Monday, October 20, 1997
Soundbites
Bob Dylan "Time Out of Mind" (Columbia) Not since the soundtrack
to David Lynch’s movie, "Lost Highway" has a record sounded more
hauntingly desolate than Bob Dylan’s 41st album, "Time Out of
Mind."
Dylan has left behind the solo acoustic guitar and brought in
amplifiers and organs for that somewhat sinister, Doors-like ’60s
sound that beautifully creeps and twangs.
"Time Out of Mind" represents a journey of sorts. Like most
Dylan albums, it contains enrapturing poetry atop simple and
appropriate music. Dylan hardly breaks ground here, but since when
is Bob Dylan accountable for shifting the stream of consciousness
in rock, seeing that he changed the face of rock-n-roll forever in
the early ’60s?
The first track, "Love Sick," sets the tone for the entire
album. It incorporates all the personas Dylan takes on during the
album – the journeyman, the lover, and the lonely, aging man who
has seen it all before – accompanied by a spooky organ and
ear-catching lyrics ("Sometimes the silence can be like
thunder").
The organ effects join bluesy and country-like guitar styles for
most of the record, including the Nashville, ’60s-era "Dirt Road
Blues" and "Million Miles," where Dylan proclaims, "I keep askin’
myself/ how long I can go on like this?"
Dylan’s styles mix and match throughout most of the record
without disrupting the flow. He throws us his bluesy touch with
songs like the slightly-optimistic "Tryin’ To Get To Heaven" and
the down-on-love "Til I Fell in Love With You." "Cold Irons Bound"
is edgier and more guitar-driven, and "Can’t Wait" recalls those
desert barroom blues. Only the tender, piano-led ballad, "Make You
Feel My Love," a song Billy Joel just covered on his recent
greatest hits release, seems somewhat out of place.
But what really grabs the listener is Dylan’s lyrics.
"Highlands," at 16 minutes, recalls Dylan’s classic narrative
styles perfectly. "Not Dark Yet" is an introspective gloomer for
the aging rock genius who admits, "It’s not dark yet, but it’s
getting there." "Standing in the Doorway" suggests the search for
something untangible, yet in a very dead-end way.
It seems than even Bob Dylan still hasn’t found what he’s
looking for. As long as he keeps documenting his travels, he will
remain as important and poignant as he’s ever been. Mike Prevatt
A
Dar Williams "The End of the Summer" (Razor & Tie) Remember
those songs of the summer which bring back sweet memories of the
days past? Enter Dar Williams, a folk/pop artist who captures the
essence of summertime nostalgia in her new album "End of the
Summer."
Her third album to date, Williams goes beyond her "normal"
coffee-house style, bringing in a full band plus back-up singers to
enhance her newer pop style.
Her voice, part of her beauty, is a mix of Shawn Colvin and Ani
Difranco and her vocal range encompasses three octaves. Sure to
capture one’s ears, this album shines of wit, intelligence and
humor, including songs called "It’s a War in There", "Teenagers
Kick Our Butts", "Party Generation" and of course the title
track.
Singing about various issues such as the slacker
thirty-something generation in "Party Generation," the unstoppable
urbanization of the American frontiers in "Bought and Sold" and
other songs that pay tribute to those entrusted psychologists and
late-night radio DJs ("What Do You Hear in These Sounds" and "Are
You Out There"), Williams and her band create lasting melodies.
Her songs come close to the heart, such as in "My Friends,"
which speak of the love and beauty of friendships ("I’ll act like I
have faith and like that faith never end, But I really just have
friends").
Overall, Williams’ clear, articulate voice and remarkable
story-telling abilities call attention to what she has to say. "End
of the Summer" is more than just interesting subject matter. It’s a
perfect CD to relax, study or drink coffee to. William’s pleasant
and compassionate style has the listener wanting more. Sandra Kim
A
Everclear "So Much For the Afterglow" (Capitol) Everclear’s
third album transcends their "grunge" label with their infectious
mix of pop and rock that should win over the KROQ crowd. Actually,
the maturity on "So Much For the Afterglow" goes beyond that
particular demographic, as singer/ songwriter Art Alexakis includes
themes of parenting, religion and posturing.
Even more noteworthy is Everclear’s ability to experiment with
different textures and styles. Loops and different instruments play
a part on the album, including the organ ("I Will Buy You a New
Life") and the banjo ("Why I Don’t Believe in God"). The production
and musicianship on the record clearly surpasses that of their
platinum 1995 album, "Sparkle and Fade."
The first single, "Everything is Everyone" is fantastic yet
quirky, using some of those Blur-like blips and melodies. The title
track is pumpin’ pop-punk, as is the Beach Boys-reminiscent "Normal
Like You." Other pop gems include "Amphetamine" and "One Hit
Wonder."
This is not to say everything here is bouncy-trouncy fun.
"Father of Mine" looks at deadbeat dads from the viewpoint of the
disappointed son ("Daddy gave me a name/ then he walked away"), and
yet it still comes off as earnest and touching. And the
instrumental "El Distorto de Melodica" sounds like White Zombie
meets Nirvana in a harder-edged instrumental.
Part of the charm in this collection are the superb vocals.
Alexakis has broadened his range quite a bit, and bassist Craig
Montoya and drummer Greg Elkund contribute background vocals
(especially noteworthy in their effect is "Everything to
Everyone").
This record is not to be passed off as the Pacific Northwest
sound on Prozac. Indeed, Everclear have proven they are not the
‘one hit wonder’ they sing about, but more of a talented bunch of
rockers who write songs with versatility. Mike Prevatt A-
BOB DYLAN
"Time Out of Mind"