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Goat (Remaster / Reissue)

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The Jesus Lizard

 
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Goat (Remaster / Reissue)
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Avg: 4.5 (14 ratings)

The Lizard get simultaneously more intelligible and nastier on their Albini-produced second album

  • We Say...

    For their second album together, producer Steve Albini repainted Jesus Lizard as a lean, sinewy, cataclysmic hate machine — a huge step ahead of the muffled, closet-ranting blur of 1990's Head. David Yow's marble-mouthed caterwauls became perfectly intelligible fightin' words; Duane Denison's skronkabilly jazzcore fretwork moves from a chainsaw roar to intricate razor-chug; every one of drummer Mac McNeilly's snare drum smacks resonated like a door slamming on someone's fingers. Most importantly, bassist David Wm. Sims becomes the group's not-so-secret weapon, coolly leading the band with sludgy, heavily picked, stomach-churning runs on "Then Comes Dudley" and "Monkey Trick," providing the anchor-dragging foundation for Yow's manic screech 'n' gargle. And here, he's a degenerate poet, yawping out stories of depraved American underbelly with the shit-eating glee of a 15-year-old describing a John Waters film: an imperturbable killer ponders attacking a pregnant woman, a prison sex story is tainted with jealousy and razor bumps, a nurse with a sledgehammer turns a maternity ward into a slaughterhouse. On the brighter side, Goat does include their arena-ready bruiser "Seasick" and the hilarious "Mouth Breather," Yow's story about how Slint drummer Britt Walford did a particularly shitty job house-sitting for Albini.

  • They Say...

    The Jesus Lizard's second album followed in the vein of the first with little immediate variation: loud, excellently produced by Steve Albini, plenty of space in the recording to emphasize the sheer force of McNeilly's drums and Sims' bass, and more besides. The little-remarked-upon ability of the rhythm section to kick out some ass-shaking jams spikes up such great numbers as "Nub," which almost predicts Rocket From the Crypt down to the gang-shout vocals, and the slower but no-less-compelling grind of "Rodeo in Joliet" (also one of the band's most inspired titles). Denison's guitar playing seemed a touch more focused at points here, the results almost suggesting such post-punk groove monsters as Gang of Four and even the Pop Group. There's a more evident melodic lead role for his work as well, as the just plain great riff that fires up "Mouth Breather" and his near-countryish twang on "Karpis" makes perfectly clear. Yow, meanwhile, steps ever more into his own persona, his lyrics now downright comprehensible and his singing levels a touch less doom- (and bass) heavy, if no less aggrieved. The staggered vocal overdubs on "Monkey Trick" are a standout, especially when Denison suddenly serves up another one of his surprisingly sweet passages as a bed. Other treats on the album include the opening "Here Comes Dudley" -- in context one of the more non-welcoming greetings around -- and the Morricone-tinged freakout of "Lady Shoes," assuming Morricone scored movies about doctors dealing with some freaky female patients. The whole album seems like a party in hell, not to mention demonstrative proof that there's still plenty of fun to be had with a basic rock lineup; it's all in the matter of how it's handled.

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