Goat＜限定盤＞

本作は1991年に発表した2ndアルバム『ゴート』!スティーヴ・アルビニとボブ・ウェストン(シェラックのギタリスト)による2009年完全リマスター!

Alternative Press (7/95, p.91) - Rated #56 in AP's list of the `Top 99 Of '85-'95' - "...Behind the graceful stumble of ever-changing, stripped down rhythms (made bombastic by [Steve] Albini's fingertips) and Duane Denison's crystalline guitar lines [is] the notion that you [don't] have to be lame musicians or go at breakneck speed to be punk..." Melody Maker (7/17/93, p.36) - "...a work of obvious delight, it plumbs the American psyche for every sick joke it conceals, and sets them on fire...GOAT takes the listener on the most thrilling, breakneck carnival ride..." Maximum Rock & Roll (4/91) - "...Without a doubt, this LP is most representative of their amazing live show, and their best vinyl overall to date. Totally memorable and groove oriented riffage, and David Yow is in top form..." (3-4/91) - "...A band like this comes along not too often and shouldn't be overlooked for even one second, who knows what you might miss, or what might hit you. GOAT is the best work the band has done, and that, my friends, was no simple task..."

The Jesus Lizard's second album followed in the vein of the first with little immediate variation: loud, excellently produced by Steve Albini, plenty of space in the recording to emphasize the sheer force of McNeilly's drums and Sims' bass, and more besides. The little-remarked-upon ability of the rhythm section to kick out some ass-shaking jams spikes up such great numbers as "Nub," which almost predicts Rocket From the Crypt down to the gang-shout vocals, and the slower but no-less-compelling grind of "Rodeo in Joliet" (also one of the band's most inspired titles). Denison's guitar playing seemed a touch more focused at points here, the results almost suggesting such post-punk groove monsters as Gang of Four and even the Pop Group. There's a more evident melodic lead role for his work as well, as the just plain great riff that fires up "Mouth Breather" and his near-countryish twang on "Karpis" makes perfectly clear. Yow, meanwhile, steps ever more into his own persona, his lyrics now downright comprehensible and his singing levels a touch less doom- (and bass) heavy, if no less aggrieved. The staggered vocal overdubs on "Monkey Trick" are a standout, especially when Denison suddenly serves up another one of his surprisingly sweet passages as a bed. Other treats on the album include the opening "Here Comes Dudley" -- in context one of the more non-welcoming greetings around -- and the Morricone-tinged freakout of "Lady Shoes," assuming Morricone scored movies about doctors dealing with some freaky female patients. The whole album seems like a party in hell, not to mention demonstrative proof that there's still plenty of fun to be had with a basic rock lineup; it's all in the matter of how it's handled. ~ Ned Raggett