High Bias aural fixations
June 16, 2002

ALABAMA THUNDERPUSSY
Staring At the Divine
(Relapse)
Richmond, Virginia quintet Alabama Thunderpussy doesn't do anything particularly different with its self-described "moonshine metal" on its fourth album Staring At the Divine. But it does refine its hard rockin' approach, honing its Sabbath/Skynyrd/Slayer attack to a sharper point that will easily puncture through your average battleship hull. Guitarists Erik Larson and Ryan Lake scrape the mold off various Iommi and Southern rock licks with enthusiasm but little reverence, while drummer Bryan Cox and bassist John Peters nail the rhythms to the floor with punk energy and metal weight. The band has improved its collective songwriting chops greatly since its last album Constellation, forming nearly classic-sounding hooks out of parts cannibalized from various strains of thrash, punk, NWOBHM and arena rock. Tunes like "Motor-Ready," "Whore Adore" and "Ol' Unfaithful" are probably the group's best tunes yet. As with every ATP release, the main attraction is frontman Johnny Throckmorton. His ballsy rasp works just as easily for the hardcore shouting of "Shapeshifter" and tuneful bellowing of "Esteem Fiend" as it does for the soulful intensity of the ballad "Twilight Arrival" and the good ol' boy croon of the mostly acoustic "Amounts That Count." Throckmorton's personal charisma and absolute conviction carry those songs whose melodies get lost in the noise. With Staring At the Divine, Alabama Thunderpussy takes the next step in its forward evolution. Michael Toland [buy it]

For fans of: Down, Corrosion of Conformity, Halfway to Gone

CITIZEN BIRD
Citizen Bird
(Stinky)
Like their countrymen in The Soundtrack of Our Lives, the five musicians who make up Citizen Bird (known as Silverbullit in Europe) use late 60s psychedelia as the jumping-off point for their own brand of contemporary psych/pop. Citizen Bird has more or less the same batch of influences—the Rolling Stones, Spirit, Love—but also leans considerably more toward the dark, Doors/Velvet Underground side of the coin. That's not to say that catchy melodies aren't present, just that they're buried under spacey feedback and propulsive repetition. Whether it's the organ hook of "Magnetic City," the distorted bottom line of "I Love You" or the insistent vocal refrain "It's just a simple thing that you call joy" in "Joy," bandleader Simon Ohlsson and crew find the virtues inherent in the rock mantra, creating a memorable riff or chorus and bearing down hard. The band also knows the value of subtlety, as displayed in the folky balladry of "Axe Man" and atmospheric space pop of "People Get Real." Surprisingly, the band also indulges in a spot of soaring U2esque rock, via the anthem "Star." The quintet easily masters any stylistic diversion it entertains, and the tracks grow more impressive with each listen. Citizen Bird hasn't quite hit genius level yet, but with this terrific foundation upon which to build, it won't be long. Michael Toland [buy it]

For fans of: the Warlocks, Plasticland, Spacemen 3

FLOGGING MOLLY
Drunken Lullabies
(Side One Dummy)
Flogging Molly is back with its second studio album Drunken Lullabies, and the multitudes hoist a pint in gratitude. The L.A. septet, led by singer/songwriter Dave King, still wears its influences on its collective sleeve: the Pogues, the Pogues and, for that matter, the Pogues. There hasn't been an iota of development since the band's last record Swagger, but in this case it can be forgiven. There aren't nearly enough artists combining punk rock with Celtic folk, especially with this much panache (hell, even Shane MacGowan has trouble these days). One could even argue that Molly is picking up where the Pogues left off. Besides, King writes such excellent tunes in the style that being derivative is a minor point. (And how many Black Sabbath clones get high praise these days?) "The Kilburn High Road," "Death Valley Queen" and the title track are nigh irresistible, while "If I Ever Leave This World Alive," which paraphrases Hank Williams and quotes "Ring of Fire" in the bridge, is King's best song so far. "Another Bag of Bricks" pays (hopefully intentional) homage to the Pogues' "Turkish Song of the Damned," and a very Poguesish cover of "The Rare Ould Times" fits right in. But hell, the Pogues aren't around to do this anymore, and MacGowan seems more intent on living his legend than adding to it, so cheers to Flogging Molly for doing the slamjig stomp and doing it so well. Michael Toland [buy it]

For fans of: Shane MacGowan and the Popes, Filthy Thievin' Bastards, Oysterband

THE HANGMEN
We've Got Blood on the Toes of Our Boots
(Acetate)
L.A.'s balls-to-the-wall Hangmen have been around the block a few times. After years of hot club dates and acclaim the quartet signed to Capitol and released a self-titled album in 1989. But the LP was given a major-label gloss as the suits tried to bring the Hangmen more in line with the hairmetal ruling the clubs and charts at the time. Disheartened, the band fell into a decade of inertia and drug addiction. Leader Bryan Small and his cohorts came roaring back in 2000, however, older, wiser and in possession of a new album, Metallic I.O.U., more in line with the raw, roots-informed hard rock that was Small's original intention. We've Got Blood on the Toes of Our Boots is a live document from a late August 2001 show that contains tracks from I.O.U. but mainly concentrates on putting the grit back into the tunes from the Capitol years. Tight, dirty rock tunes like "My Way," "Coal Mine" (featuring guest vocals from the Supersuckers' Eddie Spaghetti) and "Desperation Town" are definitely worth saving, and C&W-flavored ballads like "Bent" and "I Luv U" don't diminish the outlaw atmosphere a bit. Small's ragged sneer and lead guitarist Jimmy James' gravel-soaked leads shoot down any trace of sentimentality in evidence, making one wonder how the hell major-label execs thought they could sell the Hangmen to the same kids who bought all those Poison records. We've Got Blood on the Toes of Our Boots is a good introduction to an unfairly-overlooked band. Michael Toland

For fans of: Social Distortion, the Dragons, Buick MacKane

THE DAVID KLEIN QUINTET
My Marilyn
(Enja)
Saxophonist David Klein teams up with his mother Miriam for a romantic, sensual set of jazz ballads in tribute to 20th-century icon/hardcore jazz fan Marilyn Monroe. Using her film soundtracks as the source for songs, the Kleins perform straightforward, traditional versions of such hits as "Diamonds Are a Girl's Best Friend," "Some Like It Hot," "Let's Make Love" and "I'm Through With Love." Miriam's sweet phrasing is offset by the slightest bit of grit in her vocals, giving her readings a sly, sexy spin. David's thick-toned tenor plays off his mom's singing perfectly, complimenting a turn of phrase here, engaging in call and response there, always staying well within the bounds of the song's melody. The rest of the band provides understated support, especially pianist Mulgrew Miller, whose comping provides the beauteous foundation on which the record is built. Though intended as a tip of the hat to one of jazz's most unheralded supporters, the soft production and emphasis on love songs make My Marilyn perfect for a romantic evening at home with that special someone. Ms. Monroe would be pleased. Michael Toland [buy it]

For fans of: Ella Fitzgerald, Carmen McRae, Billie Holiday

BOB MOULD BAND
LiveDog98
(Granary)
Recorded during Bob Mould's 1998 tour for The Last Dog and Pony Show, LiveDog98 captures Mould and his cohorts (including future Hedwig Michael Cerveris) on a really good night, tearing up the stage at the Forum in London. This is the tour Mould announced would be his last in an electric band context, so you'd think this record would serve as a retrospective of Mould's 90s work with Sugar and his infrequent solo records You might expect the show to be full of "hits" like "Wishing Well," "Helpless," "Your Favorite Thing," "See a Little Light," and the occasional Hüsker Dü chestnut. That would be a bit too predictable. Instead, Mould does something more daring: he writes a set list that draws mostly from Bob Mould and Show, his then-latest two, often overlooked albums, plus a healthy chunk of the unjustly maligned powerhouse Black Sheets of Rain. Using his trademark combo of distortion, feedback, angst and pop hooks, Mould and the band breathe new life into obscure album cuts like "Stand Guard," "Taking Everything" and "Art Crisis," and make high art drama out of cult faves like "Hanging Tree," "Lonely Afternoon" and "Anymore Time Between." Also included are a couple of ringers in the "hits" "Egooveride" and, of course, "Man On the Moon," which has become Mould's perennial set-closer. With clear sound, an interesting set list, a strong performance and 18 (!) songs, LiveDog98 is the kind of live album you wish more artists made. Michael Toland

For fans of: Wannabes, China Drum, the Replacements

STANLEY SMITH
In the Land of Dreams
(Spanks-a-lot)
Stanley Smith is best known to international audiences as the clarinetist for Austin's Asylum Street Spankers; locals also know him from his leadership of the Jazz Pharaohs. Unbeknownst to us all, however, Smith is also a singer/songwriter. His debut album In the Land of Dreams displays a laid-back, bluesy style that sounds like an old jazz hipster reflecting on a life well lived. "Took Hold of a Gypsy," "Up from the Bottom" and "Riverboat Dreams" (from whence comes the album title) float serenely in calm waters, as Smith's jazzy guitar picking and molasses-thick clarinet idly trail fingers on the surface. His raspy croon won't win any "Best Male Vocalist" awards, but it has a friendly intimacy that a more schooled singer would be hard-pressed to duplicate. Strains of the Crescent City make themselves known here and there, both musically and lyrically; the whole record sounds as if it were recorded on a houseboat out on the bayou. There's a thread of sweet self-satisfaction throughout In the Land of Dreams; it's the sound of a man with no regrets at all. Michael Toland [buy it]

For fans of: J.J. Cale, Leon Redbone, Mark Knopfler

Copyright © 2002 High Bias