by Ned Raggett
In one of the most unexpected but perversely prescient moves of Genesis P-Orridge's entire career, he stumbled across the stream of house and techno classics coming out of the Detroit and Chicago scenes in the '80s, hooked up with psych revivalist/writer Richard Norris and created the double-disc Jack the Tab collection. Packaged as a compilation but actually only made by Norris and P-Orridge plus a few cohorts (including Norris' collaborator in the Grid, Dave Ball), Jack the Tab may be an indulgence rather than a way of life but in its own way it's a fun if extremely of-its-time release. If there's any particular element of note, it's the wide range of samples used throughout, with the two raiding everything from psych exploitation movies and random spoken word rants to pepper the various grooves. Derrick May and Juan Atkins really had nothing to worry about per se, partially because the emphasis is less full-on techno than a variety of breakbeat and collage exercises, but in ways Jack the Tab smartly parallels the try-everything melange of contemporaneous Meat Beat Manifesto. Tracks like &Rapid Bliss& and &Liquid Eyeliner& have plenty of the disorienting flow of Jack Dangers' work (and the latter has an outrageously great Kraftwerk steal as well). One of the creepier moments -- -- less for the music than the samples -- has Mark David Chapman detailing his reasons for shooting John Lennon while a line from the Beatles' &Happiness Is a Warm Gun& is constantly looped. Perhaps the real killer track, in retrospect, is the brief industrial stumble &Aquarius Rising,& which notably samples Peter Fonda's dialogue snippet from The Wild Angels (&We want to be free! We want to do what we want to do!&) a couple of years before Primal Scream's &Loaded& made it deservedly famous.