Midwest BEAT Magazine

FEATURES

ERIC LAMBERT
Just The Way I Feel
(Skydog Records)

    With his second full-length CD release, Just The Way I Feel, this popular
folky blues troubadour from the Hoosier heartland, has created a well-rounded
collection of eleven personal songs in a variety of tempos, styles and
feelings.
   Lambert is virtually a Gnome Alone, having tackled this adventurous effort
without the aid of his live band, The Laughing Gnomes.
Handling all the string instruments himself (save for piano) Lambert covers
a lot of ground, laying down zippy Chicago blues pickin' ("South Side Tan"
and "House On The Moon"), bluegrassy mountain shuffle ("Gnome Breakdown") and
West Coast-style pop ("Left Coast Girl" and "Just The Way I Feel").
    While all the cuts show his playing dexterity, the real gems here are
"Love Can Make It Alright", a soft-rock paean to life's gravel road and the
healing power of love; "Man And Wife", a countrified ballad about the beauty
of marriage; "Treat Me Right Right", a boogie-fueled blues rocker; and
"Little Town Blues" an acousti-rocker about the hard life of a road-weary
troubadour that is anchored by a spooky train yard groove.
   These are simple songs, but being inspired by life, they are rife with
emotion and strong on lyrical content. Some bring you up, some bring you
down, but all affect a response.
   Aided by a bevy of talented guests - most notably keyboardist Chris Wander
(ex-Lonnie Brooks) and drummer Terry Boylan (ex-Big Guitars From Memphis),
Lambert has managed to top his outstanding 1997 debut, Year Of The Gnome.
For those unfamiliar with Lambert, he is a kindred spirit to Jerry Garcia,
Little Feat and Steve Forbert.
   Most likely found in area stores, it can also be ordered from:
www.ericlambert.com

- Ernie Thomas

SAVE FERRIS
Modified
(Starpool/Epic)

    Save Ferris's new album is really great. Their song "Turn It Up" is
unique because it includes radio sound effects. Most of the songs on
Modified are fast paced. Only "No Love", a song about a jealous boyfriend,
and "Let Me In" about a crush, are at a slower speed.
   My personal fave is "Your Friend", about people who are only your friend
when they need something. It will hit a nerve with anyone who has ever been a
teenager. "The Only Way To Be" is an account of how life in the limelight
isn't all it's cracked up to be.
   One really interesting thing is after "Let Me In" if you wait till about 2
minutes after the song ends an entirely new unlisted "bonus" song starts that
judging from the lyrics, might be titled, "Not The Same".
   Modified has become one of my new favorites. If you like the ska-pop of No
Doubt, I think it will be one of yours too.
- Sarah G. Lounges

BLUE DOGS
Letters From Round O
(Black River Records)

    The south is an interesting place. Sweet tea, churches, and guns. Laid
back attitudes and "take things real slow like" philosophies are also as
common as bad lawn ornaments.
   Unfortunately, this laid back region often produces a very boring
environment which often affects the music it breeds. Countless blands... errr
bands...formed in the southern United States possess that same sound,
accoustic rock with laid back tempos and lyrics that, "hit home." But a lot
of frat boys liked that.
The Blue Dogs, hail from Charles-ton, South Carolina and for a few years
now have enjoyed a cult following in their area, selling quite a few CD's and
touring often.
   Letters From the Round 0 is their third album and my introduction to them.
Their regional success shows they must be doing something right, but to my
ears it just feels like something's missing.
   Singer/songwriter, Bobby Houck, posseses a Jacob Dylanesque voice and a
Hootie approach to writing. In fact, many of these songs sound as if Darius
Rucker donated some B-Sides to the project.
   Of the eleven tracks here, only two really stand out. "Isabelle," the
album's first single is relaxed and acoustic-driven. "She took all the money
her folks gave her for her senior cruise/she was hoping to find someone with
the time." - sings Houck while some nice organ lines wrap around his voice.
"Pay the Man," a southern boy shout out to the likes of Ry Cooder and Taj
Mahal is noteworthy. Any song that gives credit in the liner notes to guitar,
fiddle, and "foot" has got to be a standout track.
   Other than these two solid, catchy numbers, the rest of the songs here
merely fade into the background, not evoking any listener response or
generating feelings.
   Maybe that's what Blue Dogs are going for - fraternity barbecue music.
I've a feeling that these guys have more potential. Houck is a decent
songwriter, but his ideas could afford to become a bit more eclectic.
    Lots of southern college kids will like Letters From Round O but that's
about as far as the appeal will reach. But who knows? Afterall, Hootie and
the Blowfish made quite a killing for a while there.
   Given it's indie status, this one will be difficult to find in stores.
It's available at: www.bluedogs.com

- Brian Harding

B*WITCHED
Awake And Breathe
(Epic)

   B*Witched has done it again! This is a wonderful mix of hip-hop and pop
that makes you wanna get up and dance. Although most of the album is upbeat,
the song "It Was Our Day" is a sincere and moving track about the death of a
loved one.
   It seems B*Witched has gone back to their roots with the song "In Fields
Where We Lay", which is based on the style of a traditional Irish folk song.
   Awake and Breathe has songs that cover everything from men with egos and
rotten lovers, to superman and paranormal activities.
   Also included on this album is the           orchestral version of their
hit song "Blame It On The Weatherman", from their previous album.
This is a really good CD. Maybe being compared to the Spice Girls wasn't
such a bad thing after all.

- Sarah G. Lounges

PRIMUS
AntiPop
(550Music/Epic)

       You have to love Primus for being what it is: three honkies with their
heads shoved so far up their own instrumentally-proficient asses, they
probably don't realize that their music is thriving in a puddle of toxic
waste, while all the other popsongs are diving headfirst into the shallow end
of the swimming pool.
   Funny thing then that AntiPop is an example of Primus finding immediacy in
its songwriting - at least for the first four songs here. "Electric Uncle
Sam," "The AntiPop" and "Natural Joe" burst with energy, Les Claypool's bass
actually laying down a groove instead of taking the lead flabadappa-doodling
role that's typically Primus. Even more ironically, "The AntiPop", is
probably the band's catchiest tune in its seven-album career - see if you can
get the pummeling mantra "I am the AntiPop, I'll run against the grain 'til
the day I drop" out of your head, I dare you.
   And then just when you think these three dudes have removed craniums from
rectums, seven minutes of a shambling bizarro beast, "Eclectic Electric,"
rears its knotty head, and "Greet the Sacred Cow" will have you doing a
demented tap dance. "Dirty Drowning Man," "Mama Didn't Raise No Fool," the
mosh-ariffic "Laquerhead" and the Chili-Pepperesque "Ballad of Bodacious"
round out what is probably the best Primus record since Sailing the Seas of
Cheese - maybe even the best ever, the band finally finding a happy medium
between zany weirdness and kickass songwriting ("Eclectic Electric" the
exception).
   Look out for a plethora of guest stars, too: Tom Morello (of Rage Against
the Machine), James Hetfield (of...oh, you know), Martina (of Tricky) and,
yes, that croaky scratching on "Coattails of a Dead Man" is none other than
Tom Waits.
   Highly recommended, especially for old school Primus freaks. This is
'Grade A' stuff.

- Artie Ziff

LOW TWELVE
Kill Floor
(Nasty Music)

   The label imprint sort of says it all. This is nasty, slammin' hardcore
from the heartland of Peoria..
Low-tuned guitars, aggressive rhythms and spewing with angry, shouted
lyrics, Low Twelve have things to say with their hi-watt rumblings as they
address a variety of topical and neo-political subjects.
   Low Twelve has the kind of conviction that makes you stand up and say,
"YEAH!", while thrusting a metal salute into the air.
   This five-song EP contains three remixed versions of songs that appeared
on the group's earlier self-titled demo. Those songs being "Crawlspace,"
"Begging To Die" and "Man With Spots".
   While the remix treatment gives a little more "oompf" to those cuts, what
stands out most on this release are the two new selections, "Enemy Of The
State" and the title track.
With it's disturbing refrain - "we're knee deep in bodies, so what's one
more!" - the title song takes sharp aim at the outbreak of school violence
and student shooting sprees that have plagued our country's institutions of
learning.
    "Enemy Of The State" is a salute to non-conformists who bite at those
political hands of Big Brother that aim to control the masses. For being a
dual guitar band, the sound of the six-string assault is a little thin, but
it seems more of a production flaw than a reflection of the players.
    Recording studios in general, do not do justice to hardcore. Hardcore is
mostly a live experience and I'm laying money that Low Twelve is a real
ball-busting outfit once the lights go down in Central Illinois.

- Tom Lounges

MANDY MOORE
So Real
(550Music/Epic)

   Mandy Moore's debut album has a very Britney Spears quality and although
she is rather talented, I personally found this CD to have too much of a
"cloning" effect.
    Thus, I personally did not like it. If you like Spears though, you can
bet you'll like Moore. A lot of people must enjoy her music because her hit
single "Candy" has hit # 8 on MTV's "Total Request Live".
   After listening to her CD with what I felt was an open mind, I just can't
help but feel that some enterprising manager somewhere has used a Spears
cookie-cutter to create Moore. And do we really need another Britney? Heck,
for that matter, do we even need Britney?
   This Cd seems very contrived, manufactured and slick, even by teen idol
standards.
   But if you happen to like that sickening sweet bubblegum pop style, then
chances are you will like this CD. I just don't.

- Sarah G. Lounges

LOUDON WAINWRIGHT III
Social Studies
(Hannibal Records)

   Loudon Wainwright III's Social Studies features 15 great tracks of satire,
whose targets include: O.J. Simpson, Bill Gates, Tonya Harding, the Y2K
thing, Senator Jesse Helms, and Santa Claus.
   Waitaminute. Santa Claus? Yep, even the guy in the big red suit can't
hide from Wainwright. His "Conspiracies" is the only track with a "Parental
Discretion Advised" warning, and for good reason as he suggests we re-examine
some of our basic beliefs and take a look at the legacy we're leaving our
children.
   Social Studies is a collection of songs commissioned by National Public
Radio. Loudon gets us thinking as he spins a true-to-life yarn about Tonya
Harding in "Tonya's Twirls." In "Jesse Don't Like It", Senator Helms passes
judgement on what is and isn't art. Fans of the timely and political humor
of "The Capitol Steps" or Mark Russell will get a chuckle out of Wainwright's
"Our Boy Bill," but when he gets serious on "Pretty Good Day So Far," it's a
chilling peek into war zones like Sarajevo circa 1992.
   Loudon's come a long way since his "Dead Skunk (in the Middle of the
Road)" single, and I'm glad he's found an outlet for his considerable wit on
this collection of tunes for National Public Radio. He didn't do it alone,
either. With help from The Roches, multi-instrumentalist extrordinaire David
Mansfield and guitarist John Scofield, and many others, I'd sign up for his
Social Studies class in a second.

- Eric Steiner
ericrichd@aol.com

DEREK TRUCKS
Out Of Madness
(House Of Blues)

    Out Of Madness is a smorgasbord of fiery guitar playing and gut
wrenching, bluesy vocals, built around deep soulful grooves.
   Trucks is the 19-year-old slide guitarist currently touring with the
Allman Brothers (which features his uncle Butch Trucks on drums). His band
consists of Bill McKay (keyboards), Todd Smallie (bass) and Yonrico Scott
(drums). Guests on this CD are Jimmy Herring (Jazz Is Dead) on guitar, Warren
Haynes (Gov't. Mule) on guitar/vocals, Larry McCray on guitar/vocals, and
Matt Tutor on vocals. Wow!
   It opens with Derek's wicked slide intro to the Son House classic,
"Preachin' Blues". Derek has great tone and the tune is highlighted by Matt
Tutor's gritty vocal performance. This is definitely what Son may have
sounded like if he had plugged in. Other shining performances include the
Trucks/Herring instrumental, "Younk Funk" during which Herring tears off an
absolutely incredible guitar solo. Warren Haynes' killer vocal is the high
point of the Sonny Boy Williamson classic, "Good Mornin' Little School Girl".
Derek's solo on this cut soars and squeals with pleasure while the rhythm
section flat out lays it down.
    I totally enjoyed the band's take on the Howlin' Wolf classic "Forty
Four" with Warren again delivering great vocals. Larry McCray stops in long
enough to give an urban blues clinic on "Ain't That Lovin' You". Bill McKay
plays some great Hammond B3 on the Herring written instrumental "Spillway"
while Derek and Warren team up to give "Death Letter" a treatment Son House
would be proud of. Todd Smallie and Yonrico Scott groove and flow
effortlessly from song to song.
   Derek Trucks plays with a sensitivity and soul much older than his
nineteen years. His band flawlessly swings their way through blues and jazz
styles like seasoned veterans. Together with outstanding performances by
their guests, the Derek Trucks Band has recorded a gem.

- Eric Lambert

VARIOUS ARTISTS
Live From Sundance Film Fest
(Starbucks/Beyond Music)

   Starbucks and Beyond Music team up to present Where Music Meets Film: Live
>From the Sundance Film Festival, a vibrant compilation featuring 15
platinum-selling artists and emerging songwriters.
   This powerful and diverse CD of was recorded at the 1999 Sundance Music
Studio and consists of various live acoustic performances. The setting for
these performances - the Sundance Film Festival in Park City, Utah - gave
musicians and filmmakers the opportunity to gather and explore the
relationship between music and film.
Featured are: John Hiatt, Jude, Jars of Clay, Lyle Lovett, Blondie, Eagle
Eye Cherry, Mike Younger, Lisa Loeb, BR5-49, Kami Lyle, Shawn Mullins, Jill
Sobule, Duncan Sheik, Abra Moore, and Julia Darling.
   During a series of dialogues and live performances, they discussed film
and music, and demonstrated how the two came together on stage. Recorded live
by Beyond Music, the musical sessions are available here. A portion of the
proceeds benefits the Sundance Institute Composer's Lab, a nonprofit arm of
The Sundance Institute devoted to original film score composition.
   Available at most Starbucks or at Starbucks website at:
www.starbucks.com/sundance.

- Ed DeMask
(courtesy of www.entertainmentpress.com)

WALTER TROUT
Livin' Every Day
(Ruf Records)

   From the opening hard-charging riffs of "Livin' Every Day" to the set-closing "Prisoner of a Dream," Walter Trout and the Free Radicals rock with over
70 minutes of passionate, full-throttle bluesy rock.
   The former Canned Heat guitarist shines on "I Thought I Heard the Devil,"
and if you listen close enough, you just might hear inspiration from Stevie
Ray Vaughan or Lonnie Brooks in Trout's outstanding command of the blues.
   "Playing With a Losing Hand" features a killer harp part, and the lonesome
ballad of "Sweet Butterfly" shows that Walter and company can slow things
down quite nicely.
   Walter wrote "Let Me Know" hoping that the late, great Luther Allison
would sing it someday, but I'd like to think that Luther would be proud of
this version, too.
   All in all, Livin' Every Day is a strong, blues party record, and just one
listen to "City Man" shows off some great chops. Livin' Every Day isn't your
typical every day blues CD, it's a great blues record.
   - Eric Steiner
ericrichd@aol.com