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June 29, 2005

Insane Clown Insurance Company.

He’s still Liam G. But he’s somehow transcended arrogance to land on a new, spiritual level of coolness. He’s become a conduit, like Neo or Jay-Z. Leering, clowning, and channeling his gruff Lennon, Liam represented everything the crowd wanted in rock ‘n’ roll.”


G. Love & Special Sauce play Detroit’s Tastefest extravaganza on Friday night. Interviewing him last week for the piece promoting his gig, he was sly and sardonic and generally very G. Love-like. He and his band have also remade Coke’s famous “I’d like to teach the world to sing” advertisement for a new series of spots promoting Coke Zero.

A link to Coca-Cola’s badly-designed Coke Zero site.

(My review of G. Love's latest record The Hustle.)


In the run-up to The Devil's Rejects, Rob Zombie’s sequel to 2003’s guilty pleasure throwback thrill House of a 1000 Corpses, the tendriled trash mogul has issued no less than three collections of music for the film. The full-fledged Dual Disc Rejects intersperses movie dialogue between its songs, its cousin features only the songs (and no swearing), and Banjo & Sullivan: The Ultimate Collection 1972-1978 is the fictional greatest hits set of the titular duo, who are actually characters in Rejects. It’s a clever little mythology Zombie’s built, even creating a believable, fact-based backstory for the honky-tonkers. And Austin songwriter Jesse Dayton – who Zombie commissioned to write the music – does a solid job of emulating numerous styles. He comes up with an irascible, catchy cross of David Allen Coe sleaze, honky-tonkin’ George Jones deprecation, Bill Buckner-moustache trucker music, and hints of bluegrass; there’s even a decent, if a little unnecessary cover of “Freebird.”

As for the Devil's Rejects soundtrack itself, “It’s as happily crass and drive-in proud as the film itself…[and] a great blend of album rock, air guitar faves, eccentric picks, and country ramble. It would be like the perfect radio road trip down I-65 if radio in America actually still sounded like this.”


The Soviettes make anxious, fuzzy punk-pop for adults. They have harmonies; they have scrappy guitars; their official biography starts with the killer line “Avoid being a douche.” Their new album III is another winner, “…a high-tension wire good time, a ballsy spitfire that rolls tall between Sex Pistols vocals, Pacific Northwest swagger, and the vestiges of early new wave, when the after-hours photographs were still in black and white.”

(Also reviewed: The Soviettes' 2003 debut.)


David Pajo’s self-titled project for Drag City comforts, just as a warm meal or sea wind would. From its luscious black-and-white photography to the gentle, unaffected quality of its music, Pajo offers free getaways on the crystal ship.”



Posted by Johnny Loftus at June 29, 2005 11:23 AM

Comments (3)

Johnny... Been trying to track you down to get you a CD of The Transfer. Sent you one at the metrotimes address but realized you'd never see that one.

Can you email me and give me your address.

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