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Consumable Online Issue 145
==== ISSUE 145 ==== CONSUMABLE ======== [June 2, 1998]
Editor: Bob Gajarsky
Internet: gaj@westnet.com
Sr. Correspondents: Daniel Aloi, Joann Ball, Bill Holmes, Tim
Kennedy, Reto Koradi, David Landgren, Sean
Eric McGill, Tim Mohr, Al Muzer, Joe Silva,
Lang Whitaker
Correspondents: Tracey Bleile, Lee Graham Bridges, Scott
Byron, Jason Cahill, Patrick Carmosino,
Krisjanis Gale, Emma Green, Paul Hanson,
Eric Hsu, Tim Hulsizer, Robin Lapid,
Linda Scott, Scott Slonaker, Chelsea Spear,
Simon Speichert, Jon Steltenpohl, Simon West
Technical Staff: Chris Candreva, Dave Pirmann
Address all comments, subscriptions, etc. to gaj@westnet.com
==================================================================
All articles in Consumable remain (C) copyright their author(s).
Permission for re-publication in any form must be obtained from the
editor.
==================================================================
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| Contents |
`------------'
REVIEW: Tricky, _Angels With Dirty Faces_ - Joe Silva
REVIEW: Rod Stewart, _When We Were The New Boys_ - Bill Holmes
REVIEW: Natalie Merchant, _Ophelia_ - Jon Steltenpohl
REVIEW: Bernard Butler, _People Move On_ - Robin Lapid
REVIEW: John Wesley Harding, _Awake_ - Joe Silva
REVIEW: Lenny Kravitz, _5_ - Linda Scott
REVIEW: B-52's, _Time Capsule_ - Bob Gajarsky
REVIEW: Autour De Lucie, _Immobile_ - Scott Byron
REVIEW: Chris Stills, _100 Year Thing_ - Jon Steltenpohl
REVIEW: Veda Hille, _Spine_ - Chelsea Spear
REVIEW: Sherry Rich, _Sherry Rich & Courtesy Move_ - Daniel Aloi
REVIEW: Soundtrack, _Last Days of Disco_ - Bob Gajarsky
NEWS: Bauhaus
TOUR DATES: Burning Airlines, Connells, Evelyn Forever, Flick,
Irving Plaza, Ivy, Paul Kelly, Megadeth / Monster Magnet,
Pitchshifter, Saw Doctors, 12 Rods, Josh Wink
THE READERS WRITE BACK!
Back Issues of Consumable
---
REVIEW: Tricky, _Angels With Dirty Faces_ (Island)
- Joe Silva
Since _Maxinquaye_'s startling arrival, Tricky has
tried to give all concerned a redefined vision of urban
musical blight - soundscapes that are sparse and menacing,
yet ultimately groovin'. "Aftermath" was all those things,
but four years out, Tricky may have become the victim of
his own vision-thing.
What Tricky's "voodoo" is currently about is more
crisp drum tracks holding up ghostly bass and guitar lines
and a bit of the old ultra-grim keyboard. His feel for
effectively etching a track's character remains near-stellar,
but in the end there's too little variation throughout what
he chooses to render. The fragments he chooses to build upon
are too wispy or skeletal to be the basis for much of
anything. But lavished upon with stroke after stroke of
calculated gloom, they become curious enough to draw your
attention. Which is exactly what Tricky's best at.
But there are small triumphs. The incessant, spare
riff laid down by Jack Hersca on the lead-off piece "Mellow"
is engaging enough in its basic nature to distract you
momentarily from Tricky's tolerable lifting of basic Tom
Waits shtick. The gospel choir placed up against a macabre
fairground vibe during "Broken Homes" shows off his
occasionally great flair for juxtaposition. But while PJ
Harvey chimes in to make something of the rudimentary melody
Tricky, not content to have smartly orchestrated all of this,
can't restrain himself from tainting the goods with a
completely unnecessary appearance on da' mike.
As things go on from there, you'll hear Tricky natter
on about feeling "pre-menstrual" (pre-millennial?) as the
industry gets ready to bleed him for more than he cares to
dispense. His ego is firmly lodged in an abstraction that
insists upon it's share of universal respect as long as there
no protracted amount of prodding at his flesh. He's here to
assure us that he's great and powerful. Just trust him on this
one, okay?
As always Martina, in her role as significant other
and general purpose point of illumination, thankfully comes to
the fore. Her totally credible demand for her "ten dollars
today" during "Singing the Blues" makes you wonder if PJ's
earlier stand-in appearance was just a bit of artistic
name-dropping. As pure cinema, Martina's voice is a leading
light whose languor is a verite that Tricky can not do
without while he's running the game. Because even though he
can nab ace talent like Marc Ribot or genre heavies like
Anthrax's Scott Ian (!!!), they are largely subjugated to
his will. Until Tricky finds a key collaborator or is willing
to hang on his ego a touch more aggressively, his will
continue to be an overpoweringly morose specter over his
output.
---
REVIEW: Rod Stewart, _When We Were The New Boys_ (Warner)
- Bill Holmes
Rumors about the comeback of The Rooster Of Rock were
flying the moment this album's concept was leaked to the press
last year; the common thread being that Rod was making a rock
record that could stand alongside _Every Picture Tells A Story_ or
any Faces disc. As fans became excited and critics sharpened
their axes (for the inevitable failure), the further details
regarding the "cover song" concept became available, leading both
fans and critics ready to write the old man's epitaph - not only
has he lost his way musically, but now even his muse has left him.
As someone from the other side of the pond might say,
"Bollocks"!
Scrape away all the surface crap about Rod's Hollywood
image, his tabloid romance diary fodder and every other
preconceived notion and you just might remember that Mr. Stewart
is one of the best interpretive performers of the last thirty
years. Whether breathing fire into the classic "I'm Losing You",
celebrating the joyous "People Get Ready" or rocking out with
covers of his beloved Sam Cooke, Stewart has always peppered his
records with inspired versions of other's work; casual fans might
be surprised how many of his covers are superior to the originals.
But the big misnomer here is the "rock album" tag - while
half the songs light a bigger fire than most of recent memory, the
others fall into that literate ballad category that Rod has mined
for gold. On this record, Rod digs down a little deeper and sings
in his upper register more than usual - a bold step for an elder
singer, but perhaps his own way of proving a point. "Superstar",
complete with the opening fanfare that screams "sensitive ballad",
is a prime example; Rod's pleading vocals cascading above the
melody. Ron Sexsmith's "Secret Heart" follows, framing Rod's
voice in a beautiful acoustic arrangement that proves his pipes
are as strong as his phrasing. Perhaps the most beautiful song
on the record is Nick Lowe's "Shelly My Love", yet another ballad
that boldly leaves Rod's vocals naked against the framework of
the song. They might be mellow, but they are among the most
beautifully fragile performances of his career. Perhaps his most
challenging vocal is on "Weak", the passionate power ballad by
Skunk Anasie that truly pushes his gravel voice to the limit.
A nod and a wink to his departed bandmate Ronnie Lane,
the arrangement of "Ooh La La" recalls the atmosphere of his
early records when Pete Sears and Mickey Waller and Martin
Quittenton and others brought his folksy vision to life. Ditto
the closing track, the Dylanesque "What Do You Want Me To Do"
from Waterboy Mike Scott, simple acoustic and harp easing the
record to a close. This is the first record that Rod has
self-produced in years, and it reinforces the fact that he has
always been his own best producer, balancing sparse ballads and
full band rock and making it cohesive.
As far as pure adrenaline rock, there are really only
three kick-ass moments. The opening track and single "Cigarettes
And Alcohol" (Oasis) gets full "Brown Sugar" treatment, complete
with horns and saucy background vocalists (take THAT, Liam!).
Turn the knob up as well for the vastly underrated Graham Parker's
raucous "Hotel Chambermaid" and especially the Stones arrangement
of Primal Scream's "Rocks", a no-brainer for his upcoming live
show. But the arrangements and playing here are far more
reminiscent of his post-emigration American bands than classic
Faces material. As talented as any of his bands and sidemen
have been over the years (and make no mistake, there have been
many heavy-hitters), there will never be another song that will
recapture the magic of the golden era. Why? Because as much as
neither one will ever say so publicly, the combination of Ron
Wood and Rod Stewart created a magic that neither has been able
to match without the other. Watching the video of _Unplugged
And Seated_, even with the acoustic setting, it is obvious
how the two naturally feed off each other. So while he may be
recapturing his roots (the album art's little side joke), the
rock is more along the level of "Hot Legs" than "Stay With Me".
But he knows that better than anyone. The centerpiece
of _When We Were The New Boys_ is the title song, the lone
track penned by Stewart (co-written with band mate Kevin
Savigar). The tempo and lyrical framework will immediately
recall both "Forever Young" and "I Was Only Joking", and
like those, contain autobiographical lyrics that perhaps
here are more poignant than ever. Stewart's well aware of
his past glories, and also that he cannot turn back that
clock, no matter how much his fans (and probably himself)
might want him to. But while he's not trying to recapture
the torch, he's not passing it either - if you want it,
Noel, come on and get it. The lyrics are among the best he
has ever written, and I suspect one of the most introspective
looks he has permitted us to share:
"We never dreamed it could ever end / This was our
moment, this was our space / This was a jewel of a time to have
graced / But they're all sweet memories now /
When we were the new boys..."
At ten songs and forty-one minutes, even the time
recalls the vinyl era (and if you consider "Secret Heart" the
end of side one, "Hotel Chambermaid" is the ass-kicker that
every side two needs to open with). While this might be a
little short for his ever-zealous fans, it should be just
long enough to prove his point. Rod The Mod has still got
it in spades, and his finest record since _Never A Dull
Moment_ shows a man comfortable with his past, not jealous
of it.
---
REVIEW: Natalie Merchant, _Ophelia_ (Elektra)
- Jon Steltenpohl
Few artists can maintain poignancy and vitality throughout
their careers, but Natalie Merchant is taking a shot at it. On
_Ophelia_, her second album after leaving the safe confines of
10,000 Maniacs, Merchant continues to shine. She is, as always,
confident and alluring. Her voice is forged with a bold
sensitivity, and she drapes herself in a musical tapestry that
is shimmering and vibrant.
While her first solo album, _Tigerlily_, kept a rather
simple musical focus, _Ophelia_ finds Merchant venturing out
into a garden of lush orchestration. With the help of handpicked
guests such as Daniel Lanois, N'Dea Davenport of the Brand New
Heavies, and Karen Peris of The Innocence Mission, Merchant
explores a world that 10,000 Maniacs would never have allowed.
The bio for the album quotes Merchant as saying, "I wanted to
approach the recording of _Ophelia_ as a series of workshops.
Rather than use a band and rehearsing it, I hand-picked
musicians for specific songs and invited them into the studio.
There was a refreshing amount of freedom and spontaneity in
this method."
The resulting effort succeeds for the most part and
provides a reminder of the type of album an original, exciting
artist should make. Merchant's songwriting remains the same.
The lyrics are personal portraits of characters painted with
Merchant's knack for sympathetic and vivid first person
interpretations. In "The Living", Merchant sings the suicide
note of person sick of the world. In "Life is Sweet", she is
filled with comforting optimism for a child from an unhappy home.
But, the focus of _Ophelia_ is the orchestrations. Gone
are _Tigerlily's_ danceable tunes. The title track is a grand
pageant with drama and flair. It is filled with quiet mystery and
reverence, and Merchant sings with fading echoes. "Life is
Sweet" features tender piano and gentle strings which rise to
aching beauty, and "My Skin" is a ghostly aria with sparse piano
touches that recalls "Verdi Cries". Karen Peris' contributions
on "Frozen Charlotte" and "When They Ring Them Golden Bells" add
greatly to those songs.
For the most part, the extra musical touches work, but
there are a few tracks which might throw listeners. "Break
Your Heart" features backing vocals by N'Dea Davenport of the
Brand New Heavies and oblique jazz trumpet by Chris Botti.
It's a good song, but it doesn't really fit the typical Merchant
sound. Likewise, "Thick as Thieves" ventures too far with its
focus on Daniel Lanois' guitar (which the bio describes as "a
psychedelic guitar excursion"), and the overpowering
orchestration in "King of May" tends to distract from
Merchant's voice.
Fortunately, the few lapses are mainly due to the way the
songs are recorded, and the album still flows the way you would
expect. _Ophelia_ is a terrific album that shuns pop simplicity
for a more grandiose ideal of beautiful music and sincere lyrics.
_Ophelia_ is not a casual album. Instead, it requires listening
and contemplation. If anything, it shows that Miss Merchant is
willing to take risks by expanding and challenging her repertoire.
For such an experienced songwriter, working on the presentation of
songs is about the only avenue left for improvement, and Merchant
succeeds more often than not. _Ophelia_ may not find any hit
singles other than "Kind & Generous" but is nonetheless a great
album.
---
REVIEW: Bernard Butler, _People Move On_ (Creation/Columbia)
- Robin Lapid
You could tell Bernard Butler would end up doing the type
of music offered on his debut solo album, _People Move On_, if you
listen to his previous work with David McAlmont. Taking over
singing duties for the first time (as well as nearly every other
job on the album except percussion and strings), the former Suede
guitarist has surprised everyone with very accomplished vocals -
he has a sweet, near-falsetto timbre that blends seamlessly into
its sonic landscape. Each song aspires toward a four-minute epic
rule, stewing up hooky pop melodies delivered via a soulful Motown
vibe, while Butler conjures the muse of Neil Young. Perhaps
recalling his one-off work with the Verve, the album also revels in
a huge flourish of orchestra strings, sometimes subtle but often
wending their way toward a dramatic finish, not very far off from
McAlmont and Butler's "Yes" single.
"Woman I Know" starts everything off with a deep, mellow
soul sound that earmarks the rest of the album. Symphonic anthems
like "Not Alone" and "Stay" get to where they're going in due time,
and the semi-acoustic songs cleanse the palette. Even the inordinate
amount of strings still occupy their rightful place in the song.
Butler delivers low-key, understated guitar solos and sometimes even
replaces them with equally beautiful piano or mellotron or string
interludes.
But it almost sounds too perfect. The songs tend to get
overwhelmed by their heavy production -- they try too hard to please
and complete themselves when sometimes they should remain dangling,
a little off, not so refined to the point that they lose definition.
Every instrument and vocal blends so well that the song drifts
effortlessly into the ether at a point when you need something
weighty to ground you. Lyrically, Butler bares his soul and
seems to allude to the fruition of recent personal highs, including
marriage and new fatherhood, but the voice and the music can't
really find their own niche, their own personality. The vocals are
smooth but not haunting, the music catchy but not gripping, the
songs accomplished but not necessarily unique, although as a
contributing and solo artist Butler always hints at the best
possibilities.
People do move on, and you can tell Butler probably doesn't
have the, "What, wear the red shirt again? Not bloody likely!!"
exchanges he did while serving Suede's glam-rock factions. He's
settled down now, and so has the music. _People Move On_ is an
impressive enough debut, but I hope in time Butler will dig meatier
roots into his musical ethos and have the confidence to take more
chances.
---
REVIEW: John Wesley Harding, _Awake_ (Zero Hour)
- Joe Silva
While we may be a bit remiss in delivering this, the
world at large is probably equally dilatory in recognizing
our man Harding for being the decent sort of songwriter that
he actually is. Thoughtful, witty, and (to get the
long-standing comparison right out of the way) as quick with
a catchy tune as Mr. McManus used to be. Fair play to Elvis
though who, in his brooding middle ages, is searching for
more grandiose and somewhat less tuneful vehicles to steer
his vision with. But Wes is no less keen on piecing together
clever notions and bewitching allusions as he gets on. Have
a listen to "Window Seat" to hear him wax inventive on the
parallels between ordinary life and air travel (particularly
the bit about the metal detector being the barrier between
us and the "great beyond."). That's Wes all over - a writer's
soul trapped in a modern folk singer's body. In a recently
lost taped conversation, he thoroughly frightened me with
the list of books that he's taken along with him on tour
this year. But unlike his long-stated icon Dylan, Wes
retains his appreciation of a good song being more than
sounds under an interesting narrative. There's a sturdiness
to his melodies as well as a conviction to his stories. The
balance between might vacillate now and then, but not much.
With his assorted "gangsta folk" in tow, Wes uses a
healthy variety of sounds to populate his wares. "Your Ghost
(Don't Scare Me No More)" combines a robust bass Moog
undercurrent with rhythmic bits of triangle (!!!) and a
shuffling backbeat, while the singer goes on about an
increasing comfort zone with the specter of a lost love.
And while the sound effects that open "Burn" (lighters,
and striking match books) might come off as a bit twee or
heavy-handed reference-wise, they don't detract much if
at all from what may be the strongest of his airs on this
collection.
But tunes aside, the things that are most memorable
here are the tales that Wes happens to spin. "Miss Fortune,"
a tale of a ward who is forced to mistakenly live the first
part of his life as a girl by his rich benefactor, can take
you from one end of the song to the other simply on the
story's strength. The infectious tune then, turns to
straight-up icing as a result. Which leads us to believe
that Mr. Harding, despite a super showing on the earlier
_Why We Fight_, make be reaching another peak in his
labors. Poised for a post-position in the 1998 year's
best in a currently lackluster year.
---
REVIEW: Lenny Kravitz, _5_ (Virgin)
- Linda Scott
With the release of his fifth album, _5_, Lenny Kravitz
is back with a mixture of style and sounds ranging from
hip-hop to rock. Kravitz has always insisted on recording with
just musical instruments (no electronica!) and _5_ is no
exception. This sound, the retro dress, and song topics always
brings out the critics. Kravitz' fans ignore the critics and
go for the whole package. So when Kravitz announces at the
start of _5_ that he's "getting straight in '98", and there are
synth credits from dabbling in the studio gadgetry, Kravitz'
longtime audience might be getting worried. For them, the good
news is that Kravitz may say he has taken the plunge into the
world of loops and overdubs, but he never does more here than
get his feet wet. And that's not bad at all.
Kravitz is receptive to different styles. After all he
comes from a multicultural background, half Bahamian, half
Jewish and growing up in Manhattan, L.A. (where he attended
school with his friend Slash and Maria McKee), and the Bahamas.
Hitting with his rocking debut album, _Let Love Rule_, Kravitz
went on to make the darker _Mama Said_ (Slash and he crafting
the title song), But his longest lasting success came with
the third album, _Are You Gonna Go My Way_ where the title song
with its trademark guitar stutter was blasting from car radios
and cover bands for months. _Circus_ was a letdown, and _5_
doesn't have the hit singles and strength of _Are You Gonna Go
My Way_, but it's a step up from _Circus_.
As his life moves on, Kravitz suffers the pains and
joys of a family. His beloved mother, actress Roxie Roker,
has died, and he has a young daughter by his failed marrieage
to actress Lisa Bonet. The songs dedicated to mother and
daughter, "Thinking Of You" and "Little Girl's Eyes" are
tender and lovely to listen to. Kravitz can sing a ballad
like no other rocker - his voice is powerful but mellow.
You want to hear every word, and these tracks are mixed so that
you can. There are a couple of other singles worthy of mention.
"Live" is a brassy song that kicks off the album and has a funky
style of its own. Down the tracks is "If You Can't Say No",
which might be the masterpiece of _5_. Great topic, great
lyrics, and Kravitz really gets down to business with this
one. Not to be missed.
Bottom line here? Traditional fans, as well as those
who wanted to see some changing (but not along the lines of
Moby) will definitely like this album. Kravitz is moving
along with this album, and maybe _6_ will pull the past and
present styles together and he'll get another huge one. Want
to hear some clips and maybe see a video before you buy? Visit
Lenny Kravitz official web site at http://www.lennykravitz.com ;
there's a special gift there of a non-album track you can
download, and you can even get a coupon to use if you buy _5_.
---
REVIEW: B-52's, _Time Capsule_ (Reprise)
- Bob Gajarsky
Of course, it seems so obvious now that the B-52's
had to succeed. A prototypical geek who couldn't sing on
lead vocals, girls with bouffaint hairdos, and offering
an alternative to 12 minute rock jams or 9 minute extended
disco grooves proved to be the formula that would launch
the B-52's off the ground and into modern rock's
stratosphere.
Of course, there was no such thing as modern rock
or alternative music when the B-52's broke out of Athens
via CBGB's in New York's lower East Side (Blondie, Talking
Heads). The guitar groove from "Rock Lobster" owed a
debt to the surf instrumentals of the 60s, but what was
with these lead vocals? And the backing vocals seemed
like something ripped straight out of a "Attack of the
50 Foot Woman" film.
There lay part of the attraction of the B-52's;
irresistible hooks, but the package was wrapped with
the weirdest bow imaginable - lead singer Fred Schneider.
And Schneider even inspired imitators; "Weird Al"
Yankovic's "Mr. Popeil" isn't too far from removed from
Schneider's unique, geek-talk rapping style on "Party
Out Of Bounds".
Music and fun was a serious matter to the quintet
from Athens, and those who danced to songs such as "Private
Idaho" and "Planet Claire" truly saw the new-wave B-52's as
a cutting edge alternative to Michael Jackson and Prince.
And, in that time frame, they were.
Guitarist Ricky Wilson succumbed to AIDS in 1985,
and it seemed that the group was near the end of the line.
The bland _Bouncing Off The Satellites_ (1986) met with
limited enthusiasm, and one could have been excused for
thinking that the B-52's were finished.
However, the rocket was just getting ready for
another takeoff. "Shake That Cosmic Thing" (curiously
omitted here) was the track that re-introduced the band
to an era of fans that were just dipping their toes in
another British invasion and hadn't yet heard of the term
'grunge'. Radio programmers took note, and "Channel Z",
"Deadbeat Club", "Roam" and the now-wedding classic "Love
Shack" netted the B-52's their most successful album
(the #4 smash _Cosmic Thing_), several bonafide top 40
hits, and pressure to recreate that magic once again.
It couldn't happen. _Good Stuff_ represented a
mix of the good (the title track) and the bad (much of
the remainder of the disc). The underappreciated "Is
That You Mo-Dean?" fits in much better on a hits collection
than on its original home.
The "Flintstones" theme is wisely excluded from
this set, and is instead buttressed with an unreleased
mix of "Summer Of Love", and two new songs - "Debbie"
and "Hallucinating Pluto" - which could also have come
from the _Whammy_ time period.
This collection is more complete than their previous
(import-only) set, _Dance This Mess Around_, simply because
it includes their comeback years. And, clocking in at
nearly 80 minutes, it's hard to get upset at a song ("Legal
Tender") omitted from both compilations. Good job!
TRACK LISTING: Planet Claire, 52 Girls, Rock Lobster, Party
Out Of Bounds, Strobelight, Private Idaho, Quiche Lorraine,
Mesopotamia, Song For A Future Generation, Summer of Love
(Original Unreleased Mix), Channel Z, Deadbeat Club,
Love Shack, Roam, Good Stuff, Is That You Mo-Dean?, Debbie,
Hallucinating Pluto
---
REVIEW: Autour De Lucie, _Immobile_ (Nettwerk)
- Scott Byron
French art-popsters Autour De Lucie are at once instantly
accessible and difficult to define. Sultry singer/co-songwriter/acoustic
guitarist Valerie Leulliot is the obvious focal point of the band -- her
warm, breathy voice is at the center of all the tracks here. But the
music on _Immobile_ comes from so many directions and mixes so many
influences and styles that each listen reveals more layers.
A first obvious comparison would be with Portishead -- on some
tracks there's a mix of live instrumentation with sampled rhythms
("Salon\l'humeur," "La verite (sur ceux qui mentent)) behind
Leulliot -- but Autour De Lucie is much less dramatic and stylized.
On many tracks, the way the electric and acoustic guitars bounce
off each other recalls American and English folk-rock; but others
("Chanson sans issue (ne vois-tu pas)" most notably) are also
rooted in the once-revolutionary, now quaint synth-pop of the early
'80s, like Heaven 17. One track, "Les promesses," has a climax
that would have worked beautifully for the Bongos. There's a loping,
Chris Isaak-like feel to "L'eau qui dort." And I would imagine
that there are other, more obvious and direct influences in French
pop history that are alien to me as an American listener.
And I speak little French, so the lyrics are largely a
mystery to me. But the mysteriousness of this recording -- and this
band -- is part of its appeal. Mysterious, eclectic, sensuous,
moody... all good words to describe Autour De Lucie.
---
REVIEW: Chris Stills, _100 Year Thing_ (Atlantic)
- Jon Steltenpohl
Being the child of music star has to be a double edged
sword. On the one hand, it's a simple matter to use your
parent's name to get noticed and you've got some musical DNA
built in to help you out. On the other hand, it would be
impossible to escape the natural comparisons to your parents.
For every Dylan or Buckley kid with critical acclaim, there's
a Lennon or Sonny and Cher brat stinking up the place.
Chris Stills falls right in the middle. Musically, he's
got something, but a lot of poppa Stephen is in there to make
the comparisons unavoidable. _100 Year Thing_ is filled with
some pretty good harmonies and hooks, but it's like an instant
time machine. The sound is fixed squarely on sparse rhythm
guitars, a few licks from a Hammond organ, and crystal clear
harmonies. In other words... welcome to the 60's. Crosby,
Stills, Nash, and sometimes Young perfected this sound 30
years ago, and there was a good reason for their success.
This is a great style of music.
The problem is that we've heard it all before. Take a
song like "If I Were a Mountain". The lyrics start out "If I
was a mountain. Or a flower on a tree. Would I be running.
From the future that I see. Would I be cryin' baby. From the
horror that lay before me." Makes you wonder if the war in
Vietnam is still going on or if Kent State is still under
siege. (Really, it's about personal anguish.) In 1968, this
song would have been #1 on the charts, but today it seems like
an instant oldies classic.
Lenny Kravitz pulls off his post Hendrix apocalypse with
a little modern day funk, but Chris Stills merely gives us a
carbon copy of his father. Mind you, the carbon copy isn't all
that bad. "If I Was a Mountain" is a good song. So are songs
like "Trouble", "Last Stop", and the bluesy title track "100 Year
Thing." They all flow with a "Woodstock" kind of flavor. But
it's too much. "Tears of Envy" tries for a Kravitz style
free-love flavor, but it still feels like Stephen Stills doing
funk. "Doors of the World" has a slight Jeff Buckley feel to it,
but it doesn't quite plunge to the emotion depths that the late
Buckley did.
In the end, Chris Stills doesn't fall far enough from his
father's tree. Given his father's success, this isn't a
completely bad thing, but just being a pretty good version of
his famous dad isn't enough to make a great album. If you're a
huge Stephen Stills fan, consider this a deservedly great new
album, but if you never really got past liking the oldies now
and then, you'll be disappointed. _100 Year Thing_ is a decent
effort that rarely escapes Stills' lineage.
---
REVIEW: Veda Hille, _Spine_ (Bottom Line)
- Chelsea Spear
An online cult called the Ectophiles, lovers of music
both beautiful and fierce, have anointed singer/songwriter Veda
Hille a goddess. Her music has created a cult groundswell in
Canada and pockets of the United States, though her records are
hard to come by stateside. Bottom Line Records, the label who
helped bring Hille's wacky fellow countrymen Moxy Fruvous to an
American audience, now provide the means for Hille to help her
get a domestic foothold, and to make us Yanks decide if she
really is a musical divinity by rereleasing her two-year-old
album _Spine_.
_Spine_ is a pleasant enough record. Hille has a strong,
supple voice that works best when she's not emulating Janis Ian,
and her lyrical insights offer startling clarity, idealism, and
well-articulated anger - sometimes all in the same toothsome,
well-turned phrase. Unlike the musical sisters many may find for
her in the Lilith camp, Hille is capable of balancing her love
of beauty and melody with her ideological anger.
If I didn't know any better, I would think this was a
debut album, for there are signs all over the place of what Hille
has been listening to, or, in some cases (considering the vintage
of this release), who has been listening to her. Aside from the
aforementioned vocal resemblance to Ian, which is most pronounced
on the song "Path Of A Body", the Kashmir-flavoured coda of
"Slumber Queen" sounds like an acoustic-guitar-based version of
Tori Amos' new single "Spark". Additionally, the balmy piano
chords of "26 Years" offer an atmosphere similar to that of Nina
Simone's memoir "Four Women".
Those who have experienced Hille live swear by the
experience, though there's not much here to suggest a powerhouse
live show. The record's glossy production accounts for this
surfeit, making everything sound much slower and elaborate than
it has to. Ironically, hearing this record has piqued my interest
in seeing her live; underneath all the influence and production,
Hille seems like she'd have an intriguing enough voice to make for
a compelling performance, and I would love to see the abundant
beauty within these tunes balanced with some of the fierce spirit
hinted at in an occasionally growly voice and lines like "God
knows that my mouth holds more teeth than wisdom." Until then,
the woman has an engaging voice that I'll be interested in
hearing develop, but for my musical worship, could someone pass
the Tara Key and Naomi Yang?
---
REVIEW: Sherry Rich, _Sherry Rich & Courtesy Move_ (Rubber
Records /BMG Australia)
- Daniel Aloi
Country music hasn't had a crossover superstar from
Australia since Olivia Newton-John hit more than 25 years ago.
When Sherry Rich came from Melbourne to record in Nashville last
year, she made a pop-meets-country debut album that blows away,
aesthetically at least, the current crop of stars with big hits
and big hair.
Rich landed in Music City (and America) for the first time
to work on her songs over Christmas and New Year's 1996-97 with
Courtesy Move, otherwise known as Wilco members Jay Bennett, John
Stirratt and Ken Coomer. Bar-hopping with the band there and in
Chicago between rehearsals and recording sessions, she cemented a
landmark collaboration on a par with that of Linda Ronstadt and
the fledgling Eagles.
Starting with the bare bones of some songs, they ended
that fun, alcohol-fueled fortnight with one great record that
shows how accessible so-called "alternative country" can be. It
all feels loose and lived-in, an almost effortless meeting of a
great singer and a great band.
Smart and winsome, Rich is the daughter of a country
singer but she grew up in love with rock'n'roll. Most of the proud
swagger you hear on the album is balanced by revelation and
sensitivity, adding up to a statement of purpose in the same
league as Amy Rigby's acclaimed "Diary of a Mod Housewife" two
years ago.
Released in Oz last October, _Sherry Rich & Courtesy Move_
is now making its way into the hands, hearts and minds of Americans
who've seen Rich play across the country, both with and without her
adopted backing band. Rich is in her 20s, and seems to have no stars
in her eyes. Her songs are mature and realistic, and she claims
ownership -- no team of producers to pick her material, no calculated
angling for a hit.
Most of the 13 songs -- some written with Bennett and the
other band members, one composed with Paul Kelly -- are pure delights
and serious fun, from the opening rocker "Polite Kisses" (think of
Lucinda Williams' "Passionate Kisses" with more up-front sexuality)
to the gritty and bluesy "Little Miss Cool." She kisses off a
succession of men in her lyrics, particularly in "Is That All You
Wanted" and "Three Time Loser," and in the see-ya-later sentiments
of the fast, open-road song "Two White Dogs." She can be just as
adept at a hesitant admission that she's fallen in love ("Who's
That Girl"). Rarely do the highs and lows of romance sound so
good, in either country or pop songs.
The album's atypical standout is "Beautiful, Talented,
Dead," a ballad examining Kurt Cobain's suicide. (It was first
recorded well before Michael Hutchence's exit, now something of a
national obsession in Rich's homeland - but it could certainly
apply.) Rich captures the shock and misunderstanding felt by
millions of fans. She's a bit disapproving, but lets the words
and music convey respectful mourning as well.
A cover of Badfinger's "I'll Be the One" complements the
album's romantic focus. On a hidden track, "Cheese Quiches,"
Bennett goofs on "Polite Kisses" in a "Weird Al" Yankovic way.
The musicianship is up to the material, as well - Rich's
rhythm guitar and Bennett's slide, lead picking and keyboards are
aided by Coomer's offbeat menagerie of percussion, Stirratt's
rock-steady basslines and relocated Aussie Kerryn Tolhurst on
mandolin and lap steel.
Nashville's music establishment should wake up to the
talent hitting the bars on its own streets. A deal and airplay
for an artist like Sherry Rich could single-handedly up the
quality of contemporary rockin' country several notches. The
way it works now, though, a song like "Polite Kisses" could be a
smash hit for the likes of Pam Tillis or Patty Loveless.
After playing South by Southwest and some limited touring
with Courtesy Move, Rich now plans on continuing her stay, to
write new songs in Nashville with Jim Lauderdale and others.
Something equally wonderful should come of it. (You can contact
Rubber Records for more information at rubber@ozonline.com.au)
---
REVIEW: Soundtrack, _Last Days of Disco_ (WORK)
- Bob Gajarsky
In the late 1970s, a nearly-hedonistic lifestyle
conquered city streets. New York's Studio 54 became a
mecca for disco fans looking to get their fill of a good time.
Straight single men might have a hard time gaining entrance to
the club, but those men with women - or men - on their arms
were more likely to see the glitter of the dancefloor.
The club itself may now be just a memory, but the soundtrack
to the Whit Stillman film, _Last Days of Disco_, serves
as a reminder of some of the hot songs from that era.
The collection is bookended by two versions of the
classic "I Love The Nightlife" - Alicia Bridges' original,
and a cover by India with Nuyorican Soul. In between is
a reminder that the more things change, the more they
remain the same.
If it wasn't for Sister Sledge and Diana Ross, two of
the past year's biggest artists (Will Smith and Puff Daddy)
wouldn't have samples to use for their monster hits.
And is it too far a stretch to note the parallels beteween
porno star Andrea True ("More More More"), who according to
that song's writer Gregg Diamond "couldn't even sing one note"
and former topless model, former Spice Girl Geri Halliwell?
The "Ooooh oooh" from the Michael Zager Band's "Let's
All Chant" has become so mainstream that it's nearly
impossible to go to a wedding or fraternity party and not
hear it sung at some point by a drunken guy who has no clue
(or care) to its origins. Amii Stewart's "Knock On Wood"
has survied surprisingly well from its original days, and
other acts such as Chic, the O'Jays and Harold Melvin & The
Bluenotes all achieved much more than the brief glimpse of
fame which was afforded most disco and R&B acts of the era.
Dedicated fans of disco probably have most of these
tracks in one place or another. But more casual fans of the
music may want to reserve a place in their collection for
_Last Days of Disco_.
TRACK LISTING: I Love The Nightlife, I'm Coming Out, Got To
Be Real, Good Times, He's The Greatest Dancer, I Don't Know
If It's RIght, More More More, Doctor's Orders, Everybody
Dance, The Love I Lost, Let's All Chant, Got To Have Loving,
Shame, Knock On Wood, Oogum Boogum Song, Love Train
---
NEWS: > Legendary British goth artists Bauhaus
will reunite for three shows (July 10-12) at
Los Angeles' Palladium Theatre, consisting of
members David J, Daniel Ash, Peter Murphy and
Kevin Haskins.
---
TOUR DATES:
Burning Airlines
Jun. 6 Hagerstown, MD 180 Club w/ Trans Megetti
Jun. 7 New Brunswick, NJ Melody Bar w/ TransMegtti
Connells
Jun. 6 Charleston, SC The Music Farm
Jun. 7 Norfolk, VA Harborfest
Jun. 13 Denver, CO Bluebird Theater
Evelyn Forever
Jun. 10 Long Branch, NJ Brighton Bar
Jun. 13 Toronto, ON 360 Club
Flick
Jun. 6 Portland, ME Stone Coast Brewing
Jun. 7 Harrisburgh, PA Wanda's
Jun. 9 Pittsburgh, PA Pluto's
Jun. 10 Youngstown, OH Woodpeckers
Jun. 12 St. Louis, MO Galaxy
Irving Plaza (NYC concert hall - www.irvingplaza.com)
Jun. 8-10 Sonic Youth
Jun. 12 Edwin McCain / Pete Droge
Ivy
Jun. 9 Atlanta, GA Cotton Club
Jun. 10 Charleston, SC Cumberlands
Jun. 11 Washington, DC Black Cat
Jun. 12 Philadelphia, PA Pontiac
Jun. 13 New York, NY Bowery Ballroom
Jun. 14 Boston, MA Midddleast Club
Paul Kelly
Jun. 6 Vancouver, BC Starfish Room
Jun. 9 Minneapolis, MN Fine Line
Jun. 10 Chicago, IL Double Door
Jun. 11 Pontiac, MI 7th House
Jun. 13 Cleveland, OH Wilbert's
Megadeth / Monster Magnet
Jun. 6 Mesa, AZ Mesa Amp
Jun. 7 San Diego, CA Open Air Theater
Jun. 10 Fresno, CA Rainbow Ballroom
Jun. 11 San Bernardino, CA Nat Orange Show
Jun. 12 San Francisco, CA Warfield Theater
Jun. 13 Sacramento, CA Hornet Field
Jun. 14 Santa Cruz, CA Civic
Pitchshifter
Jun. 6 Detroit, MI Shelter
Jun. 7 Chicago, IL Metro
Jun. 10 Lawrence, KS Bottleneck
Saw Doctors
Jun. 8 Portland, ME Raoul's Music Hall
Jun. 9 Providence, RI Lupo's
Jun. 11 New Haven, CT Toad's Place
Jun. 13-14 New York, NY Randall's Island (Fleadh)
12 Rods
Jun. 8 New York, NY Brownies
Jun. 9 Philly, PA Upstairs at Nick's
Jun. 11 Boston, MA Bill's Bar
Jun. 12 Providence, RI Century Lounge
Jun. 13 Woodstock, NY The Lake
Josh Wink
Jun. 12 Chicago, IL Metro
Jun. 13 Detroit, MI Motor
---
THE READERS WRITE BACK!
> Great zine, with some excellent writers. Keep up the good work!
I thought your subscribers may be interested in our new site, which
provides one of the most comprehensive on-line listings of North
American music festivals. Monthly listings are available at the
website http://www.cobweb.net/~ozone/deadheads or by signing up for
our FREE monthly festival E-zine. To subscribe, simply send your
email address to punk@psc.edu with the subject "Festival Calendar."
- Rob Hillard
---
Founded in August, 1993, Consumable Online is the oldest
music reviews publication on the Internet.
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===
