Click to expand.Is Uptown Avondale that hard to find now? They were a great band. I remember seeing them in Cleveland in '93 or '94. The Mekons were playing the same night across town. Talk about a tough decision. Greg Duli actually thanked the crowd for coming to see the Whigs instead. Oh yea, and they LEVELED the place.
Totally ultra high energy set. The were phenomenal live. It was everything you hoped they were and more. All your punk dreams come true. I'll have to pull out some of the old cd's. So if you're reading this thread and wondering if the retrospective is worth getting, I can't tell you.
If you've never heard of the Whigs, you ought to pick some of thier stuff up. Congregation or Gentlemen are great places to start. There's my plug. I'm surprised no one has mentioned that on Unbreakable we can hear the beginning drums of Gentlemen without the 'leftover' sound from 'If I Were Going.' I have a promo compilation (Historectomy) and two different CD singles that have Gentlemen and each has that sound present over the drums. Do any other CD releases of the song Gentlemen have it like it is on Unbreakable? If not, it makes it somewhat unique.
So the Billboard article Leppo mentioned at the beginning of the thread states that Magazine was one of the unfinished tracks from the time after 1965, but before they broke up. I think I had read that other songs were written in those original pre break up sessions. If so, hopefully we can get to hear them one day, even if in an 'unfinished' state. It would be interesting to also hear Magazine in its original form. Wow, loved them for years, but never got the chance to see them live. Probably, won't still if they only the major cities.
Gentlemen is one of the best albums that I listened to in the 90s. Highly underrated band, and maybe it was hindsight, but the earlier or later albums never lived up to Gentlemen. I bought it when it came out, and turned many friends onto them. I remember buying Black Love on vinyl, but being so upset when it didn't compare to Gentlemen, that I sold it.
Now I wish I hadn't as most mid-90s vinyl seems to be a rarity.
. 'Turn On the Water' Released: January 1992. 'Conjure Me' Released: May 1992 Congregation is the third by American band, released on January 31, 1992,. After touring for two years in support of their 1990 album, the band received $15,000 advance from Sub Pop to record a follow-up album.
It was primarily recorded at in and Buzz's Kitchen in during July to August 1991. The band's frontman produced the album entirely with audio engineer Ross Ian Stein. The album's production and release were hindered by Sub Pop's financial difficulties, which were eventually resolved by the massive commercial success of 's 1991 album. Expanding on the aggressive sound of the band's previous work, Congregation has more refined musical details and slower songs such as ballads. Its music also incorporates, and influences. The album's cover depicts a nude black woman holding a white baby in her arms and alludes comically to the band's influences. The songs have themes of pleasure and guilt, and deal with topics such as dysfunctional relationships and sexual deviancy.
Conceived during the burgeoning scene, the album has been viewed by music writers as stylistically distinct from other Sub Pop and grunge music. Congregation was well received by contemporary critics, who praised its musical quality, stylistic elements, and emotional content.
Congregation Afghan Whigs Rarities And B
It was promoted with two, 'Turn On the Water' and 'Conjure Me', and The Afghan Whigs' extensive touring in the United States and Europe. Although it did not, the album helped the band attain a and receive offers from major record labels, leading to their signing to. Since its initial reception, Congregation has been viewed by writers as the band's breakthrough album and a significant release in during the 1990s. Contents. Recording and production After forming in 1986 in Cincinnati, —vocalist and rhythm guitarist, bassist John Curley, lead guitarist Rick McCollum, and drummer Steve Earle—released their 1988 debut album on an independent record label and gained the attention of Seattle-based label. With their second album (1990) released on the label, the band toured regularly in the United States for two years and occasionally in Europe before recording Congregation. Sub Pop gave the band a $15,000 advance to record the album, which Dulli later said was a 'then-unheard-of' and 'bloated' amount.
Along with a collective interest in, the band members had other individual tastes in music, including McCollum's interest in, and, and Dulli's love of, and, particularly artists and. Their influences were comically referred to by Congregation 's cover photo, which depicted a nude black woman sitting on a blanket with a white baby held in her arms. The Afghan Whigs' frontman, (photographed in 2006, on the right), wrote and produced most of the album. The Afghan Whigs began recording the album in July 1991. They held sessions at in Woodinville, Washington and Buzz's Kitchen in Los Angeles, California.
Dulli wrote most of its songs and produced the album with Ross Ian Stein. Session musicians such as Miss Ruby Belle, Shecky Stein, and Lance Ellison also contributed; Belle sung lead vocals on 'Her Against Me', Stein played piano on 'Conjure Me', and Ellison played piano and sung lead vocals on 'The Temple' with John Curley and Rick McCollum.
Singer-songwriter contributed backing vocals to 'This Is My Confession' and 'Dedicate It'. After the rest of the band finished recording their parts, Dulli stayed in Los Angeles to record his vocals, the recorded tracks, and the album. However, the album's production was delayed due to Sub Pop's financial difficulties, and Dulli got another job in Los Angeles to pay for the studio.
Although the label eventually settled the studio's bills and the album's sessions ended in August 1991, the band was unsure if Sub Pop had enough money to release any more albums, let alone Congregation. After the massive commercial success of 's 1991 album, Sub Pop recovered financially by receiving royalties from the album after the band left them for a major label. Dulli later said that while he was 'stranded in L.A.
Nirvana saved the whole fuckin' label'. He recalled thanking the band's frontman upon the album's completion, saying that 'I went to Nirvana's show at in L.A. And hugged Kurt and said, 'Good one, bro. And thank you—now I can go home.' ' After the album's sessions were done, Dulli was inspired to write and record an additional track on the day of ' death, September 28, 1991.
He received two messages on his answering machine from music executive David Katznelson, the first providing directions to a cookout and the second informing Dulli that Davis had passed, saying that 'Miles is dead. Don't forget the alcohol.' Working at Ultrasuede in Cincinnati, Dulli incorporated Katznelson's line as a lyric and, with a guitar riff from Rick McCollum, hastily recorded 'Miles Iz Ded', which was included as a on the album. Congregation was by Jack Skinner at K Disc Mastering in Hollywood.
Dulli subsequently took a drive in his car and listened to the album while observing his scenery, a practice he continued with future albums. Music and lyrics. A favorite among fans of the band, 'Miles Iz Ded' incorporates elements of, and pseudo- riffs. Problems playing this file? The album expands on the aggressive sound of the band's previous work with refined musical details and occasionally slower songs. In (2003), music journalist Alex Ogg writes that The Afghan Whigs were 'managing to balance volume with subtlety' amid the burgeoning music scene.
The album's music incorporates heavy rhythms, harmonics, and, and with funk, and influences. Writer Brad Webber compares its melodies to those of 'later '. Electric asturias fractals rar. Perceives influences from 'ex-indie guitar bands' such as and Nirvana in the songs' 'catch-iness and in the arrangements' juxtaposition of frenzy and laziness.' David Sprague of the comments that the band's instrumentation 'contrives panoramic images through judicious use of wah-wah guitar. And the tribal drumbeats with which Steven Earle invokes an air of ritualistic surrender.' The album's rock sound is complemented by a predominant soul influence. Magazine's Christophe Basterra characterizes the music as ' appropriating ' by '.
The slow-burning ballad 'Let Me Lie to You' incorporates soul and grunge musical styles. Dulli wrote the song in an attempt to deviate from the aesthetic of Sub Pop, who he felt discouraged its acts from recording slow songs. He cites writing the song as the moment he began having faith in himself as a songwriter. Songs such as 'Miles Iz Ded', 'Conjure Me', and 'Turn On the Water' incorporate funk influences and wah-wah guitar. 's Stephen M. Deusner cites the latter song as an example of how the band 'integrated African-American sounds and influences into their white ', writing that it 'uses ' wakka-chikka guitars as a accessory, and its jumpy guitar riffs instill these songs with a sense of motion that suggests amped-up r&b.' 'Tonight' features bluesy acoustic guitar.
The spaciously arranged song was written by Dulli about an empty sexual experience with a virgin. Problems playing this file? The songs discuss dysfunctional and, and feature themes of pleasure and guilt. They are narrated from the perspective of a broken sinner and with sinister and narcissistic tones.
Dulli's lyrics incorporate haunting and express angst and melodrama. His vocals are moaningly husky and feature wails. Daniel Fidler of compares Dulli's vocals on the album to those of 'a young.' David Sprague of the calls Congregation a 'strangely flamboyant' album that showcases 'Dulli's metamorphosis from everypunk wallflower to rakish scoundrel with a.' Jason Ankeny of calls Dulli 'a truly magnetic presence' and writes of his performance on the album, 'by turns predator ('Tonight') and prey ('I'm Her Slave'), he's the guy your parents always warned you about, delivering each syllable of his remarkable lyrics with equal measures of innuendo and venom.' Stephanie Benson of comments that his lyrics are 'full of stifling dissatisfaction and boozy philosophy'. 'I'm Her Slave' is a anecdote with lyrics narrated by a subjugate lover.
Congregation Afghan Whigs Rarities Youtube
Music critic cites 'Turn On the Water' as an example of when 'the twisted narrator is the victim' and 'cast adrift' in Dulli's lyrics. Inspired by a paranoid breakup, 'Conjure Me' is told from the perspective of an aggressive predator and obscure object of desire. On 'Kiss the Floor', the narrator recounts stealing a girl's virginity and avoiding her brothers. 'This Is My Confession' has a theme of.
The lyrics depicts it as an empty sexual experience: 'Shove my head against the door, crawl inside and kiss the floor / Waiting for the sun again, drink it, smoke it, stick it in.' 'The Temple' is a cover of the song of the same name from the 1970 rock opera. Dulli became a fan of the rock opera as a child when his babysitter played it. 'Let Me Lie to You' has lyrics expressing passive cruelty and subtle manipulation.
'Tonight' depicts a peaceful night as the backdrop for the narrator's corrupt one-track mind: 'Follow me down to the bushes, dear / No one will know, we'll disappear / I'll hold your hand, we'll never tell / Our private little trip to hell'. The album's hidden track 'Miles Iz Ded' is about seduction and alcohol, with a sensibility and despairing tone. Release and reception Professional ratings Review scores Source Rating 4/5 6/10 Congregation was released by Sub Pop on January 31, 1992, and distributed by, on both and formats. To promote the record, 'Turn On the Water' was released in January as a, with 'Miles Iz Ded' on its; as a coupled with the tracks 'Chalk Outline' and 'Miles Iz Ded'; and on February 25 as a. 'Conjure Me' was released in May as a 7-inch single backed with the Afghan Whigs' cover of the 1965 song '. A music video for the single was filmed—featuring a topless woman caressing Dulli as he lip syncs the song —and received rotation on.
The group also promoted the album with an appearance on MTV and an international tour with dates in major American cities and Europe. During their shows, the Afghan Whigs interspersed R&B songs in their set list, including an of ' 1972 song ' during 'Turn On the Water'. The band's extensive touring for the album helped them garner a larger audience. Although Congregation did not, it received highly positive reviews from critics.
Called it 'superb' in, while Daniel Fidler from viewed the record as 'a clean move toward musical excellence', showing the Afghan Whigs 'bursting its Sub Pop chains with catchy, heavy guitar riffs, downright lovable song arrangements, melodies that jerk your emotions back and forth, and yes, endearing, raspy vocals that wail, moan, scream, and shout'. Brad Webber of the found the album more accessible to listeners than contemporary Seattle or Minneapolis-based, guitar-oriented bands, writing that the Afghan Whigs were 'on rock's cutting edge' while stirring 'a torrent of emotions on neatly paced songs'. In magazine, said the band was 'clever enough to find hooks in the sort of gnarled riffs and guitar noise plays for atmosphere', as well as 'canny enough to avoid most of the mannerisms that make much Amerindie rock seem so cliched.' Considine concluded in his review, 'The best reason to join this Congregation is that the songs are catchy enough to hold their own against the best work of bands like Dinosaur Jr. Was less impressed, appreciating the record's 'sheer listenability', 'clear recording and dynamic performances', but criticizing Dulli's lyrics and the band's cover of 'The Temple'. Ranked Congregation at number 25 on its year-end best albums for 1992. With the album's critical acclaim and the band's steady touring, the Afghan Whigs attained a and was courted by several who wanted to sign them.
Frustrated with the distribution limitation of a small record label, they signed to after their final release for Sub Pop, an EP of soul cover songs called (1992). Their major label debut was released in 1993 to critical acclaim and mainstream exposure. Congregation later was in September 1998. 'The first band hailing from outside the Pacific Northwest to join the stable, Ohio's Afghan Whigs brought a healthy injection of libido to the label's angsty roster. Leering frontman used Congregation to cultivate the stylized, seductive evil that he would go on to perfect on the Whigs' 1993 masterwork.' —Amy Phillips, Along with Gentlemen, Congregation is generally considered by music journalists to be part of the Afghan Whigs' peak recording period. Dulli cites it as 'the record where we came into our own'.
Melody Maker dubbed it 'the finest rock LP of the decade' and commented that it is 'nothing less than rock raping pop, a ferocious deflowering of 's romantic ideal'. With Congregation, Stephanie Benson of found the band to be 'crucial to the birth of '90s.' 's Jason Ankeny said that it was the band's artistic breakthrough and 'ticket to the big leagues', 'an incendiary and insidious set which bridges the gap between the noisy aggression of the band's early releases and the soulful swagger of their later work.' Ankeny also cited it as 'the grunge era's most overlooked masterpiece' and an indication of the band's musical growth, writing that 'while still unmistakably a member of the Sub Pop stable, there's a greater maturity and depth to their sinewy sound, with a newfound grasp of mood and nuance'.
In (2004), Joe Gross called it a 'quantum leap' over the band's previous work, commenting that it 'shows that they ditched grunge for soul because they were no damn good at the former and ladies dig the latter.' In 2002, Italian music magazine included the album in its list of 100 Best Albums by Decade. Polish webzine ranked it number 79 on its 2004 list of the Top 100 Albums of the '90s. Italian music journalists and included Congregation in their 2010 book on essential rock albums.
The (1995) was somewhat less enthusiastic, writing that 'the results feel like dress rehearsals for Gentlemen, with one partial exception, 'Conjure Me,' and one absolute triumph: a surging final track. That might be the Afghan Whigs' strongest recorded performance.' Track listing All songs were produced by and Ross Ian Stein. Title Writer(s) Length 1. 'Her Against Me' Greg Dulli 0:47 2. 'I'm Her Slave' Dulli 2:59 3.
'Turn On the Water' John Curley, Dulli, Steven Earle, Rick McCollum 4:18 4. 'Conjure Me' Curley, Dulli, Earle, McCollum 4:03 5. 'Kiss the Floor' Dulli, McCollum 4:00 6.
'Congregation' Dulli, McCollum 4:27 7. 'This Is My Confession' Dulli 3:13 8. 'Dedicate It' Dulli 3:22 9. 'The Temple', 4:06 10. 'Let Me Lie to You' Dulli 4:36 11. 'Tonight' Dulli 3:41 12.
'Miles Iz Ded' Dulli 5:06 Personnel Credits are adapted from the album's liner notes. The Afghan Whigs. John Curley – bass, photography, vocals. – producer, rhythm guitar, vocals. Steve Earle – drums.
Rick McCollum – guitar, vocals Additional personnel. Miss Ruby Belle – vocals. Larry Brewer – engineer, second engineer. Chris Cuffaro – photography.
Caroline De Vita – design. Lance Ellison – piano, vocals. D.A. Fleischer – photography.
Jane Higgins – design. – vocals. Jack Skinner – mastering. – background vocals, vocals. Ross Ian Stein – engineer, producer. Shecky Stein – piano References.