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Black Flag|Family Man

Family Man

Black Flag

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Langue disponible : anglais

Black Flag's most experimental album, Family Man features one LP side of spoken word performances from Henry Rollins and another of instrumental music from the late-Flag lineup of Greg Ginn (guitar), Kira (bass), and Bill Stevenson (drums). Although occasionally chilling in its intensity, the spoken word material, much like the between-song recitations of fellow Californian Jim Morrison (with whom Rollins sometimes shares a vocal similarity here) on the live Doors albums, mostly sounds juvenile and dated after the fact. That said, Family Man's spoken word tracks, along with Jello Biafra's recordings with the Dead Kennedys, can largely be credited with bringing "alternative" spoken word to a larger audience who were either unaware of, or could not relate to, the Patti Smith/downtown New York scene. Unlike the solo Rollins tracks, the instrumental music is still challenging and vibrant. Although sounding at times like a high-school garage band attempting to perform Rush covers, Ginn and company play with a sense of desperation and punk rock fury that makes much of the music positively electrifying. Similar in spirit to the less poppy tracks on Hüsker Dü's contemporary Zen Arcade, side two of Family Man is characterized by its emotional purity. Ginn reveals himself as a refreshingly and brilliantly free improviser and his playing should serve as an inspiration and lesson to later "punk" bands who value technical proficiency over rockin' out. Overall, Family Man is an essential, if atypical, part of the Black Flag canon and should appeal to fans of Sun Ra, Ornette Coleman, or the New York "noise" scene as well.
© Pemberton Roach /TiVo

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Family Man

Black Flag

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1
Family Man
00:01:20

Black Flag, MainArtist - 1984 Cesstone Music (BMI), MusicPublisher

(C) 1984 SST Records (P) 1984 SST Records

2
Salt on a Slug
00:01:31

Black Flag, MainArtist - 1984 Cesstone Music (BMI), MusicPublisher

(C) 1984 SST Records (P) 1984 SST Records

3
Hollywood Diary
00:00:35

Black Flag, MainArtist - 1984 Cesstone Music (BMI), MusicPublisher

(C) 1984 SST Records (P) 1984 SST Records

4
Let Your Fingers Do the Walking
00:02:32

Black Flag, MainArtist - 1984 Cesstone Music (BMI), MusicPublisher

(C) 1984 SST Records (P) 1984 SST Records

5
Shed Reading (Rattus Norvegicus)
00:01:23

Black Flag, MainArtist - 1984 Cesstone Music (BMI), MusicPublisher

(C) 1984 SST Records (P) 1984 SST Records

6
No Deposit - No Return
00:00:38

Black Flag, MainArtist - 1984 Cesstone Music (BMI), MusicPublisher

(C) 1984 SST Records (P) 1984 SST Records

7
Armageddon Man
00:09:13

Black Flag, MainArtist - 1984 Cesstone Music (BMI), MusicPublisher

(C) 1984 SST Records (P) 1984 SST Records

8
Long Lost Dog of It
00:02:04

Black Flag, MainArtist - 1984 Cesstone Music (BMI), MusicPublisher

(C) 1984 SST Records (P) 1984 SST Records

9
I Won't Stick Any of You Unless and Until I Can Stick All of You!
00:05:48

Black Flag, MainArtist - 1984 Cesstone Music (BMI), MusicPublisher

(C) 1984 SST Records (P) 1984 SST Records

10
Account for What?
00:04:19

Black Flag, MainArtist - 1984 Cesstone Music (BMI), MusicPublisher

(C) 1984 SST Records (P) 1984 SST Records

11
The Pups Are Doggin' It
00:04:16

Black Flag, MainArtist - 1984 Cesstone Music (BMI), MusicPublisher

(C) 1984 SST Records (P) 1984 SST Records

Descriptif de l'album

Black Flag's most experimental album, Family Man features one LP side of spoken word performances from Henry Rollins and another of instrumental music from the late-Flag lineup of Greg Ginn (guitar), Kira (bass), and Bill Stevenson (drums). Although occasionally chilling in its intensity, the spoken word material, much like the between-song recitations of fellow Californian Jim Morrison (with whom Rollins sometimes shares a vocal similarity here) on the live Doors albums, mostly sounds juvenile and dated after the fact. That said, Family Man's spoken word tracks, along with Jello Biafra's recordings with the Dead Kennedys, can largely be credited with bringing "alternative" spoken word to a larger audience who were either unaware of, or could not relate to, the Patti Smith/downtown New York scene. Unlike the solo Rollins tracks, the instrumental music is still challenging and vibrant. Although sounding at times like a high-school garage band attempting to perform Rush covers, Ginn and company play with a sense of desperation and punk rock fury that makes much of the music positively electrifying. Similar in spirit to the less poppy tracks on Hüsker Dü's contemporary Zen Arcade, side two of Family Man is characterized by its emotional purity. Ginn reveals himself as a refreshingly and brilliantly free improviser and his playing should serve as an inspiration and lesson to later "punk" bands who value technical proficiency over rockin' out. Overall, Family Man is an essential, if atypical, part of the Black Flag canon and should appeal to fans of Sun Ra, Ornette Coleman, or the New York "noise" scene as well.
© Pemberton Roach /TiVo

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