And just a final thing. It was just something that came naturally to me. The highest point is Cris D. Desjardins is a film scholar whose song titles and lyrics are rife with references to the grittiest of exploitation cinema and film noir. Check here to get the Album of the Day delivered to your inbox Check here to get the latest news, releases and events from Rhino By submitting my information, I agree to receive personalized updates and marketing messages about Rhino based on my information, interests, activities, website visits and device data and in accordance with the.
The potion bottles on the cover were the closest I got to any of that stuff. Did you do any graphic stuff for Slash magazine, when you wrote for them? I understand that I can opt-out at any time by emailing. Just bear in mind that, good as this album is, they only got better. On , featured two members of on bass and on percussion and three members of on guitar, on drums, and on sax, the latter of whom would later join , and if their musical workouts on this album are often minimal in structure, they're executed with a strength and ferocity that make them stand tall like a gunfighter ready to take on the posse gathering down the street. The cover design is fantastic. So as devoted as you are to movies, you seem very willing to take this image here, this image there and completely transform it in the service of your own poetry.
Let me ask about the voodoo thing. Every record is shipped in original factory-applied shrink wrap and has never been touched by human hands. This is Byron Coley's favorite album of all time. Released in 1981, it is perhaps their most acclaimed work. In terms of the Flesh Eaters, do you have a particular favourite period or album? This is what's left of their older material - the 1982 release that was their most commercially successful, if not the best loved by serious fans. Just as Doc Chad behaved like a perfectly normal man-with-guitars-at-an-airport, Desjardins did not howl, snarl, growl, or roar once during our phone conversation though he did chuckle at me once.
Blues Punk with poetic lyrics and a bit of an experimental yet captivating sound. It was just strictly transposing what was happening. To me that was kind of a futile gesture that could only result in grief. I had some art training or something when I was a kid but not anything that would remotely lead to the kind of collage stuff that I would do later, with flyers and album covers. Marimba, sax, epic tales of death, unrequited love, and self-mutilation. That was strictly imagery from hardboiled crime fiction and film noir movies like They Live By Night and Gun Crazy, transposed to more of an updated milieu. In 1980, my friend Byron Coley, who I met around that time, turned me on to a lot of people like Jim Thompson and David Goodis, Dan J.
The raw beat-influenced visions of ' lyrics were strong enough that they often overwhelmed the music on ' earliest recordings, but for the group's second full-length album, 1981's , he assembled a band that was tough enough to stand up to anything could conjure. . Judith, of course, drew her own interpretations of the Gun Club songs for the labels. Like, you could go in and get little bottles of charm potions. Did anyone ever raise a fuss over that song? Well, I really like A Minute to Pray a lot, I like the one that came after it, Forever Came Today, a lot. I was thinking more in hardboiled crime fiction terms and using that more as a metaphor than as a literal thing. I do like the movie, but I actually used that title before I ever saw the movie.
Bonebrake from X, Dave Alvin and Bill Bateman from the Blasters, and Steve Berlin, soon to join Los Lobos. No, the only graphic stuff that ever appeared by me in the magazine was when I was doing ads for my albums, like the Tooth and Nail album, I did some artwork, did some of the ads that were in there when No Questions Asked came out. This relative quietness, of course, only makes him that much more fascinating. Digitally remastered edition of this 1981 Post-Punk classic. The following is a teaser for the full interview, which will appear, if the heavens align themselves correctly, in the spring issue of Big Takeover magazine. Released 1981 Studio Rhapsody Studios The Flesh Eaters chronology 1980 A Minute to Pray, a Second to Die 1981 Forever Came Today 1982 A Minute to Pray, a Second to Die is the second album from American band.
Among the vanguard of late-1970s Los Angeles punk bands, The Flesh Eaters were the brainchild of poet Chris Desjardins, aka Chris D, who enlisted some of the city's leading musical lights to join its rotating line-up. His voice, along with that of fellow L. It would have to be quite the maelstrom. Packaging All items are shipped brand-new and unopened in original packaging. Does anything else need to be said?!? I took that image out of the frame, and did different colour enhancement and stuff.
I started reading people like Raymond Chandler and Dashiell Hammett when I was still in high school probably. I was living in Riverside California, so there was, like, no infrastructure or a group of people who were into that also. Despite Christgau's comment that Chris D. We mostly focus on A Minute To Pray, A Second To Die the album, not the book or the song below. The first science fiction novel I wrote is called Sacred World. Not voodoo, but there was a Sateria presence in some of the bodegas.
It was through The Wicker Man first, and then I read about it in various books on witchcraft. So I was like a lone wolf in terms of being into that. You never attended rituals or such. I was in high school when it came out. But I read a lot of science fiction when I was in 7th-8th-9th- grade, during that time period — Cordwainer Smith, Andre Norton, Henry Kuttner, John Brunner, John Wyndham, who wrote Day of the Triffids. Bonebrake of X as well as Dave Alvin, Bill Bateman and Steve Berlin of The Blasters — none of whom play as though they're merely moonlighting.
As a young writer — what were your influences? The dark, pseudo-religious lyrics are a bit off-putting, but musically this is a superb effort. Through a series of grotesque vignettes, his lyrical prowess and indelible growl stand toe-to-toe with the music's powerful shifts. From opener 'Digging My Grave' resembling a diesel charged Magic Band to the gothic groove of 'Divine Horsemen,' each song is it's own hairy beast. Also Edgar Allen Poe and Gaston Leroux, who wrote the original Phantom of the Opera novel, which I still think has never been filmed properly. Protection Each record is protected within its record sleeve by a white vellum anti-dust sleeve.