Album Notes

As former frontman for the short-lived, fondly-remembered '80s band Mary My Hope, the world may not know James Hall's name, but, in the spirit of Iggy, Bowie, Jim Morrison, Peter Murphy and Perry Farrell, that doesn't stop him from acting like they should, as every time he sets foot onstage he makes sure that all eyes are upon him. Like the best rock 'n' roll, it's all about the most unlikely thing happening at the best possible moment, as Hall busts out a trumpet or harmonica solo, strips to the waist or jumps off the stage - whatever it takes to send things over the top. "Illingness" would sound at home back in the days when Jane's Addiction opened up for Love And Rockets. Hall often mines the same moody, skinny, spastic, soulful shout as Ian Svenonious, and his vocal delivery is reminiscent of early, neurotic Tom Verlaine. But while one could talk all night 'til the candles burn down about Hall's possible or probable influences, the end result is something totally its own, and in this age of nothing new under the sun, that's called artistry. Check "Back Stabbing," the nod to Station To Station-era Bowie on "Morninglust," "Need My Man," and the above-mentioned.

-CMJ

Though Hall celebrated his major-label debut by moving back to Atlanta, leaving sultry New Orleans behind did little to alter his music. If anything, he delves deeper into his frankly sexual persona on Pleasure Club, becoming even more darkly alluring and dangerous. The title track features a sinewy verse, followed by a seething, intensely erotic chorus. "Spade" reappears here, slowed way down and retitled "Black Is Black." The spindly "I'm Needy" and the soulful "Illingness" are amazingly strong, as is "Heatwave Radio." Hall's singing is more ragged and urgent; he's finally developed a distinctive vocal style of his own. Few can match Hall's charismatic delivery; like a mythological siren, he draws listeners into his clutches.

-[Katherine Yeske] Trouser Press

On his major label debut, former Mary My Hope frontman James Hall proves himself a musical chameleon influenced by legends like Jim Morrison and David Bowie. Over the course of Pleasure Club's 13 tracks, the singer moves from howling blues demon (the title track) to Led Zeppelin-esque wails, from soulful Jeff Buckley-like crooning to Mick Jagger's patented brand of sultry, multi-tracked drawl. But his greatest skill lies in his ability to pay tribute to the almighty gods of classic rock while simultaneously reinventing the sound with a '90s twist. Much less obviously derivative than the Black Crowes or Lenny Kravitz, Hall's distinctive sound may remind you of the greats, but by album's end he's carved out his own niche. Brilliant, powerful stuff.

-Bret Love, All Music Guide