Monday, May 11, 1998
Soundbites
Dave Matthews Band, "Before These Crowded Streets" (RCA) That
Dave Matthews guy sure has got balls. Famous for his band’s jammin’
style that has won a fiercely devoted fan base with his band’s two
previous albums, Matthews changes things around a bit in "Before
These Crowded Streets," a considerably darker and less jam-oriented
record.
Most of the soft, romantic songs, a la "Crash Into Me" (from
1996’s "Crash" album), are gone. Take the current hit single,
"Don’t Drink the Water," which does contains those tender,
bittersweet moments. Toward the end, Matthews gets angry and
throaty, his vocals going from Peter Gabriel at one point to Tom
Waits the next. The radically different "The Last Stop" takes this
experimentation to the extreme, mixing his angry vocals with Far
Eastern-melodies and mystical grooves that are difficult to digest
at first.
"Before These Crowded Streets" lacks the consistency of the
band’s last two albums and has other awkward moments. For instance,
the typically Dave Matthews Band (DMB) "Stay" contains misplaced
gospel vocals that are reminiscent of the "Hercules" soundtrack.
The very sexual "Rapunzel" jumps all over the place, although its
lyrics definitely warrant a mention. ("Open wide/ oh so good I’ll
eat you/ Take me for a ride/ In your sweet delicious/ Perfect
little mouth.")
While flawed in parts, DMB redeems itself in other places.
"Crush" wonderfully contradicts its jazzy, romantic elements with
more perverse lyrics. The softer "Pig" has an inspirational feel to
it that most of the other songs on "Before" don’t have. "The
Dreaming Tree" features Matthews at his soft-spoken best, alongside
thoughtful lyrics.
Welcome guest players on "Before These Crowded Streets" include
background vocalist and alt-rock dutchess Alanis Morissette and
legendary musician Bela Fleck on "Don’t Drink the Water" and
"Spoon," with Fleck also appearing on "The Last Stop."
Experimentalist outfit Kronos Quartet play strings on "Halloween"
and "The Stone."
About half of the songs retain the quality of Matthews’ earlier
material, something that will rest easy with fans after hearing the
darker material.
It’s enough to give DMB credit for trying something new while
also keeping with a formula that works, even if it isn’t always
pleasing to the ear. Mike Prevatt B
Big Punisher, "Capital Punishment" (Loud) Following in the
footsteps of noted "heavyweight" rappers like Heavy D and Notorious
B.I.G. cannot be an easy task for any aspiring artist. But after
appearing with Raekwon, Funkmaster Flex, B-Real of Cypress Hill and
Flesh N’ Bone, one such person has stepped up to the plate.
Enter Big Punisher. Weighing in at an astonishing 400 pounds,
this South Bronx native crushes onto the scene with his debut
album, "Capital Punishment." Big Pun’s formula for a hard-hitting
album is simple: smooth, addicting beats, a few guest stars (like
Black Thought of the Roots, Wyclef Jean and Busta Rhymes), and a
lyrical prowess that would make Shakespeare jealous.
Whether following a fast or slow melody, Big Pun keeps the pace
and rarely misses a beat. When the album starts to play, walls
start rumblin’, cars start hoppin’ and bodies start bumpin’. And
while the themes to his songs are nothing new, he remains one of
the few rappers who doesn’t sound like he’s completely devoid of
feeling and whacked out on the endo.
The best and most overplayed tracks on the album include "Still
Not a Player," featuring Joe, with its dance floor groove, and "I’m
Not A Player (I Just Fuck A Lot)," with its humorous take on
playing the fields. But don’t be fooled by his playful and somewhat
X-rated take on life. This album has its roots grounded in the
streets of New York. The most dark cut on the album, "You Ain’t A
Killer," explains the plight of a wannabe thug trying to live up to
his hype.
Although a few of the remaining songs become monotonous and
uninteresting, the mostly enjoyable album surprises. It will allow
any individual to just smile and enjoy the mayhem that the big man
creates. Big Pun may not be a Chuck D or Common, but it’s a
guarantee that he will leave a booming impact. Teron Hide B
Robbie Robertson, "Contact From the Underworld of Redboy"
(Capitol) In an impressive mix of alternative instrumentation,
beats and synthesized textures, Robbie Robertson’s "Contact From
the Underworld" explores the Native American perspective with an
original musical approach. Neither preachy nor militant, Robertson
takes his politics and his heritage and weaves them into moving,
near-ambient pieces that hardly compromise the spirit and the
traditions of the American Indians.
Robertson’s affecting concoction shares elements associated with
the likes of Peter Gabriel, Bruce Springsteen and Enigma, mixed in
with Native American chants and instrumentation. Some of the tracks
come across as unpretentious avant-garde, and other parts hint at
conventional, yet almost hookless pop melodies. The moments that
stand out the most combine the unique musical styles with emotional
harmonies and lyrics, such as the easy-going yet confrontational
"The Code of Handsome Lake" and the gospel-like, rhythmic "Stomp
Dance (Unity)." Even a few moments of hip-hop inspiration find
their way into the album, evidenced in "Sacrifice" (featuring
soundbites with the controversially imprisoned Leonard Peltier) and
"In the Blood."
Not a moment goes by where you can’t feel Robertson’s convincing
delivery, alerting the listener, even bringing a sense of shame.
But pity is not what Robertson is looking for; he knows what he is
a part of and remains proud despite the social horrors facing his
people today.
It’s clear Robertson looks at the current, more innovative
musical trends with excitement, as he fuses many of them together
in this innovative, thought-provoking collection. It’s not
something for the crowd who likes infectious pop, but for those
seeking to be moved and impressed by something (ack!) different,
"Contact From the Underworld" is mandatory listening-station
material. Mike Prevatt A-
DAVE MATTHEWS BAND
"Before These Crowded Streets"