Record Reviews
Archived
Mark Eitzel
60 Watt Silver Lining
Warner Brothers
American Music Club (AMC), Eitzel’s former band, has long been music critics’ favorite. Their sometimes rough, men’s drinking club sound may not have been smooth enough for Eitzel’s sad and witty lyrics, but he finally has total control musically. Eitzel kept Bruce Kaphan’s pedal steel and Danny Pearson as bassist from AMC but added Mark Isham’s trumpet. What you get is a smooth, passionate album about bars, drinking, romances that should have never happened and missed opportunities.
Overall, this album could depress the hell out of Miss Lambchop herself — Shari Lewis — but at least there are real stories of irony, bad affairs and drinking in bars without the naive stereotypical lyrics of most of the crap you hear on the radio. 60 Watt Silver Lining isn’t too dark to listen to; it leaves you wishing you had said those lines yourself.
If you liked AMC, this album may sound too produced, and Isham’s jazzy trumpet elevates the sound out of the bar sludge. With past Eitzel projects, you could almost hear the beer glasses breaking and drunks’ maniacal laughs that would serve as a distraction rather than atmosphere for 60 Watt Silver Lining. If you think depressing music is more beautiful than sad and Leonard Cohen and Charles Bukowski should have been one person, then Mark Eitzel will appease the lovesick drunk in you. —AJ
The Sleepers
The Less An Object
Tim Kerr Records
This is a collection of re-released and unreleased recordings of an early San Francisco punk band that most people have never heard of. They were probably destined for greatness but too fucked up to give a shit. All of these songs were recorded between ‘78 and ‘80 and better than most of the “punk” we’re forced to hear. Ricky Williams could have sung for Flipper but they kicked him out for sucking down too many Quaaludes. He was a scary, haunting character willing to do anything to connect with the audience. The whole band often just jammed on stage and never performed a song the same way twice. Tracks like “Linda” and “Theory” use Williams’ wavering garbage can voice to blend the lines (and I can’t believe I’m saying this) between punk and goth. And it’s good. Catch this recording before Williams and drummer Tim Mooney recorded as Toiling Midgets. Williams developed an affinity for David Bowie/Ziggy Stardust, and it shows — annoying!
The last half of the album isn’t as raw and catastrophic. Williams’ vocals and Michael Balfor’s guitar are much more appealing on the rawer tracks. The Sleepers were just wasted enough to play very intense, improvisational music but too destructive to keep it together. Get a reissue like this and all the new music you own will sound like crap! —AJ
Avail
4 A.M. Friday
Lookout! Records
I got turned on to these guys after my friend Jimmy at the Heavy Metal Shop went to see Avail play under DV8 two years ago. He told me that it was one of the best shows he had been to, with Avail working the crowd to a high-pitched frenzy. Tales of the lead vocalist jumping into the pit and singing from there sparked my interest enough into buying the album Dixie from the group. Having more originality than most of today’s so-called “Punk” bands, Avail pounded out some truly entertaining tracks on that album.
The other thing I noticed is that the band had a good sense of melody that they used to a maximum effect on some of the tracks. Lyric-wise, the band has a talent for writing about those experiences that all of us face every day that frustrate us to no end. For example, the lyrics for “Model” are, “I’d do anything to look that way / I want to change my face / big is a scar / you’d better get thing / the tanner you are, the more you fit in / bullshit you got a disease / you follow the trends like the rest of the sheep;” as you can see, these guys know how to write it how most of us feel. Another plus on Dixie is their cover of John Cougar Mellencamp’s “Pink Houses.” The old Southern Civil War era “Dixie” made the record one of the best Punk albums of ’94. So now they’re back, with their new album that’s chock full of kick butt tunes.
Strap on those boots and move the furniture, because listening to this record, you’ll want to storm around your house in reckless abandon. The songs are top-notch, with the fast, aggressive tracks sounding fresh and new, not cliche and monotonous like most punk bands’ music ends up becoming. Also, Avail obviously learned more dynamics and melody because on some tracks they blend it well without becoming cheesy, and because of this, they further progress without selling out or becoming boring. The lead vocalists’ voices are fiery and fierce, giving further emphasis to the lyrics that are once again well written (I’d quote some, but my advance copy didn’t come with any). They even, in the tradition of Dixie, do a cover of “Swing Low, Sweet Chariot” and a hilarious Frank Sinatra-style song. In conclusion, Avail has released one of this year’s best punk records, and they are one of the best bands out there on an indie label (yes, you’ll have to go special order it, but you’ll be glad you did). If you see an ad for them that says, “Avail: one of the hardest working bands we know,” you’d better believe it, ‘cause that’s no fucking lie! —Kevlar M.
The Freewheelers
Waitin’ For George
American
The Freewheelers were signed to American by George Drakoulias — the same man who brought the Black Crowes and the Jayhawks to the label. Is there a need to go any further with this? Two more comparisons should complete the picture. Joe Cocker’s Mad Dogs and Englishmen, Dr. John and the E Street Band. Luther Russell has the voice. Just as expected, his voice is backed by a three-woman chorus.
There is pumping piano, numerous references to New Orleans (although the band is from Los Angeles), organ and that trademark early ‘70s sound. Rebennack and Cocker are more relevant references than Springsteen’s band. I would never expect such graveled vocals to come from as fine a looking young man as Russell, but they do. The CD comes off as a nostalgic, if not thoroughly enjoyable, listening experience. I missed the whole point of the Black Crowes, I loved the Jayhawks and the Freewheelers fit someplace in between. I’m sure this five-piece puts on quite a live show. I’ll wait to pass final judgment until I’ve seen these songs played in person. —Borracho
Suck Pretty
3 Heads
Factory Outlet
“God dammit git o’er ‘ere gal. Look it dis ‘ere SLUG Magazine. Dey’r rittin’ ‘bout a buncha God damn fags. Call da Eagle Forum, les picket ery place ware ya kin git dis ‘ere paper.” Suck Pretty is Chris Cochrane (No Safety, John Zom, Bongwater), Dudley Saunders, Ed Ware (Myth Science) and Dom Casual… sorry I turned on the radio for two seconds… Dom Richards. In spite of the fact that it comes from an avant-garde label, it is pop music. It is pop music to die for.
The guitar is all funky and messed up. The bass is, too. The lyrics are about… well… at least they are not dissing da bitches and cappin’ da nines, or maybe they are capping nines… with latex and using them in a more satisfying manner. What if Pijamas De Gato teamed up with the former “members” (now there’s a profound statement) of My Sister Jane? Would “Simple” be the result? The pop is phenomenal, and the lyrics aren’t as “out” as “one” might expect. That hand up your butt thing sounds like John Prine, and I’m thinking that the disc is as fine as the hair on a twelve-year-old… consult your favorite local religious leader for the rest.
“Gal dija read dat? Hand up yer butt? Honey culd ya, wuld ya, stick yer hand up my butt tonight?” Sodomy? If this makes the “national version” and you read it there — plan a Utah vacation trip. After two days in Utah, this review will make perfect sense. —Earl
Iris
Songs of innocence and experience
Reverse Productions
I like them better on CD than live. Although, we would have to miss Craig Arnold’s demure and beautiful clumsy stage antics. Songs of innocence and experience is quiet, soft and pretty but the lyrics can be biting and crass. Iris is a slap from a beautiful woman and being just twisted enough to love it.
Each song reminds me of a beautiful painting. A picture of Catholic school girls in a bloody massacre of sexuality, confused identity, coming of age and unfortunate experience. “Everything was black” is the final and most beautiful track about being able to see how things really appear once you are out of the situation. Each song has its share of innocence and experience and a lot of confused sexual identities. —AJ
Rory Block
Tornado
Rounder
“Rory Block is a remarkably gifted artist who stubbornly refuses to be pigeonholed. On Tornado, one of the greatest contemporary practitioners of acoustic blues continues to defy expectations and push the envelope, creating music that encompasses the intimacy of folk and the soul of the blues with the polish of the best contemporary popular music.” Rory Block has a new album out. The previous quote came from the press release for the album. After listening to Tornado, I began to wonder… is Rory Block Rounder’s Alison Krauss of ‘96? Will she join Bonnie Raitt in the playlists of Adult Album Alternative?
“Pictures of You” is the single. It is hardly “When a Woman Gets the Blues.” The vocals are all Block; she does the harmonies and the lead. David Lindley contributes a guitar solo and the song is a shining example of contemporary pop. My choice for radio fare is “You Didn’t Mind.” The presence of Stuart Duncan’s fiddle and mandolin along with harmony vocals from Mary Chapin Carpenter, fretless bass by Mark Egan and the deep bottom provided by Jerry Marotta defy description. The title song is gospel. “Tornado” is unquestionably the best recording Rory Block has ever made. She’s made her play for stardom. Will the general public catch on? Probably not. —Earl
Hugh
Lucky Drive
Mafia Money
Lo and behold, my review for their last album shows up in their promo material. Perfect justice for someone who talks about how much he hates promo material as much as I do. The band’s reviews (including mine) talk about how it’s very fuzzy, hazy pop music, and this album sounds like they got together and said, “Let’s make it fuzzier, hazier and more accessible to the pop audience! It’s certainly a bad album, but I don’t believe that it’s as good as You Are Here, the other album I reviewed. It’s just not as listenable. The music is okay, but it never stands out; the melodies sound like they could have come from a lot of other places, and the progressions remind me of a high school talent show my band participated in, whilst the lyrics are unremarkable. It’s not bad by any means, just a little tired. It’s also not a very long album, at a little over half an hour. There is, however, one standout: “Alaska” is a great song and should be a single. Hopefully it’ll play on the radio and you can tape it off, because it’s certainly worth having around. It just makes you wanna cry. The rest of the album, however, is a take-or-leave situation. Maybe in the bargain bin at Greywhale. —Capt. America
The Inbreds
Kombinator
Tag Records
Just in case anyone still reading SLUG believes that lo-fi is the province of small labels, this Inbreds release comes from the arms of a major label. Tag Records is affiliated with Atlantic Records, which is a part of the largest of the large — WEA.
The Inbreds CD has been out for some time with little notice. I think I could listen to this music for the rest of my life and never get as tired of it as I am the heavy guitar, raw-throat vocals, deeply-ringing bass of the latest “grunge” hit. Several years ago, everyone was down on Seattle and grunge. The Nirvana backlash was astounding! Turn on the radio and it all sounds like grunge to me. Is Bush grunge? Is Silverchair? Is Seven Mary Three?
Flip the coin over and find indie rock, lo-fi or “college rock” — put your own tag on it. The Inbreds play minimalist pop music with plenty of dissonance. They have pretty harmonies that are as good as anything the Byrds ever did, but they also tend to invade the ears with noise just as the pop becomes too pleasant. If the pop does become too pleasant, the listener only needs to skip to “Last Flight.” Here indeed is the experimental noise. The single these days is usually the first or second track. In the case of the Inbreds, they’ve saved the best for last. “Amelia Earhart” has all the elements. La, la, las, melodies, a guitar break, a story and hooks to die for. Will it happen for the Inbreds? Not this year, but wait until the climate changes. —Borracho
Stereolab
Emperor Tomato Ketchup
Elektra
Forging whimsical pop jams using an alliance of organs and synth generated sounds, London’s Stereolab continues to reflect its infatuation with ambient noise production. Thankfully, here is a group of modern rockers (one of a few) that shies away from colliding guitars and bellowing vocals, taking a sweeter approach to songwriting. As they accompany Stereolab’s polytextured song ventures, the rejuvenating vocal rounds of Laetitia Sadier employ an airy yet sturdy effect. Be mindful of “Cybele’s Reverie,” rhythmic shifts treated with strings and French lyrics — “Percolater” follows, a collective of jazzy bass and percussion with the nip of Farfisa organ. “Spark Plug” is a funk bash and the accessible single, “The Noise of Carpet,” runs feisty and melodic with a rampage of pitch-bend synth at the song’s close. —Gary Savelson
Daredevils
Hate You
Epitaph
This is a brand-spanking-new release from the newest members of the Epitaph family, Daredevils. Even though this is a fairly new band, the members have been around the block a time or two. Brett Gurewitz from Bad Religion is the lead singer and rhythm guitar. John Freeze plays drums, Gore Verbinski is on lead guitar and Dean Opseth plays bass. This is actually a two-song EP; it contains “Hate You” and “Rules, Hearts.” I really like this release. Most Epitaph bands are really fast neo-punk rock for the nineties, but this release is a good rockin’ medium pace, with great hooks and sing-along choruses. “Rules, hearts and promises are much too serious / I’m almost joking / every damn day.” Oh yeah, words to live by. It’s what rock and roll is all about… fun. Yeah, it’s fun, and it’s a good time. Plus, with Epitaph backing them, I think we are all going to see some big things from this band. Remember, this is only two songs, but it is the beginning, and I know how all of you slick hipsters and riot grrrls love to be the first on your block to find anything of value or of hipness to impress all your peers so they can say “ooo-wow, you are sooo cool!” So, check it out! —RDJ
The Hungry 5
Twisted Americana
TON Records
Do any of you out there in the SLUG vortex know that TON Records exists? If you don’t, then you are missing some of the best music around today. The newest release I’ve checked out from TON is Twisted Americana from The Hungry 5. This is the soundtrack to every lonely trailer park in America — hell, every lonely mile and dead-end street. Too bad Jack Kerouac and Neal Cassidy aren’t around to hear this. They would have eaten this up like a handful of Benzedrine. I like these guys and girl (four guys and one girl) because every cut sounds different. I like a band with enough originality that they can put out a full-length disc and not sound the same the whole way through. Hard-core alternative, then a slow ballad-esque temp, then full-on cow-punk shit, then straight country… I love it! I love “Road Movie.” In fact, I could have written the lyrics to “Road Movie.” It’s how I feel. Check this: “…dusty hair and soleless shoes / there’s nothing like these boxcar blues / putting miles between.” I also love “The Bull that Got Away.” Really good music with, once again, great lyrics. Kudos to RJ Vasquez for singing such an original band and to The Hungry 5 for doing whatever the hell they want and not following silly trends. —RDJ
1996 Part One
Various Musical and Spoken Word Artists
213CD
213CD is Henry Rollins’ CD label, a division of the bigger, more established 2.13.61 Publications, only CDs. Get it? This is a compilation of material that is slated for release throughout 1996 from 213CD. We’ve got a little bit of everything in this package. We’ve got high octane rock and roll, we’ve got noise mongers, we’ve got spoken word excerpts from Hubert Selby Jr, Ian Shoales and of course, Mr. Rollins himself. We’ve even got a touch of modern-alternative jazz fusion with the Matthew Shipp Duo with Roscoe Mitchell. Chris Haskett’s side project is on here with new material and some horns from a couple of the original boyz from P-Funk. These guys just plain smoke! From all that I’ve read and everything I’ve listened to from 2.13.61 Publications, Rollins’ main push is to make you think for yourself, expand your mind and make you realize what’s going on around you. There are some really great moments on this CD. This CD is available to you, the happy consumer, for only $2.00, plus shipping!!! Do I have to tell you how stupid you would have to be if you didn’t check it out? If you’ve ever taken a look at the 213CD line-up and didn’t really know what to buy, this would be a great way to sample a little bit of everything at an affordable price. I say order it today and get on with your pathetic life! —RDJ
Various Artist
Songs in the Key of X
Warner Bros.
This is a compilation album from and inspired by the hit TV series, The X-Files. Sounds pretty cheesy, huh? Yeah, I thought so too, but I’ll tell you straight up why this CD is so cool, besides the fact that Williams S. Burroughs reads/sings “Star Me Kitten” with REM doing the music.
It’s got hidden tracks on it. Yeah, hidden but not at the end of the disc. I thought that would catch your attention. Nine minutes of music, three additional tracks before track one even starts to track. You put the disc in, you press play, then you reverse scan then you scan backwards (scan, not track). The numbers go into the negative and after negative nine, voila, there you go. The only indication of such a thing is on the liner notes. Right before the listing of songs, it reads, “Nick Cave and the Dirty Three would like you to know that three 0 is also a number.” That’s it, no other indication. (By the way, I’m not that smart, nor do I have the time to sit around and figure out hidden X-File messages — I learned all this by watching the news. Does that make you question your faith in SLUG Magazine or its writers? Well, it should not have been your first faith-shattering experience with this rag, that’s for sure!)
This CD has a killer line-up: Soul Coughing, Foo Fighters doing an old Gary Numan song, Nick Cave & the Bad Seeds, Filter, Frank Black, Danzig, Alice Cooper, Rob Zombie (like that’s a plus) and PM Dawn, plus many other surprises in the all-star line-up. The collection of songs probably won’t appear on any other CD, at least not for a while, so it’s worth getting if you like any of the artists. The CD is chock full of really good songs that all flow together nicely. Kudos to Chris Carter, Mr. X-Man himself, for putting together such an impressive roster of talent and songs. —RDJ
Mr. Mirainga
Mr. Mirainga
MCA
The first time I heard of these guys was early in 1995 on the compilation CD by Rick Agnew, Amash Demos Vol. II. On that, they played a song called “Animal Kingdom” that unfortunately didn’t make it on the MCA release. Well, this is the CD that took me by the most surprise this month. I know they’ve been playing “Burnin’ Rubber” on the radio for a few months now and because of that fact, I wasn’t expecting much. Yeah, yeah, I know, never judge a book by its cover. I flip the disc in the old CD player, press the repeat button because I know it’s going to take me a few times to really say something good and hit play. Then I go back to work and start making phone calls. In between business transactions, I keep pausing a song or stretching my phone cord to get to the CD case to see what song is currently playing. I keep thinking to myself, “I can’t believe this CD is really this good.” “Burnin’ Rubber” is alright, but come on, you and I both know that so-called rock and roll record execs always choose the worst track on the CD to cut as a single. The opening track, “Baglady,” is strong, tracks four and five, “Mesa” and “Saguarro’s Cryn,” totally kick it. For this month, this is the shit. Now, if I could only get a poster-sized picture of “the eyes” smoking a cigarette in front of that blue brick wall, then I would be totally in there. —RDJ
