The Urban Voodoo Machine


Gypsy Hotel Records …………

Whatever music you like, it is in here

One might have thought that they’d have had trouble with the perennially difficult second album but the Voodoos sailed through that and have made a storming third record – and there can’t be many bands that have managed that.

The band, that is very probably an 11-piece (but it is always been a bit fluid), does not really have a style; they have dozens. Led by the irrepressible Paul-Ronney Angel here’s a Camden post-punk snarl that unites a raffish rendering of all manner of genres. There’s rockabilly, but it is more than that, obviously, when you have a female sousaphone player. And there’s klezmer, but with a big bass drum, not to mention a big bass drummer. And squeezebox player Slim used to be in cowpunk almost-hitmakers the Boothill Foot Tappers a couple of decades back. Ooh, then there’s the horn section, fiddle and more so that you might hear snatches of jazz, of swing, of country, sometimes all at the same time coming at different angles but all impeccable choreographed and wrapped in a thin outer lining of New Orleans marching bands.

The result is a melee of music, from Pipe And Slippers Man (which kicks of with a jug band vibe then has a hellish rocknroll guitar break before going to a clarinet solo) to Jimmy Cuba (which sounds like Link Wray playing cartoon salsa). And then there’s Help Me Jesus, when the wholecaboodle isjoined by guitarist Wilko Johnson for a squealing, reeling romp. Utterly unbelievable but fantastic all the same. Nick Dalton

The Urban Voodoo Machine

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