Black Flag - "Damaged" (SST - 1981)

Here's a pairing I'm just sure you'll find irresistible! We've got the classic first full-length release from Black Flag, 1981's "Damaged," backed with an ice-cold forty ounce bottle of Colt 45. Having just seen guitarist Greg Ginn perform his trance-like electro musings a few nights ago at a bar in Cambridge, I wanted to revisit his roots as one of the most influential punk guitarists of that era. The Colt 45 was inspired by the Black Flag interview (below) from the 1981 Penelope Spheeris film, "The Decline of Western Civilization," during which bassist Chuck Dukowski can be seen enjoying one.

I only just picked up this copy a few years ago at some chain music store near Times Square. I happened to wander in and notice that they actually had a selection of vinyl, (huzzah!), and that most of it was discounted to $5, (double huzzah!!). I love the simple aesthetic of the cover design, very simply and accurately hinting at the music contained within. It's notable in being a rare piece of Black Flag imagery not drawn up by Ginn's brother, artist Raymond Pettibon, iconic logo and "bars" aside.

I can't remember the last time I tossed down some Colt 45, likely in a desperate moment of youthful boredom. Like most malt liquor, it is best consumed near freezing and as quickly as possible. The initial taste is surprisingly sweet and inoffensive, but then the aftertaste barges in and smacks you around a little, putting you in your place. This is not a beverage for the weak of heart, it takes fortitude. Especially when nearing the end, at which point the warm dregs more resemble something you might expel from your body, rather than intentionally take in. It fits well with Damaged though, an angry beverage for an angry album!

The record opens with one of its strongest, most enduring tracks. "Rise Above" begins with a descending guitar riff accompanied by drums, quickly shifting gears towards angry, sing-along defiance: "We are tired of your abuse, try to stop us it's no use!" I take an eager swig of malt liquor and prepare to take on all comers. I also can't hear this song and not be reminded of this scene from the greatest television show ever to only survive one season. The next song, "Spray Paint," is fast and furious and before you can begin to wrap your head around the angry cacophony it's over. A newer version of "Six Pack," which had previously been released on a 7-inch earlier in the year with guitarist Dez Cadena singing, is up third. This one is a tad slower, and of course has Henry Rollins on vocals, but otherwise is very similar to the earlier incarnation. A humorous send-up of the macho drunken slob spending all his money on beer, it has a somewhat more conventional song structure and eternally memorable bass intro. "What I See" is slower and heavily bass-driven, with Rollins delivering spoken word vocals, enigmatically declaring, "I want to live, I wish I was dead." Next up is probably the most well-known song from the record, the catchy and satirical, "TV Party." Later recordings of the song would appear in the movie Repo Man as well as a music video. It is easy to sing along with and always gets a chuckle out of me, plus it has hand-claps!!! "Thirsty and Miserable" continues the angry, driving thread along and features an excellent instrumental section which is quintessential Ginn guitar. "Police Story" sums up the band's thoughts on their dealings with The Law perfectly: "They hate us, we hate them, we can't win." Side one comes to a close with the classic, "Gimme Gimme Gimme," a song which had been kicking around since the early days, when Keith Morris barked out the vocals.

I flip the record over and assess the Colt 45 situation. Good progress has been made and it looks like I may be able to outrun the dregs. Side two starts off with one of my favorites, "Depression." It begins with some hellacious guitar noise and feedback and then erupts into controlled chaos. These dudes are really bummed out, and they're insanely pissed about it! "Room 13" is a bit darker sounding than the rest of the album, and sticks out as being a bit of an odder song. "Damaged II" lurches forth with more anger, more noisy guitar, more manic drums, and of course, more frustrated depression. The Dukowski penned, "No More" begins slowly, with an eerie lone bass note, being struck with increased frequency and intensity, until a little over a minute into the song when it explodes into a frenzy of guitar and Rollins' growling paranoia. And as quick as it comes in, it's over. Clocking in at just under two minutes, "Padded Cell" shrieks to life with a repeated chorus of, "Maniac!", and then stumbles to a muddled close. "Life of Pain" is a hint at the more metal-sounding guitar which Ginn will gravitate to as the band makes its way through the 80's. Evil and dissonant dueling guitar mixed with Rollins' raspy spoken word-style vocals. Finally, the album succumbs to its own brooding, horrible, depressed state, and devolves into the trudging sludge-fest that is, "Damaged I." At nearly four minutes, it is easily the longest statement on the record. Rollins introduces himself, "My name is Henry, and you're dealing with me now," then the song spews forth a relentless, noisy, and sickeningly slow aural assault over which Rollins takes out any innumerable aggressions. This song is not here to make friends or win anybody over. This song says, "Oh, you didn't like that? Well how about some of this!" Yes, please.

And so thoroughly drained, and thankfully finished with the Colt 45, I take off the headphones and seek solace in a bit of silence.