The Dead Milkmen interview

Watching Bad Horror Movies With

The Dead Milkmen

My Interview With Rodney Anonymous

I have been a devoted fan of the The Dead Milkmen ever since I heard their first single “Bitchin’ Camaro.” I have seen the band grow from fledgling college punk band into popular legends. Practically everyone has heard of The Dead Milkmen, or at least seen the video for their smash hit “Punk Rock Girl.” I am such a fanatic of their music that I even got booted off Kean College’s radio station WKNJ for playing one of their songs. The Dean told me to stop playing their music if I wished to stay on the air and I said: “Fuck You, Dickhead!” So, I was soon out of my disc jockey job.

Now, when I saw I had the chance to talk to them in person, I grabbed it. While I wait for them to call, I’ll give you a bit of background information on the band. The Dead Milkmen are a Philadelphia based band consisting of Rodney Anonymous on lead vocals, Joe “Jack” Talcum on guitar, Dave Blood on Base, and Mallory on drums.

RING!!!!! Oh, wow! There’s the phone. I take a long swig of my Coke, swallow and run towards the phone. Rob Hauschild, manging editor, has answered it and calls out to me. “Dave! It’s that Dead Milkman guy, Rodney Anonymous!”

I get on the phone and-

David: Burp!

Rodney: (Sarcastically) Nice Belch.

David: (Laughs) I guess we’re ready. Alright, my name is David, And this is...

Rodney: This is Rodney...

David: ...From The Dead Milkmen. What’s happening, man?

Rodney: I’m sewing my coat.

David: What are you selling your coat for?

Rodney: Sewing. Because the button fell off. So, I am attempting to sew the button back on. So, as I do this interview this is a great Zen-Wha thing. I’m doing the interview and sewing my coat at the same time.

David: Cool. Alright, first I want to tell you that I’ve been a fan forever. You guys were the first punk show I went to see. I saw you guys in Philly and it was the first time I ever slam danced.

Rodney: Oh, my God!

David: I had just started college and was introduced to slam dancing when you played with Electric Love Muffin. That was a good show.

Rodney: Yeah.

David: Since then I have seen you guys four times. But, uh, I am never invited backstage or anything. It’s ok, though. I won’t take it personal.

Rodney: It’s really dull backstage. You spend all your life when you’re younger thinking: “Wow, backstage! That’s got to be really happening.” And then you get backstage and notice how dull it really is. For example, to burst your bubble about that show, after the Love Muffin show, we had a party at my house. We and the Love Muffins sat around, drank coffee and watched a 50’s horror film.

David: What horror film was it?

Rodney: Uh, uhm wait...Oh! “Horror At Party Beach!” Filmed in Stanford, Connecticut!

David: Awesome! So, the first question: How did The Dead Milkmen... How did you get together and where did you get the name from?

Rodney: Uhm, Joe. When I was in high school, Joe, our guitar player, had written a short story and in the story there was a band that had existed forever. They started in the 20’s or something, under some name. And they kept changing and mutating. And by the time they made it to the late 70’s, (which is when he wrote the story), they had been a folk band named The Milkmen. And the members kept quitting and they kept hiring new, younger members. These younger members were punks. Like, these English punks. And they changed the name to The Dead Milkmen. They had a compromise struck between the punk and folk contingents of the band. So, he had the band name and he started putting out a Dead Milkmen newsletter. He created a need for the band before he created the band. And then I joined. I was in high school and he gave me one of the tapes and a newsletter. And I said: “can I be in this band?” and he said: “Yeah.” So, it was me and him for a while, and then we found Dave Blood and Dean Clean. So, then we had four people and that’s all we needed.

David: What were your musical influences?

Rodney: I used to like Frank Zappa a lot.

David: What other influences do you have?

Rodney: Well, Joe used to like the Beatles and stuff like that, but I used to like the Stones. I basically liked anything my sister hated. She used to listen to Fleetwood Mac and that girly stiff. That’s how I discovered the Dead Boys when I was younger. I was reading Creem Magazine, Not the crap it is now, The old Creem Magazine. Anyway, there was an article on the Dead Boys. I was about 10 or 11 years old. I remember asking my older sister about the Dead Boys. And she’s like: “They’re not a good band like Fleetwood Mac!” So, of course, right then and there I knew I liked them.

David: Do you guys know you’re going to be playing at Kean?

Rodney: Where?

David: Right here at Kean College.

Rodney: Oh yeah. Yeah. I just found out about it. Yeah.

David: Are you excited about that, or what?

Rodney: (Sarcastically) I’m thrilled. Thrilled and exasperated. (laughs) I love the State of New Jersey. Am I correct? (In a overdone Jersey accent) I love the State of New Jersey. Every chance I get to vacation in Jersey, I do it. (normal accent) What part of Jersey is that in?

David: This is in Union. A couple of minutes from Newark.

Rodney: Oh, good! I can tell my friend Tina to come see me.

David: Yeah. i wanted to ask you: why do you think Philly is called the City of Brotherly Love?

Rodney: I have no idea. I’ve lived here for ten years and it escapes me everyday.

David: So what is your least favorite city you ever played in?

Rodney: There’s a city I came across once and I absolutely hated it. I can’t remember the name though. Let me see... I have a couple. Oh, wait. My least favorite city in the whole world is called Hamilton, Ontario. It’s in Canada. I got beat up. I mean, I never, ever get beat up. We had two great, big hockey-playing toothless guys jump out of a car and beat a roadie and me up. Just cause we told them their headlight was out. They thought we were fucking with them. Considering the size of the guys, we did pretty well though. That’s my least favorite city in the world.

David: Okay, another question: What happened to Dean Clean? Was he replaced by Mallory?

Rodney: He wasn’t really replaced. he just changed his name. It’s the same guy. Funny thing is, not many people knew. So there were all these arguments. People would say: “Hey, man. Mallory’s a whole lot better drummer than Dean” or “Dean was a lot better than Mallory!”

David: I thought they looked alike. That’s why...

Rodney: (Screaming) They are the same person! (Relaxing) What happened was, you see, he was the first one to start changing his name. And then the rest of us go into the changing our names thing. Now, instead of replacing band members...

David: ...You just change your name!

Rodney: You got to fill out a lot of forms, though!

David: And you’re now H.P. Hovercraft?

Rodney: H.P. Hovercraft. It is literally impossible to get fired from this band. I’m serious. I tried everything possible for the last ten years to get fired and uh...Actually we’re coming up to, I think it’s June 13th is the ten year anniversary of the band.

David: Really, wow. That’s a long time.

Rodney: Yeah, it’s a long time to hang out with the same four guys. I’m beginning to understand what the Beatles felt like. Except, at least they didn’t have to tour.

David: Are you guys working on a new album?

Rodney: In twenty minutes I am supposed to go into the studio to lay down some vocals on tape. We have about ten new songs. What we do is write about 15 songs and tape them on an 8-track and then we continue writing and experimenting until we come up with something.

David: So, when you play here, are you going to play some new songs?

Rodney: We might. I don’t know. I got to see how many songs are coming along. Not everybody knows the new songs. Their parts to them.

David: On the last album I noticed that Joe sings most of the songs. Why is that?

Rodney: Yeah, I didn’t think I was going to sing anything on this album. I was busy with the keyboards. I wound up putting a lot of keyboards. I was real busy.

David: Too busy to sing?

Rodney: Not only that, but I also thought it would be great if I just played keyboards, stopped being the singer and just became the keyboard player. I can’t think of any band that has ever done that. That’s why I changed my name. I thought: “That’ll be great! Everybody will think I got fired” and I’ll reappear as someone else.

It would be the first time in history someone has disappeared but stayed in the band. Now, I’m singing on a bunch of new stuff and I’m keeping the keyboards simple. I had a lot of fun on that last album, but now I’m sticking to the basic keyboard sounds. I don’t know. I have to see what direction this album takes us.

I was just doing xylophone for one of the new songs. It’s called “I Dream Of Jesus.” It should make it on the next album. It’s about a kid whose mother finds Jesus trapped in a bottle and puts him on top of the T.V. and the deal is that if she wants to she can let Jesus do her bidding. So that’s what the song is about. It has xylophone on it, cause we thought it has to sound completely insane.

David: Another question I’ve been asked to ask you: Are any of the characters you sing about like “Stuart” or “Punk Rock Girl” based on real people?

Rodney: Oh, sure! The actual guy Stuart...the name Stuart comes from, uh, we used to have a roadie who was with us cause he was hiding from a chemical company that wanted to kill him...

David: (Laughing incredulously)

Rodney: No, man. It’s true. He was a chemical engineer who informed, uh, he’d been a whistle blower on a chemical company. Something illegal they were doing. So, they tried to kill him. So, he came on tour with us to hide out until the heat blew off.

While we were on tour with him, he lived in a trailer park. Some guy came up to me on tour. He was this big Grizzly Adams-type and said (in a redneck accent): “I like your band cause you know what the queers are doing to the soil.” He was dead serious. (laughs) He scared the shit out of me. I didn’t know how to react, so I was like (in a proper English accent): “Why, thank you!” I was like, God get me out of here. I felt like telling him: “Hey, thanks for the song idea.” So, I worked that into a song.

David: Ever considered putting together a single collection or something?

Rodney: Ah, I thought about it. There’s talk about putting together a bunch of live stuff. But I don’t really like a lot of live stuff. I think it’s sort of detrimental. What we’re going to do is hard to tell.

Hey, I finished my coat! Time to turn on Star Trek: The Next Generation.

David: That’s alright. Do you like Star Trek: Deep Space Nine?

Rodney: Actually, I was getting cable illegally. I got an apartment and there was a cable thing, so I hooked it up and, lo and behold!, stuff came through! But I couldn’t get the channel that Star Trek was on. But the other day, the cable company came to my house and now the cable is gone. So now I have to get that channel.

Normally, I’d be watching Jane Pratt. They had King Missile on the other day. It pays to watch to watch those shows. I’ve been watching talk shows for years, waiting King Missile and finally, the other day, Jane Pratt had King Missile. Maybe, I’ll hold out and see if The Butthole Surfers ever come on.

David: Well, dude. I guess I will let you go now that your coat is done. And I’ll meet you here when you play. Maybe you’ll let me go backstage?

Rodney: I don’t know. What day is that? April 9th.

Luigi: (Voice comes out of nowhere. Apparently he’s been eavesdropping on another line.) April 20th.

Rodney: Okay, the 20th. Yeah, sure. Come on backstage. Just remind me. Scream up: “Hey, you said to come backstage!”

David: Alright, cool. Thanks, man. It was nice talking to you.

Rodney: Alright, bye!

So, there you go! I finally spoke to one of my teen idols. I am complete now! Anyway, Check out The Dead Milkmen here at Kean College on April 20th. Maybe I’ll even let you come backstage with ,e and drink coffee and watch cheesy horror flicks with The Dead Milkmen.

Excessive Force- Conquer Your World

Excessive Force- Conquer Your World

What do you get when you cross KMFDM with My Life With The Thrill Kill Kult? No, it’s not a bald German devil worshipper into disco music. It’s Excessive Force.

Excessive Force is a collaboration between KMFDM’s Sasha Konietzko and TKK’s Buzz McCoy. This duo teamed up previously when they released a double A-side single for KMFDM’s “Naive” (Remixed by Thrill Kill Kult) and TKK’s “Days of Swine & Roses” (Remixed by KMFDM). Whereas that single was heavily dance oriented, their latest collaboration, Conquer Your World, is extremely harsh. The sound they have created in this album is different than any of the material covered by either band. The sound here borders on metal with only one dance song.

That dance song is the first single “Conquer Your House.” It is a pretty good dance song but it suffers from a too-repetitive beat and unimaginative, boring lyrics. This is very strange, especially when you consider that it is the hybrid offspring of two bands known for their experimental beats and dark lyrics.

The rest of the album, thank God, is very interesting to listen to. The lyrical topics of the rest of the songs all concern war and violence with titles such as “Blow Your House Down,” “Ride The Bomb,” and “We Like War.” Another topic touched upon by the song “Worship Me” is religious violence. This song deals with those who “kill in the name of Christ.” It is a very scary song which can change your perception on religious fervor and its sometimes devastating consequences.

Helping out on this effort are a variety of guest stars. The vocals on “Worship Me” are supplied by Reverend A. Chester. Vocals on “Blow Your House Down” are by Jacky Blaque from The Bomb Gang Girlz. And “Finger On The Trigger” features guitars by Svetlana Ambrosius and drums by En Esch both from KMFDM.

Conquer Your World is a satisfying compilation of material from two of the best minds industrial music. It is not as good as the music of either band it is derived from, but with repeated listenings you will come to consider Excessive Force as a separate entity all unto itself.

Skinny Puppy- Tormentor/ Bark single

SKINNY PUPPY

“Tormentor”/ “Bark” single

Skinny Puppy is back! After the heavily Ministry-influenced album Rabies in 1989 and their supposed break-up, Skinny Puppy has finally put out a new single from their forthcoming album Too Dark Park. They are back to the distorted, sonic, pounding drumbeats and undecipherable, twisted vocals that prevailed on their 1988 album ViViSect VI.

“Tormentor” is a disturbing song with a great dance groove set in Ogre’s screeching voice. It starts out deceptively slow and builds up to a frantic, paranoid beat which is sure to ease our hunger for original, malefic dance floor fodder. The lyrics will torment your mind while moving your body to its aggressive beat,

Its B-Side, “Bark” is a non-album track which is definitely worth the entire price of the single. It is almost as good, if not better, than “Tormentor” itself. I think it is an apocalyptic ode to the grim future of our trees. But then again, with Ogre’s vocals and unique poetic style, you can never tell. The rest of the group, ceVin Key, Rudolph Gottiel and Rave all work together to compose the pounding sounds which drive this primal scream to the dark heights of the industrial dance floor.

The 12’ single is on transparent blue vinyl and the cover is a horrific yet beautiful painting of the face of the angels/demons which torment Skinny Puppy’s soul. Look out for the new Skinny Puppy album Too Dark Park at any self-respecting industrial record store on October 30th and come see the horror of Skinny Puppy live at the Ritz in NYC on November 16th.

Einsturzende Neubauten - Tabula Rasa

Einsturzende Neubauten-

Tabula Rasa

Tabula Rasa means “clean slate” and this is what Einsturzende Neubauten have achieved in this, their first new studio album since 1989’s Haus Der Luge. Tabula Rasa is Einsturzende Naubauten’s major label debut for Mute. And as the name implies, they have left their past behind and have begun again with a new sound and a new look. As you have surmised by the change to a major label, the new sound and look lack the balls and bite of their previous recordings for the offbeat Some Bizarre label. This shouldn’t shock anyone, because we all know that a transition to a major label usually means the compromise of a group’s more esoteric and unconventional facets.

Einsturzende Neubauten have long been considered one of the legendary pioneers of “industrial music.” In the past, they have created dark, atmospheric music using such unconventional instruments as power tools, shopping carts, razor blades on mirrors, and breaking glass. Their live shows have been even more extreme, getting them banned from playing in the United States for allegedly burning down stages during their performances. Einsturzende Neubauten have been a major influence on countless other industrial bands like Skinny Puppy, Ministry, and Nine Inch Nails.

The music presented to us in Tabula Rasa is much nicer and accessible that anything they have ever done before (with the possible exception of their cover of the Nancy Sinatra’s “Sand’). The musical styles touched upon court the dance floor at times, but mostly remain in the melancholy ballad realm. There is one notable exception to this which I will discuss later.

The album opens with the first single “Die Interimsliebenden.” This seven and half minute piece combines and Enigma-esque beat with sound bites reminiscent of Nine Inch Nails’ Pretty Hate Machine, in a superior dance form. This song is already receiving major play in clubs and deserves it.

That song is followed by two very beautiful ballads “Zebulon” and “Blume.” “Zebulon” reminds me somehow of a Joy Division song whose title I can’t recall. “Blume” features female vocals and is a poetic ode to flowers. Both of these songs are shocking in that they completely leave behind the usual dark, terror-filled lands where Einsturzende Neubauten usually dwell.

The remaining four songs on the album are attempts at harnessing portions of the Neubauten sound, but lack the satisfaction and inventiveness of their earlier work. The only exception to this is the closing track “Headcleaner.” This fourteen and a half minute extravaganza is Tabula Rasa’s masterpiece. Reminiscent of Einsturzende’s former classics like “Armenia” and “Bildeschreibung,” “Headcleaner” is an exhilarating homage to classical music. It is in four movements, with alternating frantic and mellow portions. It is a grand finale to a decent, albeit unexpected, album.

I know “Headcleaner” was included on this work to keep the older E.N. fans happy. But I fell for it anyway. Don’t get me wrong- I liked Tabula Rasa. It is just that the record is different form my expectations. But I guess that what good artists do. They keep you on your toes by defying your expectations. I recommend this tape to anyone, old and new fans alike.

The band itself look much older and mellower on the inside photo. I swear, they look like a cross between The Rolling Stones and the cast of 30Something. Apart from the band photo, the tape sleeve has all the lyrics in German along with their English translations. The lyrics are fun to read and highly educational. This is your chance to learn German and impress your friends. To quote Einsturzende Neubauten: “Ich stapfe durch den Drteck bedeutender Metaphern.” (English translation: “I wade through the filth of mighty metaphors.”)

Dread Zeppelin take us to Hell!

Dread Zeppelin take us to Hell!

What can be more scarier on Halloween that the thought of the 70’s disco scene making a comeback? Nothing. (Well, maybe four more years of Bush in office, but then again that will never happen,) Imagine stepping once more into the meat-market pick-up scene at your local discotheque: The flashing lights, the cheesy make-out artist with their white polyester suits and glued-on chest hair; The platform-heeled bimbos with their blue eye shadow; And all the mindless drones doing synchronized dance steps to the dreadful sound of disco. Scary, eh? Actually, I sort of like it.

Dread Zeppelin also seem to like this scene. They even go as far as pay tribute to it on their latest I.R.S. release It’s Nor Unusual. It’s Nor Unusual showcases Dread Zeppelin as they have never been seen before: As Disco Kings. Dread Zeppelin, formerly known for their notorious reggae remakes of Led Zeppelin songs, turn their attention toward the disco nightclub scene with this new disc which features remakes of 70’s classics. Among the songs they cover are The Trampps’ “Disco Inferno,” The Bee Gees’ “Night Fever,” Isaac Hayes’ “Theme from Shaft.” Tavares’ “More Than A Woman,” and a very danceable version of Led Zeppelin’s “Ramble On.” Dread Zeppelin take the original melodies, destroy them, and rebuild them in their usual Dread sound. This rebuilding includes screeching guitars, reggae beats, and offbeat samples, making each song a brand spanking new affair. The end products are original, left-of-center masterpieces.

It’s Not Unusual marks the debut of Dread Zeppelin’s outrageous new frontman Gary B.I.B,B., who took over after the departure of former lead singer and Elvis Presley impersonator Tortelvis. Gary B.I.B.B. has the perfect vocal style for the task of revamping Dread Zeppelin and taking them forward (or should I say backward) into a new age. Joined by Carl Jah, Jah Paul Jo, Rasta Li-Mon, and Spice, Gary B.I.B.B. makes Dread Zeppelin sound even better than they ever did.

Listening to the tracks on this disc, one is transported instantly to the setting of Saturday Night Fever. You can even picture John Travolta and Luigi out on the dance floor doing the Hustle and cruising for babes. You can even picture Diane Keaton and Jeff Dorsmann out looking for Mr. Goodbar. I was a child of the 70’s and had to put up with my older brothers and sisters’ “jive talkin’” and practicing the latest disco steps in my living room floor. So, this musical compilation brings back more fond memories of those old glorious days gone by- the days where even Donald Duck danced disco. The 70’s were a shallow time in our existence, but it appears to have been a damn good time. My only disappointment with this album is that Dread Zeppelin didn’t bother to remake the Donna Summer classic “ Bad Girls.” Oh, well. Maybe Marky Mark will rip it off in his next album.

Paris Is Burning - Burn, Baby, Burn!

PARIS IS BURNING- Burn, Baby, Burn!

“In a Ballroom you can be anything you want” - Dorian Corey.

This is the basic premise behind the wonderful documentary Paris Is Burning being released on video this week. Directed by Jennie Livingston, Paris Is Burning celebrates the New York City gay ballroom scene. In it, we are introduced to a lifestyle that is alien to most of us. It is a world of Vogueing, Houses, House Mothers, and Balls. This is a world which is fascinating and surreal, while at the same time expressing the concrete reality of this particular subculture.

The ballroom is the setting for these extravagant “Balls” that the film highlights. These Balls are unusual fashion shows in which members of various gangs (“Houses”) compete against each other in various events such as modeling and “Vogueing” (A series of dramatic poses set to dance music and named after the high fashion magazine Vogue). For most of the modeling competitions, the contestants (mostly gay, black males) dress up as females (mostly convincingly real) and try to out-strut each other. The modeling competitions are divided into various categories such as “Pretty Girl,” “Miss Cheesecake,” “School Boy/Girl,” “Butch Queens,” “Military Uniforms,” “High Fashion Evening Wear,” and “Bangey Boys/Girls.”

Each competing “House” is led by a “House Mother.” This “House Mother” is usually of “legendary” status and is the spiritual leader (and sometimes choreographer) of their particular “House” clan. In Paris Is Burning we meet several “House Mothers” such as Anji Xtravaganza, mother of the Xtravaganza House; Willi Ninja, mother of the Ninja House; Pepper Labeija, mother of the Labeija House; and Freddie Pendavis, mother of the Pendavis House. Prospective members of any houses usually have to prove themselves by competing in a Ball and winning a trophy before they are admitted into the “Family.”

The film is a documentary of this lifestyle and explores the philosophies behind it. As legend Dorian Corey explains in one of the most memorable sequences of the film (I shall paraphrase): “These balls allow you to live out your fantasies. You can dress up and be whoever or whatever you want to be. Most gay black males in our society don’t have much chance of advancement. They most likely will never be able to achieve the High Fashion Model status that many of them have dreamt of. But these balls give them a chance to be that model legend that they desire, at least in the eyes of our subculture. Besides, we are the only ones that matter to ourselves anyway.”

Paris Is Burning was the winner of 8 major film awards including The Sundance Festival and was on the Ten Best Films of the Year lists of many critics when it was theatrically released last year. Paris Is Burning certainly deserves all those accolades and many more.

The film is worth renting regardless of your sexual orientation. If not for anything else, the film has to be seen for its clever use of a fantastic disco soundtrack which features “Love Hangover” by Diana Ross and “To be Real” by Sheryl Lynn. Fabulous!

Carter U.S.M. / Sex In History

CARTER U.S.M. / SEX IN HISTORY

Good morning. I’m writing this from my room in my hometown of Irvington, better known for its strict, voodoo-practicing substitute teachers. A woman was arrested this week in Irvington for performing a voodoo ritual on her rowdy 7th grade students and threatening to burn their houses down. I swear I think I had her as a sub back in 8th grade. Who knows?

Anyway, I am listening to this tape I got. It’s 30 Something by Carter The Unstoppable Sex Machine. It’s great. Carter U.S.M. has a wide range of musical styles; from heavy guitar-riff trash; to techno/industrial dance; to whatever style you call what sounds like The Smiths. The music on this tape is so varied that at times it’s hard to think that it is the same band throughout; Except for the distinguishing quality of the lead singer’s slightly nasal, very East-Ender voice.

Lyrically, the tape is one of the most cynical, depressing and sarcastic efforts I’ve heard in a while. Now, I usually don’t like “CYNICISM FOR CYNICISM’S SAKE” or just to be hip (i.e. “Ooh, I hated that movie/song. Didn’t you?”) but this is focused, called-for cynicism. The songs on this tape take a hard look at our apathetic society and rub our noses in the excrement we have built up around ourselves. Some songs are about our obsession with alcohol (“Anytime, Anywhere”), our addiction to consumerism (“Shopper’s Paradise”), the decisions confronted by teens (“Billy’s Smart Circus”), and the false emotions and sentimentality of greeting cards (“Say It With Flowers”).

From listening to this tape I couldn’t picture these guys smiling at all. But who cares about smiling when you can make songs as brilliant at these. Now, I want to get their first tape 101 DAMNATIONS to see if they were as happy then as they are now.

On a completely unrelated note, the other day my friend Ron Thompson gave me a “get well” gift that he thought I would find amusing. And boy did I! It is a book by Reay Tannahill titled Sex In History. It was originally published in 1980, but this is the revised and updated 1992 version. This book is fascinating! It discusses our world’s changing views on sexuality and sexual practices from the swinging prehistoric times, right through to our AIDS infested present. It is amazing to read about different countries’ attitudes towards sex, especially sexual deviations. Best of all, it is ILLUSTRATED!

Among some of the things I learned from it were: The word lesbian comes from the Greek Island of Lesbos where “even the most respectable women became infatuated with girls”; The Islamic belief that the Lord punished women with 18 things (because of the Eve vs. Apple debacle) two of which were Menstruation and Childbirth; A peek at the Kamasutra from India; The fact that the Egyptians invented contraception by using a vaginal sponge; The French Marquis de Sade popularized the notion of Sadism & Masochism (S&M) -but I already knew that; And that the only two societies to ever approve of sand encourage male homosexuality were the Greeks and the Mayans. Interesting stuff, eh? Thanks, Ron.

In movie news, I’m looking forward to two Columbia Pictures productions to be released in 1992. One being Stephen King’s Sleepwalkers staring Madchen Amick (Twin Peaks) and based on Stephen King’s first original screenplay. Now no one can say the book was better! The other is Bram Stroker’s Dracula starring Gary Oldman, Winona Ryder, Anthony Hopkins, keanu Reeves, Cary Elwes and Tom Waites, six of my favorite actors. It’s directed by Francis Ford Coppola and it’s due in the summer.

On a final note, I’d like to say a prayer for the Haitian refugees that our government sent back to Haiti to get persecuted and murdered. It’t too bad we didn’t allow them the same freedom that our ancestors came here to find. We came here to escape persecution, but now we stop other people who seek to escape the same. Go and try to figure out the fascists.

Well, didn’t my column read like Liz Smith? She’s mah hero!

The Return Of ABBA

The Return Of ABBA

Ok, so I know that when most people hear the name ABBA, they think of 70’s disco cheese songs so catchy that they hurt your teeth. Most people I know flinch at the mention of the group and their voices raise five octaves as they screech: “ABBA?!?!” But whether you like them or not, ABBA were once on top of the music world with over 20 bona fide hits and were a major influence to many pop and techno groups.

Many groups have remade ABBA songs. Leather Nun remade “Gimme Gimme Gimme (A Man After Midnight)” on their Force of Habit album; Information Society did a great cover of “Lay All Your Love On Me” for their self-titled debut album; U2 has been performing “Dancing Queen” during their ZOO-TV tour; Menudo had a hit with a Spanish version of “Chiquitita” on one of their horrible albums; Erasure has released and entire EP of ABBA covers called Abba-esque (along with an accompanying VHS with videos of all the songs, the best of which is the hysterically campy “Take a Chance on Me” which features the band in drag as the Frida & Agnetha). There are even many techno remixes of ABBA songs making the club circuit these days, my favorite being a magnificent remix of the heartbreaking “The Winner Takes It All.”

Pickwick Music Co, is riding the new wave of renewed interest in ABBA’s music by releasing a box set compilation of ABBA hits titled ABBA; The Hits Box. It features reissues of ABBA’s three Greatest Hits’s Albums Volumes 1, 2, and 3. It contains 40 of ABBA’s greatest songs. It is available on Cassette and CD for $14.95 and $22.95 respectively.

The box contains all of the Swedish supergroup’s American hits as well as their European singles. The songs have been digitally remastered, so they sound even better than the first time around. Classic songs like “Fernando” and “S.O.S.” are given new life by the excellent production, while the songs I wasn’t familiar with like “The Visitors” and “The King Has Lost His Crown” are made magnificent to listen to for the first time around. To quote a man I respect very much: “ABBA is ear candy!”

So, if you remember and like ABBA, or if you’ve never heard them before, you should “take a chance on” them. You will definitely “thank them for their music.”

Pigface- Fook

PIGFACE –FOOK

So, I am sitting in this little diner in Maplewood eating a grilled cheese sandwich with bacon and tomato, and wondering what I am going to write about this week. This sandwich isn’t so bad. The bread is white, the cheese is yellow, the tomato is pink, and the bacon is blood red. To think, last year I was a vegetarian and now I am about to eat this pork byproduct. The lust for meat is so attractive, I feel guilty as I tear into it. I shamefully bite into the sandwich again, incorporating the animal’s essence into my own.

Memories flood my mind of my youth in Puerto Rico. It is our custom during the Christmas season to slay a pig, drain its blood, and roast it on a spit over an open fire. I found the whole ritual to be a bit barbaric, so I usually shied away from my family during the celebration. The first few years, they didn’t seem to notice. But as time wore on, I knew that it was inevitable that I would be asked to participate.

One Christmas, my father approached me while I was in the backyard catching lagartijas. Lagartijas are little green lizards that are common to the island. They are fast little devils and therefore a challenge to catch. Once I catch them, I release them unharmed. To kill one, it is said, would bring fourteen years of bad luck, and perhaps even one’s own death.

My father informed me that my family had decided that it was time I joined the festivities. I was to slay the pig this year, as some sort of rite of passage. Why was I required to kill a pig to be a man? There was no arguing, though. It was settled and my fate, along with the pigs’, was sealed. When my father walked away, I no longer had an urge to catch any lagartijas.

Christmas came too soon and my family gathered around as I stood before the beast. My brothers and cousins held the animal down as a large knife was placed into my trembling hands. The pig was thrashing about, trying to change its inescapable fate. My father pointed out the porker’s jugular vein and instructed me to thrust the blade into it. Both the pig’s eyes and mine were wide with terror as I plunged the knife deep into the soft flesh of its neck. The pig began to scream a high-pitched squeal as its blood sprayed all over my young hands.

I backed away as the women rushed in to collect the hot blood in a large bowl. This blood would later be combined with rice and shoved into the beast’s intestines to make sausages. The pig trashed and squealed for an eternity as everyone cheered me and patted my back. “You are a man now, David,” they chanted. But I was no more a man than that lifeless animal was.

I am thrust back into reality by the arrival of some school kids on their lunch break. I watch as they roughhouse and carry on, basking in the carefree nature of their youth. They order their meaty lunches and I wonder if any one of them knows the bloody sacrifices that it takes to satisfy their hunger. A particularly rotund boy emits a loud squeal of delight and I immediately get an idea for this week’s review: Pigface.

Pigface is an industrial super group made up of members from other well-known bands. It’s sort of like Ringo Starr’s All-Star Band, but with talent. The members of Pigface include Ogre (Skinny Puppy), En Esch (KMFDM), Martin Atkins (Killing Joke), William Tucker (My Life With The Thrill Kill Kult), Chris Connelly (Ministry), Mary Biker (Gaye Bikers on Acid), Hope Nichols (Fetchin’ Bones), Matt Schultz (Lab Report) and Flour (Rifle Sport). It is virtually a who’s who of aggressive music.

Fook is Pigface’s third album (the previous two being Gub and Welcome to Mexico…Asshole) and their best so far. It is an amazing aural collage of individual musical styles from the collective talents of each of its members. It is because of this that the disc doesn’t have an overall sound or theme; instead each song has its own individual flavor that makes it stand apart from the rest. This album has been described as a “singles” record, sort of like an eccentric version of side one of Abbey Road (Oh, No! Two Ringo Starr references!). It is an odd, and at times inaccessible recording, but very fulfilling and satisfying. Sort of like eating frog legs for the first time: They look nasty, but taste good!

Fook has two standout tracks. By standout I mean songs that rise above anything else you have ever heard. These are songs that reach out and grab you by the boo-boo and don’t let go. Songs that get imprinted on your psyche and you hum for the rest of the day.

The first one is “Insemination” which has lead vocals by my favorite guy, Ogre. It has an infectious groove and is darkly danceable. This percussion heavy song makes you dance, while its twisted vocals scare the pants off of you. This song sounds like it could have been done by Ogre’s own band Skinny Puppy. But Martin Atkins’ deft drumming adds the proper amount of accessibility to fling this song unto the dance floor. It is brilliant!

The masterpiece of the album, however, is “Ten Ground And Down.” This song is a duet between Chris Connelly and Mary Byker, and can only be described as a gothic love ballad with a twist. The song is a meditation on the obsessive side of human consciousness. It is a beautiful song about ugly people with ugly feelings.

Its horrendous cover illustrates the ugliness of the song and the album itself. The cover features artwork by Fred Blue. It depicts a cross between a deformed child and a pork sausage. It is nasty, but as beautiful as the music contained therein.

Well, my grilled cheese is gone, and so is my time. I get up, leave a hefty tip and pass the growing number of school kids. As I walk past one kid in particular, I hear him place his order at the front counter: “Yeah, let me get a grilled cheese with lots of bacon.”

Holy Smoke- Peter Murphy

Holy Smoke

Peter Murphy

The thin pixie, slim and forlorn, the count, pale and drawn is returned unto us. The loveably pretentious Peter Murphy is back with his new release Holy Smoke. Following the phenomenal success of his last effort Deep, which spawned the hit single “Cuts You Up,” Peter Murphy took a hiatus of almost two years to write and record this, his most introspective album to date.

In Holy Smoke we encounter a mellower, more philosophical Murphy. Unlike the dark and twisted persona he cultivated in his former group Bauhaus, Murphy comes across as a deeply emotional and rather conventional singer on this album. Lyrically, Holy Smoke is very personal, even confessional. Whereas Bauhaus’ music was theatrical and detached, Holy Smoke takes us inside Peter Murphy’s heart and soul, showing us the extent of the singer’s emotions. In his past three solo albums (Should The World Fail To Fall Apart, Love Hysteria and Deep) Murphy has avoided disclosing too much of himself in his songs, but for this album he puts his guard down and lets us get to know him in a way that personal friends get to know each other.

Musically, this recording is not as diverse as any of his past three recordings. In other words, if each of these songs were heard independently you would be able to tell they belong on the same album. This is a musical direction he first explored in Deep, but even that had a couple of surprises to break up the sound of the album. Don’t get me wrong; this is by no means a boring recording. The songs are diverse enough to make them interesting, but alike enough to keep a feeling of consistency throughout the album.

Most of the songs on the disc are rather good, with only one or two mediocre tracks. Among the best tracks are: “Kill The Hate,” which has a great bass line and a good organ solo; “You’re So Close” with its catchy chorus; and the hopefully named “Hit Song.” Among the mediocre ones are “Low Room” and “Let Me Love You.” These boring songs don’t cover any new ground, nor are they interesting enough to play more than once; Although, I do have a feeling that “Low Room” may find some degree of popularity among the Goths. But these songs by no means compromise the quality of the disc.

The cover art of this release shows Peter Murphy in all of his scruffy beauty, with one eye closed and looking like he woke up on the wrong side of a hangover. It takes a lot of guts for someone so image conscious to allow him to be shown in such an unflattering light. But the cover reflects the “warts and all” emotional openness of the music within. Besides, Mr. Murphy is arrogant enough to pull it off. I love it!

Over the years, Peter Murphy has achieved such a huge, devoted following that will guarantee him success in any undertaking. To many people, Peter Murphy is more than just a singer. To many of us, he embodies and attitude- and ideal. To others, he is an over the top poseur. He’s is one of those artists that you either love or hate. If, like me, you love Mr. Murphy, then this album is essential. But, if you are not really into him, this album will do nothing to change your mind. Although, I bet you may admit begrudgingly that “Hit Song” does sound kind of sweet.

Anyway, I would like to say congratulations to all the graduates that are getting out of here in May. I was supposed to be one of you; instead I am stuck here for one more year. Congrats in particular to Joe Kern and Illyana (whose last name I can’t recall) on graduating. Good luck in the fantasy world of earning a living.

Oh, yeah! A couple of albums to check out this summer:

Ministry – Ministry (Due out in June)

The Young Gods – TV Sky (Out now)

The Jesus & Mary Chain – Honey’s Dead (Out now)

Morrissey - The Man Who Bored The World (Due out soon)

Dead Milkmen – Soul Rotation (Out now)

I’ll be around over the summer, so I may review some of these. Stay tuned to FACTORY.

Morrissey- Your Arsenal

Morrissey- Your Arsenal

It’s a good album. That’s about it. Or, should I elaborate? OK. If I must…

First off, I must say that I love the album cover. It is the most sexual cover in Morrissey’s career. He looks immaculate, and yes, hot as hell! I’ve always theorized that there are two Morrisseys. One who is very photogenic and sexy, and one whose worst enemy is the camera and who constantly looks dorky. Some record covers show him as gorgeous while others show him as extremely homely. I’m glad to report that the cover of his latest release, Your Arsenal, showcases the former. The apparent sexual overtone of the photo is so overt, that I cannot imagine it being accidental. The position of that huge microphone is definitely not a coincidence.

Next, let’s discuss the song titles. As usual, the titles of his songs are highly unusual. This is a signature move that dates back to his days as front man for The Smiths. The titles of his songs have a way of being humorously moronic and pretentiously charming. Past titles like “King Leer,” “November Spawned A Monster,” and “Hairdresser On Fire” are equaled on this effort with titles like “You’re The One For Me Fatty,” “Glamorous Glue,” and “We Hate It When Our Friends Become Successful.” As you can tell, the usual marathon length of the titles has not changed either.

What has changed is the man himself. Morrissey has finally realized what I knew all along: he is much better in a group setting. In a group, like when he was with The Smiths, Morrissey’s depressing and pretentious lyrical themes were perfectly complemented by Johnny Marr’s cheerful rock n roll music. When Morrissey is left on his own for too long, we get stuff like the near-horrible Kill Uncle. I thought Kill Uncle was boring and filled with dirge-like songs, heavy on synthesizers and drum machines, that did nothing to balance out his melodramatic conceits.

Now, using the perfect band he used on the Kill Uncle tour, Morrissey once again sounds refreshing and spontaneous. The upbeat, guitar oriented music on Your Arsenal serves as a perfect juxtaposition to his tragic persona. This blend of happiness and sadness, with a dash of irreverence, is the formula that wove the magic of The Smiths’ success.

Your Arsenal is a chock full of entertaining and accessible, yet by no means ordinary, pop songs. The musical styles range from the hard guitar driven “You’re Going To Need Someone On Your Side” to the catchy hook of “National Front Disco” to the slow drone of “Seasick, Yet Still Docked.” The music on the album is exciting and at times even sounds like it has the influences of Garage or Rockabilly music. I believe this is because there is less studio production involved and more “jamming” between the fine musicians he has under his employ.

Morrissey’s voice even sounds stronger and more confident than in his previous outings. His whine has receded a bit from the highly annoying to the mildly tragic. This makes the lyrics on Your Arsenal poignant enough without sounding trite. And trust me, with song titles like these it is hard for the lyrics not to sound silly. But Morrissey deftly pulls it off.

Overall, it is a really good compilation of new Morrissey material. I guess it is named Your Arsenal because Morrissey expected it to be used as cannon fodder against him by his critics. I don’t know what anyone else is planning to throw at him, but as for this critic, Your Arsenal stands as one of Morrissey’s best efforts and is music of the purest kind. Go Moz!