High Bias aural fixations
May 12, 2002
CJ CHENIER & THE RED HOT LOUISIANA BAND
Step It Up!
(Alligator)
One would hope CJ Chenier is leading a good life. The son of Clifton Chenier, perhaps the most important zydeco musician to ever skirt the swamps, CJ was certainly groomed to be a zydeco kingpin. When Clifton's health was failing in the mid-80s, CJ was already playing most of the accordion in the band. After Clifton's passing, CJ inherited his father's accordion, as well as his Red Hot Louisiana Band. If CJ was dead-set on being an accountant, well, his heart must be broken.
Step It Up! is CJ Chenier's sixth CD, and it certainly sounds like he's having a good time. Consisting of a baker's dozen songs, Chenier leads his band through fiery dance numbers and slow weepers. On opener "Zydeghost," he utilizes the popular "double-clutch" rhythm that was central to the late Beau Jocque's sound. It's the uptempo material that suits CJ and company best, as he gets to show off a fine dancehall shout, not to mention his masterful accordion playing. "Coochie Coo Wi'Chou," "Eat More Crawfish" and "Zydeco Mardis Gras" are just a few of the nuggets that are typical of what we've come to expect from CJ. But "The Right to Walk Away," "Let's Agree to Disagree" and "The Power of Love" (even with its beautiful, ethereal accordion) all underscore that CJ's voice is stretched a little thin on the average ballad. They don't detract from the CD per se, as zydeco is about moving your butt, warts and all.
Zydeco remains open to evolution, a characteristic that's certainly due to Clifton's flirtations with blues and R&B arrangements. Step It Up! two-steps, waltzes and gets funky down the trail blazed by Clifton Chenier, which is exactly what we've come to expect from CJ. No surprises, no complaints. Pass the crawfish. Brian Briscoe [buy it]
For fans of: Chris Ardoin and Double Clutchin', Buckwheat Zydeco, Beau Jocque
ELECTRIC WIZARD
Let Us Prey
(Rise Above/The Music Cartel)
British power trio Electric Wizard enjoys quite a reputation as one of the heaviest and most stoned bands to come out of England since the late 60s. The "stoned" bit is probably a mixture of hype and truth, but it's hard to dispute the heavy part. On the band's fifth record Let Us Prey, the downtuned grunge of Jus Osborn's guitars, crash-heavy battery of Mark Greening's drums and almost subliminal throb of Tim Bagshaw's bass contribute to a stone(r) platter you need a forklift to move. Tunes like "We, the Undead," "Priestess of Mars" and "Night of the Shape" (which is adorned with spooky piano and haunting violin, just for ghastly variety) may be inspired by Osborn's love of cheesy (or is that "vintage") horror and sci-fi movies, but his tortured moaning is buried under so much graveyard dirt only a newborn zombie can tell. It's the riffs that matter, baby, and the ones powering "The Outsider" and the two-part epic "Master of Alchemy" will shatter eardrums and burn out speakers with the stoic determination of a tomb's worth of blind dead. There's been a lot of talk the past few years about "authentic" doom and the identity of the heirs to the legacy of Black Sabbath. Electric Wizard may not be the most original child of the grave, but with Let Us Prey it may very well be the best. Michael Toland [buy it]
For fans of: Cathedral, Angel Rot, Candlemass
THE MOONEY SUZUKI
Electric Sweat
(Gammon)
Every few years a band comes roaring out of the garage, Nuggets in one hand and Raw Power in the other, to be proclaimed the new savior of rock & roll. The Mooney Suzuki has that dubious honor at the moment, and while the NYC quartet may not be the second coming, it's certainly good enough to get the blood going. Leader Sammy James Junior is smart enough to know two very important things about making a garage rock/punk record: that he can't compete with the band's live performances and that he needs real, flesh-and-blood songs, rather than two-chord raveups, to make an album. He writes catchy, ballsy rock tunes that recall the much-glorified 60s era of the Syndicate of Sound and the Music Machine, but without ripping it off. The finely-crafted but energetic "A Little Bit of Love," the groovin' "It's Not Easy" and the explosive title track (which nods to the late 60s Detroit power rock sound) would be rock classics in any era. The band also underscores the music's oft-overlooked R&B roots in songs like "In a Young Man's Mind" and "I Woke Up This Mornin'." The quartet even understands the value of breaking up the fury with a good ballad, like "The Broken Heart" and "Oh Sweet Susanna." James' barrelchested vocals and the spitfire guitar work steer this racing automobile with the aid of the overheated rhythm section; as is always the case with this music, energy and passion mean more than originality. There's nothing new here, but if this kind of garage-spawned rock & roll is what you crave, you'd be hard-pressed to find anyone doing it better than the Mooney Suzuki. Michael Toland [buy it]
For fans of: Sons of Hercules, the Delta 72, the Cynics
MIKE ROSENTHAL
Movin' In
(Red Truck)
Austin-based singer/songwriter Mike Rosenthal debuted a couple of years ago with a self-titled album that posited a distinct take on roots rock, with a sound closer to Elvis Costello's King of America than anything by Uncle Tupelo. The followup Movin' In finds the guitarist moving even further away from the alt.country pigeonhole with which he was stuck towards a more traditional rock/pop sound. "More traditional" doesn't mean bland, though. Indeed, the effusive rhythms and sprightly hooks of tunes like "Alicia" (with its wonderfully memorable guitar lick), "Get Out of My Way" and the title track suit Rosenthal's catchy melodies, plainspoken rasp and journalistic eye for detail. Ballads like "Walkin'" and the remarkably nuanced "Shadows" move equally effectively through the shifting moods of Rosenthal's characters. The qualitative heart of the record is in the middle, as the trilogy of the dynamic "Jezabel," rocking "Marianne" and wizened "Hardened Hearts" stands as both a personal best for Rosenthal and as some of the most perfect pop released so far this year. Possibly the most interesting thing about Mike Rosenthal is that he's still developing his formidable talent; in other words, as good as Movin' In is—and it's very, very good—he has the potential to be even better. That fact makes the artistic success of Movin' In even more exciting. Michael Toland
For fans of: Freedy Johnston, late period Steve Earle, Chris Von Sneidern
RUBYHORSE
Rise
(Island)
Boston's anthemic Rubyhorse plays radio-friendly rock music on its debut album Rise, but it's the kind you wish you'd hear on the airwaves. Undeniably passionate and unfailingly melodic, the Cork-bred quintet never goes to any extremes, lyrically or musically. The arrangements always feature tasteful guitar and keyboard textures framing frontman Dave's soulful tenor (not unlike David Mead's), while the songs themselves mainly concern themselves with relationship and self-worth issues. Except for the explicitly dancefloor-oriented "Evergreen" (one of the album's best tracks) and "Horseless," there aren't any concessions to prevailing trends in electronic pop or rap-metal. The band simply plays its widescreen rock songs as if releasing them into the air will make everything better—"Live Through This," "Into the Lavender" and "Any Day Now" are difficult to resist. The earnest "Punch Drunk," which also boasts the distinctive slide licks of the late George Harrison, tickles the ballad bone with a sensual but not heavyhanded caress. If you're looking for innovation, look elsewhere, but if you want good songs well performed, Rise is the album for you. Michael Toland [buy it]
For fans of: the Devlins, Deacon Blue, Powderfinger
VINNIE SANTINO
That's Him Officer!
(Pacific Force, Inc.)
"The music on this album is intended to accompany opening credits, chase scenes, interrogation, and espionage," writes composer/multi-instrumentalist Vinnie Santino in the liner notes to That's Him Officer! Specifically, the credits, chase scenes, etc. should be from 70s cop shows. Backed by nuevo-swingsters the Royal Crown Revue, Santino smooshes jazz, swing, rock and soundtrack music together on a groovy set of tunes perfect for your getaway convertible. "Special Rate Sherry," "Natural Born Ugly" and "The Man With the Golden Peter Gun" sound like long-lost tracks from a television-theme compilation, while "Prehensile Tongue," "You Gots a Reel Purdy Mouf" and the eye-catchingly titled "Spastic Colon" remind the listener of the sense of humor at work here. Which isn't to say this is a complete novelty item—the musicians know their business, and Santino writes this kind of music as well as anybody. That's Him Officer! is the kind of groovy grin-inducer that just wants to have fun—in a perfectly legal manner, of course. Somebody call Adam-12! Michael Toland [buy it]
For fans of: Henry Mancini, Television's Greatest Hits, the Pogues' "Gridlock"
SUKILOVE
Talking in the Dark
(Hidden Agenda)
Belgian songwriter Pascal Deweze spent time in alt.rock up-and-goer Metal Molly and Bettie Seveert frontperson Carol Van Dyk's side project Chitlin' Fooks before getting Sukilove off the ground with this seven-song mini-LP. The title track opens the record with a swelling wash of melody and emotional expression, with Deweze's keening vocals taking the track near, but not over, the top. Once past that cut, though, the album puts itself into a much quieter corner, with light drums, sonorous piano and gently strummed guitar backing Deweze's tales of sorry love and forgotten dreams. "White Boy Blues" and "Make Sure My Grave = Kept Clean," a reimagining of a Blind Lemon Jefferson classic, show an impish sense of humor amidst the gloom, but "Too Dark to Dream" brings the record back under the bed. Talking in the Dark isn't the most immediately striking disk you'll ever hear, but it has its rewards for those with the patience to hear it mumble. Michael Toland [buy it]
For fans of: Palace, Big Star's Sister Lovers, Starsailor
Copyright © 2002 High Bias
