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SUICIDE
Ghost Riders
ROIR
ANY ARCHIVAL RELEASE is bound to carry the whiff of nostalgia
along in its wake. Vets of the late-'70s and early-'80s New Wave
currently comprise some of the most passionate re-tellers of trench-stories,
fueled in no small part by the namby-pamby practitioners of retro
that infest the '98 scene like so many flowerpot-and-radiation-suit-clad
idiots queuing up for entrance at a game show taping: Contestant
No. 1, what year did cassette-only label ROIR issue a classic
'81 live album from electro punks Suicide...? Those of us
in the peanut gallery know the answer, of course (1986)--but more
crucially, we also understand why this CD reissue is an epochal
document of a never-to-return era.
Alan Vega and Martin Rev, respectively on vox and synths, were
half-hybrid and half missing-link, fusing free-jazz aesthetics
and prog-rock's technology fetish to punk rock's aggro thuggishness
and minimalism's sense of economy. Assorted other bits--the mantra-like
repetitiveness of disco and funk, occasional bursts of squalling
No Wave dissonance, Vega's S&M lounge-lizard-from-hell persona--helped
add to the duo's controversial image...not to mention giving each
man quite a set of coattails to hang onto long after Suicide's
expiration date. (Recent reviews suggest that the now-portly duo
currently isn't long on tedious cabaret, and is painfully short
on groove.)
Essayed here are most of the great Suicide "anthems"
(only "Cheree" is conspicuous in its absence): the low-end
throb and monochromatic Vega moan of "Rocket USA"; the
hiccup-rock technobilly of '50s homage "Rock 'n' Roll (Is
Killing My Life)"; the shuddering, extemporaneous wall of
sound that is "Ghost Rider"; the tragic, hymnal balladry
of "Dream Baby Dream." Audiophiles may blanch at the
analog-based sonic limitations of the source tape, but as a live
recording, this drips venom. And that's not nostalgia speaking
(ROIR, 611 Broadway, Suite 411, New York, NY 10012).
--Fred Mills
PAOLO CONTE
The Best Of Paolo Conte
Nonesuch
NONESUCH, THE QUEEN of world music labels, may have released this
as a result of last year's wave of interest in French streetmutt-singer
Serge Gainsbourg. Like the chain-smoking, angst-ridden Parisian,
Italy's Conte is a cabaret singer representing jilted lovers,
depression-induced alcoholism, seekers of truth and all the other
usual existentialist causes. As a plus, he's a hell of a melody
writer, conjuring up moods stretching back to the naughty '20s,
as on "Boogie." CD racks should feature a section of
male menopause music, where brooding songsters like Gainsbourg,
Rod McKuen, Jacques Brel and Conte can offer jewel-boxed consolation
to the post-40 crowd of sagging romantics. It's a novel category
of music these guys offer, and Conte is as good as any of them.
--Dave McElfresh
DWIGHT YOAKAM
A Long Way Home
Reprise Records
MUSIC CRITICS AND feature writers across the land are tugging
their forelocks over Dwight Yoakam, trying to reconcile his burgeoning
Hollywood career with his status as one of country music's most
enduring and innovative talents. Breathless and agitated, they
pose the same question over and over again: What does it all mean?
With his recently released A Long Way Home, Yoakam counters
with a succinct answer: Nothing.
Those seeking proof need only consult "Traveler's Lantern,"
a bluegrass tune so pure that, by the second verse, it conjures
images of mountain folk drinking moonshine while their barefoot
children dance with chickens around a campfire. So much for Yoakam
going Hollywood. If anything, A Long Way Home is a metaphorical
journey about embracing roots, not abandoning them. On his previous
collection of originals, 1995's Gone, Yoakam shunned his
honky-tonk pedigree in favor of a more mongrel sound incorporating
a broad tapestry of influences. Interesting, yes, but hardly memorable.
And a subsequent release of cover tunes was downright forgettable.
But now Dwight is back, and once again he's packing a punch.
While the masterful songwriting of A Long Way Home evokes
such Yoakam classics as "This Time" and "If There
Was a Way," it also explores fresh sonic territory, cultivating
a working balance between tradition and experimentation.
Ultimately, however, Yoakam is at his finest when twanging his
way through such hardcore honky-tonkers as "These Arms"
and "That's Okay," or balladeering on the haunting "I'll
Just Take These." While the arrangements on A Long Way
Home are spare, the sound is fat and crystalline. And Yoakam's
voice has perhaps never sounded better.
In a musical genre increasingly populated by sell-outs and popinjays,
it's reassuring to know there's an "actor" out there
capable of injecting passion and ingenuity into popular country
music.
--Christopher Weir
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