Hot Animal Machine - Re-Release...
1999 - Buddha Records - 7446599687 2
|1||BLACK AND WHITE||3:11|
|3||LOST AND FOUND||2:06|
|4||THERE'S A MAN OUTSIDE||3:13|
|6||A MAN AND A WOMAN||3:59|
|7||HOT ANIMAL MACHINE 1||3:01|
|9||MOVE RIGHT IN||2:42|
|10||HOT ANIMAL MACHINE 2||3:32|
|12||DRIVE BY SHOOTING||2:01|
|15||CAN YOU SPEAK THIS||2:00|
|16||I HAVE COME TO KILL YOU||5:21|
|17||MEN ARE PIGS||2:38|
|18||THE ROAD SONG||2:36|
Bernie Wandel - Bass
Mick Green - Drums
Chris Haskett - Guitar
Henry Rollins - Vocals
Recorded and mixed 11/86 by Geoff Clout at Off Beat Studios, Leeds, UK
Mastered 9/99 by George Marino at Sterling Sound, NY, NY
Produced by Henry Rollins and Chris Haskett
All songs published by 2.13.61 Music/Emaciated Music (BMI) except *
*Ghost Rider - Revega/Stanphyl Music Companies
*Crazy Lover - BMG Music
*Ex-Lion Tamer - MCPS/Carlin Music Corp.
*Move Right In - Oakfield Avenue Music Ltd./John Cale Music Inc.
Cover art by Mark Mothersbaugh
Thank you: 52 Harold Mount, Mitch Bury of Adams Mass.
JOE COLE 4.10.61 - 12.19.91
*"Rollins' superb solo debut - a fresh, raw, intelligent record."
-Rough Guide to Rock
*"...raw and powerful."
****-All Music Guide
*Digitally Remastered by Rollins
*New Liner Notes by Rollins
*Includes the Drive By Shooting EP
From 1981 to 1986 I was in a band called Black Flag. In late summer
of 1986, the band broke up and I had to decide whether to stop
or try to keep making music. Years before, Chris Haskett, an old
friend of mine, and I promised each other that some day we would
record together. We were both in DC at the time so I called him and
told him that my schedule was suddenly extremely open. Without
missing a beat, Chris went right to work and assembled a band: Bernie
Wandell on bass and Mick Green on drums.
At the time Chris was living in Leeds UK and he headed back
there because his gear and Mick were there. Bernie and I were to fly
out when he got things set. It was a strange time in my life. I had
grown used to being in a band, going on tour and being handed a
schedule telling me where I was going all the time. I couldn't see
ever making another record. Chris would have none of it. There was
no doubt in his mind that things were going to go great and he really
picked me up. In October I flew to London and took a bus up to
Leeds and went to 52 Harold Mount where Chris lived. I had never
met Bernie or Mick so it was strange at first but we hung out that
night and it was cool.
We had practice time booked and both Chris and I had some
song ideas. We went in the next day and started work. I thikn one of
the first things we played together was Suicide's "Ghost Rider."
From there we worked on covers that I had wanted to do and Chris
showed us some of the riffs he had written,
From practice we would go back to 52 Harold Mount and eat.
After that, Chris and I would work on song writing. Perhaps it was a
grand combination of new association, excitement and a good dose
of fear of failure, but whatever it was, we wrote like men possessed
and came up with a lot songs in a short time.
Days later we were in Off Beat Studios and met what proved to
be one righteous man, the studio engineer, Geoff Clout. He was
basically assigned to us. At first he regarded us from quite a distance
and a bit of altitude. He thought we were nuts I imagine. Not
hard to come to that conclusion. The four of us were very intense in
our own lovable way. Nonetheless, we got right to work and managed
to record seventeen tracks in a few days. There was no one
around, so Chris and I produced and mixed the record with Geoff.
Days later I was flying back to America in a jet lagged daze with
the quarter inch tapes under my arm. The master multi-tracks of
these songs no longer exist as I could not afford the tape and had
to rent it from the studio. Days later, it was no doubt taped over.
Chris is the reason this record happened and it should be mentioned
here that it was his hard work and relentless energy that put
this thing over the wall. I was so confused and depressed after
Black Flag broke up that I didn't know which end was up. Fortunately,
Chris did and we ended up with this cool record.
The following April, he and I were in Trenton, NJ working with two
people had had never met before, Sim and Andrew. The result was
the Rollins Band, hundreds of shows and many, many miles under
The first of the long-awaited re-masters of the early stuff on Texas
Hotel. This disc contains the same songs as the original version of
Hot Animal Machine, with a quality of sound that is
quite improved. Despite the fact that Rollins did not have the
multi-track masters available for this disc, I think this one makes the
greatest gains in sound quality of the three re-masters I've heard thusfar.
This may be the case because the original here was somewhat inferior to
the others sonically. If you enjoy Hot Animal Machine, I'd recommend
you buy this purely on this basis.
David Tenenbaum (03.01.99)