Even though there's a constant funk to the record, you guys seem to take in kaleidoscopic influences. Where do you find all the ideas?

Everywhere. It's all there for the taking, from Black Sabbath, Richard Prior and Terry Gilliam to the birds in the trees.

What is the songwriting process like—do they come to you fully fleshed out, or do you piece together fragments of ideas?

Beats, bass and disgusting riffs are a pretty good place to begin. The way we go about making the filth we make is real straightforward. When it sounds right, it sounds right, whether we have a chance to record it in a toilet or at Abbey Road.

What distinguishes a great gig for you?

When you get that kind of unhinged vibe, where it could go either way: It could explode or fall to pieces.

What's your favorite driving album?

Fleetwood Mac's Rumors.

And when it comes to getting busy?

Ann Peebles' I Can't Stand the Rain. It's a real short album and after being on the road for a while,
you don't last very long.

This English collective makes a raw, funky, rocking racket that you might describe as an atomic version of Curtis Mayfield. There's groove and riffage, but none of the macho bullshit of the 1990s rap-metal crossover debacle. The vocals are traded around the band, and the foundations of the songs vary as well -- from live instrumentation to samples (including a brilliant clip from Terry Reid's late-1960s version of "Superlungs My Supergirl" anchoring "Girl") and from barebones breaks to everything-but-the-kitchen-sink. One thing, however, is constant through their debut record, Great Vengeance and Furious Fire, coming soon from +1 records: your ass will shake, your head will bob and your face will break into a delirious wide grin.

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