VARIOUS – CRACKS IN
THE SIDEWALK (NEW ALLIANCE )
Cracks In The Sidewalk
was a six band six song twelve inch compilation put out by New Alliance for its
first release in 1980. New Alliance was the label set up in California by Mike Watt
and D. Boon from the Minutemen with their friend Martin Tamburovich much
fuelled by the DIY ethos of neighbours SST
Records. Indeed this selection
features a number of acts that either had or would have records released on the
label as well as featuring artwork by Raymond Pettibon, Greg Ginn’s brother.
Similar to another New
Alliance compilation Chunks, this record is best known for being the home to
“Clocked In” by Black Flag which for years was a staple in their set and indeed
what Henry Rollins recollects as
being the first song he sang with the band.
Cracks In The Sidewalk
appropriately opens with the Minutemen being the first band to appear on the
label’s first release (it being their label after all). “9.30 May 2” is the expected exciting clash
of Captain Beefheart construct and Wire efficiency. Barely longer than a minute D. Boon gets in
some solid yells as it all bubbles along nicely eventually asking the question:
“what does America mean to you?” to the response “America means everything to me”. This is not them speaking with their own
voices.
With that follows the
aforementioned “Clocked In” before Saccharine Trust drops in with “Hearts And
Barbarians” which houses a heavy bassline sounding like an Australian/mockney
version of the Dead Kennedys exhibiting concerns about the end of the
world. The literal take on lyrics is refreshing
and wonderfully verbal.
The second side begins
with the warped stylings of Kindled Imagination who offer a minute of rattles
and childish gestures with “Cowboy & Indian Scene”. It’s a very frustrating sound.
Things remain warped
with Artless Entanglements offering some kind of No Wave free jazz in the form
of the horror show that is “How’s The Blood Taste?” It is very much the sound of somebody out of
their mind attempting to assault while barely being able to insult you. The screams are audible but the aggression
unmeasured and unlikely to be assumed.
Sharp Corners close
the compilation with an equally free jazz feel exhibiting a lightweight take on
James Chance serving to infuriate anyone not in on the joke. Horns are played like birthday treats. It’s a broken scene.
I love this record.
Thesaurus moment:
pavement.
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