Music Writing by Carson Arnold
Music Writing by Carson Arnold
NEW MUSIC
Here's some new popular music that's been caught in the corner of my eye for a while. Enjoy.
Red Hot + Riot- a tribute to Fela Kuti- Once again, the Red Hot series (a label whose profits travel to fight the AIDS virus, a disease that infects 150 Africans by the time you listen to this cd) has brought us a thick display of zest and beat that should shake the raw earth apart. Their latest, serving us a tribute to Africa's late, great, and unstopable Fela Kuti. A tribute album to Fela is probably one of the most difficult tasks to assemble, but man, this is as genuine as possible. The belief, effort, and concentration of all the players and the entire sacrifice of the Red Hot label is a thrilling heat to be caught in the middle of. Twenty throttling Fela compositions rolled into a dynamite cast of musicians covered around the globe distributing sonic culture like your ears were only meant to be under attack. Some memorable appearances that make this outfit sound like a revolution Fela style, are definitely, Dead Prez, who never seem to fail when given the license to kill, Fela's former drummer Tony Allen; Meshell Ndegeocello with Ron Blake; Baaba Maal, Sade, and Cheikh Lo. With this steamy tribute, the spirit of Fela Kuti is brought alive.
The Pretenders, Loose Screw- It's difficult to listen to middle-aged rockers who know they've got no more roll in their rock and are yet, still not convinced of it. Is this album dry? Unfortunately, yes. One of my favorite rock bands to burn their way through the inferno of the eighties and nineties have delivered to us one of those records that says: "when all else fails, resort to reggae". Though Chrissie Hyndes' voice is still kept at above-room-temperature, Loose Screw no way competes with their seductive glam in 94' The Last Of The Independents- which is like throwing a chainsaw high in the air- an irresistible raucous of gritty verses and hot choruses, reminding the world that without Chrissie Hynde, sassy thinkers like PJ Harvey and Aimee Mann would be no where. For now, keep their latest in the cast off bin along with Neil Young's Are You Passionate? Please, only for the sake of the song.
The Mammals, Evolver- Albums like this usually tend to annoy me. However, there's an odd dissonance in The Mammals' that divides them from the rest of the banjo slingin' stompers of modern day tradition interpreters. In lays a wild arrangement of perfection, yet a limitless set of talented players whose plot for loose creativity makes Evolver easily enjoyable from start to finish.
The Coup, Party Music- Some of you may remember when I wrote about The Coup a year ago in Track, and still, their concise lyrical bullets to the empire continue to hold a warm gun. Political rap music is a hundred times more powerful, complete, and threatening than any of our current styles that demonstrates forms of activism. What's more, it scares everyone, reminding them just how ill and manipulated our world has gotten to. Think Huey Newton interviewed by Prince.
Beck, Sea Change- A solid and interesting move on Beck's part with some real exotic string terrain, but sorry, I won't buy into all the desperate hype of this latest release. Sea Change is a well coated album, confident and maturely exercised, but, Blood On The Tracks or British sixties folk, it aint'. The whole thing seems to have lost that Bohemian sentiment that he materialized a few years back that I kinda' miss. After a while, pop-star depression arouses sympathy as much as Wynona Ryder tabloids, and now that I think of it, Sea Change is crafted in the influence of Sinatra's suicidal era, yet, culturally not as obscure. If they were to put a soundtrack to the chemistry existing between Nico and Jackson Browne, you'd get Sea Change. A good record that constantly grows with each listen, but stop giving it five stars.
Johnny Cash,The Man Comes Around- This is one of the best things I've heard in years, and a legendary album for Cash's arching career, setting a starch dusk with yet another bag-of-bones Rick Rubin production. The entire record is cut like hibernating demo tapes, Cash's heavy voice wheezing in glorious currents similar to later Roy Orbison, a few distant piano notes, gentle guests sing, and all otherwise, a ghostly setting. The moment is held at silence when Cash rises an incredible altitude of blessing during his triumphal cover of NIN's "Hurt"- only one example of how cathedral some ballads get on this album. Purring engines before a starry night.
Carson Arnold- December 4, 2002
copyright 2002 Carson Arnold
H(ear) is an online music column consisting of interviews, articles, and investigations written by Carson Arnold. As a freelance writer for various magazines and liner notes, living in the woods of Vermont with his family, Carson widely encourages one to submit their art, writing or any interesting piece of material that you would like to share. H(ear) is accepting both promos and demos for review or any other valuable music-related subjects. If you wish to make a comment or would like to receive H(ear) weekly by email please contact Carson at [email protected]
Thanks and enjoy!
See other music reviews at Track
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