The Gun Club – “Miami” (1982)

It seems odd to me that I have more records by The Gun Club/Jeffrey Lee Pierce than I do by any other artist, given that I’d never even heard of them or him until 2012.  To be fair, I have more albums by some other bands, but only if you count CDs.  Part of that is certainly due to the volume of material by The Gun Club and Pierce – I have 11 records by them, despite the fact that Pierce died at the age of 37, and there are still plenty more out there I don’t have.  I mean, I have the entire Led Zeppelin catalog on CD (and a few on vinyl) – but the mighty Mothership only released 10 “official” albums.  If you count unofficial releases, comps, and live stuff, then yeah, I have more Zep albums.  But honestly, that’s probably the only band that outnumbers The Gun Club/Pierce. (♠)

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I assumed I already had Miami, so I’ve actually passed it by a number of times over the years.  The other day I figured out that in fact I did not have a copy, and rectified that situation with a very reasonably priced ($14) sealed one on blue vinyl.  It’s hard to place this album into a 1982 mindset, the year it was released; it doesn’t seem to even remotely fit what was happening in music at the time, at least not anything I was aware of.  It may very well have been ahead of its time, a type of proto-country-grunge – tuned down, sung in a way that takes Pierce’s voice outside of the musical framework of the songs, and just plain muddy.  Is it early cow punk?  I don’t know.  But what I do know is that when Pierce sings, I am compelled to listen.

The Gun Club was known for playing covers as well as their takes on some traditional songs (i.e. old songs without a known author), and Miami is no different.  It includes covers of Credence Clearwater Revival’s “Run to the Jungle” and Jody Reynolds & Stordivant Sonya’s “Fire of Love,” as well as the traditional folk song “John Hardy.”  The number of covers is surprising given how great their original material is, but I give them a lot of credit for putting some new spins on the songs that influenced them.  I was also intrigued to learn that Blondie’s Debbie Harry (credited as D.H. Laurence Jr.) sang the female backing vocals on the album.

When Jeffrey Lee Pierce died in 1996 at the age of 37, he was HIV positive and suffering from both cirrhosis and hepatitis.  While it was a brain hemorrhage that technically killed him, one has to think that all these health problems contributed.  The years of IV drug use and alcohol abuse took a heavy toll, and took it fairly quickly.  Why do we seem to lose so many musicians this way?  Do they succumb to drugs and alcohol more frequently than other celebrities, or than the general public, or does it just seem that way?  Do their personal demons both contribute to their artistic brilliance and drive them towards some type of misguided solace in drugs and booze?  Certainly heroin and cocaine are more easily available if you’re a musician, so there’s definitely that to keep in mind.  Or is it perhaps we just hear about these deaths more often because they’re famous, and therefore sensationalized news, while the “regular” person who destroys their life remains anonymous other than to their family and friends.  I don’t know.  But I think about these things when I listen to The Gun Club, I’m sure in part because I was never aware of Jeffrey Lee Pierce while he was alive, as opposed to someone like Kurt Cobain – it’s a different kind of loss, the loss of a person you never had at least a sense of connection to while they were still alive.

RIP, Jeffrey.

 

(♠) I did go through a very serious Ted Nugent phase in high school, which seems quite bizarre to me now.  Regardless, I’m pretty sure I had his entire catalog on CD and/or vinyl, including his stuff with The Amboy Dukes, and that collection outnumbered The Gun Club.  Today I have one of his albums on vinyl (Weekend Warriors), and I’m guessing I have a couple of CDs too, though they rarely get played.  

The Gun Club – “Two Sides of the Beast”

I only got back into vinyl about a year and a half ago.  I’d probably had around 150 records in high school, including a lot of Sub Pop 45s, but I sold them off (along with my turntable) at some point and basically just started to listening to everything on CD.  I’ve lamented about this in the past, particularly how much I wish I still had those 45s, but for a long time I didn’t miss vinyl.  I’m not sure exactly why I got the urge to buy a turntable and start over (though if you look back to my very first post on this blog, I do touch on that topic a bit), though the fact that there’s a lot of interesting music that is only available on that format had a lot to do with it, as did the newfound interest I gained for exploring new (to me) music that grew after our first Iceland Airwaves.  There was a whole world of music out there that I had never heard.

Right now some of you are wonder what this has to do with Two Sides of the Beast.  Well, I’d say I have roughly 200 records today, most LPs and EPs with just a sprinkling of 10″ers and 45s.  And I have more records by The Gun Club and Jeffrey Lee Pierce than any other performer, by far (10).  And I’d never heard of them before I started buying vinyl.

I picked Two Sides of the Beast out of the staff recommendations section at Easy Street Records in West Seattle early in my vinyl odyssey.  It was the first time I ever used my trusty work iPhone to look up a band (which I’ve done dozens of times since), and after taking it home and playing it for the first time I was hooked on The Gun Club.

Two Sides of the Beast was released in 1985 following The Gun Club’s breakup and it’s a compilation of the band’s catalog through that time.  Side A has seven tracks and is sort of a greatest hits selection, though it also includes a cover of Credence Clearwater Revival’s “Run Through the Jungle”.  The B side is perhaps more interesting in that all the songs are live recordings, including two more cover’s – Bo Diddley’s “Bo Diddley’s a Gunslinger” and bluesman Robert Johnson’s “Preaching Blues”.  None of the live tracks are of songs that appear on side A.  The cover selections are telling because they really give a sense of The Gun Club’s style, which is sort of southern-blues-punk rock.  I include the word “punk” because I think it best describes the attitude Jeffrey Lee Pierce projects.  Perhaps today we’d call it “alt” instead, but it’s just semantics.  I’ve found The Gun Club records in the punk sections of some stores, while at others I’ve had the clerks roll their eyes at my ignorance before informing me that no, The Gun Club is not in the punk section, they’re in the rock section you idiot.  Like many great bands, they sort of defy an easy label.

Guitarist Kid Congo Powers was a heavy influence on The Gun Club’s southern/country/blues sound, and his guitar riffs wove beautifully through the band’s songs.  But it’s singer Jeffrey Lee Pierce who truly defined the band’s image and sound, for better or for worse.  I think there are a number of very fair comparisons between Pierce and another genius frontman who was also a train wreck – Jim Morrison.  Heresy, you say! But what we have here were two incredibly talented frontmen, who probably weren’t the best pure singers in the world but who could completely captivate an audience with their sound and their charisma on stage.  They came up in the LA scene and played some of the same clubs, most notably the Whiskey.  Both were also notorious boozers, and the history of their live performances is one that ranges from the epic and life altering to complete drunken disasters that left everyone pissed off.  They were heavily influenced by the blues, and both embraced writing as an extension of their art.  And unfortunately alcohol and drugs likely contributed to their early demises, with Morrison passing away at 27 and Pierce, who in addition to being HIV positive due to his heroin use also suffered from cirrhosis and hepatitis, died at 37.

“Walkin’ with the Beast” opens side A, and it may be the band’s quintessential song (though “Black Train”, not included on this comp, gives it a run for its money, as does “Las Vegas Story”).  The track selection on side A provides a good sense of the band’s sound, but it’s side B where the real magic happens.  Studio recordings simply could not compete with live recordings when the band and Pierce were at their best.  Admittedly, the sound quality is not the best.  But right from the opening of “Seven Miles with the Devil” you get a sense of a whole different kind of energy.  There’s a desperation in Pierce’s voice.  He NEEDS the audience to understand, but he’s not sure he can truly communicate with them.

Two Sides of the Beast is a good start for someone looking to get a feel for The Gun Club.  The mix of studio and live tracks covers the bases, and the song selection is good.  Unfortunately it’s not available on iTunes or CD… so I hope you still have your turntable!

The Gun Club – “Ahmed’s Wild Dream”

I was late getting on the Gun Club train (or, as Holly referred to them the other night after we’d had some wine, the “Glun Cub”).  In fact, I have to admit I’d never even heard of the band until a few months ago when I ran across a copy of Two Sides of the Beast at Easy Street Records.  After looking up the band on my trusty iPhone (thanks to my employer…), I figured they were worth a shot.  And I was right.

Fast forward to a trip to Tacoma last weekend, when we ran across about five different Gun Club titles on vinyl (and another on CD) at Hi-Voltage records, including some “unofficial” releases.  We picked them all up and have been working our way through the stack (along with some other LPs that already made it to the blog) this week.  While Gun Club is perhaps best known for their early releases Fire of Love and Miami, I’ve got a thing for live recordings, so I was really looking forward to spinning Ahmed’s Wild Dream.

Originally released in 1992/93, Ahmed’s Wild Dream was also re-released in 2008, and that’s the version I have.  The two record set is primarily live recordings, along with a couple of demos.  Unlike some of the other Gun Club live albums I’ve heard, the quality here is very good – both in terms of the actual sound as well as Pierce’s vocals.  It really seems like an effort was made to pick some of the better live recordings, and the tracks are a bit faster paced and cleaner vocally, making them that much more enjoyable (than, for instance, Sexy Beat ’81 (oddly enough the second album I’ve referenced here in less than two weeks with the word “Sexy” in the title… paging Dr. Freud… Dr. Freud please…)).

As we listened to this tonight, we talked about my comparison of Pierce to Andy Wood (of Mother Love Bone), though Holly finds Gun Club (a.k.a. Glun Cub) reminds her more of The Doors, especially live – structured music, but with vocals that sometimes seem to exist outside the song.  I was drawn heavily to “Go Tell the Mountain” and “Preachin’ the Blues”, the later of which seems constructed as nothing more than a framework within which Pierce could do whatever he wanted vocally.

The first record (Sides A and B) is a winner… though honestly the second one is pretty lack-luster by comparison (with the exception of the cover of Hendrix’s “Little Wing”).  Gun Club is certainly worth checking out, especially the previously mentioned Fire of Love and Two Sides of the Beast, though unless you’re already a fan I wouldn’t go out of my way to pick up Ahmed’s Wild Dream, unless of course you find a used copy at a good price.

Jeffrey Lee Pierce – “Flamingo”

Jeffrey Lee Pierce is best known as the singer and guitarist for The Gun Club, the quasi-punk band that put out most if its material in the late 1970s and throughout the 1980s.  The band mixed elements of blues and bluegrass with punk… but certainly with some new wave touches.  Frankly I find their music hard to categorize (which is a good thing).  If I were to compare them to another band it would probably be one of a different genre that also had a flamboyant front-man who’s voice defined the band’s sound – Mother Love Bone.  Unfortunately the two had something else in common – both died relatively young, Andrew Wood of Mother Love Bone at 24 of a heroin overdose, and Pierce at 37 of a brain hemorrhage (while suffering from cirrhosis and hepatitis as well).  At least Pierce left behind a fairly substantial body of work before his passing.

Flamingo is a 1985 solo release from Pierce, a 33 rpm 12″ with only six tracks.  Most impressive to me are “Fire” and “No More Fire”, the last two songs on Side A, which are (sacrilege alert!) a sort of cover of Jimi Hendrix’s “Fire” – complete with synths and a drum machine.  Sounds terrible, right?  Like the Four Horseman of the Apocalypse covering Hendrix, if the Four Horsemen just happened to all be members of an 80s boy band?  But it actually is a pretty cool take on the song, and I have to admit I enjoyed it.

Side B… well… I’d probably just suggest not flipping it when Side A is done and moving on to the next record.