Wednesday, October 8, 1997
Soundbites
Billy Joel "Greatest Hits Vol. III" (Columbia) It says something
about an artist when he releases a third compilation of hits while
he’s still an active recording artist. Either the performer is
lucky enough to have flooded the radio with stellar songs, or the
artist has let his recognized work go to his head. Billy Joel, one
of the most popular singer-songwriters of the past 20 years,
affords the release of such an album thanks to his still-growing
library of solid hit singles.
"Greatest Hits Vol. III" is more of an album for newer, younger
Joel fans. This album is an ideal choice for the college-age crowd
that grew up listening to albums like "An Innocent Man" and songs
like the musical textbook "We Didn’t Start the Fire," and that does
not want every album Joel released since 1983.
Joel includes two standout hits from his mega-selling "An
Innocent Man" album: the happy-go-lucky "Keeping the Faith" and the
soaring title track in which Joel’s voice towers above the music
beautifully. Joel also includes four tracks from "Storm Front,"
including the pop hit "I Go to Extremes," and three tracks from
"The River of Dreams" album, including the hit title song and the
anthematic "All About Soul."
Joel also throws us "This is the Time" and "A Matter of Trust,"
which just sound like radio staples. Random but welcome songs
include "Shameless," which Garth Brooks made into a huge hit, and
"To Make You Feel My Love," which was oddly just written and
released by Bob Dylan. Other additions include a duet with Ray
Charles ("Baby Grand") and "Light As the Breeze."
"Greatest Hits Vol. III" is top-of-the-line songwriting. It
should be seen as a sign of greatness and not a sign of artist
pomposity. Mike Prevatt A-
Various artists "Money Talks" (Arista) This collection is
subtitled "An all-star attack of today’s hottest artists," and
while it boasts tracks from Puff Daddy, Mase, Lil’ Kim, Mary J.
Blige, SWV, Next and Naughty By Nature, the songs all seem to be
leftovers rather than main courses.
Puff Daddy’s "No Way Out" is the title cut off his full-length
album that somehow didn’t "make the cut" for the record’s release
this summer. Nevertheless, it is an enjoyable – but not great – Bad
Boy track.
Mary J. Blige’s "A Dream" features the same classic El DeBarge
riff that Blackstreet repopularized earlier this year on their hit
single "Don’t Leave Me." While the vocals are smooth and the track
sounds fine, it presents nothing original or particularly
exciting.
Although the tracks are merely average, several of them have
already become radio hits, including Mase’s "Feel So Good," Barry
White and Faith Evans’ "My Everything" and the Refugee Camp All
Stars’ "Avenues," which is a new version of Eddie Grant’s "Electric
Avenue."
Although Puff Daddy did not produce this album, it features
mostly stars from his Bad Boy Records label. Unfortunately, the
songs here seem mostly uninspired and the result is just another
average soundtrack collection. Jeff Hilger B-
Mack 10 "Based on a True Story" (Priority) No sophomore slump
here. Mack 10 follows up his debut album with a strong collection
of bumpin’ tales from the hood that will solidify his status as a
premier solo artist.
As part of the rap supergroup Westside Connection, Mack 10
(along with Ice Cube and W.C.) took the rap world by storm last
year with the group’s multiplatinum, self-titled album and series
of hit singles.
This latest collection features "Backyard Boogie," one of the
most infectious and fun singles from the summer. Other tracks
feature guest appearances by Ice Cube, Ant Banks, E-40 and several
others. The cut "Can’t Stop," which also appears on the Ant Banks
album that came out earlier this year, is another of the album’s
best features.
The song "Inglewood Swangin’" is destined to become a major
radio hit, and may just replace "I Love L.A." as the anthem played
at the Forum during Laker games (if the Lakers don’t move to a
downtown L.A. arena).
Unlike many rap albums coming out today, this album works as a
complete collection. It tells stories and does so in away that
keeps listeners both interested and on their feet to dance. Jeff
Hilger A-
BT "_ESCM" (Reprise) On the first play, BT promises to be
nothing more than a standard techno-ambient collection with few
memorable tracks. Yet, further experimentation with the work proves
BT to be one soothing force to be reckoned with. Each time a new
track comes on, or a lengthy song continues to play, you’ll
undoubtedly find yourself asking those around you, "Wait – who is
this? Is this still BT?"
Such a reaction stems from the fact that while one song may
twitter around, lost in a steady beat of electronic background
splatterings, like "Flaming June," the very next may grab hold of
you with the sensuous astral vocalizations of Jan Johnston, like in
the tune "Lullaby for Gaia."
For some reason, even though the repetitive drum-machine beats
and simplistic melody integrations provide only a base set of
material to excite the ear drums, it’s enough to utterly relax you
– without putting you to sleep. A steady trance can be entered,
though, with such tracks as "Memories in a Sea of Forgetfulness,"
where the beeping, jungle-esque side finds enhancement through an
inspiring series of yogi-like chants. Yet, this ability to mesh
styles and sounds mid-song remains emblematic of BT’s compelling
talent. It shows through especially on such pieces as "Solar
Plexus," where a male voice enjoys a low-tech scream session
accompanied by swarming beats, only to conclude with mournful
lyrics which may or may not take an English form.
In any case, though you may pop in BT solely as a mood enhancer
or break from the busy week’s stressful pull, you will be surprised
at how the songs creep into your awareness, forcing you to focus on
"_ESCM’s" skillfully mixed tracks and slick production quality.
Vanessa VanderZanden A-
Morrissey "Maladjusted" (Mercury) Despite his track record as
lead singer of the British pop kings The Smiths, and as a solo
artist with such classic albums as "Viva Hate," "Bona Drag" and
"Your Arsenal," Morrissey seems to be musically falling from grace
with his new album.
"Maladjusted" carries a few standout tracks, but most of the
album drones on with boring musical styles and sometimes confusing
lyrical themes.
Songs like the title track and "Trouble Loves Me" clearly denote
Morrissey’s self-esteem issues, and "Papa Jack" has that classic
twang, scoring themes of parental regret. The single "Alma Matters"
is defiant, classic Morrissey with extremely catchy hooks and
melodies.
But songs like "Ambitious Outsiders" leave one bewildered, with
confusing (yet captivating) lyrics, like "and we know / when the
school bus comes" and "we’re just keeping the population down,"
that hint at kidnapping and infanticide. Or are we misinterpreting
something?
Songs like "Roy’s Keen" and "Ammunition" are equally
bewildering, perhaps more so because we don’t even have good music
to fall back on.
Morrissey undoubtedly has his faithful, devoted following to
croon to with "Maladjusted," but the real question is, how much
longer will they put up with substandard music to back up his
hauntingly beautiful prose? Mike Prevatt B-
Various artists "The End of Violence" (Outpost)
Critically-acclaimed film director Wim Wenders pulls together yet
another astonishing set of artists to collaborate on the
futuristic-noir soundtrack to his latest film.
The diverse musical genres blend wonderfully here for a haunting
yet soothing score. Electronic prodigies DJ Shadow and Howie B
contribute hypnotic rhythm-fests. Michael Stipe and Vic Chesnutt
brood on "Injured Bird." And U2 (their third contribution for
Wenders’ films) team up with Sinead O’Connor with the album rocker,
"I’m Not Your Baby." Other artists include Los Lobos, Roy Orbison
and the Eels. "The End of Violence" is arthouse talent and
coffee-shop blues all rolled into one. Mike Prevatt B+