Wednesday, October 29, 1997
Soundbites
Pixies, "Death to the Pixies" (4AD/Elektra) The Pixies are the
Kevin Bacon of rock music. Knowledgeable music fans playing "Six
Degrees of the Pixies" will have a good time connecting them to the
multitude of bands they have either worked with or influenced. Now
comes the arrival of "Death to the Pixies," their long-awaited
greatest hits compilation.
The Pixies are arguably one of the most influential rock groups
of the late ’80s and early ’90s. The Pixies are named as
inspirations everywhere you go, from punk to grunge to Brit-pop
bands.
The first disc off the double record includes many of the
Pixies’ classic hits ("Here Comes Your Man," "Monkey Gone to
Heaven"). The diversity of songs ranging from the surf-tinged cover
of "Cecilia Ann" to the loud, brash punk of "Planet of Sound"
demonstrates why the Pixies featured some of the most talented
musicians to ever form a line-up: frontman Charles Thompson, also
known as Black Francis (now Frank Black); bassist Kim Deal;
guitarist Joey Santiago, and drummer David Lovering.
What made the Pixies so great was their ability to cover the
whole spectrum of sound within a song, using fast tempo changes and
wide-ranging dynamics. Much of this is captured in the second disc,
a wonderful live recording of a 1990 concert in Holland, which is a
must-have for any Pixies fan. Live tracks include the Salvador
Dali/Luis Buenel-inspired "Debaser," showcasing Kim Deal’s thumping
bass lines; the Latin-flavored "Isla de Encanta"; and the
deliriously funny "Wave of Mutilation."
If anything, "Death to the Pixies" is a reminder why it was such
a shame that the Pixies prematurely broke up during the peak of
their career. Though each member has moved on and carved his own
niche in the music world ("Breeders," "Amps," "Martinis"), nothing
they do can ever capture the transcendent magic that surrounded
them during their immortal time as the Pixies. Tristan Thai A
Green Day, "Nimrod" (Reprise) When Green Day didn’t meet
commercial expectations with 1995’s "Insomniac," those
career-damaging words "sophomore slump" were thrown about as if the
band’s days were over. These days, as alternative radio turns to
pop and ska, it seems a lot is going against the Berkeley trio.
Ironic, because Green Day has just released its best album to
date.
"Nimrod" has both the melodic punch of the band’s multiplatinum
breakthrough, "Dookie," and the tight punk songwriting of
"Insomniac." Furthermore, contrary to past lyrical inclinations
that would cater more to the "Beavis and Butthead" fan base, Green
Day has matured in its musicianship, production and songwriting
skills.
Many songs point to an expansion of their sound and interesting
experimentation. "Hitchin’ A Ride," the new single that’s off to a
great start, is a beyond-hummable swing/punk hybrid. The
gender-bending "King For A Day" is an amusing little song with a
clever little retro horn section. "Walking Alone" is very
Brit-pop-esque, replete with a harmonica and catchy melodies. And
there are plenty of soft-core pop songs, like the sensitive "Good
Riddance (Time of Your Life)," that show Green Day isn’t just
loogie-hocking punksters that cater to prepubescent skater
boys.
The band’s lyrical themes are also a change from the more
youth-oriented ones on "Dookie." The jangly punk of "The Grouch"
talks of discontent with growing older, as singer Billie Joe
Armstrong defiantly sings, "Life’s a b– and so am I / the world
owes me so f– you." "Redundant" speaks about a love gone stale and
tiring, something that almost sounds funny coming from such a
seemingly young and carefree band. And the ’60s-influenced "Worry
Rock" looks for reassurance with "Where do we go from here / and
what did you do with the directions? / Promise me no dead end
streets and I’ll guarantee we’ll have the road."
Green Day’s power-pop instincts and hard-to-ignore melodies go
beyond its labels of "adolescent punk." "Nimrod" is a far-reaching
album that takes chances and delights listeners all at the same
time. It may not have that signature abrasiveness, but at least
Green Day goes "soft" with infectious style. Mike Prevatt A-
Lori Carson, "Everything I Touch Runs Wild" (Restless) There
will always be that one blank day that creeps up on you. Maybe you
get one a month. Maybe one every two weeks. Maybe it extends to
more than a day and lodges itself in your skull to be more of a
sickness, really, than a specific moment in time. What is it you
wanted? Chocolate? Salad? A total lack of food? A bath? A drink? A
night on the town? A night at home, reading? A phone call? A space
of time to write? Nothing makes any difference. Or sense.
But if you put on Lori Carson’s album, "Everything I Touch Runs
Wild," you may find yourself closer to something reminiscent of an
emotion. Her low, lounge-lizard vocals set against a somber jazz
background feel like that inner aura surrounding your innards that
so rarely make an appearance in your busy life, where you don’t
have time to contemplate the minor shortcomings that you possess
unless you find a second to look up from your schedule. Carson’s
lyrics spill over with everything related to isolation and
inferiority.
Even in her second disc, included with the album, where four
remixes betray the more mellow groove of the original versions, her
ephemeral voice maintains the sallow sounding tracks. "I’m a freak
at the station, and I don’t know why / I have nothing in common
with any other human being / And I used to know something but it
wasn’t real / Now I know nothing and you know how that feels" she
sadly mentions in the song "Train." But of course you know what
she’s talking about. You may as well have written it yourself. It’s
like that voice in your head that remains quiet. It speaks. It’s
name is Lori Carson. Say hi and make friends. Vanessa VanderZanden
A
Various artists, "Def Jam’s Greatest Hits" (Def Jam) You don’t
see many rap compilations on the market these days, save
soundtracks and random discs like Dr. Dre’s "The Aftermath." You
would think more of these would surface, seeing that the current
trend in hip-hop is featuring multiple artists on a particular
rapper’s album (e.g., Puff Daddy, Wyclef Jean).
Def Jam has declared it time to showcase its all-star roster
with "Greatest Hits," a must-have compilation of rap classics that
date back 10 years. "Greatest Hits" is tangible evidence that Def
Jam is a pioneer rap label that took chances early on with the
controversial music medium. Even in the wake of Death Row’s
success, the label proves it can still hold its own with some of
rap’s top names.
Many different styles decorate this album, from the political
anthem "Don’t Believe the Hype" by Public Enemy to the party anthem
"Brass Monkey" by the Beastie Boys. The rougher rhymes of Onyx
("Slam") and Redman & Method Man ("How High") sit right
alongside smoother, more hip-hop-oriented artists like Warren G
("Regulate") and Montell Jordan ("This is How We Do It"). Slower
jams, like LL Cool J’s "Around the Way Girl" and Case’s (with Mary
J. Blige and Foxy Brown) "Touch Me Tease Me" are also included.
Other classics, including the playground-reminiscent "Going Back to
Cali" by LL Cool J, fill out this potential hit. And yet the entire
album keeps its wonderful party-atmosphere flow despite all its
style differences.
"Greatest Hits" is certainly a viable and enjoyable
representation of rap’s quick evolution. Mike Prevatt A-