Record Reviews
Fri., April 28, 1995
(Reservoir)
This new Deja-phooey disc is driving me nuts! The only cover
song I can
pick out is Flowerhead doing "Pump It Up" by Elvis Costello. Oh, wait,
I
forgot. Homegroan III returns to the format of collecting new,
original material by Austin bands. It's not a bad sampler,
either. The
relatively small number of previously released songs are well-picked
highlights
from the albums or tapes they're off of (the Wannabes' booze-fueled
"Every Star
Mary," the Adults' "Gringo," and Prescott Curlywolf's Nirvanarama
"Candyface"
come to mind), and the rest read like a primer on new Austin acts, from
Plowman's industigrunge to the Sidehackers' flat-out, bust-ass rock.
Add to
that a couple of examples of the Austin neo-ska mini-movement (Bowler
Boys,
Gals Panic) and an advance peek at a pair of hot new Trance Syndicate
acts
(Sixteen Deluxe and Starfish), and you've got a well-thought-out
compilation.
Good recording, too. I don't see any reason not to give this...
3 1/2 stars - Ken Lieck
BRUCE ROBISON
(Vireo)
CHARLIE ROBISON
Bandera (Vireo)
After several years (possibly a lifetime) of comparison, the
issue can
finally be put to rest: The Robison brothers may have grown up together
in the
honky-tonk heaven of Bandera, and they both play music, but they don't
dress as
twins, or have the same ambitions, and they don't appreciate your
saying so,
mister. You don't need any more proof than their first admirable
country CD
efforts with Vireo Records, which use virtually the same backup players
and
techies. Charlie drives the band like a team of horses through
(sometimes
slick) pumping Nashville dance tunes, but thankfully, the ballads and
the
lyrics belie a savvier singer with a whiskey-dry desperation. It's a
respite
from what could have been, and indeed looks like: the first album from
a
wannabe country boy toy. Bruce's album feeds the soul, wells up longing
you
didn't even know you had, and then satisfies it. The mix is a little
rough, but
worth the trip, especially to hear "Travelin' Soldier" and "Torn and
Tangled."
Rich Brotherton races both albums with his guitar work.
3 stars (both) - Louisa C.
Brinsmade
FAITH NO MORE
King for a Day, Fool for a Lifetime (Slash)
Faith No More has never been subtle. Perhaps that's why,
facing a lack
of serious hooks, the biggest surprise on FNM's latest is the discovery
of
texture. Even if these melodies, deeply buried within King for a
Day's
greasy funk and industrial swing, are easily dismissable at first,
later
listens indicate that attention-grabbing leader Mike Patton rarely
seems as
creatively alone as he did on FNM's earlier efforts. And because FNM's
done
something more than just winding up Patton and letting him go, King
for a
Day substitutes the way understated ("Star AD," "Take This Bottle")
and
subversively straightforward ("Cuckoo for Caca," "Evidence") for
overwrought
schmaltz. If all this makes the album too complex to call a great
record,
King For A Day may have legs - making much more sense when
somebody like
the Mighty Mighty Bosstones or Big Chief re-lay the more commercial
groundwork
FNM's Epic originally provided way back when. (Faith No More
play the
Austin Music Hall Wednesday 3)
3 stars - Andy Langer
MIKE WATT
Ball Hog or Tugboat? (Columbia)
Tugboat. When I was 16, Mike Watt drew me a map to his
Pedro,
California, home on scratch paper, and told me to stop by sometime. I
never
did. But judging from the 50 guest artists on his new record, I'm
starting to
think he's made a lot of friends and drawn a lot of maps. Featuring the
likes
of Thurston Moore, Adam Horowitz, Mike D., Frank Black, the brothers
Kirkwood,
Dave Grohl, Krist Novoselic, J Mascis, Evan Dando, Henry Rollins, Eddie
Vedder,
and Flea, this album is a veritable museum of famous map-holding,
white-boy
alterna-rockers. The first solo record from the former Minutemen and
current
fIREHOSE bassist, Ball Hog or Tugboat? varies in quality in
direct
proportion to how much you like who Watt is playing with. For example:
I hate
Eddie Vedder, therefore two songs down the drain. The record has a nice
cover
of "Tuff Gnarl" off Sonic Youth's Sister, as well as a Mascisian
rendition of Parliament's "Maggot Brain." Mike Watt gets four stars as
a human
being but this record gets...
2 stars - Taylor Holland
OL' DIRTY BASTARD
Return to the 36 Chambers: The Dirty Version
(Elektra)
Hip hip-hop fans know that far too many hip-hop albums have
intros...
damn near every one. Well this one is no different, except on
Return...
Ol' Dirty Bastard plays the host, and gives himself a gushing, tearful,
two-minute intro, "The Baddest Man in Hip-hop." From then on, you know
who
you're dealing with; he's the Ol' Dirty Bastard because there's no
father to
his style. While some should be warned that, at times, ODB evokes Biz
Markie on
Robitussen - total madness - those not deterred by this know that's
what makes
this solo joint both anticipated and controversial among Wu-Tang Clan
fans (Ol'
Dirty was one of the first four Wu-Tang Clan members to sign a separate
solo
agreement). ODB's voice is pretty much unmistakable. On at least five
songs Ol'
Dirty sings, screams, and waits until the moment you decide he's lost
it before
he starts to rhyme. But this is no Enter the Wu-Tang... and
might have
seemed different if not hyped as a return to such. It comes close,
though,
especially when Wu-Tang members Raekwon, Method Man, Ghost Face Killer,
The
RZA, and The Genius round out the rawhide sound.
2 1/2 stars - Ben Plimpton
CHARLIE HADEN/HANK JONES
Steal Away: Spirituals, Hymns and Folk Tales
(Verve)
It's not often that I hear new music that instantly touches
me like
this has. Ironically, the source of this "new" music, as the title
implies,
comes from one of the oldest and riches of American musical traditions,
that of
African-American spirituals. The interpretations rendered here by
bassist Haden
and pianist Jones are nothing less than exquisite. Charlie Haden comes
from a
background of Ozark hillbilly gospel singing, and has long favored folk
forms
in his Liberation Music Orchestra projects. In fact, Haden's LMO
composition,
"Spiritual," is included in this set. Hank Jones, older brother of Thad
and
Elvin and the house pianist for the prolific Savoy Records during the
Fifties,
has always had a remarkably subtle touch to go along with his
impeccable taste.
Both attributes are clearly evident as Jones adeptly combines the
soulful
("Wade In The Water") with the sublime ("Go Down, Moses"). It goes
without
saying that a duet on this high an order takes the form of an intimate
musical
conversation. Haden's warm bass tones are equal partner with Jones'
stylistic
intricacies, and are particularly heartfelt when they step out to
delicately
caress these familiar, soul-stirring melodies. This stunningly
beautiful set of
music is destined to appear on many 1995 Top Ten lists. I know it will
be on
mine.
5 stars - Jay Trachtenberg
JOHN PRINE
Lost Dogs and Mixed Blessings (Oh Boy)
The inside cover photo of Prine, sardonically whistling in a
graveyard,
exemplifies the tone of his first full-length album since 1991's
remarkable
The Missing Years. Twisted humor, juxtaposed with heavy themes,
sung by
a man with enough experience to take it all in stride, make this
Prine's most
self-assured and greatest work to date. What more need be said about
lines like
"We found ourselves in Canada/Trying to save our marriage/And perhaps
catch a
few fish," from the talk-song "Lake Marie." "We Are the Lonely" is an
upbeat
ditty that pokes fun at personal ads, while still managing to relate to
single
people everywhere. Prine has a unique view of the world. Although his
out-and-out love songs, "All the Way with You" and "This Love is Real,"
get
their message across simply and sincerely, they do so without making
you want
to gag. They blend a childlike naivete with a been there/done that
attitude.
Charming.
4 stars - Al Kaufman
BELLY
King (Sire/Reprise)
It's easy to be seduced by Tanya Donnelly and Belly's ideas.
It's just
that when all the best components of the band meld, as they did so
exquisitely
with their first hit "Feed the Tree," it's hard not to expect that all
the
time. KIng may be a kind of sophomore slump in that respect, as
Donnelly's inclination toward feyness can be suffocating, and tender
becomes
cloying on "The Bees" and "Red." Donnelly is clearly a songwriter
searching for
just the right combinations and stumbles often on KIng, but she
casts a
charming spell, and it's delightful to be hypnotized by her
shape-shifting
moodiness. Glyn Johns' production gives some of the more uneven
material a
sterling quality, a patina that Belly polishes to a luminous glow on
"Seal My
Fate" and the stellar "Untitled and Unsung." Still, I bet a lot of
these songs
work better live, where Belly's dreamy music really shines. (Belly
play
Liberty Lunch Thursday 4)
2 1/2 stars - Margaret Moser
WHITE ZOMBIE
Astro-Creep: 2000 Songs of Love, Destruction and Other
Synthetic
Delusions of the Electric Head (Geffen)
If the creature of metal that has evolved to survive into the
Nineties
and beyond were given a phylum title, it would be Astro-Creep. White
Zombie has
brought together only the most vicious characteristics of modern
industrial,
alternative (whatever that means), and rap; inbred them with
noxiously
toxic death metal; and sacrificed the fetus to the Roger Corman god.
What we
get is a slimy, wriggly, humongous, and grotesquely beautiful beast of
relentlessly danceable hard music that everyone better love or they're
a
fucking wimp! At times, the album slithers and lurks through the
darkest and
most alien places imaginable and unfathomable. Then, at other times, it
spurts
through infinite time and space at ludicrous speed, narrowly averting
supernova
catastrophe. All with a lust and a beat, and a thrust that latches onto
your
face with sticky, prickly lobster legs.
4 stars - Tony Echeverria
RAILROAD JERK
One Track Mind (Matador)
That first listen to One Track Mind inevitably brings
to mind
that horrible, horrible phrase "lo-fi," and suddenly you're thinkin'
back to
its forefather Beck: that low-rent, bang the pots, everything but the
kitchen
sink, white-boy funk. Bluze. Wait, is that G. Love & Special Sauce?
No,
because underneath, these four New York boys want to rock! (though
never really
do), creating a subtle tension - the flipside of which landed Jon
Spencer on
some year-end blues "Best Of" lists. Songs like "Forty Minutes," "Some
Girl
Waved," and "Big White Lady" put bleuze in such a wonderfully
interesting
Nineties context that you can't help but like the expanding boundaries.
Of
course sometimes, as with regular blux, you just get riffs and not much
else -
like the endless needle and wheedle of "What Did You Expect?" or "You
Better Go
Now" - but those are in the minority, as is that brick in The
Wall that hits you at the close of this groovy affair.
(Railroad Jerk
play Emo's, Wednesday 3)
3 stars - Raoul Hernandez
COWBOY MOUTH
It Means Escape (Monkey Hill/Ichiban)
Cowboy Mouth ... If they're not live, are they still worth a
damn? Some
would say no, because modern recording technology has heretofore been
unable to
capture the rafter-raising, full-tilt rock & roll of the New
Orleans
quartet's live shows. But there's more to it than just kicking out the
jams.
Cowboy Mouth boasts four top-notch songwriters able to jump from
C&W
ballads to alternative rock and everything in between with alarming
ease.
Anything goes on their recent It Means Escape, from Fred
LeBlanc's
frenetic, get-up-and-go "Why Ya Wanna Do Me?" and "Everyone is Waiting"
to
Sanchez and/or Griffith's melodic, folky "Hitchhiker," "Here I Sit in
Prison
(Yipee-I-Yay)," "Man on the Run," and "Irish Boy." Cowboy Mouth's axis
shifts
all over the rock & roll map as the four play with and off each
other, but
there's rarely a misstep. What Cowboy Mouth may lose in energy on It
Means
Escape, they more than make up for with thoughtful songwriting, fun
stylistic variations and, yeah, even a balls-to-the-wall number or two.
(Cowboy Mouth plays the Continental Club Thursday 4)
3 stars - Chris Gray