Stop Thinking
(Re-release)

The bastard child of two crazies, namely Clint Abuse (pronounced Ab-yoo-zay - no lie, the fucker told me himself!) and Clam Savage. Dressed like two psychotic mimes on their way to a line dancing class, this odd couple served a mix of music best described as 'complete and utter screw driver in the first half of 1999'. It was twisted, it was fucked but by God it rocked.

Starting proceedings with a little South American drumming (you just know the spoons got broke out for that one) in "Sing Like A Girl", the project's one album (Stop Thinking - best advice ever, by the way) led us through "an eclectic mix" (this phrase copyright shite journalists everywhere) of a Partridge Family cover done in the style of Madness with a little Greek taverna music interlude thrown in for good measure. That was "I Think I Love You" - "Message To Geri" followed (yes, that Geri) which had Abba stamped all over it's junior school electro-pop behind and "Unlucky In Love", with it's initial Egyptian stylings threw you a curve ball by turning into full on country number which one of the most genius and genuinely funny set of lyrics ever (sung by the angelic and lovely Julie of Oceana). ".Com Together" pinched the melody from The Beach Boys' "Don't Worry Baby" and roughed it up with some Bob Marley / Wailers dub-reggae style bass line action. "Falling In Bed With You Again" was pure Queen and "Sunday Driving On A Thursday Afternoon" took a bit of laid back hip-hop and lumped it together with some freaked-out lysergic acid diethylamide stylings. "For That Girl, Everything Is Groovy Baby" got guitars bumpin' and grinding with jungle/techno/gabba rhythms n' drums before "Barney Sings The Blues" which was Clam's (ok, ok so it's actually Wildheart / SG5'er Ginger) Mr. fix-it about the house Barney, singin' the blues (no shit, Sherlock) in the style of a traditional Maori aria... so it was opera with a trance-esque vibe. Got it? Good. "She's So Taboo", an ode to Clint / AntiProductive Alex Kane's porn collection, combined a massive acoustic guitar riff with classic song writing and managed to rip off album closer "There's Always Someone More Fucked Up Than You" for a lyric. That final track rounded off one hell of a trip in fine style, with a Fraggle Rock styled bass and a swoonsome, soothe-some chorus line. It made no sense, but it made perfect sense because, let's face it, we're all a little fucked in the head... aren't we?

J-P Storrow

With the reformation of The Wildhearts and the advent of AntiProduct the Clam Abuse project is no more