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jonnywex1975

jonnywex1975

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Locatie: Verenigde StatenLid sinds: 31 jan 2004

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Recensies (2)
Mrs. Anderson's Baking Multi-Purpose Chrome Wire Cooling Rack, 9 ¼ -Inch
21 mei 2019
It holds food up above the pan
It holds food
13 okt 2006
Singles and Sh*t from '96 to '00... - Lance On His Own
This 2001 release from the San Francisco-cum-Austin band is its final output of the era, a catch-all for the songs of the period (about '96-'00) never appearing on a regular release. The record reflects the times for the band, with at least 2 bassists, 4 drummers, 4 guest vocalists (no regular member other than vocalist/guitarist/writer Lance Hahn is credited in the notes), and little consistent direction, even for a singles collection. The lone example of continuity is the first five track-run, a bevy of impassioned, and at times dark, ELO covers. They come fast and heavy, with '60s surf-era harmony. The guitar and bass at times sound like they are about to ignite from speed and friction, but the backup vocals from Harriet Scott give the bounces of the rhythm enough height, and the fall enough cushion, to prevent it all from combusting. It's a brilliant treatment of the tunes and could stand alone as a mini-EP; “Turn To Stone” is spellbinding. There are 4 other covers on this CD including “You're The One That I Want” (yes, the duet from Grease, done in 2:10) and a Hawaiian version of Neil Young's “Harvest” with very faint lead vocals and what sounds like a respirator keeping time. (FYI, frontman Hahn is from the 50th state.) The originals are typical J Church fare—although 'typical' with these guys means variety, not repetition. “Closing Time In An Early Town” has one of the catchiest three-chord hooks they have ever produced. Like other songs from early in the band's history, it's the tragic story of a woman in a world gone mad. And although there's a ton of simple love-gone-wrong songs in the J Church catalog, they're never redundant (see: “Palm Tree”, Lemon Zinger”, “Indignation”.) Lance has a way of breaking down an emotional barrier most of us can't usually get around. It's the storytelling ability that keeps us coming back for more. The band has always had a political ax to grind. “Socialist Newspaper” is a scathing attack on college radicals: “Yeah, yeah, yeah you're a bore. Selling papers by the corner store. I don't wanna know what you have to say. I've heard it a million times anyway... Class war is what you're talking about as long as they don't hurt your parents' house.” Ouch. Some departures include a Beatles-esque/disco take on “Disappear”, originally on Quetzalcoatl; another Polynesian-infused tune (“Earthquake Song”), and a couple more acoustic songs. And the punk-f'n-rock too: “Crazy Lady on Market Street” is a roller coaster ride of a song mimicking the kamikaze life of a heroin-addicted hooker. The solo shows off not only Hahn's blazing guitar proficiency but his knack for matching the music with the emotions of the narrative. For years, J Church was Lance and anyone else he could find to rehearse and record his songs. After this release, it found itself on solid footing with a steady lineup and a clear direction. The classic J Church style—get in, make your point, drive it home with guitars, get out—would be stretched and at times fully abandoned. The band explored longer formats, including a 20-minute song, spacier jams, ethereal melodies, samples, even tracks without vocals. This all adds to the feeling that as this album was compiled, J Church was conscious of its maturation and wanted to give one more consideration to its past before moving on. Running through 20 songs in just over 50 minutes, the chaos is evident in the band's life, but it's still one hell of a rockin' good time.
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