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==== ISSUE 100 ==== CONSUMABLE ======== [February 13, 1997]
Editor: Bob Gajarsky
Internet: gajarsky@email.njin.net
Sr. Correspondents: Jeremy Ashcroft, Dan Enright, Reto Koradi,
David Landgren, Sean Eric McGill, Tim Mohr,
Al Muzer, Jamie Roberts, Joe Silva, John Walker
Correspondents: Daniel Aloi, Lee Graham Bridges, Scott Byron,
Paul Grzelak, Janet Herman, Bill Holmes, Eric
Hsu, Tim Hulsizer, Stephen Lin, Scott Miller,
P. Nina Ramos, Linda Scott, Scott Slonaker,
Simon Speichert, Jon Steltenpohl, Courtney
Muir Wallner, Simon West
Technical Staff: Chris Candreva, Dave Pirmann
Address all comments, subscriptions, etc. to gajarsky@email.njin.net
==================================================================
All articles in Consumable remain (C) copyright their author(s).
Permission for re-publication in any form must be obtained from the
editor.
==================================================================
.------------.
| Contents |
`------------'
INTERVIEW: Darlahood - Al Muzer
CONCERT REVIEW: Space - Bob Gajarsky
REVIEW: Julian Cope, _Interpreter_ - Joe Silva
REVIEW: Jazz Passengers, _Individually Twisted_ - Daniel Aloi
REVIEW: Johnny Cash, _Unchained_ - Scott Byron
REVIEW: Cravin' Melon, _Red Clay Harvest_ - Bob Gajarsky
CONCERT REVIEW: Silver Jet - Bill Holmes
REVIEW: Soundtrack, _Angel Baby_ - Sean Eric McGill
REVIEW: Stray Cats, _Runaway Boys: A Retrospective '81-'92_ - Scott Slonaker
REVIEW: Rex Daisy _Guys And Dolls_ - Bill Holmes
REVIEW: New Speedway Kings, _All Ages Show_ - Al Muzer
TOUR DATES: Backsliders, Bally Sagoo, Benna, Lisa Cerbone, Shawn
Colvin, Cordelia's Dad, Cracker, Cravin' Melon, Crown Heights,
Dirty Dozen, Favorite Color, Goldfinger / Humble Gods, Juliana
Hatfield, Irving Plaza (New York Concert Hall), Joykiller, Kula
Shaker / Rasputina, Nil Lara, Local H / Failure, Mother Hips,
Offspring / Joykiller, Professor & Maryann, Royal Fingerbowl,
Samples / Stir, Sebadoh, Silverchair / Handsome, Sister Hazel,
Slush, Sno-Core (incl. face to Face, Pharcyde, Voodoo Glow
Skulls), Space, Squirrel Nut Zippers, Stillsuit, Sweet Vine,
Tool / Melvins, Type O Negative / Sister Machine Gun / Drain
S.T.H., Urchins, Vallejo, Why Store / Clarks
Back Issues of Consumable
---
INTERVIEW: Darlahood
- Al Muzer
Certain critics are bound to whine that Darlahood's
first album marks the return of a riff-heavy, self-indulgent,
guitar-fueled brand of "head" music that went out of style
with strawberry rolling papers and $30 ounces.
I say it's about damn time.
And, based on the record's recent climb up the Billboard
Mainstream Rock Tracks chart and the success of the first single,
"Grow Your Own", so do an awful lot of other people.
Packed with a power, pulse and swagger similar to what now
passes for "alternative" music; _Big Fine Thing_, the New York
based three-piece's Reprise Records debut, tempers its radio-ready
marketability with something most bands seem to lack these days - roots.
Not just roots, but solid roots.
Roots that reach a bit deeper than those of the usual Green
Day, Pearl Jam and Nirvana clones who flicker briefly on the charts
before sinking back into obscurity. Roots that show an understanding
and appreciation for what inspired those bands to pick up their
instruments in the first place.
And, as they careen from one exuberant blast of T-Rex-,
ZZ Top-, 'Stones-, Hendrix-, Bad Company-, Led Zeppelin-, Cheap
Trick-, King Crimson-, Humble Pie-, Beck- (Jeff, that is) and
Beatles-fueled wad of slashing, sneering, dangerously-humming,
guitar-dominated noize to another, the 12 outstanding songs on _Big
Fine Thing_ do just that.
"I've found that it always helps to have a good musical
vocabulary," guitarist/vocalist/songwriter Luke Janklow comments
wryly. "On the other hand, I don't think we're a particularly
'retro' sounding band. Basically, what it comes down to is that
I listen to all sorts of music. I listen to music that came out
yesterday; and I listen to music that came out 25 or 30 years ago.
I just seem to be more inspired," he says after a brief pause, "on
the whole, by music that was made at some point in the past."
"Don't get me wrong," Janklow is quick to add, "there's a
lot of new stuff that I really like. I love Tom Waits, PJ Harvey
and a lot of other music that's out there now, but, there's a
reason why people still love the Beatles," he says with conviction.
"And there's a reason why Elvis Presley records still touch people.
I just don't like the stigma that comes with a 'retro' tag because
it implies some sort of an agenda - which has nothing at all to do
with us."
In addition to a sprawling, free-wheeling respect for what
came before, each track on Big Fine Thing updates its arena rawk
beginnings and achieves a chart-worthy, "modern" rock sound via
subtle (and not so subtle) swipes from the riff closets of newer
groups such as Big Black, Meat Puppets, Mary On The Dash, My
Bloody Valentine, Dinosaur Jr., Buffalo Tom, Husker Du, Nirvana,
Pearl Jam and Soundgarden.
Despite their far-reaching, yet fairly obvious influences,
Janklow, drummer/songwriter/backing vocalist Joe Magistro and
bassist David Sellar (working with Bush, Morrissey and David Bowie
producers Clive Langer and Alan Winstanley) have crafted a truly
unique collection of music that practically demands an air guitar
frenzy with every spin.
"There are people out there who act as if what we're doing
is some sort of a novelty thing," laughs Janklow at the response
songs such as "99% Bulletproof," "R.S.V.P.," "I've Got Pictures"
and "Watch Your Mouth" have received. "You know, as if loud,
loose, guitar-heavy music was an oddity."
"We wrote a lot of songs for this record," continues the
lanky, long-haired guitarist, "but were pretty merciless about
what finally wound up on it. We wanted 12 strong, memorable
tracks - so we wrote nearly 70 songs and culled the final selection
from those."
And, while 70 may seem like an unusually large number of
songs to write, what else, really, is there to do when you're
snowbound in upstate New York during what turns out to be the
biggest blizzard of the last two decades?
"We rented this huge, old house near Woodstock [_Big Fine
Thing_ was recorded at Bearsville Studios] with the intent of getting
away from it all for a little while," recalls Janklow with a wry
chuckle. "We wanted to woodshed with our instruments, write a few
new songs and get better acquainted musically with David [who had
only recently joined the band]. We wound up being snowed in
together for what seemed like forever!" he laughs.
"Our time alone really helped us get ready for this album
in that we had a chance to do our musical homework and flesh out
and experiment a little with each song," he offers. "We walked into
the studio knowing, for the most part, what we wanted to achieve and
where we hoped to go with each track."
"All we intended to do when we set out to make this record
was to, make a record, you know?" he laughs. "To come up with
something you could listen to and enjoy every time, all the way
through. Something that challenged you a little each time you heard
it - and gave you something new back every time you played it."
Mission accomplished.
Look for Darlahood's Reprise Records debut at a store near
you. Join the band's fan club by writing to: PO Box 378, Bearsville,
NY 12409; or e-mailing: Darlahood@aol.com. Visit the web page at:
www.uelectric.com/dhood.html.
---
CONCERT REVIEW: Space, Mercury Lounge, New York, NY
- Bob Gajarsky
BUZZZZ....
That sound you may be hearing is the noise of the entire
music industry circling around the British band Space, ready
to anoint the next "big" band out of England. But that's not
industry hype that's driving the Space mobile, but true fan
support.
"Do you have any extra tickets for the show, mate?", asks
a young fan in his early 20s. He's driven down from Connecticut
along with his two English friends to try and catch Space before
they play to much larger audiences. Too late for this show - it's
been sold out for days now, and unfortunately, he's left to wait
outside on a cold evening, hoping to scrape up any extra tickets
from people who don't show up.
New York's Mercury Lounge is a small club, holding about 150
people if not too many fire codes are broken. It's in this unusually
small environment that a band with several top 20 UK hits, and a huge
European debut album _Spiders_ (named by our own Tim Mohr as his
top album of 199*6*) is making their first Big Apple appearance.
"You know who Space are, then? That's great! Hey, do
you like the Charlatans? Supergrass? Kula Shaker?" The fan and I
engage in conversation about the state of British bands, American
audiences not being as receptive to those groups as their English
counterparts, and about what a great record _Spiders_ is. The
difference between Space and the aforementioned bands is that whereas
most acts can be clearly defined, Space crosses all boundaries and
leaves the listener to marvel at the sheer genius behind their songs.
Inside, it's a similar story. "No one can harm me now - I've
got my Frank Sinatra _Greatest Hits_ tape in my back pocket,"
proclaims Space's lead singer, Tommy. Looking quite a bit like a talented
Davy Jones with a guitar, he playfully teases the front two rows
of Anglophiles during the opening track, "Charlie M". Running the
gamut of subjects from Manson to Elvis to Madonna to HIV is the
norm for Space, whose lyrics are never quite what they seem.
"Has anyone shagged (fucked) any sheep today? I 'ave!" That
strange conversation, all said with a huge (sheepish?) grin on his
face, is Tommy's way of introducing "Me & You Vs The World" to
the audience. One of the British singles, several rows of fans can't
resist dancing. The scene is repeated on other singles including
"Female of the Species" (where Tommy sounds like a 50s crooner -
maybe even the Chairman of the Board himself), and the spy-theme
meets Pulp sound of "Neighborhood".
Because the _Spiders_ album is so musically complex -
ranging the gamut from a Black Grape/Happy Mondays sound to horns,
Mexican influences, and things Juan Esquivel only dreamed of -
the live show can't be recreated without the use of samples
and some programming. And although the band has two guitarists and
one drummer, that's where their fourth member comes into play.
Keyboardist (and sampler) Franny takes center stage on "Growler".
While the remainder of the band took a few minutes to
collect their thoughts (and wipe the sweat from their brows), Franny
took the audience on a techno ride. A complete departure from the
rest of the "Space sound"? Sure - but that's what helps make
Space so unique, and so good. Unfortunately, most of the audience
wasn't up to the four minute rave experience and stood there,
shocked that the band would dare to play such a different
track at their live show.
This is one group that genuinely *enjoys* performing for
an audience. Tommy even closes the ten song set by falling off the
low stage into the arms of some of those fans, and smiling for pictures in
between his admirers. Those pictures weren't for show, either, as
the "professionals" weren't shooting away at that late point of
the performance.
It's refreshing to see a band as pleasant as Space.
In addition to seeing a quality show, I got a strong feeling of
the bond that exists between Space and their British fans. I know
that fan from Connecticut will be fortunate when they return back
to New York in mid-March to play Irving Plaza. And if you hear
that buzzing sound from the music journalists waiting to jump on
the Space bandwagon? Don't kill them - just be on it first.
With a record as good as _Spiders_, you'll be glad you did.
SET LIST: Charlie M, Me & You Vs. The World, Drop Dead,
Female of the Species, Money, Looney Tunes, Spiders, Neighborhood,
Mr. Psycho
---
REVIEW: Julian Cope, _Interpreter_ (Echo U.K.)
- Joe Silva
Keeping abreast of Mr. Cope's doings and perceptions
is akin to pursuing an anxious sidewinder across a paisley
desert. And we're not talking about simply trying to connect
the skewed dots between his musical outings either. Julian's
notions of who and why he is seem to shift with a cosmic
irregularity that would generally warrant a prescription of
some sort.
On a merely factual plane however, _Interpreter_'s does
serve to partially document what the Arch-Drude has been on
about since he severed ties from his Stateside label. His
_KrautRockSampler_ book, issued not too long after his hit
biographical mini-tome (_Head-On_), outlined Julian's mad,
yet brilliantly detailed, devotion to somewhat obscure German
art/prog-rock electronic combos such as Neu!, Faust, and Can.
While _Interpreter_ is by and large big, semi-weird pop, the
outerworldly-ness of it comes from the freakout sensibilities
that he has gleaned from these very severe German musos. His
now well-established keyboard-wielding sidekick, known only as
ThighPaulSandra, is key to Julian achieving the vast space auras
that flow in and around these tracks. Large Moog flavourings
abound here and there, and their lack of restraint gives Julian
the dense atmosphere he requires to climb skyward.
As is outlined in the lyrics to _The Battle For The
Trees_, Copey takes his much publicized Lorax doings into song.
Julian joined gangs of U.K. tree-sitters in their scary efforts
to block roads from being constructed through large stands of
innocent trees in Newbury. Mixed in with the tale of a celestial
sun/moon coupling, Jules does his best in long form to convey a
harmony undone by rude and heinous urban forces. But it's only
during these protracted rants, when the weight of the subject
matter tends to obliterate whatever musical structure had been
laid, that he will lose all but the terribly faithful.
But while Copey has his moments of abstract venting,
_Interpreter_ does little to detract from Julian's reputation
as a melody-smart pop laureate. "Maid Of Constant Sorrow",
with its swinging piano, up-tempo whistles, and epic guitar
solo works can speak to even the most straightforward of
listeners. Likewise "I've Got My TV and My Pills," the single
"Planetary Sit-In," and "Since I Lost My Head, It's Awl-Right"
all show that the spark that elevated the Teardrop Explodes
(Julian's first band) has not diminished or even grown, but
instead, taken on multi-dimensional proportions that those who
have cared to keep up this long will find far more rewarding.
For those who might approach this new chapter initially
muddled, this U.K. only package comes with Drude-penned liner
notes and an "all purpose mythological mind map" to chart their
way. Julian invites all comers to "s.p.a.c.e.r.o.c.k." accordingly.
Contact: K.A.K. PO BOX 3823, London N8 8BR or
www.echo.co.uk for more information.
---
REVIEW: Jazz Passengers, _Individually Twisted_ (32 Records)
- Daniel Aloi
The Jazz Passengers' second album is a tour de force of
traditional jazz retooled for these retro-modern times, where
cocktail music and hipsterish cafe culture have made a definite
comeback.
Debbie Harry is the vocalist, after singing as a guest on
the last album - and despite the presence of "The Tide is High"
this ain't no Blondie. With her in front the group conveys the
romance and smarts of an imagined downtown scene.
Harry is a natural as a smoky diva - she has the requisite
flattened jazz phrasing down, and she's a driving force for the
band. On such excursions as "Maybe I'm Lost" and the sultry "Lil'
Darlin" she gives as good as she gets. "Imitation of a Kiss" is a
torch song worthy of a Coppola or Altman film. The other high
profile voice here belongs to Elvis Costello, who duets with Harry
on the comic you-didn't-catch-me-cheating exchange "Don'cha Go 'Way
Mad," one of many highball highlights of the record. Costello also
solos on the rush-hour changes of "Aubergine" - he's been in this
territory before, and is suitably comfortable.
The group itself is a fluent ensemble on horns, guitar,
vibes, bass, piano and drums, taking samba and reggae turns (on a
remake of "The Tide is High") within a coterie of jazz styles. The
humor of the lyrics on "Pork Chop" seems a little forced, but apart
from that the Passengers and Harry (and Costello, whose contributions
add immensely to the proceedings) find a smooth groove nearly all
the way through.
For its many mysterious charms and sense of dangerous,
ludicrous fun, this Valentine's Day release is highly recommended,
for lovers would-be or otherwise.
---
REVIEW: Johnny Cash, _Unchained_ (American)
- Scott Byron
Johnny Cash covers Beck and Soundgarden? In your
dreams, buddy. Backed by Tom Petty and the Heartbreakers?
Yeah, right. And produced by Rick Rubin? Don't push your luck, pal.
Well, welcome to _Unchained_, my friend. This is not your
father's Johnny Cash.
And yet it is. No matter how you package it, the man's
voice is the focus, a worldly growl that makes any song it sings
a Johnny Cash song, with all the grand history and limitations that
come with it. It's not a wide-ranging voice, but it inhabits its
own space, and stretches whatever song it sings to fit snugly around
and inside itself. That makes Cash both a master interpreter and a
resident of his own universe.
On this visit into Cash's realm, we find him turning Beck's
"Rowboat" on its ear, making it a slow burner that feels the pain
and heartbreak in the lyric, but looks hopefully to the future.
Soundgarden's "Rusty Cage" is coiled tightly despite the opening's
spare instrumentation. When the tension is released midway through
the track, Cash spits out his words like a tiger pacing back and
forth. The album's other contemporary rock cover is more obvious,
Tom Petty's "Southern Accents," and it's given a slow reading that
fits Cash to a tee.
Petty and his band are obviously relishing this session,
an opportunity to play for, and with, one of the greats. Their
performances are just right throughout, staying just subtle enough
that they never steal the stage from the headliner, but still
infused with just the right amount of passion. The whole album
straddles the lines between country and rock, in the end just
feeling like a rich slice of Americana.
The other songs on _Unchained_ are a disparate lot, mostly
covers, each neatly fitting a neat niche in Cash's persona,
reflecting at times his spirituality ("Spiritual"), his history
("I've Been Everywhere"), his heritage ("I Never Picked Cotton")
and the like. The album's two new originals are among its
highlights. "Meet Me In Heaven" is written for his wife, the title
taken from the words on his brother's tombstone. It's heartfelt
and heartbreaking. "Country Boy" is a rocker that shows how
grounded Cash remains, remembering the life he came from. Also
worth mentioning here is one relic that has been resurrected here,
"Mean Eyed Cat." One of the album's more upbeat tracks, it's a
propulsive rocker he originally recorded in the Sun days; Cash says
he recorded it before he'd finished it, and now that the final
verse is written, he's done it again. It smokes.
_Unchained_ has Cash's history in its favor, but this
album is far from a piece of history. It's a beautiful blend of
the classic and the timeless with the contemporary and the new, a
potent reminder of how where we've been is a part of where we're going.
---
REVIEW: Cravin' Melon, _Red Clay Harvest_ (Mercury)
- Bob Gajarsky
Several years after Hootie and the Blowfish garnered
international headlines, another band from the Carolina region
is getting their chance at national recognition. And while both
bands have taken a similar path to their major label debuts -
long, arduous touring combined with hot selling independent releases
(Hootie's _Kootchypop_, Cravin Melon's 20,000+ seller, _Where I
Wanna Be_) - the trail blazed by Hootie has left some charred ashes
for any future wanna-be Southern rock stars.
Differences between the two bands surface at the microphone;
Darius Rucker has a more soulful, and variant vocal range than does
Cravin Melon's Doug Jones. The similarities reside in the rhythmic
hooks of both bands - not withstanding 9 zillion airplays for each of
Hootie's singles.
"Come Undone", the first single from _Red Clay Harvest_, has an
instant familiarity to the listener that will leave them yearning
for more. "Nobody's Prize", a potential future single, is also carried
by a hummable refrain and solid musicianship. At times, parts of _Red
Clay Harvest_ carry over into a more Southern version of John
Mellencamp (circa _Big Daddy_) or if the Eagles had grown up in
the Southeast - and hadn't gotten older.
Five songs from _Where I Wanna Be_ have emerged in
re-recorded form on Cravin' Melon's national debut. Tracks such as
"Pretend" and "Blossom" fit together more as a cohesive package on
_Red Clay Harvest_, which (to this Yankee who has never crossed the
Mason-Dixon line on the East Coast) conjure up images of a relaxed
atmosphere with a "good ol' hometown band" just playing for the
fun of it. Even though "Pretend" draws into a longer-than-expected
guitar solo, all the tracks retain that feel-good sound.
The likely second single, "Sweet Tea", has already received
significant airplay at radio stations in the Southeast when
released independently. Although slowed down from the indie
version (with a slight change of harmonies), it's hopeful that the
regional flavor - no pun intended - of this song on a favorite
Southern drink won't deter the nation from taking a good listen at
this cut.
And, it's hopeful that Hootie's success (and eventual
overexposure) won't stop people from taking a look at another
Carolina band. They're not some faceless label's product of
the month, but a hard-working band that has paid its dues over
the past several years. The guitar playing isn't complex - it's
just catchy. The vocals aren't wide ranging - they just fit the
music. And the lyrics aren't some metaphorical look at the
universe, but they stay stuck in your head long after the song
has finished.
Rather than saying what Cravin' Melon isn't, the
focus should be on what Cravin' Melon is - a band that has a
knack for recording well-crafted, radio-friendly songs.
With records like _Red Clay Harvest_, Cravin' Melon could
bring a whole new meaning to the term Southern rock.
For more information, check out the band's web site
at http://www.melonpatch.com
---
CONCERT REVIEW: Silver Jet, Live at the Record Archive, Rochester NY
- Bill Holmes
In the great D.I.Y. revival of the past few years, bands
have tried to combat the apathy of major labels by taking matters
into their own hands. Noble as this might be, in most cases it's
the only option the band has to make some waves. Even if a band
does get signed to a label, many are completely ignored or suffer
malnutrition from the PR department. After all, how does a record
corporation ("company" is just too benign a word, don't you think?)
explain to its stockholders that it's investing in the long term
success of an artist? These pencil pushers want to see black ink
now, so it takes a lot of juice just to get something as logical
as publicity and tour support when the band is out there hustling
the new record.
Considering this usual M.O., imagine how shocked I was to
hear that Virgin Records was sending a new powerpop band called
Silver Jet out to do promotional concerts in several independent
record stores, and - sit down - the product won't be out for
another six weeks! That's right, the music is not on the radio,
and the product is not in the stores - the band doesn't even have
any CDs to sell to the people who come to these gigs! Inspiration,
or sheer lunacy?
When I pulled my jaw off the floor I figured this demanded
my attention, so I hustled down to the Record Archive, a cool
record store and local landmark. One of only fourteen independent
stores in the country lucky enough to get such a perk, they have a
history of hosting and supporting great music of all types. A
small crowd was gathered near the makeshift stage as the band
kicked off the set with "The Crown", and soon even the casual
shoppers were on hand to see what the buzz was about.
Silver Jet is a young three piece that snap out three
minute rockers and ballads in classic pop tradition. No drum solos,
not much lead guitar; just three musicians who can turn on a dime
and propel songs of love, lust, angst and...implants? Yes, the
first single ("Plastiqua") is about people who aren't very honest
in more ways than one. (Lead singer Luke Tierney introduced this
one: "This will be the first single from our new album...it's
about penis enlargement...") The band's sense of humor is evident
in its stage patter as well as its lyrics.
Besides Tierney on guitar and lead vocals there's
bassist/vocalist Jeff Gross and Grant Conway on drums and vocals.
The band had used a second guitar player in earlier days but
realized that the stripped-down sound played better. Wise move.
Most of the material from the upcoming _Pull Me Up Drag Me Down_
is classic powerpop tempered with a fatter, more modern sound, and
the energy comes across in the live setting as well.
The short set featured at least five songs that would sound
great blasting from any radio right now. My choice for a single
would be "Kid", a killer track whose raucous rhythm and
Romantics-like refrain of "Hey! Hey! Hey!" stick in your head
after one listen. Add to that the record's kickoff track "Master
Plan", the politically incorrect "Free To Roam", and the
autobiographical "Meant To Be". I'd also wager on "That Call",
whose stop-start vocals and pulsating bass on the verses make it
the logical stepson of The Cars' "Best Friend's Girl".
Tierney is an animated front man, and although the
physical atmosphere didn't let Gross do much more than a Bill
Wyman impression, they have fun up there. The songs are clever
and chock full of hooks, and the vocals and harmonies are very
strong. Listeners looking for comparisons would probably cite
Material Issue or even a harder edged Knack. And although darker
songs like "Know You" display a Nirvana influence, don't mix this
witty band up with Silverchair, the grunge wanna-bes from Down
Under - Silver Jet could never write a song as inept as "Drink".
The promotional tour caused them to miss the Poptopia
Festival in their home base of Los Angeles, for which they would
have been a natural fit, but the fun and challenge of getting the
gospel spread far and wide seems to be appealing. Gross noted that
if the band doesn't hook up as part of a major tour in the Spring
they'll "probably go to Europe and tour some clubs over there. One
way or another, we'll be playing". No doubt Virgin Records will
use their considerable influence to make both scenarios happen.
Virgin obviously believes that they have a real player in
the powerpop sweepstakes on their hands. I agree - Silver Jet is
one to watch in 1997.
---
REVIEW: Soundtrack, _Angel Baby_ (Milan)
- Sean Eric McGill
What is the movie Angel Baby about? I'd love to tell
you, but I have no idea myself. From what I can from the
promotional material that accompanied the soundtrack and the
photo layout in the CD, it's a love story - but as is often the
case with small, independent films, one cant always be so sure.
What does that have to do with the quality of the album?
Depends on how you look at soundtracks. If your idea of a
soundtrack is an album that exists as a separate entity of the
film itself, then it doesn't mean anything. But if you're like
me, a soundtrack album is one that you listen to not only to
enjoy the music, but to bring you back to those special moments
in the film. Of course, there are exceptions to this. Although I
do enjoy the soundtrack to _The Crow: City of Angels_, I will have
lived a long and fulfilling life if I never see that particular
piece of crap again.
As far as the music on _Angel Baby_ is concerned, it's a
mixed bag, indeed. Featuring songs that run the gambit from world
music to classic rock, the overall feel of the album is indeed that
of a soundtrack. That's how the opening track, "Sygyt Khoomei
Kargyraa" by Shu-de, with its world-music feel and execution is
followed by Norman Greenbaum's classic "Spirit In the Sky". For
soundtracks, it's not the genre thats important - it's the song.
The album also includes tracks by Nusrat Fateh Ali Khan
("Sea of Vapours" and "Tracery", both written by Michael Brook),
Peter Gabriel ("We Do What We're Told" from the _So_ album), and
The Vogues ("You Are My Special Angel"). But the true joy of the
album is the first single (if you live near a college radio station,
I'm willing to bet they have it), "Until I'm In You".
Produced and written by Gavin Friday and Maurice Seezer
(who have worked with Bono on songs for the film _In the Name of
the Father_ as well as recording under the name Gavin Friday),
"Until I'm In You" features the vocals of Anneli Drecker. The feel
is basically "Portished-meets-Bjork", and is worth the price of the
album alone.
_Angel Baby_ is, overall, a quality soundtrack album. I
still don't know what the movie is about, though - but if the
soundtrack is any indication of the film it promotes, I can't
wait to find out.
---
REVIEW: Stray Cats, _Runaway Boys: A Retrospective '81-'92_ (EMI)
- Scott Slonaker
An anomaly amongst other acts of the '80s, the Stray Cats stood
out like a sore thumb from the surrounding sea of synth-pop and hair
metal. Purveyors of semi-vintage '50s rockabilly, of all things, the
Cats, lamentably, were unable to turn their more
revival-than-influential sound into anything beyond the same 15-minute
success as their big-coiffed compatriots on the infant MTV. _Runaway
Boys_ is the definitive compilation of the band's best material, with
all the hits - all three of them.
Leader and guitarist Brian Setzer was the heart and soul of
the Stray Cats, and the architect of the band's vision (which continues
to this day, in the form of the amazing 17-piece Brian Setzer Orchestra).
Setzer's flashy stringwork and unremarkable but effective croon are the
focal point of the band, as bassist Lee Rocker and drummer "Slim" Jim
Phantom were merely functional (live, Phantom usually played a
three-piece set while standing, and Rocker a stand-up bass). With such
a basic arrangement, the songs are quite simple - they had to be.
This simplicity is what made hits like "Rock This Town" and "Stray
Cat Strut" such infectious pop songs, with catchy choruses and
unadorned hooks. Sometimes, it worked against the Cats, too, causing
many of their albums to sound somewhat similar.
For fans, this collection contains a half-dozen rare and
unreleased tracks; the best and most distinctive being a traditional
sounding cover of Bobby Fuller's "I Fought the Law" (notably redone
in 1979 by the Clash). Two more of the new songs were UK-only tracks
from the Stray Cats' original 1981 eponymous debut, two more are
B-sides of US singles, and the other few are LP tracks from the
band's last three Japanese-only albums (believe it or not, Japan
is rockabilly-mad). While none of the new songs are bad, several
are indistinctive. The band hardly changed its sound at all over
its thirteen-year career and the only difference in sound throughout
the whole compilation is due to the changes in recording technology.
Non-fans of the Stray Cats who can hum their hits are advised
to start with this collection; it has all the aforementioned hits,
several spiffy covers (besides "I Fought the Law", we get "You
Can't Hurry Love", and Gene Vincent's "Race With the Devil" and
"Cruisin'"), and most of the non-single highlights from the band's
previous half-assed 1990 best-of disc (wouldn't it be insulting to
have a greatest- hits collection with only ten songs on it?), with
a hefty twenty-five tunes for the single-disc price. Fans need no
further encouragement. The Stray Cats, out of their resident
decade as a swingin' bar-band with panache, were truly unique in
their own right. Wonderful, unpretentious pop songs, these remain,
done up with a minimum of complexity and a maximum of style and
chutzpah. And, best of all, Setzer says in the liner notes that
he would love to reunite the band sometime.
---
REVIEW: Rex Daisy _Guys And Dolls_ (Pravda)
- Bill Holmes
Here's a band that's been through the grist mill -
signed, ignored and dropped before the record ever came out on
the major label. Whether their carefree attitude stems from
natural forces or the skid marks on their backs, Rex Daisy is
daring you to like them.
Boasting a tasteless green and yellow package and a
blue plastic interior (was there a sale on ink?), the package
for the _Guys And Dolls_ CD is saved by a clever cartoon cover.
The rest of the booklet features, among other things, a goofy
group photo, a collage of faces floating in a bed of flowers and
a photo of a wedding - with two of the three band members in drag.
But I'm a reviewer, I can get past this.
The initial slap of "Stooge", the opener, is punchy enough
with an infectious chorus, but my antennae are up - is this
another Refreshments record where there's one formula alterna-pop
tune and the rest is bar band filler? Maybe so - "Brand New
Friend" (after the Eels, the second best toy piano intro I've
heard in a while) and the older "Stuck On You" follow, and I'm not
in wow mode yet.
Then it comes on like a tidal wave. "OK, Casey" is
everything a pop tune should be, great harmonies, good hooks,
sing-along chorus. Bingo. Then the Gin Blossoms-ish "Changin' Yer
Mind" kicks the tempo up a notch. Merseybeat and Cheap Trick
cross-pollinate with the rollicking "Bottom O' The World" before
the Byrds-like "The Last Pufferbird" (no pun), another strong
track. Another favorite is the bluesy ballad "Distance" with its
lonesome guitar and desperate vocal.
Ten songs would have been fine, but tacked on the end is
their serious take of the "Welcome Back Kotter" theme (from the
previously issued Pravda samplers) and a second version of the
song 2:15, sung in Spanish for all you romantics out there. No
extra charge.
I'm glad I got past the initial roadblocks and gave the
disk a chance - the middle four songs are outstanding, and two or
three others have grown on me as well. So forget the warning signs
and dive in. For three guys trying to look goofy and out of place,
there's a good pop heart beating underneath. Besides, the
Presidents of the United States of America have that Three Stooges
shtick down pat.
---
REVIEW: New Speedway Kings, _All Ages Show_ (Shredder)
- Al Muzer
Another blistering wall of turbo-charged, slash 'n' burn
guitars, snot-nosed vocals and hyperfast drumming released by the
under appreciated kings of the L-H-F genre (far as I'm concerned)
Shredder Records.
While New Speedway Kings don't break an inch of new musical
ground on this rollicking EP, they do do a nice job of slamming the
shit outta M. Stipe's "Everything"; and give you plenty of other
reasons to twist the volume knob to the "much louder" setting.
Shredder Records can be contacted at 75 Plum Lane, #3, San
Rafael, CA 94901
---
TOUR DATES:
Backsliders
Feb. 20 Greenville, SC Handlebar
Feb. 22 Atlanta, GA Cotton Club
Bally Sagoo
Feb. 14 New York, NY China Club
Feb. 22 Chicago, IL Park West
Benna
Feb. 14 South Orange, NJ Callandrillo's
Feb. 15 New York, NY Arlene's
Lisa Cerbone
Feb. 22 Arlington, VA Iota
Shawn Colvin
Feb. 22 Providence, RI Lupo's
Feb. 23 Northampton, MA Green Hall-Smith
Feb. 24 Lebanon, NH Opera House
Cordelia's Dad
Feb. 16 Wakefield, PQ Black Sheep Inn
Feb. 17 Montreal, QC Yellow Door
Feb. 21 East Lansing, MI Ten Pound Fiddle
Feb. 22 Hinsdale, IL Acoustic Renaissance Series
Cracker
Feb. 14 Richmond, VA Landmark Theatre (w/Richmond Symphony)
Cravin' Melon
Feb. 13 Spartanburg, SC Magnolia's
Feb. 14 Greensboro, NC Blind Tiger
Feb. 15 Greenville, NC Attic
Feb. 20 Myrtle Beach, SC Hardrock Cafe
Feb. 21 Florence, SC Shooters
Feb. 22 Chapel Hill, NC Cat's Cradle
Crown Heights
Feb. 14 Providence, RI Met Cafe
Feb. 15 Philadelphia, PA Upstairs at Nicks
Feb. 21 New York, NY Mercury Lounge
Dirty Dozen
Feb. 13 Englewood, NJ John Harms Center
Feb. 14 Allston, MA Harper's Ferry
Feb. 15 Fairfield, CT Fairfield Univ.
Feb. 16 Northampton, MA Iron Horse
Favorite Color
Feb. 15 New York, NY CBGB's Gallery
Goldfinger / Humble Gods
Feb. 16 Los Angeles, CA The Roxy
Feb. 21 San Diego, CA Soma
Feb. 22 San Bernardino, CA San Bernardino Arena
Juliana Hatfield (Solo Acoustic)
Feb. 13 Providence, RI Met Cafe
Feb. 14 New York, NY Knitting Factory
Feb. 16 Washington, DC 9:30 Club
Feb. 18 Baltimore, MD Fletcher's
Feb. 19 Charlottesville, VA Tokyo Rose
Feb. 21 Albany, NY Bogies
Feb. 22 New London, CT El-N-Gee Club
Feb. 25 Amherst, MA Front Room at Amherst
Irving Plaza (New York Concert Hall - http://www.irvingplaza.com
Feb. 14, 21 They Might Be Giants
Feb. 15 Wilco / September 67
Feb. 20 Madball / Vision of Disorder
Feb. 22 Grammy National Showcase (Free show, limit 2 tickets per person)
Feb. 23 L7 / los Guanos / Shift
Feb. 25 John Hiatt
Joykiller
Feb. 14 Salt Lake City, UT Club Omni
Feb. 15 Boulder, CO Club 156
Feb. 16 Omaha, NE Cog Factory
Feb. 18 Providence, RI Living Room
Feb. 23 Charlotte, NC Casbah
Feb. 25 New Orleans, LA Monaco Bob's
Kula Shaker / Rasputina
Feb. 13 Cincinnati, OH Bogart's
Feb. 14 Cleveland, OH The Odeon
Feb. 15 Pittsburgh, PA Metropol
Feb. 17 Toronto, ON Opera House
Feb. 18 Montreal, QC Le Spectrum
Feb. 19 Boston. MA Avalon Ballroom
Nil Lara
Feb. 13 Chapel Hill, NC Cat's Cradle
Feb. 15 Winston-Salem, NC Ziggy's
Local H / Failure
Feb. 14 Nashville, TN Exit Inn
Feb. 15 Atlanta, GA Masquerade
Feb. 16 Tampa, FL Rubb
Feb. 17 Orlando, FL Sapphire Club
Feb. 18 Fort Lauderdale, FL Edge
Feb. 20 Columbia, SC Rockefella's
Feb. 21 Charlotte, NC Tremont Music Hall
Feb. 22 Norfolk, VA Boathouse
Feb. 23 Fredericksburg, VA Underground
Feb. 24 Baltimore, MD Fletcher's
Mother Hips
Feb. 14 San Francisco, CA Slim's
Feb. 15 Auburn, CA Smoke Shop
Feb. 16 Chico, CA Brick Works
Offspring / Joykiller
Feb. 19 Boston, MA Paradise
Feb. 20 New York, NY Tramps
Feb. 21 Philadelphia, PA TLA
Feb. 24 Atlanta, GA Masquerade
Professor & Maryann
Feb. 20 New York, NY Don Hill's
Royal Fingerbowl
Feb. 13 New Orleans, LA Dragon's Den
Feb. 14 Austin, TX Ruta Maya
Samples / Stir
Feb. 13 Los Angeles, CA Troubadour
Feb. 14 Tucson, AZ Cage
Feb. 15 Tempe, AZ Gibson's
Feb. 18 Houston, TX Satellite Lounge
Feb. 19 Austin, TX Liberty Lunch
Feb. 20 Dallas, TX Trees
Feb. 21 New Orleans, LA House of Blues
Feb. 22 Baton Rouge, LA Varsity
Feb. 24 Orlando, FL Sapphire Supper Club
Feb. 25 Fort Lauderdale, FL Edge
Sebadoh
Feb. 13 Pullman, WA Cub Ballroom
Silverchair / Handsome
Feb. 13 Cleveland, OH Odeon
Feb. 14 St. Louis, MO Mississippi Nights
Feb. 16 Chicago, IL Vic
Feb. 18 Detroit, MI St. Andrews Hall
Feb. 20 Boston, MA Paradise
Feb. 21 Washington, DC 930 Club
Feb. 24 Los Angeles, CA Palace
Sister Hazel
Feb. 15 Gulfport, MS Hammerheads
Feb. 19 Auburn, AL Supper Club
Feb. 20 Tuscaloosa, AL The Varsity
Feb. 21 Starkville, MS Rick's
Feb. 22 Birmingham, AL Zydeco
Slush
Feb. 13 Portland, OR Satyricon
Feb. 15 Chico, CA Juanita's
Sno-Core (incl. face to Face, Pharcyde, Voodoo Glow Skulls)
Feb. 14 Providence, RI Lupo's
Feb. 15 Bolton Valley, VT Bolton Valley Resort
Feb. 17 Hartford, CT Webster Theater
Feb. 19 New York, NY Roseland
Feb. 20 Philadelphia, PA Electric Factory
Feb. 21 Washington, DC Capitol Ballroom
Feb. 22 Pittsburgh, PA Metropol
Feb. 25 Lawrence, KS Liberty Hall
Space
Feb. 14 New Orleans, LA Tipitina's
Feb. 15 Birmingham, AL The Nick
Feb. 17 Washington, DC 9:30 Club
Feb. 22 Salt Lake City, UT Saltair
Squirrel Nut Zippers
Feb. 13 Riverton, WY Eagles Hall
Feb. 14 Missoula, MT U. of Montana
Feb. 16-17 Seattle, WA Moe
Feb. 18 Portland, OR La Luna
Feb. 20-21 San Francisco, CA GAMH
Feb. 22 Los Angeles, CA The Roxy
Stillsuit
Feb. 20 New York, NY Irving Plaza
Sweet Vine
Feb. 13 Santa Cruz, CA Catalyst
Feb. 14 San Francisco, CA Maritime Hall
Feb. 16 Tahoe City, CA Humpty's
Feb. 18 Sacramento, CA El Dorado
Feb. 20 San Francisco, CA Paradise
Tool / Melvins
Feb. 20 Dallas, TX Trees
Feb. 21 Houston, TX Numbers
Feb. 22 New Orleans, LA Howlin' Wolf
Feb. 23 Athens, GA 40 Watt Club
Type O Negative / Sister Machine Gun / Drain S.T.H.
Feb. 13 Las Vegas, NV Huntridge Theater
Feb. 14 Santa Ana, CA Galaxy Theater
Feb. 15 San Diego, CA Hurricane's
Feb. 16 Ventura, CA Ventura Theater
Feb. 18 Reno, NV Waldorf
Feb. 19 San Jose, CA The Edge
Feb. 21 Tacoma, WA Temple Ballroom
Feb. 22 Vancouver, BC Graceland
Feb. 23 Eugene, OR Wow Hall
Feb. 24 Boise, ID West Park
Feb. 25 Salt Lake City, UT Fairgrounds Coliseum
Urchins
Feb. 13 Hoboken, NJ Maxwell's
Feb. 15 New Brunswick, NJ Court Tavern
Vallejo
Feb. 14 Austin, TX Steamboat
Feb. 21 Bayside, NY Crocodile Club
Why Store / Clarks
Feb. 13 E. Lansing, MI Small Planet
Feb. 14 Kalamazoo, MI State Theater
Feb. 15 Detroit, MI 7th House
Feb. 16 Grand Rapids, MI Intersection
Feb. 20 Fort Wayne, IN Piere's
Feb. 21 Milwaukee, WI Univ. of Marquette
---
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