Bettie Serveert
Venus In Furs And Other Velvet Underground Songs
(Brinkman Records)
HAVE YOU EVER wondered if proctologists get sick of their jobs?
It's okay, you don't have to admit it, I've
done all the wondering for you. See, being from a small town and
all, I'm inclined to cheer on the underdog. What I've
heard about the practice of proctology is the paramount importance
of the under of the dog (so to speak).
I've reasoned that proctology equals gumption, for some
measure of courage must be present to commit to the study and
treatment of our least glamorous orifice. Certainly, they're
aware of that gap in prestige; we all know that proctology will
never have the spotlight that so many other fields of medicine
command. The proctologist will never have a shot at stardom. There
will never be a show about proctologists in L.A. or Chicago, mucking
around in the emergency room.
We must recognize that proctology will never be a cross-over
hit; the odds are better for a return of Cop Rock. The
only reason I bring this up (better to get this out of the way
fast) is that sifting through the crap that is popular music today
is analogous to peering into a vacuous sphincter devoid of all
hope.
Well, maybe it's not quite that bad. But in a land of
stinky Twinkies, it's better to blow up the Hostess bakery
than get suckered into the quest for delicious cream filling one
last time.
However, the Velvet Underground was one band that always delivered
the goods. In fact, the Velvets had sooooo many great songs
that it became a rite of passage for sooooo many other
bands to cover them. A short list includes: Jonathan Richman,
Peter Laughner and Suicide, as well as R.E.M., Yo La Tengo, and
Bettie Serveert.
But the Betties take it a step further by putting out a record
of nothing but Velvets songs. The best part is that it
actually works, since they play straight just as scores of kids
did in the past. There's no embellishment, no attempt at
making these songs their own, because they're not--it's
a set that respects the originators. So go out and get this before
some fool starts covering Hole songs and we're forced to
don rubber gloves and nose plugs.
--Michael Brooks
Deke Dickerson and the Ecco-Fonics
Number One Hit Record!
(HMG)
EX-UNTAMED YOUTH guitar wizard Deke Dickerson delivers a fine
mixture of '50s rock-and-roll, rockabilly, R&B, hillbilly
and country swing with effortless fluidity due to his down-home
singing style and nimble finger pickin' (the likes of which
recall '50s teenage guitar virtuoso Larry Collins, of the
Collins Kids). Number One Hit Record!, Dickerson's
debut solo effort, has more in common with the fun-filled hillbilly
swing of his last group, the Dave and Deke Combo, than the beer
swilling, frat rock-meets-surf shenanigans of Untamed Youth.
The custom made double-neck guitar Dickerson heartily endorses
enables this Missouri native to jump from the explosive Jimmy
Bryant-inspired instrumental fireball "Jumpin' Bean"
(with dual lead guitar provided by the phenomenal Collins) to
the plaintive string-plucking of country weeper "The End
of the Line." The bawdy "Poon-Tang," with special
introduction by Claude Trenier (of show-stopping '50s R&B
troupe the Treniers) is an obscene jump blues sex-romp with a
honking sax solo courtesy of Joey D'Ambrosio (one of Bill
Haley's original Comets).
Dickerson boasts a multi-talented backing band, the Ecco-Fonics,
featuring granite stand-up bassist Brent Harding, drummer extraordinaire
Brian Nevill, and Johnny Noble on second lead guitar, providing
the perfect foil for Dickerson's own. Forget Rev. Horton
Heat and his repetitious rockabilly-cum-metal pretension--ol'
Deke is the real deal, daddy-o.
--Ron Bally
|