The Last Temptation Of Reid
virus084 (1 Jan 1990)
CD - $12.00 | LP + DOWNLOAD - $12.00 - coming soon iTunes emusic
Finally back in print!
Their first full-length release. Includes "Forkboy" (included on the Natural Born Killers soundtrack), "Mate, Spawn, and Die" plus the only known cover of "They're Coming To Take Me Away (Ha, Ha)!"
"As we've all come to expect from the uncrowned Lord Mayor Of Aware America, the songs on The Last Temptation... (the first proper LP from Jello Biafra's Lard) are a reaction against and a criticism of the way that contemporary U.S. society is shackled by institutions, lobbyists, and vested interests, coupled with one of the most stunning power-punk-metal soundtracks ever to have the dust shrieking from your turntable. The scorching "Pineapple Face" (not to be confused with the Revenge travesty) is a humorous but indicting account of Noriegas's collaboration with the CIA and ultimate prosecution over drugs (read: double-crossing). A gale-force riff assault details the General's refuge in the house of God ("Save me, Tipper, they're blasting Bon Jovi at me") and his ultimate, desperate cries for mercy ("I'll even tour with David Crosby"). Heaven forbid. Few find refuge from Biafra's stony glare... "Forkboy" appears to be pointing an accusing finger at the decidedly dodgy Jesse Jackson, while the excellent "Bozo Skeleton" attacks insecurity-fuelled moralizing. Occasionally, Biafra relies too much on power, too little on melody, so it's left to a warped cover of "They're Coming To Take Me Away (Ha, Ha)" to underline his current, delicate stateside position. If he ever makes a commercial record, that's when the hawks will strike. As it is, Biafra's still preaching to the converted (albeit a mass of them), but he remains a thorn in the side of a corrupt Establishment. And a powerful musical force."- Melody Maker
"This Lard album wins the cigar. Biafra is joined by Jeff Ward and Ministry men Paul Barker and Al Jourgensen for a roots-of-the-hair grabbing aural onslaught. The band's ozone-damaging instrumentation shows no sign of being overwhelmed by Biafra's petrol-filled delivery as his scathing tongue tackes a host of life's little ironies. General Noriega, Washington Wives and listening bugs planted in teeth just a few of the bit-players on parade. Vote Jello!"- Speak Out, Leeds
"Along with fellow survivor Henry Rollins, Jello Biafra proved that there's still life left in ye olde punk rock. The Last Temptation... was a searing indictment of America, both witty and caustic, particularly on the likes of "Can God Fill Teeth?" As a commentator on the American condition, Biafra is as pre-eminent as the likes of Neil Young and Lou Reed."- Sounds
"Those of you who wondered what happened to Jello Biafra after the Dead Kennedys, wonder no more. He's back and vinylised in the form of Lard, joined by Paul Barker (bass), and Jeffy Ward (drum/vocals). It's pretty manic stuff really. Imagine Hawkwind and the Dead Kennedys reproducing and you'd be getting quite near. Most tracks have a relentless drum beating like SPK without the metal grinder, and could be the background to one of those horrible dreams where mutant mechanical monsters take over the earth. It's an idea captured on the sleeve where a nurse protects a rather cooked-looking baby from a giant digger - with jaws! Scary stuff and it gets worse when you listen to the lyrics. For goodness sake, lads, you're giving the game away: "Lyrics warp your children's minds. Just a minute now, that's our job -Your worst enemy's your own kids. Don't talk with them, buy our lies instead." Mellowing out space is rare, and unfortunately when it does occur, as in "Sylvestre Matuschka," Biafra sounds akin to a version of John Lydon who is in the process of being castrated. A must is the potty rendition of "They're Coming To Take Me Away" which sounds even more warped than the original, and for those of you rich enough to afford a CD, there is a wicked 15-minute "I Am Your Clock" which is guaranteed to alter your mental balance."- Vox
"Jello and Al Jourgensen team up for a crazy industrial/punk mishmash. One of Biafra's best collaborations, the tracks here easily match both his work in the heyday of Dead Kennedys and Al Jourgensen's finest moments with Ministry."- Rock-A-Rolla