==== 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. 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