Darrin's Coconut Ass: Live

Chronique

The extended title suggests that this is a live set, but don't be fooled; it isn't. It was, however, recorded in Omaha, but in the studio, although it does have an in-your-face appeal highly reminiscent of the group's shows, as well as far fewer overdubs than their regular records.
In truth, this mini-album is a stop-gap between studio albums, and so within Goldfinger indulge themselves and their fans with eight cover songs. The breadth of acts selected are a far from subtle indication of the group's own blistering mix of rock, new wave and ska/reggae.
And so Joe Jackson gets some balls, Bad Company gets a metal walloping as well as a reggae makeover, the Specials get more brass and a bit more kick, and the Buzzcocks a boost of hyperspeed. "Man in the Suitcase" was not one of the Police's more memorable songs, but Goldfinger finally make it interesting. "Downpressor Man," in contrast, be it the Wailers' original or any of Peter Tosh's later versions, was unforgettable. It's a sacrosanct song, but the group give it the respect it's due, adding some funk-fired wah-wah guitar and a smoldering jazz-inspired sax solo. The Cure are equally well favored, their "Just Like Heaven" is delivered at exhilarating hyperspeed, but is still splattered with psychedelia and a soaring guitar solo, and the song reaps a gothic whirlwind. Only their Who cover fails to impress, pumping "The Kids Are Alright" up new-school punk style, with a hint of syncopated rhythm, is not very inspired. But that less than stellar track aside, this is a killer set, a tribute to the band's diversity and to the groups that influenced them along the way.

© Jo-Ann Greene /TiVo