Monday, April 13, 1998
Soundbites
Scott Weiland, "12 Bar Blues," (Atlantic) The lead singer of
Stone Temple Pilots (who haven’t officially broken up just yet) has
cleaned up, given his image a makeover and written some songs for
"12 Bar Blues," an eclectic, if wavering, work that shines mostly
due to its unexpected creativity.
After the failed, guitar-pop derivative "Talk Show" album last
year (the STP-sans-Weiland side project), expectations on Weiland
rose as the only hope for continuing the STP legacy. While straying
a bit from the driving guitar-rock we’re more used to from him,
Weiland incorporates Bowie-esque glam, lounge sounds and
indie-style pop into his solo effort with solid craftsmanship and a
bit of kitsch. Tracks like the distorted "Desperation #5," "The
Date" and the affecting, standout single, "Barbarella" break down
Weiland’s grunge stereotype. "About Nothing," like "Barbarella" and
a few others, proves Weiland’s ability to compose the grabbing
chorus, a key component to his songs. Yet, a couple of tracks, like
"Cool Kiss," come across as repetitive filler.
His lyrics go back and forth much like his music. In "Where’s
the Man," Weiland sings about "the name behind the shame," implying
his own troubled past. The same can be said for "Barbarella," as he
revealingly sings, "Grab a scale and guess the weight of all the
pain I’ve given with my name / I’m a selfish piece of shit." These
surfaced demons give the material some depth and, along with his
moving vocals, some weighty emotion, but that’s not the case with
every track on the album.
Despite a few awkward moments and unspirited tracks, Weiland
creates a buzzing and rocking record that serves as a stylish,
well-composed transition from his post-grunge days. His comeback
proves that everyone deserves a new start. Mike Prevatt B
Boston College Irish Studies Program, "Gaelic Roots," (Kells) As
you scrub your body bright and early with a bar of Irish Spring,
birds chirping outside your window welcoming you to the sunny
splendor of a fresh new day, you may just want to pop "Gaelic
Roots" onto your stereo. A work of the Boston College Irish Studies
Program, the album includes sprightly Gaelic dancing tunes perfect
for stomping the jig.
However, for those melancholy fans of Celine Dion and sinking
ships, gloomier odes of Gaelic sorrow find a place as well. The
double-disc collection reveals traditional Irish folk songs to a
new breed of music lovers in a crisp and exciting way. Somehow, the
flutes, accordions, fiddles and banjos can’t help but spark images
of those Pagan gods of fertility who seem to work their magic as
soon as the spring equinox passes once again.
So kick your heels high in the air and find a partner to swing
for the 27-track album. At the very least, allow it to inspire a
love for Mother Nature and a willingness to smell more flowers this
quarter. Vanessa VanderZanden A
Various Artists, "Legacy: A Tribute to Fleetwood Mac’s
‘Rumors,’" (Atlantic) Mick Fleetwood just can’t milk the past
successes of Fleetwood Mac enough. And while his band’s 1997 hit,
"The Dance," displayed the "Rumors"-era material with striking
emotion and musicianship, this lackluster compilation of cover
songs lacks the fluidity and effectiveness of the original ’70s
classic or their recent concert album.
Fleetwood gathered 11 artists to offer their takes on the entire
"Rumors" album, and none of them do justice to the originals. Of
course, that’s not the intent of the artists (Shawn Colvin, the Goo
Goo Dolls and Jewel, among other adult-alternative acts) but at
least they could have given it a little more effort. The only real
standout attempt here, "Go Your Own Way" by Irish alterna-darlings
the Cranberries, doesn’t capture the aura of the original but holds
its own well enough to warrant a second listening. Conversely,
Elton John’s uninspiring go at "Don’t Stop" should be reason enough
to stay away from this contrived project even die-hard Mac fans
will groan at. Let’s hope this trend ends here. Mike Prevatt C-
Propellerheads, "Decksanddrumsandrockandroll," (Dreamworks)
Anyone who caught Propellerheads at the Palladium on March 13
understands how electrifying this duo is. Throughout their debut
disc, Propellerheads transfer that energy onto album as
"Decksanddrums" perches itself on the breakthrough threshold.
Masterminds Alex Gifford and Will White construct a big-beat world
that reaches the inner worlds of hip-hop, techno, and campy vocal
samples.
Gifford and White never miss a step. "360," featuring De La Soul
on vocals, limits the music to primarily R&B-esque slow
drumming and bass picking, keeping the attention on the raps.
Taking it way back into the day the Propellerheads give respect to
their big-band influences with the Shirley Bassey-collaborated
"History Repeating," Bassey’s vocals deeply bellow, leading the
horns, ching-ching drums and piano accompaniment back to the days
of smoking jackets and pipes, a la James Bond. "Take California,"
the lead track and boilerplate example of their sound, began its
life as a 12-inch EP. The composition’s simple drum-and-bass
melodies join rhythmic grooves common in the samples.
The Propellerheads shine thanks to their ability to make good,
hip-swinging music. It seems they coax the music from their
instruments rather than mixing and matching different sounds
together. "Decksanddrums" results in fat, large beats that will
make you smile. Trinh Bui B+
Bobby Brown, "Forever" (MCA) Who even knew that he was still
alive? Apparently he and his wife, Whitney Houston, even had to
prove his musical existence in Brown’s new album. In the opening
track "It’s Still My Thang," Houston (no doubt with a quivering
lower lip) belts, "Bobby, you’re the best!" and Bobby caustically
sings back "It’s still my prerogative." Whether or not this is a
good "thang" is realized, excruciatingly, throughout the album.
Spilling over with unoriginal down beats, repetitive lyrics and
Brown’s abrasive vocals, the comeback album serves as a sad
reminder of why no one even knows he’s returned. While a few of the
typical slow jam ballads would fare well as sex-scene music in a
Chris Black or Bill Bellamy flick, like "My Place" or "She’s All I
Need," the rest of the songs are better left unmentioned – forever.
Nerissa Pacio DSCOTT WEILAND
"12 Bar Blues"