Cha Cha Cohen

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If there is any truth at all in the supposition that we are living in a Global Village, it would be fair to say that Cha Cha Cohen do not seem to be in possession of a map.  Hailing from Sydney, Leeds and Edinburgh with temporary residences in Texas, Belfast and New York, Cha Cha Cohen’s collective presence in a recording studio ought to be signified by a hovering Star Of Bethlehem.

Formed in 1994 and led by former ‘dustdevil’ Jaqi Dulaney, Cha Cha Cohen’s debut single “Sparky’s Note” was made a Priority Tune on Radio One’s Evening Session leading to the band signing to Chemikal Underground and releasing two singles in as many years: 1996’s “538ep” and, following their first recorded Peel Session, “Spook On The High Lawn” in May ’97.

It was not until early ’98 that the band came together to perform some shows around the UK while Jaqi simultaneously ducked and dodged UK immigration officials; they were a great success: marrying the infectious drive of the music to Jaqi’s effortless, laconic air of east-coast cool.

“Like Lauren Bacall fronting the Fall…”  
(NME)

“…she’s a star, a genuine, drop dead, 24 carat star.”           
(Melody Maker)

Following on the heels of these shows, came Cha Cha Cohen’s eponymously titled debut.  Developing on the earlier singles, the album was a bold, thunderous gallop through gonzo-tinged Americana: swamp-blues slide guitars careered off hip-hop breakbeats while Jaqi’s knowing, lyrical swipes recalled the heady days of Blondie.  The acclaim was unanimous…

“Spectacular”
(Uncut 4/5)

“A slice of genius”
(NME 8/10)

“Relentlessly inventive” 
(The List 4/5)

Despite the musical plaudits showering down on Cha Cha Cohen’s efforts, UK Customs took a somewhat dimmer view of Jaqi’s residence on our sceptered isle and promptly ordered her back to her hometown of Sydney, Australia: portentous indeed.

Hope glimmered throughout 2000 and early 2001 when Jaqi Dulaney became Jaqi Gregory and with that, an official UK resident: Cha Cha Cohen reconvened to put together their sophomore effort “All Artists Are Criminals”.  Drawing on Jaqi’s time as a croupier in a hotel casino in Upstate New York, the record is a breathless exploration of corpulent America and the hegemony of the rich: delivered with the kind of noir-ish élan we have come to expect from Jaqi.  It is a polemic masterpiece.   

Regardless of their achievement and having delivered their most assured record to date, Jaqi and Keith were growing increasingly disillusioned with the UK lifestyle and, catalysed by a particularly depressing and vacuous edition of Top Of The Pops, decided to turn their backs on the UK and permanently relocate to Australia.  Communication is sporadic, but effusive of the Australian lifestyle: their gain is our undoubted loss.