March BEAT

CD SPINS / New Music Reviews

by Staff

BIG COUNTRY

Come Up Screaming
(Track)

20th Century Masters
(Mercury)

These last several months have seen many retrospective CD releases by Big
Country, that group of half Scottish/half English rockers that took the New
Wave world by storm in the early ‘80s with their debut LP, The Crossing, and
the smash singles, “In a Big Country” and “Fields of Fire (400 Miles).”

    Ironically, the band has recently broken up. However, their output in
the past several months probably equals their output since they first charted
in 1983. These retrospectives include a second rarities set, a disc composed
of several inspired renditions of songs by other artists, and a couple of
Internet only releases, with acoustic and 12” remix discs forthcoming.

   We’ll focus on Come Up Screaming, a live double CD set documenting their
“Final Fling Tour,” and a 20th Century Masters release from Mercury.

    You may be reading this and wondering – “Why all of this attention for a
band with only a couple of hits?” Well, despite their semi-unknown status in
the States, Big Country still has a rabid following across the Atlantic,
particularly in the UK.

    Come Up Screaming, does not disappoint. With the exception of a few
tracks, the band shows that, indeed, it preferred to go out with a roar
rather than a whimper. One highlight among many is “Somebody Else,”
co-written by front man Stuart Adamson and Ray Davies of The Kinks. This
song, like so many others taken from Driving to Damascus, their last official
studio release, shows a more balanced, melodic side to Adamson’s song
writing. “Dive Into Me,” another Damascus track featured on this set, is
also a standout, with its swirling guitars (played by Adamson and guitarist
Bruce Watson) and its lyrical theme of surrender to the timeless.

    The Crossing, the band’s 1983 breakthrough debut, is given ample
coverage. Songs like the standards “Fields of Fire (400 Miles),” “Chance”
and, of course, “In a Big Country” still have plenty of zing. “Where the
Rose is Sown” and “Come Back to Me,” representing their second album,
Steeltown, are also greatly enhanced by the live treatment.

   All of the band’s studio releases are represented on Come Up Screaming,
which is good, considering that so much of their later output is unknown to
American ears. Songs like “You Dreamer” from Why the Long Face (wherein
bassist Tony Butler and drummer Mark Brzezicki shine extra brightly), as well
as the powerful “Kansas” from The Buffalo Skinners, are among the many
terribly underrated songs that deserve to be counted among Big Country’s best
material.

       The 20th Century Masters disc features a cross-section of the four
studio efforts that were initially released on Mercury: The Crossing, the
Wonderland EP, Steeltown, and another unjustly underrated album, The Seer.
Two of the songs, “All Fall Together” and “The Crossing,” are released on a
domestic Big Country CD for the first time. The songs should be well-known
to fans of the band and are a good introduction for the Big Country neophyte.

    In a perfect world, Big Country would have become infinitely more popular
than they were. At least, with the live set, they once again give an example
of what a true guitar band should sound like.

    I hope that their breakup is temporary. Even though not near enough
people hear their material (at least as far as the US is concerned), the
music world is much better off with them in it.

   Visit their website at: www.bigcountry.co.uk for more information on the
band, as well as information on how to order the many new CDs now available.

– Ben Likens

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CLUTCH
Pure Rock Fury
(Atlantic)

   With Pure Rock Fury, Clutch again shoves a knotty staff into the wheels of
America’s musical chariot’s Kamikaze run, blending melodic Cro-Magnon
growlings, nitrous-fueled bulldozer guitars and semi-distorted bitch-slapping
bass to warrant their self-escorted march into solitary confinement under the
music industry’s main pen.

   Tim Sult’s guitar riffs define post-Sabbath rock; raw yet elegant, his
lines command the songs’ direction while still taking time to melodically
spar with singer Neil “I gargle with razor blades” Fallon’s infectious
staccato pumpings.

   The straight-ahead, stuck in third gear drive of “Immortal” borders on
Motorhead on Quaaludes while the overdriven cruise of the album’s title track
mainlines Adrenachrome into the band’s Sabbath-y vein.

   Closing with a live take of 1995’s “Spacegrass,” Pure Rock Fury is an
all-encompassing showcase of Clutch’s inspired musical sermon.

– Cliff Franz

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SEMISONIC
All About Chemistry
(MCA)

     Excluding the band’s lead single – the formulated but sharp
“Chemistry” – Semisonic refuses to rehash their platinum Closing Time ways
with their third release, All About Chemistry.

    Semisonic’s live trademark – the ability to simultaneously incorporate u
p to six instruments with only three members – has apparently built up the
band’s arrangement tolerance; All About Chemistry edges toward overdose in
multi-tracked instrumental indulgence. Self-conducted orchestraic movements,
dual fretless bass solos and long instrumental sections provide incredible
depth (noted “She’s Got My Number”) while God Lives Underwater-esque
keyboard grunts, drones and squeals offer subtle but interesting nuances.

   Lyrically clever but often using metaphors as a crutch, All About
Chemistry describes the sexual and social adventures of a group of friends in
Anytown, U.S.A.
   Overall, this album doesn’t rock like previous Semisonic pieces, but the
softer, more sensual stroke from this semi-foreign hand becomes more
comfortable with repeated exposure. Considering that the chorus of “Sunshine
& Chocolate” is way too sugary for most rock fans, this album belongs more in
collections including Natalie Merchant than those containing Fuel.

– Cliff Frantz

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JIMMY SMITH
dot com blues
(Blue Thumb Records)

   Well for one thing this CD has the coolest title of the year. Even better
is the CD itself!

   A jazz legend who’s recording career has spanned six decades, Smith shines
on his latest work.    The 75-year-old Smith seems to get funkier with age as
he combines his legendary “bop-groove” B-3 jazz with contemporary blues.

   Joining Jimmy on this stellar project are Etta James, who provides a nice
reworking of the Willie Dixon-penned and Muddy Waters classic, “I Just Wanna
Make Love To You.” Keb Mo also contributes the great gospel flavored number,
“Over & Over.” Also look for stellar contributions from Taj Mahal and Dr.
John. BB King also appears. Is it just me or does BB seem to be on a lot of
recordings lately?

     Don’t fret B-3 fans, there are also plenty of powerful Smith
instrumentals. Jimmy may be three-quarters of a century old, but his playing
is what really dominates this CD. Some of the tunes are so funky you can
almost smell them!

     Aside from those all-star guests, Jimmy surrounds himself with the
talented young jazz cats, Russell Malone and Reggie McBride, as well as jazz
session studs Harvey Mason and longtime Chicago music legend Phil Upchurch,
who will be joining Jimmy's band as they tour across the country.

   Since jazz and blues has always been my personal forte, I really believe
this is going to be one of the best albums of this style for 2001. Do
yourself a favor and check it out soon. For more info go to: www.bluethumb.com

– Brian Pearson

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SCARLET LIFE
Sugar, Spice, Saccharin & Cyanide
(DivaNation Records)

    So much of today’s electronic music rely so heavily on the
techno-house-hip/hop sound that they tend to run together like so many
blinking light on an over-filled Christmas tree. The Crystal Method, Fatboy
Slim, Chemical Brothers – as good as they are; let’s be honest, they could
all be the same band.

    Enter Scarlet Life. They don’t just break the mold here, they shatter it
into tiny shards and recast an entirely new mold.

    Listening to Sugar, Spice, Saccharin & Cyanide I hear influences ranging
from Dead Can Dance and Cocteau Twins to Single Gun Theory and Delirium.
Don’t get me wrong, while these influences are evident, this sophisticated
electronica (with a splash of ambient industrial) is without a doubt one of a
kind. A unique blend of the old Nettwerk/4.A.D sound with a 21st century
style all their own.

   Preston Kilk provides the psychedelic sonic electronica while Zebulun
offers a very ‘60s jazz-like bass and here’s the kicker, D.J. Skeptik
provides the turntable. Yes, barely a hip/hop-house beat to be found and the
scratching of D.J. Skeptik fits like a glove. These three elements form the
canvas onto with Chandra Clark paints her rich, sexy, seductive voice.

    The year 2001 is not quite half over yet and I can already guarantee that
Sugar, Spice, Saccharin & Cyanide will make my year- end top ten list.

   Plain and simple: This is a great CD!

– David Alan Buco