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WEIRD LOVEMAKERS
Flu Shot
eMpTy
WHEN SPERM FROM members of Devo and the Dickies met with DNA from
Wendy O. Williams and then gestated in the Arizona desert for
a few years, The Weird Lovemakers were born. These plasmatic Tucson
sea monkeys are clearly inspired by junk-pop culture, cartoons,
caffeine, Charles Willeford and loads of circa-1977 punk 45s.
Flu Shot is an hilarious three-chord romp across the Lovemakers
wild and wacky musical panorama, stoked by a 10-ton rhythm guitar
bombast from Jason Willis; Gerard Schumacher's snappy, controlled
drumming; and Hector Jaime's rock-solid, propulsive bass streaks.
The Lovemakers wholly unique, vulgar sound is cemented by singer-guitarist
Greg Petix and his constipated Leonard Graves Phillips-on-helium
vocal histrionics. The 22 blasts of aural TNT on the Lovemakers'
second album of garage-hatched punk rock rage are fueled by the
unmistakable Devo-influenced "Trailer Anne," the absolute
instrumental bizarreness of "Turbo Rat," and the highly
improbable Rezillos-meet-Mr. Spock "Letter To Starlog."
These goofballs even blaze a trail across a mosh pit during the
relentless hardcore fury of "O.C.P." To enjoy every
ounce of the Lovemakers embraceable weirdness, check out the totally
indecipherable "Retard Sandwich," with its creepy Moog-equipped
sci-fi shenanigans. The Lovemakers are all about having a good
time and poking fun at themselves and life's minor absurdities.
Thankfully, unlike some of today's mightier-than-thou punk groups,
they left their political agenda in the dumpster. With any luck,
the Lovemakers will persevere and avoid being obscure entries
on the next Killed By Death compilation, and a microscopic
footnote in punk trivial pursuit.
--Ron Bally
JUNEAU
Juneau
Ba Da Bing!
INSTRUMENTALS sometimes allow bands to play with words--you know?
Still, with Boston area trio Juneau, impressionism rules. Its
second album--recorded live in the studio with a few overdubs
added later--suggests a tight psych jam-band finally confident
enough to stow away their hacky sacs and venture into the realm
of pure improv. The spontaneous feel is manifest--no rote 12-bar/144-bar
blues progressions for Juneau. Prolonged overtures that sustain
tension to exhausting degrees as the two guitarists clang and
chime like dueling minimalists, relying on the drummer's instincts
to offer the necessary rhythmic release. The music is not so much
abstract as it is translucent, edging towards opaqueness; while
the obvious reference points (Branca, Sonic Youth, '60s spacerock)
are discernible, one has to peer intently to discern form. But
there are moments of delicate beauty resting alongside violent
upheavals. Best of all, Juneau remembers the one thing that bands
of grosser temperament invariably forget: It's all about the melody,
stupid.
--Fred Mills
JOHN HIATT
The Best of John Hiatt
Capitol
JOHN HIATT IS the heartland's answer to Elvis Costello: his songs
are literate, pained, and highly ironic, delivered with a blend
of Nashville twang and L.A. radio-friendly smoothness. As it happens,
Hiatt's tunes make it to the airwaves in other people's mouths--Roseanne
Cash, for instance, who had a hit with "The Way We Make a
Broken Heart," and Suzy Bogguss, who briefly rode the country
charts with "Drive South." This greatest-hits package
is heavy on often-covered cuts from middle-period albums like
Bring the Family and Stolen Moments, some of them
revamped for no compelling reason. Hiatt's backing ensemble includes
Ry Cooder, David Lindley, Krist Novoselic, Nick Lowe, and Paul
Carrack, all of whom turn in fine performances.
--Gregory McNamee
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