Thanks to that pulsing, distorted, fuzzed-out song, the aural equivalent of a rusted mausoleum door opening, I have taken the road more weird and less popular, and that has made all the difference. Hearing “Human Fly” was an awakening, an unburying, a baptism in the waters of music’s continuum. And, next to her, like a warm, breathy voice growling in your ear from behind in a dark room-alluring and forbidding, one half Elvis and one half Vincent Price, one half hillbilly and one half punk, Lux Interior, the showman, shaman, and rock and roll archeologist, led me willingly straight to the underbelly. Besides, she could say more with her icy sneer and the snap of her gum she was simultaneously the coolest AND hottest woman I had ever seen on stage–before or since. The Cramps – Human Fly: Poison Ivy Rorschach’s solo is a paragon of minimalism–an anti-solo that’d make a shredder fume, so simple I could have played it-but I didn’t. Not surprisingly, the Cramps played a large role. The Chicago label celebrated its 20th anniversary last year with the release of While No One Was Looking: Toasting 20 Years of Bloodshot Records – a 38 track compilation comprised of artists paying tribute to the label’s two decade history.īelow, Miller and Warshaw run through their own history with music, and in turn cite the artists that helped form what would eventually define the label’s ongoing aesthetic – an unflinching amalgamation of country music and punk. Lux Interior died six years ago today, so it’s only fitting that the year’s first installment of Diversions finds us catching up with Bloodshot Records’ owners, Rob Miller and Nan Washaw.
Diversions, a recurring feature on Aquarium Drunkard, catches up with our favorite artists as they wax on subjects other than recording and performing.
0 kommentar(er)
