Music Reviews
Fri., Sept. 20, 1996
(Warner Bros.)
With a back-to-back Lone Star sucker-punch of the Texas Tornados' "A Little
Bit is Better than Nada" and Jimmie Vaughan's "Cool Lookin' Woman" followed
immediately by Keb Mo's "Crapped Out Again," the soundtrack to Kevin Costner's
new trifle, er, film Tin Cup opens powerfully enough. Get ready then,
for lame zydeco riffing from Bruce Hornsby on "Big Stick" and ho-hum pop on
"Nobody There But Me," and you'll get the picture typical of compilation
soundtracks: uneven offerings from name acts, some good cuts, lotsa drivel.
Thumbs up to Joe Ely, George Jones, Patty Loveless, Chris Isaak, and Shawn
Colvin. Hold your nose for Amanda Marshall, James House, Mickey Jones, and Mary
Chapin Carpenter. Sigh. This could have been a decent collection --
blues-heavy, solid, and soulful. Instead, it's a hellish rollercoaster ride
that makes you scream at the wrong times. What Tin Cup really does is
beg the question of where all these great Vaughan tunes are coming from on
soundtracks such as this one and From Dusk Till Dawn, and why can't we
get them on a new record?
HH -- Margaret Moser
TOM PETTY AND THE HEARTBREAKERS
Songs and Music from the Motion Picture She's the One (Warner Bros.)
A small insight into Rock Journalism 101 and the phrase "gets better with
every listen." This means the album in question got one, two, perhaps even
three spins, and by the third, some of it started to sink in. Three stars and
outta there. Trust me, then, when I say She's the One gets worse
with every spin. It'll take a few listens to figure this out, but after 15, 20
go-rounds, it becomes abundantly clear that like the film it promotes, She's
the One is little more than studio rehash. "Walls (Circus)," the only song
here to get much play in the actual movie (ad nauseam), is a cheap re-write of
"Free Falling," which was already re-written an entire album over on Into
the Great Wide Open. Beck's "Asshole" is a fun little cover, but a B-side
nonetheless, and Petty's take on Lucinda Williams' "Change the Locks" is
notable only because it's Lucinda. In fact, She's the One comes off much
like the 6-CD Petty retrospective from last year, Playback: A gem or
two, lots of B-sides, and even more throwaways, none of which threatens to
eclipse anything from, say, Petty's last real studio album,
Wildflowers.
HH -- Raoul Hernandez
JOHN FOGERTY: WROTE A SONG FOR EVERYONE
(Pravda)
John Fogerty was mistaken when he wrote "Someday Never Comes." Fifteen
artists, from as far away as Finland and Australia, prove it on John
Forgerty: Wrote a Song for Everyone. Fogerty's vision has touched them all,
no matter if it's Finland's Jolly Jumpers recasting "Fly Away" as a spooky,
vibrophone-laden ethereal hymn with existential guitar fills squawking out of
nowhere in the chorus, or the down `n' dirty takes of Peter Zaremba and Paul
Johnson's "Cross-Tie Walker" and Steve Wynn's "Graveyard Train," both
highlighting how much Fogerty loved to draw from the deep well of blues. On the
stunning "Run Through the Jungle," Steve Hooker becomes a clear-headed Keith
Richards wielding a linoleum knife over a buoyant Zooropa rhythm, and
Finland's Going Public get as gone as Carl Perkins on the hiccuping "Don't Look
Now." Other paths, as in Uncle Joe's Big Ol' Driver's rip-roaring "Hey Tonight"
and Girl Trouble's straight-up rendition of "Commotion" show how close
Creedence was to punk. Not every song works as well as those, but let's not
spit in the ocean. It took a small Chicago label, 15 unknown to semi-unknown
bands, and almost 25 years since Creedence broke up, but this tribute is
Fogerty's someday.
HHH -- Christopher Gray
MUSIC FROM THE MOTION PICTURE TRAINSPOTTING
(Capitol)
If Trainspotting is not so much a drug movie as it is a hyperactive
paean to youth, class, and culture in Nineties Britain (not that the Scots like
to be reminded that they're part of Britain), then the music from the movie is
even more so. Gathering together a glambient collective of influential elders
(Iggy Pop, Eno, New Order, Lou Reed), Britpop all-stars (Pulp, Blur, Elastica),
and dark-club habitués (Leftfield, Underworld),
Trainspotting's soundtrack is a pitch-perfect slice of a U.K. music
scene that's young, not-so-dumb, and full of comeuppance. The clear highlight
is Primal Scream's title piece, a ten-and-a-half minute nectar of groovy,
gently insistent narcolepsy that points rather hopefully towards the band's
next album (and completely erases the memory of Rocks). Elsewhere, the
record tends to replay the film in your head, from "Lust for Life"'s opening
salvo and "Perfect Day"'s OD comedown to the glorious beats and dramatic
keyboard strokes of Underworld's "Born Slippy," the song that cracks the movie
open and spills it out all over London. Bit of trivia: New Order's "Temptation"
does not actually appear in the movie (it's sung, twice, by the Diane
character) while Heaven 17's "Temptation," which is not on this record, does.
HHHH -- Jason Cohen
WHORE: VARIOUS ARTISTS PLAY WIRE
(WMO)
Art school students and complete outsiders to London's original punk rock
inner circle, Wire nevertheless popped up in the thick of the 100 days the Roxy
club was alive with songs that were not only shorter and faster than any of
their contemporaries', but smarter, odder and uglier. Once documented on the
stunning debut Pink Flag, they moved on to other directions, proving
themselves possibly the most truly innovative modern "rock" artists not named
Brian Eno. Of course, the obvious joke concerning any Wire tribute would be,
"Where's Elastica?" The obvious answer? "They recorded their Wire tribute
last year!" Still, there's plenty of modern rock luminaries paying their
respects here, including Lush with a near-identical "Mannequin," and Mike Watt,
who learned lessons Wire taught about brevity and avoidance of obviousness
while a Minuteman. And since the latter is one of Wire's most important
qualities, it's the artists who play fast and loose with this material that
most accurately achieve true Wireness. Band of Susans, for one, check in with a
version of "Ahead" which more resembles its live form than Wire's studio
reading. And virtual Invisible Records "supergroup" Spasm so completely
remake/remodel Wire's most famous track, "12XU," that it's impossible to
identify it without a reference to the track listing. Interesting, to say the
least, and completely loyal to Wire's teachings.
HHH -- Tim Stegall
GERMS (TRIBUTE): A SMALL CIRCLE OF FRIENDS
(Gasatanka/Grass)
What an unusual subject for a tribute record: The Germs, the L.A. punk
pioneers who were born to destroy themselves and everything about them, setting
up a wrecking machine assault as a backdrop for lead spectacle Darby Crash's
writhing disintegration. That assault wasn't without artistic merit, however,
as Crash's nihilistic lyrics displayed an untutored poetic depth, and the music
itself held a thrilling charge that later got vulgarized and distorted into
what became hardcore. Like any good tribute record, A Small Circle of
Friends works best when the bands either accurately recreate the Germs'
hell-bent, suicidal spirit (as on D Generation's rip through "No God," which is
utterly faithful save for the absence of the original's hilarious guitar quote
from "Roundabout") or else completely destroy it. Perfect evidence of the
latter route? The Posies' "Richie Dagger's Crime," in which the original's mix
of hardboiled crime fiction and chainsaw R&B somehow gets mutated into the
brother of "And Your Bird Can Sing," complete with cameo appearances by a
George Harrison melody or two. Other notable acts appearing include NOFX, The
Melvins, Hole (credited as the Holez, and augmented by actual Germ Pat Smear),
Flea, Matthew Sweet, Meat Puppets, and Monkeywrench (including local guy Tim
Kerr). The verdict? Good, though missing the presence of the Motards, who just
might unintentionally possess the best understanding of what the Germs were all
about as any group currently working.
HHH -- Tim Stegall
THE CROW: CITY OF ANGELS
(Miramax/Hollywood)
ESCAPE FROM L.A.
(Lava/Atlantic)
As riotous and anachronistic as Los Angeles itself, the soundtracks from two
sequels, The Crow and Escape From L.A., transcend their
traditionally stultifying molds with songs that have a life of their own.
Reveling in its own delirious pathos, Hole bursts forth with a vengeance on
The Crow with Fleetwood Mac's "Gold Dust Woman," Courtney Love biting
off each word as if they were bats and she were Ozzy. Not to be outdone,
Filter, P.J. Harvey, Tricky vs. the Gravediggaz, Linda Perry and Grace
Slick(!), the Toadies, NY Loose, Korn, and Above the Law all toss off killer
cuts with the electrically charged "I'm Your Boogieman" from White Zombie and
Iggy Pop's loping, live "I Wanna Be Your Dog" standing out like throbbing veins
on an East L.A. junkie's arm. Likewise, Escape from L.A. pummels the
listener into submission with blistering cuts such as Stabbing Westward's
"Dawn," Tool's "Sweat," White Zombie's "The One," the Butthole Surfers'
"Pottery," Sugar Ray's "10 Seconds Down," and Gravity Kills' blistering "Blame"
-- all within the first seven songs. Caveat emptor, though, this CD is
tagged as being "Music From and Inspired by John Carpenter's Escape From
L.A." -- only half of the 14 cuts are actually heard in the movie. Still,
the music "inspired by" Escape is just as lethal, with rounds fired off
by Orange 9mm, Clutch, Sexpod, and the Toadies (who must be collecting a small
fortune in soundtrack royalties by now), plus a bonus dirge from Ministry. So,
whaddya want from a soundtrack? Take The Crow as it flies straight and
true to form, or choose the Escape route, circuitous but one hell of a
ride.
(Both) HHH 1/2 -- Margaret Moser
SWEET RELIEF II: THE GRAVITY OF THE SITUATION
(Sony)
Much has been made of how Vic Chesnutt's genius is the spooky lyric and how it
takes repeat listens to get even the faintest hint of Chesnutt's gist. True
enough, so it shouldn't be surprising that the appreciation factor for Sweet
Relief II comes down to the soul vs. hooks paradox; where you can either
take the word of an all-star cast that Chesnutt's songs are worth a second
chance or simply wonder what's so vital here when the majority of these folks
can't manage a lead, riff, or flow worth examining twice. And even with the
genuine respect emitted by folks like The Smashing Pumpkins, Cracker, and the
Indigo Girls on otherwise lackluster outings, it's easier to adopt the second
theory and ask why so much of Sweet Relief II is musically flat and yet
instrumentally bloated -- save perhaps the nice opening punch of Garbage's
"Kick My Ass" and R.E.M.'s "Sponge." So while the original Sweet Relief
worked so well because Victoria Williams' songwriting matched the musical
adventurousness of acts like Pearl Jam and Soul Asylum, The Gravity of
Boredom's notable only for being the first place a MTV-Unplugged throwaway
from Live and the pairings of Nanci Griffith/Hootie and Joe Henry/Madonna could
mark the high points of anything -- let alone something so erroneously billed
as a tribute.
HH -- Andy Langer
BASQUIAT
(Island)
Once upon a time, films were scored by composers such as Max Steiner, Elmer
Bernstein, and John Williams. Overtures and theme songs emerged from those
films as distinctive entities; think of "Tara's Theme" from Gone with the
Wind, the macho punch of "Theme from the Magnificent Seven," or the cutesy
pop offerings from Star Wars. The days of lush overtures and
transcendent themes seem almost passé today in the face of
compilation-as-soundtrack collections, so it's a pleasure to see the music from
Basquiat emerge as a thoughtful effort that's at once reminiscent and
original. Forget the Rolling Stones, Iggy Pop, and Keith Richards tunes
bolstering this film about Haitian artist and Andy Warhol protege Jean-Michel
Basquiat -- they're not here. Instead, feast on Dylan's delicious "It's All
Over Now, Baby Blue," as done by Them with Van Morrison; the Toadies' rendering
of Talking Heads' "I'm Not In Love;" and Tom Waits' utterly inimitable "Tom
Traubert's Blues." Close your eyes and let Joy Division take you back to "These
Days" as P.J. Harvey ponders Peggy Lee's "Is That All There Is?" And finally,
let Basquiat himself rest in peace after his heroin overdose, as John Cale's
exquisite arrangement of Leonard Cohen's "Hallelujah" floats eerily at the
close of the album like a disembodied ghost, its haunting tenderness remaining
long after its gentle strains have died out. This film is probably already dead
at the box office; how appropriate that its soundtrack is alive with such grace
and beauty.
HHHH -- Margaret Moser
FIVE RING CIRCUS
(Flip)
Living in the Capital City, most of us know an Austinphile or two; those folks
who phone periodically to grill us on Ely, Hancock, and the Buttholes. We tell
'em about Walser, Hancock (Wayne), and 16D, promising to send 'em commercially
available samplers from Trance Syndicate, Watermelon, and Dejadisc. Question
is, does anyone else care? According to sales figures, not really. So, it's
gonna be directly proportional to your interest in the Athens scene whether
this 2-CD, 27-artist collection is worth seeking out. Names like R.E.M., Syd
Straw, Jack Logan, Magnapop, and Man or Astro Man? will entice some, but with
the exception of R.E.M.'s live contribution ("South Central Rain"), the other
tracks are available elsewhere. Second-tier Georgians like Alex Marquez,
Five-Eight, and Kevin Kinney contribute tracks, but nothing worth scrambling
for, while unknowns like The Martians, Asa Nisi Masa, and Prozac are likely to
stay that way. There are discoveries to be made here, namely the Woggles, Hazel
Virtue, Kathleen Parrish -- and a good Vic Chesnutt/Widespread Panic
collaboration -- but, again, what's your level of interest in Athens? Mine's
marginal.
HH 1/2 -- Raoul Hernandez
LIVE FROM MOUNTAIN STAGE
The Women/Rock (Blue Plate)
The main question I have for both of these compilations is "Why?" Why do they
exist, since the tracks herein (recorded on the venerable radio show) don't
radically differ from the album cuts by each artist in question. Oh sure,
there's some instrumentation changes for the more acoustic-oriented nature of
the show, but not much; electric instruments still abound. If, say, Austin
City Limits were to release a similar compilation, one would expect there
would be fine examples of musicians stretching themselves and seeking to
capture the live moment, rather than simply acting as a jukebox. If you can
suspend that expectation, however, and simply view these two discs as mere song
compilations, there is some good music here. On the Rock volume, names
like Southern Culture on the Skids, John Prine, and Wilco speak for themselves,
and the Bottle Rockets' "Welfare Music" is a masterful left-populist anthem to
do Woody Guthrie proud, taking hard jabs at "the fat man on the radio" and his
ilk. Similarly, k.d. lang, Shelby Lynne, the Indigo Girls, and Emmylou Harris
shine on Women. The discs certainly have clunkers, too, albeit a
minority: Blessid Union of Souls, Bonepony, and Jackopierce can be charitably
described as utter crap. If these were the highlights of their respective
shows, I'd hate to hear the lows. And Women has a little too much of
what a (female) friend of mine used to contemptuously call "whiny women with
guitars." Plus, I can't, for the life of me, figure out what earns Ani Difranco
her accolades, nor can I fathom what merits Ann & Nancy Wilson a place
here. Overall, however, both volumes are listenable, if unspectacular.
(Both) HH 1/2 -- Lee Nichols
RADIO ODDYSSEY
(Ichiban)
Forget MTV, low-budget noncommercial radio is where the "Unplugged" thing
rings truest -- with acoustic string squeak, corrugated cardboard drums, and
effect-free vocals. Couple that naked honesty with college radio's knack for
paying attention to underrated artists, and the format's live in-studio
experiments will often have you running for a blank tape mid-song or just
thanking the Georgia State University students at WRAS-Atlanta for releasing
this 1994-1995 batch of their rarities. And even for all the artistic sense
that format staples like Vic Chesnutt, Freedy Johnston, Throwing Muses, and
Lisa Germano make on this Radio ODDyssey compilation, the obvious hunger
of the hadn't-hit-yet likes of the Toadies, Soul Coughing, Morphine, G. Love,
and Spearhead manage to say even more -- in both the spare, mid-interview
acoustic settings and the equally impressive amped-up jams called in from a
makeshift movie theatre-gone-studio. Add in revealing early outings from the
Wedding Present, Mary Karlzen, Chrome Cranks, Miranda Sex Garden, Weapon Of
Choice, and Low Pop Suicide, and the tidy buzz of this virtually flawless
collector's dream may even last into 1997.
HHHH -- Andy Langer