Never heard of ‘em. The call themselves ‘TRASH-COUNTRY-GARAGE & BLUES-PUNK’ which is … oh, for fuck’s sake, why can’t bands be a little more adventurous and just skip the fucking definitions?
Oh. Cos then audiences won’t know what they’re like, and instead of giving them a twist on Spotify, will skip on to Bachman Turner Overdrive or something equally vile. Also, of course, their name brings up a swag of completely irrelevant sites, so it’s almost impossible to find out anything about these buggers.
Omer was one of the founder members of The Dead Brothers (of whom I’ve extolled the virtues of elsewhere on I94bar). However, I listened to the disc before I learned that. If you’re one of these cats who don’t quite ‘get’ how jazz as well as blues morphed into rock (the big bands in the '30s and '40s prided themselves on how loud they were), then all I can say is… dig this, suckers.
"Swing Cremona" is that rare item, a disc you can bop, hop and jive to, as well as dance like you’re tanked on tequila. So, it ain’t quite jazz, ain’t quite folk, blues and on and on. They said that about Django Reinhardt, and they were right. They squealed about Monk being too wrong to be jazz, and being too jazz to be pop, but he was both, and ended up in the bop basket.
Wire do enjoy their titles. “Akin to A Bell is a Cup (Until it is Struck)”, “Silver/ Lead” hints at alchemical alteration of roles and realities. What if what we assumed was one thing, wasn’t really that at all…
Being from Melbourne, Charlie Marshall is more direct. He says exactly what he means. “Sublime” is his view of the machinery of the universe and our world - that stuff up out there, and that stuff all around us down here. What if what we assumed was one thing, wasn’t really that at all...
Both “Sublime” and “Silver/ Lead” are magical. Both reach out and touch your heartstrings, both have a confident sensuality about them. Both wield lyrics like conversation: we discuss all manner of things, how we’ve changed our world, what it is, and our place in it. All this without being either preachy or boring; falling into both “Sublime” and “Silver/ Lead” is in like one of those enlightening conversations in a pub without an argument. Although both Sare in many ways rather different, they beat as two hearts. Both belong in your collection.
The Barman didn’t want me to write this review, or submit it, or publish it. What is it about Queen, Barman?
“Over-arranged, over-played and over-compensating for the fact that, at least initially, nobody liked them.”
Well, that last is true. But I think we can all name bands that nobody liked initially who became megafauna. Anything else spring to mind?
“Sure. Overblown pompous crap.”
Question: Who is this compilation of 20 songs of Australian folk obscurities of the 1970s for? Answer: Head to your nearest record collectors fair.
These are mythical gatherings, full of badly-dressed people with body odour problems who are entirely bereft of social graces. They clamber over each other, poring through crates and boxes while entirely oblivious to the other’s existence. They wear T-shirts commemorating concerts that nobody went to or that occurred before they were born. Or so the cliche goes.
Badass Mother Fuzzers (BMF hereafter) is a trio from the French city of Toulouse, the name of which always brings to mind a famous Johnny Thunders throwaway line about being “born too loose”.
Musically, BMF is a much different kettle of fish but it’s a fair bet they’d appreciate the play on words being applied to their place-of-origin. They sound like they’ve been trying to corrupt Toulouse for years. “Heartbreaker” is more Hip Priests or Zeke than “Live At The Speakeasy”, but the intention is the same: Hit ‘em hard and hit ‘em again.