#darkpearls
The Zulus - the Zulus
#forgetdadandthemen
The Zulus: "Kings in the Queen City" (1985)
'Bosstown Sound' strikes again?
Well, if we’re here, I’d say no, but you probably sensed that already. The Human Sexual Response band, featuring guitarist Rich Gilbert and vocalist Larry Bangor (a voice akin to Robert Plant), was doing post-punk, and don’t ask me how good they were because a) I’ve never heard them b) I’m not Scaruffi - thankfully. But beneath the dense and dark smoke screen, you could sense there was something more. When Malcom Travis joined them on drums, they became the Zulus and for about three years they were one of the many 'next big things' in that aristocratic locale.
After a warming e.p., in 1988 Slash wanted to go big, even calling in a temporarily unemployed (or let’s say 'less' employed...) Bob Mould.
Result? An album overflowing with energy from the first to the last groove, punk that astonishingly becomes a blues suspension (oh, and there’s harmonica too... as if John Mayall was born thirty years later), melody trapped in hammering rhythms and melodic riffs spawned from the indie-rock climate.
As if your power-trios or your favorite hard-rock heroes had put on a '70s crest.
Result? Close to zero, so much so that the lines will dissolve shortly after (and Bob will pull Travis along when he needs to give life to the power-pop punk of his Sugar).
But I still can’t explain it...
Thanx Imasoulman!
The Zulus - the Zulus
#forgetdadandthemen
The Zulus: "Kings in the Queen City" (1985)
'Bosstown Sound' strikes again?
Well, if we’re here, I’d say no, but you probably sensed that already. The Human Sexual Response band, featuring guitarist Rich Gilbert and vocalist Larry Bangor (a voice akin to Robert Plant), was doing post-punk, and don’t ask me how good they were because a) I’ve never heard them b) I’m not Scaruffi - thankfully. But beneath the dense and dark smoke screen, you could sense there was something more. When Malcom Travis joined them on drums, they became the Zulus and for about three years they were one of the many 'next big things' in that aristocratic locale.
After a warming e.p., in 1988 Slash wanted to go big, even calling in a temporarily unemployed (or let’s say 'less' employed...) Bob Mould.
Result? An album overflowing with energy from the first to the last groove, punk that astonishingly becomes a blues suspension (oh, and there’s harmonica too... as if John Mayall was born thirty years later), melody trapped in hammering rhythms and melodic riffs spawned from the indie-rock climate.
As if your power-trios or your favorite hard-rock heroes had put on a '70s crest.
Result? Close to zero, so much so that the lines will dissolve shortly after (and Bob will pull Travis along when he needs to give life to the power-pop punk of his Sugar).
But I still can’t explain it...
Thanx Imasoulman!
DeRank ™: 18,00 Capish
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