John 'Gaoler' Sterry. Rick de Pizzol photo.
Gang of Four
God God Dammit Dammit
Lion Arts Centre, Adelaide
November 5, 2019
Gang of Four are touring Australia and New Zealand and played Adelaide earlier this week. They were fucking brilliant. Exciting. Brutal. Gigantic. Fun, too. But ... pointed and magnificent.
It's a no-brainer. Go see them while you can.
Right, well. A little context. When I was asking a few friends if they were going, one said, 'they sound like every other band' ... well, no they don't. See, the thing is, over the last 40 years a lot of other
bands have picked up on their style, which is now familiar.
Taste for Evil – The Cuthroat Brothers (Hound Gawd)
You’re over all those punk-blues duos? You prefer your blues un-bent, right? And you never want to see red and white stripes again? Think again.
The Cuthroat Brothers are real-life barbers from the US Pacific Northwest city of Tacoma, an area that also spawned The Sonics. One of them (Donny Paycheck) drummed for Zeke. Studio wiz Jack Endino (Mudhoney, Nirvana, Soundgarden) produced this, their second album.
They sing songs about “blood, death, drugs, sex, black magic (and) bad relationships” and their music is raucous, rough-edged and rambunctious. What’s not to like?
Have A Bleedin Guess. The Story of Hex Enduction Hour
by Paul Hanley (Route Publishing)
Straight outta ... Pontefract ... comes Route's latest (rather brilliant) publication. For what I suspect is a small publisher, Route (est. 2000) punch above their weight. This is their 10th music book - the third to deal mostly with The Fall and - gulp - the second by a Fall drummer.
You can snaffle Simon Wollstencroft's “You Can Drum But You Can't Hide” and Steve Hanley's tour de force “The Big Midweek. Life Inside The Fall” at Route's website, and Paul Hanley's “Leave The Capital” (a history of Manchester music and liberation) as well.
My copy's pink with black writing, and signed. Though I'd like to think you'd see this one in Dymock's or JBHiFi, don't hold your breath. I ordered mine, yes from overseas, and it arrived in a timely fashion, and much better wrapped than most books you order from overseas.
Which is excellent; particularly since it anticipates Cherry Red's upcoming '"1982" Fall box, the latter of which I expect I'll get to in due course.
Now, unlike his brother Steve, Paul Hanley approaches “Hex Enduction Hour” in two minds. The bulk of the text follows the obvious pattern: what came before the album, how the songs were put together, the context of the band in their time and so on. He approaches the album as a music historian, but is also able to correct wrongly-held beliefs (such as the likely identity of King Shag Corpse) with restrained glee, while inserting footnotes which reveal the bloke you want to meet at the pub. Rather puts me in mind of Terry Edwards' book on Madness' first LP, written for the 33 1/3 series.
Speaking of which, in the foreword, Stewart Lee (no, no idea) tells his sad story of wanting to write a book on “Hex” for 33 1/3, only to be rebuffed with the old “ain't commercial enough”, a sad and common refrain to many an enthusiastic writer (if not fan).