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NEW MUSIC REVIEWS |
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CD SPINS by Staff OASIS Heathen
Chemistry (Sony)
Where or where have our Oasis boys gone?
After the
“Behind the Music” highlights of the Brothers Gallagher
childish fighting, mudslinging the band Blur, alcohol, drugs, no-shows,
cancellations and general rock-star trappings –– ahhh, the boys are
back with a peace offering for their fans. “Heathen
Chemistry” points up why this band’s music was popular in the ‘90s before
all the hype. Solid,
emotional and robust tunes that are voiced by both brothers.
Their “band” which has had a revolving door over the years,
is tight and polished here. In
fact, the brothers have given them plenty of credit by listing that this
CD was produced by “the band” as a whole. “Heathen
Chemistry” is still full of the almost musical allusions to the Beatles –
an obvious influence, at times is almost direct melodic lifts from
popular Beatle songs. The
‘60s influence is not missing here either. The CD’s second
track is “Force of Nature”
features Noel on vocals and I believe he can carry his own when compared
to Liam, who has typically sung most of the songs.
Heck, it was Noel that
ended up singing the entire “MTV
Unplugged Special,” when Liam cancelled at the last minute!
“Force
of Nature” let’s
Noel loose as he shouts to the chorus’ zenith of the demons that come
for all that you have in the “night-time supreme.’
“Stop Crying Your Heart Out” is a tender
ballad nasally crooned by Liam and backed up with piano and strings.
Smells like a radio hit to me!
Plenty of Beatle stuff in this one -- mellotron, high fretted
bass passages and great guitar arpeggios. “Songbird” is a wonderfully simple tune that will
make you want to find a beatnik coffeehouse and grab a tambourine and
tamp along. “(Probably) All In the Mind” is a fantastic instrumental (albeit
short) that shows how the band can really groove with the best of them.
Johnny Marr (from the Smiths) shows up for a little solo work on
this one. “Better Man”
closes the CD out. A
puissant rocker that has a Lennon esque “Cold
Turkey” groove to it. It
comes to a “freak-out” ending that caps off this CD distinctively. Oasis sticks a
“hidden track” on the CD (at 33:13 on track 11). I usually wave off hidden tracks as they are just a left over
junk tune or something supercilious and of no benefit.
This track is an effectual medium tempo piece that opens up the
band to breathe. A destine soundtrack to something on the BBC for sure.
“Heathen
Chemistry” is Oasis trying to regain ground it lost though really a poor
marketing attempt at controversy. It’s
seems (for the moment) that the Brothers Gallagher have grown up a
little and have recovered what they lost in the first place – writing
great tunes.
Give them a break and
listen to what they got going on now. It’s worth it, trust me! – Jon Rice SILVER
CRUSH Stand (Redline) Ahhh, Good old fashioned rock n’ roll; the wholesome type. No sex or drugs here. Those of you who think those are primary ingredients might not want to go here. Silvercrush’s “Stand” is chalk full of songs about life and self-reflection. The first track, “Alone”
is about just that, being alone. I think we can all relate. For the
second track, “Tired,” vocalist Steele Croswhite turns the looking glass to
himself and writes an ode to his dead father who was also his manager.
The song is about the loss of a loved one and the slack left behind. But, unlike many
modern bands that cover these topics, Silvercrush doesn’t fall into a
sea of self-loathing and pity. They emerge with the song, “Who is Me.” Atypical
guy meets girl song with a southern twang and lyrics that roll off the
tongue -- “City
slicker with a California tan/ jag pulls to her rusty van/He said, ‘Do
you need to make a call ma’am?’ /Slams the hood,‘I just got her
fixed the engine don’t purr, but she sure does tick./Dinner would be
delightful.’” Wow,
a girl that can fix an engine. My heart goes pitter-patter.
The musical content behind the lyrics is exceptional with each
player intertwining harmoniously in perfect rhythm. Nothing seems out of
place or awkward. They sound like veteran musicians who know each others
style. Silvercrush follows standard rock n’ roll protocol.
They sound so painfully familiar, which could drive a critic
goofy(or at least to a Miller when I’m done). There’s nothing in my
collection that fits the mold, but I know I’ve heard it before. I’m
thinking maybe something from the late-late ‘80s or early ‘90s.
I’m thinking, maybe, Skid Row, 4 Non Blondes, a mellow Seven Mary
Three or that dork that wrote “Lullabye.”
Maybe if they were all crammed inside a blender the outcome would
be Silvercrush.
Overall, I’d give
‘em a thumbs up. I dig it. There’s no gimmicks or snooty
existentialism. They are just good musicians that sing about what they
know. They don’t want to change the world or spend unnecessary time
whining about. They just play good music, hopefully just for the hell of
it. And, there’s nothing wrong with that.
– Adam Madison COUNTING
CROWS Hard
Candy (Universal) I have become a
reluctant CC fan over the years. I
was immediately alienated when they first hit the scene with “Mr. Jones” and “Round
Here” as I wrote them off as Christopher Cross replacements.
I happened to start
listening to more of their stuff on “Recovering
the Satellites” and finally was blown away with their last
effort, “This Desert Life.” Well, CC has now
released their forth album, “Hard
Candy.” Although
it’s good, it falls short of the guts, angst and honesty of “This
Desert Life.” A
more pop and polished sound is abundant throughout the CD, which I am
sure will grow their audience to a wider demographic.
Just when I was hooked on CC they go and try to appeal to the
masses! “American
Girls” is the current radio-pushed hit and it sure has all of the
formula down. Hometown
lyrics, a hooky chorus, and harmless content. “Good
Time” is uncharacteristic in that formula in that it has country
banjo, Billy Preston-style Fender Rhodes Piano and Wah Wah King guitar
all wrapped up in a Hall and Oates-ish package.
The blue-eyed soul brothers H&O’s own “Rich
Girl” does it better.
“New Frontier” I swear is a hold over from the late
seventies! It has this
marvelous Mini-Moog synth that starts off the track and has a notable
solo. Straight-on vocals
from the often non-typical melodies from Adam Duritz. Without a doubt,
my favorite track here.
The remainder of the
CD is filled with rather somber piano and vocal numbers that are rather
heartbreaking. “Up All Night (Frankie Miller Goes to Hollywood)”
being the standout tune from this bunch, as it plops into a R&B
environment with skillful slide work from David Immerglück.
There’s a “hidden
track” –– track 13 (4:49) –– a cover of Joni Mitchell’s “Big Yellow Taxi.” This
is a rather spirited version that should have been included as a regular
track the release. I
predict (if it’s heard,) that their take on Mitchell will be the next
hit off the record! Fun
cover.
Counting Crows are concerned about painting a beautiful sonic picture with “Hard Candy” and their artisan skills certainly come popping through the canvas. Don’t get me wrong on this CD, it’s just as good as any of their others, it’s just a little less than “Desert Life.” They don’t break any new ground or don’t experiment in some alternative universe. They just came together to create a new set of songs that will please older fans and most likely win over a good deal of new ones. –
Jon Rice JONATHAN
RUNDMAN Field
Recordings (Salt
Lady Records) I’ve followed
Midwestern singer-songwriters for more years than I can remember. Back
in the dark ages of the early 70’s, older friends would sneak me into
Chicago nightspots like the Earl of Old Town, Minstrel’s, Orphans,
Butch McGuires or Biddy Mulligans.
I sat in rapt attention at the feet of folks like David Bromberg,
Steve Goodman, Bonnie Koloc, Bryan Bowers, Suzie Osso, or Utah Phillips.
When I listened to
Jonathan Rundman’s “Field Recordings,” his music and style brought me back to
the great folk renaissance of Chicago in the ‘70s. This is his seventh release for Salt Lady Records, an indie label based out of Chicago and Michigan’s Upper Peninsula. “Ridgeland”
has the loose feel of a Crazy Horse song, complete with Rundman’s fine
strumming, and it’s one fine road tune.
The lament of “Four
Candles” or the wistful “Janesville”
set Rundman apart from other folk musicians in that each of these of
these songs showcase a thoughtful and literate songwriter that can play
guitar as good as he writes.
Salt Lady labelmate
Beki Hemingway joins Jonathan on
“It’s Only Natural” and Neil Finn and Tim Finn of Crowded
House would be very proud of how Jonathan and Beki have reinterpreted
their pop song.
The lo-fi
production values may be a little ragged, but that’s part of the charm
of “Field
Recordings.” They’ve
captured Jonathan Rundman in venues like Higher Grounds in Dundee, IL,
Oak Park’s Good Shepard Lutheran Church, Chicago’s Abbey Pub, or
with the Muckrackers in a basement in Ishpeming, MI (in the UP).
No matter where he’s
taped, Jonathan Rundman is truly a rising star in a very crowded
singer-songwriter market. –
Eric Steiner TRAGICALLY
HIP In
Violet Light (Rounder) Strong Canadian act that has the respect
and admiration of their countrymen, the Hip has slowly been gaining
ground in the US with every album they release. “In Violet Light” helps to inch their way even further. The Hip is hard to define in that they encompass so many
styles while remaining out of the ordinary.
They certainly have a rock roots sound (their biggest U.S. hit
was the rock classic -- “New
Orleans in Sinking”) “In Violet Light” covers a wide audio spectrum while using quite traditional tools
to get there. That’s what
makes this CD appealing –– getting new sounds and emotions out of
the same instruments everyone else uses.
The biggest instrument which sets this band apart is the vocal
pipes of Gordon Downie. He is all over musical staff with a very vast
range. His ability to color his vocals and lyrics with rhythmic
acrobatics is uncanny. Downie’s quirky gift
starts the CD off with “Are You
Ready,” an all out rocker with some very atonal guitar work that
ends each phrase with tried and true riffs.
Downie’s vocals try to find its place on top of the melodious
chaos while at the same time, add sympathy to the odd time signature.
“It’s a Good Life If You Don’t Weaken” is classic Hip. Downie’s vocals jump and light into what seems
to be an uncharacteristic register.
The song builds right away into it’s powerful chorus of having
to lose something in order gain something. Great imagery created with
lyrics like -- “forget-your-skates
dream” -- this is a case of fantastic and familiar songwriting.
A somber “Throw
Off Glass” is haunting and touching and somewhat reminiscent of
The Smiths. In short, a nice little ditty offering advice on the worldly
mysteries of love. My favorite tune is
the last on the disc. Country
twinged, “The Dark Canuck,”
is a tongue and cheek tune about everything and nothing.
Again, the familiar musical style is present, but is filtered
through a “Bizzaroworld” filter.
Weird rhythmic meter, a million words crammed into the song and
the country twang sometimes turns into Indian scaled choruses -- very
vivid and interesting stuff. With that said, the
Hip’s “In Violet Light” requires multiple listens for those not
yet “hip.” Intellectual
lyrics backed with very, very unique and creative music.
For those looking to hear something truly different and fresh,
this CD is truly a perfect place to start. –
Jon Rice VOLTAIRE Boo
Hoo (Projekt
129) Is it possible for a goth label (Projekt)
to produce an artist capable of both snappy pop songs and a killer sense
of a humor? Oh yes it is
and his name is Voltaire.
On his third release, “Boo
Hoo,” Voltaire showcases both of these elements along with an
incredible voice, which is vaguely reminiscent of a Teardrop
Explodes-era, Julian Cope.
The first track, “Future
Ex-Girlfriend,” concerns Voltaire’s fascination with a hot girl
he just has to meet, only to determine very quickly that they are all
wrong for each other. This song features the lines -- “And I don’t care
that you’re a model/‘Cause let me say it’s clear to tell /That
your brain is shot to hell.”
Throughout the album,
Voltaire quickly alternates between stinging social commentary and
venomous one-liners.
Nothing Voltaire does
is “by the book.” Stephen
Moses (who also plays trombone!) is an excellent drummer, in the Mike
Joyce, Robert Gotobed mold. Cellist
Matthew Goeke and violinist Gregor Kitzis add a baroque pop feel to the
proceedings.
“#1 Fan” and “See
You In Hell” sound like collaborations between The Smiths and the
Kronos Quartet. Weird?
Yes, but it works, song after song.
Even the cover versions of Bjork’s “Bachelor(ette)”
and Tori Amos’ “Caught A
Lite Sneeze” are as good as, if not better than, the
originals.
Voltaire is a
tremendous talent, who definitely doesn’t take himself too seriously.
I urge anyone who loves great pop music, with a sinister
underbelly, to check out “Boo
Hoo.” You just might be missing something great, if you don’t. –
Chris Hora THE
HIVES Veni
Vidi Vicios (Warner
Bros.) The Hives were able to
pull off what I think The Strokes failed to do -- take and embrace a
punk genre and make it their own without sounding like a “K-Tel”
sound-alike band. And these
guys are Swedish! I hate The Strokes for
that -- they went to great lengths and $$$ to create a facsimile of the
band Television. The
Hives have paid homage to the Detroit Punk scene of The MC5 and Iggy and
the Stooges. Bombastic and
snotty, “Veni Vidi Vicious”
gets your toes-tapping with new and infections hyperfast punk with
echoes from early Kinks and Small Faces.
The radio friendly hit
-- “Hate to Say I Told You So”
(also featured on the Spider-Man soundtrack) -- strong and repetitive is
the ticket for success in this tune.
Snot-nosed, bratty and simply delicious. Great dynamic breaks and over-the-top vocals that are on the
edge of bleeding. This song
is in the same realms of The Godfathers’ classic hit, “Birth,
School, Work, Death”.
“Die, Alright” fits in rather well with the corporate
giants being held out to dry -- a punk request akin to Billy
Shakespeare’s -- “Let's take
all the lawyers and kill them.”
Schoolhouse Rock goes
punk on “The Hives Introduce the Metric System in Time.”
Lighting fast chord changes drive this rocker to it’s
grinding and fast end. “Find
Another Girl” is the only slower tune on the CD -- a rockabilly
ballad with some very cheesy mono synthesizer work.
“Knock Knock” would
get the approval of Iggy Popp himself!
Revenge on speed!
The Knack are wishing they had the guts to have the commitment these guys have. “Veni Vidi Vicious” is a very quick tribute to Detroit punk (around 30 minutes) and quite a history lesson to boot. They were careful to not calculate the production on this record and have left all the ugliness that is the glue to this style of music. Fresh. –
Jon Rice NIACIN Time
Crunch (Magna
Carta) If you like your organ hard and fast (your Hammond Organ, that is), then this Niacin CD is for you. Featuring
keyboardist John Novello, drummer Dennis Chambers, and bassist Billy
Sheehan, “Time
Crunch” is a powerhouse recording with sounds one does not
usually associate with a Hammond Organ.
Novello can make his instrument sound like a squealing guitar, a
church organ, and a Mack truck, often within one song!
The rhythm section moves things along handily, but it’s
Novello’s skillful, fascinating keyboard work that gives this project
its identity. From the first song, “Elbow
Grease,” a pummeling killer of a song where fingers are flying and
sticks are breaking, there’s virtually no letting up.
Most of the songs on the disc fit that description, with only two
breathers that I counted. One is a cover of a
Robert Fripp (King Crimson) song called “Red,”
which for me actually evoked visions of Lon Chaney in the original
Phantom of the Opera, and the other is “Glow,”
which is a short, reflective and beautiful piano piece. What stands out about
Time Crunch, apart from the obvious keyboard playing, are the solos that
Sheehan takes and the sections were Chambers shines. For example, “Stone
Face” features a very strange Sheehan bass solo and a Beatles’ “I
Want You (She’s So Heavy)” type sudden ending.
“Outside Inside Out”
again features a Sheehan solo, only with this one no holds are barred
and there’s a definite “if-you-don’t-get-out-of-the-way-you’re-going-to-get-run-over”
feel to it. There are no Dennis
Chambers solos, per se, but his double bass drum work in “Red” and “Damaged”
is excellent. Also,
there’s a section in “Daddy
Long Leg” where he moves the groove along nicely with a
well-placed ride cymbal. His playing is incredible throughout. When the final song on
the disc, Jan Hammer’s “Blue
Wind,” finishes, you may need to catch your breath, but something
tells me you'll probably want to listen to it again.
A definite heavyweight recording from three amazing musicians. - Ben Likens
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