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== ISSUE 159 ==== CONSUMABLE ONLINE ======== [October 28, 1998]
Editor: Bob Gajarsky
E-mail: editor@consumableonline.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: Christina Apeles, Niles J. Baranowski, Tracey
Bleile, Lee Graham Bridges, Jason Cahill, Patrick
Carmosino, Krisjanis Gale, Emma Green, Paul Hanson,
Chris Hill, Eric Hsu, Tim Hulsizer, Franklin
Johnson, Steve Kandell, Robin Lapid, Linda Scott,
Scott Slonaker, Chelsea Spear, Simon Speichert,
Jon Steltenpohl, Simon West
Technical Staff: Chris Candreva, Dave Pirmann
Also Contributing: Dan Birchall, Rob Hillard
Address all comments to staff@consumableonline.com ; subscription
information is given at the end of this issue.
==================================================================
All articles in Consumable remain (C) copyright their author(s).
Permission for re-publication in any form must be obtained from the
editor.
==================================================================
.------------.
| Contents |
`------------'
REVIEW: R.E.M., _Up_ - Bob Gajarsky
INTERVIEW: John Curley / Afghan Whigs, _1965_ - Chris Hill
REVIEW: Robyn Hitchcock, _Storefront Hitchcock_ - Joe Silva
REVIEW: Placebo, _Without You I'm Nothing_ - Tim Mohr
REVIEW: Various, _Tommy Boy's Greatest Beats_ - Bob Gajarsky
REVIEW: Chris Isaak, _Speak of the Devil_ - Robin Lapid
REVIEW: Dream Theater, _Once in a LIVEtime_ - Dan Birchall
REVIEW: Firewater, _The Ponzi Scheme_ - Lang Whitaker
REVIEW: Mike Scott, _Still Burning_ - Tracey Bleile
REVIEW: Baxter, _Baxter_ - Tim Mohr
REVIEW: R.L. Burnside, _Come On In_ / Robert Cage, _Can See
What You're Doing_ / Bob Log III, _School Bus_ - Rob Hillard
REVIEW: Jocelyn Montgomery with David Lynch, _Lux Vivens (Living
Light)_ - Jon Steltenpohl
REVIEW: Bio Ritmo, _Rumba Baby Rumba!_ - Joe Silva
NEWS: Berlin, Lenny Kravitz, Yo La Tengo / Simpsons
TOUR DATES: Tori Amos / Unbelievable Truth, Archers of Loaf,
Better Than Ezra / Possum Dixon / Athenaeum, Cypress Hill,
Deftones, Everlast, Glen Matlock, Motley Crue, John Taylor,
Moe Tucker, Mike Watt
Back Issues of Consumable
---
REVIEW: R.E.M., _Up_ (Warner)
- Bob Gajarsky
The names of Berry, Buck, Mills & Stipe appeared enough
times in print for the foursome to start their own law firm.
But when drummer Bill Berry left the band that he had been a
part of for the past 18 years, R.E.M. realized they had to turn
the page and move on.
Although the departure of their longtime partner and
friend came to those involved as a shock, Berry's departure did
allow the band to create a different chapter in their history.
"We were given the opportunity to totally do anything we wanted
to," recalls Mike Mills.
_Up_ is a startling departure from their past, with results
which may shock casual listeners. The leadoff track "Airportman"
is a lonely, droning song with some feedback thrown in to accentuate
the mood. The effect on anyone familiar with R.E.M.'s past will
be immediate - this isn't the band you used to know.
And when the new approach works, things progress wonderfully.
"Hope" tips its hat to the 80s synthesizers, a cross between
Kraftwerk and the Rentals, while nicking part of its structure from
Lou Reed's "Suzanne" - to whom they give co-writing credits.
"At My Most Beautiful" combines the elements of a slower R.E.M.
song such as "Nightswimming" with a lush Brian Wilson (circa _Pet
Sounds_) backdrop. Strings are present in some songs - not
in-your-face, but set in the background to complete a song's
structure, rather than dramatically alter it.
"Walk Unafraid" - whose title was inspired by Patti Smith -
has a hook unlike any R.E.M. song previous (note a trend?) which will
capture the listener's ear on the second or third play, and won't let
go. And Smith's influence pops up again on "The Apologist" which
has an aura of one of her late 70s songs. The first single
"Daysleeper" is not unlike earlier efforts such as "Country
Feedback", but "Lotus" is the track most likely to click with
fans of R.E.M.'s past. With a song structure not far removed from
"Crush With Eyeliner", this one might even be taking a poke at a
past R.E.M. hit with the lyrics "dot dot dot and I feel fine" - a
nod to their own "It's The End Of The World As We Know It."
However, when the trio goes towards a more avant-garde and
experimental, things go a bit awry. On some songs such as
"Diminished" , Stipe sings passively and dreamily, not at or to
the listener, but off in some distant land.
Names such as Brian Eno and John Zorn may flow from the tongue
on first listen - or even a Pink Floyd, from the aura and atmosphere
created on _Up_. There are no 'classic' singles here, ones which
either are likely to stand out as pop / modern rock hits in 5 years,
or those which are instantly recognizable as 'an R.E.M. song'.
Mike Mills summarizes it as follows: "If you came in
(to R.E.M.) on _Murmur_ or _Reckoning_ or any of those early albums,
you'll know that we veer left and veer right, and that's what you
should expect...it's good to show people that, whatever you
expect from us, it's probably not what you're going to get."
But what about the millions of fans who came onboard to
the R.E.M. bandwagon circa _Green_ or _Monster_, albums which
helped net the Athenians one of the largest contracts in music
history? They'll probably be vastly disappointed by the turn
of events on _Up_. And some of the fans who grew up with the
jangly signature trademarks Byrdsian guitars will no doubt also
wonder where the band went. It takes a brave band to risk
commercial failure in order to carve a new, uncharted path in
their musical career. With _Up_, R.E.M. have taken the first
step in a brand new musical direction.
---
INTERVIEW: John Curley / Afghan Whigs, _1965_ (Columbia)
- Chris Hill
You have to admire the nerve of a guy who records his
lovemaking, titles a 23 second excerpt "Sweet Son of a Bitch",
and puts it on an album which should be in a million teenage
stockings on Christmas morn. But that's Greg Dulli - rogue and
auteur - guiding force of a band (Afghan Whigs) with a
potentially platinum new album ( _1965_ ).
1993's _Gentlemen_, stocked with gems like "Debonair",
"What Jail is Like", and "Gentlemen", brought the Whigs to the
attention of grunge-laden radio playlists. 1996's _Black Love_,
though a respectable seller, was not as popular - blame either
lack of label support or meatier, thought-provoking tunes. Now
come 1998, and they've returned with their lighter, bawdier side
given full rein and a whip.
Dulli's cinematic interests are evident, either with
establishing shots opening songs (a striking match - "Somethin'
Hot", party babble - "Crazy", French dialogue - "Citi Soleil")
or lyrical imagery ("You walked in just like smoke/with a little
come on, come on, come on in your walk" - "66"). These songs
are lust walking with a wide-open fly - my favorite line du jour
comes from "Somethin' Hot" - "You don't know just how I lie
awake/and dream awhile about your smile/and the way you make your
ass shake". There's a plethora of randy quotables here.
Working the publicity machine, John Curley, Whigs bass
player, was kind enough to talk with me on the phone. Past
raving about the excellence of the album (ta, objectivity!),
stylistic changes from _Black Love_, _1965_ guest musicians, the
amazing Susan Marshall (whose vocals round out _1965_'s powerful
groove), and their touring plans (sans horns, due to expense),
I noticed the tape wasn't recording. Sigh. So we start with...
CO: You guys pick great photographs for your albums.
John: Thank you.
CO: Angel Fernandez, who came up with the concept for
_Gentlemen_ - that photograph is just amazing. Should be a
poster.
John: Angel's actually Greg, by the way. That was his
concept. And we knew what the cover was going to be before we
really started writing the songs. We had a couple songs in the
bag, that we had kind of started working out. "Gentlemen" and
"What Jail is Like" were two of the early ones. And "My Curse"
had been written some years before. But he knew what the cover
was going to be, and told us, before we really set down to work
on the songs.
In a subtle way - true, but I found it really helpful
to know that. Once I had the cover described to me, I was like
"Yeah, I got it". I don't know how much of that translates
into the actual notes I play on bass, but it made it a lot
easier to see where we were going and stuff.
CO: With the new record, you've got an astronaut over
the Earth. Was that Greg's idea, too?
John: At first, we wanted to use a collage of images
from 1965, so we got a whole bunch of these images together,
started looking at them, and it just became kind of obvious,
definitely in looking at the cover of our last - of all our
records, really - the single strong image seems to have more
impact for all of us than a collage. But there's a collage in
there, on the back cover of the booklet.
CO: Why the image? There's a real dichotomy between
the shot in space and the intimate lyrics. Was that an in-joke?
JC: No, I don't think it's meant to be a joke at all.
I mean, in that context, you're out in space with that spacesuit
on, but inside it's kind of warm. You're sort of alone with
yourself. There's probably several metaphors in that you could
start to get out. And then there's also that _2001: A Space
Odyssey_ rebirth metaphor, too. Not so much the music, but at
the end, after he encounters the black box, you know ... reverts
back to his baby self and the universe and stuff. I don't
know. We've never really talked about it much, but those
are my musings.
CO: With pretty much the same personnel - Jeff Powell,
Greg producing - HUGE difference in sound. I'm wondering what
the catalyst was between the last album and this album, 'cause
this one's just ... sunshine.
John: Well, you know, I think getting off Elektra was a
big boost for us, emotionally. I think stuff happened in Greg's
personal life and health-wise, where he's in a better state in
both. I mean, he's always said and even without saying, it's
pretty obvious, but when he's feelin' good, he writes about
feelin' good, and when he's feeling lousy, he writes about
feeling lousy. And he was feeling pretty good, and still is.
CO: Some of Trent Reznor's fans hope he's always
miserable, because he writes the best songs when he's miserable.
John: Yeah, I used to say stuff like that. Like when I
was a kid, I would say that about Pete Townshend, "I wish he'd
get addicted to heroin again" or something like that, 'cause he
never wrote anything good after _Quadrophenia_ or whatever.
But you get in a band, or you become friends with somebody who's
an artist, and you know, it's just not worth it. Greg said this
to me in several interviews. He's like "If I had to choose
between feeling like that some more or not making any more
albums, I wouldn't make any more albums." It's just not worth
it. To see your friend not happy, that sucks, too. And you
can't do anything about it. You just kinda got to sit there
and watch.
CO: Well, he's said _Gentlemen_ was a pretty cathartic
experience, sitting around with you guys, gushing out this
emotional pain, that you guys were there for him.
John: I think that was the first time he really tried
to do something like that. And I remember doing the demos for
that, and just listening to the lyrics and being able to hear
the lyrics for the first time, 'cause you can't really hear
them at practice, or at shows, necessarily, and just being like
"wow, this is pretty personal." To be able to write it in such
an articulate and direct way.
He's definitely one of my favorite lyric writers. So
I'm glad I get to be in a band with him too, 'cause I'd probably
still listen to it, even if I wasn't. I'm tough on lyrics, man.
I get turned off really quick by some stupid lyric.
CO: Who are your favorites? Do you have any modern
guys piquing you?
John: Chuck D. I think Chuck D writes great lyrics. I
think Thom from Radiohead writes some pretty good lyrics, and
even the ones that aren't great are okay, you know? It's hard.
I've tried to do it before, and it's just like laughably stupid
what I come up with. I think it's really hard to say something
in a cool and unique way. A lot of it, too, is just conviction
and believing in what you're saying.
CO: Your new drummer, Mike [Horrigan] sounds like he's
been playing with you for a while.
John: I don't remember the first time I met him, but
he's been in bands since we first started going out and playing
with the Whigs. We've known him for a long time.
CO: He's familiar with your drum riffs?
John: It would be safe to say he was a fan of the band.
CO: 'Cause I'm hearing little touches in _1965_ that
pop up throughout the other albums. It's strange to have such a
presence in the drums. The opening riff of "Going to Town", I
hear that showing up in other...
John: You say "Going to Town", that was actually ...
you know, Greg's a drummer, too.
CO: Yeah, I read he wrote on multiple instruments.
John: Yeah, so that might be your connection, as far as
hearing stuff, 'cause really, from about _Gentlemen_ on, he's
been pretty specific about certain drum things, and he
definitely has beats that are his favorites, that I recognize,
that it's like "Oh, yeah, you like that stuff, don't ya?"
Which is not to say he says, "Sit down and play it like this"
or whatever, but there's definitely parts where he says, "Yeah,
I gotta hear this" and that goes for drums, bass, and guitar.
CO: So how complete are the songs when you come in?
Pretty much like "Here's your line, go for it." or...?
John: Well, like "Somethin' Hot" was a demo that was
recorded and there wasn't really any room to change the bass on
it, or the drums, or the guitar. It was a pretty straight-
forward song, so we just kind of learned it like the demo, and I
mean, it changes subtly. There's little fills or whatever, that
everybody does that are unique to them. But there wasn't really
a whole lot of room to mess around with it. "The Slide Song" -
that ended up having an extra part, 'cause Greg wanted to sing
it a certain way, and it needed that sort of second half of the
verse where it descends, like the b-verse, I guess you'd call
it.
CO: I have to bring up Susan Marshall again. She's
incredible.
John: She was in a band called The Mother Station. And
I believe - you should check this, but I believe they were on
Epic.
CO: Okay. [Atlantic, then on EastWest, according to
the All-Music Guide web site]
John: She's from Memphis. She sings with Ann Peebles
sometimes. She sings with a lot of people down in Memphis.
She's a great singer, though. She's got this huge powerful
voice, and when we were recording, you know, the house is huge,
and it would just boom through the whole house, you know, and
all the floors are tile and wood and stuff, so it would just
echo all the way back into the farthest reaches of the house.
CO: Wow. I noticed you played keyboards on this one.
John: A little bit, yeah. I did a keyboard bass thing
on "Crazy".
CO: I think it's pretty cool that you're personally
responding to people on the site. [ http://www.afghanwhigs.com ]
John: Yeah, I'm trying to. Part of it's guilt-driven
for not responding to the analog fan mail we've gotten over the
years. We've just tried a bunch of times to do it. It's just
too much work, and it winds up halfway getting done. We've had
a couple false starts on trying to start a fan club.
CO: Well, you've got a couple out there - fan sites -
that are just amazing. Meredith's page...
[ http://dolphin.upenn.edu/~borakove/whigs/ ]
John: I know. Meredith, yeah. The first time I ever
got on the internet, I was like "Oooh, I'll type in Afghan
Whigs"...
CO: [laughs]
John: ...and saw that. So, I mean, that was already
there. So, I'll be forever indebted to Meredith for making me
think the Internet was pretty cool.
CO: How involved are you with the Interactive portion
of Ultrastudio? [ http://www.ultrastudio.com/ - the Cinncinnati
studio he shares with partners]
John: I pretty much did the website for the studio. My
wife and one of my other partners, Dave, run the interactive
thing. Michelle, my wife, does all the enhanced cd programming,
has a lot of corporate clients and stuff, and then Dave does the
mastering and the digital audio work. So basically, the
UltraInteractive part is the catch-all for doing anything that's
not multi-track recording.
CO: It's pretty Renaissance - you've got bald eagles,
fantasy baseball...
John: [laughs] She's busy. She's got boundless energy.
CO: All the press about the studio makes it sound like
a communal thing.
John: Very much is. We couldn't run it any other way,
because when the Whigs go on tour, half the staff walks out the
door.
CO: The rates are great.
John: Yup. You won't find a better deal within 500
miles. I guarantee it.
CO: I read that you were in the black. Are you still?
John: Pretty much. I mean, if we were all trying to
make a living out of it, I think it would be a little more
difficult, but as long as it supports itself, we're all pretty
happy, 'cause we have other things we do. The whole point of it
was never to get in over our heads, to the point where we'd just
have to be slaves to paying the bills, and having to go out and
hustle for business, and having to record just god-awful music
that none of us liked. [laughs]
CO: Do you think Elektra was, in hindsight, almost good
for not getting you out, so this album will be a little more
fresh - a "who are these guys?" kind of thing?
John: I think Elektra did more to make us indie rock
than SubPop, you know. As far as that goes.
CO: Really? Through lack of promotion?
John: Yeah. You know what? I mean, number one, it was
a total different company that we signed with, than what we left
on. When we signed with Elektra, they put out 40 some odd
records a year, then they folded in EastWest and Atco, and went
to putting out maybe 140 records a year, 180 records a year,
whatever. They just don't have the long-term vision. I don't
think the new management had a clue what to do with us. They
had people telling them, "Oooh, these guys are good. Don't give
up this band." But they didn't know why.
They made all these promises to us about a year-long
commitment, and blah blah blah "We're in here for the long
term". Six weeks down the road, it was starting to filter back
to us that they were saying "The Whigs' record's dead. Let's
concentrate on" ... whatever their flavor-of-the-month band was
at that time.
CO: What made you go with Columbia then?
John: The guy that signed us at Columbia, Tim Devine,
has been a longtime fan of the band, and has come to see us. In
fact, there were a couple of people from Columbia, besides Tim,
who'd been coming to see us just as fans for a long time. Tim
kind of made it known, through conversations with people, mutual
friends and stuff, "Hey, if you guys ever wind up leaving
Elektra, please talk to me." And when it became clear that we
were leaving Elektra, he let us know that we could come there if
we wanted to.
But we talked to a few labels. We talked to Interscope,
we talked to Capitol, talked to a couple others as well, just to
see what was out there. But eventually, we wound up going with
Columbia, mostly because of Tim. Beyond that, because of people
that we met, they just really seemed to be on top of it these
days. And they've also committed to whatever it takes in the
long term.
John and I talked some more about his love for skiing,
New Orleans' vibrant musical atmosphere, his pleasure at the
makeup of the current Whigs setlist, and the touring life in
general. It was a fun interview. All that's left is to tell
you, the CO reader, to go buy _1965_. Buy several as gifts, and
I can see them with a horn section that much sooner.
---
REVIEW: Robyn Hitchcock, _Storefront Hitchcock_ (Warner)
- Joe Silva
For those with only a passing familiarity of Robyn Hitchcock's
work, he may seem to chalk up to not much more than an semi-obscure 80s
pop quantity that never quite made the grade like - oh, let's say the
Cure did. By while many of his post-punk contemporaries eventually
were forced to return to their day jobs or simply ran out of new
fashions to aspire to, Hitchcock has continued to hold together a
modest core audience of listeners for close to twenty years. And more
importantly, one of those listeners was filmmaker Jonathan Demme (Stop
Making Sense, Silence of The Lambs, Beloved). When the two met
backstage at one of Robyn's gig in a club not too far from Demme's
home, the seed for another notch in Demme's filmography was planted.
The resulting piece of celluloid should be making the rounds
at the same sorts of theatres that periodically hold midnight showings
of Clockwork Orange any time now. Presenting Hitchcock in front of a
small and audience of friends and fans while behind him the macrocosm
of a busy New York City street rushes past him on the other side of a
shop window, Demme has captured one of Robyn's most valuable assets -
his ability to improvise and entertain with not much more than an
acoustic guitar, a harmonica, and a traffic cone or two.
Moving through a mixed bag of his tunes new and old, Robyn
rants, regales and generally puts forth a savagely good show.
Interspersed with his well known semi-nonsensical tales, Hitchcock
gives up great renderings of old faves like "Glass Hotel," as well
as new songs like "1974." Beyond being a prime example of how well-crafted
his material is when it's stripped down as it is here, Robyn shows how
versatile he can be with a six-string beneath his fingers (something
he's not all that well known for). The CD release and the film differ
slightly in which tracks are used, but as it may be sometime before the
video version is released, this soundtrack is a super illustration of a
multi-dimensional artist in a sometimes overwhelmingly flat musical horizon.
---
REVIEW: Placebo, _Without You I'm Nothing_ (Virgin)
- Tim Mohr
As if scanning the seating chart of an eighth-grade classroom, when
you look at Brian Molko of Placebo you find yourself going, "boy, girl,
boy, girl." Molko tends to wear slinky black outfits and lots of red
lipstick. With the glamorous aspirations of a Hollywood startlet and an
electric guitar that seems to have been tuned by Sonic Youth, Molko
embodies a certain fin-de-siecle (or millenium, as the case may be)
sensibility: youthful nihilism, the forced vacancy of anti-intellectualism,
and wining self-pity all inform his lyrics on Placebo's second album,
_Without You I'm Nothing_.
Up to now, Placebo have gained notice primarily in the UK. Throwing
down the androgeny card in a country where bands like Suede break the bank
with only half-hearted bluffs in this direction, Placebo took the atonal
riffs and nasal complaints of their eponymous debut into the top ten.
Placebo look like little girls and have reinstated American guitars on the
British charts.
Placebo's musical tastes contrast sharply with the fey pop that
typifies many British guitar bands du jour and the Teva-wearing,
prep-school- athlete-turned-crunchy-musician-in-post-Grateful Dead jam
bands of American college rock. From skidding, angular guitar lines hurried
along by fuzzed bass lines and frenetic drums, to tinsel glam ballads
worthy of early Bowie, Placebo represent both a new phase of alternative
and a throw-back to the _Daydream Nation_-era of Lower East Side noise
bands.
Placebo's gender-bending imagery and ambiguous lyrics, though
likely to make fraternity social chairmen rather ornery, lend an odd
universality to the band and the problems they explore on _Without You I'm
Nothing_. "I'm a queen,a libertine, and every time you vent your spleen I
seem to lose the power of speech...you're slipping slowly from my
reach--tick, tock, tick, tock," moans Molko on the title track, counting
off the seconds as his companion withdraws.
It is precisely this type of lyrical quandry that makes _Without
You I'm Nothing_ the soundtrack that we deserve: comfortable in the
abstract with proclaiming his more outlandish qualities, Molko recognizes
the potentially alienating affect this can entail in practice.
Placebo suffer from urban fatigue and are wary of stasis. "You try
to break the mold before you get too old," sings Molko in "Summer's Gone,"
before resigning himself to a somewhat less ambitious goal: "You try to
break the mold before you die." Not that that sentiment--or buying a record
towards that end--is particularly original, but at least Placebo don't
sound like Semisonic.
---
REVIEW: Various, _Tommy Boy's Greatest Beats_ (Tommy Boy)
- Bob Gajarsky
Sometimes, writing reviews can be a chore. Sometimes,
reviews are not only easy to write, but truly enjoyable. When
the discs from the Tommy Boy _Greatest Beats_ came this way, the
latter feeling of happiness truly came to the forefront.
While DJing back in the mid 1980s, Tommy Boy was quickly
known to me - and those dancing to the music - as a label which
would always venture slightly ahead of the pack to produce
superior music and artists with their ears firmly in the clubs.
Of course, the super-influential and all-time top-selling
12" single from Afrika Bambaattaa & Soul Sonic Force "Planet Rock"
is the leadoff track here. And what better song can signify
the length to which Tommy Boy's influence would reach? Where
Kraftwerk had their core audience, "Planet Rock" married rap with
the robotic sounds of the enigmatic European group and
singlehandedly inspired Miami Bass, and touched the hearts of
those who would start dancing to techno and jungle in a later
year.
But one song does not a career make, nor a label.
The psychedelic hip-hop eye-opening experience of the Daisy
Agers, De La Soul, freestyling via TKA, and rappers such as
Queen Latifah all were under the Tommy Boy umbrella.
Samples were also in vogue on Naughty By Nature's reworking
of the Jackson 5's "ABC" into the more youthfully-respected
"OPP"; the Stevie Wonder updating for Coolio's "Gangster Paradise"
If it was danceable and hip, odds are, it was on Tommy Boy.
Always open to new sounds, Tommy Boy didn't solely strive
for the urban beats; Information Society opened up the doors for
a new generation of synthpop and Trekkies raced out and picked
up "What's On Your Mind" for the sampling of Spock's 'Pure Energy'.
Lisa Stansfield first became known in the States with Coldcut's
hit "People Hold On", and 808 State's brief American moment in the
raving sun is captured on "Pacific". House of Pain commanded you
to "Jump Around", and the crossdressing Rupaul proclaimed his/her/hir
(sic) world on "Supermodel". But by marrying the sounds
which were heard on the corners of New York City's streets - yet
weren't considered mainstream, acceptable, or enough of a
risk for the major label's bottom line - Tommy Boy helped
define the dance scene for the 80s and 90s, without ever losing
their street credibility.
Those willing to plunk down their bucks for the entire
4 disc box set will find themselves rewarded with an additional
bonus fifth disc of classic tunes remixed from some of today's
cutting-edge DJs. Check out that list - including Dimitri from
Paris, Dee Jay Punk Roc, Grooverider, and Jason Nevins - and save
up the pennies to buy the whole box. Absolutely essential.
---
REVIEW: Chris Isaak, _Speak of the Devil_ (Reprise)
- Robin Lapid
You know Chris Isaak -- he's that guy who parades around
in VH-1 videos with a half-naked model while cementing his
historical role as alt music's master transcriber of love gone
wrong. What if I told you that on his latest release, _Speak
of the Devil_, he actually lifts himself out of that 'I'm the
singer with the movie star looks who gets dumped all the time'
fog and creates an album chock-full of full-bodied rock music
that explores a different musical terrain such as Isaak has
never before approached? I'd be half off-base, is what. There
are subtle hints of surprise on the album, but the singer still
shows a knack for plaintive-sweet warblings a la Roy Orbison and
a seductively sinister Elvis impression that is completely like
the Isaak of old.
Which is not a bad thing, considering that the
singer-songwriter, like an updated Orbison or Presley, knows
how to perfect the rock-and-country sound of a heart melting
into heartache or pelted with frustration and misplaced lust.
But also on the album are welcome nuances of uncovered territory,
like the surf-y instrumental "Super Magic 2000", which sounds
something akin to if the Pixies' Frank Black had been obsessed
with the Wild West instead of space aliens. "Speak of the Devil"
builds into a rollicking rock song wherein Isaak lets loose with
the crooning wail more evident in his looser live shows. "Don't
Get Down On Yourself" blends Isaak's soft and tender vocals
with acoustic guitar and hints at how good a lo-fi,
less-produced Chris Isaak album might sound.
Most of the songs, however, fit into the mold that both
sets Isaak apart and invariably limits him. The opening track
and first single, "Please", with a salacious and gritty guitar
line backing Isaak's dead-on rockabilly croon. "Black Flowers"
carries Isaak's soft and deadly vocals much like the formidable
"Dancin'" did, crescendoing into an eloquent and controlled
chorus and some complementary guitar licks. In all, _Speak of
the Devil_ conflates Isaak's trademark sound with a tad more
playful sonic variations. Not a big leap forward, but more like
a suave sway to the left.
---
REVIEW: Dream Theater, _Once in a LIVEtime_ (EastWest)
- Dan Birchall
Dream Theater has been a part of the progressive rock and
metal scene for a decade, and a major force since vocalist James
LaBrie joined the band in the early 90's. Three full-length albums
and two EP's later, the band consists of LaBrie, bassist John
Myung, guitarist John Petrucci, drummer Mike Portnoy, and
keyboardist Derek Sherinian. On this live double album, the
five showcase their technical and artistic abilities.
They're hardly lacking in either area. Why simplify
complex studio songs for the road like most bands? They add even
more twists, turns and rhythm fills in person. On stage, they
leap at chances to include embellishments or improvise as a group
in mid-song. Their antics are akin to the Grateful Dead or
Phish - but with an emphasis on technique, a driving beat, and
the volume knob set on eleven. Songs stretch far beyond their
normal length. Unknown lyrics crop up. And often, they veer
unexpectedly into a few bars of something from Pink Floyd, Led
Zeppelin, Metallica, or even Lynyrd Skynyrd.
Four tracks, including the opener and closer, are
segments of the group's 23-minute epic song, "A Change of
Seasons." They also draw extensively from their last three
albums, and include one song from their first album, along with
three instrumental solos - two of which evolve into group jams.
Other surprises include an amusing pause in the midst of a song
for a "french horn" playing an equestrian fanfare, and a great
guest appearance by Spyro Gyra's Jay Beckenstein on alto
saxophone, lending a jazzy, new-age flavor to "Take Away My
Pain."
This is obviously a "must have" for Dream Theater's
diehard fans, but it's more than that. The sheer volume of
material crammed in a single jewel case - 23 songs and 154
minutes of music on 2 discs - makes it the ideal overview of the
band's career to date. Excellent sound and production and an
enthusiastic crowd make it even better. Whether you're a new
fan interested in the past, a pop fan wondering what the whole
"progressive" fuss is about, or a collector looking for the
ultimate single example of Dream Theater's work, _Once in a
LIVEtime_ is highly recommended.
---
REVIEW: Firewater, _The Ponzi Scheme_ (Universal)
- Lang Whitaker
If the "Spy vs. Spy" cartoon in Mad Magazine had a soundtrack,
it would sound like Firewater's new album _The Ponzi Scheme_. Taking
the unbeatable attitude of brit-rock and proselytizing it with the
pop sensibility of The Beach Boys, Firewater creates a boisterous
yet refined sound. Owing as much to the chutzpah of Anthony Quinn's
Zorba the Greek as to The Eagles harmonic balance, on _Ponzi_,
Firewater's second full album, the kids show us that they are alright.
After their debut album drew as much noise for its title
(_Get Off The Cross, We Need The Wood For The Fire_), the more
controversial subjects are abstained from in order to focus on the
music.
The ringmaster of Firewater's circus is lead singer Tod A.,
formerly of Cop Shoot Cop. He's totally British, faking the accent,
but all balls, guts and lager. On "So Long, Superman" he manages to
rhymes the phrase "...I will follow" with "...like Lou Ferrigno." A's
scuffed baritone is gutteral and at odds against the clean arrangements.
Despite their clean sound, Firewater injects a soul and drive
to the music so that it's not as hollow as Fastball.
There really aren't any duds on _The Ponzi Scheme_. The opening
track, "Ponzi's Scheme," sounds relatively sinister yet orchestral,
pitting brash horn stacks against guitars howling to be heard above
the din. "Another Perfect Catostrophe" is a swarthy and romantic
tango in Tijuana. Another shot of tequila please, senor. "Knock 'Em
Down" is a pew stomping good time, a Civil War-era, anti-church hymn
("I don't believe in God because he don't believe in me," A. sings).
A real gem is the track "Isle of Dogs," which is surprisingly
uplifting and, well, beautiful. It's a song where Firewater doesn't
get caught up in their own war games, and as a result they are able
to create a slow jam that borders on the serious.
Thankfully, the tongues are immediately shoved right back in
cheek, exactly where they belong.
---
REVIEW: Mike Scott, _Still Burning_ (Minty Fresh)
- Tracey Bleile
Whatever you may think of the Waterboys' Mike Scott - a
little over the top, a little too arms flung wide - he is a
showman first and a proselytizer second. He passionately
believes, and he wants you to, too. And he'll pull out every
trick he knows in the hopes of keeping you following along.
The Big Music is back, minus the rest of the Waterboys,
but Scott works hard to revive the past with _Still Burning_.
His first solo effort, _Bring 'Em All In_, was more of an
exploration of Man plus Guitar equals Serious Singer/Songwriter.
And while there are some quieter moments on this release ("Personal",
"Sunrising"), Scott's area of strength doesn't lie in the minutiae
of self-examination, but on the largesse of emotion and proclaiming
one's feelings at the top of your lungs. And _Burning_ brings
all of that rushing back with much trumpet fanfare and guitars blazing.
Mike Scott is very much like Michael Been of The Call - an
artist bent on bringing you closer to understanding their view of
life's mysteries through their music. And the songs can be read
many ways - the private love of the deity you worship, in a song
like "Open" or the devotion to one human being that builds up and
flows over with a song like "Love Anyway" - listen each time with
an open mind, and you'll hear it a different way every time.
Yet like the archangel whose name they share, there is also the
examination of anger and earthbound demons playing a part in the
human struggle that Scott faces in armed only with grinding heavy
guitar in "My Dark Side" and the extra added thunder of an RD500
keyboard on "Dark Man Of My Dreams".
If you're a Waterboys fan, you've heard this all before, that
unforgettable throaty warble bubbling through the songs that follow
a very predictable, cadenced rhythm, which makes the absence of
how much more percussion there used to be far more noticeable. But
he has found an excellent groove between the excess and the folkiness
with songs like "Rare, Precious and Gone", with the help of a
Wurlitzer and the omnipresent horns. He is still an irrepressible
and enjoyable performer, playing his Pan pipe and calling you to
follow. With an album like _Still Burning_ you find yourself chasing
after, laughing and singing the whole way.
Also released is a long-overdue "greatest" collection,
_Whole Of The Moon_ which spans the entire W'boys catalog, and
includes tracks from both solo Scott albums. Guess some things are
worth resurrecting. Also available (but currently only as an import)
is a great double-disc set _Live Adventures Of The Waterboys_, which
includes killer versions of "This Is The Sea", "We Will Not Be
Lovers", their biggest U.S. hit "Whole Of The Moon", and just
because you can never have too much Prince, their cover of "Purple
Rain".
The Big Music Lives!
---
REVIEW: Baxter, _Baxter_ (Maverick)
- Tim Mohr
Baxter's individual members come from very different backgrounds,
the combination of which on their debut album works extremely well. The
most important components are the dub and jungle stylings brought to the
project by Ricky Tillblad, and the song- and lyric-writing of Nina Ramsby,
who honed her skills at the helm of the Swedish indie outfit, Salt. The
result is ambient drum and bass with an atmosphere that would feel at home
on 4AD records.
What makes the record enjoyable is the way Baxter avoid most of the
trappings of the various styles: drum and bass usually comes in one of two
formats--the instrumental variety of, for instance, DJ Krust, or the
house-inflected stylings of people like Alex Reece or Goldie. Baxter take
their cue from the more minimalist instrumental school but add vocals. And
likewise, the vocals--with their morose quality and thoughtful lyrics--lean
towards the trip-hop of Portishead or Lamb, but the musical backdrop is
more lively and less self-consciously melodramatic.
There are some particularly interesting moments: On "So Much I've
Heard," Baxter loop a dusty guitar sample in Tricky's signature style, but
then add frantic, crashing drum and bass percussions to the track. Some of
the pieces have the haunted dancehall feel of Witchman, with a dark, spooky
piano line looped over sinister snares. "Possible" takes something of this
approach, then adds horns--mirroring another common drum and bass
technique, the jazzy sample--to create what might be mistaken for a
top-drawer re-mix of Portishead.
Sometimes the mix is less effective: "All Of My Pride" could be a
Sade remix, what with the lyrical tone and the muted trumpet line.
Baxter make a good case for the genre cross-pollenization that
they attempt. Tracks such as "So Much I've Heard" should make believers of
people who like all manner of beatz, and particularly those who already
seek out similar projects -- The Aloof come to mind with their organic,
dub-heavy, vocal excursions.
---
REVIEW: R.L. Burnside, _Come On In_ / Robert Cage, _Can See
What You're Doing_ / Bob Log III, _School Bus_
(Fat Possum Records)
- Rob Hillard
Out in the rolling hill country region of northern Mississippi,
there ain't a whole lot to sing about. The days are hot, the roads
are dusty, and the economic conditions are as mean and nasty as a
junkyard dog.
Fortunately, the blues are alive and well in this lonely and
forsaken place. But you might never know it if it weren't for the
brave souls at Fat Possum Records. Based in the tiny metropolis of
Oxford, this fiercely independent group of modern-day archivists is
working hard to expose the next generation of Mississippi's trailblazing
blues bogeymen. Yet the core of their talent includes many of the
last living disciples of vintage Delta blues, made famous in this
region by legendary characters like Son House, Robert Johnson, Muddy
Waters, Howlin' Wolf, Willie Dixon, and Elmore James.
At the top of the Fat Possum roster is a stubborn, ol' whiskey
swillin', wide-grinnin' son-of-a-bitch named R.L. Burnside, whose
stripped-down, electrified guitar blues is as wicked and intense as
a New Years Day hangover. My first exposure to Burnside was at the
1996 Johnstown Folk Fest, where he shared a bill with his friend and
labelmate, the late, great Junior Kimbrough. Backed by the Kenny
Brown Blues Band, Burnside rambled onto the stage about three or four
songs into the set carrying a shabby looking electric guitar that
looked like it might have been pulled out of a dumpster. He then
proceeded to display his raw wizardry, unleashing some of the most
hypnotic and high-voltage backwoods blues I'd ever heard. Stretching
and scratching the strings as often as he stroked them, Burnside
spewed forth an hour-long, alcohol-fueled set of howling, stomping,
straight-ahead mojo madness. Above the swirling din of spontaneous
guitar licks came the sound of Burnside's growling, caterwauling
vocals - rough, rootsy, and seething with passion. The entranced
crowd responded in style, partaking in the most down and dirty,
reptilian dancing ever witnessed in this conservative, blue-collar town.
With three recording projects already under his belt, including
a 1996 session with the Jon Spencer Blues Explosion that yielded the
critically acclaimed _A Ass Pocket of Whiskey_, Burnside is always
looking for a fresh new sound. Never one to pay much homage to
maintaining tradition, Burnside's latest Fat Possum release, _Come
On In_, may be his most daring adventure yet. On this fascinating
collection of experimental remixes of new and previously recorded
tracks, famed Beck producer Tim Rothrock makes use of ambient sounds,
drum loops, and sampling to add yet another dizzying dimension to
Burnside's trance-inducing southern boogie. The result is sonically
intense, yet still surprisingly primitive.
Moving from the hell-bent fury of "Let My Baby Ride" to the
spooky technofried blues of "Shuck Dub," the album manages to capture
the spirit of a modern-day dance hall without diminishing the spark
of Burnside's fiery juke joint blues. Compare the untouched live
version of the title track to the two remixed versions that are
scattered throughout the album's twelve tracks and you will see what
I mean. Other memorable genre-bending moments include the urban
hip-hop rhythm romp "Don't Stop Honey," which features Burnside's
grandson Cedric on drums, and "Rollin' Tumblin," a driving swamp-stomp
rocker that is sure to tickle the toes of even the baddest technophobe.
Burnside is currently on the road, reluctant as he may be to
leave his modest home in Holly Springs, Mississippi. Opening a
majority of the shows is another veteran Fat Possum bluesman, Robert
Cage, whose lean and mean pre-war blues hits you like a musty blast
of air from a long-shuttered root cellar. Once you get acclimated to
his vintage grunting sound, it's very cool. This trademark vocal
style is a rough and tumble tradition that Cage picked up from his
long-time mentor, a Woodville, Mississippi blues legend named Scott
Dunbar.
After nearly four decades playing electric blues, Cage returns
to his roots on his first recording for Fat Possum, _Can See What You're
Doing_. While the disc contains two potent, electrified numbers,
including the opening butt-thumper "Get Outta Here" and the searing
"Instrumental #5," most of the remaining tracks follow the old-school
acoustic country blues theme. Listening to Cage "doo doo doo" his way
through "Little Eddie Blues," you almost get the feeling you're sitting
out on his backporch sipping on a cool can of Colt 45, watching the
sun settle down over the old Rosemont plantation. Cage grunts his
way through "How Do You Get Your Rolling Done," a wailing tune that
evokes the spirit of Mississippi Fred McDowell. Other highlights
include an unrestrained take on the traditional "Liza Jane" and
spirited renditions of Leadbelly's "Easy Rider" and "Goodnight Irene."
A few select dates on the Burnside-Cage tour will also feature the
monkey-pawed, caffeinated slide-guitar and kitchen sink percussion of Bob
Log III, a self-proclaimed rock'n'roll rebel who regularly performs wearing
a motorcycle helmet. While the helmet adds an air of mystery to Log's
already puzzling persona, it has an even greater effect on his vocal style.
Yep, that's right. He actually sings through the helmet, using cheap
telephone microphones to create a bizarre lo-fi sound that is nearly as
intriguing as his self-generated psychedelic blues rave-ups. Never mind
that you can barely understand a damn thing Log is singing. Vocals
definitely take a back seat to the lightning-speed slide guitar riffs and
funky junkyard rhythms in this unique one-man-band.
One half of the Tucson-based post-punk blues outfit Doo Rag,
Log has long experimented with primal beats and unorthodox guitar
effects. On his Fat Possum solo debut, _School Bus_, Log hammers
out a series of short, percussive romps that range from supercharged
breakdowns like "String on a Stick" and "Big Ass Hard On" to the
loping blues shuffle of "Fire in the Hole" and "Land of a Thousand
Swirling Asses." The mojo really gets working on a funky little
ditty called "All the Rockets Go Bang," a rowdy call and response
number that must surely be a highlight of the live Log experience.
"Pig Tail Swing," a wickedly paced slice of slide thrash that clocks
in at just under two minutes, conjures up depraved images of Log
chasing hogs around at an all-night Midwestern barn dance. While
the abbreviated length of these tunes creates an appearance that
they may have been tailored for commercial radio, it's far more
likely that Log is merely suffering from some sort of severe
attention deficit disorder.
For further information on these artists or Fat Possum
records, you check out the web site at http://www.fatpossum.com
---
REVIEW: Jocelyn Montgomery with David Lynch, _Lux Vivens (Living
Light)_ (Mammoth)
- Jon Steltenpohl
Throughout his career, David Lynch has tried time and time again
to create visions of slightly twisted parallel world where the bizarre
is seemingly everywhere. He's brought that vision to light not only
with characters and visuals, but also with music. Even in his early
cult classic, _Eraserhead_, there was a miniature girl in the radiator
singing about heaven. His later albums with Angelo Badalamenti and
Julee Cruise provided a mysterious, yet silly take on the Twin Peaks
theme, and lately, he was responsible for bringing Rammstein to the
masses with the Lost Highway soundtrack.
However, regardless of the success of his work, Lynch remains an
artist for whom you always wonder if you can take seriously. His work
is often bizarre just for the sake of being bizarre. Now, collaborating
with Jocelyn Montgomery, David Lynch has produced an album which is
remarkable for both it other-worldliness and its stunning beauty. And
thankfully, Lynch has restrained his need to tweak the nose of rational
thought. _Lux Vivens (Living Light)_ manages to be both mysterious and
serious without taking away from either aspect.
Lynch discovered Montgomery as she walked down the street singing
to herself. With an eye for talent and itching to get going in his new
recording studio, Lynch recruited Montgomery as his next diva.
Montgomery, a trained vocal artist, had recently been exposed to the
music of a German nun named Hildegard von Bingen who lived from 1098-1179.
The resulting album of these three unlikely collaborators is a
treasure. It unfolds like a dream where you find yourself floating over
Eden. Montgomery's single a Capella voice echoes as if you were in an
ancient monastery. The echoes float back and forth over themselves in
a most incredible display of self harmonization that turns one voice
into a chorus of angels.
Unlike the Enigma albums or the Benedictine Monks remixes of a
few years back, _Lux Vivens (Living Light)_ contains no dance beat behind
it. There is no percussion. Strings, wind and rain, bird sounds, and
other effects set a quiet backdrop for Montgomery's practiced voice.
She is crystal clear, like a small bell. Simple, subdued. Yet within
each note, Montgomery caresses and consoles the melody to the point of
breathlessness.
After a single listen, the title comes as no surprise. _Lux
Vivens (Living Light)_ begs to be played with candles in the room.
Something about the music is solemn and contemplative. It's as if
there is a ceremony in progress. The listener is practically dared
to find a bath or a massage to complement the album. Just toss that
_Songs of the Humpback Whales_ album by "Yanni wannabe #23" in the
trash, put this album in the player, and relax away. _Lux Vivens
(Living Light)_ is riddled with continuity and consistency as one song
softly flickers into another.
The album is, like most of Lynch's work, more different and
abstract than what you'd normally find in the mainstream. But, unlike
his previous body of work, the quirkiness is restrained and very
refined. Lynch, with Montgomery as his voice, has finally found a way
to focus on just his genius and leave the rest behind. _Lux Vivens
(Living Light)_ is an auditory masterpiece.
---
REVIEW: Bio Ritmo, _Rumba Baby Rumba!_ (Mercury)
- Joe Silva
This octet of mostly non-Hispanics may appear as if they're
doing some pretty high-wire tap dancing by putting out an album of
Latin jive, but at times these guys can actually manage this bit
of sleight of hand.
Led by Cuban emigre' Rene Herrera, Bio Ritmo strike a
compromise between Herrera's background and more marketable brand of
big band merriment that live makes them a big hit with those who are
just now making room for Salsa in their musical vocabulary.
Songs like "Ugly" and "Call Me Up" are jokey numbers and
straight-up pop fare respectively that just happened have a Latin
taint to them. And while their "Tequila" cover may just seem like
easy filler, there are some breaks within its framework that show what
savvy musicians these guys actually are. In fact "Un Carnaval En La
Habana," "Una Palabra," and "Sientate Ahi" comes pretty close to
servicing all of the genre's essential elements both musically and
vocally. Herrera's voice might be a touch saccharine, but it's
convincing enough at least for this tune to inspire the rest of the
troops to some damn precise backup vocals.
While I might take Marc Ribot's ("Marc Ribot Y Los Cubanos
Postizos") release over this despite it being even further removed
from the real article, there's enough sincerity and genuine
professionalism within Bio Ritmo not to dismiss them as big band
opportunists. A few more mojitos and a visit to the old county
might be in order however.
---
NEWS: > The band Berlin revealed during a recent live gig
that it is currently shopping a new studio record to the
labels. And the band has been performing several of the brand
new songs in concert along with their biggest Eighties hits.
The new song with the most potential is the sultry "I Can
Love Again," written by Berlin vocalist Teri Nunn and former
Concrete Blonde leader Johnette Napolitano.
> Lenny Kravitz' _5_ album has recently been certified
gold (500,000 shipped) by the RIAA.
> Yo La Tengo will join two other performers (Sonic
Youth and Tito Puente) to cover the Simpsons theme song in
an episode of the television show. Their psychedelic version
will appear at the end of the November 15 episode.
---
TOUR DATES:
Tori Amos / Unbelievable Truth
Nov. 1 Detroit, MI Rose Arrena
Nov. 3 Eau Claire, WI Zorn Arena
Nov. 4 Madison, WI Dane County Expo
Nov. 6 Pittsburgh, PA Civic Arena
Archers of Loaf
Nov. 1 Seattle, WA Show Box
Nov. 3 Vancouver, BC Starfish
Nov. 4 Seattle, WA Crocodile
Better Than Ezra / Possum Dixon / Athenaeum
Nov. 1 West Palm Beach, FL WPBZ Radio Show
Cypress Hill
Nov. 2 Washington, DC 9:30 Club
Nov. 3 Detroit, MI Clutch Cargos
Nov. 4 Chicago, IL House Of Blues
Deftones
Nov. 3 Petaluma, CA Phoenix Theatre
Nov. 4 Los Angeles, CA Palladium
Nov. 5 San Diego, CA Soma
Nov. 6 Phoenix, AZ Mesa Amphitheater
Everlast
Oct. 28 Boston, MA Axis
Oct. 29 Old Bridge, NJ Birch Hill
Nov. 1 Pittsburgh, PA Club Laga
Nov. 2 Cleveland, OH Peabody's
Nov. 5 Charlottesville, VA Trax
Nov. 6 Washington, DC The Bayou
Glen Matlock
Oct. 30 London Mean Fiddler
Oct. 31 Dublin Mean Fiddler
Nov. 4 York Fibbers
Nov. 5 Doncaster Leopard's
Motley Crue
Nov. 1 New Haven, CT Oakdale Theatre
Nov. 3 Wilkes Barre, PA Kirby Theatre
Nov. 4 Rochester, NY Auditorium Theatre
Nov. 6 Syracuse, NY Landmark Theatre
John Taylor
Nov. 3 Jacksonville, FL Moto Lounge
Nov. 4 Hallandale, FL Button
Nov. 6 Orlando, FL House of Blues
Nov. 7 Atlanta, GA The Cotton Club
Moe Tucker
Nov. 4 New Hope, PA John & Peter's
Nov. 6 New Haven, CT Tune Inn
Mike Watt
Nov. 1 Minneapolis, MN First Avenue
Nov. 2 Iowa City, IA Gabe's Oasis
Nov. 3 Omaha, NE Ranch Bowl
Nov. 4 Lawrence, KS The Bottleneck
Nov. 6 Denver, CO Bluebird Theatre
---
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