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Pop
and Contemporary Music
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Kristen
Hersh - Sky Motel
CAD9008CD Reviewed
by JH
Bands and performers are a bit like drugs; for any given subject some
are uppers and some are downers. You can rank songwriters by the depth
of the rose tinting on their glasses. Kristen Hersh is definitely one
of musics downers, with a penchant for telling it just exactly how it
is, warts and all. Sky Motel is her third solo album, and fuses new sounds
to the familiar acoustic backbone of her music. The sparse sound emphasises
her melancholic vocal which is chock full of emotion and contrasts vividly
with brief flurries of aggressive electric guitar. Her strong voice can
handle the exposure, and travels the range from breathy seduction to raw
disdain. And despite the small cast of supporting instruments, clever
production weaves complex songs, full of rhythmic and dynamic contrast.
And what songs. Full of opposites; innocence and sexuality, soft and hard,
delicacy and brute force. All helped by an unobtrusive recording that
lets the music breathe. As a fan of the Throwing Muses, I guess it was
on the cards that I'd enjoy Ia Hersh's solo efforts. If you haven't tried
them, don't delay. I've a feeling you'll enjoy them too.
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Geoff
Muldaur - the secret handshake
Hightone HCD 8097 Reviewed
by DD
Drawn to this CD by a glowing endorsement from Richard Thompson, I had
high hopes. Before I got a quarter of the way through the first track
'Wild Ox Moan' I was kicking myself for not catching on quicker. The album
is subtitled 'American Music: Blues and Gospel' and that's just what you
get. A guided tour through different genres from '40's gospel numbers,
Leadbelly's 'Alberta', through to a New Orleans funeral marching tune.
It's a pretty rich mix, but Muldaur carries it off with ease. He has a
very expressive voice that he moulds beautifully to the demands of the
different numbers. Accompanying himself on guitar, penny whistle or banjo
and backed by a band that's really tight, there's not a weak track. The
recording is good, favouring the largely acoustic instruments well. A
favourite track this week is 'Chevrolet/ Big Alice' featuring fifes and
drums and drawing on African dance music influences. Next week it'll be
another. The album has 10 tracks, so that's a track a week for the next
10 weeks, then its back to the start. I've found me an all time favourite.
Now what else has he released?
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Scott4
- Works Project LP
V2 Records WR1008011 Reviewed
by JH
Scott4 have now produced two albums that are full of dichotomy. Using
a mixture of purely analogue renditions alongside samples and slightly
distorted synthesisers they range from "unplugged" to Kraftwork-esqe.
Add tempi that see-saw from upbeat to downright dismal and there should
be enough variety for anyone. The band has three members (vocals, drummer
and guitarist), and draw on a number of influences, rock country and a
smattering of "dance", making the songs hard to pigeon hole. The use of
unusual sounds and percussion in songs, particularly in instrumental sections,
has been retained from their equally fine first album, 'Recorded in State
LP'. Lyrically complex and emotive, the final sound is definitely their
own, new and eclectic. The album has fine sound quality and production
and is simply recorded preserving the complex rhythms present. Works Project
LP can perhaps best be described with analogy to an old city; sections
are modern and sparkling, but just around a corner lurk depravation and
poverty, and this is reflected both in the music and the lyrics. Anybody
lacking originality in their musical diet need look no further.
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Trisha
Yearwood - Thinking Of You
MCA MCD 11226 Reviewed
by AH
The music business can be a tough nut to crack, so a helping hand is welcome.
In Trisha Yearwood's case it came when Garth Brooks asked her to contribute
vocals to 'No Fences Fortunately their styles have little else in common!
She is a fantastic interpreter of other people's compositions and on this
album she gives full measure to songs from the likes of Gretchen Peters,
Melissa Etheridge, Matraca Berg and Kimm Richey. First up is 'Thinking
'Bout You' It's a great opener, lustful and full of longing. Gretchen
Peters' 'On A Bus To St Cloud' is such a sad song, and Trisha pours out
the hurt in the lyrics with pure emotion. She does an even better job
on Kimm Richey's 'Those words We Said', one of those classic leaving songs
that the Americans do so well, the heartbreak in her voice perfectly matching
the forlorn lyrics. There are some heavyweight guests playing on Thinking
Of You. Marty Stuart, Pam Tills, George Jones and Mary Chopin Carpenter
all lend their talents, and Trisha's longtime producer Garth Fundis does
a fine job. The sound is big and spacious, with Yearwood's voice well
to the fore -exactly where it deserves to be.
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The
Gentle Waves - The Green Fields of Foreverland
Jeepster Recordings JPRLP006 Reviewed
by JH
This is a haunting album which revolves around an amazing and unusual
female voice. The vocal delivery is very difficult to describe, being
soft with a breathy quality and almost childlike. The album feels like
a series of lullabies or fairytales sounding natural, folky and elemental,
right in step with the current eco I druidical axis. The lyrics themselves
reinforce this, seeming a bit dreamy and naive, but listen deeper and
they have hidden strengths. The album is almost entirely acoustic, using
strings (guitar, violin and cello), piano, bongos and others. Featuring
the musicians from Belle and Sebastien, this is much less melancholy than
their output; sure it has its moments, but nowhere near as intense. One
track is completely out of character and really lets fly! Almost punk
in intensity, especially compared to the rest of the album it feels abrupt,
with the sudden use of electric instruments. Very melodic, there are hooks
throughout the album, and I find myself humming snatches all the next
day. The very simple LoFi recording and production helps to create a very
good album, but one that is very hard to grab hold of. It sort of drifts
by, changing your mood as it goes. Not to be missed, This is music of
rare beauty.
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Missy
'Misdemeanor' Elliott - Da Real World
Gold Mind lnc./Elektra 7559-62436-2 Reviewed
by JM
So much is Missy Elliott inclined to advertise her bitchiness (bitchhood?)
that her website glories in the designation www.shesabitch.com and amid
the album's preamble is a looped chant of "She's a, uh, bitch, uh..."
So, having established that, what else has the lady got going for her?
Plenty it seems. There's the Grammy-nominated, platinum-selling, critically
acclaimed...yada-yada...debut album Supa Dupa Fly. Then theres the writing
and production credits for such as Whitney, Janet Jackson and Lilith Fair,
not to mention the British number one with our own lovely Mel G. But even
hiphop-diva-bitch-goddess-megastars have to face "that difficult second
album syndrome" sometime. Happily the hurdle has been jumped with her
customary aplomb. Missy's talents are numerous but most important here
is her undiminished, seemingly effortless ability to meld soulful, gospel-tinged
R'n'B vocalising with vivid, filthy-mouthed rapping. Longtime production
collaborator Timbaland provides the backgrounds. Beats assembled from
a wider palette of percussion samples than we've a right to expect, are
imaginatively placed and supremely phat and funky. Furthermore, there
are guest spots from Eminem, Redman, Lady Saw, LiI Kim and others. Missy,
as she would be the first to point out, is one dope bitch.
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Jethro
Tull- WarchiId
MFSL UDCD 745 Reviewed
by DA
It's something of a refreshing surprise that Mobile Fidelity chose this
particular album for the audiophile CD treatment, as it's hardly one of
Tull's renowned classics. However, boasting 'Skating Away On The Thin
Ice Of A New Day' amongst its track listing, it's an LP with a lot going
for it. Perhaps the best reason for picking Warchild is the terribly dull
and murky sound quality of the original vinyl, something that this re-master
goes a long way to improving. Like Minstrel In The Gallery, Warchild was
recorded in the period between the two concept albums Thick As A Brick
and A Passion Play, and the folkier period of Songs From The Wood and
Heavy Horses. As such it is a transitional album, with the aforementioned
'Skating Away' looking forward and 'The Third Hurrah' looking back. What
stops this album being one of their classics is the attempt to mix the
complex rhythms, used so successfully on later albums, with the heavier
instrumentation of the previous period. By Songs From The Wood Ian Anderson
had worked out the recipe to perfection, but here it's somehow unsatisfying.
So, not essential; but if you are a fan, and like me have a disappointing
vinyl copy, then for you it's a worthwhile purchase.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186
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Penthouse
- My Idle Hands
Beggar's Banquet BBQCD211 Reviewed
by JM
Billed with uncharacteristic PR company accuracy "subterranean sick blues",
this is the second album from the mighty Penthouse. Taut, wired, paranoid
and calling up the spirits of dead blues-men from a vantage point on the
Thames estuary, this is exactly how millennium rock'n'roll should be thrust
upon us. Raw, punky and weird. With clanking, jagged, bass-heavy songs
delivered by an apparent madman, the biggest single influence -both musically
and lyrically - would seem to be The Birthday Party. There's shades of
Gallon Drunk, Mule, Waits and Beefheart here too. Brutal bass torque anchors
it, allied to drums which are battered to a bloody heap, seemingly by
the ghost of Keith Moon. The slashing, spiralling, atonal guitar figures
are part butchers knife and part road drill. Charlie Finke's vocal assault,
comprising bestial roars, Las Vegas crooning and demented moans is an
extraordinary performance. His songs are succinctly poetic, "To Celeste,
drops the salty, cleaves the fertile, raise the muddy, what meanders,
swathe through chalky, slight the emerald, to the briny" being an unusually
pastoral example thereof. Elsewhere, as in 'Petit Sang', they take a more
gothic turn, "Life at the charcuterie is not quite what it should be,
poor petit bitch knows too well that Papa's having dreams". Hammer Horror-show
proof that Blue Men can indeed Sing the Whites.
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KuIa
Shaker - Peasants Pigs and Astronauts.
SHAKER 2 LP Reviewed
by JH
It's the 70's again and prog-rock rules. Well it is and it does for this
band. Kula Shaker have received plenty of criticism for their unashamedly
retro sound, but I love it. A mix of ping-rock and ethnic Indian influences
has enabled this band to create a really interesting and original album.
Peasants Pigs and Astronauts is the bands' second album, and the better
of the two, being a little more diverse and inventive. The Indian influence
is present on almost all of the tracks, produced on what sounds like authentic
instruments, and several songs also feature Indian lyrics. The tempo across
the album, and across some songs, varies, which helps further expand the
diversity of density texture. The major riffs are largely built on electric
instruments (guitars being dominant while synthesisers play their part),
but the band keep things as analogue as possible, including the indispensable
Hammond Organ. Layered and interleaving melodies are combined along with
loops to create detailed soundscapes which present a swirling background
to the lyrics. I can forgive the pretentious attempts at cosmic lyrics
because the music is so very catchy. Break out the flares and buy this
album.
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Hal
Willner - Whoops, I'm An Indian
Pussyfoot CD/LP012 Reviewed
by JM
Having produced some marvellous left field works - Weird Nightmare - Meditations
On Mingus, William Burroughs' Spare Ass Annie and the Kurt Weill tribute,
September Songs to name but three - Willner now immerses himself in samples
and beats. Here we have a dance album - on Howie B's dance label, no less
- which really doesn't sound like one. Its a surrealist collage of sounds,
the only real live instruments being Ralph Carney's various woodwinds.
Willner's original suggestion to Howie, "uh, lets have, uh, soup flowing
upstairs with ducks" might give some indication of the spirit of the enterprise.
Obscure recordings by, among others, The Golden Gate Quartet, Spike Jones,
Jimmy Durante, Sun Ra, Lucky Millander, The Collegiate Negro Choir, The
Russian Cossack Choir and Ernest Tubbs are sampled and mashed up, grated,
compressed, tweaked, and faded in an out. 'In Do You Hear Me?' a rhythmic
chant of "You'll eat no bread, no corn, no pie, cake, dessert of any kind....Hit
the spot, Baby" is sequenced over clattering drum'n'bass and Mariachi
brass. Later, a native American chant segues into the 'Star Spangled Banner',
then 'Give Me A Home Where The Buffalo Roam'. The album ends with 'What
A Friend We Have In Jesus' slowed to funereal pace. All this and more.
A strange, intriguing work.
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Skunk
Anansie - Post Orgasmic Chill Reviewed
by DA
In last month's issue I chose this album as one of my desert island discs
for those days when I just want to shout along to a big chorus song or
wig out to some hefty riffs. 'Hefty riffs?' you might well ask, if all
you've heard are the singles, and this question reveals the secret of
the band - schizophrenia. On all their albums, for every radio-friendly
torch song, you will also find a shouty rocker and an addictive riff fest,
so those of a sensitive disposition are duly warned. This time out Skunk
have mixed together the straight rock of the first album with the experimental
aspects of the second and added a sprinkling of strings to produce their
best album to date. Both live and on record, Skunk are tighter than a
lock-nut that's been screwed down with a yard-long torque wrench, but
whereas on stage the power of the band comes mostly from sheer volume,
on record it is achieved via a dense and flat production style and vast
dynamics. These factors make the CD a good test for a system's timing
and dynamic capabilities, turn it up and revel in a 'truly glorious racket'.
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Luna
- The Days of our Nights
Beggars Banquet BBQLP209 Reviewed
by JH
This is just a great rock album. Luna are a four piece band with a guitar
based sound, around which they weave synths, vocals, strings, and even
a trumpet. The songs on this, the bands fifth album, never stray from
the standard rock format of verse and chorus, and why not? Lyrics focus
on a character or person, sometimes observed and sometimes from their
perspective, but the subjects are eclectic to say the least: a stalker,
an alcoholic dreamer, even a child prodigy. Vocal delivery is languorous
and Lou Reed like, and along with the music (especially the guitar) is
vaguely reminiscent of the Velvets, although the album as a whole has
a more melodic sound which makes it more accessible (and mainstream?).
Talking of which, there is a bizarre cover of 'Sweet Child of Mine'. Production
is average, with a degree of muddling on some tracks, although it allows
the performance through pretty much intact. The overall recording quality
is nothing to get excited about. This is a workmanlike effort which runs
the band through its paces without ever really stretching them. Challenging
it's not. Damn good fun? Absolutely.
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Jonny
Lang - Lie To Me Reviewed
by AH
From the opening bars of the lead and title track, you know that you are
listening to an accomplished and highly professional talent. Tasty guitar,
tight backing band, and a voice that reeks of everything that rock'n'roll
could throw at it. Except that when he recorded this album Lang was only
15 years old! He started his musical career as a saxophonist, but had
a calling for the guitar, so he took some lessons, practised long and
hard, and within a year was leading his guitar teacher's band on the club
circuit. Lie To Me is an absolute belter of an album. Hear Jonny breath
new life into 'Good Morning Little School Girl', marvel at the dexterity
of his fingering on 'Matchbox', and feel the yearning in his wonderful
voice on the gorgeous 'Missing Your Love', one of two beautiful ballads
that this precocious talent penned himself. Some people might struggle
to believe in the authenticity of Jonny Lang's world of broken hearts,
pool halls and torn relationships. After all, what can a 15 year old possibly
know about life? Well, there are exceptions to every rule and believe
me, Jonny Lang is most definitely the 'Real Deal'. I'll leave you with
a quote from seasoned blues veteran Jimmy Thackery - "He plays so good
I want to break his fingers." 'Nuff said.
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Homelife
- Cho Cho
Madwaltz HL 501 Reviewed
by JM
Well chilled, Doctor, well chilled. Homelife is what might be called an
ambient/jazz/funk collective but you shouldn't allow such nomenclature
to put you off. At least sixteen musicians are involved - as far as can
be ascertained - including past or present members of outfits like 808
State, The Other Two, Yargo and Lionrock. The Homelife approach is to
combine "proper" instruments with techno gizmos. So we find violin, cellos,
guitars, alto, B-flat, and bass clarinets, alto sax, trombone, glockenspiel,
melodica, harmonium, banjo, bowed saw, Jews harp, Indian oboe, double
bass, bass guitar, an acme duck whistle (no less), stylophone (!) and
more parping, plinking and warbling away. (Indeed, if Homelife could find
a way of making a satisfactory noise with a kitchen sink then I've no
doubt that would be utilised too.) Then there's the four vocalists and
a number of drummer / percussionists. This lot are aided and abetted by
decks, programming and sampling to produce a surprisingly subtle series
of meandering, lilting tunes. With all that instrumentation at hand this
could well have been a dreadfully self-indulgent load of old muso bollocks.
Instead it is understated, funky, tasteful, and with titles like 'Petrol
Laces Out Among The Stars' and 'Haddow's Gizz', disarmingly playful.
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Peter
Himmelman - Flown This Acid World
EPIC - EK52588 Reviewed
by AH
OK, hands up who's heard of this guy? Well, until a few months ago I'd
never heard of him either, but if you like singer/songwriters with plenty
to say then Peter's your man. When his father died Himmelman became an
orthodox Jew, married Bob Dylan's daughter and started writing thought
provoking songs if an emotional and spiritual nature that demanded attention.
Gently strummed guitars and mandolins Himmelman's beautifully warm vocals
drench the songs with pure emotion. There are songs about breaking up
('Things To Say'), growing up ('Child Into A Man'), a truly beautiful
song for his daughter ('Raina') and an autobiographical song called 'Untitled'
which documents in harrowing twelve minute detail a taxi ride he took
in Minnesota where the driver turned out to be a neo-nazi! Himmelman is
a big fan of Elvis Costello and just occasionally similarities emerge
but he is very much his own man, with a wacky, spontaneous humour sadly
lacking in so many of today's manufactured stars. 'Flown this Acid World'
is only available on import and might necessitate a trip to your local
independent record store to track it down, but ultimately you'll find
it a very worthwhile and moving experience if you do.
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DJ
Spooky That Subliminal Kid - Riddim Warfare
Outpost Recordings OPD-30031/030 031-2 Reviewed
by JM
"A lot of DJs speak with their hands/Now I think its time to expand.."
is a couplet a third of the way through this 21 track epic which explains
a lot. If the world needs intellectual hiphop Paul D. Miller, Afro-futurist,
author, columnist, DJ, installation artist and high end cultural theorist
is clearly the man for the job. A far cry from the Glock-toting and crack
dealing of conventional myth - Spooky takes hiphop to the Manhattan art
loft and gives it something to think about. Consequently amid the beats
we find utterances like "tape to me is an electromagnetic canvas...its
like painting with fragments of memory" and "Individuality? The air molecules
that my breath is vibrating - is that my representation? Its like the
physics of presence...but with rhythm". Furthermore, there are tracks
called things of the order of "Dialectical Transformation II (On Nouveau
Monde)" and "Post-Human Sophistry'". Whether you find this intriguing
or merely pretentious, the presence of guests such as Killah Priest, Kool
Keith and Sir Menelik has the effect of occasionally anchoring it to the
street. There's straight hiphop, high quality jungle (some of it utilising
the sampled clatter of martial side drums), jazz instrumentals and urban
poetry. This art swings.
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A.J.Croce
- Fit To Serve
RUF 1023 Reviewed
by AH
AJ. was only two years old when his father Jim died in a 'plane crash.
At four he developed a brain tumour that left him blind, It was only after
four operations that the sight was restored to his left eye. He learned
piano at the age of six, and started collecting 78's. His tastes broadened
to encompass blues, jazz, swing and soul, and Fit To Serve contains a
fair measure of all of these. His voice is suitably husky and blends perfectly
with his sterling piano style. A perfect example is 'I Don't Mind', all
funky guitar and swirling horns mingled with AJs rolling piano and girly
backing singers. The Wurlitzer makes an appearance on 'Lover's Serenade'
(such a great instrument). 'Trouble In Mind' kicks off all smoky jazz
before erupting into barroom boogie-woogie, while 'Texas Ruby' tells the
story of a stripper who climbs onto our man's car and "Wriggles outta
her jeans" on the street in St Charles, Texas. "So In Love" marks the
return of that rock solid horn section and Jack Holder's funky guitar.
A.J. may have a famous surname but he's not leaning on it - he doesn't
have to. The man's got plenty of class, just like his dad. Check it out.
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Shawn
Colvin - A few small repairs
CBS 484327-2 Reviewed
by RG
First we had the covers album, now we have the divorce. One of life's
hard livers, Shawn Colvin brings a depth of experience to her songs, songs
that catch the bitterness of betrayal and the frailty of loneliness. There's
a quiet desperation to the lyrics that is echoed perfectly by the thoughtful
acoustic arrangements. But bubbling beneath the surface there's always
that power and anger, and it strikes with a righteous and merciless fist:
'If I see you again it will be in my head at the end of a cloud / If you
see me again it will be in your head telling you to get out / You act
like a baby, you talk like a fool / Get out of this house.' Production
is by John Leventhal, who also plays guitars and Mandolin, while the disc
was mixed by Bob Clearmountain and mastered by Bob Ludwig. With such a
stellar cast you should expect good sound as long as the egos are kept
under wraps. With Colvin's acid tongue about, they were probably afraid
to come out!
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Lucinda
Williams - Sweet Old World Reviewed
by AH
Although Lucinda Williams is one of America's greatest singer/songwriters,
her recorded output is very low. In the last 20 years she's only made
5 albums, but who cares they're as good as this? Sweet Old World is not
an easy listening experience. The title track tells of all the good things
you stand to lose by taking your own life ("The from your own lips / A
sweet and tender kiss"), and 'Pineola' continues the suicide theme with
the sad tale of Sonny who "Shot himself with a .44'. However, it's not
all doom and gloom as the jaunty country rock of 'Lines Around Your Eyes'
testifies. Lucinda's longtime guitarist, the unfortunately named Gurf
Morlix, lays down some wonderful lines, especially on the plaintive 'Something
About What Happens When We Talk', and the aforementioned 'Lines Around
Your Eyes'; and also proves to be more than capable on the Dobro ('Prove
My Love'). 'Hot Blood' is a sweaty, lusting blues song featuring some
wicked slide from Mr Morlix, but the real highlight for me is the cover
of Nick Brake's 'Which Will'. Just Lucinda and her guitar, recorded live
in a club called 'Mad Dog' at 2.00am in the morning. Stark, beautiful
and very moving, a fitting way to close a truly memorable album. Sweet
Old World is a classic example of a great songwriter at the top of her
craft. Essential.
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One
Lady Owner - There's Only We
Creation CRECD245 Reviewed
by JM
The most interesting rock album to come out of Manchester in recent years,
One Lady Owner's debut dances merrily upon the Britpop grave. Not that
it isn't retro and ironic and all, it's just that here the references
are abstruse enough for them to get away with it. Out with your chiming
guitars and Merseybeat harmonies. In with a strange mixture of the garage
punk of The Standells and the Shadows of Knight and the avant-glam of
early Roxy Music. A dense, soupy production - like a lo-fi Phil Spector
having a psychotic episode -fairly oozes from the speakers. The action
takes place in a San Francisco of the mind which only ever existed in
the scripts of cheesy 70s cop shows (and the lyrics of The Cramps). Ruminations
of the order of "She's stuck to the leather seat/Oooh, what's next?/She's
stuck to the leather seat/Oooh, Police Car Sex." are delivered in a melodramatic,
Bat-Cave croon. The music supporting such effusions comprises the keening
upper register of a Hammond at one end and gravid, distorted bass at the
other. In between somewhere she guitars scavenge and scrap in the recycling
bin marked 'salvageable blues riffs', and a seedy sort of cool is achieved.
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Tommy
Castro - Can't Keep A Good Man Down
Blind Pig BPCD 5041 Reviewed
by AH
Hey, wanna party? Then invite your friends over, stick this in your CD
player and crank on the volume. Castro and his superb band are one of
the hottest and hardest working properties in the States right now, ripping
it up and sending crowds into delirium wherever they care to play. They
don't use a conventional rhythm section, preferring to blend Castro's
fine guitar with Steve Crossan's sexy sax. It's such an infectious sound
-guaranteed to keep those toes tapping. Highlights are many, but particularly
fine are the slow blues number 'my Time After Awhile', featuring blistering
guitar and an acappella break showcasing Castro's soulful vocals, and
the footstompin' boogie of 'You Only Go Around Once', where the twin attack
of Castro's guitar and Crossan's sax are right to the fore. Another standout
is the moody instrumental 'Hycodan' both the leading protagonists taking
it in turns to solo their hearts out. Producer Jim Gaines has given the
album a really live feel, which does the band full justice without sacrificing
studio quality. You'll never keep this man down for long, he's just too
damn good! Great fun and highly recommended.
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Holly
Palmer - Holly Palmer
Reprise Records Time Warner Co. WEA 9362-46281-2 Reviewed
by RP
Holly Palmer is a vocalist much in the mould of Michelle Shocked and,
with this album of attractively arranged ballads, she draws upon those
perennial experiences which have inspired generations of female singer/songwriters.
Distant childhood memories, the usual catalogue of fractured relationships
and even abuse: all provide material for these intelligent, closely woven
compositions. Her gentle delivery of the most hard-hitting lyric contrasts
greatly with, say, that self-indulgent, adolescent-like anger of Alanis
Morissette's pop persona: where a residual bitterness always seems to
taint and undermine the battle with her personal demons. Whereas Holly
Palmer's prettier voice, through its wit and use of subtle inflection,
never dilutes either the impact or importance of a song by mistakenly
disappearing into this fathomless trench of aggressive restatement. In
'The Three of Us' (which deals with the issue of adoption) she deftly
handles the necessary emotional release yet, significantly, at the end
of the track there is a sense of progress and healing coming to the fore.
Confronting your demons is one thing, but overcoming them is something
else. Palmer achieves this, and more, because you care about her and what
she has to say.
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The
Mavericks - Trampoline
MCA Nashville UMD 80456 Reviewed
by DA
I find 'Later with Jools Holland' a great way of widening my musical arena,
and when the Cuban/Country hybrid band the Mavericks played three songs
from this album, my attention was well and truly grabbed. The opening
track 'Dance the Night Away' will be familiar to regular radio listeners,
and is a fair meter for what follows. The CD is a tad more country than
I'd been expecting after the BBC2 session, but the combination of great
songs, spirited musicianship, shimmering strings, and breezy brass really
carries it off. This is the sort of album that raises a silly smile and
makes you sing along as you hop round the room. This is definitely one
for those sunny summer afternoons. On the production side the sound is
rich and full, and the bass fairly loose. On my system it works well,
but if yours tends towards the classic BBC sound, it may be a bit much.
The band use strings, brass and additional instruments as necessary, which
creates a real carnival atmosphere. It's a bit like sitting among the
palms in the local Mecca, albeit transplanted to Florida. Barman, fetch
me another Tequila!
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Joni
Mitchell - Blue
DCC re-issue GZS-1132 Reviewed
by PC
I'm always sceptical about re-mastered classics. This album has always
been a favourite of mine since the first hearing, back in the seventies.
However, I am glad to report that differences between this version, and
the CD copy I am used to hearing, are all for the good. Lyrically and
melodically sublime, the quality of the original recording was never A:1,
but with the song content and performance being as good as it was - who
cares? Now, with the overall soundstage and presence having been noticeably
improved, the songs re-emerge as fresh and new as they were back in the
days of flares and fuzzy hair. In fact, Steve Hoffman has worked a few
wonders in giving the acoustic instruments a far more "live" feel. As
I intimated earlier, I am not generally a fan of digitally re-mastering
for CD. In my experience, this can lead to a cold "clinical" result. Not
in this case though. This might have something to do with the fact that
the work was carried out on an all-valve system. It's certainly not a
typical "number-crunch"! If you need persuading, listen to track 4, 'Carey'.
It's worth buying the CD for this song alone!
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186
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The
Lilac Time - Looking For a Day In The Night.
Cooking Vinyl Cook CD 176 Reviewed
by JH
This album doesn't start well, but improves suddenly. The first two tracks
are formulaic and inoffensively shallow, but once track 3 is reached things
really improve. Suddenly the band can play instruments and hold a tune,
they can sing songs and write lyrics. It is quite a startling change.
The Lilac Time consists of five people playing the usual suspects of guitar,
synthesisers and percussion, although it is nice to hear a pedal guitar
every now and then. Never aggressive, the album is very tuneful and gets
you moving around. Reminiscent of sixties American output with a folky
feel, Looking For a Day In The Night contains two instrumental tracks
which have sufficient substance to stand on their own two feet, when too
many are poor and added, it seems, as an after thought. The lyrics, written
and delivered by Stephen Duffy with female backing, express sentiment
without being overblown and fit comfortably with the times. There's the
seemingly obligatory mix of sound effects adding spice to the aural picture.
The album is upbeat throughout, and both well produced and recorded, which
certainly helps you get into the songs. Well crafted, Looking For a Day
in The Night is an excellent listen.
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Stereophonics
- Performance and Cocktails
V2 Records WR1004499 Reviewed
by JH
The Welsh are coming! Following the recent success of Catatonia and the
Manic Street Preachers, the Stereophonics have released Performance and
Cocktails to much critical acclaim and a Mercury Prize nomination. Is
this album worthy, or have people just jumped on the Welsh bandwagon?
I'll plump for worthy. Another electric guitar driven band, they manage
to carve their own sound. The vocal delivery is obviously unusual, a throaty
'cigarettes and whisky' fuelled voice which is a bit like a harder Bryan
Adams (in every sense of the word). Lyrically they are observationalists,
but since touring America they have lost some of their sincerity. Unfortunately
small-town lads writing songs in New York hotels dilutes the experience.
Plenty of hooks and riffs to get you humming, and a couple of anthems
have led to some chart success. The songs aren't all thrashy and fast,
the tempo changes yielding space for a few ballads. The Manics are the
obvious comparison, and ultimately the reasons for their greater success
are clear in their greater craft. The Stereophonics are rougher sounding,
and slightly less consistent, with one or two tracks on this album sounding
like fillers. This second album is better that the first, it will be great
if the third is even better.
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