Reflecting on a lost, post-apocalyptic, maximalist masterpiece of a concept album.
Frederick Michael St. Jude is a renaissance man. In addition to producing a handful of world-class rock albums, he’s appeared on Miami Vice, written a sci-fi horror novel called Dark and Insidious, and toured in a variety of road bands. He’s even written children’s books. Here Am I, an album of material from the late 1970s, was released on Drag City in 2013. A collection of eclectic songs running the gamut of late ’70s styles and a showcase for the Florida native’s idiosyncratic voice, the record features a vocal delivery worthy of Aladdin Sane, backed up by a disco-era Wrecking Crew.
But then the ’80s came along, and nothing could have prepared the world for St. Jude’s second album Gang War, an all-out FM radio assault. Indeed, the world was not prepared. The record was never released, and sank into oblivion. Two tracks nearly hit or eclipse the ten-minute mark, double guitar leads squeal in the spirit of Moore and Gorham, and Gary Redente’s powerhouse drumming propels the jams like a fan powering an airboat through the gator-infested Everglades. The sheer insanity of the sound makes it easy to over look the fact that Gang War is a concept album about rebuilding the world in a post-apocalyptic Brooklyn, with nothing but a Rolling Stones record to guide society. Luckily, Drag City has melted away the carbonite in which Gang War was so carefully encased, and sent St. Jude’s maximalist masterpiece back into a world that had become better prepared to grapple with it.[ Read More ]