Pure (Remaster / Reissue)

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ALBUM INFORMATION

Total Tracks: 6   Total Length: 16:39

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Joe Gross

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Joe Gross hails from Falls Church, VA, one of the Chocolate City's most vanilla suburbs. He has written for Spin, Rolling Stone, the Village Voice, the Washingt...more »

10.05.09
The Lizard emerges from the underground with leering menace already in place
Label: Touch And Go

Pure, the five-song debut from the Jesus Lizard, is a relative oddity in the band's catalogue. On the one hand, the band's aesthetic is definitely there, albeit in somewhat fetal form. On live staples such as the excellent "Blockbuster" (complete with screamed vocal harmonies) and the heavy-breathing "Bloody Mary," Yow's vocals exude a menace that comes off as slightly gothier than what he would later evolve into. (Nick Cave was, is and would remain Yow's primary vocal influence, even after the Lizard had established themselves.) Duane Denison's guitar riffs owe more to traditional noise rock than subsequent records, but the primeval squall is there. David Wm. Sims' mid-rage bass sound and swinging vibe is pretty much perfect.

The weak link is the drum machine. While it gives the songs a somewhat low-rent vibe, which is rarely a bad thing when dealing with the Lizard, it sometimes makes the songs feel like unusually well-considered, well-record demos. The game-changingly brilliant drummer Mac McNeilly had yet to join the fold, which his really when the Lizard evolved into the depraved force of nature we know and love. His appearance on the live version of "Bloody Mary" that appears here as an extra track confirms… read more »

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They Say All Media Guide

The Jesus Lizard’s first formal release, this five-song EP shows that the engagingly evil minds behind Scratch Acid songs like “Mary Had a Little Drug Problem” were hardly about to change their ways, certainly not by coming up with a murky, echoed beat-fest called “Happy Bunny Goes Fluff-Fluff Along.” The use of a drum machine on this initial release doesn’t actually hurt the incipient group too much; if anything, it intensifies the brute punch of the music. Denison’s freaked-out sheet-metal-abuse approach to guitar playing gets plenty of moments to rip forth; the teeth-grinding squeals of songs like “Blockbuster” and “Rabid Pigs” are hardly easy listening. Yow oddly sounds a bit distanced and mysterious at many points, almost conversational, but more than once he unleashes his ghost-of-Nick Cave breathless howl. Certainly the chorus on “Bloody Mary” will have most checking for bodies or monsters under the bed. – Ned Raggett

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