By Steve Weinstein
By Bryan Bierman
By Lindsey Rhoades
By Chaz Kangas
By Ben Westhoff and Sarah Purkrabek
By Jena Ardell
By Jesse Sendejas Jr.
By Katherine Turman
The Eyeball of Hell's great, physically demanding hermit-rock is all I thought it might be after reading reviews off and on for years of this Cleveland mid-'70s space-punk practice bandtwo-minute servings of crunching smash-mouth guitar, recorded as primitively as possible, because it had no reason to be otherwise. The singer dispenses lyrics on a par with the Weasels' "Beat Her With a Rake" in "Girl," but the women in the audience don't know because Broken Hand drowns the guy out, anyway. The Eels perform a Teddy-boy "anthem" called "Black Leather Rock," nicked from a Hammer film, and immediately follow it with a "Dead Man's Curve" in which you can hear the singer working on a hiatal hernia as he takes a credible stab at the chorus. There is a song about the band sissy, "Dolly Boy"a drinker of pink gin. And the riffs get more jagged and insistent on something about "Zoot Zoot."
Lyrics are included, as well as a literary essay on how to deploy drag queens as a diversion while stealing junk food and liquor from a convenience storejust in case you're still of the age when the contemplation of this kind of activity crops up. There's no mistaking that Broken Hand was solicitous of his audience's satisfaction, and I appreciate it. The band also relished antagonizing college students.
Scat, 5301 Chippewa Street, St. Louis, MO 63109