The sophomore record by
the Gun Club bore the curse of having to follow a monolith of their own making.
Fire of Love sold extremely well for an independent; it was a favorite of virtually every critic who heard it in 1981.
Miami showcased a different lineup as well.
Ward Dotson replaced
Congo Powers (temporarily, at least) on guitar, and there were a ton of guest performances, including
Debbie Harry and
Chris Stein.
Stein produced the album. Off the bat the disc suffers from a thin mix. Going for a rougher sound,
Stein left the instruments at one level and boosted
Pierce's vocal. There is plenty of guitar here, screaming and moping like a drunken orphan from the Texas flatlands, but next to its predecessor it sounds drier and reedier. Ultimately it hardly matters. Going for a higher, more desolate sound, frontman and slide player
Jeffrey Lee Pierce and his band were literally on fire. The songs here, from
"Carry Home," "Like Calling Up Thunder," "Devil in the Woods," "Watermelon Man," "Bad Indian," and
"Texas Serenade," among others, centered themselves on a mutant form of
country music that met the
post-punk ethos in the desert, fought and bloodied each other, and decided to stay together. This is hardcore snake-charming music (as in water moccasins not cobras), evil, smoky, brash, and libidinally uttered. Their spooky version of an already creepy tune by
Creedence Clearwater Revival,
"Run Through the Jungle" runs the gamut from sexual nightmare to voodoo ritual gone awry. Finally,
Pierce and company pull out all the roots and reveal them for what they are:
"John Hardy," is a squalling
punk-blues, with the heart of the country in cardiac arrest.
Dotson proved to be a fine replacement for
Congo Powers, in that his style was pure Telecaster
country (a la
James Burton) revved by
the Rolling Stones and
Johnny Thunders.
Miami was given a rough go when it was issued for its production. But in the bird's-eye view of history its songs stack up, track for track, with
Fire of Love and continue to echo well into this long good night. [The 2020 reissue of the album on the
Blixa Sounds label provides a nice remaster of the original album plus an excellent bonus disc made up of demos for every song on
Miami. The band sound loose and full of fire, the guitars are noisier and
Pierce's howls a little more unhinged. It should work as a tonic to those who felt the actual album was a little over produced. There are also six more demos included that would reappear (under different titles) on the
Death Party EP, which the band issued in 1983. Overall, it's a fine package that expands one of the band's finest moments.] ~ Thom Jurek & Tim Sendra
![$100 Fine [Arf Arf]](http://prodimage.images-bn.com/pimages/0737835507823_p0_v1_s90x140.jpg "$100 Fine [Arf Arf]")
