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Frank Black And The Catholics

by

Frank Black

 
Frank Black And The Catholics

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Avg: 4.0 (75 ratings)

A minor masterpiece from the one and future Pixie.

  • We Say...

    A few years into his semi-successful solo career, former Pixie Frank Black formed a new four-piece band and forged a new ethos: From here on in, his music would be recorded live to two-track, with no edits or overdubs. Furthermore, he would embrace forms and song structures the Pixies had done their best to explode. The results, which unsurprisingly didn't sound much like his earlier works, would have to stand or fall on their own merits. Recorded in two days in March of 1997, this first Catholics record turned out to be a minor masterpiece: A chance to see Black honoring heroes like the Who ("Suffering") Jonathan Richman ("The Man Who Was Too Loud") and maverick psychedelic-era Christian rocker Larry Norman (a blistering cover of "Six-Sixty-Six"), and discovering a sound that would carry him through five more Catholics albums. "All My Ghosts," "Steak 'n' Sabre" and "King & Queen of Siam" are especially good, and as searing, in their way, as anything the Pixies laid down on vinyl.

  • They Say...

    Never trust an artist's opinion on his own recordings. Frank Black calls Frank Black and the Catholics the "best recording [he] ever made," ignoring a decade worth of great, innovative indie rock. A better assessment may be: Frank Black and the Catholics is the most direct record he's ever made. If you just want garage punk, stripped of all the odd time signatures, subverted chord progressions, cryptic lyrics, and sonic experimentation that marked his first two albums, as well as his work with the Pixies, this album may satisfy your needs. Then again, all those "frills" were part of the reason Black was such a respected and influential artist, and without them he sounds disturbingly conventional. Fortunately, The Catholics doesn't trade in the sub-metal clichés that plagued The Cult of Ray, concentrating on straight-ahead garage punk. There are some good hooks on the songs and the performances have some real energy, but all the songs wind up blending into each other by the end of the record. On the whole, it's a step forward from The Cult of Ray, but it still feels like a retreat from his entire body of work.

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