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BASSHOLES
Long Way Blues 1996-1998
Matador
THE BASSHOLES' SOUND on Long Way Blues 1996-1998 is as crummy
as those scratchy and archival 78 RPM vinyl recordings historic
blues label Yazoo was accustomed to releasing. Those crackling
and sub-primitive acetates were steeped in lo-fidelity rural blues
tradition and shrouded in folkloric mystery. The same enigmatic
standard applies to the Bassholes led by guitarist Don Howland,
who started the group after the Gibson Bros. disintegrated. Howland
is a blues purist with a long list of punk-related credentials,
and this album, with drummer Bim Thomas, goes a long way to prove
his musical diversity and embrace his blooze-punk roots. Howland's
vocals possess the raw emotional depth of Rufus Thomas or Skip
James, and he brandishes his six-string weapon in the same trashy
exuberance of deceased junkie/hero Johnny Thunders. If former
New York Dolls singer David Johansen decided to unearth the corpse
of Charley Patton and start a crude punk-meets-Delta blues band,
Howland might be elected to carry the shovel. Howland is one funky-but-chic
singer songwriter who's always been historically aligned to the
twisted and fucked up roots of Americana music. On "Ass Welt
Boogie," his guitar recognizes a dissonant imprint as dizzying
and murderous as Link Wray's. "Hail Bop!" probes the
murky depths of a Collins Kids dance party parked next to an illegal
still in the rolling hills of West Virginia, a dark hillbilly
stomp that would make Hasil Adkins drunk with joy.
--Ron Bally
HORACE ANDY
The Prime of 16 Classic Cuts From The '70s
Music Club
ASTUTE LISTENERS WILL remember Andy from his recent collaborations
with British stoner gods Massive Attack, but he's been something
of a reggae legend for decades. This compilation offers up some
of his best work from the '70s for producer Bunny Lee. Dub fans
will recognize many of these tunes from the work of the late Jamaican
studio alchemist King Tubby. The Prime of Horace Andy collects
a number of songs Tubby later reinvented. It's striking to hear
these songs in their original form--especially after being weaned
on the dub versions. Gone are the cascading cymbals and thunderous
echo, replaced with straightforward instrumentation and Andy's
high, sweet voice. Tubby may have created huge sweeps of sound
with these tracks, but they also work well as stripped-down island
R&B. The whole album has a certain lo-fi charm, from Andy's
sometimes breathless delivery to beautifully fucked-up, out-of-tune
guitars. On occasion, Andy strays dangerously close to preciousness
or utters some cringe-inducing lyric, only to have a weird turn
of rhythm or horn solo save the song. Lyric content alternates
between social consciousness, paeans to the almighty weed and
typical boy-meets-girl treacle. As much as I loathe reggae cover
versions, he also manages to pull off a pretty cool "Ain't
No Sunshine." If anything, Andy brings to mind teenage American
rhythm and doo-wop singers from the '50s and '60s, like Frankie
Lymon or Little Stevie Wonder. Massive Attack followers and reggae
fans alike should definitely seek this one out for a welcome look
into the roots of a still-vital singer.
--Sean Murphy
MARK KNOPFLER
Wag The Dog (Soundtrack)
Mercury
THE DIRE STRAITER'S soundtracks for Local Hero and Last
Exit To Brooklyn offered some of the most heartbreakingly
gorgeous movie music in the last several decades. This 25-minute
mini-soundtrack features loads of Knopfler signature sounds--particularly
from his countrified side--but none of the noble, Scottish-influenced
composing that makes you want to march around the living room
in a kilt, waving something plaid. The guy's got the notoriety
and diversity film producers slobber after, as well as a tendency
to deliver soundtracks that top his work with that famous band
of brothers-in-arms. Not so with this one, unfortunately. It's
fine stuff throughout, but the rocker who has frequently whupped
fellow soundtrack rock 'n' reelers Ry Cooder and Randy Newman
comes up with wandering, moodless compositions that fall short
of his usual jaw-dropping work.
--Dave McElfresh
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