Jesus Lizard
Blue
»
Jesus Lizard
Blue
Capitol, 1998
RiYL: Scratch Acid, Rapeman, Butthole Surfers, Helmet |
While the Lizard was among the highest-energy live acts one could ever hope to see, even lead singer David Yow has admitted publicly that the last couple of pre-Blue Jesus Lizard albums were an exercise in redundancy. So when the group got together to record Blue -- with Jason Kimball replacing departed Mac McNeilly on drums -- they were up to the challenge of expanding their sound, which had traditionally been an aggressive blend of bass-propelled barroom rock punctuated by Yow's grunts and stream-of-consciousness vocals.
With the help of producer Andy Gill (Gang Of Four), the unit here successfully introduces an array of samples and loops into the mix, while retaining many of the traditional Lizard elements. The resulting change in sound will definitely turn some heads, although there's no mistaking it for anything but the Jesus Lizard.
The opening track "I Can Learn," for instance, contains all of the classic Lizard ingredients. A heavy-hitting rhythm section plows along as Yow grunts his way into a hole, only to dig himself out with a boisterous chorus a la "Puss" from 1992's Liar. The only difference is some uncharacteristic squeaky guitar sounds and fuzzy loops in the background during the bridges.
While "Horse Doctor Man" and "Cold Water" also tread previous ground -- though quite effectively -- it's tracks such as the atmospheric "Eucalyptus," replete with major doses of keyboards and even marimba, as well as the almost bluesy "Needles For Teeth" and "Until it Stopped To Die" that will get some quizzical looks. Listen for a while and you can even hear some Marvin Gaye in these last two.
But the real changes on Blue are brought about by Yow, who runs amok vocally, challenging himself and his audience at every twist and turn. Yow's vocals stand out front throughout the record, though the accompaniment doesn't seem to suffer, as it did on 1996's Shot. "Happy Snakes" features a more melodic Yow, though he carries his characteristic bark and drawl throughout. The tune results in an inescapable jig which was something to behold live -- especially when the Keith Emerson-sounding synths briefly chime in mid-song.
"A Tale Of Two Women" stands as perhaps the album's finest moment. An up-tempo drumbeat melds into a vocal barrage from Yow perhaps unparalleled in his distiguished career. The occasional echo, courtesy of Gill, does nothing but buoy the track.
Yow's newfound melodic touch is also evident on tracks such as "And Then The Rain" and "Postcoital Glow," a song with a risque title in the tradition of "Tight 'n' Shiny" from the Lizard's debut album Head.
Blue is a rare album that marks a shift in musical direction pleasing not only to the band but also (at least on paper) the record company and fans as well. Sadly, the Lizard shed its skin for the final time here, announcing its breakup afterward and leaving one wondering what the next step might have been after this Blue whale of an album.
MICHAEL CHAMY |