CD SPINS  (New Music Reviews)

by Staff


DOYLE BRAMHALL II & SMOKESTACK
Welcome
(RCA)

    Doyle Bramhall II is a chip right off the old block:  his father,
producer and songwriter Doyle Bramhall, Sr., is a household name in Texas. 
The elder Bramhall opened for Jimi Hendrix on his first U.S. tour, worked
with Stevie Ray Vaughan, and played the drums for blues legend Lightnin’
Hopkins.

   While growing up, the younger Bramhall jammed with SRV and his brother
Jimmie, and toured with the Fabulous Thunderbirds as the second guitarist. 
Talk about a musical apprenticeship, Texas-style! 

   Welcome is Doyle’s follow-up to his sensational 1999 RCA debut,
Jellycream, and it kicks ass.  No wonder Eric Clapton tapped  younger
Bramhall not only to work on Riding with the King (Clapton’s excellent
collaboration with B.B. King), but also as the opening act on tour supporting
his latest studio disc, Reptile. 

    Doyle, his wife Susannah Melvoin and Eric Clapton co-wrote “Superman
Inside,” the first single off of Clapton’s Reptile.  My favorites on Welcome
include the charging opening cut, “Green Light Girl,” and the seven-minute
bluesy rocker that gave the band it’s name, “Smokestack.” 

    There’s a lot on this disc that sounds like Led Zeppelin or Jimi Hendrix,
and this late ‘60s and early ‘70s vibe is nicely updated on songs like “So
You Want It To Rain” and “Life.”   Most the songs on Welcome are longer
jams, five minutes plus, that give the Smokestack band a chance to really let
loose and cook.  Doyle Bramhall II is without a one of the hottest young
guitar-slingers around today.

– Eric Steiner


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INZANE
Straightjackets For Everyone
(Indie)

    Recently we have been swarmed with a blast of metal/grunge/rap from bands
like Limp Bizkit, Rage Against The Machine, Kid Rock, Saliva and Linkin Park.
 So it seems that Rap-Rock or Nu-Metal or whatever catch term you wish to
call it, is here to stay in one form or another. 

   It may not remain quite so prominent as new musical trends continue to
emerge, but this head-banging/urban hybrid has been with us long enough to
have planted deep enough roots to ensure that it remains a part of the rock
fabric .

    Which brings us the band in question – Inzane – a powerful new region
band that has put N.W. Indiana on the local music map in a big way.   I know
from reading Midwest Beat each month here at my California digs, that there
has been a buzz on this troupe back home for some time.  After hearing their
debut album, I can understand why.

     Sounding musically like a wicked cross between Bad Brains and Metallica,
Inzane rocks as hard or harder than any band of the genre.  The twin guitar
assault of Randy Shumaker (rhythm guitar) and Todd Palmer (lead guitar) is as
searing as an out of control forest fire, absolutely awesome!  The thunderous
rhythm section of Bill Blackwell (bass) and Dave Currier (drums) is equally
impressive and extremely tight. Currier, I might add, is one of the more
powerful slammers I have heard in a long, long time.

    Vocally Straightjackets For Everyone shows influences of King’s X, Sweet
Lizard Illtet, and Public Enemy.  Equally at home rapping or singing, Bob
Szany’s impressive voice shows as much attitude and anger as it does warmth
and sensibility, check out the fourth cut “Killers With Rights.”

   There are several standout tracks here, “Deceit,” “Government Issue,”
and the aforementioned “Killers With Rights.”  You will find no filler on
this CD as it crushes your ears track after track.

    Some of you out there love the hip-hop rock sound, some of you hate it
and some of you haven’t a clue.  For those of of you somewhere in the in
between, Straightjackets For Everyone will probably push you off that fence
you have been sitting on and make you say –  “Damn, what have I been
missing?!” 

    This is a hell of a band and a damn good CD.  I plan to give copies of
this one for Christmas gifts to my heavy-music lovin’ friends. 

– Dave Buco


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SHEA SEGER
The May Street Project
(RCA)

   The music on 21-year-old Shea Seger’s debut album falls in a beautiful
place somewhere between blues, folk and country. 

   Her songs have a really unique sound to them, especially “Blind
Situation,” which has slow rap verses supplied by D.R.U.G.S.  The song and
the style of delivery on “I Love You Too Much” is reminiscent of something
we might hear from Jewel.  What’s nice about this collection of music is that
it seems each song has a distinct personality and feeling.  The sound and
flavor evolves and shifts from track to track.
 
    The first single, “Last Time,” is a driving melody seemingly about not
being able to get over a past lover, and while it is a wonderful song, to
these ears, it is not the best Seger has to offer on this set. My personal
favorite here is “Always,” on which Shea duets with Ron Sexsmith.  This is a
beautiful love song destined to become a new wedding standard. 

    Shea was born in Fort Worth, Texas and then later moved to Quitman, Texas
where her father would sneak her into blues clubs whenever possible.  That
early introduction to the blues evidently had a lot of influence on the young
artist, for a latent bluesy groove and feeling come forth on a number of
these songs.

   When she was thirteen she moved to Virginia Beach where she embarked on
her dream to be an actress/playwrite and began singing in musicals.  A move
to England came later and it was there she began to  write her own music. 
Music became the driving force in Seger’s life and she abandoned her theater
ambitions for the sake of a song.

    In England, Seger teamed up with producer Martin Terefe and musician Nick
Whitecross to write and record this outstanding debut CD, The May Street
Project.
 
    Although Shea’s music may dance along to the beat of a different drum, I
think she has a lot of great music in her future.  The potential heard here
seems unlimited.
 
– Sarah Lounges


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THE CULT
Beyond Good And Evil
(Atlantic/Lava)

    The Cult are back after quite a hiatus and this album makes it a very
welcome return indeed.

    I never quite understood how the moniker of “gothic” came to be attached
to The Cult.  They simply are a great rock group!  Yes, they may have some
heavy and dark themes, but they are not close to the same league as Black
Tape for a Blue Girl, Peter Murphy or The Cure. 

    Anyway...Beyond Good and Evil reestablishes The Cult as the
quintessential band to pummel the listener with crunchy guitars, a solid
rhythm section and the unmistakable howlings of Ian Astbury.  All the
elements are present to make this CD bear fruit – Bob Rock as producer and
the original Cult line-up from 1992 – Ian Astbury, Billy Duffy and Matt
Sorum.  Be prepared to enter the uncivilized landscape of all this CD has to
offer.

   The CD’s lead track is “War (The Process)” and it has a great intro that
leads into The Cult’s signature smack down riffs.  Hooky bass under the first
verse moves the song to groove before the chorus.  A nice listing of all the
ingredients of war on all fronts. 

   The single, “Rise” has a slight Metallica start, however the “eastern”
guitar riff reaffirms that this is indeed a Cult song.  Ian’s voice never
sounded better.  A well-actualized song that moves quickly to the memory
cells forever to be trapped in the dark song catalog in your head. 

   “Nico” on the other hand, seems out of place – a romantic dedication to
the late muse of the Velvet Underground, Andy Warhol and the whole NYC
art/music explosion of the ‘60s.  It seems forced and overt in it’s tribute.
 She was an emaciated junkie model for God’s sake!  “American Gothic” has to
be my fav track.  Staccato drums and strong riffs make the song’s message
even more potent in the dark imagery.  “True Believers” slows things down a
tad with a tale about broken beliefs and how to get over them and move on. 
The bass absolutely is the sonic serpent moving in and out and up down the
song with expertise and certainty.  Ian’s vocal is the most soulful on this
track.  It has the same intensity as “Fire Woman” – the hit that first
turned me onto The Cult.

   A very powerful”comeback” from a truly overlooked band from the
awful/great ‘80s.  If you want the simplicity of a rock band that has very
traditional roots with their own paradigm to make it interesting, give Beyond
Good and Evil a try.  For more info hit : www.thecultnet.com 

– Jon Rice


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TRAVIS
The Invisible Band
(Sony/Epic)

    I happened to catch Travis on a VH1 Storytellers gig a couple of weeks
ago and they did this great acoustic arrangement of a Britney Spears tune
that was infinitely better than the original! 

   These diminutive Scots really know how to have a good time!  Travis came
on the scene last year with their hit –  “Why Does It Always Rain On Me?”
from their The Man Who CD.  This band comes right out of the Radiohead days
of The Bends sans the distorted guitar and have been often compare to Oasis
without all the melodrama!  Lilting vocals float about on top of pristine
musical arrangements giving Travis it’s exclusive place among today’s many
knock-off artists riding the wave of a slowly waning musical style.

    If you haven’t heard the infectious hit “Sing” from this new disc, you
will.  Be prepared to have that tune follow you home like a stray puppy.  
Fran Healy’s voice glides through the song’s melody that alludes “If It
Ain’t Swing, It Don’t Mean A Thing” tune from back in the day.

    “Side” is a powerful pop number that is a great allegory for the
perception of the illusive “other side” being better, harder, faster, etc...
 The Beatles come to mind with the tune “Pipe Dream” – in it’s use of
guitar and piano counterpoints. A dark song with hopelessness as it’s main
theme.

   “Follow The Light” could have been written by that one hit wonder band –
The La’s – jangly guitars, falsetto vocal, pop beat – it’s all good.

    Travis is in my opinion a reflection of their times, in that they grew up
during the “Manchester” sound, the Blur/Oasis hillbilly battle, raves,
ecstasy, and grunge.  They seem to be the cream that floated to the top. 
Great songwriting will always prevail the hype and shite.  These guys spend
the time to paint the picture.  They don’t seem effected by the machine.  If
you like your pop original, bold, and intelligent, then The Invisible Band is
an album you really need to treat yourself to soon.

– Jon Rice


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GRADY CHAMPION
2 Days Short Of A Week
(Shanachie)

  Grady Champion’s second Shanachie CD, 2 Days Short of a Week, is a strong
set of urban blues flavored with soul, jazz, and a touch of rap.  Champion
started out as a rapper, but turned to the blues when rap went gangsta circa
1992.

   On the sadly autobiographical “Policeman Blues,” Champion looks at a
social issue that steals too many headlines: racial profiling.  The Habenero
Horns and Thomisene Anderson’s back-up vocals help “Love is My Middle Name”
soar, and Grady’s harmonica sure makes “Honeybee” sting.   Duke Robillard
sits in on lead guitar on “Nothing I Can Do” and Antoine Salley helps out on
percussion. 

    Grady’s treatment of “When a Woman’s Fed Up” is destined to send this
R. Kelly cut over to the soul charts.  Champion’s disc mixes soul, a touch of
rap, and old-time blues and it's a winning recipe.
 
– Eric Steiner


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THE START
Shakedown!
(Indie)

    Call it Depeche Mode inspired dance rock. Call it music from the future. 
Classify it anyway you want just as long as you give it a listen.

    The Start’s debut album Shakedown! rocks no matter what musical genre you
might fancy. With inspiration drawn from the 1980s’ new wave scene as well as
punk rock’s intense live performance, the band blends pure emotion and
dance-able rhythms to create a fun yet driving style of rock.

   As singer Aimee Echo’s femininely gritty vocals bounce over the band's
electric grooves, a single track into the disc leaves you craving a
dancefloor and a partner to share the exhilarating experience entitled The
Start.

   Beginning on a tour bus while the band's founders Echo and Jamie Miller
performed in other bands, their mutual interest in Depeche Mode. Separating
themselves from their respective bands to admire ambient music, The Start's
modest beginnings amounted to such amazingly energetic songs as “Gorgeous,”
“Glimmer Man” and “Shakedown!”

    Definitely a disc to drop in your CD player next time you feel pumped,
Shakedown! establishes a great beginning for The Start.

– Erick Sherman


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ATTENTION DEFICIT
The Idiot King
(Magna Carta)

    The band that is responsible for this all-instrumental CD has a very
ironic name.  The music contained on this piece of plastic takes time, and if
you have an actual attention deficit, it’s best you not to attempt to listen
to this particular work.

    Many of the titles of the songs, as well as the title of the CD itself,
have to do with our recent Presidential election and the many problems
associated with it.  “Low Voter Turnout,” “Dubya,” and “American Jingo”
are three such titles.  Without going into how one song or the other is good
for this reason or that, I’ll just say that the overall sound of the CD is
excellent.  Hats off to the recording engineer, because the noise that
happens when the pick makes contact with the string or the stick hits the
drum skin is brought out very clearly. 

   Bassist Michael Manring (Michael Hedges), who actually got the group
together back in 1994, initially to play on his solo project, has a very
upfront style and his instrument is prominent throughout.  On most every
song, I actually felt as though I could’ve “touched the sound.” 

   The musicians playing along with Manring are drummer Tim Alexander
(Primus) and guitarist Alex Skolnick (Testament), both of whom are master
players and bring tons of experience and expertise to these unusual
compositions. 

   Attention Deficit attempts to “describe,” in musical terms, how they feel
about the state of American culture (the group’s name is in itself a
statement to that effect), and the poignancy and humor of the way Americans
live their lives and respond to what’s going on around them, particularly in
the midst of a confused electoral process.  It’s an interesting theme to use
in approaching a project and an equally interesting theme around which to
write songs.  If you’re an American who’s tired of talk and who has time
enough to hear a different, yet equally valid type of commentary, this CD is
definitely for you.

– Ben Likens