High Bias aural fixations
March 17, 2002

MOSE ALLISON
The Mose Chronicles—Live in London, Volume 2
(Blue Note)
Every year, Mose Allison takes up residence in the Pizza Express in London and holds court for three weeks. With over 50 years in the music business to draw on, the legendary pianist/songwriter has no problem filling that many gigs up with his sardonic, blues/jazz tuneage. As evidenced by the title, The Mose Chronicles—Live in London, Volume 2 is the second collection of live performances taken from his 2000 residency. Accompanied by a three-piece band, Allison runs through some of his most famous tunes, like the witty put-down "Your Mind's On Vacation," the scientific come-on "Molecular Structure" and the social commentary "Just Like Livin'." He also favors the audience with some choice covers of Duke Ellington ("Do Nothing 'Til You Hear From Me," "Lucky So & So") and blues standards ("Baby Please Don't Go"). His nimble piano fills and breezy vocals belie his 72 years, but his band of young lions effortlessly keeps up; guitarist Jim Mullen is particularly impressive, despite the overuse of chorus on his tone. As much an invite to a gig as a live document, Live in London, Volume 2 is a nifty calling card from a still-vital performer. Michael Toland [buy it]

For fans of: Bob Dorough, Charles Brown, Randy Newman

ATTILA & DAVE PROJECT
Lifeline
(Attila & Dave Project)
The Lifeline thrown out by the Attila & Dave Project connects to all sorts of progressive and psychedelic rock strains, gathering elements from the last four decades into one distinctive sound. Acoustic guitars, Moog synthesizers, theremin, the usual electric rock 'n' roll noises and all sorts of percussion come together in harmony to support the songwriting visions of bassist/keyboardist/singer Attila Medveczky, guitarist Dave Stevenson and drummer/synthesist Rusty Aceves. The ADP confidently strides across varying terrain, from compact melodic rock ("Mother's Milk," "Across 100 Summers"), pastoral pop ("Circe," a tribute to the mythological figure of the same name) and gently building epics of shifting textures and tuneful sonics ("Moonlight," "Some Saturday Blues," "Hills & Valleys"). Despite the sonic variety, however, the focus of the arrangements is always on the songs and Medveczky's personable vocals, and both stand up to the spotlight nicely. Lifeline is quite the nifty psych/pop record. Michael Toland

For fans of: the Volares, 7% Solution, Porcupine Tree

ECHOBRAIN
EchoBrain
(Chophouse/Surfdog)
It's one thing to have a superstar musician as a patron; it's another to have that musician actually join your band. But that's exactly what happened to guitarist/singer Dylan Donkin and drummer Brian Sagrafena. After attracting the attention of (now ex-)Metallica bassist Jason Newsted, they found themselves not only recording in his studio but having him filling the bass slot and co-writing the songs on EchoBrain's self-titled debut. Newsted's stylistic influence is minimal, however; this is by no means a heavy metal record. In fact, EchoBrain manages the neat trick of sidestepping any genre definitions; they simply write and play modern rock with sturdy melodies and intense performances. To be sure, certain familiar elements give an indication of the records found on the members' shelves, but overall the band sounds more like itself than anyone else. Donkin has already begun to receive comparisons to the late Jeff Buckley; he hasn't the awesome voice, but he does have the omnivorous musical range and no fear of hiding his emotions in song. The sweeping ballad "We Are Ghosts" punches the same buttons as anything by Buckley without sounding much like him; "SuckerPunch," featuring a gnarly solo by Metallica's Kirk Hammett, hits the right post-grunge classic rock notes without sounding passé. The bluesy "Highway 44" fries up some grease, while "Keep Me Alive" stands as the kind of anthem unheard since the early days of Pearl Jam. If the trio keeps moving down its current path, it will find itself being the band namechecked in reviews like this. Michael Toland [buy it]

For fans of: Queens of the Stone Age, Foo Fighters, Screaming Trees

LAMBCHOP
Is a Woman
(Merge)
Since its inauguration in the early 90s, songwriter Kurt Wagner has taken the large band known as Lambchop from low-key, 70s-style countrypolitan to an appealing mix of C&W and 70s soul. Now he's turned the volume down even further, crafting a record of what is essentially lounge music. The arrangements revolve around piano and Wagner's personable mumble, featuring the songs more prominently than ever before. There's a surfeit of quiet beauty to this latest batch of 'chop tracks, with Wagner's imagery richer than ever before. "The New Cobweb Summer," "My Blue Wave" and "The Old Matchbook Trick" are some of the most surpassingly lovely tunes Wagner's every written. Not everything whispers here; "D. Scott Parsley" continues Lambchop's look at soul, while "Bugs" explores Hawaiian music. The band even adds a tropical flavor to the coda of the title track. But there's a sense of romanticism to these songs that Wagner has previously buried under his cynical sense of humor. While sardonicism is still present, the songs are much more emotionally vulnerable here, and the record's intimate sound reflects that. Is a Woman adds another highpoint to Lambchop's remarkable catalog. Michael Toland [buy it]

For fans of: Tindersticks, Cousteau, Nick Cave's The Boatman's Call

THE SCOOTERS
I Can See Your House From Here
(Aeronaut)
The second album from Welsh quintet the Scooters is as different from their debut Peepshow as it can be and still be considered a logical progression. Apparently not satisfied with the simple power pop of their previous record, the band has adopted a widescreen approach that sounds like it should be filling arenas with melody and harmony. Fortunately, the Scooters still put songwriting above all else, and thus make the transition from modest mod rockers to arena giants with aplomb. Due to the remarkable consistency of the writing and frontman Anthony Carey's appealing tenor, it's hard to single out favorite tracks. But special mention must be made of the cheeky pop of "GBH," the anthemic balladry of "This is How It Ends," "You Want It All" and "Cry," the catchy folk rock of "5 O'Clock" and the brilliantly melodic pop of "Broadway Mission" (nice horns!) and "Tranny Song" (the latest in the U.K.'s ever-expanding line of tunes about cross-dressers—"He's been watching Doris Day again" indeed). The group has such an instant appeal it's easy to get sucked into its world, and once you notice the strength of the songwriting, you may never want to leave. Michael Toland [buy it]

For fans of: Supergrass, the Verve, The Soundtrack of Our Lives

JOHN TRUDELL
Bone Days
(ASITIS/Daemon)
You won't find many other records with this particular credit: "Executive produced by Angeline Jolie." Presumably this means the movie star bankrolled Bone Days, the fourth album by Sioux poet/activist John Trudell, rather than had an active hand in its making. Joined by his trusty right-hand men Mark Shark on guitar and Quiltman on vocals, Trudell mines the same vein as his last three albums: a basic, bluesy rock backing for his politically and historically charged verse. The simple melodies could be fuller, but this way they don't detract from Trudell's messages. "Undercurrent" and "Crazy Horse" explore Native American mysticism, while "Other Close Times," "Carry the Stone" and the title track address the needs of the human race in general. "Takes My Breath" and "Sorry Love" focus on more personal concerns, and come across less convincingly than Trudell's social commentary. Any missteps in that area are made up for, however, by the provocative "Hanging From the Cross," which boldly equates Indians with Jesus while at the same time rejecting the whole Christian philosophy. "We weren't lost and/We didn't need any book," Trudell intones in his inimitable rasp. Bone Days isn't as start-to-finish consistent as previous works like AKA Graffiti Man (the album by which Trudell shall forever be judged), but it's still a strong statement from a voice not heard often enough. Michael Toland [buy it]

For fans of: Joy Harjo, Robert Mirabal, Floyd Red Crow Westerman

JOHN WASHBURN
Stumbling Still Warm
(Wayward)
John Washburn seems to have most of the prerequisites for becoming a successful folk-rock singer-songwriter. An inarguably talented lyricist and guitarist with a solid and competent backing band, Washburn also has the look and pedigree of a true Americana musician. An East Village New Yorker via Berkeley, CA, Washburn touts (in his label bio) being steeped in the artistic and creative juices necessary for the life as a modern troubadour.

Stumbling Still Warm is romantically nostalgic at times and innocently cute at others, but Washburn's flat voice too often ruins the mood. His nasal twang is often slightly off-key and too weak to finish delivering the lines with the conviction or heart to make the songs more than just average. With the seeming over-abundance of Americana singer-songwriters today, it would be wise for new entries to be well-versed, well-backed and well-throated. Washburn has two out of three going for him but unfortunately that's not enough to save Stumbling Still Warm. Benjamin Johnston [buy it]

For fans of: Tom Petty, Bob Dylan, Chuck Prophet

Copyright © 2002 High Bias