Ultraglide In Black
Ultraglide In Black shows how close garage punk and soul can be. The Dirtbombs put songs from the Black popular music of the sixties and seventies through a forceful guitar amplifier. Rhythms remain danceable and Mick Collins sings with enough feeling to keep melodies recognisable. Roughness gives the soul another form rather than replacing it.
The doubled bass and drum line-up makes a considerable difference. Its sound has a thick, mobile foundation against which guitars can hit hard. Collins need not rise above it with a tidy voice. His rough delivery fits the band while maintaining contact with the original vocal lines. The different parts share a sense of purpose despite their loose edges.
Got to Give It Up demonstrates the approach well. Rhythm stays inviting while the performance sounds firmer and more assertive. A breakdown within the song gives that movement additional emphasis. This remains music to move to even when the band put it under considerable pressure. The arrangement preserves what made the material appealing in the first place.
I'm Qualified to Satisfy You also finds a convincing position between soul and guitar noise. Kung Fu and Livin' for the City fit the same broad approach without making everything sound identical. The Thing brings the garage side further forward. The selection provides enough different movements to keep the record lively.
Thick fuzz makes the result less refined than the original soul recordings. Anyone arriving for their smooth finish will need to adjust. Yet the band rarely seem content merely to play familiar songs louder. Collins gives the singing character and the rhythm section preserves their enjoyment. His own Your Love Belongs Under a Rock fits logically among the covers. Ultraglide In Black consequently works as a Dirtbombs record rather than simply a collection of good influences.
