Thrill Jockey
I suppose his albums invited this tag as well, as they always seemedpacked to the gills with ostentatious additions such as strings andhorns sections. In a live setting though (well, ok, “live in front of astudio audience.”), these songs take on a grimy sheen, and, simply put,kick ass. On “Angels,” the band throws down a furious groove, with Connnearly besting Ian Svenonius’ Prince impression. For anyone who stillmaintains that Conn and the Glass Gypsies are nothing more thenglam-rock opportunists, the kiss off comes on the next track, “We Comein Peace.” It’s a righteous protest anthem that finds Conn spouting offinspired couplets like “We are your friends, we come in peace, webrought our guns to set you free” and sounds a lot like the searingprotest rock that Ted Leo and the Pharmacists have been performinglately. The opening wah-wah guitar freak out of “Cashing Objections”whispers dirty come-ons in my ear, drawing me in, while the rest of thesong is nailed down by the excellent interplay of lead-guitarist Sleddand violinist Monica BouBou. Overall, the stylistic diversity the banddisplays in the quasi-live setting here is impressive, as the bandjumps from burning rockers (“Style I Need”) to over-the-top arena fare(“White Bread”) to dirty funk jams (“Axis ’67 Part 2”). Throughout, thesongs feature incisive and often-humorous lyrics performed with Conn’sbreathless enthusiasm which skewer the current political and culturalclimate mercilessly. While a lot of people have already written offConn for a being crappy composite of mid-1970s music trends, they’d beill advised to ignore this release. Sure, in a studio, Conn’s eyes areoften bigger then his stomach, but on Live Classics Vol. 1 he and hisband are ferocious and terse, everything great rock and roll should be.
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