Family Man

by

Black Flag

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"I come to infect, I come to rape your woman, I come to take your children into the streets. . .I come for YOU, family man."

Black Flag was a busy band in 1984. They had been put on hold for years because of a tedious legal battle spawned by the controversial release of "Damaged," and could not release any music that used the name Black Flag or their famous four-bar logo. Because of this time off, the difference between "Damaged" and the albums that were released in 1984 may be a bit jarring for listeners. There was no transition to the almost-metal hardcore found on the latter releases.

After the smoke of the jarring transition clears, what is left is some really amazing music. Like "My War" and "Damaged" before it, "Family Man" is very much divided into two sides. "Damaged" side one is chant-along anthems, where side two is dark, angry, frustrated, and unrelenting. "My War" has a similar breakdown, where side one is shorter, more standard songs, and side two is made up of only three songs. Nightmarishly slow, emotive, and expressive, side two polarized many Black Flag fans; what was the band who invented hardcore doing to the genre? It sounded like reinvention.

"Family Man" is even more polarizing. Side one is completely made up of spoken word performances by Henry Rollins; audiences are forced to face the deepest insides of Rollins' psyche through a series of poems and readings that range from black humor (Salt On A Slug) to diary-like mumblings (No Deposit-No Return). Side two is almost completely instrumental, featuring great musicianship by the guitar-god Greg Ginn, the spastic Bill Stevenson (also of the Descendents) and new-comer Kira Roessler on bass. All three muisicians shine amazingly in the quirkily-titled tracks. Each song begins with the band performing the "head" (a la jazz performers) then carrying the listener through a series of variations, each becoming more and more spastic and wild.

The one track to feature vocals and music becomes the centerpiece for the album, and that is Armageddon Man. The format musically is the same as the other tracks on side two, but amidst the insanity is Henry Rollins' almost stream of consciousness ramblings. In the same way the band will repeat an idea and vary it, Rollins will make a statement and then "jam" on it for a bit. For example, "dirt getting stuck in my mouth, dirt getting stuck in my eyes, seeing everything through dirt, all I see is dirt, all I know is dirt, just talking dirt, talking dirt, digging dirt, loving dirt, rolling in dirt, dirt river, dirt sliver, dirt lover, dirt undercover, dirt overcover. . ." He is using his words to express what is happening musically, and the band responds in kind. Many times, it's not sure if Stevenson is following Ginn's lead, or Rollins'.

"Family Man" is a huge artistic statement that was a huge risk to release to single-minded punk fans, but has stood the test of time. A dark journey to take, but a rewarding and cathartic one nontheless.

If you're looking for Black Flag music, this isn't the album for you. This is spoken word and instrumental. Yep, I missed that on the cover when I purchased the album and regretted it.

The spoken word might have a few nuggets of gold in it, but not enough to buy the album or continually listen. The instrumentals aren't good enough to stand alone. Plus, I believe in the immortal words of MC5: "Kick out the Jams,..." Punk was the answer to self serving instrumental pieces like the ones that fill the last half of this album. This album reaffirms my belief that artists shouldn't break boundaries just to break them. It usually results in mediocre art.

For the die hard Black Flag fans, embrace this album. I'm not trying to stop you. For music fans, avoid this album. It's pointless.