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==== ISSUE 120 ==== CONSUMABLE ======== [September 1, 1997]
Editor: Bob Gajarsky
Internet: gaj@westnet.com
Sr. Correspondents: Tim Kennedy, Reto Koradi, David Landgren,
Sean Eric McGill, Tim Mohr, Al Muzer, Joe Silva
Correspondents: Daniel Aloi, Tracey Bleile, Lee Graham Bridges,
Scott Byron, Patrick Carmosino, Janet Herman, Bill
Holmes, Eric Hsu, Tim Hulsizer, Jiji Johnson,
Stephen Lin, Scott Miller, Linda Scott,
Scott Slonaker, Simon Speichert, Jon
Steltenpohl, Simon West, Lang Whitaker
Technical Staff: Chris Candreva, Dave Pirmann
Also Contributing: Nancy Price
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.
==================================================================
.------------.
| Contents |
`------------'
NOTES FROM THE EDITOR: 4 Year Anniversary, Contest, Search Engine And More!
INTERVIEW: Radiohead - Nancy Price
REVIEW: Oasis, _Be Here Now_ - Tim Kennedy
ADVANCE REVIEW: Jars of Clay, _Much Afraid_ - Lang Whitaker
REVIEW: John Hiatt, _Little Head_ - Bill Holmes
ADVANCE REVIEW: Aqua, _Aquarium_ - Bob Gajarsky
REVIEW: Megadeth, _Cryptic Writings_ - Simon Speichert
REVIEW: Ziggy Marley & Melody Makers, _Fallen Is Babylon_ - Reto Koradi
REVIEW: Rickie Lee Jones, _Ghostyhead_ - Joe Silva
CONCERT REVIEW: Leah Andreone - Bob Gajarsky
REVIEW: drivin' n' cryin, _drivin' n' cryin_ - Tracey Bleile
REVIEW: Soundtrack, _Godmoney_ - Sean Eric McGill
REVIEW: Coward, _Coward_ - Bill Holmes
REVIEW: Madeleine Peyroux, _Dreamland_ - Jon Steltenpohl
SHORT TAKES: Geezer, Verbow, Agnes Gooch - Al Muzer
NEWS: Arcanum, Rockstock 97, Rob Zombie
TOUR DATES: Bailter Space / Sunday Puncher, Big Top Tour (incl. Juan
Atkins, Banco de Gaia, 808 State, Loup Garou, Moby, and many more),
David Bowie, Comet Gain, Common Sense, Counting Crows / Wallflowers /
Engine 88, Daft Punk / Aphex Twin, Dandy Warhols / Polara, Danielson /
Soul Junk, Fluke, Irving Plaza, Life of Agony, Magoo, Matchbox 20,
Pantera / Coal Chamber / Machine Head, Roadside Monument, Tsunami,
Wu Tang Clan / Rage Against the Machine / Atari Teenage Riot
Back Issues of Consumable
---
NOTES FROM THE EDITOR: 4 Years of Consumable, Contest,
Search Engine And More!
With the September 1, 1997 issue of Consumable Online, we will
be celebrating our four year anniversary. It has been a long, hard
climb being the first collaborative online music reviews publication,
but through the perseverance of everyone associated with us - and that
includes our readership, contacts in the music industry, and writers -
we have produced a quality publication which has spawned numerous
imitators, but none which can claim the passionate love for music
which has come to signify Consumable.
In celebration of our four year anniversary, we have made
two noticable changes to the Consumable web site. The first is
the addition of a search engine, through which readers can search
the Consumable archives to read past reviews and interviews to find
what we've said about your favorite artists. We have included all
articles from 1995 to August, 1997 in the database; we look forward to
including the remainder of the articles, from 1993 and 1994, sometime
in the near future.
In addition to this, we are having one of the largest music
giveaways ever on the Internet. Entering the contest is as easy as
clicking a mouse button; simply go to our web site (located at
http://www.westnet.com/consumable) between September 2 and September 22
and click on the CONTEST link. There, entrants will have to answer
questions based on past issues of Consumable; links are there to guide
you to the past issues, to aid with the contest. Twenty winners
will be selected at random from among those contestants with the most
correct answers. Each winner will take back twenty compact discs,
for a total of 400 releases to be given away - 100 for each of
Consumable's four years of publication.
Since its creation in 1993, Consumable has provided its
readership with hundreds of music reviews from critics on four
continents. By placing the focus back on the music, Consumable
offers insightful coverage into some of today's - and tomorrow's - best
music.
To those of you who have just found Consumable, welcome aboard.
To those who have been loyal readers, thanks for supporting us the
last four years. We hope you'll be pleased with our changes, and
continue to make Consumable your choice for music reviews.
- Bob Gajarsky, Editor In Chief, Consumable Online
---
INTERVIEW: Radiohead
- Nancy Price
Radiohead's Jonny Greenwood - he of the manic, talking
guitar - is standing in the lobby as I arrive at the trendy San
Francisco hotel where the band is staying. Alas, Jonny isn't
waiting for me, and Ed O'Brien, Radiohead's other able guitarist
and my intended interview subject, is still asleep. Somewhere
between San Francisco and Capitol's offices in New York, wires
were crossed, and I got there an hour earlier than expected.
"He's just going to take a shower and will be right down," their
publicist apologizes.
Unexpected wakeup calls aside, things are looking good
for Radiohead. Their third LP, _OK Computer_ , debuted at number 21
in the US and easily reached the top of the charts in their native
Britain. O'Brien and Jonny Greenwood, together with Jonny's brother
Colin on bass, Phil Selway behind the drums and the owner of the
breathtakingly lovely vocal contortions - singer/guitarist Thom
Yorke - are Radiohead. The group (who don't consider themselves
part of the 'Britpop' movement), has been playing sold-out shows
across America, performing at venues with names including words
like Theatre, Ballroom and Arena: certainly a step up from the
club tours of the not-too-distant past.
This band has been busy this last year: recording, touring,
promoting, playing for Tibetan Freedom, and getting favorable
attention from the press and an ever-increasing legion of fans.
Even before the July first stateside release of the album, the band
was getting the kind of attention usually reserved for music legends,
fashion designers, and boxers. Face it: when you can count Madonna,
Marilyn Manson, Sheryl Crow and members of U2, REM, Oasis and Blur
among your fans, you're either doing something right or something
revolutionary... or, in the case of Radiohead, very probably both.
At the Warfield Theatre in San Francisco, their tight
twenty-two-song set (including four songs over three encores),
included every track from _OK Computer_, half of _The Bends_, a
lone number from their debut, _Pablo Honey_, and one B-side for
the devout. The band's success would seem to be a natural result
of their clear passion for the music, an obvious and mutual
creative respect, and the fact that, well, they seem to be having
a good time just being Radiohead.
But was recording the songs as much fun as playing them
in front of an audience? O'Brien smiles, 'We did kind of go a bit
stir crazy recording _OK Computer_, when we were in Bath at Jane
Seymour's house, but we had to go through that. We got to
Christmas of '96, and we'd been kind of experimenting. The only
thing we'd finished was "Exit Music," because that had to go to
_Romeo and Juliet_ for the film. We had started about fourteen or
fifteen songs, and it was then that we said, 'Right, we're going to
have to start finishing stuff off.' What we'd do is half-finish
fourteen songs, and then go on to a new one. We get bored very
very quickly. So, by Christmas, it was basically that we wanted
an album out by the summer, and we had to finish it off.'
Well-versed in the fine art of procrastination, I imagine
it was difficult to complete those songs. Nodding a deep yes,
O'Brien says, 'It's all the little bits. We tracked a lot of this
album live.' He pauses and searches the air for an analogy, 'It
would be like building a kitchen. It's quite easy to get all the
wood in and see something fairly immediate - but all those little
joints and the hinges, and making sure the drawers and the cupboards
open properly, and fixing all the little things - that's what takes
a really long time. Smoothing down the edges. It's exactly the same
when making a record. And mixing... mixing is kind of like the
French polishing. It was fairly traumatic at times, because there's
so much going on.'
Radiohead's career development has been upward, if not
smooth, since their days playing around Oxford as a band called On
A Friday. Such progress comes directly from their unwavering
dedication to the cause. O'Brien reckons they've all known since
their mid-teens that they wanted to play together. 'There was never
any question that we weren't going to do it, really, in terms of
like make the effort to do it.' Although the band was on hold
during their college years - reforming only during school breaks -
they maintained that group cohesion, 'and [after] Thom finished
college, we were signed in about four or five months. Looking back
on it, what was amazing was the commitment. Ten years ago, we
talked about it. We knew we wanted to do this - there was never
any question.'
As most of the members are in their late twenties, it's
been nearly half a lifetime since the band's humble beginnings.
Has the success they've finally achieved with the release of _OK
Computer_ seemed a long time coming? 'It's been fine. You know,
the big thing was signing at the end of '91, then in '92 touring
around in a rusty white van. It was great to do small shows, opening
up for people. 1993 - the first half of the year was really the
same as '92, then of course "Creep" erupted, and we came over here,'
recalls O'Brien. ' "Creep" was not what we expected. We all
thought [the band's progress] would be slow - we didn't want any
kind of big explosion. We wanted to, each time you do a gig, a few
more people come along, word of mouth spreads, make a better
record...'
But are they satisfied? 'Yeah, now,' he concedes. 'We
played the Warfield in San Francisco, we played the Wiltern in Los
Angeles. We've played clubs, and they were great, but we've done
three [U.S.] tours of clubs and you get a bit sick of them. It
sounds better in these [larger] places. It looks amazing - you
look out from the stage and there's a balcony, and it's very
inspiring.'
Of course, as the band's fanbase grows, they'll start to
play larger venues. 'Obviously when you get great theaters, it would
be lovely to do a residency for three nights, but, America is such
a huge country that you wouldn't have the luxury of that. If you've
got one night, you don't want people to not get in. We've done that
where we played at a way way smaller venue than we should have.'
On the other end of the spectrum, does he see an arena tour
in the band's future? 'No, not really... we've never thought about
it. There's more talk about it around us - people speculating -
particularly in Britain. They all think we're going to be the next
stadium band. Take U2 and REM's baton,' he scoffs. 'If it happens,
it happens, but the only way it will happen is if we're comfortable
with that... which we're not at the moment. And as long as the
show's not compromised.' O'Brien explains, 'I know it's possible to
do amazing shows: I saw the U2 Pop-Mart thing. There's no way you
could do that inside - it's phenomenal. It was very moving, it was
very personal at times, and it was extravagant and over the top.
And it was fantastic. *That's* the way to do those things.'
NEXT ISSUE: Ed talks about computers and the Internet...
---
REVIEW: Oasis, _Be Here Now_ (Epic)
- Tim Kennedy
Oasis have assumed a Beatlesesque importance in the life
of the British public. Adored by millions, despised by indie
purists, detested by political pundits for their presumed bad
influence on the young. The controversiality of the band mirrors
maybe the period the Beatles went through when they announced they
were doing acid. Liam is as hotly debated for his bad attitude as
was the Stones way back when. And of course the music they make is
played everywhere. They are a fully fledged phenomenon.
This album is two years since the second, _Morning Glory_
which established them in the wider public gaze. It comes amid a
ruthless publicity campaign which has made Creation Records widely
reviled by critics around the country. It has sold by the truckload
in the past several days since release.
The first thing that strikes you about this album is it
sounds big! Loud, cacophonous guitar makes this almost metal in
parts. But once your nerves have learned to cope with the assault,
great tunes come running out like beetles from under an upturned
rock. The album opens with the sound of World War 2 bombers,
possibly aiming their loads at the press who have given the band
a bit of a hard time over the last year.
"D'You Know What I Mean" is a fitting opener and makes a
lot more sense in the context of the rest of the album. Over
repeated listens what becomes attractive about this song is the
feeling of eager anticipation it engenders.
"My Big Mouth" is very punky, in a Sex Pistols vein. It
describes Noel's chequered relationship with the media, especially
in relation to his outspoken comments on drug use. Exciting, fast
and furious, this song harks back to the first album _Definitely Maybe_.
"Magic Pie" is a lowkey psychedelic-tinged rocker that has
a peculiar vocal effect in parts. Based upon a Moog-ish keyboard
riff it goes on a little long and the chorus is maybe a little
pedestrian a tune for an Oasis song.
"Stand By Me", is notable as one of the two standout
tracks on the album. It has a tune that sets the hairs on the
neck a-prickling, better even than "Don't Look Back In Anger".
The lyric starts implausibly with 'Made a meal and threw it up on
Sunday/ I've got a lot to learn'. Liam is in best-ever form on
this album and this song is possibly his best performance yet.
The ironic 'What's the matter with you/sing me something new'
pokes at detractors who accuse the band of plagiarism; in rock
music, that particular accusation is like handing out speeding
tickets at the Indianapolis 500.
"I Hope, I Think, I Know" is a typical Oasis rocker which
is decorated by the again-superb singing of Liam. It thunders
along in a familiar punk rock fashion.
"The Girl In The Dirty Shirt" is a love song explicitly
aimed at Noel's wife Meg. Whilst entreating her to cheer up,
the track lopes along with a tune which whilst seeming at first
humdrum, actually hides some sparkling gems of hooklines.
"Fade In Fade Out" is a blues-tinged call to arms, and a
dare to any other band that might stoop to criticise Oasis. The
guitar is almost inflammatory with its stop-start intro. This
track would be eminently suitable as the track to play when your
favourite soccer/football/whatever team were taking the field.
It isn't a million miles from Jon Bon Jovi's "Blaze Of Glory" either.
"Don't Go Away" is the other stand-out track on the CD. The
lyric is a heartrending one, which clearly refers to the pain of
leaving his wife whilst touring abroad, and the clash of band
versus relationship priorities. The guitar intro steps a little
on the toes of the old Oasis favourite "Slide Away" from the first
album, but it develops into a thing of awesome majesty which Noel
could justifiably have carved on his gravestone.
"Be Here Now" has an unusual techno-ish intro/riff, and
on immediate listen appears a bit ordinary, but on repeated listens
proves to be quite catchy. The refrain 'Been kickin' up a storm /
since the day that I was born' constitutes two references to his
birth so far!
"All Around The World" is clearly meant to be the keynote
track of the album, with its lets-all-get-together-and-be-mates
concept, and the chorus is repeated for an astonishingly long time
'All around the world/tell 'em what you heard/Gonna make a better
day'. For the more cynical listener, this may be difficult to
stomach. However it is couched in a rather humourous set of
verses. Some might say (!) that there are rather too many
na-na-na-na's here. The tune is again, on immediate listening, a bit
ordinary, but it soon insinuates itself into your senses, and
delivery men will soon be whistling it. The brash optimism of the
track ('It's gonna be ok') wins in the end.
"It's Getting Better Man" is a fine, raucous punkoid anthem
which steps back from the almost ludicrous singsong-ism of the
previous track. It is definitive traditional Oasis territory and
an old punk could even pogo to it.
The album ends with an orchestral reprise to "All Around
The World" which reiterates the 'message'. The band have now
managed three good albums in a row which is quite an achievement
in these times. They don't claim to be original - they aren't
original anyway - but they are the best at what they do. What
they do is create songs that strike a chord with an astonishingly
wide-ranging audience. This is a rare talent for a serious rock
act.
The final sound on the CD is someone walking away, and
a door slamming - a mysterious portent...
---
ADVANCE REVIEW: Jars of Clay, _Much Afraid_ (Silvertone)
- Lang Whitaker
While many bands struggle to find their own sound even two
and three albums into their careers, Jars of Clay's first album
coined a sound so distinctive and inventive that it sold more than
two million copies. After their self-titled debut release went
platinum riding their unique combination of acoustic instruments
and percussive whirlwinds, their burgeoning fan base was curious as
to how Jars would follow it up. With the sparkling _Much Afraid_,
Jars shows that they don't have anything to be scared of.
After producing their self-titled first album on their own,
this time Jars turned over production duties to British producer
Stephen Lipson, who had previously worked with Annie Lennox (_Diva_,
_Medusa_) and done some re-mix work with Sting. Lipson successfully
blended the Jars' sound with a light wash of European lushness that
sounds just right. Gone are the hoe-down violins that dominated
_Jars of Clay_, replaced with a thick slice of electric guitars, but
surprisingly the songs all retain the old Jars sound.
The first single off _Much Afraid_ is "Crazy Times", a
straight-forward rocker with crunching guitars and booming drums.
As soon as the electric guitar solo kicks in, you realize that Jars
of Clay isn't in Kansas anymore. Unlike anything off of _Jars of
Clay_, both in style and in sheer sonic size, "Crazy Times" details
the emotional weight of searching through life for answers that seem
harder and harder to find. Rocking along with "Crazy Times" is the
song "Overjoyed", where jangly guitars and stacked harmonies harken
back to the 60's British invasion.
After "Crazy Times" and "Overjoyed", Jars returns to the
same basic sound that they patented on _Jars of Clay_, with a few
subtle expansions. "Truce" begins with an industrial drum loop
that eventually transforms into a head-nodding rocker with a chorus
more infectious than the monkey in the movie Outbrea". Both
"Fade to Grey", which was the first song ever written by the band,
and "Truce" resurrect the signature Jars sound, with acoustic
guitars bouncing along over drum loops. However, both tracks
eventually melt real drums and electric guitars into the mix, bulking
up the overall sound of the songs.
Jars also dabble in the pop genre, with great success. "Five
Candles (You Were There)", originally written to be played during the
closing credits of Jim Carrey's dramatic flop "Liar Liar", is a
beautiful little nugget of a tune. It's probably just as well that
the song was dropped from the "Liar Liar" soundtrack, because "Five
Candles" is better than even Jim Carrey's best spit take - three and
a half minutes of pop heaven. "Tea and Sympathy" is another
mid-tempo song that further underlines Jars' excellence, surrounding
the sweet melody with enough harmonies to shame even Hanson.
Dan Haseltine sings with a self-assured gait. His lyrics and
melodies are intelligent and literate, while being simultaneously
accessible. The guitar and bass work of Stephen Mason is solid
without being overwhelming. Matthew Odmark's acoustic guitars
continue to provide the backbone for much of Jars of Clay's music,
while Charlie Lowell's keyboard role has been greatly expanded from
_Jars of Clay_ to _Much Afraid_.
There's also a message in the music. As the first band from
the normally outdated Contemporary Christian Music genre to totally
find cross-over acceptance, Jars don't back down from their
convictions at all on _Much Afraid_. While a few songs deal with
everyday issues like friendship and accountability ("Five Candles",
"Tea and Sympathy"), every song has some spiritual reference or
application to it.
What really sets Jars of Clay apart from the rest of the
current field of angst-ridden alterna/electro rock bands is their
affability. Up front in their assertation that they themselves are
far from perfect, with _Much Afraid_ they occasionally approach
perfection.
Jars of Clay's _Much Afraid_ will be released on September 16.
---
REVIEW: John Hiatt, _Little Head_ (Capitol)
- Bill Holmes
John Hiatt's life has taken him down some dark roads, the
results of which have been captured in many powerful and emotional
songs. The earnest pain in such classics as "Have A Little Faith In Me"
can only come from that deep well, Hiatt salving his wounds in song and
allowing us to voyeuristically share his bared soul. His long and
mostly under appreciated career has seen him progress from Midwestern
folkie to New Wave "angry young man" (many at the time foresaw him as
the American answer to Elvis Costello) acoustic troubadour and
everything in between. Even long time die hard fans knew that no matter
how good each successive record was, radio didn't have time for people
like John Hiatt, and hoped that the label would somehow give him
another shot at the brass ring.
1987 and _Bring The Family_ changed all that, a bonafide
bottom-of-the-ninth game winning home run for Hiatt. Newly remarried
and finally sober, BTF combined the anguish of a tortured past with
the joy of a man finding peace within himself and struck a chord with
everyone. His voice had evolved into a unique bluesy timbre; his
guitar playing more assured and strident, his songs capturing slices
of life we take for granted yet can't seem to put into words. The
world was let in on this great secret that only his fans and peers knew
about - John Hiatt was one hell of a songwriter. Subsequent records
sealed the deal.
With _Little Head_, a relaxed and confident Hiatt has probably
released his most comfortable - dare I say "fun"? - record, and
ironically is suffering a critical backlash because it isn't stuffed
with angst-ridden masterpieces. Imagine the irony of toiling for
twenty plus years, finally getting the respect and credibility you
deserve, and then having your own "high bar" used against you! As if
there aren't great songs here...check out the lyrics of "Graduated"
or the sweetness of "Far As We Go" and "Runaway" and name three
people who could write like that. Didn't think so.
Those surprised by the bawdy humor of the title track must
not know Hiatt very well; "Since His Penis Came Between Us" was a
staple of his live shows for years. Okay, so it isn't poetry - so
what? No, there isn't a "She Loves The Jerk" or "Angel Eyes" or
"Faith" on _Little Head_, but they would seem out of place if they
were. This record gives a whole new meaning to the phrase "greasy";
thick with Memphis soul and lathered with funk. Hiatt drops numerous
audio tips of his cap to the 1970's, from the Barry White-ish intro
to "After All This Time" to the send-Zevon-a-dollar rip of
"Werewolves Of London" in "Sure Pinocchio". All those Spinners and
Del-Fonics and War records John heard on the radio have come back out
years later in "My Sweet Girl" and "Woman Sawed In Half". 'Pebbles'
Immergluck's mastery of the stringed instrument supports this
stylish mix with a sonic potpourri; cat like moans, fat greasy
gee-tars and lilting mandolins among the stew's best features.
"Pirate Radio" is a radio hit that never will be for
self-explanatory reasons; ditto "Sure Pinocchio" and its
horn-powered killer refrain. But Hiatt fans are used to savoring
his best moments away from the airwaves, and thankfully there are
enough fans to allow him to indulge his muse. This is Capitol's
first shot at marketing John, a marriage he seems to feel positive about
because they want to promote his career, not just his record. We'll see -
Hiatt seems to last two to three records at each label, but each time he
leaves there's a bidding war. He's gone through a few bands also, but
seems to have settled on a musical soul mate in Davey Faragher,
bassist and co-producer.
_Little Head_ is the sound of John Hiatt enjoying this
moment in his life, cruising down the road in that big-ass pink
Cadillac, smiling and waving and hoping you can wave back. Let this
one grow on you and reap the rewards.
---
ADVANCE REVIEW: Aqua, _Aquarium_ (MCA)
- Bob Gajarsky
She's been on more dream dates than Cindy Crawford. Her
measurements, if converted to real life, would be 39-18-33 on a 5'6,
110 pound frame, and cause her to lean over more than a certain
tower in Pisa. In 1992, the average American girl owned 7 Barbie
dolls. And now, Barbie is the star of the flirtatious song which
is coming out of seemingly every radio station.
The Danish group Aqua is responsible for bringing the perky
blonde to life in the single "Barbie Girl", in which Ken and Barbie
nearly engage in verbal doll foreplay ("You can brush my hair /
undress me anywhere", later followed by "Make me walk, make me
talk, do whatever you please / I can act like a star, I can beg
on my knees") in a campy frolic through a Eurodisco hit owing much
to the early 1980s. The rest of the Danish group's debut album,
_Aquamarine_, also owes much to the eighties timeframe.
Nearly every track on _Aquarium_ incorporates familiar sounds
or singing methods, with predictable results - no deep messages, but
Eurodisco that will get the part-time clubbers out of the suburbs
and onto the dance floors.
"My Oh My" is one of the 'highlighted' tracks on _Aquamarine_.
Although it debuted on the Danish charts at #1, it doesn't maintain
the endearing quality - or hook - that most chart-toppers possess.
However, "My" and other songs such as has the bouncy, happy feel that
can seamlessly blend between tracks from Whigfield and Ace of Base.
Rene' Dif's rap comes off as a clone of Real McCoy's O-Jay,
and supports Lene Grawford Nystrom's lead vocals. But, just like
sugar coated candy that you know - in the long run - is bad for you,
Aqua's bubblegum sound draws you in like bees to honey.
"Roses Are Red" is more Ace of Base - but this time, if the
Swedes were on acid. "Lollipop (Candyman)" skirts the edges of
techno and happy house, showing more traces of Real McCoy. "Good
Morning Sunshine" and "Heat Of The Night" have a slight Latin tinge,
a la Madonna's "La Isla Bonita" being tossed into a copy of the Pet
Shop Boys' _Bilingual_. More Madonna/PSB permutations occur on "Turn
Back Time", which is a mixture of PSB's "Heart" and a sped up
version of "Live To Tell". "Calling You" comes off as a Barry
Harris hybridization; his days with Kon Kan ("Harry Houdini")
blending with his current outfit, Outta Control, especially on
their cover of Joan Osborne's "One Of Us". The key to all of these
tracks is that while they bear resemblances to known songs, Aqua
turn them into something new, and uniquely irresistible.
From top to bottom, _Aquamarine_ is a top notch dance album
incorporating much of the eighties dance sound for the nineties.
If America is ready to handle Eurodisco, Aqua could well be the
pioneers of this genre. Otherwise, look for "Barbie Girl" to fall
in the Top 40 book with an 'N', for novelty, next to its title.
Aqua's _Aquarium_ hits U.S. record stores on September 16.
---
REVIEW: Megadeth, _Cryptic Writings_ (Capitol)
- Simon Speichert
One of the last great metal bands, Megadeth has struck back on a
pop-laden society with _Cryptic Writings_, their brand new album. Unlike
some other band singer/guitarist Dave Mustaine was in during the early
80's (who could that be?), Megadeth's latest offering is pure, solid,
heavy metal. It's hard to explain how the band sound, because not
every song is fast and saturated with tons of distorted guitars.
I like the fact that every band member gets their time in
Mustaine's spotlight (not that he hogs it). For drummer Nick Menza, it's
the throbbing tom beats at the beginnings of "Trust" and "Sin". Dave
Ellefson's bass grabs your ear at the start of "Mastermind", and lead
guitarist Marty Friedman gets the attention every time there's a solo.
Megadeth is portrayed solely as a metal band, and that's what
they are, but some of the songs on _Cryptic Writings_ show their
fantastic skills at writing all kinds of tunes, including some slower
ones with string arrangements. Some of the real enigmatic songs
include "Trust", "Use The Man", "I'll Get Even", and "FFF".
Taking into account everything I've said here, I believe Megadeth
is a very open-minded, versatile band with a rock hard edge, and _Cryptic
Writings_ will prove to be one of the best metal records of 1997.
---
REVIEW: Ziggy Marley & Melody Makers, _Fallen Is Babylon_ (Elektra)
- Reto Koradi
Reggae has not been in the focus of attention in recent years,
apart from Inner Circle storming the charts a few years ago, and a wave
of poppified reggae with acts like Ace Of Base, Dr. Alban and Shaggy.
More traditional reggae never fully recovered from the much to timely
death of Bob Marley and Peter Tosh, even though Jimmy Cliff and a few
others always held the flag up.
Ziggy Marley has been continuing the family tradition with eight
albums over 10 years, but avoided just walking in his fathers oversized
footsteps by mixing in influenced from various music styles on his
earlier albums. _Fallen Is Babylon_ finds Ziggy more at peace with
the roots, one sign being a cover of the Curtis Mayfield classic "People
Get Ready", which was also performed by his dad. Even though the song
has been covered so many times, this version gives it an interesting
new twist. It starts out close to the original form, but is then more
and more decomposed into pieces, which are reassembled to something
almost completely different.
While he definitely inherited the voice, Ziggy will probably have
to live with the fact that he will never quite reach the song writing
genius of his father, just like all the others who never got there.
Measuring him with equal forces, songs like "Born To Be Lively" are about
as good as reggae gets, catchy enough to stick in your head after a few
listens, and guaranteed to at least get your toes wiggling. Most of the
lyrics show the positive attitude and optimism that makes reggae such an
enjoyable music style. This carefully arranged and perfectly recorded
album is warmly recommended to anybody with interest in reggae that goes
beyond owning a Bob Marley compilation.
--
REVIEW: Rickie Lee Jones, _Ghostyhead_ (Reprise)
- Joe Silva
Having ridden the fence betwixt pop recognition and jazz
verite, Jones' records have always appeared to be keeping one eye
trained on each camp. Now, with her first proper album since she
and Walter Becker co-birthed the super _Flying Cowboys_, she's
traced a line from her urban coffee house leanings of old down to
the corner where the hip hoppers live.
Pieced together over four months with the help of H.O.R.D.E.
acquaintance Rick Boston earlier this year, Jones' voice, languid
and cunning as ever, moves across a modern vista that's big on
rhythms and wispy melodies. But unlike Dame Bowie and the chieftains
of Bono-Mart, there's not the clumsy marriage here of standard
inclinations and the brave new world. Much like the smooth and groove
environs of the Wu-Tang nation, Rickie sets her vocals atop a lush,
funky backdrops that goes for the vibe instead of the jugular.
All of this is a lot more...ahem..tricky than it may at first
seem. Much of these new reflexes in the hands of more traditional
musicians tend to become a somewhat heavily smothered canvas, but
Jones manages to still steer through a heavy rhythmic undertow, smart
peripheral ambiences, and her sometimes dense lyrics , and still
appear to sound low fat. She can even manage to inject a flourish of
honest scat without it seeming at all out of place.
This all makes for adventurous, if only occasionally less
than engaging, listening. With many artists veering on the electronic
highway, Jones stands a fair chance of being a point of distinction
considering the mammoth appeal and singularity of her voice.
While Boston helped her find a comfort zone in her new sandbox, Becker
was probably more successful in having Rickie remain more tunefully
objective. But while it may meander a touch, _Ghostyhead_ more often
than not does keep your gaze fixed upon its atmosphere. As the lady
muses: "And you walk through the funhouse, yeah/Those sonic faces hit
you like a bus/ Till you're knocked down by Doppler waves of trust".
---
CONCERT REVIEW: Leah Andreone, Arlene's Grocery, New York
- Bob Gajarsky
On a recent Thursday evening, Leah Andreone was singing
at New York City's Arlene's Grocery. That someone performed on an
evening was no surprise at the free admission Soho venue; after
all, Arlene's typically has 4 or so bands displaying their wares
on any given night. But to the limited few who have heard her
debut record, _Veiled_, it remains a shock that Andreone is still,
unfortunately, playing 100 people capacity clubs.
_Veiled_ was this critic's favorite album in 1996 and
one year later, still receives its fair share of listening time.
While Andreone has been exposed to larger audiences as part of
the Lilith tour, much of the country has heard, at most, only one
song from this album - the leadoff single "It's Alright It's OK".
During this brief weeknight set, Andreone whipped through
seven songs from her debut record (and one for a compilation to
help fund breast cancer research) and displayed a fiery passion
in each song. A master storyteller with lyrics that speak