Kettle Whistle

Jane’s Addiction

1997: Warner Bros. 9 46752-2

  1. Kettle Whistle
  2. Ocean Size Demo 1988
  3. My Cat’s Name Is Maceo Demo 1987 w/ add’l recording 1997
  4. Had a Dad Studio Out-Take 1988
  5. So What!
  6. Jane Says Live at Irvine Meadows 1991
  7. Mountain Song Demo 1986
  8. Slow Divers Live at The Roxy 1986 w/ add’l recording 1997
  9. Three Days Live at The Hollywood Palladium 1990
  10. Ain’t No Right Live at The Hollywood Palladium 1990
  11. Up the Beach Live at The Hollywood Palladium 1990
  12. Stop Live at The Hollywood Palladium 1990
  13. Been Caught Stealing Studio Out-Take 1989
  14. Whores Live at The Pyramid in L.A. 1986
  15. City Soul Kiss 1988

Added to my library in mid-August 2005—appropriately timed, as the J.A. sound always puts me in mind of a very hot Los Angeles night still trying to shake the day’s heat—after I unexpectedly heard it playing at my local pub (the marvelous McMenamin’s) the other night. I vaguely knew of this album’s existence but effectively had no idea of what it was like, so as I recognized some version of “Had a Dad” playing as I seated myself I was alert, fascinated, baffled, and hooked all at once. It made reading my book on Hungarian history much harder, believe me.

I can’t describe my reactions and responses to this in full at the moment, so I’ll just have to say that I was both surprised and delighted to hear just about everything on this CD. Two things I can mention immediately, however, because they’re the strongest reactions I had when I actually got the CD a couple of days later. First, that the liner-notes Introduction by Henry Rollins was a truly eyebrow-raising surprise…I am not a Rollins fan (his entire physical appearance says NOT YOU to me, to put it simply), but I do know who he is and was thus significantly impressed by his eloquent testimony about J.A.’s powerful impact. Second, that I *totally* did not see “Jane Says” coming when it started off (granted, that was while I was at McM’s and didn’t have a tracklist or even a confirmation that I was still listening to the same album), and from the sound of the audience’s reaction when the song revealed itself after the jazzily-laid-back and lovely introduction I wasn’t alone in that; the roar of screaming epiphany that resulted adds a fascinating intensity and depth to a song that was already intense and deep enough on its own.