The Jesus Lizard's second album followed in the vein of the first with little immediate variation: loud, excellently produced by
Steve Albini, plenty of space in the recording to emphasize the sheer force of
McNeilly's drums and
Sims' bass, and more besides. The little-remarked-upon ability of the rhythm section to kick out some ass-shaking jams spikes up such great numbers as
"Nub," which almost predicts
Rocket From the Crypt down to the gang-shout vocals, and the slower but no-less-compelling grind of
"Rodeo in Joliet" (also one of the band's most inspired titles).
Denison's guitar playing seemed a touch more focused at points here, the results almost suggesting such
post-punk groove monsters as
Gang of Four and even
the Pop Group. There's a more evident melodic lead role for his work as well, as the just plain great riff that fires up
"Mouth Breather" and his near-
countryish twang on
"Karpis" makes perfectly clear.
Yow, meanwhile, steps ever more into his own persona, his lyrics now downright comprehensible and his singing levels a touch less doom- (and bass) heavy, if no less aggrieved. The staggered vocal overdubs on
"Monkey Trick" are a standout, especially when
Denison suddenly serves up another one of his surprisingly sweet passages as a bed. Other treats on the album include the opening
"Here Comes Dudley" -- in context one of the more non-welcoming greetings around -- and the
Morricone-tinged freakout of
"Lady Shoes," assuming
Morricone scored movies about doctors dealing with some freaky female patients. The whole album seems like a party in hell, not to mention demonstrative proof that there's still plenty of fun to be had with a basic
rock lineup; it's all in the matter of how it's handled. ~ Ned Raggett
