by Ned Raggett
The fact that one of its songs is called &Hit or Miss& is quite appropriate for the double-vinyl Black Album; while not perfect, it's definitely got some high points on it. Given the intentionally parodic reference to the Beatles' own two-disc sprawler, perhaps the semi-schizophrenia is perfectly intentional. Some of the numbers show the band following their original punk vein, but by this point the four (joined here by a new bassist, Paul Gray) were leaving straight, three-chord thrash to the cul-de-sac revivalists. The album begins with a Damned classic, &Wait for the Blackout,& a dramatic psych/punk surge infected with Vanian's glorious croon, celebrating the joys of the night while steering clear of overtly-serious goth affectations. After that, things start to vary, but tracks of note are still thick on the ground, including &Lively Arts,& a nicely barbed take on culture with some harpsichord to match, and the goofy but still enjoyable &Drinking About My Baby.& Regardless, things get a bit restful at points, and while Vanian often steps forward to continue carrying it along, sometimes even the band isn't happy with the results. &History of the World (Part One)& has always carried the credit &overproduced by Hans Zimmer& because they felt the guest synth player did just that! However, the final two studio tracks are doozies: &Therapy,& a Sensible/Vanian-sung romp with a great chorus, and the sidelong &Curtain Call,& perhaps the most unlikely thing the Damned ever did. That said, it's still a surprisingly good blast, a tour de force for Vanian particularly and a chance for the band to try everything from straightforward rock to gentler atmospherics.