Wednesday, March 11, 1998
Soundbites
MUSIC:
Big Bad Voodoo Daddy, "Big Bad Voodoo Daddy"
(Coolsville/EMI-Capitol) After years as one of LA’s most popular
local indie bands, the swingin’ cats of Big Bad Voodoo Daddy have
been picked up by EMI-Capitol for their major label debut.
A mix of older independent releases and material off the movie,
"Swingers," which helped rocket Big Bad Voodoo Daddy’s already
burgeoning popularity, their self-titled album charms the pants off
the listener, with its mix of well-crafted swing, lounge music and
scat rhythms. While maintaining a youthful, almost punk-like mood
throughout the record, BBVD clearly finds its niche within the
jazzy, brassy sounds of the late ’30s and ’40s, and recreates that
time era’s spirit perfectly without trying too hard to be cool and
trendy. Cherry Poppin’ Daddies and Squirrel Nut Zippers, they
ain’t.
The record features all sorts of Big Bad Voodoo Daddy-swing
manifestations, led by the charismatic lead singer, Scotty Morris.
True swing numbers like "The Boogie Bumpers," "King of Swing" and
"Mr. Pinstripe Suit" will have you reachin’ for your dancin’ shoes
in no time. BBVD throws in some songs that deviate a little form
their big band sound, like the smooth yet rockin’ "Please Baby" and
the Latin-flavored "Mambo Sing." Of course, the obligatory (and
rerecorded) "Swingers" songs are here, the most popular being the
snazzy "You & Me& the Bottle Make Three Tonight (Baby)" and
the standout "Go Daddy-O."
"BBVD" is a lively, entertaining album sure to spice up any
party or occasion, even if yer (CQ) not the big swing fan. But for
those of you that appreciate quality music, their top-notch, mostly
energetic musical delivery will not disappoint. Mike Prevatt A-
The Bogmen "Closed Captioned Radio" (Arista) My, how pretty the
case is. My, how slick the overlay tracks on the opening song are.
My, how the Bogmen have grown from being a funky, low key, one
album, East Coast club band to being a two album, industry packaged
commercial product.
But that’s being a bit harsh. The album still reflects the
lyrical wizardry of Bill Campion, who seems to have opted to go by
the "cooler" stage name of Vic Thrill. For instance, the tune
"Highway of Shame" has him wailing "Its a nice day out for a stroll
in time and space/ memories have married and they’ve laid their
eggs/ right angles held captive by a square/ it takes four to tango
and a steady hand."
Yet Campion’s, rather, Thrill’s, treacherously cartoony voice,
fluctuating between octaves like a yodeling bar tender antsy to
take center stage, leaves something to be desired. Also, the bouncy
congo drum beats and rattling melodies of the band’s first album,
"Life Begins at 40 Million," seem less proliferant on this sharper
set of songs.
Still, the Bogmen manage to rekindle some fun on the catchy
track, "Mad Larry," which has you bobbing, "It’ll happen, it’ll
happen," oh so reassuredly. Also, the song "Dark Waltz" somewhat
rekindles the group’s ability to usher in a strange sounding piece
with the gusto of shrieking vampires at a cocktail party, drawing
attention to the seemingly light work’s heavier meanings.
All in all, the Bogmen are quite down for the count. However, it
doesn’t seem that "Closed Captioned Radio" will be the band’s
escalator to mainstream exposure. And one shouldn’t buy the album
at full price. Wait ’til it meets with the bargain bin after about
a month, where it’ll be resting next to their last album. Vanessa
VanderZanden C+
Libido, "Killing Some Dead Time" (Velvel) Look at Matchbox 20
and Radiohead and you think you’ve got polar opposites. Blend the
two together and you’ve got Libido.
This album definitely plays on the commercial sound of today’s
American pop, but the melodies and use of recording studio special
effects on the vocals gives a good old fashioned Radiohead-esque
sound.
The basic attraction of this album lies in the band’s ability to
sweep the listener into a song with a catchy, melodic introduction.
Most of the album takes on a more mellow feel, but in a few areas,
a wall of instrumental noise seems to spit from the speakers and
you start to feel a drone in your ears. Thankfully, they always
seem to follow these pitfalls with an excellent sound in the next
song.
Although Libido has found a sound that could definitely reach
radio waves and Billboard charts with certain songs, not much of
what they are doing is very original, and most of the songs sound
strangely alike. Still, the catchy guitar introductions and sweet
harmonies are definitely something a fan of today’s pop movement
should hear. Danielle Myer A-
Fretblanket, "Home Truths From Abroad" (Polydor) They aren’t the
first English band to come to America in hopes of making it big in
the U.S. music industry and they certainly won’t be the last. They
also definitely won’t find the same success here that Bush or Blur
has, but Fretblanket ‘s new album, "Home Abroad," contains a few
selections worth a shot at decent airtime on the radio. Electric
guitar overload and catchy rhythms dominate English rock’s newest
hope for stateside success.
The first half of the album contains great alt-rock picks
swimming in a sea of angsty lyrics and hard-hittin’ guitar
choruses. The first track, "Into The Ocean," marks the album’s best
single by far. In fact, its new video’s success on MTV’s "Twelve
Angry Viewers" gives the song a well-deserved chance to be heard
(and seen). Compelling drives move songs "Hammer and Tongues" and
"Black Tambourine" through successful melodies.
Unfortunately the second half doesn’t carry as well. Too much of
a good thing gets old fast. By then you’ve heard what the band is
capable of and there isn’t much left to look forward to, except the
same atypical alternative style over and over again. Our only
relief from the monotony comes from the carrying melody of acoustic
number "Killer in A Former Life." Songs such as "Green As Green"
grow quite dull and lifeless compared to those sticking treats from
before.
Fretblanket creates decent tunes but, in terms of creativity,
the band still has a lot to learn. Michelle Zubiate B