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3 of 3 people found the following review helpful:
5.0 out of 5 stars
Now That's What I Like To See..., April 12, 2004
"Is everybody tucked in? Now that's what I like to see.." That's a bizarre opening line for an album that's hardly bedtime material. Five tracks into this raw, incendiary groovefest, I'm thinking that "is everybody wearing protective clothing?" might have been a more appropriate opener. Let's get one thing straight: Girls Against Boys are my all-time favourite band, and while I can find some merit in even their most tepid offerings, this is in my view their finest hour. Like any classic album, though, it begins with a curve-ball; "Tucked-In"(sic) is a curious track. A highly repetitive, somewhat inane fuzz-bass plays throughout most of the song, underpinning dark, bass-heavy chord changes and Scott McCloud's droning mantras about "New York, Chicago, Chicago". It raised an eyebrow at first, but trust me on this one - once you get it, it stays with you. "Cruise Your New Baby Fly Self" then kicks everything into orbit and sets the scene for the album's two killer singles "Kill The Sexplayer" and "(I) Don't Got A Place"; if you can't shake your booty to Alexis Fleisig's powerhouse drumming on these tracks, please seek medical advice. "Psychic Know-How", built almost entirely on bass, drums and - ahem - distorted vibraphone, takes our little excursion on a brief left turn before "Explicitly Yours" lands it into languid guitars and their deepest, most sensual twin-bass groove ever. In fact, one of the strengths of this record is Eli Janney's approach to his instrument. While much is made of GVSB having two bass players, Janney more often switches between keyboards and utilizing his bass as a distorted, high-pitched "lead" instrument. On much of this album, though, he plays BASS - locking in with more conventional, full-time bassist Johnny Temple, whose heavy, bare-boned bass sound already tilts at the Richter scale as it is. On "My Martini", Temple cuts into the groove with almost surgical precision, while Janney relinquishes his bass in favour of surf-styled organ riffing. Scott McCloud's guitar lurks menacingly in the background throughout the album, occasionally busting out a lead riff for climactic effect, but he's more often content enough to provide his trademark charismatic ranting without stealing too much instrumental glory from his bandmates. After ten songs of McCloud's mesmerisingly aloof, arrogant and cynical homages to all manner of dark, twisted tempation, you get to thinking that this guy must crash pretty hard. That's precisely what makes the closing track "Glazed Eye" so compelling; his entire vocal contribution is to scream and howl in the distance amid Janney's repeated caution that "you're swinging too high". Gloomy vibraphone and Temple's dark, melancholy bass line combine for genuinely chilling effect, as well as giving a sense that maybe you have to read a hell of a lot between the lines of the lyric pages. While Venus Lux and House Of GVSB are often more widely mooted as classic Girls Against Boys albums, Cruise Yourself rocks my boat because, like no other album before or since, you can move your feet and your hips while your soul soaks up the sleaze. Go, listen, be converted - just don't hold me responsible for any depravity that may result, OK?
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~ Girls Against Boys
~ Girls Against Boys
~ Girls Against Boys
~ Girls Against Boys
~ Girls Against Boys
by Girls Against Boys 
