SEE Magazine
Copyright © 1998. All Rights Reserved.
HMV SPINS CD REVIEWS
BY SEE STAFFFour Letter Word A Nasty Piece of Work (BYO Records)
Punks worldwide unite! Four Letter Word's latest is worth checking out. However, let me qualify that statement: if you're looking for something uniquely European or uniquely Welsh (whatever that may be) from this quartet from Cardiff, you may be disappointed. However, if you're seeking a brand of punk rock that's universally appealing and socially conscious, the jackpot is revealed.
A slower grind than So-Cal hardcore, Four Letter Word concentrates on melodies (both vocal and guitar) in conjunction with more straight-ahead rhythms - almost comparable to punk hall-of-famers SNFU's quirky, multifaceted style. Also featuring social and political sensibility, their live act is sure to be pleasing. You can catch them Monday, July 13 at Rebar, with Swingin' Utters, Brand New Unit and 22 Jacks.
- Shelli Carder
Tragically Hip Phantom Power (Universal)With 1996's Trouble at the Henhouse, Tragically Hip came off a huge arena tour and what seemed to be the apex of their career. The album wasn't replete with hits, but still rocked pretty hard and was, on top of that, varied enough to keep the fickle critics on their side, for the most part. It seemed a time when detractors were waiting for the band to falter and they stood the test admirably.
With the new Phantom Power, they do falter somewhat, but it's like the band's crucial faltering period is past and you can appreciate them for what good things there are. Gordon Downie has proven himself a relentless student of Canadiana and that image receives reinforcement here. And though it takes them a while to get warmed up to presenting something that hasn't been heard on some other Hip album, the seventh song, Fireworks, provides a spark with its feel-good groove and Bobby Orr references.
- Stew Slater
NoMeansNo Dance of the Headless Bourgeoisie (Alternative Tentacles)One thing that's really disappointing about all the NoMeansNo albums is that the recording never does justice to the band's live intensity. Granted, they have never fallen victim to over-production like many other punk bands, but their animal-like musical prowess is always lurking under the recorded surface of an album. Given this weakness, Dance of the Headless Bourgeoisie accurately reflects the band's uncompromising musical authority. The sound is clean, crisp and tight throughout, with complex changeovers and digressions. Never missing a beat, the bass runs continue in total abandon, the pounding drum rhythms dominate by getting under your skin and Wright's unrelentingly political yet poetic lyrics grip our attention.
In short, NoMeansNo continues its reign on punk imaginations everywhere because of their creative and musical precision. For any fan, musician or music connoisseur, this guarantees satisfaction.
- Shelli Carder
Natalie MacMaster My Roots are Showing (WEA)Is this a step back, a look back, or just killing time?
For some, this will be a wonderful album but, for others, it'll be a disappointment. Subtitled Traditional Fiddle Music of Cape Breton Island, it certainly is that, but just that: a collection of fiddle tunes, played faithfully and true to their form. For those looking for a continuation of the direction she took with the No Boundaries album or those who have fallen for the energy of Leahy's fiddle ferocity, look elsewhere.
That being said, My Roots are Showing is a nice collection of simple fiddle tunes that will appeal to folks looking for that niche. And tunes like her reading of a number of songs that she fit into a thing called simply the E Flat Set and a live bit tacked on to close off the album - A Glencoe Dance Set - are a nice touch to a simple album that will appeal to fans of the genre.
- Warren Footz
Andrew Bird's Bowl of Fire Thrills (Rykodisc)The recent swing revival ushered in by the likes of Squirrel Nut Zippers and the Molestics takes a big stride forward with this accomplished debut by talented violinist/crooner Bird and his Bowl of able sidemen. And this is a full-blown resurrection. Savor the authenticity of the music, which partakes of vintage blues, country, jazz and Gypsy music á la Stephane Grapelli. Then marvel at the fact that most of the tunes were written by Bird himself. Where the Molestics might update Louis Armstrong by sprinkling in witless vulgarity, Bird seems to realize that good music doesn't need crack whore references to play to the kids. The arrangements are witty and intriguing, the playing smart and tasteful as a smoking jacket and Bird's slightly campy vocal delivery is tailor-made for this kind of music. His version of Charley Patton's Some of These Days caps the album with moving simplicity, but no less beautiful is Bird's own Nuthinduan Waltz. If you love the Molestics live but find their records suck, look here for relief. And for God's sake, get this man a Folkfest slot.
- Scott Lingley
Mitchell Froom Dopamine (Atlantic)Froom is a studio whiz who has collaborated with a raft of name performers on Dopamine. David Hidalgo of Los Lobos, Sheryl Crow, Suzanne Vega and Ron Sexsmith are just a few of the artists who lend their lyrics and melodies to Froom's steamy jungle of womping percussion, ultra-hip R&B flourishes, grinding amped beats and ethnic ephemera. As it turns out, his admittedly deep bag of tricks doesn't compensate for the fourth or fifth-best songs the other artists brought to the sessions. Cibo Matto vocalist Miho Hatori hits a spacey lounge nerve with Wave and Lisa Germano gives personality to her track Kitsum, but the rest just burbles by (except Crow's grating Monkey Mind, which scrapes by). Jazz dudes Chris Speed, Dave Douglas and Greg Cohen (last seen at the Yardbird in March backing up pianist Myra Melford) appear on a few cuts to little avail, although they are really cool. But not all is lost. You can probably still find Froom's brilliant 1994 collaboration with Hidalgo under the name the Latin Playboys, wherein he slathers the weird on Hidalgo's well-wrought tunes like hot on a tamale.
- Scott Lingley
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