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Consumable Online Issue 141
==== ISSUE 141 ==== CONSUMABLE ======== [April 13, 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,
Arabella Clauson, Krisjanis Gale, Eric Hsu, Tim
Hulsizer, Robin Lapid, Scott Miller, Linda Scott,
Scott Slonaker, Simon Speichert, Jon
Steltenpohl, Simon West
Technical Staff: Chris Candreva, Dave Pirmann
Also Contributing: Franklin Johnson
Address all comments, subscriptions, etc. to gaj@westnet.com
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Permission for re-publication in any form must be obtained from the
editor.
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.------------.
| Contents |
`------------'
INTERVIEW: High Llamas' Sean O'Hagan - Joe Silva
REVIEW: Semisonic, _Feeling Strangely Fine_ - Scott Slonaker
REVIEW: Bonnie Raitt, _Fundamental_ - Tracey Bleile
REVIEW: Junkie XL, _Saturday Teenage Kick_ - Lang Whitaker
REVIEW: Soundtrack, _Shooting Fish_ / _City of Angels_ - Bob Gajarsky
REVIEW: Goodie Mob, _Still Standing_ - Lang Whitaker
REVIEW: Triplefastaction, _Cattlemen Don't_ - Scott Slonaker
REVIEW: Alannah Myles, _Arival_ - Jon Steltenpohl
REVIEW: Todd Snider, _Viva Satellite_ - Scott A. Miller
REVIEW: Dakota Moon, _Dakota Moon_ - Linda Scott
REVIEW: Pitchshifter, _www.pitchshifter.com_ - Franklin Johnson
NEWS: Luscious Jackson, Mammoth, Run DMC / Jason Nevins, Rhino
Reissue Exchange Program
TOUR DATES: Addict, Agents of Good Roots, Cherry Poppin' Daddies,
Cows, Cravin' Melon, Alana Davis, Kyle Davis, Dismemberment
Plan / Calvin Krime, Flick, John Wesley Harding / Steve Wynn,
Irving Plaza (NYC concert hall), Kerosene 454 / Bluetip, Liquor
Giants, Luna, Ziggy Marley & Melody Makers, Mono, Morcheeba,
Promise Ring / Jimmy Eat World, Radiohead, Slackers, Smart Went
Crazy, Elliott Smith, Superdrag / Apples In Stereo / Tuscadero,
Third Eye Blind / Rebekah / Dance Hall Crashers, Trinket
THE READERS WRITE BACK!
Back Issues of Consumable
---
INTERVIEW: High Llamas' Sean O'Hagan
- Joe Silva
Without as much as a bit of fanfare or dimming of lights,
savvy Irish pop musos The High Llamas take the stage at Athens,
Georgia's 40 Watt Club. It's St. Patrick's Day, but there's little
going on in the way of outrageous merry making. The shabby settees
are full of lounging townies unflustered by the band's arrival.
Only a handful of the slightly more animated among them approach
the front of the house once the band strikes up. The room is
instantly a-glitter with vibes, harmony, and warbling electronics.
What started as a gentle tip of the hat on senior pop deity
Brian Wilson on their second LP (_Gideon Gaye_), became the
sprawling tribute on the follow-up (_Hawaii_), and the extremely
distilled essence of the great man on their latest release, _Cold
and Bouncy_ , possibly perfecting a vision they embarked upon four
years prior. If I had to own just one album and wasn't too caught
up in witnessing the evolution, I'd take the new one. Some would
cry heresy, but all bear the same quarter note keyboard lines, the
lush backdrop of harmonies and strings, and the same oblique
lyrical flourish. More elegant nods to Mr. Wilson's brilliance
could possibly be had from Jellyfish and XTC (particularly during
their Dukes period), but the depths to which the Llamas have
accurately probed his tenets have won lead Llama Sean O'Hagan face
time with the master himself.
But O'Hagan maintains that their next record will have a
fresh tack and it seems that he's satisfied with the lengths of
which they've been able to take their current formula. In the
midst of the media swirl that surrounds South By Southwest, Sean
commented on the where the Llamas are headed and where they've
been.
Consumable Online: Just looking over your history, I
noticed that you actually did some road time with U2 while you
were in Microdisney.
Sean O'Hagan: Well, Ireland is a small place and it was
natural that we'd play with them. I don't think it's any big
deal, though. U2 are fine and they're nice people and all but
I don't think they do anything significant musically. I'm not a
fan. It was a business thing.
C.O.: Looking back to the first LP, it seems like the
songs on _Santa Barbara_ have far more structure to them. Do
you think you've come a long way from that at this point?
O'Hagan: Oh, definitely. It was that album that really
convinced me that I had to abandon that way of working. I found
that method very restrictive. It only addresses one ethos, one
emotion, one kind of artistic level of communication. There's
enough people out there doing that. At best that record should
have been (like) John Cale, but unfortunately most people don't
know that and might sit down and think it sounds like Neil Young
or Steely Dan or something. And as much as I like Steely Dan
and Neil Young, I don't want to be artistically in that court.
So on _Gideon Gaye_ , I had to reposition the band very obviously
and very dramatically. And once we did that, I realized we had
found our spiritual home.
C.O.: So how does a song evolve for you these days? What
are the mechanics like now?
O'Hagan: Well I still work at either the piano or acoustic
guitar, but instead of writing the song all the way through, I
write it almost in a sample form - the way a DJ would work. I
just basically record ideas onto a four track or tape recorder
and collect them over six or seven months. And then when we come
to work in the studio, I'll actually call on (them) and sort of
re-associate those parts. That's really the beginning of the
undermining of the traditionalism of the writing.
When we start to actually put the tracks down we always
explore the filtering option. It's almost like there are new
sounds out there and new ways to listen to music. But we still
work with harmonies and with a lot of bands there aren't any
(harmonies). Even with the experimentation, even with the amount
of risk, we still have a harmonic basis.
C.O.: What sort of interplay exists between the
musicians? I assume you do the majority of the idea construction.
O'Hagan: Yeah, the writing as far as the chords and the
top line goes, I still do. As a band, we've been doing it for
quite a few years, so we've really come to understand the workings
of the studio. The idea of arranging in the studio isn't scary to
us. We're pretty much able to make it up as we go along. So there
is a certain amount of collaboration and improvisation in the
studio when it comes to arrangement and counterpoint.
However, we kind of build in these methods to stop us from
remaking our old records really. We do kind of check each other.
That's why we kind of filter everything. You know, "What does it
sound like fresh? What does it sound like filtered? Okay, why
don't we split the signal and have one filtered and one kind of
dry." It gives you a mixing option. At the mix, we employ the
same method of deconstructing the song that we've been doing over
the past three records and I really haven't gotten tired of it.
I really think it's a good idea to deconstruct the songs
immediately after we mix it. I would like to think that the way
you listen to a Llamas record sounds like a kind of fusion and
de-fusion. If you looked at it anatomically, you'd basically
have a molecular structure that has a kind of freestyle activity
and it gather and then the gathering solidifies and that's a
song. Then it kind of scatters and that's the deconstruction of
the song. That's how we view the linear experience of the record.
C.O.: Have the records done well enough in the U.K. that
you have the budgets now to take that notion further?
O'Hagan: We make our records quite cheaply and we don't
use huge budgets. We work in cheap studios and just try to keep
everything under control. I think once you get into the realm of
big budgets and expensive studios, the working practices (change)
and you don't control the event. I think it's very important to
stay in control of things. So ultimately the best thing to do
is to build your own studio, which you can do quite cheaply and
work within a settled criteria.
C.O.: Are you guys on the way to having your own space?
O'Hagan: We pretty much have access to a space regularly
that's very cheap.
C.O.: Whatever similarities that might exist sonically
between the last three records, do you think that you're going
to take another angle to your sound?
O'Hagan: Yeah, I think we have to really. Since you've
identified those last three records almost like as a trilogy and
even though that's got all sorts of conceptual aspects to it,
which may or may not be accidental, I don't think I can take it
on much further. I think it would be disingenuous. The spirit of
the band is investigation and re-associating ideas and sonic
experimentation, so by the very nature of that ethos we do sort
of have to work out a new avenue of discovery.
C.O.: Does that mean we can look for more instrumental
stuff?
O'Hagan: Definitely and electronic as well.
C.O.: How comfortable are you going to be doing that in
a live forum?
O'Hagan: I don't think you should ever connect the two.
The minute you try to envisage how you are going to perform
something and make a decision on that basis, you're restricting
the idea. I think the very fact that it's the same people and you
might be working from the same basis of composition that's enough
to relate the two activities. I think it's very important to
keep the two separate.
C.O.: As far as the lyrics are concerned, do you see
any distinct progression?
O'Hagan: I think my lyrics are completely unimportant.
I'm not a literary person. When there's a vocal, the lyric is
almost like a technique to inspire images. Now having said that,
when there is a lyric I'll work hard to make sure that I'm
comfortable with it. But I won't use any gratuitous cliche or
anything like that. What I'll do is try to create a kind of
impression with wordplay or imagery. There's actually no theme,
there is no one idea that runs through a song. They're separate
lines and each line represents a sort of reduced idea, theme, story
or whatever. I'm very interested in the idea of the rise and fall
of the symbol and the color of the word.
C.O.: Do you not ever feel the need to express something
personal?
O'Hagan: No, in fact I'm totally against that. One thing
I find very annoying is when critics talk about the Llamas not
involving themselves in passion. I think that should be a credit.
I think passion is an overused word and that it's disingenuous,
and an over-attributed virtue. Most of it is clinical and a
marketing tool.
I think that the idea that your voice kind of slightly
cracks when you deliver a heartfelt line or a terribly personal
line is kind of corny (laughs). I hate it and I don't enjoy it. I
don't see how or why that's a virtue. I love the idea of a totally
simulated vocal to the extent that that vocal is part of an
arrangement - the vocal is not something your are attracted to.
You're attracted to the music as a whole and the arrangement as a
whole and the vocal is not a distraction. The lyric should be a
visual and the vocal should be a kind of instrumental counterpoint
and the vocal harmony should be as textured as a brass harmony.
When you get something so crass as Oasis, that are supposed to be
so great because they've got a passionate vocal; when it's reduced
to that, you just realize that it doesn't stand up as a legitimate
form of expression.
C.O.: Well to bring their name up again, U2 (or
specifically Bono) is a manipulator of sorts by the way he tries
to capture a person's attention or emotions, but don't you think
he means it to a degree?
O'Hagan: It's disingenuous. I think he might be just a very
good businessman. Don't you make that connection between marketing
and performance?
C.O.: Hmmm...hard to say. Considering their position, you'd
have to wonder why they would feel the need to resort to that kind
of posturing.
O'Hagan: Well because they started off with that. It was
their initial tool, wasn't it? And they obviously don't want to
abandon that. They have abandoned that to a point. They were very
much into the idea of pop being disposable, which they didn't
really succeed at very well, but I had much more respect for them
for actually trying that. But U2 aren't on my hit list, but I'll
tell you who is. Radiohead.
I don't believe them (Radiohead) for a second. I'm not
vehemently down on them, as I am say Oasis, but I hate the way that
that record ( _O.K. Computer_ ) is supposed to be the greatest
record of all time and so radical. I don't think there's anything
radical about what they do. They're careful, well-honed cliches.
The perfect marketing tool and I think those things need to be
exposed. I mean I hate to sound so bitchy about it, but I think
it's incumbent upon people to make that point. Pavement excite me.
I completely believe them. I got to know Steve on the last tour
and was so excited to tour with them. Lyrically, they do things
that I'd never be able to do; work with literature and rock and
roll in such an intelligent way. I think Air is also making good
pop music.
C.O.: Now looking at the music from a visual perspective,
is that a concern? As in the video for "The Sun Beats Down"...
O'Hagan: That video started off as a great idea and was
very badly executed. Apologies all around for that one. I think
"Nomads" is totally us. Completely bang on.
C.O.: Just out of curiosity, have you picked up the
(Beach Boys) _Pet Sounds_ box?
O'Hagan: Oh yeah, I've had to write about it.
C.O.: What was your take?
O'Hagan: I enjoyed the studio interplay between Brian and
the musicians. I loved hearing the musicians improvise around the
tunes. From a purely academic point of view, I liked analyzing
the chords because there were certain chords that I could never
pick out before. The stereo mix was okay; the acapella mix I
wasn't too knocked out by.
C.O.: In terms of somebody like Brian, who's much older
now and struggling to recapture some of his glimmer of old, where
do you see yourself gravitating to as you get older?
O'Hagan: I think the obvious place for me to go is into
film. One thing I want to allow myself, even though I love pop
music, is to work outside of the pop format. I went to see Music
for Eighteen Musicians by Steven Reich a few weeks ago in London,
which had never been scored until recently when a student did it
as a thesis. Well, it can be performed now and he performed it
with the Steven Reich ensemble and it was very much done on
shorthand musical notation and cues. So there's Steven Reich,
talking about it at the age of 58, working with this piece of music
and it makes perfect sense. And you wouldn't even envision even
an element of cringe or embarrassment in it. It was totally
legitimate. I don't think that when I'm 58 and trying to perform
music from Hawaii, I could conceivably do it justice (at that
age). That's why I want to work with instrumental music. It's a
natural area.
C.O.: So what's up next?
O'Hagan: I'm going to go back to England and record
another single for "Turn On" , which is my other project with Tim
Gane from Stereolab. There are remix projects all piling up;
Pizzicato Five, Kid Loco. A lot of people think that the High
Llamas are about the orchestral pop thing when we actually have a
lot of people from club culture that enjoy our music. That doesn't
surprise me, though. I'm actually kind of warm and flattered by it.
---
REVIEW: Semisonic, _Feeling Strangely Fine_ (MCA)
- Scott Slonaker
When it ain't broke, don't fix it.
Last time around, the Minneapolis trio Semisonic recorded
_Great Divide_ , one of 1996's best (and most criminally unheard)
records. A shining pop masterpiece, it was, all unforced emotion
and classic dynamism. Perhaps a little bad luck and a little bad
marketing (placing the gorgeous "f.n.t." on the soundtrack to the
retread action flick _A Long Kiss Goodnight_ wasn't exactly a
powerful push) were to blame. For the follow-up, there obviously
wasn't much the band or producer Nick Launay could add to the
formula; singer/guitarist Dan Wilson and bassist John Munson have
been honing their take on classicist pop/rock since the mid '80s
with Trip Shakespeare. So, they did what too many artists can't
seem to do. They left well enough alone and did what came naturally.
_Feeling Strangely Fine_ kicks off with the first single,
"Closing Time", now blasting from radios across the country, which
resembles _Great Divide_'s "If I Run" plus some deft studio seasoning
(drum machine on the breaks) that adds additional dimensions.
"Singing in My Sleep"'s soaring chorus and propulsive rhythms might
just make it the best of any of the band's songs. Besides, it's
about a mix tape. How could it go wrong?
It's when we hit the middle of the album that it becomes
apparent where the band's sound may be heading. "Secret Smile",
"DND", and "Completely Pleased" all have a slightly more breathy,
relaxed, R&B-styled spin that is not only effective, but refreshing,
especially when put up next to the histrionic
wailing-masquerading-as-sincerity (Matchbox 20, etc.) that is shoved
down our throats on a daily basis. "Completely Pleased", in
particular, has a pulsating, serpentine vibe that is almost totally
absent from most of today's "white" rock music. Wilson adds a croony
element to his already wondrous voice that is absolutely intoxicating.
Semisonic's penchant for studio experimentation again
surfaces near the end of the album. "All Worked Out" has dressings
reminiscent of Brian Wilson and _Pet Sounds_, "She Spreads Her
Wings" the spare, whispery intimacy of John Lennon's best solo work,
and the string quartet that sweetens the final track, "Gone to the
Movies", brings the record to a gentle close.
Not since the days of Badfinger in the early '70s and
Crowded House in the mid '80s has the mainstream been blessed with
a pop band such as Semisonic- and actually responded. Why is it
that bands without gimmicks or trendy sonic trappings have such a
tough time? The success of "Closing Time" serves as a reminder that
even in today's corrupt image-obsessed, next-big-thing marketplace,
talented musicians can still make it based solely on their music.
Congratulations to all involved; and add another record to the
preliminary Best of '98 list.
---
REVIEW: Bonnie Raitt, _Fundamental_ (Capitol)
- Tracey Bleile
In a twist on the "old dog learns new trick" cliche,
Bonnie Raitt's newest effort _Fundamental_ has Bonnie and her
co-producers, Latin Playboy/honorary Los Lobos members Mitchell
Froom and Tchad Blake blending the best of what they know to
create great musical synergy. Throw in the extremely good taste
to round up members of Los Lobos and NRBQ as a backing band (who
also contributed original songs for Raitt) and it's Super Dirty
Blues with a serious head of steam.
How refreshing and ironic that the signature keyboard-happy/
deep bottom end/noisy brass of Froom's experimentation that got
used to excess in Los Lobos' _Colossal Head_ serves here instead
to gently frame and not overwhelm Raitt's rusty-blade-dipped-in-honey
voice. Raitt's signature twang and squeal bottle slide blues guitar
becomes part of the picture without having to dominate the scene,
and the many different sounds produced are definitely going to give
guitar aficionados a thrill. This hybrid of raunch and orchestral
arrangement is definitely going to give mainstream listeners a
pleasurable kick in the pants, period.
Bonnie seems to relish more than ever that she is a rare
creature - a female blues artist whose paid her dues, and proves
she deserves to be where she is by infinitely expansion of her range
any way chooses. Even on the more trademark straight-ahead blues
Raitt plays on "Spit Of Love", she sounds more free, and lyrically
this album has some of the raciest lyrics since "Slow Ride". She's
sad, she's sassy, she's lounge-y. Thanks to her long-time friend
John Hiatt (who seems to have a never-ending wellspring of songs
that sound so good on her) she's even ultra-torchy on "Lovers Will".
And because she is an old pro, she deftly throws in those
couple of songs that will get all the airplay they can muster, just
'cause they're bouncy and cool and you can belt out the chorus with
her, and you know you wanna when you hear that long flowing guitar
wail intro. She neatly delivers unto us just such a pop/blues
crossover with "Blue For No Reason". There are a couple of times
the music doesn't feel like original Raitt, as in a calypso-flavored
number echoing of Blondie (read "Tide Is High"), right down to the
spoken word break, but even that can't detract from the overall flow.
At the end, "One Belief Away" closes with an all-out Latino
flair (courtesy of The Texicali Horns doing up the mariachi sound)
that fades off with Raitt playing an almost Hawaiian guitar
flourish. Makes you glad that a true professional knows when and
how to roam into amateur territory.
---
REVIEW: Junkie XL, _Saturday Teenage Kick_ (Roadrunner)
- Lang Whitaker
If the term "crossover" doesn't sound like a viable music
genre to you, then you've obviously never listened to Tom Holkenborg's
latest project, Junkie XL.
"For me, crossover has always been the ultimate musical
direction," says Holkenborg. "Bands don't usually blend Rock and
Electronica well...what I try is to blend the guitars and dance
elements into something new so they don't lose their original strengths."
And blend he does, like Isaac behind the bar on the
Promenade Deck. The best way to describe the sound of Junkie XL is
to think of Prodigy minus the psuedo-punk posturing and multiple
piercings. Dance floor beats thump underneath crunching guitars and
pulsating sine waves. On top of it all, rappers Rude Boy (Urban
Dance Squad) and Dino Cazares (Fear Factory) tag team on a stream
of consciousness about pride, underacheivers, and even billy clubs.
"Metrolike", with a lyrical flow reminiscient of U2's
"Numb", eventually decomposes into a sea of beeps and pops. It is
immediately followed by the funky, fuzzy guitar and clean drums of
"X-panding Limits". "War"'s first shots are a totally dissected drum
loop that explodes into a Roni Size-d trip-hop fury. The title track
is a rollicking blast fueled by Mountian Dew and nicotine, an ode to
pre-pubescent weekends spent chasing tail.
There are plenty of other people out there trying to do
what Junkie XL does. The difference between those posers and these
players? Junkie XL does it well. Really well. There are no let downs
on the CD, save for the 18-minute long "Future in Computer Hell",
for which a more apt title might be "Present in Computer Hell".
From the first few seconds of the album, beats flow forth like
sexual harassment allegations against Bill Clinton. It's easy to
see how one could become a junkie listening to addictive music like
this.
---
REVIEW: Soundtrack, _Shooting Fish_ (Capitol) /
Soundtrack, _City of Angels_ (Warner)
- Bob Gajarsky
To paraphrase Dickens, this is a tale of two
soundtracks. Both feature a fair number of previously-released
cuts, but that's where the similarity ends. One is constructed
with the best bands money can buy (or license). The other is
built with cutting edge acts that won't likely bring big bucks
to the label, but can provide endless pleasure to its record
buyers. Can you guess which is which?
_City of Angels_, the Nicholas Cage/Meg Ryan flick,
looks like the invite list at a music awards show. Industry
vets such as John Lee Hooker, Jimi Hendrix, Eric Clapton, U2
and Peter Gabriel team up with newcomers including Sarah McLachlan,
Paula Cole, Alanis Morrissette and the Goo Goo Dolls to make this
a star-studded album.
The Goo Goo Dolls' "Iris" includes a 20-piece string ensemble
and the eagerly-anticipated Alanis Morrissette "Uninvited"
also features strings - is completely unlike anything from
_Jagged Little Pill_.
Alanis' first new contribution since the 15 million
selling _Jagged Little Pill_ makes a sharp departure from that drum
programmed album. Morrissette *sings* on "Uninvited", exposing her
vocals to previously unexplored new heights. Depending on your
feelings towards Alanis, the vocals are either stunning
or awful - and there's some justification for both sides of the
fence, as her voice sometimes can't reach the new limits.
Glen Ballard is nowhere to be found on this cut, and Morrissette
explores with mid-eastern influenced strings in this slow, haunting
song.
"Uninvited" fits in well with the remainder of the soundtrack,
due to its slow, downbeat feeling. Gabriel's "I Grieve" best pulls
off the trick, but songs such as "Biko" set the trail for this effort.
Although it will likely sell millions, this is more on behalf of the
vehicle (marketing team and movie) than the quality of the cuts within.
On the other hand, _Shooting Fish_ - pays homage to an era
gone by. Featuring uptempo 'British' music with roots firmly
planted in the 60s Bacharach era, this soundtrack is dominated by
lesser-known 'modern' acts from the other side of the pond.
Two top 10 (UK) singles from Space's debut record, _Spiders_,
may be unfamiliar to American listeners ("Me & You Vs The World",
"Neighbourhood"), but are instantly recognizable in their native land.
Unfortunately, since the band was recently dropped from their American
label (Universal), Yanks may not get to see any music from Space without
going to the import bin.
The Bluetones "Bluetonic" is a dead ringer for vintage Stone
Roses, and Supereal's "Body Medusa" - appearing in a mix from Leftfield -
is the perfect antithesis for the lounge scene. Dubstar's "In Charge" is
two and a half minutes of synthesized harmonized Britpop, and the
Supernaturals "The Day Before Yesterday's Man" is more Britpop
which pays respect at the bedside of Brian Wilson. Oldtimers Jackie
DeShannon and Dionne Warwick are also included here, along with another
Bacharach-covered song ("I'm A Better Man (For Having Loved You)") by
David McAlmont.
Two soundtracks with different marketing budgets. Two different
ends of the alternative spectrum. But still, either one is an infinitely
better soundtrack than one about a boat which sunk 80 years before...
---
REVIEW: Goodie Mob, _Still Standing_ (LaFace)
- Lang Whitaker
Jesus Christ once told his disciples that they should
be in the world but not of the world. Similarly, on Atlanta rap
group Goodie Mob's second album, _Still Standing_, the hip-hoppers
discover the benefits of being in the world but not of the world on
this, the best rap release of 1998.
Straddling the divisive line between hypocrite and
helper, Goodie Mob delivers a pointed missiveat teh very community
they reside in. _Still Standing_ is a breathtaking showcase of
maturation and expansion sprouting from Goodie Mob's first record,
_Soul Food_. The four men (Khujo, Big Gipp, T-Mo, and Cee-Lo) use
_Standing_ to smartly side-step the now played out gangsta fury
that cropped upthroughout _Soul Food_. Instead, on _Standing_ they
focus their sharp commentary and biting wit on the problems facing
society, specifically the inherent flaws of the inner-city black
community.
The album starts with "The Experience", a showcase for
Cee-Lo's unusual testifying from his personal pulpit. His
gold-toothed grin gives his intelligent rhymes an immediate
credibility. Setting the tone for the rest of the record, Cee-Lo
says, "You ain't a nigga because you black, you a nigga because of
how you act." The son of two southern Baptist preachers, Cee-Lo is
the most underrated talent in hip-hop today. HIs nasal singing and
pontificating brings to mind the love child of Jesse Jackson, Martin
Luther King, Al Green, and a helium baloon.
The genius of Goodie Mob is in the way all four members'
voices weave together into a beautiful yet raw tapestry, exploring
the dynamic spectrums like the Robinson Family. Playing off of
Cee-Lo's divine drawl and Big Gipp's conversationist concerns, T-Mo
delivers an ever shifting flow, while Khujo brings a possesed social
conscience, referencing current events from the Ennis Cosby shooting
to genocide.
For production, Goodie once again collabrated with the
Atlanta collective Organized Noize (TLC, OutKast). Instead of relying
on the cymbal heavy sound now prevalent in hip-hop, they've created
a sound they termed "techno-gothic funk", where phat bass lines
serve as a foundation for trip-hop beats and clean guitar noodlings.
Unlike many other rap groups, each member of Goodie Mob
appears content playing his own part, recognizing that the sum is
greater than its parts. Here's hoping everyone else realizes how
great it is.
---
REVIEW: Triplefastaction, _Cattlemen Don't_ (Deep Elm)
- Scott Slonaker
Even though they may not see much any more in the way of
radio aiplay (excepting "I Want You to Want Me" and maybe the
occasional soft-rock spin of "The Flame"), the American Midwest's
own Cheap Trick have left quite a lasting legacy on today's rock
bands - and, of course, they continue to this day.
Triplefastaction, who share the Trick's home state of Illinois,
have survived harsh treatment (signed in '94, album held up until
spring '96, then unceremoniously dropped) at the hands of a major
label, then landing at an indie to record their second album of
Tricksteresque rough-edged, supercharged guitar-pop.
Frontman Wes Kidd, despite a somewhat indistinctive voice
that is somewhere between Paul Westerberg and Kurt Cobain, still
manages to pen a batch of tunes that stick to the cranium quite
nicely. The melodies are what get the job done, with prominent
choruses and bridges that have that knack for making the listener
feel that twinge of not-quite-placeable recognition. The first
song, "Pure", kicks off with a clatterous drumroll and a mutant
cousin of the "Wipeout" riff before launching into a brawling,
aggressive raveup punctuated by the occasional falsetto croon.
It may not be complicated, but it's plenty effective enough.
The band does throw in enough curveballs to keep things
just the slightest bit off-balance. "If" explodes into a
eardrum-scorching compost heap of feedback. The title track is
an uncharacteristically restrained ballad. The single, "I'm
Ready", has a chugging, sirenlike rhythm that would do its job
nicely (prove hummable for hours) if given half a chance on the
radio. And the horns that suddenly flare up in the middle of the
gentle "Sent Them Straight" are an unexpected treat.
The canonical list of Rules for Producing '90s Rock may
have dictated that a certain Nirvana-ness hang over the
proceedings contained on _Cattlemen Don't_, but don't be fooled.
Under the rough exterior, Triplefastaction are just looking for
a little of their own "Hot Love". And there aren't any
grimace-inducing Beatles or Elvis covers in the bunch. Give
this talented and overlooked band a look on the web at
http://www.rockfetish.com/deepelm/triple.
---
REVIEW: Alannah Myles, _Arival_ (Ark21)
- Jon Steltenpohl
It's tough being a one hit wonder. Alannah Myles rocketed
straight to number one with her bluesy song "Black Velvet", sold
7 million albums, and then plunged straight into the footnotes of
pop music history. Now, on her 4th album, she's on Miles
Copeland's Ark 21 label, and she's free to do her own thing.
As it happens, her own thing sounds very much like "Black
Velvet", but without as much pop polish. This is straight forward
rock music with a strong classic rock and blues influence.
There's a homage to Led Zeppelin called "Everything Missing", and
some early Rolling Stones tunes are hiding behind a few tracks.
Myles' love of Janis Joplin goes a little too far into the
shredded vocal chord realm at times, but, as producer, she
thankfully avoids looping her voice to hide the flaws. Warts
and all, _Arival_ is an album with integrity.
Myles is a true musician with a stable touring band
backing her. She shares songwriting credits with 11 different
cowriters including Eric Bazilian and Desmond Child. Her
collaboration with those two, "Bad for You", is a cliche with
chords. Fortunately, she sings it with just a hint of tongue in
her cheek, and it works. "What Am I Gonna Do With You?" doesn't
fare so well. It starts out with a beautiful vocal and piano
melody, and then, with an awkward key change, trots out a line of
pure cheese -- "You struck me like a match / and I had to burn,"
recalls Myles. As the song goes on, the simple melody gets
forced louder, and Myles' voice gets scratchier and more strained.
But more often than not, _Arival_ is a decent album.
Despite the years in her voice, she sings boldly and confidently
in a style that fans of "Black Velvet" will relate to. At times,
she is reminiscent of a cross between Pat Benatar and Melissa
Etheridge (before she became a lesbian poster child). The lyrics
are serious, but not too deep, and the melodies are catchy.
"Kisses are Weapons" has a "Love is a Battlefield" feel to it
and is punched up with a bluesy harmonica and sharp drum beat.
Myles sings with force, but manages to avoid the vocal pitfalls
of some other tracks.
Alannah Myles seems to have no problems living in the
shadow of her past success. _Arival_ is not a formula-driven
stab at reclaiming ancient history. Instead, it's a loose,
well-produced album of uncompromised blues rock. Myles vocals
are an acquired taste, but if acquired, _Arival_ reveals itself
to be a decent release.
For more information and a muddy real audio version of
"Bad for You", visit http://www.ark21.com
---
REVIEW: Todd Snider, _Viva Satellite_ (MCA)
- Scott A. Miller
What's Tom Petty up to these days? Heck, I don't know.
But with Todd Snider putting out stuff this good, I don't have to
know. _Viva Satellite_ swaggers across southern rock territory so
confidently I'd swear Snider had stolen Petty's muse, got it drunk
and won its everlasting love.
This is Snider's third album, a minor miracle in an industry
that demands you hit a home run with your first swing of the bat
(and then you better keep hitting homers or you're outta there). But
this Memphis songwriter has two things going for him: a truckload of
rock 'n' roll attitude and a couple of kegs of smart-ass to tap into
whenever the mood suits him.
_Satellite_ is chock full of lines Todd Snider fans are used
to. "I don't ever wanna have to go work for my dad, I guess that's
about the only dream I ever had" is from "Out All Night." "I gotta
make my last stand, this time I can't be bought, then again on the
other hand, how much ya got?" is from "Can't Complain."
But where Snider's words really hit their mark this time out
is when he's spewing real venom, like on "Positively Negative." A
guy turns the tables on his lying, cheating girlfriend. Nothing new
there. But when Snider sings "if you think you're jaded now, babe,
wait 'til you've seen the rest of me," it isn't a warning, it's a
promise. And an evil one at that.
For all the snide lyrics, there are even more hooks and
riffs. Snider's band, The Nervous Wrecks (Will Kimbrough, lead
guitar; Joe Mariencheck, bass; Paul Buchignani, drums), travels
easily from acoustic rock to rock anthem to blues to gospel, all on
this album. The lead-off single, "I Am Too," showcases a tight
rhythm section while throwing in a few power chords that would have
made Molly Hatchet proud. The band's take on Steve Miller's classic
"The Joker" struts out the song's original hook while Snider adds
just the right cocky tone to the braggadocio lyrics. And stick
around for the "theme" song hidden track at the end. It's a
rip-the-knobs-off rocker.
I'd be doing a disservice to Snider if I didn't mention
that he's capable of more than macho wise-acre commentary (and I
mean that in the best way)."Never Let Me Down" is one of the best
love songs I've heard. And he does a great job of channeling the
emotion of some rural country gospel singer on "Once He Finds Us."
This CD was originally set for release in January, but was
delayed several months because (the label said) the artwork wasn't
ready. I hope that means it's going to get the push it deserves,
because Todd Snider is the real rock 'n' roll deal.
---
REVIEW: Dakota Moon, _Dakota Moon_ (Elektra)
- Linda Scott
Dakota Moon's self-titled album is a pleasant change from
other recent debut albums. The first difference - these guys can
sing! Consequently, the vocals are mixed high so that the listener
can understand every word. Dakota Moon has a knack for storytelling,
and every song tells a story of romance and life that most listeners
will relate to.
The band harmonizes in a style reminiscent of Boyz II Men.
All four performers get vocal credit. Ray Artes is on bass, Joe Dean
and Ty Taylor are on guitar, and Malloy is on percussion. On this
album, vocals are first with the music supporting, not starring.
Hailing from Los Angeles, Dakota Moon have been working on their live
show over the past two years. With club dates all over LA providing
them the needed exposure and experience, the band was asked to open
on the Tina Turner tour.
The band's been busy, but they found time to blend pop and
R&B for the thirteen tracks of _Dakota Moon_. Their influences range
from The Eagles to Bill Withers. If you like soft, romantic music,
you'll like _Dakota Moon_. The band doesn't show a lot of range here,
but this debut album clearly showcases their strong suits of vocals and
lyrics. If this band gets MTV exposure, they're going all the way
with this one.
---
REVIEW: Pitchshifter, _www.pitchshifter.com_ (Geffen)
- Franklin Johnson
Web sites are most definitely a creature of the 1990s.
So is industrial and aggressive rock and roll. Combining two of
the more prominent aspects of this decade is the recipe for
Pitchshifter on _www.pitchshifter.com_.
The band's fifth album - and first for a major label -
is a facial barrage of machine-gun guitars for a new generation. If
Henry Rollins, Trent Reznor the Prodigy and Extreme Noise Terror put
their heads - and tattoos - together, they might sound like Pitchshifter.
To afficionados of the British band, the Prodigy is already
a prime focal point - guitarist Jim Davies has already put down licks
for "Firestarter" and "Breathe". "Genius", with its 'dysfunction is a
function' lyrical refrain, and the NIN-like "Civilized Society" offer
listeners a good starting point into the beast known as Pitchshifter.
Finally, when the album's 13 tracks are complete, the band
offers you the opportunity to go to their website and obtain 50 samples
which the band utsed on their album - and fans are encouraged to
'steal' them to make their own music (with proper credit given to
the band). I don't have to tell you the band's web site, do I?
---
NEWS: > Luscious Jackson keyboardist Vivian Trimble has
departed the band in an amciable split from the group to
pursue other musical interests. Luscious Jackson is currently
demoing material for its follow-up to 1996's _Fever In Fever Out_ ,
with plans to begin recording in the late spring.
> Mammoth Records has redesigned their website, located at
http://www.mammoth.com , with advance previews of new singles and videos,
as well as much of the Mammoth catalog. In addition, all future single
artist CD releases will contain a multimedia CD-Rom tracks.
> Run DMC helped revive Aerosmith's career with their
rap modernization of "Walk This Way", so it's only fair that Jason
Nevins picks up the trio's sagging career with his update of "It's
Like That". Nevins is set to also remix another Run DMC song, and
is at work on updating a tribute version of Falco's "Rock Me Amadeus".
> Reissue king Rhino Records has announced their Insane CD
Exchange Program. This allows consumers to exchange one of their
"lesser-quality various artist, best-of, or reissue CDs - from any label
or mail order house" - for any Rhino single CD.
There is a limit of one exchange per person per lifetime. For
further information on the promotion, check out Rhino's web site, located
at http://www.rhino.com
---
TOUR DATES:
Addict
Apr. 14 Atlanta, GA Point
Apr. 16 Sacramento, CA Bojangles
Apr. 17 San Francisco, CA Paradise Club
Apr. 18 San Jose, CA Cactus Club
Apr. 20 Phoenix, AZ Mason Jar
Apr. 21 San Diego, CA Casbah
Apr. 22 Los Angeles, CA Troubadour
Agents of Good Roots
Apr. 18 Washington, DC Bayou
Cherry Poppin' Daddies
Apr. 13 Atlanta, GA Masquerade
Apr. 14 Lake Buena Vista, FL House of Blues
Apr. 15 Miami Beach, FL Cameo
Apr. 16 St. Petersburg, FL Jannus Landing
Apr. 18 New Orleans, LA House of Blues
Cows
Apr. 14 Tallahassee, FL Cow Haus
Apr. 15 Baton Rouge, LA Bayou
Apr. 16 Houston, TX Fitzgeralds
Apr. 17 Austin, TX Emos
Apr. 18 Dallas, TX Galaxy
Apr. 19 Oklahoma City, OK Vzd
Apr. 20 Kansas City, MO Hurricane
Apr. 21 Lincoln, NE Duffy's
Apr. 23 Denver, CO Bluebird Theatre
Cravin' Melon
Apr. 18 Raleigh, NC Walnut Creek
Alana Davis
Apr. 14 New York, NY Irving Plaza
Apr. 15 Boston, MA Avalon Ballroom
Apr. 16 Philadelphia, PA TLA
Apr. 17 Pittsburgh, PA Metropol
Apr. 20 Cincinnati, OH Bogarts
Apr. 21 Cleveland, OH Odeon
Apr. 22 Detroit, MI Clutch Cargos
Apr. 25 Charlotte, NC City Fest
Kyle Davis
Apr. 20 New York, NY Bottom Line
Apr. 21 Philadelphia, PA The Kyhber
Apr. 23 Nashville, TN 12th & Porter
Dismemberment Plan / Calvin Krime
Apr. 14 Baltimore, MD Otto Bar
Apr. 15 Boston, MA Middle East-Upstairs
Apr. 16 New York, NY Coney Island High
Apr. 17 Providence, RI RISD
Apr. 18 Cleveland, OH Grog Shop
Apr. 19 Flint, MI Empire of One
Apr. 21 Minneapolis, MN Terminal Bar (w/ Smart Went Crazy)
Apr. 22 Minneapolis, MN 7th Street Entry
Flick
Apr. 14 Lawrence, KS The Bottleneck
Apr. 15 Columbia, MO The Blue Note
Apr. 16 Springfield, MO Juke Joint
John Wesley Harding / Steve Wynn
Apr. 16 Alexandria, VA Birchmere
Apr. 17 New York, NY Mercury Lounge
Apr. 18 Cambridge, MA TT's The Bear's Place
Apr. 19 Albany, NY Valentine's
Apr. 20 Burlington, VT Club Metronome
Apr. 21 Rochester, NY Milestones
Apr. 23 Ann Arbor, MI Gypsy Cafe
Irving Plaza (NYC concert hall - www.irvingplaza.com)
Apr. 14 Sister Hazel / Alana Davis
Apr. 15 String Cheese Incident
Apr. 16-18 Radiators
Apr. 20 Specials
Apr. 23 Tori Amos
Kerosene 454 / Bluetip
Apr. 14 Chicago, IL Fireside Bowl
Apr. 15 Kalamazoo, MI Club Soda
Liquor Giants
Apr. 16 Costa Mesa, CA Club Mesa
Apr. 18 San Francisco, CA Boomerang
Apr. 19 San Francisco, CA Bottom Of The Hill
Luna
Apr. 17 Amherst, MA Amherst College - Front Room
Ziggy Marley & Melody Makers
Apr. 15 Norfolk, VA The Boathouse
Apr. 16 Hampden Sydney, VA Hampden Sydney College
Apr. 17 Philadelphia, PA Electric Factory
Apr. 18 Gettysburgh, FL Gettysburgh Univ.
Apr. 19 Richmond, VA Mayo Island Music
Apr. 21 East Lansing, MI Michigan State Univ.
Apr. 22 Romeoville, IL Lewis University
Apr. 23 Chicago, IL Park West
Mono
Apr. 13 Boston, MA Paradise
Apr. 14 New York, NY Shine
Apr. 17 Toronto, ON Lee's Place
Morcheeba
Apr. 13 Vancouver, Canada Richards on Richards
Apr. 14 Seattle, WA Showbox Theatre
Apr. 16 San Francisco, CA Bimbo's
Apr. 17 Los Angeles, CA El Rey Theater
Apr. 20 Boulder, CO Fox Theatre Cafe
Apr. 22 Minneapolis, MN First Avenue
Apr. 23 Milwaukee, WI The Rave
Promise Ring / Jimmy Eat World
Apr. 14 Columbus, OH Ohio State University
Apr. 15 Bloomington, IN Rhino's
Apr. 16 Champaign, IL Blind Pig
Apr. 17 Normal, IL Illinois State
Apr. 18 Columbia, MO Blue Note
Apr. 19 Chicago, IL Fireside Bowl
Radiohead
Apr. 13 Montreal, QC Molson Center
Apr. 15 Worcester, MA Worcester Centrum
Apr. 17-18 New York, NY Radio City Music Hall
Slackers
Apr. 16 New York, NY Artist Space
Apr. 17 Wheaton, MD Phantasmagoria
Apr. 18 Philadelphia, PA Philadelphia Textile College
Apr. 19 Pittsburgh, PA Laga
Smart Went Crazy
Apr. 14 Portland, OR E.J.'s
Apr. 15 Seattle, WA Velvet Elvis
Apr. 16 Boise, ID 507 15th St.
Apr. 17 Salt Lake City, UT U. of Utah Union Theatre
Apr. 18 Denver, CO Double Entandre
Apr. 19 Lawarence, KS Replay Lounge
Apr. 20 Omaha, NE Cog Factory
Apr. 21 Minneapolis, MN Terminal Bar
Apr. 23 Green Bay, WI Concert Cafe
Elliott Smith
Apr. 15 Boston, MA Middle East
Apr. 16 Princeton, NJ Campus Club
Apr. 17 Washington, DC Black Cat
Apr. 18 Philadelphia, PA Pontiac
Apr. 22 New York, NY Tramps
Superdrag / Apples In Stereo / Tuscadero
Apr. 15 Washington, DC 9:30 Club
Apr. 16 Philadelphia, PA Trocadero
Apr. 17 Boston, MA Paradise
Apr. 18 New York, NY Tramps
Apr. 21 Syracuse, NY Styleen's
Apr. 23 Cleveland, OH Agora Ballroom
Third Eye Blind / Rebekah
Apr. 13 Las Cruces, NM NM State Univ. - Pan Am Ctr.
Apr. 14 Tucson, AZ Prima County Fair
Apr. 17 San Diego, CA UCSD/RIMAC Arena
Third Eye Blind / Dance Hall Crashers
Apr. 18 Santa Barbara, CA County Bowl
Apr. 19 Claremont, CA Bridges Aud.
Apr. 21 Reno, NV Lawlor Events Center
Apr. 22 Redding, CA Redding Civic Center
Apr. 23 Sacramento, CA Memorial Aud.
Trinket
Apr. 17-19 St. Petersburg, FL Pier
Apr. 20 Daytona, FL Oasis
Apr. 21 Gainesville, FL Univ. of Gainesville
Apr. 22 Jacksonville, FL Milk Bar
Apr. 23 Athens, GA 40 Watt Club
---
THE READERS WRITE BACK!
> Just a note, again, your magazine amazes me. I am getting
sick of writing what a big fan I am and how much I appreciate
it..... Could you suck just for a while so that I could get mad? It
seems strange not being mad at music reviews.
Peace, Scott G., New Hampshire
---
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