]]]]]]]] ]]]]]]] ]]]]]]] ]] ]] ]]]]]]]] ]] ]] ]] ] ]] ]] ]] ] ]]] ]]] ]] ]] ]] ]] ]] ]] ]] ]] ] ] ]] ]] ]] ]] ]] ]] ]] ]]]] ]] ] ]] ]] ]]]]] ]] ]] ]] ]]] ]] ]] ]] ]] ]] ]] ] ]] ]] ] ]] ]] ]] ]] ]] ]] ]]]]]]]] ]]]]]]] ]]]]]] ]] ]] ]]]]]]]] ]] ]] ]]]]]]]] ]]]]]]]] ]]]]]]] ]]]]]] ]]]]]]]] ]]]]]]] ]] ]] ]] ]] ]] ]] ]] ]] ]] ] ]] ]] ]] ]] ]] ]] ]] ]] ]] ]] ]] ]]]]]] ]]] ]] ]]]]]] ]] ]]]] ]] ]] ]] ]] ]] ]] ]] ]] ]]] ]] ]] ]] ]] ]] ]] ]] ]] ] ]] ]]]]]]]] ]]]]]]]] ]]]]]]] ]] ]] ]]]]]]]] ]]]]]] I S S U E # 26 : J U L Y 1 9 9 7 ____________________________________________________________________________ - The Specialists - DJ Johnson.................Editor Wayne Burke................HTML coLeSLaw...................Graphic Artist Lauren Marshall............Administrative Assistant Louise Johnson.............Administrative Assistant Sarah Sterley..............Research Assistant - The Cosmik Writers - Jeff Apter, Ann Arbor, coLeSLAw, Robert Cummings, Shaun Dale, Phil Dirt, DJ Johnson, Louise Johnson, Steven Leith, Steve Marshall, Rusty Pipes, Paul Remington, John Sekerka and David Walley. ___________________________________________________________________________ T A B L E O F C O N T E N T S SOUND CLIP LIST: A list of sound clips you can find at our web site this month. EDITOR'S NOTES: Introducing a new writer. STEVE TURRE: Jazz trombonist Steve Turre is one of the finest musicians on today's scene. It's somewhat ironic that the acknowledged living master of the conch shells is better known as the trombonist with the Saturday Night Live Band, but this Verve recording artist definitely has the respect and admiration of the jazz community. Shaun Dale spent some time with Turre during his recent visit to Seattle. BEN VAUGHN - The Article: An now, prepare for a double-dose of Ben Vaughn, as we present both an article and an interview with the veteran indie rocker and producer whose credits run the gamut from great solo albums to the music from 3rd Rock From The Sun and Men Behaving Badly. These two separate pieces cover some common ground, but they compliment one another nicely, too. First up, an article by Jeff Apter which offers a good overview of Ben's current circumstances. After reading that, it's time for... BEN VAUGHN - The Interview: John Sekerka's conversation with Ben completes the one-two punch. Find out what's what in Ben's world of aliens, wrestlers and cartunes. And be sure to enter the drawing, because you could win a copy of Ben's new album, Rambler '65, which was recorded in his CAR! No, we're not kidding. TAPE HISS (John Sekerka): After a month of thawing out from his time on the glacier, Mr. Sekerka brings us interviews with Jason Ringenberg (of Jason & The Scorchers) and Vic Chesnutt (of Vic...uh..Chesnutt). BOOK REVIEW: MAKING MUSIC YOUR BUSINESS - A Guide For Young Musicians: Megadeth bass man David Ellefson's new book could be just what you need, whether you know it or not. IF you're a musician with grand ideas, that is. RECORD REVIEWS: MAN OH MAN!!! We really went nuts this month, and the result is more reviews than we've ever done before. Hint: Go to the can before reading. It's gonna take a while to read this stack of 93 reviews! BETWEEN ZERO & ONE (Steven Leith): In this month's rant, Steven Leith shines his flashlight on Microsoft's less-than-friendly business practices. Scary? Especially when you consider they're just the most visible iceburg in the water. PHIL'S GARAGE (Phil Dirt): Phil takes a look back at the evolution of automotive sound systems, from the sublime to the ridiculous. WALLEY AT WITZEND (David Walley): This month's fable: When The Gossip Lost The End Game CLOSET PHILOSOPHY (Rusty Pipes): Rusty gets down to the basic spiritual components of doing the right thing. WE'RE OVER HERE! SEND US MAIL!: How do you write to us? Here are some e-mail addresses to make it simpler. ____________________________________________________________________________ SOUND CLIPS IN THIS MONTHS ONLINE COSMIK DEBRIS At our WWW site (http://www.cosmik.com/cosmikdebris), you will find sound clips of Larry Bright, El Caminos, Element 79, Dale Hawkins, The Hate Bombs, Tom Lehrer, and Roy Hargrove. There are also five clips each of Steve Turre and Ben Vaughn in the interview section. ____________________________________________________________________________ EDITOR'S NOTES By DJ Johnson Welcome to the 26th issue of Cosmik Debris. We're really excited to welcome our newest member of the staff, Jeff Apter. Jeff, a native of Australia now living in the United States, has quite an impressive list of credits, including Australian Rolling Stone. But now WE'VE got 'im, and assuming those compromising photographs shot at the petting zoo turn out, we'll have him in our evil clutches for some time to come. Check out his first Cosmik article, "Ben Vaughn - Rambler Man," which is part of our Ben Vaughn one-two Punch. John Sekerka's interview with Mr. Vaughn is the left hook. And be sure to enter your name in the drawing, because you could be one of the five winners of Ben's new Rhino CD, Rambler '65, which he recorded in his CAR!! It's a great rock 'n' roll record on its own merit, but I mean...this thing actually has a song with an engine solo! When we heard that, we knew we had to find a way to get him into Cosmik Debris, and we did. Twice! You may notice I didn't do my column this month. It'll be back next month. I got too busy putting NEXT month's Cosmik together, and I just plain forgot to get pissed off enough to rant at anything. Two changes to tell you about. Last month we experimented with having genre codes next to each title in the review section index, and a key to those codes in a separate file. I Didn't like it. I wasn't sure why, at first, but several readers wrote in to tell me they didn't like it either. I think our own Steve Marshall put it best when he said "it goes against everything Cosmik Debris is about." That was it. We're about diversity, and we're here for people who can get into reading about a classical CD right after reading about a ska CD. One of our readers told me he likes to start at the top of the index and work his way through the whole thing because it turns him on to a lot of stuff he never would have picked from the menu if he'd known what genre it was. And that is exactly what we're here for. So genre codes are gone. From now on, the review section will load up with the first "A" review showing, be it Cannonball Adderly or AC/DC. And a big thank you to those of you who took the time to write and tell me how you felt about it. It's very much appreciated. The other change? We've lost the Debris Field for the time being. Louise Johnson has been doing a wonderful job with that section for several months, but her other duties are pulling her away from it. It finally reached the point where she had to choose between putting it on the shelf for a while or turning out an inferior Debris Field with very little debris, and she chose the former. The Debris Field has been part of Cosmik since the very beginning, and it will be back. That's about it. Enjoy the July issue. DJ Johnson Editor ___________________________________________________________________________ LEGACY OF THE SHELLS: Talkin' Jazz With Steve Turre Interviewed by Shaun Dale The general audience may know Steve Turre best as the ponytailed, goateed trombone player in the Saturday Night Live Band. A look at the stage set up for his current tour in support of his new self-titled album on Verve Records is enough to tell you that you'll be getting something other than snippets of R&B classics out of this lineup, though. It's immediately apparent that you're not in for an evening of cocktail jazz from a traditional quartet. Turre's Sanctified Shells band has an impressive 12 pieces, and along with a forest of mike stands and a drum kit there are a piano, African percussion and Latin percussion on stage. More dramatically, just to the side of the leader's mike stand, across from his trombone, is a table bedecked with a collection of conch shells ranging from fist size to massive Australian specimens that look about 24 inches long. Turre, who learned to play shell as a teenaged sideman in Rahsaan Roland Kirk's band, is the undisputed master of the ancient instrument today. I spoke to him about the shell and it's place in his music today. * * * Cosmik Debris: The shells are something you picked up from Roland... Steve Turre: Definitely. Cosmik: And Roland took some, in my opinion, terribly unfair knocks for gimmickry and all that. Does that affect you now? Does it affect your audience? Steve: I've fortunately been able to escape that so far. I do remember Roland and how his feelings were hurt by those false accusations. I didn't want to put myself in that position, because being so close to him, I didn't want to be hurt like that. It made me sensitive to that issue. I didn't really bring the shell out. I'd been kind of sensitive about doing that. Then in 1978, I'd been playing the shell about eight years and I went on a tour of Mexico with Woody Shaw, and among other places we went to Mexico City. That night I'd invited all my relatives to the concert and Woody called a tune that put me on the shell. More so than anyplace I'd played before, the people seemed to flip. They loved it. After the concert my family had me to the house for coffee and cake and we visited. They said "What you're doing, your ancestors used to do that." I said "Really?" and they said "Yeah! What are you doing tomorrow? Go to the archeological museum." There's a fantastic museum in Mexico City with all the Aztec artifacts, and I went there and they had shell instruments like I'm playing - even the same species of shell! It was like a revelation and I thought "Hmmm, maybe I'm supposed to be doing this..." Then I went to the pyramid and there are shells in the pyramid in a fresco of priests playing the shell. I said "I guess I just better do this and not worry about what people say." So when I present it, I don't present it as a gimmick. It's like when you put the wrong frame on the picture, it ruins the picture. It's the same with the shells. To me, the shell is just an extension of the trombone. To me, I play the trombone open, I play it with a plunger, or I play the shell. In the right place and the right time, it's beautiful. I'm obviously not going to play "Giant Steps" on the shell... Cosmik: I dunno, I think I'd like to hear that... (laughter) Steve: Well, I haven't got to it yet. Cosmik: What's involved in training a shell section? Steve: I have a pool. A brass player can play shells. You make the same sound with your lips just like brass. It's a little different - you use your hand instead of the valves or slide. I've known some very good brass players that just don't seem comfortable playing the shell. Maybe it's not for everybody. But I've known people who can just play instinctively the first time, too. * * * The show I saw, at Seattle's Jazz Alley, opened with Turre and bass trombonist Erwin Johnson each playing one of the large Australian shells and the other three trombonists (Robin Eubanks, Stanford Hunter, William Zapeda) providing a choral background on a variety of smaller shells. "Sanctified" is a highly appropriate way to describe the sound the shell choir achieves. Trumpeter Eddie Allen, bassist Charles Fambrough joined the shells, along with percussion (Tommy Campbell, drums; Rolando Guerro, conga; KweYao Agyapon, African percussion). Hunter took a turn on trombone, but the opening number, "Exploration," was primarily a time to, as Turre put it "Get you used to the shells right away." As the band moved into a song from a previous Turre album, "Sanctified Shells," they were joined by pianist Leon Pendarvis, one of Turre's SNL bandmates. They returned to the new album for "Steve's Blues," along with another guest, the terrific alto player Arthur Blythe. The set closed with "Strength," another number from "Sanctified Shells." By the end of the first set, two things were apparent. Turre is a marvelous performer, using both instrumental virtuosity and force of personality to create an inspiring mood and some amazing music. Using trombone, a variety of shells, a cowbell, rattles and claves, Turre also has complete command of the other eleven men on stage, leading them through intricate arrangements while providing space for extended and impressive solos. I asked him about the challenges and opportunities of leading the band. * * * Cosmik: I never saw Woody work, but I saw Roland, and watching your set, I thought I saw a lot of Roland Kirk in the way you lead. The way you connect and the way you give to musicians. Do you feel that? How did playing with Roland affect you as a leader? Steve: When I played with him, I was so in awe of his profundity that I was just paying attention all the time, trying to soak up as much as I could. That's really the whole key, whatever job you're doing, is to pay attention. Cosmik: You have a lot to pay attention to up there, in several roles, including player, leader, composer. Which one predominates for you? Steve: Well, in this particular context, with Sanctified Shells, I'm divided. I have to function as a conductor much of the time, but of course my main focus personally is to be a player. But I've got to give the cues so that everything's synchronized because there's a lot going on. Cosmik: You conduct with your back to the audience a lot, and of course the stereotype for playing with your back turned is Miles, but in your case it's different. You turn your back because you care about what's happening for the people in front of the stage... Steve: What I'm actually doing when my back is turned is watching the rhythm section, and making sure they're watching me, making sure they're getting the cue to go to the next section of the tune when everybody has to move together, or else I'm playing the bell (Turre uses a cow bell to mark time when he's not holding a horn or shell) and making sure the sound of that bell goes right to the drummer so we can get a lock. Cosmik: You seem to use a variety of cues - which shell you hold up, or the horn, or a hand motion, or eye to eye. A lot of it seems to be based on that direct eye contact. Steve: A lot of it is. People have to be watching, and if I can't see them I don't know if they're watching. I don't like moving to the next section and leaving a straggler that has to catch up. I like everybody to move together. * * * During the break, I asked Turre, whose resume includes stints with Roland Kirk, Woody Shaw, Art Blakey and Elvin Jones, among others, and whose knowledge of the music and its history is encyclopedic, for his thoughts on the contemporary jazz scene. * * * Cosmik Debris: One of the things that struck me about the album is the lineup. There's JJ (Johnson, the bop trombone master)... Steve: He's my father. I don't play like him, but he's my father... Cosmik: And John Faddis, one of the great second generation bop players... Steve: John's my homey, too. I knew him in high school. We're both from the Oakland Bay area. Cosmik: And then Stephen Scott, who's one of the new young Turks... Steve: Oh man, he's beautiful. Cosmik: And JJ, you, Faddis, Scott - though none of you really play the same, you all come from a similar lineage, a tradition, and now jazz, or at least what people are calling jazz, is going in a very different way... Steve: It's interesting. They have a lot of these stations around playing what they call "smooth jazz," but what that really is is instrumental pop, and they should call it that. I mean, if you like that stuff, that's cool. Go on and dig it. I don't particularly enjoy it, I think it's like grocery store music. It ain't funky, it don't swing, it ain't jazz. It's instrumental pop. Cosmik: Some of it uses funk beats... Steve: But it ain't funky. James Brown is funky. I'm thinking about something when you hear it, you gotta start dancing. That's what funk is. When it makes you want to tap your foot and move and groove. Cosmik: I've heard a lot of it lately, and I can't say it's really bad music, or at least musicianship. These cats can play everything they want to play. But what they want to play isn't jazz... Steve: And what bothers me is the way it's defined in the marketplace. That's using the name of what we do to get credibility and to get gigs on the festivals that we could be getting gigs on. Why don't they have an instrumental pop festival? * * * We also talked about how the trombone came to be his instrument, which became a lesson for me in the development of jazz instrumentation. * * * Cosmik: With trombone, most jazz buffs can come up with a few names - Teagarden, JJ, Kai Winding - but why trombone for you? When you were coming up, trombone wasn't the featured instrument in many bands. Steve: But you know, in the early days of jazz, at its inception, the two main instruments were the trumpet and the trombone. There were clarinets, but that wasn't a major role. The two greatest bands in New Orleans at the turn of the century were King Oliver and Kid Ory. Later, when Louis Armstrong became a leader, Kid Ory joined him, but initially Kid Ory was one of the main voices in the beginning of the music. Then in the big bands, each section had stars and soloists in their own right, whether it was reeds, trumpets or the trombone. During those days trombone was so popular that every kid wanted to play a trombone. Now it's the saxophone. Every kid wants to play saxophone because they see Kenny G making millions of dollars. There are trends, they market different instruments at different times... Cosmik: Of course, when you came up, Kenny G wasn't a factor, but Bird and then Trane led a big saxophone wave... Steve: But in pop music, when I was in high school, "Night Train" was a top 40 hit played on the trombone. But they can sell anything. Me, I like the sound of the trombone. I hear that voice. It's very lyrical and you can get such a range of colors out of the trombone. You can make it very sweet and smooth, very pointed and brassy or you can make it anything in between. Cosmik: I appreciate that, but the jazz lineup became defined by Diz and Miles on trumpet and Bird and Trane on sax and the trombone was pushed back to become a third instrument... Steve: That's a very good point. What happened was up until Diz and Bird, the trombone was a very big instrument in the swing era. You had players like Vic Dickinson, Jack Teagarden, JC Higgenbottom and Benny Green. Then Diz and Bird came along and changed it up. The music they were playing was so technically astonishing that only one trombone player could hang with that level of execution, and that was JJ. So JJ did for the trombone what Charlie Parker did for the saxophone. But for a good while, he was the only cat that could hang. The rest of them bit the dust. They had to sit down. But JJ could handle it. Then as time moved on, some of the more modern-thinking trombone players went with that and you had guys like Julian Priester, Frank Russolino - they came along and extended what JJ did. So the trombone has caught up now, but by then the mold had already been cast as far as the promoters were concerned - trumpet, saxophone, trumpet, saxophone, trumpet, saxophone. Personally, I'm sick of trumpet, saxophone. It's the same shit and it's the same old kind of sound. They're not writing any new music to take the sound of the trumpet and saxophone any further. It's a great sound, but it's not going to get any better than Diz and Bird or Coltrane and Miles or Wayne and Miles or Sonny Rollins and Clifford Brown or say, even with Horace Silver, Woody Shaw and Jim Henderson. That was a classic quintet. It's just not going to get any better than that. All I hear now is rehash. I like the sound, but I'd like to hear something fresh with that sound. * * * The second set opened with "Spirit Man" and displayed the Latin influences in the music, featuring Roland Guerrero on Latin percussion. They moved from that into Duke Ellington's "In A Sentimental Mood," which is the opening track on the new CD and which featured some of the evenings most haunting work on the shells. The last selection they played was "The Emporer," which weighs in at nearly 13 minutes on the disc and was longer but timeless on stage. It's one of Turre's most impressive compositions and requires the full attention and effort of the full ensemble, so much so that it has created some confusion for at least one reviewer, as Turre related a recent incident in the press. * * * Steve: I've been very fortunate and people have really seemed to enjoy this recording, but I was just in Los Angeles and someone gave me a review from the LA Times, and it was a wonderful review, but one thing the guy said - he said he loved the album except he said "The Emporer" was overproduced. I thought to myself "Overproduced? We did it all live in the studio! How can it be overproduced when it was recorded live?" There weren't any overdubs and all that stuff. We were all in the same room and we rolled the tape. I guess they think when you've got a lot of people it's all production... * * * Having been there for this performance, I can assure you that they are more than capable of doing it straight through all in the same room, whether there's tape rolling or not. Overproduced? Not a chance. A brilliant performance? This time out, as on the disc, absolutely. With his brilliance as a composer, his skill as a player and his engaging stage personality, Steve Turre is busy taking jazz music into new realms, but always with the soul of his music anchored to the heart of the jazz tradition. Impressed by his dual identity as a historian of the music as well as an innovator, my last question provoked a look at his musical philosophy and some words that every musician would be well served to give heed to... * * * Cosmik: You're so deeply rooted in the music, the tradition, but you're taking it out to the next step... Steve: I think that's really just a matter of personalizing it. Everybody has they're own way of dealing with the stuff, and I respect that, but I really disagree with the notion that you have to destroy the music and recreate it to get something new, or that you have to try to do something new. I say bullshit. You have to study the music, learn how to play, and then be yourself. And if you're really being yourself, and not just trying to *act* different, then it's going to be different, because each of us is totally unique and wonderful in our own way. * * * Steve Turre and Sanctified Shells will be at the Huntington, NY Arts Festival on July 24, in Atlantic Beach, NC on August 1 and at Sweet Basil in New York City August 12-17. After that, they're headed to Europe. Catch the show if you're able. You'll learn, you'll laugh and you'll love the music. ___________________________________________________________________________ BEN VAUGHN 'Rambler Man' By Jeff Apter A mid-life crisis is a tricky thing, no matter which way you approach it. Typically, cars are at the crux (or is that crutch?) of this dilemma - as they were in the case of rocker/producer/composer Ben Vaughn. But rather than lash out and buy some flashy symbol of potency, Vaughn decided to record in one. "I was actually trying to avoid a mid-life crisis," he explained to me down the line from Santa Monica. "I figured if I put everything in my car (a classic Rambler 1965) and record an album's worth of material, it'd be therapeutic - it didn't matter if it sounded good, as long as I finished it." Fortunately for the affable, New Jersey-born Vaughn, Rambler '65 sounds just fine, packed, as it is, with rootsy tunes and slightly off-kilter humour. Recorded over a week in the garage of his New Jersey home, Rambler '65 drifts between the freewheeling rocker "7 Days Without Love (Makes One Week)" and the heartfelt ballad "Too Much Sorrow," complete with more twang than Chris Isaak could ever muster, to the psychedelic headspin of "Levitation" and "Perpetual Motion Machine," the meeting place of Devo and The Cars. And "Rock Is Dead" could be the first-ever rock'n'roll sci-fi horror story, as Vaughn considers a world in which aliens have stolen MTV. But is he worried about the novelty factor of recording in his car taking precedence over the music? Not really. "Well, 'Tusk' was recorded in a stadium, which became a story, but it's a lasting piece of music," Vaughn replied. "I heard it the other day and thought it's still a great album - I'd forgotten all about the gimmick. Hopefully the music of Rambler '65 will outlast any sales gimmick. And face it, rock'n'roll never sounds better than it does on a car radio. So why not record in a car?" With this philosophy in mind, Vaughn proceeded to give the term "garage rock" a whole new meaning, setting up mikes, instruments and an 8-track reel-to-reel in the Rambler's back seat, a mixing board in the front, and an isolation booth in the hefty boot. Despite the roominess of his Rambler, however, Vaughn's not in a hurry to return to the driver's seat. "I'm never going back in that car - I'm a big fan of leg-room now. It was so claustrophobic: I was balancing a drum machine on my knees and playing guitar and reaching over the front seat to engineer all at the same time. Never again." And maybe he'll never need to. Rambler '65 and earlier albums such as Instrumental Stylings, have opened many doors for Vaughn, including the plumb job as musical mainman on NBC smash-hit sitcom, 3rd Rock From The Sun. A chance comment on a radio show led to his hiring, as Vaughn explained. "I was a guest on station KCRW - everybody listens to that show in LA who are in films, TV and music. I said I'd moved to LA to do soundtrack work, and if anyone's interested to call the station. I was just kidding. But the next thing I know, the president of the production company for 3rd Rock called on her car phone." And in classic Tinseltown fashion, a meeting was hastily arranged, a deal was struck, and garage rocker Vaughn suddenly had a high-profile day job. To add a Twilight Zone-like twist to Vaughn's tale, the 3rd Rock family actually drive a Rambler American. Strange days, indeed. And the producers' criteria? "The creators are in love with stuff like 'Louie Louie,' but they wanted it to sound like aliens were playing it," Vaughn explained. "Then they heard 'Instrumental Stylings' and realized I was already doing it. I have free reign with the show, the musical identity's totally in my hands. I don't know how safe that is," he added with a nervous chuckle. Now that Vaughn's also penning the music for the local bastardization of Britcom Men Behaving Badly, he's found he's had to rethink the way he writes music. For one, he's now confronted with unfamiliar terms such as "deadlines." "I'm not a disciplined writer of my own material, it usually comes to me when I'm walking or driving," he said. "Then I find a guitar, bang it out and finish it." No longer does he have such luxury. On a typical working day, he's usually bunkered down in a studio, viewing a rough cut of 3rd Rock, searching for a musical soundbite to beef up the punchline. Vaughn's technique is to spot where music naturally belongs, using the dialogue and graphics from the show as cues. Vaughn admits he's quickly adapting to the rigors of TV scoring. "Thirty seconds seems like an eternity on TV. I've always been good at having a million ideas, not just full songs. Writing a three-and-a-half second tune is like scratching an itch. It's perfect for me." When not scoring soundtracks or creating albums in the back seat of his 1965 Rambler, Vaughn's no slouch as a producer, with credits ranging from Ween's 12 Country Greats to a recent three-handed effort with Alex Chilton and Alan Vega. But rather than your typical knob-twiddler, Vaughn prefers to see himself as a collaborator. "What I like to do is to work on things that are conceptual. With Ween, I had the idea to get them out of their bedroom, take them to Nashville and cut a record with these 65-year-old guys. And it worked. If someone like Paul Westerberg approached me and said 'what should I do next?,' then I'd be interested in producing. But if he just wanted me to be a typical record producer, I'm not sure if I'd do it." However, there are limits to exactly what Vaughn will do as a producer. While working on an album with Tex-Mex freaks, Los Straitjackets, they insisted he don one of the Mexican wrestling masks the band favor on stage. "But I had awful trouble talking to the engineer," Vaughn told me. "And I also looked like the gimp in "Pulp Fiction", which doesn't help you gain the respect of a band." [Ben Vaughn's RAMBER '65 is now available on Rhino Records.] _____________________________________________________________________________ ALIENS, WRESTLERS & CARTUNES: Just Another Day With BEN VAUGHN Interviewed by John Sekerka Ever had the inkling to make some music in the back seat of yer car? Meet Ben Vaughn, an anachronism with an infectious smile, who makes grand pop songs you should be cherishing. I last talked with Ben about his fabulous Mono USA record, a collection of obscure covers which, true to form, was recorded in glorious mono. Fresh off his new record, Rambler '65, and in a brief rest stint from his big time gig scoring television music, Ben talked from glitzy Los Angeles, a chew 'em up and spit 'em out place he has not only survived, but flourished in. * * * Cosmik: I've just been listening to 'Magdelena' from Mono USA. That's an Alan Vega tune. You had a chance to record with him recently... Ben: Yeah, I did a record with him and Alex Chilton called Cubist Blues. We're going over to Europe later in the summer to tour. They went nuts for it over there, I tell ya. Cosmik: I haven't had a chance to hear it yet. What kind of a record is it? Ben: We think it's a blues record (laughs). It's kind of an improvisational thing. We got together for a couple of late nights and kind of made up the songs on the spot. Alan, as a singer, is sorta like a jazz musician. Like a horn player. He did some very cool things, and it inspired Alex and myself to play along, to come up with some stuff. It's a meandering record. Cosmik: Was Alan aware that you covered his song? Ben: Oh yeah. Cosmik: What did he think of your version? Ben: He loved it. I've been friends with Alan since the early eighties. I was a big fan of Suicide. Used to go see 'em all the time. I'm also a fan of his solo work. Cosmik: Me too. Shame that most of it got swept under the carpet. Ben: Yeah, they're great albums. Cosmik: Before leaving Mono USA, I wanna touch on the Nancy Sinatra / Lee Hazelwood cover 'Sundown, Sundown.' Ever since then, Nancy's name has been popping up on a regular basis. Sundazed records has re-issued a lot of her records, and I just heard Peter Zaremba [Love Delegation] covering 'Some Velvet Morning.' Is there a Nancy Sinatra revival? Ben: Almost, but then she made a contemporary country album which wasn't very good at all. About two years ago she made a comeback. She was photographed in Playboy magazine, nude. She looked great, though I don't know how much of it was real. She played a show here in L.A. at The House of Blues. It was great. Lee Hazelwood showed up and they did duets. I almost fainted. It was something I never thought I'd live to see. I was too young the first time around. Cosmik: Wow, I didn't know Lee Hazelwood was still around and kicking. Ben: He was living in Sweden for a while. I think he's back in Arizona now. Cosmik: You know when folks say 'They don't write 'em like they used to,' I say, 'listen to a Ben Vaughn record.' Your albums are a throwback to the good old pop days, wouldn't you say? Ben: I believe in verses and choruses and bridges. I have a traditional style I write in. Cosmik: I'm also referring to the fun aspect in your songs, say in 'Seven Days Without Love (makes one week)' from the new record. Quirky word play that's catchy and accessible. You just don't hear that any more. Ben: Yeah, I think people are afraid of having a sense of humor. It has been a problem in my career, that sometimes I get filed in the novelty section. Which is ridiculous. Chuck Berry wrote some of the funniest songs of all time. There are so many great songs that also happen to be funny. It's tough these days because of this marketing angle. You say one funny thing and you're branded a comedian. Cosmik: Last time we spoke you mentioned that you were driving a '64 Rambler. Now this record comes out, and it's recorded in a '65 Rambler. What gives? Ben: I have both a '64, which is in really nice shape, and a '65 which, at the time of the recording, was not running at all. I'd let it sit through two New Jersey winters, which are severe enough that a thirty year old engine may not want to kick over. That's what led to the recording: I felt sorry for the car. It was just sitting there. So I decided to move my home recording studio into my Rambler and see what kind of sounds I could get. Cosmik: It sounds so natural, the way you tell it, for someone to record in a car, but really, it's a bizarre concept. Where did that idea come from? Did you have a dream, or did someone dare you? Ben: Well, you know music always sounds great in your car, so why not record in one? It makes perfect sense. You can't really separate rock'n'roll and cars. I was working in a fancy 24-track studio, they were charging $140 an hour. I was producing some demos and we were having trouble getting a sound on a conga, which is a very simple instrument. No matter what we did, the thing sounded bad. I made a joke, 'why don't we put it in my car and run a mike out there. It's gotta sound better than this.' Everybody laughed, but then I started thinking, 'hmmm, what would a record sound like if I did it in my car?' So I moved my gear out and recorded some songs, just an experiment in sound. When I mixed it I realized I had my next record. Everybody I played it for flipped out. I even got a big shot manager because of it. Cosmik: A sleazeball type? Ben: He can be, when he has to be. Cosmik: Alright. Say Ben, where'd you dig up the Rambler '65 commercial which is the last hidden track on the record? Ben: There's a hidden track? Man, I should listen to my records. Actually, a friend of mine who's a real Rambler nut gave me a tape. I'm really not that big a Rambler nut. It's all I've ever driven, so I don't know any better. Since I'm on Rhino records, I gave them the task of tracking it down. I don't know where they found it, but they got the master tape and there it is. Cosmik: You gotta like that. It reminds me of the old Barracuda commercial, which was used by The Barracudas a while back. Ben: The Baccaruda! Cosmik: Yeah, that's a classic. You just don't hear commercials like that any more. Ben: No, you don't. They don't make cars like that any more, that's why. The music reflected the cars. The cars reflected the times. It was a different era. I'm not really a nostalgic person. We live in a different time. That stuff made sense back then. I'm driving these cars cuz I feel more comfortable in them. It's not like I wish it was the sixties again. We had the Vietnam War back then... well you guys (Canada) didn't, but we sure did. Cosmik: People may be getting the wrong impression about the Rambler, that it was a big, luxury, gas-guzzling boat. Can you set the scene? Ben: The Rambler was like the first economy car. There were several others like it: the Ford Falcon, the Chevy Nova, the Plymouth Valiant. The Rambler is a small 4-door sedan, which was immediately claustrophobic when I moved the recording equipment in. I had a milk crate on the front seat with the mixing board. And I had the reel-to-reel in the back seat with me. I had a little Panasonic turntable/receiver, the kind your Mom would have in the seventies, as my monitor amp. There were two little Radio Shack speakers on the dashboard. I would bring instruments in as I needed them. At one point I actually used the trunk as an isolation booth. I put my guitar amp back there, so I could sing and play at the same time, and have complete separation. Cosmik: I've seen a video clip of you discussing how to get power lines through the back of the Rambler. I think it was with your engineer. Ben: That was actually my friend Bob. I realized that I wanted to record an engine solo and I had to get the car running. Bob's a mechanic, so he came over. He was working on my car while I was recording. We were kind of getting in each other's way. That discussion was about the trunk. It needed to be fully closed to act as the isolation booth, but the power chord and the mike cable were in the way. I suggested drilling a hole in the trunk and Bob went berserk. He came up with idea of taking off the tail light and going through that hole. Cosmik: A brilliant stroke. One other burning question: how did you manage to squeeze a sitar in the back seat? Ben: My friend plays sitar, and to play it properly you have to sit in the lotus position, putting the bowl between your legs. We had to roll the window down to accommodate the neck. The sitar is wider than my car. I had to engineer his solo from outside of the car. I was standing in the driveway, reaching in, engineering. Cosmik: This must've looked strange to the neighbors: it must have looked like you're tinkering with the car, but all this music is coming forth. Ben: Yeah, I had to be careful what time of day I would record. I'd get up, have a cup of coffee and read the paper, then throw this big ugly orange extension chord out the window. I would record from about 10 am to about three. Then the kids would start coming home from school and asking questions like, 'hey mister, are you making a video for MTV?' I tried to wrap up by then so I wouldn't have to deal with the interrogation. I couldn't explain what I was doing, cuz at the time I didn't even know what I was doing. Cosmik: You've since relocated to Los Angeles, a much nicer climate for your vintage cars. Ben: Oh yeah, it's the best place to have a car. Cosmik: That's quite a cultural exchange, moving from the East coast to the West. How are you adjusting? Ben: I'm fine. Los Angeles is the kind of place that if you know who you are before you move here, then you're fine. But if you're impressionable, then you're dead. Luckily I know a little too well who I am (laughs). I wasn't gonna fall prey to all the temptations. I love it out here. It's a great place if you have a good sense of humor, cuz you can witness some of the most ridiculous behavior. Cosmik: How has it changed you musically? Ben: Well I do music for two TV shows (Third Rock From the Sun, Men Behaving Badly). So for the first time ever, I'm writing on demand. Before I used to write from inspiration. Out here I've got deadlines. There are 26 episodes of each of these shows a year. That has affected my writing in a good way, cuz if you wake me up at three in the morning, and need something written and recorded and there's a messenger coming over to pick it up in two hours, I know I can do it. Cosmik: So a lot of people out there know Ben Vaughn's music even though they may not have heard of you. Ben: That's right, if they watch television. Cosmik: Those shows are doing quite well, how did you get the gigs? Ben: It's pretty funny. I released a record about two years ago called Instrumental Stylings, the record came out pretty well when I landed here. I was being interviewed about it on a very popular morning radio show, and the president of the production company, who was working on the pilot to Third Rock, heard it in the car. She called the station on her cell phone to set up an interview. They wanted someone who wasn't a TV composer. Someone from the outside. I hadn't watched tv since I was a kid, so I was perfect. Cosmik: You and Devo's Mark Mothersbaugh are the saviors of television music. Ben: He's doing Fired Up right now. I ran into him at the BMI composers dinner, where we each received awards. Cosmik: So you're a swinging Hollywood big shot now. Ben: Well, I could be. You know the funniest part of that evening was watching the valet park my Rambler. That was beautiful. You have to reach through the vent window to open the driver's side door. It's a custom feature (laughs). Cosmik: Television is such a big money maker. Do you see any of that green? Ben: Money? Cosmik: Yeah. Ben: I'm starting to see some of it, for the first time in my life. I was seriously broke for so long, eating one can of beans a day for a couple of years. The residuals for airplay are trickling in, and it looks good. Cosmik: Sounds like you're working all the time. Any fear of burnout? Ben: I'm learning how to delegate simple tasks. Before I would do everything, like arrange for messengers, which is ridiculous. I think I'll be fine. I came out here to score films. The TV work - I'm figuring out a more streamlined way of working. Cosmik: The bits we hear on TV, is that you, or do you have a crack band you conduct? Ben: It's just me, a one man operation. I play all the instruments myself, just like my records. It's kinda exhausting in itself, but my sound is based on my searching process. If I had other musicians waiting for my direction, I wouldn't know what to tell them. I write as I work. Cosmik: Do you ever see yourself in that role, of directing an orchestra? Ben: Yeah, I've actually done that with films (Trees Lounge). I'm not an orchestra player, so I sketch out samples of what I want, turn it over to a real orchestra director. He writes it out, then he gets real union players who read music to play it. It's really exciting. But you also know what you shouldn't have written right away when you hear an orchestra play it (laughs). Ooops - rewrite! Cosmik: So what films will you be working on? Ben: My big shot agent is shopping me around like crazy. Cosmik: I'd like to divert to your production work. Let's start with those glorious masked men of guitar wrestling mystery, Los Straitjackets. Are you part of the group? Ben: I'm just the producer, although I do have a wrestling mask. They gave me a producer's mask. Cosmik: Have you ever seen their faces? Ben: No Cosmik: They keep their masks on at all times, even in the studio? Ben: Oh yeah, with headphones too. It's tough. It's that kind of commitment that made me wanna work with them. Cosmik: How did you like wearing a mask? Ben: It was hot. It was really hot. I'm like the fifth member. The mask was their little offering. Cosmik: There seems to be a rebirth of great guitar bands out there. Is there anyone else you'd like to work with? Ben: Southern Culture on the Skids. Cosmik: A match made in heaven. Ben: I've already worked with Ween on their country record. Ween are my favorite thing. Cosmik: Is it true that it was your idea to record it in Nashville? Ben: Ummmmmm... They came to me and said they had a bunch of country songs. I said, 'oh yeah, what country?' They said 'no no no no,' and played me one. It was a real country tune. They said they wanted to do a whole country album. I said, 'a real country album?' They said, 'yeah, a real country album.' I said, 'one which you have real country musicians playing with you?' They said, 'that sounds cool.' So I said, 'why don't we go to Nashville and do it with the guys who played on every Loretta Lynn and Conway Twitty and Dolly Parton record?' And they went nuts, not believing that was possible. Those players are union musicians, so it was no problem. I put the sessions together, picked (Owen) Bradley's Barn cuz it was the most legendary studio in Nashville. We cut that record in four days and mixed it in two. Cosmik: A dream working vacation. Ben: Yeah, we went to Tootsie's Orchid Lounge every night and I would watch those guys drink. It's the famous watering hole down there. Everybody used to write songs on bar napkins. Cosmik: Have you a country album in you? Ben: I do, actually. I just might do that one of these days. Cosmik: Because you covered one of his tunes on Mono USA, I'm guessing that you are a Bobby Fuller fan. Ben: Sure. Cosmik: Are you following his strange murder case which, after three decades, appears to be opening up again? Ben: No, I wasn't aware of it. But you know The Bobby Fuller Four were the best American answer to the British invasion. Songs like 'Let Her Dance' and 'Julie.'.. they shoulda been number one hits. If they were on a different label and got better promotion, I really think they would have been huge. Cosmik: I'll end it there, but not before letting you play deejay. What would you like our Cosmik audience to hear as a parting sound offering? Ben: I'd like the folks to hear the engine solo on 'Heavy Machinery.' ___________________________________________________________________________ TAPE HISS By John Sekerka [The following interviews are transcribed from John Sekerka's radio show, Tape Hiss, which runs on CHUO FM in Ottawa, Canada. Each month, Cosmik Debris will present a pair of Tape Hiss interviews. This month, we're proud to present interviews with Jason Ringenberg (of Jason and the Scorchers) and singer/songwriter Vic Chesnutt.] * * * VIC CHESNUTT Vic Chesnutt used to play a regular gig at a small Athens bar when he was spotted by Michael Stipe. the rest, as they say, is history. After recording several brilliant records for the small but prestigious Texas Hotel Records label, Chesnutt was finally snapped up by Capitol. After years of trying, I finally managed to squeeze a conversation out of the reclusive musical sheriff of Pike County, Georgia, wheel chaired car crash survivor, truck stop groom, presently on-the-wagon atheist, and perhaps the most important songwriter of the nineties. Vic Chesnutt squeaks a southern drawl over the phone from his humid abode. John: Are you a folkie, a bluesman, or a rock performer? Vic: I am a singer-songwriter. John: Don't you feel a kindred spirit to the old bluesmen? Vic: I feel a great kindred to the old bluesmen. John: Do you ever wanna be a rock'n'roll star? Vic: I am a rock'n'roll star. At least I feel like it, because I'm talking to you, and I've been traveling for two months in Europe. John: Do you run into problems opening for bands like Sugar and Live when most of the audiences don't know you? Vic: I wouldn't call them problems. More like logistical facts. People don't know me and they wanna see their big big heroes, but that's okay. It's fun to play these big places so you can play very loud. John: A couple of years ago, in Option, you said, 'There's no place for me in the music business. I suck. Why am I here?' Have you resolved your dilemma? Vic: No. I'm doing the same thing now. I'm still wrought with guilt and paranoia and such, but I don't care as much as I used to. John: Your music is very personal and emotional. Do you get rabid fans latching on to you? Vic: It seems some people identify with my songs, and they seek me out and ask about them, touch me, give me little presents. John: Does it make for a more interesting record when it's made under duress? I'm speaking of 'Drunk,' for which you had an alcohol problem. Vic: I was stinking drunk the whole time! John: Were you stinking happy drunk? Vic: No, I was very depressed at the time and we weren't making a record as such. We just wanted to get away from our wives for a weekend. I wrote a few songs and recorded a few songs, which turned out to have a certain emotional quality, and Texas Hotel put it out. John: Do you work best when in turmoil, or when you're happy? Vic: I don't think it matters. I'm a day to day hit or miss thing. John: I know you're well read. Besides songwriting, do you dabble in any other literary fields? Vic: I wrote a novel and a half a novel, and they were bad. I want to continue writing when I have more time. I love stories, and literature and poetry, and I do think about it. John: Has anyone else read your novels? Maybe they could see something in them that you can't. Vic: No, I've read enough books to know that it didn't read very well. The dialogue was stiff and the details were convoluted. I'm older now. I was about 23 when I wrote the first one, and about 28 for the second one - which was a lot better. I just started another one about two weeks ago in Europe. We'll see how it goes. John: In your songwriting, do you feel that you can properly capture an emotion, or is that a frustrating experience? Vic: That happens, but most of the time if I record a song it has accomplished what I wanted, or I wouldn't do it. It's not like I'm hurting for songs. John: How big a role does living in the South play - the weather, the atmosphere, the humidity, the Southern mentality? Vic: I'm a southern person inside and out. I feel a kinship to modern Southern gothic writers, and what it is that makes my music dark and melancholy. I write a lot about the South. There's a lot of guilt here. We have a horribly violent history. There's a dark side to the social way here, and that pushes my writing in a certain way. Although I'm just theorizing, cuz I don't know why the hell I do what I do. John: Were you a stereotypical southern redneck? Vic: Oh yeah. I grew up down dirt roads in the middle of nowhere. I hunted and fished and said the 'N' word a million times everyday. But when I reached a certain age, I rebelled against it and I knew I didn't fit into that world, so I moved to the Bohemian bastion that is Athens, to go to school and to bring myself up to the modern times. To believe what I wanted to believe. John: Did you become an atheist at this point? Vic: Yeah it was all part of that. I was in my mid teens when all this struck me. I realized that I was not my father or my father's friends, or the sheriff of Pike County. I remember sitting in church and being shocked at the Blood of the Lamb sermon. John: I guess you don't believe in religion, but do you believe in God in any form? Vic: I do believe in religion. I am an atheist. I do not believe in God, a thread of truth or goodness throughout the universe. I'm kind of a scientific guy but I don't even believe in science. John: How did you resolve your atheism with your God-fearing family? Vic: It was a big dilemma. It made 'em sad. My parents and grandparents are now dead, but even on their deathbeds they were worried about my soul. It hurt me very much. John: Do you think you have a soul? Vic: No, I don't believe the human race has a connection to the center of the universe. Not at all. John: Do you think we're all part of some cosmic mistake? Vic: No I wouldn't say a mistake. It just happened. It's like 'look what stepped out of the ooze today.' John: How important was your grandfather (Sleepy Carter) in your life? Vic: He played guitar and sang songs. When I was a baby I saw people sitting around in living rooms playing music and singing. I was completely in love with that. The sounds made everyone cry and laugh. It was a wonderful activity. I wrote songs as a kid cuz I knew people did it. Most people don't think of it, but I thought 'hell yeah!' Something to do. I played trumpet with my grandfather when I was a little kid, on small stages in Texas. He was a gigantic influence on me. My whole family thought I took after 'my evil grandfather.' He was kind of a rough character. John: When you started out, you were a keyboard player in The La-De-Da's... Vic: Just like Bob Wiseman [Canadian keyboardist]. John: Was that a punk band? Vic: No, we were like a drunken Eagles type of band. John: What made you switch to guitar? Vic: I started when I was a teenager. I played keyboards with The La-De-Da's because I had this accident when I first moved to Athens. I don't know what happened, but when I woke up my hand was numb and my legs were numb. I had an operation and I couldn't play guitar for a while. John: This may seem like a cruel question, but because it changed you, was the accident one of the best things to happen to you? Vic: People would say I was insane if I said that. I wouldn't say it was the best thing that ever happened. It was just a thing - like when my voice changed, or when I discovered LSD. John: What is your drug of choice these days? Vic: Weed, I would have to say. John: Are the LSD days long over? Vic: Oh no. Someone gave me some in Europe. It was quite eye-opening, shall we say. John: Do drugs play a role in your thought process - the cliché sixties thing about getting stoned and writing psychedelic tunes? Do you use it as a stimulant, or is it a casual parlour indulgence? Vic: I don't use it as a stimulant. I write anyway. It just affects the songs, just like if I had the flu. John: You get compared to Daniel Johnston... Vic: I never said that. I think Daniel Johnston is one of the most amazing modern songwriters I've ever heard. John: Johnston and Roky Erickson get pigeonholed as troubled writers who work best when in a mixed-up mental state. Is it possible to produce good art even if all is well in your world - even if you're bored? Vic: Absolutely, I do, have done and will do. John: What does Michael Stipe think of your version of 'It's the End of the World'? Vic: He was there in the studio when I recorded it. I think he liked it. What was funny I used all REM samples to make the song. I tried to fool him and say there's no way in hell that he can know what sample this is. But he always knew, cuz when they were recording he heard that song 10,000 times. John: How'd you wind up with Stipe as a producer for your first two records? Vic: He asked me. John: Is he just a producer or do you keep in contact on another level? Vic: He's my buddy. John: On Pravda Records' Star Power you cover 'The Night the Lights Went Out in Georgia,' originally done by Carol Burnett sidekick Vicki Lawrence. You bring a stark chill to the tune. How'd you get involved in that project? Vic: I met the Pravda Records guys a long time ago at an Athens coffee shop where I kind of lived. When it came time to do this cover album they asked me to do it. I had the single as a kid and I wore it out. It was a deep, dark, heavy song. I didn't wanna cheese it up too much. It was just a beautiful, horrible song. John: You were the subject of a documentary [Peter Sillen's Speed Racer] - some people can't look at themselves on the screen. Are you of that ilk? Vic: Yeah, I can't look at it. I don't like what I say. I don't like the way I sound. I don't like the way I look and fidget. John: What about records - do you listen to your music? Vic: Mostly I record them and that's it. I never listen to them for pleasure. I'd rather be working on new songs. John: You must have had your share of nightmare gigs, especially in the south. How do you handle such adverse situations? Vic: I don't play much in the South. I've toured the US solid since 1990 when my first album came out. I've played sports bars where I didn't play any of my songs. A drunk guy would come up and we'd do 'Hey Joe' for an hour and a half. I've played festivals in Europe: 5000 Belgians who really wanna hear Stevie Ray Vaughan, but I'm the unlucky person who has to be there instead. I just try not to think about it. John: What is your best memory of Europe? Vic: I played a show in London at this beautiful theater called Southbank on the Thames River. I played with Guy Clark, Alain Toussaint and Joe South. It was the greatest moment of my life. John: It sounds like Europe had a very strong effect on you. Vic: I let everything pour over me like cold water - a constant shower of newness. It's amazing and it's so old. I played in buildings that are twice as old as my country. Those things I don't take lightly. John: Would you consider ripping up your roots and relocating somewhere other than Georgia? Vic: Sure. Since my first record I've spent less than half my time here anyway. I've spent a lot of time traveling and it's already changed my songs; images have crept in from all over. John: Any parting words Vic? Vic: I love, I love, I looooooove Mary Margaret [O'Hara, reclusive Canadian singer]. I just love her. I think she's the greatest singer ever. ..tape hiss * * * JASON AND THE SCORCHERS When you mention cowpunk, one band immediately springs to mind: Jason and the Scorchers, a crazy bunch of Nashville hooligans who back in 1981 played wild fire rock'n'roll and pretty well set the stage for everything that has come down the shute since. Their star shone brightly for a couple of years before record company squabbles and mismanagement led to an untimely end. Don't fret though, cuz there is a happy ending here. Jason and the boys have regrouped and released two solid comeback discs on Mammoth Records. I had a chance to sit and talk with vocalist Jason Ringenberg about Hank Williams, Al Capone, John Denver, Keith Richards and, of course, The Scorchers. John: About six years ago Jason & the Scorchers had a hot album and played a barn-burnin' show at the local watering hole. Folks couldn't get enough of the band and then poof, you guys disappeared off the face of the earth. What happened? Jason: Well we're still on the face of the earth. We were just invisible. Now we have a visible presence again. John: Is it true that in the interim you were doin' a Hank Williams type thing in Nashville? Jason: Yeah, I did that, but basically got run outta town. John: You come from a hog farm don't you? Jason: A hog farm from Northern Illinois. Just a hop, skip and a jump from Canada. I'm almost half Canadian. John: What made you leave the beautiful confines of a hog farm to try music in Nashville? Jason: Nashville held an allure for me. I was always into music and had to try it. I didn't really want to be a country singer, more of a roots rock thing. John: How'd you meet up with the Scorchers? Jason: Those guys were Nashville rock 'n' roll at the time. It was natural that I would bump into them, or step over them. They were a wild bunch. I came in with some songs and we started jamming. Our first gig was with Carl Perkins and our second was opening for REM. Our third was opening for an English techno band. After that we didn't have to open for anybody else. John: Did you come out of the womb with that hat on? Jason: To be a great country singer you have to have a receding hairline. Mine has pretty much done receded, so that hat is permanent. Hank was that way too - Hank Senior. John: When I heard of the Scorchers reunion, thoughts of Yes, Led Zep and Eagles ran through my mind. Are you guys diggin' up the oldies before arthritis sets in? Jason: We made a decision that it was gonna be a new start. We respect what we've done before and we play a lot of it live, but we're trying to forge ahead. We feel like we can be competitive again. John: Any wild tour stories from your past? Jason: The biggest crowd we ever played for was in England before about 80,000 people, opening for Status Quo, who are like Led Zeppelin Over there. When we walked on stage there was plastic sheeting all over their equipment, and it didn't look like rain. As soon as we set foot on stage the crowd pelted us with garbage. We were unknown, it was our first gig in England. We found out later that it was tradition for Status Quo fans to pelt the opening band. I was like a dog in a shooting gallery: marching back and forth until they hit me again. Being young cocky lads, we started throwing the stuff back, and baiting them, 'My grandmother is wilder than you!' By the end of our set they were cheering and we got an encore - the only band ever to do so. John: About your cover of John Denver's 'Country Roads,' have you had any feedback from the wannabe astronaut? Jason: I've sent him a package. I'm hoping to hear back cuz I'm a big fan. John: I see him peddling stuff on late night TV, and he looks as good as he looked twenty years ago. He's the Dick Clark of country folk. Jason: He's incredible, all that fresh mountain air. John: I think you should get a double bill going. Maybe get him to join ya on stage for 'Country Roads.' Jason: Yer full of great ideas, you should be our manager. John: Are you guys too rock for The Nashville Network? Jason: We'll never get on country radio. Every now and then we get a video played, but it's rare. John: Where'd you record yor comeback record 'A Blazin' Grace'? Jason: It was a Tennessee studio that used to be Al Capone's hideout back in the thirties. Back in those days, the South was isolated and backward, so it was easy to get away down there. Over the years it fell into disrepairs. Some people took it over and made a studio out of it. John: Any gangster memorabilia, like gold pistols instead of gold records on the walls? Jason: No, but there are some ghosts - though I didn't see any myself. Maybe we've got 'em on the record. John: This may be way off track, but a while back there was a cowpunk band from Nashville called Walk The West... Jason: Oh sure, they're friends. John: Well then, you're the man to talk to. They put out a great record and I never heard from them again. Where are they now? Jason: They're the Cactus Brothers now. They've a record out on Liberty. John: Thanks for straightening me out on that one. I thought I was gonna shoot blanks. Jason: Naw, yer hittin' right on. John: Do you have any parting words, Jason? Jason: Well you've heard that Keith Richards passed away today. John: No I didn't. Jason: Yeah. His soul went up to Heaven, but they wouldn't let him in and sent him down to Hell. The gatekeeper greeted him with a cold beer, a vintage Telecaster guitar and invited him for a jam session with Noel Redding and Brian Jones. Keith says, 'Geez I've got cold beer, my favourite guitar, all my mates to play with, beautiful women ... this is Hell? What's the catch?' Then all of a sudden from behind the drum kit it's Karen Carpenter saying, 'Okay everyone, 'Close To You' on four. A one, two, a one two three four...' [listening suggestion:'Hell's Gate' - track 7 on yer CD thingamajiggy] Tape Hiss... ___________________________________________________________________________ BOOK REVIEW TITLE: Making Music Your Business - A Guide For Young Musicians AUTHOR: David Ellefson PUBLISHER: Miller Freeman Books Paperback - 129 pages. Reviewed by DJ Johnson Now here's something I wish I'd had about twenty years ago, when I was part of a band and had big dreams but no clues. David Ellefson's wonderful book, Making Music Your Business - A Guide For Young Musicians, lays it all out in plain English, and while it can't promise disaster-free navigation through shark infested waters, it can at least help one identify the species of shark. Ellefson is no stranger to his topic. As the bass player of the heavy metal monster band Megadeth, he's been through every circumstance described in the book, and it's obvious he was taking copious notes all the while. It's a sure bet that you can't learn everything there is to know about the music business in 129 pages, but Ellefson does an admirable job of explaining the essentials without wasting pages, and he dishes out plenty of sage advice on everything from practice habits and attitudes to proper hotel room etiquette. Joining him in this mission is a handful of guests making one-page cameos to offer their best bits of advice to young upstarts. Joey Ramone shares his opinion that hard and constant touring is the best way to tighten the band and get the message out. He also mentions the importance of playing sober, and The Ramones' dedication to that principle. I thought of Dee Dee Ramone's sunken eyes and snickered a bit. Tori Amos warns about the dangers of ignoring the business aspect of your career and trusting the wrong people, whereas Chrissie Hynde (The Pretenders) says just the opposite, claiming she has never cared about the business end of things and recommending you hire somebody to do that for you. What do you do with this conflicting information? You go with Tori 'cuz she's a babe. And, uh, because she's right. Making Music Your Business is well layed out and packed with information. Ellefson explains the difference between a personal manager and a business manager, spelling out each job in clear terms. The exact functions of music attorneys and booking agents are explained. In some of the most interesting pages, Ellefson explains how many records have to be sold in order to make a profit, concluding with a firm warning about taking large advances from the record label. Who knew? This is why last years MTV star is changing your oil down at the local Chevron this week. More and more information: How do I get through the recording process; what about promotion; is a video really necessary; how can I take advantage of the Internet; how do I deal with the road and concert promoters; what about copyright and trademark law; and for those who are really thinking big, how do I negotiate a merchandising deal? These are tricky topics, but Ellefson spells it all out so anyone can understand it. Is this another "Get A Guitar And Become A Star" or "How To Get Chicks Quick" book? Hardly. Ellefson speaks pure truth when he says "some people say luck is a key ingredient of success, and that may be true. But I also believe that the harder a person works, the luckier he becomes." Knowledge reduces the need for luck, as well, and there's an amazing amount of that to be gleaned here. ============================================================================ [[[[[[[[ [[[[[[ [[ [[ [[[[[ [[[[[[ [[ [[ [[[[[[ [[ [[ [ [[ [[ [ [ [[ [ [[ [[ [[[[[[[[ [[[[[[ [[ [[ [ [[[[[[ [[ [ [[ [[[[[ [[ [[ [ [[[ [ [ [[[ [[[ [[ [[ [[ [[[[[[ [ [[[[[ [[[[[[ [[ [[ [[[[[[ ============================================================================ BETTIE SERVEERT: Dust Bunnies (Matador) Reviewed by John Sekerka There may not be a better pop band to jump around to at the moment. The Netherlands' chief rock export, Bettie Serveert rock pure and hard. Carol Van Dijk has an immediate, drawing voice which is equally at home belting out classic crunch singles ('Geek') and sultry croons ('Sugar The Pill'). Throughout it is Peter Visser's masterful guitar work that completes the puzzle. If Sonic Youth continued to head into pop territory they might sound something like this. BOZZIO LEVIN STEVENS: Black Light Syndrome (Magna Carta) Reviewed by Steve Marshall Magna Carta has quite a reputation around prog rock circles these days for their excellent tribute CDs--more so than their discs from individual artists. This CD could quite possibly change all that. Black Light Syndrome is the first (and hopefully not the last) CD from Terry Bozzio, Tony Levin, and Steve Stevens. When you look at the names of the band members, one name seems oddly out of place. Terry Bozzio is one of the best drummers around--playing with the likes of Frank Zappa, Jeff Beck, and UK. Tony Levin is best known for his bass work with King Crimson, Peter Gabriel, and a host of assorted session gigs. Steve Stevens has played with Billy Idol, Michael Jackson, and Robert Palmer. My long-standing impression of Stevens was little more than big hair with a whammy bar. All flash, no passion. It didn't take long for him to prove me wrong, though. Stevens not only had the chops necessary to keep up with Bozzio and Levin; there are several instances on the CD where Stevens is clearly the 'star' player. Out of the CD's seven tracks (all instrumental), only one is less than eight minutes long. The songs were 'spontaneously composed' by all three musicians over four days in January. Stevens and Levin did various overdubs to provide the assorted textures on Black Light Syndrome, but the basic tracks were recorded live in one or two takes. "The Sun Road" was the first track recorded, and at just under fifteen minutes, the longest track on the CD. In this particular case, the second take was 'it.' Stevens' multi-textured guitar work is superb throughout, along with Bozzio's manic drumming. "Dark Corners" is one of the many highlights. Stevens kicks the track into gear with distorted guitar, and then Levin & Bozzio pound out the basic riff. After some killer guitar work, they come to a screeching halt, and go into a brief acoustic interlude. A cool bass and drum improv follows, before going back into the basic chord progression. Levin kicks off "Duende" with a quick solo on the fretless bass, but the song is a showcase for Stevens' flamenco guitar work. Bozzio's drumming and percussion on the track is outstanding. Several of the tunes have a definite fusion flavor to them. Brand X fans, in particular, will love the title track. The song contains four alternating sections--two that sound like a Jeff Beck song, and two that sound like Brand X at their darkest and best. Another song with a strong fusion influence is "Falling in Circles," which sounds like a cut from Bill Bruford's excellent One of a Kind album. This one rocks. "Book of Hours" starts with an acoustic intro, then eventually builds into one of the best songs on the disc. The final track, "Chaos/Control" is reminiscent of Frank Zappa. The chord progressions, drumming, and guitar work all echo with elements of 'His Frankness.' Black Light Syndrome is the best CD of its kind to come out in several years. Anyone who appreciates good fusion, or instrumental rock, will unquestionably find something here they like. If you're not familiar with this type of music, this is the perfect CD to test the waters. (In case you have trouble finding Black Light Syndrome in your local record store, you can order it direct from Magna Carta through their web site. Point your browser to http://www.magnacarta.net for more information on Bozzio Levin Stevens or any of the other Renaissance artists.) LARRY BRIGHT: Shake That Thing! (Del-Fi) Reviewed by DJ Johnson The liner notes point out that Larry Bright was like "Howlin' Wolf trapped in the body of Pat Boone." And it's not far from accurate. In 1960, there were more good lookin' white boys playing R&B than you might know, but not many were doing it so well that listeners assumed they were black. It's a well known fact that Elvis got his shot because he was a marketable white boy who "sounded black." For Larry Bright, however, it didn't pan out that way. Too bad, too, because he had a great deal of talent and style, as evidenced by this hot little collection from Del-Fi. Recorded from 1960 to 'round about 1964, the 17 tracks on Shake That Thing reveal Bright to be a pretty fine recycler and interpreter of the blues. His version of "I'm A Man" is particularly interesting because it dispenses with the power guitar approach taken by Muddy Waters in favor of subtlety, mood, and atmosphere. Bright's near-obsession with voodoo probably had a lot to do with that attention to atmosphere, and it sure as hell had plenty to do with his repertoire, which included "I Got My Mojo Workin'," "Mojo Man," and "Mojo Workout." All of that music is tasty and mean, R when it should be R and B when it should be B, but there are a few interesting side roads here, as well. Del-Fi's owner, Bob Keane, wanted Bright to make surf records in 1963, when surf was quite the rage. Bright, of course, was a bit lost, and the resulting record, "Surfin' Queen," really missed the wave, landing closer to soul. Toward the end of the CD there are a few unreleased "demo" tracks ("Teenage Jailbreak" and "Ugly American") recorded, jam-style, on the spur of the moment, in one case at the suggestion of someone in the booth (Keane?) who simply said "I want you to write a song right now called "The Ugly American." He does. Fun stuff. The real meat of this collection is the R&B. "New Orleans," "Bloodhound," "Twinkie Lee," and the should-have-been classic, "Bacon Fat," all boil in authentic blues juice. Bright was for real, and we didn't have a clue. Every now and then some music by a basically unknown artist will resurface, and we'll hear it and say "That one probably should have made it." This is one of those times when we can only shake our heads and wonder what the hell could have possibly gone wrong. (The liner notes suggest it might have been a combination of booze and flakiness.) At least there's a great document for posterity. TOMMY CASTRO: Can't Keep A Good Man Down (Blind Pig) Reviewed by Shaun Dale "Buddy Guy?", my buddy asks, hearing a ripping guitar solo coming out of the speakers. I shake by head and he says, "Collins?" "Nope," I answer, "new cat. Tommy Castro." It's my friend's turn to shake his head as he simply replies "Jeez!" Jeez indeed. Of course, for San Francisco Bay Area blues fans, Tommy Castro's hardly a new cat at all. He's been tearing up the local scene for some time and has scored big at the Bay Area Music Awards (BAMMIES) year after year. Here on his second Blind Pig release (following 1996's "Exception To The Rule") he scores big on a dozen cuts, including eight originals and some carefully selected covers. This is tough, high energy blues with a strong R&B edge, the kind of music that's perfect for those evenings of drinkin' and dancin' that pull people into the clubs. No wonder among that shelf of BAMMIES there's one that declares Castro and his band as the "Club Band Of The Year." Accenting his dead on guitar work and soulful vocals with sax, piano, B-3, drums and bass, with a guest appearance by Commander Cody on the rocking "Nobody Loves Me Like My Baby," Castro and the band deliver the perfect combination of style and grit. About the only thing I'd rather do right now than hear them play is to watch them work. I'm going to take my first chance to do just that. Meanwhile, this one remains in heavy rotation at my house. Track List: Can't Keep A Good Man Down * You Knew The Job Was Dangerous * Suitcase Full Of Blues * You Gotta Do What You Gotta Do * I Want To Show You * My Time After Awhile * Take The Highway Down * High On The Hog * You Only Go Around Once * Nobody Loves Me Like My Baby * Hycodan * Can't You See What You're Doing To Me NICK CAVE & THE BAD SEEDS: The Boatman's Call (Reprise) Reviewed by John Sekerka You knew something had to give after Murder Ballads, and Nick drops jaws as he settles in for a crooning love album. And while some cry foul, I cry hooray! I applaud the unexpected, and this folks, is quite unexpected. There has always been a bit of Leonerd Cohen in Cave and now it comes right to the fore. Cave brings his sumptuous baritone right up front as the Bad Seeds offer subtle backing for the most part, a tough decision especially since the band can really rip it up. Cave loosens the reigns a bit by track eight, and it elevates the power of 'West Country Girl' to climax proportions. Just as it seems he's gonna let it explode, Cave settles back down into ballad mode for record's end. It just goes to show that Cave is indeed the devil. RAY CHARLES: The Genius Hits The Road (Rhino) Reviewed by Shaun Dale Ray Charles' first album for ABC-Paramount, which had lured him from Atlantic with one of the most lucrative contract offers (including granting him ownership of his own masters) of the time was an ambitious concept album. A set of road songs, taking a musical tour from New York to Hawaii, it was destined to become a classic because of a stopover in Georgia. "Georgia On My Mind," with "What'd I Say" and "Hit The Road, Jack," is one of the handful of songs that define Ray Charles for the general audience. It's one of three songs here recorded on a string date that also produced "Moonlight In Vermont" and "Moon Over Miami." Because of the notoriety of the #1 hit, the rest of the album, presented in striking big band arrangements by Ralph Burns, has long been too often overlooked. This chance to relive Charles' versions of "Alabamy Bound," "Mississippi Mud," "New York's My Home," among the other excellent selections and performances, simply should not be missed. If the excellence of the original album isn't enough to commit you to a trip to your local purveyor of aluminum coated plastic at your earliest opportunity, though, there's more. Rhino, committed to giving great value along with great music, has added seven bonus tracks to the mix. Not just any tracks, but seven which fit the road theme of the original and which include another #1 Ray Charles smash hit, Percy Mayfield's "Hit The Road, Jack." There's too much here to detail further, though, of course, there's no such thing as too much Ray Charles. This is one you want to own. Track List: Alabamy Bound * Georgia On My Mind * Basin Street Blues * Mississippi Mud * Moonlight In Vermont * New York's My Home * California, Here I Come * Moon Over Miami * Deep In The Heart Of Texas * Carry Me Back To Old Virginny * Blue Hawaii * Chattanooga Choo-Choo * Bonus Tracks: Sentimental Journey * Hit The Road, Jack * Blue Moon Of Kentucky (Swingova) * Rainy Night In Georgia * I'm Movin' On * Swanee River Rock (Talkin' 'Bout That River) * Lonely Avenue RAY CHARLES: Genius + Soul = Jazz/My Kind Of Jazz (Rhino) Reviewed by Shaun Dale Rhino Records is paying tribute to Ray Charles 50th anniversary in music with a collectors series of reissues. This entry presents two instrumental albums, the landmark "Genius + Soul = Jazz" from 1961 and the 1970 set, "My Kind Of Jazz." "Genius," which featured some tracks with the Count Basie Band and arrangements by Quincy Jones, who had gigged with Charles in Seattle jazz clubs at the inception of both of their careers, and Ralph Burns. Jones arranged the first single, "One Mint Julep," which hit the charts even before the album hit the stores. Burns' contribution to Charles chart success was "I've Got News For You," which climbed even higher, yielding a top 10 R&B hit and climbing almost halfway up the Billboard Hot 100, an amazing feat for the time. Other highlights from "Genius" are a memorable take on Bobby Timmons' "Moanin'" with the Count Basie Band and a striking "Birth Of The Blues" performed at a second session with a group of first call studio players. Following the previous year's "The Genius Hits The Road," which had yielded the #1 pop hit, "Georgia On My Mind," "Genius + Soul = Jazz" helped cement Charles' place at the forefront of the jazz, blues and R&B worlds and demonstrated a facility with the organ that matched his demonstrated mastery of the piano. That piano mastery is demonstrated again on "My Kind Of Jazz," which yielded another chart hit for Charles with the funky "Booty-Butt" in 1971. Among the other notable tracks here are Toots Theilman's "Bluesette" and an impressive run at Horace Silver's "Senor Blues." Fine players and arrangements abound on both albums, and there's just enough here to keep you hankering for more. Don't despair. Rhino's on the job. Track List: Genius + Soul = Jazz: From The Heart * I've Got News For You * Moanin' * Let's Go * One Mint Julep * I'm Gonna Move To The Outskirts Of Town * Stompin' Room Only * Mr. C * Strike Up The Band * Birth Of The Blues My Kind Of Jazz: Golden Boy * Booty-Butt * This Here * I Remember Clifford * Sidewinder * Bluesette * Pas-Se-O-Ne Blues * Zig Zag * Angel City * Senor Blues CHICAGO: The Heart Of Chicago 1967-1997 (Reprise) Reviewed by DJ Johnson There are three distinct groups of Chicago fans. One group would never call them "Chicago." For them, they'll always be Chicago Transit Authority, or CTA. CTA was a tough R&B band with a fantastic brass section and a guitarist (Terry Kath) that could do no wrong. The second group of fans love Chicago for their flawless brass-oriented pop numbers like "Saturday In The Park" and "Does Anybody Really Know What Time It Is." And finally, there are the fans that signed on in the MTV era, and they love Chicago for their lush love songs. The problem with a single disc compilation is that it's very difficult to please any one group without alienating the other two. The Heart Of Chicago attempts to walk that wire with surprising success. Right off the bat, I should warn CTA fans that they will hate this set. The great blues tracks are completely ignored. Terry Kath's most impressive guitar work is not represented. You'd think they would have included one prime example of the period, such as "Southern California Purples," but no such luck. CTA fans are hereby excused from the rest of this review. Fans of the pop machine called Chicago will be satisfied, thanks to the inclusion of "If You Leave Me Now," "Make Me Smile," "Saturday In The Park," "Wishin' You Were Here," "Colour My World," "Beginnings," "Just You And Me," and "Does Anybody Really Know What Time It Is." There are, of course, some glaring omissions, most notably "Feelin' Stronger Every Day," but again, this is a single CD. 13 of these tracks have been digitally remastered, with the primary improvements being better presence in the horn section and beefier bass response. If you have some of the earlier Chicago compilation CDs, you know how desperately those improvements were needed. I was also stunned by the clarity and separation of the harmony vocals on "Wishing You Were Here." (Bit of trivia here... The extra goosebumps in that vocal track came courtesy of Beach Boys Al Jardine, Carl and Dennis Wilson. Absolutely sublime.) The big winners are the fans of the hit love song machine called Chicago, because they are the one group that will cross over en masse to the 70s pop machine Chicago. Those fans get four love songs from the 70s, plus such MTV-era hits as "You're The Inspiration," "Hard Habit To Break," "Will You Still Love Me," "Hard To Say I'm Sorry/Get Away," and "Look Away," and two new tracks, "The Only One" (produced by Lenny Kravitz) and "Here In My Heart." The few remaining 70s pop tracks are so infectious that only the living dead could truly dislike them. All of that adds up to a can't miss situation for the late-period Chicago fans. It's quite likely that last group of fans was the target all along. The CD runs 66 minutes, so they could have added another track or two for balance if they wanted to. At least one track from 1967 would have legitimized the otherwise misleading title. As it is, the earliest tracks presented are from 1970. Oh, and one last bitch... The new tracks are so dull that they seem drastically out of place next to all of these time-tested classics. Coulda done without those. That would have reclaimed over ten minutes of space for another track or two from the CTA years. Okay, I'm done bitching. As a collection focusing on the pop/lovey-dovey Chicago, this one does the trick. And the improved sound quality makes it an essential purchase for those saddled with the old Greatest Hits CD. As for the rest, well, you can't please all the people... KACY CROWLEY: Anchorless (Atlantic) Reviewed by Jeff Apter Texan-based troubadour Crowley states her case right from the get-go on her debut Anchorless, as she decides to "give my soul a good washing." And human frailty has rarely been more listenable, thanks to Crowley's lean, gutsy acoustic style, which is pitched somewhere between Aimee Mann's winning whine (see the jangling "Vertigo") and Sheryl Crow's annoying artifice (as on the confusing "Singers Are Ugly"). Fortunately for Crowley, she's more Mann than Crow, due to her fearlessly frank lyrics ("My eyes close with my legs wide open," "my mistakes are handwritten and framed") and clever wordplay: titles don't come much smarter than "Hand to Mouthville." You can add to this her knack with lean, mean arrangements, usually glowing with warmth and packing hooks big enough to hang your coat on. And her story-songs stick in your head - during "Rebellious Young Women" she namechecks the Grateful Dead, teenage pot-puffing, benevolent bank robbers and her aggrieved mother in Crowley's very own "Walk on the Wild Side." Elsewhere, in "Hand to Mouthville," she declares "I got a genuine man / He loves me every chance I can," proving that Crowley may be "Anchorless," but she's certainly not hopeless. MILES DAVIS ALL-STARS: Quintet/Sextet (DCC) Reviewed by Shaun Dale Another chapter in DCC's continuing gold disc chronicle of the mid-50s Miles, "Quintet/Sextet" was one of his last projects before forming the now legendary quintet with Coltrane, Red Garland, Paul Chambers and Philly Joe Jones. While none of them appear on this disc, the lineup is superb. Joining Miles in the quintet lineup here are Ray Bryant on piano, drummer Arthur Taylor, bassist Percy Heath and the inimitable Milt Jackson on vibes. Saxophonist Jackie McClean steps in on alto to fill out the sextet for two of his own compositions. The group opens with the six pieces on McClean's "Dr. Jackle," an up tempo number with room for Miles, Milt, Bryant and McClean all to stretch out. The alto drops out, but the pace continues, on Thad Jones' "Bitty Ditty," which provides more space for interplay between Miles and Milt. McClean returns for "Minor March," and again everybody gets a break, with some fine duo work from Miles and McClean, who state and repeat the theme simultaneously to open and close the number. The pace slows down finally for Ray Bryant's "Changes," another quintet number, which leads off with a beautiful Milt Jackson solo. That yields to a trumpet break which finds a muted Miles in a mellow mode. Bryant takes up the lead and the for and extended and impressive solo on his own tune, with Miles joining back in to close. Throughout, Heath provides a walking line that supports the solos in a manner so strong that it almost constitutes a solo in its own right. There are only four tracks on this disc, but the shortest comes in at 6:35 and there is plenty of music. It's important music, too, from a time in Miles Davis' career that has been too often overlooked, overshadowed by the great quintet to come. That quintet didn't come from a vacuum, though, and it's valuable to hear these sessions that allowed Miles to find the voice that would lead him there. As always, kudos to DCC for making this available in the 24 karat gold disc format, and to Steve Hoffman for his wonderful mastering work. This belongs on the shelf of audiophiles and jazz buffs alike. (DCC can be reached by telephone at 1-800-301-MUSIC.) Track List: Dr. Jackle * Bitty Ditty * Minor March * Changes DJ DAN: Loose Caboose (VRG Records) Reviewed by Shaun Dale In the beginning, there was the rock jock, and the music was without form... At its inception, rock music was introduced without much concern for players, producers or pedigrees. The key personality was the disc jockey, and the decision of an Alan Freed to spin your single on his show was a good deal more important than any critic or record company suit to your success. The basic criteria by which the music was judged was a simple formula as well. "Gee Dick, it's got a good beat. It's easy to dance to. I'd give it a 93." Well, on club dance floors around the country there's been a return to those golden days of yesteryear. The records you'll dance to may not be commercial successes anywhere but in the clubs, and the decisions are made according to the lights of the club DJ. Their criteria is pretty simple too - can I fit this into a mix that'll keep drinks flowing and butts going? DJ Dan is a Bay Area mix-master who makes a national circuit of hot dance clubs. This disc is a taste of what an evening in one of those clubs might produce. The music he draws from is tagged "funky house," but you might find elements of funk, house, hip hop, acid jazz or jungle. The trick is to find the point where the music will make that seamless segue, or to create your own sounds, samples and rhythms to create one. DJ Dan is a master of the art. This is designed to be a high volume exercise, and unless you've got some extremely understanding housemates and neighbors, you're going to miss the best of Dan's work without a set of reasonably serious headphones. Slip them on and see how long you can sit still. Track List: The Crazy Frenchman Presents Maitre 'D/Music 4 You * Peace Feast/No Hassle From The Man * Fat Boy Slim/Everybody Needs A 303 * Mystery Men/Stomp Ya' Feet * Electroliners/Loose Caboose * Electroliners /Crazy Train * Simon Pearson/Two Crates * Thursday Club/A Place Called Acid (Rennie's Indigestion Mix) * CBS/Damai * Aftrax/SweptQ * Earcandy/ Free To Be Me (Chameleon's Acid Trip Mix) * Kelly Llorena/Brighter Day (Shimmon & Wolfson's Breakbeat Mix) * New Tone/Kick It (Bass Mix) * Control-X/Atomjack * Soulstice/Superfunkidiculous * DJ Tonka/Phun-ky THE DRUGS: The Drugs (NG/BMG) Reviewed by DJ Johnson The Drugs are either seriously into musical diversity or they have a major identity crisis happening. Another reviewer would have turned 'em off thirty seconds into the first tune. I have no life, so I kept listening. "Indecision" sounds more like Alice In Chains than Alice In Chains does these days, from the loud discordant guitar to the vocal harmony style. Just as I was about to write this band off as inept rip-offs, however, the third track, "Let It Go Away," blasted through the speakers and caught me off guard. Still nothing revolutionary--nobody is likely to be accused of being Drugs clones any time soon--but the power and execution grab for attention. Likewise, the fourth track rocks fairly hard. And then... The Drugs kick in. "Killer Down Here" flies off into left field with some compelling psychedelic guitar noodling that hints at the direction the album is about to go. "Burn Alive" takes the band deep into psychedelia, and they do it pretty damned well. Most importantly, they generally avoid the Alice thing throughout this middle section of the album (Though it can be argued that "Shake" is their Mudhoney thing, leading me to wonder how this Atlanta quartet ever got so hung up on Seattle). The kinkiest, most entertaining cut is "Boogey Man," a twisted bedtime fable designed to make frightened bed wetters out of the best of us. The hook is a combination of what sounds like five or six guitars slightly out of tune with one another, which creates an unnerving cacophony that works like a charm. The final few tracks sound like the first few tracks, which is either good or bad news depending on what you think of Alice In Chains and all of their Seattle buddies. I'm not as crazy about that stuff, but I sure did enjoy the middle of this CD. STEVE EARLE & THE SUPERSUCKERS: s/t (Sub Pop) Reviewed by DJ Johnson Let's say you're in a buttkickin' punk band with quite a following, and you get this crazy urge to make a country album. Let's say your fans surprise the hell out of you by not heading for the hills, largely because your album turned out to be a freakin' classic. Well? NOW what? How do you follow it? Another country record? Back to the punk wars? Yep to both. Hot on the heels of their country crossover success with Must've Been High, The Supersuckers hooked up with country legend Steve Earle for this little EP/CD/exercise in role reversal. The Supersuckers' classic, "Creepy Jackalope Eye," opens the short set with Earle leading the band into his turf. The formerly fast 'n' crunchy punk tune becomes a cool acoustic country song complete with slide guitar and harmonica. Earle makes the song his own, and it works. Track two finds the tables turned as Eddie Spaghetti and company turn Earle's "Angel Is The Devil" into pure molten rock and roll. Once again, it works. Just for kicks, they added a cover of The Stones' "Before They Make Me Run," staying quite true to the original. I mean, how much more country do you need to add to a Keith Richards tune? No assembly required. In order that even the uninitiated might appreciate all of this, the final two tracks are the FIRST two songs in their original forms. Compare and contrast to your heart's content, y'all. All of this comes in at 13:13, but I swear it's the most packed 13:13 I've heard in a long while. This was a great idea. EARTH, WIND & FIRE: s/t (Warner Bros) Reviewed by DJ Johnson Before they became one of the greatest pop-funk acts of the 70s, Earth, Wind and Fire made great hard funk music with very little commercial potential. Phillip Bailey wasn't in the picture yet, of course. There was one hint of commerciality to come, though: "This World Today" was constructed on some very solid and accessible vocal harmonies and relatively simple instrumentation. Still a long cry from "Serpentine Fire," but you can see where they were going. If you only want the sounds you remember from 70s radio, this isn't going to satisfy you. If, on the other hand, you liked the introspective cerebral grooves on the early War and Mandrill albums, and you can imagine a bit of whimsical psychedelia sprinkled on top, you're going to get a major buzz from this one! Why are you hearing about this 1971 album? Because Warner Brothers' Old Skool department just re-released it, along with EW&F's other 1971 release, The Need Of Love. Looks like they're on a roll. EARTH, WIND & FIRE: The Need Of Love (Warner Bros) Reviewed by DJ Johnson The second 1971 release by Earth, Wind & Fire and part of the Warner Brothers Old Skool re-release series. While their self-titled early '71 debut was heavy on dark cerebral funk, The Need Of Love found EW&F beginning down the road toward their trademark pop-funk song structures. "I Think About Loving You" was probably their first fully realized pop love song, and "Everything Is Everything" contained the earliest example of what would become the trademark EW&F horn section sound. Of the five tracks, the strangest, and in some ways the most interesting, is the opening cut. Chet Washington's flammable saxophone transforms "Energy" into a trad jazz workout on a funky rhythmic foundation. Today it would probably be called Acid Jazz, but then isn't everything? Hell, I have a DOG that's considered Acid Jazz. You can consider this music anything you want to, as long as you consider it. As a document of early 70s FM funk, and a document of a band in gestation, it's worth picking up. HARRY "SWEETS" EDISON & EDDIE "LOCKJAW" DAVIS: In Copenhagen (Mobile Fidelity Sound Labs) Reviewed by Shaun Dale Harry "Sweets" Edison and Eddie "Lockjaw" Davis began their collaboration with the Count Basie Band, in which both players served multiple tenures with over the years. After and between their gigs with Basie, they found many opportunities to play together, when they weren't otherwise occupied as leaders, sidemen or with session work. Those collaborations were always popular with the jazz audience, and this 1976 performance captures them in Copenhagen with the Kenny Drew and John Darville Quartet. Pianist Drew had been living in Copenhagen since 1961 and had, with Darville, assembled the premier Danish combo, including Darville (trombone), Hugo Rasmussen (bass) and Svend Eric Norregaard (drums). Edison and Davis fit into the lineup seamlessly. Their ability to collaborate so successfully and to front or back an amazing array of bands and artists over the years is a remarkable testimony to the talent and professionalism of the jazz veterans. While they shared those Count Basie roots, Sweets was always a swing player at heart. Davis, on the other hand, was a true bopper who also made significant forays into R&B. Together, though, they were just jazz, playing in every style comfortably and proficiently. There's plenty of evidence of that impressive range here. Over 75 minutes of great music divided among eleven tunes from Lester Young, Kurt Weill, Ellington and others. Mobile Fidelity has put the whole thing on their Ultradisc II 24 karat gold disc format, allowing every note and nuance of this fine performance by these grand masters of jazz to be preserved for the entertainment and education of jazz fans for years to come. Track List: Lester Leaps In * September Song * Spotlight * Angel Eyes * Blues Walk * Opus Funk * You Are Too Beautiful * Robbin's Nest * Candy * There Is No Greater Love * C Jam Blues THE EL CAMINOS: Reverb Explosion (Del-Fi) Reviewed by DJ Johnson This CD has been a rumor for so long it became a legend. The El Caminos, the fabled surf 'n' roll band from Kobe, Japan, have been the subject of a ton of speculation in the past two years, and of course that means they had almost no chance of transcending the hyperbole and truly knocking anybody out. Knowing this, I put it on and awaited the worst... and zowie, grandma, this fucker rocks! Eddie Ugata and company dive into the waves with a huge splash in a vast soundscape of awesome reverb. The tail of that reverb is so bloody long that Ugata's rhythm guitar often sounds like it's coming from the next island. Understand that this is NOT a lo-fi recording. They've simply used enough reverb to qualify for flood assistance, and it sounds fantastic. Kimiko Yamamura's Vox organ sound stirs the hell out of the 'verb space on their cover of (of all things) an early Hendrix tune called "Hornet's Nest," causing near-chaos and calamity behind Ritchie Kohda's Dick Dale-style leads and Aki Imai's fluid bass lines. Guess we DID hear surf music again, Jimi, and we kinda sorta heard it from you. There's no doubt about it, The El Caminos play a very authentic brand of traditional surf, heavily inspired by the Del-Fi sound of the early 60s. That's pretty cool, but what puts them in my player, and what will keep them there, is the unabashed joy in their performance. It's contagious, and I highly recommend catching it. THE ELEMENT 79: Dig Out With... (360 Twist) Reviewed by DJ Johnson This 10" EP/CD release arrives right on the heels of bad news: The Element 79 is no more. This trio had everything that fans of retro-garage/punk love: crackly distorted guitar, tinny distorted vocals, big distorted bass... Ya know, I think maybe distortion played an important role here. I'll get back to you on that. Of course, there are a million bands that have those phases of the game licked. What separated The Element 79 from many of those bands was their big ol' bag of great hooks. (And isn't that just about always what separates the haves from the have nots in rock and roll?) While they did keep the songs simple, they didn't just hammer out three chords for two minutes and go for a beer. Each of these 8 tracks has one unique hook that sticks in your ear. Sounds painful, but it ain't. By the way, their previous 7-inchers on 360 Twist and Screaming Apple are just as good and are well worth seeking out. File under "R" for "Rawk" and play between Makers and Lord High Fixers EPs at your next garage bash. (360 Twist Records: P.O. Box 9367, Denver, CO 80209 USA. [303] 715-1858) STEVE ELLIS AND THE STARFIRES: Songbook (Get Hip/Arf! Arf!) Reviewed by Shaun Dale Minnesota's Steve Ellis died in a motorcycle accident a few month's short of his 23rd birthday. By that time, he had accumulated enough recorded material and a strong enough local following to inspire Tom Rambler, a disc jockey at Sioux Falls, South Dakota's KISD, to produce a tribute featuring the music of Ellis and his band the Starfires along with interviews with the surviving band members. That tribute forms the core of this Get Hip Archive Series LP, along with four tracks added to fill out the 30 minute radio program to a reasonable 41 minute album. The program itself, originally pressed as a limited release album on IGL Records, is an interesting historical artifact, with Rambler's over- the-top 60's DJ delivery and some interesting insight into the life of a midwest touring and recording band of the period. The music, mainly original folk-rock, is a cut above the average and seems to justify the predictions of success that Ellis' bandmates felt would have been assured had it not been for his untimely death. As always, Get Hip has dug up additional interviews, biographical material and photos to round out the package, creating an interesting and entertaining look at the life and times of the pride of Pipestone, Minnesota. (Get Hip Recordings: PO Box 666 Canonsburg, PA, 15317 USA) Track List: That's How It Feels * Since I Fell For You * Pride Of A Man * Her Face * Looking Thru Me * On My Mind * Walking Around * My Baby's Gone * Pride Of A Man (alternate version) * Since I Fell For You (previously unreleased version) * On My Mind (previously unreleased version) * Walking Around ( previously unreleased stereo instrumental) THE ENFIELDS/FRIENDS OF THE FAMILY: The Songs Of Ted Munda (Get Hip) Reviewed by Shaun Dale The common denominator for these eighteen tracks by two Wilmington, Delaware based bands from the period of 1966-68 is guitarist/singer/ composer Ted Munda, who went on to record with other lineups on Columbia and continued to play into the eighties, before settling into his current occupation as the author of children's books. It's an interesting look at the development of a band through three lineups, two names and one of the great transitional periods in rock music. This was, of course, the era when pop bands became more or less psychedelicized. More wasn't always better, and I'm not sure the state of mind which led to song titles like "Jello Lights" and "Wallace He Plays With Frogs" was entirely healthy for impressionable young musicians, but there's some pleasant pop here, some very credible folk rock and even the more outre exercises in psychedelia work better than a great deal of the tunes that were etched in vinyl during the period. Listening to this early output from the pen of Ted Munda makes me wonder about his later bands, Hotspur and State Of The Heart. And as resourceful as the folks at Get Hip are at digging out and documenting the history of rock music, well, I may just get to hear some of that before too long. Meanwhile, we've got these tracks and a very informative eight page booklet that should provide plenty of interest for archivists and fans of sixties rock. (Get Hip Recordings: PO Box 666 Canonsburg, PA, 15317 USA) Track List: The Enfields: In The Eyes Of The World * I'm For The Things You Do * She Already Has Somebody * You Don't Have Very Far * Face To Face * Twelve Months Coming * Time Card Friends Of The Family: Time Music * Wallace He Plays With Frogs * Funny Flowers * Blue Boat Makes Me Sad * Jello Lights * Bambi's March * You See I've Got This Cold * Last Beach Crusade * Hot Apple Betty * Together * Sing A Song JOHN ENTWISTLE: King Biscuit Flower Hour Presents (King Biscuit/BMG) Reviewed by Steve Marshall Back in 1975, Who bassist John Entwistle embarked on a five-week tour of the US, opening for Humble Pie. Luckily for Who fans, they recorded one of the shows for broadcast on the King Biscuit Flower Hour. For those of you who may not know, the KBFH is a weekly radio show heard on hundreds of stations across the US. They have been recording concerts by the biggest names in the music business for almost 25 years now. Just about any band you can think of has appeared on the show at least once. About two years ago, they announced plans to release selected shows to the public. Most of the shows released so far contain tracks not included in the original broadcasts. Recorded live at the Spectrum in Philadelphia, PA, this show includes powerful renditions of classic solo material, as well as timeless Who tunes. The '75 tour was in support of the Mad Dog album. The band was excellent, aside from Jeff Daily's wailing on the sax. It just didn't fit in with the music the rest of the band was playing. Like the recent Who reissues, this CD was produced, mixed, and mastered by Jon Astley and Andy Macpherson. Entwistle always complained that his bass wasn't loud enough when touring with The Who. That's definitely not a problem here. The bass is loud and clear. You can hear and feel every note as if you were there. Although they only played one song from Entwistle's then current album, they treated the crowd to classic Who songs, like "Heaven and Hell" and "My Wife"--even the rarely played "Whiskey Man." Other highlights include "My Size" and an interesting cover of "Not Fade Away." As a bonus track, they included a recent interview with Entwistle, conducted by Steve Luongo (current drummer for the John Entwistle band), and Who sound man, Bobby Pridden. The interviewers would be wise not to give up their 'day jobs' to start doing interviews, but it does give Entwistle the chance to reminisce about the tour a bit. This CD probably won't attract any new listeners for Entwistle (newbies should first check out the studio versions of these songs so they can appreciate the live ones); but if you’re a Who fan, or a fan of John's solo material, this is required listening. BILL EVANS: The Best Of Bill Evans Live (Verve) Reviewed by Shaun Dale "Best Of" is always a problematic tag for an artist with a catalog as extensive as Bill Evans', whose recording history includes many remarkable live sides. (There are a 12 CD set from Riverside, a 9 CD set from Fantasy and a new 18 CD collection from Verve out there, with a good slice of each recorded live, just to demonstrate the challenge). The twelve cuts here, recorded for Verve between 1964 and 1968 are a fine place to start, though, and if it's not the absolute "best,"--a subjective notion at any rate--every cut is a great one, worthy of listening and listening again. While Evans worked in a number of formats he was best known for, and probably at his best with, the piano trio - piano, bass and drums. Four such lineups appear hear. A 1966 Town Hall appearance matches the pianist with Chuck Israels on bass and Arnold Wise on drums. The 1967 Village Vanguard date features bassist Eddie Gomez and the great Philly Joe Jones. Two cuts from Sausalito's Trident Club have Israels paired with drummer Larry Bunker. Finally, Evan's 1968 Montreux Festival appearance teamed him with Eddie Gomez and Jack DeJohnette. The only departure from the trio format is on "I Loves You, Porgy," a Montreux performance by an unaccompanied Evans. Touch, taste, tone and timing - every element that made Bill Evans the most influential, if not the greatest (an argument that many are willing to make, and that I'm willing to succumb to) pianist of his time and time to follow - are all in ample display here. If your music budget is unlimited, go out now and by the 18 CD set, where you'll find all these cuts and more. If you're still saving pennies for that one, break out a few for this one. It'll tide you over for awhile. After all, like so many good things, a little Bill Evans will get you through times of no money better than money will get you through times of no Bill Evans... Track List: Make Someone Happy * Wrap Your Troubles In Dreams * Spring Is Here * How Deep Is The Ocean * Polka Dots And Moonbeams * Nardis * Turn Out The Stars * Emily * I Loves You, Porgy * The Touch Of Your Lips * Walkin' Up * My Foolish Heart FAITH NO MORE: Album of the Year (Slash / Reprise) Reviewed by Steve Marshall To me, Faith No More was one of those bands that basically sucked. There might be a song or two on each CD that was OK, but most of the material was just awful. By 1992, the band released Angel Dust, and the songwriting had improved dramatically. All of a sudden, they had a CD with more than just one or two good songs. Some of the songs actually bordered on brilliance. On the band's seventh CD, Album of the Year, I'm happy to report that the suck ratio has diminished even more. "Collision" is in your face from the minute the CD starts. It rocks as hard as anything they've done in the past, and easily ranks along with their best tracks. From there, the diversity begins. "Stripsearch" features jungle drums, offset by the band's new guitarist (and long time friend), Jon Hudson. The first single, "Last Cup of Sorrow," is a musical leap forward for FNM. Its subtle nuances and careful orchestration show a side of the band that most people have never heard. "Helpless" is one of the CD's best tracks. The verses are mainly acoustic, but the chorus rocks. The only bad thing about the song is that they didn't know when to end it. Aside from that, this is a great tune. The first time I heard "Ashes to Ashes," I thought it was going to be "Epic" part two. I kept waiting for the 'Yooouuuu waaaannnt it allll, but you can't haaaaaave it' to come in on the chorus. Fortunately (or unfortunately, depending on your point of view), that didn't happen. This is another of the many highlights of the CD. After "Ashes to Ashes" comes another surprise. "She Loves Me Not" is an R&B-flavored track that, strangely enough, almost sounds like something you'd hear on a Prince album. The last song on the CD, "Pristina," has a droning chord progression, but it's one of those songs that will be great to hear in concert. Album of the Year is a musically diverse collection of tunes guaranteed to please their current fans, and quite possibly win some new ones as well. FICTION DAMAGE: Heathen Stuff (High Time HT 44448-1) Reviewed by Paul Remington How about a little Heathen Stuff--a grunge collection of scorching rock and roll that will make your blood boil with amusement? Enter: Fiction Damage; a band that's not afraid to throw you a curve ball, or stretch your musical ear beyond its previous capacity. Their sound has been described as "catatonic," "intricate and settling," "epileptic," and "stop-and-go psychedelic." I would describe their sound using the following analogy: imagine yourself riding through the red light district of Hell with a flat tire and no map. Their sound knows no boundaries, and leaves you wondering where the hell you are, and what may be around every corner. Settling? Not a chance. Forget predictable rhythmic elements, usual chordal patterns, and emulation of others' style. Fiction Damage is rich, hard and heavy rock that contains their own unique stylistic twist. Expect the unexpected. The unpredictable nature of this CD makes it an eclectic classic defined by grooving rhythms, driving patterns, rich vocals, and interesting writing, both lyrically and compositionally. The performance is solid, the solos affecting, and the mood sharp and aggressive. So who are these musicians? Fiction Damage consists of a mere three musicians, which is quite startling considering their full and intricate sound. George Sanchez grinds out the guitar parts with Keneally-like force, burning some scathing solos to tape. Sanchez wrestles both acoustic and electric guitar parts, ARP synthesizer, vocals, and as the liners state, "Fischer Price toys." bob [sic] handles lead vocals and bass; fretted and fretless. (Yes, you read right--"bob". Remember: expect the unexpected.) Michael McQuilken sets the pace on drums, assorted tics and thuds, and I'm sure a few convulsive twitches here and there. It's not surprising former Zappa guitarist, current Steve Vai sideman, and Beer for Dolphins leader Mike Keneally would have a few words to say about this band. Whether intended or unintended, the guitar parts do contain that Keneally flair; an in-your-face approach that's both infecting and energetic. Keneally states: "If I were on a lifeboat with Fiction Damage and there were insufficient supplies to sustain all of us, I would gladly sacrifice myself that they might survive. Their contribution to American culture is that great." The CD consists of 16 tunes, most spanning between four and seven minutes in length. The recording is glitzy and clean, with a well balanced mix. Vocals are layered in chorus-like fashion through most of the disk, and guitar parts flourish with an abundance of overdubs. This disk is certainly airplay-ready, requiring only a few bleeps. My concern lies in the eclectic nature of the material on the disk. Will commercial radio pick up on these talented musicians? Commercial radio and eclectic music usually do not walk hand-in-hand, which is why bands like King Crimson and even Beer for Dolphins receive little airplay. Regardless of this concern, there is no doubt Fiction Damage will receive a following. Their sound and style are too good to be ignored. So, do yourself a favor and get Damaged. If you are a Keneally fan, you will undoubtedly like this disk. If you enjoy hard-driving rock and roll with an eclectic flair, Fiction Damage is right up your alley. But be forewarned, this disk is not for the weak of heart and mind. It has legs, and will haunt your musical ear for much more than a few listenings. The band's natural state of being is one that may alter your musical taste. Give them a listen, then put on your Eddie Money album. I'll bet you'll take it right off the platter and never go back. THE FLESHTONES: The Angry Years - 84-86 PETER ZAREMBA'S LOVE DELEGATION: Spread The Word (Amsterdamned) Reviewed by John Sekerka Fleshtones fans worldwide rejoice for there is new party music for you to spaz out to. Farfisa organs, tambourines, wailing harmonicas, sultry sax, garage guitars and plenty of whoopin, ingredients guaranteed to turn any staid lounge gathering into a raving trash-the-hotel-call-the-cops rave up. Rave, as in the sixties sense. There may be others dwelling on the past, but few do it with such vigor, abandon, joy and sweat as The Fleshtones. The Angry Years: 84-86 fills the gap when the boys were fighting it out with record companies, and their albums were a tough find. The ghoulish guitar lick and tambourine rattle of 'In Need of Love' is reason enough to lay yer money down. There are eleven other garagy burners to savour, in what may be their best waxing next to the down on yer knees Roman Gods. Vocalist, organist and hep leader Peter Zaremba steps up the party anti with his Love Delegation. Quicker than you can say 'Hama Lama Bing Bang,' Zaremba's rockin the joint to fever proportions with souped up versions of the Nancy Sinatra/Lee Hazelwood scorcher 'Some Velvet Morning,' and 'After Midnight.' Need I say more? FRIGG A-GO-GO: Everything Around Me b/w Pre-teen Love (360 Twist!) Reviewed by Shaun Dale This white vinyl 7" chunk of ear candy is billed as "From the upcoming LP/CD on 360 Twist! Records" and I can't wait! "Everything Around Me" is a quick and quirky thrash backed with some high energy boogie on "Pre-teen Love." If the boys in Frigg A-Go-Go have eight or ten more this good, they'll have an album you'll want to hear. Meanwhile, I'm going to play it again while I admire Jeremy's tasteful two tone wing tips on the cover photo. THE FROGS: Starjob (Scratchie) Reviewed by John Sekerka 'Executive with his pants down ... how bad do you wanna be a Starboy?,' these amphibians ask as if they've been in such a spot. Nasty wise-ass, subversive rock will never go out of style. Ween fans lookie here for a new contender on the block as The Frogs take stabs at corporate convention, middle America and rock'n'roll - biting every dog that feeds them. And as with Dean & Gene, The Frogs offer up their brand of social commentary with a gorgeous sense of melody. A rarity, and something more than welcome around these here parts. GALAXIE 500: Copenhagen (Ryko) Reviewed by John Sekerka Recorded on what would be their last European date, and one of their last moments, Galaxie 500 is finally presented in a live setting. It is December first, 1990. Soon Dean Wareham would leave, an untimely departure if ever there was one. Shortly thereafter alternative rock would explode. A sad ending for a sad band. A magical sad that is. Galaxie 500 played mesmerizing, hypnotic guitar buzz pop as Wareham pleaded and whined into the mike. It was unsettling at first, but fucking addictive. Anyone caught by the bug knows. All we have left are three records and now this, a testament of their concert prowess, which is formidable. I thought it would be otherwise, but Galaxie 500 carry their supple strength right onto the stage and manage to pull it off in front of an audience. Not an easy thing for such an open wound and personal band. A nice exit. S'long. GUNS N' ROSES: Appetite For Destruction (Mobile Fidelity 24k Gold CD) Reviewed by DJ Johnson That Guns N' Roses every (rare) move is still reported by the music press is testament to the power of Appetite For Destruction. Let's face facts: it was their only great album. Hell, it was their only listenable album. Since its 1987 release and the subsequent two years of hysteria that followed, there hasn't been much more than embarrassing arrests and lawsuits to talk about. Ah, but still... that was one hell of an album. Politically incorrect at every turn, arrogant to the point of unintentional self-parody, Axl Rose and company nevertheless made some of the hardest rock and roll of the late 80s. Irresistible song structures like "Paradise City" and "Sweet Child O' Mine" gave them a mass audience while the Aerosmith-esque "Welcome To The Jungle" and the brutal "It's So Easy" brought them to the attention of the bruised forehead crowd. If that's not a formula for success, what is? Mobile Fidelity Sound Lab's 24 karat gold CD of Appetite enhances the sound in all the expected ways, the most important in this case being a greatly intensified presence. My preferred method of gold CD listening is to put on the headphones and ignore AMA warnings about volume levels. No need with this one. "Out Ta Get Me" nearly knocked me over, even at a relatively low volume. Relative to what, DJ? Relative to the neighbor-crushing volume at which I survived "Welcome To The Jungle" this afternoon. Bass response is considerably better than the previous CD issue, and even better than the vinyl release. (That was never one of the more impressive slabs of vinyl. It sounded... well... a tad thin.) Recorded well into the digital revolution, hiss wasn't an issue anyway, so we'll skip that part. Grind, however, is a factor. Izzy Stradlin's killer rhythm guitar tone is no longer restrained. (Those of you who've seen him live know what I mean.) I'm not sure what remastering trick freed Izzy's sound, but I'd sure like to see the same trick applied to some of Randy Rhodes' tracks with Ozzy. (Hint hint.) Meanwhile, this oughta make the bangers happy. There aren't many better examples of popular hard rock from that era, and now this is its definitive release. HERBIE HANCOCK & WAYNE SHORTER: 1+1 (Verve) Reviewed by Shaun Dale Herbie Hancock and Wayne Shorter have been making cutting edge music together for over 30 years, since they first teamed up in Miles Davis' mid-60's quintet. Over those years they have pursued many projects and directions, both together and separately. Amazingly, they have never before done what they do here - record an album of piano and saxophone duets. At the 1996 Thelonious Monk Composition competition, they were tapped to perform the winning composition, Michiel Borstlap's "Memory Of Enchantment" (the tune is the only non-original piece appearing on this disc), which led to the decision to make this recording and to follow it with a tour as a duo. They have kept it as simple as possible, with Hancock playing acoustic piano and Shorter on soprano sax, but in that very simplicity, they demonstrate an amazing range of vision and virtuosity. For those who know Shorter primarily from his work with Weather Report or Hancock for his funky electric keyboard work, this music will surprise, but it will certainly delight. Wayne stretches out in ways that Weather Report's format didn't permit and Herbie's acoustic work here shows clearly that his strength is in his chops, not his equipment. This album places these two veterans at the pinnacle of today's jazz scene, with fresh, thoughtful performances that are destined to make this a classic album, an essential part of any contemporary collection. Track List: Meridianne - A Wood Sylph * Aung San Suu Kyi * Sonrisa * Memory Of Enchantment * Visitor From Nowhere * Joanna's Theme * Diana * Visitor From Somewhere * Manhattan Lorelei * Hale-Bopp, Hip-Hop ROY HARGROVE'S CRISOL: Habana (Verve) Reviewed by Shaun Dale "Crisol" is a Spanish word meaning a crucible used to melt precious metals. Roy Hargrove took his crisol to the Umbria Winter Jazz Festival in Orvieto, Italy, poured in an ensemble of players from Cuba, Puerto Rico and the US, and poured out an ingot of solid jazz gold. This project was born during Hargrove's 1996 visit to a Cuban festival, where he encountered pianist Chucho Valdes and percussionists Miguel "Anga" Diaz and Jose Louis "Changuito" Quintana. Their collaborations there led to further discussions and sessions which culminated in the organization of the ten piece Crisol for the Umbria Festival, where these tracks were recorded live. What a lineup: Roy Hargrove, trumpet & flugelhorn; Chucho Valdes, piano; David Sanchez, tenor & soprano sax; Frank Lacy, trombone; Horacio "El Negro" Hernandez, drums; Jose Luis "Changuito" Quintana, timbales; Miguel "Anga" Diaz, congas; John Benitez, bass; Gary Bartz, alto & soprano sax; Russel Malone, guitar. Add John Hicks on piano and drummer Idris Muhammad sitting in for "Nusia's Poem" and Jorge Reyes subbing for Benitez on Valdes' "Mr. Bruce" and stir. The result is one of the strongest lineups of new and veteran players from the States and the Caribbean ever assembled on one stage. The other departure from the Crisol lineup is on Hargrove's "Ballad For The Children," which finds the 26 year old trumpet prodigy leading a quintet which includes Valdes, Benitez, El Negro and Anga. The end product of the assembled talent is a stunningly effective set of Latin bop that will satisfy aficionados of both genres. I was especially knocked out by Russell Malone's guitar work and the tight, dynamic percussion work. There's not a performance to knock here, though, and you may well find your own favorites. You should grab a copy and make the effort to do so, because this band may only happen once, and it should happen to you. Track List: O My Seh Yeh * Una Mas * Dream Traveler * Nusia's Poem * Mr. Bruce * Ballad For The Children * Mountaings * Ambrosia * Mambo For Roy * O My Sey Yeh (reprise) THE HATE BOMBS: Here Comes Treble (360 Twist) Reviewed by DJ Johnson I've been hearing a lot of buzz about Orlando, Florida's garage rockers, The Hate Bombs. Seems they do a lot of touring, and their shows are so pure of rock and roll that the band has taken on near legendary status. I can believe it after cranking Here Comes Treble in the headphones. They may wear some of their influences on their collective sleeve, but they sure do 'em justice. "One Thing On My Mind" is an intoxicating juxtaposition of hard edged instrumentation and breathy vocals, punctuated by the familiar chorus that they flat out lifted from Paul Revere and the Raiders' "Hungry." The cover of "Going All The Way" is dead on, and all the originals rock hard, especially "What I Want." If you love a solid wall of sound, "What I Want" is for you. For pure R&R song structure and cool hooks, it's hard to beat "Haymaker," though at least half a dozen tracks give it a go. This is some of the strongest guitar-driven garage bands I've heard in a while. (360 Twist Records: P.O. Box 9367, Denver, CO 80209 USA. [303] 715-1858) DALE HAWKINS: Daredevil (Norton) Reviewed by John Sekerka I thought Dale Hawkins was black, no kidding. And I ain't the only one. Hearing the original version of 'Susie Q', with all it's raw energy, and blues sensibility will do that. Most folks know the name, but not much else. Dale Hawkins was a brash kid with a riveting voice, striking rebel looks, a crack rockin' band and a flare for penning classic pop songs. His is another of those shoulda been stories. Somehow Hawkins slipped between the cracks and 'Susie Q' remains his one known commodity. This release might right a few wrongs. Turns out Hawkins, the son of Delmar Sr., one of the Sons of Pioneers, and cousin of Ronnie Hawkins, was a wild talent that nobody really knew how to handle. He was only eighteen when 'Susie Q' raced up the charts (for the first time). The record company pushed him on the promo road solo, which basically killed his band. The revolving guitarists to pluck strings for Dale included James Burton, Roy Buchanan and Scotty Moore. A television show followed, and slick sides for big record companies which sold poorly, and didn't do justice to Hawkins' original and electrifying swamp rock sound. He turned to production work, which suited him well, and that was that. Daredevil goes right back to 1956 with the rough demos of 'Susie Q' and 'If You Please Me', and though they sound like they've been used as a sleeping mat by ol' Yeller for thirty years, they carry that initial primal energy that only Hawkins could crank out. Among the remaining (much cleaner) tunes, 'Everglades' is one odd monkey that stands out. It's a doo-whoppy haunting bit of rock noir, with Hawkins crooning his Southern accent to exceptional effect. What really makes this CD a must buy is the great stories Dale tells in the liner notes - like the one where they shoot up a gas station, just after a big punch up with some paratroopers. Perhaps a match for Jerry Lee Lewis. TED HAWKINS: The Next Hundred Years (Mobile Fidelity Sound Labs) Reviewed by John Sekerka Easily the highlight of 1994 was Ted Hawkins' major label debut The Next Hundred Years. His distinct voice, a smooth and scratchy mix that evoked Otis Redding at times, was a god send. He used to say that it was all that salty sea air he was breathing when performing endlessly on Venice Beach. Hawkins led a bumpy ride of a life, which saw him relegated to street performer and landing in jail on occasion. In America he was but a footnote, but in England he was revered, having a number one hit with 'Groovy Little Things.' The success of that song led to a re-release of his early material on Rounder and a shot at the big time with Geffen. 'Groovy Little Things' is the center piece of this record, but it is only one of many highlights. There are few one-two punches that can raise my neck hairs and bring a tear to my eye like the opening 'Strange Conversion' and 'Big Things.' This is folk blues with a definite country edge, but first and foremost, it is a Ted Hawkins record. I can only think of one other performer who didn't belong in any category, but just made gorgeous music: Dinah Washington. Sadly The Next Hundred Years was to be his swansong as Hawkins, whose life was starting to finally take proper shape, passed away in the early moments of 1995. This re-release of the original master recording is a real blessing, sounding crystal clear: Hawkins' powerful voice playing off the subtle nuances of the excellent band. And believe me, this is one you'll want to listen to very closely. THE HECTICS: Everything I Need (360 Twist) Reviewed by DJ Johnson Their recent 7 inch EP was impressive enough, but this full length CD blows it out of the water on all counts (except the "vinyl is cool" factor, and of course the "WHITE vinyl is even cooler" factor). With three of the four songs from the EP, plus another 13 wild tracks, Everything I Need is a killer garage/punk album with attitude and facefull of sound. The Hectics are a 3-piece with a twist: drums, guitar and... guitar. No bass. In fact, the liners emphatically state "no bass ANYWHERE." And at times, it's hard to believe. The low end seems to be covered just fine, probably due to a combination of playing technique and strategic equalization. I'm not sure which of the two ladies, Anika Zappe or Juli McClurg, is handling that job, but whoever it is sure has an amazing sound happening. Dan "Rumble" Tafoya's drums actually get lost in the mix on a few tracks, but when you can hear him, you're energized. The guy is a player. Together, they create one of the highest electrified walls of sound in indie rock, with molten guitar tones, high speed yet rock solid drumming, and great vocals from Zappe and McClurg. The songs are more than a little dangerous, as titles like "When You Die" and "Stinkin' Creep" indicate. Zappe is a looker, but her stance says "it may be fun, or it may be fatal." I'll worship from afar. And I'll play this CD whenever I need a huge adrenaline burst. (360 Twist Records: P.O. Box 9367, Denver, CO 80209 USA. [303] 715-1858) JIMI HENDRIX: Band of Gypsys (MCA International/Experience Hendrix) Reviewed by Steve Marshall Band of Gypsys was one of the most innovative and pivotal albums of its time. However, not many people know the story behind it. Due to contractual obligations, Jimi owed Capitol an album from the early days when he played guitar for Curtis Knight & the Squires. Jimi was pissed because Capitol tried to overemphasize his limited involvement in the project to boost sales. In July of 1968, after months of court battles, both sides came to an agreement where Capitol would get distribution rights in the US for the next Jimi Hendrix Experience album. Since Jimi was in the middle of recording Electric Ladyland at the time, Capitol agreed to accept his next album as compensation. Despite Hendrix's popularity, tensions were soaring within the band. Bassist Noel Redding was having an increasingly difficult time getting along with Jimi, and sessions for the follow-up to Electric Ladyland were largely unproductive. With the Experience seemingly unable to produce a new studio album, they taped concerts in L.A. and San Diego for a possible live album. Unfortunately, manager Michael Jeffery later vetoed the idea and started pressuring Hendrix to go back into the studio again. After the Toronto drug bust in May of 1969 (from which he was later acquitted), Jimi's spirits and inspiration had been dampened further. A month later, the Experience disbanded. In the weeks that followed, Jimi called up his old Army pal, Billy Cox, to replace Redding. Realizing that he couldn't resume his career until he delivered an album to Capitol, Jimi recruited drummer Buddy Miles to form a new group--the Band of Gypsys. The trio signed a contract with promoter Bill Graham to do two shows each night at the Fillmore East on December 31, 1969 and January 1, 1970. Mixing elements of rock, blues, and funk, the band effortlessly merged all three musical genres and combined them into something never heard before. All four shows were recorded, with the album being culled from the two January 1st performances. However, Jimi said that certain songs (like "Isabella" and "Ezy Rider") were off limits. He wanted to finish them in the studio first before sending them out for public consumption. In a show of fairness, Jimi said he wanted the album to include two of Buddy's tunes--"Them Changes" and "We Gotta Live Together." Consisting of only six tracks, Band of Gypsys was the last album Hendrix released before he died. "Who Knows" is what funk is all about. The only bad part is Buddy's vocal in the middle section. For most fans of this part of Jimi's repertoire, "Machine Gun" is the album's centerpiece. Personally, I always thought Mitch Mitchell did a much better job with the drums on this song than Buddy, but the guitar work on the track (and the album as a whole) is stunning. The vocals on "Message to Love" are better on Crash Landing, but the jamming on Band of Gypsys blows the studio version away. Like the other 'new' Hendrix titles, there is audible tape hiss in the quieter passages. Nevertheless, in terms of overall sound quality, Band of Gypsys is excellent. The booklet features a new essay by John McDermott, along with photos from the venue. The only bad thing is that Capitol still owns the rights in the US, so it's not being released here yet. You can currently find it outside the US, but domestically, you'll have to wait for them to release the new version sometime this summer. JEFFERSON STARSHIP: Red Octopus (DCC) Reviewed by Shaun Dale Someplace between taking off as the Airplane and being rolled away as the Wheelchair, the Jefferson Whichevers hit cruising altitude. They did it as Jefferson Starship and they did it with "Red Octopus." The congregation's only number one album and the source of one of Marty Balin's all time great performances, "Miracles," this album deserves the 24 karat gold disc format that DCC reserves for classic recordings as richly as anything the Jefferson's ever did. The reunion of Balin with Paul Kanter and Grace Slick insured that there would be great vocal talent and chemistry. The band lineup was at it's peak, with David Freiberg and Pete Sears each doubling on keys and bass, John Barbata on drums, Craig Chaquico on lead guitar and, of course, the late, great Papa John Creach on violin. The material was first rate, too, with a couple Grace Slick wailers, including "Play On Love," the follow up single to "Miracles," some Balin ballads, a pair of Kantner epics and "Git Fiddler," a showcase for Papa John. If you were to pick two albums from the Jefferson legacy, they'd have to be "Surrealistic Pillow" and "Red Octopus." If you were to pick the perfect way to hear them, that would have to be on gold disc with mastering by DCC's studio wizard Steve Hoffman. This gold disc is full of great sounds that sound great. (DCC can be reached by telephone at 1-800-301-MUSIC.) Track List: Fast Buck Freddie * Miracles * Git Fiddler * Ai Garimasu (There Is Love) * Sweeter Than Honey * Play On Love * Tumblin * I Want To See Another World * Sandalphon * There Will Be Love JETHRO TULL: Aqualung (DCC Compact Classics) Reviewed by Steve Marshall Some albums are destined for audiophile treatment. Others get it, and then you ask yourself why. One album definitely worthy of the gold treatment is the 1971 Jethro Tull classic, Aqualung. DCC Compact Classics released the landmark recording on both vinyl and CD recently, and the results are nothing short of spectacular. Overall, the vinyl is slightly warmer than the CD, but you'll be hard pressed to find faults with the CD pressing. Bass response is deeper on the LP, but there are places where the CD outshines the vinyl, mainly on the percussion. The album starts with the classic title track. From the moment you hit the play button on the CD player, you're in for a treat. The CD is especially quiet--the only thing you hear between the guitar riffs is silence. Ditto for the vinyl pressing. DCC is known for its warm, quiet vinyl pressings, and this one is no exception. The percussion is a bit more noticeable on the CD than the vinyl, especially on "Cross-Eyed Mary." On the acoustic tracks, like "Cheap Day Return," you'll swear Ian Anderson is in the same room with you. "Mother Goose" (a personal favorite) has better separation on the LP. "Wond'ring Aloud" sounds fabulous on both pressings--especially on the CD, as the end of the song fades into oblivion. One thing I found especially interesting was that when I played "My God" at a high volume, the CD had slightly more tape hiss than the vinyl. Hiss never gets to be a problem with either pressing, but the vinyl was quieter in an A-B comparison. Anderson's flute solo sounded better on the LP too. The regular pressings of the album were always distorted on "Hymn 43." On both DCC versions, the sound is clear and exhilarating. One of the best songs to test the capabilities of your stereo system is "Locomotive Breath." The dynamic range on this track is nothing short of spectacular. The piano and guitar intro is crystalline, then the bass and drums come in and pummel you for the rest of the song. "Wind Up" seemed a bit raunchier on the vinyl pressing (and probably more like you remember it), but the CD has better separation. This marks the first time that the master tapes have been used on any Aqualung CD--even EMI's 25th anniversary version released last year. After many delays, DCC was granted the use of Ian Anderson's personal masters for three short days to produce the vinyl and CD pressings, and the results were worth the wait. The packaging is excellent on both, with an extra photo in the CD booklet. The definitive Aqualung has now arrived. (DCC can be reached by telephone at 1-800-301-MUSIC.) ELLIOT KENDALL: Le Hot Show (Shattered Music) Reviewed by Shaun Dale With elements of country swing, big band jive and rock 'n roll drive, Elliot Kendall's Le Hot Show steams, smokes and sizzles. Using a couple dozen musicians, including a horn section arranged and conducted by popmeister and former Rubinoo Tommy Dunbar (Dunbar plays guitar on the disc as well, and is joined in the nine voice backing choir by John Rubin himself), violinist James Sitterly and a first call cast of A list cats from the LA studio scene, the sound is huge. The heart of the disc is a 10 song suite that imagines a live show by the Le Hot Show Orchestra, with segues and bridges holding the tracks together in a way that grabs you and transports you to place on the Rive Gauche where the absinthe flows and the dancing goes on till dawn. In addition, there are five bonus tracks included that break with the concept to a degree, but which help demonstrate the range of Kendall's musical vision and skill, From the opening notes of "Le Hot Show Theme", featuring Sitterly's violin echoing the spirit of Stephane Grappelli, through David Pearlman's brilliant pedal steel work on "How High The Moon" and on through each of the fifteen cuts on the disc, the musicianship is consistently of the highest caliber and the project is one of the finest examples of a bold vision realized that I've heard this year. Kendall himself, on 6 and 12 string guitar, 4 and six string basses, keyboards, percussion and vocals, has staked out new and stimulating territory through a synthesis of both traditional and progressive sounds. Needless to say, this CD has my unqualified recommendation. Track List: Le Hot Show Theme (Part 1) * Everybody Jive * Greatest Sound Around * September In The Rain * 13 Women * Go Go To The Show * How High The Moon * Go Out West * Fantastic * Le Hot Show Theme (Part 2) Bonus Tracks: Symphony For A Sunset * Honda Bike * No Romance Today * Keep It Inside Tonight * Paper Heart KHACHATURIAN: Piano Concerto in D Flat Major; Concert Rhapsody for Piano and Orchestra in D Flat Major. Oxana Yablonskaya, Piano; Moscow Symphony Orchestra conducted by Dmitri Yablonsky. NAXOS 8.550799 [DDD] 59:23 Reviewed by Robert Cummings Not since the Jemelik/Klima version of the Khachaturian Piano Concerto that appeared on a Parliament LP around 1960 have I heard a recording of this work as compelling as this new one from Naxos. I've endured through the Katz/Boult, Entremont/Ozawa, De Larrocha/Fruhbeck De Burgos, Orbelian/Jarvi, and maybe some others, always with an expectation that the next one would get religion and play with the nearly wanton drive and raw spirit that made the Jemelik so riveting. Well, Yablonskaya turns in a less frenzied performance, to be sure, but one that still captures the vivacious, folksy elements with gusto and muscle, while managing to find subtlety and depth as well, traits one doesn't usually associate with this score. And her conductor son, Dmitri, partners her with a deft baton that both catches fire and soothes at just the right moments. From the opening timpani stroke and fleet tempo that follows you know this is a Khachaturian concerto of power and propulsiveness. And Yablonskaya's subtle control of dynamics is evident throughout: there are few pianists who can match her ability to rise from soft pianissimos to potent fortes without seeming abrupt or insensitive. Her first movement cadenza (track 1; 10:58) is a model of sensitivity, virtuosity, and idiomatic grasp. This concerto, let's face it, succeeds or fails depending upon how the soloist erects the fragile scaffolding that connects these three elements. Just listen to her patrician, yet luscious, phrasing of the main theme in its big reappearance in the Andante (track 2; 7:11). Only Jemelik, among her competition, reads the music with this same kind of unhurried, majestically flowing and dramatic approach. I wish all pianists had the good sense to play this passage at this moderate tempo and with this penetrating insight. It's ironic that Jemelik and Yablonskaya are otherwise faster than the others (except for Orbelian), but faster where it counts. Yablonskaya renders the lesser and less well known Rhapsody with the same kind of artistic insight and virtuosity. It's a good, typically Khachaturian piece, though not a major work. But if you like the exotic, I guaranty you'll like this. The Moscow Symphony plays splendidly in both works. Ates Orga supplies copious and informative notes, and Naxos provides excellent sound. For the concerto, unless you can dig up the Jemelik (re-released on, I believe, Urania with a coupling from a different composer), this is the recording to have. And even then, if I were forced to choose between Yablonskaya and Jemelik, price and sonics and the coupling tilt the scales decidedly in favor of the former. KORNGOLD: Violin Concerto in D Major, Op. 35; Weill: Concerto for Violin and Wind Orchestra, Op. 12; Krenek: Violin Concerto No. 1, Op. 29. Chantal Juillet, Violin; Berlin Radio Symphony Orchestra conducted by John Mauceri. LONDON 452 481-2 "Entartete Series" [DDD] 76:56 Reviewed by Robert Cummings Erich Wolfgang Korngold (1897-1957) wrote an undeniably beautiful violin concerto near the end of the Second World War, despite its conservative language and intemperately debonair veneer. He had left his native Austria in 1934 for the United States and taken up permanent residence in California, where he launched a successful career writing film scores. The concerto is based on themes he used in four such cinematic efforts, themes whose new guise hardly masked the air of a splashy, saccharine Hollywood, with images of Errol Flynn and Olivia de Havilland, of sweet romance and cliff-hanger heroism. Not that the work is weak, mind you--it's well-crafted, tuneful and virtuosic. Still, it's nowhere near the level of inspiration found in the other two works offered here. Chantal Juillet plays the concerto with utter commitment and meets every technical demand with seeming ease. I recently reviewed the Mathe/Litton performance on Dorian, where the violinist's tone sounded a bit harsh at times. Juillet is clearly preferable to my ear. Kurt Weill (1900-1950) composed his Schoenberg-flavored violin concerto in 1924. I don't mean to suggest it's a twelve tone product: Schoenberg himself was still composing his 5 Piano Pieces (Op. 23) at the time, the first work where he fully employed his new technique. Still, Weill's orchestration and harmonies suggest the Second Vienna School; but where Schoenberg is generally dead-serious, Weill is here humorous and morose, often mixing the two together as if they were indistinguishable. When a theme appears in the first movement at 2:25 (track 4) that sounds like a close cousin of the "dies irae", one wonders if it's parodistic or serious. I'll vote for parody, or at least for humor. The second movement presciently invokes early Shostakovich, whose first serious composition, the Symphony No. 1, hadn't yet been composed. Here the humor and fun are obvious. The finale is a kind of hodgepodge: muscular and dry at the outset, swooning and nearly songful in the middle, and rambunctiously spirited at the close. Chantal Juillet turns on the acid a bit and adroitly captures Weill's darkness and dark humor. If she can so sweetly deliver the Korngold, then turn grim and deliciously sour in the Weill, her interpretive range is imposingly wide, indeed. The concerto by Ernst Krenek (1900-1991) is the most dour-sounding work by far here. It is, however, not without its moments of peaceful, even beautiful, repose: the middle section of the opening movement is rather tender and soaring, if a bit tense harmonically. This 1924 work is slightly more compact than its disc mates, lasting just over twenty minutes. Again, the influence here is Schoenberg, but, as with Weill, it is not a dominating factor throughout the piece. The first movement is fraught with tension, but counterbalanced by a feeling of hope. The following Adagio is dark and mysterious, and offers a cadenza of considerable virtuosity and expressive depth. The finale begins eerily and quickly becomes intense and driven, but, in its quiet, puzzling ending, does not offer a resolution to the grim issues the work raises. Again Juillet is right on target in this great piece. It must be said that John Mauceri abets her with consistently insightful accompaniment and must take equal credit for these excellent performances. London's "Entartete" series, by the way, features music suppressed by the Nazis, or music by composers displaced by them. It is a godsend, with a treasure trove of masterful compositions previously neglected. The sound and notes on this release are excellent. In sum, this is a fascinating issue. LEO KOTTKE: The Leo Kottke Anthology (Rhino) Reviewed by Shaun Dale In 1969, the twelve string guitar had a well defined holy trinity - Leadbelly, Pete Seeger and Jim McGuinn. Each had learned from the other in order and every player seemed dedicated to the emulation of one or the other of that trio. Then came an album on John Fahey's Takoma Records, "6- and 12-String Guitar" by a kid named Leo Kottke. 12-string players had a new teacher and since I count myself in that group, I can tell you we haven't caught up yet. The 36 cuts on this 2 CD set cover ground from Bach to the blues to the Byrds, all the ground in between, and a few side trips into previously unexplored territory. His six string playing is superb throughout, and there are some of his generally underrated but always effective vocal contributions sprinkled about. It's on the twelve string, though, that Kottke really shines (an opinion no doubt biased by the even dozen strings on my own axe). That's the territory he owns, and the deed to the territory is imprinted on tracks like "Cripple Creek" and "In Christ There Is No East Or West." Kottke can pick as fast as he wants, and there are plenty of three finger pyrotechnics among the cuts here, but he can also generate great emotion from a slow and spare arrangement. Leo Kottke is a lot like sex, money or good wine - there just ain't no such thing as "enough." There's a whole bunch here, though, and if it's not enough, it's a start. If you don't know him, this is a fine introduction. If he's an old musical friend, you'll want these tracks in this format and you'll want his personal notes on each song. Either way, whether you know it or not, you want this set. Track List: Disc 1: The Driving Of The Year Nail * Ojo * Vaseline Machine Gun * Busted Bicycle * Cripple Creek * Eight Miles High * Bumblebee * Bouree * Bean Time * Tiny Island * In Christ There Is No East Or West * Last Steam Engine Train * From The Cradle To The Grave * Louise * Easter (live) * Medley: Crow River Waltz/Jesu, Joy Of Man's Desiring/Jack Fig (live) * Pamela Brown * You Tell Me Why * Born To Be With You Disc 2: Mona Ray * When Shrimps Learn To Whistle * The Scarlatti Rip-Off * Open Country Joy (Constant Traveler) * Buckaroo * The White Ape * Range * Airproofing * Up Tempo * Endless Sleep * Sonora's Death Row * Embryonic Journey * Learning The Game * The Train And The Gate * Side One Suite: Some Birds/Sounds Like.../Slang/My Double/Three Walls And Bars/Reprise - Some Birds * Sleep Walk * Rings * Julie's House KRS-ONE: I Got Next (Jive) Reviewed by John Sekerka There are a lot of things not to like about this record. The unimaginative cover graphic for starters, which seems aimed directly at the M.O.R. market. It also has a straight news at eleven female reporter deadpan, a direct rip-off from Ice-T's Original Gangster, followed by a flat in-concert diatribe. Then there's the excruciating guest appearance by ragamuffin expert Redman, ugh. Outlined in quarters like a b-ball game, I Got Next just smells of sellout. It took two weeks before I gave it another shot. I suggest you do the same. For all it's obvious faults, I Got Next may be the best hiphop record of '97. Uneven yes, but the glorious moments are truly worthy. 'The MC,' 'Neva Hadda Gun' and 'Step Into a World' with it's golden 'Rapture' theft, are outstanding and pull you into the rest of the record. After a while you don't even remember what was irking you in the first place. KRS-One has always had a way with a beat, now he turns on the fire without losing his music cred. TOM LEHRER: Songs & More Songs By Tom Lehrer (Rhino) Reviewed by DJ Johnson Despite (or maybe because of) themes like nuclear hysteria, cruelty to animals, drug dealers, and masochism, Tom Lehrer made some of the jolliest records in the world. While teaching at Harvard in the 1950s, Lehrer became a popular attraction as a pianist/singer, performing his off-the-wall brand of satyrical musical commentary at night spots around Boston. In 1953, he recorded and personally released Songs By Tom Lehrer, a 10 inch EP that cost him only $15 dollars to record and eventually sold more than 370,000 copies, despite being shunned by commercial radio stations. You've gotta raise a beer to ol' Tom for that neat trick, yes? Songs & More Songs combines that EP and the follow-up LP, More Songs By Tom Lehrer, and adds a few bonus tracks because, after all, we modern CD consumers are spoiled and we expect it. As usual, Rhino did a fine job with the entire project, and they had the good sense to go to the source and have Lehrer co-produce. Sound quality is quite good (how'd they do that?!), and the notes are entertaining. Lehrer's delivery was always at least as funny as his songs: mix equal parts Cole Porter and Groucho Marx and you're somewhere in the ballpark. Not many performers could put the names of the elements to music and make it funny ("The Elements"). Alone at the piano, he made timeless satire. Four of the five bonus tracks are from a 1960 session with full orchestra, and while these versions of "Poisoning Pigeons In The Park," "The Masochism Tango," "The Hunting Song," and "We Will All Go Together When We Go" are well made, the plush production seems to pull the stinger right out of them. No, there's really only one way to hear Tom Lehrer, and that's as a one man show. This, of course, makes us appreciate the other 24 tracks all the more. The final track is a huge surprise. "I Got It From Agnes" is more than just a 1:44 unreleased nugget: it's a brand new recording of a song he wrote in 1980. To be honest, I was completely surprised to learn it was a new recording. At the age of 69, it's clear that the man still has it. He got it from Agnes. You get it from Rhino. TRACK LIST: (From Songs By Tom Lehrer) Fight Fiercely, Harvard * The Old Dope Peddler * Be Prepared * The Wild West Is Where I Want To Be * I Wanna Go Back To Dixie * Lobachevsky * The Irish Ballad * The Hunting Song * My Home Town * When You Are Old And Gray * I Hold Your Hand In Mine * The Wiener Schnitzel Waltz * (From More Of Tom Lehrer) Poisoning Pigeons In The Park * Bright College Days * A Christmas Carol * The Elements * Oedipus Rex * In Old Mexico * Clementine * It Makes A Fellow Proud To Be A Soldier * She's My Girl * The Masochism Tango * We Will All Go Together When We Go * (Orchestrated editions) Poisoning Pigeons In The Park * Masochism Tango * The Hunting Song * We Will All Go Together When We Go * (Previously unissued) I Got It From Agnes DUKE LEVINE: Lava (Daring Records) Reviewed by Shaun Dale Watch out! Duke Levine has a whammy bar and he knows how to use it. Not to mention a vibrato switch, a lap steel, a mandola, an omnichord and great taste in material. Levine is a fine guitar player, executing styles ranging from the swing of "Quiz Show" and the country of "Buckaroo" to the scorching blues of "Stalkin'." He's a fine composer, too, who penned seven of the eleven tracks on Lava. He's backed by some strong players, principally Lorne Entress on drums, Paul Bryan on bass and Tom West on B-3 and Fender Rhodes. (Regular readers will know that I'll eventually slip into an unrepentant rave over anything with a half decent B-3 sound on it, and West is at least twice as good as half decent). Other players join in from time to time on saxophones, accordion, tamboura and manholes. The tough thing about this album is pigeon holing it into my collection. Levine can certainly play "clean as country water" and it's tempting to put it in the country rack, but he can also play low down and dirty - but how do you fit "Buckaroo" into the blues rack? And what about the stuff that sounds like soundtrack music from movies I wish I'd seen? Duke Levine slots nicely into one place, though. That growing stack of discs that can only be defined as "really good stuff." Track List: Quiz Show * Lovers' Lane * Manhole * Lava * Force Field * Buckaroo * Far Away * Fever * North Of The Border * Stalkin' * In The Dark LISZT: Complete Piano Music, Vol. 1: Danse macabre (after Saint-Saens) (1876); Nuage gris (1881); Unstern!--Sinistre, (1880/86); Grande fantasie sur "Les Huguenots" (after Meyerbeer) (Second Version--1842); La lugubre gondola I & II (1882); Impromptu (`Nocturne') (1872); Totentanz (c. 1860-65). Arnaldo Cohen, Piano. (NAXOS 8.553852 [DDD] 71:04) Reviewed by Robert Cummings About ten years ago the British label Hyperion Records began a massive recording project: the complete solo piano music of Franz Liszt, an endeavor that would require eighty or more compact discs. This effort would include all versions of Liszt's transcriptions, paraphrases, fantasies and original compositions. Thus far, the pianist chosen for the project, Leslie Howard (who is President of the British Liszt Society), has reached volume 45 (some issues contain multiple discs) and is thus defying those skeptics who said at the outset he'd never complete the seemingly impossible task. Howard's notices have generally been positive, too. Little more than two years ago the budget label Naxos announced it would launch the same project, but with an arsenal of twenty-five or more pianists that would include Oxana Yablonskaya, Jeno Jando, Philip Thomson, William Wolfram, and Arnaldo Cohen, winner of the 1972 Busoni Piano Competition. This is my first exposure to Cohen, and on the basis of these performances, I can only hope that his name pops up in this series many more times. When he goes head-to-head against Howard, as in Totentanz or in the two Lugubrious (or Funeral) Gondolas, he comes out on top in interpretive insight, and yields little, if anything, in the realm of virtuosity. Howard gives us urgency and frenzy in Totentanz, qualities, to be sure, that become virtues in this kind of showpiece. But Cohen wrings out more menace, and plays with incredible clarity, even in the loudest passages. You hear inner voices with greater delineation, inner voices that help fill the void left by the absence of the orchestra (this work is a reduction, after all, of the original score for piano and orchestra). Listen to the X-ray clarity and sensitivity of his left hand playing beginning at 1:10 (track 8) and compare it with Howard's comparative haze. For sheer lurid excitement try the passage after the slow middle section, starting at 7:11 where the tempo picks up and leads to the wild repeated notes that demonically, nervously enact the grim "dies irae" theme. Cohen plays the music here, and in the grander sections that follow, with such Lisztian relish, such dark power as to send chills up your spine. This is Liszt in all his demented, dramatic glory! In the four late pieces (Nuage gris, Unstern, and the two Funeral Gondolas) Cohen harnesses that bizarre Lisztian morbidity and delivers it with a cold sadness, a desolate resignation so appropriate to the expressive nature of these strange pieces. In fact, the First Funeral Gondola, which contains the most chillingly morbid theme I know of, is rendered as well as I've ever heard it. The Impromptu is lovingly played, too, Cohen catching that pre-impressionist side of Liszt with agile fingers and deft wrists that manage scales and dynamics so subtly. In the Meyerbeer- and Saint-Saens-inspired works Cohen once more demonstrates his versatility: to play this kind of Liszt--transcriptions and fantasies--the artist nearly always must negotiate formidable pianistic hurdles, while imparting a range of color and virtuosic effects to the music. Cohen is fully up to the demands of both these pieces and turns in dramatic readings that make you long for his renditions of the Hungarian Rhapsodies. I hope Naxos has selected him for that corner of the Lisztian repertory. In sum, this is impressive Liszt playing. If you're a Lisztian, or if you think you might want to enter the strange world of this great composer--who is by turns demonic, religious, morbid, ecstatic, frenzied, mesmeric, glorious, demented, romantic, cold, prophetic, virtuosic--by all means try this disc, which, by the way, offers nearly all those diverse elements. It appears Naxos may be about to pull off another coup: their Liszt cycle will cost less than half that of Hyperion's, and their piano sound is decidedly superior, too. And with pianists like Cohen in their fold, they would appear to be the clear choice. Time will tell. I don't mean to denigrate Howard; he's a great pianist, in spite of his often overly fast tempos. Much of his playing is utterly riveting and more than occasionally enlightening. But this is an auspicious start for Naxos on this monumental project, and this disc is highly recommended. I eagerly await the forthcoming issues. THE LONDON SYMPHONY ORCHESTRA: Symphonic Rock - The British Invasion (Telarc) Reviewed by John Sekerka All you craving classic rock, look no further. The London Symphony Orchestra is here to fulfill your wildest wishes. 'Nights in White Satin,' 'Stairway to Heaven,' 'House of the Rising Sun,' 'Bohemian Rhapsody' ... all masterfully stroked, plucked and blown by a roomful of gents in tuxedos. No nasty guitar solos, no pounding drum rolls, no ear-splitting screams, just the beautiful, lush melodies swirling around like a squirt of air freshener. A conductor's wave replaces the air guitar riff. This may seem like the ideal soft core version geared straight at the fortysomethings, but you, my young naive friend, haven't really lived until you've heard 'You Really Got Me' presented in seductive 'Bolero' styling. Maestro: and a one, and a two ...... LOS HOOLIGANS: Traditions (Moon Ska) Reviewed by Shaun Dale Los Hooligans is a nine piece unit from California that plays ska with a pronounced Latino accent. Actually, it's surprising that more bands haven't exploited the Latin elements of Caribbean music in the current ska scene. Almost every imaginable permutation of this most seemingly adaptable genre has found success, and this outfit should find more success than most. Almost drifting into an Afro-Cuban jazz motif at times, they're a tight instrumental unit, featuring a dynamic horn quartet, a fine sense of swing and capable vocals on several tracks. The material mixes standards ("Lady In Red," "Till There Was You") with an impressive and diverse set of original compositions by various combinations of six members, principally trumpeter Tony Luna and saxman Benny Torres. This is one of those discs on which the players all sound as if making the music is a lot of fun. I can tell you without doubt that there's a lot of fun to be had listening. Track List: Traditions * Lady In Red * Sonora * I Won't Go * Pecadora * Slide On * Ojos Negros * Swing Right Rudie * Stephanie * Area 51 * Till There Was You * Wrong Side Of The Tracks PAUL McCARTNEY: Flaming Pie (Capitol) Reviewed by Steve Marshall When I first heard that Paul McCartney was releasing a new album, my initial reaction was one of skepticism. All the press reports talked about how he was doing this album strictly 'for the fun of it,' and how he wanted to keep the publicity low-keyed, etc. I was still skeptical. His last few albums have been less than spectacular, and I had no reason to believe this one would be any different. As it turns out, Flaming Pie is the best thing he's done in years. Aside from a few special guests here and there, McCartney plays all the instruments on the CD himself, too. The new songs range from acoustic vignettes to rockers and R&B-influenced tunes. "The Song We Were Singing" starts the CD. An acoustic tune with a great melody, the track practically embeds itself into your brain from the first time you hear it. The first US single, "The World Tonight," was originally written as a folk song while McCartney was on vacation, and then beefed up by Jeff Lynne. "Somedays" is a poignant, acoustic tune written in a mere two hours. George Martin's orchestration on the song makes it one of the CD's highlights. The first single in the rest of the world is "Young Boy," one of several songs featuring Steve Miller on vocals and guitar. "It was great to renew my 60's friendship with Steve Miller," said McCartney. "Working with Steve again was like falling into an old habit." After working together on "Young Boy," Miller was anxious to continue the collaboration. He suggested that they do something in a 'Texas blues' vein. He showed up for the next session with "millions of little blues riffs." McCartney got behind the drum kit and they started to jam. This jam eventually became "Used to Be Bad," a duet co-written by the two of them. McCartney played most of the instruments on "Heaven on a Sunday," but he got his son James to help out on the song's electric guitar solo. "I played the acousticy sort of thing, like an old blues guy, and left the Young Turk to play the hot electric stuff," said McCartney. Another highlight on Flaming Pie is "Souvenir," an R&B-flavored track resembling "Call Me Back Again," a song from his days with Wings. Ringo Starr appears on two songs, and co-wrote one with McCartney. Although the song is nothing spectacular, it's the first time the two ex-Beatles have written a song together. At Linda's request, Flaming Pie features some of the heaviest guitar playing McCartney has done in years. His songwriting is fresh and inspired, better than it has been since his days with Wings in the mid-70's. There are still a few sappy tunes here and there, but the good songs far outnumber the bad. If you're a Beatles fan, or a McCartney fan, don't miss this one. MEGADETH: Cryptic Writings (Capitol) Reviewed by Jeff Apter Dave Mustaine and his thrash-metal buddies get surprisingly accessible on their eighth long-player, which was recorded in (of all places) Nashville. Maybe the country air worked the trick, who knows? Produced by Mutt Lange protege, Dann Huff, whose trademark hard-rocking kick is stamped all over these 'Cryptic Writings,' there's a fluency to Megadeth's monolithic ampage that I've overlooked in the past. And while Marty Friedman's warp-speed fretwork is a constant, Megadeth have introduced a functional sense of humour: "Have Cool, Will Travel" shows that Mustaine, a no-nonsense thrasher for whom the term speed-metal could have been invented, might be decent company after all. Mind you, the mirth factor is balanced by the breast-beating "FFF" (fight for freedom), the stodgy rock grind of "Mastermind" and the lock-your-doors threatening "I'll Get Even" - but two thumbs-up to the 'Deth for occasionally defying expectations. MENDELSSOHN: The Complete Symphonies, Vol. 2: Nos. 4 in A (Italian); No. 5 in D (Reformation); Calm Sea and Prosperous Voyage. London Philharmonic Orchestra conducted by Bernard Haitink. A Midsummer Night's Dream: Overture, Op. 21; Incidental Music, Op. 61 (Rae Woodland, Soprano; Helen Watts, Alto; Netherlands Radio Chorus); Violin Concerto in E Minor. Arthur Grumiaux, Violin; Royal Concertgebouw Orchestra conducted by Bernard Haitink. (PHILIPS DUO 456 074-2 [ADD] 2:21:13) Reviewed by Robert Cummings Obviously you get considerably more than the misleading title of the album suggests. More importantly, though, you get compelling performances of most of the works offered, and good sound as well, in spite of sonics dating from 1978 in the symphonies and Calm Sea, and from the early 1960s in the other pieces. Lastly, as you may already know, the Philips Duo line is a two-for-the-price-of-one series. Haitink serves up an effervescent and absolutely convincing reading of the "Italian" Symphony. There are so many good renditions of this popular work on the market, though, it's hard to recommend one as the preferred version. I recently reviewed another budget offering of this piece, the Naxos disc featuring Reinhard Seifried and the National Symphony Orchestra of Ireland. It, too, is a splendid, if calmer, performance that confounds the buyer perusing the budget bins in search of a "best" buy. I would say that Haitink's approach is a traditional one: straightforward and lively, with judicious tempos and rich detail. But his keen insight and the committed playing of the London Philharmonic Orchestra elevate it to an inspired class. Dohnanyi/London Jubilee and Bernstein/Sony, both excellent performances, may also still be available and at reduced prices. Haitink also reads the "Reformation" Symphony with the same vigor and insight. The first movement is especially compelling for its infectious energy and contrasting contemplative moments (the work is a celebration of the Augsburg Confession, the document written to help establish the Lutheran Church in Germany). The second movement is rendered here about as well as you might ever hear it, Haitink imparting a delicious lilt to the middle section, and framing it with the most intoxicating high spirits in the main material. The finale is grand and glorious, the conductor coaxing his able London players to clothe Luther's "Ein Feste Burg" theme in the most heavenly sonorities. Again, there is considerable competition even in this lesser work, but suffice it to say that Haitink's reading can rank with the best. In the concerto Arthur Grumiaux turns in a fairly unmannered and polished reading that stands the test of time (37 years and counting). Personally, though, I favor the Perlman/Barenboim on Erato, mainly because of the soloist's tonal opulence and solid interpretation. (That issue also features a stunning Prokofiev Second, with the wildest ending I've yet heard.) The Overture and Incidental Music to A Midsummer Night's Dream once again find Haitink keenly alert to Mendelssohn's generally sunny disposition and kaleidoscopic vision. Soprano Rae Woodland's sweet and utterly charming voice sounds so right here, as does the darker alto of Helen Watts. The women of the Netherlands Radio Chorus also turn in splendid work. Calm Sea, the filler for the symphonies on CD I, is a further bonus here, with just the right balance of atmosphere and exuberance. All in all, this is a quite economical way to acquire a handful of popular Mendelssohn works in splendid performances. As mentioned the sound is quite good, though there is a bit of hiss and some shrillness in the recordings from the 1960s. Still, this is bargain by any measure. MONACO: Music For Pleasure (A&M) Reviewed by Jeff Apter With his bass slung so low an injury was imminent, and boasting a fine line in leather duds, Peter Hook was as close to a personality as New Order offered the world. With all the wisdom that age brings, Hook's now a shrewd musical mover, sticking to what he knows best with his new combo, Monaco (where he teams up with guitarist and studio ace David Potts). Hence the towering walls of synths, melodious basslines and big pop production that courses through much of their Music For Pleasure. There is the odd surprise, though. Stadium-sized guitar hooks and a stampeding, shoutalong chorus makes "Buzz Gum" the best Britpop Oasis never recorded, while "Sweet Lips" heads directly to the dance floor, riding high on wailing diva vocals and a tsunami-sized percussive rush. As for shortcomings, there are but a few. Hook's vocals redefine the term "limited range," and there's a vague synth-pop familiarity about much of Music For Pleasure: "Junk" and "Happy Jack," for starters, could be ghost tracks from Substance. But if you can accept Monaco as a new New Order, their debut lives up to its name. MOODSWINGS: Psychedelicatessen (Arista) Reviewed by Shaun Dale Suspicious though I am of music that seems to feature more programmers than players, I'd recommend this disc if it had no more to offer than the stunning marriage of Bob Marley's "Redemption Song" and the gospel standard "Oh Happy Day." It has more than that, though, much more. Opening with a series of short, spacey, new-agey cuts, it soon moves into "Dancing Is Important," a theme which should be branded into the surface of every synth, sequencer and computer used in the production of music. Spacey sounds are nice, technical wizardry can be fun, and we can all use a breather now and then, but the highest function of popular music is to provide sounds to move your butt to. There are plenty of those sounds in this mix of funk, R&B, world and new age beats. There are also some respites for those who need to catch their breath and space out for a bit. "Redemption Song (Oh Happy Day)" is definitely the highlight for me, though. The song is laid on top of a choir chanting "Oh Happy Day" and a deep bottom bass and drums rhythm track. From there it soars, spins, cuts and runs into an all absorbing, ethereal arrangement that gets the repeat button track of the month prize from this writer. Slap this on at your next party. Watch the people dance, watch the people listen, watch the people wonder where this came from and where they can get it. Track List: Lifeforce In A Pizza * Crysmile * Undistracted * Dancing Is Important * Together As One (Luminous) * The Great Sound Of Letting Go * Sugarush * Destruction & Destroy * Indian Drug Carpet * Spore * Redemption Song (Oh Happy Day) * Horrorzontal * Vibratonik * Okinawa * Hinckenlooper's Eclipse * God Knows What I Want * Happy Piano THE MOODY BLUES: Long Distance Voyager (24k Gold)(Mobile Fidelity Sound Lab) Reviewed by DJ Johnson By the time Long Distance Voyager was recorded in 1981, keyboardist Ray Pinder had left and been replaced by Patrick Moraz. After several years with Yes, Moraz brought a busier sound that pushed The Moodies into a somewhat colder technical place. Pinder's dreamy atmospherics were badly missed. The songs on Long Distance Voyager weren't going to make anyone forget "Ride My See-Saw," but this wasn't music without merit. "The Voice" gave them an FM hit, John Lodge's "Talking Out Of Turn" showed The Moodies could still make spine tingling music, and the 37 second "Reflective Smile" proved Ray Thomas could still spark the imagination with an echoing poem. Once past the mid-album filler (the dreadful "Gemini Dream," the pretty but painfully long "In My World," Justin Hayward's "Meanwhile," which could have been fine had it not been produced to death, and the awkward "22,000 Days"), the chemistry of the band begins to generate a warmth that finally overcomes Moraz's electronic bells and whistles. "Nervous," a Lodge tune, is beautiful and simple, with a great pop chorus full of classic Moodies harmony. Thomas' album-closing "Veteran Cosmik Rocker" is amusing on the surface and just a bit terrifying for those who listen closely. It also contains some fine blues harp and flute work by Thomas. Long Distance Voyager was the first and only album the band recorded at their own studio, Threshold, which means the band had a lot of time to play with the sound. While it wasn't as huge as the classic Moodies sound, it was a whole lot bigger sounding than the average 1981 album. The MOFI release is warmer and fuller, and most certainly clearer. "Veteran Cosmik Rocker" gives the most obvious demonstration of the sound improvements on this 24 karat gold CD. There is so much happening on the track that it's nearly impossible to keep it all sorted out. At least that was the case on the original release. Here, the instruments hold their separation and their presence throughout. Technically, this is a fine audiophile release. Artistically, it's a mixed bag. THE MULCHMEN: Louder Than Dirt, Thicker Than Mud (Big Beef Records) Reviewed by DJ Johnson Pssst... There's danger in Dayton. Pass it on. In my review of The Mulchmen's 7" EP, All The News That's Fit To Surf, I said they followed just enough of the rules to be considered trad. Yeah, well the rule book is now in the shredder basket and they're throwin' in a match. The Mulchmen don't get fancy when they play their brand of surf/spy/punk. Where another band might throw fifty machine-gun notes to kick you along, The Mulchmen use sparse arrangements and empty spaces to build drama and tension and send you into free fall. Each song consists of several diverse segments, strung together in a most satisfying way, with Nick Kizirnis' guitar sounding mean and foreboding one moment and Carl Wilson-jangly the next. And that puts The Mulchmen in their own category. Brian Hogarth (bass) and Gregg Spence (drums) never try to grandstand, opting instead to trade flash for simplicity and power, giving Kizirnis all the room he needs to weave a spell with guitar or theremin. This is dangerous, eyes-closed, head-swaying brain music, and that's the best kind. Just as the rule book bursts into flames, The Mulchmen launch into the high octane intro to "Bridge Of Death" sounding for all the world like a traditional surf band. But in the final moments of that final track, Spence and Hogarth jump into a boogie-lock reminiscent of Rik Lee and Leo Lyons (Ten Years After) as Kizirnis goes stark raving bonkers on the theremin. It seems only proper that Louder Than Dirt, Thicker Than Mud should reach meltdown rather than simply end. (Big Beef Records: P.O. Box 303 WBB, Dayton, OH 45409, USA.) TRACK LIST: Mudslide * Snake Eyes * Dirty White Collar * Swivel Hipster Shake * Flippin' Out * Frank * Sci Fi Voodoo * Chiwawah! * No. 99 * Bustin' Golf Clubs * Bonfire Serenade * A Man With No Reverb Is No Man At All * Rumble 3000 * Bridge Of Death KENNETH NEWBY: Sirens (ZoeMagik/City Of Tribes) Reviewed by DJ Johnson To say that Kenneth Newby keeps himself busy would be a gross understatement. As a member of Trance Mission, Newby creates vast and mysterious soundscapes for his talented bandmates to build upon with an endless variety of acoustic instruments. Trance Mission records for City Of Tribes, a San Francisco based record label whose artists often work together like a repertory company from project to project. These are otherworldly talents, including Beth Custer, Barbara Imhoff, Steve Roach, Patti Clemens, and Steven Kent. From that fertile and conducive atmosphere comes Newby's latest solo work, Sirens. Electroacoustic ambient music, for those of you who aren't familiar with it, is often more about texture than melody, and nearly always about atmosphere. To my ears, this music is what "new age" was supposed to be before the elevator musicians got ahold of it. In those early days of the genre, I read a description that said "new age is like heaven's soundtrack," and that surely fits the music on Sirens. Newby's background textures and hypnotic rhythms provide an intense foundation for the melodic instruments, and the fusion of sounds creates a music that sounds at once futuristic and ancient. This music reaches deep into the circuitry of the mind and paints alluring pictures there, building worlds with no physical boundaries and endless possibilities. I can't fully express what it's like to sleep to this music, but I can recommend it for vivid technicolor dreaming. This genre is relatively new to me, and I'm actively learning my way around, but I can tell you that, thus far, this is the most intensely dreamlike, breathtaking album I've heard. It's released on ZoeMagik, the new baby sister to City Of Tribes. If you're open to mind journeys, if you have a great imagination--or maybe a good connection--and you're open to new sounds, this is a great place to start. (You can find City Of Tribes on the World Wide Web at http://www.cot.com) THE OMEGA MEN: The Spy-Fi Sounds Of... (Musick Recordings) Reviewed by DJ Johnson Previously, I'd only heard one track by The Omega Men, that being a cut on the outstanding Instrumental Fire compilation (also on Musick Recordings) a few months back. I liked that, and I like this. They are sloppy at times, occasionally derailing the beat for brief moments, but they sure do make a cool sound. In this era of retro-madness, garage bands break down into two categories: those with Farfisa organ and those with Vox organ. (Well, three categories. You have to include bands with NO keyboards.) Both organs have their merits. Here comes Susan Mackay playing a Hammond B3 with Leslie speaker, giving Omega Men's music enough swirl to create a wicked undertow. It's all part of a big plot, I'm tellin' ya. Simple, solid bass and drums, 'verbed-out Rickenbacker and Hagstrom guitars, the slightly detached and sometimes even mournful voice of Jonathan Sipes, and that exquisite swiiiiirl! Great work behind the console by Dave Wilkerson, who has worked with some biggies (Tubes, U2, and Bob Dylan, among others). Fire retro rockets and breathe in the spy-fi atmosphere. (Musick Recordings: 202 W. Essex Avenue, Lansdowne, PA 19050 USA. 610-623-8467. Fax# 610-623-8547.) POLLEN: Peach Tree (Wind Up) Reviewed by Shaun Dale Another entry in the pop-punk sweepstakes, Pollen may just have the winning ticket. Their third album (two previous releases on Grass Records are out of print), this should be their breakthrough effort. Drummer Bob Hoag is the driving force here - writing and co-writing ten of the twelve selections in addition to producing, mixing and, of course, playing. He also did the graphic design on the disc booklet. (I wonder if he swept up the studio as well.) The man is a veritable latter-day Dave Clark. Which is not to discount the rest of the band. Guitarists Mike Bennet and Kevin Scanlon rip, soar and slam as required. Bassist Chris Serafini thumps through a point by point counterpart to Hoag's driving drumbeat and Dan Hargest has fine punk pipes on the vocal front. This is a tight unit, hitting that perfect blend of pop precision and punk energy that their genre requires. I don't know what their plans are, but if they don't include getting some airplay for "Tiny Shoes" they're missing a good bet, in my view. Of course, there are plenty of other worthy cuts here, and Hoag seems to know what he's up to without any help from me. Me, I'm just going to enjoy listening to this one for some time to come... Track List: Almond-coated * Tiny Shoes * Chalkboard Dust * Fine, Then * Denoted * Hyperventilate * A Clear Complexion * Sugarless * All But One * Colorful * Soda Pop Cold * Snowy ELVIS PRESLEY: Elvis Is Back (DCC - 24 karat gold CD) Reviewed by DJ Johnson This was the King's first album upon his return from military service in 1960, and his very first stereo release. Remastered (by Steve Hoffman, of course) from Living Stereo Nashville's original stereo mixes, Elvis Is Back retains much of the warmth of the original vinyl release. Separation is clean as a whistle. I don't remember the original having such definition between Elvis' voice and its reverb tail, but the effect creates a huge soundscape. The music itself is well worth owning. "Fever" is available on several compilations (though never with such stunning sound), but most of these songs have long since vanished into time. Some of Elvis' finest non-hit pop tunes are here, including "Such A Night" and "The Girl Of My Best Friend." "Dirty, Dirty Feeling" is a rockabilly tune, and Elvis' band was always amazing in that capacity (especially guitarist Scotty Moore, who remains a bonafide guitar god to this day). The true greatness of Elvis Is Back, however, is found in its blues tracks. Elvis gets very little of the credit he deserves for bringing blues to a white audience years before The Yardbirds, Stones, Animals and other Brit invasion bands did, but the proof of the deed is here. "It Feels So Right" bridges blues and rock in a way so vivid that it could be used as a textbook for educating those who just can't see the connection between the two. "Like A Baby," a more traditional blues, benefits from smoldering sax by Boots Randolph and the acoustic guitar work of Moore and Hank Garland. Randolph burns again on the final track, "Reconsider Baby," and Floyd Kramer provides some shimmering acoustic piano work. What shouldn't be lost amongst all of these great performances is the fact that Elvis Presley A) had a deep understanding of the blues, B) had the inclination to take a risk and present the blues to his audience, and C) was a kick ass blues singer in his own right. That three of the last four tracks on Elvis Is Back were blues numbers is proof enough of his love of the form. This is the first Elvis title in DCC's catalog, and it's an interesting and surprising choice, most likely reached because it was so well recorded and because there is no filler. This review only covers the 24 karat gold CD version, but be advised that they've also released it on 180+ virgin vinyl, and if this CD is any indication, the vinyl must be a real stunner. (DCC can be reached by telephone at 1-800-301-MUSIC.) CHUCK PROPHET: Homemade Blood (Cooking Vinyl) Reviewed by John Sekerka Chuck Prophet cut his teeth with seminal cow punksters Green On Red, a band that, like many others, never received it's due. And though he's continuing a great recording legacy with his solo work, it don't look like ol' Chuck's gonna see that pot of gold any time soon. But that's okay, cuz I'm sure wealth and fame would surely spoil what is one of America's better writers. With Homemade Blood, Prophet zones in on middle America: Dairy Queens, taco stands, radio static, cheap red wine ... 'She had time to kill and love to spare' ... you know the score. Copping a few tired Stones licks seldom sounds this fresh; besides, this boy can play the guitar. Like the best rock'n'rollers, Prophet borrows freely, and makes his own gumbo. Tom Petty used to sound like this, but then he got rich. RESPIGHI: The Pine of Rome; The Fountains of Rome; Roman Festivals. The Pittsburgh Symphony Orchestra conducted by Lorin Maazel. SONY SK 66843 [DDD] 63:35 Reviewed by Robert Cummings A fine disc all the way around. The big story again is that the underrated Pittsburgh Symphony plays like a world-class ensemble. I'll contend from here on that it can stand with the Philadelphia, Chicago, Cleveland, Berlin and Amsterdam orchestras. Period. Maazel's Pines is an improvement over his London/Cleveland Orchestra reading (which was coupled with a spirited Roman Festivals) and can easily contend with the best. In fact, this might even erase memories of Toscanini for some, so powerful and penetrating is Maazel's glorious take on this glitzy epic work. For that matter, the other two works here are right on target, as well: atmospheric, energetic and idiomatic. Sony provides absolutely excellent sound with its 20-bit technology, producing a soundstage and clarity about as lifelike as one could wish. Excellent notes are provided, as well as program descriptions for each section of the three tone poems. If you like these scores (I must confess I've never been crazy about them), this is the disc to get. CHRIS ROCK: Roll With the New (Dreamworks) Reviewed by Rusty Pipes I'd probably write a positive review about Chris Rock's work no matter what he put out. He's become a lot more than just another SNL alumnus, what with his work on Comedy Central last year and now HBO, but this record is extra special. Roll with the New is not just a long monologue like 90% of comedy albums. Chris does have several bits here that reprise his recent HBO special, but there's more. Spaced in between the bits are great little audio plays done in several styles. "Press Conference" is a sampling track done a la Flying Saucers. This is a style that dates back to when sampling was done with razors and splicing tape where a narrator sets up a clip of lyrics with a question, giving it a new twist. Chris updates the technique with rap records putting words into the mouths of O.J. Simpson and Ike Turner to hilarious effect. Chris also dwells on O.J. in a monologue but is funnier when he mutates "Who's on First" into "O.J. & Ojays." There's music too. "Champagne" starts out as a rather nice soul tune done with Juicy Fruit Jenkins and Freedom Williams and with music by Prince Paul and Don Newkirk. All these studio bits keep the texture of the album very interesting. But that's not why the album is so special. Roll with the New is special because Rock puts down ignorance and violence in a big way. Ignorance and violence that's found in people who happen to be BLACK. "Who is more racist, Black People or White People?" he asks in "Niggas vs. Black People." The answer? "Black People. You know why? Cause we hate Black People too! Everything White People don't like about Black People, Black People REALLY don't like about Black People." Chris is drawing a line between two different kinds of Black Culture. "I love Black People but I hate Niggas," he says with conviction, giving "Niggas and Gangstas" a severe tongue lashing about all the dummying down, thieving and worse that they perpetrate and perpetuate. It's a wake up call and he won't tolerate apologists of his race hiding behind victimhood, at one point mocking the attitudes of those who say it's just The Media creating a bad image of Blacks. "Please cut the fuckin' shit!" Chris says, "When I go to the money machine at night, I ain't lookin' over my back for The Media, I'M LOOKIN' FOR NIGGAS!" Subtle and overt reminders all over the album make the message clear--ignorance and violence do no good for anyone's culture. A DJ friend who's Black was already hip to the album and loves it. The Washington DC audience was certainly on his side too--good signs that the majority of Black people are ready to draw the line with Chris. Of course casual listeners will be happy to know there's a big helping of riotously explicit sexual humor here too, and Chris's work is easily in the same league as a Damon Wayans or a Martin Lawrence. The dick jokes and the clever studio pieces will hook everyone into listening so the real message can sink in. This is where Wayans and Lawrence are left in the dust and Rock reaches for the heights of Richard Pryor, George Carlin and Lenny Bruce. I'm really happy to see his talent is coming through now because he was terribly wasted during his Saturday Night years. It'll be very easy for some Blacks to take offense and say Chris is a big star now, that he's sold out and made this album for mainstream America (read: whites). I don't agree. I think Chris really is "tired, Tired, TIRED" of the shit and truly wants the best for his culture and everyone else. It's a rare for anyone to take such a strong stand these days and I applaud his courage for making Roll with the New. TRACK LIST: Opening/Crickets * Marion Barry/Million Man March * This Show Sucks #1 * Luther Campbell * Cheap Pete *Tossed Salad * Press Conference * O.J., I Understand * O.J. & Ojay's * Champagne * This Show Sucks #2 * Niggas vs. Black People * I Love the Show * Introducing Mary Wong * My Favorite Joke * This Show Sucks #3 * Bad Phone Sex * I'm Back * Another Face Song THE SABREJETS: Hellbent (Raucous Records) Reviewed by Shaun Dale This Irish rockabilly quartet delivers up nine original tunes and a cover of Marc Bolan's "Born To Boogie" with all the energy and authenticity you could hope for. Songwriting chores are split up between lead singer/rhythm guitarist Brian Young and lead guitarist Liam Killen, and if I didn't know better, I'd think they found the charts under the boards of some Tennessee back porch. These guys obviously love the music enough to get beyond the form and into the heart of the rockabilly sound. They pick and sing it just like good ol' boys, too. The T. Rex cover is presented in the same straightforward way, well enough to make you forget it's glam rock pedigree. No small part of the reason for that, and for the success of every track on the disc, is the solid base laid down by drummer Bill Johnston and bassman Marty Cottrell. Fans of traditional rock and roots music should check this one out. (Raucous Records: Shakespear House, 37-39 Shakespeare Street, Southport PR8 5AB England. Telephone/fax: 01704 539499. International: +44 1704 539499. E-mail: rauc@globalnet.co.uk) Track List: Hellbent! * Going Down To Memphis * Born To Boogie * In And Out Of Love * Wildcat * Bang! Zoom! * Long Gone * Rooftop Boogie * Midnight Train * The Wiggle SATISFACT: S/t (K) Reviewed by John Sekerka Right from the get-go there's no denying the obvious influence. Satisfact have released the best Wire (circa '79) record of 1997. The cluttered arrangements, the choppy rhythms, the guitar wails, the urgent vocals, it's all here. Art punk angst for you new wave reminiscers. As Elastica before them, Satisfact have borrowed heavily, but their slant is more obscure, not destined for top of the charts, but lurking underneath much like the original Wire material. It has a longer lifespan because it grows with each listen, and is not immediately obvious in its power. But baby, it's got the power. Hijacked by Steve Fisk's screaming theremin whistles, 'Demonstration' is the bucking bronco in this stable, kicking up a glorious and nasty storm. It is brutishly simple and blunt. Perhaps thee pop moment of the year. Best thing is, it's followed in rapid succession by an album's worth of gems. A real find. SCHUMANN: Lieder: 4 Songs from Myrthen, Op. 25; Frauenliebe und -leben, Op. 42; 2 Songs from Liederkreis, Op. 39; 4 Songs: Op. 79, no. 24; Op. 51, no. 1; Op. 101, no. 4, Op. 79, no. 29. Clara Schumann: Er ist gekommen in Sturm; Liebst du um Schonheit; Das Veilchen; Lorelei; Mein Stern; 6 Songs, Op. 13. Barbara Bonney, Soprano; Vladimir Ashkenazy, Piano. LONDON 452 898-2 [DDD] 68:59 Reviewed by Robert Cummings This disc presents "lieder," or songs, by the most famous husband-and-wife team in the history of classical music, Robert and Clara Schumann. Robert was the greater composer, of course, and Clara the greater pianist, one of the leading virtuosos of her time, in fact. Robert went insane and died prematurely, and Clara, it is said, went on to have a relationship of sorts with Brahms, though the two never married. Both Robert and Clara wrote some quite attractive songs, which Soprano Barbara Bonney delivers with a generally light approach, and quite successfully. Robert Schumann's Frauenliebe und -leben (A Woman's life and love) is the most masterful complete collection here and among the most popular lieder cycles. Bonney, with tempos generally on the brisk side, renders the songs with poignancy (Susser Freund, du blickest), buoyancy (An Meinem Herzen, an Meiner Brust) and proud fervor (Er, der Herrlichste von allen). Her performances were so convincing that I felt compelled to reach for my Jessye Norman/Philips recording for comparison. Norman is darker, more probing and profound, and, some would say, more fitting to the music. But Bonney is good in her own right. Her voice is positively angelic, never thickening and turning mezzo-ish, as sometimes happens to Norman (in Du Ring an meinem Finger, for example). And Bonney's phrasing and technique are absolutely superb. In the other repertory here, she's just as impressive. Her performance of Clara's Er ist gekommen in Sturm und Regen is compelling, capturing its anxiety and sense of lost love. In Clara's Der Mond kommt still gegangen she mesmerizes the ear with nocturnal dreaminess, while in Robert's Widmung she fully catches the bliss and ecstasy. The whole recital is beautiful and reveals Clara to be a better composer than many might think. The ubiquitous and indefatigable Vladimir Ashkenazy partners Bonney with consummate artistry in every respect. London provides excellent sound, good notes and full texts. A most enjoyable disc, and a must for those interested in lieder. JANE SIBERRY: Teenager (Sheeba) Reviewed by Shaun Dale Though I've generally enjoyed what I've heard of Jane Siberry's previous output, I was fully prepared to be more than a little disappointed in the first disc released on her own Sheeba label. I mean, you record a half a dozen albums, add a live disc for the growing fan base you've developed, get your own label and do what? Release an album of the songs you wrote in high school?!? Well, if you're Jane Siberry, that's exactly what you do. And if you're as dubious of the notion as I was, I hope that you'll listen and be as pleasantly surprised as I am. First, she shows great taste and restraint in not dolling these up to enhance their commercial appeal. Siberry alone on guitar or piano and a few harmony overdubs carry most of these tunes. Peter Kiessewalter adds some accordion flourishes on two tracks and Rebecca Campbell provides backing vocals on two more. That's it. And that's perfect. The songs themselves are not earthshaking, but neither are they embarrassing. Jane was obviously spending a lot of time listening to Joni Mitchell in those days, but as influences go you can do a lot worse. There are songs about family members, teenage philosophical musings with a refreshing lack of teenage angst, and, of course, love songs. Interspersed are an introduction and some comments by Siberry to give context to the selections, reminiscent of the stage patter at a live show. Siberry fans are going to be delighted with this disc if only for the historical value and the further glimpse into her life and character. Even those who have never heard of Jane Siberry, though, will find songs crafted with surprising care and performed with such obvious affection that they'll get pulled in. Track List: Introduction * The Squirrel Crossed The Road * Let's Not Talk Now * Song To My Father (original and new recording) * Broken Birds * Puppet City * Oh My Sister * The Long Pirouette * Bessie * We Should Be There By Morning * Viking Heart * When Spring Comes * Angel Voyeur * Trumpeter Swan FRANK SINATRA: The Very Best Of Frank Sinatra (Reprise) Reviewed by DJ Johnson By 1960, Frank Sinatra had already enjoyed the ups and survived the downs of a quarter century in the music biz. Having just finished his stint at Capitol Records, and suffering one of his longer popularity lulls, The Chairman Of The Board made an astute move: he started a record label. Reprise Records provided the stage on which Sinatra made the most amazing comeback in music history. The Very Best Of Frank Sinatra is a misleading title. Don't get me wrong, these are all great songs, but they only represent his output for Reprise (between 1960 and 1980). Many of the songs he recorded during his early career were re-recorded during this time period, and 19 of them are included on this 2-CD set. In most cases it will come down to a matter of your personal taste. Do you prefer the jazzier originals or the swankier covers? The 21 first-run tunes are some of his best in any era. "The Best Is Yet To Come," "Fly Me To The Moon," "Let's Fall In Love," "Come Rain Or Come Shine," and his classic attitude tune, "That's Life," all offer proof positive that Sinatra was the king of swing. The Very Best Of comes six years after another collection, titled Sinatra Reprise: The Very Good Years. That single disc contained 20 songs, 17 of which are included on The Very Best Of, so this set could be seen as a replacement for, or alternative to, The Very Good years. On the other hand, there is a 4-CD box of Sinatra's Reprise highlights for the ultra-serious fan. Baby, Mama, and Papa. Pick your bear. My guess is this one will do well, being affordable AND jam-packed with 40 tunes. Ain't it great to have options? TRACK LIST: Disc One: Stardust * A Foggy Day * Let's Fall In Love * The Girl Next Door * Old Devil Moon * The Way You Look Tonight * Fly Me To The Moon * Nice Work If You Can Get It * I Get A Kick Out Of You * Come Rain Or Come Shine * Please Be Kind * Don'cha Go 'way Mad * They Can't Take That Away From Me * In The Wee Small Hours Of The Morning * I've Got You Under My Skin * Let's Face The Music And Dance * Come Fly With Me * My Kind Of Town * Luck Be A Lady * The Best Is Yet To Come Disc Two: It Was A Very Good Year * All Or Nothing At All * Night And Day * Nancy * Young At Heart * Love And Marriage * All The Way * Witchcraft * The Tender Trap * The Second Time Around * Pocketful Of Miracles * Softly, As I Leave You * Strangers In The Night * Summer Wind * That's Life * Somethin' Stupid * Wave * My Way * Theme From New York, New York * Put Your Dreams Away SLAVE: Stone Jam (Rhino) Reviewed by DJ Johnson After a couple of extra funky albums, Slave fell victim to the disco thing, turning out this album half empty with super-slick dance calculations at the end of 1980. It doesn't even approach funk until the fourth track, "Sizzlin' Hot." "Never Get Away" stands out as an interesting mood piece that manages to be surreal and floaty while Mark Adams is laying down a fast and nasty bass line. But the first moment of SERIOUS funk arrives at track 8. "Stone Jam" has a rubber groove, layered harmonies, fluid guitar solos... everything a great funk song should have. That track closed the original album, leaving it out of balance and decidedly slick. Rhino has included three bonus tracks, but they're simply alternate mixes of three songs that appeared earlier in the album. All in all, Stone Jam is a decent album if you judge it against other dance albums of 1980. If you judge it against earlier Slave and you're vote hinges on the funk factor, it's just not up to the challenge. JIMMY SMITH & WES MONTGOMERY: Jimmy & Wes The Dynamic Duo (Verve) Reviewed by Shaun Dale With the names of two giants of jazz on the cover, it's important to remember that this legendary album was in fact a three way collaboration. Arranger Oliver Nelson conducted the big band that backs three of the five cuts from the original album (the other two and the extra track, an alternative take of Montgomery's "O.G.D. [Road Song]," are presented in a small combo format with the duo backed by drums and conga). His work in that role allowed the two featured players to cook, prodding each other without the burdens of leading. And cook they did. From the opening epic ten minutes of "Down By The Riverside" it's clear that there's something special going on here. From there, they climb on Duke Ellington's "Night Train," which is run as a high speed express. For "Jimmy and Wes" the band drops away and the two alternate lead and rhythm roles over a simple percussion background. "13 (Death March)" isn't a march, and the only thing deadly about it is the dead on arrangement by Nelson and the way Jimmy's B-3 and Wes's guitar slice down to the bone of Gary McFarland's composition. The last cut on the original release, "Baby, It's Cold Outside," is a return to the small combo, with Grady Tate back on drums and Ray Barretto dropping the conga in favor of jingle bells. The version of "O.G.D. (Road Song)" presented here is an alternative take of the song which would appear on "Further Adventures of Jimmy and Wes," a later Verve release. The small combo is used here, as well. The album is presented as part of Verve's "Master Edition" re-release series, with the original art and notes as well as new photos, text and high resolution 20-bit digital transfer from the original masters. If anything in the extensive and historical Verve catalog deserves this treatment (and many do), this album certainly does. It's appearance from them is welcome. It's acquisition by you is encouraged. Track List: Down By The Riverside * Happy-Go-Lucky Local (Night Train) * James and Wes * 13 (Death March) * Baby, It's Cold Outside * O.G.D. (Road Song) - alternative take STARFISH: Frustrated (Trance Syndicate) Reviewed by John Sekerka The sonic dynamic school of guitar debutchery (sic) spews a lot of drivel, but every so often a sucker worth reeling in comes upstream. Starfish might just be this year's model. Granted they know how to pound their guitars and make a glorious wall of fuzz, but 'tis their careful, edgy balance between noise and melody that push 'em ahead of the pack. Sure it sounds like Sonic Youth at times, but the girlie vocal veers more towards teen rebellion pop than Kim Gordon's command barks. It's more endearing cuz of it. There's also a lovely hidden track, a haunting thing that sounds like early Opal - like they were afraid to play it. Go figure. TELEMANN: Six Quartets or Trios: No. 1 in D, TWV 43: D2; No. 2 in E Minor, TWV 43: e3; No. 3 in A, TWV 43: A2; No. 4 in G, TWV 43: G3; No. 5 in A Minor, TWV 43: a1; No. 6 in E, TWV 43: E1. Sonata in D for Cello and Continuo from "Der Getreue Musikmeister" TWV 41:D6. Melomanie (Kimberley Reighley and Tom Moore, transverse flutes; Douglas McNames cello; Tracy Richardson, Harpsichord) LYRICHORD LEMS 8028 [DDD] 56:56 Reviewed by Robert Cummings The "Six Quartets or Trios" featured here are so named because of the composer's decision to offer the option of different instrumental combinations and numbers of players for performance. For example, the two flutes may be replaced by two violins, and accompanied by one or two cellos or bassoons, with basso continuo (the harpsichord filling that role here). The instruments used in this recording serve the music quite well, perhaps better than in any other combination. In any event, Baroque fanciers will no doubt find this disc of considerable interest for at least one other reason: in a note on the back of the CD case Lyrichord announces that this is the premier recording of these six works. Don't look to me to endorse that claim: too often in the past such statements by labels have proved inaccurate. Still, I won't take issue with Lyrichord here, since early music is their specialty. However, it isn't entirely clear from the booklet notes, authored by Jeanne Swack, if a later edition of the six scores, issued by one Nicolas le Clerc in the late 1740's, was taken to be Telemann's original, and that this set might have been recorded before. It's not even clear if le Clerc's "reissue" is in any way different from Telemann's "engraved and published" score from 1733. In any event, the music making here is compelling enough to offset any doubts I may have dredged up about purchasing this recording. Kimberly Reighley and Tom Moore (yes, he's the same Tom Moore who reviews for Fanfare) make a fine pair of flutists, who seem to have a firm grasp on Telemann's wide-ranging idiom. Listen to their Largo from the Second Quartet (track 5): note the subtle coloration and oneness in dynamics as they paint picturesque yet dark clouds on the musical canvas with elegant and knowing brush strokes. Or sample Divertimento 1 from Quartet No. 4 (track 13) to hear vituosity and finesse as they tear through a quagmire of difficulties with hardly a misstep. In the cello sonata Douglas McNames delivers a spirited account of this delightful work. At times he may sound a bit overheated (as in the finale--track 27), and his tone a bit harsh (the second movement--track 25), but his vivacious interpretive persona fits the music well, and in the end wins you over convincingly. He is sensitively partnered here by Tracy Richardson on the harpsichord. Both do fine accompanimental work in the Six Quartets, as well. Excellent sound in all works. In sum, this is quite an appealing disc of attractive music from Lyrichord. TEMPORAL SLUTS: My Sweet Doll b/w Probably Normal (Demolition Derby/Nitro!) Reviewed by DJ Johnson Ever eat chili and dynamite together? Probably not, if you're alive to read this. If you ever get the urge, do your body a favor and listen to this double-sided rockslide instead. Temporal Sluts only recorded this 7 incher a month ago, and here it is making me all rowdy and potentially violent. "My Sweet Doll" begins at a medium pace, sounding for all the world like 70s riff-rock ala Stones or Aerosmith, but you just knew it was only an intro, now didn't ya? BOOM! Flying faster than Frank Gifford can backpedal, these five fine upstanding citizens ride the feedback, choppin' for all their worth, and tellin' a story I can't make heads or tails out of because the vocal is waaaaaay down there under the blast zone. You can make out the snarls and the growls, though, and that'll do. This ain't no Dylan record. The flip, "Probably Normal," probably ain't, but again, I can't tell what the hell the guy is singing. Doesn't matter, I can at least tell how he feels about it. This is the kind of rock and roll that kills pain, makes you forget the bad shit that's happening to you for a few minutes, and just lets you go completely nuts. Only problem is the damned thing is only two songs long. It ends, you're still pumped, and what ya got there is a "potential situation." (Nitro/Demolition Derby Records, c/o Kris Verreth, Tervuursestwg, 217 - 1820 Perk - Belgium. E-Mail demderby@tornado.be) 10CC: The Very Best of 10CC (Mercury) Reviewed by Steve Marshall From their humble beginnings in 1972, through the band's heyday in the mid to late 70's, and the various solo projects, the members of 10CC (Kevin Godley, Lol Creme, Graham Gouldman, and Eric Stewart) have been responsible for creating some of the most innovative and interesting music of the rock era. Songs like “I’m Not in Love” (considered a technological breakthrough when originally released, because of all the vocal overdubs) and “The Things we Do For Love” have become classic rock mainstays. 10CC were always known for their brilliantly crafted pop songs, but in addition, their music often contained wry humor and loads of double entendres. Just listen to tracks like “Life is a Minestrone” or “Rubber Bullets” and you’ll see what I mean. The Very Best of 10CC contains all the songs you remember (and maybe even a few that you forgot about) from FM radio--”Art For Art’s Sake (the full length version, not the edit),” “Good Morning Judge,” “The Wall Street Shuffle,” “I’m Mandy, Fly Me” and more. The only song I can think of that isn’t a part of this compilation is “Feel the Benefit." As an added bonus, though, you get the Godley & Creme single, “Cry,” tacked onto the end of the disc. All the tracks on this CD are newly remastered and they sound better than ever. No music collection is complete without a copy of this excellent CD. THUNDER ROCKS: On The Rampage (Get Hip) Reviewed by Shaun Dale This vinyl LP release from the Get Hip Archive Series brings us Thunder Rocks, an instrumental unit that hit the Detroit scene in 1959. Though the band would fall victim to the draft within a couple years (as so many bands of the period did) they left behind enough recorded material, both under their name and as a backing band for a local singer, to make up this 12 track LP. Formed with two saxophones and no bass, they were a hard rocking if not particularly original band. One of the guitarists would later switch to bass for a more conventional lineup, and guitarist Pat LaRose is featured on a pair of vocals, "Oh, My Linda" and "Hollywood Twist," but they were primarily devoted to a twangy guitar and honking sax sound that was a popular draw on the Detroit dance scene. The Get Hip package includes a comprehensive history of the band and it's recordings, along with photos and clippings chronicling their time on the scene. This is by and large good stuff - fun music in a way that music isn't often enough fun anymore. Thunder Rocks absolutely did rock, and I'm grateful to Get Hip for a chance to hear them do it. (Get Hip Recordings: PO Box 666 Canonsburg, PA, 15317 USA) Track List: Rampage * Shadow * Oh, My Linda * Hollywood Twist * War Path * Restless * What's The Word * Johnny Sax * Bugle Rock * Settle Down (with Fred Farrah & the Hitch Hikers) * Wishing (with Fred Farrah & the Hitch Hikers) * Speed Trap UNION AVENUE: Union Avenue (Raucous Records) Reviewed by Shaun Dale British roots label Raucous Records brings us this effort by a Scottish band named after Sun Records' Memphis address recording songs from sources as diverse as Bob Marley, Creedence Clearwater Revival and Motorhead in the style of one of the Sun originals, the Man In Black, Mr. Johnny Cash. And it works. Andrew Fraser-Cardno has the vocal style down pat and while there are four players behind him (Tony McCadden, guitar; Michael Baird, drums; Michael Rasmussen, harmonica and Andy Sykes on upright bass, with producer Chris Cummings taking over the bass chores on the Cash original, "Big River"), they create a sound that the Tennessee Three would be proud of. This is a quick listen, with six tracks, and I don't know how much further they could have taken the concept, or what else they might have up their musical sleeves (a series of Sun tributes might be interesting if the band could do, say, Perkins, Orbison and the Killer), but this is too much fun to ignore. (RAUCOUS RECORDS: Shakespear House, 37-39 Shakespeare Street, Southport PR8 5AB ENGLAND. Telephone/fax: 01704 539499. International: +44 1704 539499. E-mail: rauc@globalnet.co.uk) Track List: I Shot The Sheriff * The Other Side * Bad Moon Rising * Ace Of Spades * It's All Over Now * Big River VARIOUS ARTISTS: Another Crazy Cocktail Party! (RCA) Reviewed by DJ Johnson As far as I can figure, this is the 2nd in a series begun in Belgium on their branch of RCA. (The first was simply called A Crazy Cocktail Party.) This one, however, is available in the US. There's a broad range of styles here, from beautiful and exotic tracks like "Blue Sunrise" (The Sadi Quartet) to silly fizzy pop like "Frere Jacques Conga" (Los Albinos). Between those extremes, there is plenty of fun Latin cocktail music, pretty interludes, and a few oddities. Oddest of all is "Pancho" (Dee Dee and Her Panchos), which sounds as if it was written as the theme song to some inept Latin macho guy flick. The tune is glitzy, the lyrics are hilarious. "Pancho - The world's afraid of... Pancho - and no one speaks to... Pancho - Rides his motor bike." This track, by the way, is the sales hook because it was co-written by a young David Bowie. There's no further information on that because the liner notes are non-existent. The CD booklet unfolds into a 4-panel sheet with nothing but a track list in ultra large type. This is my only serious bitch with this release. I know most people don't read liner notes, but there are plenty of us who do, and we'd like to know a little bit about these artists. Maybe volume three... Meanwhile, the retro thing is still swingin', and the vaults are creaking open. Most of this music was long long forgotten, and some of it was forgotten for a good reason. However, the majority of these 20 tracks are a lot of fun, and some of them are outstanding. Quirky, alternately beautiful and hilarious, and worth picking up. TRACK LIST: Bing Bang Conga (Los Albinos) * Chiquito (Ruben Calzado And His Orchestra) * When the World Was Mine (The Golden Dream Orchestra) * Aquarella (Jo Carlier et Son Orchestre) * Loin De Mes Yeux Pres De Mon Coeur (Jean Claude Pelletier et Son Orchestre) * Go Go Conga (Los Albinos) * Blue Candlelight (Jean Evans, His Piano, and His Strings) * Los Patatos (The Boxeros) * Obsession (Reg Owen and his Orchestra) * Pancho (Dee Dee and Her Panchos) * Chinese Conga (Los Albinos) * Blue Sunrise (The Sadi Quartet) * La Cucaracha (The Peter Loland Orchestra) * Birds of Paradise (Peter Kreuder, His Piano and His Orchestra) * A La Salud (Stan La Baum and His Orchestra) * The Swinging Conga (Los Albinos) * Forever (The Clippers) * Headin' North (Willy Albimoor and His Lucky 13) * Marijuana Brass (Teddy Mertens, His Trumpet and His Orchestra) * Frere Jacques Conga (Los Albinos) VARIOUS ARTISTS: The Best of IGL Folk Rock (Get Hip/Arf! Arf!) Reviewed by Shaun Dale This vinyl release chronicles the IGL Records output of a baker's dozen of the bands that showed up in the studios of Iowa's first recording studio to lay down folk rock tracks in the mid-60's. Recorded in what today would be considered unbearably primitive conditions (the studio opened with an Ampex 3-track recorder and a couple 4-track mixers in the back of a TV store in Milford, Iowa), the fidelity of this album is, frankly, spotty. The bands, a collection of local heroes and Battle of the Bands contenders, are a mixed bag as well. It's nice to have this available, though. Most of the thousands of bands that have produced local hits across the country have disappeared along with all traces of their recorded output. Get Hip's continued efforts to document what remains available are producing a valuable repository of the history of the small market music that has provided the backbone and birthplace of more successful ventures. The music itself is strongly derivative, for the most part. Echoes of the Beatles and the Byrds predominate, with jangly guitars and poppy melodies. The quest for airplay shortened many of the tracks, eliminating opportunities to demonstrate much virtuosity. (The longest cut, the Epicureans "I Don't Know Why I Cry," comes in at 3:08. Several barely break the two minute mark.) There are highlights, though. The Berries have a pair of tracks that feature strong vocals and crisp instrumentals. Dale and the Devonaires "Never Be Free" holds up fine as an example of a time and style. The Mad Lads do the best Byrds on the disc with "Everything is Blue." There are other fine moments as well. The package includes a brief history of the label, an interview with its founders and biographical data on the bands, along with promotional photos and clippings. Track List: The Scavengers/It's Over; But If You're Happy; She Don't Care About Time * Dark Knights/Send Her To Me * The Epicureans/I Don't Know Why I Cry * Mad Lads/Everything Is Blue * Napoleon I & His Relatives/Summer Love * Pawnbrokers/Someday * The Restrictions/Down On The Corner * The Senders/She Told Me * The Kingpins/Come And See VARIOUS ARTISTS: Blind Pig Records 20th Anniversary Collection (Blind Pig) Reviewed by Shaun Dale While many indie rock, punk and pop labels spring up with a handful of releases and disappear in a puff of smoke, the 20th anniversary of a label committed to original recordings in any genre is cause for notice. When the label in question has assembled a catalog of great blues and roots music like Blind Pig's, it's cause for celebration. The folks at Blind Pig are celebrating in great style with this compilation of 36 tracks on two discs and you'll cheer when you see the "2 CDs for a Single CD Price" banner on the front cover. And what tracks they are! From their beginnings as the house label at Ann Arbor, Michigan's fabled Blind Pig blues club to their latest releases by up and comers like Roy Rogers and Tommy Castro, Blind Pig Records has offered up some of the finest music from blues legends like John Lee Hooker, Buddy Guy and Charlie Musselwhite, along with an ever-growing roster of artists who are creating their own legends today. Toss in the occasional foray into gospel, zydeco, R&B and Western swing and you've got the makings of one tasty retrospective. Did I say legends? How about Otis Rush, Roosevelt Sykes, Junior Wells, James Cotton, Pinetop Perkins... Did I say legends yet to be? Take a look at the lineup of women on these discs - E.C. Scott, Joanna Connor, Deborah Coleman and Sarah Brown are on hand to prove that if women aren't the future of blues, well, blues in the future will have to make room for these women. And side trips? Duck down to the bayou for some of Chubby Carrier's zydeco stylings, party down with Commander Cody and then slip into the back pew for a little repentance with the Gospel Hummingbirds. There's simply no excuse for not owning these discs. The music's great, the price is right and we should do everything we can to push Blind Pig on through the next 20 years. (I can't wait for the 40th Anniversary four CD set myself...) Track List: Disc One: Coco Montoya/Monkey See, Monkey Do * Jimmy Thackery & the Drivers/Drive to Survive * Magic Slim & the Teardrops/Think * Carey Bell/That Spot Right There * Debbie Davies/Howlin' at the Moon * Jimmy Rogers/Tricky Woman * Roy Rogers/She's Cold As Ice * John Lee Hooker/ Terraplane Blues * Gospel Hummingbirds/Don't Move The Mountain * E.C. Scott/I Need A Real Man * Tommy Castro/Had Enough * Otis Rush/Right Place, Wrong Time * Buddy Guy & Junior Wells/Messin' With The Kid * Chubby Carrier/Wastin' Time * Joanna Connor/Big Girl Blues * Pinetop Perkins/Worried Life Blues * James Cotton/Take Me Back * Luther Allison/ Should I Wait Disc Two: Studebaker John & The Hawks/Two Time Boogie * Deborah Coleman/ My Heart Bleeds Blue * Chris Cain/Hey Sweet Baby * Charlie Musselwhite/ Harpin' On A Riff * Henry Gray/Cold Chills * Al Rapone/La Vierge * Preacher Boy/I Won't Be There * Johnny Shines/Blues Come to Texas * Smokey Wilson/I Got Something On You Baby * Eddie C. Campbell/I Been Thinkin' * Eddy Clearwater/That's My Baby * Sarah Brown/Bad Thing * Otis Clay/If I Could Reach Out (And Help Somebody) * Boogie Woogie Red/ Old Time Shuffle * Snooky Pryor/Crazy 'Bout My Baby * Roosevelt Sykes/ Walter Horton/If I Get Lucky * Commander Cody/Let's Rock! VARIOUS ARTISTS: Closer Than A Kiss (Rhino) Reviewed by DJ Johnson This compilation is part of Rhino's Heart Beats series, put together by a group of women at the label and designed to appeal to the romantic soul. While some may dismiss it, sound unheard, as the audio equivalent of a "chick flick," I recommend it for anyone with even a little romance in his or her heart. Closer Than A Kiss is a collection of love songs from the greatest crooners of all time. With music ranging in vintage from 1942 to 1969, one of the inescapable conclusions is that this genre is timeless. There's no drastic stylistic difference between the tunes regardless of year of release. Program Frank Sinatra's "Night And Day" next to Jimmy Scott's "Our Day Will Come" on your CD player and this becomes clear. From the obvious names we all associate with the word "crooner" (Sinatra, Crosby, Torme, Damone) to those better known for other things (Chet Baker, John Coltrane), there's a wide range of voices and sounds here within the relatively narrow boundaries of the classic crooner song structures. From that standpoint, Closer Than A Kiss is an interesting study for the musicologist. Better still, it's a perfect soundtrack for a romantic evening by the fire. TRACK LIST: Night And Day (Frank Sinatra) * My Shining Hour (Mel Torme) * Speak Low (Sammy Davis, Jr. & Laurindo Almeida) * My One And Only Love (John Coltrane & Johnny Hartman) * My Funny Valentine (Chet Baker) * You'd Better Love Me (Jack Jones) * Sleepin' Bee (Bill Henderson) * My Love Song To You (Bob Manning) * That's All (Billy Eckstine) * Around The World (Bing Crosby) * Detour Ahead (Jackie Paris) * As Time Goes By (Herb Jeffries) * I'll Be Around (Al Hibbler) * The Way You Look Tonight (Dick Haymes) * Our Day Will Come (Jimmy Scott) * Closer Than A Kiss (Vic Damone) VARIOUS ARTISTS: A Heavy Dose Of Lyte Psych (Arf Arf) VARIOUS ARTISTS: An Overdose Of Heavy Psych (Arf Arf) Reviewed by DJ Johnson These two CDs have a lot in common in that they both offer trippin' 60s psychedelia, either fabled or never heard of, most of it long lost in time. As I understand it, the difference between "lyte" and "heavy," according to Arf Arf and just for purposes of this particular topic, is that "heavy" is wilder and fuzzier. True, there are far more tunes with stun-gun fuzztones on the "heavy" disc, but it seems to me the major difference is that the tunes on "lyte" are more meticulously pop-structured and sometimes Beatles influenced, while the "heavy" tunes are influenced much more by the balls-out no-rules American garage crowd. If you measure light and heavy in terms of powerful surrealism, there's nothing light about the "lyte" disc. All of this music causes the head to fall back and the eyes to flutter. Damned good stuff. "Heavy" CAN melt your brain if you're not careful. Powered By Love's self-titled song is nuts enough before the break, but then all instruments scatter and the vocalist makes a bid for the loony bin with wild cackles and moans. I feel like that sometimes. There's so much great mind-fuck music here that it's hard to single stuff out. Even the turkeys are interesting. Then there are the discordant sounds and musical switchbacks of bands like ESB, whose "Mushroom People" reminds me of when I was one. If you need just a bit more pop structure (and you don't have the other CD, which is dripping in it), you'll find some in The Kollection's "Savage Lost" and Kindred Spirit's "Blue Avenue," which appear back to back. The disc concludes with six tracks by an extremely primal and decidedly non-psychedelic band (I never figured out if it was Fire Birds or 31 Flavors, or if they were one and the same), which seems way out of place but is at least interesting. "Lyte" begins with a 25 second "bonus track" that is basically silence slowly building into a very faint tone that empties off into the second track. I don't get it. Oh well. You know what I DO get? A lot of great little psych tunes with strong pop sensibilities that don't skimp on the trip-factor. Misty Wizards' "It's Love" rides on wonderful sitars and jangly clean electric guitars for an eastern meditational sound. Stretch the range-measure from there to the nearly structureless acid trip imagery of The Chimps' "Fifth Class Mail," which echoes off the walls like the sounds of medication time at the asylum, and you'll have a fair idea of what to expect from "Lyte." There are some strays here, too, mostly strange tracks attributed to no one in particular and presumably used as backing for other projects. Again, this is some of the trippiest stuff. Arf Arf continues to become one of the more interesting archive labels. I'm still heavily into their New England Teen Scene comp from earlier in the year, and I think I'll be stuck on these two discs for quite a while, too. I'm always up for a good mind trip. (Arf Arf Records: P.O. Box 465, Middleborough, MA 02346 USA) TRACK LIST: LYTE PSYCH Bonus Track * Misty Wizards-It's Love * Capes Of Good Hopes-Lady Margaret * Freeborne-Land Of Diana * Id-The Rake * Tea Company-Flowers * Truth-P.S. (Prognosis Stegnoisis) * Ballroom-Baby Please Don't Go * Teddy And His Patches-Haight Ashbury * Picture-Evolution * The Gurus-It Just Won't Be That Way * Mongrels-Good Good Man * Wildflowers-More Than Me * Chris Carpenter-This World [Is Closing In On Me] * Childe Harold-Brink Of Death * JK & Co.-Fly * Masada-A Hundred Days And Nights * Crescent Six-And Then * Attic Sound-Look Straight Through You * White Room-Thoughts Of Yesterday * Chimps-Fifth Class Mail * Chris Carpenter-Waterfalls * Fourth Way-The Far Side Of Your Mind * Mystery Track * Rock Revival-Venus HEAVY PSYCH Orange Wedge-From The Womb To The Tomb * Quiet Jungle-Everything * Twentieth Century Zoo-You Don't Remember * Fumin' Humins-Relative Distance * Powered By Love-Powered By Love * Crystal Rain-You And Me * ESB-Mushroom People * Colder Children-Memories * Kollection-Savage Lost * Kindred Spirit-Blue Avenue * Blu-erebus-Plastic Year * Shadows Of Time-Search Your Soul * Graf Zeppelin-You're In My Mind * Kiriae Crucible-Salem Witch Trial * Boston Tea Party-My Daze * Paraphernalia-Watch Out * IRA-Dooley Vs. The Ferris Wheel * Loose Endz-Easy Rider * Glass Sun-Silence Of The Morning * FIRE BIRDS/31 FLAVORS-Reflections * No Tomorrows * Gypsy Fire * Free Bass * Free Fuzz * Free Drum VARIOUS ARTISTS: Jazz Fusion, Volumes 1 & 2 (Rhino) Reviewed by Shaun Dale The contemporary musicians involved in melting jazz, rock, funk and R&B sounds into the too often ill defined puddle marketed as "soft jazz" would be well served to dig deep into these two discs. Following Miles Davis' lead on "In A Silent Way" and "Bitches Brew," the seventies were a time of energetic exploration in a field labeled "jazz fusion." These two collections (They're offered as separate releases. Buy both.) offer a captivating, if incomplete, look at the period and the artists that defined it. It is incomplete only in the absence of a few seminal acts, notably Weather Report, though the members of that and most every important fusion band appear here in one context or another. Volume 1, for instance, includes contributions as leaders or sidemen from Larry Coryell, Miroslav Virous, Billy Cobham, John McLaughlin, Tony Williams, Jack Bruce, Joe Zawinul, Herbie Hancock, Benny Maupin, Chick Corea, Stanley Clark, Jan Hammer, Randy Brecker, George Duke, Narada Michael Walden, Jean-Luc Ponty...out of breath yet? That's a partial lineup. Volume 2 has an equally extensive and impressive roster, with bands like the Brecker Bros. and the Dixie Dregs on board, and, of course, an appearance by Mr. Davis himself. Rhino has, as always, provided fine documentation of the tracks and lineups with 16 page booklets accompanying each disc. This music was startling, controversial and inventive from its inception, and there are lessons aplenty to be learned from repeated listening today. There are a good many players who should be listening for what they can learn. The rest of us should be listening for the sheer joyful exhilaration of it. (Note to Rhino - Volume 3, please!) Track List: Volume 1: Larry Coryell/Spaces (Infinite) * The Tony Williams Lifetime/ Allah Be Praised * Joe Zawinful/In A Silent Way * The Eleventh House/ Birdfingers * Herbie Hancock/Quasar * Chick Corea & Return To Forever/ Spain * Billy Cobham/Stratus * Mike Mainieri/Flying Colors * Jerry Goodman & Jan Hammer/Country & Eastern Music * The Billy Cobham-George Duke Band/Sweet Wine * Narada Michael Walden/The Sun Is Dancing * Jean-Luc Ponty/Cosmic Messenger Volume 2: The Brecker Bros./Some Skunk Funk * Brand X/Nuclear Burn * Jean-Luc Ponty/Enigmatic Ocean, Parts I-IV * Bruford/Hell's Bells * Ronnie Montrose/Town Without Pity * Dixie Dregs/Take It Off The Top * Larry Carlton/Point It Up * John McLaughlin/Belo Horizonte * Steve Kahn/ Casa Loca * Miles Davis/Mr. Pastorius * Allan Holdsworth/Three Sheets To The Wind * Steve Morse Band/The Introduction VARIOUS ARTISTS: Sex Kittens In Hi-Fi - The Blondes (DCC) Reviewed by DJ Johnson Volume 7 in the Music For A Bachelor's Den series, and the second disc in the Sex Kittens sub-series, is a 14 track treasure trove of terrific torch tuneage. (That hurt...) The CD is a winner on every level, from the amazing warmth and clarity of the sound (Steve Hoffman at the controls. Who else?) to the talented ladies themselves, including Jo Stafford, Marilyn Monroe, Julie London, Peggy Lee, Marilyn Maxwell, Jayne Mansfield and others. Some of those names may scare the uninitiated away from this disc, so let me just assure you that they were all fine torch singers. Um... Well, okay, not Jayne Mansfield, but that particular track ("That Makes It!") has plenty of novelty appeal to make up for any distinct lack of tunefulness. Everything else here is top notch torch, and some of it even qualifies as some pretty fine jazz, especially Doris Day's "Close Your Eyes," performed with the Andre Previn Trio. When I reviewed the first Sex Kittens CD a few months ago, I practically threw a tantrum because there wasn't a Julie London track. Now I discover the words, not in fine print by any stretch of the imagination: "The Brunettes," right there on the cover of that CD. Duuuuh. Oh well... Julie's over here, guys, right where she belongs. (DCC can be reached by phone at 1-800-301-MUSIC.) TRACK LIST: Roller Coaster Blues (Diana Dors) * Why Can't I (Paula Castle) * The Gentleman Is A Dope (Jo Stafford) * My Kind Of Trouble Is You (Helen Carr) * That Makes It! (Jayne Mansfield) * My Baby Just Cares For Me (Jane Hutton) * You'd Be Surprised (Marilyn Monroe) * An Occasional Man (Judy Holliday) * Gentleman Friend (Carole Simpson) * Bewitched, Bothered and Bewildered (Marilyn Maxwell) * Close Your Eyes (Doris Day) * Mean To Me (Bernadine Read) * We Laughed At Love (Peggy Lee) * The Exciting Life (Julie London) VARIOUS ARTISTS: Sirens Of Song (Rhino) Reviewed by DJ Johnson It's part of the Heart Beats series, but it should be part of the Heart BREAKS series. A few of the tracks are about love triumphs, but the main themes here are unrequited love, sadness, and women scorned. Sound depressing? Not at all! This sub-genre contains some of the most cathartic music ever recorded. When Sarah Vaughan, in that indescribably sexy voice, sings about drinking "Black Coffee" so she won't fall asleep and miss her man's return, the sultry, smokey tone is set for Sirens Of Song. The lineup is more than impressive. Billie Holiday, Julie London, Ella Fitzgerald, Edith Piaf, Dinah Washington, LaVern Baker, Judy Garland, Lena Horne, Eartha Kitt... what more could you want? Most of the tunes are about the sorrow and taking of stock before healing, but there are a few happy love songs, such as "At Last," by the absolutely amazing and sublime Etta James, and "What A Difference A Day Makes, by the absolutely amazing and sublime Dinah Washington. These are beautiful, soulful torch songs that we can all relate to, sung by women who had enough pain in their own lives to make it real. Quite an interesting little series happening here. TRACK LIST: Cry Me A River (Julie London) * Black Coffee (Sarah Vaughan) * Stormy Blues (Billie Holiday) * I'm Getting Sentimental Over You (Ella Fitzgerald) * But Not For Me (Judy Garland) * Stormy Weather (Lena Horne) * Come Rain Or Come Shine (Marlene Dietrich) * Smoke Gets In Your Eyes (Eartha Kitt) * La Vie En Rose (Sung In English) (Edith Piaf) * At Last (Etta James) * Since I Fell For You (Nina Simone) * What A Difference A Day Makes (Dinah Washington) * I Got It Bad And That Ain't Good (Carmen McRae) * Soul On Fire (LaVern Baker) * I'll Wait For You (Ruth Brown) VARIOUS ARTISTS: Skankaholics Unanimous (Moon Ska) Reviewed by DJ Johnson I'll accept any old reason for a good ska comp. If someone wants to put out a batch of ska tunes about pubic lice, I'm all for it. Skankaholics Unanimous, however, focuses on a far more universal topic, featuring 20 tracks about the joys, and sometimes the evils, of hootch. The performances range from loose, sloppy 'n fun to tight (no pun intended), professional 'n fun. Come to think of it, this comp makes getting falling down drunk sound like a whole LOT of fun. Oh, there are a few precautionary tales, such as "Skooche's Ruin" by Inspector 7. In that song, the leader of a band is conked out on the floor stinking of Night Train and gin, and his bandmates wonder if he'll even wake up the next day. On the other hand, most of the tunes portray puking and passing out as nothing more than the natural order of any Friday night. Ah, but some of those are dynamite tracks! Magadog's "The Jitters" blends the ska beat with a kind of psychedelic sensibility that comes off very well. The Arsenals' "Beer" has such a great pop structure that it could easily pass for power pop. Then there's the one and only Laurel Aitken, whose version of "Hey Bartender" is possibly the classiest track here. There are several cool moments throughout Skankaholics, including Monster Mike Welch's guest spot with Skavoovie & the Epitones on "Drunk," an ironic title for a kid too young to legally drink. There's also some fun to be had from The Bluebeats' singalong of "In Heaven There Is No Beer" and Skinnerbox's take on "What's The Use" (of getting sober when you gotta get drunk again, remember?) Jumpin' Joe Jackson's cover is still definitive, but this one has a lot of sloppy character. And it's fun. That's the key, see. Getting stinkin' drunk and waking up on the floor in wet jeans may not be your idea of a good time, but ska is always fun, so let these guys suffer the hangovers and then tell you all about it. TRACK LIST: More Whiskey (New York Ska Jazz Ensemble) * Asleep At The Bar (Easy Big Fella) * I Can't Decide (Buford O'Sullivan) * Martinis For Two (The Allstonians) * Lager Delirium (Bad Manners) * Drunk (Skavoovie & the Epitones featuring Monster Mike Welch) * Gin & Tonic (The Pietasters) * Beer (Arsenals) * One Scotch, One Bourbon, One Beer (Dr. Ring-Ding & The Senior All-Stars) * What's The Use (Skinnerbox) * Last Night (The Skoidats) * In Heaven There Is No Beer (The Bluebeats) * Skooche's Ruin (Inspector 7) * Hey Bartender (Laurel Aitken) * Glasses (Sto Zvirat) * Drinking In The Pubs (The Busters) * Schooners Of The Black (The Porkers) * The Jitters (Magadog) * Monkeys Can't Drink (Lower East Side Buck) * Can I Get Another? (Buford O'Sullivan) VARIOUS ARTISTS: "Totally Tejano" Old School, Vol. 1, 2 & 3 (DCC) Reviewed by Shaun Dale The World Music movement has focused primarily on traditional music from faraway places, which has given short shrift to popular music from the international scene, depending on integration of African, Caribbean, Latin and to a degree Asian sounds into the repertoires of pop artists from the US and Great Britain to access the mainstream audience. One music that has been largely ignored, both by World purists and pop stylists, isn't exactly "international," since many of the artists and much of the market can be found right here in the USA. Tejano music, a subset of the Mexican Norteno school, is border music, played by and for a largely Chicano audience. It's pure pop - love songs and dance tunes, typically presented by show bands and distributed on cassettes outside mainstream channels. Because of the fragility of the vinyl and magnetic mediums the music was originally presented on, and the economics of its alternative distribution channels, many of the classic Tejano hits of the eighties have been in risk of disappearing from the market as those of earlier decades already have. Fortunately, DCC, along with Hacienda Records, a major Tejano label, have gathered up the masters of some of the best of the eighties and put them together on three CDs, a total of 42 tracks. The discs are organized roughly thematically, with Volume 1 emphasizing slow dance romantic ballads, Volume 2 displaying more talents of some of Hacienda's stable of top Tejano bands and Volume 3 focused on rock and funk influences on the music. Scattered throughout are the polkas and waltzes that form the rhythmic core of the genre. Unless you hang in the barrio or have made a conscious effort to seek out this music, most of the artists, the songs, and even the language will be unfamiliar to you. But if you have a hankering for tight arrangements by great players backing singers so good you don't even have to know what they're singing to enjoy them, you should snatch some of this, pop a cervaza or two, shove the rug into a corner and dance the night away. (DCC can be reached by telephone at 1-800-301-MUSIC.) Track List: Volume 1: Pio Trevino y Majic/Quiereme * Grupo Mayo/Yo Te Recuerdo * Fuego/No Digas Que No * Rene Ornelas/Hoy Amaneci Pensando En Ti * Gary Hobbs/Ahora Que Soy Libre * Pio Trevino/Once In A Lifetime Dream * La Movido/Estoy Desnudo * Emillo Guerrero/Vete Conmigo * Pio Trevino/ Somebody Loves You * Gary Hobbs/Al Costo De Mi Vida * Bobby Naranjo y Direccion/That's All That Matters * La Movida/Suenos De Amor * Gary Hobbs/Salvame * Showband USA/Crei Volume 2: Johnny Hernandez/Quiereme Tal Como Soy * Emillio Guerrero/ Estoy Cansado * Gary Hobbs/Se Acabo * La Movida/Uropia * Cielo Band/ Tomame * Bobby Naranjo y Direccion/Put Me In Jail * Josefa/Tus Ojos Castanos * Showband USA/Una Linda Senorita * La Movida/Te Quiero Mucho * Gary Hobbs/Mentiras * Fuego/Nunca Fu Mia * Cierra Band/Son Las Tres * Europa/No Podemos Continuar * Josefa/Porque Te Vaz Volume 3: La Movida/Movida Power * Pio Trevino/Fue Tu Amor * Steve Jordan/Run Tecato Run * Johnny Hernandez/Popurri: Largimas Lloro - Quiereme Tal Como Soy * David Lee Garza y Ram Herrera/El Tejano Enamorado * Lo Onda Airways/Yo Soy Chicano * Romance/Dime Si Soy Un Tonto * Cali Carranza/Bancarrota * Las Onda Airways/Medley Flashback * Steve Jordan/Ran-Kan-Kan * La Movida/Es Por Ti * Gary Hobbs/Born On The Border * Bobby Naranjo y Direccion/Pa Todo El Ano * Gary Hobbs/Te Voy A Dar Mi Corazon VARIOUS ARTISTS: Warriors of Virtue: Original Motion Picture Soundtrack (Kid Rhino) Reviewed by Shaun Dale Hmmm...soundtrack for a kids movie on Kid Rhino. Cute. Nice, even. But the only kids in my house are a tandem of teenage girls who strenuously resist anything that's tagged for "kids" as being beneath their notice. Definitely one for the "when I get a minute" pile... Well, the other night I got a minute, and I'm glad, mostly. Taking a glance at the lineup of artists on this soundtrack, which includes Arrested Development's Speech, Richie Havens, Clannad, Charlie Sexton and the Grateful Dead's Mickey Hart among others, I figured there might just be some music worth hearing on this disc. And there is. Wade Hubbard's "You Can Fly" is predictably inspirational, and just as predictably somewhat overproduced, but he gives way to Speech with a reggafied take on the Rascals "A Beautiful Morning" that's a toe tapping, smile inducing delight. Clannad follows up with "Forces of Nature" and delivers a performance befitting their stature as one of the prime movers in Celtic music. Richie Havens' "Inside Of You" is more inspirational pandering, but fans of his voice and style will appreciate the performance. Charlie Sexton's "Tennessee Plates" is a welcome, if surprising, bit of Southern blues rock - I wonder how it fit into a movie about a bunch of cosmic kangagurus... "In A Dream" is a potent piece of psychedelia from judyjudyjudy, followed by Ultraglide's grungy "When You Go." Mickey Hart is joined by Bakithi Kumala for "Alembic," a trancy bit which probably fit right into the movie, but which stands fine on its own. The same is true of Vangelis' "Song Of The Seas." The last four songs are orchestral soundtrack themes performed by the Colorado Symphony Orchestra, fine examples of exactly what they are. All in all, this is a satisfying piece of work, which will interest film score buffs, the new age music audience and compilers of comp tapes everywhere. Track List: You Can Fly * A Beautiful Morning * Forces Of Nature * Inside Of You * Tennessee Plates * In A Dream * When You Go * Alembic * Song Of The Seas * The Land Of Tao * The Rooz Encountered * Five As One * Ryan's Return WESTERN VACATION: Vibraudoblast (MRP (Muffin) Records CDMRP032) Reviewed by Paul Remington In 1986 Western Vacation released their first album--a collection of material strong in compositional style with solid musicianship and vocals. The album fell into oblivion until 1996 when MRP Records resurrected the LP in CD form with an added unreleased bonus track. The re-release, ten years later, sounded almost as fresh as when it was first released, with little evidence of it's "dated" nature. Still solid and fresh, it features addictive melody lines with complex rhythm patterns that continue to work into the nineties. A young Steve Vai appears on the disk under the name "Reckless Fable." Eleven years after their first release, Western Vacation is back--thanks to MRP Records--with a new and updated sound. They continue their tradition of strong songwriting with an approach that can be considered more "now" in content. While sporting both acoustic and electric instrumentation, the final product is a slick presentation of commercial rock shrouded in crystal clear sonic quality that surrounds the listener on any two speaker system. Perhaps the most distinctive element of their sound is the influence of Martin Schwartz, which is uniformly distributed throughout the disk, providing the compositional foundation for the CD, and some strong guitar work as well. As with their flagship release, Vibraudoblast contains Schwartz' unique thumbprint, with the support of a plethora of musicians. Schwartz is accompanied by Chris Clermont (vocals), Brian James (vocals), Jerome Jones (vocals), Will Riley (keyboards), Jim Spurgin (vocals), and Craig Sweeden (lyrics) in the writing of music and lyrics. Western Vacation also consists of Loren Gold on keyboards, Tom Lilly, Jac Mihanovic, Tony Primental, and Scott Thunes (Frank Zappa, Z) on bass, and Chris Frazier and Frank Briggs on Drums. (Frank Briggs has also performed with Mike Kenelly's Beer for Dolphins.) The clientele is as rich as the music, and though it seems the talent of the core band members surpasses the need for so many musicians, it's easily seen as an added bonus. Steve Vai fans may note the absence of their hero in the above list of musicians. While Vai may not appear on the CD as he did in their 1986 release, his shadow certainly was present. His name appears in the list of kudos on the CD liners, which state: "Steve has always been a source of inspiration, generosity and positive vibes. He's given us everything from guitar picks to studio time in his ultra-sheen multi-track nestled in the fabulous Hollywood hills." MRP records--a small fish in a big pond--should pride itself with its catalog. This independent label, run by Reinhard Pruess, has produced many fine releases, and Western Vacation's Vibraudoblast is a glowing addition to their ever-growing catalog. Do yourself a favor and take a West Vacation. You'll be glad you did. If your local music store does not carry this release, ask them to order it, or give Reinhard a call at MRP (512-263-9369). MRP's catalog is also available through Music Bank (815-398-0569). To learn more about MRP Records, check out their Website at the following Web address: http://pages.prodigy.com/muffin.records RANDY WESTON: Earth Birth (Verve) Reviewed by DJ Johnson Though one would be tempted to label Randy Weston a nomad, one would be very wrong. There's never been anything aimless in Weston's wanderings. He has called many places home, from the Berkshires to Morocco, but he has been very specific in his method of melting into each landscape and absorbing the indigenous flavors and sounds. Along the way, the 70 year old pianist has developed an incredible sound of his own, influenced by his various homelands and past musical associations with such luminaries as Duke Ellington and, most importantly, his teacher Thelonious Monk. Earth Birth is a pause and a look back through Weston's musical scrapbook. This isn't to say Earth Birth is an anthology. These are new performances of music from his past albums, each one firmly rooted in a particular time, phase, and place in Weston's life. Originally performed as straight jazz, the tunes are brought into new territory by conductor Paul West and 25 string players from the Montreal Symphony Orchestra. This could have overwhelmed the core trio, but it didn't. Instead, the orchestra serves to wrap a beautiful cocoon of atmosphere around Weston and his cohorts, Christian McBride (bass) and Billy Higgins (drums), coloring their music without ever burying it or distracting from the focal point. That focal point is usually Weston, whose piano playing is unique, exotic, and joyously unpredictable, though there are times when McBride's bass draws undivided attention. A few of his plucked solos are quite nice, but it's his bowing that raises goosebumps. You'll probably never hear a weak performance from young Mr. McBride, who is one of the most popular and prolific bassists of the decade, but this should go down as one of his most emotionally satisfying recordings. Earth Birth was recorded live at the Montreal Jazz Festival on July 5th, 1995, though you can't hear audience noises at all. The performance was flawless and beautiful, and the sound on this CD is full and rich. Melba Liston's arrangements allowed these tunes a seamless transition from jazz to smokey pop. Above all, Randy Weston's stunning piano work, with all of its imagery and emotion, makes Earth Birth well worth hearing. Track List: Earth Birth * Pam's Waltz * Little Niles * Babe's Blues * Where * Hi-Fly * Portrait Of Billie Holiday * Berkshire Blues * Portrait Of Vivian MARK WHITFIELD: Forever Love (Verve) Reviewed by Paul Remington With each new release, jazz guitarist Mark Whitfield breaths new maturity into a fresh collection of material. "Forever Love" finds Whitfield shrouded in strings, with an occasional vocal accompaniment, and contains featured solo spots that would make even the most unfeeling listener soften with emotion. The addition of string arrangements has been used in jazz for decades. While some releases feature stale arrangements, others feature clever and quite effective arrangements. The use of strings in early big band arrangements, as well as Charlie Parker's recordings with string accompaniment, spawned a flurry of similar releases, and seemed to set the pace for a style not often explored. According to his wife, one of Nat King Cole's favorite recorded release was with strings. The list is almost endless, with scores of major artists applying their talent to this format. Unfortunately, bad arranging can result in a staggering failure. Thanks to the conducting and arranging talents of Dale Oehler, Whitfield has produced a winning release. Arrangements are added as needed, swelling with rich harmonic and chordal accompaniment that does not detract from the expressive ideas that emanate from Whitfield's performance. On this recording, we find Whitfield playing acoustic and electric guitars: a Gibson Custom L5, and a Salvadore Giardina Archtop acoustic. The performance is exceptional, sensitive, and moving. The repertoire consists of the most popular jazz standards. Whitfield is featured solo on two compositions: "My One and Only Love" and "Some Other Spring." Other compositions featured on the disk are "You Don't Know What Love Is," "Some Other Time," "Nature boy," "It Never Entered My Mind," "I Wanna Talk About You," and "Only the Love." Whitfield also includes an original composition, entitled "Forever," that meshes brilliantly with the surrounding compositions. His ability to recognize superior jazz compositions gives credit to his own unique talent as a compositional ear. His ability to compose music within a repertoire of standards by Rogers and Hart, Johnny Mercer, Billy Eckstine, and Jimmy Van Heusen and Sammy Cahn, firmly establishes Whitfield as one of the formidable jazz artists on the scene today. Joining Whitfield on this recording is Vocalist Diana Krall. Krall adds her vocal styling to two compositions: "Some Other Time" and "Early Autumn." The rhythm section consists of Jim Pryor on piano, Roland Guerin on bass, and Donald Edwards on drums. The inspiration for this release is best described in Whitfield's own words: "This recording is a celebration of love and romance, of hope and commitment. We, as children of God, must embrace this love, allowing it to foster healthy relationships and stable environments for our children's sake. The future of Mankind depends on it." This statement shows a balanced and mature outlook from a musician who obviously has a healthy view of life and his talents. Along with acknowledgments to many influential artists, the final acknowledgment is expressed as "Glory, Honor, Thanks, and Praise . . . to God the Father and his Son, Jesus Christ." This is a release of passion and expression, straight from his heart to yours. It's such a pleasure to hear and watch a young talent, such as Whitfield's, blossom and mature with good health and respect toward the originator of his talent. While so many influential artists have destroyed themselves and their career through the use of drugs, hard living, and disrespect towards themselves and others, Whitfield appears to have learned to maintain a balance in his life. With open ears and an open heart, we only stand to gain, as this artist's talent continues to bless us through his gift of music. THE WHO: Face Dances / It's Hard (MCA) Reviewed by Steve Marshall When Keith Moon died in 1978, many Who fans felt the band died with him. The Who recorded their final two studio albums with ex-Face Kenny Jones on drums--Face Dances and It's Hard--but they weren't the same. The reissues of these two albums recently made their debut in record stores. Musically, both have their moments, but they can't hold a candle to the 'old' Who. Over the last two years, MCA has been upgrading the entire Who catalog, and aside from Quadrophenia (which featured a 'different' mix, and no additional liner notes), they've done a superb job. Unfortunately, it didn't carry through to these two discs. I'll tell you about Face Dances first, and then get into It's Hard. With the exception of "Another Tricky Day," the best tracks on Face Dances were both written by bassist John Entwistle--"The Quiet One" (a great live version of this song appears as a bonus track) and "You." By this point in the band's career, it seemed the band's principle songwriter, Pete Townshend, had more interest in his solo career than The Who. Overall, the sound quality on Face Dances is excellent. They buried Entwistle in the mix on most of the tracks, but the drums have been brought forward and sound considerably better. (Reviewer's note: If you want to hear how Entwistle is supposed to sound, check out his new solo disc, also reviewed in this month's Cosmik) Let's talk about the bonus tracks. One of best is the live version of "How Can You Do It Alone." The studio version pales in comparison to this energetic performance. Recorded in Chicago on the '79 tour--over a year before the album's release--this is a perfect example of what happens when you do too much to a song. It's like a painter who overblends his colors. The result is a boring shade of gray. Another bonus track, "Somebody Saved Me" ended up on Townshend's 1982 solo album, All the Best Cowboys Have Chinese Eyes. This version is interesting, but it lacks the emotion of the solo version. It's Hard featured 12 new songs from the band--this time, three of them written by Entwistle. Aside from "Eminence Front" and maybe one or two others, Pete's new songs were pretty lame. John's tunes were the highlights once again. Like the new Face Dances CD, they buried the bass on most of the tracks. "Dangerous," one of the best songs on the CD, appears here in a new mix. The keyboards are much more prominent now, and you can barely hear Entwistle at all. A live version of the song appears as a bonus track, but the keyboards are pushed up there, too. The problems with the mix can be partially overcome by turning the balance control on your receiver to favor the left channel. This works pretty well for the live tracks. The studio tracks are another story. The four bonus tracks here are mercilessly chopped from the band's 1982 shows in Toronto (previously available on the Who Rocks America videotape). Liner notes are a major problem with the new discs. All the previous reissues (except Quad) featured expanded liner notes. Granted, this isn't the band's best material, but we should at least get what was there in the first place. Instead, we're lucky to get songwriter credits. If you're a Who fan, you'll probably be disappointed with these two CDs. Hang on to your vinyl..... YO LA TENGO: I Can Hear The Heart Beating As One (Matador) Reviewed by John Sekerka Back in the early sixties when the Mets were the laughing stock of Major League Baseball, a diminutive Latino shortstop used to patrol the middle infield, yelling at pop ups: 'Yo la tengo! Yo la tengo!.' Critic darlings often translate to unlistenable slop, and Yo La Tengo have had their moments of misguided experimentation, but without fail there are always a couple of gems on each record. True to their past, I Can Hear The Heart Beating As One dips into many waters - Velvet Underground, Burt Bacharach, The Beach Boys - mixing genres at will, often to interesting results, and sometimes hitting home runs. The catch is that repeated listenings are required before the real magic comes through. If you need something to latch onto in a hurry try 'Moby Octopad' which sees our trio heading into a funky Luscious Jackson groove, or maybe the dreamy Galaxie 500-like 'Autumn Sweater.' The rest will come later, and then you'll join me in this self-satisfying refrain: 'I got it! I got it!' MIGHTY JOE YOUNG: Mighty Man (Blind Pig) Reviewed by Shaun Dale This album was nearly eleven years in the making, and worth the wait. In 1986, Mighty Joe Young, whose career dated back to the early fifties and included work with giants of the blues world like Otis Rush, Willie Dixon, Magic Sam, Albert King among others, went into the studio to self produce an album of blues just the way he liked them. In September of that year he took a break for surgery on a pinched nerve in his neck. A year later he came out of rehab lacking the sensation in his fingers required to play guitar. That sensation has yet to fully return. As a result, you'll only hear Mighty Joe Young's guitar on two tracks here, "Starvation" and "Got My Mind On My Woman," which were laid down pre-surgery. The rest of the guitar is handled by Will Crosby (lead) and Joe Young, Jr. (rhythm). What you'll hear on every cut, though, is Mighty Joe Young's powerful blues voice and his production and rhythm arrangements. It took a long time, and cost too much pain, but Mighty Joe Young has finally produced an album of blues just the way he likes them. I think you'll like them too. Young was a first call player on the Chicago blues scene for three decades, but there's still a touch of his native Louisiana in his delivery, as well. There's a tangible element of pride and courage in his voice, the mark of a man who has something to say, something to do and who won't be stopped. With a 6 piece horn section arranged by Willie Henderson and fine backup from the entire band, this is a rich, full dose of the blues. Good for what ails ya. Track List: Starvation * Mighty Man * Turning Point * Got My Mind On My Woman * Got A Hold On Me * Bring It On * End Of The Line * Ain't Goin' For That * Wishy Washy Woman * On The Move Again * ________________________________________________________________________ BETWEEN ZERO & ONE By Steven Leith CANNIBALISTIC CAPITALISM I have seen the future. It is the shining face of loyal Microserfs (who seem more like refugees from an Up With People concert than corporate thugs). Don’t let this facade fool you. Microsoft has some of the most brutal business practices in the nation. Microsoft is the darling of the High-tech stock traders precisely because it is the best example of the post-modern corporate giant. I single them out just to annoy friends who work for Bill, but Microsoft is just the symbol of an entire family of carnivores that devour smaller companies. A favorite ploy is this. Imagine a new company has just created a brilliant bit of code for an application that could really be BIG. Imagine further that Microsoft was completely in the dark about this idea (I know this seems like an impossible thing). Do they roll over and play dead? No. They tell the small company that they can either sell the item to Microsoft or enter into an exclusive marketing arrangement so that Microsoft appears to have made the product. But the young company believes in the American dream and the capitalistic mantra that the best product will win. Besides, their stock prices are through the roof. So... Microsoft announces that they have the same product in development and will go public within a few weeks. Behind the scenes a disinformation campaign is waged to slam the product and the company. Sales dry up, but more importantly, the small company’s stock prices tumble. Start up companies depend on over-valued stocks to raise capital. Stock prices go in the toilet and bang, one step away from bankruptcy. Then the suits from Microsoft return. The small company signs whatever deal the suits put in front of them. Microsoft lives happily ever after. Some of you out there in Net land may recognize this story and think it refers to you. Well, don’t feel so special. It has happened to many people and not just at the hands of Bill’s minions. It is the way business is done in the real world. Does this make a better world? Perhaps, if you define a better world as one in which fewer and fewer people own more and more of the world’s assets. True, the productivity of the US (a major player in cannibalistic capitalism) is way up. So, why are wages stagnant and prices climbing? Why don’t the workers or consumers share in this tidal wave of wealth? The answer is perhaps too simple: "The fewer the players the friendlier the rules." Competition is bad for profit. A small startup company that has not asked permission to play will be eaten. Their product may never be produced or it will be produced without pesky competition. This system is surpassingly similar to another tired economic model. Is there a real difference between the old centralized economy of Russia and the New centralized economy of corporate cannibalistic capitalism? They both control competition and thus control what the consumer can buy. They both ensure special privileges for a small class of people who rule the show and they both undervalue the workers who produce the goods. The only important difference it that one system hasn’t died yet. * * * (C) 1997 - Steven Leith Steven Leith can be reached via e-mail at leith@speakeasy.org. (Steven Leith's opinions may or may not reflect those of the publishers and editors of Cosmik Debris... but probably do. Or they don't. Whatever our lawyers tell us. Thank you and good night.) _____________________________________________________________________________ PHIL'S GARAGE By Phil Dirt SPLISH SPLASH, I WAS CROSSING THE TRACKS GOOD TASTE VS. TASTES GOOD We all get caught up in the technology of the moment. You know, like big screen projection TV with it's crummy picture. The picture looks OK from 30 feet away, but you don't sit any further back, so it's all blurry with obvious color separation. You'd be better off with a good 25" regular TV, but then you wouldn't be the envy of your co-workers, would you? Such consumption of technology is often driven more by a perception of what's cool than by anything remotely based on logic or facts. This is what adolescents live by, the notorious peer pressure, breeding ground of cliques and trendites. You know the scene in "Spinal Tap" where they're discussing why the "custom" amp goes to 11?. It's a scene revisited frequently in stereo stores and car dealer showrooms. AUTO EROTICA What's happened in your car is not unlike that sometimes. The advent of the car radio those many decades ago started a ball rolling that would pass through some truly remarkable territory. I think the first significant development was the result of "Mad Man" Muntz. He invented the 4-Track cart player. The cart is a cartridge containing a continuous loop of lubricated tape. It was intended to contain your favorite music. It used an ingenious if sloppy system, with a 2-track stereo head that shifted up and down to change to the other set of tracks, so tracks 1 and 3 were the a-side of the cart, and tracks 2 and 4 were the b-side. The basic technology is still in use in radio today for spots, music, logos, features, and stingers, though there it uses only two tracks and has other features for cueing. Muntz's under-dash mounted cart player rapidly spread to every cool car in town. If you were popular, you had one in your car. It began with the low riders and their near worship of the legendary Muntz "Blue Light," so called because of the bright blue bar shaped pilot light on the front that looked so cool at night. From there, greasers of every description added them to their cars, and before long, every one who was any one had a Muntz Blue Light. ONLY THE BEST SONGS The record companies began to release albums on Four Track, but more importantly the local Mom & Pop record stores started making custom 4-Track carts with your favorite singles from their vast inventory of the swingin' sixty, new releases, and oldies but goodies. Now, that was a great thing. Talk about impressing the girls: you could get a cart of just the good stuff, and for those cruising-for- girls or submarine race situations, you could even get a cart full of the ballads they liked, all in the name of the cause. Now, there was a hitch here. You see, the record companies were only getting paid once, when they sold the disc to the retailer. So, they went to Congress and got yet another law passed that made it illegal to duplicate onto these carts. It came under the bootlegging/counterfeiting codes of the Publishing regs. So, from that moment forward, the Feds started raiding the locals and confiscating their goods and equipment. Quickly, and only for a short while, you were limited to making carts if you supplied or bought the records. Short lived, because the natural work-around that the locals devised was a liberal return policy, so, you "bought" your faves on "credit", paid a fee to have them carted, and then "returned" the singles for a "refund". The eventual answer came from Mad Man Muntz again, with a home 4-Track recorder. SINGLES IN YOUR GLOVE BOX The other critical development was the invention of the car record player. This was a study in desperate stupidity. It could only handle 45s, but that was the dominant format anyway. It mounted under your dash. The record was plugged into a slot, and the tone arm played from beneath the disc, using a weight to keep contact. The weight was very large. That was necessary to keep the needle in contact with the disc while you navigated less than perfect road surfaces. Stupid because, with a tracking weight of nearly a pound and a needle like a nail, the records didn't last long. Desperate because there weren't a lot of other options. Cooler than cool. Now the girls could bring their dream boat teen idol singles and play them while cruising, impressing their friends in the process. This of course further enhanced the "giving" of their gifts of pleasure, though it did mean frequent interruptions to change the record, since only one at a time could be loaded. Ah, the price of adolescent hormones. SPRING HAS SPRUNG Somewhere along the line, there emerged an extra effect to use in conjunction with the radio, the 4-Track and the record player: a spring reverb for your car. This device was from the same genetic root as the outboard reverb tank for your guitar, a unit developed for enhancing the Wurlitzer Dad played in the parlor. Now, this was cool! Everything sounded swimmingly huge and verby. Talk about impressing the girls! The best part was watching the low riders slow to a stop over the railroad tracks trying not to "crash" the reverb. The other end of the spectrum, the hot rodders, found every bump in the road just to hear the reverb crash. They also found that they could make them crash by pounding the box with their fists. Boy, could you get attention in front of the local Mel's Drive-In when the record player was turned all the way up with no record in it, and you smacked the reverb! C-CR-RA-ASH-SH! Mind you, this predates surf reverb crashes, but served the same punctuating purpose. MORE IS BETTER - NOT! Record Companies have this formula. Price minus cost equals profit. Not unusual, of course. Naturally, if you want more profit, you can do only three things. Raise prices, lower costs, or increase volume. In the record business, periodic format changes are the excuse for higher prices, and they usually mean smaller costs, like moving from vinyl to CD. That's good for the profit. In the tape arena, the record companies recognized that they could raise prices with a new "bigger" sounding product that cost less to make. How? They created the 8-Track. The public perception was "this must be better - 8 is more than 4." Better means they'll pay more. Twice the tracks meant half the tape length and half the duplication time. Never mind that it also meant half the track width, which meant lower fidelity. never mind that it also meant balance program times into four equal pieces instead of two. Record companies had no shame on this one. At the end of one of the 4 sides, songs might just fade out and fade back in on the next side, right in the middle of the hook or a vocal line, just to save a few inches of tape. People bought these things in droves. I think the biggest reason not to believe in UFO's is because all this was going on while they were "visiting" us in their saucers. Can you imagine an alien intelligence watching this and concluding there's intelligent life here? BACK TO 4 A natural extension of the stereo thinking was the advent of Quadraphonic, four discrete channel of music. You could get Quad-8's, two 4 channel programs in an 8 track shell if you had a special player. This format also made it to vinyl in several different technologies, all incompatible of course. Mostly, it all sucked, but the wannabe "audiophiles" and general scenesters thought it was a good thing. Another format change and another player required again. You know, it was a lot like those fake stereo records, "re-channeled" from mono masters but sending the highs to the left and the lows to the right. For only another dollar, your could buy stereo instead of mono, but often it wasn't stereo, it was fake. This practice was in use until sometime in the mid sixties. The other extra stupid stereo innovation was Capitol's "Duo Phonic". It was a halfway house for stereo ignoramuses. They had mono, and they had stereo. Priced half way between, they had Duo Phonic, mono enhanced with stereo reverb. Awful! CASSETTE The cassette finally emerged from the computer data industry. At first, even worse sound, and again, cheaper to make and higher priced. It eventually won out after many years of cleaning up the sound, though it's finally on it's death bed also. CARS THAT GO THUMP What's a better measure of power than full rich bass? How about super bass? Sub woofers the size of your whole trunk, amplified with several hundred watts of power that dims your lights and will kill your battery in a flash if the engine's not running. It all creates a sound that can be sensed on the USGS seismometers. Hell, I never carry anything in the back anyway, and my neighbors already love me. I didn't really want to hear what you have to say, and now, as an extra bonus, even after I get out of the car, I can't hear your whining. It's great! DIGITAL DELIGHTS The last in this series is the CD, and while it is much better than all the others, in your car, they're only smart enough to put multi-disc changers in your trunk, a truly convenient feature. Is everyone working for Ford an idiot? Sorry, I digress. The problem with CD's is that they have an incredible dynamic range, so you keep turning them up and down. It must be time for a compressor to help overcome their incredible clarity. WHAT'S NEXT? I suppose there's plenty of room for the next generation of whiz-bangs for you to buy. Why not immerse yourself in an artificially induced surround sound? How about 16 digital tracks in THX!? If you are a psychedelia fan, maybe you need an in-dash phaser. Wait, I have it. We can go back to the reverb idea by putting a digital reverb in your car. We don't have to miss the crash we love so dearly. It could reside on a chip, fired off by a crash button on the front panel about the size of a grapefruit. I know what we need. How about a microphone in the steering wheel so we can play those great karaoke CD's and sing along at the top of our power amps. With speakers in the grille, imagine thrilling your neighbors and scaring their dogs in the process. That could be even more annoying than the cars that go thump! ___________________________________________________________________________ WALLEY AT WITZEND by David G. Walley When the Gossip Lost the End Game Once upon a time in a country hamlet there lived a gossip who was short as she was mean, and the fact that she was married at all, let alone to the meek and mild-mannered owner of the village hardware store, was subject for many closed door discussions. He was so good-natured that citizens lined up early at his door just to beg credit, and even when they were late, he always extended them. The whole town figured he had to be saint to abide such a shrew without complaint. Recently there had been a dearth of dirt until the Old Bat latched onto the case of Mary Ellen, the local schoolmarm, one of the hamlet's few eligible and attractive women who'd been acting frisky of late. Everyone thought she was neat, the kids worshipped her, but to the gossip, anyone who was happy, especially if female and attractive, was suspect, and she was duty-bound by the Busybody Society to find out how and why. Accordingly she commenced to exhibit uncharacteristic interest in the PTA, though she had no children, to more closely monitor Mary Ellen's movements to and from the boarding house. Her husband, taking little notice of her activities, kept to his own invariant schedule of early to bed and early to rise, though lately he'd taken to playing chess on Friday nights down at the library, which considering they weren't having sex anymore seemed a reasonable thing to do. Friday nights she served apple fritters which, if the truth be known, were as heavy as lead and had the consistency of window putty; he knew it, she knew it, but he never said anything. One Friday night however, he exclaimed, "My honey, these are awfully good, could you make me another batch?" Since the gossip knew she was no Paul Proudomme, his request was suspicious; she complied, puzzling at his cheerful demeanor as he left for the library for a few hours of wood pushing. Her husband's fondness for her fritters was strange, but not as intriguing as the identity of the one who was putting the smile on Mary Ellen's face. When she shared her speculations with anyone who'd listen, anyone just grinned. A few Friday nights further on just after her husband had left for the club, she was seized with a sudden hankering for a bodice- ripper; she'd check in on his game afterwards. She found the library closed, her husband's pick-up alone in the lot. She was about to surprise him when up drove Mary Ellen in her Cherry Red Accord. Devastated, she watched as he got out of his truck, climbed in with Mary Ellen, and, after giving her a familiar kiss, drove off for parts unknown. He arrived home, at eleven like he always did. "How was your game tonight, dear," she inquired tensely. "Just fine, honey, I think I'm getting better at my end game," he replied pouring himself a glass large glass milk at the kitchen table. " You think you could whip me up some of those fritters? Chess sure makes me hungry." Now she was stuck, and handily, too. Here she'd been poisoning the airwaves around town with suspicions of Mary Ellen's secret smile, and its cause was sitting before her playing with his napkin ring. Of course he'd deny it, and if she told anyone else, she'd lose her membership in the Gossip Guild. "Yes, I surely can," she mumbled piling his plate with her leaden delicacies liberally doused with maple syrup. The following morning after he'd gone to work, she moved out of state, back to her Mother's because, she explained in a note she left on the kitchen table, "Ma's been feeling poorly." After a decent interval, her husband filed for divorce on the grounds of desertion, and surprising no one in town, moved in with Mary Ellen. Most evenings these days after work you can find him at home working on his end game. MORAL: Chess doesn't necessarily have to be a boring game. David G. Walley dgwalley@bcn.net ___________________________________________________________________________ CLOSET PHILOSOPHY With Rusty Pipes THE IRRESISTIBLE FORCE Okay gang, the first Closet Philosophy column was a rant, the second column was history, this time we finally get down to Philosophy. You've probably heard this old koan before: "If you pitted an irresistible force against an immovable object, what would happen?" Koans are Zen Buddhist brain teasers that are designed to short circuit your brain long enough to have a satori, a breakthrough, a shot of enlightenment. The most famous traditional Zen koan is, "What is the sound of one hand clapping?" There are whole shelves of sutras about the implications of that one. There's a similar tactic in the Hindu philosophy but nothing analogous I can think of in the Judeo-Christian tradition, except perhaps their basic paradox, "God loves you but he needs money." (Yes I'm ripping off George Carlin and I'm digressing terribly; I'll make that can of worms a part of the diet in a later column and we can start digesting terribly. Woof.) Physics has an answer for the Irresistible Force koan and it's pretty obvious, really. There is no such thing as an Immovable Object. Look up your Einstein--everything is relative. Think about it: the biggest rock, the tallest mountain, the continents themselves are already moving. The entire planet, the Sun, solar system and galaxy are not tied down to anything. When you get down to the real bedrock of things (now an oxymoron) you find that all of our reference points are mutable and transitory. When something is said to move, we arbitrarily decide that the larger of the two objects is stationary and the smaller of the two is moving. Likewise, in a group of objects, the majority is said to be stationary and the minority moves. In both cases it's more meaningful to say only the objects are moving relative to each other. The corollary to the fact that there is no such thing as an immovable object is that all forces are irresistible. A single photon escapes the Sun. It hits a mountaintop on Earth eight minutes later, or more precisely, it hits an electron of a silicon atom in a grain of feldspar at the top of a mountain. The atom heats up a tiny fraction of a degree and dances just a bit more energetically. The mountain is moved. ALL forces are irresistible no matter how small. Let's try that again in caps. ALL FORCES ARE IRRESISTIBLE NO MATTER HOW SMALL. This applies in human relationships too. It means that Everything Matters. That's worth capitals too. EVERYTHING WE DO MATTERS. My wife certainly remembers every little thing I've ever done. No, I take that back, she only remembers the bad things. The good things I've done appear only in the form that she's still with me in spite of my shortcomings. Let's widen the scope a bit. If everyone believed that Everything Matters, do you think that we could stop using styrofoam cups? Maybe even replace all the polluting cars? Be polite and say hello to the neighbors? Turn the stereo down before the police are called? Could we get a higher percentage to vote? Stop unprotected sex? Maybe block tanks with unprotected bodies? Obliterate child abuse? Eat a little less so others might have enough? The thought of Everything Matters cascading through all that we do would certainly change things. It would tend to slow us down, to ponder even our smallest steps, to approach life with a sense of humility, respect and civility. You might call it a religious attitude; I tend to say "spiritual" more than "religious." It's a goal to strive for. It might be hard to sell mowing the lawn as a sacred act, but even it can be. Certainly hugging a child is. It's the caring that counts. Frail as we are, we'll never get it completely right, but it would behoove us all to do everything as well as we can. The worst crime is to not care. It does matter. It does add up. Make your actions--the irresistible forces you generate--positive ones. The world will be a better place for it. That's enough Extrapolated Einstein for now. Until next month the Closet is closed. --------------------------------------------------------------------------- E-MAIL ADDRESSES FOR CONTACTING COSMIK DEBRIS' WRITERS DJ Johnson (Editor)......moonbaby@serv.net Jeff Apter...............jeffa@netaxis.com Ann Arbor................Nprice@aol.com coLeSLAw.................coleslaw@serv.net Robert Cummings..........rcumming@csrlink.net Shaun Dale...............stdale@well.com Phil Dirt................reverb@cruzio.com Louise Johnson...........aquaria@serv.net Steven Leith.............leith@speakeasy.org Lauren Marshall..........Ocean@pluto.njcc.com Steve Marshall...........SteveM@pluto.njcc.com Rusty Pipes..............RustyKLST@aol.com Paul Remington...........prem@frontiernet.net John Sekerka.............jsekerka@gsc.NRCan.gc.ca Sparky Lou...............sparkylou@hotmail.com David Walley.............dgwalley@bcn.net Cosmik Debris' WWW site..http://www.cosmik.com/cosmikdebris Subscription requests....moonbaby@serv.net coLeSLAw's gAllARy is at http://www.serv.net/~coleslaw/ Shaun Dale's web site is at http://www.zipcon.com/stdale Phil Dirt's Surf Site is at http://members.cruzio.com:80/~reverb/central.html