The Gories
Outta Here

THE REVIEW

Detroit's history is intimately tied to the automotive industry, the crown jewel of the new deal economy (from the post-war era until the early '70s), but also a glaring example of the fragility of the capitalist economic system (from the 1973 oil crisis onwards, the city became synonymous with unemployment and drug addiction). A city that has long been populated by a diverse urban proletariat, an ethnic melting pot where Mexicans, Italians, Jews, as well as WASP and Southern Blacks, were forced to coexist. This meeting/clash of cultures has fostered the emergence of diverse musical realities over the years. Indeed, if we think about the city's musical icons, one may indiscriminately recall Motown, the late '60s garage rock scene (Stooges and MC5), the techno of the '80s up to Eminem. And of course, today's White Stripes, Von Bondies, and Detroit Cobras, all striving to revive the splendor of the '60s.

The ideal link between the fathers (Stooges & Co) and the children (the aforementioned), is certainly The Gories, a band that lasted for six years (from '86 to '92), dedicated to a garage rock that defining as "dirty" or "Low-Fi" would be quite the understatement. The record in question, the last of their brief career and released by Crypt Records (always devoted to resurrecting '60s sounds), has a fundamental quality, namely a primitive musical urgency, focused almost exclusively on what is defined as "groove". Completely uninterested in the sonic rendering of their compositions, The Gories sought to "bring it all back home," meaning to reconnect with the black roots of music; this choice was not only commercially unwise but also counter to the musical scene of the time.

If you are musicians, stay away from this CD, as you might feel an uncontrollable urge to smash your stereo or go to Detroit to beat the band members to a pulp. Just for example, Maureen Tucker of the Velvet seems like the drummer of Dream Theater compared to Pat of The Gories, and the guitar could easily be mistaken for the hum of your grandmother's hearing aid. Nonetheless, I feel I can recommend this record because it is objectively full of (old) but still good ideas, and because after a few listens, you'll find yourself humming its quirky and rough melodies. Biographical note: after the band's breakup, singer Mick Collins would form the Dirtbombs (highly recommended), and second guitarist Dan Kroha would form the Demolition Doll Rods (who toured Italy with Jon Spencer in '97).