CD SPINS (New Music Reviews)
by Staff
JOHN WAITE
Figure In A Landscape
(Gold Circle Records)
There’s no overstating it: Figure In A Landscape, the third
solo album
released by John Waite since the demise of “supergroup” Bad English in the
early ‘90s, is a diverse, highly melodic, and breathtakingly eloquent work of
modern art that finds the veteran singer/songwriter at the top of his game.
The unmistakable authenticity of his creative spirit and
motivation shows
in capital letters on this record, just as it did on the two masterful (but
ill-fated) late ‘90s solo albums that preceded it. (Temple Bar and the
storytelling, Americana-flavored, When You Were Mine).
This album comes closer than any of Waite’s past work to being a
comprehensive representation of the remarkable versatility that he has
continued to exercise throughout his many stylistic cat’s lives – from his
beginnings with The Babys, through his solo and Bad English eras.
Indeed, when you consider such hip, cutting-edge tunes as
“Thinking About
You” (the new CD’s jewel in the crown), it becomes evident that – whatever
the personal or pecuniary toll – there’s most definitely been an upside to
Waite’s chronic artistic non-complacence and restlessness, qualities integral
in saving him from ever being stuck in any of the dated musical ruts known to
stunt the creative relevancy of many of his path finding rock ‘n’ roll
peers.
In fact, apart from the evident benefits that maturity has
bestowed on
his songwriting incisiveness and on his distinctive, dynamic vocals and
emotive phrasing (always his calling card) -- this album, Waite’s latest
“Masterpiece of Loneliness” in more ways than one, also begs pause for
reflection on other levels beyond its thought provoking, cut-to-the-bone
poeticism and snapshot images of the alienation and desolation – and the
flip-side joys and hopes -- of modern urban life.
It’s certainly a strain on the brain to ponder just
WHY it is that
Waite, who has produced so many landmark hits over the years, has somehow
remained surprisingly underestimated and overlooked in the current “rock
royalty” schemata, when he continues to deliver stunning, contemporary
records like this one.
Perhaps it is because Waite resolved to be more than “just
another
rocker” and stayed true to his artistic spirit, made evident by his drawing
from his bluesy, folksy, Appalachian-flavored “roots” on his last two
aforementioned solo offerings.
That artistic integrity and risk taking haven’t gone for
naught with
Figure In A Landscape, which finds Waite continuing to look forward, while
keeping enough perspective to graft in the best elements of those two
preceding solo albums with the strengths from his more distant creative past.
Indeed, in a different world (a world where record
companies weren’t
forced to pay middlemen astronomical sums to get new songs “added” on the
corporate-conglomerate-radio playlists) Waite would be guaranteed at least
four substantial radio “hits” off an album with this much depth.
The lyrically riveting “Thinking About You,” is an
ultra-“now”
mid-tempo rocker (in the vein of Third Eye Blind/Fuel) showcasing Waite’s
vocal purity and delicately nuanced passion. It also lands a hit directly on
the solar plexus with its slice-of-life poetic sensibilities and command of
poignant irony.
Another top track is the shimmering “NYC Girl,” which
displays the
sophisticated, bohemian-in-Manhattan consciousness with its subtly sculpted
metaphors and atmospheric moodiness.
Ditto for “Always Be Your Man,” which, along with tunes
like “Touch,”
shows Waite as a consummate “confessional” songwriter who is showing signs
of coming to terms with profound life disillusionments and unresolved
relationship regrets.
“Fly” is the soaring, conciliatory, and melodically haunting
number
released as the first single off the album. Curiously, though it is one of
the stronger, mainstream-ready cuts, it is actually one of only two songs on
the disk (along with an achingly tender version of “Whenever You Come
Around,” Vince Gill’s paean to knee-weakening infatuation) that Waite
didn’t
write.
Then there's also the retro pop/R&B laced album opener, “Keys
to Your
Heart,” which was originally tagged as the first single, presumptively
because it’s the most lighthearted, “party” sounding (and thus more
broadly
accessible?) tune in the collection. However, “Special One” approaches
it
in its overall upbeat vibe and, like the more esoteric and moody “New
Thing,” lyrically shows a new – if tentative – sense of optimism on the
romantic front.
In any case, in an album full of apples, oranges, and pears
– as well as
kiwis, mangoes, and pomegranates – the bonafide passion fruit of the lot
would have to be “Godhead,” a full-on blistering blues rocker displaying
Waite’s ability to hold his own with some of the best blues-influenced rock
frontmen in the book. It’s powered by psychedelic-guitar energy a
la
Hendrix and raw sensuality.
Although it might be criticized for being almost too stylistically
diverse, this whole album still has the unmistakable stamp of John Waite.
Then, too, because of the rich and varied "real time" perceptions its
songs
evoke, Figure In A Landscape is actually a balanced and accurate
representation of the multidimensional rollercoaster ride of real life.
In the end, though it has no one overt or deliberate theme, under
the
umbrella of the scathing honesty of its cornerstone song, “Masterpiece of
Loneliness” (which generated the albums’ title), Figure In A Landscape
actually becomes the thing that it lyrically yearns for most: “something
real, something true.”
Whether it spawns radio “hits” or not, you’re bound to
utterly embrace
this record if you long for such things too.
– Shelly Harris
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THE RADIATORS
The Radiators
(Rattlesby Records)
Here’s a combo for you – an Australian southern rock band!
The Radiators
have been playing “down under” for years to a horde of loyal fans.
They are the Neville Brothers of Australia! This band
has the sound of
Little Feat with a little zydeco thrown in for good measure. Obviously a
bar/tavern party band that has quite a following. There self-titled CD has
some musical moments that might tickle your fancy if Jimmy Buffett, margarita
soaked parties are your passion.
“Bom-Bom-Du-Dao” is the highlight of the CD with it’s
sing-along chorus
and rockin’ groove. The lyrics on these songs will not challenge quantum
physics but they are simple enough to get the alcohol flowing. “You
Can’t
Keep No Secrets from the Holy Ghost” has a nice spiritual feel that is
reminiscent of John Hiatt.
“Untouched by Human Hands” must have been a Huey Lewis and the
News throw
away. If you close your eyes, you can see the multi-million dollar video
unfold before your eyes. A nice song for the rest of the band to shout out
the chorus.
From what I saw at The Radiators web page, they are party
band that
really make bar owners happy with the huge crowds who follow them.
The band made this CD with a minimal amount of expense to sell at their
shows and if taken for what it is, it accomplishes the task for which it was
designed. Giving fans a little taste to take home with them.
It’s good in that sense, but it will not be the CD to put The
Radiators on
the map. It’s got lackluster production and cheesy “factory patch”
settings
on the keyboards, along with some little editing glitches in the mix-down.
But again, it serves it’s purpose in making this reviewer want to
go down
to see the band live. It’s very hard to capture all of the spontaneity
and
interaction a live band has with their audience on a “studio” CD, but the
feel of the music here makes me know that this is a band that most likely
gives a raucous live performance.
The band just needs to learn how to capture their live magic in a
studio
situation. For more information, go to: www.theradiators.com
– Jon Rice
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VARIOUS ARTISTS
Alligator Records
30th Anniversary Collection
(Alligator Records)
Has it really been 30 years since Bruce Iglauer founded
Alligator
Records? Indeed it has and to celebrate, this fine Chicago based blues label
has put out a “must-have” 2 CD set that encompasses the label’s storied
history.
Many know Alligator being the home of Koko Taylor (who’s
scorching version
of Melissa Etheridge’s “Somebody Bring Me Some Water” is on this disc),
Lonnie Brooks, the late Luther Allison, local Gary, Indiana-based The Kinsey
Report and numerous other Chicagoland legends.
Many of these venerable artists are showcased on this CD, but
the
pleasant surprise of this 2-CD set is the newer talent that will keep
Alligator going for many years to come. Shemekia Copeland (daughter of the
late Johnny Copeland), guitarist Michael Burks, Coco Montoya and C.J. Chenier
are now carrying the torch of today’s blues scene. Alligator not only
features them on this set but has recently released solo efforts by all 4
artists that need to be heard.
Another unique selling point about this set is that the first
CD contains
all studio cuts while disc number two contains all LIVE cuts, with five of
them previously unreleased.
Note to all of you computer geeks (myself included), look for
a very cool
CD-ROM video track by Alligator’s first signed artist Hound Dog Taylor.
It’s all here in one specially priced 2-CD celebration –
from A to Z –
be it the styles of gutbucket, boogie-woogie, roadhouse, and electric or
acoustic. This is the perfect compilation for any blues lover.
Here’s to another 30 years Alligator and a personal thanks for
keeping it
alive and burning bright!
– Brian Pearson
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DAVID MEAD
Mine And Yours
(RCA/BMG)
Ah, the singer/songwriter... their popularity comes and goes
(remember
Jewel, Fiona Apple, Duncan Sheik, and Joan Osborne, back in ‘95?)
Well, it seems they’re back (David Gray, Dido, Tal Bachman) and
David
Mead’s sophomore release is that of a singer/songwriter but with a great band
to support his message. This stuff is classified as folk, but I find it
more
along the lines of interesting adult contemporary pop in the vein of Paul
McCartney, Squeeze, and later XTC. Fresh, quirky production with surprises
around every corner.
The CDs title cut – “Mine and Yours” – is a wonderful
pop tune perfect
to highlight David Mead’s fantastic voice. He has seamless accessibility
to
a large tonal spectrum of vocal range. This guy goes from full voice to
falsetto without batting an eye. The beautiful arrangement of this song
really fit the lyrical tale to boot.
“Echoes of a Heart” is another gem that has a great groove,
along with
classic “Beatle” doubled vocals. It’s a great anatomical allegory of
loneliness – great song-crafting! “Girl on the Roof” is very XTC-ish
in
it’s fun movement with an “OB-La-Di, OB-La-Da” feel to it. Poppy fun
to
make you feel like floating over a field of daisies with a bright blue sky up
above! “What I Want to Do” is another fantastic offering that moves
along
with electric piano and great dynamics.
Singer/songwriter CDs are usually good for one or two songs
and then the
all blur together. David Mead’s Mine and Yours goes beyond that
convention
with a wide variety of songs and many places to take us. For more info on
this bright new artist, go to: www.davidmead.com
– Jon Rice
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BILLY SHEEHAN
Compression
(Zain Records)
Chops fest. That’s what I thought the new Billy
Sheehan solo CD,
Compression, was going to be. I also thought it was going to be mostly, if
not all, instrumental. How mistaken I was.
The Buffalo, NY native and former Talas/David Lee Roth/Mr.
Big bassist
has released a very understated, lyrical, concise song-driven CD that may
take the hard rockers, who are used to Sheehan’s noted bass pyrotechnics, by
surprise.
On solo works by established instrumental artists, the tendency
I’ve found
is for the music to be either “over cooked or underdone,” to borrow a line
from “Chameleon,” one of the standout tracks on the CD. However,
Sheehan
reveals himself to be a man of many strengths, including those involving
writing, vocal, and most notably, electric guitar. To top it all off, Pat
Regan’s production is nearly flawless.
Sheehan gets a little help from two Frank Zappa alumni,
namely drummer
Terry Bozzio and guitarist Steve Vai (with whom he played with David Lee Roth
a few years back and with whom he toured over the summer as part of the G3
package). Providing drum programming and keyboards is a gentleman by the
name of Simone Sello, who does a fine job of providing different atmospheres
from number to number.
Bozzio shines especially on a song called “Oblivion,” in which
much
double bass work is done to complement the very intense guitar and bass
playing. “Chameleon,” mentioned earlier, features Vai on a solo that
begins
in a very Eastern style and ends up in a brilliant tradeoff between his
guitar and Sheehan’s bass.
Overall, what I found most striking about
Compression is Sheehan’s
guitar playing. I didn’t expect him to be playing guitar on the disc at
all,
thinking that he probably would have someone like Vai handle the six strings
while he would concentrate on the four. However, Sheehan’s guitar work
just
shimmers. Every solo he takes is tasteful and far from over-the-top.
Oddly enough, the very next song, “Perfect Groove,” has Sheehan
taking
his own Eastern-style guitar solo to great effect. On another truly
standout
track, “All Mixed Up,” Sheehan simply burns on guitar. It is this
particular song that contains the Billy Sheehan I expected in terms of bass
playing, but to hear him on his electric guitar like that was an added
surprise. Again, however, Sheehan plays in a way that complements his
songs,
rather than engaging in finger/fret gymnastics at every turn.
The only major criticism I have concerns the keys in which some of
the
songs were written. There are times when the vocals sound listless because
a
particular song was written too low. There’s a song called “Three Days
Blind” that somebody such as Sammy Hagar could’ve sang the life out of it
had it been written in a higher key. As it is, it’s a great song, but
the
low register of the vocals takes away from what it could’ve been.
Also, the bonus track, an acoustic song with an interesting drum
sound
called “Wear Away the Stone,” could’ve been placed in the middle of the CD
and provided some contrast to all the electric numbers.
Small criticisms, though. Compression is a great CD from an
even greater
musician. Turn it way up.
– Ben Likens
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TESLA
Replugged Live!
(Sanctuary)
Plugged in is exactly the way that Tesla should be heard and
here is a
two disc documentation explaining why.
After settling what squabbles that existed between the various
factions
that formed toward the end of Tesla’s major label life, the re-united and
re-energized group set to touring, ultimately discovering that there did
still exist a very healthy hard-rock market and one that remembers Tesla very
fondly.
A plan to record a live document of the reunion tour was
proposed and
done with results that rival some of the greatest live discs of all time.
Recorded at various locations – the liner notes don’t specify
which
though you can hear a few cities names mentioned between the songs – during
spring and summer months of 2001, this two disc set includes twenty songs
spanning two hours.
Sorry, don’t expect any tracks culled from the band’s recent
Star Plaza
show, because the album was already being mixed down by that point.
The bulk of the material here is probably as familiar to the
audiences
that they were recorded in front of as they are to the band members
themselves. “Modern Day Cowboy,” “Love Song,” “Little Suzi”
and
“Heaven’s Trail” all find their definitive versions here and the electric
version of “Signs” captures all the intimacy of Tesla’s original while
upping the power output by a factor of four and Jeff Keith’s voice has never
sounded better.
This collection negates any “best of‘s” or “lives”
that have previously
surfaced or will likely surface in the future.
The road ahead looks smooth for the return of Tesla with
another studio
record and a subsequent tour in the works.
And with the band sounding this good, who knows? Maybe
we can all look
forward to a couple of three and four minute respites from Linkin Park on the
radio.
Until then, Replugged Live! satisfies all appetites for real rock
‘n’
roll.
– David Lee Wilson
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VARIOUS ARTISTS
USA/UK 2001
(Savant International)
USA/UK 2001 is a compilation featuring a variety of artists
with a wide
range of styles, including blues, rap, retro, surf and more.
Although sponsored, in part, by The Midwest BEAT
Magazine – I must say
that the title is a bit misleading as only four of the fifteen acts included
here are actually from the U.K. (three from England and one from Ireland).
Three of the American acts (Richard Black, Cat Sass and Tristen) are from the
Chicago market.
“City Burns” by Richard Black is a jazzy rock
number with a very tight
rhythm section and flawless guitar work. Vocally “City Burns” seems
influenced by Leonard Cohen, Elvis and Robbie Robertson. It short this is
a
WAY cool tune that emerges as one of my favorites from the collection.
Cat Sass gives us “My Girl Just Won’t,” a ‘50s
retro rocker complete
with a Clarence Clemons/Daddy G.-like sax part that is straight out of a
1950s soda shop jukebox. Fans of Brian Setzer and roots rock will find Cat
Sass to be the cat’s pajamas!
“Easy Jo” from south suburban teen
singer/songwriter, Tristen, is a
wonderful alternative pop tune with some strong county overtones. Tristen
has a perfect voice for this genre. It’s a well-written and finely crafted
song for such a young talent on embarking on her first real recording project
(save local demos). I would not be surprised to see Tristen go far in pop
music, as she’s got the goods.
Freedom Street from England are represented here with
“Shakin’ A
Stick,” an alternative-funk-pop hybrid. The music is quite good, but the
female vocals are a bit weak.
Another of my personal faves on this disc is
“Puzzled” from Ireland’s
Damien McCabe. A very trippy ska tune with some heavy late ‘50s/early
‘60s
B-3 organ and some of the coolest vocals I’ve heard in a while.
Though I would have liked to see a more evenly
distributed U.S. to U.K.
artist ratio here, this CD features some fine new talent. You may not like
everything here, but Richard Black, Damien McCabe and Tristen are well worth
the couple bucks this will set you back.
– David A. Buco