The Zero Boys - Vicious Circle - VINYL LP

Gary Clark, Jr. has been hailed by a number of critics as Inchthe New Hendrix,Inch which seems to be the fate of any guitarist who combines blues and rock styles at a considerable volume (particularly if they cover InchThird Stone from the SunInch). While that's a blurb that may look good in Clark's press kit, it rather misses the point; Clark isn't a visionary, game-changing artist like Hendrix, but instead he's a canny singer, songwriter, and instrumentalist who has learned from the past and present, fusing them into a style that's distinctive and exciting if not necessarily revolutionary. Warner Bros. Is also pitching Blak and Blu as Clark's Inchgroundbreaking debut album,Inch when in fact it's just his major-tag debut, with four indie releases preceding it, making the confidence and ambition of this set a bit less remarkable. But if Gary Clark, Jr. isn't likely to change the way we look at rock & roll or rewrite the aesthetic of the electric guitar, he is one of the most interesting talents to come out of the contemporary blues scene in quite some time. On Blak and Blu, most of Clark's tunes are solidly rooted in the blues, but he's also folded in hearty servings of hard rock, funk, retro-soul, and even a dash of hip-hop, and the way he let's the flavors mix is a big part of what makes this album work so well. There's an undertow of Northern Soul on the dance-friendly opener InchAin't Messin' Round,Inch InchTravis CountyInch is a no-frills rocker that recalls the Stones in fifth gear, InchThe LifeInch finds Clark moving back and forth between singing and rapping in a streetwise tale of drug addiction, InchNumbInch recalls the punk blues attack of the Black Keys and the White Stripes in it's fuzzed-out blast, and the title cut samples both Gil Scott-Heron and Albert King as Clark melds conscious themes with blues backdrops. While the typical modern-day guitar hero

There was a time - call it Saturn returns, call it theearly '90s, call it the last gasp before the internet devouredeverything - when The Zero Boys found ourselves staring into adifferent kind of fire.We had grown out of our hardcore skin - not inrejection but in evolution. We were restless. Songs no longercame in bursts of pure speed; they twisted, expanded, askedquestions. Structure was no longer the enemy. We let the songsbreathe, and in return, they told us things we hadn't expected tohear. The songs collected here from 'Make It Stop' (1991) and 'TheHeimlich Maneuver' (1992) capture that moment.Recorded less than a year apart, these two albums aredocuments of a moment when we were following instinct -pushing the edges of our own sound, threading personalspiritual exploration through the fuzz and the fury. It wasn'treligious. It was searching. Trying to locate the self inside thenoise of the world. Trying to speak honestly about confusion,resistance, and the parts of ourselves that don't fit neatly intoslogans or genres.At the time, we knew we were changing, but we didn'tknow into what. Now, decades later, playback reveals somethingclearer. These songs - lyrically, musically, emotionally - feelmore urgent in the now than they did then. The politics haveaged well, which is both a triumph and a tragedy. What wewrote in a moment of creative combustion now sounds likewarning flares - about institutions, about violence, about thequiet need for meaning under it all.So yes, 'Playback is Hell.' But not the hell of torment. The hell offire. The hell of transformation. The heat of memory andmeaning suddenly rising again. Thanks for listening - then,now, and next.- Paul Mahern, 2025

25th Anniversary Edition pressed on silver with black spaltter vinyl