Maow), Maija Martin (accordion, guitar) and Sara Lapsley
(piano; Vancouver Nights, Kreviss). As can be seen, the instrumentation is rich
in this sophisticated album of bright and shimmering surfaces that reveal glossy
textures of a hip, pop band that has hooks and smarts. This is a strong, promising
debut from the ambitious Vancouver quintet. The sunny and swinging vocal pop here
will have you smiling and humming. (3.5) </font>
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Xiu Xiu
Fabulous Muscles
Xiu Xiu takes its name from an art house film that showed how the upheaval of
Chinaâs cultural revolution made one young girlâs life cruel, hopeless and, ultimately,
unbearable. Maybe something good could be found in the changes that arose from
that radical time, but the film does not offer anything. Similarly, this opus
fuels itself by giving in to the sheer weight of negative experience by combining
the worst aspects of the U.S. occupation in Iraq and personal experiences of a
fatherâs suicide, a young childâs molestation and more. The arrangements vary
greatly from the spoken work and noise art piece âSupport Our Troopsâ to the sad
and graphic tale of murderous sexual domination told in the solo acoustic ballad
that is the title track. Forced fraternal incest gets cacophonous electronic treatment
in âBrian the Vampireâ. Hopefully a catharsis for the songwriters (I cannot imaging
holding on to all this negativity), this experimental exploration of a taxonomy
of misdeeds may be just the thing to listen to when you think no one has it worse
than yourself. (3.5) </font>
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Proclaimers</a>
Born Innocent
Persevere Records
Scottish twins Craig and Charlie Reid are back with a collection of triumphant
and poignant songs on Born Innocent. Important people have a way of recognizing
the talent in the Reid brothers. The group got early advice and demo time from
Kevin Rowland (Dexyâs Midnight Runners) and a break as tour support from The Housemartins.
Now, as they return to the scene, we should not be surprised that Scottish musician
and producer Edwyn Collins (Orange Juice, Nu-Sonics) produced this album, which
released in the UK in the fall of 2003. While a Celtic-punk substrate remains
in the music, this album is much more sophisticated and polished than, say, the
raucous and successful Top 3 single âIâm Gonna Be (500 Miles)â. These Scottish
soul gems are replete in wide-eyed awareness (âBlood On Your Handsâ) and compelling
poignancy (âUnguarded Momentsâ). This album includes a cover of the â60s hit âFive
Oâclock Worldâ as well as live versions of âUnguarded Momentsâ and the memorable
title track. (4) </font>
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Ani DiFranco
Educated Guess
In a way Ani DiFranco returns to her own roots on Educated Guess. She is
very solo here, having stripped away the backing band. Ani herself played all
the instruments on this album. Going further, the specially bound book, removable
from the CD case, includes Aniâs own artwork and a trio of poems released only
with Educated Guess. The eight tracks of audio were recorded on vintage
reel-to-reel equipment and this may have enhanced a more personal, intimate feeling
that we have not heard from Ani since the early â90s. The album thus comes forward
as Aniâs testament of the trials of love (âOrigamiâ), the complexities of patriotism
in this day and age (âGrand Canyonâ) as well as feminism and more. (4.5) </font>
<
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Robert Lockwood, Jr.
The Legend Live
This is Lockwoodâs first domestic release since 2000, and the exquisite live album
is well worth the wait. The performance at Phoenixâs Rhythm Room sees the 89-year-old
elder statesman of the blues draw upon six decades of bluesmanship. This masterful
performance on 12-string electric guitar comes to us from the only living performer
to have learned the craft from Robert Johnson, his stepfather. (Lockwood performs
four of Johnsonâs songs here, including âSweet Home Chicagoâ.) Lockwood spent
the â30s and beyond gigging with Sonny Boy Williamson and Howlinâ Wolf and became
a noted Chess session guitarist. Lockwood continued to innovate and improve his
clear, crystalline style through the â70s resulting here in a gifted performer
exhibiting emotion and soul honed to a sharp edge with precision and technical
ability shining with the glint of a jazz patina. The dozen songs here cover material
by Mance Lipscomb, Leroy Carr, Roosevelt Sykes and more. Lockwood never before
recorded many of the songs here, or never recorded them as a solo performance.
Now in 1913, Leroy âLassesâ White told us âOh, the blues ainât nothing/But a good
man feeling bad.â This scintillating performance from Lockwood is journey by time
machine to meet many of those good men of the past. Lockwood initiates the show
with âMeet me in the Bottomâ by the renaissance man of the blues, scholar songster
Mance Lipscomb (âMeet me in the Bottomâ). However, the shining and smiling delivery
takes from the lows to the lofty heights where Lockwood stands arm-to-shoulders
with the smiling jester of the blues, Roosevelt Sykes (âFeel Like Blowinâ my Hornâ).
Another pianist, prolific songwriter Leroy Carr, comes up next with the rollicking
âMean Mistreater Mamaâ.
As the set does turn emotional and sad, Lockwood clamps down on the strings to
suppress the ringing tones for a pointedly and poignantly delivered âSheâs Little
and Sheâs Lowâ (Roosevelt Sykes). After this deliberate delivery, Lockwood loosens
a bit more to perform a great follow-up tune, âHow Long Bluesâ (Leroy Carr). The
crowd, largely silent to this point (rapt), claps as the anthemic pinnacle at
the midpoint of this set, Robert Johnsonâs âSweet Home Chicagoâ begins. Keeping
things interesting, Lockwood follows this up with âExactly Like Youâ, the pop
gem from the songwriting team Jimmy McHugh and Dorothy Fields. All this focus
on pianistsâ songs seems to strike at the heart of the Lockwood style: melody
over rhythm. After this brief pop interlude and the addition of a comical, self-deprecating
coda, Lockwood launches into a trio of Robert Johnson songs: âLove in Vainâ, âFrom
Four Until Lateâ and âRamblinâ on my Mindâ.
While âLove in Vainâ is delivered with ringing melody, and gives the most vociferous
audience reaction of the disk, Lockwood echoes the after-hours mood âFrom Four
Until Lateâ with a more sparse, understated delivery. âRamblinâ on my Mindâ is
similarly delivered with a lot of empty space which Lockwood fills with a bright
and clear vocal delivery. Lockwood then rambles on to the antecedent of the Robert
Johnson style, Johnnie âGeechieâ Temple. Syncopating the rhythm, Lockwood gives
us the salacious âBig Leg Womanâ.
Lockwood turns back to Leroy Carrâs songbook for a delicately and simply delivered
âIn the Eveningâ as an apt closer to the set. In a final farewell speech, Lockwood
sharply and suddenly asks the audience for something – money? Applause? Regardless,
it is the saddest note on this golden example of the craft of solo blues from
a master of the art. (4.5) </font>
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The David Johansen Group
Live
This is the post-New York Dolls group David Johansen formed with ex-Dolls Sylvain
Sylvain. This album comes from a July â78 gig at New Yorkâs Bottom Line. The set
list includes such New York Dolls songs as âPersonality Crisisâ and âLooking for
a Kissâ. Johnny Thunders joins the band on stage for âBabylonâ in the ending climax
of this great rock-n-roll show. They just donât build âem like that, anymore.
(4) </font>
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War Bird
Jucifer continues its captivating formula of contrast. The heavy, distorted death
metal dirge of âIdes of Lightâ suggests a prelude to a cookie monster voice. Instead,
Amber Valentine swings sweetly and melodically, which highlights the effect when
the bottom drops out of the song leaving Amber to deliver a verse a cappella as
the bridge to the songâs second half. One of the many engaging duos on the scene
now, the other half here is Ed Livengood on kit drums behind Amber as vocalist
and guitarist. Spawned from the fertile breeding ground of Athens, GA, the pair
offers a schizophrenic dichotomy of the heaviest of Melvins with the most dulcet
of your favorite electric female singer-songwriter. (4.5) </font>
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height=75 id=â_x0000_i1082â
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