KNOXVILLE
GIRLS
S/T
In
the Red 1999
The
ultimate Lower East Side resume band, Knoxville
Girls featured guitarist/vocalist Jerry
Teel of the Honeymoon
Killers and Boss
Hog, drummer Bob
Bert of Sonic
Youth and Pussy
Galore, organist Barry London of Stab City, guitarist
Jack
Martin and of course, Kid Congo Powers. Previously,
Jerry and Jack were in both Little
Porkchop and Honeymoon Killers together, Jerry
and Bob were both in the Chrome
Cranks together, and Kid and Jack both were in
Congo Norvell,
and the Bottleneck
Drag. And the results were one of the better things
to happen to rock and roll duting the bleak years bording the
Twenty-first Century.
Knoxville
Girls were combining all of these seemingly disparate elements
- country, blues, rockabilly, early rhythm and blues, soul,
and sixties garage rock with punk, no wave, and the good old
fashioned New York noise that some of them helped define. The
best part of this unusual combination is the way it flowed so
effortlessly. They were a unique bunch of stylists getting together
and just doing their thing – and – from tender country
ballads to pure garage/noise assaults – it was unmistakably
genuine.
This album
is their first and best. They do a great job with the great
American songbook – playing less-obvious standards and
a making them their own with both respect and revisionism. Additionally,
their compositions hold up pretty well next to the Charlie
Feathers,
Ray
Charles, and Johnny
Cash songs here – “Soda Pop Girl,”
“Two Time Girl,” “Kung Pow Chicken Scratch,”
“NYC Briefcase Blues,” and “One Sided Love”
are all about as good as it gets. From the more straightforward
opening instrumental, "Sixty-Five Days Ago," to the
closing cacophony of "Low Cut Apron"/"Sugarfix,"
there isn’t one futile moment. I miss ‘em.
KNOXVILLE
GIRLS
In a Woodshed
In the Red 2000
This
one ain’t so easy to find as it was a sort of tour-only
record, but there’re copies out there – and they're
very much worthy of checking out. While Knoxville Girls’
debut record was recorded in pieces by Jerry Teel at his Funhouse
Studio – now a faded landmark of a bygone era –
and certainly sounds terrific, In the Woodshed is sonically
inferior but a much more accurate reflection of what the band
was really about after they played together a bit. And this
one, mostly focusing on the first record but previewing a few
from the next, completely succeeds in presenting a well-rounded
portrait of Knoxville Girls in their element.
The three
guitars all had unique roles – Jerry strummed rhythm,
Jack picked out more traditional leads, and Kid played around
with feedback and sound effects. Since Barry was playing bass-lines
on the organ, bass was not missed – actually nobody had
a bass downtown in the 1990s. Did they? And Bob Bert did some
of the most brutal and soulful drumming of his career. It
all wove together very intricately and very dynamically –
some of the time. But there were others when you couldn’t
really tell what was what – everything just became one
- a massive noise – a really filthy, reverby, tremolo-ed
out beast that compares to nothing I’ve heard before or
since. Those were my favorite moments – and they weren’t
so infrequent. While In the Woodshed is finds them
in control most of the time, you can find hints of the wild
abandon.
KNOXVILLE
GIRLS
In a Paper
Suit (2001)
In
a Paper Suit, the official studio follow-up to Knoxville
Girls self-titled debut, proved to be their final recording.
While In a Paper Suit is a good record, and definitely
more ambitious than the first, some of it just feels a bit awkward.
That is not to say that this isn't a good record or doesn’t
have its moments - and for any other band without so many high
expectations this would be their finest hour.
There are
less cover songs here than on the last one – this time
there’s some Shangri
Las, Hank
Williams, and Hasil
Adkins – three entities that I doubt were
ever in the same room together – but that’s one
party I’d like to attend. Jerry’s vocals, as on
the last one, are beautacious. The three guitars turn some cool
tricks, Bob Bert is again slamming, and Barry London is completely
soulful. And Kid steps to the mic for the first time in the
band, singing two staples of their live set, “Sophisticated
Boom Boom” and “Drop Dead Gorgeous” - both
of which you can also find on In the Woodshed. Come
to think of it, this is pretty damned good. If these boys had
just waited out the sophomore slump… Nahhhh…
The breakup
freed up five fine underground musicians for the rest of the
world. Jack Martin has, in a way, kept them all together in
their aftermath. He did time with Barry in The Bright and Desperate
Sparks, and is still with Kid in the
Pink Monkey Birds (who Barry also played with),
and, as of late, jams with Bob in a new band yet to make its
public debut that, last time I checked, was called “Size
Queen.” As for Jerry, he moved to New Orleans. He’s
safe, from both natural catastrophe and his fellow Knoxville
Girls. But I hear tell that the one-of-a-kind Funouse gear that
he spent a lifetime accumulating had an unceremonious aquatic
funeral.
Hear
Kid tell you more about Knoxville Girls
Listen
to a free MP3 of Knoxville Girls' "Drop Dead Gorgeous"
©
New York Night Train , 2006
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