In The Red   Page 8

Hairy Pratt Band

Rock With Roll

In The Red

***Ultra-primitive, hyper-crude scuz-blues from yet another wonderful Columbus, Ohio two-man team. Raw and crazy.

Johnny Hash

Summer Of Cum

In The Red

Necessary Evils

Buzzsaw Pt. 1

In The Red

***Steve (the Beguiled) Pallow and James (Fireworks) Arthur cough up pyschodriven, fuzzed out, screaming splatter-rock.

Necessary Evils

Stay Away From Me

In The Red

The goddamn of goddamns returns with a fierce and free-fucked, two track EP of savage garage fury. An over-amplified, and gale-force fuzzed bit o' psycho-punk stomping, just made even more so with the addition of a bass player. One sick new original, and a twisted-and-wrung cover of Ike Turner's "You've Got to Lose". Baby's on fire.

Sawdust Caesars

Fuck You

In The Red

Cheater Slicks

Don't Like You

In The Red

Bassholes

When My Blue Moon Turns Red

In The Red

***Since 1992, the Bassholes have churned out some of the grittiest, weirdest, most punkified blues scuzz ever committed to wax. Led by Don Howland (Gibson Bros.), this two-man band has consistently surpassed industry standards, prefering instead to achieve new lows in the world of lo-fi recording and new highs in soul-stirring rock’n’roll music. On this, their fifth album, they have broken out resounding and roaring with the most loud, rocking and intense album of their career. A 21-song masterpiece. The jams have most assuredly been kicked out.

Cheater Slicks

Forgive Thee

In The Red

Psych/noise/garage/punk/pop/roots from this Boston, now Columbus trio. 95-minutes strong.

Dirtbombs

Horndog Fest

In The Red

***Mick (Gories) Collins sticks two drummers and two bassists into a dark, moist room, flasks some hybrid punk/noise/blues and incubates behind the bar fridge. Timeless, yet so very much of the moment.   

Necessary Evils

Spider Fingers

In The Red

***A greased, skinned and dripping carcass of scorched and flaming psycho-sonic trash rock nasty from James Arthur of the Fireworks and Steve Pallow of the Beguiled. Twelve tracks of raw and violent scuzz-punk to tear your flesh with. Their first full length after smash hit singles on Crypt and In The Red. Buy, die and fry. 

Pussy Galore

Live: In The Red

In The Red

Jon Spencer, Neil Haggerty, Bob Bert and Kurt Wolf kick out the jams and testify at their last ever concert recorded live! An incredible document of one of the most sonically savage and over-the-top rock'n'roll groups ever. Recorded on 16 tracks at NY's CBGB's, but heretofore remained unmixed and unreleased. Fuck the abstract production techniques of their studio work, this here is the real deal - powerful, noise charged and stompingly decadent. Check out where the Blues Explosion, Chrome Cranks and Royal Trux got their ideas, let alone their fucking passion. An absolute must.

Williams, Andre

Silky

In The Red

The man who pulls the "L" out of Silk, and puts his dick in the milk, Andre Williams returns with a new full-length of wild'n'wooly, raw-stroked, rock-bombing r&b hoot. Like Jesus Christ before him, this ain't no "comeback" trip, the man has always been there, and always delivered the goods.Joined by fellow Detroit badasses Mick Collins (Gories, Blacktop) and Dan Kroha (Gories, Demo Doll Rods), to prove the power and prowess of not only his unquenchable sixty-years-plus sex drive, but of his songwriting and vocal abilities too. 

Demolition Doll Rods

Tasty

In The Red

Bikini'd Garage Rock as only Detroit could manage. Ex-Gories and ex-strippers. Damn fine.

King Sound Quartet

Getdown Imperative

In The Red

***Loud and lewd rocking and rolling soul/punk/jazz jamathon from MICK COLLINS (DIRTBOMBS, GORIES, BLACKTOP, etc.), TIM KERR (JACKO’FIRE, etc.), ALEX CUERVO (BLACKTOP), and STEPHANIE FRIEDMAN (LORD HIGH FIXERS, etc.). Includes the b-side version of Sun Ra’s "Space is the Place."

Tav Falco & The Unapproachable Panther Burns

Panther Phobia

In The Red

***The latest from Memphis' long, long-running garage legends—twenty-one years and counting, and the missing link between the unbridled howl of early swamp blues and the psychological onslaught of the new millennium. "Recorded and mixed in Memphis by Mssrs. JEFFREY EVANS and DOUG EASLEY, Panther Phobia heralds a return to the tumultuous and exuberant tones and groans of the band's landmark first LP Behind The Magnolia Curtain. The music is organic, like a landlord's eviction squad. Drums pound like irate neighbors at the door. Slow songs snake like a chick passing out on 'ludes. You will lock your doors when you hear this record, you will bar your windows , blood will flow from your nose, your lungs will itch. You will get a divorce, a speeding ticket, eleven twenty nine in the workhouse." —Robert Gordon

Speedball Baby

Mekong Sue

In The Red

***Three songs-- title track from their fab smash Uptight LP/CD, plus two non-LP tracks, "The Diddler" and "Cognac Blues." Full color sleeve. Mick Collins guests. 

Speedball Baby

Uptight

In The Red

*** New York's Speedball Baby combine the twang of rockabilly and the shout of gospel with a healthy injection of Lower East Side no wave dissonance. Talk about a touch o' class! There's more hysterical, horn-driven mayhem and psycho stream-of-consciousness on Uptight than a Las Vegas wedding reception. The only thing missing is an erotic ice sculpture. It wouldn't be an In The Red record without a guest appearance from either Mick Collins or the Blues Explosion's Judah Bauer; this one has both! What's more, the best-album-yet by Speedball Baby - bearers of a torch fondled and molested by The Cramps, Pere Ubu and Tom Waits and numerous other upscale raunchophiles - is a joyous celebration of dark, sleazy, disjointed rock'n'roll.

Monkeywrench

That Trip You're On

In The Red

***Another explosive foray into the dirty world of jam from blues shakers MARK ARM, STEVE TURNER, MARTIN BLAND, TIM KERR and TOM PRICE. Two ass-shaking nasties—the title track, a solid, laid-back churner, and a B-side cover of the VIC MAILLE-penned "6:10 Phoenix" (to hear it is to know it). Beautiful full-color glossy sleeve.

Horrors

S/t

In The Red

*** Ever wonder how they do rock'n'roll in Cedar Rapids, Iowa? Puh, like we gotta ask! The first record from the Horrors is the real article from middle America. They're young (average age: 21); they're abrasive (extremely); they're angry (in a cow-tipping, trenchcoat mafia kinda way); they're nasty, raw and hate-driven as it gets (every coupla months at In The Red); they approximate Pussy Galore, Empress Carolyn's favorite band of all-time the Oblivians, and Doo Rag (having a battle royale inside a cement mixer—one of them big ones, you know the kind that take up the whole damn street?).

Williams, Andre

Black Godfather

In The Red

*** The legendary lord of lascivious lyrics, the baron of badass R'n'B, the duke of dirty-ass rock'n'roll is finally back with a new one. And check out the disciples of sleazy soul & primitive raunch he's got with him: The Jon Spencer Blues Explosion, The Countdowns, The Compulsive Gamblers, Cheater Slicks, The Dirtbombs and Stooges' Funhouse saxophonist Steve Mackay all contribute to The Black Godfather. 1999's Silky introduced a new generation to the Andre Williams experience, and recent converts appear to harbor an appropriately insatiable appetite for all things Andre. "Lap Dance," his recent 12-inch backed by the Jon Spencer Blues Explosion, has even shown up as incidental music on HBO's highly rated and critically acclaimed The Sopranos. Williams' live shows in the USA and Europe have turned into full-on rhythm'n'blues and rock'n'roll rave-up tesimonials. Fans emerge sweaty, dazed and, somehow, cleansed by The Man's lewd, loud and licentious litany of life with the ladies. Fans, reviewers and fellow musicians all agree that Andre Williams's take on moderation is that it should be taken in moderation.

Knoxville Girls

In The Woodshed

In The Red

***The self-titled debut by Knoxville Girls (Jerry Teel, Kid Congo Powers, Bob Bert, Jack Martin and Barry London) was a soul-stirrer. It was countrified. It was a rock'n'roll testimonial. It has continued to sell since its release last September. It was described as Charlie Feathers backed by the Velvet Underground. To say that In the Woodshed, a live document, leans toward the latter would be a gross understatement. Recorded this past year at Maxwell's, this ultra-crude live album captures all the atonal noise and sonic drone of their live shows. Several songs not featured on their In The Red debut appear here, including a rendition of the Shangri-La's "Sophisticated Boom Boom" sung by Kid Congo that'll drop your ass out of a cropduster bi-plane onto a hay bale. Packaged to look like an old Stones or Dylan bootleg - to match the sound quality - In the Woodshed comes in a white, hand-stamped jacket with a paper insert. Ah, the good ol' days… One time, very limited pressing..

Necessary Evils

Sicko Inside Me

In The Red

***What part of getting your ass kicked don’t you understand? The sophomore album from these chromosome-damaging, all-out psychedelic-noise rock assaulters arrives just in time to give you full comprehension. Thirteen songs of space-travel, brains, murder and mind-warping fire-rock brutality delivered with the delicate touch of a Sherman tank. On tour with Bantam Rooster throughout March and April.   

Williams, Andre

Lap Dance Remixes

In The Red

***The legendary lord of lascivious lyrics, the baron of badass R'n'B, the duke of dirty-ass rock'n'roll, returns with backing contributions from his disciples of sleazy soul and primitive raunch, The Jon Spencer Blues Explosion. This time the NY hipster remix kings team up with the godfather of pornographic R&B sleaze in a tribute to their favorite pasttime. Contains one remix by Jim Waters (producer of Blues Explosion and Doo Rag) and one by Jim Thirlwell (of Foetus fame). Both are lengthy and, of course, potent.

Boss Hog

Whiteout

In The Red

***Album number five finds Cristina Martinez (NYC fashmag masthead resident and one-time member of Pussy Galore) and Co. in full, full force. Ten songs, every single second of every single one total rock'n'roll. 2000 doesn't officially begin until you've sung along with Cristina as she lilts "whoa-oh-ah-oohhhh" on "Chocolate"! Yup, "Whiteout" is two tons of emotion, dark around the edges, and conducive to butt-shaking, provided with help from the Blues Explosion's Jon Spencer (guitar, vocals), keyboardist MARK BOYCE, and one of the sauciest rhythm sections ever, Jens Jergensen and Hollis Queens. Also present in the studios, limos, and dressing rooms were producers Tore Johannson and Andy Gill, mixers Jim Sclavunos and Jim Thirlwell, and engineer Bill Emmons.

Bassholes

Haunted Hill

In The Red

Cheater Slicks

Refried Dreams

In The Red

***Having scratched out their brand of fire-breathing rock'n'roll for more than ten years, the CHEATER SLICKS return with another explosive album. Considered too noisy and abstract for garage rock purists, too loud and too rock'n'roll for the indie rock crowd, and just too damn good to not be taken daily (preferably with a whiskey back). Now relocated from Boston to Columbus, Ohio, the band shatters the barriers of psycho-psychedelia, and amphetamine-assault with eleven wailing blasts of misfit melancholia, anarchic amplification, and free-range low-end rumble. We're talking about a full style trashing here, trashed and then redefined in the true spirit of primal rock music.

Knoxville Girls

S/t

In The Red

*** Beyond the great pedigrees and disparate influences of drummer Bob Bert (Sonic Youth, Pussy Galore, Bewitched), singer/guitarist Jerry Teel (Honeymoon Killers, Chrome Cranks, Boss Hog, Little Porkchop), guitarist Kid Congo Powers (The Gun Club, The Cramps, Nick Cave and the Bad Seeds, Congo Norvell), guitarist Jack Martin (Little Porkchop, Estranged Blackstrap Molasses Family, Congo Norvell) and organist Barry London's (Stab City, emo scene veteran) , The Knoxville Girls is an entity far outweighing the sum of its parts. Yet another spontaneous re-creation of rock'n'roll written and recorded with a no-frills, workmanlike approach at New York City's famed Funhouse Studio, the album is an intuitively immediate debut release. Having been compared to "Charlie Feathers as backed by the Velvet Underground," Knoxville Girls also bring to mind the thin, wild mercury sound of Newport-era Dylan or music that could be described as "country no wave." Knoxville Girls is a travelogue of American musical styles, a gap-toothed jukebox floating in the grimy Hudson River, spilling into the muddy Mississippi and out into the Gulf of Mexico. A timely and yet timeless collection of songs. With the interplay of three guitars careening into each other like subway trains derailed, a truncheon-like backbeat and a layer of Farfisa, harmonica and sax flying around like New York trash and autumn leaves, The Knoxville Girls is an album anyone would hope to have wash up on his or her shore.

Screws

Hate-filled Classics

In The Red

***This debut album is the latest in a long, highly enjoyable series of fucked up punk rock action from the kitty-tweaked brain of MICK COLLINS (Gories, Blacktop, Dirtbombs, etc.). Riding shotgun on Collins' newest rampage through the halls of sobriety and good manners are fellow window-smashing goons: TERRI WAHL of the RED AUNTS; DAN BROWN of ROYAL TRUX, '68 COMEBACK and JOHNNY HASH; and MARTY MOORE also of '68 Comeback and Johnny Hash. Do people ransack everything in sight just because? People do. Twelve hate-filled classics all louder, more bombastic and meaner than even Mick's usual but not ordinary lo-fi garage wail. Warped blues, wacked jungle rhythms and enough distorted guitar to pierce the brain of any listener caught without a helmet. Includes covers of tracks by Redd Kross, The Mad, and Francis Xavier Zappa.