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I S S U E # 1 8 : N O V E M B E R 1 9 9 6
=============================================================================
- The Specialists -
DJ Johnson.................Editor
Jim Andrews................HTML
coLeSLaw...................Graphic Artist
Lauren Marshall............Administrative Assistant
Louise Johnson.............Administrative Assistant and
Keeper Of The Debris
- The Cosmik Writers -
Jim Andrews, Cai Campbell, coLeSLAw, Robert Cummings, Shaun Dale,
Phil Dirt, David Fenigsohn, Alex Gedeon, Keith Gillard, DJ Johnson,
Steven Leith, Steve Marshall, The Platterpuss, Paul Remington, and
John Sekerka
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T A B L E O F C O N T E N T S
EDITOR'S NOTES: Announcing the winners of last month's contest, and a
bunch of other stuff.
A MODERN COLLABORATION - VAI meets THOME: All-world guitar god Steve Vai
and ultra-hip conductor Joel Thome talked to Paul Remington on the eve
of their performance at Eastman Theater in Rochester, New York. The
first of two parts, to be continued in the December issue.
MUSIC IS AN AGELESS THING - A Conversation With Malford Milligan of Storyville:
The singer talks to Shaun Dale about Texas blues, his interesting
apprenticeship, and what it's like to play in a band full of seasoned
pros.
THE BLACKEYED SUSANS - The Great Laundromat Interview: The guys from down
under come to town to play some rock and roll and do some laundry.
Interview by John Sekerka.
TAPE HISS (John Sekerka): Another pair of interviews from John Sekerka's
Tape Hiss radio show. This month, the surf is definitely up, as John
talks to Laika and the Cosmonauts and The Bomboras.
POLITICAL PLAYBOOK: And That's The Way It Was - Campaign '96: The conclusion
of Shaun Dale's series on the 1996 election and the stories that
surrounded it.
RECORD REVIEWS: Another huge batch of musical stew, floating chunks from
more genres than you can shake a wooden spoon at.
BETWEEN ZERO & ONE (Steven Leith): What have YOU produced today? Was it
enough? What are you worth? Steven Leith has some concerns about that.
PHIL'S GARAGE (Phil Dirt): Who are Rake and the Surftones, and why are
they only doing one show? Phil Dirt was one of the lucky attendees.
STUFF I NOTICED (DJ Johnson): By the time you read this, the elections
will be over. At the time DJ Johnson wrote this, it seemed like it would
NEVER be over!
THE DEBRIS FIELD (Louise Johnson): Poems, weird recipes, general debris,
AND the Cosmik debut of Daryl Cagle's TRUE Cartoons! That means we now
have TWO cartoonists' work every month. Check it out.
WHERE THEY KEEP US WHEN WE'RE NOT WRITING: A list of e-mail addresses and
website links that will hook you up with the Cosmik Debris writer of
your choice.
----------------------------------------------------------------------------
EDITOR'S NOTES
By DJ Johnson
What a freakin' relief! By the time you read this, the elections will be
over, a few zillion political analysts will be releases from their positions
with CNN (which means a glut on the McDonalds job market), and life can
return to normal. And so, we at Cosmik take a collective deep breath and
prepare to put it all behind us. That means this will be the last entry in
Shaun Dale's Political Playbook series, freeing Shaun to write about a wide
variety of other topics for Cosmik. This month, Shaun got an early start
by interviewing Malford Milligan of the outstanding Texas blues band,
Storyville. Be sure to check that out. They are most certainly rising
stars.
Paul Remington's interview of Steve Vai and Joel Thome is fascinating for all
the obvious reasons, but there's an added little surprise in there that we're
all rather jazzed about. Zappa fans will find something to fuel hours and
hours of speculation and conversation. Go look. You'll see. You will also
find John Sekerka's interview with The Blackeyed Susans, from Australia.
This is John's first feature interview for Cosmik, and we really welcome his
easy going approach. As in our review section, we love having several styles
and approaches to the interview process.
And still there are more interviews! (We really really love interviews.
Can you tell?) John Sekerka's Tape Hiss Interviews should make our surf
fans happy. Two great bands: Laika and the Cosmonauts, and The Bomboras.
The Cosmonauts are from Finland, by the way. With The Blackeyed Susans,
who are from Australia, they give us a nice international balance for this
issue, and since our readers are spread all over the globe from Iceland to
Katmandu, this is a good thing.
It's time to announce the winners of the Karla Pundit/Harmless CD giveaways.
Congratulations to Brooks Williams (Elsah, Illinois), Tom Shannon (Wilmington,
California) and Jeff Kersting (Affton, Missouri). They will each receive
two very cool CDs. In THIS issue, we're having TWO giveaway drawings, one for
Storyville CDs and one for Steve Vai CDs. Be sure to look for the entry form,
which we have made extremely easy to find. It's in the menu, in each
interview, and on the main homepage. Can't miss 'em! As usual, if you're
reading our ascii version, just send e-mail to moonbaby@serv.net, and make
sure you include your name, address, phone number, e-mail address, and which
drawing you're entering. If you want to enter both, say so. You only have
to send the one entry to enter both drawings.
This month marks the Cosmik Debris debut of Daryl Cagle's hilarious cartoon
work. Daryl has done the artwork for several magazine covers over the years,
and his website has several of those covers available for your perusal. Be
sure to check that out. His True Cartoons are a scream, and you can see them
at http://www.cagle.com/art. There's a new 'toon every day on his site.
We thank Daryl for letting us publish his work.
That's it! Enjoy the issue.
DJ Johnson
Editor
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A Modern Collaboration: Vai Meets Thome
Interview By Paul Remington
Steve Vai approaches the mike as an audience of 3,000 at Rochester's Eastman
Theater cheer for an encore amidst the standing ovation. "I'd like to thank
one of the 20th Century's greatest composer's, Frank Zappa, for his
never-ending inspiration. This is Sofa." As the sculpted bust of Bach and
Beethoven watch from either side of the stage, Vai takes his position with
Ibanez in hand, and Joel Thome raises his hands, ready to queue the Kilbourn
Orchestra and rock ensemble into motion. Out of the silence, one lone voice
yells a statement that echoes throughout the hall - "Zappa lives!"
Never before has a composer/conductor from the classical world collaborated
with a composer/performer from the rock world to perform original works for
classical orchestra and rock ensemble. As historic as it may be, there's no
doubt this event will be overshadowed by the current G3 tour featuring Steve
Vai, Joe Satriani, and Eric Johnson. If Vai's quiet collaboration with Thome
sounds interesting to you, you will be pleased to read both Vai and Thome
intend to continue their collaboration in the form of future concerts and
recorded material. This is characteristic of Vai, who frequently juggles
many projects at once.
Vai and Thome's collaboration occurred as a result of the four day music
symposium, "Popular Music and the Canon: Old Boundaries Reconsidered," hosted
by the Eastman School of Music in Rochester, NY. The purpose of the symposium
was to analyze the crossover of popular and classical music in education and
real world settings. Vai and Thome's collaboration was an appropriate booking
for the finale of the symposium, and establishes Eastman as a liberal-thinking
institution on the cusp of modern music education.
This is not the first time Vai and Thome have worked together. Both were
friends of Frank Zappa, and worked with him until his death from prostate
cancer in December of 1993. They collaborated on the 1990 Zappa tribute
concert, Zappa's Universe. Vai's performance of Sofa on Zappa's Universe
won him a Grammy for Best Rock Instrumental in 1994. Thome conducted the
orchestra on Zappa's Universe, and arranged the Grammy winning score. They
have also performed Zappa's music with the Seattle Symphony.
The continued success of this collaboration hinges on their combined talent
and experience. Most Vai fans are unaware that their hero is not just a
virtuoso guitarist, he's also a composer of orchestral music. His
understanding of an orchestra is the foundation for the bridge to Joel
Thome. Thome is no newcomer to the classical world either. A graduate of the
Eastman School of Music, his past credits include percussionist for both the
Rochester Philharmonic and Israel Philharmonic, and principal with the
Eastman Symphonic Wind Ensemble. His ensemble, Orchestra of Our Time, has
performed and recorded many important avant-garde 20th Century works. Thome
is credited with being the first composer to incorporate taped elements from
the solar spectrum into his compositions. His experience with electronic
composition completes the bridge between himself and Vai, making their
collaboration the most effective to date.
With the interest in Zappa's orchestral music increasing, a handful of
classical ensembles have performed his music since his death. Some
performances feature custom arrangements based on compositions Zappa
previously recorded, others feature authentic scores, composed and
orchestrated by Zappa. As a result of this interview, one orchestral score
is currently in the works - Greggery Peccary - a twenty minute compositional
free-for-all about a little pig who discovers himself through the development
of colorful, time-wasting social trends. In typical Zappa styling, the
composition flows through a variety of musical styles humorously communicated
in a way only Zappa could achieve.
Prior to Zappa's death, he expressed to both Vai and Thome how he wanted to
create an orchestral score of Greggery Peccary. Zappa offered Vai the
opportunity to peruse through reams of scored material he had previously
written for Greggery Peccary. Vai accepted the task, and began the immense
process of completing a final orchestral score, and transcribing sections
of the composition Zappa had never scored. Unfortunately, this project was
never completed or discussed openly, until now. With Thome present, the
question of what happened to these transcriptions was posed to Vai. His
response interested Thome greatly, who never knew Vai was who Zappa had in
mind to complete the score.
Who better to complete a final score of Greggery Peccary than two former
associates who originally conversed with him about its completion? Following
this interview, Vai and Thome discussed daily the completion of the score,
and currently are coordinating not only the score's completion, but also its
performance, and possibly even recorded release.
Zappa is no different than any other composer who dies, leaving behind
unfinished projects and nuggets of unresolved works. Vai and Thome's actions
are a tribute to the memory of Frank Zappa, and preserve another orchestral
work for the enjoyment of music enthusiasts and performers alike - now, and
in the future.
The following two-part interview was held the evening before their concert,
in a recording studio below the House of Guitars, a massive music store in
Rochester.
The lighting is soft, the chairs are plush, and the environment is calm and
quiet. Vai is seated across from me on a plush, black leather sofa, adjacent
to the soundboard. Thome sits in a chair to the left of Vai. Also in
attendance are a handful of observers, including Vai's management. Both Vai
and Thome appear relaxed and confident, excited about their collaboration.
With Vai's G3 tour only a few weeks away, his mind remains surprisingly
focused on the collaboration at hand.
* * *
Cosmik: The Rochester Democrat & Chronicle's Sunday edition reported you
were a former Rochestarian. Is that true?
Vai: I'm afraid to disagree.
Cosmik: That's not true?
Vai: No.
Cosmik: I read that in the Sunday write-up.
Vai: Really?!
Cosmik: I thought, if you were a former Rochestarian, I would have known
about it!
Vai: No, I'm a Long Islander. I was born and raised in Long Island.
Cosmik: You grew up with Joe Satriani.
Vai: Yup. Same town, same school.
Cosmik: Do you find it a bit unusual that both you and Joe grew up together,
were such close friends, and both harbored such a large quantity of
natural talent? It's kind of ironic that all those elements came together
the way they did.
Vai: I find it really unusual, don't you?
Cosmik: Absolutely.
Vai: We would be from the same town and the same school. We've got a very
interlocked Karma together, Joe and I.
Cosmik: You gigged together all through high school.
Vai: Yeah.
Cosmik: But, after that, did you go your separate ways to pursue your own
careers, then come full circle with the G3 tour?
Vai: No, I've been in touch with Joe all through the years. We've always
talked and been friends, and we'd send tapes back and forth to each
other, and critique for each other.
Cosmik: That's beautiful.
Vai: Yeah, it was great.
Cosmik: You can hear the natural progression of how you develop over the
years.
Vai: Yeah, well . . . he was always just great, though. I could hear myself
developing, but he was just always great.
Cosmik: How did Joe see you during this period? Did he see you as great,
while he may have just seen himself as developing?
Vai: I think he sees elements of what I do pretty good.
Cosmik: So, there's a mutual respect.
Vai: Yeah.
Cosmik: What influenced your decision to work with Eric Johnson?
Vai: Well, Eric's a natural candidate. You know Eric, he's just fabulous.
The three of us contribute a certain amount of integrity to the guitar
community. I say that humbly, but it's true. You know, guitarists respect
the three of us and our contribution to the guitar. So, it's a real likely
trio. It's like the Three Musketeers, or something. We've all got the
same hats. [Laughs]
Cosmik: This is trivial, but is it "G3" or "3G"?
Vai: It's "G3", that was a misprint. [Referring to Guitar magazine, October
1996]
Cosmik: It was a misprint - on a big huge poster it's a misprint!
Vai: Yes. [Laughs]
Cosmik: How has it been working with the Kilbourn Orchestra?
Vai: Well, it's really thrilling for someone like myself because I've written
orchestra music my whole life. But, it's very hard when you're a struggling
composer, or quasi-composer - whatever - to hear your music. And if Joel
didn't take me under his wing, so to speak, and have the idea to do this
and make it a reality . . . I mean, he fought pretty hard to make this a
reality. If it wasn't for Joel, I would never hear it. There's so much
involved with getting your stuff together and getting a concert like this
together. First you have to find an orchestra that's willing to do this
kind of fusion. Oh . . . and here he is.
[Joel Thome enters the studio]
Vai: And over here at Eastman they're very liberal that way. They're very
interested to do different things and experiment with this collaboration.
So, you go through all the pain of getting the parts done, and getting
them copied, and correcting them, and rehearsing them and all. But, when
you actually hear your ideas going into the molecules in the air from
these beautiful instruments . . . I mean, when you're standing in front
of an orchestra, there's an atmosphere there that you can't get any other
way. You just can't get it - the organic quality of those instruments
filling the air. When they're tuning up I get shivers.
Thome: Yeah.
Vai: Honest to God. I mean, I hear it and I'm just, like - Oh my God, it's
real!
Cosmik: But, it really has to be something when you hear your own music.
Vai: I feel like I don't deserve it! I mean, it's amazing! It's such an
honor.
Cosmik: When you actually compose, obviously you have these sounds and ideas
rolling through your head, how do you approach the orchestration? The
ideas are there, but you have to know what notes to assign to what
instruments.
Vai: Well, there's certain academic rules about the orchestra. You have to
know the range of the instrument, and there's a certain language that they
read. You know, the traditional articulations and what not, that tell an
instrument what to do, and ways to hit the instrument with the bow, or
different things that instruments are capable of doing. And, you've got
to know your harp pedalings, and what a harpist is capable of doing, and
percussion - it's like a little art project. I was always interested in
it. I was always fascinated with it. It's like a puzzle? Like a big
jigsaw puzzle. But, once you learn the language, there's a real endless
source of liberation musically and creatively to just sit there and
compose. Orchestration-wise, you have to know what instruments sound like
when they're playing together. You don't want to give a tuba a line that
goes [sings a very quick melody line], like a clarinet, a flute, or a
violin could do, unless you have a really, really, really good tuba player.
Cosmik: Do you have an affinity for any orchestral sounds? For instance,
Richard Strauss loved to compose for the soprano voice, Gerald Finzi
loved the strings, and loved to use them to get that English sound. Do
you have any ways you prefer to use an orchestra?
Vai: My favorite moment is when the conductor goes, <tap> <tap> <tap>.
[Imitates tapping a baton on a podium - laughs.]
Thome: [Laughing] And everyone raises their bows. Of course, that's if the
conductor has a baton. I broke three fingers the other night from doing
that.
[General laughter through the room]
Vai: My favorite sound is the cello. I like the cello and the harp.
Cosmik: Yeah! That's funny you should say that, that's the same with me. To
me, a cello emulates a human voice. It's almost like a male's voice.
Vai: Oh . . . there's something so warm about it. You know, violins are
beautiful in their own right, but there's a little body there that's not
quite, you know . . . you get that in the cello, you know.
Cosmik: Have you heard Bach's Cello Suites?
Vai: Yeah.
Cosmik: They're such beautiful works.
Thome: I have a piece called "Timespans." "Timespans" is the first piece to
use radio signals from space as the sound material for the electronic
tape - it's performed with tape. I was in residence at the time with
George Crumb in Dartmouth. We were there for a summer. We were composers
in residence, and also had a performing group in residence. I was working
on "Timespans," which uses James Joyce's "Finnegan's Wake", and "Ulysses",
and a bunch of other stuff. And I was using Morse code to set the text in
Morse code. It uses signals from ships at sea. Then, I had a friend who
was a particle physicist and he was working with NASA, and he was able to
get me access to the astrophysics lab at Dartmouth. The astrophysics lab
had become a little bit tired of the early synthesizers because every time
I heard a piece, I could say "Well, that's a sine wave, that's a particular
kind of modification, that's amplitude modulation, and that's a ring
modulation, etc." I could even tell the make of the ring modulation that
was going on. I thought it would be incredible to take sounds from space
and use those as the material for the electronic aspect of the piece.
Cosmik: You know what that brings to mind? Are you familiar with Arthur
Barrow's `6.7'?
Vai: Oh yeah . . . sure.
Cosmik: He took seismology tapes and added them to his composition.
Vai: Have you ever heard of Dr. Fiorella Terenzi?
Thome: Oh wow! Yeah . . .
Cosmik: No, I haven't.
Vai: She's a physicist, and she has a record out. She's taken the vibrations
of the planets in the solar spectrum and put them to music.
Thome: Beautiful . . .
Vai: It's absolutely stunning. Really interesting.
Cosmik: Mind boggling.
Vai: Yeah.
Thome: Oh, that reminds me about something Steve was saying, about the . . .
Vai: About the cello.
Thome: Yeah, right . . . about you liking the cello. "Timespans" was written
for piano trio. The cellist plays the Bach unaccompanied cello suites,
and I think it was the first suite, the Sarabande, I used the Bach, but
I superimposed the tweaks and whistlers that hit the earth at a half a
second. They travel from about 50,000 miles radii out in space. I also
used bypasses of Saturn, and satellite transmissions. As the Bach Suite
is going on, played by the cellist, the tweaks and whistlers are happening,
and the astronauts are speaking the text from their first moon landing.
Cosmik: And you meshed it all together.
Thome: Yeah . . .
Cosmik: Brilliant - that's fantastic!
Vai: That is deep!
Cosmik: That is deep, very deep.
Thome: Part of it is a Vietnam protest, because it ends with "One small step
for man, one giant leap for mankind," and immediately segues to [sings
Hail to the Chief]. You have the Boccherini going on with the Boccherini
trios and part of a Richard Nixon speech.
Cosmik: That's one of the things I love so much - the liberal use of
composition.
Vai: It's great!
Cosmik: The ideas you use to come out and compose something like that. I
mean, some composers are so strict to a certain form that they wouldn't
even think of doing anything like that.
Thome: Yeah, right.
Cosmik: That gets into something I wanted to ask you that I asked Joel prior
to the interview, and that's the meshing of classical and popular music,
especially the way it's being done now. It seems it's been within the
last 20 years that idea has been used, but what the two of you are doing
is really so much on the forefront of that whole thing. Where do you see
the future of that going? Obviously, the two of you will continue
collaborating. Do you think it's something that will continue into the
21st Century, and other people besides the two of you will collaborate
and pursue similar directions? Do you think there's a future in it?
Vai: Well, there is for those ambitious hearts. I think that this will open
some doors for people who've always had the desire to do something like
this. In the back of the mind of most guitar players, it's a real fantasy
to play with an orchestra.
Cosmik: Do you think the non-commercial aspect of it may be detrimental to
its future?
Vai: It's according to what you do, you know what I mean? As far as
commercial, I could write a song that we performed with an orchestra that
could be a very commercial song, you know? It's just getting it out on
the airwaves.
Thome: Right.
Vai: I mean, there are billions of commercial songs that just don't make it,
you know. Yeah, whenever you deal with an orchestra, unless you're making
a movie and you have a big budget, prepare to take a big financial hit.
Even if you are successful, it's financially draining. But, when you're a
slave to the whole art of it, like people like Joel, you have no choice.
That's what a true artist is. Those things are not players, you'd get the
money somehow, or you work with people that have the same passion and
drive to make the fantasy an audible reality. Thank God for people like
that.
Thome: And for Steve.
Cosmik: Oh, sure. The two of you are integral elements towards the succession
of this whole concept.
Thome: That's right.
Cosmik: And it's people like the two of you that do projects like this that
open peoples' eyes to realize really what can be done, and I think that
helps motivate others to explore new musical ground.
Vai: Yeah, we're very lucky and very fortunate that we have an audience for
it. There's a built in audience.
Cosmik: How did you zero-in on Eastman. Why Eastman?
Thome: They called us. [General laughter throughout room] Steve and I had
been talking about this for a couple of years, working towards it, and
saying we really want to do this. We were absolutely committed to doing
it, and the schedules had to work out. And then one day we got a call
from Eastman, from David Headlam. He was putting together a wonderful
conference about the crossover. I saw Bob Freeman in New York a couple
of months before that, and he said this was happening at Eastman, and
be prepared for a call. Then the call came from David saying he was
doing this and would Steve and I consider doing our collaboration at
Eastman. So, I called Steve . . .
Cosmik: David had both you and Steve in mind?
Thome: Actually what happened was . . . I'm sorry . . . what happened was,
he called me and asked whether something could be done, and I said,
"Well, this is perfect, because Steve and I had been talking about this,
and looking for the right place, and I'll call Steve and see whether he
might like to launch our collaboration at Eastman." Steve agreed
immediately, and that was it. We have a lot of ideas about taking this
internationally, and playing with many orchestras.
Cosmik: That's great. Being able to see this is phenomenal to me. I have a
lot of friends that are classical nuts that are bigots, and they look at
a collaboration like this and think it's a joke.
Thome: You know, the other thing is that the rock audiences are coming up to
us and saying, "Wow, we can't wait to hear this . . .
Cosmik: Of course!
Thome: . . . and experience this."
Cosmik: Yeah, if you have any ears.
Thome: Yeah . . .
Cosmik: All it takes is two ears, as far as I'm concerned. You've got to
drop the bigotry.
Thome: Exactly!
Cosmik: At least that's been my experience. There seems to be a blank in
some peoples' minds when they hear the title, "Rock and Roll."
Vai: Pretentiousness?
Cosmik: Yes, exactly! Now, Frank Zappa was the earliest innovator I can
think of who used classical composition with his own rock ideas, and
that was accepted by a large fan base.
Thome: Well, sure, Frank was doing things with orchestra, that's right, and
very important things. He really did break a lot of barriers down. In
terms of guitarist/composer, conductor/composer coming together, that's
never happened.
Vai: Yeah, the closest thing I can think of is when John McLaughlin played
with the orchestra. But, he played with an acoustic guitar and he didn't
have a rock band with him.
[Murmurs from others in the room: "Pete Townshend" "Moody Blues"]
Vai: Did Pete Townshend do it? Oh yeah, he did it, but what we're presenting
here is a virtuoso musician performing with an orchestra. I try to, you
know . . . I say that humbly.
Thome: You see, Steve is the one guitarist/composer today that can make that
bridge happen in the most contemporary way. Other people have done it in
a "pop" way, and made it a "pop" concert - this is not a "pop" concert.
That's not what it's about. And, I'm the only conductor/composer - and I
want to be honest about that - who can do it from my end so that we can
build a bridge that we do together. This is our collaboration. This is
not Steve coming into an orchestra, going to this conductor, going to
that conductor. And this is not my going to this guitarist, or that
guitarist, or this rock group, or that rock group. That's not what it's
about. It's a real collaboration between two creative souls.
Vai: I believe there are people out there, you know, in the music community,
a handful - whatever - who are capable of doing this, of course. But,
it's actually having the drive to do it, and to get it off the ground
and focus on it. There's a lot involved and it's a frightening workload.
But, we thrive on that.
Cosmik: Don't you also think it has something to do with the intellectual
prowess of the individual? The knowledge and the education behind them to
be able to put dots on paper and create a workable composition?
Vai: Well, yes and no. Because . . . yes in the sense that that's the way I
like to do it. See, I like to do the orchestration myself. I didn't have
time to do some of them, and I got some fabulous orchestrators to do some
things. But, I'd like to sit and write scores, you know. You can take
another modern guitar player - let's say Eric Johnson, for instance - he
doesn't write scores, but he can say, "I have a melody." He'll give that
melody to an orchestrator, and he'll orchestrate it as if Eric was there
doing it. But, what we're doing here is different in the sense that we're
hands-on. I mean, we're really right on this thing.
Thome: Yeah.
Vai: It's been a fantasy of mine for years - actually, my whole life - to
have an orchestra backing me. One of my first musical stimulations was
from an orchestra.
Cosmik: Really? Is that right?
Vai: Yeah, West Side Story.
Cosmik: Oh, beautiful . . . Bernstein.
Vai: It had attitude, it was hip, it was cool, it had tri-tones, you know?
Before that it was the Partridge Family and Yogi Bear Goes to the Woods,
you know? [General laughter throughout the room] It's a good record, you
ever hear it?
Cosmik: I think I may have that one, would you autograph it? [Laughter]
Vai: [Laughs - imitates Yogi] Hey Boo-boo!
Cosmik: Now, your collaboration with Frank - that must have been a big thing
for you. To be able to watch this man, as a composer, doing the things
that you would really love to do. That must have been a big, big learning
experience.
Vai: It was, most definitely. I mean, when I heard Frank, tears of joy filled
my eyes.
Cosmik: Was this prior to working with him?
Vai: Oh yeah! Sure, when I was a kid. My friend said, "Hey, I'm gonna play
you something," and he played me Electric Aunt Jemima. I died! And,
Muffin Man. [Laughter]
Cosmik: Oh, that's great.
Vai: I died, I tell you! It had everything. I was like, who is this? What's
going on here? It had great, cool guitar playing, great production, catchy
songs, harsh dissonance that I wanted to hear. I don't know why, you know?
And, it had a sense of humor. And it just crossed every barrier. Here was
a guy that said to hell with everything, this is really what I do. I was
stunned! It changed my life. I still listen to Led Zeppelin, and Deep
Purple, and Emerson Lake and Palmer, and all that stuff, and they had
wonderful elements that I needed as a teenager too. But, with Frank it
was . . . I was just, like . . . [stunned expression].
Cosmik: It was all-encompassing.
Vai: Yeah - HE was all-encompassing - his whole aura, his whole persona,
everything he did.
Cosmik: That's the thing I really like about Frank, is that he did so much
with so many things. I mean, you can't really say that Frank was this or
that - Zappa was everything.
Vai: People don't know. People do not know Zappa's contribution. I mean, no
composer ever before, now, or in the future, I think, could possibly
compare.
Cosmik: Absolutely! Do you ever see yourself, in the future, taking on some
of the same approach as Frank took with orchestras? I mean, obviously you
are right now, but composing exclusively for an orchestra?
Vai: Well, any resemblance between Frank's prolific genius and me is purely
coincidental, trust me. Frank was an icon. I'm a nanu-icon [sic], or
something . . . I don't know. [Laughs] I wouldn't even say that. I would
just say that Frank has inspired me and many others to take that route.
And I just loved the way he fused all that stuff together. First of all,
I don't have the desire to work the way he did. Everything he did was
work, and I don't have the mental capacity to focus like he does.
Cosmik: Really? How did he focus? Can you describe it as best you can?
Vai: Well, I would just say that in my, maybe, uneducated opinion, the
definition of a genius is someone who can take their intuition and make
it a reality at the drop of a hat, and make it look simple. And that's
exactly what Frank did from moment to moment.
Cosmik: And you were able to witness it in action.
Vai: Witness it, but that's it. You know, you can witness that stuff and
then think that you're capable of doing it. But, you know, inspiration
is fleeting for people like me. And when I grab that thread of it, it's
wonderful, you know what I mean? And I can pull it, and pull it, and
pull it, but, you know, a true genius like Frank, everything was right
there. And the things he said, in one word in a conversation - he was
able to focus on a situation, examine it, put it through his mind, and
spit out two words that had the exact balance of political satire,
reality of the situation in depths that we can't even conceive, and
humor . . . like that! [Snaps fingers] Uncanny!
Cosmik: Yeah, it's just the way his mind worked. It was all-encompassing in
itself.
Vai: It was working on different planes.
Cosmik: What do you see you took away from your experiences with Frank the
entire time you worked with him and performed with him?
Vai: At the time I was with Frank, you've got to realize, I was 18 when I
started working for him, and I was just feverishly trying to keep up
with, like, being on tour. I had no idea how to handle myself on tour
and just getting the notes under my fingers. I mean, Frank would say,
"Play this. Okay, now play this. Now do it reggae. Now play it in seven."
And I would just be, "Okay . . . Okay . . . Okay . . . Okay . . ." I
remember one time, he did that to me, and he goes, "Okay, now add this
note." And, it was IMPOSSIBLE! Nobody could do it! And I said, "Uh, I
can't do that." And he goes, "Well, I hear Linda Ronstadt's looking for
a guitarist. [Laughter] But, uh . . . he was hilarious that way. But, it
wasn't until afterwards, when I realized . . . when I started looking
back and doing my own music, and dealing with musicians, and dealing with
the business, and dealing with trying to make my music a reality in the
face of opposition, most people just give up. Most people conform. Zappa
is a tribute.
Cosmik: He was a non-conformist.
Vai: A non-conformist to the Nth-degree. And, uh . . . yeah . . . that was
one thing that I got from Frank, too. But he had a very large fan base
that was brutally loyal. When I speak about Frank, I'm not just talking
from me, I'm talking from people like Joel, and all of his fans. You love
Frank when you know his music. He reaches out, you know? There's treasures
beyond measures in his music.
Cosmik: That's absolutely correct. I have everything, and I can't get enough.
There's one thing I have to ask: David Ocker has said that he remembers
Frank asking you to do transcriptions of Greggery Peccary he had never
written down. He remembers seeing the transcriptions, and he has no idea
what happened to them. Do you know?
Vai: [Looking surprised] I have them in my vault.
Cosmik: You have them in your vault.
Vai: In a big box that says "Project Peccary."
Cosmik: Will it ever see the light of day?
Vai: Well, Frank saw it.
Cosmik: Was he pleased with it?
Vai: Well, he wanted a complete score of Greggery Peccary.
Cosmik: Which there never was a complete score.
Vai: Well, there were bits and pieces here and there that he had, and I
rummaged through all of his stuff and got everything I could scavenge,
you know? And then I just sat and went crazy trying to make a score.
And, uh . . .
Cosmik: It sounds like trying to take Mahler's Tenth and finish it.
Thome: Uh huh! [Laughs]
Vai: I've got Frank's handwritten manuscripts for that.
Cosmik: Oh my God.
Vai: Don't tell his wife.
Thome: This is the first time that this riddle has been solved for me. When
we were doing Zappa's Universe Frank called and said, "I'd really like
to hear Greggery Peccary with orchestra."
Vai: Oh yeah!
Cosmik: Oh yeah, absolutely!
Thome: I know who he was thinking about now. He must have been thinking
about Steve.
Cosmik: Why don't you do it? Why don't you pull it out and see if you can
piece it together? You know how many people have tried to complete
Mahler's Tenth, and they've done it successfully.
Thome: Yeah, they did. They did.
Vai: They have a score for it?
Cosmik: Sure, yeah. [Looks to Thome] How many people did it, three or four?
Thome: Yeah, yeah.
Cosmik: Kenny Wheeler did one, Clinton Carpenter did one, Remo Mazzetti did
one.
Thome: Who did the first one, was it Carpenter?
Cosmik: I think Carpenter was one of the first to complete a score, although
his version wasn't recorded until many years later. But . . .
Vai: You know, that would certainly . . . you know, Greggery Peccary, I
remember when . . . Oh, I'm sorry, I didn't mean to interrupt.
Cosmik: No, go ahead.
Vai: When I first heard Greggery Peccary I was in college and I had to stop
the tape and go lay down because I couldn't believe one person had
composed this. Amazing. I had never heard anything like it.
Cosmik: You have the perfect person by your side to help you complete such
a project. I'm sure you'd love to see it completed. [Looks to Thome]
Thome: Oh yeah.
Cosmik: I could just see Steve working on it, his shiny hoofs up against the
desk as he draws dots and lines on staff paper.
Vai: [Laughs]
Thome: Frank would love that!
Vai: Yeah, he really would.
Cosmik: Yeah, that would be quite a tribute. Your Ibanez guitar line - what
are your plans for future models?
Vai: We just came out with a brand new Tenth Anniversary. It's a stunning
guitar, it's really beautiful. And another one that's a more grungy
style. What we did was, I had this idea to get a blowtorch and burn the
guitar and then stain it blue, and put screws for the fret markers. It's
real cool! Now I've gotta learn how to play Greggery Peccary on it.
[Laughter]
Cosmik: You should think of completing that, seriously. Keep it in mind.
Vai: I think about it all the time.
Cosmik: I mean, for posterity, over the years you want that to last. That
is a brilliant piece of work.
Vai: It is, but it's there, it's on tape, and Frank did it better than most
people can, probably anybody can. But, I'd love to do something like that.
It's been a dream to do something like that. I'd like to do the whole
third side of the Roxy & Elsewhere record.
Cosmik: Good. You should do his entire catalog. [Laughter]
Vai: One of these days, we will. [Laughs]
* * *
This concludes part one of Cosmik Debris' interview with Steve Vai and Joel
Thome. Part two will appear in the December issue. REMEMBER: We are giving
away five copies of Steve's new CD, "Fire Garden." To enter, send e-mail
to moonbaby@serv.net. Remember to include your name, address, and phone
number. And be sure to indicate which drawing you are entering. We have
two this month: Steve Vai and Storyville. You MAY indicate that you wish
to enter both contests with the same entry. Only one entry per person, please.
Good luck!
----------------------------------------------------------------------------
"Music is an ageless thing..."
A CONVERSATION WITH MALFORD MILLIGAN OF STORYVILLE
Interview By Shaun Dale
After several weeks of phone calls and leg work by the inimitable D.J.
Johnson, I was finally mounting the stairs of that music industry
landmark, the Cosmik Debris Building, to interview Malford Milligan of
Storyville.
Clutching a sheaf of questions that were carefully constructed to
reflect the finest in journalistic inquiry and to keep me from sounding
like a pandering fan boy, I was almost undone when the conversation
started. Talking to Malford was simply a joy. One of the strongest
cuts on the new Storyville disc, A Piece of Your Soul, is a number
called "Share That Smile," and Milligan shares a smile with his voice in
a way that must be heard to be believed.
The Storyville story started in 1994 when drummer Chris Layton and
bassist Tommy Shannon, the rhythm section for Stevie Ray Vaughn's
legendary Double Trouble, played the sessions for Milligan's "The Bluest
Eyes" album. They joined the permanent lineup, soon to be followed by
two guitarists with impeccable credentials - David Grissom, a veteran of
Joe Ely and John Mellencamp's bands and David Holt, who had worked with
Ely, Carlene Carter and the Mavericks.
The band first worked together at Antone's, a club which looms large in
the well deserved high reputation of the Austin, Texas music scene.
This year saw their first release on a major label (Code Blue/Atlantic),
produced by David Z. (whose credits include Kenny Wayne Shepherd, Fine
Young Cannibals, Albert King and the artist formerly known as the artist
formerly known as Prince) and an aggressive national touring schedule to
support the disc.
We caught up to Malford Milligan by phone as the band was moving through
the northeast in the middle of the hurricane driven storms of mid October.
Luckily the phone lines stayed up (thought the connection definitely wasn't
"just like next door") long enough for this brief conversation to ensue:
* * * *
Cosmik: Malford!
Malford Milligan: What's happening, man?
Cosmik: It's gotta be you - great to talk to you. Where are you at right
now?
Malford: We're in Connecticut. Danbury.
Cosmik: Well, I know you're busy, so let's get to it. This all started with
your album "The Bluest Eyes," right?
Malford: Right.
Cosmik: So how long has the current lineup been together?
Malford: Two and a half years...
Cosmik: Two and a half? It sounds like ten. One of the things that
impressed my with "A Piece of Your Soul" is that it's a real band
sound. Everybody's a standout, but nobody steals the show - it's a
very cohesive sound.
Malford: Right. Thanks.
Cosmik: So why Storyville? When I first saw the disc I thought New Orleans,
maybe some kind of Neville Brothers thing...
Malford: Both of those reasons. I was in a band that got a chance to open
for the Meters, and that was really the turning point for me musically
and vocally. It's guided my style to the stuff I'm doing right now.
Cosmik: The band is full of players with incredible resumes, but you're a
relative newcomer. You started singing, what, nine years ago?
Malford: Yeah.
Cosmik: And you're 37 now, so you got kind of a late start in the business.
Malford: (Laughs) Yeah, I'm a late bloomer.
Cosmik: So many stories are about the guy who grows up singing in church and
dreaming of the big time all his life. What were you doing all those
years?
Malford: I was going to school at UT, I was stocking groceries, I was
chopping cotton...depends on the year you caught me.
Cosmik: So what were you going to be before you became a singer?
Malford: I was a sociology major. I was probably going to end up teaching
sociology somewhere, if I was lucky...
Cosmik: Well, we're the lucky ones!
Malford: You think so? Thanks.
Cosmik: Yeah, I think so. Anyway, these guys in the band have been
everywhere with everyone. Does that put any special pressure on you?
Do you feel that?
Malford: You know, when I first started I really felt it - I definitely felt
it when I was on stage - but the deal was more and more we became
closer by writing together, by trying to get this band off the ground
and the whole bit and it's not a pressure that I even think about now.
It's more or less what the song demands, you know...
Cosmik: I know you place an emphasis on songwriting as a team effort...
Malford: Exactly, I sure do.
Cosmik: How does that work? Do you guys come together with pieces of songs?
Do you all do this together in a room?
Malford: Sometimes. A little bit of anything. I know in Grissom's case, he
brought some finished songs in we used on the record. Right now I'm
working on a tune, in fact, just laying stuff down a cappella, and what
I'll do is take that to David Holt or David Grissom and to the rest of
the band and see if it's something we might want to explore doing, you
know what I'm saying, and see if they get any ideas from it, and if
they do it goes on from there. 'Cause David Holt or David Grissom can
find the key that the song is in - I never even know what key I'm
singing in. I'm musically illiterate.
Cosmik: The background of Storyville is a real musical stew - straight rock,
Texas blues, R&B, country - and I understand you started out in an
alternative band?
Malford: Yeah, I was in a band called Stick People. It allowed me to do,
like, just about anything I wanted to do. That band was a great
learning experience for me, you know, and in fact musically I feel
like I've come back full circle to where I started at. The music I
grew up with was very soul oriented, very funk oriented. It's
funny - it's really ironic in a lot of ways - it's ironic that I'm
singing and it's ironic that I've come back full circle to doing this
kind of stuff.
Cosmik: That's amazing, yeah. But with all those influences, it's really hard
for me to pin the band. When people ask I just call it "American music."
Do you have a name for it? What do you like people to think of it as?
Malford: I just call it real rock and soulful music, I don't know. There's
definitely a lot of influences there, and I like that. It's
definitely hard to pin the band. These are all things that I like.
That's what makes this band unique in its own way.
Cosmik: People I've played it for have mentioned fifteen bands they think it
could be, traces of things they hear...
Malford: Exactly.
Cosmik: Even from cut to cut the sound changes, but somehow it still sounds
like Storyville...
Malford: That's it. That's the main thing. It's just like any human being.
You have a lot of personalities and you don't see it all. You never know
exactly, even if you've been with someone for years, you never know
exactly who they are. They're still evolving and they're still changing
and that's just the way it is with this band, you know? There's a lot of
stuff that comes in. And there's a lot of stuff that when you write with
other people you have to be accepting of, and listening to, and live with.
If I was just doing something by myself, I may not have come up with that
chord change, but because Grissom played with Joe Ely, and because Holt
was in the Mavericks and they've dabbled in a lot of other stuff they
come up with some really unique stuff.
Cosmik: So between Stick People and this band, you were doing what? I mean,
what was the process that moved you from an alternative band to this
music?
Malford: You know what I was doing? I was going to Antone's School of Music.
I was hanging out at Antone's and I was singing with my friends Derek
O'Brien and Reese Wynan and just learning, like I still am. It's
funny, when I get off the road I go home and we have a regular Monday
night band, and they let me sit in with them and I just go in there and
learn...
Cosmik: They LET you sit in...
Malford: (laughs) Yeah, they let me sit in...
Cosmik: Well, if we're ever in the same town on a Monday night, I'll put
together a "regular Monday night band" and I'll LET you sit in anytime!
(Laughter)
Cosmik: I know you worked some dates with the Allman Brothers. Are you still
out with those guys?
Malford: Well, we haven't done any more dates with the Allmans. We did a date
with Kenny Wayne Shepherd, but we've mainly been doing our own shows,
headlining our own shows.
Cosmik: What kind of venues are you playing?
Malford: Small ones, nothing huge...
Cosmik: Clubs? Halls?
Malford: Mainly clubs. I think we're going to do a date in Louisiana that's
like a state fair, but nothing real large at this point.
Cosmik: I know you played the Greek Theater in L.A. with the Allmans...
Malford: Yeah! Now for me, that was like a whole new eye opening experience.
I've never done amphitheaters before, I've always done clubs, so to
have that much room to work and to walk out there with a P.A. that was
already on and I wouldn't have to worry about overdriving it or
hearing myself was like a major miracle. I had such a great time!
Cosmik: Kinda like a ballplayer playing Yankee Stadium for the first time...
Malford: Yeah, like that.
Cosmik: So you're in Connecticut now. Most of the tour list I've seen has
been in the southeast. Are you starting to branch out around the rest
of the country now?
Malford: Well, actually, we've been working this record. It's been out for
three months and we've been working it for four months. We've been in
the west, in the southeast, middle America - I've had a chance to see
the heartland. So we've been expanding and touring the record. That's
the way it's going to the end of this year and through the beginning of
next year, just going out on the road and hitting it.
Cosmik: Well, with the history of the band, I imagine a live show is
something special.
Malford: I hope so. The thing is, I really feel responsible for that
audience when they walk in there and I want to give them the best that
I am no matter what. It's really important to me that the live shows
are exciting and they're fun and they're enjoyable.
Cosmik: Where do you go musically in a live show that we might not have heard
on the disc?
Malford: Probably a lot more guitar stuff, and a lot more vocal wanking
(laughs). But definitely you get a chance to hear what David and
David can do. Sometimes you even get a chance to hear Chris Layton do
a solo. In a live show you can, you know... records are always
constraining. It's almost like one dimension, or two dimensions. You
can't really show the whole band. That's one of the cool things about
video. But in a live show you hope you really feel the energy of this
band and see the craftsmanship and see people working their butts off.
It's old fashioned, old school, but it works for me..
Cosmik: Well, I was looking forward to seeing the show in Portland, but you
ended up in, I think, Alabama that night...
Malford: Yeah, we did. I want to go - I definitely wanted to go, but we have
to go where they're letting us work at...
Cosmik: Well, we've got to get you up into this part of the country. I think
there are a lot of folks who'd love the music.
Malford: I'd love to, and in that part of the country you get that seasonal
change...
Cosmik: Yeah, to rain (laughs).
Malford: Yeah, we did a gig in New Jersey and we went through a lot - it was
pretty hard and pretty slow getting into the gig 'cause they've had
flooding up in this area.
Cosmik: So where to from Connecticut?
Malford: We go to Boston, then back to Connecticut. We're playing the Boston
House of Blues, then Toad's Place in New Haven and eventually to New
York by the end of the week and then make our way back south again.
Cosmik: Where will you be playing in New York?
Malford: The Mercury Lounge. I've never played there but I think between the
band somebody in the band has played there. Everywhere we've been
somebody's played there.
Cosmik: It seems like in that band somebody must have played everywhere...
Malford: Man, these guys have. They've got tons of experience and they've
taught me a lot in the time that we've been together. One of the
things about playing with people who are so musically capable is that
you really have to rise to the occasion. It was that way at Antone's
and it's also been that way for me in this band. I really think it's
helped me to become a better vocalist.
Cosmik: Well, coming out of that environment in Austin everyone seems to
become better. There's an awful lot of great players down there, a lot
of great chops.
Malford: Yeah, it's a great school.
Cosmik: Before we wrap up, it occurs to me that with all the experience
you've mentioned in the band, and the fact that you were a "late
bloomer," that there are no kids involved here. If you guys are going
to get rich and famous, is this it? Is Storyville the long term
commitment?
Malford: That's the commitment. The deal is that everybody in the band is
pretty experienced and is also in the band for the long haul. That's
the beauty about doing something like this, because when you build
your house you build it from the foundation up. When you finally get
that thing finished and it's the way you want it to be you can live in
it. I believe this band is going to do very well, no matter what the
age is. Music is an ageless thing.
---------------------------------------------------------------------------
ATTENTION STORYVILLE FANS: Cosmik Debris and Atlantic/Code Blue Records are
giving away five copies of Storyville's new CD, "A Piece Of Your Soul." To
enter, send e-mail to moonbaby@serv.net. Remember to include your name,
address, and phone number. And be sure to indicate which drawing you are
entering. We have two this month: Storyville and Steve Vai. You MAY
indicate that you wish to enter both contests with the same entry. Only one
entry per person, please. Good luck!
---------------------------------------------------------------------------
THE BLACKEYED SUSANS: The Great Laundromat Interview
Interviewed by John Sekerka
Melbourne Australia is home to a vibrant music scene which counts Nick Cave
& The Bad Seeds, The Cruel Sea and The Dirty Three as part of an incestuous
and thriving bunch of musical renegades. Formed from the ashes of The
Triffids, The Blackeyed Susans have boasted members from all of these bands
in a revolving whirlwind membership, the lone constants being singer Rob
Snarski and bassist/songwriter Phil Kakulas. Ten days into a North American
tour for support of the sensual Mouth To Mouth album, Phil chatted from a
laundromat across the street from the club, while taking time to do a bit
of washing.
COSMIK: There's nothing like touring is there?
PHIL: Uh-huh, I'm looking forward to some clean clothes.
COSMIK: Australia is a long way away. i hope this is not your first washing.
PHIL: Um, gee, would I disappoint you terribly if I told you that it was?
We've only been on the road for ten days.
COSMIK: So tell me Phil, where are all the Susans in the band?
PHIL: We actually took the name from a flower. A Blackeyed Susan is a small
creeper, with orange and yellow flowers and a black center. Susan is our
aunt. She looks after us.
COSMIK: On record you are only three. how do you recreate the full plush
sound live?
PHIL: The line-up has expanded to five. With five we can come close to our
sound on the record. Also, we're not particularly bothered by trying to
reproduce the album. It seems to me that playing live gives you an
opportunity to try something different with the songs - rework some of
the arrangements. In the studio, it's your responsibility to serve the
songs first. Live, that's your chance to push the songs around a little
and remind them who's boss. That's the attitude we take.
COSMIK: So you're fighting the album on stage?
PHIL: Not exactly. We just have it under the heel.
COSMIK: You've had about twenty members come and go through the ranks.
PHIL: Yeah. Rob and I are incredibly difficult to work with.
COSMIK: So who exactly is the bad boy in the band that keeps this turmoil
going?
PHIL: It's that Rob Snarski. I'm not taking responsibility for that. It's a
good cop/bad cop type of situation. More seriously, the origins of the
band were as a part time affair. We all had different bands and we'd all
get together when we were all in the same city, play a few gigs and maybe
make an EP. Then we'd get off to our other bands. We did the Susans like
that for a couple of years. About two years ago it became more of a full
time concern and we started to look for people who could devote more time
to it.
COSMIK: You have connections with a lot of Australian bands. Is there a
community aspect?
PHIL: We're friends with a lot of these bands: The Bad Seeds, The Dirty Three,
The Cruel Sea. A lot of us are based out of Melbourne, so there is a
sense of community.
COSMIK: I'm glad you mentioned The Dirty Three. I had a chance to see them
live recently, and I must ask a question about violinist Warren Ellis,
who used to be in your band. Is that guy nutty or what? He rambles on
like a madman between songs.
PHIL: Yeah (laughing), his monologues are getting longer than the songs.
That guy needs an editor. It's funny because Warren used to be so mic
shy that he would hardly say boo. Now you can't shut him up.
COSMIK: All the bands you mention seem to have a couple of common factors:
passion and a plush/rich sound. Do you feed off of each other?
PHIL: I guess we influence each other. Obviously everyone looks further
afield of what's going on in Australia, but if there is a sound coming
out of Melbourne that is identified with that city, then that's great.
COSMIK: Touring North America is a major undertaking for an Australian band.
can you afford this?
PHIL: At this stage it's a rather expensive exercise for us, but we're just
trying to build something, and we've certainly enjoyed our time here.
It's a great pleasure to be playing dingy, smelly, smoky clubs on the
other side of the world for a change.
COSMIK: After reading a lot of Aussie bios with glowing quotes from Rolling
Stone, it dawned on me that there's an Australian version of that
magazine, is there not?
PHIL: There is indeed. It takes the most relevant of the American Rolling
Stone and adds local content.
COSMIK: The American version has become quite lame. what about the Australian
version?
PHIL: I wouldn't call it cutting edge, but it's okay. it's certainly not the
Rolling Stone of ten or fifteen years ago.
COSMIK: In North America, the music press can fluctuate wildly, depending on
what level--mainstream or alternative--you choose to read. The UK press
can be quite crazy and astounding in their dedication to trends, while
cruelly slagging some bands. What is it like in Australia?
PHIL: In Britain, it's still difficult to get your stuff played on radio, so
they rely very much on the written press to publicize their bands. In
Australia, there's quite supportive public and university radio, so you
don't rely so much on the press. There's some good street rags around,
particularly out of Sydney and Melbourne, and some of the glossier
magazines like the Australian Rolling Stone and one called Juice, which
isn't too bad. And of course there's a thriving fanzine scene.
COSMIK: My fave quote from Rolling Stone is 'sensuality on a stick.'
PHIL: Yeah, I don't mind that. I'd like to think that there's something
sensuous about what we do.
COSMIK: Mouth To Mouth includes references to a lot of body parts. What were
you writing about?
PHIL: That was a period of re-evaluation in my life, and my response when
things get a bit complicated is to simplify the whole thing and reduce
it to the physical. The lyrics are about that process: of taking pleasure
and delight in the physical realm of things.
COSMIK: The other aspect that I find with your music is a darker edge. I hate
to say it, but for the lack of a better word, is there a bit of goth
here?
PHIL: I dunno. Goth, to me, is hair-spray and eyeliner, but I know what you
mean. I really value beauty. If that's your aesthetic bent then you can't
help but be saddened and disappointed by ugly and cruel acts that everyone
experiences in their lives. That can't help but sadden and form your work.
If it's dark, it's a natural and realistic response to the world we live
in. It's dark, but you can see the light. It's a long, long, long way
away, but that's where we're heading. I'm very envious of people with
faith. I'm just waiting for a revelation; for Jesus to walk up and tap
me on the shoulder.
COSMIK: Who isn't? You know, Phil, I'm from Leonard Cohen country, and he
seems to be a big influence on the
Melbourne scene. The Dirty Three, Nick
Cave and the Susans have all covered his songs.
PHIL: Leonard's been very important to me for a very long time. We regard
him as the finest lyricist in the world. Ever. Bar none. I thought his
words on his last record, The Future, were the best words on a rock
record ever. What I like about him is that he's in his sixties and still
doing some of his best work. That's an inspiration. I like guys like that.
COSMIK: And he's still a ladies man.
PHIL: The last thing I heard, he was living in a monastery just outside of
L.A.
COSMIK: Yeah, but he's done that before.
PHIL: Yeah, no need to be alarmed.
COSMIK: I'd like to talk about your band photo in which you are about to do
away with Elvis. I believe that is you with a gun under his chin.
PHIL: Yes. I have a love/hate relationship with the guy. I really adore him.
I thought he had an incredible talent, but I find it hard to respect him
for the way he wasted it. All those movies. All those lousy songs. The
story is a modern tragedy and there's a lot to be learned from it. We did
a New Year's Eve show and called it 'The Blackeyed Susans Murder Elvis.'
We took the best and worst, and put on a reverent tribute. We did stuff
from the Sun record and the '68 comeback - and then we'd do 'Smorgasbord'
and 'Spinout.'
COSMIK: Tell me about Snarski vs. Snarski.
PHIL: Rob Snarski is our lead singer and his brother Mark sings for a Sydney
band called Jackson Code. Every now and then the bands get together for
the Snarski vs. Snarski sibling rivalry shows. They're very competitive.
It generally results in good and entertaining shows with encores that
might feature 'He Ain't Heavy, He's My Brother,' or something stupid like
that. Then we argue who won. I must say that we won conclusively this
year. It was 4-5 in our favour.
--------------------------------------------------------------------------
TAPE HISS: Transcripts of John Sekerka's radio interview show, which runs
on CHUO FM in Ottawa, Ontario, Canada.
THIS MONTH: Laika and the Cosmonauts
The Bomboras
LAIKA & THE COSMONAUTS
Instrumentalists of terror, Laika and the Cosmonauts are probably Finland's
best known musical exports. Laying down some mean surf and spy tunage is quite
a feat in the land of seven month winters, hockey obsession and vodka. Their
inspired music can be found on the Upstart label, various compilations and a
hopping club near you. I managed to track down drummer whiz Janne Havisto and
organist/guitarist Matti Pitsinki for a quick interrogation. The lads responded
cordially with charming Finnish accents.
JOHN: How in the world did four Fins get together and decide to play
instrumental music?
JANNE: We have to have licence to play music in Finland. They only had a
jazz permit and a surf permit. We would have liked a polka permit, but
settled for the surf permit. So here we are - nothing we can do about it.
JOHN: Only in Finland.
JANNE: You should visit. It's pretty weird.
JOHN: Is your life like the movie Leningrad Cowboys Go America?
JANNE: No, not really. Our hairdos are pretty regular. The weirdness is in
the music.
JOHN: Why is there no singer in the band? Are you keeping someone back?
JANNE: No, definitely not. If you ever heard any one of us sing, you would
agree with us that this is the best way to go. Plus we can't write any
lyrics. Only our organ player writes great country and western tunes.
JOHN: Now really, how did the band start?
JANNE: I used to do an oldies show in Helsinki and we decided that at least
one band in Finland has to play this type of music.
JOHN: Is there anyone in the band who's actually been on a surf board?
JANNE: Yes that would be Matti, our organist. Here he is now.
MATTI: Surf's up.
JOHN: Surf's up. So you're the lone surfer. Where in Finland can you ride
the waves?
MATTI: No no no, we don't have waves that size that you can actually ride.
I surfed on the East Coast in the US, but I wasn't very successful to
tell you the truth. Nothing to brag about.
JOHN: Do you have pictures?
MATTI: Yes but not with me.
JOHN: That should be your next album cover.
MATTI: Well it's a wide-angle picture of Daytona beach with an ant-sized
figure wiping out and the surfboard way up in the air. So maybe ... I
dunno, it might work.
JOHN: Is hockey big in Finland?
MATTI: Yes it is.
JOHN: Who's more popular, Jari Kurri or Teemu Selanne?
MATTI: Well... Jari Kurri is the grand old man of the Finnish profession
I would say. And Teemu is a young, rising star.
JOHN: Very diplomatic. You know surf music is quite popular in North America,
so you'll be greeted with open arms. But what does Finland think of all
this?
MATTI: We do play more gigs in the U.S., so we can say that we are more
popular than back home. The tradition of guitar instrumental music in
Finland is a long one. It's in a more calm style of The Shadows if I
can use them as an example. It's something that people like to dance
to, in dance halls, using traditional dance steps like foxtrot. It's
pretty impossible to do that with the tempos and rhythms of Laika & the
Cosmonauts.
JOHN: Tell me about "A-Treatment", my favourite Laika song.
MATTI: The "A" stands for asparagus. That was an interrogation code name
that the CIA used in the fifties. First they pumped the person under
interrogation with some sedative and made him pass out. Then they
pumped him with speed. I guess that's what makes a person tell the
truth. It's all instrumental, but you can pretty much hear the idea
from the song.
JOHN: Wow! So tell me, who is Laika?
MATTI: Laika was the first dog that the Soviets put up in space - and never
took her down. Poor creature.
Tape hiss....
THE BOMBORAS
Presenting The Bomboras: a brash outfit who have released a number of hot
releases on the ultra fab Dionysus label, mixing surf, garage and exotica
in a wild and woolly concoction more potent than the Mai Tai in yer left
hand. Go-Go dancers, volcanoes and T-Birds; Shane and Dave let us in on their
little magic kingdom.
JOHN: Are you guys big surfers - hanging out at the beach?
DAVE: Our guitar player Greg does. I work as a Repo Man and Shane here works
as a shepherd. Von Franco is a male model and Jake is a hit man.
JOHN: Just who is this Von Franco anyway?
DAVE: He does pinstriping. He does Ed Roth style artwork. He's a good guy.
He's our rhythm guitar player and the ladies man in the band.
JOHN: How'd you decide on your instrumental mix of surf/lounge/garage?
DAVE: Jake the organ player, Greg and I used to be in The Finks, and the
Witchdoctors before that. We got into instrumental music because of Greg.
JOHN: Is it the old story of too shy to take the mic, or have you made a
concerted effort not to sing?
DAVE: We try to sing, but we do a little better keeping our mouth shut.
JOHN: I noticed that the artist who goes under the name of SHAG handles most
of your covers. I happen to know that SHAG is Josh Agle from the Swamp
Zombies. What is your connection?
DAVE: Josh is a friend of Paul Carrey, the singer for the Witchdoctors. He
lives just across the street. He's done a lot of our artwork. There is a
bit of a clique here in L.A. The bands hang out.
JOHN: Do you get tired of being pigeonholed as a retro band? I mean, you are
composing new music, not just copying a style or ripping someone off.
DAVE: Right, it all just falls under the bands you listen to, and we listen
to a lot of surf music. Most music is retro in that it's 1-4-5, which
dates back to the blues. You can call it retro because we use old amps
and we play a certain style, but we just like to play that way.
JOHN: So how far do you take that? Do you have vintage equipment?
DAVE: Yeah vintage Marshall stacks (laughing). No, I have a sixties Ludwig
kit. We use Showman amps and Fender guitars. Jake plays farfisa, vox and
Hammond organs. We don't use anything new.
JOHN: What about you personally; is there a Bomboras look?
DAVE: Cod pieces and elephant wigs. Actually we have several outfits: bowling
shirts and matching pants.
JOHN: Is there a big resurgence of surf bands in Southern California?
DAVE: Yeah, I've noticed a lot. There's some oddities - weird twists on surf
music, and pretty straight ones.
JOHN: Are you record collectors?
DAVE: Yeah, but records have gone up in price so it's much tougher to keep
up.
JOHN: You know when most kids decide to take up rock'n'roll, their parents
recoil in horror. But you guys are probably playing the kind of stuff
that your parents might dig.
SHANE: Oh yeah, my parents are really hip to it. They like it a lot.
JOHN: Do they come to the shows?
SHANE: Oh no, they don't do that.
DAVE: Jake's mom comes to a lot of our shows. She's a true blue fan.
JOHN: What other instrumental bands from L.A. are worth watching out for?
DAVE: There's just us. Actually there's a really good garage band called The
Invisible Men, and there's an Untamed Youth reunion going on. Then there's
always The Phantom Surfers.
JOHN: Is it true that you have Go-Go dancers?
DAVE: Uh-huh. We have several. We have a couple of regulars.
JOHN: Do they get all dressed up?
DAVE: Oh yeah, the whole bit.
JOHN: Can you set the stage for me?
DAVE: Sure, there's four Showman amps, a drumset in the middle, a vintage
organ, a smoking volcano, a big cutout with our logo, and one or two
Go-Go dancers.
JOHN: Wait a minute. A smoking volcano?
DAVE: Yeah, we have a volcano that erupts during the show.
SHANE: And billows smoke about the club.
JOHN: Wow! I'd pay to see that.
DAVE: It was so popular that someone stole the volcano. We had to make a
second one.
JOHN: What actually comes out of the volcano?
DAVE: Charcoal and fire - a lot of the audience get burned. That's what you
get for a $5 show. Actually the contents are a closely guarded secret. It
erupts periodically throughout the set. That's all you need to know.
JOHN: Ever had problems with the fire marshal?
DAVE: We've pissed some club owners off, but they had no choice.
JOHN: I have a mental picture of a miniature Stone Henge in Spinal Tap. How
big is your volcano?
DAVE: Listen, we can't give all our secrets away.
JOHN: I understand. Switching gears: What is your mode of transport?
DAVE: Back to autotalk with the Bomboras! I have a '55 Chevy - the shoebox
Chevy. Jake has a '65 panel truck with our logo on the side. Mr. Von
Franco has a T-Bird - a '62 I believe.
SHANE: I have a '62 Mercury Meteor. We all have bitchin' cars.
DAVE: Greg had a Subaru, but it was ripped off. Now he has to get a cool car!
...tape hiss
----------------------------------------------------------------------------
POLITICAL PLAYBOOK
By Shaun Dale
...And That's The Way It Was, Campaign '96
"I've become very good at discerning that fine line's worth of
difference between one worthless son of a bitch and another."
Molly Ivins
First the news...
Robert (Bobdole) Dole was (resigned/dismayed/elated) by the news of his
(crushing defeat/stunning upset victory). Bill Clinton, his place in
history as the first Democrat elected to a second term since Franklin
Roosevelt (shockingly denied/solidly established) proclaimed that "The
people have spoken and we must now cross the bridge to the 21st Century
as one nation."
In other election news, Rep. Richard Gephardt (D-MO) promised (a
sweeping new progressive agenda/to pull out all stops to turn back the
Republican majority) as it became clear that House Democrats would
(place him in the Speaker's chair/remain a minority in the next
Congress). Republicans retained their Senate majority as pre-election
speculation generally predicted.
*****
Sorry if that's a bit vague, but it wasn't *my* idea to have an election
on Cosmik's publication date. While DJ leaves ominous notes about
"deadlines" (somehow emphasizing the first syllable even in ASCII) in my
e-mail box and Bobdole makes his 96 hour campaign blitz (drug warriors
take note - it took bennies to get "my friends" through those mere 72 hour
cramming sessions when we,um,er... *they* were young, healthy college
students - what's propping this guy up?) I'm here recapping a campaign
that hasn't quite ended - officially.
Unofficially, it's been over for some time now. Even the most stalwart
Republican office holders have abandoned their Presidential ticket, with
Congresscritters all across the land campaigning on the explicit message
"Dole's a loser - elect me to counter the Clinton agenda." The
analysis of how Bobdole's shining moment in political history became the
worst run campaign in memory began before Labor Day. Only
Bob-I'm-the-most-optimistic-man-in-America-dole seems to have faith at
this point, and it's faith misplaced.
Nope, the people are going to do it - it being re-electing a man who is
generally believed to be a draft dodging, pot smoking, wife cheating,
wheeling and dealing son of a bitch. Not because they're particularly
enthusiastic about it - predictions of the lowest turnout in history
abound - but because he's running against a dissembling, cutthroat,
seemingly disconnected from reality wheeling and dealing son of a bitch.
Like Molly Ivins, the American people have learned to distinguish
between SOBs, and Bill's *our* son of a bitch this year.
That's a prediction I'm standing by, but I'm a little shakier on my call
for the House of Representatives to turn slightly Democratic. The
"Bob's a loser, elect me for the security of a deadlocked government"
ploy seems to be working in some places, and there are actually
Republican candidates running on their record of compromise and support
for some Clinton initiatives. Newt's about the only one left who seems
to remember that there ever was a Contract On America. My best guess
today is that the D's will pick up about half the seats they need.
And I think I was on solid ground calling for a slight Republican edge
in the Senate.
But what's it all mean, anyway? Well, if things look the same in 48
hours (I'm writing on Sunday the 3rd), after the "only poll that counts"
has been taken, we can look forward to a pretty safe but dull four
years. With Clinton unleashed in his last term, we probably *will* see
the real Bill Clinton - a moderate Democrat who tilts a little right on
cultural issues and ever so slightly left on a few things - race
relations, the environment, a federal role in education. He'll finally
owe nothing at all to progressive constituencies in the Democratic Party
- notably gays and labor - who have never got much more than lip service
from the Clinton administration anyway. If you're worried about Dole's
charge that Clinton is "liberal, Liberal, LIBERAL", well, rest easy. It
was never thus, and never will be.
If you were encouraged by that charge, well, better luck next time.
Freed from the need to satisfy Democratic progressives, Clinton will
have the opportunity to work with a Congress in which the centrists in
both parties will find their hands strengthened by an electorate that is
displaying a distinct lack of support for ideological posturing from
either side. Basically, Clinton has run on a platform of "I won't do
very much" and Congressional candidates of both parties have run on one
of "We wouldn't let him do very much if he wanted to."
Needless to say, I don't expect very much will be done.
But I'll be around to talk about whatever it is - and whatever I think
is wrong with it. Who knows, they may beat the odds and make me happy
once in a while.
But I won't be doing it in the Playbook. This is the last entry in the
series and I want to take some space to thank D.J. Johnson for the
opportunity to spout off for these several months. As a political
consultant, most of the words I produce are written for the letters,
brochures and speeches of other folks. It's been grand to have my own
voice here, and it's great to know that I'm welcome back to follow up in
another format. I'm also taking on a few more non-political assignments
- more reviews, some interviews and such. Thanks, Deej.
Also, thanks to my wife, who has read and proofread these things before
I launch them on the world, offering greatly appreciated encouragement
and correction. I love ya, Sal.
And thanks to all of you who have read some or all of this stuff. It's
been a lot of fun on this end - hope you've had some fun out there as
well.
Stay tuned - I'll be back...
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THE 1-4-5'S: Rock Invasion (Estrus)
Reviewed by John Sekerka
In an effort to solicit youngsters attending rock shows to wear protective
helmets, Major Trouble offers these words of advice: "Rock'n'Roll is all fun
and good, but sometimes things can get out of hand." Major Trouble may be
the brains of The 1-4-5's, but methinks he started donning his safety helmet
a show or two too late. Y'see The 1-4-5's offer up what looks like a straight
ahead album of rock tunes. In fact all the songs have "rock" in the title.
"Wanna Rock," "I Like to Rock," "Full of Rock," "Big Rock," "Rock, Rock,
Rock" ... you get the drift. And all these songs are listed as unearthed
nuggets from the formative '57 to '68 era, done up by such obscure outfits
as Lamboba & the Lamb Chops, Anna and the Bananas and The For Goodness Sakes.
And though these garagy numbers are delivered fast, furious and with mucho
gusto (18 tunes, 26 minutes, including a four minute silence before the
obligatory secret mystery track), something just ain't right here. A big
flashing bulb appears over my noggin as track twelve filters through my
dusty speakers. That ain't no "Rock in the City," that's "Hanky Panky," I
say loudly to myself, slapping my knee for added effect. I've been duped.
There's no telling what these songs actually are, and if in fact, they even
mention "rock." Some of these could be contemporary originals for gawd's
sake! And here I was digging for info on Jim & the Jumping Rock Fireballs
in my Rock Encyclopedia. What a maroon!
DAVIE ALLAN AND THE ARROWS: Fuzz Fest (Atomic Beat)
Reviewed by DJ Johnson
...and STILL champion of fuzz! Davie Allan has been on the scene since the
age of the Greek Gods--or so it seems. With his trademark muscle-fuzz guitar
tone, Allan rocks out on 15 tracks, including a pair of fantastic Henry
Mancini covers, "The Party," and "Experiment In Terror" On the latter track,
Allan's tone is unbelievably full and fluid, and he goes nuts with a wah-wah
near the end--and don't pretend you don't love THAT!
Davie has always had a knack for the mysterious vibe, and he carries on the
tradition with "Roswell, N.M.," featuring whacked out sci-fi sound effects.
Equally spooky is "Malfunction In Sector 9," a spy track with big ol' balls.
Of course, the entire disc is ballsy, thanks to the power of each Dave. Let's
see, there's Davie Allan (guitar), Dave Provost (bass) and David Winogrond
(drums). All three get to fly on "Polycarbonate," a funkified power surge
with a killer jungle beat. Nobody else sounds like this. Looking for
something with guts to spare? Here's your next high-voltage fuzz fix.
CHET BAKER: Chet Baker In New York (DCC)
24k Gold Compact Disc
Reviewed by Shaun Dale
DCC's latest in a series of impeccably selected and produced reissues on
their 24 Karat Gold format is "Chet Baker In New York," recorded in 1958
for the Riverside label.
It's hard to remember after all these years, but in '58 the title of the
album alone was revolutionary. Baker was the paragon of the West Coast
"cool" jazz scene, as distinguished from the hard bop East Coast sound,
and New York was the ultimate in seemingly unlikely settings for Chet
Baker.
Add to the location a supporting cast of East Coast notables including
Johnny Griffin on tenor, Paul Chambers on bass, pianist Al Haig and the
seemingly omnipresent "Philly" Joe Jones--who seemed to show up on
every important release from key jazz labels like Riverside and
Prestige--on drums, and it begins to look like the marriage of a Montague
and a Capulet.
But Jones and Chambers were the rhythmic heart of the band of another
"cool" jazz giant--Miles Davis--and Baker had a level of toughness in
his playing he was anxious to get on record. If it was a mixed marriage,
the families were willing get along for the sake of the baby--in this case
a recording of exceptional merit.
Griffin appears on three cuts--including the opener, Benny Golson's
"Fair Weather." He's given plenty of room to stretch, and Baker
responds with plenty of heart and energy.
"Polka Dots and Moonbeams" is Baker and the trio showing some of the
sensitive and pensive style that had made Baker's name with, and since
his time with, Gerry Mulligan's band.
Griffin rejoins for "Hotel 49," which turns into a ten minute tour de
force in which all five musicians take impressive turns, including one
of Paul Chambers' trademark bowed solos.
Baker and the trio continue with a Miles Davis composition, "Solar,"
which Baker delivers with a confidence that makes it his very own.
The quintet reassembles for another Golson tune, "Blue Thoughts," which
opens with Griffin blowing cool behind, beside and around Baker before
Baker breaks away with a cool and blue solo. Baker gives way to Haig,
whose piano dances on top of Chambers' walking bass and Jones'
distinctive brushwork. Griffin then comes back for his own solo which
is alternatively sassy and plaintive before yielding to Chambers, who
finds Haig returning the earlier favor by providing soft spaced chording
to support the bass solo. Baker and Griffin rejoin in unison to close
what may be the most satisfying cut on a very satisfying album.
The tempo picks up with "When Lights Are Low," with Baker's trumpet
sounding downright cheerful. This is another four piece track, and the
absence of the tenor seems to embolden Baker. Haig briefly takes over at
the half way point and once again gives way to Paul Chambers. Baker
picks up the theme and closes the cut in the same sprightly tone he
opened it in.
On the original Riverside release, that was all we got, but there was
another cut recorded in the session that was set aside for a compilation
album. DCC has included it here as a bonus track and it's a welcome
addition. Benny Goodman's "Soft Winds" is performed by the quartet with
Baker leading the way, showing his facility with the blues form. The
band is shown off to good effect, with a fine piano break, bowed bass
solo and a brief but tasty drum break. This display of the group is
particularly noteworthy since the track was recorded especially for an
album featuring horn players--it's to Baker's credit that he was
willing to share that spotlight on his own talents. And credit DCC for
restoring this cut to its original context.
YAMI BOLO: Born Again (RAS)
Reviewed by DJ Johnson
Yami Bolo has been kicking around the reggae scene for half a decade now
seeking his niche. This album was produced by Tappa Zukie (who was once
under the tutelage of U. Roy). Bolo writes and sings, leaving everything
else to Zukie. Zukie surrounds Bolo with musicians like Flabba Holt, Tony
Asha and drummer nonpareil Sly Dunbar. Bolo's songs are conscious and
creative, and in some instances they are top drawer reggae--especially when
they are recorded just a bit sloppily ("Jah Is Ruff"). Where the production
is extremely slick, such as in the cover of The Jackson 5's "Happy Sings The
Blues," it is saved by some incredibly soulful vocal harmonies. Bolo's one
shortcoming--or strength, depending on who you ask--is that he's such a
polished vocalist that there isn't always an edge. Tappa Zukie, with his
own understanding of "edge," wisely arranges counterbalances, my favorite
being Rappin' Tim's streetwise cameo on "Talk About Drugs." That's an
effective duet formula--skillful smooth and street tough trading shots.
The overall result is a fine album, not too revolutionary, but very
listenable.
BRAZIL 2001: Fist Full Of Sand (Self-released)
Reviewed by DJ Johnson
This band has the distinction of being the least surfy band to be completely
embraced by the instro-surf community--and they even have vocals! There's
are reasons for this acceptance, of course. First, Bernard Yin (guitar &
vocals) is an incredible player who uses elements of surf in even his least
surfy tunes; second, Yin is a tireless worker behind the scenes in the surf
community who gives his time and efforts unselfishly. Finally, you'd have
to have no sense of humor whatsoever to dislike this band! With songs like
"Dressing Like A Girl" and "Be An Idiot," Fist Full Of Sand is one of the
most amusing and interesting releases of '96.
Any resistance in the surf-buying public will be overrun after one listen
to their take on the classic "Penetration." Yin kicks the familiar melody
along with the unbridled joy of a psychotic stunt pilot, ably assisted by
Bill Roper on bass and Larry Taube on drums. There have now been
approximately sixty-two thousand covers of "Penetration," but I'll lay odds
you've never heard it like this. I think it was Rick Johnson of The Halibuts
who first turned me on to Brazil 2001 with the words "for a post-modern thrill,
check out their version of "Penetration." How accurate that was.
All three players are upper-stratosphere talents, so you would expect them
to take solo after solo. Not so. They are totally tuned in to the needs
of each song, and for that reason, Fist Full Of Sand is a collection of very
strong songs. Yin could obviously do the Satriani thing, but he chooses to
make songs that are memorable. Admirable. So if you're not afraid of having
the line "dressing like a girl makes me feel alright" stuck in your head,
give Brazil 2001 a listen. (For information on purchasing this CD, send
e-mail to Brazil2001@aol.com, or write to Brazil 2001 c/o Bernard Yin,
1647 Ocean Front Walk #17, Santa Monica, CA 90401, USA)
THE PAUL BUTTERFIELD BLUES BAND: East-West Live (Winner)
Reviewed by DJ Johnson
Serious blues fans and scholars are going to eat this up! Last year, Winner
released Strawberry Jam, which was a collection of of live tracks recorded on
portable tape decks. Now winner has released the ultimate companion piece to
Strawberry Jam, East-West Live, featuring three recordings of the classic
"East-West," also captured on portable tape decks in various clubs over a
one year period (1966-67). "East-West" was a continuous experiment in
ensemble improvisational blues that evolved and expanded a great deal over
the 15 months the band performed it live. East-West Live allows you to turn
back the clock and trace the evolution of this amazing work.
The running times are, in order, 12:37, 15:55, and 28:06. This review
originally contained detailed documentation of every mode of each
track...but it occurred to me that the real thrill of this CD is that YOU
get to make the discoveries and form the opinions. Being the opinionated
bastard that I am, however, I have a few observations I'm just dying to
share.
Observed: every musician in this band was a monster! The late Michael
Bloomfield's ragga-flavored guitar solos stunned everyone from Joe Pass
to James Marshall Hendrix. Elvin Bishop's stream-of-consciousness rhythm
guitar playing was flawless. Mark Naftalins' piano playing was upper
stratosphere (check out his work behind Bloomfield's soloing on version two,
for instance). Jerome Arnold (bass) and Billy Davenport (drums) held the
whole thing together and often led the way. And the late Paul Butterfield's
harp playing added a texture of pure beauty that often played counterpoint
to the intense fury at the surface.
Observed: One member of the band would get an idea, and within seconds, the
others had caught on and expanded on it. Totally amazing.
Observed: Either Mick Taylor caught the BBB in concert, or there was an
interesting coincidence...because there's a section of the first version
here that sounds and feels very much like "Can't You Hear Me Knocking,"
which the Stones did muuuuch later.
Observed: An hour of East-West isn't the least bit monotonous because every
section is so different.
Tracing the evolution of a song is extremely satisfying work. The people
who truly appreciated the Beatles Anthology CDs know this. East-West Live
is an incredible document, and an opportunity to get inside the minds of some
amazing musicians. (To purchase East-West Live OR Strawberry Jam, send a
check or money order in the amount of $15.00 plus $3.00 shipping & handling
for each CD ($4.00 in Canada and $5.00 overseas) to Winner Producing Company:
P.O. Box 151095, San Rafael, CA 94915-1095. Be sure to indicate the title
you are purchasing. Send e-mail to wpc@netcom.com, and check out the Winner
website at http://www.bluespower.com.)
BILLY CHILDS: The Child Within (Shanachie)
Reviewed by Alex Gedeon
Pianist Billy Childs' sixth release is an excellent display of his writing,
production and arrangement skills, along with his fantastic technical
prowess as a musician. "The Child Within," preceded by 1995's "I've Known
Rivers" (with the Grammy-nominated track "The Starry Night"), is quite
possibly the best straight-forward, traditional acoustic jazz album the
artist has released to date. While its predecessor was filled with slightly
less aggressive compositions and the stylings of Scott Henderson, Jimmy
Johnson, Bob Shephard and Mike Baker, among others, "The Child Within" is
vigorously energetic and shows as much raw creativity as the standard
quartet format will allow.
For this outing, Childs has replaced Bob Shephard's soprano sax with
Terence Blanchard's trumpeting as the focus, the instrument showing itself
most effectively in the jazz standard "Loverman." Steve Wilson's soprano
sax is only heard on three tracks, including the beautiful "Aaron's Song,"
dedicated to Childs's son, who is four years old and graces the cover of
the album.
"The Child Within" also sees the appearance of an upright bass, deftly
manipulated by Dave Holland, unheard on a Childs album since "Portrait of
A Player" almost four years ago. Also in the rhythm section is drummer
Jeff Watts, often times bringing unpredictable and unexpectedly funky beats
into the mix.
The influence of Thelonius Monk is great on this album, with Childs even
covering Monk's piece "Pannonica" for solo piano. The lp's second track's
title was inspired by a 1992 interview between then Governor Bill Clinton
and dangerously cunning pop journalist Tabitha Soren during the presidential
race. After questioning him on his favorite musicians, she seemed to have
heard him list a gentleman by the name of The Loneliest Monk. This became
the title of a cheerful, foot-tapping composition, having the mood and style
of the monk's classic tune "Evidence."
Perhaps Childs's most interesting traditional jazz composition ever released
is "The Hunted," an eleven-minute long tour de force, featuring brilliant
improvisation and beautiful moments of chaos. Also a nice exposition of the
pianist's writing is "Dreams," featuring trombonist Luis Bonilla and Ravi
Coltrane, whose tenor sax solo is one of the most intriguing on the entire
album.
Childs's stray from the electrical socket is surprising, but is more than
welcome at this time among many jazz audiences. He has managed to make a
giant leap to another, more popular genre for "The Child Within," all the
while maintaining his artistic integrity.
CHOPIN: Twelve Etudes, Op. 10; Twelve Etudes, Op. 25; Three New Etudes,
Op. Posth. Yukio Yokoyama, Piano. (SONY SK 62605 [DDD] 65:23)
Reviewed by Robert Cummings
Yokoyama possesses a tonal palette of immense range, an all encompassing
technique, and an innate sense to balance juxtaposing ideas within a
framework that embraces, in judicious measure, passion and logic, sensuality
and boldness. All the riches of Chopin are here, romanticized more than
classicized, in performances that bespeak talent rarely found in someone of
this pianist's youth: he was twenty-one when he made this recording in 1992,
and why Sony kept it under wraps for four years, I'll never know. Better
late than never, I guess.
Simply stated, this is phenomenal playing. Perhaps from this single recording
it would be premature to rank Yokoyama with the Chopin giants of the past
and present-Rubinstein, Cliburn, Argerich, Zimerman and Ashkenazy. But the
thought comes to mind still as one listens to him, mesmerized by pianism that
mere words can't describe. Hear the dynamic thrust and brilliance of the
opening etude of Op. 10 (in C major-track 1). You sense instantly that you're
hearing a distinctive voice, a pianist with the fingers to keep pace with his
transcendental ideas. And try No. 4 in C minor (track 4) to hear dazzling
passage work that infuses the piece with such a fleet and charming
effervescence you're apt to become breathless in your passive role as listener.
No. 5 (the famous Black Key etude) is rendered with a delicious propulsiveness,
yet balanced in the right places with a graceful delicacy. Yokoyama deftly
conveys the melancholic obsession in No. 6 (E-flat minor), and the telling
drama and agitation in the Revolutionary etude (No. 12). In the Op. 25 set
he continues with the same insight and virtuosity, but now deepens his
expressive language, cognizant Chopin had further developed his artistry in
the three or so years that separate the two sets. Listen to Yokoyama's subtle
coloration in No. 6 (in G minor-track 18) or to his tonal allure in the sweet
sadness of the following C-sharp minor etude.
The one controversial reading here is of No. 3 in F (track 15), where the
pianist adds weight to the base notes in this jaunty gallop along the keyboard,
turning the piece into a kind of epic-sounding statement of joyous music-making.
To me, this approach works; to some, however, the thicker textures may seem
too caloric, at odds with the lean renderings their ears are accustomed to.
Comparisons? If I were consigned to a desert island for life, I would be
perfectly satisfied with just this rendition of the two sets of etudes and
the Three New etudes. I might concede, however, that if someone could strip
the sonic deficiencies from Ashkenazy's first recording of the etudes (circa
1960, now available on Saga in mono sound), I might find myself yearning for
its ebullience and virtuosic flair. But even then, I believe I would favor
this splendidly recorded Sony effort by a pianist I'm sure you'll be hearing
more of. Highest recommendations.
THE NEW MILES DAVIS QUINTET: Miles (DCC)
24k Gold Compact Disc
Reviewed by DJ Johnson
This was the first album put out by The Miles Davis Quintet. Released in
early 1956, it made one hell of a splash, and it quickly came to the attention
of the good pirates at Columbia Records. Naturally, they did what any label
types worth their salt would do: they stole the band from Prestige Records.
This is what led to the infamous 4-LP contractual obligation releases on
Prestige. But this story takes place in a different time--though just barely.
Everything was calm, everything was peaceful, and nobody wanted to kill
anybody just yet.
The Quintet was surely one of the greatest units in the history of cool jazz.
How's this for a hall of fame lineup? John Coltrane on sax, Red Garland
smackin' the ivories, Paul "Yes, a human being CAN be this talented" Chambers
on bass, "Philly" Joe Jones on skins, and the inimitable Miles Davis himself
on trumpet. These cats even sounded cool warming up! At the time of the
original release, only Davis had made his bones in the jazz world. For the
other four, the bones would be made in a big hurry.
This album was originally issued as Prestige 7014, and re-released in 1962
as Prestige 7254. Thanks to DCC's perfectionism and integrity, the liner
notes from both releases are included. They even go so far as to include
photographs of the original record labels showing the track listings. Gotta
love their dedication to authenticity. The sound, of course, is nothing
short of exquisite. Warm, spacious, and clean, just the way jazz ought to
sound. Miles' trumpet tone is unbelievable; bright and biting when it should
be, fat and smooth at other times. And Trane...well, his tone in Benny
Goodman's "Stablemates" is one of the finer things in life.
It's stupefying to realize that Miles Davis' friends and associates were
highly critical of his choice in bandmates back in 1955. These four world
class talents were being referred to as amateurs. Luckily, Miles knew a good
thing when he heard it. Then again, Miles Davis was never one to bow down to
popular opinion.
THE DESCENDENTS: Everything Sucks (Epitaph)
Reviewed by DJ Johnson
Milo and the boys are back with an amazing album filled with dead-on songs
about relationships in various stages of dysfunction. Everything Sucks is a
candidate for punk album of the year. This is a band that pleases both the
lyric hounds and those who just want to tap into the power for a while. I'm
both, and a song like "Rotting Out" immediately makes my current favorites
list for it's fist-in-the-face delivery of lines like "Shove all your problems
under the rug - Then you wonder where the smell came from - Rotting out from
the inside." The sound explodes from the speakers on every track. This is
some of the most powerful melodic punk I've ever heard.
The Descendents write songs for everyman--or at least every man who struggles
to understand his life and his relationships. "She Loves Me" is a tale of
desperation after a mild fling turns serious. "And her love could never grow
sour - It grows more pure with every hour - I never wanted anything like that
from her." How many people can relate to that? Millions. Then there's the
other end of the spectrum: "I'm The One," written by bassist Karl Alvarez,
is for each and every guy who has ever been desperately in love with a woman
who was his best friend. "Nice guys finish last - No one knows as good as
me - We're just good friends - and you come to me for sympathy - You tell me
that I'm not your type - but still you call me late at night - every time he
picks a fight." Ha! Deja vu! The poor guy goes for broke, saying "I'm the
one - I've been here for you all along - I'm the one - whose shoulder you've
been crying on." There's no happy ending, no resolution--but that makes it
all the more real because it lets you imagine your own.
Everything Sucks seems like such a personal album--personal for me and, I'm
guessing, a million other guys. I wonder what women think of it, or if
women can even relate at all.
DOGON: Notdunjusta (New Dog Records)
Reviewed by coLeSLAw
I couldn't be happier to have discovered this band. Dogon are not only
remarkable electronic musicians, but they possess enough quirks to keep
things from becoming too serious. That ability is what separates the true
musical freaks from the I'm-just-gonna-put-out-albums-'cuz-I-can-afford-a-
MIDI-processor ilk which plagues the world to this day. These boys are with
the program 100%. Moods of black, blue, and swarms of pink and green polka
dots swirl through 71 minutes and 57 seconds of pure ear candy.
Miguel Noya and Paul Godwin, who are Dogon (the name comes from reversing
the first half of both last names) are an exceptional pair. They have
created a sound and space uniquely their own in a genre full of invisible
faces. (For information, send e-mail to godwin@sirius.com, or visit their
website at http://www.newdog.com.)
DOWN BY LAW: All Scratched Up (Epitaph)
Reviewed by Shaun Dale
Down By Law follows their last release, "punkrockacademyfightsong," with
a disc that tells us they completed the academy, won the fight and learned
the song. Several cuts here could be the fight song for any punker, with
an anthem around every corner. There's also a sense of humor that a lot
of bands could stand to pay attention to.
This is straight ahead, high energy music delivered with a take no
prisoners, make no compromise attitude. Listening to the disc, you can
almost hear the major label A&R guys whispering "Just slow this one down
a bit and don't say 'fuck' and I'll make you a star, kid."
And you can imagine the band playing just a little faster and saying fuck
just a little louder in response.
Which may be what I like best about Down By Law.
Nah, I like the attitude, but I love the songs. I'm a sucker for anthems,
and like I say, they're scattered liberally throughout the disc. From the
opening cut, "Independence Day," to the closer "Punks and Drunks," guitarist
Dave Smalley rallies the punk faithful. On "True Music" he admits that
"for just one day I let all the bullshit get in the way" but assures us that
"it won't happen again" because "I just want to play true music!" And he
and his bandmates Sam Williams III (lead guitar), Angry John DiMambro (bass)
and Danny Westman (drums) do just that.
If, like me, you think that the Ramones only fell about 5 degrees of
commitment short of being the best thing that happened to rock in the
last 20 years, try these guys out. They're 99 9/10 % pure.
Track List:
Independence Day * Cheap Thrill * All American * Hell Song * True
Believers * Giving It All Away * Gruesome Gary * Radio Raga * Attention:
Anyone * Superman * Post Office Lament * Ivory Girl * No Has Beens *
Kevin's Song * True Music * Far and Away * Punks and Drunks
THE GAMMA MEN: 440 (NKVD)
Reviewed by The Platterpuss
Though I've said it before, it bears repeating here that GM drummer Steve
Gardner was the founder and force behind "Noise For Heroes," probably the
best fanzine of the late-80s/early 90s covering Punk Rock. He was the first
to turn me on to all the great Australian and Finnish combos, not to mention
all those incredible bands on the French Spliff label. Without NFH there's
probably no way I'd have ever heard any of that incredible music. While
Steve hasn't published in over 3 years, having a new Gamma Men CD every year
makes it (almost) an even trade. These guys are a perfect embodiment of
everything I've always loved about Punk. The music is catchy yet aggressive,
the lyrics are angry yet intelligent, and these guys can really play. Yet
that doesn't tell the whole story as, like the best Rock & Roll throughout
the ages, there's that little extra something that sets them apart from the
rest of the pack. Although I definitely have my favorites here, such as
"Johnny Can't Rock," "What You Needed," "In Love With Negativity" and the
superbly titled "Love Is Space And Time Measured By The Heart...Bullshit,"
there's not a single track here that's anything less than perfection. This
is their 3rd CD and I've yet to hear these guys play even one bad note,
much less a whole song. If you're into Punk, this is one disc you won't
want to be without. By the way, NKVD also sells a lot of cool imported discs
and vinyl that no one else carries so be sure to write and ask for a
catalogue. (PO Box 60369, San Diego CA 92166)
THE GROOVIE GHOULIES: Appetite For Adrenochrome (Lookout)
Reviewed by DJ Johnson
Originally released in 1989, this is one powerful batch of garage hootch.
And it's just in time for Halloween, with songs like "Blood Beach," "My
Computer Said 'Kill!'", "The Blob," "King Kong," and "Do The Bat." This
is one of those albums that makes you remember what you love about rock
and roll--and makes you ashamed for buying that Hootie record. And ya
gotta love a band that would power-up a cover of The Monkees' "Lookout
(Here Comes Tomorrow."
Filled with nice touches, like following "Armageddon 2000" with a cover of
The Rolling Stones' "2000 Man," and flowing from song to song with few moments
of dead air, Appetite For Adrenochrome recreates the experience of a witty
and powerful live performance. I recommend turning the heat up until you
sweat, spilling beer on your shirt and cranking the stereo beyond the point
of pain. If they went this far to recreate the experience, why shouldn't
you?
GT STRINGER: The Gasser (Tremolo 10)
Reviewed by DJ Johnson
Oooooh man, I love this band! Since the day I received their debut release,
Sandcrack: The Soundtrack, I've been singing their praises to anyone who would
listen. Their sound is an exquisite brand of instrumental surf with a wide
range of other influences brought in by each member of the band. Trevor
Ramsay (sax) is obviously well schooled in jazz structures, and he's apt
at any moment to throw a quick nod to Coltrane into an otherwise straight
forward solo. Keeps you on your toes! Jimmy Redgate's guitar playing is
definitely surfy, but there's an element of blues that keeps it nice and
sultry. His subtle slide playing on "Time Out," dubbed over his beautifully
fingerpicked electric guitar part, elevates the already-fine track to the
sublime. In fact, "sublime" is a word that one can hardly avoid when speaking
of this amazing band from Adelaide, South Australia.
The Gasser is an 8-song EP/CD that introduces Tristan Andrews on Hammond
organ, a brilliant addition that allows Redgate to stretch out more than
he was able to on Sandcrack: The Soundtrack. Andrews provides Stringer
with a brand new texture to build on. He lays back most of the way,
but in the final moments of the final track ("Out Of Gas"), he lets fly
with a great spinning-Leslie solo.
On Sandcrack, the psychedelic track was "Walk The Plank," a beautiful yet
brutally turbulent tour-de-force. On The Gasser, it's "Surf Rescue" that
swirls frantically around Dennis Kipridis' killer bass line, with occasional
sounds of a radio newscaster detailing an accident at sea. It's just one
of about ten musical styles that GT Stringer can do better than most
anyone else. Drummer Steve Hearn anchors it all with absolutely perfect
percussion from track to track and style to style.
I personally know about a dozen people who have heard GT Stringer, and
every one of them speaks with great excitement at the very mention of their
name. That says it all. Someday we're going to have to figure a way to
get them to come across the pond and play in America. Keep your fingers
crossed. (Write to GT Stringer at 10 Farncomb Rd, Fulham 5024 Adelaide S.A.
Australia, or e-mail tjr@ozemail.com.au and talk to Trevor Ramsay. He'll
help you get ahold of both albums.)
HALCYON DAYS: Halcyon Days (Fathom Records)
Reviewed by coLeSLAw
As if it weren't enough for a wizard such as Steve Roach to lay his magical
hands of gold onto this musical project, he is joined by two other wizards
with powerful voodoo of their own. Stephen Kent and Kenneth Newby fill out the
trio that is Halcyon Days. Between these three astounding musicians, there is
a musical arsenal of sounds. Didgeridoo is the biggest beast on the food chain
in this land, roaming through the sounds of synthesizers, ocarinas, bonangs,
and the distant thunder of drums, drums, drums.
Although written in reference to the days of prosperity immediately preceding
and following the longest night of the year, the feel of the album is like
being invited on a headhunt with a band of groove oriented mud-people. At
times both Native American, Australian and Middle Eastern in sound, there is
an unavoidable dry desert quality reflected in tracks ranging from the
soothing 'Rainfrog Dreaming' to the polyrhythmic free-for-all of 'Riding the
Atlas.'
Fans of Roach, Kent and Newby will be thrilled by the cohesiveness of this
threesome. Newcomers will most likely stand transfixed, eyes glowing,
drooling into space. This is what music is supposed to be. (Fathom's
website is at www.fathomusic.com.)
BERES HAMMOND: Love From A Distance (VP)
Reviewed by Shaun Dale
Pssst...hey buddy, wanna get, you know (nudge, nudge, wink, wink) lucky?
Well, if soft lights, good wine and this offering of musical support
from Beres Hammond on the speakers doesn't do the trick, it's time to
consider a major investment in personal hygiene products.
Hammond uses these 12 of these 14 tracks to maintain a hold at the top of
the lover's rock pyramid. Even one of the cuts which depart slightly from
the romantic mold, "Sing Glory," manages to combine praise for the creator
with an admonition to the sisters to "bear out with your man, it's not
everyday the seas gonna be rough..."
The most conscious cut here is "What a Life," which is reminiscent of
Marvin Gaye's ability to plant a socially aware message in the middle of
a set of love songs by singing it *like* a love song, without
diminishing the message. It takes a great songwriter and a special
performer to pull it off. Gaye was just that, and Hammond is that
today.
But Hammond's special forte' is the romantic ballad, and there are
several excellent examples on hand here. Pick a half dozen of your
favorites, program that player to repeat as needed, turn down the lights
and uncork the wine...but not, of course, alone...
Track List:
Much Have Been Said * Sweet Lies * Love From A Distance * Let It Go *
Rose Garden * Highlight Of The Day * Take Time To Love * Good Love *
What A Life * Sing Glory * Can't Stop A Man * Cold Bumps * All Is Well
BETH HART BAND: Immortal (143/Lava/Atlantic)
Reviewed by Shaun Dale
This was passed on to me as the latest installment in the eternal search
for the "new Joplin," and Beth Hart can certainly go there, but there's
a lot more here than that. Hart, who dropped out of LA's High School for
the Performing Arts to study at the academy of the open mike, is a
distinctive new voice in the recording world, capable of selling a lyric
with precision or abandon as the song might require.
The players are a far sight better than Janis' old bandmates in Big
Brother, too. Featuring Hart on piano, Jimmy Khoury on guitar, Tal
Herzberg on bass and drummer Sergio Gonzalez, they have a wealth of
experience in such diverse environments as the Israeli Air Force band, the
Disney World house band and the demanding world of the LA session scene.
The album is the product of months in the studio with producers David
Foster (with 12 Grammys to his credit), Hugh Padgham (Phil Collins,
Mellisa Ethridge, XTC) and Mike Clink (Guns N' Roses).
All that time and talent were well invested. This is one of the better
debut albums I've heard, revealing expert musicianship and emotional
commitment to the music. Hart has or shares writing credits on all but
one of the tracks here and has a touch with a creative lyric and and
innovative melody.
The Beth Hart Band may be the next big thing, or not. Get the disc now,
though, and if they are you can say you were one of the first. If they
aren't, you'll have 12 tracks of well crafted songs, excellent
musicianship and inspired vocals to show for your trouble.
Good deal either way, I figure...
Track List:
Run * Spiders In My Bed * Isolation * Hold Me Through The Night * State
Of Mind * Burn Chile * Immortal * Summer Is Gone * Ringing * God Bless
You * Am I The One * Blame The Moon
THE HUMPERS: Live Forever Or Die Trying (Epitaph)
Reviewed by The Platterpuss
The Humpers are the kind of band that basically does one thing, but they
do it better than almost anyone else around today. That one thing they do
is play loud, crude, obnoxious, in-your-face, pissed-off Punk Rock that's
perfect for letting off a little steam. Just one look at some of their song
titles like "Wake Up & Lose," "Migraine Shack," "Fast, Fucked & Furious,"
"Drunk Tank" and "Apocalypse Girl" oughta give you a pretty good idea of
what these guys are all about. This is the type of thing that you either
get or you don't and there's no in-between. As for me...it's loud, it's
fast, it's got the right 3 chords and plenty of bad attitude so what's not
to like? (2798 Sunset Blvd., L.A., CA 90026)
CHRIS ISAAK: Baja Sessions (Reprise)
Reviewed by John Sekerka
Chris Isaak takes a Mexican vacation, and alongside the requisite photos
we happen to get a musical snapshot as well. We see Chris and the boys hang
out in pool halls, drive around in a long-finned convertible, do a bit of
surfing, wear white slacks, don sun glasses and play a little music. Often
misunderstood, dismissed as a one hit wonder and Hollywood pretty boy, Isaak
continues to make startling records.
Baja Sessions captures that perfect lazy sunny afternoon siesta feeling, as
Isaak resurrects some of his neglected material ("Dancin'"), dusts off some
covers (Roy Orbison's "Only The Lonely") and pens new material on the spot
("Think of Tomorrow"), in roughly equal portions. The mood is relaxed, slow,
gentle, laconic and breezy, as the band slips effortlessly into soft guitar
and gentle percussion while the pretty boy whispers his croons. This is the
calm after the storm album, where Chris gets away from it all following the
open wound of Forever Blue. Shirking the old hat cliche of heading south of
the border for a wild weekend, Isaak winds up staying on the right side of
the tracks for a relaxing and reflective time. Always a romantic, Isaak's
just never been able to convey it so convincingly before.
JIM LAUDERDALE: Persimmons (Upstart)
Reviewed by Shaun Dale
Jim Lauderdale, in the midst of a move from Atlantic to RCA, has
assembled a collection of tunes from the past several years that have
somehow escaped the attention of the Who's Who of country artists (George
Strait, Patty Loveless, Vince Gill, etc.) that have recorded Lauderdale
tunes, as well as missing inclusion on his own recordings. It's a
collection well worth hearing.
These aren't necessarily songs for today's mainstream country audience.
In fact, it might not be considered a country album at all except for
the fact that Lauderdale seems to have recruited the pedal steel hall of
fame to join him--including Al Perkins, Bucky Baxter, Dan Dugmore,
Tommy Spurlock and Robbie Turner. Add such notable sidemen as Roy
Huskey, Jr., Larry Knectel and Pat Buchanan (among others equally
strong) and toss in some vocal support from Emmylou Harris and it's
obvious that this disc, while transitional in terms of Lauderdale's
label adjustments, was given first class treatment.
The songs themselves tend toward melancholy sentiments in mid tempo
rock settings, with more than a dash of western swing. Standout tracks
for me include "And That's A Lot," "Tears So Strong" (one of the hardest
rockers on the disc) and the plaintive ballad "Some Things Are Too Good
To Last" (with Emmylou), but there's enough variety and enough quality
here for you to find a few favorites of your own. Check it out.
Track List:
Life By Numbers * Do You Like It * And That's A Lot * Am I Only Dreaming
This * Don't Leave Your Light Low * Seems Like You're Gonna Take Me Back
* I Thought We Had A Deal * Tears So Strong * Please Pardon Me * Some
Things Are Too Good To Last * Nobody's Perfect * Had A Little Time *
That's Not Right Babe * Optimistic Messenger * Jupiter's Rising
LOVE IN REVERSE: I Was Here (Reprise)
Reviewed by Steve Marshall
Love in Reverse started out as a duo named Dog, made up of childhood friends
Michael Ferentino and Andres Karu. They began writing music together as
teenagers in 1982, and started recording locally as Dog in 1988. The goal
was simply to write and record as much as possible. A record deal was the
furthest thing from their minds. After two years of sending out demo tapes
and getting rejected, the two decided to just keep writing new material
and see what happens. In 1991, the duo started performing live with a drum
machine, light show and dancers. They wanted the visual side of things to
be as strong as the music itself.
Though Dog garnered rave reviews in the local press, Ferentino and Karu
decided the band's sound needed to progress. In 1995, they changed the name
of the band to Love in Reverse, and replaced the dancers with a drummer.
Enter Dave Halpern. Karu saw Halpern perform and was highly impressed with
his drumming abilities and stage presence. Halpern's aggressive drumming
proved to be the key element to Ferentino and Karu's musical vision.
Originally hired to perform live, Halpern ended up playing on the new CD as
well.
Cut to 1996. Love in Reverse made their major label debut in April with a
5-song EP entitled I Was Dog. Their first full-length CD, I Was Here, hit
the streets in July. A unique combination of acoustic songs, guitar rock,
atmospheric electronics, industrial grunge and dark, brooding lyrical
imagery, I Was Here is one of the best albums released this year. The disc
is literally filled with excellent songs--"Sometimes You're a Woman,"
"Fugue," "Another Story" and "A Feeding Frenzy" (which also includes an
unlisted bonus track) are but a few of the many highlights.
It only takes one listen for the material to draw you in. The songs on the
CD are filled with great hooks, yet unexpected turns abound. You never know
where the music will take you next. This band may still be relatively
unknown, but their superior songwriting and musicianship will make them a
musical force to reckon with in the future. Love in Reverse gets my personal
vote for Best New Artist of 1996.
MAN OR ASTROMAN: What Remains Inside a Black Hole (AuGoGo)
Reviewed by The Platterpuss
I've gotta admit that while I've always liked MOAM I've never been as crazy
about them as a lot of people I know are. The one time I saw them was in a
crowded club, and it was kinda hard to see so, consequently, many of their
special effects were pretty much lost on me. And, not being much of a sci-fi
buff, I've always had to rely strictly on their music and, as I've said a
number of times before in these pages, there's just so much twangy surf music
I wanna hear at any one time. So, with that in mind, it should come as no
surprise when I say that this is a good disc but that I started getting a
bit fidgety about halfway through--though they did get some extra points for
covering one of my all-time favorite surf instros, Eddie & The Showmen's
"Squad Car." According to the liner notes, this is a collection of
hard-to-find B-sides and such, so I'm sure you completists will want to grab
one of these posthaste. As for the rest of you, I guess it depends on just
how much you like this sorta thing. (GPO Box 542 d, Melbourne, Vic. 3001,
Australia)
JONI MITCHELL: Hits and Misses (Reprise)
Reviewed by Steve Marshall
Few songwriters receive the amount of respect that Joni Mitchell has over
the years. Her songs have been covered countless times by a number of artists,
and she has been quite successful on her own as well. The one thing she hasn't
done--until now--is release a greatest hits package. Reprise came up with a
great idea for the new compilation. They split it into two individually
available CDs - Hits and Misses. The songs on the two CDs encompass Mitchell's
entire career. A few of the tracks sound dated (such as "The Circle Game" or
"California"), but considering the range of material included, the songs have
held up very well.
As you would expect, Hits covers the singles and her more commercial tunes. It
gets off to a good start with the exuberant "Chelsea Morning" and the single,
"Big Yellow Taxi." Up next is Mitchell's sparse version of "Woodstock." Her
eclectic arrangement is significantly different from what Crosby, Stills, Nash
& Young did with the song. Hits also includes her next two singles, "You Turn
Me On, I'm a Radio" and the smash from her Court and Spark album, "Help Me."
One of the best songs on Hits is the cool, laid back "Chinese Cafe/Unchained
Melody." The song features some excellent bass work from her 'on-again
off-again' beau, Larry Klein. Hits wraps up with "Come in From the Cold,"
and Mitchells original version of the Judy Collins single, "Both Sides,
Now."
For me, Misses was definitely the better of the two CDs. The songs are
adventurous and more experimental that those on Hits. One of her most daring
and controversial albums was Mingus, named in homage to bassist Charles Mingus.
Mitchell received an invitation to collaborate with the legendary jazz musician
shortly before he died, and composed lyrics to some of the last melodies Mingus
wrote. The album is represented here by the spooky track "The Wolf That Lives
in Lindsey."
There are several other outstanding tracks on Misses. The frequently covered "A
Case of You" (from her classic album, Blue), "The Beat of Black Wings" (from
the highly underrated Chalk Mark in a Rain Storm), "Sex Kills" (from the
Grammy-winning Turbulent Indigo) and the title track from "Hejira" are just
a few of the many highlights. These CDs are an excellent primer for people
wanting to explore Mitchell's music without having to go out and buy all of
her albums, and they make an excellent collection for seasoned fans as well.
MOMUS: Tender Pervert(1988, Creation)
Reviewed by Keith Gillard.
If one were to ask a random Momus fan which of his albums is their one
favourite, there is a very good chance that they would answer Tender
Pervert. Even Momus himself, who was asked in a recent interview which of
his albums he was happiest with, answered: "I suppose Tender Pervert,
because it 'ripped open the bellies' of all the bullies who had oppressed
me, physically and ideologically, over the years."
Tender Pervert was also the only Momus album to receive North American
release (until the current release, 20 Vodka Jellies). Regrettably, it
did not attain hit status, and none of his following Creation albums were
released stateside.
What makes this album a standout among so many excellent records?
Songwriting. Even with the extremely high calibre of Momus' writing, more
songs from Tender Pervert would make a list of Momus'
best-written songs
than from any other single album. In fact, this was the case with 1995's
Slender Sherbet, which re-visited several of Momus' songs from the '80's.
Fully half of the songs from Tender Pervert appeared in that collection.
Tender Pervert opens with "The Angel Are Voyeurs," from which the album
title is drawn. "The Angels Are Voyeurs" contains some of the greatest
lyrics to ever grace a pop song, from which I will quote the first verse:
"God is a tender pervert and the angels are voyeurs
Watching us forever, their vision never blurs
They make us then forget us for a hundred million years
And then by chance they glance at us and something in them stirs
They find us so provocative, so weak, so full of pride
Our cleverness, our nakedness, fills them with delight
The way we hold our coffee cups, the way we pick our words
God is a tender pervert and his angels
His angels are voyeurs"
All this is set against a show-tune chord progression and lovely, catchy
melody. The production suffers somewhat, however, with a snare drum
overpowering all other percussion.
Track two, "Love On Ice," is a quirky waltz about cocaine, figure skating,
and tabloid press, featuring a Casio drumbeat, cheesy synthesized brass
sounds, and an electric guitar solo which is too good for its own good.
The ending is beautiful, slowing down in tempo and adding a gorgeous
trombone sound.
"I Was A Maoist Intellectual (In The Record Industry)" was later re-visited
in Slender Sherbet. This original 1988 version is far superior to the 1995
version. In this version, the story comes across clearly at a mid-tempo
groove; the guitar work and percussion are tasteful.
Another of Momus' greatest songs follows: "The Homosexual." This is a tale
of humiliation, deceit, and above all, revenge. Again, the focus here is on
lyrics, and not on production, although it is nicely understated, with some
well-chosen samples (although the orgasm sounds are a bit much) and clean
guitar work. The story focuses on an effeminate man who takes revenge on
all those who have called him "homosexual" by seducing their wives:
"The homosexual they call me it's all the same to me
That spectre they projected I will now pretend to be
Since their neurosis is what passes for normality
It's okay with me if I'm queer
Since their tone-deafness is called the love of music
I won't disabuse them
I'll make love with their women
I'll make them sing notes of pleasure
Their husbands will never hear"
"Bishonen" is one of Momus' two best "autobiographical" songs. Autobiographical
is in quotes because they are not actually about Momus (although he was
indeed "Born in the town of Paisley, early 1960"), but about characters who
sing their life's history. "Bishonen" is a long and beautiful folk song
about raising a child as a warrior, destined to live a glorious life and die
young.
"A Complete History of Sexual Jealousy, Parts 17-24" is Momus' first
successful foray into the synth-pop disco which was to become his main genre
for following albums. This is the production highlight of Tender Pervert,
with stomping drum machine disco, gorgeous pads, clean acoustic guitar, and
well-chosen synthesizer sounds. Again, the words are the highlight, but
this is the first instance where Momus' production backed his lyrics with
impressive force. The ending is particularly disturbing, as the protagonist
clings so tightly to his jealousy that he encourages his lover to fall in
love with other men, thereby making him more jealous.
"Ice King" is a Prince-style ballad, with an R&B groove and chord
progression. The lyrics are closer to mainstream pop than anything Momus had
released to this point. Unfortunately, these elements work together to make
the track sound like something that had been heard many times before.
"In the Sanatorium" is a very sad song where the protagonist sits at the bed-
side of his love, who is mentally ill. It is presented as a ballad, with a
lovely melody. The protagonist's relationship to his sick love is unclear.
The second of Momus' great "autobiographical" songs follows: "The Charm of
Innocence." This tale relates one man's slide into depravity, and his
inability to completely lose his innocence. The lyrics are riveting, and
it is difficult to break away from this song until it is complete; Momus
makes us want to know what happens to this character (which we never do).
He convinces us to sympathize with what would normally be a completely
unsympathetic figure.
Tender Pervert ends with "Angels Reprise," an alternate ending to "The Angels
Are Voyeurs." This time it is presented as a ballad, with a more melancholy
ending. It is a fitting recap to this outstanding album.
Although the production is not the equal of the songwriting, it would be
difficult for anyone to equal songwriting of this quality. If you enjoy
brilliant songwriting with ironic and provocative cleverness, there are few
albums I could recommend as highly as Tender Pervert.
Songwriting: 10/10
Production: 6/10
Performance: 9/10
Overall: 8/10
THE MORTALS: Last Time Around (Estrus)
Reviewed by DJ Johnson
The last release by The Mortals? It kicks off with the amazing and
supremely memorable "Disintegration," which should be garage's contribution
to the ultimate time capsule, and it loses very little power as it moves
on from there. If you've never heard their version of The Osmond Brothers'
"Crazy Horses," you're in for a sick and twisted little treat. (Of course,
some would argue that The Osmonds' original WAS a sick and twisted little
treat.) Of course, nothing is as good as "Disintegration," but "Wasting
My Time," "Last Time Around," and "Making Time" come pretty damned close.
From start to finish, the atmosphere is dark and foreboding without any loss
of voltage or conviction. This is easily the coolest Estrus release of the
year--and if you follow Estrus, you know that's sayin' something. (Estrus
Records: PO Box 2125, Bellingham, WA, USA 98227)
THE MULCHMEN: All The News That's Fit To Surf (7" 4-song EP) (Luna)
Reviewed by DJ Johnson
This trio from Dayton, Ohio, plays a dark and moody brand of instrumental
surf music that follows enough rules to be considered trad, but the murky
thumping bass and aforementioned darkness gives it a slight twist of punk.
"Spyder-Man" is the best example of this. As the closer, it leaves you with
a great impression of this powerful band's garage and surf sensibilities.
Nick Kizirnis' muscular guitar sound fits them into both of those genres.
His distorted two-string solos in "Six Gun" pack the wallop of a juiced
stun-gun. Even when he lays back, as he does in "Little Nasty," his tone
suggests bad intentions. Brian Hogarth (bass) and Gregg Spence (drums)
do more than just support Kizirnis--they create a great deal of the mood
themselves through power and tone. Check out the power they generate in
the bridge of "Slater's Surf." There's very little (if any) overdubbing
on this record, which suggests they're just as good live, so watch for this
band to come to your town. I'm guessing it will be a great show. (Luna
Music: 1521 W. 86th St, Indianapolis, IN 46260. Contact Mulchmen at
nck@donet.com, or visit their website at http://www.bigbeef.com.)
NINEY THE OBSERVER: Observer Attack Dub (ROIR CD)
Reviewed by Cai Campbell
This is a great collection of seminal Jamaican dub tunes spanning the years
from 1969 to 1976. All songs feature the masterful production work of
Winston Niney Holness. With nominal analog gear and effects, Niney is able
to take the already brilliant work of a very talented band of musicians and
weave the fabric of cosmic consciousness.
Originally mixed in King Tubby's Studio, This "modern mix" was produced at
Mixing Lab Studio just last year. Not being familiar with the original
recordings, it's hard to tell if Mixing Lab did anything significant to the
overall flavor of these dubs, although the tunes themselves do come across
as if spanning the years. The rhythm and movement of the music hail back
to the earlier years of dub, yet the methodically obtuse manner in which
the vibrations wend their way around your head has been the defining factor
in dub throughout its history.
It's interesting to hear this collection considering there is no indication
for what year the individual tracks were recorded. As such, the listener
is allowed to ride along without any preconceived notion of direction. This
is a wonderful aspect of the experience of this music, and the collection as
a whole takes you on a secret journey.
Niney makes a cameo appearance on this new release by personally introducing
the dubs with wit and flair as only Niney himself can muster. Unfortunately,
many of the recordings are lacking in sonic quality, yet the music more than
makes up for the poor quality of the master tapes. This is food for the
soul!
NIRVANA: From The Muddy Banks Of The Wishkah (Geffen)
Reviewed by DJ Johnson
You couldn't ask for a better live album from Nirvana. Recorded at various
shows between 1989 and 1994, This one has it all: great sound, energetic
performances, the perfect song sequence, and wonderful in-depth liner notes
by bassist Krist Novoselic that detail the how's and when's of each track.
Fans suffering from separation anxiety since Kurt Cobain's death will find
this an excellent tonic--and a welcome shot of wattage after all these years
of "Unplugged" inundation. That WAS a great recording, but it wasn't...you
know...plugged-in. This one's jammed into the socket and throwing sparks.
There are 17 tracks and several surprises, starting with the fact that the
mega-hit "Smells Like Teen Spirit" is placed at track #5 and not #17. Good!
It's a great song, but it's out of the way early so you can concentrate on
explosive tunes like "Scentless Apprentice," "Milk It," "Tourette's" and
possibly the greatest punk song of the 90's, "Negative Creep." This is the
music Nirvana was all about, at least for those of you who didn't see their
world through MTV eyes. If it's the hits you want, they're here too,
including "Lithium" and "Heart Shaped Box."
Those who resist the notion that Kurt Cobain was one of the greatest rock and
roll performers or that Nirvana was one of the most powerful bands should be
bound, gagged and headphone'd for 53:55. Let's see what they have to say when
they return from the muddy banks of the Wishkah.
OWN: Agenda Item 1 (Severed Records)
Reviewed by DJ Johnson
Several months ago, I reviewed a demo tape by this amazing trio, and at that
time I predicted we'd be hearing from them soon. Well, told ya so, told ya
so, told ya so! Here they are with a CD that fulfills the promise of the
demo tape. I wondered if they could sustain the mood and mystery over a full
length release, and the 11-song 54-minute Agenda Item 1 answers that question
thoroughly.
Own is already an unusual band before they play the first note, thanks to
their unique instrumentation. The band consists of Jane Anfinson (electric
violin/vocals), Michael Severens (electric cello/vocals) and David Lewis
(drums). Severens' thickly distorted cello gives Own a deeper-than-deep
bass sound that seems to be right on the edge of blowing the big breaker
and blacking out Minneapolis. His sound is possibly the most powerful bottom
end in the biz. Most drummers would be sucked down in the whirlpool of that
sound, but Lewis isn't just any drummer. He matches Severens' power every
step of the way with intensity, precision and clarity.
Fronting a band like this could be the most difficult task in the world, but
Anfinson, like Severens and Lewis, is a world class talent. Her electric
violin solos float delicately above the fray, slowly build tension, and
then go supernova. Her solo in the title track should qualify her for goddess
status with metalheads. Her vocal delivery is often delicate, as well, but
she is more than capable of intense outbursts, making her the perfect vocalist
for this combination of progressive, psychedelic, classical and even punk
music.
Hearing a track like "Delirium" for the first time can be exquisitely shocking.
The vocals suggest vulnerability and fragility, the mood is surreal and
dreamlike, but that incredible distorted cello makes it clear that everything
could explode at any moment. It's like walking out on a cliff's ledge to
see the beautiful view. Quite a different vibe can be found in "Rocks,"
though it still flows in several directions; folk and punk giving way to
a frantic jazz bass solo (played on cello, of course), and even a psychotic
hoedown on fiddle. Well...Violin. But it's a fiddle when it's played like
this, if for just a moment. Lewis even gets in an 18-second drum solo at the
end. The title track, which also appeared on the demo tape, still stands out
as one of the best, but on this set, the one that really knocks me out is
"M'Aidez," easily the loosest form on the album. I wouldn't go so far as to
call it "free," but there is a lot of room for the players to stretch out,
and each does so with taste and a subtle touch.
Even taking into consideration that all three of these musicians have had
extensive musical educations, it's hard to believe this is a first release.
Their second should be a real mindblower. (Own PO Box 50682, Minneapolis,
Minnesota 55405. The band can be reached at Elfindrum@aol.com.)
THE PENETRATORS: Kings Of The High Speed Weekend (Southern Surf Syndicate)
Reviewed by DJ Johnson
You loved the cassette! You loved the action adventure movie! Now you can
love the CD! Okay, so there was no movie, but there shoulda been. With this,
their first CD, The Penetrators take their great surf-spy sound to the bigger
audience, proving once and for all that you don't have to live ten minutes
from Malibu to play authentic surf music. But...Tuscaloosa, Alabama!?! Well,
yeah, apparently so.
Four of the ten tracks are carry-overs from the cassette: "Carl's Bad,"
"Night Of The Drunken Cheerleaders," "Melodie's Dilemma" and their haunting
cover of the Astronauts' classic, "Baja." All of these were standouts on
the cassette. Among the new tunes, the most intensely beautiful is "Lamento
A Go-Go," thanks to a great melody, a moody Latin rhythm and a perfect sax
solo by Jacques le Sabre. This song has an interesting history, by the way.
They didn't know what to name it, so they held a "name that tune" contest.
Finally, somebody in Memphis came up with the winner. The track that I've
already slapped onto three or four of my compilation tapes is "Last Of The
V-8 Interceptors." Of course, I'm a sucker for a good spy tune, and this is
one of the best of 1996.
Rest assured that The Penetrators are more than just a cool sound. This is
a tight and impressive unit capable of simultaneously displaying breathtaking
beauty and heart pounding power. They are clearly one of the best bands
of the third wave. (For further information send e-mail to reverb@dbtech.net
or visit their WWW site at http://www.dbtech.net/penetrators)
LEE "SCRATCH" PERRY: Who Put The Voodoo Pon Reggae (RAS)
Reviewed by DJ Johnson
It's hard to put your finger on just what makes Lee "Scratch" Perry so
amazing to listen to, but after years of trying to do just that, I've come
up with one conclusion. You may not like it, but here it is; listening to
Scratch is surreal on a par with listening to Brando's cave speech in
Apocalypse Now. Trying to follow his thought pattern is like being tuned
into a radio frequency that seems to be picking up three stations at the
same time. It makes no sense, but it's so damned fascinating!
If surrealism is your prefered environment, you'll be doubly thrilled to
know that Mad Professor produced this disc at Ariwa Studios. The soundscapes
are, as you would expect, dreamy and erotic. The subject matter adds to
that. On "Go And Come Back," Scratch sings "Come back and sit upon my
cock - Come back to the solid rock." Quite a brag, at his age, doncha think?
As with any decent Scratch record, there are plenty of tracks where the lyric
seems somewhat nonsensical, and a few that are clear as a bell, and all of it
is totally enthralling.
I wouldn't recommend this as an introduction to Scratch Perry, because it's
absolutely vital that you start with his early work, but for those who have
been experienced, this is an excellent addition to the collection.
THE PHANTOM SURFERS: The Great Surf Crash Of '97 (Lookout)
Reviewed by DJ Johnson
Is there anybody out there in surfland with as tight a grip on the absurd
as The Phantom Surfers? Besides being damned good players, these guys have
always been able to look at the lighter side of things--but never with as
much pure laughing gas as they snort on The Great Surf Crash Of '97.
Surf traditionalists might program out half the tracks, but they'll still be
happy with the others. Meanwhile, the rest of us will be in the parking lot
like a bunch of stoners, laughing our asses off while listening to brilliant
satirical stuff like "X-Files Theme/The Stupid Files," which has several
voices that seem to be spewing from one stream of consciousness. Among the
targets are "the artist formerly known as Gomer, the artist formerly known
as Goober: together, they're The X-Pyles." And anybody who grew up during
the folk era (late 50's--early 60's) will appreciate their treatment of "The
Cat Came Back."
By the way, for those of you who haven't heard: Johnny Bartlett has boogied
on down the road to join another band, so this is apparently his final
recording with The Phantom Surfers. Well, they always say "go out with a
bang." Besides, after you've recorded a surf treatment of "Babalu,"
everything else is downhill.
PHISH: Billy Breathes (Elektra)
Reviewed by Steve Marshall
When it comes to describing musical styles, Phish is one of those bands that
defy description. Their musical influences run the gamut from rock to blues
to jazz to bluegrass to lounge music and just about everything in between.
They have a reputation for doing some interesting covers in concert also. If
you go to a Phish show, it's not unusual to hear them play a bluegrass song
and then follow it with a cover of AC/DC's "Highway to Hell," or maybe even
Frank Zappa's "Peaches en Regalia." That's what makes the band so much
fun--you never know what to expect.
Phish's latest studio effort is made up of songs that (for the most part) have
been performed live for well over a year now. The biggest difference between
the versions they've been playing onstage and what eventually made it to the
CD is the length of the songs. Over the years, Phish has been compared to
The Grateful Dead because of the band's extended improvisations in concert.
On the new album, the band eliminated the long jams and kept the songs more
concise and structured. The result is their most cohesive and focused album
to date.
Things get off to a great start with the Beatle-esque rocker and first single,
"Free." The song has a great hook. Listen to it once, then see if you can get
it out of your head. "Character Zer0" is up next and is probably the hardest
rocking track on the disc. The band slows it down a bit on "Waste." The end of
song features some excellent fretwork by guitarist, Trey Anastasio.
Unfortunately, it's buried in the mix. "Taste" (formerly known as "The Fog That
Surrounds") is another highlight on the CD, and one of the band's favorites as
well. Drummer Jon Fishman contributes some fine percussion work to the song,
along with lead vocals on the bridge.
"Cars Trucks Buses" is a funky little instrumental that sounds like something
you'd hear on a Meters record. The only bad thing about the song is that it's
too short. "Theme From the Bottom" is another song that the band has been
performing live for quite some time. Its a cappella bridge shows another of the
many musical influences within the band. It's also the only song with anything
that resembles a 'jam.' One of the more unique cuts on Billy Breathes is "Train
Song." The song's subtle guitar work and vocals sound almost like a cross
between early Simon & Garfunkel and something you'd hear on The Beatles' White
Album.
"Bliss" is an instrumental acoustic guitar track, delicately played by
Anastasio, and also the beginning of the segued collection of songs that make
up the rest of the CD. The title track is one of those songs that sounds like
something you've heard before, but can't quite put your finger on. According to
the band, it's also the song that evolved the most from the early recording
sessions to what finally appeared on the CD. The next two cuts, "Swept Away" and
"Steep," total less than three minutes combined. Yet, the airy atmosphere of the
songs provide some of the CD's more memorable moments.
By the time you get to the end of the last song, "Prince Caspian," all you
want to do is hit the play button again. For a band known for its long
improvisational jams in concert, this CD is over much too quickly. Still, the
more you listen to the CD, the better it gets. The tunes on Billy Breathes
cover a lot of ground, yet the band manages to retain a new found sense of
musical accessibility for the uninitiated. Forget all the comparisons, this
is a band that has clearly come into its own.
THE QUEERS: Don't Back Down (Lookout)
Reviewed by The Platterpuss
Right from the git go I must point out that the title track is a cover of
one of my all time favorite Beach Boys (or anyone else's for that matter)
songs, complete with falsetto vocals, just done a little faster. So right
away, if for no other reason, I've just gotta love this thing. On this disc,
more than ever, it's evident that these guys are a whole lot more than just
another thrashy punk band. While their live shows are total slamfests, like
The Ramones, their albums really show off their pop roots. I like to see
punk bands who appreciate older styles of Rock & Roll. While there are
enough straight ahead punkers to keep the mosh crowd happy, I really like
some of the poppier tunes such as "I Always Knew," "Janelle Janelle,"
"Sidewalk Surfin' Girl" and "I Can't Get Over You." As much as I've loved
their other albums, this might be their best yet. (PO Box 11374, Berkeley,
CA 94712)
R.E.M.: New Adventures in Hi-Fi (Warner Brothers)
Reviewed by Steve Marshall
R.E.M.'s latest CD, New Adventures in Hi-Fi has just hit the streets. The
disc finds the band playing in a wide variety of musical styles. At times,
the band sounds a bit more conventional than usual. Other times, they're
more experimental than ever. Recorded in nine locations across the US during
the band's last tour--soundchecks, studios, even a dressing room--R.E.M.'s
latest has the impact and spontaneity of a live album with the gloss of a
studio album. As lead vocalist Michael Stipe explains, "The idea was to
graft together stuff that was recorded live with stuff that was done in the
studio, so you can't really tell what's what." Drummer Bill Berry adds,
"...it was very exciting. There are definitely live elements that you don't
hear on any of our other efforts."
The CD's first track, "How the West Was Won and What it Got Us," features
an avant-garde piano section that sounds like something from David Bowie's
Aladdin Sane album. "E-Bow the Letter," the first single, features additional
vocals by Patti Smith. It's amazing how well her voice meshes with Stipe's
here. Up next is "Leave," one of the most eclectic songs the band has
recorded. Imagine the chord progression to Dada's "Bob the Drummer," with
lyrics sung to the syncopation of Prince's "When Doves Cry," all on top of
the synth equivalent of a car alarm. It's an interesting combination, but
the car alarm sounds get annoying quickly.
"Departure" is a rocker with 'hit single' written all over it. "Be Mine" is
a touching love song with an arrangement similar to what Nirvana used on most
of their "Unplugged in New York" album. "Binky the Doormat," the only
throwaway cut on the CD, sounds like a Monster outtake. "Zither" is an
instrumental track, recorded in a Philadelphia dressing room. "Low Desert"
is another highlight on the CD. The chord progression on the song is
reminiscent of Phish's "Free" (from their upcoming album). New Adventures
wraps up with "Electrolyte," a laid-back, country-ish tune.
When you combine the raw energy that comes from a live recording with the
sense of mystery that prevails throughout the CD, the result is easily their
best effort to date. New Adventures in Hi-Fi is a fine effort from one of
rock's most influential bands.
ROOTS RADICS: Roots Radics (RAS)
Reviewed by DJ Johnson
Roots Radics have backed up some of the best in the business, from Bunny
Wailer to Gregory Isaacs. Bassist Flabba Holt, drummer Valentine Style Scott
and guitarist Bingy Bunny were always more than session players, however: they
had a fantastic sound of their own, favoring slower tempo's and spiritual
vocals. Since the early 80s, Roots Radics has seen members come and go.
Bingy Bunny died from prostate cancer in 1994. (See review of Bingy Bunny
tribute album Kingston Toughie in this issue of Cosmik.) Now, only Flabba
Holt remains, joined by Carl Ayton (drums), Dwight Pinkney (guitar), Steve
Golding (guitar), and Richard Johnson (keyboards).
This self titled CD is an excellent collection of laid back dancehall reggae
that contains something I feel is a missing element in modern reggae: powerful
bass! Holt doesn't quite come off as in-your-chest as he does live, but there
is definitely nowhere near the drop-off at 80hz that so many reggae records
have today. It's just an opinion, but I think the bass in reggae music should
make your hair move.
Lyrics have been included in the liner notes--a nice touch for those of us who
have to look up the meaning of some of the lingo. The most interesting and
lyric is "No Bun It Down," a song that deals with the positive value of
marijuana. After detailing a half dozen important uses for pot, the song
closes with "just a few of the over 25000 uses for the good herb. No bun it
down!" Songs like "Water More Than Flour (Be My Queen)" and "Watcha Gonna Do"
offer prime examples of Roots Radics' skillful folk singing over reggae
rhythms. So much diversity in one band! Well, then again, what do you expect
from one of the most successful studio bands in the history of Jamaican music?
MYKAL ROSE: Nuh Carbon (RAS)
Reviewed by Shaun Dale
Mykal (nee Michael) Rose may have a new way to spell his name, but
thankfully he has the same commitment to writing and singing conscious
reggae that he demonstrated as the lead singer for Black Uhuru.
Jah and politics are the principal concerns reflected in these 14 tracks,
with a couple fine departures into a more romantic mood. In the process,
Rose is accompanied by various combinations of over 20 of reggae's finest
musicians and singers.
There are some standout tracks here - "Good Vibes," "Straight to the
Top," "Money" and "Warmonger" are all potential classics - but it's a
strong effort from start to finish. In fact, I extend my list of
favorites every time I listen. I'd recommend that you go buy it now and
decide for yourself.
Track List:
Original, Nuh Carbon * My Eyes on Jah Jah * Ordinary Man * A Friend
Indeed * Don't Be A Warmonger * Where Is That Love * Ruff And Ragged *
Good Vibes * Dem A Watch * African Girl * Straight To The Top * Money *
Once Bitten * Warmonger (featuring Daddy Screw)
SHOSTAKOVICH: Symphony No. 10 in E minor, Op. 93. Berlin Philharmonic
Orchestra conducted by Herbert von Karajan. (Deutsche Grammophon 439 036-2
[DDD] "Karajan Gold" Series)
Reviewed by Robert Cummings
As most classical record collectors know, the late Herbert von Karajan
generated a goodly share of controversy, both musically and personally
throughout his illustrious career. His many loyal supporters have heaped
kudos to the heavens to inflate his podium reputation while fending off the
attacks of a rather truculent group of detractors. I find myself straddling
decidedly rickety scaffolding that bridges the chasm between the two
crossfiring camps. Charges of overabundant legato phrasing and "chocolate
Beethoven" readings ring in my ears from one side, then are drown out by
tenacious bellows from the other that proclaim the maestro's Mahler and
Wagner and Bruckner definitive. Truth is, Karajan had his good days, and
he had his bad. I'll eagerly concede the former to be much the more likely
event, and add that when Karajan was good he was superb.
Controversies surrounding his personal life are no less heated: he rose to
prominence in Nazi Germany, becoming, in the minds of many, a shameless
careerist, perhaps even a faithful servant of the Third Reich. Itzhak
Perlman, Isaac Stern and Artur Rubinstein refused to concertize with him.
However, virtuoso pianist Alexis Weissenberg, a holocaust survivor (who
escaped a Nazi concentration camp in his youth) performed and recorded with
Karajan, convinced his colleague's wartime political deeds were the
by-product of misguided youthful opportunism, not of sincere belief in any
part of Hitler's obscene ideology. It must be noted, too, that Karajan was
cleared of any wrongdoing in 1948 by the Allied Occupation Forces.
But on to the recording at hand, which is of music by another controversial
figure, Dmitri Shostakovich. The Tenth Symphony is a grim but ultimately
triumphant work, kind of a cross between the extroverted angst and bombast
of the Fifth and the tragedy and despairing rage of the great Eighth. The
second movement Scherzo is said to be a depiction of Stalin, of his evil
and terror. Its schizophrenic mood is a hardly a departure from the
outpourings of sadness and abject fear evident in the opening movement.
While the third provides some relief, it's not until nearly half way through
the finale that a sense of merriment and triumph finally ensues.
This is a re-release of Karajan's second recording of the work, dating from
1982 (his first, a not dissimilar performance, was issued on a DG LP in
1967). Karajan's reading here is gripping, seething with tension, capturing
the music's agony and catharsis with such personal conviction as to make
you believe he was there, you were there for the oppression and suffering
under Uncle Joe Stalin. His orchestra renders the piece with a transcendent
neurotic urgency so right, so spontaneous, you're apt to wonder whether the
work could ever be performed any differently with success.
I've always felt the third movement was the least effective of the four,
and therefore the most difficult to bring off. It is by far the most Russian,
and its sparing orchestration of the mostly one- and two-part writing seems
out of place alongside the other movements. But even here Karajan, by
darkening textures and adding weight to accents, is able to point up the
grimmer elements, thereby infusing the work with a mood that fits the musical
scheme.
Karajan's chief competition comes from Haitink/London and Ormandy/Sony
(coupled with Symphony No. 4 in a two-disc re-release). Haitink may be a
bit more probing, but he delivers a less searing reading, and his London
Philharmonic Orchestra doesn't quite play on the level with the Berlin
Philharmonic. Ormandy's Philadelphians do, of course, but their performance
is less intense, as well, though still competitive because of their
much-underrated conductor's consistent ability to phrase music beautifully
and to eschew idiosyncratic tinkering via this gesture or that flourish.
Overall, still, I give a marginal edge to Karajan because of his miraculous
sense to communicate the composer's suffering and sadness in so palatable a
way as to make you marvel that such personal misery could ever beget such
beguiling music.
Excellent sound, too. Urgently recommended.
SPACETIME CONTIUUM: Remit Recaps (Astralwerks)
Reviewed by DJ Johnson
The cleverly titled re-mix of Emit Ecaps (which, by the way, is "Space Time"
spelled backwards...you're welcome, trivia freaks) from Jonah Sharpe, main
man at Reflective Records. The compositions are rather simple on the
surface--no Mozart is he--but there is a great deal going on within the
narrow framework of each track. Sharpe layers the rhythmic textures until
either an irresistible dance beat or a hypnotic groove appears. "Kairo" is
one of the more intense tracks, and Sharpe has included two mixes of it.
Most interesting is the "Subtropic Mix," which is a sparse reflection of the
original with a funk drum beat and an added vocal sample that repeats
"Absolute black." Understand, non-veterans, this isn't a band. This is one
man and racks of equipment. If you can't deal with synthetic music, steer
clear. But taken for what it is, this is good stuff capable of "trancing
you out" or feeding your imagination.
MIKEY SPICE: All About You (RAS)
Reviewed by Shaun Dale
Mikey Spice (Michael Theophilus Johnson) had established a solid career
as a vocalist and guitarist with such reggae luminaries as Toots Hibbert,
Dennis Brown, Gregory Isaacs and Freddie McGregor before tearing up the
Jamaican charts last year with his solo debut, Happiness. All About
You once again mixes some of the finest lover's rock with conscious cuts
like the opening "So Much Things To Say" and the roots soaked "Give Thanks
and Praise."
Freddie McGregor's hand in the production of the album is apparent though
the production credits are shared. McGregor's influence on the project
is reflected in his appearance on drums, bass, keyboards and backing
vocals. If a reggae disc has to reflect an influence these days, well,
you can't do much better than Freddie McGregor.
But it's Mikey Spice's rich, soulful voice that makes this one a keeper.
Spice, who has drawn well deserved comparisons to soul masters like Lou
Rawls, is only 31 but he seems to have a well much deeper than his age
implies to draw his voice from. The lover's rock genre is a tough one
in the reggae world. The lack of consciousness in the lyrics of the
music is unforgivable in the eyes of many aficionados. A voice like
this can melt those hard hearts, though. Spice's street cred isn't
damaged any by getting Luciano, who is closely associated with rasta
livity, to join him on "Let's Work It Out," either.
Altogether, this is a tight, well performed effort with some fine songs.
Whether Mikey Spice will break out of the Caribbean charts and into the
mainstream with this disc is an open question. That he deserves to is
no question at all.
Track List:
So Much Things To Say * Good Bye To You * Lady * Where Do Love Go * All
About You * I Will Stand Tall * Rock You * I Can't Get Over You * Give
Thanks and Praise * Baby * Lucky Girl Lucky Boy * You Make Me * Let's
Work It Out
THE SUICIDE MACHINES: Destruction By Definition (Hollywood Records)
Reviewed by DJ Johnson
This band has a huge sound--big distorted power chords, high velocity
drumming, gritty vocals--all falling somewhere between hardcore punk
and ska. Every track has at least one segment that adheres to the ska
laws, but they punch it through with a biiig ol' hammer. There's no
energy crisis here, and they don't do anything to death, either. Like
a Sugar Ray Leonard body attack, they get in and get out with a bunch
of two-minute songs that leave you dizzy. "New Girl" sounds like a
natural single, and probably the song most representative of the band's
sound. If I'm their label guy, that's what I'm most concerned with,
because more than any single song, it's The Suicide Machines' sound that
kicks ass. Tradition and authenticity be damned. This is one of the
coolest ska releases in a year filled with great ones.
SUSAN AND THE SURFTONES: Thunderbeach (Gee-Dee)
Reviewed by DJ Johnson
Their first CD, Without A Word, was quite good. Thunderbeach is radically
better! It wasn't until a month after I reviewed the first CD that I began
to notice its one true flaw; the band wasn't particularly tight. At that
time, Susan was playing with different musicians from day to day, so there
was no time for any cohesiveness to form. I was so enthralled with Susan's
guitar playing and tone that I just didn't quite catch the fact that the
three of them weren't quite together on all their starts and stops. Funny
how that works. On Thunderbeach, we hear a real band--one that has been
playing together for well over a year--and the playing is very tight indeed.
Susan Yasinski has only gotten better as a player, and her guitar tone--part
trad surf, part Brit garage--has matured a great deal. Thunderbeach is much
darker and more mysterious than Without A Word, partially because of song
selection, but even more so because of a great thick reverb sound all around.
Their cover of The Astronauts' classic, "Baja," is the best I've ever heard,
with a pulsing rhythm section (and a great snapping snare sound) giving it
a darker vibe than the original. Don't shoot! I'm entitled to my opinion!
(Sheesh...fundamentalists!)
The players all get a chance to stretch out along the way. Drummer Judd
Williams has a field day with The Ventures' "The Cruncher," saxman Michael
Edwards plays the hell out of the Susan original "Deep Blue Goodbye," and
the whole thing makes a great showcase for bassist Dave Anderson's talents as
a producer and player. (He shares production work with Susan.) As a unit,
they skillfully handle covers of "Point Conception" (The Surf Raiders), "Sunset
Beach" (The Sentinals), "Tequila" (The Champs) and even "This Boy," (The
Beatles). A huge Beatles fan, Susan covered "Cry For A Shadow" on the first
CD. The originals are all good, but one of them is absolutely great! "Space
Spider," which is the final track, has a killer spy groove that you just have
to love. As time goes by, Susan and the Surftones continue to mature as a
unit, and they continue to find their direction. Can't wait to hear the next
step in their progression.
TEN HIGH: Party Store (Alive/Bomp)
Reviewed by The Platterpuss
Though I've never had the pleasure of seeing this Ann Arbor quintet live, on
the basis of their latest disc (their second I believe), I'd have to put them
in the class of such favorites of mine as The Cynics and The Swingin'
Neckbreakers. High praise indeed, but richly deserved `cause, I just love the
way they take their basic 60s garage roots and combine that with a huge dose
of punk energy and aggression. So, while they indulge themselves by covering
a few of their old garage favorites, such as The Seeds' "Satisfy You" and
"Love's The Thing" by The Smoke Rings, there's no way that anyone's gonna
lay a retro tag on `em. Not to take away anything from the band as a whole,
but one listen to this disc makes it pretty obvious that lead singer/harp
player/guitarist and songwriter Wendy Case is the major talent and you can
be sure that I'll be checking out anything and everything she's involved
with in the future. In the meantime, this is one hot little tamale that
anyone who's into some seriously ass-kickin' garage-flavored Rock & Roll
oughta grab first chance you get. (PO Box 7112, Burbank, CA 91510)
VARIOUS ARTISTS: Closer Than You (Moon Ska)
Reviewed by DJ Johnson
Considering how huge the ska scene in America is, it's mind boggling that
that more people don't know about it. Strange statement, I admit, but it's
accurate. The bands and their fans have a great support system going, and
they use the Internet to spread the word better than any other scene. And
yet, most people you ask will still look befuddled and say "No...what's ska?"
Weird. Every state seems to have a great scene going, and in Florida, the
scene is on fire. Closer Than You is a compilation of twenty tracks by some
of Florida's best.
Magadog's "So Much" reveals a band with roots firmly planted in the soul
side of the ska field. I like everything about this track, from the vocals
to the slightly off-kilter organ comping. Magadog has a 2nd track on this
comp, also, called "Less Baltimore," which actually owes more to 60s
bubblegum than to soul. Interesting. The Usuals check in with a pair of
tracks: "Besame Mucho" is so traditional and laid back that you'll never
be prepared for "Don't Tell Me," which jerks back and forth between a trad
sound and crunchy punk. The Blue City Kings' "Kojack" is a bluesy little
instrumental with great atmosphere. All of the bands and sounds I've just
mentioned are completely different from one another, and that's the biggest
selling point of this CD; it's a true overview that doesn't play favorites.
Other bands include Less Than Jake (a band that is ALWAYS great!), Skahumbug,
Hopscotch, Majik Dirt, Skif Dank, The Jive Step Bunch, The Shakes Society,
Skalidays, Lame, Baccone Dulce, The Rug Cutters, and Pork Pie Tribe, whose
hilarious "My Dog Pedro" is easily the most amusing and entertaining track
on the disc.
If Closer Than You (probably a reference to Florida being closer to Jamaica
than any other state) has any major flaw, it's the liner notes. There aren't
any. Hey Moon Ska, we love the stuff you release, but if you insist on putting
your catalog on the inside cover of every CD, how about springing for another
page or two for some real liner notes? Please?
V/A-SOUNDTRACK: The Crow - City Of Angels (Hollywood Records)
Reviewed by DJ Johnson
15 tracks of moodiness, most of it falling in that vague category you all
know and...well...know; Alternative. The big hit is Hole's cover of the
Fleetwood Mac classic "Gold Dust Woman," and it does a decent job of setting
the table for tracks by Bush ("In A Lonely Place"), Toadies ("Paper Dress"),
NY Loose ("Spit"), and Seven Mary Three ("Shelf Life"). White Zombie's
disturbingly enthusiastic cover of K.C. And The Sunshine Band's "I'm Your
Boogieman" makes an interesting conversation piece, while Iggy Pop's cover
of Iggy Pop's "I Wanna Be Your Dog" is either really great or really tragic,
depending on what you think of all his other records since he started
channeling David Bowie. Maybe if I hadn't heard the original lately...
While most of this is noisy grinding stuff--and that's not necessarily an
indictment--there are a few curveballs, like the hip hop tracks by Above The
Law ("City Of Angels") and Tricky Versus The Gravediggaz ("Tonite Is A Special
Nite"), the extremely strange and very cool toy guitar sound of Pet's "Lil'
Boots," and the flat out ass kicking at the feet of P.J. Harvey, whose
"Naked Cousin" seems like a speedball in the middle of this heroin trip.
Some of what I'm saying probably sounds cynical, but in truth, we all have
our darker moods, and that's when this CD will do just fine.
VARIOUS ARTISTS: Groove On! (Vol. 1-3) (DCC for Sony Special Products)
Reviewed by Shaun Dale
DCC has combined their own resources (and the considerable talents of
Steve Hoffman, their production wizard who mastered these selections for
disc) and the vaults of the Sony label empire to produce a set of discs
which display the diversity (and the oft forgotten quality) of the
seventies and eighties R&B scene.
You'll know most of the artists here, but you may not know all the
tracks. In the process of looking for the best of the genre, the
obvious choices are sometimes bypassed for alternatives that may
surprise, and sometimes delight.
One reason, of course, is that the divisions in the music charts create
alternate musical universes that only occasionally overlap. An example
would be the Sister Sledge cut on Volume 1, "Got To Love Somebody." It
wasn't their biggest hit, reaching 64 on the pop charts, but it was an
R&B smash, moving all the way up to number 6. And it's a better song
than their better known work.
Choices of that kind make these discs special and worthwhile for fans of
R&B generally, for those who have affection for the music of the period
covered and for anybody who likes tunes that make them get off the couch
and move their feet. There's too much to detail, so herewith a list
of what's offered:
Volume 1:
Earth, Wind & Fire/September * The Emotions/Best of My Love * Dionne
Warwick & the Spinners/Then Came You * Natalie Cole & Peabo Bryson/Gimme
Some Time * Tavares/It Only Takes a Minute * Sister Sledge/Got to Love
Somebody * Starpoint/Emotions * Phyllis Hyman/You Know How to Love Me *
Donna Allen/Sweet Somebody * The Isley Brothers/Harvest for the World
Volume 2:
Deniece Williams/Free * The Emotions/Don't Ask My Neighbors * Earth,
Wind & Fire/Can't Hide Love * Ashford & Simpson/Is It Still Good To Ya?
* Blue Magic/Sideshow * Natalie Cole/I've Got Love On My Mind *
Hot/Angel In Your Arms * The 5th Dimension/(Last Night) I Didn't Get To
Sleep At All * The Main Ingredient/Everybody Plays the Fool * Isley
Jaspar Isley/Caravan of Love
Volume 3:
Brick/Ain't Gonna Hurt Nobody * The Isley Brothers/That Lady (Parts 1 &
2) * Marvin Gaye/Sanctified Lady (12" version) * Rebbie Jackson/
Centipede (12" version) * Maze featuring Frankie Beverly/Back In Stride
* George Duke/Shine On * Ashford & Simpson/It Seems to Hang On * Chaka
Khan/What Cha' Gonna Do For Me? * The Three Degrees/When Will I See You
Again * Harold Melvin & the Bluenotes featuring Teddy Pendergrass/ Wake
Up Everybody (Parts 1 & 2)
If it ain't there, my friend, odds are you don't need it - not until
Volume 4 comes out, anyway...
VARIOUS ARTISTS: In Defense of Animals Vol. 2 (Caroline)
Reviewed by coLeSLAw
Creating a compilation of bands that are supposed to, in some small way, have
a similar sound going is tricky at best. I don't like all these bands. So
be it. There are enough quality tracks on here to make up for the stinkers.
Highlights include Ruby's 'Tiny Meat,' which thoroughly drowns you in soggy
electronic pocket lint, and PJ Harvey being her wonderfully assertive self on
'Me-Jane.'
All musicality aside, the theme behind the album is the protection of animals.
...which is a good thing.
Featured artists: The Beastie Boys, White Zombie, PJ Harvey, Bjork, Belly,
Elastica, Meat Beat Manifesto, The Orb, Morphine, Ruby, Moby, KRS-One,
Massive Attack vs Mad Professor, Aleka's Attic, Mike Watt, Alice Donut (great
song, by the way, kids!...), and The Chemical Brothers.
(Caroline Records website is at http://www.caroline.com)
VARIOUS ARTISTS: Masters of Turkish Music Vol. 2 (Rounder Records)
Reviewed by coLeSLAw
...or, music for an opium den, volume 2. Twenty-three (yes, count 'em...23)
tracks of traditional Turkish music recorded between 1906 and 1949 make for
absolutely one of the most bizarre releases I have ever reviewed for Cosmik.
If you can get over the poor sound quality of the CD (which is essential
given that there are obviously no original digital master tapes to go back
to), this collection makes a great introduction into a style that is all-too
inaccessible to western ears (unless you're really looking).
This is an extremely well-rounded collection which shows both the pure
traditional techniques as well as much of the branching off of styles as
the musicians sought to create their own unique sounds. The most rewarding
tracks are the solos on an instrument called the tanbur--which has a guitar-
like tone, though it's very eastern in its intonation--as well as the
haunting vocal improvisations.
For those who love traditional eastern music, this is a fantastic collection,
not only for the nostalgia effect, but also for tracing and pinpointing the
history and growth of today's masters.
VARIOUS ARTISTS: Red, Hot & Rio (Antilles/Verve)
Reviewed by Keith Gillard
A few years ago, a compilation called "Red Hot & Blue" was released,
containing a collection of modern pop musicians covering Cole Porter
standards as an AIDS benefit. It was a brilliant compilation, celebrating
the greatest pop songwriter of all time with modern arrangements of his
classics, for a great cause. Following the success of this album came six
other "Red Hot" compilations, but none of them were able to deliver the
same impact as the first.
Now, the "Red Hot" series continues with a disc which is deserving to be a
successor to "Red Hot & Blue": "Red Hot & Rio." What is it that makes
this disc better than the previous six "Red Hot" discs? For the first
time since "Red Hot & Blue," there is a specific focus--and the disc is
dedicated to another great jazz/pop composer: Antonio Carlos Jobim.
This compilation features a well-balanced mix of traditional and new, both
in its arrangements and artists. Veteran bossa nova players such as Astrud
Gilberto, Cesaria Evora, and Herbie Mann appear alongside figures who range
from Sting and George Michael to Stereolab and Mad Professor. Not all of
the tracks are Jobim compositions; other Brazilian bossa nova composers are
represented as well. Surprisingly, there are also some tracks written by
contemporary pop writers, but they have also been done in the spirit of the
compilation.
The disc opens with an instrumental rendition of "Use Your Head" by
Beastie Boys' keyboardist Money Mark. A very tasteful latin rendition
of the track, it is of course not a Jobim song, but a Beastie Boys song.
As such, it is a curious choice for the first track, but it works nicely to
introduce the collection very well.
No tribute to Jobim would be complete without Astrud Gilberto, the thin-voiced
chanteuse who made famous such songs as "The Girl From Ipanema." Here, she
duets with George Michael on "Desafinado." It sounds very much like a
ballad off one of Michael's recent albums, but is not unlike many
traditional arrangements of this great tune. Michael also delivers the
words in very accurate Portuguese.
Jobim himself makes an appearance, performing a duet of "How Insensitive"
with Sting. It is unclear if this duet was recorded prior to Jobim's death
or was cut-and-paste together in the studio some time in the past year.
Regardless, it is a beautiful traditional arrangement, and the wispy voices
of Sting and Jobim complement each other nicely.
I have hated everything Crystal Waters has done in the past, and had
absolutely no respect for her whatsoever. That has changed now. Her
"The Boy From Ipanema" is fantastic! The whole song is complete (save
the gender-bending) - with all its complex chordal structures and lovely
melody. This is set against a burning latin dance groove with organs
which walk the fine line between super-cool and super-cheesy. Brilliant!
I can't get enough of it.
Other high points: Everything But The Girl covers "Corcovado" in the
original Portuguese, Tracy Thorne's accent quite convincing as she sings
with tender emotion. Then the drums jump in, proving again that breakbeat
has at last found a voice in EBTG. Stereolab perform a medley of "One Note
Samba" and "Surfboard" with Herbie Mann on flute, and with all the delicious
loose electronic psychedelia we've come to expect from Stereolab, although
it does go on a bit.
Ryuichi Sakamoto teams up with Cesaria Evora and Caetano Veloso for "E
Preciso Perdoar," delivering the track with a slow and sexy groove that is
pure Ryuichi. Very tasty... Incognito performs "Water to Drink (Agua De
Beber)" with Omar and Anna Caram. With the exception of the telephone-type
voice at the start of the track, it is a very nice rendition of the song.
David Byrne and Marisa Monte flip between English and Portuguese lyrics on
"Waters of March," which gets delightfully heavy halfway through.
Low points: PM Dawn teams up with Flora Purim and Airto to do "Non-Fiction
Burning." They deliver it in a lurching, awkward 7/4 "groove," which seldom
works. The Mad Professor performs "Black Orpheus Dub" with cliche
sounds and a boring arrangement. DJ Soul Slinger's remix of Chico Science
and Nacao Zumbi's "Maracatu Atomico" is uninspired and frightfully dull.
Overall, I have to say "Buy this record!" It is a great collection of some
exciting new arrangements of some brilliant songs, with the proceeds going
to a very good cause. There are plenty of other tracks I haven't mentioned
in this review, too, all of which I liked. This disc has received more
spins in my CD player this month than any other, and it will probably be
#1 next month as well.
Songwriting: 10/10
Production: 8/10
Performance: 9/10
Overall: 9/10
VARIOUS ARTISTS: Rig Rock Deluxe (Upstart)
Reviewed by DJ Johnson
As I slowly develop a taste for old fashioned country music, this CD smacks
me right between the eyes. Trucker tunes--some old, some brand new--by some
of the most important artists of the genre. The music was all recorded this
year--on this years finest equipment--so there's a lot of punch in the sound.
Buck Owens' "Will There Be Big Rigs In Heaven" sounds spectacular, especially
Terry Christoffersen's excellent pedal steel guitar work. Brantley Kearns'
fiddle playing and Eddie Shaver's stingin' guitar solo make Shaver's "Mother
Trucker" one of the best of the bunch here.
There really aren't any dogs. The music is skillfully played, mostly up-tempo,
and very authentic. Son Volt's "Lookin' At The World Through A Windshield,"
The Bottle Rockets' "Truck Drivin' Man (Give It All I Can)," and Del Reeves
and Jim Lauderdale's "Diesel Diesel Diesel" are all footstompers that'll get
you moving in no time flat. And when The Yayhoos' Don Baird growls "Yes
ma'am, I am from a'Birmingham, and if y'all don't dig it, I don't give a
damn," the tone of Redneck arrogance is crystal clear.
The most satisfying moment may be Red Simpson and Junior Brown's duet on
"Nitro Express," an almost amusing tale of a runaway rig hauling dangerous
cargo and bearing down fast on a small town at the bottom of the hill. Ol'
Red and Junior have a lot of fun with the song, and it's just as fun to hear.
It's also a great story, as are most of the songs on this CD. If a shuffling
country beat can move you, this is going to push your buttons. Hopefully,
this will help keep the genre from being lost forever. Rig Rock is, after
all, the worlds only folk music indigenous to the open road.
VARIOUS ARTISTS: Run Rhythm Run (Heartbeat)
Reviewed by DJ Johnson
These are instrumental reggae tracks recorded during the 60's for Duke Reid's
Treasure Isle label, performed by Tommy McCook & The Supersonics and The
Duke Reid Group. Some of these songs are downright dull--such as "Moody"
and "Loving Serenade"--but songs like "Psychedelic Reggae" and "Our Man Flint"
will make you forgive and forget in a hurry. There are plenty of medium-slow
soulful tunes here, not many of them particularly original, but every one of
them well performed. Case in point; "Rocking Soul" is a smokin' track with
great playing and lots of chops--chops that originally belonged to The
Bar-Kay's. The song borrows quite heavily from "Soul Finger." Come to think
of it, "Uncle Sam" borrows from "Soul Finger," too. "Ode To Billy Joe" is
covered as a sultry blues thang complete with lead sax, but they were honest
enough to call it "Billy Joe" and give Bobbie Gentry the writer credit. The
liner notes are totally useless, which is one of my only complaints about
Heartbeat. It seems to me that when presenting historically important music,
some education is in order, yet very little information seems to accompany
any Heartbeat release. On this release, the notes are just about nonexistent.
Oh well. So you won't know much about what you are hearing, but at least you
know what you like.
VARIOUS ARTISTS: Snakebite City Vol. 4 (Bluefire)
Reviewed by The Platterpuss
Any day that I open my mailbox and find another offering from the folks at
Bluefire is a happy day indeed. Like their other 3 compilations, this is a
collection of their favorite bands currently making the rounds in the
London area. If you're a fan of melodic punk with the occasional pop
influence, you'll find lots to love here with tracks by Gink, Apocalypse
Babys, Pink Kross, The Glory Strummers and Cleatus plus a handful of others,
more than enough to comfort me in the knowledge that, in these days of
artsy-fartsy alternacrap, there are still some great bands out there
crankin' it out loud, fast and pissed. Other favorite tracks include
Cuckooland's "As Good As It Gets" and "Saturation Saturday" by Showgirls,
two fine examples of girl-group power pop. Also on the power-pop side of
things is Skipper's "Grateful" which features some really pretty harmonies.
"Blameless," by Breaker, reminds me of early Mega City 4--never a bad
thing--and "Down At Cafe Sol" by Wact is classic oi punk with a bit of a
ska beat. Actually, of the 22 tracks on here, just about all of them have
something going for them so, if you're looking to try a little something
new, this is well worth checking out. (PO Box 16, Aldershot, GU12 5XY, UK)
VARIOUS ARTISTS: Total Togetherness Vol. 5 (VP)
Reviewed by DJ Johnson
The latest in VP's series of comp CD/LPs is a strong batch of rappin' reggae
tracks from Mad Cobra, Capleton, Lady Saw, Spragga Benz, General Degree
and others. For my money, the coolest track has got to be Ninja Man's
"Ruler Fi Di Yard," which is built on samples from The Munsters Theme. Ninja
seems to be crackin' up as the track grooves along. Capleton's "Bad Mine"
takes the "most unusual" prize for the strange droning sound in the background
that gives it such a surreal quality. Capleton is one of the more interesting
toasters on the scene today, because he throws himself into each track, body
and soul with no holding back. That brings us to Ronnie Thwattes' "Nicess
Time." This is an artist you need to hear. His soulful and unusual voice
brings new emotion to a genre that sometimes suffers a distinct lack of it.
These are all excellent artists, and this collection is a hell of a good way
to discover them all without going into debt.
VARIOUS ARTISTS: Working Man (Magna Carta)
Reviewed by Steve Marshall
Throughout the band's career, critics have been notorious for hating Rush.
Fans, on the other hand, have rejoiced in the Canadian trio's musical talents
for almost a quarter of a century. I became a Rush fan after hearing All the
World's a Stage (the band's 1976 live album) for the first time. Until then,
I wrote them off as nothing more than a Pavlov's Dog clone. I saw them perform
live several times after I heard Stage and was amazed at the amount of music
and visuals produced by these three in concert. By 1984, the band started
delving more and more into synthesizers, and for me, the excitement waned.
Apparently, the folks at Magna Carta felt the same way. The majority of the
tracks on Working Man are from the pre-1984 years. As is the case with the
other tribute CDs released by Magna Carta, there are a wide variety of
artists on the disc. There aren't many people who can sing like Geddy Lee
(used to), and at times it's painfully obvious. Overall, the musicians do
an excellent job, but the vocals could be better. The best tracks are the
ones where the singers add their own personal touches to the songs, rather
than striving to emulate Lee's vocals.
The CD gets off to an interesting start with the title track and "By-Tor and
the Snow Dog." Sebastian Bach's caterwauling on "Working Man" is horrendous,
although the music's good. The interesting thing about these two tracks is the
way "Working Man" segues into what is actually the second half of "By-Tor."
The next two songs, "The Analog Kid" (one of my favorite Rush songs) and
"The Trees" are simply awful. One of the best tracks on the CD is the
instrumental, "La Villa Strangiato," featuring incendiary guitar work from
Steve Morse. Billy Sheehan comes up with some killer bass lines on the song
too.
"Anthem" is another track to stay away from. Mark Slaughter's vocals on this
one sound like Geddy Lee on helium. Sebastian Bach isn't nearly as obnoxious
on "Jacob's Ladder" and musically, it stays fairly true to the original
version. Fates Warning's rendition of "Closer to the Heart" is one of the
better cuts on Working Man. The performance is good, and they add an excerpt
from the overture of "2112" to the end for good measure. The music on
"Natural Science" is good, but the vocals sound eerily like Marilyn Manson.
"YYZ" is excellent all around, especially Stu Hamm's searing bass riffs.
Working Man winds up with respectable covers of "Red Barchetta" (again, with
Steve Morse on guitar) and "Free Will."
One interesting note for fans - this CD was mixed by longtime Rush producer,
Terry Brown. With Brown overseeing the final mix and production details, they
achieved great sonic detail in the studio. Overall, this tribute is a mixed
bag, but Rush fans will probably be pleased.
* * *COSMIK QUICKIES - REVIEWS FOR PEOPLE WHO ARE IN A REALLY BIG HURRY* * *
THE BRIAN JONESTOWN MASSACRE: Never Ever/Feelers (Stanton Park)
Reviewed by The Platterpuss
This is one record that should've come out about 25 years ago when I was
still into dropping acid 'cause then I would have appreciated it a whole lot
more than I do now. Both sides of this thing are long, drawn-out, droney yet
somewhat melodic, with lead vocals that try to convey the feeling that
they're singing about something really important even though the lyrics are
all absolute drivel. Maybe they could work this into one of those 'this is
your brain on drugs' commercials. It'd sure as fuck scare me straight!
(PO Box 58, Newtonville MA 02160)
PLACIDO DOMINGO: Bajo El Cielo Espanol (Under The Spanish Sky). Suite
Espanola-Songs by Augustin Lara and Maria Teresa Lara. The VVC Symphonic
Orchestra conducted by Bebu Silvetti. (SONY SK62625 [DDD])
Reviewed by Robert Cummings
To clear up any misunderstanding regarding the headnote, this disc presents
twelve songs under the subtitle Suite Espanol. Nine were written by the late
celebrated Mexican composer Augustin Lara, and three by Maria Teresa Lara,
apparently one of the former's seven wives. Personally, I don't care much
for this music, which is more confection and glitz than anything approaching
meat and potatoes. But there's no denying that Domingo sings with such passion
and sheer commitment here that fans of his and fans of this fluffy, colorful
music will be rewarded handsomely. The spirited orchestra delivers the Latin
idiom with much relish. The notes are skimpy, but the sound is fine.
THE ELEMENT 79: Agent 38/Born Loser 7" (360 Twist)
Reviewed by
DJ Johnson
Something's doin' in the garage! Colorado's Element 79 are at it again with
this seven incher (limited edition white vinyl) full of energy and glorious
slop. "Agent 38" is an instrumental with a misleading title (I expected
spy-surf or somethin'), but the flip, "Born Loser," is right on the money.
Loud, cocky, and crackly, the song is pure garage. The vocals sound as if
they're being run through an old Sears Sivertone amp with the treble and
volume cranked and everything else off. If that doesn't sound appealing,
you're shopping in the wrong department, Fred. (360 Twist: PO Box 9367
Denver, CO USA 80209, 303-715-1858)
The Mants - Half Man, Half Ant, All Action EP (Roto-Flex)
Reviewed by The Platterpuss
With all these songs about being mants, there seems to be some kind of in
joke thing going on here that I don't quite get. Luckily it's all set to
some of the dirtiest, sleaziest garage/R&B music I've heard since I don't
know when. Picture a combination of The Makers and Jack O' Fire and you'll
see why I really could care less what they're wailing about, just as long
as they keep on wailing. (PO Box 64252, Calgary AB, CANADA, T2K 6J1)
MOZART: String Quartets: in D Minor, K. 421; in E-Flat, K. 428; in B-Flat,
K. 458 "The Hunt"; in D Major, K. 499 "The Hoffmeister". Franz Schubert
Quartett Of Vienna. (NIMBUS RECORDS NI 5455/6 Two Discs [DDD]; 58:35; 56:02.)
Reviewed by Robert Cummings
All but the last of these quartets in this set are from the so-called "Haydn"
group. Each is an intriguing, if not completely masterful, work. Mozart was
not quite as effective in this genre as he was in opera, for instance, or in
the symphony or concerto forms. Not that I'm even vaguely suggesting that
one might dismiss these pieces, especially considering the excellent level
of playing by the Schubert Quartett here. The group may have a bit too much
starch in their collars at times, but overall they render these works with
appropriate grace, expressive depth, and humor. Excellent notes and sound.
THE POPPETS: 4-Song EP (Sneakers)
Reviewed by DJ Johnson
Upbeat power-pop from Norway. There's a little bit of pre-spoilage Green Day
in their sound, thanks largely to Christian Ebeltoft's power chord movement
and Jon Wang's aggressive drumming. Thor Thorson's bass tone makes the whole
thing sound big. "Do You Know" is an extremely catchy pop song with great
vocal harmonies and a memorable melody. Thorson's a bit tough to understand
as a lead vocalist, but it sounds like something that will work itself out with
time--if they get a chance. At the time of this writing, Thorson was in the
hospital after climbing a railroad tower and getting a huge electrical shock
that would have killed most people. His status is unknown. Only time will
tell if there will be a follow-up to this hot little 45. (Sneakers Records:
Almgrensv, 9 A 1621 Gressvik, Norway)
MICHAEL ROSE: Big Sound Frontline (Heartbeat)
Reviewed by John Sekerka
Seems like a back-assward idea to put out an instrumental dub version of a
Michael Rose album. After all, his authoritative honey voice is the drawing
card. What Big Sound Frontline does is re-focus the Be Yourself album,
showing off the musical strengths and building a new soundscape from those
origins. The mixes sample enough of the originals to instill a familiar
comfort, yet adventurous enough to stand distinctly alone. And after all
the anal analysis (pardon me, it's my job), what is left is a superb
grooving album, rich with flowing melodies and irresistible beats.
Excellent.
The Satelliters - Oh Yeah EP (Demolition Derby)
Reviewed by The Platterpuss
These guys play snarly garage punk that's kinda similar to that being
cranked out by Spokane's bad boys The Makers. Although I really dig all
3 songs, it's the title track that really stands out here. Picture an
even cruder and more primitive "Sitting Here Standing" by The Chocolate
Watchband and you'll get the idea. In their own quiet way Demolition Derby
has become, along with Screaming Apple, one of the most consistent garage
labels around. They don't release a ton of stuff but just about everything
that they put out is top notch. They're distributed in the U.S. by Get Hip,
making most of their releases pretty easy to get. For a taste, check out
their compilation CD "Shut The Gate Suzy And Don't Let Them In."
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BETWEEN ZERO AND ONE
By Steven Leith
WHAT HAVE YOU PRODUCED TODAY?
So far in this column I have ranted about manufacturing consent,
censorship, unemployment, and corporate greed. What's left, you might ask.
Only one thing, but it is the one thing within which all the others are
wrapped. The human race has been objectified by western civilization. We
are no longer people; we are demographics, we are product. When did this
decline of civilization begin?
It began with the dawn of industrial revolution when industrialists and
their intellectual apologists drew deep meaning from the production line.
Wealth is product. Wealth is a sign of God's approval, thus product is
God. In the case of the late (unlamented) Soviet system, product was good
citizenship.
A man's worth could be measured in how much product he produced. A nation
could be judged on how much product it produced. We no longer need the
subjective measurement of a good life. All we need to do is measure
product output. In a perversion that would make the ancient philosophers
giddy with laughter, the west has not merely put the cart before the horse,
they have decided that the horse was holding back the cart.
Product is God. No one dares blaspheme against product in any western
nation or any developing nation that hopes to measure up. But nowhere has
the state of grace offered by the creation of product reached a more
insane apex than in the Military Industrial complex.
I am no soldier. But I must confess that I can find very few human
hobbies that more clearly demonstrates the elevation of product over
person than modern war. From the R&D boys to the defense contractors, it
is universally held that the "best" weapon system means the best army.
But if you ask an NCO, 10 to 1 she'll say that training and human spirit
is a deciding factor, especially in high-tech conflict.
Even our schools are set up to turn out product, not people. Motivated
and interested teachers will find it difficult to fight against the
pervasive ideal or product. From censored books to re-written history, the
curriculum belongs to the side who wins and product has won the soul of
the west.
Madison Avenue proclaims that America's greatest export is democracy.
That is as offensive as it is wrong. The U.S. exports the religion of
product. We export that to any nation that will take it. From despotic
dictatorships to despotic people's republics, product is becoming supreme.
Product is warehoused or it is dumped when it is obsolete. The similarity
to the under-class of the west is more than coincidence. People are
warehoused in prisons. People are made redundant by machines. People
come in second to product in the design of the economy and the political
structures.
Orwell was wrong. There need not be a jack boot in the face. The image
of the future is being forced to watch a Nike ad flashing across the sky
forever.
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PHIL'S GARAGE
By Phil Dirt
MALIBU BAR-BEE
Southern California in the sixties meant one thing: a surf band in every
garage. Most were peopled by teens worshipping at the altar of the Church
of the Deep Reverb. Many never left the relative comfort of the carport,
some wandered the neighborhood, still others played the high school dance
circuit, a few threw their own events at rented halls, and even fewer played
large venues to squirming masses of emergent puberteens. While it's this
latter category that gets most of the notice, some of the choicest sounds
were emitted by the garage and high school sock hop bands. Looking back on
a Johnny Barakat or the Vibrants is all that is required to understand this
point. It's sad that so few of these bands recorded.
Some time ago, I received a CD by Rake & the Surftones. It turned out to be
a teenage dream come true, delayed thirty years by events and musical
developments. Leader and visionary of the project is lead guitarist Todd
Labrea aka Jay Graydon [Toto, et al] who played and lived surf music as a
teen in Southern California during those innocent years of the early
sixties. I know what you're thinking: what's Toto got to do with surf music?
First, the sheer playing talent required to reach that level of commercial
success can't be denied, no matter where your musical sensibilities lie.
Second, this "band" is populated almost entirely by first call studio
players who cut their teeth on surf as lads during the golden age. So,
apply that talent to the pure teen surf sound, and that's what this is like.
This project was a studio thing Jay did with friends of similar backgrounds,
all first call studio musicians and/or successful artists in their own right.
Jay wanted to have some fun with his friends while capturing their roots.
They never intended to perform live. It wasn't even targeted to release. It
was a lark for personal pleasure and fulfillment. What they got was a CD
that contains some really nice surf instros.
So, Jay decided to have a party for the CD with the players on the album and
a bunch of first-rate players and friends. He invited me, and I couldn't
resist what promised to be the only performance of Rake & the Surftones.
Jay had warned of a brilliant but risky jam concept he was going to try at
the end. I won't spoil the surprise by spilling the beans now, but this was
the intriguing straw that broke the camel's back, so to speak, on my decision
to go.
I drove down to Malibu from my home in Felton, just outside Santa Cruz. It
was the usual 6-1/2 hours down 101 with the cruise control set at 66 to
avoid an unplanned conversation with Mr. CHiPs. The party was to start at
7 PM, so I left before noon to allow plenty of time.
I rolled into Malibu at about 6 PM. It's a very narrow strip between the
cliffs and the ocean, divided by PCH (the Pacific Coast Hiway). The party
was at a place called Marilyn's. It turned out to be a very nice restaurant
right on the beach just south of the Malibu Pier. I parked my car and walked
toward the front door. A cat in a colorful vest asks me if I'm there for
the party. I say "Yup!" Then he tells me I shouldn't have parked my car.
Now, I'm just a poor boy from the sticks. What do I know about valet parking?
I said "I'll bring it up here, and you can park it. He says "No, it's fine."
I wonder, if it's fine, why is he telling me this. It must be a hoy-palloy
thing. I went inside.
As I entered, I heard a few notes of "Gettin' Air" and a bunch of talking
among some guys holding guitars and things. I looked around for a familiar
face. I had seen Jay's mug shot on his home page the night before while
websurfing. There he was. I went over, introduced myself, and got a
surprising huge hug and welcome, and an immediate introduction to Dean Parks
[guitar], Jim Cox [keyboards], Kenji Sano [bass], and Darryl Voss [drums].
It was as if I was Jay's best friend, and as I learned through the night,
that's Jay's way; it's no bullshit.
I had no idea what to expect from the evening. I'd traded email with Jay for
several weeks about the CD, and our mutual backgrounds growing up around
radio. He seemed very intelligent, witty, and friendly. I had no idea that
he'd be the happiest guy I've ever encountered. He laughs all the time,
pokes fun at everything including himself, and is quite likable. Jay made
me feel welcome immediately, and everyone else followed his lead.
I decide to change out of the grubby shorts and Tee I drove down to Malibu
in, and to run out to find a room to stay in. As it turns out, there are
only two motels and one hotel in Malibu, and they were all full. I decided
to not worry about it. I'd find a place after the party on my way back into
LA. I changed into a comfortable pair of Levi's and a new Halibuts shirt,
and returned to Marilyn's.
I'm hangin' out, watching and listening to the chit-chat of "rehearsal." Jay
is leading them through a reading of the sheet music, directing the players
what to do and where. They had only played these songs once, maybe twice
when they recorded, and that was almost a year earlier. It was amazing to
watch how quickly seasoned first call session guys can pick this up, even
play with such feeling while reading the sheet music. I was dumbfounded by
that. It was also quickly becoming apparent that these guys all genuinely
liked each other. They were joking, cutting back and forth, and generally
having fun. Every time one of Jay's friends would walk in, they would stop
and Jay would call out some greeting, usually accompanied by a humorous jab.
There's a guy loitering in the back, much as I'm doing. He keeps looking at
me, and he has a familiar look about him. I meandered over, succumbed to my
better judgment by refraining from mocking a "Hi ya big boy," and said "You
look familiar." He said "So do you." I asked "What's your name?" to which he
replied "Jim West." I said "I'm Phil Dirt." Each of us issued that
who-the-hell-are-you look, then admitted not having ever met before. As it
turns out, Jim had been in surf bands as a mere teenybopper, and still
played guitar for sanity. He had grown up (unlike me) and started a business.
Jim owns and operates West Precision (2826-D La Mirada Drive, Vista, CA
92083), a precision machining business. I still wondered who he knew that I
knew, since he looked so familiar. He hadn't been at the Surfers Paradise
show, or any surf show except Dick Dale in decades. He then asked if I knew
Paul Johnson. I thought "Bingo!" Jim had jammed with Paul a few times, but
nothing more. So, as it turned out, we had never met before. I discovered
that Jim knew Jay via his web page and mutual email harassment, much the
same as me.
We watched Jay and Dean trade instructions and nods with very little playing.
After considerable time passed, Jason Scheff [vocals] walked in, was ushered
up to the mic, voiced a few lines, and went to the bar. These guys just turn
it on like a switch and it's note perfect. They could just talk through it,
then play like they'd just come off a six month tour.
They only played a couple of songs in their rehearsal, doing mostly the
discussion and reading thing. That was all they needed. As rehearsal ended
and people started flowing in, the mixing and matching began. The band
merged with their friends and strangers were introduced all 'round. There
were many familiar names attached to the regular and irregular folks
mingling there. What I've always found fascinating is just how regular
luminaries are when their among their peers, or for that matter, just
treated like regular folks instead of demigods. The look of the mob in
attendance was regular...Levi's, tee shirts, surf wear, working clothes,
etc. The only noticeable variant to that were the women, who were dressed
up a bit, some being in rock 'n roll stage clothes, some gorgeously showy,
and a few down right glossy. They seemed more conscious of appearance,
where the males seemed more musical buddy oriented. None of that affected
the friendliness of the women. They were just as warm and wiggly as the
guys. A nice bunch.
I was ready for a starter brew. I found to my surprise that the bar was
free. I had expected to pay my own way, but Jay had bought the house for
the night: drinks, appetizers, and dinner. It was a nice touch. Very big
hearted. I think Jay truly wanted exactly what he said...an evening with
his friends to celebrate a CD that marked their mutual adolescences.
Dinner time arrived, and none to soon for me. The quick stop in King City at
Burger King many hours earlier had long since worn off. I got in line, and
soon arrived at a buffet table with abundant good food and helpful friendly
servers. While in line, I couldn't help asking myself "Doesn't Jay know any
schmucks? Even the restaurant staff are top notch warm and friendly!"
As I passed each server in succession, they applied the choices I'd made to
my waiting plate. Soon, I was faced with finding a place to park my carcass
and eat. Finding a likely spot, I sat down and proceeded to munch the
nutritional booty. In a few minutes, Jim West joined my table. Chit-chat
ensued, personal and musical. We are both a bit in awe of the names we can
identify. That's when Jim pointed out Tommy Tedesco and his wife. Tommy
Tedesco! Wow. This guy has played on everything! Well, that's a bit of an
overstatement, but Tommy is like the king of the studio guitarists. He
played on a huge number of surf sessions in the sixties [Marketts, etc].
Dinner eventually gave way to more mingleage, and then a call to arms to
the players from Jay. The moment of truth had arrived. I was stoked. With
what I'd seen so far, I knew it was gonna be good.
From the first pick, the performance was note perfect. Their sound was pure,
clean, and very infectious. How can anyone play with such energy, emit such joy
through their instruments, and be so tight without a bunch of rehearsals at
least? "Gotta Woodie Today" was stellar, as were "Run, Don't Walk" and "Gettin'
Air." I'm no trad vocal surf fan, as you know, but when Jason Scheff and Craig
Copeland stepped up to the mic for the vocal numbers it was astonishing. I had
seen the Beach Boys unintentionally a few months back, and they were really
sad. The vocals were not very good, and the falsetto was carried by a
youngster. Jason and Craig were right on without monitors or pretensions,
and it was really sweet. It almost made me wanna rethink my vocal stance.
Fortunately, I realized that they were the exception, not the rule. They were
incredibly good.
What strikes me looking back now is that they all had the same matter-of-fact
humility about their talent that I had witnessed many times with Ashwin Batish
[virtuosos sitar player] in his Santa Cruz home. Ashwin comes from a long line
of musicians in India. He grew up surrounded by the best and it rubbed off.
He's the nicest guy you'd wanna know. And so it is with Jay and the guys in
his band. They were all equals in their own eyes. As you'll see, this is an
attitude, not a talent judgment on their part.
For forty five minutes, Rake & the Surftones held the rest of us captive. They
not only played with unbelievable precision which coexisted with a genuine
musical warmth, they also traded jabs between songs, looks during songs, and
told funny stories about each other and their friends in the audience. Truly
magical.
As the "planned" set came to an end, I was eager to see/hear what would happen
when Jay coerced the players into following his twisted dream jam concept. In
fairness, the idea was given to Jay by John Kurnick, who showed up real late
after a gig. He joined the jam line up on guitar [he is one of the soloists on
the "Surfers Toe Jam" track on the CD].
The idea? Jay called for every guitar in the house to join in. The folks on
stage included Surftones Dean Parks, Jim Cox, Kenji Sano, and Darryl Voss, plus
Steve Lukather, Tim May, Bobby Cochran, Teddy Castalucci, Sterling "Biff" Ball
and Jim West.
Once there, the concept was sprung on them. Jay would lead them through a
chromatic reading of the Surfaris' classic "Wipe Out," and not one player at a
time, but all at once. So a half dozen guitarists would be playing together
simultaneously, each in a different key. The grins were everywhere among the
players as Jay made key assignments. Even the keyboard and bass were assigned
keys. The plan was to rotate through the line-up around the stage, with each
player taking solo's.
Now, this might be hard to imagine. It is even harder to do, since it requires
the players to ignore what their ears are telling them about key on the one
hand, and listening to stay tight on the other. It took about ten minutes to
get everyone assigned, and to actually get up the guts to do it. Then it began.
The sound was simply the most amazing thing I've ever heard. It violated all
the rules. It was both horrid and totally magnetic at the same time. It was a
monster sound, never before heard. The leads were traded, and the rounds were
made, and the whole house roared their approval when it was over. Unbelievable!
I wish I'd been able to record that!
The chromatic jam could not have happened except among friends such as were
gathered here. In Jay's words, "This gig was not 'Hollywood,' meaning I
only invited people that would appreciate the serious humor without any
business attachments. I could have turned this into a record company showcase
but this would have been a 'groove killer,' meaning the performance would be
too thought out and safe." This was a night of total musical fun, good food
and drink in the perfect environment. This party was not supposed to be a
Hollywood star fest but was meant to be a free for all in musical fun land."
It was precisely that environment, of friends and family, who would
tolerate...no, welcome such a risky performance idea.
Jay left the stage to hang with the punters, and the jamsters continued for
quite a while, playing an incredible "Pipeline" for a good ten minutes with
everyone taking a lead for a while. It's not enough to imagine just the talent
displayed on this surf archetype that impressed me, not that it was in any way
unimpressive. What I was struck by was Jim West probably living the dream of a
lifetime. Here's a guy who plays his guitar for personal pleasure only. A guy
who grew up in a teen surf band as a kid. Here he is on stage on equal terms
totally accepted by such an amazing line up. It was very emotional to watch. He
was in heaven. When his leads came, he was right in there. Jim's a good player.
For me, that was the defining moment of the show as far as attitude is
concerned. There were no egos or boundaries, only musicians having a really
fun time playing with and for each other. Amazing.
After that, the players meandered through a number of other standards, and
digressed into blues jams and the like. Players came and went. It was all
too surreal.
If Rake & the Surftones' only performance, followed by "Chromatic Wipe Out" and
an all-star "Pipeline" with a human side bar weren't enough, the other warning
Jay had issued came to pass at about 11 PM. The jam had died down for a while,
and the place was quiet. Suddenly, briskly entering through the front door was
a young man in shades who proceeded to the stage which was now vacant. As he
got there, Jay excitedly shouted out "Watch this!"
The special guest on the bill was about to slaughter us. He fumbled around for
a keyboard that was turned on while he extolled the virtues of his talent,
which is a knack for impersonating a lounge musician / singer a la Holiday
Inn style. Bill Cantos presented himself as Bobby Barton, master of the lounge.
Totally funny. He was laughing with us on the inside while we howled on the
outside. He made up lyrics about the people at the event over sappy organ beds
perfectly designed to make your need to laugh greater than your need to puke.
As horrid as that kind of lounge is, Bobby Barton makes you love it through
his mastery of spontaneous lyric creation and smarmy lounge keyboard wizardry.
This man, with his sharkskin personality and I'm too cool shades, slithered
through piano bar stereotypes with the grace of a Southern lady. From his well
primed pump of sleaze, Bobby evoked a plethora of reactions like grab your
wallet [used car salesman alert], where's the bar ['cuz maybe a drink will make
the singer sound good], where's the bathroom [I never thought I'd hear
"Kashmir" played THAT BADLY--I'm gonna be sick], dumb-struck fascination
[watching Newt talk about morality and wondering why HE isn't as embarrassed
as you are for him], and acquiescence [I'm from the government and I'm here
to help you--you're too stupid to think for yourself and I'm gonna make you
pay for it]. Bobby was brilliant. Never have I enjoyed a parody so much. Gee,
I hope it was a parody. What if he meant it?
Time to excuse myself and figure out where to sleep. I bid farewell to the
party, and slithered out to my self parked car. As I was getting in, I noticed
the manicured attendant shaking his head. Was I supposed to let him get my car
for me? I mean, it's only 50 feet from the door, the lot is half empty, and I
can walk twice that far, and... I'm just a simple boy from Santa Cruz. What do
I know about the up side of the inconvenience of well heeled niceties?
I drove back down PCH until I found the 10 which got me to the 405 north and
eventually back onto 101. Somewhere along that path, I found a motel with a
desk clerk who looked like he thought I was gonna rob him. After a reasonable
sleep, I trudged up the coast the 460 plus miles back to Felton. Home at last.
I can still hear that glorious chromatic "Wipe Out!"
Phil Dirt
Players & Punters
Rake & the Surftones: Dean Parks, guitar. Jim Cox, keyboards. Kenji Sano, bass.
Darryl Voss, drums. Jason Scheff, vocals. Craig Copeland, vocals (and guitar in
jam land).
Additional "jam" guitar players: Steve Lukather, Tim May, Bobby Cochran, Teddy
Castalucci, Sterling "Biff" Ball and Jim West.
Later open stage players included a female guitar player, whose name I didn't
get [Deans girlfriend], Bill Champlin [organ], Tamara Champlin [vocals], and
Tris Imbodin [drums].
Also in attendance but not playing were Tommy Tedesco, Ned Doheny, and Tommy
Funderburk.
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STUFF I NOTICED
By DJ Johnson
I wanted to watch Ren and Stimpy tonight, but I couldn't. There was some film
about why Bob Dole isn't such a terrible guy once you really get to know him
and perhaps support some of his special interests. Everywhere you turn, the
election is in your face, so it's pretty damned hard to notice stuff about
any other subject until this damned thing is over. And so I offer these little
observations. Perhaps you've come to some of the same conclusions. Perhaps
you think my choo choo has chugged around the bend and I'm no longer capable
of reason. Perhaps that wouldn't be so bad.
* The closer the elections get, the more serious the accusations from the GOP
camp. At this rate, by election day, Dole will be claiming that Clinton was
seen lighting up in the non-smoking section of the Hindenberg. Dole's speech
disasters keep getting curiouser and curiouser. Is he actually following the
scripts? I'd rather think he's gone renegade, because any other notion would
involve my having to accept that there are more people that stupid, and they
have united. No thanks. I'll just go ahead and envision his people, hands
over their eyes screaming "No! NO!! READ WHAT WE WROTE, BOB!!" Senator
Gridlock, meanwhile, continues to surprise everyone with his brilliant moves,
such as asking Ross Perot to drop out of the race and support him. Bob, ya
know, this may come as a shock to you...but Boss Ross actually thinks he can
win this thing. Shhhhh... The less said, the better. As for you, Bob, you're
a moron. Moron moron moron moron moron! The night before the elections, I
intend to dedicate a song to Bob. The Humpers' "Wake Up And Lose."
* Did you know that campaign signs breed like bunnies? They do! Case in
point: the twenty four campaign signs in the fifteen square feet of grass
next to my place. A month or so back, there were two signs there. Now,
they're everywhere. What's more, they all look identical. They all say the
same name. I don't need to order up a DNA test to convince myself of the
obvious. These are some prolific signs. After the election, the signs will
remain there until they are A) collected as kindling and burned, B) burned
by delinquents "at the stake," as it were, or C) rotted into a fine compost
from two or three winters of adverse weather conditions. Am I the only
person who resents this? You know what? I think I'll run for governor on
a very simple platform. If elected, I will drive around and clean up
everybody's campaign signs. I'll get these ugly things out of your yards.
And I'll bet you a buck I'll win. Are we sick of these snake oil salesmen
leaving their droppings in our backyards yet? Maybe we should say something
this time.
* Oh no. Tonight, on TV, we have a choice between a retrospective on Ross
Perot's good deeds called "I'll Gladly Pay You Tuesday For Your Vote Today,"
or Bob Dole's biographical film called "You Must Be Thinking Of My Older...
Meaner Brother." I wonder if Gilligan's Island is a rerun...
* Here in Washington, my home state, there is a woman by the name of Ellen
Craswell running for Governor. I don't want her to win. It's not a sexist
thing. It's fear of crusades. I did some reading up on the crusades, and
it really sounds like it wasn't very much fun for anyone except the crusaders.
They butchered a lot of people in the name of God. Ellen Craswell says she
will run the state based solely on the laws of the Bible. What this means,
exactly, is open for interpretation, but don't waste too much valuable time
on that--any interpretation is frightening enough, and that time could be
better spent putting your home on the market and making tracks to, say,
Oregon. They don't have sales tax in Oregon. That's a plus. They also
don't have Ellen Craswell, and that's a deal maker. So those readers who
happen to live in Washington should band together and vote for Gary
Locke--not because he's such a nifty candidate, but because he's not Ellen
Craswell. Why should the rest of you give a tinker's damn about this?
Because it's a religious right candidate trying to win a very important
post, and that can't be allowed to happen. Watch for it in your state or
your country or even your school district.
* I noticed that Julia Roberts, and actress I've never found particularly
attractive, just seemed downright sexy in "Something To Talk About." I
didn't even LIKE that movie, and I watched it three times. What does that
have to do with the elections? Nothin'. But it was on HBO, and it was the
only program on at the time that didn't have somebody saying somebody else
was an unelectable criminal. I have the days until the elections are over
marked off on my wall. It looks like a prison flick in here.
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November's scattering of things, items & stuff!
AMERICAN ANTHEM
I have traveled the pitted miles of melting asphalt
overlaid on rows of peeling houses with cardboard
windows; adorned with grandmothers in white gowns and
pink slippers rocking in rusting metal chairs, as if
waiting. I have warmed my bare feet on their fraying
braided rings of ancient rugs stretched across cold
wooden floors of their parlors; the smell of rubbing
alcohol loitering in the room.
I have seen the youths of these cross-patched
neighborhoods riding on the amber waves of their veins,
their pain rising with the tide of the needle in their
skin; their faces turning red, then white, then blue.
I have seen that early light of dawn etched on the
shadows of alleys hidden by a carefree moon,
transforming the glittering neon streets into dingy
avenues of stacked cases of half-empty beers dripping on
the walk onto the cardboard forms snoring in the subway
stairs.
I have slept in the doorways of the finest of
establishments, my face against etched glass and the
disapproving glance of the night watchman; my hands and
feet wrapped in gray cloth discarded at the Goodwill
drop; my blanket yesterdays NASDAQ quotes neatly layered
over my sweat-soured pants and shirt.
I have sat in the puddles of the colonias
waiting on the open pit to rise in flame
as papa skewers the tire- scarred skinless carcass of an
old jackrabbit too slow to cross the road; while my
sister feasts on the green mud soaking our skin.
I have stood on Coit Hill, breathless from the climb as
black limousines pull into the circle to watch the red
dusk, my skin tight on my failing frame; avoiding the
glances of the plush children emerging from the cars
pointing at the skinny man with the sores on his face.
I have watched the ramparts of the Galveston Sea Wall
while hauling in a net of stinging shrimp, my skin
fouled with the smell of dead life, staring at the young
girls in pink and red thongs lying prone on unfolded
chairs, charring their skin.
I have seen the rockets red glare in Centennial Park, as
the common tools of labor, shredded the crowd into a
ring of blood; while a band played on, the five-ringed
flags still there.
I have seen the burnt stalks in dry rows
being pulled by men with dirty dripping brows,
the skin on their hands broken and torn from the fine
edges of the crackling, crumbling leaves; their stomachs
aching from the fear of the coming winter.
I have seen the homes of the brave men,
crumpled in wheeled-chairs, their medals pinned to their
shirts, as their wavering hands lightly touch their
faces in salute to the raising of the morning flag;
their raspy voices restating their pledge.
I have seen the land of the free men;
their spangled flag draped over them,
as blackened widows stagger to their boxes
laying down one last rose
before the silver platform of belts and wheels
affixes them to the earth.
David E. Cowen
Copyright 1996
All Rights Reserved
Ripford@aol.com
http://members.aol.com/ripford/homepage/ripford.htm
http://members.aol.com/ripford/homepage/cowen.htm
Freedom is the right to choose:
the right to create for oneself the alternative of choice.
Without the possibility of choice and the exercise of choice
a man is not a man but a member, an instrument, a thing.
- Archibald Macleish
JESUS' RETURN IN THE ARMAGEDDON
surprised were the residents at Fort Nine
when the High Priest arrived one Sunday,
alone and without notice, without guards
he called the men together for a sermon
when he fell off of his horse to show a knife in his
back.
the privates of the regiment were ordered to run
to fetch the services of Mary, the camp nurse,
but she was no where to be found as it started to rain.
the men on a five-kilometer hike returned just then,
they removed their hats and saluted the priest, yet he
just laid there, still and without any support.
Sgt. Jones played the bugle, Sgt. Williams the drum as
the American flag was lowered to half-mast but somehow
Capt. Smith heard a muffled whisper:
"Hail Mary, mother of God, hallowed be thy name,
thy kingdom come, thy will be done on Earth
as it is in heaven. Please, Father, forgive me
of my sins and bless those surrounding me.
Bless their families and hold true their faith. Amen."
suddenly, the High Priest arose, took the knife from his
flesh as his features began to change and resemble those
of Jesus Christ he looked up to the heavens, snapped his
fingers ever so slightly as a lightning bolt came down
and struck every man dead.
Christopher Stolle
cstolle@indiana.edu
http://copper.ucs.indiana.edu/~cstolle
If the First Amendment means anything, it means that a state has no business
telling a man, sitting alone in his own house, what books he may read or what
films he may watch.
- Justice Thurgood Marshall, from a unanimous Supreme Court decision, 1969
DISGUSTING RECIPE OF THE MONTH
PULLUS FUSILIS (Chicken With Liquid Filling)
Ingredients:
1 fresh chicken (approx. 1-1.5kg)
300g minced meat (half beef, half pork)
100g groats (of oat)
2 eggs
250ml white wine
1 tblsp oil
1 tblsp Liebstoeckl (a kind of celery; the dried roots were used as a spice)
1/4 tsp ground ginger
1/4 tsp ground pepper
1 tsp green peppercorns
50g stone-pine kernels
Liquamen (a salty fish sauce) or salt to taste
Instructions:
Grind pepper, Liebstoeckl, ginger, minced meat and cooked groats. Add
eggs and mix until you have a smooth mass. Season with Liquamen, add oil,
whole peppercorns and stone-pine kernels. Fill this dough into the
chicken. Cook approximately 1 hour with 220 deg C in the oven.
The antipornography movement of the 1980s represents yet another attempt
by certain groups to impose their morals on the rest of society. What makes
these efforts more threatening than those of the past is the extent to which
they have been abetted by federal, state, and local authorities. The climate
engendered by initiatives such as the Meese Commission has been described
with only a bit of hyperbole by Hugh Hefner as "sexual McCarthyism."
- Donna A. Demac, in her book Liberty Denied: The Current Rise of Censorship
in America
The arts are the rain forests of society. They produce the oxygen of freedom,
and they are the early warning system when freedom is in danger.
- June Wayne
Obscenity is a cleansing process, whereas pornography only adds to the murk.
I am for obscenity and against pornography.
- Henry Miller (1891-1980), U.S. author.
JE NE SAIS PAS
I dont know who I am
I dont know what I want
I dont know why I'm here
I dont know who got here first
I dont know what it all has to do with me
I dont know why I dont make my bed
I dont know why I keep losing my socks
I dont know why my mom keeps calling me
I dont know why I keep rolling that damn rock up the
hill I dont know if I get enough sleep I dont know what
it means when I fly in my dreams I dont know the
appropriate life skills I dont know how it all works I
dont know if I have any regrets I dont know how to not
sweat the small shit I dont know how to hold my own with
other guys I dont know how to do the relationship thing
I dont know how to laugh I dont know how to cry I dont
know why the harder I try the harder it gets I dont know
why my cat prefers the carpet to the litter box I dont
know if tomorrow ever comes of if it belongs to me I
dont know if UFO's exist I dont know if professional
wrestlers are faking it or not I dont know if Eddie
Haskell is really Alice Cooper I dont know who wrote the
book of love or if I even care I dont know if "Louie,
Louie" is the Great Western Mantra I dont know if Elvis
is dead or if Jim Morrison is alive and running guns in Honduras
I dont know if you've heard the one about the Zen vacuum cleaner;
it has no attachments
I dont know why we die
I dont know what time is
I dont know if God plays dice
I dont know if reincarnation really matters
I dont know if meditation is the highest form of prayer
I dont know if prayer is the highest form of song I dont
know why Bob Dylan always sounds like its killing him to
sing I dont know if a woman named "J" wrote the Bible I
dont know why there are homeless children I dont know
why most men are proud of the fact that their underpants
are torn and frayed
I dont know how to get rid of the smell of catpiss in my
carpet I dont know why some people insist that the
Holocaust never happened I dont know why evil men
prosper and the good die young I dont know if God is a
hairy thunderer or a cosmic elf named "Muffy" I dont
know if we'll ever develop cold fusion I dont know if
Shakespeare was gay I dont know if Beethoven was black I
dont know J.R."Bob" Dobbs is the Messiah I dont know why
O.J. walked I dont know why Jesus wept I dont know if I
have anything to prove I dont know if I have anything to
say I dont know why these things happen I dont know what
the hell is going on
Copyright (c) Paul McDonald 1996
Paul@louiseville.lib.ky.us
Whether or not legislation is truly moral is often a question of who has
the power to define morality.
- Jerome H. Skolnick
MOST WANTED
Violence
Violence is the only thing that can make us see sense
Life is like an MTV LL Cool J Life is Sex Alanis
Morissette Life
is Ironic
I'm Bored I'm Jaded
Video
with phoney DJs
Life is like a Clint Eastwood Spaghetti Western Charles
Bronson
Vengeance
is Mine Claude van Damme Steven Segal No
Retreat
No
Surrender
Karate
I WILL Get Even Revenge
Movie
Life is like a Fascist Congress Fascist Christian
Coalition Punch
Them in The
Face
if They're Not on
Your Side
America is Falling Moral Decay The Only Biblical
KKK Way is to treat um rough Beat um up Kill um if
ya have to after all it may take some Violence
a few thousand
deaths
to clean this country up
get it back on
track
Save it from the homos the feminazis
the liberals Save it from The New
Age from Generation X
yes it's time to bring America back
home to
Violence
Violence is the only thing that can make them see sense
Copyright 1996 Ron Whitehead
MOST WANTED is dedicated to militiaman who suckerpunched
(unprovoked) me in March of this year & broke my nose,
cheek, jaw, permanently dislocated my jaw (plus other
damage). already had 2 surgeries to straighten face plus
look forward to 4 more years of work on mouth.
unfortunately our political/religious climate is lending
itself to this type behaviour. got to be better ways to
reconcile differences.
- RWhiteBone@worldnet.att.net
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E-MAIL ADDRESSES FOR CONTACTING COSMIK DEBRIS' WRITERS
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Shaun Dale...............stdale@well.com
Phil Dirt................Luft.F@diversey.geis.com
David Fenigsohn..........a-davef@microsoft.com
Alex Gedeon..............abraxas@primenet.com
Keith Gillard............liquid@uniserve.com
Louise Johnson...........aquaria@serv.net
Steven Leith.............leith@speakeasy.org
Lauren Marshall..........Ocean@pluto.njcc.com
Steve Marshall...........SteveM@pluto.njcc.com
The Platterpuss..........Plattrpuss@aol.com
Paul Remington...........premington@rochgte.fidonet.org
John Sekerka.............jsekerka@gsc.NRCan.gc.ca
Cosmik Debris' WWW site..http://www.greatgig.com/cosmikdebris
Subscription requests....moonbaby@serv.net
Jim Andrews' "JimbOnline" web site (contains tons of Windows 95
(tm) shareware) is at http://www.serv.net/~jimndrws
Shaun Dale's web site is at http://www.zipcon.com/stdale
Phil Dirt's Surf Site is at http://www.cygnus.com/kfjc/surf
Keith Gillard's "Liquid Records WWW site is located
at http://haven.uniserve.com/~liquid
Steven Leith's web site is at http://www.serv.net/~leith
One last thing... Tonight, when you get ready to go to
sleep...and I'm talking primarily to the American readers
here... remember to stretch, scratch your private parts,
and thank your personal God that because many young men and
women died bloody, painful, horrid deaths on battlefields
far from their homes, you now have the freedom to make fun
of Bob Dole. Call him a loser. Point and make mean remarks.
Take down your pants and do that Ace Ventura talking asshole
thing. "Bob Dole! Sniff this, loser!" Freedom: Use it or
lose it! God bless America, buddy! Cosmik Debris salutes it!
