Monday, 7/14/97 Soundbites
Wyclef Jean "The Carnival" (Ruffhouse/Columbia) Wyclef Jean,
one-third of the successful rap outfit, The Fugees, goes solo for
"The Carnival." With the help of a diverse bunch of rappers,
singers, DJs, musicians and even fellow Fugee Lauryn Hill, Wyclef
(as he is generally known) has put out one of the most dynamic and
musically pleasing rap albums to come along in a long time. Even
more universal and ingenious than the Fugees’ own compelling
classic, "The Score," Wyclef proves he is an extremely talented
individual. "The Carnival" shows that rap can combine with
basically any other music genre and still yield an aesthetically
pleasing work of art. "Gone Till November" combines an orchestra,
Wyclef’s own gifted guitar playing and sincere lyrics about the
wives of raps stars who get left behind during tours. "We Trying To
Stay Alive" is another marvelous hybrid, mixing powerful themes on
survival with the Bee Gees’ disco anthem, "Staying Alive," churning
in the background. And the tender, Bob Marley-esque "Gunpowder"
fabulously matches a conga drum, an acoustic guitar and potent
lyrical reflections on our troubled society. Wyclef Jean is truly
one of rap’s most innovative superstars, going places most rap
artists have yet to visit. "The Carnival" is a celebration of
hip-hop, world music and hope, and a change from the negativity
that makes up most of today’s mainstream rap. A refreshing change
it is. Mike Prevatt A Mansun "Attack of the Grey Lantern"
(Epic/Sony) You gotta hand it to those folks at Sony Records. Leave
it to them to sign American contracts with some of the U.K.’s
biggest and best bands. Oasis, Suede, Manic Street Preachers and
Kula Shaker make up a long line of mega-selling, critically
acclaimed bands that Sony has lured to their labels. Mansun, the
new kid, is poised to continue the tradition. Their debut album,
"Attack of the Grey Lantern" was a smash in Britain. Mansun have a
knack for blending the crunching yet melodic guitars with
synthesized arrangements and ’80s pop influences. Think of it as
Oasis meets (the new) Depeche Mode meets George Michael. The album
begins brilliantly with such confident songs as "She Makes My Nose
Bleed" and "Take It Easy, Chicken." The angelic, Radiohead-ish
single, "Wide Open Space," shows off a beautiful vulnerability
("I’m in a wide open space/ I’m standing all alone/ I’m staring
into space"). Other gems include the lounge-rock of "Naked Twister"
and the dramatic orchestrations of "The Chad Who Loved Me" (the
song and title hint a James Bond theme). The rest of the album
holds its own, never spoiling this album’s soaring, yet tortured
flow. Mike Prevatt B+ Neil Young and Crazy Horse "Year of the
Horse" (Reprise) Neil Young, the flannel king himself, has blessed
us with a double live album. "Year of the Horse" spreads itself out
in one sprawling, emotional tide that flows rather well. Many of
the 12 songs are lengthy (one at 13 minutes), but Young’s jam
additions are so mind numbing you lose track of time. Young avoids
the live album and greatest hits collection. The only big classic
here is the louder-than-usual but still soul-stirring "Pocahontas."
Young and Crazy Horse go from the acoustic end of rock ("Human
Highway" and "Mr. Soul") to the charged and jammin’ epics
("Prisoners of Rock & Roll" and "Scattered") throughout the
album. "Year of the Horse" proves that live music can still move
listeners, even if you’re not really there. Mike Prevatt B+ Ziggy
Marley and the Melody Makers "Fallen is Babylon" (Elektra) On their
ninth album, Ziggy Marley and family continue the traditions of
their father, Bob Marley, with socially conscious music that
doesn’t stay within the boundaries of pure reggae. Rather, Marley
and company have used loops, hip-hop beats, rap and even harmonicas
to create a diverse and unique record. In the midst of the musical
experimentation and commentary lie moving harmonies and lyrics.
"Everyone Wants to Be" (featuring Wyclef Jean from The Fugees)
booms, sways and beats to an anti-violent theme that censures the
wannabe thugs of the world ("everyone wants to be the gangster/
living live like a monster"). The reggae treatment of Curtis
Mayfield’s "People Get Ready" heightens the classic song’s optimism
and hope. Songs like the title track, "Born to Be Lively" and "Jah
Bless" also resonate with uplifting poetry and upbeat melodies.
"Fallen in Babylon" creates a joyous atmosphere in the name of
life, people and rhythmic music. It continues reggae’s tradition of
soul-elevating harmony while daring to be different and
unpretentious. Mike Prevatt B+ Alan Lomax "The Alan Lomax
Collection Sampler" (Rounder) Not all history can be pressed into a
book. For the past century, Lomax and his father before him have
been the primary collectors of traditional songs from all over the
world that would otherwise be lost. This sampler includes timeless
tunes from every crevice of the rural South, Caribbean, Italy,
England and other areas, as well as old prison and work songs –
most of which were recorded live in the ’40s, ’50s and ’60s, not in
a recording studio. Many are done a capella or with homemade
instruments from past centuries. These recordings are an essential
element of musical and international history, as well as an
inspiration for contemporary artists. Countless ’90s bands have
named the Library of Congress field recordings (created for and
maintained by Lomax) as influences in a time of stale and
homogenized music. Musicians from Brian Eno and David Byrne to Pete
Seeger, renowned professors and industry moguls alike reflect on
the importance and influence of Lomax’s recordings. Their words
open the accompanying 70-page booklet, which details Lomax’s
experiences in each area and time period on the CD, as well as
information on each song. Photographs that Lomax took on his trips
bring these far-off places and faces to life, and listings of
Lomax’s other CDs, films and books give potential musicologists a
head start on exploring them further. The collection contains the
seeds of many of today’s styles – from folk to rap – as well as
harmonies that are beautiful in their own right. It is also a diary
of our past, both as music lovers and as human beings. Kristin
Fiore A