ABC, Look Of Love: The Very Best of ABC (Mercury)
Martin Fry, lead singer for '80s new-wave popster's ABC, has released Look of Love: The Very Best of ABC, a retrospective collection of hits and singles, much to the satisfaction of legions of fashion-conscious children of the "me" decade. The compilation pulls together 15 tracks from four albums (The Look of Love, from 1982, Beauty Stab, from 1983, How to Be a Zillionaire, from 1985, and Alphabet City from 1987), as well as two new tracks, "Peace and Tranquility", and "Blame". While the new tracks are definitely worth a listen, it's the classics that are the draw here. All your favorites are here, from "Poison Arrow" to "Vanity Kills", and all the Roxy Music-influenced hits in between. Fry is quoted in the liner notes as saying "some of these songs were written in anger, some just for the hell of it, mostly just to entertain ourselves. Looking back's never easy, but they say in order to know where you're going, you've got to know where you've been". Well, Martin, your true fans know where you've been, and we're glad you made the trip.
-- Wayne Franklin
Soundtrack, Adaptation (Astralwerks)
Most people who have seen Spike Jonze's brilliant film Adaptation were probably too mesmerized by the acting of Nicolas Cage, Chris Cooper, and Meryl Streep, too dazzled by Jonze's daring directing, and far too busy being completely blown away by Charlie Kaufman's masterpiece of a screenplay to notice that the movie actually had a musical score. However, once you start playing this CD, it all comes back to you. Composer Carter Burwell, who composed the score for Jonze's 1999 film Being John Malkovich, has come up with, much like Cage's Charlie Kaufman character, a nervous, twitchy, unassuming, brooding film score that, like Charlie's own screenplay-in-progress, sounds full of stops and starts, as if Burwell himself wasn't too sure how to finish things ("The Screenwriter's Nightmare" is a full minute of Burwell's central musical theme spiraling out of control, much like Charlie's own frustration). The 15 tracks that comprise the score sound like random ideas, be they short little one minute snippets, or slightly more developed, three minute vignettes, all with aptly Kaufmanian titles such as, "On Judgement, Human Or Otherwise", "Shiveier Than Any Ant", and "The Slough Pit of Creation". Throw in an effective remix track by Fatboy Slim, a creepy remix of "The Screenwriter's Nightmare", and even The Turtles' '60s hit "Happy Together" (which is as odd a fit as it was in the movie itself), and you've got yourself a rather compelling, brooding, chill-out record.
-- Adrien Begrand
Cindy Alexander, Smash (Jamcat Productions)
Cindy Alexander must be one of the most talented people in LA to not have a record deal. Although, that situation might be a good thing, because after hearing the sheer talent displayed on her sophomore record Smash, a major-label deal might only serve to poison her ability and dilute her undoubted knack for achieving on her own terms. I've already raved about the LA Music Award winner's debut album See Red and thankfully, the follow-up is even better. "I'm So Sad (That You're Happy)" and "Jamie" are two of the best modern pop-rock songs you will hear in 2003 (or even 2004 for that matter) and, like the excellent "Born Again Virgin", come complete with some of Alexander's trademark wry lyrics. In fact, she manages to cover the whole emotional spectrum in this collection of melodic masterpieces, from insecurity ("Idiot Child"), loneliness ("Tour Song") to heartfelt love ("Only Love"), and the whole album is packed with contemporary-sounding pop which should appeal to the disaffected Bridget Jones generation of women and men alike. Guests and producers who recognise Alexander's validity and outstanding musical aptitude on Smash include David Darling, Dennis Matosky, Gary Harrison and Evan Frankfort, and they are excellent judges of one of the best independent artists to emerge in recent years. The only thing that lets down this album is the slightly scary-looking artwork, but other than that, Smash deserves to be have the impact its title suggests.
-- Andrew Ellis
Coronet Blue, Coronet Blue (Laughing Outlaw)
Coronet Blue is a rock band that doesn't really separate itself from the rest of the lot. Sure, they have all the needed hooks and play with a lot of chutzpah, but judging by the opening "Mission Bell", it's a very controlled passion. With John Rooney and Anthony Bautovich sharing vocal duties, the songs often don't fly off the album. "Brightest Flame" has its moments, but the tune lacks the guitar hook and relies on the percussion for its centerpiece. Most of the songs here are relatively good, but not great. "Particular Kind of Girl" exemplifies this perfectly, tight but doesn't bowl you over. If one could imagine The Rembrandts minus the picture perfect harmonies, you'd have a song like "For Too Long a Secret". Too often the initial riffs dissipate into a pedestrian rock arrangement on tracks such as "Auf Wiedersehen" although the chorus and bridge solo is quite good. As the album progresses, the tracks get a bit harder and edgier thankfully, including the great "Fool in Love". The five bonus tracks don't add much though, with "Tenterhooks" being the catchiest of them all. Decent but far from mind blowing.
-- Jason MacNeil
Electric Six, Danger! High Voltage (XL/Beggars Group)
Most hipsters were first turned on to Detroit's Electric Six back in early 2002, when their song "Danger! High Voltage" made an appearance on 2 Many DJs' mash-up opus As Heard on Radio Soulwax: Volume 2. It only plays for two minutes, tightly wedged between The Cramps' "Human Fly" and a cover of ELO's "Don't Let Me Down" by an obscure Finnish band, but it's two minutes that nearly steals the entire album. Originally released in late 2001 as a 7" single on the Flying Bomb label under the band's original name The Wildbunch, the song has taken on a life of its own, shocking the music world by charting at Number One in the UK early this year. Now, it's time for North America to give in to these guys. Make no doubt about it, "Danger! High Voltage" is a lock for one of the top singles of 2003. A wonderfully refreshing dose of psychotic disco-metal, the song opens with a slinky guitar lick that sounds like an out-take from some lost Funkadelic sessions from the Seventies. As a rump-shakin' drum beat begins, singer Dick Valentine sings the stupidest verse you'll hear all year, but also one of the funniest: "Fire in the disco/Fire in the Taco Bell!/Fire in the disco/Fire in the gates of Hell!" Then, from out of nowhere, guest vocalist Jack White (he of The White Stripes) leaps in, shrieking, "Don't you wanna know how we keep startin' fires?", as both Valentine and White shout, "It's my desire!" The sheer ludicrousness of the entire song, from its bizarre meshing of funk guitar licks with distorted metal riffage, to the shameless saxophone solo, is utterly irresistible. This CD single comes with two decent, but ultimately forgettable, b-sides, as well as a seven and a half minute remix that prolongs the fun a bit, but hey, the only reason to buy this CD is that one riotous track, which is all the reason you need. Phenomenal.
-- Adrien Begrand
Lynam, Bling! Bling! (EMG Entertainment)
For a band titling their album Bling! Bling!, Lynam display a complete lack of pretension. There's no high concept, flashy image or affectation going on here, just 29 minutes and 10 songs of pure, unadulterated, unassuming scuzzy rock 'n' roll, pop-punk and bizarrely enough, bluegrass. The Birmingham, Alabama quartet feature Mars Electric mainman Jacob Bunton -- even though his surname, like the rest of the band is credited (with more than a pinch of self-depreciating humour), as Lynam -- among their ranks,
and he is the band's main songwriter/creator of anarchy. The instant melody of opener "Della" bursts out of the blocks and melds Beatle-esque harmonies with a dirty, low-down riff and vibe. The tongue-in-cheek "Disco King" follows suit before the band's wonderful weirdness comes to the fore: the Run DMC-influenced "Waste My Life" showcases a melodic rap-hard rock sound, while "Dixie River Gun Runners" is a frantic, yet utterly compelling bluegrass tune -- I never thought I'd write that. Meanwhile, the excellent "Bemused and "Gonna Getchoo" return to a blistering rock sound while the thoughtful and brooding "Losing Venus" sounds like a Mars Electric outtake. Mars Electric are due to make a welcome return on Atenzia Records in April,
but until then, get hold of this spirited collection of energetic and diverse rock at all costs.
-- Andrew Ellis
Aaron Neville, The Millennium Collection (Universal)
The sweetest male voice in the soul canon is given yet another Greatest Hits selection. Bit of a cheat this one though, because (apart from the essential "Tell It Like It Is") the material covered is taken exclusively from his work in the 1990s. That means, unfortunately, that the arrangements are too often those AOR/soft rock ones that got Aaron well known to a wide audience but will do little for fans of the true New Orleans rhythm and blues sound. Neville's vocals do occasionally triumph though. It may seem unlikely but his version of "A Change Is Gonna Come" really is on a par with the Otis Redding or Sam Cooke classics. The inclusion of the hard to find "I Can't Imagine" will please modern soul/two-step aficionados and the gutsy "Angola Bound" should interest those of a bluesier persuasion. The Linda Ronstadt collaborations are here too and are not as bad as one remembers them to have been. No "Hercules" or "Cry Me a River", I'm afraid, and I can't imagine that you don't already own "Tell It Like It Is". This release is worth checking out (especially if you've forgotten just how beautiful that voice is) but it is a mixed bag and in no sense definitive.
-- Maurice Bottomley
The Rain Band, Easy Rider (Temptation)
Joy Division, New Order, Happy Mondays, Doves. Manchester has a long, proud tradition of producing great bands. Welcome the latest in the long line: The Rain Band. Although they have released just two EPs -- the first a two-track limited edition on Fierce Panda entitled The World is Ours and the second, the one being reviewed here, called Easy Rider, the band has already developed quite a following. And on the basis of these five tracks alone, the buzz is more than deserved. The Rain Band pay their respects to the city's signature sound -- pilfering the club culture for highly danceable beats-and give it a modern finish, outfitting it with knowing nods to B.R.M.C. and even the anthemic choruses of vintage Britpop. However, what separates The Rain Band is their undeniable affection for the '80s sound, long discarded by bands that thought better of dour dramatics. The ghosts of groups like The Cure and Echo and the Bunnymen haunt their b-sides like "The Runaways" and "Underdogs". Few have dared to flaunt such patently unfashionable influences in some time. While not nearly as memorable as their debut single, "Easy Rider" does give the The Rain Band a more distinct identity, introducing a sinister, brooding edge to their melancholy. Neither of the two b-sides can possibly hold a candle to the one on the first single, "The Runaways". But then again, that track also happens to be the towering highlight of their young career. Many bands break up without producing a song of such quality. Still, Easy Rider is strong enough to justify the high expectations for the debut album.
-- Jon Garrett
Mike Shupp, This Time (Private Mind)
This former guitarist with Big Bang Theory has ventures out on his own for the third time with this album. And like many of his forefathers in R.E.M., The 'Mats and Husker Du, Mike Shupp knows what works in guitar power pop. The short but alluring opening title track conjures up songs by BoDeans and Bash & Pop with its tight feeling while still being able to jangle at times. "Came to This" sets the bar quite high with a basic formula and some great crunchy chords. There's a lot of Tom Petty figuratively heard in these ten songs, particularly in the airtight "Another Life", a mid-tempo melodic pop number. The quality of each track is what sets him apart from so many others, however straightforward and simple the songs sound. "Set Me Free" has to be the best track here, a tune with a good flow and length. "Good Again" and "All Over Town" could be mistaken for Replacements out-takes circa All Shook Down. Only on "Forgiven" does Shupp stray from the format, resulting in a rather bland effort. Overall though, it's a small price to endure for a very solid album.
-- Jason MacNeil
Rubin Steiner, Wunderbar 3 (RCA)
Quirky, jazzy collection of broken beats, dodgy bossas and hip-hop sounds that is so multi-generically trendy one suspects a parody. Rubin Steiner (France's Fred Lanier) is certainly close to pastiche as he synthesises and samples his way around the left-fields of dance culture. Still it all sounds nice in a postmodern lounge bar sort of way and titles like "An Interlude for Charles Mingus" and "Some Strings for John Coltrane" are hard to resist. Oddly, the cheesier, actual lounge pieces are the most captivating. "New Bossa" has a 1966 film soundtrack feel and is very dry martini on the rocks but still convincing. Mood music (or hip, elevator muzak) certainly and a little too arch for comfort, Wunderbar 3 somehow manages to exist in its own right and stand up to repeated listens. It's not in the Minus 8 or Rainer Truby league but it's not in fact as ephemeral as it appears to be trying very hard to be. File under weird but tres chic.
-- Maurice Bottomley
Sub. Bionic, You I Lov/// (Extasy/Warner Bros.)
This is the kind of record that could make a recent lottery winner contemplate suicide, and it's not just song titles like "Nuclear Bomb Parade", "Last Song on Earth" and "Love Trans Holistic Bottle" which are darker than a winter's day in Northern Canada. The tortured souls behind Sub Bionic, Jimmy Tucket and Jimmy Paxson, have created such a pretentiously doleful musical texture and vibe on You I Lov/// to make Radiohead's Kid A seem positively optimistic. Sure, it's diverse, lush and enigmatic, but it's also too much like an endurance test at times. With something vaguely resembling an actual melody, "Plum" makes a vain attempt to lift the shroud of gloom surrounding this album, but it doesn't last long before the monotony continues on songs like "Love Trans Holistic Bottle" and "From. Achtung Moon". Tuckett's falsetto vocal on "God in Neutral" sounds so desperately mournful, you almost expect it to be his last contribution to a hopeless, seemingly unforgiving world. Maybe it's me, maybe I just don't get what Sub Bionic are attempting to pull off here. However, just when I thought the band were terminally dull, I realised they do have a sense of humour -- they are, after all, on a record label called Extasy.
-- Andrew Ellis
Sugarman 3, Pure Cane Sugar (Daptone)
Listening to this is like attending one of Keb Darge's legendary deep funk sessions. That DJ scours the world for the rarest and the rawest funk 45s from the late '60s and early '70s. The one difference is
that, amazingly, these are new recordings. The flavour of a lost age is further enhanced by the use of Lee Fields and Bernard Purdie to add authenticity to the revival sounds. Not that Sugarman 3 need much help. This is not pastiche but vital and alive renditions of a forgotten art. Fatback drumming, stabbing brass, bubbling guitar and, of course, rumbling organ work are the key elements in a highly succesful set. Whereas I find Sharon Jones and the Dap Kings a little problematic, I have no hesitancy in endorsing the retro but irresistible grooves of their stablemates. The Charles Bradley vocalised "Take It As It Comes" and the mod jazz of "Pure Cane" and "Bosco's Blues" are pure magic, nicely nostalgic but absolutely fresh. In fact, it's all solid, and suitably sweaty, fare. Play this at your next party and watch your coolest friends unwind and start to Boogaloo. This is the real thing, undiluted and impossible to dislike.
-- Maurice Bottomley
— 31 March 2003
