by Ned Raggett
The Party's second and final full studio album, also the final release with the five-person lineup, was perhaps its scuzzy masterpiece, its art/psych/blues/punk fusion taken to at times outrageous heights. Right from its start, nobody held back on anything, Cave's now-demonic vocals in full roar while the rest of the players revamped rhythm & blues and funk into a blood-soaked cabaret exorcism. Nearly every tune is a Party classic one way or another, from the opening slow, sexy grind of &She's Hit,& Cave's freaked tale of death and destruction matched by clattering percussion and a perversely crisp guitar from Howard, to the ending title track's crawl toward a last gruesome ending. Tips of the hat to literary influences surface at points, notably &Hamlet (Pow, Pow, Pow),& though the protagonist isn't so much the indecisive tragic figure of Shakespeare as a Romeo-quoting criminal on the loose. The ultimate Party song sits smack dab at the center -- &Big-Jesus-Trash-Can,& a hilarious and blasphemous blues/jazz show tune with some great brass from Harvey to top it all off. Guest performers crop up at points; future Bad Seed Barry Adamson plays bass on &Kiss Me Black,& while Anita Lane contributes two sets of lyrics if not her direct vocals. Later CD versions included three extra tracks. &Blast Off& and &Release the Bats& were originally issued as a single; both seethe with rage and fire in spades. The latter is at once powerful and a bit of a tongue-in-cheek goth goof, with Cave serving up lines like &Don't tell me that it doesn't hurt/A hundred fluttering in your skirt.& The other bonus, a second version of the album's &Dead Joe& recorded in London, is if anything even more frenetically gone than the original, a car crash sample punctuating the lyrical reference to same all the more.