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Marc Ribot y Los Cubanos Postizos (The Prosthetic Cubans)
Self-titled
(Atlantic)
NEW YORK JAZZER Ribot pays tribute to late-composer/guitarist/
bandleader/tres player Arsenio Rodriguez with a collection of
the latter's compositions. There's plenty of Ribot's urban jazz
styling in the mix--so much, in fact, that cuts like "Aqui
Como Alla" bring to mind the Blue Note-era Latin jazz of
guitarist Grant Green. John Medeski, from Medeski, Martin and
Wood, sits in on organ and melotron. "Cuban Classics for
the Post-Punk Generation," boasts the sticker on the jewel
box--a perfect assessment of this accessible, slightly twisted
point toward Castro country.
--Dave McElfresh
Various Artists
Motor City's Burning, Volume 1 and 2
(Alive/Total Energy Records)
DETROIT'S DOMINANT influence on the punk/rock and roll sound is
undeniable. The motor city's '60s sound explosion, which began
it all, was a backlash against the then-hippie-love illusion promising
a falsely content future to a shoeless and aimless nation. Punk
forefathers like the MC5 strove to shake up the masses while blurring
the definitions of rock and roll. Their search for a medium between
free-love ethics, hard rock and free jazz surreality eloquently
captured the moment. The purely defiant Stooges delivered a slap
in the face to the flower-power majority, enforcing a musical
chaos later dubbed "punk rock." This two-volume spree
documents the beginning and the aftermath.
Equal respect is paid to '60s middle men, including Sonic's Rendezvous
Band and the Rationals, who receive less legendary adoration but
indeed have a wail of their own. Interspersed are more obscure
'77-era bands who reduced the punch and thud of Stooge-epics to
three-chord anthems. The Ramrods' cut bridges both genres, reflecting
Iggy-like vocals and deep bass riffs seeped in snarl and repetition--one
of the first singles of the "punk revolution." It all
started right here. The Boners' "Stupid Jail" is a predecessor
to the catchy, power-chord panoply on the radio today.
Some songs lack acceptable production; and cuts from current
acts like the Hentchmen and the Dirtys don't do these exceptional
bands justice. Some--like the Motor Dolls and the Inside Out--don't
deserve recognition. Regardless of personal taste, however, these
comps provide a thorough overview of the area's most notable trend
setters. Moreover, the majority of tracks were previously unreleased.
--Fen Hsiao
Magic Slim
Black Tornado
(Blind Pig)
IN THE FINE tradition of Chicago blues guitar-wranglers like Earl
Hooker, Hound Dog Taylor, and mentor Magic Sam Maghett, Magic
Slim and his trusty Fender Jazzmaster guitar detonate an incendiary
exhibition of no-frills, houserockin' blues shuffles on Black
Tornado, his third and best long-player for the Blind Pig
imprint. Black Tornado showcases basic albeit highly contagious
electrified urban blues steeped in rich Mississippi Delta tradition,
with absolutely none of the schmaltzy, overbearing horn sections
or blues-rock guitar overindulgence plaguing many contemporary
blues recordings. Magic Slim possesses two powerful and fundamental
weapons: a gritty, sandpapery voice, and a ferocious, slash-and-burn
guitar technique. To fully experience the hip shakin' Howlin'
Wolf-meets-Slim Harpo mannerisms of Magic Slim and the Teardrops,
examine "Magic Boogie"--the swaggering dance groove
envelops your soul and won't let go. The deliriously intoxicating
slow blues jam "Crazy Woman" stabs the air with Slim's
patented tremolo blues groove; his caustic vocals anchoring the
staccato guitar lines as he moans about a woman who's "got
some screws loose." Slim even pays homage to god-like Hound
Dog by covering his rambunctious slide guitar scuffle, "It's
Alright," with all the booze-soaked juke joint excitement
that made his music such damn sloppy fun.
--Ron Bally
John Forte
Poly Sci
(Ruffhouse/Columbia)
AS LONG AS getting paid continues to be an obsessive pursuit of
commercial-minded rappers, it shouldn't surprise us to hear hip-hop
records so intent to please that they seem written by market researchers.
But in this environment--where rhyming salesmen struggle to deftly
balance pop hooks and mainstream accessibility with tough words
and street credibility--if anyone has a legitimate right to hopscotch
through rap duality, it's John Forte. A product of both the streets
of Brooklyn and the halls of Exeter prep school, Forte just may
be this year's model for hip-hop success. On his debut Poly
Sci, keeping it real entails not only going head-to-head with
hardcore New Yorkers Fat Joe and DMX, but also invoking the new-wave
pop hits of Nena and Suzanne Vega.
Having appeared on the Fugees' The Score and head-Fugee
Wyclef Jean's The Carnival, Forte is now the first new
act to emerge from the group's extended crew (and label), Refugee
Camp. At its best--such as on "They Got Me," with its
nylon-string guitar hook and the Wyclef-produced hit "Ninety
Nine (Flash the Message)"--Poly Sci is very much at
home under the Fugees' stylistic tent. Intelligent and pop savvy,
Forte allows just the right blend of appropriation and recontextualization
to make his "99 Luftballoons" rewrite sound both familiar
and fresh. And on "God Is Love God Is War," the record's
most unconventional track, Forte has the good sense to temper
heavy philosophy and dark minimalism with a singsong backing melody.
Throughout Poly Sci, Forte seems intent on countering
each literary reference ("reading Hawthorne") with a
"mo'fucka," and following every shout-out to Dow Jones
with a complaint about a "bitch." At times, his token
gangsterisms sound less than credible. Often, though, he's able
to turn his inconsistencies into an asset and make Poly Sci,
true to its name: an exploration of the contradictory impulses
embodied in a single artist.
--Roni Sarig
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