RMX
by Thomas Schulte
**************************************************************
Outsight brings to light non-mainstream music, film, books, art, ideas and opinions.
Published, somewhere, monthly since July 1991. Feel free to re-print this article.
Please, keep Outsight informed: 248-623-1601 or
Email Outsight at outsight@usa.net
Ratings are (1) = :(, (5) = đ
Outsight Radio Hours Internet radio Webcasts with live interviews:
Sundays 6pm-8pm EST http://www.new-sounds.net
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SONGWRITER101.COM ANNOUNCES
GIBSON GUITAR GIVEAWAY
<A
href=âhttp://songwriter101.comâ>Songwriter101.com</A>, a new website that
focuses on the business side of songwriting, is giving away a Gibson Songwriter
Deluxe Guitar. One lucky winner will be randomly selected on July 23, 2004. The
Songwriter Deluxe, part of Gibsonâs Hummingbird Square Shoulder
acoustic/electric series, offers superior performance and has a list
price
of over $2,300. To enter, go to Songwriter101.com beginning June 7, 2004 and
fill out an online sweepstakes form. Hurry â the deadline for entries is July
12, 2004. </P>
THE .MU DOMAIN WILL TAKE YOUR MONEY
Like many, I signed up for a music-related site at .mu through DomainWorld.
However, DomainWorld proved to be unreliable and apparently dishonest. So, the
Mauritius Network Information Centre took over the accounts. The MNICâs story
from side can be found here.
Contrary to what it is said, MNIC did not honor my registration, so my site
was dropped and I was not contcated. In January 2004 MNIC requested $100 which
I paid, then the site was dropped from URL forwarding. When I finally got through
to someone at MNIC, I was followed their requested steps, paid another $150
and still I have no access to the account for my domain, the domain is inactive
and my emails are unanswered. Take my word for it and save yourself grief and
loss of money by avoiding acquiring a .mu domain through anybody.</p>
RMX
Exclusively distributed by Forced Exposure are two new âRMXâ releases from The
Residents. The group asked German sonic alchemist Paralyzer to apply his studio
wizardry to The King & Eye resulting in The King & Eye: RMX. Amped
up and made more accessible by the frantic beats and bleeps mixed in by Paralyzer,
this album still loses none of its magnitude as dramatic theatre about The King
of Rock ânâ Roll⌠Even more interestingly, we finally get an official release
(of sorts) of the groupâs debut 1971 album, Warner Bros. Album. The Residents
decided to release this album as a remix of the unheard original, rather than
release the mix that Warner Brothersâ Harve Halverstadt famously rejected and
sent back to âResidents, 20 Sycamore St., San Franciscoâ. Halverstadt thus inadvertently
named the group and perhaps set up a rejection complex that caused the reclusive
geniuses to perpetuate a fetish-like obsession for obscurity and a love-hate
relationship with pop music reflected in The King & Eye: RMXâŚ</p>
ACID MOTHERS TEMPLE
THE MAGIC STICK, Detroit
MAY 26, 2004
Japanese guitarist Mokoto Kawabata led the current incarnation of his musical
collective through a sonic freakout delivered with tongue-in-cheek humor and psychedelic
sincerity. Rich in oriental complexity, the varied show given to us in what often
seemed a switching mirror where often we wide-eyed Westerners were the show. At
one point an obvious drunk hulked his graceless mass over the short Japanese with
his unwanted stage presence. One of the musicians quizzed us on their hated enemy,
MTV. The group gave us a âpop songâ with furious, death metal elements. However,
string together all your explosive moments of rock, such as The Doorsâ âThe Endâ
and the peak of Iron Butterflyâs âIn-A-Gadda-Da-Vidaâ and you will get a feel
for the epoch of excess that was much of the AMT experience. Thatâs it, it was
not a show, but a sonic experience pushed by a crisp and loud John Bonham-inspired
drummer. (Whatâs that, wadded aluminum in his traps?) During a flute-led interlude
came one of the more comedic moments. The quadruped-featured menu of a barbarian
was the introduction to an Asian cowboy song. But, get this; it was impossible
to buy a CD from the groupâs staffed merchandise booth. The reason given was the
band wanted to meet anyone buying its CDs. I suppose this does not apply to Web
and distributor sales (at least it has not for me). Now, that is putting oneâs
art above commerce.
CRAZY WISDOM
Brian Woodbury is a mad genius putting offbeat humor and great post-jazz into
a winning package. Two new releases on ReR/Some
Phil</a> give testament to Woodburyâs unique vision. Consider on Variety Orchestra
the mostly instrumental âThrenody for Kennedy and Connallyâ which regales the
listener as a large jazz ensemble does everything but laments as it races through
a condensed history of jazz. Toward the end, a set of female voices comes in like
the Andrew Sisters to brightly sum up the assassination and Connallyâs bullet-catching
in a few, smart bars. Woodbury does a lot of comedy music writing for TV and theatre
and the very talented Variety Orchestra lets him stretch into other directions.
This ensemble includes such names as Marc Feldman (violin; Dave Douglas), Frank
London (trumpet; Klezmatics) and Jonathan Feinberg (drums; They Might Be Giants),
to name a few! ⌠Iâve always felt vocalist Chris Rael (Church of Betty) sounds
like he should be in TMBG. Rael is one of the many artists to pay tribute to Woodbury
by covering a song on The Brian Woodbury Songbook. Others that appear on
this fun and funny collection of songs are Oren Bloedow (Elysian Fields), Jill
Sobule and Terre Roche (The Roches). The strongest track on the album, through,
is â(Write it on a Little Yellow) Post-Itâ sung by David Yazbek (Rockapella, Broadwayâs
The Full Monty). A fairly consistent studio band gives the songs a factory-delivered,
contrived bubblegum feel while the talented and superlative interpretations of
these great songs make the tracks transcendent. Look for my interview with Brian
to be available at MusicSojourn.com.
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Listen to or Buy Variety Orchestra at Amazon.com</a></font>
to or Buy The Brian Woodbury Songbook at Amazon.com</a></font>
</p>
DVD REVIEWS ***
IâM TALKING SERIES JAZZ
Distributed by Music Video Distributors,
the Swing Era DVD series (Idem
Home Video</a>) is a rich exploration of this popular form of jazz that continues
to fuel dance classes and CD purchases decades after its inception. The Louis
Jordan</i> entry into this series is films and soundies from Jordanâs prolific
career. Presented without commentary or narration, these quick and fun clips of
the smiling, bouncing master of jump blues includes âCaldoniaâ, âFive Guys Named
Moeâ, âBewareâ and 32 others. However, this is not merely his novelty numbers.
There are some earthier tunes like âThat Chickâs Too Young to Fryâ and âWham,
Sam (Dig them Gams)â⌠The Sarah Vaughn DVD is more properly titled Sarah
Vaughn and Friends</i> as it is a compilation not only of Vaughn but Lena Horne,
Ethel Waters with Count Basie and The International Sweethearts. Also included
are three singers coming from a blues direction: Bessie Smith, Mamie Smith, and
Ida Cox. Vaughn, of course, exudes technical excellence and grace, but she is
a vocal stylist that only partly covers swing. The Lena Horne examples (two soundies)
really swing and the lengthy, elaborate âBoogie Woogie Dreamâ is a pinnacle of
this short film genre in three acts with set and costumer changes and boogie-woogie
piano greats Pete Johnson and Albert Ammons⌠Interestingly, the white girls got
segregated off to their own Peggy Lee DVD. This is itself sectioned into
singers before bandleaders and blondes ahead of brunettes to arrive at a programming
order of Peggy Lee, June Christy, Ina Ray Hutton, Lorraine Page and finally the
acrobatic Rita Rio⌠There is also a Nat âKingâ Cole DVD in the series dedicated
exclusively to the talented MOR singer/pianist in 27 tracks. This includes such
songs as âRoute 66â, âNature Boyâ, and âMona Lisaâ. Much of the material comes
from the very first short musical films made specifically for television, the
Snader Telescriptions⌠Duke Ellington Lionel Hampton is a DVD split between
those two bandleaders. These two go together well because the pieces are mostly
instrumental, each bandleader arranges for a lot of brass and features a lot of
quick solos from different orchestra members. Hamptonâs mellifluous vibes playing
is a real treat of this chapter in the Swing Era series⌠A real highpoint
in the series is the Cab Calloway DVD. This DVD takes the musical highlights
from the film Hi-De-Ho (1947) for a cohesive set of performances, including
âSt. James Infirmaryâ, âCalloway Boogieâ and âMinnie The Moocherâ. Being film,
the visuals are of higher quality than the soundies and Telescriptions and, of
course, Cab offers a stellar, exaggerated performance at every stepâŚ
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More info on Vaughn at Amazon.com</a>
info on Jordan at Amazon.com</a>
info on Lee at Amazon.com</a>
info on Cole at Amazon.com</a>
info on Ellington at Amazon.com</a>
info on Calloway at Amazon.com</a></font></p>
Various Artists
The Story of the Blues: From Blind Lemon Jefferson to BB King
Quantum Leap/Music Video Distributors
It is a tough challenge to tell the story of blues music completeness, and this
DVD does not purport explicitly to do that. However, in the vary beginning of
the PBS-style documentary we are taken right up to The Civil War and given Big
Bill Broonzyâs âTake this Hammerâ as an example of a work song. (That would be
like starting off the history of jazz with WWII jitterbugs and using a Louis Armstrong
recording of âWhen the Saints Go Marching Inâ as an example of Dixieland.) Such
arguments aside, the DVD does a good job at covering the chronology of the blues
and fitting in by musical example Blind Lemon Jefferson, Ma Rainey, Elmore James
and more. The video footage to accompany the song snippets was well planned so
that key nouns in the lyrics reflect in the imagery, making the pictures more
engaging. The DVD also is a fine introduction to the rudiments of musical theory
for the blues and the structure of blues lyrics. (3.5)
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CD REVIEWS ***
Texas Terri Bomb!
Your LipsâŚMy Ass!
Texas Terriâs new band gets a boatload of guitar talent assisting on this explosive
rock album. This includes Wayne Kramer (MC5, Dodge Main), Marc Diamond (Dwarves),
Dave Teague (Dickies) and Ryan Roxie (Alice Cooper). Guest vocal power comes in
the way of Cherie Currie (The Runaways) who helps out on a duet of Thin Lizzyâs
âThe Rockerâ. This hard rock album is refreshing in its simplicity and the basic
approach to a rugged, rock ânâ roll sound. (3.5)
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The Spencer Davis Group
40th Anniversary: Keep On Running
This compendium marks The Spencer Davis Groupâs four decades of R&B-fueled rock
ânâ soul, which the group also marked with touring in Europe. The collection starts
out with a 1965 radio session of the John Lee Hooker song that was on the groupâs
first single: âDimplesâ. There are several such radio selections, and a radio
cut here is just a really well-produced live cut. Steve Winwood comes across as
soul on fire on these cuts. Covering four different line-ups and periods, the
album is still remarkable consistent and robust. The album covers the period 1965-1974
with some great British rock interpretation of American R&B. (4)
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Various Artists
Glitterbest
Often it is assumed punk rock raised its ugly head out of nowhere, with no contextual
or historical precedent. That is, there has been much ink spilled arguing what
was the first punk band (Sex Pistols? Ramones?). Much less has been done to consider
important antecedents. This excellent compendium of âUK glam with attitudeâ shows
that Chris Spedding & The Vibratorâs were teaching the world to pogo dance in
1976 and such aggressive glam bands as The Hammersmith Gorillas and The Jook were
already as punk as punk gets. Hearing The Hammersmith Gorillas cover âYou Really
Got Meâ is like The Sex Pistols covering âRoadrunnerâ. Hollywood Brats end the
collection with a 1973 recording of âSick On Youâ that shows the New York Dolls
approach to pre-punk glam. Other bands here include MilkâNâCookies, Trevor White
and Helter Skelter. (4)
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The Reigning Sound
Too Much Guitar
This fiery garage band is the current project led by Greg Cartwright (The Oblivians,
Compulsive Gamblers). This album runs a spectrum from raucous explosion (âWe Repel
Each Otherâ) to soul-on-fire (âYour Love is a Fine Thingâ) to psychedelic single
in the Arthur Lee tradition (âIs a Fine Thingâ). And that is all in the first
three tracks! Altogether this is much harder rocking album than the previous Time
Bomb High School</i>. That much is on purpose and underscored by the albumâs very
title. Too Much Guitar is a garage rock classic up their with your favorite
albums by 13th Floor Elevators or The Seeds. (4)
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Mystery Girls
Something in the Water
Mystery Girls so expertly channels the pre-punk rage ânâ soul of â60s psychedelic
rock that tracks like âYouâre So Blueâ are veritable wayback machines. The spacey
interlude of the instrumental âRadio Planet Bluesâ is a point of recovery at the
crest of this emotionally draining, sweaty 13-song album. Itâs the eye of the
storm in the retro garage hurricane that lashes the listener on Something in
the Water</i>. Something has been dropped into the Wisconsin water the boys of
this quintet are drinking, and I would like to have a dose. (4)
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Let It Ride
F.Y.M. RECORDS
Angel City Outcasts suggests itself to be punk by claiming âex-members of two
local L.A. punk bands, Youth Rebellion and Broke âtil Thursday.â However, the
group also has a touch of the â80s Los Angeles metal sound exhibited by early
CrĂźe, as on âThe Chaseâ. The group also pulls in the direction of oi and street
punk with such songs as the anthemic âYouth Rebellion (revisited)â. Angel City
Outcasts is the Los Angeles old school punk-hardcore-metal sounds distilled into
a microcosm. (2.5)
Twilight Circus
Dub from the Secret Vaults
Ryan Moore is the one man creative behind Twilight Circus Dub Sound System. An
admitted fan of the earliest of ROIR dub cassette releases, Moore gives some back
with this album of roomy old school dub creations. While this is the Canadiansâ
11th album, it is the first with a domestic release. Some tracks like âSlyyâ show
subtle touches of the bands he worked in: Legendary Pink Dots and Tear Garden.
However, most are large and languid monster steps of the echoic dub species. The
premier U.S. release was scoured from Twilight Circusâ archives for a career-spanning
opus of previously unreleased material. Fans of Bill Laswell and Lee Perry will
appreciate the mysterious sounds of this dub alchemist. (4)
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Scott Marshall
Dark Side
This is a score based on Pink Floydâs Dark Side of the Moon for a dance-theatre
piece. Urban legend has long associated the film Wizard of Oz with Dark
Side of the Moon</i>. Marshall has fun with that imagined link by summoning strains
of âSomewhere over the Rainbowâ in the opening piece and the famous ânot in Kansas
anymoreâ line from the movie. This also serves to give notice that this loose,
detached music with quotes from the famous Pink Floyd album is to transport us
to a different, mysterious and even scary place. Such fearsomeness comes up in
the chilling screams at the end of the second track (no titles on my copy!) matching
nicely with the eerie, desert string sounds opening the third piece. This flows
nicely into the music and lyrics of âTimeâ. However, these lyrics are delivered
in such a non-musical, robotic way that one feels here and elsewhere that without
the stage activity we are missing an important dimension of this work. (3.5)
The Glory of Man is not in Vogue
Slurry Records
Be quick to judge and you will only broaden your Portishead-based definition of
trip hop to include this excellent opus featuring the vocalist and wordsmith Marilyn
Carino. Ruminate more on the layers of meaning that can be unraveled from the
mysterious, timely title and you will find a further treasures of vivid metaphor
and sophisticated simile on such songs as âThe Hero of the Worldâ and âOthelloâ.
It is on âOthelloâ that versatile vocalist Carino delivers in a lyric reminiscent
of late-, jazz-period Joni Mitchell. However, the Annie Lennox solo recordings
may be a better reference point for the rest of the album, for Carino shares with
Lennox the potent, smoky voice of the pop mezzo that introduces a compelling mystery
in depth to such striking images as âdiamond backs of surfer girlsâ, âflying bat-rat
poniesâ and other semi-surrealistic lines from this exquisite album. Julee Cruise
comes to mind here, too. Do not call it âtrip hop,â call it a trip past the limits
of pop. (5)
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Kevin Hearn & Thin Buckle
Night Light
This is the third solo CD from Kevin Hearn, talented multi-instrumentalist of
Barenaked Ladies. Like Barenaked Ladies, this album of quirky pop if full off-beat
humorous arrangements, but the lyrical content is much more introspective and
even dark. Witness the lines âThrough the air/And over the sea/Youâre in chains,
far away from meâ and âDo you remember watching dolphins/From the beach?/What
if all happy memories/Were in reach?â This taken from the lyrics reprinted in
the 16-page full-color CD booklet festooned in Kevinâs colorful and imaginative,
childlike drawings. Part of the darkness draws on the fact that this memorable
keyboard-prominent indie pop album draws on Kevinâs successful battle with chronic
myelogenous leukemia as did the previous H-Wing. Not quite as dark as that
album, this finds Hearn stepping out of this admitted ârough part of the memory
lane districtâ into a sunnier, if still reflective, neighborhood. (4.5)
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Before & After
Cooking Vinyl
The crisply produced, smile-inducing indie pop album warmly reflects back on the
peppiest of New Order. Three of the tracks are represented in videos on this enhanced
CD. The album is a diptych outlined by the title. The first half of the dozen
audio tracks is happy, ebullient dance pop (âBeforeâ) and the latter is slower,
sadder songs (âAfterâ). (3.5)
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A Little Pain Never Hurt
Arden Records
Dick Siegelâs catchy songs are clever folk-jazz concoctions delivered primarily
by acoustic guitar and bearing humorous, witty and earthy lyrics. The vivid, unforgettable
songs on Siegelâs third full-length CD are full of vivid metaphor and bawdy allusions.
Tracks like the title song, âCan I Singâ and âI Wanna Beâ promise to be as indelibly
inked into the memory of his Michigan fans, as have âAngeloâsâ, âWhat Would Brando
Doâ and others from this peerless singer-songwriter. (4)
</font>
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Get Away from Me
Nellie McKay is a nineteen-year-old jazz-pop genius with talent much beyond her
years. Full of adult, colorful language and a swinging hot jazz vibe, her piano
tunes are the hippest, wittiest jazz to show up on a major label in too long.
Much has been made of the fact that McKay can stretch her sound spectrum to even
include hip-hop, but note this: her fairly sophisticated music is not overly spiced
with that overpowering flavor. What cannot be understated is that she has true
songwriting, jazz singing and piano playing talent. This skill and style allows
here eclecticism to transcend novelty and her cunning wit to rise above cheap
humor. Dig this album now or see it in six months on the Best of 2004 lists and
wonder why you never got around to buying it. (5)
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Trampinâ
Still rockinâ, still fiery, still political, Patti Smith the poetic patron saint
of the post-punk wave bestows upon the huddled masses eleven new songs. But, riddle
me this: What hath in common Patti and Dayglo Abortions? Both seem to be burdened
with the Sisyphean curse to labor on ever without hope of equaling a classic,
seminal debut record. Horses this isnât, but it is easier to get âgung hoâ about
than other Smith releases of recent years. (3.5)
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Loneliness Knows my Name
Hollywood Records
Patrick Park is a little bit country, a little bit rock ânâ roll. The post-folk
singer-songwriter sticks out some (but not much) in a crowded field of guitar-armed
sensitive singing poets. Dave Trumfio (Wilco, My Morning Jacket) did exquisite
production work here. I dare say fans of Wilco (and Ron Sexmith) will be pleased.
(3.5)
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The Beginning Stages OfâŚ
Hollywood Records/Good Records
Recordings</a>
Itâs a bright, sunny horizon-to-horizon commune of hippy-dippy joy with the choral
symphonic pop band The Polyphonic Spree. Didnât this outfit open the second day
of Woodstock at daybreak? While the groupâs attraction for rapture-style flowing
white robes suggests a cult aura, The Beginning Stages Of⌠does more deprogramming
than it requires. The release comes with a bonus four-track CD EP of two live
versions and a pair of alternate versions. (3.5)
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Various Artists
Wig in a Box
This compilation presents a number of good songs from and inspired by the film
Hedwig and the Angry Inch. The songs are done very well and by some talented
folks, witness âThe Origin of Loveâ by Rufus Wainwright, âNailed (Loudbomb Mix)â
by Bob Mould and âCity of Womenâ performed by Robin Hitchcock. There is also some
great, unexpected pairings in Sleater-Kinney with Fred Schneider (B-52s), Cyndi
Lauper with Minus 5 and even Ben Folds and Ben Lee. (4)
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Gaze
Go! Discs Ltd.
This British indie pop band takes a gives vocal primacy to its song-oriented music.
The exquisite delivery of the lyrics and the hip, swinging rhythms of this sophisticated,
fun album make it another irresistible entry in the bandâs discography. Relaxed
and catchy, the beguiling choruses often belie a witty cynicism as in âJust a
Few Things That I Ainâtâ. Somewhat jazzy and mixing female and male vocals, Gaze
is like good museum art that holds the eye. (3.5)
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Die Hunns
Long Legs
This new street punk line up of Die Hunns with founder Duane Peters (U.S. Bombs)
and Amazon bassist Corey Parks (Nashville Pussy) is about the best thing going
in punk today. Potent and rooted this album offers some kicking covers: âTime
has come Todayâ (Chamber Brothers), âI got Your Numberâ (Wipers), âDid you no
Wrongâ (Sex Pistols) and more. While the recordings are all new, the bulk of the
album is early Hunns material like âAnimalsâ and âLove & Hateâ. (4)
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Velvet Acid Christ
Between The Eyes, Vol. 2
This second retrospective of the band features several tracks taken from very
early demo material for the band as well as the soon-to-be out of print Church
of Acid</i>. Fans of the earliest Skinny Puppy will appreciate the twisted, nightmarish
sounds that ooze out of this creepy CD. The aggro-electro is a post-industrial
voyage into trippy and spooky soundscapes, often with a relentless dance beat.
(3)
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Left End
Perfected Music
Technically, one would call this fusion, for it is a fusion of jazz and rock.
However and fortunately, this excellent album lacks all the vaporous insubstantiality
that the word âfusionâ implies. In this context, the electric guitar-led trio
sounds more like Captain Beefheart when exploring unusual time signatures (â353-1001â)
then it does a group of over-studied technicians. This instrumental music is vigorous
and surprising, visceral and attention grabbing. Peckham is here backed by New
York improvising Ăźber-drummer Jim Black (YeahNo, Pachora, Ellery Eskelin, etc.)
and bassist Tony Scherr (Steven Bernsteinâs Sex Mob, Michael Blakeâs Free Association,
Bill Frisell, etc.). (4.5)
Die Haut and Nick Cave
Burninâ the Ice
Hit Thing/Forced Exposure
This album was originally a German-only vinyl release. It features Nick Cave as
a very suitable guest vocalist for the guitar gothic band Die Haut. This is the
first edition in any digital medium and has been long sought after by collectors.
This is because the recording fills in the gap in Caveâs artistic career between
The Birthday Party and The Bad Seeds. A detailed history is given in the 24-page
booklet accompanying this CD, including black-and-white photos of Cave with the
band. Cave wrote all the lyrics to the songs here, including âStow-A-Wayâ, âPleasure
is the Bossâ and âTruck Loveâ. The CD also includes instrumentals, such as âTokyo
Expressâ. Initial copies come with Skinned-A-Live, a DVD of Die Hautâs
premier 1982 tour with The Birthday Party. (4)
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Todd Snider
East Nashville Skyline
Todd Snider just keeps getting better as the intelligent, sophisticated and even
hip voice of underground country. His witty ballads âThe Ballad of The Kingsmenâ
and âConservative Christian, Right Wing, Republican, Straight, White American
Malesâ are enlightened reality checks in a time that can be shockingly prejudiced.
This troubadour tells his stories with more finesse than toughness, thus separating
himself from Steve Earle. His swinging delivery on such odes as âNashvilleâ is
a vehicle for lyrics with more relevance than, say, Ernest Tubb. It is somewhere
between Tubb and Earle that Snider resides and that gives him a lot of room to
play. Delivering his songs ala Jerry Jeff Walker, Snider once again sets a high
bar for modern country delivered with style and a wink. (4.5)
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Technova
Electrosexual
Technova is David Harrow and this is the follow-up to his Dirty Secrets
(2002). The seduction-speed EBM is seasoned with sexually charged lyrics delivered
by Amazon transvestite Vaginal Davis. Taking it slow allows room for subtle, attenuated
melody, a feature often missing from merely utilitarian techno. The CD version
has two bonus tracks: âBitterest Pillâ and a cover of Joy Divisionâs âAtmosphereâ
with Harrow himself delivering the tracks via Vocoder. (3)
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The Outcasts
Self-Conscious Over You
The first two tracks of this reissue of the 1979 album show the extremes of Belfastâs
The Outcasts. The title track is a catchy pop tune that foreshadows new wave.
âClinical Loveâ is a heavy dirge that is like punk on sedatives and makes a nice
pairing with the shockingly graphic murder song âThe Cops are Comingâ. Beside
the sanguine lyrics of âThe Cops are Comingâ, only the title tune is truly memorable
from this band that caught the punk vibe but failed here to capture any of its
energy to record. A few of the tracks were specially re-recorded for this edition,
including âThe Cops are Comingâ. A half-dozen bonus tracks includes good punk
tunes in âFrustrationâ and âDonât Wanna be no Adultâ along with âJust Another
Teenage Rebelâ as well as some alternate version. (3)
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Various Artists
Old Skars & Upstarts 2004
Duane Hunn’s Disaster Records continues
to be the bellwether label for the contemporary street punk movement. And its
envoy into the retail world is the annual Old Skars & Upstarts compilation.
This yearâs edition includes great tracks from The Briefs, oi-flavored Bothered
Face and a fun, spirited exploration of the current state of punk in âNo Clash
Reunionâ from The Revolvers. Most of the material is memorable and catchy like
âThis Party Sucksâ, the ode to a lame party from Butcherâs Bill. Peters himself
contributes, not only the The Hunns (âGot Your Numberâ) but with Pascal Briggs
on a version of âSuicide Childâ. (3.5) </font>
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