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| Artist: | "JANE'S ADDICTION" |
| Title: | "KETTLE WHISTLE" |
| Label: | Warner Bros. |
| Reviewed By: | Francesca Garten |
| Rating: |  |
| For those who have been living under a rock for the past decade or so,
"Jane's Addiction," originally comprised of vocalist Perry Farrell,
guitarist Dave Navarro, bassist Eric Avery, and drummer Stephen Perkins,
was arguably one of the most influential bands of its era. Despite never
having achieved much commercial or mainstream critical success, the band
nevertheless left its unmistakable mark upon a growing army of enthralled
and devoted fans, and when Jane's Addiction broke up in 1991 due to dissention
within the band, they were well on the way of finally gaining the same level
of acceptance and recognition from the mainstream faction that it had enjoyed
for years from the underground culture. For many of the band's devotees,
"Jane's" demise left a hollow void that no other band ever managed
to fill. So, it's little wonder that news of a "Jane's Addiction Relapse
Tour," and the release of a new album, has been met with so much excitement
and enthusiasm. "Kettle Whistle" is comprised of rare, and previously unreleased tracks, live recordings, demos, and two new songs recorded by the current "Relapse" line-up of Farrell, Navarro, Perkins, and Red Hot Chile Pepper bassist Flea, taking over for original bassist Eric Avery, who declined invitations to become reinvolved with the project. According to Farrell, "You can't call it a reunion without all the original members." Hence, the "Relapse" moniker. . . Now, for a reviewer, an album such as this one presents a ticklish situation, so to speak. Because of the very nature of the contents of the album - outtakes, demos, unreleased tracks that never found their way onto commercially released albums, and live versions of studio tracks that have appeared on other albums - it's all too obvious that without the demise of the band in its heyday, and the excitement caused by the "Relapse" tour six years later, most of "Kettle Whistle" would probably never have seen the light of day. So can this same material that, for whatever reason, could find no place on any previous "Jane's" release, now suddenly stand on its own? Or is it safe to say that the album exists only to complement a tour extravaganza that promises to be one of the most must-see shows in recent years? The answer is both. As an album in its own right, "Kettle Whistle" does, in fact, contain enough interesting and worthwhile material to be regarded as something more than a souvenir disc to commemorate the return of seventy-five percent of "Jane's Addiction" to the stage. In addition to demo and outtake versions of "Had A Dad," "Been Caught Stealing" and "Mountain Song," the album includes such rarities as the selection "Slow Divers," a song the band opened with when they did a show at the Roxy in 1987. It was "saved" for the purpose of including it on another record in the future, but was eventually forgotten. . .until now, that is. "City Song" is another previously unrecorded track that was only available on one of the band's 1989 home videos; as is "My Cat's Name is Maceo," a tribute to Farrell's cat that was recorded as a demo and played live a few times, then set aside and forgotten. And live versions of "Three Days," "Stop," "Up The Beach," and "Ain't No Right," all recorded at the Hollywood Palladium show in December, 1990, are viewed as examples of some of the band's better live performances. By way of new recordings, in addition to the title track, there is the selection "So What!", a song written back in "Jane's" heyday, but never finished. In the end, good production and careful treatment of most of these selections is what saves this album from becoming nothing more than a tangled hodge-podge of oddities and random escapes down memory lane. Because the selections are treated in diverse styles and moods that are distinctly different from the studio versions, this album is an excellent addition to the collection of any "Jane's Addiction" fan. While it may not replace any of the previously released albums as time-honored favorites, "Kettle Whistle" does justice to an exceptional group of musicians who succeeded in forging a distinctive and innovative sound. |
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| Artist: | "GREEN DAY" |
| Title: | "NIMROD" |
| Label: | Reprise |
| Available: | Any Major Music Store |
| Reviewed By: | Donn Jehs |
| Rating: | |
| Hot on the heels of their last two albums, "Insomnia" and "Dookie,"
comes the latest offering from Berkely, CA based punk rockers "Green
Day." True to form they have given us an album full of meaty lyrics
and solid music. And in many ways a more fulfilling album as it takes off
in new directions adding strings and horns to some of the cuts. While not stepping back from their punk roots, they've used this album to explore a variety of sounds from ballad to beach music with lyrics to match. Yet the core of their popularity remains in their expressions of teenage angst and in-your-face lyrics. The album jumps right out of the blocks with a satirical look at the "rat race" in "Nice Guys Finish Last," echoing that old Leo Durocher saying from a new perspective, lampooning the "nice guy" who is just posturing to get ahead. The guitar sounds like an engine revving in place emphasizing the point. The next cut, "Hitchin' A Ride," is currently charting, and starts off with a little violin solo before seguing into a very heavy but slow beat that makes it an excellent singalong song as was evidenced at their concert. On the face it seems to be a drinking song but a closer look at the lyrics belies that when it talks about the "well that inebriates the guilt." "The Grouch" could be called the "Mr. Wilson" song as it expresses the feeling he probably has behind that cartoon face as do many men on finding that their big plans have come to naught and that they have just become "another shitty old man." It has one of the best lines on the album when it says "I've decomposed/ Yet my gut's getting fat/ Oh my God I'm turning out like my dad!" Reality check! In spite of the fact that "Hitchin A Ride" was the first single and is charting well, the fourth cut on this album, "Redundant," has the potential to rival "When I Come Around" as a punk-pop love ballad. The opening guitar work is exquisite with an infectious beat and the song has a great hook - "Now I cannot speak / I lost my voice / I'm speechless and redundant / Cause I love you's not enough / I'm lost for words." The bridge between the choruses echoes the opening guitar work and is a plaintive wail as lost as the words it reflects. Unrequited love is the theme of "Scattered," while "All The Time" reflects on the passage of time, once again using a time-honored cliche to make the point. "Worry Rock" concludes this quartet of relatively slow songs making way for the pace to pick up with "Platypus (I Hate You)." A true punk song with speeding guitars and nasty lyrics it roars through my headphones like an express train going the wrong way on the track destined for a head-on collision as Billie gloats over the imminent death of a "dickhead" twisting yet another piece of triteness "what goes around comes around." Hard on its heels comes "Uptight," and the music is certainly that - high strung and edgy which makes the next cut, the only instrumental on the album, look even more placid than it is. "Last Ride In" is Green Day's homage to the beach music sound with an almost John Barry - James Bond kind of sound. A nice piece of music but so out of place it seems like an intermission at the movies. Guess it goes to prove the guys can make beautiful music together. And for the second time in as many months the xylophone has made an appearance in a most unsual place. The album jumps back on track with "Jinx," about the perennial loser, like the L'il Abner character with the cloud always over his head. Then a quirky little song called "Haushinka" follows, about a childhood love realized too late. Neither of these cuts has any special edge or touch to them and with 18 cuts these two could just as easily been left off as they are 'B' side material. Just when you think the album is slipping though, up pops another good tune. In this case it's "Walking Alone," another expression of lost youth which reflects the bands growing maturity. The guest clarinet adds a nice touch to this cut. "Reject" is an expression of nonconformity and is followed by the band's own version of death metal including the bestial screaming of the lyrics on "Take Back." From death metal right to "Cabaret" music as "King For A Day" lampoons societies hangup about crossdressing in a song as funny as the opening song from the musical. From oompah to acoustic on "Time of Your Life" with the violin of Petra Haden of the band "That Dog" in a duet with Billie on the guitar, and another ballad that could have widespread appeal. The previous three songs may make you think someone snuck some other CD's into your player and turned on random play. I've seldom heard such a diverse set of music on one album by one band, all in less than ten minutes. The final cut, "Prosthetic Head," is another commentary on "plastic people," and as it was one of the encore songs at their concert I imagine it is a personal favorite. Put all these songs together and you have an eclectic album. The language is rough but the lyrics are like daggers in the brain - sharp and attention- getting. And after all, as the boys sing, "Nice Guys Finish last." |
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| Artist: | "FLEETWOOD MAC" |
| Title: | "THE DANCE" |
| Label: | Reprise |
| Available: | Any Major Music Store |
| Reviewed By: | Marlene Taylor |
| Rating: | |
| Back in 1992, Mick Fleetwood, Stevie Nicks, Lindsey Buckingham, Christine
McVie and John McVie staged a "mini-reunion" for the inaguration
of President Bill Clinton. The performance went over so well, evidently
past marriages, bad feelings, solo careers, and all were finally put to
rest, and "Fleetwood Mac" is really back together this time, with
a new album, "The Dance," and a sold out tour all over the country. Although "The Dance" is made up mostly of live recordings of old songs made popular by Fleetwood over the years, there are a couple pretty great new songs on this album as well. Sort of like a trip down memory lane with some extra added attractions for the icing on the cake. The first song on the CD, "The Chain," is incredibly done by the entire band. It's very moving and bit more intense than the original song. Mick Fleetwood has a stronger voice in it, giving it the power to make it a really great song. Next up is one of the all time classics from the band, "Dreams," which is not one of my faves for Fleetwood Mac. I know you are all saying WHAT??? Well, it never was one of my favorites, but this rendition is very well done. It's better than the original, I might add! "Everywhere," which I must admit is one of my favorite songs, brings Christine McVie into the picture, and she does a fabulous job of keeping it upbeat, yet portraying the message she's trying to get across. "Rhiannon," one of Fleetwood's most popular songs, is very well done on this album. Stevie Nicks starts out with just the piano and it gets better from there. I've got to admit, I really admire her voice in this particular song. It's very moving, yet strong. It's kind of difficult to describe, but it's near perfection. "I'm So Afraid" starts with an excellent instrumental to get the mood going for this piece of music. Lindsey Buckingham does a wonderful job of making words come to life through this deep and moving, low-pace song. I could feel his pain coming through. "Temporary One," sung by McVie, is another up beat tune, the kind you wanna dance to. And keep dancing to. "Bleed To Love Her" is a pretty cool song to sit back, relax and listen to. Lots of harmony and instruments combined with vocals. I found it very interesting. "Big Love" starts off with an enticing beat - at least enough to keep me peaked with interest. Sung by Lindsey Buckingham, it's not a disappointment. "Landslide" still gives me goosebumps! Stevie Nicks sings it with the voice I've always remembered. This song on the album is exactly how they performed it live. I loved it! "Say You Love Me," one of their classic hits, is even more upbeat than it was years ago. This is a great song, even done again! "My Little Demon" is pretty nice. The beat was exactly what I was not expecting, but it was a pleasant surprise! Just what the doctor ordered! "Silver Springs" is incredible as it ever was. For you slow dancers and music listeners, this one is a keeper. This is a wonderful song to introduce a non-Fleetwod-Mac'er to. "You Make Loving Fun" is the next title on this album, which sounds exactly like it did when it was produced years ago. It's still good! The rest of the album includes "Sweet Girl," "Go Your Own Way," "Tusk," and "Don't Stop." All of which are excellent. I can't say a bad thing about this album and would wholeheartedly recommend it to a friend. |
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