WEEDEATER – …And Justice For Y’all (Reissue)

WEEDEATER – …And Justice For Y’all (Reissue)

Weedeater have been on the sludge scene for many years now, to hardcore fans they’ve become a part of the furniture just as much as larger bands than them are, but how do Weedeater distinguish themselves from other acts?

With tones more disgusting and riffs more punk than even Eyehategod is how. Here we take a listen to the reissue of their landmark debut album.

…And Justice for Y’all begins with the riff heavy and groove laden instrumental track Tuesday Night. Comprised mostly of one riff this is still a powerful song that sets the tone for the rest of the album, fuzzy, sludgey, and varied once the tempo picks up towards the end. Monkey Junction continues very much on the same path as the opening track, a bass intro draws the listener into an overwhelming need to nod along to the pummelling riff that Weedeater have crafted.

Another bass intro leads into a faster, more punk influenced song in Free. This is the band flexing their creative muscles while challenging what the listener thinks that sludge should/could be much like Crowbar mixing hardcore influences into their music, this is also a damn catchy song. Going from a fast song to a slower one can at times be jarring but with sludge’s best friend (feedback) Weedeater manage to pull it off when the utterly destructive riff of Hungry Jack kicks in, beating and abusing all of the fuzz and distortion that can be thrown.

At times the tracks meld perfectly together to create a more coherent listening experience in the form of the album moving fluidly like water, such is the case with Shitfire. A simple count-in on the drums is all it took and it works impressively well, unleashing an even slower riff at the listener, before Weedeater throw another faster one into the mix. The band seem to take a more punk rock style when writing music-by that I don’t mean that they just throw in punk style riffs-giving the impression that they are more than comfortable with their abilities as musicians to use write whatever they want.

So far the remastering of the tracks is pretty impressive, the guitars, bass and more essentially the vocals have been cleaned up to make more of a well rounded listening experience. While there was nothing wrong with the original recordings this new style will no doubt appeal to a wider audience.

Weedeater return to bass intros for Calico, another faster song that blasts along like an old car in the desert at top speed. Unfortunately compared to the rest of the material on this release it’s the only track that seems somewhat one not and therefore it’s a bit meh, enjoyable but it doesn’t really add anything. Truck Drivin’ Man introduces a new element to the album: all out southern rock. This is what I would call the most badass song-in a sea of badass songs-on the album. The main riff of the song screams fun and heaps of enjoyment but while not sounding too watered down with the ever present fuzz and harsh vocals.


Weedeater decide to take an interesting turn next by adding in a cover, namely Southern Cross by Crosby, Stills And Nash. Personally I love it when bands throw covers into an album, it shows a reverence and appreciation for artists that have come before them and this cover specifically showcases that. You get a real feeling that the band had a huge amount of fun recording this version, it’s bouncy, it’s energetic and you can jam your balls off to it. I like!

#86 marks the begining of the end of this album and in true Weedeater fashion: they’re going slow…and kinda weird. Throughout the song there is a vocal track that sounds like the laughing of a clown in an echo chamber, so it’s kinda cool. Bucket is the final song on the album and it picks the pace up again to bring the release to a satisfying closer. Groove, bounce and balls are what this album has all been about and the final track is the epitome of all that and more.

Altogether this stands up as a great sludge album and reissuing it can only strengthen Weedeater’s fan base. As I said before: cleaning up the guitars, bass and more importantly the vocals was a great move for the band, because while it’s the same album it’s far more coherent in it’s objective. Whats the objective? Sludge destruction-and …And Justice For Y’all certainly delivers.