Strike The Baby Kill The Blonde

As the second Millennium AD drew to a close, The Residents began to take stock on a couple of thousand years of reasonably fruitful human endeavour. One text, they felt, had inescapably set the tone and dominated the narrative throughout the Western world for most of that period, often clouding the view as they looked back. Sure enough, The Bible, Testaments Old and New, seemed like fertile ground for a confused, anonymous band approaching their fourth decade. Throughout 1998 and 1999, The Residents set about writing, recording and extensively touring a set of songs based around some of the more curious, unsettling and downright messed up stories they found upon revisiting their old Sunday School Bibles, and present here the results of those industrious years. Complete with demos and sketches, two full live recordings, a live-in-the-studio reworking and the usual assorted ephemera plus later live recordings, 'The Wormwood Box' showcases a project the band still think of very fondly, and have often revisited. Join us and marvel as the Eyeball Oddballs somehow cram murder, rape, incest, vengeance, slaughter and, erm, circumcision into a radio friendly pop format!

Since 2004's Player!, blues-centric guitarist/vocalist Nick Curran left his record label, joined up with Kim Wilson's latest incarnation of the Fabulous T-Birds, performed with his own punk-blues combo Deguello, and basically rumbled and tumbled through a number of sundry side projects, all the while eschewing the solo career that led to him taking home the 2004 W.C. Handy Award for Best New Artist Debut. Clearly, this allowed the ever-musically voracious Curran a chance to stretch his chops and imbibe more of the vast array of influences that spark his interests, from '40s jump blues and '50s rock & roll, to '70s punk and '80s hard rock. All of which Curran brings to bear on his fiendishly inspired, 2010 solo comeback Reform School Girl. A fiery, campy, and insanely rockin' album, Reform School Girl sounds like something along the lines of Little Richard backed by the Misfits with Phil Spector recording the proceedings in his garage.