“The only voice in what you say is yours, so don’t get lost in corporate corridors.”
Ginger penned those words in the mid-90s, and the track they’re from, “Scizophonic,” had a couple of versions before this one on “Acoustic Albums Are Shit Vol 4.” However, somehow those lines make more sense today than they ever did.
Every month or so, Ginger Wildheart releases one of these independently, and the faithful fans purchase it. This month, there’s even more reason to do so, as the proceeds are going toward his treatment. But let’s focus on the music here – and it’s truly sensational.
“Geordie In Wonderland” is enough to convince you of that. Last week, Ginger Wildheart And The Sinners performed the track at the end of their set. The crowd sang along, turning it into a folk song. It’s a folk song; but not here.
Here, it takes on a heavier tone. Instantly recognisable as one of Ginger’s “metal” moments, it’s uniquely him, and you can’t help but think, “This version would have worked wonderfully.”
Take ‘”Pissjoy,” a standout moment on the underrated, wonderful “Endless, Nameless” record. Now, it’s transformed into a dance tune. Electronic, euphoric, and it surprisingly works.
It’s a testament to brilliant songwriting, I suppose.
“Shut Your Fucking Mouth And Use Your Fucking Brain,” once a b-side on “Caffeine Bomb,” now appears bold, expansive, funky, and much more.
Many artists re-record their material, often leaving us wondering why they have or wishing they hadn’t bothered. These versions are different, offering new perspectives.
“The British All-American Crowd” never had a Celtic punk feel, but here it does, and it features flutes akin to the Dropkicks.
“Just In Lust” gave us (if memory serves) b-sides with the late Mark Keds. One of these, “S.I.N (In Sin),” takes on a trip-hop vibe here, with the lyrics taking centre stage.
Back in the mid-90s, The Wildhearts found chart success (their second album hit the top 10) and graced Top Of The Pops regularly. Being contrary, they also created a “graphic” video for “If Live Is Like A Lovebank (I Want An Overdraft)” around the same time that was deemed too “graphic”. Here, you’ll find a punk version of the song.
A true joy of this project is discovering overlooked gems. On this volume, it’s “Under The Waves,” a lesser-known track from “Chutzpah Jnr.” Its post-punk stylings (think Slow Readers Club) are truly remarkable.
Similarly, “Zomboid” transforms into a dreamlike state, while “Zeen Requiem,” previously only performed live, ventures down country roads. Its tribute to a departed friend gains poignant significance in 2023.
These albums preach to the converted, and that’s the point. For those who’ve lived and loved these songs, they’re among the highlights of the year.
Acoustic albums might be considered shit, but these defy that notion. They’re far from it (and the recent volumes aren’t even approaching acoustic). For those who consider the Wildhearts’ b-sides their best and boldest work, these are the modern equivalents
Rating: As always, these songs hold too much meaning to be rated.
REVIEW: GINGER WILDHEART – ACOUSTIC ALBUMS ARE SHIT VOL 4 (2023)
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