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I S S U E # 26 : J U L Y 1 9 9 7
____________________________________________________________________________
- The Specialists -
DJ Johnson.................Editor
Wayne Burke................HTML
coLeSLaw...................Graphic Artist
Lauren Marshall............Administrative Assistant
Louise Johnson.............Administrative Assistant
Sarah Sterley..............Research Assistant
- The Cosmik Writers -
Jeff Apter, Ann Arbor, coLeSLAw, Robert Cummings, Shaun
Dale, Phil Dirt, DJ Johnson, Louise Johnson, Steven Leith,
Steve Marshall, Rusty Pipes, Paul Remington, John Sekerka
and David Walley.
___________________________________________________________________________
T A B L E O F C O N T E N T S
SOUND CLIP LIST: A list of sound clips you can find at our web site this
month.
EDITOR'S NOTES: Introducing a new writer.
STEVE TURRE: Jazz trombonist Steve Turre is one of the finest musicians on
today's scene. It's somewhat ironic that the acknowledged living master
of the conch shells is better known as the trombonist with the Saturday
Night Live Band, but this Verve recording artist definitely has the
respect and admiration of the jazz community. Shaun Dale spent some time
with Turre during his recent visit to Seattle.
BEN VAUGHN - The Article: An now, prepare for a double-dose of Ben Vaughn,
as we present both an article and an interview with the veteran indie
rocker and producer whose credits run the gamut from great solo albums to
the music from 3rd Rock From The Sun and Men Behaving Badly. These two
separate pieces cover some common ground, but they compliment one another
nicely, too. First up, an article by Jeff Apter which offers a good
overview of Ben's current circumstances. After reading that, it's time
for...
BEN VAUGHN - The Interview: John Sekerka's conversation with Ben completes
the one-two punch. Find out what's what in Ben's world of aliens,
wrestlers and cartunes. And be sure to enter the drawing, because you
could win a copy of Ben's new album, Rambler '65, which was recorded in
his CAR! No, we're not kidding.
TAPE HISS (John Sekerka): After a month of thawing out from his time on the
glacier, Mr. Sekerka brings us interviews with Jason Ringenberg (of Jason
& The Scorchers) and Vic Chesnutt (of Vic...uh..Chesnutt).
BOOK REVIEW: MAKING MUSIC YOUR BUSINESS - A Guide For Young Musicians:
Megadeth bass man David Ellefson's new book could be just what you need,
whether you know it or not. IF you're a musician with grand ideas, that
is.
RECORD REVIEWS: MAN OH MAN!!! We really went nuts this month, and the
result is more reviews than we've ever done before. Hint: Go to the
can before reading. It's gonna take a while to read this stack of 93
reviews!
BETWEEN ZERO & ONE (Steven Leith): In this month's rant, Steven Leith shines
his flashlight on Microsoft's less-than-friendly business practices.
Scary? Especially when you consider they're just the most visible
iceburg in the water.
PHIL'S GARAGE (Phil Dirt): Phil takes a look back at the evolution of
automotive sound systems, from the sublime to the ridiculous.
WALLEY AT WITZEND (David Walley): This month's fable: When The Gossip Lost
The End Game
CLOSET PHILOSOPHY (Rusty Pipes): Rusty gets down to the basic spiritual
components of doing the right thing.
WE'RE OVER HERE! SEND US MAIL!: How do you write to us? Here are some
e-mail addresses to make it simpler.
____________________________________________________________________________
SOUND CLIPS IN THIS MONTHS ONLINE COSMIK DEBRIS
At our WWW site (http://www.cosmik.com/cosmikdebris), you will find sound
clips of Larry Bright, El Caminos, Element 79, Dale Hawkins, The Hate Bombs,
Tom Lehrer, and Roy Hargrove. There are also five clips each of Steve Turre
and Ben Vaughn in the interview section.
____________________________________________________________________________
EDITOR'S NOTES
By DJ Johnson
Welcome to the 26th issue of Cosmik Debris. We're really excited to welcome
our newest member of the staff, Jeff Apter. Jeff, a native of Australia now
living in the United States, has quite an impressive list of credits,
including Australian Rolling Stone. But now WE'VE got 'im, and assuming
those compromising photographs shot at the petting zoo turn out, we'll have
him in our evil clutches for some time to come. Check out his first Cosmik
article, "Ben Vaughn - Rambler Man," which is part of our Ben Vaughn one-two
Punch. John Sekerka's interview with Mr. Vaughn is the left hook. And be
sure to enter your name in the drawing, because you could be one of the five
winners of Ben's new Rhino CD, Rambler '65, which he recorded in his CAR!!
It's a great rock 'n' roll record on its own merit, but I mean...this thing
actually has a song with an engine solo! When we heard that, we knew we had
to find a way to get him into Cosmik Debris, and we did. Twice!
You may notice I didn't do my column this month. It'll be back next
month. I got too busy putting NEXT month's Cosmik together, and I just
plain forgot to get pissed off enough to rant at anything.
Two changes to tell you about. Last month we experimented with having genre
codes next to each title in the review section index, and a key to those
codes in a separate file. I Didn't like it. I wasn't sure why, at first,
but several readers wrote in to tell me they didn't like it either. I think
our own Steve Marshall put it best when he said "it goes against everything
Cosmik Debris is about." That was it. We're about diversity, and we're
here for people who can get into reading about a classical CD right after
reading about a ska CD. One of our readers told me he likes to start at
the top of the index and work his way through the whole thing because it
turns him on to a lot of stuff he never would have picked from the menu if
he'd known what genre it was. And that is exactly what we're here for. So
genre codes are gone. From now on, the review section will load up with the
first "A" review showing, be it Cannonball Adderly or AC/DC. And a big
thank you to those of you who took the time to write and tell me how you
felt about it. It's very much appreciated.
The other change? We've lost the Debris Field for the time being. Louise
Johnson has been doing a wonderful job with that section for several months,
but her other duties are pulling her away from it. It finally reached the
point where she had to choose between putting it on the shelf for a while
or turning out an inferior Debris Field with very little debris, and she
chose the former. The Debris Field has been part of Cosmik since the very
beginning, and it will be back.
That's about it. Enjoy the July issue.
DJ Johnson
Editor
___________________________________________________________________________
LEGACY OF THE SHELLS: Talkin' Jazz With Steve Turre
Interviewed by Shaun Dale
The general audience may know Steve Turre best as the ponytailed, goateed
trombone player in the Saturday Night Live Band. A look at the stage
set up for his current tour in support of his new self-titled album on
Verve Records is enough to tell you that you'll be getting something
other than snippets of R&B classics out of this lineup, though.
It's immediately apparent that you're not in for an evening of cocktail
jazz from a traditional quartet. Turre's Sanctified Shells band has an
impressive 12 pieces, and along with a forest of mike stands and a
drum kit there are a piano, African percussion and Latin percussion
on stage. More dramatically, just to the side of the leader's mike
stand, across from his trombone, is a table bedecked with a collection
of conch shells ranging from fist size to massive Australian specimens
that look about 24 inches long.
Turre, who learned to play shell as a teenaged sideman in Rahsaan Roland
Kirk's band, is the undisputed master of the ancient instrument today.
I spoke to him about the shell and it's place in his music today.
* * *
Cosmik Debris: The shells are something you picked up from Roland...
Steve Turre: Definitely.
Cosmik: And Roland took some, in my opinion, terribly unfair knocks for
gimmickry and all that. Does that affect you now? Does it affect your
audience?
Steve: I've fortunately been able to escape that so far. I do remember
Roland and how his feelings were hurt by those false accusations. I
didn't want to put myself in that position, because being so close to
him, I didn't want to be hurt like that. It made me sensitive to that
issue. I didn't really bring the shell out. I'd been kind of sensitive
about doing that. Then in 1978, I'd been playing the shell about eight
years and I went on a tour of Mexico with Woody Shaw, and among other
places we went to Mexico City. That night I'd invited all my relatives
to the concert and Woody called a tune that put me on the shell. More
so than anyplace I'd played before, the people seemed to flip. They
loved it.
After the concert my family had me to the house for coffee and cake and
we visited. They said "What you're doing, your ancestors used to do
that." I said "Really?" and they said "Yeah! What are you doing
tomorrow? Go to the archeological museum." There's a fantastic museum
in Mexico City with all the Aztec artifacts, and I went there and they
had shell instruments like I'm playing - even the same species of shell!
It was like a revelation and I thought "Hmmm, maybe I'm supposed to be
doing this..."
Then I went to the pyramid and there are shells in the pyramid in a
fresco of priests playing the shell. I said "I guess I just better do
this and not worry about what people say." So when I present it, I
don't present it as a gimmick. It's like when you put the wrong frame
on the picture, it ruins the picture. It's the same with the shells.
To me, the shell is just an extension of the trombone. To me, I play
the trombone open, I play it with a plunger, or I play the shell. In
the right place and the right time, it's beautiful. I'm obviously not
going to play "Giant Steps" on the shell...
Cosmik: I dunno, I think I'd like to hear that...
(laughter)
Steve: Well, I haven't got to it yet.
Cosmik: What's involved in training a shell section?
Steve: I have a pool. A brass player can play shells. You make the same
sound with your lips just like brass. It's a little different - you use
your hand instead of the valves or slide. I've known some very good
brass players that just don't seem comfortable playing the shell. Maybe
it's not for everybody. But I've known people who can just play
instinctively the first time, too.
* * *
The show I saw, at Seattle's Jazz Alley, opened with Turre and bass
trombonist Erwin Johnson each playing one of the large Australian shells
and the other three trombonists (Robin Eubanks, Stanford Hunter, William
Zapeda) providing a choral background on a variety of smaller shells.
"Sanctified" is a highly appropriate way to describe the sound the shell
choir achieves. Trumpeter Eddie Allen, bassist Charles Fambrough joined
the shells, along with percussion (Tommy Campbell, drums; Rolando
Guerro, conga; KweYao Agyapon, African percussion). Hunter took a turn
on trombone, but the opening number, "Exploration," was primarily a time
to, as Turre put it "Get you used to the shells right away."
As the band moved into a song from a previous Turre album, "Sanctified
Shells," they were joined by pianist Leon Pendarvis, one of Turre's SNL
bandmates. They returned to the new album for "Steve's Blues," along
with another guest, the terrific alto player Arthur Blythe. The set
closed with "Strength," another number from "Sanctified Shells."
By the end of the first set, two things were apparent. Turre is a
marvelous performer, using both instrumental virtuosity and force of
personality to create an inspiring mood and some amazing music. Using
trombone, a variety of shells, a cowbell, rattles and claves, Turre also
has complete command of the other eleven men on stage, leading them
through intricate arrangements while providing space for extended and
impressive solos. I asked him about the challenges and opportunities of
leading the band.
* * *
Cosmik: I never saw Woody work, but I saw Roland, and watching your set, I
thought I saw a lot of Roland Kirk in the way you lead. The way you
connect and the way you give to musicians. Do you feel that? How did
playing with Roland affect you as a leader?
Steve: When I played with him, I was so in awe of his profundity that I
was just paying attention all the time, trying to soak up as much as I
could. That's really the whole key, whatever job you're doing, is to
pay attention.
Cosmik: You have a lot to pay attention to up there, in several roles,
including player, leader, composer. Which one predominates for you?
Steve: Well, in this particular context, with Sanctified Shells, I'm
divided. I have to function as a conductor much of the time, but of
course my main focus personally is to be a player. But I've got to give
the cues so that everything's synchronized because there's a lot going
on.
Cosmik: You conduct with your back to the audience a lot, and of course the
stereotype for playing with your back turned is Miles, but in your case
it's different. You turn your back because you care about what's
happening for the people in front of the stage...
Steve: What I'm actually doing when my back is turned is watching the
rhythm section, and making sure they're watching me, making sure they're
getting the cue to go to the next section of the tune when everybody has
to move together, or else I'm playing the bell (Turre uses a cow bell to
mark time when he's not holding a horn or shell) and making sure the
sound of that bell goes right to the drummer so we can get a lock.
Cosmik: You seem to use a variety of cues - which shell you hold up, or the
horn, or a hand motion, or eye to eye. A lot of it seems to be based on
that direct eye contact.
Steve: A lot of it is. People have to be watching, and if I can't see them
I don't know if they're watching. I don't like moving to the next
section and leaving a straggler that has to catch up. I like everybody
to move together.
* * *
During the break, I asked Turre, whose resume includes stints with
Roland Kirk, Woody Shaw, Art Blakey and Elvin Jones, among others, and
whose knowledge of the music and its history is encyclopedic, for his
thoughts on the contemporary jazz scene.
* * *
Cosmik Debris: One of the things that struck me about the album is the
lineup. There's JJ (Johnson, the bop trombone master)...
Steve: He's my father. I don't play like him, but he's my father...
Cosmik: And John Faddis, one of the great second generation bop players...
Steve: John's my homey, too. I knew him in high school. We're both from
the Oakland Bay area.
Cosmik: And then Stephen Scott, who's one of the new young Turks...
Steve: Oh man, he's beautiful.
Cosmik: And JJ, you, Faddis, Scott - though none of you really play the
same, you all come from a similar lineage, a tradition, and now jazz, or
at least what people are calling jazz, is going in a very different way...
Steve: It's interesting. They have a lot of these stations around playing
what they call "smooth jazz," but what that really is is instrumental
pop, and they should call it that. I mean, if you like that stuff,
that's cool. Go on and dig it. I don't particularly enjoy it, I think
it's like grocery store music. It ain't funky, it don't swing, it ain't
jazz. It's instrumental pop.
Cosmik: Some of it uses funk beats...
Steve: But it ain't funky. James Brown is funky. I'm thinking about
something when you hear it, you gotta start dancing. That's what funk
is. When it makes you want to tap your foot and move and groove.
Cosmik: I've heard a lot of it lately, and I can't say it's really bad music,
or at least musicianship. These cats can play everything they want to
play. But what they want to play isn't jazz...
Steve: And what bothers me is the way it's defined in the marketplace.
That's using the name of what we do to get credibility and to get gigs
on the festivals that we could be getting gigs on. Why don't they have
an instrumental pop festival?
* * *
We also talked about how the trombone came to be his instrument, which
became a lesson for me in the development of jazz instrumentation.
* * *
Cosmik: With trombone, most jazz buffs can come up with a few names -
Teagarden, JJ, Kai Winding - but why trombone for you? When you were
coming up, trombone wasn't the featured instrument in many bands.
Steve: But you know, in the early days of jazz, at its inception, the two
main instruments were the trumpet and the trombone. There were
clarinets, but that wasn't a major role. The two greatest bands in New
Orleans at the turn of the century were King Oliver and Kid Ory.
Later, when Louis Armstrong became a leader, Kid Ory joined him, but
initially Kid Ory was one of the main voices in the beginning of the
music. Then in the big bands, each section had stars and soloists in
their own right, whether it was reeds, trumpets or the trombone. During
those days trombone was so popular that every kid wanted to play a
trombone. Now it's the saxophone. Every kid wants to play saxophone
because they see Kenny G making millions of dollars. There are trends,
they market different instruments at different times...
Cosmik: Of course, when you came up, Kenny G wasn't a factor, but Bird and
then Trane led a big saxophone wave...
Steve: But in pop music, when I was in high school, "Night Train" was a
top 40 hit played on the trombone. But they can sell anything. Me, I
like the sound of the trombone. I hear that voice. It's very lyrical
and you can get such a range of colors out of the trombone. You can
make it very sweet and smooth, very pointed and brassy or you can make
it anything in between.
Cosmik: I appreciate that, but the jazz lineup became defined by Diz and
Miles on trumpet and Bird and Trane on sax and the trombone was pushed
back to become a third instrument...
Steve: That's a very good point. What happened was up until Diz and Bird,
the trombone was a very big instrument in the swing era. You had
players like Vic Dickinson, Jack Teagarden, JC Higgenbottom and Benny
Green. Then Diz and Bird came along and changed it up. The music they
were playing was so technically astonishing that only one trombone
player could hang with that level of execution, and that was JJ. So JJ
did for the trombone what Charlie Parker did for the saxophone. But for
a good while, he was the only cat that could hang. The rest of them bit
the dust. They had to sit down. But JJ could handle it. Then as time
moved on, some of the more modern-thinking trombone players went with
that and you had guys like Julian Priester, Frank Russolino - they came
along and extended what JJ did. So the trombone has caught up now, but
by then the mold had already been cast as far as the promoters were
concerned - trumpet, saxophone, trumpet, saxophone, trumpet, saxophone.
Personally, I'm sick of trumpet, saxophone. It's the same shit and it's
the same old kind of sound. They're not writing any new music to take
the sound of the trumpet and saxophone any further. It's a great sound,
but it's not going to get any better than Diz and Bird or Coltrane and
Miles or Wayne and Miles or Sonny Rollins and Clifford Brown or say,
even with Horace Silver, Woody Shaw and Jim Henderson. That was a
classic quintet. It's just not going to get any better than that. All I
hear now is rehash. I like the sound, but I'd like to hear something
fresh with that sound.
* * *
The second set opened with "Spirit Man" and displayed the Latin
influences in the music, featuring Roland Guerrero on Latin percussion.
They moved from that into Duke Ellington's "In A Sentimental Mood,"
which is the opening track on the new CD and which featured some of the
evenings most haunting work on the shells.
The last selection they played was "The Emporer," which weighs in at
nearly 13 minutes on the disc and was longer but timeless on stage.
It's one of Turre's most impressive compositions and requires the full
attention and effort of the full ensemble, so much so that it has
created some confusion for at least one reviewer, as Turre related a
recent incident in the press.
* * *
Steve: I've been very fortunate and people have really seemed to
enjoy this recording, but I was just in Los Angeles and someone gave me
a review from the LA Times, and it was a wonderful review, but one thing
the guy said - he said he loved the album except he said "The Emporer"
was overproduced. I thought to myself "Overproduced? We did it all
live in the studio! How can it be overproduced when it was recorded
live?" There weren't any overdubs and all that stuff. We were all in
the same room and we rolled the tape. I guess they think when you've
got a lot of people it's all production...
* * *
Having been there for this performance, I can assure you that they are
more than capable of doing it straight through all in the same room,
whether there's tape rolling or not. Overproduced? Not a chance. A
brilliant performance? This time out, as on the disc, absolutely.
With his brilliance as a composer, his skill as a player and his
engaging stage personality, Steve Turre is busy taking jazz music into
new realms, but always with the soul of his music anchored to the heart
of the jazz tradition. Impressed by his dual identity as a historian of
the music as well as an innovator, my last question provoked a look at
his musical philosophy and some words that every musician would be well
served to give heed to...
* * *
Cosmik: You're so deeply rooted in the music, the tradition, but you're
taking it out to the next step...
Steve: I think that's really just a matter of personalizing it. Everybody
has they're own way of dealing with the stuff, and I respect that, but I
really disagree with the notion that you have to destroy the music and
recreate it to get something new, or that you have to try to do
something new. I say bullshit. You have to study the music, learn how
to play, and then be yourself. And if you're really being yourself, and
not just trying to *act* different, then it's going to be different,
because each of us is totally unique and wonderful in our own way.
* * *
Steve Turre and Sanctified Shells will be at the Huntington, NY Arts
Festival on July 24, in Atlantic Beach, NC on August 1 and at Sweet
Basil in New York City August 12-17. After that, they're headed to
Europe. Catch the show if you're able. You'll learn, you'll laugh
and you'll love the music.
___________________________________________________________________________
BEN VAUGHN 'Rambler Man'
By Jeff Apter
A mid-life crisis is a tricky thing, no matter which way you approach it.
Typically, cars are at the crux (or is that crutch?) of this dilemma - as
they were in the case of rocker/producer/composer Ben Vaughn. But rather
than lash out and buy some flashy symbol of potency, Vaughn decided to
record in one. "I was actually trying to avoid a mid-life crisis," he
explained to me down the line from Santa Monica. "I figured if I put
everything in my car (a classic Rambler 1965) and record an album's worth
of material, it'd be therapeutic - it didn't matter if it sounded good, as
long as I finished it."
Fortunately for the affable, New Jersey-born Vaughn, Rambler '65 sounds
just fine, packed, as it is, with rootsy tunes and slightly off-kilter
humour. Recorded over a week in the garage of his New Jersey home, Rambler
'65 drifts between the freewheeling rocker "7 Days Without Love (Makes One
Week)" and the heartfelt ballad "Too Much Sorrow," complete with more twang
than Chris Isaak could ever muster, to the psychedelic headspin of
"Levitation" and "Perpetual Motion Machine," the meeting place of Devo and
The Cars. And "Rock Is Dead" could be the first-ever rock'n'roll sci-fi
horror story, as Vaughn considers a world in which aliens have stolen MTV.
But is he worried about the novelty factor of recording in his car taking
precedence over the music? Not really. "Well, 'Tusk' was recorded in a
stadium, which became a story, but it's a lasting piece of music," Vaughn
replied. "I heard it the other day and thought it's still a great album -
I'd forgotten all about the gimmick. Hopefully the music of Rambler '65
will outlast any sales gimmick. And face it, rock'n'roll never sounds
better than it does on a car radio. So why not record in a car?"
With this philosophy in mind, Vaughn proceeded to give the term "garage
rock" a whole new meaning, setting up mikes, instruments and an 8-track
reel-to-reel in the Rambler's back seat, a mixing board in the front, and an
isolation booth in the hefty boot. Despite the roominess of his Rambler,
however, Vaughn's not in a hurry to return to the driver's seat. "I'm never
going back in that car - I'm a big fan of leg-room now. It was so
claustrophobic: I was balancing a drum machine on my knees and playing
guitar and reaching over the front seat to engineer all at the same time.
Never again."
And maybe he'll never need to. Rambler '65 and earlier albums such as
Instrumental Stylings, have opened many doors for Vaughn, including the
plumb job as musical mainman on NBC smash-hit sitcom, 3rd Rock From The Sun.
A chance comment on a radio show led to his hiring, as Vaughn explained.
"I was a guest on station KCRW - everybody listens to that show in LA who
are in films, TV and music. I said I'd moved to LA to do soundtrack work,
and if anyone's interested to call the station. I was just kidding. But the
next thing I know, the president of the production company for 3rd Rock
called on her car phone." And in classic Tinseltown fashion, a meeting was
hastily arranged, a deal was struck, and garage rocker Vaughn suddenly had
a high-profile day job. To add a Twilight Zone-like twist to Vaughn's tale,
the 3rd Rock family actually drive a Rambler American. Strange days, indeed.
And the producers' criteria? "The creators are in love with stuff like
'Louie Louie,' but they wanted it to sound like aliens were playing it,"
Vaughn explained. "Then they heard 'Instrumental Stylings' and realized I
was already doing it. I have free reign with the show, the musical
identity's totally in my hands. I don't know how safe that is," he added
with a nervous chuckle.
Now that Vaughn's also penning the music for the local bastardization of
Britcom Men Behaving Badly, he's found he's had to rethink the way he
writes music. For one, he's now confronted with unfamiliar terms such as
"deadlines." "I'm not a disciplined writer of my own material, it usually
comes to me when I'm walking or driving," he said. "Then I find a guitar,
bang it out and finish it." No longer does he have such luxury. On a
typical working day, he's usually bunkered down in a studio, viewing a
rough cut of 3rd Rock, searching for a musical soundbite to beef up the
punchline. Vaughn's technique is to spot where music naturally belongs,
using the dialogue and graphics from the show as cues.
Vaughn admits he's quickly adapting to the rigors of TV scoring. "Thirty
seconds seems like an eternity on TV. I've always been good at having a
million ideas, not just full songs. Writing a three-and-a-half second tune
is like scratching an itch. It's perfect for me."
When not scoring soundtracks or creating albums in the back seat of his 1965
Rambler, Vaughn's no slouch as a producer, with credits ranging from
Ween's 12 Country Greats to a recent three-handed effort with Alex Chilton
and Alan Vega. But rather than your typical knob-twiddler, Vaughn prefers
to see himself as a collaborator. "What I like to do is to work on things
that are conceptual. With Ween, I had the idea to get them out of their
bedroom, take them to Nashville and cut a record with these 65-year-old
guys. And it worked. If someone like Paul Westerberg approached me and
said 'what should I do next?,' then I'd be interested in producing. But
if he just wanted me to be a typical record producer, I'm not sure if I'd
do it."
However, there are limits to exactly what Vaughn will do as a producer.
While working on an album with Tex-Mex freaks, Los Straitjackets, they
insisted he don one of the Mexican wrestling masks the band favor on
stage. "But I had awful trouble talking to the engineer," Vaughn told me.
"And I also looked like the gimp in "Pulp Fiction", which doesn't help you
gain the respect of a band."
[Ben Vaughn's RAMBER '65 is now available on Rhino Records.]
_____________________________________________________________________________
ALIENS, WRESTLERS & CARTUNES: Just Another Day With BEN VAUGHN
Interviewed by John Sekerka
Ever had the inkling to make some music in the back seat of yer car? Meet
Ben Vaughn, an anachronism with an infectious smile, who makes grand pop
songs you should be cherishing. I last talked with Ben about his fabulous
Mono USA record, a collection of obscure covers which, true to form, was
recorded in glorious mono. Fresh off his new record, Rambler '65, and in a
brief rest stint from his big time gig scoring television music, Ben talked
from glitzy Los Angeles, a chew 'em up and spit 'em out place he has not
only survived, but flourished in.
* * *
Cosmik: I've just been listening to 'Magdelena' from Mono USA. That's an
Alan Vega tune. You had a chance to record with him recently...
Ben: Yeah, I did a record with him and Alex Chilton called Cubist Blues.
We're going over to Europe later in the summer to tour. They went nuts
for it over there, I tell ya.
Cosmik: I haven't had a chance to hear it yet. What kind of a record is it?
Ben: We think it's a blues record (laughs). It's kind of an improvisational
thing. We got together for a couple of late nights and kind of made up
the songs on the spot. Alan, as a singer, is sorta like a jazz musician.
Like a horn player. He did some very cool things, and it inspired Alex
and myself to play along, to come up with some stuff. It's a meandering
record.
Cosmik: Was Alan aware that you covered his song?
Ben: Oh yeah.
Cosmik: What did he think of your version?
Ben: He loved it. I've been friends with Alan since the early eighties. I
was a big fan of Suicide. Used to go see 'em all the time. I'm also a
fan of his solo work.
Cosmik: Me too. Shame that most of it got swept under the carpet.
Ben: Yeah, they're great albums.
Cosmik: Before leaving Mono USA, I wanna touch on the Nancy Sinatra / Lee
Hazelwood cover 'Sundown, Sundown.' Ever since then, Nancy's name has
been popping up on a regular basis. Sundazed records has re-issued a lot
of her records, and I just heard Peter Zaremba [Love Delegation] covering
'Some Velvet Morning.' Is there a Nancy Sinatra revival?
Ben: Almost, but then she made a contemporary country album which wasn't
very good at all. About two years ago she made a comeback. She was
photographed in Playboy magazine, nude. She looked great, though I don't
know how much of it was real. She played a show here in L.A. at The House
of Blues. It was great. Lee Hazelwood showed up and they did duets. I
almost fainted. It was something I never thought I'd live to see. I was
too young the first time around.
Cosmik: Wow, I didn't know Lee Hazelwood was still around and kicking.
Ben: He was living in Sweden for a while. I think he's back in Arizona now.
Cosmik: You know when folks say 'They don't write 'em like they used to,' I
say, 'listen to a Ben Vaughn record.' Your albums are a throwback to the
good old pop days, wouldn't you say?
Ben: I believe in verses and choruses and bridges. I have a traditional style
I write in.
Cosmik: I'm also referring to the fun aspect in your songs, say in 'Seven
Days Without Love (makes one week)' from the new record. Quirky word play
that's catchy and accessible. You just don't hear that any more.
Ben: Yeah, I think people are afraid of having a sense of humor. It has
been a problem in my career, that sometimes I get filed in the novelty
section. Which is ridiculous. Chuck Berry wrote some of the funniest
songs of all time. There are so many great songs that also happen to be
funny. It's tough these days because of this marketing angle. You say
one funny thing and you're branded a comedian.
Cosmik: Last time we spoke you mentioned that you were driving a '64 Rambler.
Now this record comes out, and it's recorded in a '65 Rambler. What gives?
Ben: I have both a '64, which is in really nice shape, and a '65 which, at
the time of the recording, was not running at all. I'd let it sit through
two New Jersey winters, which are severe enough that a thirty year old
engine may not want to kick over. That's what led to the recording: I
felt sorry for the car. It was just sitting there. So I decided to move
my home recording studio into my Rambler and see what kind of sounds I
could get.
Cosmik: It sounds so natural, the way you tell it, for someone to record in
a car, but really, it's a bizarre concept. Where did that idea come from?
Did you have a dream, or did someone dare you?
Ben: Well, you know music always sounds great in your car, so why not record
in one? It makes perfect sense. You can't really separate rock'n'roll and
cars. I was working in a fancy 24-track studio, they were charging $140
an hour. I was producing some demos and we were having trouble getting a
sound on a conga, which is a very simple instrument. No matter what we
did, the thing sounded bad. I made a joke, 'why don't we put it in my car
and run a mike out there. It's gotta sound better than this.' Everybody
laughed, but then I started thinking, 'hmmm, what would a record sound
like if I did it in my car?' So I moved my gear out and recorded some
songs, just an experiment in sound. When I mixed it I realized I had my
next record. Everybody I played it for flipped out. I even got a big shot
manager because of it.
Cosmik: A sleazeball type?
Ben: He can be, when he has to be.
Cosmik: Alright. Say Ben, where'd you dig up the Rambler '65 commercial
which is the last hidden track on the record?
Ben: There's a hidden track? Man, I should listen to my records. Actually,
a friend of mine who's a real Rambler nut gave me a tape. I'm really not
that big a Rambler nut. It's all I've ever driven, so I don't know any
better. Since I'm on Rhino records, I gave them the task of tracking it
down. I don't know where they found it, but they got the master tape and
there it is.
Cosmik: You gotta like that. It reminds me of the old Barracuda commercial,
which was used by The Barracudas a while back.
Ben: The Baccaruda!
Cosmik: Yeah, that's a classic. You just don't hear commercials like that
any more.
Ben: No, you don't. They don't make cars like that any more, that's why. The
music reflected the cars. The cars reflected the times. It was a different
era. I'm not really a nostalgic person. We live in a different time. That
stuff made sense back then. I'm driving these cars cuz I feel more
comfortable in them. It's not like I wish it was the sixties again. We
had the Vietnam War back then... well you guys (Canada) didn't, but we
sure did.
Cosmik: People may be getting the wrong impression about the Rambler, that
it was a big, luxury, gas-guzzling boat. Can you set the scene?
Ben: The Rambler was like the first economy car. There were several others
like it: the Ford Falcon, the Chevy Nova, the Plymouth Valiant. The
Rambler is a small 4-door sedan, which was immediately claustrophobic
when I moved the recording equipment in. I had a milk crate on the front
seat with the mixing board. And I had the reel-to-reel in the back seat
with me. I had a little Panasonic turntable/receiver, the kind your Mom
would have in the seventies, as my monitor amp. There were two little
Radio Shack speakers on the dashboard. I would bring instruments in as
I needed them. At one point I actually used the trunk as an isolation
booth. I put my guitar amp back there, so I could sing and play at the
same time, and have complete separation.
Cosmik: I've seen a video clip of you discussing how to get power lines
through the back of the Rambler. I think it was with your engineer.
Ben: That was actually my friend Bob. I realized that I wanted to record an
engine solo and I had to get the car running. Bob's a mechanic, so he
came over. He was working on my car while I was recording. We were kind
of getting in each other's way. That discussion was about the trunk. It
needed to be fully closed to act as the isolation booth, but the power
chord and the mike cable were in the way. I suggested drilling a hole in
the trunk and Bob went berserk. He came up with idea of taking off the
tail light and going through that hole.
Cosmik: A brilliant stroke. One other burning question: how did you manage
to squeeze a sitar in the back seat?
Ben: My friend plays sitar, and to play it properly you have to sit in the
lotus position, putting the bowl between your legs. We had to roll the
window down to accommodate the neck. The sitar is wider than my car. I
had to engineer his solo from outside of the car. I was standing in the
driveway, reaching in, engineering.
Cosmik: This must've looked strange to the neighbors: it must have looked
like you're tinkering with the car, but all this music is coming forth.
Ben: Yeah, I had to be careful what time of day I would record. I'd get up,
have a cup of coffee and read the paper, then throw this big ugly orange
extension chord out the window. I would record from about 10 am to about
three. Then the kids would start coming home from school and asking
questions like, 'hey mister, are you making a video for MTV?' I tried to
wrap up by then so I wouldn't have to deal with the interrogation. I
couldn't explain what I was doing, cuz at the time I didn't even know
what I was doing.
Cosmik: You've since relocated to Los Angeles, a much nicer climate for your
vintage cars.
Ben: Oh yeah, it's the best place to have a car.
Cosmik: That's quite a cultural exchange, moving from the East coast to the
West. How are you adjusting?
Ben: I'm fine. Los Angeles is the kind of place that if you know who you are
before you move here, then you're fine. But if you're impressionable,
then you're dead. Luckily I know a little too well who I am (laughs). I
wasn't gonna fall prey to all the temptations. I love it out here. It's
a great place if you have a good sense of humor, cuz you can witness some
of the most ridiculous behavior.
Cosmik: How has it changed you musically?
Ben: Well I do music for two TV shows (Third Rock From the Sun, Men Behaving
Badly). So for the first time ever, I'm writing on demand. Before I used
to write from inspiration. Out here I've got deadlines. There are 26
episodes of each of these shows a year. That has affected my writing in
a good way, cuz if you wake me up at three in the morning, and need
something written and recorded and there's a messenger coming over to
pick it up in two hours, I know I can do it.
Cosmik: So a lot of people out there know Ben Vaughn's music even though
they may not have heard of you.
Ben: That's right, if they watch television.
Cosmik: Those shows are doing quite well, how did you get the gigs?
Ben: It's pretty funny. I released a record about two years ago called
Instrumental Stylings, the record came out pretty well when I landed here.
I was being interviewed about it on a very popular morning radio show, and
the president of the production company, who was working on the pilot to
Third Rock, heard it in the car. She called the station on her cell phone
to set up an interview. They wanted someone who wasn't a TV composer.
Someone from the outside. I hadn't watched tv since I was a kid, so I
was perfect.
Cosmik: You and Devo's Mark Mothersbaugh are the saviors of television music.
Ben: He's doing Fired Up right now. I ran into him at the BMI composers
dinner, where we each received awards.
Cosmik: So you're a swinging Hollywood big shot now.
Ben: Well, I could be. You know the funniest part of that evening was
watching the valet park my Rambler. That was beautiful. You have to reach
through the vent window to open the driver's side door. It's a custom
feature (laughs).
Cosmik: Television is such a big money maker. Do you see any of that green?
Ben: Money?
Cosmik: Yeah.
Ben: I'm starting to see some of it, for the first time in my life. I was
seriously broke for so long, eating one can of beans a day for a couple
of years. The residuals for airplay are trickling in, and it looks good.
Cosmik: Sounds like you're working all the time. Any fear of burnout?
Ben: I'm learning how to delegate simple tasks. Before I would do everything,
like arrange for messengers, which is ridiculous. I think I'll be fine. I
came out here to score films. The TV work - I'm figuring out a more
streamlined way of working.
Cosmik: The bits we hear on TV, is that you, or do you have a crack band you
conduct?
Ben: It's just me, a one man operation. I play all the instruments myself,
just like my records. It's kinda exhausting in itself, but my sound is
based on my searching process. If I had other musicians waiting for my
direction, I wouldn't know what to tell them. I write as I work.
Cosmik: Do you ever see yourself in that role, of directing an orchestra?
Ben: Yeah, I've actually done that with films (Trees Lounge). I'm not an
orchestra player, so I sketch out samples of what I want, turn it over
to a real orchestra director. He writes it out, then he gets real union
players who read music to play it. It's really exciting. But you also
know what you shouldn't have written right away when you hear an
orchestra play it (laughs). Ooops - rewrite!
Cosmik: So what films will you be working on?
Ben: My big shot agent is shopping me around like crazy.
Cosmik: I'd like to divert to your production work. Let's start with those
glorious masked men of guitar wrestling mystery, Los Straitjackets. Are
you part of the group?
Ben: I'm just the producer, although I do have a wrestling mask. They gave
me a producer's mask.
Cosmik: Have you ever seen their faces?
Ben: No
Cosmik: They keep their masks on at all times, even in the studio?
Ben: Oh yeah, with headphones too. It's tough. It's that kind of commitment
that made me wanna work with them.
Cosmik: How did you like wearing a mask?
Ben: It was hot. It was really hot. I'm like the fifth member. The mask was
their little offering.
Cosmik: There seems to be a rebirth of great guitar bands out there. Is there
anyone else you'd like to work with?
Ben: Southern Culture on the Skids.
Cosmik: A match made in heaven.
Ben: I've already worked with Ween on their country record. Ween are my
favorite thing.
Cosmik: Is it true that it was your idea to record it in Nashville?
Ben: Ummmmmm... They came to me and said they had a bunch of country songs.
I said, 'oh yeah, what country?' They said 'no no no no,' and played me
one. It was a real country tune. They said they wanted to do a whole
country album. I said, 'a real country album?' They said, 'yeah, a real
country album.' I said, 'one which you have real country musicians
playing with you?' They said, 'that sounds cool.' So I said, 'why don't
we go to Nashville and do it with the guys who played on every Loretta
Lynn and Conway Twitty and Dolly Parton record?' And they went nuts,
not believing that was possible. Those players are union musicians, so
it was no problem. I put the sessions together, picked (Owen) Bradley's
Barn cuz it was the most legendary studio in Nashville. We cut that
record in four days and mixed it in two.
Cosmik: A dream working vacation.
Ben: Yeah, we went to Tootsie's Orchid Lounge every night and I would watch
those guys drink. It's the famous watering hole down there. Everybody
used to write songs on bar napkins.
Cosmik: Have you a country album in you?
Ben: I do, actually. I just might do that one of these days.
Cosmik: Because you covered one of his tunes on Mono USA, I'm guessing that
you are a Bobby Fuller fan.
Ben: Sure.
Cosmik: Are you following his strange murder case which, after three decades,
appears to be opening up again?
Ben: No, I wasn't aware of it. But you know The Bobby Fuller Four were the
best American answer to the British invasion. Songs like 'Let Her Dance'
and 'Julie.'.. they shoulda been number one hits. If they were on a
different label and got better promotion, I really think they would have
been huge.
Cosmik: I'll end it there, but not before letting you play deejay. What
would you like our Cosmik audience to hear as a parting sound offering?
Ben: I'd like the folks to hear the engine solo on 'Heavy Machinery.'
___________________________________________________________________________
TAPE HISS
By John Sekerka
[The following interviews are transcribed from John Sekerka's radio show,
Tape Hiss, which runs on CHUO FM in Ottawa, Canada. Each month, Cosmik
Debris will present a pair of Tape Hiss interviews. This month, we're
proud to present interviews with Jason Ringenberg (of Jason and the
Scorchers) and singer/songwriter Vic Chesnutt.]
* * *
VIC CHESNUTT
Vic Chesnutt used to play a regular gig at a small Athens bar when he was
spotted by Michael Stipe. the rest, as they say, is history. After recording
several brilliant records for the small but prestigious Texas Hotel Records
label, Chesnutt was finally snapped up by Capitol. After years of trying, I
finally managed to squeeze a conversation out of the reclusive musical sheriff
of Pike County, Georgia, wheel chaired car crash survivor, truck stop groom,
presently on-the-wagon atheist, and perhaps the most important songwriter of
the nineties. Vic Chesnutt squeaks a southern drawl over the phone from his
humid abode.
John: Are you a folkie, a bluesman, or a rock performer?
Vic: I am a singer-songwriter.
John: Don't you feel a kindred spirit to the old bluesmen?
Vic: I feel a great kindred to the old bluesmen.
John: Do you ever wanna be a rock'n'roll star?
Vic: I am a rock'n'roll star. At least I feel like it, because I'm talking
to you, and I've been traveling for two months in Europe.
John: Do you run into problems opening for bands like Sugar and Live when
most of the audiences don't know you?
Vic: I wouldn't call them problems. More like logistical facts. People don't
know me and they wanna see their big big heroes, but that's okay. It's
fun to play these big places so you can play very loud.
John: A couple of years ago, in Option, you said, 'There's no place for me
in the music business. I suck. Why am I here?' Have you resolved your
dilemma?
Vic: No. I'm doing the same thing now. I'm still wrought with guilt and
paranoia and such, but I don't care as much as I used to.
John: Your music is very personal and emotional. Do you get rabid fans
latching on to you?
Vic: It seems some people identify with my songs, and they seek me out and
ask about them, touch me, give me little presents.
John: Does it make for a more interesting record when it's made under duress?
I'm speaking of 'Drunk,' for which you had an alcohol problem.
Vic: I was stinking drunk the whole time!
John: Were you stinking happy drunk?
Vic: No, I was very depressed at the time and we weren't making a record as
such. We just wanted to get away from our wives for a weekend. I wrote a
few songs and recorded a few songs, which turned out to have a certain
emotional quality, and Texas Hotel put it out.
John: Do you work best when in turmoil, or when you're happy?
Vic: I don't think it matters. I'm a day to day hit or miss thing.
John: I know you're well read. Besides songwriting, do you dabble in any
other literary fields?
Vic: I wrote a novel and a half a novel, and they were bad. I want to
continue writing when I have more time. I love stories, and literature
and poetry, and I do think about it.
John: Has anyone else read your novels? Maybe they could see something in
them that you can't.
Vic: No, I've read enough books to know that it didn't read very well. The
dialogue was stiff and the details were convoluted. I'm older now. I was
about 23 when I wrote the first one, and about 28 for the second one -
which was a lot better. I just started another one about two weeks ago in
Europe. We'll see how it goes.
John: In your songwriting, do you feel that you can properly capture an
emotion, or is that a frustrating experience?
Vic: That happens, but most of the time if I record a song it has accomplished
what I wanted, or I wouldn't do it. It's not like I'm hurting for songs.
John: How big a role does living in the South play - the weather, the
atmosphere, the humidity, the Southern mentality?
Vic: I'm a southern person inside and out. I feel a kinship to modern
Southern gothic writers, and what it is that makes my music dark and
melancholy. I write a lot about the South. There's a lot of guilt here.
We have a horribly violent history. There's a dark side to the social
way here, and that pushes my writing in a certain way. Although I'm just
theorizing, cuz I don't know why the hell I do what I do.
John: Were you a stereotypical southern redneck?
Vic: Oh yeah. I grew up down dirt roads in the middle of nowhere. I hunted
and fished and said the 'N' word a million times everyday. But when I
reached a certain age, I rebelled against it and I knew I didn't fit into
that world, so I moved to the Bohemian bastion that is Athens, to go to
school and to bring myself up to the modern times. To believe what I
wanted to believe.
John: Did you become an atheist at this point?
Vic: Yeah it was all part of that. I was in my mid teens when all this
struck me. I realized that I was not my father or my father's friends,
or the sheriff of Pike County. I remember sitting in church and being
shocked at the Blood of the Lamb sermon.
John: I guess you don't believe in religion, but do you believe in God in
any form?
Vic: I do believe in religion. I am an atheist. I do not believe in God, a
thread of truth or goodness throughout the universe. I'm kind of a
scientific guy but I don't even believe in science.
John: How did you resolve your atheism with your God-fearing family?
Vic: It was a big dilemma. It made 'em sad. My parents and grandparents are
now dead, but even on their deathbeds they were worried about my soul.
It hurt me very much.
John: Do you think you have a soul?
Vic: No, I don't believe the human race has a connection to the center of
the universe. Not at all.
John: Do you think we're all part of some cosmic mistake?
Vic: No I wouldn't say a mistake. It just happened. It's like 'look what
stepped out of the ooze today.'
John: How important was your grandfather (Sleepy Carter) in your life?
Vic: He played guitar and sang songs. When I was a baby I saw people sitting
around in living rooms playing music and singing. I was completely in love
with that. The sounds made everyone cry and laugh. It was a wonderful
activity. I wrote songs as a kid cuz I knew people did it. Most people
don't think of it, but I thought 'hell yeah!' Something to do. I played
trumpet with my grandfather when I was a little kid, on small stages in
Texas. He was a gigantic influence on me. My whole family thought I took
after 'my evil grandfather.' He was kind of a rough character.
John: When you started out, you were a keyboard player in The La-De-Da's...
Vic: Just like Bob Wiseman [Canadian keyboardist].
John: Was that a punk band?
Vic: No, we were like a drunken Eagles type of band.
John: What made you switch to guitar?
Vic: I started when I was a teenager. I played keyboards with The La-De-Da's
because I had this accident when I first moved to Athens. I don't know
what happened, but when I woke up my hand was numb and my legs were numb.
I had an operation and I couldn't play guitar for a while.
John: This may seem like a cruel question, but because it changed you, was
the accident one of the best things to happen to you?
Vic: People would say I was insane if I said that. I wouldn't say it was the
best thing that ever happened. It was just a thing - like when my voice
changed, or when I discovered LSD.
John: What is your drug of choice these days?
Vic: Weed, I would have to say.
John: Are the LSD days long over?
Vic: Oh no. Someone gave me some in Europe. It was quite eye-opening, shall
we say.
John: Do drugs play a role in your thought process - the cliché sixties thing
about getting stoned and writing psychedelic tunes? Do you use it as a
stimulant, or is it a casual parlour indulgence?
Vic: I don't use it as a stimulant. I write anyway. It just affects the songs,
just like if I had the flu.
John: You get compared to Daniel Johnston...
Vic: I never said that. I think Daniel Johnston is one of the most amazing
modern songwriters I've ever heard.
John: Johnston and Roky Erickson get pigeonholed as troubled writers who work
best when in a mixed-up mental state. Is it possible to produce good art
even if all is well in your world - even if you're bored?
Vic: Absolutely, I do, have done and will do.
John: What does Michael Stipe think of your version of 'It's the End of the
World'?
Vic: He was there in the studio when I recorded it. I think he liked it.
What was funny I used all REM samples to make the song. I tried to fool
him and say there's no way in hell that he can know what sample this is.
But he always knew, cuz when they were recording he heard that song
10,000 times.
John: How'd you wind up with Stipe as a producer for your first two records?
Vic: He asked me.
John: Is he just a producer or do you keep in contact on another level?
Vic: He's my buddy.
John: On Pravda Records' Star Power you cover 'The Night the Lights Went Out
in Georgia,' originally done by Carol Burnett sidekick Vicki Lawrence. You
bring a stark chill to the tune. How'd you get involved in that project?
Vic: I met the Pravda Records guys a long time ago at an Athens coffee shop
where I kind of lived. When it came time to do this cover album they asked
me to do it. I had the single as a kid and I wore it out. It was a deep,
dark, heavy song. I didn't wanna cheese it up too much. It was just a
beautiful, horrible song.
John: You were the subject of a documentary [Peter Sillen's Speed Racer] -
some people can't look at themselves on the screen. Are you of that ilk?
Vic: Yeah, I can't look at it. I don't like what I say. I don't like the way
I sound. I don't like the way I look and fidget.
John: What about records - do you listen to your music?
Vic: Mostly I record them and that's it. I never listen to them for pleasure.
I'd rather be working on new songs.
John: You must have had your share of nightmare gigs, especially in the
south. How do you handle such adverse situations?
Vic: I don't play much in the South. I've toured the US solid since 1990
when my first album came out. I've played sports bars where I didn't play
any of my songs. A drunk guy would come up and we'd do 'Hey Joe' for an
hour and a half. I've played festivals in Europe: 5000 Belgians who really
wanna hear Stevie Ray Vaughan, but I'm the unlucky person who has to be
there instead. I just try not to think about it.
John: What is your best memory of Europe?
Vic: I played a show in London at this beautiful theater called Southbank on
the Thames River. I played with Guy Clark, Alain Toussaint and Joe South.
It was the greatest moment of my life.
John: It sounds like Europe had a very strong effect on you.
Vic: I let everything pour over me like cold water - a constant shower of
newness. It's amazing and it's so old. I played in buildings that are
twice as old as my country. Those things I don't take lightly.
John: Would you consider ripping up your roots and relocating somewhere
other than Georgia?
Vic: Sure. Since my first record I've spent less than half my time here
anyway. I've spent a lot of time traveling and it's already changed my
songs; images have crept in from all over.
John: Any parting words Vic?
Vic: I love, I love, I looooooove Mary Margaret [O'Hara, reclusive Canadian
singer]. I just love her. I think she's the greatest singer ever.
..tape hiss
* * *
JASON AND THE SCORCHERS
When you mention cowpunk, one band immediately springs to mind: Jason and the
Scorchers, a crazy bunch of Nashville hooligans who back in 1981 played wild
fire rock'n'roll and pretty well set the stage for everything that has come
down the shute since. Their star shone brightly for a couple of years before
record company squabbles and mismanagement led to an untimely end. Don't fret
though, cuz there is a happy ending here. Jason and the boys have regrouped
and released two solid comeback discs on Mammoth Records. I had a chance to
sit and talk with vocalist Jason Ringenberg about Hank Williams, Al Capone,
John Denver, Keith Richards and, of course, The Scorchers.
John: About six years ago Jason & the Scorchers had a hot album and played
a barn-burnin' show at the local watering hole. Folks couldn't get enough
of the band and then poof, you guys disappeared off the face of the earth.
What happened?
Jason: Well we're still on the face of the earth. We were just invisible.
Now we have a visible presence again.
John: Is it true that in the interim you were doin' a Hank Williams type
thing in Nashville?
Jason: Yeah, I did that, but basically got run outta town.
John: You come from a hog farm don't you?
Jason: A hog farm from Northern Illinois. Just a hop, skip and a jump from
Canada. I'm almost half Canadian.
John: What made you leave the beautiful confines of a hog farm to try music
in Nashville?
Jason: Nashville held an allure for me. I was always into music and had to
try it. I didn't really want to be a country singer, more of a roots rock
thing.
John: How'd you meet up with the Scorchers?
Jason: Those guys were Nashville rock 'n' roll at the time. It was natural
that I would bump into them, or step over them. They were a wild bunch.
I came in with some songs and we started jamming. Our first gig was with
Carl Perkins and our second was opening for REM. Our third was opening
for an English techno band. After that we didn't have to open for anybody
else.
John: Did you come out of the womb with that hat on?
Jason: To be a great country singer you have to have a receding hairline.
Mine has pretty much done receded, so that hat is permanent. Hank was
that way too - Hank Senior.
John: When I heard of the Scorchers reunion, thoughts of Yes, Led Zep and
Eagles ran through my mind. Are you guys diggin' up the oldies before
arthritis sets in?
Jason: We made a decision that it was gonna be a new start. We respect what
we've done before and we play a lot of it live, but we're trying to forge
ahead. We feel like we can be competitive
again.
John: Any wild tour stories from your past?
Jason: The biggest crowd we ever played for was in England before about
80,000 people, opening for Status Quo, who are like Led Zeppelin Over
there. When we walked on stage there was plastic sheeting all over their
equipment, and it didn't look like rain. As soon as we set foot on stage
the crowd pelted us with garbage. We were unknown, it was our first gig
in England. We found out later that it was tradition for Status Quo fans
to pelt the opening band. I was like a dog in a shooting gallery: marching
back and forth until they hit me again. Being young cocky lads, we started
throwing the stuff back, and baiting them, 'My grandmother is wilder than
you!' By the end of our set they were cheering and we got an encore - the
only band ever to do so.
John: About your cover of John Denver's 'Country Roads,' have you had any
feedback from the wannabe astronaut?
Jason: I've sent him a package. I'm hoping to hear back cuz I'm a big fan.
John: I see him peddling stuff on late night TV, and he looks as good as he
looked twenty years ago. He's the Dick Clark of country folk.
Jason: He's incredible, all that fresh mountain air.
John: I think you should get a double bill going. Maybe get him to join ya
on stage for 'Country Roads.'
Jason: Yer full of great ideas, you should be our manager.
John: Are you guys too rock for The Nashville Network?
Jason: We'll never get on country radio. Every now and then we get a video
played, but it's rare.
John: Where'd you record yor comeback record 'A Blazin' Grace'?
Jason: It was a Tennessee studio that used to be Al Capone's hideout back in
the thirties. Back in those days, the South was isolated and backward, so
it was easy to get away down there. Over the years it fell into disrepairs.
Some people took it over and made a studio out of it.
John: Any gangster memorabilia, like gold pistols instead of gold records on
the walls?
Jason: No, but there are some ghosts - though I didn't see any myself. Maybe
we've got 'em on the record.
John: This may be way off track, but a while back there was a cowpunk band
from Nashville called Walk The West...
Jason: Oh sure, they're friends.
John: Well then, you're the man to talk to. They put out a great record and
I never heard from them again. Where are they now?
Jason: They're the Cactus Brothers now. They've a record out on Liberty.
John: Thanks for straightening me out on that one. I thought I was gonna
shoot blanks.
Jason: Naw, yer hittin' right on.
John: Do you have any parting words, Jason?
Jason: Well you've heard that Keith Richards passed away today.
John: No I didn't.
Jason: Yeah. His soul went up to Heaven, but they wouldn't let him in and
sent him down to Hell. The gatekeeper greeted him with a cold beer, a
vintage Telecaster guitar and invited him for a jam session with Noel
Redding and Brian Jones. Keith says, 'Geez I've got cold beer, my
favourite guitar, all my mates to play with, beautiful women ... this is
Hell? What's the catch?' Then all of a sudden from behind the drum kit
it's Karen Carpenter saying, 'Okay everyone, 'Close To You' on four. A
one, two, a one two three four...'
[listening suggestion:'Hell's Gate' - track 7 on yer CD thingamajiggy]
Tape Hiss...
___________________________________________________________________________
BOOK REVIEW
TITLE: Making Music Your Business - A Guide For Young Musicians
AUTHOR: David Ellefson
PUBLISHER: Miller Freeman Books
Paperback - 129 pages.
Reviewed by DJ Johnson
Now here's something I wish I'd had about twenty years ago, when I was part
of a band and had big dreams but no clues. David Ellefson's wonderful book,
Making Music Your Business - A Guide For Young Musicians, lays it all out in
plain English, and while it can't promise disaster-free navigation through
shark infested waters, it can at least help one identify the species of
shark.
Ellefson is no stranger to his topic. As the bass player of the heavy metal
monster band Megadeth, he's been through every circumstance described in
the book, and it's obvious he was taking copious notes all the while. It's
a sure bet that you can't learn everything there is to know about the music
business in 129 pages, but Ellefson does an admirable job of explaining the
essentials without wasting pages, and he dishes out plenty of sage advice on
everything from practice habits and attitudes to proper hotel room etiquette.
Joining him in this mission is a handful of guests making one-page cameos
to offer their best bits of advice to young upstarts. Joey Ramone shares
his opinion that hard and constant touring is the best way to tighten the
band and get the message out. He also mentions the importance of playing
sober, and The Ramones' dedication to that principle. I thought of Dee Dee
Ramone's sunken eyes and snickered a bit. Tori Amos warns about the dangers
of ignoring the business aspect of your career and trusting the wrong people,
whereas Chrissie Hynde (The Pretenders) says just the opposite, claiming she
has never cared about the business end of things and recommending you hire
somebody to do that for you. What do you do with this conflicting information?
You go with Tori 'cuz she's a babe. And, uh, because she's right.
Making Music Your Business is well layed out and packed with information.
Ellefson explains the difference between a personal manager and a business
manager, spelling out each job in clear terms. The exact functions of
music attorneys and booking agents are explained. In some of the most
interesting pages, Ellefson explains how many records have to be sold in
order to make a profit, concluding with a firm warning about taking large
advances from the record label. Who knew? This is why last years MTV star
is changing your oil down at the local Chevron this week.
More and more information: How do I get through the recording process; what
about promotion; is a video really necessary; how can I take advantage of
the Internet; how do I deal with the road and concert promoters; what about
copyright and trademark law; and for those who are really thinking big, how
do I negotiate a merchandising deal? These are tricky topics, but Ellefson
spells it all out so anyone can understand it. Is this another "Get A Guitar
And Become A Star" or "How To Get Chicks Quick" book? Hardly. Ellefson
speaks pure truth when he says "some people say luck is a key ingredient of
success, and that may be true. But I also believe that the harder a person
works, the luckier he becomes." Knowledge reduces the need for luck, as
well, and there's an amazing amount of that to be gleaned here.
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BETTIE SERVEERT: Dust Bunnies (Matador)
Reviewed by John Sekerka
There may not be a better pop band to jump around to at the moment. The
Netherlands' chief rock export, Bettie Serveert rock pure and hard. Carol
Van Dijk has an immediate, drawing voice which is equally at home belting
out classic crunch singles ('Geek') and sultry croons ('Sugar The Pill').
Throughout it is Peter Visser's masterful guitar work that completes the
puzzle. If Sonic Youth continued to head into pop territory they might
sound something like this.
BOZZIO LEVIN STEVENS: Black Light Syndrome (Magna Carta)
Reviewed by Steve Marshall
Magna Carta has quite a reputation around prog rock circles these days
for their excellent tribute CDs--more so than their discs from individual
artists. This CD could quite possibly change all that. Black Light Syndrome
is the first (and hopefully not the last) CD from Terry Bozzio, Tony Levin,
and Steve Stevens. When you look at the names of the band members, one name
seems oddly out of place. Terry Bozzio is one of the best drummers
around--playing with the likes of Frank Zappa, Jeff Beck, and UK. Tony
Levin is best known for his bass work with King Crimson, Peter Gabriel, and
a host of assorted session gigs. Steve Stevens has played with Billy Idol,
Michael Jackson, and Robert Palmer. My long-standing impression of Stevens
was little more than big hair with a whammy bar. All flash, no passion. It
didn't take long for him to prove me wrong, though. Stevens not only had
the chops necessary to keep up with Bozzio and Levin; there are several
instances on the CD where Stevens is clearly the 'star' player.
Out of the CD's seven tracks (all instrumental), only one is less than eight
minutes long. The songs were 'spontaneously composed' by all three musicians
over four days in January. Stevens and Levin did various overdubs to provide
the assorted textures on Black Light Syndrome, but the basic tracks were
recorded live in one or two takes. "The Sun Road" was the first track
recorded, and at just under fifteen minutes, the longest track on the CD. In
this particular case, the second take was 'it.' Stevens' multi-textured
guitar work is superb throughout, along with Bozzio's manic drumming. "Dark
Corners" is one of the many highlights. Stevens kicks the track into gear
with distorted guitar, and then Levin & Bozzio pound out the basic riff.
After some killer guitar work, they come to a screeching halt, and go into
a brief acoustic interlude. A cool bass and drum improv follows, before
going back into the basic chord progression.
Levin kicks off "Duende" with a quick solo on the fretless bass, but the
song is a showcase for Stevens' flamenco guitar work. Bozzio's drumming and
percussion on the track is outstanding. Several of the tunes have a definite
fusion flavor to them. Brand X fans, in particular, will love the title track.
The song contains four alternating sections--two that sound like a Jeff Beck
song, and two that sound like Brand X at their darkest and best. Another song
with a strong fusion influence is "Falling in Circles," which sounds like a
cut from Bill Bruford's excellent One of a Kind album. This one rocks. "Book
of Hours" starts with an acoustic intro, then eventually builds into one of
the best songs on the disc. The final track, "Chaos/Control" is reminiscent
of Frank Zappa. The chord progressions, drumming, and guitar work all echo
with elements of 'His Frankness.'
Black Light Syndrome is the best CD of its kind to come out in several years.
Anyone who appreciates good fusion, or instrumental rock, will unquestionably
find something here they like. If you're not familiar with this type of music,
this is the perfect CD to test the waters.
(In case you have trouble finding Black Light Syndrome in your local record
store, you can order it direct from Magna Carta through their web site.
Point your browser to http://www.magnacarta.net for more information on
Bozzio Levin Stevens or any of the other Renaissance artists.)
LARRY BRIGHT: Shake That Thing! (Del-Fi)
Reviewed by DJ Johnson
The liner notes point out that Larry Bright was like "Howlin' Wolf trapped
in the body of Pat Boone." And it's not far from accurate. In 1960, there
were more good lookin' white boys playing R&B than you might know, but not
many were doing it so well that listeners assumed they were black. It's a
well known fact that Elvis got his shot because he was a marketable white
boy who "sounded black." For Larry Bright, however, it didn't pan out that
way. Too bad, too, because he had a great deal of talent and style, as
evidenced by this hot little collection from Del-Fi.
Recorded from 1960 to 'round about 1964, the 17 tracks on Shake That Thing
reveal Bright to be a pretty fine recycler and interpreter of the blues.
His version of "I'm A Man" is particularly interesting because it dispenses
with the power guitar approach taken by Muddy Waters in favor of subtlety,
mood, and atmosphere. Bright's near-obsession with voodoo probably had a
lot to do with that attention to atmosphere, and it sure as hell had plenty
to do with his repertoire, which included "I Got My Mojo Workin'," "Mojo Man,"
and "Mojo Workout." All of that music is tasty and mean, R when it should
be R and B when it should be B, but there are a few interesting side roads
here, as well. Del-Fi's owner, Bob Keane, wanted Bright to make surf
records in 1963, when surf was quite the rage. Bright, of course, was a
bit lost, and the resulting record, "Surfin' Queen," really missed the wave,
landing closer to soul. Toward the end of the CD there are a few unreleased
"demo" tracks ("Teenage Jailbreak" and "Ugly American") recorded, jam-style,
on the spur of the moment, in one case at the suggestion of someone in the
booth (Keane?) who simply said "I want you to write a song right now called
"The Ugly American." He does. Fun stuff.
The real meat of this collection is the R&B. "New Orleans," "Bloodhound,"
"Twinkie Lee," and the should-have-been classic, "Bacon Fat," all boil in
authentic blues juice. Bright was for real, and we didn't have a clue.
Every now and then some music by a basically unknown artist will resurface,
and we'll hear it and say "That one probably should have made it." This is
one of those times when we can only shake our heads and wonder what the hell
could have possibly gone wrong. (The liner notes suggest it might have been
a combination of booze and flakiness.) At least there's a great document
for posterity.
TOMMY CASTRO: Can't Keep A Good Man Down (Blind Pig)
Reviewed by Shaun Dale
"Buddy Guy?", my buddy asks, hearing a ripping guitar solo coming out of
the speakers. I shake by head and he says, "Collins?"
"Nope," I answer, "new cat. Tommy Castro."
It's my friend's turn to shake his head as he simply replies "Jeez!"
Jeez indeed. Of course, for San Francisco Bay Area blues fans, Tommy
Castro's hardly a new cat at all. He's been tearing up the local scene
for some time and has scored big at the Bay Area Music Awards (BAMMIES)
year after year.
Here on his second Blind Pig release (following 1996's "Exception To The
Rule") he scores big on a dozen cuts, including eight originals and some
carefully selected covers. This is tough, high energy blues with a
strong R&B edge, the kind of music that's perfect for those evenings of
drinkin' and dancin' that pull people into the clubs. No wonder among
that shelf of BAMMIES there's one that declares Castro and his band as
the "Club Band Of The Year."
Accenting his dead on guitar work and soulful vocals with sax, piano,
B-3, drums and bass, with a guest appearance by Commander Cody on the
rocking "Nobody Loves Me Like My Baby," Castro and the band deliver the
perfect combination of style and grit. About the only thing I'd rather
do right now than hear them play is to watch them work. I'm going to
take my first chance to do just that. Meanwhile, this one remains in
heavy rotation at my house.
Track List: Can't Keep A Good Man Down * You Knew The Job Was Dangerous
* Suitcase Full Of Blues * You Gotta Do What You Gotta Do * I Want To
Show You * My Time After Awhile * Take The Highway Down * High On The
Hog * You Only Go Around Once * Nobody Loves Me Like My Baby * Hycodan *
Can't You See What You're Doing To Me
NICK CAVE & THE BAD SEEDS: The Boatman's Call (Reprise)
Reviewed by John Sekerka
You knew something had to give after Murder Ballads, and Nick drops jaws
as he settles in for a crooning love album. And while some cry foul, I
cry hooray! I applaud the unexpected, and this folks, is quite unexpected.
There has always been a bit of Leonerd Cohen in Cave and now it comes right
to the fore. Cave brings his sumptuous baritone right up front as the Bad
Seeds offer subtle backing for the most part, a tough decision especially
since the band can really rip it up. Cave loosens the reigns a bit by track
eight, and it elevates the power of 'West Country Girl' to climax
proportions. Just as it seems he's gonna let it explode, Cave settles back
down into ballad mode for record's end. It just goes to show that Cave is
indeed the devil.
RAY CHARLES: The Genius Hits The Road (Rhino)
Reviewed by Shaun Dale
Ray Charles' first album for ABC-Paramount, which had lured him from
Atlantic with one of the most lucrative contract offers (including
granting him ownership of his own masters) of the time was an ambitious
concept album. A set of road songs, taking a musical tour from New York
to Hawaii, it was destined to become a classic because of a stopover in
Georgia.
"Georgia On My Mind," with "What'd I Say" and "Hit The Road, Jack," is
one of the handful of songs that define Ray Charles for the general
audience. It's one of three songs here recorded on a string date that
also produced "Moonlight In Vermont" and "Moon Over Miami."
Because of the notoriety of the #1 hit, the rest of the album, presented
in striking big band arrangements by Ralph Burns, has long been too
often overlooked. This chance to relive Charles' versions of "Alabamy
Bound," "Mississippi Mud," "New York's My Home," among the other
excellent selections and performances, simply should not be missed.
If the excellence of the original album isn't enough to commit you to a
trip to your local purveyor of aluminum coated plastic at your earliest
opportunity, though, there's more. Rhino, committed to giving great
value along with great music, has added seven bonus tracks to the mix.
Not just any tracks, but seven which fit the road theme of the original
and which include another #1 Ray Charles smash hit, Percy Mayfield's
"Hit The Road, Jack."
There's too much here to detail further, though, of course, there's no
such thing as too much Ray Charles. This is one you want to own.
Track List: Alabamy Bound * Georgia On My Mind * Basin Street Blues *
Mississippi Mud * Moonlight In Vermont * New York's My Home *
California, Here I Come * Moon Over Miami * Deep In The Heart Of Texas *
Carry Me Back To Old Virginny * Blue Hawaii * Chattanooga Choo-Choo *
Bonus Tracks: Sentimental Journey * Hit The Road, Jack * Blue Moon Of
Kentucky (Swingova) * Rainy Night In Georgia * I'm Movin' On * Swanee
River Rock (Talkin' 'Bout That River) * Lonely Avenue
RAY CHARLES: Genius + Soul = Jazz/My Kind Of Jazz (Rhino)
Reviewed by Shaun Dale
Rhino Records is paying tribute to Ray Charles 50th anniversary in music
with a collectors series of reissues. This entry presents two instrumental
albums, the landmark "Genius + Soul = Jazz" from 1961 and the 1970 set,
"My Kind Of Jazz."
"Genius," which featured some tracks with the Count Basie Band and
arrangements by Quincy Jones, who had gigged with Charles in Seattle
jazz clubs at the inception of both of their careers, and Ralph Burns.
Jones arranged the first single, "One Mint Julep," which hit the charts
even before the album hit the stores. Burns' contribution to Charles
chart success was "I've Got News For You," which climbed even higher,
yielding a top 10 R&B hit and climbing almost halfway up the Billboard
Hot 100, an amazing feat for the time.
Other highlights from "Genius" are a memorable take on Bobby Timmons'
"Moanin'" with the Count Basie Band and a striking "Birth Of The Blues"
performed at a second session with a group of first call studio players.
Following the previous year's "The Genius Hits The Road," which had
yielded the #1 pop hit, "Georgia On My Mind," "Genius + Soul = Jazz"
helped cement Charles' place at the forefront of the jazz, blues and R&B
worlds and demonstrated a facility with the organ that matched his
demonstrated mastery of the piano.
That piano mastery is demonstrated again on "My Kind Of Jazz," which
yielded another chart hit for Charles with the funky "Booty-Butt" in
1971. Among the other notable tracks here are Toots Theilman's
"Bluesette" and an impressive run at Horace Silver's "Senor Blues."
Fine players and arrangements abound on both albums, and there's just
enough here to keep you hankering for more. Don't despair. Rhino's on
the job.
Track List:
Genius + Soul = Jazz: From The Heart * I've Got News For You * Moanin'
* Let's Go * One Mint Julep * I'm Gonna Move To The Outskirts Of Town *
Stompin' Room Only * Mr. C * Strike Up The Band * Birth Of The Blues
My Kind Of Jazz: Golden Boy * Booty-Butt * This Here * I Remember
Clifford * Sidewinder * Bluesette * Pas-Se-O-Ne Blues * Zig Zag *
Angel City * Senor Blues
CHICAGO: The Heart Of Chicago 1967-1997 (Reprise)
Reviewed by DJ Johnson
There are three distinct groups of Chicago fans. One group would never call
them "Chicago." For them, they'll always be Chicago Transit Authority, or
CTA. CTA was a tough R&B band with a fantastic brass section and a guitarist
(Terry Kath) that could do no wrong. The second group of fans love Chicago
for their flawless brass-oriented pop numbers like "Saturday In The Park"
and "Does Anybody Really Know What Time It Is." And finally, there are the
fans that signed on in the MTV era, and they love Chicago for their lush
love songs. The problem with a single disc compilation is that it's very
difficult to please any one group without alienating the other two. The
Heart Of Chicago attempts to walk that wire with surprising success.
Right off the bat, I should warn CTA fans that they will hate this set. The
great blues tracks are completely ignored. Terry Kath's most impressive
guitar work is not represented. You'd think they would have included one
prime example of the period, such as "Southern California Purples," but no
such luck. CTA fans are hereby excused from the rest of this review.
Fans of the pop machine called Chicago will be satisfied, thanks to the
inclusion of "If You Leave Me Now," "Make Me Smile," "Saturday In The Park,"
"Wishin' You Were Here," "Colour My World," "Beginnings," "Just You And Me,"
and "Does Anybody Really Know What Time It Is." There are, of course, some
glaring omissions, most notably "Feelin' Stronger Every Day," but again,
this is a single CD. 13 of these tracks have been digitally remastered,
with the primary improvements being better presence in the horn section and
beefier bass response. If you have some of the earlier Chicago compilation
CDs, you know how desperately those improvements were needed. I was also
stunned by the clarity and separation of the harmony vocals on "Wishing You
Were Here." (Bit of trivia here... The extra goosebumps in that vocal track
came courtesy of Beach Boys Al Jardine, Carl and Dennis Wilson. Absolutely
sublime.)
The big winners are the fans of the hit love song machine called Chicago,
because they are the one group that will cross over en masse to the 70s pop
machine Chicago. Those fans get four love songs from the 70s, plus such
MTV-era hits as "You're The Inspiration," "Hard Habit To Break," "Will You
Still Love Me," "Hard To Say I'm Sorry/Get Away," and "Look Away," and two
new tracks, "The Only One" (produced by Lenny Kravitz) and "Here In My
Heart." The few remaining 70s pop tracks are so infectious that only the
living dead could truly dislike them. All of that adds up to a can't miss
situation for the late-period Chicago fans.
It's quite likely that last group of fans was the target all along. The CD
runs 66 minutes, so they could have added another track or two for balance
if they wanted to. At least one track from 1967 would have legitimized the
otherwise misleading title. As it is, the earliest tracks presented are
from 1970. Oh, and one last bitch... The new tracks are so dull that they
seem drastically out of place next to all of these time-tested classics.
Coulda done without those. That would have reclaimed over ten minutes of
space for another track or two from the CTA years.
Okay, I'm done bitching. As a collection focusing on the pop/lovey-dovey
Chicago, this one does the trick. And the improved sound quality makes it
an essential purchase for those saddled with the old Greatest Hits CD. As
for the rest, well, you can't please all the people...
KACY CROWLEY: Anchorless (Atlantic)
Reviewed by Jeff Apter
Texan-based troubadour Crowley states her case right from the get-go on her
debut Anchorless, as she decides to "give my soul a good washing." And
human frailty has rarely been more listenable, thanks to Crowley's lean,
gutsy acoustic style, which is pitched somewhere between Aimee Mann's
winning whine (see the jangling "Vertigo") and Sheryl Crow's annoying
artifice (as on the confusing "Singers Are Ugly"). Fortunately for Crowley,
she's more Mann than Crow, due to her fearlessly frank lyrics ("My eyes
close with my legs wide open," "my mistakes are handwritten and framed")
and clever wordplay: titles don't come much smarter than "Hand to
Mouthville." You can add to this her knack with lean, mean arrangements,
usually glowing with warmth and packing hooks big enough to hang your coat
on. And her story-songs stick in your head - during "Rebellious Young
Women" she namechecks the Grateful Dead, teenage pot-puffing, benevolent
bank robbers and her aggrieved mother in Crowley's very own "Walk on the
Wild Side." Elsewhere, in "Hand to Mouthville," she declares "I got a
genuine man / He loves me every chance I can," proving that Crowley may be
"Anchorless," but she's certainly not hopeless.
MILES DAVIS ALL-STARS: Quintet/Sextet (DCC)
Reviewed by Shaun Dale
Another chapter in DCC's continuing gold disc chronicle of the mid-50s
Miles, "Quintet/Sextet" was one of his last projects before forming the
now legendary quintet with Coltrane, Red Garland, Paul Chambers and
Philly Joe Jones.
While none of them appear on this disc, the lineup is superb. Joining
Miles in the quintet lineup here are Ray Bryant on piano, drummer Arthur
Taylor, bassist Percy Heath and the inimitable Milt Jackson on vibes.
Saxophonist Jackie McClean steps in on alto to fill out the sextet for
two of his own compositions.
The group opens with the six pieces on McClean's "Dr. Jackle," an up
tempo number with room for Miles, Milt, Bryant and McClean all to
stretch out. The alto drops out, but the pace continues, on Thad Jones'
"Bitty Ditty," which provides more space for interplay between Miles and
Milt.
McClean returns for "Minor March," and again everybody gets a break,
with some fine duo work from Miles and McClean, who state and repeat the
theme simultaneously to open and close the number. The pace slows down
finally for Ray Bryant's "Changes," another quintet number, which leads
off with a beautiful Milt Jackson solo. That yields to a trumpet break
which finds a muted Miles in a mellow mode. Bryant takes up the lead
and the for and extended and impressive solo on his own tune, with Miles
joining back in to close. Throughout, Heath provides a walking line that
supports the solos in a manner so strong that it almost constitutes a
solo in its own right.
There are only four tracks on this disc, but the shortest comes in at 6:35
and there is plenty of music. It's important music, too, from a
time in Miles Davis' career that has been too often overlooked,
overshadowed by the great quintet to come. That quintet didn't come
from a vacuum, though, and it's valuable to hear these sessions that
allowed Miles to find the voice that would lead him there.
As always, kudos to DCC for making this available in the 24 karat gold
disc format, and to Steve Hoffman for his wonderful mastering work.
This belongs on the shelf of audiophiles and jazz buffs alike. (DCC
can be reached by telephone at 1-800-301-MUSIC.)
Track List: Dr. Jackle * Bitty Ditty * Minor March * Changes
DJ DAN: Loose Caboose (VRG Records)
Reviewed by Shaun Dale
In the beginning, there was the rock jock, and the music was without
form...
At its inception, rock music was introduced without much concern for
players, producers or pedigrees. The key personality was the disc
jockey, and the decision of an Alan Freed to spin your single on his
show was a good deal more important than any critic or record company
suit to your success.
The basic criteria by which the music was judged was a simple formula as
well. "Gee Dick, it's got a good beat. It's easy to dance to. I'd
give it a 93."
Well, on club dance floors around the country there's been a return to
those golden days of yesteryear. The records you'll dance to may not be
commercial successes anywhere but in the clubs, and the decisions are
made according to the lights of the club DJ. Their criteria is pretty
simple too - can I fit this into a mix that'll keep drinks flowing and
butts going?
DJ Dan is a Bay Area mix-master who makes a national circuit of hot
dance clubs. This disc is a taste of what an evening in one of those
clubs might produce. The music he draws from is tagged "funky house,"
but you might find elements of funk, house, hip hop, acid jazz or
jungle. The trick is to find the point where the music will make that
seamless segue, or to create your own sounds, samples and rhythms to
create one. DJ Dan is a master of the art.
This is designed to be a high volume exercise, and unless you've got
some extremely understanding housemates and neighbors, you're going to
miss the best of Dan's work without a set of reasonably serious
headphones. Slip them on and see how long you can sit still.
Track List: The Crazy Frenchman Presents Maitre 'D/Music 4 You * Peace
Feast/No Hassle From The Man * Fat Boy Slim/Everybody Needs A 303 *
Mystery Men/Stomp Ya' Feet * Electroliners/Loose Caboose * Electroliners
/Crazy Train * Simon Pearson/Two Crates * Thursday Club/A Place Called
Acid (Rennie's Indigestion Mix) * CBS/Damai * Aftrax/SweptQ * Earcandy/
Free To Be Me (Chameleon's Acid Trip Mix) * Kelly Llorena/Brighter Day
(Shimmon & Wolfson's Breakbeat Mix) * New Tone/Kick It (Bass Mix) *
Control-X/Atomjack * Soulstice/Superfunkidiculous * DJ Tonka/Phun-ky
THE DRUGS: The Drugs (NG/BMG)
Reviewed by DJ Johnson
The Drugs are either seriously into musical diversity or they have a major
identity crisis happening. Another reviewer would have turned 'em off
thirty seconds into the first tune. I have no life, so I kept listening.
"Indecision" sounds more like Alice In Chains than Alice In Chains does these
days, from the loud discordant guitar to the vocal harmony style. Just as I
was about to write this band off as inept rip-offs, however, the third track,
"Let It Go Away," blasted through the speakers and caught me off guard. Still
nothing revolutionary--nobody is likely to be accused of being Drugs clones
any time soon--but the power and execution grab for attention. Likewise, the
fourth track rocks fairly hard. And then... The Drugs kick in. "Killer Down
Here" flies off into left field with some compelling psychedelic guitar
noodling that hints at the direction the album is about to go. "Burn Alive"
takes the band deep into psychedelia, and they do it pretty damned well.
Most importantly, they generally avoid the Alice thing throughout this middle
section of the album (Though it can be argued that "Shake" is their Mudhoney
thing, leading me to wonder how this Atlanta quartet ever got so hung up on
Seattle). The kinkiest, most entertaining cut is "Boogey Man," a twisted
bedtime fable designed to make frightened bed wetters out of the best of us.
The hook is a combination of what sounds like five or six guitars slightly
out of tune with one another, which creates an unnerving cacophony that works
like a charm. The final few tracks sound like the first few tracks, which is
either good or bad news depending on what you think of Alice In Chains and all
of their Seattle buddies. I'm not as crazy about that stuff, but I sure did
enjoy the middle of this CD.
STEVE EARLE & THE SUPERSUCKERS: s/t (Sub Pop)
Reviewed by DJ Johnson
Let's say you're in a buttkickin' punk band with quite a following, and you
get this crazy urge to make a country album. Let's say your fans surprise
the hell out of you by not heading for the hills, largely because your
album turned out to be a freakin' classic. Well? NOW what? How do you
follow it? Another country record? Back to the punk wars? Yep to both.
Hot on the heels of their country crossover success with Must've Been High,
The Supersuckers hooked up with country legend Steve Earle for this little
EP/CD/exercise in role reversal. The Supersuckers' classic, "Creepy Jackalope
Eye," opens the short set with Earle leading the band into his turf. The
formerly fast 'n' crunchy punk tune becomes a cool acoustic country song
complete with slide guitar and harmonica. Earle makes the song his own,
and it works. Track two finds the tables turned as Eddie Spaghetti and
company turn Earle's "Angel Is The Devil" into pure molten rock and roll.
Once again, it works.
Just for kicks, they added a cover of The Stones' "Before They Make Me Run,"
staying quite true to the original. I mean, how much more country do you
need to add to a Keith Richards tune? No assembly required.
In order that even the uninitiated might appreciate all of this, the final
two tracks are the FIRST two songs in their original forms. Compare and
contrast to your heart's content, y'all. All of this comes in at 13:13,
but I swear it's the most packed 13:13 I've heard in a long while. This
was a great idea.
EARTH, WIND & FIRE: s/t (Warner Bros)
Reviewed by DJ Johnson
Before they became one of the greatest pop-funk acts of the 70s, Earth, Wind
and Fire made great hard funk music with very little commercial potential.
Phillip Bailey wasn't in the picture yet, of course. There was one hint of
commerciality to come, though: "This World Today" was constructed on some
very solid and accessible vocal harmonies and relatively simple
instrumentation. Still a long cry from "Serpentine Fire," but you can
see where they were going. If you only want the sounds you remember from
70s radio, this isn't going to satisfy you. If, on the other hand, you
liked the introspective cerebral grooves on the early War and Mandrill
albums, and you can imagine a bit of whimsical psychedelia sprinkled on
top, you're going to get a major buzz from this one! Why are you hearing
about this 1971 album? Because Warner Brothers' Old Skool department just
re-released it, along with EW&F's other 1971 release, The Need Of Love.
Looks like they're on a roll.
EARTH, WIND & FIRE: The Need Of Love (Warner Bros)
Reviewed by DJ Johnson
The second 1971 release by Earth, Wind & Fire and part of the Warner Brothers
Old Skool re-release series. While their self-titled early '71 debut was
heavy on dark cerebral funk, The Need Of Love found EW&F beginning down
the road toward their trademark pop-funk song structures. "I Think About
Loving You" was probably their first fully realized pop love song, and
"Everything Is Everything" contained the earliest example of what would
become the trademark EW&F horn section sound. Of the five tracks, the
strangest, and in some ways the most interesting, is the opening cut. Chet
Washington's flammable saxophone transforms "Energy" into a trad jazz workout
on a funky rhythmic foundation. Today it would probably be called Acid
Jazz, but then isn't everything? Hell, I have a DOG that's considered Acid
Jazz. You can consider this music anything you want to, as long as you
consider it. As a document of early 70s FM funk, and a document of a band
in gestation, it's worth picking up.
HARRY "SWEETS" EDISON & EDDIE "LOCKJAW" DAVIS: In Copenhagen
(Mobile Fidelity Sound Labs)
Reviewed by Shaun Dale
Harry "Sweets" Edison and Eddie "Lockjaw" Davis began their
collaboration with the Count Basie Band, in which both players served
multiple tenures with over the years. After and between their gigs with
Basie, they found many opportunities to play together, when they weren't
otherwise occupied as leaders, sidemen or with session work. Those
collaborations were always popular with the jazz audience, and this 1976
performance captures them in Copenhagen with the Kenny Drew and John
Darville Quartet.
Pianist Drew had been living in Copenhagen since 1961 and had, with
Darville, assembled the premier Danish combo, including Darville
(trombone), Hugo Rasmussen (bass) and Svend Eric Norregaard (drums).
Edison and Davis fit into the lineup seamlessly.
Their ability to collaborate so successfully and to front or back an
amazing array of bands and artists over the years is a remarkable
testimony to the talent and professionalism of the jazz veterans. While
they shared those Count Basie roots, Sweets was always a swing player at
heart. Davis, on the other hand, was a true bopper who also made
significant forays into R&B. Together, though, they were just jazz,
playing in every style comfortably and proficiently.
There's plenty of evidence of that impressive range here. Over 75
minutes of great music divided among eleven tunes from Lester Young,
Kurt Weill, Ellington and others. Mobile Fidelity has put the whole
thing on their Ultradisc II 24 karat gold disc format, allowing every
note and nuance of this fine performance by these grand masters of jazz
to be preserved for the entertainment and education of jazz fans for
years to come.
Track List: Lester Leaps In * September Song * Spotlight * Angel Eyes *
Blues Walk * Opus Funk * You Are Too Beautiful * Robbin's Nest * Candy *
There Is No Greater Love * C Jam Blues
THE EL CAMINOS: Reverb Explosion (Del-Fi)
Reviewed by DJ Johnson
This CD has been a rumor for so long it became a legend. The El Caminos,
the fabled surf 'n' roll band from Kobe, Japan, have been the subject of
a ton of speculation in the past two years, and of course that means they
had almost no chance of transcending the hyperbole and truly knocking
anybody out. Knowing this, I put it on and awaited the worst... and zowie,
grandma, this fucker rocks!
Eddie Ugata and company dive into the waves with a huge splash in a vast
soundscape of awesome reverb. The tail of that reverb is so bloody long
that Ugata's rhythm guitar often sounds like it's coming from the next
island. Understand that this is NOT a lo-fi recording. They've simply
used enough reverb to qualify for flood assistance, and it sounds fantastic.
Kimiko Yamamura's Vox organ sound stirs the hell out of the 'verb space on
their cover of (of all things) an early Hendrix tune called "Hornet's Nest,"
causing near-chaos and calamity behind Ritchie Kohda's Dick Dale-style
leads and Aki Imai's fluid bass lines. Guess we DID hear surf music again,
Jimi, and we kinda sorta heard it from you.
There's no doubt about it, The El Caminos play a very authentic brand of
traditional surf, heavily inspired by the Del-Fi sound of the early 60s.
That's pretty cool, but what puts them in my player, and what will keep
them there, is the unabashed joy in their performance. It's contagious,
and I highly recommend catching it.
THE ELEMENT 79: Dig Out With... (360 Twist)
Reviewed by DJ Johnson
This 10" EP/CD release arrives right on the heels of bad news: The Element 79
is no more. This trio had everything that fans of retro-garage/punk love:
crackly distorted guitar, tinny distorted vocals, big distorted bass... Ya
know, I think maybe distortion played an important role here. I'll get back
to you on that. Of course, there are a million bands that have those phases
of the game licked. What separated The Element 79 from many of those bands
was their big ol' bag of great hooks. (And isn't that just about always what
separates the haves from the have nots in rock and roll?) While they did keep
the songs simple, they didn't just hammer out three chords for two minutes
and go for a beer. Each of these 8 tracks has one unique hook that sticks
in your ear. Sounds painful, but it ain't. By the way, their previous
7-inchers on 360 Twist and Screaming Apple are just as good and are well
worth seeking out. File under "R" for "Rawk" and play between Makers and
Lord High Fixers EPs at your next garage bash. (360 Twist Records: P.O. Box
9367, Denver, CO 80209 USA. [303] 715-1858)
STEVE ELLIS AND THE STARFIRES: Songbook (Get Hip/Arf! Arf!)
Reviewed by Shaun Dale
Minnesota's Steve Ellis died in a motorcycle accident a few month's
short of his 23rd birthday. By that time, he had accumulated enough
recorded material and a strong enough local following to inspire Tom
Rambler, a disc jockey at Sioux Falls, South Dakota's KISD, to produce a
tribute featuring the music of Ellis and his band the Starfires along
with interviews with the surviving band members. That tribute forms the
core of this Get Hip Archive Series LP, along with four tracks added to
fill out the 30 minute radio program to a reasonable 41 minute album.
The program itself, originally pressed as a limited release album on
IGL Records, is an interesting historical artifact, with Rambler's over-
the-top 60's DJ delivery and some interesting insight into the life of a
midwest touring and recording band of the period. The music, mainly
original folk-rock, is a cut above the average and seems to justify the
predictions of success that Ellis' bandmates felt would have been
assured had it not been for his untimely death.
As always, Get Hip has dug up additional interviews, biographical
material and photos to round out the package, creating an interesting
and entertaining look at the life and times of the pride of Pipestone,
Minnesota. (Get Hip Recordings: PO Box 666 Canonsburg, PA, 15317 USA)
Track List: That's How It Feels * Since I Fell For You * Pride Of A Man
* Her Face * Looking Thru Me * On My Mind * Walking Around * My Baby's
Gone * Pride Of A Man (alternate version) * Since I Fell For You
(previously unreleased version) * On My Mind (previously unreleased
version) * Walking Around ( previously unreleased stereo instrumental)
THE ENFIELDS/FRIENDS OF THE FAMILY: The Songs Of Ted Munda (Get Hip)
Reviewed by Shaun Dale
The common denominator for these eighteen tracks by two Wilmington,
Delaware based bands from the period of 1966-68 is guitarist/singer/
composer Ted Munda, who went on to record with other lineups on Columbia
and continued to play into the eighties, before settling into his
current occupation as the author of children's books.
It's an interesting look at the development of a band through three
lineups, two names and one of the great transitional periods in rock
music. This was, of course, the era when pop bands became more or less
psychedelicized. More wasn't always better, and I'm not sure the state
of mind which led to song titles like "Jello Lights" and "Wallace He
Plays With Frogs" was entirely healthy for impressionable young
musicians, but there's some pleasant pop here, some very credible folk
rock and even the more outre exercises in psychedelia work better than a
great deal of the tunes that were etched in vinyl during the period.
Listening to this early output from the pen of Ted Munda makes me wonder
about his later bands, Hotspur and State Of The Heart. And as
resourceful as the folks at Get Hip are at digging out and documenting
the history of rock music, well, I may just get to hear some of that
before too long. Meanwhile, we've got these tracks and a very
informative eight page booklet that should provide plenty of interest
for archivists and fans of sixties rock. (Get Hip Recordings: PO Box
666 Canonsburg, PA, 15317 USA)
Track List:
The Enfields: In The Eyes Of The World * I'm For The Things You Do *
She Already Has Somebody * You Don't Have Very Far * Face To Face *
Twelve Months Coming * Time Card
Friends Of The Family: Time Music * Wallace He Plays With Frogs * Funny
Flowers * Blue Boat Makes Me Sad * Jello Lights * Bambi's March * You
See I've Got This Cold * Last Beach Crusade * Hot Apple Betty * Together
* Sing A Song
JOHN ENTWISTLE: King Biscuit Flower Hour Presents (King Biscuit/BMG)
Reviewed by Steve Marshall
Back in 1975, Who bassist John Entwistle embarked on a five-week tour of
the US, opening for Humble Pie. Luckily for Who fans, they recorded one of
the shows for broadcast on the King Biscuit Flower Hour. For those of you
who may not know, the KBFH is a weekly radio show heard on hundreds of
stations across the US. They have been recording concerts by the biggest
names in the music business for almost 25 years now. Just about any band
you can think of has appeared on the show at least once. About two years
ago, they announced plans to release selected shows to the public. Most of
the shows released so far contain tracks not included in the original
broadcasts.
Recorded live at the Spectrum in Philadelphia, PA, this show includes
powerful renditions of classic solo material, as well as timeless Who
tunes. The '75 tour was in support of the Mad Dog album. The band was
excellent, aside from Jeff Daily's wailing on the sax. It just didn't
fit in with the music the rest of the band was playing. Like the recent
Who reissues, this CD was produced, mixed, and mastered by Jon Astley
and Andy Macpherson. Entwistle always complained that his bass wasn't
loud enough when touring with The Who. That's definitely not a problem
here. The bass is loud and clear. You can hear and feel every note as
if you were there.
Although they only played one song from Entwistle's then current album,
they treated the crowd to classic Who songs, like "Heaven and Hell" and
"My Wife"--even the rarely played "Whiskey Man." Other highlights include
"My Size" and an interesting cover of "Not Fade Away." As a bonus track,
they included a recent interview with Entwistle, conducted by Steve Luongo
(current drummer for the John Entwistle band), and Who sound man, Bobby
Pridden. The interviewers would be wise not to give up their 'day jobs'
to start doing interviews, but it does give Entwistle the chance to
reminisce about the tour a bit.
This CD probably won't attract any new listeners for Entwistle (newbies
should first check out the studio versions of these songs so they can
appreciate the live ones); but if youre a Who fan, or a fan of John's
solo material, this is required listening.
BILL EVANS: The Best Of Bill Evans Live (Verve)
Reviewed by Shaun Dale
"Best Of" is always a problematic tag for an artist with a catalog as
extensive as Bill Evans', whose recording history includes many
remarkable live sides. (There are a 12 CD set from Riverside, a 9 CD set
from Fantasy and a new 18 CD collection from Verve out there, with a
good slice of each recorded live, just to demonstrate the challenge).
The twelve cuts here, recorded for Verve between 1964 and 1968 are a
fine place to start, though, and if it's not the absolute "best,"--a
subjective notion at any rate--every cut is a great one, worthy of
listening and listening again.
While Evans worked in a number of formats he was best known for, and
probably at his best with, the piano trio - piano, bass and drums.
Four such lineups appear hear. A 1966 Town Hall appearance matches the
pianist with Chuck Israels on bass and Arnold Wise on drums. The 1967
Village Vanguard date features bassist Eddie Gomez and the great Philly
Joe Jones. Two cuts from Sausalito's Trident Club have Israels paired
with drummer Larry Bunker. Finally, Evan's 1968 Montreux Festival
appearance teamed him with Eddie Gomez and Jack DeJohnette. The only
departure from the trio format is on "I Loves You, Porgy," a Montreux
performance by an unaccompanied Evans.
Touch, taste, tone and timing - every element that made Bill Evans the
most influential, if not the greatest (an argument that many are
willing to make, and that I'm willing to succumb to) pianist of his time
and time to follow - are all in ample display here. If your music budget
is unlimited, go out now and by the 18 CD set, where you'll find all these
cuts and more. If you're still saving pennies for that one, break out a
few for this one. It'll tide you over for awhile. After all, like so
many good things, a little Bill Evans will get you through times of no
money better than money will get you through times of no Bill Evans...
Track List: Make Someone Happy * Wrap Your Troubles In Dreams * Spring
Is Here * How Deep Is The Ocean * Polka Dots And Moonbeams * Nardis *
Turn Out The Stars * Emily * I Loves You, Porgy * The Touch Of Your Lips
* Walkin' Up * My Foolish Heart
FAITH NO MORE: Album of the Year (Slash / Reprise)
Reviewed by Steve Marshall
To me, Faith No More was one of those bands that basically sucked. There
might be a song or two on each CD that was OK, but most of the material was
just awful. By 1992, the band released Angel Dust, and the songwriting had
improved dramatically. All of a sudden, they had a CD with more than just
one or two good songs. Some of the songs actually bordered on brilliance.
On the band's seventh CD, Album of the Year, I'm happy to report that the
suck ratio has diminished even more.
"Collision" is in your face from the minute the CD starts. It rocks as hard
as anything they've done in the past, and easily ranks along with their best
tracks. From there, the diversity begins. "Stripsearch" features jungle
drums, offset by the band's new guitarist (and long time friend), Jon Hudson.
The first single, "Last Cup of Sorrow," is a musical leap forward for FNM.
Its subtle nuances and careful orchestration show a side of the band that
most people have never heard.
"Helpless" is one of the CD's best tracks. The verses are mainly acoustic,
but the chorus rocks. The only bad thing about the song is that they didn't
know when to end it. Aside from that, this is a great tune. The first time
I heard "Ashes to Ashes," I thought it was going to be "Epic" part two. I
kept waiting for the 'Yooouuuu waaaannnt it allll, but you can't haaaaaave
it' to come in on the chorus. Fortunately (or unfortunately, depending on
your point of view), that didn't happen. This is another of the many
highlights of the CD.
After "Ashes to Ashes" comes another surprise. "She Loves Me Not" is an
R&B-flavored track that, strangely enough, almost sounds like something
you'd hear on a Prince album. The last song on the CD, "Pristina," has a
droning chord progression, but it's one of those songs that will be great
to hear in concert. Album of the Year is a musically diverse collection
of tunes guaranteed to please their current fans, and quite possibly win
some new ones as well.
FICTION DAMAGE: Heathen Stuff (High Time HT 44448-1)
Reviewed by Paul Remington
How about a little Heathen Stuff--a grunge collection of scorching rock and
roll that will make your blood boil with amusement? Enter: Fiction Damage;
a band that's not afraid to throw you a curve ball, or stretch your musical
ear beyond its previous capacity. Their sound has been described as
"catatonic," "intricate and settling," "epileptic," and "stop-and-go
psychedelic." I would describe their sound using the following analogy:
imagine yourself riding through the red light district of Hell with a flat
tire and no map. Their sound knows no boundaries, and leaves you wondering
where the hell you are, and what may be around every corner. Settling? Not
a chance.
Forget predictable rhythmic elements, usual chordal patterns, and emulation
of others' style. Fiction Damage is rich, hard and heavy rock that contains
their own unique stylistic twist. Expect the unexpected. The unpredictable
nature of this CD makes it an eclectic classic defined by grooving rhythms,
driving patterns, rich vocals, and interesting writing, both lyrically and
compositionally. The performance is solid, the solos affecting, and the mood
sharp and aggressive.
So who are these musicians? Fiction Damage consists of a mere three musicians,
which is quite startling considering their full and intricate sound. George
Sanchez grinds out the guitar parts with Keneally-like force, burning some
scathing solos to tape. Sanchez wrestles both acoustic and electric guitar
parts, ARP synthesizer, vocals, and as the liners state, "Fischer Price toys."
bob [sic] handles lead vocals and bass; fretted and fretless. (Yes, you read
right--"bob". Remember: expect the unexpected.) Michael McQuilken sets the
pace on drums, assorted tics and thuds, and I'm sure a few convulsive
twitches here and there.
It's not surprising former Zappa guitarist, current Steve Vai sideman, and
Beer for Dolphins leader Mike Keneally would have a few words to say about
this band. Whether intended or unintended, the guitar parts do contain that
Keneally flair; an in-your-face approach that's both infecting and energetic.
Keneally states:
"If I were on a lifeboat with Fiction Damage and there were insufficient
supplies to sustain all of us, I would gladly sacrifice myself that they
might survive. Their contribution to American culture is that great."
The CD consists of 16 tunes, most spanning between four and seven minutes in
length. The recording is glitzy and clean, with a well balanced mix. Vocals
are layered in chorus-like fashion through most of the disk, and guitar parts
flourish with an abundance of overdubs.
This disk is certainly airplay-ready, requiring only a few bleeps. My concern
lies in the eclectic nature of the material on the disk. Will commercial
radio pick up on these talented musicians? Commercial radio and eclectic
music usually do not walk hand-in-hand, which is why bands like King Crimson
and even Beer for Dolphins receive little airplay. Regardless of this
concern, there is no doubt Fiction Damage will receive a following. Their
sound and style are too good to be ignored.
So, do yourself a favor and get Damaged. If you are a Keneally fan, you will
undoubtedly like this disk. If you enjoy hard-driving rock and roll with an
eclectic flair, Fiction Damage is right up your alley. But be forewarned,
this disk is not for the weak of heart and mind. It has legs, and will haunt
your musical ear for much more than a few listenings. The band's natural
state of being is one that may alter your musical taste. Give them a listen,
then put on your Eddie Money album. I'll bet you'll take it right off the
platter and never go back.
THE FLESHTONES: The Angry Years - 84-86
PETER ZAREMBA'S LOVE DELEGATION: Spread The Word (Amsterdamned)
Reviewed by John Sekerka
Fleshtones fans worldwide rejoice for there is new party music for you to
spaz out to. Farfisa organs, tambourines, wailing harmonicas, sultry sax,
garage guitars and plenty of whoopin, ingredients guaranteed to turn any
staid lounge gathering into a raving trash-the-hotel-call-the-cops rave up.
Rave, as in the sixties sense. There may be others dwelling on the past,
but few do it with such vigor, abandon, joy and sweat as The Fleshtones.
The Angry Years: 84-86 fills the gap when the boys were fighting it out
with record companies, and their albums were a tough find. The ghoulish
guitar lick and tambourine rattle of 'In Need of Love' is reason enough to
lay yer money down. There are eleven other garagy burners to savour, in what
may be their best waxing next to the down on yer knees Roman Gods. Vocalist,
organist and hep leader Peter Zaremba steps up the party anti with his Love
Delegation. Quicker than you can say 'Hama Lama Bing Bang,' Zaremba's rockin
the joint to fever proportions with souped up versions of the Nancy
Sinatra/Lee Hazelwood scorcher 'Some Velvet Morning,' and 'After Midnight.'
Need I say more?
FRIGG A-GO-GO: Everything Around Me b/w Pre-teen Love (360 Twist!)
Reviewed by Shaun Dale
This white vinyl 7" chunk of ear candy is billed as "From the upcoming
LP/CD on 360 Twist! Records" and I can't wait! "Everything Around Me"
is a quick and quirky thrash backed with some high energy boogie on
"Pre-teen Love." If the boys in Frigg A-Go-Go have eight or ten more
this good, they'll have an album you'll want to hear. Meanwhile, I'm
going to play it again while I admire Jeremy's tasteful two tone wing
tips on the cover photo.
THE FROGS: Starjob (Scratchie)
Reviewed by John Sekerka
'Executive with his pants down ... how bad do you wanna be a Starboy?,'
these amphibians ask as if they've been in such a spot. Nasty wise-ass,
subversive rock will never go out of style. Ween fans lookie here for a
new contender on the block as The Frogs take stabs at corporate convention,
middle America and rock'n'roll - biting every dog that feeds them. And as
with Dean & Gene, The Frogs offer up their brand of social commentary with
a gorgeous sense of melody. A rarity, and something more than welcome around
these here parts.
GALAXIE 500: Copenhagen (Ryko)
Reviewed by John Sekerka
Recorded on what would be their last European date, and one of their last
moments, Galaxie 500 is finally presented in a live setting. It is December
first, 1990. Soon Dean Wareham would leave, an untimely departure if ever
there was one. Shortly thereafter alternative rock would explode. A sad
ending for a sad band. A magical sad that is. Galaxie 500 played mesmerizing,
hypnotic guitar buzz pop as Wareham pleaded and whined into the mike. It was
unsettling at first, but fucking addictive. Anyone caught by the bug knows.
All we have left are three records and now this, a testament of their
concert prowess, which is formidable. I thought it would be otherwise, but
Galaxie 500 carry their supple strength right onto the stage and manage to
pull it off in front of an audience. Not an easy thing for such an open
wound and personal band. A nice exit. S'long.
GUNS N' ROSES: Appetite For Destruction (Mobile Fidelity 24k Gold CD)
Reviewed by DJ Johnson
That Guns N' Roses every (rare) move is still reported by the music press is
testament to the power of Appetite For Destruction. Let's face facts: it was
their only great album. Hell, it was their only listenable album. Since
its 1987 release and the subsequent two years of hysteria that followed, there
hasn't been much more than embarrassing arrests and lawsuits to talk about.
Ah, but still... that was one hell of an album.
Politically incorrect at every turn, arrogant to the point of unintentional
self-parody, Axl Rose and company nevertheless made some of the hardest
rock and roll of the late 80s. Irresistible song structures like "Paradise
City" and "Sweet Child O' Mine" gave them a mass audience while the
Aerosmith-esque "Welcome To The Jungle" and the brutal "It's So Easy" brought
them to the attention of the bruised forehead crowd. If that's not a formula
for success, what is?
Mobile Fidelity Sound Lab's 24 karat gold CD of Appetite enhances the sound
in all the expected ways, the most important in this case being a greatly
intensified presence. My preferred method of gold CD listening is to put on
the headphones and ignore AMA warnings about volume levels. No need with
this one. "Out Ta Get Me" nearly knocked me over, even at a relatively low
volume. Relative to what, DJ? Relative to the neighbor-crushing volume at
which I survived "Welcome To The Jungle" this afternoon. Bass response is
considerably better than the previous CD issue, and even better than the
vinyl release. (That was never one of the more impressive slabs of vinyl.
It sounded... well... a tad thin.) Recorded well into the digital revolution,
hiss wasn't an issue anyway, so we'll skip that part. Grind, however, is a
factor. Izzy Stradlin's killer rhythm guitar tone is no longer restrained.
(Those of you who've seen him live know what I mean.) I'm not sure what
remastering trick freed Izzy's sound, but I'd sure like to see the same trick
applied to some of Randy Rhodes' tracks with Ozzy. (Hint hint.) Meanwhile,
this oughta make the bangers happy. There aren't many better examples of
popular hard rock from that era, and now this is its definitive release.
HERBIE HANCOCK & WAYNE SHORTER: 1+1 (Verve)
Reviewed by Shaun Dale
Herbie Hancock and Wayne Shorter have been making cutting edge music
together for over 30 years, since they first teamed up in Miles Davis'
mid-60's quintet. Over those years they have pursued many projects and
directions, both together and separately. Amazingly, they have never
before done what they do here - record an album of piano and saxophone
duets.
At the 1996 Thelonious Monk Composition competition, they were tapped to
perform the winning composition, Michiel Borstlap's "Memory Of
Enchantment" (the tune is the only non-original piece appearing on this
disc), which led to the decision to make this recording and to follow it
with a tour as a duo. They have kept it as simple as possible, with
Hancock playing acoustic piano and Shorter on soprano sax, but in that
very simplicity, they demonstrate an amazing range of vision and
virtuosity.
For those who know Shorter primarily from his work with Weather Report
or Hancock for his funky electric keyboard work, this music will
surprise, but it will certainly delight. Wayne stretches out in ways
that Weather Report's format didn't permit and Herbie's acoustic work
here shows clearly that his strength is in his chops, not his equipment.
This album places these two veterans at the pinnacle of today's jazz
scene, with fresh, thoughtful performances that are destined to make this
a classic album, an essential part of any contemporary collection.
Track List: Meridianne - A Wood Sylph * Aung San Suu Kyi * Sonrisa *
Memory Of Enchantment * Visitor From Nowhere * Joanna's Theme * Diana *
Visitor From Somewhere * Manhattan Lorelei * Hale-Bopp, Hip-Hop
ROY HARGROVE'S CRISOL: Habana (Verve)
Reviewed by Shaun Dale
"Crisol" is a Spanish word meaning a crucible used to melt precious
metals. Roy Hargrove took his crisol to the Umbria Winter Jazz Festival
in Orvieto, Italy, poured in an ensemble of players from Cuba, Puerto
Rico and the US, and poured out an ingot of solid jazz gold.
This project was born during Hargrove's 1996 visit to a Cuban festival,
where he encountered pianist Chucho Valdes and percussionists Miguel
"Anga" Diaz and Jose Louis "Changuito" Quintana. Their collaborations
there led to further discussions and sessions which culminated in the
organization of the ten piece Crisol for the Umbria Festival, where
these tracks were recorded live.
What a lineup: Roy Hargrove, trumpet & flugelhorn; Chucho Valdes,
piano; David
Sanchez, tenor & soprano sax; Frank Lacy, trombone;
Horacio "El Negro" Hernandez, drums; Jose Luis "Changuito" Quintana,
timbales; Miguel "Anga" Diaz, congas; John Benitez, bass; Gary Bartz,
alto & soprano sax; Russel Malone, guitar.
Add John Hicks on piano and drummer Idris Muhammad sitting in for
"Nusia's Poem" and Jorge Reyes subbing for Benitez on Valdes' "Mr.
Bruce" and stir. The result is one of the strongest lineups of new and
veteran players from the States and the Caribbean ever assembled on one
stage.
The other departure from the Crisol lineup is on Hargrove's "Ballad For
The Children," which finds the 26 year old trumpet prodigy leading a
quintet which includes Valdes, Benitez, El Negro and Anga.
The end product of the assembled talent is a stunningly effective set of
Latin bop that will satisfy aficionados of both genres. I was
especially knocked out by Russell Malone's guitar work and the tight,
dynamic percussion work. There's not a performance to knock here,
though, and you may well find your own favorites. You should grab a
copy and make the effort to do so, because this band may only happen
once, and it should happen to you.
Track List: O My Seh Yeh * Una Mas * Dream Traveler * Nusia's Poem *
Mr. Bruce * Ballad For The Children * Mountaings * Ambrosia * Mambo For
Roy * O My Sey Yeh (reprise)
THE HATE BOMBS: Here Comes Treble (360 Twist)
Reviewed by DJ Johnson
I've been hearing a lot of buzz about Orlando, Florida's garage rockers, The
Hate Bombs. Seems they do a lot of touring, and their shows are so pure of
rock and roll that the band has taken on near legendary status. I can
believe it after cranking Here Comes Treble in the headphones. They may wear
some of their influences on their collective sleeve, but they sure do 'em
justice. "One Thing On My Mind" is an intoxicating juxtaposition of hard
edged instrumentation and breathy vocals, punctuated by the familiar chorus
that they flat out lifted from Paul Revere and the Raiders' "Hungry." The
cover of "Going All The Way" is dead on, and all the originals rock hard,
especially "What I Want." If you love a solid wall of sound, "What I Want"
is for you. For pure R&R song structure and cool hooks, it's hard to beat
"Haymaker," though at least half a dozen tracks give it a go. This is some
of the strongest guitar-driven garage bands I've heard in a while. (360
Twist Records: P.O. Box 9367, Denver, CO 80209 USA. [303] 715-1858)
DALE HAWKINS: Daredevil (Norton)
Reviewed by John Sekerka
I thought Dale Hawkins was black, no kidding. And I ain't the only one.
Hearing the original version of 'Susie Q', with all it's raw energy, and
blues sensibility will do that. Most folks know the name, but not much else.
Dale Hawkins was a brash kid with a riveting voice, striking rebel looks, a
crack rockin' band and a flare for penning classic pop songs. His is another
of those shoulda been stories. Somehow Hawkins slipped between the cracks
and 'Susie Q' remains his one known commodity. This release might right a
few wrongs. Turns out Hawkins, the son of Delmar Sr., one of the Sons of
Pioneers, and cousin of Ronnie Hawkins, was a wild talent that nobody really
knew how to handle. He was only eighteen when 'Susie Q' raced up the charts
(for the first time). The record company pushed him on the promo road solo,
which basically killed his band. The revolving guitarists to pluck strings
for Dale included James Burton, Roy Buchanan and Scotty Moore. A television
show followed, and slick sides for big record companies which sold poorly,
and didn't do justice to Hawkins' original and electrifying swamp rock sound.
He turned to production work, which suited him well, and that was that.
Daredevil goes right back to 1956 with the rough demos of 'Susie Q' and 'If
You Please Me', and though they sound like they've been used as a sleeping
mat by ol' Yeller for thirty years, they carry that initial primal energy
that only Hawkins could crank out. Among the remaining (much cleaner) tunes,
'Everglades' is one odd monkey that stands out. It's a doo-whoppy haunting
bit of rock noir, with Hawkins crooning his Southern accent to exceptional
effect. What really makes this CD a must buy is the great stories Dale tells
in the liner notes - like the one where they shoot up a gas station, just
after a big punch up with some paratroopers. Perhaps a match for Jerry Lee
Lewis.
TED HAWKINS: The Next Hundred Years (Mobile Fidelity Sound Labs)
Reviewed by John Sekerka
Easily the highlight of 1994 was Ted Hawkins' major label debut The Next
Hundred Years. His distinct voice, a smooth and scratchy mix that evoked
Otis Redding at times, was a god send. He used to say that it was all that
salty sea air he was breathing when performing endlessly on Venice Beach.
Hawkins led a bumpy ride of a life, which saw him relegated to street
performer and landing in jail on occasion. In America he was but a footnote,
but in England he was revered, having a number one hit with 'Groovy Little
Things.' The success of that song led to a re-release of his early material
on Rounder and a shot at the big time with Geffen. 'Groovy Little Things' is
the center piece of this record, but it is only one of many highlights.
There are few one-two punches that can raise my neck hairs and bring a tear
to my eye like the opening 'Strange Conversion' and 'Big Things.' This is
folk blues with a definite country edge, but first and foremost, it is a Ted
Hawkins record. I can only think of one other performer who didn't belong in
any category, but just made gorgeous music: Dinah Washington. Sadly The Next
Hundred Years was to be his swansong as Hawkins, whose life was starting to
finally take proper shape, passed away in the early moments of 1995. This
re-release of the original master recording is a real blessing, sounding
crystal clear: Hawkins' powerful voice playing off the subtle nuances of
the excellent band. And believe me, this is one you'll want to listen to
very closely.
THE HECTICS: Everything I Need (360 Twist)
Reviewed by DJ Johnson
Their recent 7 inch EP was impressive enough, but this full length CD blows
it out of the water on all counts (except the "vinyl is cool" factor, and of
course the "WHITE vinyl is even cooler" factor). With three of the four
songs from the EP, plus another 13 wild tracks, Everything I Need is a killer
garage/punk album with attitude and facefull of sound. The Hectics are a
3-piece with a twist: drums, guitar and... guitar. No bass. In fact, the
liners emphatically state "no bass ANYWHERE." And at times, it's hard to
believe. The low end seems to be covered just fine, probably due to a
combination of playing technique and strategic equalization. I'm not sure
which of the two ladies, Anika Zappe or Juli McClurg, is handling that job,
but whoever it is sure has an amazing sound happening. Dan "Rumble" Tafoya's
drums actually get lost in the mix on a few tracks, but when you can hear
him, you're energized. The guy is a player. Together, they create one of
the highest electrified walls of sound in indie rock, with molten guitar
tones, high speed yet rock solid drumming, and great vocals from Zappe and
McClurg. The songs are more than a little dangerous, as titles like "When
You Die" and "Stinkin' Creep" indicate. Zappe is a looker, but her stance
says "it may be fun, or it may be fatal." I'll worship from afar. And I'll
play this CD whenever I need a huge adrenaline burst. (360 Twist Records:
P.O. Box 9367, Denver, CO 80209 USA. [303] 715-1858)
JIMI HENDRIX: Band of Gypsys (MCA International/Experience Hendrix)
Reviewed by Steve Marshall
Band of Gypsys was one of the most innovative and pivotal albums of its
time. However, not many people know the story behind it. Due to contractual
obligations, Jimi owed Capitol an album from the early days when he played
guitar for Curtis Knight & the Squires. Jimi was pissed because Capitol
tried to overemphasize his limited involvement in the project to boost
sales. In July of 1968, after months of court battles, both sides came to
an agreement where Capitol would get distribution rights in the US for the
next Jimi Hendrix Experience album. Since Jimi was in the middle of
recording Electric Ladyland at the time, Capitol agreed to accept his next
album as compensation.
Despite Hendrix's popularity, tensions were soaring within the band. Bassist
Noel Redding was having an increasingly difficult time getting along with
Jimi, and sessions for the follow-up to Electric Ladyland were largely
unproductive. With the Experience seemingly unable to produce a new studio
album, they taped concerts in L.A. and San Diego for a possible live album.
Unfortunately, manager Michael Jeffery later vetoed the idea and started
pressuring Hendrix to go back into the studio again. After the Toronto drug
bust in May of 1969 (from which he was later acquitted), Jimi's spirits and
inspiration had been dampened further. A month later, the Experience
disbanded.
In the weeks that followed, Jimi called up his old Army pal, Billy Cox, to
replace Redding. Realizing that he couldn't resume his career until he
delivered an album to Capitol, Jimi recruited drummer Buddy Miles to form a
new group--the Band of Gypsys. The trio signed a contract with promoter Bill
Graham to do two shows each night at the Fillmore East on December 31, 1969
and January 1, 1970. Mixing elements of rock, blues, and funk, the band
effortlessly merged all three musical genres and combined them into something
never heard before.
All four shows were recorded, with the album being culled from the two
January 1st performances. However, Jimi said that certain songs (like
"Isabella" and "Ezy Rider") were off limits. He wanted to finish them in
the studio first before sending them out for public consumption. In a show
of fairness, Jimi said he wanted the album to include two of Buddy's
tunes--"Them Changes" and "We Gotta Live Together." Consisting of only six
tracks, Band of Gypsys was the last album Hendrix released before he died.
"Who Knows" is what funk is all about. The only bad part is Buddy's vocal in
the middle section. For most fans of this part of Jimi's repertoire,
"Machine Gun" is the album's centerpiece. Personally, I always thought Mitch
Mitchell did a much better job with the drums on this song than Buddy, but
the guitar work on the track (and the album as a whole) is stunning. The
vocals on "Message to Love" are better on Crash Landing, but the jamming on
Band of Gypsys blows the studio version away.
Like the other 'new' Hendrix titles, there is audible tape hiss in the
quieter passages. Nevertheless, in terms of overall sound quality, Band of
Gypsys is excellent. The booklet features a new essay by John McDermott,
along with photos from the venue. The only bad thing is that Capitol still
owns the rights in the US, so it's not being released here yet. You can
currently find it outside the US, but domestically, you'll have to wait for
them to release the new version sometime this summer.
JEFFERSON STARSHIP: Red Octopus (DCC)
Reviewed by Shaun Dale
Someplace between taking off as the Airplane and being rolled away as
the Wheelchair, the Jefferson Whichevers hit cruising altitude. They
did it as Jefferson Starship and they did it with "Red Octopus."
The congregation's only number one album and the source of one of Marty
Balin's all time great performances, "Miracles," this album deserves the
24 karat gold disc format that DCC reserves for classic recordings as
richly as anything the Jefferson's ever did. The reunion of Balin with
Paul Kanter and Grace Slick insured that there would be great vocal
talent and chemistry. The band lineup was at it's peak, with David
Freiberg and Pete Sears each doubling on keys and bass, John Barbata on
drums, Craig Chaquico on lead guitar and, of course, the late, great
Papa John Creach on violin.
The material was first rate, too, with a couple Grace Slick wailers,
including "Play On Love," the follow up single to "Miracles," some
Balin ballads, a pair of Kantner epics and "Git Fiddler," a showcase for
Papa John.
If you were to pick two albums from the Jefferson legacy, they'd have to
be "Surrealistic Pillow" and "Red Octopus." If you were to pick the
perfect way to hear them, that would have to be on gold disc with
mastering by DCC's studio wizard Steve Hoffman. This gold disc is full
of great sounds that sound great. (DCC can be reached by telephone at
1-800-301-MUSIC.)
Track List: Fast Buck Freddie * Miracles * Git Fiddler * Ai Garimasu
(There Is Love) * Sweeter Than Honey * Play On Love * Tumblin * I Want
To See Another World * Sandalphon * There Will Be Love
JETHRO TULL: Aqualung (DCC Compact Classics)
Reviewed by Steve Marshall
Some albums are destined for audiophile treatment. Others get it, and
then you ask yourself why. One album definitely worthy of the gold
treatment is the 1971 Jethro Tull classic, Aqualung. DCC Compact Classics
released the landmark recording on both vinyl and CD recently, and the
results are nothing short of spectacular. Overall, the vinyl is slightly
warmer than the CD, but you'll be hard pressed to find faults with the CD
pressing. Bass response is deeper on the LP, but there are places where
the CD outshines the vinyl, mainly on the percussion.
The album starts with the classic title track. From the moment you hit the
play button on the CD player, you're in for a treat. The CD is especially
quiet--the only thing you hear between the guitar riffs is silence. Ditto
for the vinyl pressing. DCC is known for its warm, quiet vinyl pressings,
and this one is no exception. The percussion is a bit more noticeable on
the CD than the vinyl, especially on "Cross-Eyed Mary." On the acoustic
tracks, like "Cheap Day Return," you'll swear Ian Anderson is in the same
room with you.
"Mother Goose" (a personal favorite) has better separation on the LP.
"Wond'ring Aloud" sounds fabulous on both pressings--especially on the CD,
as the end of the song fades into oblivion. One thing I found especially
interesting was that when I played "My God" at a high volume, the CD had
slightly more tape hiss than the vinyl. Hiss never gets to be a problem
with either pressing, but the vinyl was quieter in an A-B comparison.
Anderson's flute solo sounded better on the LP too.
The regular pressings of the album were always distorted on "Hymn 43." On
both DCC versions, the sound is clear and exhilarating. One of the best
songs to test the capabilities of your stereo system is "Locomotive Breath."
The dynamic range on this track is nothing short of spectacular. The piano
and guitar intro is crystalline, then the bass and drums come in and pummel
you for the rest of the song. "Wind Up" seemed a bit raunchier on the vinyl
pressing (and probably more like you remember it), but the CD has better
separation.
This marks the first time that the master tapes have been used on any
Aqualung CD--even EMI's 25th anniversary version released last year. After
many delays, DCC was granted the use of Ian Anderson's personal masters for
three short days to produce the vinyl and CD pressings, and the results were
worth the wait. The packaging is excellent on both, with an extra photo in
the CD booklet. The definitive Aqualung has now arrived. (DCC can be
reached by telephone at 1-800-301-MUSIC.)
ELLIOT KENDALL: Le Hot Show (Shattered Music)
Reviewed by Shaun Dale
With elements of country swing, big band jive and rock 'n roll drive,
Elliot Kendall's Le Hot Show steams, smokes and sizzles. Using a
couple dozen musicians, including a horn section arranged and conducted by
popmeister and former Rubinoo Tommy Dunbar (Dunbar plays guitar on the
disc as well, and is joined in the nine voice backing choir by John
Rubin himself), violinist James Sitterly and a first call cast of A list
cats from the LA studio scene, the sound is huge.
The heart of the disc is a 10 song suite that imagines a live show by
the Le Hot Show Orchestra, with segues and bridges holding the tracks
together in a way that grabs you and transports you to place on the Rive
Gauche where the absinthe flows and the dancing goes on till dawn. In
addition, there are five bonus tracks included that break with the
concept to a degree, but which help demonstrate the range of Kendall's
musical vision and skill,
From the opening notes of "Le Hot Show Theme", featuring Sitterly's
violin echoing the spirit of Stephane Grappelli, through David
Pearlman's brilliant pedal steel work on "How High The Moon" and on
through each of the fifteen cuts on the disc, the musicianship is
consistently of the highest caliber and the project is one of the finest
examples of a bold vision realized that I've heard this year. Kendall
himself, on 6 and 12 string guitar, 4 and six string basses, keyboards,
percussion and vocals, has staked out new and stimulating territory
through a synthesis of both traditional and progressive sounds.
Needless to say, this CD has my unqualified recommendation.
Track List:
Le Hot Show Theme (Part 1) * Everybody Jive * Greatest Sound Around *
September In The Rain * 13 Women * Go Go To The Show * How High The Moon
* Go Out West * Fantastic * Le Hot Show Theme (Part 2)
Bonus Tracks: Symphony For A Sunset * Honda Bike * No Romance Today *
Keep It Inside Tonight * Paper Heart
KHACHATURIAN: Piano Concerto in D Flat Major; Concert Rhapsody for Piano
and Orchestra in D Flat Major. Oxana Yablonskaya, Piano; Moscow Symphony
Orchestra conducted by Dmitri Yablonsky. NAXOS 8.550799 [DDD] 59:23
Reviewed by Robert Cummings
Not since the Jemelik/Klima version of the Khachaturian Piano Concerto that
appeared on a Parliament LP around 1960 have I heard a recording of this
work as compelling as this new one from Naxos. I've endured through the
Katz/Boult, Entremont/Ozawa, De Larrocha/Fruhbeck De Burgos, Orbelian/Jarvi,
and maybe some others, always with an expectation that the next one would get
religion and play with the nearly wanton drive and raw spirit that made the
Jemelik so riveting. Well, Yablonskaya turns in a less frenzied performance,
to be sure, but one that still captures the vivacious, folksy elements with
gusto and muscle, while managing to find subtlety and depth as well, traits
one doesn't usually associate with this score. And her conductor son, Dmitri,
partners her with a deft baton that both catches fire and soothes at just
the right moments.
From the opening timpani stroke and fleet tempo that follows you know this
is a Khachaturian concerto of power and propulsiveness. And Yablonskaya's
subtle control of dynamics is evident throughout: there are few pianists who
can match her ability to rise from soft pianissimos to potent fortes without
seeming abrupt or insensitive. Her first movement cadenza (track 1; 10:58)
is a model of sensitivity, virtuosity, and idiomatic grasp. This concerto,
let's face it, succeeds or fails depending upon how the soloist erects the
fragile scaffolding that connects these three elements. Just listen to her
patrician, yet luscious, phrasing of the main theme in its big reappearance
in the Andante (track 2; 7:11). Only Jemelik, among her competition, reads
the music with this same kind of unhurried, majestically flowing and dramatic
approach. I wish all pianists had the good sense to play this passage at this
moderate tempo and with this penetrating insight. It's ironic that Jemelik
and Yablonskaya are otherwise faster than the others (except for Orbelian),
but faster where it counts.
Yablonskaya renders the lesser and less well known Rhapsody with the same kind
of artistic insight and virtuosity. It's a good, typically Khachaturian piece,
though not a major work. But if you like the exotic, I guaranty you'll like
this. The Moscow Symphony plays splendidly in both works. Ates Orga supplies
copious and informative notes, and Naxos provides excellent sound. For the
concerto, unless you can dig up the Jemelik (re-released on, I believe,
Urania with a coupling from a different composer), this is the recording to
have. And even then, if I were forced to choose between Yablonskaya and
Jemelik, price and sonics and the coupling tilt the scales decidedly in
favor of the former.
KORNGOLD: Violin Concerto in D Major, Op. 35; Weill: Concerto for Violin and
Wind Orchestra, Op. 12; Krenek: Violin Concerto No. 1, Op. 29. Chantal
Juillet, Violin; Berlin Radio Symphony Orchestra conducted by John Mauceri.
LONDON 452 481-2 "Entartete Series" [DDD] 76:56
Reviewed by Robert Cummings
Erich Wolfgang Korngold (1897-1957) wrote an undeniably beautiful violin
concerto near the end of the Second World War, despite its conservative
language and intemperately debonair veneer. He had left his native Austria
in 1934 for the United States and taken up permanent residence in California,
where he launched a successful career writing film scores. The concerto is
based on themes he used in four such cinematic efforts, themes whose new
guise hardly masked the air of a splashy, saccharine Hollywood, with images
of Errol Flynn and Olivia de Havilland, of sweet romance and cliff-hanger
heroism. Not that the work is weak, mind you--it's well-crafted, tuneful and
virtuosic. Still, it's nowhere near the level of inspiration found in the
other two works offered here. Chantal Juillet plays the concerto with utter
commitment and meets every technical demand with seeming ease. I recently
reviewed the Mathe/Litton performance on Dorian, where the violinist's tone
sounded a bit harsh at times. Juillet is clearly preferable to my ear.
Kurt Weill (1900-1950) composed his Schoenberg-flavored violin concerto in
1924. I don't mean to suggest it's a twelve tone product: Schoenberg himself
was still composing his 5 Piano Pieces (Op. 23) at the time, the first work
where he fully employed his new technique. Still, Weill's orchestration and
harmonies suggest the Second Vienna School; but where Schoenberg is generally
dead-serious, Weill is here humorous and morose, often mixing the two together
as if they were indistinguishable. When a theme appears in the first movement
at 2:25 (track 4) that sounds like a close cousin of the "dies irae", one
wonders if it's parodistic or serious. I'll vote for parody, or at least for
humor. The second movement presciently invokes early Shostakovich, whose
first serious composition, the Symphony No. 1, hadn't yet been composed. Here
the humor and fun are obvious. The finale is a kind of hodgepodge: muscular
and dry at the outset, swooning and nearly songful in the middle, and
rambunctiously spirited at the close. Chantal Juillet turns on the acid a bit
and adroitly captures Weill's darkness and dark humor. If she can so sweetly
deliver the Korngold, then turn grim and deliciously sour in the Weill, her
interpretive range is imposingly wide, indeed.
The concerto by Ernst Krenek (1900-1991) is the most dour-sounding work by
far here. It is, however, not without its moments of peaceful, even beautiful,
repose: the middle section of the opening movement is rather tender and
soaring, if a bit tense harmonically. This 1924 work is slightly more compact
than its disc mates, lasting just over twenty minutes. Again, the influence
here is Schoenberg, but, as with Weill, it is not a dominating factor
throughout the piece. The first movement is fraught with tension, but
counterbalanced by a feeling of hope. The following Adagio is dark and
mysterious, and offers a cadenza of considerable virtuosity and expressive
depth. The finale begins eerily and quickly becomes intense and driven, but,
in its quiet, puzzling ending, does not offer a resolution to the grim issues
the work raises. Again Juillet is right on target in this great piece. It
must be said that John Mauceri abets her with consistently insightful
accompaniment and must take equal credit for these excellent performances.
London's "Entartete" series, by the way, features music suppressed by the
Nazis, or music by composers displaced by them. It is a godsend, with a
treasure trove of masterful compositions previously neglected. The sound
and notes on this release are excellent. In sum, this is a fascinating issue.
LEO KOTTKE: The Leo Kottke Anthology (Rhino)
Reviewed by Shaun Dale
In 1969, the twelve string guitar had a well defined holy trinity -
Leadbelly, Pete Seeger and Jim McGuinn. Each had learned from the other
in order and every player seemed dedicated to the emulation of one or
the other of that trio. Then came an album on John Fahey's Takoma
Records, "6- and 12-String Guitar" by a kid named Leo Kottke. 12-string
players had a new teacher and since I count myself in that group, I can
tell you we haven't caught up yet.
The 36 cuts on this 2 CD set cover ground from Bach to the blues to the
Byrds, all the ground in between, and a few side trips into previously
unexplored territory. His six string playing is superb throughout, and
there are some of his generally underrated but always effective vocal
contributions sprinkled about. It's on the twelve string, though, that
Kottke really shines (an opinion no doubt biased by the even dozen
strings on my own axe). That's the territory he owns, and the deed to
the territory is imprinted on tracks like "Cripple Creek" and "In Christ
There Is No East Or West."
Kottke can pick as fast as he wants, and there are plenty of three
finger pyrotechnics among the cuts here, but he can also generate great
emotion from a slow and spare arrangement.
Leo Kottke is a lot like sex, money or good wine - there just ain't no
such thing as "enough." There's a whole bunch here, though, and if it's
not enough, it's a start. If you don't know him, this is a fine
introduction. If he's an old musical friend, you'll want these tracks
in this format and you'll want his personal notes on each song. Either
way, whether you know it or not, you want this set.
Track List:
Disc 1: The Driving Of The Year Nail * Ojo * Vaseline Machine Gun *
Busted Bicycle * Cripple Creek * Eight Miles High * Bumblebee * Bouree *
Bean Time * Tiny Island * In Christ There Is No East Or West * Last
Steam Engine Train * From The Cradle To The Grave * Louise * Easter
(live) * Medley: Crow River Waltz/Jesu, Joy Of Man's Desiring/Jack Fig
(live) * Pamela Brown * You Tell Me Why * Born To Be With You
Disc 2: Mona Ray * When Shrimps Learn To Whistle * The Scarlatti Rip-Off
* Open Country Joy (Constant Traveler) * Buckaroo * The White Ape *
Range * Airproofing * Up Tempo * Endless Sleep * Sonora's Death Row *
Embryonic Journey * Learning The Game * The Train And The Gate * Side
One Suite: Some Birds/Sounds Like.../Slang/My Double/Three Walls And
Bars/Reprise - Some Birds * Sleep Walk * Rings * Julie's House
KRS-ONE: I Got Next (Jive)
Reviewed by John Sekerka
There are a lot of things not to like about this record. The unimaginative
cover graphic for starters, which seems aimed directly at the M.O.R. market.
It also has a straight news at eleven female reporter deadpan, a direct
rip-off from Ice-T's Original Gangster, followed by a flat in-concert
diatribe. Then there's the excruciating guest appearance by ragamuffin
expert Redman, ugh. Outlined in quarters like a b-ball game, I Got Next just
smells of sellout. It took two weeks before I gave it another shot. I suggest
you do the same. For all it's obvious faults, I Got Next may be the best
hiphop record of '97. Uneven yes, but the glorious moments are truly worthy.
'The MC,' 'Neva Hadda Gun' and 'Step Into a World' with it's golden 'Rapture'
theft, are outstanding and pull you into the rest of the record. After a
while you don't even remember what was irking you in the first place.
KRS-One has always had a way with a beat, now he turns on the fire without
losing his music cred.
TOM LEHRER: Songs & More Songs By Tom Lehrer (Rhino)
Reviewed by DJ Johnson
Despite (or maybe because of) themes like nuclear hysteria, cruelty to
animals, drug dealers, and masochism, Tom Lehrer made some of the jolliest
records in the world. While teaching at Harvard in the 1950s, Lehrer became
a popular attraction as a pianist/singer, performing his off-the-wall brand
of satyrical musical commentary at night spots around Boston. In 1953, he
recorded and personally released Songs By Tom Lehrer, a 10 inch EP that
cost him only $15 dollars to record and eventually sold more than 370,000
copies, despite being shunned by commercial radio stations. You've gotta
raise a beer to ol' Tom for that neat trick, yes?
Songs & More Songs combines that EP and the follow-up LP, More Songs By
Tom Lehrer, and adds a few bonus tracks because, after all, we modern CD
consumers are spoiled and we expect it. As usual, Rhino did a fine job
with the entire project, and they had the good sense to go to the source
and have Lehrer co-produce. Sound quality is quite good (how'd they do
that?!), and the notes are entertaining.
Lehrer's delivery was always at least as funny as his songs: mix equal parts
Cole Porter and Groucho Marx and you're somewhere in the ballpark. Not many
performers could put the names of the elements to music and make it funny
("The Elements"). Alone at the piano, he made timeless satire. Four of the
five bonus tracks are from a 1960 session with full orchestra, and while
these versions of "Poisoning Pigeons In The Park," "The Masochism Tango,"
"The Hunting Song," and "We Will All Go Together When We Go" are well made,
the plush production seems to pull the stinger right out of them. No,
there's really only one way to hear Tom Lehrer, and that's as a one man
show. This, of course, makes us appreciate the other 24 tracks all the more.
The final track is a huge surprise. "I Got It From Agnes" is more than just
a 1:44 unreleased nugget: it's a brand new recording of a song he wrote in
1980. To be honest, I was completely surprised to learn it was a new
recording. At the age of 69, it's clear that the man still has it. He got
it from Agnes. You get it from Rhino.
TRACK LIST:
(From Songs By Tom Lehrer) Fight Fiercely, Harvard * The Old Dope Peddler *
Be Prepared * The Wild West Is Where I Want To Be * I Wanna Go Back To Dixie *
Lobachevsky * The Irish Ballad * The Hunting Song * My Home Town * When You
Are Old And Gray * I Hold Your Hand In Mine * The Wiener Schnitzel Waltz *
(From More Of Tom Lehrer) Poisoning Pigeons In The Park * Bright College
Days * A Christmas Carol * The Elements * Oedipus Rex * In Old Mexico *
Clementine * It Makes A Fellow Proud To Be A Soldier * She's My Girl * The
Masochism Tango * We Will All Go Together When We Go * (Orchestrated editions)
Poisoning Pigeons In The Park * Masochism Tango * The Hunting Song * We Will
All Go Together When We Go * (Previously unissued) I Got It From Agnes
DUKE LEVINE: Lava (Daring Records)
Reviewed by Shaun Dale
Watch out! Duke Levine has a whammy bar and he knows how to use it.
Not to mention a vibrato switch, a lap steel, a mandola, an omnichord
and great taste in material.
Levine is a fine guitar player, executing styles ranging from the swing
of "Quiz Show" and the country of "Buckaroo" to the scorching blues of
"Stalkin'." He's a fine composer, too, who penned seven of the eleven
tracks on Lava.
He's backed by some strong players, principally Lorne Entress on drums,
Paul Bryan on bass and Tom West on B-3 and Fender Rhodes. (Regular
readers will know that I'll eventually slip into an unrepentant rave
over anything with a half decent B-3 sound on it, and West is at least
twice as good as half decent). Other players join in from time to time
on saxophones, accordion, tamboura and manholes.
The tough thing about this album is pigeon holing it into my collection.
Levine can certainly play "clean as country water" and it's tempting to
put it in the country rack, but he can also play low down and dirty -
but how do you fit "Buckaroo" into the blues rack? And what about the
stuff that sounds like soundtrack music from movies I wish I'd seen?
Duke Levine slots nicely into one place, though. That growing stack of
discs that can only be defined as "really good stuff."
Track List: Quiz Show * Lovers' Lane * Manhole * Lava * Force Field *
Buckaroo * Far Away * Fever * North Of The Border * Stalkin' * In The
Dark
LISZT: Complete Piano Music, Vol. 1: Danse macabre (after Saint-Saens)
(1876); Nuage gris (1881); Unstern!--Sinistre, (1880/86); Grande fantasie
sur "Les Huguenots" (after Meyerbeer) (Second Version--1842); La lugubre
gondola I & II (1882); Impromptu (`Nocturne') (1872); Totentanz (c. 1860-65).
Arnaldo Cohen, Piano. (NAXOS 8.553852 [DDD] 71:04)
Reviewed by Robert Cummings
About ten years ago the British label Hyperion Records began a massive
recording project: the complete solo piano music of Franz Liszt, an endeavor
that would require eighty or more compact discs. This effort would include
all versions of Liszt's transcriptions, paraphrases, fantasies and original
compositions. Thus far, the pianist chosen for the project, Leslie Howard
(who is President of the British Liszt Society), has reached volume 45 (some
issues contain multiple discs) and is thus defying those skeptics who said
at the outset he'd never complete the seemingly impossible task. Howard's
notices have generally been positive, too. Little more than two years ago
the budget label Naxos announced it would launch the same project, but with
an arsenal of twenty-five or more pianists that would include Oxana
Yablonskaya, Jeno Jando, Philip Thomson, William Wolfram, and Arnaldo Cohen,
winner of the 1972 Busoni Piano Competition.
This is my first exposure to Cohen, and on the basis of these performances,
I can only hope that his name pops up in this series many more times. When
he goes head-to-head against Howard, as in Totentanz or in the two Lugubrious
(or Funeral) Gondolas, he comes out on top in interpretive insight, and yields
little, if anything, in the realm of virtuosity. Howard gives us urgency and
frenzy in Totentanz, qualities, to be sure, that become virtues in this kind
of showpiece. But Cohen wrings out more menace, and plays with incredible
clarity, even in the loudest passages. You hear inner voices with greater
delineation, inner voices that help fill the void left by the absence of the
orchestra (this work is a reduction, after all, of the original score for
piano and orchestra). Listen to the X-ray clarity and sensitivity of his
left hand playing beginning at 1:10 (track 8) and compare it with Howard's
comparative haze. For sheer lurid excitement try the passage after the slow
middle section, starting at 7:11 where the tempo picks up and leads to the
wild repeated notes that demonically, nervously enact the grim "dies irae"
theme. Cohen plays the music here, and in the grander sections that follow,
with such Lisztian relish, such dark power as to send chills up your spine.
This is Liszt in all his demented, dramatic glory!
In the four late pieces (Nuage gris, Unstern, and the two Funeral Gondolas)
Cohen harnesses that bizarre Lisztian morbidity and delivers it with a cold
sadness, a desolate resignation so appropriate to the expressive nature of
these strange pieces. In fact, the First Funeral Gondola, which contains the
most chillingly morbid theme I know of, is rendered as well as I've ever
heard it. The Impromptu is lovingly played, too, Cohen catching that
pre-impressionist side of Liszt with agile fingers and deft wrists that
manage scales and dynamics so subtly.
In the Meyerbeer- and Saint-Saens-inspired works Cohen once more demonstrates
his versatility: to play this kind of Liszt--transcriptions and
fantasies--the artist nearly always must negotiate formidable pianistic
hurdles, while imparting a range of color and virtuosic effects to the music.
Cohen is fully up to the demands of both these pieces and turns in dramatic
readings that make you long for his renditions of the Hungarian Rhapsodies.
I hope Naxos has selected him for that corner of the Lisztian repertory.
In sum, this is impressive Liszt playing. If you're a Lisztian, or if you
think you might want to enter the strange world of this great composer--who
is by turns demonic, religious, morbid, ecstatic, frenzied, mesmeric,
glorious, demented, romantic, cold, prophetic, virtuosic--by all means try
this disc, which, by the way, offers nearly all those diverse elements. It
appears Naxos may be about to pull off another coup: their Liszt cycle will
cost less than half that of Hyperion's, and their piano sound is decidedly
superior, too. And with pianists like Cohen in their fold, they would appear
to be the clear choice. Time will tell. I don't mean to denigrate Howard;
he's a great pianist, in spite of his often overly fast tempos. Much of his
playing is utterly riveting and more than occasionally enlightening. But
this is an auspicious start for Naxos on this monumental project, and this
disc is highly recommended. I eagerly await the forthcoming issues.
THE LONDON SYMPHONY ORCHESTRA: Symphonic Rock - The British Invasion (Telarc)
Reviewed by John Sekerka
All you craving classic rock, look no further. The London Symphony Orchestra
is here to fulfill your wildest wishes. 'Nights in White Satin,' 'Stairway to
Heaven,' 'House of the Rising Sun,' 'Bohemian Rhapsody' ... all masterfully
stroked, plucked and blown by a roomful of gents in tuxedos. No nasty guitar
solos, no pounding drum rolls, no ear-splitting screams, just the beautiful,
lush melodies swirling around like a squirt of air freshener. A conductor's
wave replaces the air guitar riff. This may seem like the ideal soft core
version geared straight at the fortysomethings, but you, my young naive
friend, haven't really lived until you've heard 'You Really Got Me' presented
in seductive 'Bolero' styling. Maestro: and a one, and a two ......
LOS HOOLIGANS: Traditions (Moon Ska)
Reviewed by Shaun Dale
Los Hooligans is a nine piece unit from California that plays ska with a
pronounced Latino accent. Actually, it's surprising that more bands
haven't exploited the Latin elements of Caribbean music in the current
ska scene. Almost every imaginable permutation of this most seemingly
adaptable genre has found success, and this outfit should find more
success than most.
Almost drifting into an Afro-Cuban jazz motif at times, they're a tight
instrumental unit, featuring a dynamic horn quartet, a fine sense of
swing and capable vocals on several tracks. The material mixes
standards ("Lady In Red," "Till There Was You") with an impressive and
diverse set of original compositions by various combinations of six
members, principally trumpeter Tony Luna and saxman Benny Torres.
This is one of those discs on which the players all sound as if making
the music is a lot of fun. I can tell you without doubt that there's a
lot of fun to be had listening.
Track List: Traditions * Lady In Red * Sonora * I Won't Go * Pecadora *
Slide On * Ojos Negros * Swing Right Rudie * Stephanie * Area 51 * Till
There Was You * Wrong Side Of The Tracks
PAUL McCARTNEY: Flaming Pie (Capitol)
Reviewed by Steve Marshall
When I first heard that Paul McCartney was releasing a new album, my initial
reaction was one of skepticism. All the press reports talked about how he
was doing this album strictly 'for the fun of it,' and how he wanted to keep
the publicity low-keyed, etc. I was still skeptical. His last few albums have
been less than spectacular, and I had no reason to believe this one would be
any different. As it turns out, Flaming Pie is the best thing he's done in
years. Aside from a few special guests here and there, McCartney plays all
the instruments on the CD himself, too.
The new songs range from acoustic vignettes to rockers and R&B-influenced
tunes. "The Song We Were Singing" starts the CD. An acoustic tune with a
great melody, the track practically embeds itself into your brain from the
first time you hear it. The first US single, "The World Tonight," was
originally written as a folk song while McCartney was on vacation, and then
beefed up by Jeff Lynne. "Somedays" is a poignant, acoustic tune written in
a mere two hours. George Martin's orchestration on the song makes it one of
the CD's highlights.
The first single in the rest of the world is "Young Boy," one of several
songs featuring Steve Miller on vocals and guitar. "It was great to renew my
60's friendship with Steve Miller," said McCartney. "Working with Steve again
was like falling into an old habit." After working together on "Young Boy,"
Miller was anxious to continue the collaboration. He suggested that they do
something in a 'Texas blues' vein. He showed up for the next session with
"millions of little blues riffs." McCartney got behind the drum kit and they
started to jam. This jam eventually became "Used to Be Bad," a duet co-written
by the two of them.
McCartney played most of the instruments on "Heaven on a Sunday," but he got
his son James to help out on the song's electric guitar solo. "I played the
acousticy sort of thing, like an old blues guy, and left the Young Turk to
play the hot electric stuff," said McCartney. Another highlight on Flaming
Pie is "Souvenir," an R&B-flavored track resembling "Call Me Back Again," a
song from his days with Wings. Ringo Starr appears on two songs, and co-wrote
one with McCartney. Although the song is nothing spectacular, it's the first
time the two ex-Beatles have written a song together.
At Linda's request, Flaming Pie features some of the heaviest guitar playing
McCartney has done in years. His songwriting is fresh and inspired, better
than it has been since his days with Wings in the mid-70's. There are still
a few sappy tunes here and there, but the good songs far outnumber the bad.
If you're a Beatles fan, or a McCartney fan, don't miss this one.
MEGADETH: Cryptic Writings (Capitol)
Reviewed by Jeff Apter
Dave Mustaine and his thrash-metal buddies get surprisingly accessible on
their eighth long-player, which was recorded in (of all places) Nashville.
Maybe the country air worked the trick, who knows? Produced by Mutt Lange
protege, Dann Huff, whose trademark hard-rocking kick is stamped all over
these 'Cryptic Writings,' there's a fluency to Megadeth's monolithic ampage
that I've overlooked in the past. And while Marty Friedman's warp-speed
fretwork is a constant, Megadeth have introduced a functional sense of
humour: "Have Cool, Will Travel" shows that Mustaine, a no-nonsense
thrasher for whom the term speed-metal could have been invented, might be
decent company after all. Mind you, the mirth factor is balanced by the
breast-beating "FFF" (fight for freedom), the stodgy rock grind of
"Mastermind" and the lock-your-doors threatening "I'll Get Even" - but two
thumbs-up to the 'Deth for occasionally defying expectations.
MENDELSSOHN: The Complete Symphonies, Vol. 2: Nos. 4 in A (Italian); No. 5
in D (Reformation); Calm Sea and Prosperous Voyage. London Philharmonic
Orchestra conducted by Bernard Haitink. A Midsummer Night's Dream: Overture,
Op. 21; Incidental Music, Op. 61 (Rae Woodland, Soprano; Helen Watts, Alto;
Netherlands Radio Chorus); Violin Concerto in E Minor. Arthur Grumiaux,
Violin; Royal Concertgebouw Orchestra conducted by Bernard Haitink.
(PHILIPS DUO 456 074-2 [ADD] 2:21:13)
Reviewed by Robert Cummings
Obviously you get considerably more than the misleading title of the album
suggests. More importantly, though, you get compelling performances of most
of the works offered, and good sound as well, in spite of sonics dating from
1978 in the symphonies and Calm Sea, and from the early 1960s in the other
pieces. Lastly, as you may already know, the Philips Duo line is a
two-for-the-price-of-one series.
Haitink serves up an effervescent and absolutely convincing reading of the
"Italian" Symphony. There are so many good renditions of this popular work
on the market, though, it's hard to recommend one as the preferred version.
I recently reviewed another budget offering of this piece, the Naxos disc
featuring Reinhard Seifried and the National Symphony Orchestra of Ireland.
It, too, is a splendid, if calmer, performance that confounds the buyer
perusing the budget bins in search of a "best" buy. I would say that
Haitink's approach is a traditional one: straightforward and lively, with
judicious tempos and rich detail. But his keen insight and the committed
playing of the London Philharmonic Orchestra elevate it to an inspired class.
Dohnanyi/London Jubilee and Bernstein/Sony, both excellent performances, may
also still be available and at reduced prices.
Haitink also reads the "Reformation" Symphony with the same vigor and
insight. The first movement is especially compelling for its infectious
energy and contrasting contemplative moments (the work is a celebration of
the Augsburg Confession, the document written to help establish the Lutheran
Church in Germany). The second movement is rendered here about as well as
you might ever hear it, Haitink imparting a delicious lilt to the middle
section, and framing it with the most intoxicating high spirits in the main
material. The finale is grand and glorious, the conductor coaxing his able
London players to clothe Luther's "Ein Feste Burg" theme in the most heavenly
sonorities. Again, there is considerable competition even in this lesser
work, but suffice it to say that Haitink's reading can rank with the best.
In the concerto Arthur Grumiaux turns in a fairly unmannered and polished
reading that stands the test of time (37 years and counting). Personally,
though, I favor the Perlman/Barenboim on Erato, mainly because of the
soloist's tonal opulence and solid interpretation. (That issue also features
a stunning Prokofiev Second, with the wildest ending I've yet heard.)
The Overture and Incidental Music to A Midsummer Night's Dream once again
find Haitink keenly alert to Mendelssohn's generally sunny disposition and
kaleidoscopic vision. Soprano Rae Woodland's sweet and utterly charming
voice sounds so right here, as does the darker alto of Helen Watts. The
women of the Netherlands Radio Chorus also turn in splendid work. Calm Sea,
the filler for the symphonies on CD I, is a further bonus here, with just
the right balance of atmosphere and exuberance.
All in all, this is a quite economical way to acquire a handful of popular
Mendelssohn works in splendid performances. As mentioned the sound is quite
good, though there is a bit of hiss and some shrillness in the recordings
from the 1960s. Still, this is bargain by any measure.
MONACO: Music For Pleasure (A&M)
Reviewed by Jeff Apter
With his bass slung so low an injury was imminent, and boasting a fine line
in leather duds, Peter Hook was as close to a personality as New Order
offered the world. With all the wisdom that age brings, Hook's now a shrewd
musical mover, sticking to what he knows best with his new combo, Monaco
(where he teams up with guitarist and studio ace David Potts). Hence the
towering walls of synths, melodious basslines and big pop production that
courses through much of their Music For Pleasure. There is the odd
surprise, though. Stadium-sized guitar hooks and a stampeding, shoutalong
chorus makes "Buzz Gum" the best Britpop Oasis never recorded, while "Sweet
Lips" heads directly to the dance floor, riding high on wailing diva vocals
and a tsunami-sized percussive rush. As for shortcomings, there are but a
few. Hook's vocals redefine the term "limited range," and there's a vague
synth-pop familiarity about much of Music For Pleasure: "Junk" and "Happy
Jack," for starters, could be ghost tracks from Substance. But if you can
accept Monaco as a new New Order, their debut lives up to its name.
MOODSWINGS: Psychedelicatessen (Arista)
Reviewed by Shaun Dale
Suspicious though I am of music that seems to feature more programmers
than players, I'd recommend this disc if it had no more to offer than
the stunning marriage of Bob Marley's "Redemption Song" and the gospel
standard "Oh Happy Day." It has more than that, though, much more.
Opening with a series of short, spacey, new-agey cuts, it soon moves
into "Dancing Is Important," a theme which should be branded into the
surface of every synth, sequencer and computer used in the production of
music. Spacey sounds are nice, technical wizardry can be fun, and we
can all use a breather now and then, but the highest function of popular
music is to provide sounds to move your butt to.
There are plenty of those sounds in this mix of funk, R&B, world and new
age beats. There are also some respites for those who need to catch
their breath and space out for a bit.
"Redemption Song (Oh Happy Day)" is definitely the highlight for me,
though. The song is laid on top of a choir chanting "Oh Happy Day" and
a deep bottom bass and drums rhythm track. From there it soars, spins,
cuts and runs into an all absorbing, ethereal arrangement that gets the
repeat button track of the month prize from this writer.
Slap this on at your next party. Watch the people dance, watch the
people listen, watch the people wonder where this came from and where
they can get it.
Track List: Lifeforce In A Pizza * Crysmile * Undistracted * Dancing Is
Important * Together As One (Luminous) * The Great Sound Of Letting Go *
Sugarush * Destruction & Destroy * Indian Drug Carpet * Spore *
Redemption Song (Oh Happy Day) * Horrorzontal * Vibratonik * Okinawa *
Hinckenlooper's Eclipse * God Knows What I Want * Happy Piano
THE MOODY BLUES: Long Distance Voyager (24k Gold)(Mobile Fidelity Sound Lab)
Reviewed by DJ Johnson
By the time Long Distance Voyager was recorded in 1981, keyboardist Ray
Pinder had left and been replaced by Patrick Moraz. After several years
with Yes, Moraz brought a busier sound that pushed The Moodies into a
somewhat colder technical place. Pinder's dreamy atmospherics were badly
missed. The songs on Long Distance Voyager weren't going to make anyone
forget "Ride My See-Saw," but this wasn't music without merit. "The Voice"
gave them an FM hit, John Lodge's "Talking Out Of Turn" showed The Moodies
could still make spine tingling music, and the 37 second "Reflective Smile"
proved Ray Thomas could still spark the imagination with an echoing poem.
Once past the mid-album filler (the dreadful "Gemini Dream," the pretty but
painfully long "In My World," Justin Hayward's "Meanwhile," which could have
been fine had it not been produced to death, and the awkward "22,000 Days"),
the chemistry of the band begins to generate a warmth that finally overcomes
Moraz's electronic bells and whistles. "Nervous," a Lodge tune, is beautiful
and simple, with a great pop chorus full of classic Moodies harmony. Thomas'
album-closing "Veteran Cosmik Rocker" is amusing on the surface and just a
bit terrifying for those who listen closely. It also contains some fine
blues harp and flute work by Thomas.
Long Distance Voyager was the first and only album the band recorded at their
own studio, Threshold, which means the band had a lot of time to play with
the sound. While it wasn't as huge as the classic Moodies sound, it was a
whole lot bigger sounding than the average 1981 album. The MOFI release is
warmer and fuller, and most certainly clearer. "Veteran Cosmik Rocker"
gives the most obvious demonstration of the sound improvements on this 24
karat gold CD. There is so much happening on the track that it's nearly
impossible to keep it all sorted out. At least that was the case on the
original release. Here, the instruments hold their separation and their
presence throughout. Technically, this is a fine audiophile release.
Artistically, it's a mixed bag.
THE MULCHMEN: Louder Than Dirt, Thicker Than Mud (Big Beef Records)
Reviewed by DJ Johnson
Pssst... There's danger in Dayton. Pass it on.
In my review of The Mulchmen's 7" EP, All The News That's Fit To Surf, I
said they followed just enough of the rules to be considered trad. Yeah,
well the rule book is now in the shredder basket and they're throwin' in
a match.
The Mulchmen don't get fancy when they play their brand of surf/spy/punk.
Where another band might throw fifty machine-gun notes to kick you along,
The Mulchmen use sparse arrangements and empty spaces to build drama and
tension and send you into free fall. Each song consists of several diverse
segments, strung together in a most satisfying way, with Nick Kizirnis'
guitar sounding mean and foreboding one moment and Carl Wilson-jangly the
next. And that puts The Mulchmen in their own category. Brian Hogarth
(bass) and Gregg Spence (drums) never try to grandstand, opting instead
to trade flash for simplicity and power, giving Kizirnis all the room he
needs to weave a spell with guitar or theremin. This is dangerous,
eyes-closed, head-swaying brain music, and that's the best kind.
Just as the rule book bursts into flames, The Mulchmen launch into the high
octane intro to "Bridge Of Death" sounding for all the world like a
traditional surf band. But in the final moments of that final track, Spence
and Hogarth jump into a boogie-lock reminiscent of Rik Lee and Leo Lyons
(Ten Years After) as Kizirnis goes stark raving bonkers on the theremin.
It seems only proper that Louder Than Dirt, Thicker Than Mud should reach
meltdown rather than simply end. (Big Beef Records: P.O. Box 303 WBB,
Dayton, OH 45409, USA.)
TRACK LIST:
Mudslide * Snake Eyes * Dirty White Collar * Swivel Hipster Shake * Flippin'
Out * Frank * Sci Fi Voodoo * Chiwawah! * No. 99 * Bustin' Golf Clubs *
Bonfire Serenade * A Man With No Reverb Is No Man At All * Rumble 3000 *
Bridge Of Death
KENNETH NEWBY: Sirens (ZoeMagik/City Of Tribes)
Reviewed by DJ Johnson
To say that Kenneth Newby keeps himself busy would be a gross understatement.
As a member of Trance Mission, Newby creates vast and mysterious soundscapes
for his talented bandmates to build upon with an endless variety of acoustic
instruments. Trance Mission records for City Of Tribes, a San Francisco
based record label whose artists often work together like a repertory
company from project to project. These are otherworldly talents, including
Beth Custer, Barbara Imhoff, Steve Roach, Patti Clemens, and Steven Kent.
From that fertile and conducive atmosphere comes Newby's latest solo work,
Sirens.
Electroacoustic ambient music, for those of you who aren't familiar with it,
is often more about texture than melody, and nearly always about atmosphere.
To my ears, this music is what "new age" was supposed to be before the
elevator musicians got ahold of it. In those early days of the genre, I
read a description that said "new age is like heaven's soundtrack," and that
surely fits the music on Sirens. Newby's background textures and hypnotic
rhythms provide an intense foundation for the melodic instruments, and the
fusion of sounds creates a music that sounds at once futuristic and ancient.
This music reaches deep into the circuitry of the mind and paints alluring
pictures there, building worlds with no physical boundaries and endless
possibilities. I can't fully express what it's like to sleep to this music,
but I can recommend it for vivid technicolor dreaming.
This genre is relatively new to me, and I'm actively learning my way around,
but I can tell you that, thus far, this is the most intensely dreamlike,
breathtaking album I've heard. It's released on ZoeMagik, the new baby
sister to City Of Tribes. If you're open to mind journeys, if you have
a great imagination--or maybe a good connection--and you're open to new
sounds, this is a great place to start. (You can find City Of Tribes on
the World Wide Web at http://www.cot.com)
THE OMEGA MEN: The Spy-Fi Sounds Of... (Musick Recordings)
Reviewed by DJ Johnson
Previously, I'd only heard one track by The Omega Men, that being a cut
on the outstanding Instrumental Fire compilation (also on Musick Recordings)
a few months back. I liked that, and I like this. They are sloppy at
times, occasionally derailing the beat for brief moments, but they sure do
make a cool sound. In this era of retro-madness, garage bands break down
into two categories: those with Farfisa organ and those with Vox organ.
(Well, three categories. You have to include bands with NO keyboards.)
Both organs have their merits. Here comes Susan Mackay playing a Hammond
B3 with Leslie speaker, giving Omega Men's music enough swirl to create a
wicked undertow. It's all part of a big plot, I'm tellin' ya. Simple,
solid bass and drums, 'verbed-out Rickenbacker and Hagstrom guitars, the
slightly detached and sometimes even mournful voice of Jonathan Sipes, and
that exquisite swiiiiirl! Great work behind the console by Dave Wilkerson,
who has worked with some biggies (Tubes, U2, and Bob Dylan, among others).
Fire retro rockets and breathe in the spy-fi atmosphere. (Musick Recordings:
202 W. Essex Avenue, Lansdowne, PA 19050 USA. 610-623-8467. Fax# 610-623-8547.)
POLLEN: Peach Tree (Wind Up)
Reviewed by Shaun Dale
Another entry in the pop-punk sweepstakes, Pollen may just have the
winning ticket. Their third album (two previous releases on Grass
Records are out of print), this should be their breakthrough effort.
Drummer Bob Hoag is the driving force here - writing and co-writing ten
of the twelve selections in addition to producing, mixing and, of
course, playing. He also did the graphic design on the disc booklet.
(I wonder if he swept up the studio as well.) The man is a veritable
latter-day Dave Clark.
Which is not to discount the rest of the band. Guitarists Mike Bennet
and Kevin Scanlon rip, soar and slam as required. Bassist Chris
Serafini thumps through a point by point counterpart to Hoag's driving
drumbeat and Dan Hargest has fine punk pipes on the vocal front. This
is a tight unit, hitting that perfect blend of pop precision and punk
energy that their genre requires.
I don't know what their plans are, but if they don't include getting
some airplay for "Tiny Shoes" they're missing a good bet, in my view.
Of course, there are plenty of other worthy cuts here, and Hoag seems to
know what he's up to without any help from me. Me, I'm just going to
enjoy listening to this one for some time to come...
Track List: Almond-coated * Tiny Shoes * Chalkboard Dust * Fine, Then *
Denoted * Hyperventilate * A Clear Complexion * Sugarless * All But One
* Colorful * Soda Pop Cold * Snowy
ELVIS PRESLEY: Elvis Is Back (DCC - 24 karat gold CD)
Reviewed by DJ Johnson
This was the King's first album upon his return from military service in
1960, and his very first stereo release. Remastered (by Steve Hoffman, of
course) from Living Stereo Nashville's original stereo mixes, Elvis Is Back
retains much of the warmth of the original vinyl release. Separation is
clean as a whistle. I don't remember the original having such definition
between Elvis' voice and its reverb tail, but the effect creates a huge
soundscape.
The music itself is well worth owning. "Fever" is available on several
compilations (though never with such stunning sound), but most of these
songs have long since vanished into time. Some of Elvis' finest non-hit
pop tunes are here, including "Such A Night" and "The Girl Of My Best
Friend." "Dirty, Dirty Feeling" is a rockabilly tune, and Elvis' band
was always amazing in that capacity (especially guitarist Scotty Moore,
who remains a bonafide guitar god to this day).
The true greatness of Elvis Is Back, however, is found in its blues tracks.
Elvis gets very little of the credit he deserves for bringing blues to a
white audience years before The Yardbirds, Stones, Animals and other Brit
invasion bands did, but the proof of the deed is here. "It Feels So Right"
bridges blues and rock in a way so vivid that it could be used as a textbook
for educating those who just can't see the connection between the two. "Like
A Baby," a more traditional blues, benefits from smoldering sax by Boots
Randolph and the acoustic guitar work of Moore and Hank Garland. Randolph
burns again on the final track, "Reconsider Baby," and Floyd Kramer provides
some shimmering acoustic piano work. What shouldn't be lost amongst all of
these great performances is the fact that Elvis Presley A) had a deep
understanding of the blues, B) had the inclination to take a risk and present
the blues to his audience, and C) was a kick ass blues singer in his own
right. That three of the last four tracks on Elvis Is Back were blues
numbers is proof enough of his love of the form.
This is the first Elvis title in DCC's catalog, and it's an interesting and
surprising choice, most likely reached because it was so well recorded and
because there is no filler. This review only covers the 24 karat gold CD
version, but be advised that they've also released it on 180+ virgin vinyl,
and if this CD is any indication, the vinyl must be a real stunner. (DCC
can be reached by telephone at 1-800-301-MUSIC.)
CHUCK PROPHET: Homemade Blood (Cooking Vinyl)
Reviewed by John Sekerka
Chuck Prophet cut his teeth with seminal cow punksters Green On Red, a band
that, like many others, never received it's due. And though he's continuing
a great recording legacy with his solo work, it don't look like ol' Chuck's
gonna see that pot of gold any time soon. But that's okay, cuz I'm sure
wealth and fame would surely spoil what is one of America's better writers.
With Homemade Blood, Prophet zones in on middle America: Dairy Queens, taco
stands, radio static, cheap red wine ... 'She had time to kill and love to
spare' ... you know the score. Copping a few tired Stones licks seldom
sounds this fresh; besides, this boy can play the guitar. Like the best
rock'n'rollers, Prophet borrows freely, and makes his own gumbo. Tom Petty
used to sound like this, but then he got rich.
RESPIGHI: The Pine of Rome; The Fountains of Rome; Roman Festivals. The
Pittsburgh Symphony Orchestra conducted by Lorin Maazel.
SONY SK 66843 [DDD] 63:35
Reviewed by Robert Cummings
A fine disc all the way around. The big story again is that the underrated
Pittsburgh Symphony plays like a world-class ensemble. I'll contend from
here on that it can stand with the Philadelphia, Chicago, Cleveland, Berlin
and Amsterdam orchestras. Period. Maazel's Pines is an improvement over his
London/Cleveland Orchestra reading (which was coupled with a spirited Roman
Festivals) and can easily contend with the best. In fact, this might even
erase memories of
Toscanini for some, so powerful and penetrating is Maazel's
glorious take on this glitzy epic work. For that matter, the other two works
here are right on target, as well: atmospheric, energetic and idiomatic.
Sony provides absolutely excellent sound with its 20-bit technology,
producing a soundstage and clarity about as lifelike as one could wish.
Excellent notes are provided, as well as program descriptions for each
section of the three tone poems. If you like these scores (I must confess
I've never been crazy about them), this is the disc to get.
CHRIS ROCK: Roll With the New (Dreamworks)
Reviewed by Rusty Pipes
I'd probably write a positive review about Chris Rock's work no matter what
he put out. He's become a lot more than just another SNL alumnus, what with
his work on Comedy Central last year and now HBO, but this record is extra
special.
Roll with the New is not just a long monologue like 90% of comedy albums.
Chris does have several bits here that reprise his recent HBO special, but
there's more. Spaced in between the bits are great little audio plays done
in several styles. "Press Conference" is a sampling track done a la Flying
Saucers. This is a style that dates back to when sampling was done with
razors and splicing tape where a narrator sets up a clip of lyrics with a
question, giving it a new twist. Chris updates the technique with rap
records putting words into the mouths of O.J. Simpson and Ike Turner to
hilarious effect. Chris also dwells on O.J. in a monologue but is funnier
when he mutates "Who's on First" into "O.J. & Ojays." There's music too.
"Champagne" starts out as a rather nice soul tune done with Juicy Fruit
Jenkins and Freedom Williams and with music by Prince Paul and Don Newkirk.
All these studio bits keep the texture of the album very interesting.
But that's not why the album is so special.
Roll with the New is special because Rock puts down ignorance and violence
in a big way. Ignorance and violence that's found in people who happen to be
BLACK. "Who is more racist, Black People or White People?" he asks in
"Niggas vs. Black People." The answer? "Black People. You know why? Cause
we hate Black People too! Everything White People don't like about Black
People, Black People REALLY don't like about Black People."
Chris is drawing a line between two different kinds of Black Culture. "I love
Black People but I hate Niggas," he says with conviction, giving "Niggas and
Gangstas" a severe tongue lashing about all the dummying down, thieving and
worse that they perpetrate and perpetuate. It's a wake up call and he won't
tolerate apologists of his race hiding behind victimhood, at one point
mocking the attitudes of those who say it's just The Media creating a bad
image of Blacks. "Please cut the fuckin' shit!" Chris says, "When I go to
the money machine at night, I ain't lookin' over my back for The Media, I'M
LOOKIN' FOR NIGGAS!" Subtle and overt reminders all over the album make the
message clear--ignorance and violence do no good for anyone's culture.
A DJ friend who's Black was already hip to the album and loves it. The
Washington DC audience was certainly on his side too--good signs that the
majority of Black people are ready to draw the line with Chris. Of course
casual listeners will be happy to know there's a big helping of riotously
explicit sexual humor here too, and Chris's work is easily in the same
league as a Damon Wayans or a Martin Lawrence. The dick jokes and the
clever studio pieces will hook everyone into listening so the real message
can sink in. This is where Wayans and Lawrence are left in the dust and
Rock reaches for the heights of Richard Pryor, George Carlin and Lenny
Bruce.
I'm really happy to see his talent is coming through now because he was
terribly wasted during his Saturday Night years. It'll be very easy for
some Blacks to take offense and say Chris is a big star now, that he's
sold out and made this album for mainstream America (read: whites). I don't
agree. I think Chris really is "tired, Tired, TIRED" of the shit and truly
wants the best for his culture and everyone else. It's a rare for anyone
to take such a strong stand these days and I applaud his courage for making
Roll with the New.
TRACK LIST:
Opening/Crickets * Marion Barry/Million Man March * This Show Sucks #1 *
Luther Campbell * Cheap Pete *Tossed Salad * Press Conference * O.J., I
Understand * O.J. & Ojay's * Champagne * This Show Sucks #2 * Niggas vs.
Black People * I Love the Show * Introducing Mary Wong * My Favorite Joke *
This Show Sucks #3 * Bad Phone Sex * I'm Back * Another Face Song
THE SABREJETS: Hellbent (Raucous Records)
Reviewed by Shaun Dale
This Irish rockabilly quartet delivers up nine original tunes and a
cover of Marc Bolan's "Born To Boogie" with all the energy and
authenticity you could hope for.
Songwriting chores are split up between lead singer/rhythm guitarist
Brian Young and lead guitarist Liam Killen, and if I didn't know better,
I'd think they found the charts under the boards of some Tennessee back
porch. These guys obviously love the music enough to get beyond the
form and into the heart of the rockabilly sound. They pick and sing it
just like good ol' boys, too.
The T. Rex cover is presented in the same straightforward way, well
enough to make you forget it's glam rock pedigree. No small part of the
reason for that, and for the success of every track on the disc, is the
solid base laid down by drummer Bill Johnston and bassman Marty
Cottrell.
Fans of traditional rock and roots music should check this one out.
(Raucous Records: Shakespear House, 37-39 Shakespeare Street, Southport PR8
5AB England. Telephone/fax: 01704 539499. International: +44 1704 539499.
E-mail: rauc@globalnet.co.uk)
Track List: Hellbent! * Going Down To Memphis * Born To Boogie * In And
Out Of Love * Wildcat * Bang! Zoom! * Long Gone * Rooftop Boogie *
Midnight Train * The Wiggle
SATISFACT: S/t (K)
Reviewed by John Sekerka
Right from the get-go there's no denying the obvious influence. Satisfact
have released the best Wire (circa '79) record of 1997. The cluttered
arrangements, the choppy rhythms, the guitar wails, the urgent vocals,
it's all here. Art punk angst for you new wave reminiscers. As Elastica
before them, Satisfact have borrowed heavily, but their slant is more
obscure, not destined for top of the charts, but lurking underneath much
like the original Wire material. It has a longer lifespan because it grows
with each listen, and is not immediately obvious in its power. But baby,
it's got the power. Hijacked by Steve Fisk's screaming theremin whistles,
'Demonstration' is the bucking bronco in this stable, kicking up a glorious
and nasty storm. It is brutishly simple and blunt. Perhaps thee pop moment
of the year. Best thing is, it's followed in rapid succession by an album's
worth of gems. A real find.
SCHUMANN: Lieder: 4 Songs from Myrthen, Op. 25; Frauenliebe und -leben,
Op. 42; 2 Songs from Liederkreis, Op. 39; 4 Songs: Op. 79, no. 24; Op.
51, no. 1; Op. 101, no. 4, Op. 79, no. 29. Clara Schumann: Er ist
gekommen in Sturm; Liebst du um Schonheit; Das Veilchen; Lorelei; Mein
Stern; 6 Songs, Op. 13. Barbara Bonney, Soprano; Vladimir Ashkenazy,
Piano. LONDON 452 898-2 [DDD] 68:59
Reviewed by Robert Cummings
This disc presents "lieder," or songs, by the most famous husband-and-wife
team in the history of classical music, Robert and Clara Schumann. Robert
was the greater composer, of course, and Clara the greater pianist, one of
the leading virtuosos of her time, in fact. Robert went insane and died
prematurely, and Clara, it is said, went on to have a relationship of sorts
with Brahms, though the two never married. Both Robert and Clara wrote some
quite attractive songs, which Soprano Barbara Bonney delivers with a
generally light approach, and quite successfully.
Robert Schumann's Frauenliebe und -leben (A Woman's life and love) is the
most masterful complete collection here and among the most popular lieder
cycles. Bonney, with tempos generally on the brisk side, renders the songs
with poignancy (Susser Freund, du blickest), buoyancy (An Meinem Herzen, an
Meiner Brust) and proud fervor (Er, der Herrlichste von allen). Her
performances were so convincing that I felt compelled to reach for my Jessye
Norman/Philips recording for comparison. Norman is darker, more probing and
profound, and, some would say, more fitting to the music. But Bonney is good
in her own right. Her voice is positively angelic, never thickening and
turning mezzo-ish, as sometimes happens to Norman (in Du Ring an meinem
Finger, for example). And Bonney's phrasing and technique are absolutely
superb.
In the other repertory here, she's just as impressive. Her performance of
Clara's Er ist gekommen in Sturm und Regen is compelling, capturing its
anxiety and sense of lost love. In Clara's Der Mond kommt still gegangen
she mesmerizes the ear with nocturnal dreaminess, while in Robert's Widmung
she fully catches the bliss and ecstasy. The whole recital is beautiful and
reveals Clara to be a better composer than many might think.
The ubiquitous and indefatigable Vladimir Ashkenazy partners Bonney with
consummate artistry in every respect. London provides excellent sound,
good notes and full texts. A most enjoyable disc, and a must for those
interested in lieder.
JANE SIBERRY: Teenager (Sheeba)
Reviewed by Shaun Dale
Though I've generally enjoyed what I've heard of Jane Siberry's previous
output, I was fully prepared to be more than a little disappointed in
the first disc released on her own Sheeba label.
I mean, you record a half a dozen albums, add a live disc for the
growing fan base you've developed, get your own label and do what?
Release an album of the songs you wrote in high school?!?
Well, if you're Jane Siberry, that's exactly what you do. And if you're
as dubious of the notion as I was, I hope that you'll listen and be as
pleasantly surprised as I am.
First, she shows great taste and restraint in not dolling these up to
enhance their commercial appeal. Siberry alone on guitar or piano and
a few harmony overdubs carry most of these tunes. Peter Kiessewalter
adds some accordion flourishes on two tracks and Rebecca Campbell
provides backing vocals on two more. That's it. And that's perfect.
The songs themselves are not earthshaking, but neither are they
embarrassing. Jane was obviously spending a lot of time listening to
Joni Mitchell in those days, but as influences go you can do a lot
worse. There are songs about family members, teenage philosophical
musings with a refreshing lack of teenage angst, and, of course, love
songs. Interspersed are an introduction and some comments by Siberry
to give context to the selections, reminiscent of the stage patter at a
live show.
Siberry fans are going to be delighted with this disc if only for the
historical value and the further glimpse into her life and character.
Even those who have never heard of Jane Siberry, though, will find songs
crafted with surprising care and performed with such obvious affection
that they'll get pulled in.
Track List: Introduction * The Squirrel Crossed The Road * Let's Not
Talk Now * Song To My Father (original and new recording) * Broken Birds
* Puppet City * Oh My Sister * The Long Pirouette * Bessie * We Should
Be There By Morning * Viking Heart * When Spring Comes * Angel Voyeur *
Trumpeter Swan
FRANK SINATRA: The Very Best Of Frank Sinatra (Reprise)
Reviewed by DJ Johnson
By 1960, Frank Sinatra had already enjoyed the ups and survived the downs
of a quarter century in the music biz. Having just finished his stint at
Capitol Records, and suffering one of his longer popularity lulls, The
Chairman Of The Board made an astute move: he started a record label.
Reprise Records provided the stage on which Sinatra made the most amazing
comeback in music history.
The Very Best Of Frank Sinatra is a misleading title. Don't get me wrong,
these are all great songs, but they only represent his output for Reprise
(between 1960 and 1980). Many of the songs he recorded during his early
career were re-recorded during this time period, and 19 of them are included
on this 2-CD set. In most cases it will come down to a matter of your
personal taste. Do you prefer the jazzier originals or the swankier covers?
The 21 first-run tunes are some of his best in any era. "The Best Is Yet To
Come," "Fly Me To The Moon," "Let's Fall In Love," "Come Rain Or Come Shine,"
and his classic attitude tune, "That's Life," all offer proof positive that
Sinatra was the king of swing.
The Very Best Of comes six years after another collection, titled Sinatra
Reprise: The Very Good Years. That single disc contained 20 songs, 17 of
which are included on The Very Best Of, so this set could be seen as a
replacement for, or alternative to, The Very Good years. On the other hand,
there is a 4-CD box of Sinatra's Reprise highlights for the ultra-serious
fan. Baby, Mama, and Papa. Pick your bear. My guess is this one will do
well, being affordable AND jam-packed with 40 tunes. Ain't it great to
have options?
TRACK LIST:
Disc One: Stardust * A Foggy Day * Let's Fall In Love * The Girl Next Door *
Old Devil Moon * The Way You Look Tonight * Fly Me To The Moon * Nice Work
If You Can Get It * I Get A Kick Out Of You * Come Rain Or Come Shine * Please
Be Kind * Don'cha Go 'way Mad * They Can't Take That Away From Me * In The
Wee Small Hours Of The Morning * I've Got You Under My Skin * Let's Face The
Music And Dance * Come Fly With Me * My Kind Of Town * Luck Be A Lady * The
Best Is Yet To Come
Disc Two: It Was A Very Good Year * All Or Nothing At All * Night And Day *
Nancy * Young At Heart * Love And Marriage * All The Way * Witchcraft * The
Tender Trap * The Second Time Around * Pocketful Of Miracles * Softly, As I
Leave You * Strangers In The Night * Summer Wind * That's Life * Somethin'
Stupid * Wave * My Way * Theme From New York, New York * Put Your Dreams Away
SLAVE: Stone Jam (Rhino)
Reviewed by DJ Johnson
After a couple of extra funky albums, Slave fell victim to the disco thing,
turning out this album half empty with super-slick dance calculations at the
end of 1980. It doesn't even approach funk until the fourth track, "Sizzlin'
Hot." "Never Get Away" stands out as an interesting mood piece that manages
to be surreal and floaty while Mark Adams is laying down a fast and nasty
bass line. But the first moment of SERIOUS funk arrives at track 8. "Stone
Jam" has a rubber groove, layered harmonies, fluid guitar solos... everything
a great funk song should have. That track closed the original album, leaving
it out of balance and decidedly slick. Rhino has included three bonus tracks,
but they're simply alternate mixes of three songs that appeared earlier in
the album. All in all, Stone Jam is a decent album if you judge it against
other dance albums of 1980. If you judge it against earlier Slave and you're
vote hinges on the funk factor, it's just not up to the challenge.
JIMMY SMITH & WES MONTGOMERY: Jimmy & Wes The Dynamic Duo (Verve)
Reviewed by Shaun Dale
With the names of two giants of jazz on the cover, it's important to
remember that this legendary album was in fact a three way collaboration.
Arranger Oliver Nelson conducted the big band that backs three of the
five cuts from the original album (the other two and the extra track,
an alternative take of Montgomery's "O.G.D. [Road Song]," are presented
in a small combo format with the duo backed by drums and conga). His
work in that role allowed the two featured players to cook, prodding
each other without the burdens of leading.
And cook they did. From the opening epic ten minutes of "Down By The
Riverside" it's clear that there's something special going on here.
From there, they climb on Duke Ellington's "Night Train," which is run
as a high speed express. For "Jimmy and Wes" the band drops away and
the two alternate lead and rhythm roles over a simple percussion
background.
"13 (Death March)" isn't a march, and the only thing deadly about it is
the dead on arrangement by Nelson and the way Jimmy's B-3 and Wes's
guitar slice down to the bone of Gary McFarland's composition. The last
cut on the original release, "Baby, It's Cold Outside," is a return to
the small combo, with Grady Tate back on drums and Ray Barretto dropping
the conga in favor of jingle bells.
The version of "O.G.D. (Road Song)" presented here is an alternative
take of the song which would appear on "Further Adventures of Jimmy and
Wes," a later Verve release. The small combo is used here, as well.
The album is presented as part of Verve's "Master Edition" re-release
series, with the original art and notes as well as new photos, text and
high resolution 20-bit digital transfer from the original masters. If
anything in the extensive and historical Verve catalog deserves this
treatment (and many do), this album certainly does. It's appearance
from them is welcome. It's acquisition by you is encouraged.
Track List: Down By The Riverside * Happy-Go-Lucky Local (Night Train)
* James and Wes * 13 (Death March) * Baby, It's Cold Outside * O.G.D.
(Road Song) - alternative take
STARFISH: Frustrated (Trance Syndicate)
Reviewed by John Sekerka
The sonic dynamic school of guitar debutchery (sic) spews a lot of drivel,
but every so often a sucker worth reeling in comes upstream. Starfish might
just be this year's model. Granted they know how to pound their guitars and
make a glorious wall of fuzz, but 'tis their careful, edgy balance between
noise and melody that push 'em ahead of the pack. Sure it sounds like Sonic
Youth at times, but the girlie vocal veers more towards teen rebellion pop
than Kim Gordon's command barks. It's more endearing cuz of it. There's also
a lovely hidden track, a haunting thing that sounds like early Opal - like
they were afraid to play it. Go figure.
TELEMANN: Six Quartets or Trios: No. 1 in D, TWV 43: D2; No. 2 in E Minor,
TWV 43: e3; No. 3 in A, TWV 43: A2; No. 4 in G, TWV 43: G3; No. 5 in A
Minor, TWV 43: a1; No. 6 in E, TWV 43: E1. Sonata in D for Cello and
Continuo from "Der Getreue Musikmeister" TWV 41:D6. Melomanie (Kimberley
Reighley and Tom Moore, transverse flutes; Douglas McNames cello; Tracy
Richardson, Harpsichord) LYRICHORD LEMS 8028 [DDD] 56:56
Reviewed by Robert Cummings
The "Six Quartets or Trios" featured here are so named because of the
composer's decision to offer the option of different instrumental
combinations and numbers of players for performance. For example, the two
flutes may be replaced by two violins, and accompanied by one or two cellos
or bassoons, with basso continuo (the harpsichord filling that role here).
The instruments used in this recording serve the music quite well, perhaps
better than in any other combination. In any event, Baroque fanciers will
no doubt find this disc of considerable interest for at least one other
reason: in a note on the back of the CD case Lyrichord announces that this
is the premier recording of these six works. Don't look to me to endorse
that claim: too often in the past such statements by labels have proved
inaccurate. Still, I won't take issue with Lyrichord here, since early
music is their specialty. However, it isn't entirely clear from the booklet
notes, authored by Jeanne Swack, if a later edition of the six scores,
issued by one Nicolas le Clerc in the late 1740's, was taken to be Telemann's
original, and that this set might have been recorded before. It's not even
clear if le Clerc's "reissue" is in any way different from Telemann's
"engraved and published" score from 1733.
In any event, the music making here is compelling enough to offset any
doubts I may have dredged up about purchasing this recording. Kimberly
Reighley and Tom Moore (yes, he's the same Tom Moore who reviews for
Fanfare) make a fine pair of flutists, who seem to have a firm grasp on
Telemann's wide-ranging idiom. Listen to their Largo from the Second Quartet
(track 5): note the subtle coloration and oneness in dynamics as they paint
picturesque yet dark clouds on the musical canvas with elegant and knowing
brush strokes. Or sample Divertimento 1 from Quartet No. 4 (track 13) to
hear vituosity and finesse as they tear through a quagmire of difficulties
with hardly a misstep.
In the cello sonata Douglas McNames delivers a spirited account of this
delightful work. At times he may sound a bit overheated (as in the
finale--track 27), and his tone a bit harsh (the second movement--track 25),
but his vivacious interpretive persona fits the music well, and in the end
wins you over convincingly. He is sensitively partnered here by Tracy
Richardson on the harpsichord. Both do fine accompanimental work in the
Six Quartets, as well.
Excellent sound in all works. In sum, this is quite an appealing disc of
attractive music from Lyrichord.
TEMPORAL SLUTS: My Sweet Doll b/w Probably Normal (Demolition Derby/Nitro!)
Reviewed by DJ Johnson
Ever eat chili and dynamite together? Probably not, if you're alive to read
this. If you ever get the urge, do your body a favor and listen to this
double-sided rockslide instead. Temporal Sluts only recorded this 7 incher
a month ago, and here it is making me all rowdy and potentially violent.
"My Sweet Doll" begins at a medium pace, sounding for all the world like 70s
riff-rock ala Stones or Aerosmith, but you just knew it was only an intro,
now didn't ya? BOOM! Flying faster than Frank Gifford can backpedal, these
five fine upstanding citizens ride the feedback, choppin' for all their
worth, and tellin' a story I can't make heads or tails out of because the
vocal is waaaaaay down there under the blast zone. You can make out the
snarls and the growls, though, and that'll do. This ain't no Dylan record.
The flip, "Probably Normal," probably ain't, but again, I can't tell what
the hell the guy is singing. Doesn't matter, I can at least tell how he
feels about it. This is the kind of rock and roll that kills pain, makes
you forget the bad shit that's happening to you for a few minutes, and just
lets you go completely nuts. Only problem is the damned thing is only two
songs long. It ends, you're still pumped, and what ya got there is a
"potential situation." (Nitro/Demolition Derby Records, c/o Kris Verreth,
Tervuursestwg, 217 - 1820 Perk - Belgium. E-Mail demderby@tornado.be)
10CC: The Very Best of 10CC (Mercury)
Reviewed by Steve Marshall
From their humble beginnings in 1972, through the band's heyday in the mid
to late 70's, and the various solo projects, the members of 10CC (Kevin
Godley, Lol Creme, Graham Gouldman, and Eric Stewart) have been responsible
for creating some of the most innovative and interesting music of the rock
era. Songs like Im Not in Love (considered a technological breakthrough
when originally released, because of all the vocal overdubs) and The Things
we Do For Love have become classic rock mainstays. 10CC were always known
for their brilliantly crafted pop songs, but in addition, their music often
contained wry humor and loads of double entendres. Just listen to tracks
like Life is a Minestrone or Rubber Bullets and youll see what I mean.
The Very Best of 10CC contains all the songs you remember (and maybe even a
few that you forgot about) from FM radio--Art For Arts Sake (the full
length version, not the edit), Good Morning Judge, The Wall Street
Shuffle, Im Mandy, Fly Me and more. The only song I can think of that
isnt a part of this compilation is Feel the Benefit." As an added bonus,
though, you get the Godley & Creme single, Cry, tacked onto the end of
the disc. All the tracks on this CD are newly remastered and they sound
better than ever. No music collection is complete without a copy of this
excellent CD.
THUNDER ROCKS: On The Rampage (Get Hip)
Reviewed by Shaun Dale
This vinyl LP release from the Get Hip Archive Series brings us Thunder
Rocks, an instrumental unit that hit the Detroit scene in 1959. Though
the band would fall victim to the draft within a couple years (as so
many bands of the period did) they left behind enough recorded material,
both under their name and as a backing band for a local singer, to make
up this 12 track LP.
Formed with two saxophones and no bass, they were a hard rocking if not
particularly original band. One of the guitarists would later switch to
bass for a more conventional lineup, and guitarist Pat LaRose is
featured on a pair of vocals, "Oh, My Linda" and "Hollywood Twist," but
they were primarily devoted to a twangy guitar and honking sax sound
that was a popular draw on the Detroit dance scene.
The Get Hip package includes a comprehensive history of the band and
it's recordings, along with photos and clippings chronicling their time
on the scene.
This is by and large good stuff - fun music in a way that music isn't
often enough fun anymore. Thunder Rocks absolutely did rock, and I'm
grateful to Get Hip for a chance to hear them do it. (Get Hip Recordings:
PO Box 666 Canonsburg, PA, 15317 USA)
Track List: Rampage * Shadow * Oh, My Linda * Hollywood Twist * War
Path * Restless * What's The Word * Johnny Sax * Bugle Rock * Settle
Down (with Fred Farrah & the Hitch Hikers) * Wishing (with Fred Farrah &
the Hitch Hikers) * Speed Trap
UNION AVENUE: Union Avenue (Raucous Records)
Reviewed by Shaun Dale
British roots label Raucous Records brings us this effort by a Scottish
band named after Sun Records' Memphis address recording songs from
sources as diverse as Bob Marley, Creedence Clearwater Revival and
Motorhead in the style of one of the Sun originals, the Man In Black,
Mr. Johnny Cash.
And it works. Andrew Fraser-Cardno has the vocal style down pat and
while there are four players behind him (Tony McCadden, guitar; Michael
Baird, drums; Michael Rasmussen, harmonica and Andy Sykes on upright
bass, with producer Chris Cummings taking over the bass chores on the
Cash original, "Big River"), they create a sound that the Tennessee
Three would be proud of.
This is a quick listen, with six tracks, and I don't know how much
further they could have taken the concept, or what else they might have
up their musical sleeves (a series of Sun tributes might be interesting
if the band could do, say, Perkins, Orbison and the Killer), but this is
too much fun to ignore. (RAUCOUS RECORDS: Shakespear House, 37-39
Shakespeare Street, Southport PR8 5AB ENGLAND. Telephone/fax: 01704 539499.
International: +44 1704 539499. E-mail: rauc@globalnet.co.uk)
Track List:
I Shot The Sheriff * The Other Side * Bad Moon Rising * Ace Of Spades *
It's All Over Now * Big River
VARIOUS ARTISTS: Another Crazy Cocktail Party! (RCA)
Reviewed by DJ Johnson
As far as I can figure, this is the 2nd in a series begun in Belgium on their
branch of RCA. (The first was simply called A Crazy Cocktail Party.) This
one, however, is available in the US.
There's a broad range of styles here, from beautiful and exotic tracks like
"Blue Sunrise" (The Sadi Quartet) to silly fizzy pop like "Frere Jacques
Conga" (Los Albinos). Between those extremes, there is plenty of fun Latin
cocktail music, pretty interludes, and a few oddities. Oddest of all is
"Pancho" (Dee Dee and Her Panchos), which sounds as if it was written as the
theme song to some inept Latin macho guy flick. The tune is glitzy, the
lyrics are hilarious. "Pancho - The world's afraid of... Pancho - and no
one speaks to... Pancho - Rides his motor bike." This track, by the way, is
the sales hook because it was co-written by a young David Bowie. There's no
further information on that because the liner notes are non-existent. The
CD booklet unfolds into a 4-panel sheet with nothing but a track list in
ultra large type. This is my only serious bitch with this release. I know
most people don't read liner notes, but there are plenty of us who do, and
we'd like to know a little bit about these artists. Maybe volume three...
Meanwhile, the retro thing is still swingin', and the vaults are creaking
open. Most of this music was long long forgotten, and some of it was
forgotten for a good reason. However, the majority of these 20 tracks are
a lot of fun, and some of them are outstanding. Quirky, alternately
beautiful and hilarious, and worth picking up.
TRACK LIST:
Bing Bang Conga (Los Albinos) * Chiquito (Ruben Calzado And His Orchestra) *
When the World Was Mine (The Golden Dream Orchestra) * Aquarella (Jo Carlier
et Son Orchestre) * Loin De Mes Yeux Pres De Mon Coeur (Jean Claude
Pelletier et Son Orchestre) * Go Go Conga (Los Albinos) * Blue Candlelight
(Jean Evans, His Piano, and His Strings) * Los Patatos (The Boxeros) *
Obsession (Reg Owen and his Orchestra) * Pancho (Dee Dee and Her Panchos) *
Chinese Conga (Los Albinos) * Blue Sunrise (The Sadi Quartet) * La Cucaracha
(The Peter Loland Orchestra) * Birds of Paradise (Peter Kreuder, His Piano
and His Orchestra) * A La Salud (Stan La Baum and His Orchestra) * The
Swinging Conga (Los Albinos) * Forever (The Clippers) * Headin' North (Willy
Albimoor and His Lucky 13) * Marijuana Brass (Teddy Mertens, His Trumpet and
His Orchestra) * Frere Jacques Conga (Los Albinos)
VARIOUS ARTISTS: The Best of IGL Folk Rock (Get Hip/Arf! Arf!)
Reviewed by Shaun Dale
This vinyl release chronicles the IGL Records output of a baker's dozen
of the bands that showed up in the studios of Iowa's first recording
studio to lay down folk rock tracks in the mid-60's.
Recorded in what today would be considered unbearably primitive
conditions (the studio opened with an Ampex 3-track recorder and a
couple 4-track mixers in the back of a TV store in Milford, Iowa), the
fidelity of this album is, frankly, spotty. The bands, a collection of
local heroes and Battle of the Bands contenders, are a mixed bag as
well.
It's nice to have this available, though. Most of the thousands of
bands that have produced local hits across the country have disappeared
along with all traces of their recorded output. Get Hip's continued
efforts to document what remains available are producing a valuable
repository of the history of the small market music that has provided
the backbone and birthplace of more successful ventures.
The music itself is strongly derivative, for the most part. Echoes of
the Beatles and the Byrds predominate, with jangly guitars and poppy
melodies. The quest for airplay shortened many of the tracks,
eliminating opportunities to demonstrate much virtuosity. (The longest
cut, the Epicureans "I Don't Know Why I Cry," comes in at 3:08. Several
barely break the two minute mark.)
There are highlights, though. The Berries have a pair of tracks that
feature strong vocals and crisp instrumentals. Dale and the Devonaires
"Never Be Free" holds up fine as an example of a time and style. The
Mad Lads do the best Byrds on the disc with "Everything is Blue." There
are other fine moments as well.
The package includes a brief history of the label, an interview with its
founders and biographical data on the bands, along with promotional
photos and clippings.
Track List: The Scavengers/It's Over; But If You're Happy; She Don't
Care About Time * Dark Knights/Send Her To Me * The Epicureans/I Don't
Know Why I Cry * Mad Lads/Everything Is Blue * Napoleon I & His
Relatives/Summer Love * Pawnbrokers/Someday * The Restrictions/Down On
The Corner * The Senders/She Told Me * The Kingpins/Come And See
VARIOUS ARTISTS: Blind Pig Records 20th Anniversary Collection (Blind Pig)
Reviewed by Shaun Dale
While many indie rock, punk and pop labels spring up with a handful of
releases and disappear in a puff of smoke, the 20th anniversary of a
label committed to original recordings in any genre is cause for
notice. When the label in question has assembled a catalog of great
blues and roots music like Blind Pig's, it's cause for celebration.
The folks at Blind Pig are celebrating in great style with this
compilation of 36 tracks on two discs and you'll cheer when you see the
"2 CDs for a Single CD Price" banner on the front cover. And what
tracks they are!
From their beginnings as the house label at Ann Arbor, Michigan's fabled
Blind Pig blues club to their latest releases by up and comers like Roy
Rogers and Tommy Castro, Blind Pig Records has offered up some of the
finest music from blues legends like John Lee Hooker, Buddy Guy and
Charlie Musselwhite, along with an ever-growing roster of artists who
are creating their own legends today. Toss in the occasional foray into
gospel, zydeco, R&B and Western swing and you've got the makings of one
tasty retrospective.
Did I say legends? How about Otis Rush, Roosevelt Sykes, Junior Wells,
James Cotton, Pinetop Perkins...
Did I say legends yet to be? Take a look at the lineup of women on
these discs - E.C. Scott, Joanna Connor, Deborah Coleman and Sarah Brown
are on hand to prove that if women aren't the future of blues, well,
blues in the future will have to make room for these women.
And side trips? Duck down to the bayou for some of Chubby Carrier's
zydeco stylings, party down with Commander Cody and then slip into the
back pew for a little repentance with the Gospel Hummingbirds.
There's simply no excuse for not owning these discs. The music's great,
the price is right and we should do everything we can to push Blind Pig
on through the next 20 years. (I can't wait for the 40th Anniversary
four CD set myself...)
Track List:
Disc One: Coco Montoya/Monkey See, Monkey Do * Jimmy Thackery & the
Drivers/Drive to Survive * Magic Slim & the Teardrops/Think * Carey
Bell/That Spot Right There * Debbie Davies/Howlin' at the Moon * Jimmy
Rogers/Tricky Woman * Roy Rogers/She's Cold As Ice * John Lee Hooker/
Terraplane Blues * Gospel Hummingbirds/Don't Move The Mountain * E.C.
Scott/I Need A Real Man * Tommy Castro/Had Enough * Otis Rush/Right
Place, Wrong Time * Buddy Guy & Junior Wells/Messin' With The Kid *
Chubby Carrier/Wastin' Time * Joanna Connor/Big Girl Blues * Pinetop
Perkins/Worried Life Blues * James Cotton/Take Me Back * Luther Allison/
Should I Wait
Disc Two: Studebaker John & The Hawks/Two Time Boogie * Deborah Coleman/
My Heart Bleeds Blue * Chris Cain/Hey Sweet Baby * Charlie Musselwhite/
Harpin' On A Riff * Henry Gray/Cold Chills * Al Rapone/La Vierge *
Preacher Boy/I Won't Be There * Johnny Shines/Blues Come to Texas *
Smokey Wilson/I Got Something On You Baby * Eddie C. Campbell/I Been
Thinkin' * Eddy Clearwater/That's My Baby * Sarah Brown/Bad Thing *
Otis Clay/If I Could Reach Out (And Help Somebody) * Boogie Woogie Red/
Old Time Shuffle * Snooky Pryor/Crazy 'Bout My Baby * Roosevelt Sykes/
Walter Horton/If I Get Lucky * Commander Cody/Let's Rock!
VARIOUS ARTISTS: Closer Than A Kiss (Rhino)
Reviewed by DJ Johnson
This compilation is part of Rhino's Heart Beats series, put together by
a group of women at the label and designed to appeal to the romantic soul.
While some may dismiss it, sound unheard, as the audio equivalent of a
"chick flick," I recommend it for anyone with even a little romance in
his or her heart.
Closer Than A Kiss is a collection of love songs from the greatest crooners
of all time. With music ranging in vintage from 1942 to 1969, one of the
inescapable conclusions is that this genre is timeless. There's no drastic
stylistic difference between the tunes regardless of year of release.
Program Frank Sinatra's "Night And Day" next to Jimmy Scott's "Our Day Will
Come" on your CD player and this becomes clear.
From the obvious names we all associate with the word "crooner" (Sinatra,
Crosby, Torme, Damone) to those better known for other things (Chet Baker,
John Coltrane), there's a wide range of voices and sounds here within the
relatively narrow boundaries of the classic crooner song structures. From
that standpoint, Closer Than A Kiss is an interesting study for the
musicologist. Better still, it's a perfect soundtrack for a romantic
evening by the fire.
TRACK LIST:
Night And Day (Frank Sinatra) * My Shining Hour (Mel Torme) * Speak Low
(Sammy Davis, Jr. & Laurindo Almeida) * My One And Only Love (John Coltrane
& Johnny Hartman) * My Funny Valentine (Chet Baker) * You'd Better Love Me
(Jack Jones) * Sleepin' Bee (Bill Henderson) * My Love Song To You (Bob
Manning) * That's All (Billy Eckstine) * Around The World (Bing Crosby) *
Detour Ahead (Jackie Paris) * As Time Goes By (Herb Jeffries) * I'll Be
Around (Al Hibbler) * The Way You Look Tonight (Dick Haymes) * Our Day
Will Come (Jimmy Scott) * Closer Than A Kiss (Vic Damone)
VARIOUS ARTISTS: A Heavy Dose Of Lyte Psych (Arf Arf)
VARIOUS ARTISTS: An Overdose Of Heavy Psych (Arf Arf)
Reviewed by DJ Johnson
These two CDs have a lot in common in that they both offer trippin' 60s
psychedelia, either fabled or never heard of, most of it long lost in
time. As I understand it, the difference between "lyte" and "heavy,"
according to Arf Arf and just for purposes of this particular topic, is
that "heavy" is wilder and fuzzier. True, there are far more tunes with
stun-gun fuzztones on the "heavy" disc, but it seems to me the major
difference is that the tunes on "lyte" are more meticulously pop-structured
and sometimes Beatles influenced, while the "heavy" tunes are influenced
much more by the balls-out no-rules American garage crowd. If you measure
light and heavy in terms of powerful surrealism, there's nothing light about
the "lyte" disc. All of this music causes the head to fall back and
the eyes to flutter. Damned good stuff.
"Heavy" CAN melt your brain if you're not careful. Powered By Love's
self-titled song is nuts enough before the break, but then all instruments
scatter and the vocalist makes a bid for the loony bin with wild cackles
and moans. I feel like that sometimes. There's so much great mind-fuck
music here that it's hard to single stuff out. Even the turkeys are
interesting. Then there are the discordant sounds and musical switchbacks
of bands like ESB, whose "Mushroom People" reminds me of when I was one.
If you need just a bit more pop structure (and you don't have the other
CD, which is dripping in it), you'll find some in The Kollection's
"Savage Lost" and Kindred Spirit's "Blue Avenue," which appear back to back.
The disc concludes with six tracks by an extremely primal and decidedly
non-psychedelic band (I never figured out if it was Fire Birds or 31 Flavors,
or if they were one and the same), which seems way out of place but is at
least interesting.
"Lyte" begins with a 25 second "bonus track" that is basically silence slowly
building into a very faint tone that empties off into the second track. I
don't get it. Oh well. You know what I DO get? A lot of great little psych
tunes with strong pop sensibilities that don't skimp on the trip-factor.
Misty Wizards' "It's Love" rides on wonderful sitars and jangly clean electric
guitars for an eastern meditational sound. Stretch the range-measure from
there to the nearly structureless acid trip imagery of The Chimps' "Fifth
Class Mail," which echoes off the walls like the sounds of medication time
at the asylum, and you'll have a fair idea of what to expect from "Lyte."
There are some strays here, too, mostly strange tracks attributed to no one
in particular and presumably used as backing for other projects. Again, this
is some of the trippiest stuff.
Arf Arf continues to become one of the more interesting archive labels. I'm
still heavily into their New England Teen Scene comp from earlier in the year,
and I think I'll be stuck on these two discs for quite a while, too. I'm
always up for a good mind trip. (Arf Arf Records: P.O. Box 465, Middleborough,
MA 02346 USA)
TRACK LIST:
LYTE PSYCH
Bonus Track * Misty Wizards-It's Love * Capes Of Good Hopes-Lady Margaret *
Freeborne-Land Of Diana * Id-The Rake * Tea Company-Flowers * Truth-P.S.
(Prognosis Stegnoisis) * Ballroom-Baby Please Don't Go * Teddy And His
Patches-Haight Ashbury * Picture-Evolution * The Gurus-It Just Won't Be That
Way * Mongrels-Good Good Man * Wildflowers-More Than Me * Chris Carpenter-This
World [Is Closing In On Me] * Childe Harold-Brink Of Death * JK & Co.-Fly *
Masada-A Hundred Days And Nights * Crescent Six-And Then * Attic Sound-Look
Straight Through You * White Room-Thoughts Of Yesterday * Chimps-Fifth Class
Mail * Chris Carpenter-Waterfalls * Fourth Way-The Far Side Of Your Mind *
Mystery Track * Rock Revival-Venus
HEAVY PSYCH
Orange Wedge-From The Womb To The Tomb * Quiet Jungle-Everything * Twentieth
Century Zoo-You Don't Remember * Fumin' Humins-Relative Distance * Powered By
Love-Powered By Love * Crystal Rain-You And Me * ESB-Mushroom People * Colder
Children-Memories * Kollection-Savage Lost * Kindred Spirit-Blue Avenue *
Blu-erebus-Plastic Year * Shadows Of Time-Search Your Soul * Graf
Zeppelin-You're In My Mind * Kiriae Crucible-Salem Witch Trial * Boston Tea
Party-My Daze * Paraphernalia-Watch Out * IRA-Dooley Vs. The Ferris Wheel *
Loose Endz-Easy Rider * Glass Sun-Silence Of The Morning * FIRE BIRDS/31
FLAVORS-Reflections * No Tomorrows * Gypsy Fire * Free Bass * Free Fuzz * Free
Drum
VARIOUS ARTISTS: Jazz Fusion, Volumes 1 & 2 (Rhino)
Reviewed by Shaun Dale
The contemporary musicians involved in melting jazz, rock, funk and R&B
sounds into the too often ill defined puddle marketed as "soft jazz"
would be well served to dig deep into these two discs. Following Miles
Davis' lead on "In A Silent Way" and "Bitches Brew," the seventies were
a time of energetic exploration in a field labeled "jazz fusion."
These two collections (They're offered as separate releases. Buy both.)
offer a captivating, if incomplete, look at the period and the artists
that defined it. It is incomplete only in the absence of a few seminal
acts, notably Weather Report, though the members of that and most every
important fusion band appear here in one context or another.
Volume 1, for instance, includes contributions as leaders or sidemen
from Larry Coryell, Miroslav Virous, Billy Cobham, John McLaughlin, Tony
Williams, Jack Bruce, Joe Zawinul, Herbie Hancock, Benny Maupin, Chick
Corea, Stanley Clark, Jan Hammer, Randy Brecker, George Duke, Narada
Michael Walden, Jean-Luc Ponty...out of breath yet? That's a partial
lineup.
Volume 2 has an equally extensive and impressive roster, with bands like
the Brecker Bros. and the Dixie Dregs on board, and, of course, an
appearance by Mr. Davis himself.
Rhino has, as always, provided fine documentation of the tracks and
lineups with 16 page booklets accompanying each disc.
This music was startling, controversial and inventive from its inception,
and there are lessons aplenty to be learned from repeated listening today.
There are a good many players who should be listening for what they can
learn. The rest of us should be listening for the sheer joyful
exhilaration of it.
(Note to Rhino - Volume 3, please!)
Track List:
Volume 1: Larry Coryell/Spaces (Infinite) * The Tony Williams Lifetime/
Allah Be Praised * Joe Zawinful/In A Silent Way * The Eleventh House/
Birdfingers * Herbie Hancock/Quasar * Chick Corea & Return To Forever/
Spain * Billy Cobham/Stratus * Mike Mainieri/Flying Colors * Jerry
Goodman & Jan Hammer/Country & Eastern Music * The Billy Cobham-George
Duke Band/Sweet Wine * Narada Michael Walden/The Sun Is Dancing *
Jean-Luc Ponty/Cosmic Messenger
Volume 2: The Brecker Bros./Some Skunk Funk * Brand X/Nuclear Burn *
Jean-Luc Ponty/Enigmatic Ocean, Parts I-IV * Bruford/Hell's Bells *
Ronnie Montrose/Town Without Pity * Dixie Dregs/Take It Off The Top *
Larry Carlton/Point It Up * John McLaughlin/Belo Horizonte * Steve Kahn/
Casa Loca * Miles Davis/Mr. Pastorius * Allan Holdsworth/Three Sheets To
The Wind * Steve Morse Band/The Introduction
VARIOUS ARTISTS: Sex Kittens In Hi-Fi - The Blondes (DCC)
Reviewed by DJ Johnson
Volume 7 in the Music For A Bachelor's Den series, and the second disc in
the Sex Kittens sub-series, is a 14 track treasure trove of terrific torch
tuneage. (That hurt...)
The CD is a winner on every level, from the amazing warmth and clarity of
the sound (Steve Hoffman at the controls. Who else?) to the talented ladies
themselves, including Jo Stafford, Marilyn Monroe, Julie London, Peggy Lee,
Marilyn Maxwell, Jayne Mansfield and others. Some of those names may scare
the uninitiated away from this disc, so let me just assure you that they
were all fine torch singers.
Um... Well, okay, not Jayne Mansfield, but that particular track ("That
Makes It!") has plenty of novelty appeal to make up for any distinct lack
of tunefulness. Everything else here is top notch torch, and some of it
even qualifies as some pretty fine jazz, especially Doris Day's "Close Your
Eyes," performed with the Andre Previn Trio.
When I reviewed the first Sex Kittens CD a few months ago, I practically
threw a tantrum because there wasn't a Julie London track. Now I discover
the words, not in fine print by any stretch of the imagination: "The
Brunettes," right there on the cover of that CD. Duuuuh. Oh well... Julie's
over here, guys, right where she belongs. (DCC can be reached by phone at
1-800-301-MUSIC.)
TRACK LIST:
Roller Coaster Blues (Diana Dors) * Why Can't I (Paula Castle) * The
Gentleman Is A Dope (Jo Stafford) * My Kind Of Trouble Is You (Helen Carr) *
That Makes It! (Jayne Mansfield) * My Baby Just Cares For Me (Jane Hutton) *
You'd Be Surprised (Marilyn Monroe) * An Occasional Man (Judy Holliday) *
Gentleman Friend (Carole Simpson) * Bewitched, Bothered and Bewildered
(Marilyn Maxwell) * Close Your Eyes (Doris Day) * Mean To Me (Bernadine
Read) * We Laughed At Love (Peggy Lee) * The Exciting Life (Julie London)
VARIOUS ARTISTS: Sirens Of Song (Rhino)
Reviewed by DJ Johnson
It's part of the Heart Beats series, but it should be part of the Heart
BREAKS series. A few of the tracks are about love triumphs, but the
main themes here are unrequited love, sadness, and women scorned. Sound
depressing? Not at all! This sub-genre contains some of the most
cathartic music ever recorded. When Sarah Vaughan, in that indescribably
sexy voice, sings about drinking "Black Coffee" so she won't fall asleep
and miss her man's return, the sultry, smokey tone is set for Sirens Of
Song. The lineup is more than impressive. Billie Holiday, Julie London,
Ella Fitzgerald, Edith Piaf, Dinah Washington, LaVern Baker, Judy Garland,
Lena Horne, Eartha Kitt... what more could you want? Most of the tunes
are about the sorrow and taking of stock before healing, but there are a
few happy love songs, such as "At Last," by the absolutely amazing and
sublime Etta James, and "What A Difference A Day Makes, by the absolutely
amazing and sublime Dinah Washington. These are beautiful, soulful torch
songs that we can all relate to, sung by women who had enough pain in their
own lives to make it real. Quite an interesting little series happening
here.
TRACK LIST:
Cry Me A River (Julie London) * Black Coffee (Sarah Vaughan) * Stormy Blues
(Billie Holiday) * I'm Getting Sentimental Over You (Ella Fitzgerald) *
But Not For Me (Judy Garland) * Stormy Weather (Lena Horne) * Come Rain Or
Come Shine (Marlene Dietrich) * Smoke Gets In Your Eyes (Eartha Kitt) *
La Vie En Rose (Sung In English) (Edith Piaf) * At Last (Etta James) * Since
I Fell For You (Nina Simone) * What A Difference A Day Makes (Dinah
Washington) * I Got It Bad And That Ain't Good (Carmen McRae) * Soul On Fire
(LaVern Baker) * I'll Wait For You (Ruth Brown)
VARIOUS ARTISTS: Skankaholics Unanimous (Moon Ska)
Reviewed by DJ Johnson
I'll accept any old reason for a good ska comp. If someone wants to put out
a batch of ska tunes about pubic lice, I'm all for it. Skankaholics Unanimous,
however, focuses on a far more universal topic, featuring 20 tracks about
the joys, and sometimes the evils, of hootch.
The performances range from loose, sloppy 'n fun to tight (no pun intended),
professional 'n fun. Come to think of it, this comp makes getting falling
down drunk sound like a whole LOT of fun. Oh, there are a few precautionary
tales, such as "Skooche's Ruin" by Inspector 7. In that song, the leader of
a band is conked out on the floor stinking of Night Train and gin, and his
bandmates wonder if he'll even wake up the next day. On the other hand,
most of the tunes portray puking and passing out as nothing more than the
natural order of any Friday night. Ah, but some of those are dynamite tracks!
Magadog's "The Jitters" blends the ska beat with a kind of psychedelic
sensibility that comes off very well. The Arsenals' "Beer" has such a great
pop structure that it could easily pass for power pop. Then there's the
one and only Laurel Aitken, whose version of "Hey Bartender" is possibly the
classiest track here.
There are several cool moments throughout Skankaholics, including Monster
Mike Welch's guest spot with Skavoovie & the Epitones on "Drunk," an ironic
title for a kid too young to legally drink. There's also some fun to be
had from The Bluebeats' singalong of "In Heaven There Is No Beer" and
Skinnerbox's take on "What's The Use" (of getting sober when you gotta get
drunk again, remember?) Jumpin' Joe Jackson's cover is still definitive,
but this one has a lot of sloppy character. And it's fun. That's the key,
see. Getting stinkin' drunk and waking up on the floor in wet jeans may
not be your idea of a good time, but ska is always fun, so let these guys
suffer the hangovers and then tell you all about it.
TRACK LIST:
More Whiskey (New York Ska Jazz Ensemble) * Asleep At The Bar (Easy Big
Fella) * I Can't Decide (Buford O'Sullivan) * Martinis For Two (The
Allstonians) * Lager Delirium (Bad Manners) * Drunk (Skavoovie & the Epitones
featuring Monster Mike Welch) * Gin & Tonic (The Pietasters) * Beer
(Arsenals) * One Scotch, One Bourbon, One Beer (Dr. Ring-Ding & The Senior
All-Stars) * What's The Use (Skinnerbox) * Last Night (The Skoidats) *
In Heaven There Is No Beer (The Bluebeats) * Skooche's Ruin (Inspector 7) *
Hey Bartender (Laurel Aitken) * Glasses (Sto Zvirat) * Drinking In The Pubs
(The Busters) * Schooners Of The Black (The Porkers) * The Jitters (Magadog) *
Monkeys Can't Drink (Lower East Side Buck) * Can I Get Another? (Buford
O'Sullivan)
VARIOUS ARTISTS: "Totally Tejano" Old School, Vol. 1, 2 & 3 (DCC)
Reviewed by Shaun Dale
The World Music movement has focused primarily on traditional music from
faraway places, which has given short shrift to popular music from the
international scene, depending on integration of African, Caribbean,
Latin and to a degree Asian sounds into the repertoires of pop artists
from the US and Great Britain to access the mainstream audience.
One music that has been largely ignored, both by World purists and pop
stylists, isn't exactly "international," since many of the artists and
much of the market can be found right here in the USA. Tejano music, a
subset of the Mexican Norteno school, is border music, played by and for
a largely Chicano audience. It's pure pop - love songs and dance tunes,
typically presented by show bands and distributed on cassettes outside
mainstream channels.
Because of the fragility of the vinyl and magnetic mediums the music was
originally presented on, and the economics of its alternative
distribution channels, many of the classic Tejano hits of the eighties
have been in risk of disappearing from the market as those of earlier
decades already have. Fortunately, DCC, along with Hacienda Records, a
major Tejano label, have gathered up the masters of some of the best of
the eighties and put them together on three CDs, a total of 42 tracks.
The discs are organized roughly thematically, with Volume 1 emphasizing
slow dance romantic ballads, Volume 2 displaying more talents of some of
Hacienda's stable of top Tejano bands and Volume 3 focused on rock and
funk influences on the music. Scattered throughout are the polkas and
waltzes that form the rhythmic core of the genre.
Unless you hang in the barrio or have made a conscious effort to seek
out this music, most of the artists, the songs, and even the language
will be unfamiliar to you. But if you have a hankering for tight
arrangements by great players backing singers so good you don't even
have to know what they're singing to enjoy them, you should snatch some
of this, pop a cervaza or two, shove the rug into a corner and dance
the night away. (DCC can be reached by telephone at 1-800-301-MUSIC.)
Track List:
Volume 1: Pio Trevino y Majic/Quiereme * Grupo Mayo/Yo Te Recuerdo *
Fuego/No Digas Que No * Rene Ornelas/Hoy Amaneci Pensando En Ti *
Gary Hobbs/Ahora Que Soy Libre * Pio Trevino/Once In A Lifetime Dream *
La Movido/Estoy Desnudo * Emillo Guerrero/Vete Conmigo * Pio Trevino/
Somebody Loves You * Gary Hobbs/Al Costo De Mi Vida * Bobby Naranjo y
Direccion/That's All That Matters * La Movida/Suenos De Amor * Gary
Hobbs/Salvame * Showband USA/Crei
Volume 2: Johnny Hernandez/Quiereme Tal Como Soy * Emillio Guerrero/
Estoy Cansado * Gary Hobbs/Se Acabo * La Movida/Uropia * Cielo Band/
Tomame * Bobby Naranjo y Direccion/Put Me In Jail * Josefa/Tus Ojos
Castanos * Showband USA/Una Linda Senorita * La Movida/Te Quiero Mucho *
Gary Hobbs/Mentiras * Fuego/Nunca Fu Mia * Cierra Band/Son Las Tres *
Europa/No Podemos Continuar * Josefa/Porque Te Vaz
Volume 3: La Movida/Movida Power * Pio Trevino/Fue Tu Amor * Steve
Jordan/Run Tecato Run * Johnny Hernandez/Popurri: Largimas Lloro -
Quiereme Tal Como Soy * David Lee Garza y Ram Herrera/El Tejano
Enamorado * Lo Onda Airways/Yo Soy Chicano * Romance/Dime Si Soy Un
Tonto * Cali Carranza/Bancarrota * Las Onda Airways/Medley Flashback *
Steve Jordan/Ran-Kan-Kan * La Movida/Es Por Ti * Gary Hobbs/Born On The
Border * Bobby Naranjo y Direccion/Pa Todo El Ano * Gary Hobbs/Te Voy A
Dar Mi Corazon
VARIOUS ARTISTS: Warriors of Virtue: Original Motion Picture Soundtrack
(Kid Rhino)
Reviewed by Shaun Dale
Hmmm...soundtrack for a kids movie on Kid Rhino. Cute. Nice, even.
But the only kids in my house are a tandem of teenage girls who
strenuously resist anything that's tagged for "kids" as being beneath
their notice.
Definitely one for the "when I get a minute" pile...
Well, the other night I got a minute, and I'm glad, mostly. Taking a
glance at the lineup of artists on this soundtrack, which includes
Arrested Development's Speech, Richie Havens, Clannad, Charlie Sexton
and the Grateful Dead's Mickey Hart among others, I figured there might
just be some music worth hearing on this disc. And there is.
Wade Hubbard's "You Can Fly" is predictably inspirational, and just as
predictably somewhat overproduced, but he gives way to Speech with a
reggafied take on the Rascals "A Beautiful Morning" that's a toe
tapping, smile inducing delight. Clannad follows up with "Forces of
Nature" and delivers a performance befitting their stature as one of the
prime movers in Celtic music.
Richie Havens' "Inside Of You" is more inspirational pandering, but fans
of his voice and style will appreciate the performance. Charlie
Sexton's "Tennessee Plates" is a welcome, if surprising, bit of Southern
blues rock - I wonder how it fit into a movie about a bunch of cosmic
kangagurus...
"In A Dream" is a potent piece of psychedelia from judyjudyjudy, followed
by Ultraglide's grungy "When You Go." Mickey Hart is joined by Bakithi
Kumala for "Alembic," a trancy bit which probably fit right into the
movie, but which stands fine on its own. The same is true of Vangelis'
"Song Of The Seas."
The last four songs are orchestral soundtrack themes performed by the
Colorado Symphony Orchestra, fine examples of exactly what they are.
All in all, this is a satisfying piece of work, which will interest film
score buffs, the new age music audience and compilers of comp tapes
everywhere.
Track List: You Can Fly * A Beautiful Morning * Forces Of Nature *
Inside Of You * Tennessee Plates * In A Dream * When You Go * Alembic *
Song Of The Seas * The Land Of Tao * The Rooz Encountered * Five As One
* Ryan's Return
WESTERN VACATION: Vibraudoblast (MRP (Muffin) Records CDMRP032)
Reviewed by Paul Remington
In 1986 Western Vacation released their first album--a collection of
material strong in compositional style with solid musicianship and vocals.
The album fell into oblivion until 1996 when MRP Records resurrected the
LP in CD form with an added unreleased bonus track. The re-release, ten
years later, sounded almost as fresh as when it was first released, with
little evidence of it's "dated" nature. Still solid and fresh, it features
addictive melody lines with complex rhythm patterns that continue to work
into the nineties. A young Steve Vai appears on the disk under the name
"Reckless Fable."
Eleven years after their first release, Western Vacation is back--thanks to
MRP Records--with a new and updated sound. They continue their tradition of
strong songwriting with an approach that can be considered more "now" in
content. While sporting both acoustic and electric instrumentation, the
final product is a slick presentation of commercial rock shrouded in crystal
clear sonic quality that surrounds the listener on any two speaker system.
Perhaps the most distinctive element of their sound is the influence of
Martin Schwartz, which is uniformly distributed throughout the disk,
providing the compositional foundation for the CD, and some strong guitar
work as well. As with their flagship release, Vibraudoblast contains
Schwartz' unique thumbprint, with the support of a plethora of musicians.
Schwartz is accompanied by Chris Clermont (vocals), Brian James (vocals),
Jerome Jones (vocals), Will Riley (keyboards), Jim Spurgin (vocals), and
Craig Sweeden (lyrics) in the writing of music and lyrics. Western Vacation
also consists of Loren Gold on keyboards, Tom Lilly, Jac Mihanovic, Tony
Primental, and Scott Thunes (Frank Zappa, Z) on bass, and Chris Frazier and
Frank Briggs on Drums. (Frank Briggs has also performed with Mike Kenelly's
Beer for Dolphins.) The clientele is as rich as the music, and though it
seems the talent of the core band members surpasses the need for so many
musicians, it's easily seen as an added bonus.
Steve Vai fans may note the absence of their hero in the above list of
musicians. While Vai may not appear on the CD as he did in their 1986
release, his shadow certainly was present. His name appears in the list
of kudos on the CD liners, which state: "Steve has always been a source
of inspiration, generosity and positive vibes. He's given us everything
from guitar picks to studio time in his ultra-sheen multi-track nestled
in the fabulous Hollywood hills."
MRP records--a small fish in a big pond--should pride itself with its
catalog. This independent label, run by Reinhard Pruess, has produced
many fine releases, and Western Vacation's Vibraudoblast is a glowing
addition to their ever-growing catalog. Do yourself a favor and take a
West Vacation. You'll be glad you did.
If your local music store does not carry this release, ask them to order
it, or give Reinhard a call at MRP (512-263-9369). MRP's catalog is also
available through Music Bank (815-398-0569). To learn more about MRP
Records, check out their Website at the following Web address:
http://pages.prodigy.com/muffin.records
RANDY WESTON: Earth Birth (Verve)
Reviewed by DJ Johnson
Though one would be tempted to label Randy Weston a nomad, one would be very
wrong. There's never been anything aimless in Weston's wanderings. He has
called many places home, from the Berkshires to Morocco, but he has been
very specific in his method of melting into each landscape and absorbing
the indigenous flavors and sounds. Along the way, the 70 year old pianist
has developed an incredible sound of his own, influenced by his various
homelands and past musical associations with such luminaries as Duke
Ellington and, most importantly, his teacher Thelonious Monk. Earth Birth
is a pause and a look back through Weston's musical scrapbook.
This isn't to say Earth Birth is an anthology. These are new performances
of music from his past albums, each one firmly rooted in a particular time,
phase, and place in Weston's life. Originally performed as straight jazz,
the tunes are brought into new territory by conductor Paul West and 25
string players from the Montreal Symphony Orchestra. This could have
overwhelmed the core trio, but it didn't. Instead, the orchestra serves to
wrap a beautiful cocoon of atmosphere around Weston and his cohorts,
Christian McBride (bass) and Billy Higgins (drums), coloring their music
without ever burying it or distracting from the focal point. That focal
point is usually Weston, whose piano playing is unique, exotic, and
joyously unpredictable, though there are times when McBride's bass draws
undivided attention. A few of his plucked solos are quite nice, but it's
his bowing that raises goosebumps. You'll probably never hear a weak
performance from young Mr. McBride, who is one of the most popular and
prolific bassists of the decade, but this should go down as one of his
most emotionally satisfying recordings.
Earth Birth was recorded live at the Montreal Jazz Festival on July 5th,
1995, though you can't hear audience noises at all. The performance was
flawless and beautiful, and the sound on this CD is full and rich. Melba
Liston's arrangements allowed these tunes a seamless transition from jazz
to smokey pop. Above all, Randy Weston's stunning piano work, with all of
its imagery and emotion, makes Earth Birth well worth hearing.
Track List:
Earth Birth * Pam's Waltz * Little Niles * Babe's Blues * Where * Hi-Fly *
Portrait Of Billie Holiday * Berkshire Blues * Portrait Of Vivian
MARK WHITFIELD: Forever Love (Verve)
Reviewed by Paul Remington
With each new release, jazz guitarist Mark Whitfield breaths new maturity
into a fresh collection of material. "Forever Love"
finds Whitfield shrouded
in strings, with an occasional vocal accompaniment, and contains featured
solo spots that would make even the most unfeeling listener soften with
emotion.
The addition of string arrangements has been used in jazz for decades. While
some releases feature stale arrangements, others feature clever and quite
effective arrangements. The use of strings in early big band arrangements,
as well as Charlie Parker's recordings with string accompaniment, spawned a
flurry of similar releases, and seemed to set the pace for a style not often
explored. According to his wife, one of Nat King Cole's favorite recorded
release was with strings. The list is almost endless, with scores of major
artists applying their talent to this format. Unfortunately, bad arranging
can result in a staggering failure.
Thanks to the conducting and arranging talents of Dale Oehler, Whitfield has
produced a winning release. Arrangements are added as needed, swelling with
rich harmonic and chordal accompaniment that does not detract from the
expressive ideas that emanate from Whitfield's performance. On this
recording, we find Whitfield playing acoustic and electric guitars: a
Gibson Custom L5, and a Salvadore Giardina Archtop acoustic. The performance
is exceptional, sensitive, and moving.
The repertoire consists of the most popular jazz standards. Whitfield is
featured solo on two compositions: "My One and Only Love" and "Some Other
Spring." Other compositions featured on the disk are "You Don't Know What
Love Is," "Some Other Time," "Nature boy," "It Never Entered My Mind," "I
Wanna Talk About You," and "Only the Love." Whitfield also includes an
original composition, entitled "Forever," that meshes brilliantly with the
surrounding compositions. His ability to recognize superior jazz
compositions gives credit to his own unique talent as a compositional ear.
His ability to compose music within a repertoire of standards by Rogers
and Hart, Johnny Mercer, Billy Eckstine, and Jimmy Van Heusen and Sammy
Cahn, firmly establishes Whitfield as one of the formidable jazz artists on
the scene today.
Joining Whitfield on this recording is Vocalist Diana Krall. Krall adds her
vocal styling to two compositions: "Some Other Time" and "Early Autumn." The
rhythm section consists of Jim Pryor on piano, Roland Guerin on bass, and
Donald Edwards on drums.
The inspiration for this release is best described in Whitfield's own words:
"This recording is a celebration of love and romance, of hope and commitment.
We, as children of God, must embrace this love, allowing it to foster healthy
relationships and stable environments for our children's sake. The future of
Mankind depends on it."
This statement shows a balanced and mature outlook from a musician who
obviously has a healthy view of life and his talents. Along with
acknowledgments to many influential artists, the final acknowledgment
is expressed as "Glory, Honor, Thanks, and Praise . . . to God the Father
and his Son, Jesus Christ." This is a release of passion and expression,
straight from his heart to yours.
It's such a pleasure to hear and watch a young talent, such as Whitfield's,
blossom and mature with good health and respect toward the originator of
his talent. While so many influential artists have destroyed themselves and
their career through the use of drugs, hard living, and disrespect towards
themselves and others, Whitfield appears to have learned to maintain a
balance in his life. With open ears and an open heart, we only stand to
gain, as this artist's talent continues to bless us through his gift of
music.
THE WHO: Face Dances / It's Hard (MCA)
Reviewed by Steve Marshall
When Keith Moon died in 1978, many Who fans felt the band died with him.
The Who recorded their final two studio albums with ex-Face Kenny Jones
on drums--Face Dances and It's Hard--but they weren't the same. The reissues
of these two albums recently made their debut in record stores. Musically,
both have their moments, but they can't hold a candle to the 'old' Who. Over
the last two years, MCA has been upgrading the entire Who catalog, and aside
from Quadrophenia (which featured a 'different' mix, and no additional liner
notes), they've done a superb job. Unfortunately, it didn't carry through to
these two discs. I'll tell you about Face Dances first, and then get into
It's Hard.
With the exception of "Another Tricky Day," the best tracks on Face Dances
were both written by bassist John Entwistle--"The Quiet One" (a great live
version of this song appears as a bonus track) and "You." By this point in
the band's career, it seemed the band's principle songwriter, Pete Townshend,
had more interest in his solo career than The Who. Overall, the sound quality
on Face Dances is excellent. They buried Entwistle in the mix on most of the
tracks, but the drums have been brought forward and sound considerably better.
(Reviewer's note: If you want to hear how Entwistle is supposed to sound,
check out his new solo disc, also reviewed in this month's Cosmik)
Let's talk about the bonus tracks. One of best is the live version of "How
Can You Do It Alone." The studio version pales in comparison to this
energetic performance. Recorded in Chicago on the '79 tour--over a year
before the album's release--this is a perfect example of what happens when
you do too much to a song. It's like a painter who overblends his colors.
The result is a boring shade of gray. Another bonus track, "Somebody Saved
Me" ended up on Townshend's 1982 solo album, All the Best Cowboys Have
Chinese Eyes. This version is interesting, but it lacks the emotion of the
solo version.
It's Hard featured 12 new songs from the band--this time, three of them
written by Entwistle. Aside from "Eminence Front" and maybe one or two
others, Pete's new songs were pretty lame. John's tunes were the highlights
once again. Like the new Face Dances CD, they buried the bass on most of the
tracks. "Dangerous," one of the best songs on the CD, appears here in a new
mix. The keyboards are much more prominent now, and you can barely hear
Entwistle at all. A live version of the song appears as a bonus track, but
the keyboards are pushed up there, too.
The problems with the mix can be partially overcome by turning the balance
control on your receiver to favor the left channel. This works pretty well
for the live tracks. The studio tracks are another story. The four bonus
tracks here are mercilessly chopped from the band's 1982 shows in Toronto
(previously available on the Who Rocks America videotape). Liner notes are
a major problem with the new discs. All the previous reissues (except Quad)
featured expanded liner notes. Granted, this isn't the band's best material,
but we should at least get what was there in the first place. Instead, we're
lucky to get songwriter credits. If you're a Who fan, you'll probably be
disappointed with these two CDs. Hang on to your vinyl.....
YO LA TENGO: I Can Hear The Heart Beating As One (Matador)
Reviewed by John Sekerka
Back in the early sixties when the Mets were the laughing stock of Major
League Baseball, a diminutive Latino shortstop used to patrol the middle
infield, yelling at pop ups: 'Yo la tengo! Yo la tengo!.' Critic darlings
often translate to unlistenable slop, and Yo La Tengo have had their moments
of misguided experimentation, but without fail there are always a couple of
gems on each record. True to their past, I Can Hear The Heart Beating As One
dips into many waters - Velvet Underground, Burt Bacharach, The Beach Boys
- mixing genres at will, often to interesting results, and sometimes hitting
home runs. The catch is that repeated listenings are required before the
real magic comes through. If you need something to latch onto in a hurry try
'Moby Octopad' which sees our trio heading into a funky Luscious Jackson
groove, or maybe the dreamy Galaxie 500-like 'Autumn Sweater.' The rest will
come later, and then you'll join me in this self-satisfying refrain: 'I got
it! I got it!'
MIGHTY JOE YOUNG: Mighty Man (Blind Pig)
Reviewed by Shaun Dale
This album was nearly eleven years in the making, and worth the wait.
In 1986, Mighty Joe Young, whose career dated back to the early fifties
and included work with giants of the blues world like Otis Rush, Willie
Dixon, Magic Sam, Albert King among others, went into the studio to self
produce an album of blues just the way he liked them. In September of
that year he took a break for surgery on a pinched nerve in his neck. A
year later he came out of rehab lacking the sensation in his fingers
required to play guitar. That sensation has yet to fully return.
As a result, you'll only hear Mighty Joe Young's guitar on two tracks
here, "Starvation" and "Got My Mind On My Woman," which were laid down
pre-surgery. The rest of the guitar is handled by Will Crosby (lead)
and Joe Young, Jr. (rhythm). What you'll hear on every cut, though, is
Mighty Joe Young's powerful blues voice and his production and rhythm
arrangements. It took a long time, and cost too much pain, but Mighty
Joe Young has finally produced an album of blues just the way he likes
them.
I think you'll like them too. Young was a first call player on the
Chicago blues scene for three decades, but there's still a touch of his
native Louisiana in his delivery, as well. There's a tangible element
of pride and courage in his voice, the mark of a man who has something
to say, something to do and who won't be stopped. With a 6 piece horn
section arranged by Willie Henderson and fine backup from the entire
band, this is a rich, full dose of the blues. Good for what ails ya.
Track List: Starvation * Mighty Man * Turning Point * Got My Mind On My
Woman * Got A Hold On Me * Bring It On * End Of The Line * Ain't Goin'
For That * Wishy Washy Woman * On The Move Again *
________________________________________________________________________
BETWEEN ZERO & ONE
By Steven Leith
CANNIBALISTIC CAPITALISM
I have seen the future. It is the shining face of loyal Microserfs (who
seem more like refugees from an Up With People concert than corporate
thugs). Dont let this facade fool you. Microsoft has some of the most
brutal business practices in the nation.
Microsoft is the darling of the High-tech stock traders precisely
because it is the best example of the post-modern corporate giant. I
single them out just to annoy friends who work for Bill, but Microsoft
is just the symbol of an entire family of carnivores that devour smaller
companies.
A favorite ploy is this. Imagine a new company has just created a
brilliant bit of code for an application that could really be BIG.
Imagine further that Microsoft was completely in the dark about this
idea (I know this seems like an impossible thing). Do they roll over
and play dead? No.
They tell the small company that they can either sell the item to
Microsoft or enter into an exclusive marketing arrangement so that
Microsoft appears to have made the product. But the young company
believes in the American dream and the capitalistic mantra that the best
product will win. Besides, their stock prices are through the roof.
So...
Microsoft announces that they have the same product in development and
will go public within a few weeks. Behind the scenes a disinformation
campaign is waged to slam the product and the company. Sales dry up,
but more importantly, the small companys stock prices tumble. Start up
companies depend on over-valued stocks to raise capital. Stock prices
go in the toilet and bang, one step away from bankruptcy.
Then the suits from Microsoft return. The small company signs whatever
deal the suits put in front of them. Microsoft lives happily ever
after.
Some of you out there in Net land may recognize this story and think it
refers to you. Well, dont feel so special. It has happened to many
people and not just at the hands of Bills minions. It is the way
business is done in the real world.
Does this make a better world? Perhaps, if you define a better world as
one in which fewer and fewer people own more and more of the worlds
assets. True, the productivity of the US (a major player in
cannibalistic capitalism) is way up. So, why are wages stagnant and
prices climbing? Why dont the workers or consumers share in this tidal
wave of wealth?
The answer is perhaps too simple: "The fewer the players the friendlier
the rules." Competition is bad for profit. A small startup company
that has not asked permission to play will be eaten. Their product may
never be produced or it will be produced without pesky competition.
This system is surpassingly similar to another tired economic model. Is
there a real difference between the old centralized economy of Russia
and the New centralized economy of corporate cannibalistic capitalism?
They both control competition and thus control what the consumer can
buy. They both ensure special privileges for a small class of people
who rule the show and they both undervalue the workers who produce the
goods.
The only important difference it that one system hasnt died yet.
* * *
(C) 1997 - Steven Leith
Steven Leith can be reached via e-mail at leith@speakeasy.org.
(Steven Leith's opinions may or may not reflect those of the publishers
and editors of Cosmik Debris... but probably do. Or they don't. Whatever
our lawyers tell us. Thank you and good night.)
_____________________________________________________________________________
PHIL'S GARAGE
By Phil Dirt
SPLISH SPLASH, I WAS CROSSING THE TRACKS
GOOD TASTE VS. TASTES GOOD
We all get caught up in the technology of the moment. You know, like big screen
projection TV with it's crummy picture. The picture looks OK from 30 feet away,
but you don't sit any further back, so it's all blurry with obvious color
separation. You'd be better off with a good 25" regular TV, but then you
wouldn't be the envy of your co-workers, would you?
Such consumption of technology is often driven more by a perception of what's
cool than by anything remotely based on logic or facts. This is what adolescents
live by, the notorious peer pressure, breeding ground of cliques and trendites.
You know the scene in "Spinal Tap" where they're discussing why the "custom" amp
goes to 11?. It's a scene revisited frequently in stereo stores and car dealer
showrooms.
AUTO EROTICA
What's happened in your car is not unlike that sometimes. The advent of the car
radio those many decades ago started a ball rolling that would pass through some
truly remarkable territory.
I think the first significant development was the result of "Mad Man" Muntz. He
invented the 4-Track cart player. The cart is a cartridge containing a
continuous loop of lubricated tape. It was intended to contain your favorite
music. It used an ingenious if sloppy system, with a 2-track stereo head that
shifted up and down to change to the other set of tracks, so tracks 1 and 3 were
the a-side of the cart, and tracks 2 and 4 were the b-side. The basic technology
is still in use in radio today for spots, music, logos, features, and stingers,
though there it uses only two tracks and has other features for cueing.
Muntz's under-dash mounted cart player rapidly spread to every cool car in town.
If you were popular, you had one in your car. It began with the low riders and
their near worship of the legendary Muntz "Blue Light," so called because of the
bright blue bar shaped pilot light on the front that looked so cool at night.
From there, greasers of every description added them to their cars, and before
long, every one who was any one had a Muntz Blue Light.
ONLY THE BEST SONGS
The record companies began to release albums on Four Track, but more importantly
the local Mom & Pop record stores started making custom 4-Track carts with your
favorite singles from their vast inventory of the swingin' sixty, new releases,
and oldies but goodies. Now, that was a great thing. Talk about impressing the
girls: you could get a cart of just the good stuff, and for those cruising-for-
girls or submarine race situations, you could even get a cart full of the
ballads they liked, all in the name of the cause.
Now, there was a hitch here. You see, the record companies were only getting
paid once, when they sold the disc to the retailer. So, they went to Congress
and got yet another law passed that made it illegal to duplicate onto these
carts. It came under the bootlegging/counterfeiting codes of the Publishing
regs. So, from that moment forward, the Feds started raiding the locals and
confiscating their goods and equipment. Quickly, and only for a short while, you
were limited to making carts if you supplied or bought the records. Short lived,
because the natural work-around that the locals devised was a liberal return
policy, so, you "bought" your faves on "credit", paid a fee to have them carted,
and then "returned" the singles for a "refund". The eventual answer came from
Mad Man Muntz again, with a home 4-Track recorder.
SINGLES IN YOUR GLOVE BOX
The other critical development was the invention of the car record player. This
was a study in desperate stupidity. It could only handle 45s, but that was the
dominant format anyway. It mounted under your dash. The record was plugged into
a slot, and the tone arm played from beneath the disc, using a weight to keep
contact. The weight was very large. That was necessary to keep the needle in
contact with the disc while you navigated less than perfect road surfaces. Stupid
because, with a tracking weight of nearly a pound and a needle like a nail, the
records didn't last long. Desperate because there weren't a lot of other options.
Cooler than cool. Now the girls could bring their dream boat teen idol singles
and play them while cruising, impressing their friends in the process. This of
course further enhanced the "giving" of their gifts of pleasure, though it did
mean frequent interruptions to change the record, since only one at a time could
be loaded. Ah, the price of adolescent hormones.
SPRING HAS SPRUNG
Somewhere along the line, there emerged an extra effect to use in conjunction
with the radio, the 4-Track and the record player: a spring reverb for your
car. This device was from the same genetic root as the outboard reverb tank for
your guitar, a unit developed for enhancing the Wurlitzer Dad played in the
parlor.
Now, this was cool! Everything sounded swimmingly huge and verby. Talk about
impressing the girls! The best part was watching the low riders slow to a stop
over the railroad tracks trying not to "crash" the reverb. The other end of the
spectrum, the hot rodders, found every bump in the road just to hear the reverb
crash. They also found that they could make them crash by pounding the box with
their fists. Boy, could you get attention in front of the local Mel's Drive-In
when the record player was turned all the way up with no record in it, and you
smacked the reverb! C-CR-RA-ASH-SH! Mind you, this predates surf reverb crashes,
but served the same punctuating purpose.
MORE IS BETTER - NOT!
Record Companies have this formula. Price minus cost equals profit. Not unusual,
of course. Naturally, if you want more profit, you can do only three things.
Raise prices, lower costs, or increase volume. In the record business, periodic
format changes are the excuse for higher prices, and they usually mean smaller
costs, like moving from vinyl to CD. That's good for the profit. In the tape
arena, the record companies recognized that they could raise prices with a new
"bigger" sounding product that cost less to make.
How? They created the 8-Track. The public perception was "this must be better -
8 is more than 4." Better means they'll pay more. Twice the tracks meant half
the tape length and half the duplication time. Never mind that it also meant
half the track width, which meant lower fidelity. never mind that it also meant
balance program times into four equal pieces instead of two. Record companies
had no shame on this one. At the end of one of the 4 sides, songs might just
fade out and fade back in on the next side, right in the middle of the hook or a
vocal line, just to save a few inches of tape. People bought these things in
droves. I think the biggest reason not to believe in UFO's is because all this
was going on while they were "visiting" us in their saucers. Can you imagine an
alien intelligence watching this and concluding there's intelligent life here?
BACK TO 4
A natural extension of the stereo thinking was the advent of Quadraphonic, four
discrete channel of music. You could get Quad-8's, two 4 channel programs in an
8 track shell if you had a special player. This format also made it to vinyl in
several different technologies, all incompatible of course. Mostly, it all
sucked, but the wannabe "audiophiles" and general scenesters thought it was a
good thing. Another format change and another player required again.
You know, it was a lot like those fake stereo records, "re-channeled" from mono
masters but sending the highs to the left and the lows to the right. For only
another dollar, your could buy stereo instead of mono, but often it wasn't
stereo, it was fake. This practice was in use until sometime in the mid sixties.
The other extra stupid stereo innovation was Capitol's "Duo Phonic". It was a
halfway house for stereo ignoramuses. They had mono, and they had stereo.
Priced half way between, they had Duo Phonic, mono enhanced with stereo reverb.
Awful!
CASSETTE
The cassette finally emerged from the computer data industry. At first, even
worse sound, and again, cheaper to make and higher priced. It eventually won out
after many years of cleaning up the sound, though it's finally on it's death bed
also.
CARS THAT GO THUMP
What's a better measure of power than full rich bass? How about super bass? Sub
woofers the size of your whole trunk, amplified with several hundred watts of
power that dims your lights and will kill your battery in a flash if the
engine's not running. It all creates a sound that can be sensed on the USGS
seismometers. Hell, I never carry anything in the back anyway, and my neighbors
already love me. I didn't really want to hear what you have to say, and now, as
an extra bonus, even after I get out of the car, I can't hear your whining. It's
great!
DIGITAL DELIGHTS
The last in this series is the CD, and while it is much better than all the
others, in your car, they're only smart enough to put multi-disc changers in
your trunk, a truly convenient feature. Is everyone working for Ford an idiot?
Sorry, I digress.
The problem with CD's is that they have an incredible dynamic range, so you keep
turning them up and down. It must be time for a compressor to help overcome
their incredible clarity.
WHAT'S NEXT?
I suppose there's plenty of room for the next generation of whiz-bangs for you
to buy. Why not immerse yourself in an artificially induced surround sound? How
about 16 digital tracks in THX!? If you are a psychedelia fan, maybe you need an
in-dash phaser. Wait, I have it. We can go back to the reverb idea by putting a
digital reverb in your car. We don't have to miss the crash we love so dearly.
It could reside on a chip, fired off by a crash button on the front panel about
the size of a grapefruit. I know what we need. How about a microphone in the
steering wheel so we can play those great karaoke CD's and sing along at the top
of our power amps. With speakers in the grille, imagine thrilling your neighbors
and scaring their dogs in the process. That could be even more annoying than the
cars that go thump!
___________________________________________________________________________
WALLEY AT WITZEND
by David G. Walley
When the Gossip Lost the End Game
Once upon a time in a country hamlet there lived a gossip who
was short as she was mean, and the fact that she was married at
all, let alone to the meek and mild-mannered owner of the village
hardware store, was subject for many closed door discussions. He
was so good-natured that citizens lined up early at his door just
to beg credit, and even when they were late, he always extended
them. The whole town figured he had to be saint to abide such a
shrew without complaint.
Recently there had been a dearth of dirt until the Old Bat
latched onto the case of Mary Ellen, the local schoolmarm, one of
the hamlet's few eligible and attractive women who'd been acting
frisky of late. Everyone thought she was neat, the kids worshipped
her, but to the gossip, anyone who was happy, especially if female
and attractive, was suspect, and she was duty-bound by the Busybody
Society to find out how and why. Accordingly she commenced to
exhibit uncharacteristic interest in the PTA, though she had no
children, to more closely monitor Mary Ellen's movements to and from
the boarding house. Her husband, taking little notice of her
activities, kept to his own invariant schedule of early to bed and
early to rise, though lately he'd taken to playing chess on Friday
nights down at the library, which considering they weren't having
sex anymore seemed a reasonable thing to do.
Friday nights she served apple fritters which, if the truth be
known, were as heavy as lead and had the consistency of window
putty; he knew it, she knew it, but he never said anything. One
Friday night however, he exclaimed, "My honey, these are awfully
good, could you make me another batch?"
Since the gossip knew she was no Paul Proudomme, his request
was suspicious; she complied, puzzling at his cheerful demeanor as
he left for the library for a few hours of wood pushing. Her
husband's fondness for her fritters was strange, but not as
intriguing as the identity of the one who was putting the smile on
Mary Ellen's face. When she shared her speculations with anyone
who'd listen, anyone just grinned.
A few Friday nights further on just after her husband had left
for the club, she was seized with a sudden hankering for a bodice-
ripper; she'd check in on his game afterwards. She found the
library closed, her husband's pick-up alone in the lot. She was
about to surprise him when up drove Mary Ellen in her Cherry Red
Accord. Devastated, she watched as he got out of his truck, climbed
in with Mary Ellen, and, after giving her a familiar kiss, drove off
for parts unknown.
He arrived home, at eleven like he always did.
"How was your game tonight, dear," she inquired tensely.
"Just fine, honey, I think I'm getting better at my end
game," he replied pouring himself a glass large glass milk at the
kitchen table. " You think you could whip me up some of those
fritters? Chess sure makes me hungry."
Now she was stuck, and handily, too. Here she'd been poisoning
the airwaves around town with suspicions of Mary Ellen's secret smile,
and its cause was sitting before her playing with his napkin ring.
Of course he'd deny it, and if she told anyone else, she'd lose her
membership in the Gossip Guild.
"Yes, I surely can," she mumbled piling his plate with her
leaden delicacies liberally doused with maple syrup.
The following morning after he'd gone to work, she moved out
of state, back to her Mother's because, she explained in a note she
left on the kitchen table, "Ma's been feeling poorly."
After a decent interval, her husband filed for divorce on the
grounds of desertion, and surprising no one in town, moved in with
Mary Ellen. Most evenings these days after work you can find him at
home working on his end game.
MORAL: Chess doesn't necessarily have to be a boring game.
David G. Walley
dgwalley@bcn.net
___________________________________________________________________________
CLOSET PHILOSOPHY
With Rusty Pipes
THE IRRESISTIBLE FORCE
Okay gang, the first Closet Philosophy column was a rant, the second column
was history, this time we finally get down to Philosophy.
You've probably heard this old koan before: "If you pitted an irresistible
force against an immovable object, what would happen?"
Koans are Zen Buddhist brain teasers that are designed to short circuit your
brain long enough to have a satori, a breakthrough, a shot of enlightenment.
The most famous traditional Zen koan is, "What is the sound of one hand
clapping?" There are whole shelves of sutras about the implications of that
one. There's a similar tactic in the Hindu philosophy but nothing analogous
I can think of in the Judeo-Christian tradition, except perhaps their basic
paradox, "God loves you but he needs money." (Yes I'm ripping off George
Carlin and I'm digressing terribly; I'll make that can of worms a part of
the diet in a later column and we can start digesting terribly. Woof.)
Physics has an answer for the Irresistible Force koan and it's pretty
obvious, really. There is no such thing as an Immovable Object. Look up
your Einstein--everything is relative.
Think about it: the biggest rock, the tallest mountain, the continents
themselves are already moving. The entire planet, the Sun, solar system
and galaxy are not tied down to anything. When you get down to the real
bedrock of things (now an oxymoron) you find that all of our reference
points are mutable and transitory. When something is said to move, we
arbitrarily decide that the larger of the two objects is stationary and
the smaller of the two is moving. Likewise, in a group of objects, the
majority is said to be stationary and the minority moves. In both cases
it's more meaningful to say only the objects are moving relative to each
other.
The corollary to the fact that there is no such thing as an immovable
object is that all forces are irresistible.
A single photon escapes the Sun. It hits a mountaintop on Earth eight
minutes later, or more precisely, it hits an electron of a silicon atom
in a grain of feldspar at the top of a mountain. The atom heats up a tiny
fraction of a degree and dances just a bit more energetically. The
mountain is moved.
ALL forces are irresistible no matter how small. Let's try that again in
caps. ALL FORCES ARE IRRESISTIBLE NO MATTER HOW SMALL.
This applies in human relationships too. It means that Everything Matters.
That's worth capitals too. EVERYTHING WE DO MATTERS.
My wife certainly remembers every little thing I've ever done. No, I take
that back, she only remembers the bad things. The good things I've done
appear only in the form that she's still with me in spite of my shortcomings.
Let's widen the scope a bit. If everyone believed that Everything Matters,
do you think that we could stop using styrofoam cups? Maybe even replace
all the polluting cars? Be polite and say hello to the neighbors? Turn the
stereo down before the police are called? Could we get a higher percentage
to vote? Stop unprotected sex? Maybe block tanks with unprotected bodies?
Obliterate child abuse? Eat a little less so others might have enough?
The thought of Everything Matters cascading through all that we do would
certainly change things. It would tend to slow us down, to ponder even our
smallest steps, to approach life with a sense of humility, respect and
civility. You might call it a religious attitude; I tend to say "spiritual"
more than "religious." It's a goal to strive for. It might be hard to sell
mowing the lawn as a sacred act, but even it can be. Certainly hugging a
child is. It's the caring that counts. Frail as we are, we'll never get it
completely right, but it would behoove us all to do everything as well as
we can. The worst crime is to not care. It does matter. It does add up. Make
your actions--the irresistible forces you generate--positive ones. The world
will be a better place for it.
That's enough Extrapolated Einstein for now. Until next month the Closet is
closed.
---------------------------------------------------------------------------
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