Monday, August 31, 1998
Soundbites
Liz Phair, "whitechocolatespaceegg" (Matador)
It’s been a long four years, but Liz Phair has returned to pop
musicdom with "whitechocolatespaceegg," her third consecutive
masterpiece. Following in the footsteps of the much-heralded ’93
debut, "Exile in Guyville" and 1994’s more accessible "Whipsmart,"
Phair continues to explore the art of the brutally honest pop song.
Here, with the help of longtime R.E.M. producers Scott Litt and
Brad Wood, Phair’s music transforms from low-fi alt-rock to a
fuller, less minimalistic pop style that varies from song to song,
as tracks sway from the quiet, humble "Perfect World" to the
gritty, Dylan-esque twangster, "Baby Got Going."
Yet the highlight here, as is usually the case with Phair
albums, is that the lyrics do not disappoint. Yet while Phair still
relies on the long-winded and direct narrative style, she
occasionally dabbles with a more abstract approach, as seen in the
deathly metaphoric "Ride." Some of the tracks deal with marriage
and motherhood, hardly fluid with her sexually introspective
bluntness from previous works. But her confessional,
no-holding-back prose remains the same, as do some of the
obsession-related themes, such as in "Johnny Feelgood." Even
falling in love has her realization skills working intact, as she
sings "Love is nothing, like they say/ you gotta get up and work
the people every day" in "Love is Nothing." Such unconventional,
proclamatory statements help make Phair one of rock’s most
unrelenting delights.
Mike Prevatt
Various Artists, "For the Masses" (1500/A&M)
There’s no denying that synth-pop kings Depeche Mode deserve a
tribute album. Where ’80s electronic pop bands such as Erasure and
the Pet Shop Boys have offered great singles on mediocre albums,
Depeche Mode displayed consistency, unappreciated songwriting and
always-morphing methods of making synthesized music. Now the groups
of the ’90s, some heavily influenced by Depeche Mode, have lent
their own interpretations of D-Mode classics on "For the Masses,"
and the result is mixed.
Most of the artists are not mainstream acts (save Smashing
Pumpkins, with their lethargic version of "Never Let Me Down
Again," and the Cure, chaotically reworking "Policy of Truth"). A
wide variety of styles are represented here, from the Deftones’
alt-metal treatment of "To Have and Hold" and Rabbit in the Moon’s
drum ‘n’ bass version of "Waiting For the Night" to Failure’s
wonderfully guitar-driven interpretation of "Enjoy the Silence" and
Rammstein’s solid industrial take on "Stripped."
Most of the versions also represent altered interpretations of
the D-Mode classics, which run from bad (Locust’s awful
kitschy-lounge cover of "Master and Servant") to good (Gus Gus’
pleasantly hypnotic "Monument"). The remakes that sound a lot like
D-Mode’s vary in result too. Veruca Salt’s "Somebody" resonates as
poignantly as the original, yet Apollo Four Forty’s "I Feel You"
adds nothing to D-Mode’s version. Maybe executive producers God
Lives Underwater, whose retooling of "Fly on the Windscreen" is a
highlight, should have been more discriminating in their
selections, but let’s give them credit for both finding some worthy
tributes and finally paying homage to one of the great ’80s
bands.
Mike Prevatt
"How Stella Got Her Groove Back" (Flye Time Records)
R&B audiences never imagined such an eclectic mix of artists
on one album. From the unlikely pairings (Shaggy and Janet on "Luv
Me, Luv Me") to the resurrection of apparent one-hit wonders (Diana
King, Soul II Soul), mega-producers Jimmy Jam and Terry Lewis have
assembled a who’s who of popular R&B and reggae, interspersed
with some unknown talents.
While the ensemble may be original, the concept and even the
feel of the soundtrack is hardly so. The mellow sound and themes of
love and self-discovery are reminiscent of Babyface’s innovative
soundtrack for "Waiting to Exhale," which was much catchier and
more unforgettable.
But standing alone, the "Stella" soundtrack is a river of smooth
vibes and lounging grooves. "Mastablasta ’98" by Stevie Wonder and
Wyclef Jean highlights the album with its seamless fusion of
reggae, Motown and rap. The improbable partnership of Wonder and
Jean proves a successful collaboration, as both voices complement
each other’s divergent individual talents. Boyz II Men’s beautiful
ballad, "Your Home Is In My Heart" (Stella’s Love Theme), features
the angelic harmonies of Chante Moore.
K-Ci and JoJo’s "Never Say Never Again" is a satisfying
incarnation of their staple power-ballads, and they show that their
limited style range can be reliably successful. Predictability,
however, does not work to Big Punisher and Beenie Man’s advantage
in "Makes Me Sweat," despite the interesting incorporation of
INXS’s "Need You Tonight." It’s tempting to fast-forward past
"Dance For Me" by Kevin Ford and Rufus Blaq, unless a craving for
Lionel Ritchie-style, ’80s cheese overwhelms your taste buds.
At best, "Stella" is a sensual afternoon on a hot Jamaican
beach. At its worst, the soundtrack is formulaic and reeks of
mediocrity.
Louise Chu
The Surfers, "Songs From the Pipe" (Epic)
Who would have thought that three professional surfers would
have crafted such a fine, enjoyable album?
It’s easy to be cynical about athletes making music (ahem,
Shaquille O’Neal), but in this case "Songs From the Pipe"
represents a new kind of "surf" soundtrack that doesn’t reek of
lame Dick Dale covers or run-of-the-mill punk songs. It’s actually
a rather ambitious album for three men who spend most of their time
chasing professional surf titles.
Made up of five-time world champ Kelly Slater (vocals), renowned
surf stylist Rob Machado (vocals, guitars, piano, bass and more),
and action-sports and surf icon Peter King (vocals, guitars, bass
and organ), the Surfers create oceanic moods and textures through
R&B flavored guitar pop ("Never"), modern rock styles ("If" and
"Not Your Slave"), atmospheric instrumentals ("Australia") and
dreamy ballads ("Alone By a Tree").
Besides talent-rich musicianship, Slater’s vocals stand out with
his various, soulful styles. In "Anything From You," he switches
from brooding angst-meister at one moment to a pleading ache to the
chorus that never allows the song to lose its emotion. His shining
moments, however, come from two powerful ballads – the distortion
heavy "Spill" and "Hawaii," a song almost as beautiful as the
island itself.
"Song From the Pipe" may be the perfect beach record, for both
those who live and work among the waves and others who just love
the ocean. But it’s also a testament to the striking musical talent
these three men have beyond their other impressive
accomplishments.
Mike Prevatt
Barenaked Ladies, "Stunt" (Reprise)
Ten years in the making, Barenaked Ladies have finally connected
with the youth of America. Already a seminal rock band in their
native Canada, the Ladies’ fourth studio album, "Stunt," has hit a
nerve in the States with the too-catchy, destined to be hated "One
Week," a short burst of pop guitar chords played to freestyling rap
provided by vocalist Ed Robertson.
The upbeat, pop-culture-reference laced opener is misleading.
The Ladies are not a rap and pop fusion; the rest of "Stunt" is two
parts pop and rock, one part blues and a dash of country, cooked up
by young boys stuck in grown men’s bodies.
Co-lead vocalist Robertson and Steven Page’s lyrics border on
condescension. On "Never is Enough," they poke fun at college
students and the value of a degree.
Robertson and Page suffers from Peter Pan syndrome, and it shows
in their lyrics.
The songs are a recollection of the better times of youth that
are usually insightful and charming, like "Told You So," but
sometimes stray too far into the juvenile and trite
("Alcohol").
What saves the Ladies from those occasions are the melodies,
which win you back over to their side.
The guitars play with a definite country and blues influence,
twanging away during the chorus and a heavy dose of keyboards,
which compliment the odd unity between standard pop and country
swank.
Trinh Bui
LIZ PHAIR
"whitechocolatespaceegg"