by Ned Raggett
As the band's breakthrough record in the U.S., riding high on the left-field success of the slinky T. Rex homage &So Alive,& this album still divides the band's fans to the present. Charges of sell-out are incredibly curious, because aside from &So Alive,& absolutely nothing here sounds like it would have gotten anywhere on the airwaves. While Ash and David J were clearly dividing their songwriting efforts, resulting in a rather schizophrenic album, what they were writing and performing were some of the best songs of their collected careers. David J gets to indulge rock & roll and blues traditionalism on a number of his tracks, beginning with the opening &**** (Jungle Law),& a radical reworking of the old &Signifying Monkey& standard with compressed production and an almost industrial beat from Haskins. Another redone oldie is &Bound for Hell,& a tale of the Devil driving a train to down below; David J runs his vocals through crackly distortion, playing harmonica while Ash plays a huge, thrashy guitar line. Perhaps his best number is his most atypical: &Rock and Roll Babylon,& a barbed study of fame with Ash's sax and a string quartet fleshing out the sound beautifully. Ash's songs do some roots revisiting as well, in their own ways. &No Big Deal& and especially &Motorcycle& show that the man's been listening to some Jesus and Mary Chain, but his wonderful vocal purr marks them as his own songs. An unexpected addition to everything is &The Purest Blue,& a radical reworking of Earth Sun Moon's &Waiting for the Flood& which leaves almost nothing of the original.