Lucinda Bright “With All Your Charms” Face Down Records
(FDR). It just didn’t seem fair to lump this ‘98 release in with the other moldy oldies. Leigh Woolston’s truly charming voice soars above somewhat mellow guitars, bass and drums but the band back her up and that’s important too. Perhaps I should start from the beginning? Though it grows on me with each listen, an idea that the music lacks an edge, the same edge missing from a lot of the lyrics, nags at me. Still, Woolston’s voice carries the disc. It has to. I think all the ingredients are here but somehow I’m left flat. A few tracks bear a certain college radio savvy, but I don’t know that this disc took the band to the next level predicted by the label. Of course, I’m three years late anyway. - Ment

Sugarcult, Goldfinger, Reel Big Fish, Moore Theatre, Seattle, 11/13/01 - Sugarcult hooked up with the punk circuit during a well-received tour with the Warped caravan this summer, and is riding the wave onward, fitting into the punk posse nicely with a pleasing pop-punk that wanders between the upbeat punk of the Bouncing Souls and the hook-smart take in quotidian struggles from a personal point-of-view that folks in that under 25 demographic can relate to. A little sludgier in sound but hip to the standards of punk were Goldfinger, who raved through the flavors of punk including ska, brit-punk, southern Cali, and speed metal with relish and bravado. Also included a funny send-up skit of Destiny’s Child complete with drag stand-ins for the soulful and curvy trio. Kept it real with enough body part and bodily secretion jokes to keep the skate punk crowd interested. Also offered first punk take on 9/11 I’ve heard - an appropriate and heartfelt reflection on the bewildering questions left in the wake of the loss of working folk on “The Innocents”. Reel Big Fish was not as loud as their name would promise but have a corny/zany sense of humor like the fish with the Ph. Most of their songs (album 3 or 4 is due out next year) are kind-of a watered-down Mighty Mighty Bosstones - the brass is spot-on ska but the rock backbone is not as boisterous or bracing as their Boston sonic cousins. The lead singer and guitarist sings okay but he plays too much rhythm and not enough lead. Oddly, the band shone most on a genre surfing crowd pleasing interlude that visited, masterfully, speed metal, C&W, hair metal, and disco on which they performed clean and rousing archetypes for each style. - EAK

Carole King “Love Makes the World” Rockingale Records. How could you mistake King ‘s unique timber for any other? Well maybe if it was pushed through the same effects as Cher or some other ambitious recording artist. Maybe the producer was hedging on track one, betting against a voice that has been recording for 40 years – like Vaseline on the lens shooting an aging starlet. Not necessary in this case. She sounds terrific. While I didn’t hear any hits on this record, that doesn’t mean they have no staying power. She’s been working steadily, on feature films, for television, and making guest appearances on other artists work. What I find most interesting about this release, is not the hour-long interview disc included with the media kit (because as her publicist points out she grants few interviews), but the fact that King has gone indie. Rockingale is her own label. More info online at www.caroleking.com. - Ment.

Michelle Malone “Hello Out There” SBS Records. Malone’s 7th studio recording fits solidly into the alt-country niche occupied by other loosely-affiliated Georgia bands, or Nash-vegas bands for that matter, but Malone doesn’t simply slide into the boot and stay there. Soaring melodies, occasional harmonies, and comfortably slick production help the disc stand apart from the drones. Studying the liner notes, I’m struck by the fact that most songs are over 4 minutes, approaching five. They go by like the quintessential 2:40. Whether taking the hard line as in “Caffeine and Catharsis,” swaying tenderly, “Super Ball,” or angst-driven, “Surrender,” Malone is not short on surprises. SBS po box 3092, Decatur GA 30031. - Ment

Sparrowed Chimes - self titled - Embryo Music. Pink Floyd is alive and well. Well at least they’re still inspiring bands to make spacey rock music, as are the likes of Mazzy Star and the Jesus and Mary Chain sans feedback. We’ve got bongos, background singers, and big echoey vocals. This one isn’t for late afternoon, it’s for late night. Shutting down the club late night. If you were a fan of Brooklyn-based Naked Mary, or New Jersey’s New Found System, and you’ve wondered where they went, search no more. They’re here on this self-released, artfully packaged CD. email device357@hotmail.com. - Ment


Judhead “demo” CD. What would a California chug chug chug band be without a theme song? A few years ago, I might have been able to tell you which Boss effect pedal was in use on each of the samplers four tracks. The band’s not wrong when they say each is catchy. But radio would draw the line at the four-letter lines. Either way, fans of U-Teris, Borg-9, and Crank Lab will want Jud Wheeler’s latest venture. po box 417687 Sacramento, Ca. 95841. - Ment.

Go-Kart Promo, “Licensed from Mortarhate Records, London.” Rather than stuff my po box with 14 reissues, I made the b-list and was sent this great punk compilation promo disc. I think for mosh pit devotees a note citing the purchase price for the whole collection would be a near sure bet for quick and easy ordering. Sound quality varies, with “Big A Little A” from the CD Turning Rebellion in to Money, being the most obvious example. Recorded in a rehearsal space? dingy British basement? It’s everything you would expect and unexpectedly good Who else is represented? The Ungovernable Force, Standard Issue ... I think those are the names of the bands, and 7 or 8 more. You can’t buy the sampler, so don’t try. - Ment.

Book Review: David Menconi, “On the Record,” iUniverse.com - Raleigh based music critic gives a seemingly realistic view of the seamy underside of the music biz in this engaging, but loosely written, novel. The story follows the ecstasy and agony of guitar/vocal virtuoso Tommy Aguilar. His gift comes with a price - the typical rock-n-roll pitfalls await Tommy as he ascends the chart - stage-fright induced anxiety, a taste for woman and partying, and of course, unscrupulous promoters and record labels. Band manager Bob (the book’s least probable character, a club owner who becomes a wise and concerned advocate for the band, in real life he would have been a spouse or sibling to one of the band members) warns against signing a record label deal too soon, “... a bad record deal is worse than no deal.” The line speaks volumes about Menconi’s understanding of the music industry, in which too many times the artists get the shaft. Menconi also deserves praise for poking fun at the “pointy headed” Village Voice, disguised as Vox Populi. A compelling story that drags a bit on Menconi’s writing style - he slings hackneyed phrases and similes around like an author of genre fiction. Rock on! - EAK

Guttermouth, “Musical Monkey”, Nitro Records - As a long time punk fan, I was surprised to find this disc so tedious. Probably what Blink-182 might sound like if its members could cuss - only Guttermouth’s vocalist, Mark “Mercury” Adkins is more nasally. Not as bad as Joe-Jack Talcum, but not as funny either. I feel funnier lyrics give license for relaxing standards in presentation; Guttermouth is not funny enough to pull it off. There is of course the requisite, and welcome, anti-corporate rant on “Gold”, teen angst, but the humor is puerile - whether or not self-consciously so - it is still tiresome. These guys fall flat and are offensive on “Baker’s Dozen” while trying to show a humor based tolerance toward homosexuality. Then they have the nerve to dis heavy rock legends - technically the forebears of Guttermouth. Artists likes Ozzy showed more heavy-handed artistry better than these guys - all without benefit of hindsight - EAK

Butthole Surfers, Experience Music Project, Seattle, 11/4/01 - What a thrill to see these 20+ year veterans of combustible, carnified, psychedelic-industrial in a rock-n-roll museum that includes BHS in an exhibit in the permanent collection. Frontman and ringmaster Gibby Haynes presided over the musical mayhem with his booming Texas gravel vocal and Gibbytronix effects contraption giving everything an off-kilter surrealism. Also in the mix, searing guitar from Paul Leary, gory and groovy homemade films, and the appealing spin on the heavy handed with masterful song writing of time-honored BHS tunes like Who Was in My Room Last Night. Although the elements were all in place, the performance was a bit pro forma - the band did not interact with the audience or torch anything in the venue and seemed to play a short set. - EAK

Bob Dylan "Love and Theft" Columbia. The train whistle’s missing but the train is there. There’s jazz ala Leon Redbone, rockabilly, bluegrass, everything even a little Tom Waits creeps in. Despite the assertion by a cast member on the Howard Stern Radio Show that Dylan hasn’t been relevant since the 60s, this CD is top shelf. Lyrically, musically, evenvocally, every song on this 60s-length album is a showpiece. What I don’t get is why they call it a comeback. Who said you have to record constantly? When an album is this good, it’s worth waiting for. - Ment

6Gig, “Tincan Experiment”, Ultimatum Records - A swirl of sharply rendered hard rock with swirling grooves, indie-rock/emo vocals that soar, and an electronic consciousness that holds closer to earth than techno. -EAK

Bastard Sons of Johnny Cash, Deere Johns, Experience Music Project, - Does a slightly updated take on honky tonk that is so righteous it even got the nod from the band’s eponym, the man in black himself, Johnny Cash, as well as ascending contender in the label biz, Ultimatum Records. Also giving the Bastards a thumbs up, and production credits on two tracks on their recent disc “Walk Alone” is John Carter Cash (Johnny’s Son). Bastards producer, songwriter, some time guitarist and lead singer Mark Stuart gives a rich tremulous ring to vocals that share the pleasant phlegm-iness of the Bare Naked Ladies singer. An even more updated take on modern country was the Deere John’s, a southern Cali act that reinterprets the blues troubadours through the eyes of la-la land natives who hit tinsel town clubs to see X and Guns-n-Roses back in the day. A hopped up rockabilly type of Mojave desert truckstop jukebox music. - EAK

Pigface, “The Best of Pigface”, Invisible Records - There are still plenty of people in cities and towns everywhere who wear lots of black leather and don’t get out much at night and still are grateful for genres such as industrial, goth and punk that gave them sustenance in the famine years of bad pop music including hair metal and new - wave. And Invisible Records is still offering those die-hard night dwellers plenty of what they love. This 2-CD set calls out into the dungeons and graveyards with a preview of the December 20001 reunion tour of Pigface, an industrial who’s who that includes remises, interviews, and previously unreleased tracks with notables including Frank Black and Joey Santiago of the Pixies, and one of the pinnacles of musical genius Dean Ween. The cast of hundreds (well more than 100 artists, at least) also includes, of course Pigface founders Martin Atkins and Bill Rieflin, and regulars and guest Ogre of Skinny Puppy, Trent Reznor, the phenomenal Meg Lee Chin, Genesis P-Orridge, Flea, Steve Albini, Chris Connelly and members of respectable bands such as Dead Kennedys, Lunachicks, and Gwar. - EAK

Jane’s Addiction - live @ Madison Square Garden - 10/15/01. Perry’s vocals were a bit muddy at times but over all the show was quite impressive. In order to properly review this gig I must first review the last time I saw JA, April 28, ‘01, at the Coachella Music and Arts Festival near Palm Springs, Ca. Not having seen the band in 10 years, I felt like a teenage girl at a Backstreet Boys concert. I could feel the acid kicking in as bassist Martin LaNoble played the opening line to “Up the Beach.” Perry’s voice was like silk. It was truly a magical and from where I stood, the mix was good. I could barely see the band but it didn’t matter They pulled out all the gems, “Stop,” “Aint No Right,” “Mountain Song,” “Summertime Rolls,’ etc. Then they came out to where I was standing, to a satellite state where they did “Jane Says,” “Classic Girl,” and “Been Caught Stealing,” then Flea was on the main stage playing the bass part breakdown while the rest of the band made their way back. ... They closed the set with “Ted, Just Admit it.” Then Perry brought out this Sudanese guy who used to be a slave and the whole crowd actually listened to this guy speak for a couple of minutes about how slavery still exists and plugged a Website, (iabolish.com, I think) where people could donate to buy slaves out of bondage. Perry and co. then did “Chip Away,” and that was all she wrote. My friend Cat and I went to the Insomniac Tent and caught most of the Chemical Brothers set, which was real good too – fast forward, it’s Oct. 19, 2001. After the tragic events on 9/11, I thought “I hope Perry doesn’t cancel the show.” Mayor Giuliani said that we Americans should do what we normally do as we go about our daily business and not let the terrorists “win.” Not being one to shirk my patriotic duties, I did what I would normally do, which was eat some acid and go down to check out Perry and the boys at the Garden. Mayor said to do it, after all. The vibe in the city is kind of different now. I found my self eyeing suspicious looking characters. When I noticed an Arab-looking guy with a spray gun spraying liquid in the air all of a sudden my breathing became labored, a foul stench filled the air, my eyes started to burn. A chemical agent? MY paranoia ended when I overheard the guy walking in front of me mentioning how he cut a nasty fart. Breathing normal once again, I got rid of extra tickets, met a friend and went to the show. I missed Femi Kuti, but was unfortunate enough to catch Live’s mundane set. A quick set change later, the strains of “Kettle Whistle” played over the PA and Perry appeared out of nowhere wearing a billowing skirt with fans blowing underneath it. Women danced and swooned at his feet. It was rock and roll in all its decadence From there, Dave Navarro intro’d “Ocean Side” and it was like a bomb went off. The vocals got lost in the mix. After “Jane Says,” again on a satellite state, Dave played a tune from his solo album (and everyone took a piss break) Then perry did “Happy Birthday Jubilee” from the new CD. ... Femi Kuti returned to play sax on “Chip Away” for an encore. I liked the California show better, but a friend seeing them for the first time at MSG said it was like seeing Zeppelin. - Sue Doughnim.

Butthole Surfers - live @ The World, 43rd and B’way, NYC 10/19/01. My ticket for this one was a swap for an extra Jane’s Addiction ticket from earlier in the week. Doing my patriotic duty, I ate some acid and headed back to the city to check out Gibby and his posse of post-punk-psyche-delirious bandmates. I was unimpressed the last time I saw them because bassist Jeff Pinkus’ replacement didn’t have the nice groove thang down. This was different. For one thing, the girl next to me could pop her eyes out of her head. For another they kicked ass, generously dipping into their back catalog, and generally avoiding the new disc. I was early, and the venue was suspiciously empty. Kid 606 opened, making a big racket with two laptops. Everyone applauded when he was done – I think because it meant the surfers would be on soon. Gibby wore a white T-shirt when they took the state – with a yellow smiley face. Paul Leary’s black T bore the words “New York Fucking City.” King Coffee’s trademark cowboy hat was disappointingly missing. The sonic assault was supplemented with a bass player and second guitarist. From the frenzy launched with “Blind Man,” to the encore “Who was in my room last night,” more was all anyone wanted. - Sue Doughnim.

Art Garfunkel - live @ UPAC Broadway Theater, Kingston, NY 11/10/01. After more than 30 years since hearing Art Garfunkel live, I was elated to find him still in good voice and, although throatier than that distinctive countertenor that made Paul Simon sound so good, still in command of those great songs they sang. In fact, my wife, Bonnie, and I were so inspired by the concert that we got out our fake book, transcribed ‘The Sound of Silence’ and sang it the next day at our weekly singalong at a local nursing home. By the time we got to … ‘and the people bowed and prayed to the neon god they made … The words of the prophets are written on the subway walls and tenement halls and whisper’d in the sounds of silence’ … our audience looked like we’d caught them in bright headlights. Wrong generation, I guess. It made me feel young. - Sid Leavitt

Clutch, Candiria, Biohazard, 12/05/01, Graceland, Seattle, WA - The members of Clutch have managed to mature musically and thematically but have not lost the crushing force and fury of their full-on assault. They threw shoutouts to their early days, opening with A Shogun Named Marcus, and harkening to when they were wiseass metal punks but they stopped short of the relentlessly violent Binge and Purge. They later graduated to humorous musings on their love of hotrods and science fiction on the engaging Spacegrass, one of numerous favorites on the playlist. The latest wrinkle in the Clutch oeuvre is a more open embracing of jam oriented rock. Lead singer Neil Fallon was on top of his game, his melodious baritone booming out, exuding confidence in his swagger and devilish grin. Guitarist Tim Sult countered him physically, almost impassive, but matched his bandmate’s mastery as his guitar work gleamed like turbocharged rocket thrusters on Starship Clutch. Sharing Clutch’s love of the head staggering heavy, if not their mastery and complexity, were two Brooklyn hardcore mainstays - Biohazard and Candiria. Both rolled out bellicose, ear-battering speed metal and mosh, though they seem to have evolved relatively little over the years, especially when compared with Clutch, Darwinian overachievers in the metal phylum. Biohazard may favor the stripped done approach on tour, and mix it up in the studio - their new album hosts a variety of distinguished guest artists from the world’s of metal and hip hop. - EAK