On the band's first album, Congo Norvell draws on a variety of musical strains to create a moody affair that's an understated success. While nowhere near as demonstrative or all out loud as any of Powers' efforts in the Cramps, there's a definite feel from the quieter side of his work with the Gun Club and Nick Cave carrying over in the late-night, torch/cabaret blues grooves. Such a feeling is heightened by the guest appearance of future Bad Seed Jim Sclavunos on drums, while fellow Seed Mick Harvey produces four of the ...
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On the band's first album, Congo Norvell draws on a variety of musical strains to create a moody affair that's an understated success. While nowhere near as demonstrative or all out loud as any of Powers' efforts in the Cramps, there's a definite feel from the quieter side of his work with the Gun Club and Nick Cave carrying over in the late-night, torch/cabaret blues grooves. Such a feeling is heightened by the guest appearance of future Bad Seed Jim Sclavunos on drums, while fellow Seed Mick Harvey produces four of the cuts. Norvell's singing, a low, sassy croon, shows she knows her jazz/blues roots well, bringing the appropriately passionate intensity to the group that it needs. More than once, as on "Rock My Child," she sounds like she should be singing with Jarboe or Christian Death's Gitane Demone, her voice is that beautifully strong. Powers himself lets out some screeching, almost no-wave level guitar noise here and there, but otherwise is content to keep things just low-key enough. The remaining band members -- Mumps/Bleaker St. Incident veteran Kristian Hoffman on keyboards and extra guitar, Mary Mullen on bass and vocals, and longtime Stan Ridgway sideman Joseph Berardi on drums -- bring a fine fire to the fore. Often they make a good number even better, as Hoffman's piano on the sweeping, propulsive "Drift Away" or the truly haunting "Mercy Mine" shows. The latter number has Norvell and Powers doing a spoken word duet that's quite gripping. The overall combination touches on everything from macabre funhouse touches ("The Chosen One") to semi-tribal voodoo blues ("My Midnight," a standout cut for Berardi). Two interesting covers surface -- Bob Lind's "Long Time Woman," given a full-bodied workout, and the traditional "Lonesome Valley," which concludes the album on a last, quietly chilling note. ~ Ned Raggett, Rovi
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Add this copy of Music to Remember Him By to cart. $9.99, very good condition, Sold by MUSICAL ENERGI rated 2.0 out of 5 stars, ships from Wilkes-Barre, PA, UNITED STATES, published by Basura / Priority 53934 / 1994.
