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Television
The Blow-Up
(ROIR)
ORIGINALLY RELEASED IN 1982 as a cassette-only live album, The
Blow-Up is a bootleg quality, punk-spawning new wave masterpiece
of loud, chiming guitars, noirish lyrics and long, psychedelic-inspired
jams. Fronted by the twin guitar subterfuge of main songwriter
Tom Verlaine and reckless showman Richard Lloyd, Television ruled
over post-hippie CBGB's scene, as documented here by incendiary
live sets recorded at various v group imploded). Obvious affections
that helped shape the Television experience are presented in vivid
audio Technicolor, including the Stones ("Satisfaction"),
Coltrane, Dylan ("Knockin' On Heaven's Door"), 13th
Floor Elevators ("Rollercoaster") and Velvet Underground.
This newly edited, digitally remastered (though a prevalent tape
hiss remains throughout) double-disc set glorifies 85 minutes
of the group's intricate riff swapping and improvisational jamming
with an angular fortitude Garcia and Weir would've killed for
at the height of their collaborative efforts. The 15-minute guitar
opus "Little Johnny Jewel" echoes Coltrane's use of
repetition and punctuation as Verlaine plucks a simple, incessant
three-chord rhythm that clashes against the strangled notes from
Lloyd's battered Stratocaster.
It's an experiment matched only by the frenetic, noisy intensity
of the Velvets' dual guitar/viola battles. Verlaine's harsh, adenoidal
articulation and the palpable tension between guitars set Television
apart from the rest of the then-evolving art-punk/new wave scene.
"Marquee Moon" is a magnificent shelling of howitzer
guitars, with the granite-solid rhythm of bassist Fred Smith and
drummer Billy Ficca harnessing the raw, garage beat to perfection.
"Satisfaction" is a perfunctory showstopper, as Verlaine's
patented, staccato howl erupts and the band adopts a loose party
vibe, clearly abandoning their uptight, poetic personas. Listen
up, guitar lovers.
--Ron Bally
GINGER BAKER & THE DJQ20
Coward Of The County
(Atlantic)
THE BAND'S ABBREVIATED title means Denver Jazz Quintet To Octet,
referring to a Colorado-based jazz ensemble featuring trumpeter
Ron Miles and bassist Artie Moore, heard by drummer Baker in 1995.
Anyone expecting music leaning toward Baker's work with Cream
will definitely be disappointed, and even those who fondly recall
previous jazz albums with players like Bill Frisell, Sonny Sharrock
and Bill Laswell should take heed: Baker seems to grow more conservative
with each new release. Coward is damn near Republican jazz,
compared to 1987's No Material album--but the changes have
tempered the heavy-handed playing that tarnished 1996's Falling
Off The Roof. Six of the eight tunes were written by Ron Miles,
making the outing almost more his album than Baker's. This is
certainly not Baker's best effort.
--Dave McElfresh
VARIOUS ARTISTS
Delphonic Sounds Today!
(Del-Fi)
FORTY YEARS AGO, Del-Fi label founder/weirdo Bob Keane recorded
pretty much any twisted three-chord rocker and doofus songwriter
who managed to stumble into his studio. The reactivated label
here releases a self-tribute album featuring contemporary misfits
(The Negro Problem, Los Straitjackets, The Brian Jonestown Massacre),
who pay homage to their Del-Fi mentors. Remakes of Del-Fi goofiness
like Yo Yo Hashi's "Yo Yo's Pad" (covered here by Man
Or Astroman?) and The Romancers' adolescent-simple "The Slauson's
Shuffle" (covered by The Tiki Tones) turn out to be as off-kilter
and garage-primitive as the original versions. These Del-Fi disciples
keep rock as vulgar and rough as it was meant to be. In fact,
an alternative title to this disc could have been The Unsightly
Underbelly Of Pop: Del-Fi, 1958-1968, Revisited. (It's worth
the bucks just to hear the honkin' remake of Frank Zappa's pre-Mothers,
early '60s movie theme, "The World's Greatest Sinner.")
If these tribute recordings are weird-sounding now, imagine how
they must have come across 30 years ago.
--Dave McElfresh
GOV'T MULE
Live...With A Little Help From Our Friends
(Capricorn)
HOLY SHIT! THIS one's for all us unreconstructed early '70s rockers.
The fact that the record's format--a double live album--also once
went the way of the dinosaurs just makes it sweeter; the rumors
of our demise are greatly exaggerated...but I digress. When virtuoso
guitarist Warren Haynes was unceremoniously shown the door by
the Allman Brothers, despite his having a major hand in their
'90s resurrection and ostensibly because of the egregious sin
of signing his side project Gov't Mule to Capricorn (run by Allmans'
arch nemesis Phil Walden), he didn't have to look back.
The Mule quickly established itself as one of the premiere U.S.
jam bands, no small feat for a power trio. Convening last New
Year's Eve in Hot'lanta with a stellar crew of guests including
Chuck Leavell, Bernie Worrell and Derek Trucks, Haynes & Co.
spent over four marathon hours torching the Roxy Theatre.
The Mule originals are spectacular in their own right, each clocking
in between nine and 18 minutes and displaying a sense of musical
exploration that owes as much to the free jazz of Albert Ayler
and Ornette Coleman as it does to vintage rock ensembles like
Cream and Mountain. (The Leavell and Worrell keyboards really
help flesh out the arrangements.)
But it's the selection of covers that pushes the set over the
top. Black Sabbath's "War Pigs," Humble Pie's "30
Days In The Hole" and Free's "Mr. Big" are power
blooze at their down 'n' dirtiest (ex-Black Crowes Marc Ford pitches
in on second guitar for the latter two), while Elmore James' "Look
On Yonder Wall" snatches a bit of the Allmans' old "Statesboro
Blues" magic. Dave Mason's (by way of Traffic) "Sad
And Deep As You" is a spooky, smoldering ballad that fits
nicely alongside Neil Young's elegantly mournful "Cortez
The Killer"--both are given over to extended, 14-minute readings.
And with a half-hour to explore, dissect and reassemble Mongo
Santamaria's eternal jazz standard "Afro Blue," Gov't
Mule (joined by keys, percussion, two extra guitars and a sax) pushes
all reasonable rock 'n' roll envelopes to create a thrilling,
neck-hairs-on-end leap into uncharted dimensions.
--Fred Mills
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