Murder City Devils Albums (4)
What The Critics Say
On Halloween night, 2001, the Murder City Devils rolled back into their hometown of Seattle, WA, after another long tour. This was nothing new; in its six-year existence, the band had always used time on the road to sharpen the edge of its steely death punk knife. But things were different this time. The MCD were breaking up; the tour had been the band's last. A final, farewell All Hallows Eve gig would be recorded for posterity, and document all the blood, mud, and beer that the Murder City Devils had spilled. R.I.P. is a straight, off-the-board recording of the MCD's final concert appearance. Vocalist Spencer Moody, possessed of a voice pitched somewhere between Alice Cooper and Ian MacKaye, leads guitarists Nate Manny and Dann Gallucci, bassist Derek Fudesco, drummer Coady Willis, and fill-in keyboardist Nick Dewitt through an hour of pummeling, drunken punk rock that covers material from the band's entire career. Now, if you weren't in the back seat of the Murder City Devils' muscle car from the beginning, R.I.P. isn't for you. It's only essential for longtime fans, but that's not really a criticism, since the same can be said about any of the band's three studio LPs. The MCD put the hammer down with their 1997 self-titled debut, and didn't let off the pedal until the final, frantic notes of R.I.P. Anthems like "Rum to Whiskey" are even more tortured in a live setting. "She was the only decent thing in a good for nothing town," Moody screams over the song's scraping guitar line. Moody doesn't quit. "Do you remember your hand on the hem of her dress?" he pleads, as an organ seems to trace a chalk outline around his no-doubt prostrate frame. It's three and a half minutes that define as good as any on the album what was so special about the MCD in the first place -- they understood as well as anyone the link between the Dead Boys and Faster Pussycat, Kill! Kill! R.I.P. isn't one of these chintzy "live" recordings that fade between songs and alter the sequencing of the original show. Oh no, it's the real thing, complete with Moody's drunken song introductions (falling into a rut of "this next song is called..."), booze-soaked vocal and instrumental flubs, and microphones that cut in and out. Andrea Zollo stops by for a sexed-up run through "Boom Swagger" (Zollo is now the vocalist in Fudesco and Dewitt's post-MCD outfit Pretty Girls Make Graves); she arrives midway through the 19-song set, and it's the last 100 percent coherent moment on the album. When Moody and the band finally launch into "18 Wheels," one of their best songs, the sweat, beer, and blood spilled over the last hour almost spills out of the front of the CD player. But it isn't the end. Just as most of the farewell set was sprinkled with new, unreleased material, the Murder City Devils end the show with the new song "Grace That Saves." After four final minutes of frantic, drunken hardcore, the song's parts break down into squelch as each bandmember walks off-stage. Moody is left to repeat the song's mantra over wailing feedback. "This is a love letter," he chants. "I got your note, I'm on my way." And with one final thank you and an audible drop of the microphone, Moody and the Murder City Devils slink away into the All Hallows Eve night. ~ Johnny Loftus, All Music Guide
What The Critics Say
The inside fold out sets the mood for this album, as it's packed with gory photos of the band dressed up as murder victims. But without involving any gimmicks, the Murder City Devils just rock out to a gritty, nostalgic garage punk that looks up to the Dead Boys and Alice Cooper. The organ-synth adds to the haunting appeal of an already bleak, party-like presence that the Devils have had since day one. And with the drunken anthems of "Rum to Whisky" and "I Drink the Wine," the all-around results of In Name and Blood equal a dark-humored rock & roll extravaganza that's perfect for any Addams Family Reunion Special. ~ Mike DaRonco, All Music Guide
'Empty Bottles, Broken Hearts'
Release Date 1/1/1998
Tracks 12
Label Sub Pop
See Album Tracklist and Review
What The Critics Say
Spencer Moody's hollering vocals may make you want to run and hide, but fans of thick and chunky rock will revel in this silly and entertaining record. Any band that draws its inspiration from such sources as the film Night of the Hunter ("Left Hand Right Hand") and punk legend Johnny Thunders must have something to say. ~ Tim Sheridan, All Music Guide
'Murder City Devils'
Release Date 8/12/1997
Tracks 10
Label Die Young Stay Prett
See Album Tracklist and Review
What The Critics Say
The Murder City Devils strutted onto the scene with their 1997 eponymous debut, which unleashed straight-ahead punk weighted down with the leg irons of heavy rock. The creepy-crawly organ lends a horror movie mood, and the gravelly growl of Spencer Moody's voice evokes all the despair of finding yourself alone again at last call. Along with layers of sleazy rock guitar, these foundations make the Murder City Devils a raw rock force to be reckoned with; however, on this album the band is still finding its sea legs. These were the days when Moody still had his Poindexter image -- neat Oxford shirt and round glasses on a cherubic face -- hinting that his punk was all inside, until he released his demons onstage. The poor recording quality, which has thin sound and tinny drums, deflects from the songs' power. The album has an intoxicating grit and swagger, though, with moments that shine. The keyboards on "Dance Hall Music" tempt with melodic quicksand that provides a backbone to thick muddy guitars. And "Boom Swagger Boom" is a classic of self-assured sexy fun with a playful campiness -- handclaps punctuate a slinky spy theme melody with Moody's gruff voice joined by coy female backing vocals. "Get Off the Floor" is hard driving punk with a sly guitar and pulverizing lyrics, highlighting Moody's ability to take a few words and drive them into your skull, making a song out of repetition and varied rhythm. A good choice for those interested in the progression of this rock outfit or those who prefer a stripped-down punk production, but not the rock & roll rampage of the later works. ~ Sarah Tomlinson, All Music Guide
