Jeffrey Lewis: 12 Crass Songs
> Anyone not associated with cult punk band Crass could be forgiven
for thinking that Jeffrey Lewis was the author of the songs on this
album. The
overwhelming but glaringly relevant barrage of messages that bombards
the listener on 12 Crass Songs undeniably harks back to the early days
of punk, yet is delivered here in a beautiful stripped down acoustic
arrangement, almost seemingly designed to lure the listener into a false
sense of mellow apathy. But one doesnt have to dig deep to understand
the message that
Lewis, with the aid of his covers of songs by Crass, is trying to convey.
> For 12 Crass Songs is a rare thing indeed: a contemporary rock
album that howls with genuine anger, a hate-filled and angst-ridden
rejection of the dogmatic, corrupt and jaded nature of modern society
which manages to sound neither archaic nor sanctimonious in its heavy
reliance on punks original catalyst. You can forget veiled references
to the turmoil in Iraq or flaccid
attempts at running down the Bush Administration; virtually every recent
artists attempt to rail against societal evils sounds restrained
in
comparison.
> It Aint Thick, Its Just a Trick, with its
defiant mantra of They can fuck off cos they aint
got me/and they cant buy my dignity is a scream of individuality
amidst a society which promotes standards and values on a living
room screen, and tells you not to use your brains when your
body makes the splash. It serves as a welcome rebellion against
the comodified
nature of human life which defines the Huxley-esque hell of the previous
song, End Result.
> However, the listener has to make inferences to the
nature of they until Lewis delivers a damning indictment
of religion: They were just preparing a crucifix for me/a life
of guilt, of pain, a holy misery.....the Bibles just
a blueprint for their morality scam....they stand there in the pulpit,
doling out their lies/offering forgiveness then they talk of eyes for
eyes. But Lewiss limp assertion that I never set out
to exploit another at the end
of this barrage of rejection doesnt prevent the listener from
wondering what assets there are to him indeed we, us beyond
being defined by what they are not. The listener is forced to ask of
both them self and Lewis what exactly we are if were not part
of such a society.
> However, The Gasman Cometh turns the album away from
the microcosm of the individuals personal hell and introduces
a far more sinister note: What will you do when the gas taps turn?/where
will you be when the bodies
burn?/will you just watch as the cattle trucks roll by/pretend it isnt
happening, turn a blind eye? The song is littered with powerful
and astute aphorisms that warn against the corruption, violence and
potential for violating individual rights that lies inherent within
the state: Dont wait for it to come for you, cos it
surely will/ The guardians of the state are trained to search, destroy
and kill. The ashes at Auschwitz are just a small leap/ when power is
threatened, life is cheap.
> Banned from the Roxy is a low point though. It is a
mundane rant which borders on a socialist polemic in its allusions to
class and corporations. Im not quite
ready with my gun/but weve always got our songs, claims
Lewis. Any intelligent listener at this point would merely ask so
what? The unlikelihood of such a stance achieving anything seems
lost on the musicians however.
> But this is remedied on What Next Columbus?, where
Lewis asserts that Marx had an idea from (nothing more than) the
confusion of his head/
then there were a thousand more waiting to be lead/ the books are sold,
the quotes are brought/ you learn them well and then youre caught/in
anothers left, anothers right/anothers peace, anothers
fight. In a remarkable piece of self-analysis he seems to recognise
that ideas claiming to be revolutionary can also crush the potential
for thinking for oneself and defining ones identity, with Jesus,
Einstein, Mussolini and Sartre all in turn being trotted out as popular,
yet false examples of paths to redemption.
The calm, glittering nature of this ballad seems to reflect the realisation
that the fervour of rage can lead to people searching for misplaced
forms of salvation: Dyou fear the confusion, the lack of
control? The singer directly asks the listener Who is your
leader? / which is your flock? Think carefully about what you
want, the message seems to be.
> Punk is Dead reiterates this. The album here turns
against its own source, backed up by the lack of a DIY-ethic within
the music; unashamedly sparse and acoustic, lacking in electricity and
adorned with only a piano. Punk is dead/ its just another
cheap product for the consumers head.....CBS promoted the Clash/
but not for revolution, just for cash, Lewis sings. Movements
are systems and systems kill/movements are expressions of the public
will. So perhaps music cant change the world, but Lewis
and his
band still seem to have faith that it can change a persons life.
Have faith in nothing, and trust no-one but yourself.
> The latter part of the album becomes more uplifting, particularly
with Big A, Little A. Be exactly who you want to be/do
what you want to do/ I am he and she is she/ but youre the only
you/ No-one else has got your eyes/can
see the things you see/ its up to you to change your life and
my lifes up to me stands as perhaps the ultimate rejection
of revolutionary ideals, and strikes a blow against socialism, authoritarianism
and dogmatism in favour of
pure and simple liberty. The only revolution called for here appears
to be one of the heart: No-one ever changed things by pulling
down the
steeple/systems are in here cos theyre mostly made of people.
Amen.
> Ultimately, the message of 12 Crass Songs endures precisely because
it doesnt offer an alternative system; it refrains from trying
to build through sound and words a radically different vision of a future
society as a better
alternative to the one depicted on the album. The musicians seem almost
painfully self-aware of the fact that to do so would be laying themselves
open to the very dangers that every other system has become susceptible
to, ones which they have warned against so eloquently on this masterpiece
of a debut. Instead, the album merely preaches salvation through individual
strength and conscience, with a plea to the listener to never forget
their own importance and worth in the face of the vulgarity, banality
and at times monstrous evil of the world. A simple message no doubt,
yet one that is maybe the most effective weapon against the destructiveness
of a system which
threatens to consume us all.
Sheraz Qureshi
http://www.myspace.com/jefflewisband
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