Reviews archive page.Reviews archive page.
The index immediately following is alphabetical by artist, with the title hyperlinked to the review; below the index are the reviews by date.
Index:
Atari Teenage Riot, Burn, Berlin, Burn!
Coldcut, Let Us Play!
Beck, Mutations
John Wesley Harding, awake
Bob Mould, Bob Mould
Iggy Pop, Naughty Little Doggy
Modern Lovers, Modern Lovers
Reel Big Fish, Turn the Radio Off
Mike Watt, Contemplating the Engine Room
Jonathan Richman and the Modern Lovers - raw passion and a truly romantic viewpoint. Their first record features the classic Richman Modern Lovers lineup, comprised of Jerry Harrison, David Robinson, and Ernie Brooks plus of course Jonathan himself. Their barely-released self-titled album may have been the greatest rock and roll record of the 1970s but has barely been heard as before it was even released Richman started to lose interest in the approach, besides which they were a barely saleable band as they didn't fit into the rock of their era.
Many have heard "Roadrunner" but the album Modern Lovers, particularly in its CD release by Beserkley on their Rhino label, is much more than that. It's emotionally varied but always straight-forward in its appeal to the listener. While Richman would later eschew the minimal rock approach of this record, it's a mistake to think of this like in the same vein as the Ramones or later New Wave and punk recordings influenced by the Modern Lovers, or, by the same token, to associate it closely with the Velvet Underground (young Richman's favorite band), either. While the Modern Lovers were somewhat minimal, they had a cleaner sound, a sound in tune with their straight-from-the-heart ethos, and a sound intended to be respectfully faithful to rock history.
More importantly, these songs stand the test of time. They are heart-rending, sometimes painful in their earnestness and Richman's struggling voice keeps the listener engaged in its fragility and in the stories he tells. They don't engage in an immature "I"m gonna rock!" bellow despite Richman's young age at the time. Nor does he try to prove he's mature with ornate abstract poems. Sure, he tackles classic teenage angst themes such as alienation in "Roadrunner" and frustrated teenage lust in "Astral Plane", but he moves on to talk about respecting one's parents while wanting to move forward in "Old World". He talks movingly and maturely about a tragic attraction to "bad" girls in songs like "Hospital" and "I"m Straight" (as well as spews his venom about the hippies whom he doesn't seem to get).
This is a truly classic album, as important as anything by Costello or Hendrix and worth one's hard-earned money. Skip a meal if you have to.
You haven't heard how good electronica gets if you haven't heard Coldcut's Let Us Play. It's a brilliant record representing the best of sampling artistry of the late '90s, and, more importantly, it's simply great music.
One amazing factor is their ability to match samples of all types. I wonder how they do this, as they pull together things as disparate as classical to blues to contemporary beats. Representative of their ability to choose resources is their choice in artists; they collaborated with Jello Biafra on a track which is one of his best efforts in years as well as an effort that helps round out Coldcut's record.
Unlike many artists, Coldcut is untroubled by where they fit in the realm of electronica. They use synthesizers and samplers in different combinations, with music ranging from danceable to distressing. The album is very different from most others in this regard, especially in the electronic range where artists are beginning to corner themselves into small niches. From playfulness ("Beats and Pieces") to political ("Every Home a Prison") to a fascinating combination ("Timber"). What's more is their appreciation of both melody and intricate rhythms.
This may very well be one of the best albums of this decade. Check it out. I actually bought it new, unlike most records. I strongly recommend it to virtually any music lover who listens to anything beyond one single genre.
ATARI TEENAGE RIOT's BURN, BERLIN, BURN! How over the top can one album be yet be listenable? This one tries to find out and does a great job. More notably it achieves a heretofore unreached synthesis of punk and electronica.
What makes this record interesting is it's firm grasp on the same ironies as punk originally had, a grasp firmer than punk's own. This piece is firmly rooted in pop and commerciality on one level but rejects all the same at once. Its cynicism is so practiced it brings to mind the Simpsons episode where two teenagers are talking and one asks if the other is being sarcastic and the response is "I don't even know anymore". Yet it works. I think this is mainly because the spirit of rebellion is genuine while the love of society's mass media is equally genuine. That's something that works much better than many of the so-called "adidas rock" bands muster in their so-called rebellious stance while they feed from the corporate bandwagon. While the lyrics do not appear ironic at first glance, compare their simplicity with the few sprinkled lines about the failure of the revolution and their own fed-up routines ("Sick to Death").
Equally consistent is the band's (FYI if you don't know Atari Teenage Riot is Alec Empire's brainchild and primarily his vehicle, at least musically) aforementioned mixture of punk and technology. It lends credence to their rebellion vs. inertia plight and more importantly is a great signpost on the way to a more aggressive and more progressive punk rock.
Finally, their exhortations and approach, while dumbed down in overly simplistic lyrics, follow in the path of Crass, something worth hearing again.
But I can't pretend this is for everybody. To be honest, the lyrics can be annoying and the music is simply unrelenting. If you enjoyed the history of punk from its roots, this band is for you. If you enjoyed Crass musically, this band is for you. Or if you like bands like Ministry or Rage Against the Machine, you should check these guys out for sure.
Beck's Mutations apparently won't be promoted or have singles released, but it's certainly not due to any artistic deficiencies. Instead it's being differentiated from the artist's more commercial recordings. In any case, the album is an interesting fusion of country/blues basics with a pop sensibility and a psychedelic tinge, with very straight-forward songwriting (well, at least for Beck). It is a mistake that they're not releasing singles, since there are some winners such as "Nobody's Fault But My Own". Anyway, I wouldn't go so far as one review has to say this is his great "serious songwriter" record since that dismisses as light his previous work, but it is proof that Beck works well without the trappings of sampled grooves and hip production values.
This record is worthwhile for anybody who likes general popular music or country. If you want something hard or groove-oriented, this won't work as well for you if you're on the narrow-minded side. I should point out this is a great record for people who don't care for Beck's "stranger", more provocative, records.
Huzzah to John Wesley Harding for a great record, perhaps one of his best, although admittedly I know only a few of his recordings. His most recent, awake, is excellent, with some great lyrics as well as well-crafted pop songs. As always Harding vocally sounds rather Costello-ish, and as usual, in a good way. His wordplay actually matches the best of them in "Window Seat", an interesting story where the central character grows up in an airplane, and in "Miss Fortune", another story with a central character who's been through the most peculiar of wringer's. I hate to say it in a way, but the songs are also somewhat Costello-ish, but more like older Costello, and certainly not in a derivative manner. Instead it's a sort of power pop that both bounces buoyantly and melodically touches you. I saw Harding live here in Portland and I was impressed with the way the songs were performed live, a little more funny in some cases and more stripped down in some cases. Anyway, this is in many ways a very straight-forward record that keeps you coming back to pick up nuances and lyrics, as well as to hear some of those great melodies again and again. Am I gushing? Yes, well, it really is that good and yet that simple. I'm loathe to pick out individual songs as they really are all that good as well. And be sure, if you get this or borrow this, to keep the CD player running so you can pick up the "hidden" track.
This record is worthwhile for almost anyone who likes pop music, moreso if you liked that whole Edmunds/Lowe/Costello scene 15-20 years ago, though this does not sound dated in any way and was just made last year (1997). Get this at full retail so Harding gets some money from this; his unwillingness to compromise commercially has screwed him somewhat badly and he deserves your dollars (it wasn't exactly advisable for one of his songs on this record to be called "Sweat Tears Blood and Come", although that is the refrain - but it actually works, which is even more amazing).
Iggy Pop's Naughty Little Doggy is his best effort since at least Brick by Brick; like that record, this is a straight-forward rock record but a little more traditional/mainstream. The contrast between the somewhat bloated rock sound and Iggy's strained vocals works well, complementing each other in strength and earnestness, respectively. A couple stand-outs include "Heart is Saved" (a rocker with a gospel-like message though not religious) and "Innocent World" (a bittersweet juxtaposition of youth and aging - remember Iggy's 50 or so). Overall this retains a sense of maturation and its attendant cynicism struggling against hope and the confidence age brings. On this record, Iggy Pop finally and firmly accepts and stakes out his ground as one of rock's elder statesmen. He holds firm in his convictions that a rock-and-roll life is virtuous and maintainable; he defines this rock-and-roll life in its stages from youthful "lust for life" (no pun intended) and rebelliousness through old age's comfort and cynicism. Like similar artists (such as peers Lou Reed, Jonathan Richman) he believes in rock music as a way of life. I believe this record comes close to explicating its powers of salvation, its organic connection to all souls, its quest for ultimate truth, and its preoccupation with self as part of a crowd. While some songs are not so interesting, the overall feel and message of this record is powerfully stated.
A record worth missing a meal for.
02/18/98
I've been listening a lot to Bob Mould's Bob Mould record. An EXCELLENT record.
Mould's melding of pop and rock elements on this is superb, as strong as ever; while I think Beaster (an EP from his old band Sugar) is still best Mould's best effort to date (at least post-Husker Du, but perhaps including), this record is a more successful synthesis of his stylistic tendencies than File Under Easy Listening (not necessarily a fair comparison since that was a band effort not entirely under his control) and includes some new guitar textures/effects (check out the skipping CD sound and the rancorous yet melodic noise on "Egoverride"). In fact, this is one of the best recordings of guitar pop/rock vis-a-vis texture. Interestingly, Mould comes close to Sonic Youth territory in terms of ambient guitar feel on the opening track and on the "Karma" track. As usual Mould's lyrics are sometimes too direct for their own good but overall effective.
This hard rockish pop (or very popish hard rock) is highly recommended, a challenge to the annoying alternarock bands polluting the airwaves with their sappy melodies overlaid with cliche rock guitar. Buy this one new from the store if you can't find it used, sacrifice a dinner for it.
A recent purchase includes Reel Big Fish's Turn the Radio Off.
This is a fun record, an effective melding of pop-rock and ska. Reel Big Fish are overtly commercial but in a good way. They write songs with memorable, snappy melodies and lyrics that are mostly funny.
Probably everyone has heard "Sell Out" and "She Has a Girlfriend Now". The good news is those songs are typical of the record. And don't be put off by the idiotic MTV video for "She Has a Girlfriend Now", these guys are fairly clever if a bit fashionably cynical. Anyway, the combination of guitar and horns works very well on this record, very unconsciously, seemlessly. As far as sound goes, they meld influences more easily than Mighty Mighty Bosstones, for example. And their sense of melody provides an excellent foundation; listen to the crooning on "Snoop Dog, Baby" let alone any of the hits. There is a bit of a fixation on issues with women throughout this (and I don't buy it's all tongue in cheek or satirical), so if you're a humorless feminist, watch out. Also, these guys would do well to try their collective hand at penning a few more serious songs - if they can write these melody lines and have this much lyrical wit, I'm sure they could write some pretty effective songs with a little more depth.
In short, if you're looking through the used record shops, get this immediately if you see it. If you're looking for new records, get it if you can afford it (don't miss a meal, though, over it). And I'd like to add I'm especially looking forward to their next release.
5/10/98.
Mike Watt is a great songwriter, probably a greater songwriter than a bass player (which is saying something). His most recent record, Contemplating the Engine Room, is an intriguing collection of songs. In Watt's own words, "this is a story about three guys in the engine room...it's about the minutemen, my pop in the navy, pedro (my town) and how I got to where I am now...each song is a piece of the day, starting from just before dawn and ending 23 + 1 hours later...what I really wanted to do was make one whole piece that celebrates three people playing together". This lofty goal succeeds on the last count and does speak to the other points he makes. While the engine room/navy metaphor doesn't entirely work as it's strained with so much subject matter, it is interesting and succeeds particularly in pulling in things like "The Boilerman" (a tribute to D. Boon). When it is not so successful it is still thought-provoking, such as in "Topsiders", where early punk rock brethren get painted as men on shipboard. As to the individual songs, well, this is outstanding. The notion of going through the day is also interesting and apparent as you get through the record; there's so much going on here this notion is not explored fully. While this is a good concept album, there's a little too much going on here and I wish Mike Watt had been able to drop one or two things to explore a couple ideas more fully. Still, I can name almost no one so carefully constructing their albums these days.
The diversity of this album helps it stand out from so many other bands' records; from hard rock such as "The Bluejackets' Manual" to the very next song's soft local feel ("Pedro Bound!") to the single's danceable hip-hop sound ("Liberty Calls!"), this album engages one. The songwriting is always thoughtful, meaning that even when it's really, at least to me, a little awkward (the very personal "The Boilerman", which is a little choppy), it's still so interesting it requires multiple listenings. However, the equally personal "Shore Duty" works quite well, at once personal and universal. The players on this record also deserve credit and this album definitely "celebrates three people playing together". Not only is the band tight, but the guitarist (Nels Cline) does excellent work whether the tune is Tex-Mex-ish or hard rock, and the drummer (Stephen Hodges) is equally up to the challenge of the different styles on the record and adds well to the sonic mix. While this is not as diverse as his previous effort, Ball-Hog or Tugboat?, which engaged multiple talents, this is certainly a more cohesive record.
Important note - this CD is also useable on your PC or MAC and that is also worth checking out, with some music on it, videos of Mike Watt talking about Pedro, and more.
This record is worthwhile for almost anyone who likes pop music, and is worth buying brand new if necessary (sure, look hard through the used bins but don't miss out if you can't find it used). If you're in the record store and you want to check out just a couple tunes before you decide to buy, listen to "No One Says Old Man to the Old Man" and either "Pedro Bound!" or "Fireman Hurley". You can check out more regarding this or Mike Watt at wattage.com.
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