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Avengers
Died For Your Sins
(Lookout)
CONTRARY TO POPULAR belief, the greatest California punk band
to surface after the Sex Pistols disintegrated in 1978 was not
Black Flag, Circle Jerks, X or Dead Kennedys. It was the criminally
under-appreciated and far superior Avengers led by venom-tongued
screamer Penelope Houston, the roughest, toughest and most beautiful
female punk singer of all time (screw Courtney Love). The San
Francisco-based Avengers' highly combustible pre-hardcore primitivism
has finally been resurrected (their sparse recording output has
been bootlegged and unavailable for years) and documented properly
with this superb retrospective of live concert debauchery and
rare, unreleased rehearsal and studio outtakes. Houston's harsh,
indignant and always-passionate vocals are exposed in all their
volatile, emotional intensity. On the magnificent punk battle
anthems of "The American In Me," "Car Crash"
and "We Are The One," the ragged, driving instrumentation
of Greg Ingram (guitar), Danny Furious (drums) and Jimmy Wilsy
(bass) detonates with the bloody destruction of a missile attack
on Serbia. Meanwhile, Houston snarls and spits out the caustic
lyrics like the younger, tough-as-nails sister of Johnny Rotten.
Billed as the Scavengers, three newly recorded tracks by Houston
and Ingram have been added as a bonus, and these 1998 recordings
sizzle with the brute force and arresting power of the seminal
line-up 20 years before. --Ron Bally
Various Artists
Music from the Motion Picture Go
(Sony)
PHILIP STEIR'S SCRATCH-heavy remix of Steppenwolf's "Magic
Carpet Ride" makes this disc worth the purchase price...its
blend of rock and rave miraculously keeps it viable in both genres,
something I don't think has ever been done so successfully. Unfortunately,
this disc starts out with an out-of-place and annoying number
by No Doubt, but if you can get past that, it's an otherwise decent
and consistent beat recording. Like all soundtrack albums, this
one has a cut by Fatboy Slim, who, like God, is invisible but
omnipresent. Fatboy's "Gangster Tripping" is a bubbly
ska-influenced heavy-beat number, with horns and party sounds
giving a high end to its deep-bass cut and mix. One of the odder
numbers here is Jimmy Luxury and the Tommy Rome Orchestra's rap
and beat remix of Dean Martin's "Cha Cha Cha D'Amore,"
which may be the first lounge rap recording. Synergy is what makes
the entertainment industry move these days, though, and "Cha
Cha" is way better than the upcoming Shakespearean- teen-film-in-outer-space
trend. Goldo's "To All The Lovely Ladies" includes a
Peter Frampton credit, not exactly obligatory in even the smoothest
of rap songs. The chorus is played through the vocoder that Frampton
made famous in "Do You Feel Like I Do," but has a slinkier
and funkier feel (no doubt). Other highlights include a cut from
Air (credited, as they often are in America, as Air French Band)
and DJ Rap's "Good To Be Alive." The overall feel is
mellow-out rave, heavy on the mellow. None of it has Curtis Mayfield's
feel for the genre, but it mostly aims in that direction, and
only misses by a little. Perfect for taking the edge off the final
hour of a bad trip. --James DiGiovanna
Living End
Self-titled
(Reprise)
IMAGINE THE STRAY Cats fused with the Mighty Mighty Bosstones,
then decided to reproduce with Green Day while on tour in Australia.
The greasy rockabilly-meets-ska punk trio the Living End would
materialize quicker than a "Crocodile Dundee" rerun
on a cable movie channel. Mix in the heavy metal power chords
and brash, comical balderdash of the Rev. Horton Heat, add the
slick pompadour hairstyles, tattoos and obligatory stand-up bass,
and the punk-derived, beat heavy '50s-meets-'80s formula perfected
by Mr. Setzer & Co. is complete for the Living End to exploit
further. Lurking beneath this Setzer-meets-Billie Joe Armstrong
pop sensibility is the metallic UK street punk credo of the uproarious
Sham 69. Setzer's incendiary fretwork is brought to satisfactory
fruition by Melbourne-bred guitar basher Chris Cheney only during
the pseudo-classical instrumental scorcher "Closing In."
"Monday" pushes "Nimrod"-era Green Day to
the brink of cheekiness with a slinky ska groove that bounces
along cheerfully, leaving the ghost of Billie Joe in the lurch
searching for the punk rock bandwagon that's escaped him. "All
Tore Down" follows in a similar ska-inflected tone leaving
the neo-rockabilly riffs in the closet awaiting the next commercially
approved revival. "Trapped" evokes a horn-rich dance
hall skank if the Smiths were hosting the festivities: a catchy
guitar riff decimated by depressing lyrics and an overbearing
brass section. Too many loopy ska arrangements and heavy metal
histrionics, and not enough of the captivating rockabilly beat
and punk rock vigor, ruin the Living End's noble attempt at amalgamating
different rock-and-roll sub-genres. --Ron Bally
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