Rhythm & Views 


Res-Erected (ROIR)

THE MOST VILE and depraved personality in the lurid history of rock 'n' roll isn't Iggy, Alice or Marilyn. They're fresh-scrubbed choirboys compared to convicted psycho G.G. Allin, the shit-slinging mad monk of punk rock.

Dead of a drug overdose in 1993, Allin's larger-than-life shock-rock mystique has been perpetuated mostly from the massive audio and video archives of his brother, Merle, who recorded and filmed nearly every Allin performance. The bulk of these crude recordings were exhumed from the 1987 soundtrack to one of Merle's videotaped concert bloodbaths where Allin prowls the stage like a starving hyena searching for his next sacrificial victim. Despite the bootleg-like sound quality, Res-Erected (recorded primarily at the defunct Lower East Side scum punk dungeon Lismar Lounge), the maniacal Allin never sounded more menacing and loathsome. This is one of his more cohesive live exploits -- where he actually sings songs and the makeshift backing band of assorted scumbags cuts loose for a near-marathon 20-minute set. (Most shows lasted less than 10 minutes before the cops arrived or the club owner pulled the plug.)

Many of Allin's extremely detestable though super-catchy diatribes are here: "Swank Fuckin'," "Drink, Fight and Fuck," "I Wanna Rape You," "Teenage Twats" and a totally trashed cover of Charles Manson's schizoid folk-rock ditty "Garbage Dump." As a bonus attraction, four unreleased recordings from a rare 1991 studio session with Dee Dee Ramone are a real offensive pleasure. Allin sounds like he's gargling with a nasty cocktail of Drano and razor blades as Dee Dee's slash-and-burn rhythm-guitar desecration blazes a needle track of junk-fueled barbarity. "Bite It You Scum," "Gypsy Motherfucker" and "Expose Yourselves To Kids" all devastate with cretin-hoppin' punk rock electricity unparalleled since Dee Dee and the three other glue-sniffin' malcontents from Queens strapped on their guitars for the first time in 1974. -- Ron Bally


Tenor Tantrums (New World Records)

DRUMMER GEORGE Schuller has made the definitive tenor saxophone CD of the last decade. Schuller's compositions create an effective balance between form and freedom; his melodic sense is firmly rooted in the post-Ornette vocabulary, and his rhythmic conception is finely connected to the time/space continuum. As a drummer, Schuller propels, swings hard and has the rare ability to conjure form out of seeming chaos. Bassist and brother Ed Schuller has been a key figure on the improvised music scene for many years, known as a player that can groove, bow and solo with inventiveness. Trumpeter Dave Ballou appears on two tracks, filling out the ensemble with enormous tone and a sense of drama -- his solos explore the gap between Freddie Hubbard and Don Cherry. In George Garzone and Tucson native Tony Malaby, Schuller has two of the most talented and uncompromising reedman around. Garzone has influenced multitudes of sax players over the last 25 years (including Malaby), and has finally emerged to his rightful place as a leading voice among jazz tenors. -- Ed Friedland


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