TACK>>HEAD: Friendly As A Hand Grenade 30 Years On

Tackhead have always been ahead of their time, but no one could have predicted quite how prescient their 1989 album Friendly As A Hand Grenade would prove.

When Trump became president in 2016, Gee Vaucher’s brilliant cover artwork went viral, though one wonders how many people knew the origin of the image.

In a way that’s a good metaphor for the band’s career. A supergroup of session players, and arguably the ultimate post-punk band in their effortless fusion of hip-hop, P-funk, agit-prop, dub, house, gospel, blues and industrial, Tackhead have never quite hit the mainstream, even while their respective careers flourished in the company of other artists.

And that’s probably exactly how they like it. Tackhead has always been a kind of petri dish for each member’s musical explorations, a funk version of ’80s King Crimson.

Bassist Doug Wimbish, drummer Keith LeBlanc and guitarist Skip McDonald had of course hooked up during their legendary sessions for Sugarhill Records, and vocalist Bernard Fowler was one of the great singers on the ’80s New York scene. Add London-based mixologist/dub innovator Adrian Sherwood and it was a whole new thang, mixing the latest sampling technology with classic funk-rhythm-section smarts.

And if their second album Friendly, released 30 years ago this weekend, hasn’t dated as well as hoped, that’s more down to its mastering limitations (not enough bottom end) and occasional dearth of quality original material. But when it works it really works, a thrilling mix of heavy guitar, funk basslines, tasty grooves, soulful vocals and scary samples, usually with a political element.

‘Mind And Movement’ steals a march on Heaven 17’s ‘We Don’t Need This Fascist Groove Thang’, a funky missive against Margaret Thatcher’s late-’80s policing policies. ‘Stealing’ is a grinding, gospel-tinged rail against TV evangelists. The two ska cameos are pure filler, but side two is much better, kicking off with the classic Tackhead theme tune ‘Airborne Ranger’, and gradually adding in elements of old-school hip-hop and early house.

Friendly was a hit, reaching #3 on the UK Indie album chart and reportedly selling over 100,000 worldwide. The majors smelt a hit; EMI subsidiary SBK came calling with a big advance and huge recording budget (LeBlanc puts it at around £250,000), resulting in the 1990 major-label debut Strange Things, which had some brilliant moments but has been been described by a few band members since as ‘crap’. Arguably the better follow-up to Friendly was the 1994 Strange Parcels album Disconnection, credited as a ‘A Tackhead Re-Duction’.

Elsewhere, Wimbish went on to great things with Living Colour, McDonald formed Little Axe and Fowler became a key member of the Rolling Stones touring entourage. And they all continued to work with fascinating On-U Sound outliers Mark Stewart and Gary Clail. But the ‘real’ Tackhead sound has probably never adequately been captured on record  – the gigs were (and are) where it’s at (and highly recommended is their live anthology Power Inc. Volume Three).

There was a memorable March 1989 show at London’s Town & Country Club, and I went to many great gigs in the capital during the early 1990s and beyond. The band’s fans were (and are) an incredibly disparate bunch, from Whirl-Y-Gig crusties to B-boys and musos. And they’re still with us. Don’t miss them if they come to your town – they’re still doing some of the best stuff out there.

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Fist Of Fun: Red Hot Chili Peppers’ Mother’s Milk

Apart from some sojourns with Faith No More, Neil Young, Nirvana, The Rollins Band, Tin Machine, Blur and Suede in the ’90s, the last time I was really into rawk was during that incredible wave of bands who hit their straps in the late-’80s – Faith No More, Living Colour, Fishbone, 24/7 Spyz, Mr Bungle.

And this lot. Mother’s Milk, released by EMI Records in August 1989is rock all right, channelling Led Zep and various LA punk heroes, but these boys had some serious funk chops too. You knew they’d studied P-Funk, James Brown, The Meters, Fela Kuti, Hendrix. This immediately separated them from a lot of second-rate imitators.

After the death of great original guitarist Hillel Slovak and drummer issues to rival even Spinal Tap, they’d finally hit on two top-notch permanent members (don’t ask about the initiation rituals…). John Frusciante channels Hendrix, Jimmy Nolen and Adrian Belew (and even dares to take the p*ss out of Slash at the end of ‘Punk Rock Classic’) and contributes serious songwriting chops. Chad Smith is an excellent groove player. And Mother’s Milk is one of the great bass albums of the ’80s: take a bow, Flea AKA Michael Balzary.

It screams: YOUTH! Listening back now after 10 years or so, it’s an extremely enjoyable listen and a real contact high for my teenage years of 1989/1990.

The issue for producer Michael Beinhorn was capturing the band’s incredible energy in the studio. In general, he achieves it really well here; it explodes out of the traps, though its gated snares, multiple guitar overdubs and occasionally dodgy Anthony Kiedis vocals overpower it from time to time.

But it’s hard to think of any other band of the era who could pull off the controlled mayhem of ‘Magic Johnson’, ‘Stone Cold Bush’ and ‘Subway To Venus’ (and is that a homage to Faith No More at the end of ‘Nobody Weird Like Me’?). The ‘pop’ tracks ‘Taste The Pain’ and ‘Knock Me Down’ work fine too, and they have something to say.

Mother’s Milk also has the feeling of ‘last chance saloon’. It was just successful enough, going gold in the US although failing to chart in the UK. The boys had bought themselves some time. They signed a shiny new deal with Warner Bros in 1990 and then made their magnum opus Blood Sugar Sex Magik, the one that truly fulfilled their potential.