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"When I put on Wine, Women and Song I wasn't immediately taken with the guitar sound as much as I was with the absolutely bombastic and spectacular playing of one Mr. Dale Crover. Ever driven onward with the urgent and studiously heavy guitar work of the King of Buzzo in the Melvins, Dale just doesn't get to lay back and play with that ever important nano-second behind the beat like he does with Porn. That nano second is the key to the laid back groove, which is sprawled out and sunning itself like a laboriously fat kitty cat all over this record. I'm digging the superbly fuzzy bass tone, punctuated with the neatly beefy and big muffed mid-range of Tim Moss' guitar. Then the vocals come in, and it sounds like Elmer Fudd swallowed the microphone. I'm pretty absorbed in the bizarre mud and bass pummel rush of the band... I couldn't help but hit the repeat button and start the whole record over again."
"If Neil Young is king of the one-note solo, then Tim Moss is surely the king of bending one note and shaping it into a song. I like the way most of these songs make you feel like you’re on a ride, like the Tilt-A-Whirl, or any of those low-rent stomach churning amusement park contraptions. This one is strong from the start and finishes with the best ... "Last Song" is classic! Every time it ends, I hit ‘repeat’ and wonder when the hell I’m gonna get to see Porn live again."
"Wine, Women and Song picks up right where Tim and Co. left off.... Drifting aimlessly in the coldest reaches of space where the stars align in such a way that it almost seems pre-destined that an album could be born of equal parts Black Sabbath, Verve, and Ornette Coleman. Angry fits of rhythm section melt seamlessly into avant-Iommi jazz and back to bone crushing rawk; and that’s just the first track."
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