Bad Luck Jonathan is the band your father probably told you about that never actually existed.
Sounding like they are straight out of the 70s, this Jon Langford project carries the fuzz, the soul, and plenty of the mean deviation of a progressive space rock act that could fool any naive music listener into thinking that this band is an obscure band from the past.
For those who have not heard of the name Langford, you should probably stop what you are doing and go check out a few songs from his first band, The Meckons, a punk band that took root 40 years ago. The dude is a fricking legend, but be forewarned, Bad Luck Johnathan is a lot more astray from what Langford once started with and mind you, the Meckons were all over the place.
I should probably mention that Bad Luck Jonathan is not just Langford though. Former Whiskeytown guitarist, Phil Wandscher and Martin Billheimer joined forces with Langford along with the Waco Brother’s very own Joe Camarillo and Alan Doughty (who also happened to be in Jesus Jones). It’s been said they came together on an island off the coast of the Pacific Northwest in very specific circumstances.
Realizing they were on to something good, the band, with help from Cleveland’s very own Blue Arrow Records, dropped a spacey, sludge rock self-titled album. That descriptor alone right there just sounds bad ass. Well, so is the album.
Album opener “3 Eyed Piranaha” was a space rock blues jam that pretty much opened the gates of what was to come on this album. It was like listening to Mike Watt, Suicidal Tendencies, Beck, and Stevie Ray Vaughn all smashed together. It was beautiful.
“Bad Luck Jonathan” carried a very Doors-y feel at the beginning, but went the path of Bowie and beyond. “Strong Engine” was a mysterious sounding track with some catchy guitar lines backed by smooth bass playing that erupted halfway into a full-fetched jam.
“Clowntown Collapse” closed the album down with a distortion-driven almost cowpunk sounding track that I really got a kick out of. I could only imagine this song being played live in a dark, small venue, especially by the end when Langford commented into the mic, “that was great” as the song ended.
Clocking in at just over 30 minutes, I can tell you this is not just some quickly thrown together album. Personally, by the end, I was hoping for more as it was a hell of a listen. There is a lot of talent thrown into these six tracks and I’ve personally listened to it over a few times now as it carries a unique sound I am really digging.
The LP version of this album was pressed by Gotta Grove Records and looks killer thanks to the red opaque color of the wax.
If you want to snag a copy, head over to Blue Arrow Records.
I got a kick while reading an interview with Lone Star Music Magazine and felt the need to share. Langford joked about working with Blue Arrow by saying, “we made an album that’s coming out on Blue Arrow Records in Cleveland; their only other artist is Jonathan Richman, so they only work with artists with Jonathan in their name.”
Langford is a trip, and judging by the video below, so are his live performances. I really need to check these guys out live next time they roll through Cleveland.
The tough “Taedium” was just perfect to listen to tonight after having a stagnate day at the paying gig. I could not help but to think about Mötorhead on this track, and that is not a bad thing at all. Add the fact that Propagandhi’s Todd Kowalski dropped some vocals in it make it even that much better for me. This was a hell of a track.
Featuring members of other Pittsburgh talent such as 
It seems like 1995 was forever ago. I was fresh out of high school and naive to the world. There were no smart phones with cameras on them, no Facebook statuses, and people actually talked to one another in the same room. Times were different that’s for sure, and the music scene back then was amazing.
