Yeah that’s right – it’s the other SST band you love to hate.
DC3 was Dez Cadena’s ill-fated post BLACK FLAG gig wherein he was matched with ex-SCREAMERS keyboardist Paul Roessler, then just outta his tangled TWISTED ROOTS. Four albums, a handfull of tours (I saw em open for FIREHOSE and THE BUTTHOLE SURFERS in downtown LA in ’87), a pantload of gtr solos, and a 100-car long boogie train. How could it ever go wrong?
Their 2nd, 3rd, and even 4th records – yes, I admit it – all had serious drawbacks. The almighty boog showcased on The Good Hex LP would’ve been compelling if it had been played by an imaginative rhythm section (it wasn’t), while Dez’ open-hearted love songs seemed at odds with Paul’s wild OffBroadwayisms found on the schizo You’re Only as Blind as Your Mind Can Be LP. The final, live Vida LP ain’t all that bad I guess, but hey . . . today we come to pay homage to their first LP. The original. The best. The one that stills stands tall with you/me today.
This Is The Dream (SST Records, 1985) far and away, tops them all. This is DC3′s choicest/most inspired collection of songs, including two tunes – “I Believe It” and “Ain’t No Time Here Now” – that the colossal 5-piece BLACK FLAG used to play regularly. But here they’re done one better: not racing hardcore but burnin’ hardrock, a bit slower/heavier and with world-weary Dez instead of manic Hank on vocals. It’s on this record that Paul’s contributions feel the most integrated, the most DC3-like; check out his great and bluesy “Twisted and Turning Inside”. It’s their best produced (by SPOT of course) and their most flowing/intuitive mix of rockin’ & sounds.
Criticisms? Really, I don’t have many. I don’t think others would’ve either, if they’d bothered to listen to it more than once back in ’86 or whenever. True, this record woulda benefited by the presence of an actual bassist, like Kira. While Paul’s left hand does do admirably, it feels a little less than grounded at points. But this is the only LP outside OVERKILL’s amazing Triumph of the Will to include Kurt Markham, one of the mightiest drummers in the entire SST extended family. Totally unlike the tight, snare-precision he demonstrated on the OVERKILL LP, here Kurt takes a loose but wide-ranging approach, channelling both the heavy AND lighter aspects of BLACK SABBATH drummer Bill Ward. He wipes himself all in/around this rec, as if attempting to get down there and into the void left by the lack of bass gtr. I coulda used a dozen different records with him playing in a dozen different styles (he’s clearly capable) – but, sadly, after this he shut out the lights on rockin’.
The vast majority of beefs levelled then/now can be distilled to the fact that egads! Dez ain’t a punker no more! He’s honestly playing heavy boogie-blues rock! The shame! The horror! This bummed out lame losers who couldn’t possibly comprehend the worth of a ROBIN TROWER LP – let alone a SAVOY BROWN rec – in ’85. But to the few who bothered (FATSO JETSON’s Mario Lalli and THE MELVINS’ Buzzo come to mind) Dez & co. were/are equated with A LITTLE BIT OF AURAL HEAVEN. We agree, we agree.
All you stoner rock dudes out there, do take note: at this stage DC3 really were vying for the KingsofSoCalHeavyRock crown with nobody else but SAINT VITUS. Yeah ok, maybe with CIRITH UNGOL too. If only Kurt had stayed in the fold . . . if only Spot had stayed in SoCal . . . if only . . . if only . . .