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JAMES CHANCE AND THE CONTORTIONS, "LIVE AUX BAIN DOUCHES, PARIS 1980"
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A recording of a live performance on May 13, 1980, Live Aux Bain Douches is the single best James Chance live album available, eclipsing ROIR's White Cannibal and Soul Exorcismreleases. The recording is far superior to any of the other livematerial I've heard, and the band seem to be fully engaged with thematerial, delivering an energetic set to a wildly appreciate audience.Opening with a unexpectedly searing version of Michael Jackson's "Don'tStop Till You Get Enough," Chance and the band expertly tear through aset comprised equally of raucous funk, sophisticated hard bop andadrenaline-pumped dance music. The creeping forward momentum of "IDanced With A Zombie" is an opportunity for Chance and his horn sectionto showcase their talent for blistering improv, creating interwoventhreads of smoldering brilliance. On a pair of James Brown covers — "IGot You (I Feel Good)" and "King Heroin" — Chance displays his uniqueperspective on the material; on the former, he adds a level of snarlingrockabilly attitude to the perennial Brown favorite; on the latter, heslows down and extends the song into a tortured, emotive blues thatpierces straight to the heart with gut-wrenching power. Switching backinto fast tempo for the final one-two punch of "Put Me Back In My Cage"and "Contort Yourself," Chance hoots and hollers, throwing his entirebody into the performance, as his band throws together a hyperactivearrangement that constantly threatens to upend itself. Live Aux Bain Douchesclearly manifests a confident ensemble, fully in control of theirtalent, delivering a blazing set unparalleled in the annals ofpost-punk. My only complaint is that I wasn't there to witness theperformance firsthand.
A recording of a live performance on May 13, 1980, Live Aux Bain Douches is the single best James Chance live album available, eclipsing ROIR's White Cannibal and Soul Exorcismreleases. The recording is far superior to any of the other livematerial I've heard, and the band seem to be fully engaged with thematerial, delivering an energetic set to a wildly appreciate audience.Opening with a unexpectedly searing version of Michael Jackson's "Don'tStop Till You Get Enough," Chance and the band expertly tear through aset comprised equally of raucous funk, sophisticated hard bop andadrenaline-pumped dance music. The creeping forward momentum of "IDanced With A Zombie" is an opportunity for Chance and his horn sectionto showcase their talent for blistering improv, creating interwoventhreads of smoldering brilliance. On a pair of James Brown covers — "IGot You (I Feel Good)" and "King Heroin" — Chance displays his uniqueperspective on the material; on the former, he adds a level of snarlingrockabilly attitude to the perennial Brown favorite; on the latter, heslows down and extends the song into a tortured, emotive blues thatpierces straight to the heart with gut-wrenching power. Switching backinto fast tempo for the final one-two punch of "Put Me Back In My Cage"and "Contort Yourself," Chance hoots and hollers, throwing his entirebody into the performance, as his band throws together a hyperactivearrangement that constantly threatens to upend itself. Live Aux Bain Douchesclearly manifests a confident ensemble, fully in control of theirtalent, delivering a blazing set unparalleled in the annals ofpost-punk. My only complaint is that I wasn't there to witness theperformance firsthand.
