'Bathe her, and bring her to me...'
227.Monster Magnet "Space Lord (live)"
In the 1990's, several bands came along who were influenced in roughly equal proportions by Sex Pistols/Ramones/MC5 punk and Zep/Purple/Sabbath 70's hard rock. Some, like Soundgarden and Nirvana, came from Seattle, some like Stone Temple Pilots from California. This particular outfit came from Red Bank, New Jersey, hometown of Clerks director Kevin Smith. I don't know if they know eachother but both Smith and Monster Magnet definitely shared a certain over-the-top half-satirical/half-celebratory approach to modern culture and most of the modern world.
Unlike the Seattle crew, Dave Wyndorf and his bandmates didn't seem to live in fear of becoming decadent 'rock stars.' In fact, they seemed to relish it. Nowhere is that better communicated than on this number (the uncensored live version is far superior to the bowdlerized version that made it to radio). The exacting dynamics of the instrumentation are from the metal end of the pool, but the half-ironic satirical way Wyndorf delivers his rock-and-roll Roman Emporer routine is pure punk, as is the welter of noise the song erupts into. In a time when rock seemed at odds with it's populist instincts, this was the Great Lost Rock Anthem, indeed.
In the 1990's, several bands came along who were influenced in roughly equal proportions by Sex Pistols/Ramones/MC5 punk and Zep/Purple/Sabbath 70's hard rock. Some, like Soundgarden and Nirvana, came from Seattle, some like Stone Temple Pilots from California. This particular outfit came from Red Bank, New Jersey, hometown of Clerks director Kevin Smith. I don't know if they know eachother but both Smith and Monster Magnet definitely shared a certain over-the-top half-satirical/half-celebratory approach to modern culture and most of the modern world.
Unlike the Seattle crew, Dave Wyndorf and his bandmates didn't seem to live in fear of becoming decadent 'rock stars.' In fact, they seemed to relish it. Nowhere is that better communicated than on this number (the uncensored live version is far superior to the bowdlerized version that made it to radio). The exacting dynamics of the instrumentation are from the metal end of the pool, but the half-ironic satirical way Wyndorf delivers his rock-and-roll Roman Emporer routine is pure punk, as is the welter of noise the song erupts into. In a time when rock seemed at odds with it's populist instincts, this was the Great Lost Rock Anthem, indeed.
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