The Battalion
i
Thursday
Voice,
organ
itsfeh
Thursday, November 8, 1 990
Lifestyles Editor Lisa Ann Robertson 845-3:
Removing
that
waxy
buildup
By JOHN RICHTER
Andrew Farriss and Michael Hutchence are songwriters as well as singers on INXS’ X.
The following reviews are anything but random. In most
cases, they are albums I bought for the simple fact that I
figured I would like them. If that reaks of bias to you,
then so be it. After all, it’s difficult being so disgustingly
rich. Enjoy.
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The Replacements
All Shook Down
Sire
Their jacket includes a sign strapped to a
telephone pole with the lettering, “Have you
seen lucky?” The message is much more than
silly triviality for the down-on-their-luck Re
placements. Once the pride of the American
underground scene, Paul Westerberg goes
for broke with All Shook Down.
Down is not a true ’Mats album, but a solo
project instigated and supervised by Wester
berg after Sire balked at his solo aspirations.
Stinson, Dunlap and Mars appear only spo
radically on Down and with little impact.
How does Westerberg fare without his
drunken side show? At first listen, I cursed it
for not being Let It Be. After a few more few
plays, I’ve decided it’s the second best thing
Westerberg has ever done. It’s still tame, at
least Westerberg’s bite and personal animosity
can be found again on “Attitude” and “Happy
Town.” And there’s a certain classic ’Mats
style grovelled within. Elderly anarchy.
INXS
X
Atlantic
Yawn. Alright, so I’m probably the least
likely person to appreciate anything by INXS.
Kick was tolerable, but X is boring, pandering
to what else: the fruitless search for love, with
a neo-disco beat box to back it.
have realized the inevitability of such an un
equivocal statement. The Unforgettable Fire
and The Joshua Tree, as well as co-producer
Daniel Lanois’ solo work, set the stage for
Eno’s return in this ambitious project with an
other ambitious demigod, John Gale (Velvet
Underground, Songs For Drella with Lou
Reed)
While Wrong Way Up isn’t as memorable
as Eno’s Another Green World or Gale’s Paris
1919, it is a welcomed return for two of mod
ern music’s most important performers. Also,
I happily report that Eno does not emulate
The Joshua Tree. Actually, for better and
worse, it seems time has not changed Eno. He
still sounds the same.
Soul Asylum
And The Horse They Rode In On
A&M
Soul Asylum is a very promising band that
misses the finish line with Horse. The album
has several congratulatory moments, such as
the openin’ “Spinnin”’ and the slower “Nice
Guys (Don’t Get Paid),” but mostly dies from a
dearth of spontaneity.
Horse fails to capture the raw vibes of a Re
placements, which appears to be the direction
Soul Asylum seeks. The musical competence
is evident, but the dissemblance is not.
One good example of a smooth edge that
needs to be roughened out.
Dan Murphy, Dave Pirner, Karl Mueller and Grant Young find musical therapy as members of Soul Asy
lum on And The Horse They Rode In On.
m
After seven albums, INXS is lyrically stagnant, although
not all of X singularly evolves around the quest for intimacy.
Both “The Stairs” and “Faith In Each Other” portray the
need for greater relationships and understanding. But, Mi
chael Hutchence offers little to be excited over when gargle
turns to gurgle, or rejection turns to satisfaction. It’s all the
same here.
Worst of all, the music is the true turncoat, and when the
beat flatlines for a one-track band like INXS, it’s MTV or
bust.
■v/'TA
The Cure
Mixed Up
Fiction
One of my greatest fears is that the major labels will ex
ploit the artists of the ’80s like they have the artists of the pre
vious three decades. The multitudes of greatest hits, rarities,
and previously unreleased, live and special collections al
bums leave an ugly ring around the idealism of modern mu
sic.
I’ve said many prayers for the purification of today’s art
ists, but alas, here we are with the Cure’s latest release. The
11-song Mixed Up features, what else — 10 remixed tracks.
“Never Enough,” the new song, is a strong, aggressive num
ber, but the rest of Mixed Up seems pointless.
Of the remixed tracks, the dancier numbers such as “Hot!
Hot! Hot!” and the “The Walk” fare better than the more
reticent numbers, such as “A Forest,” which loses its tranquil
ity. The point is, why tinker with already great songs? It’s not
as if the Cure has reached a creative drain. Remixes are the
domain of one-time wonders like Paula Abdul, not for a
band that despite breakup rumors shows no sign of creative
stoppage.
The only answer can be money. And since Robert Smith is
actively promoting Mixed Up, I must blame him. Shame on
you, Robert Smith.
k
^!
SAMIAM
SAMIAM
New Red Archives
Another promisin’, California indie, SA-
MIAM is an erratic collection that contains
several gems. The angry “Home Sweet Ho
me,” the inspririn’ “Bridge” and the self-pityin’ “Sympathy”
head a strong side one. The rhythm is fast and furious, but
with melody and direction; the lyrics are poignant and to the
point; and the vocals are strong and distinctive.
Side two, however, loses a little of the above trio, especially
on points one and two. Plus, the group should be shot for its
lyrical insertion of “Lucy In The Sky With Diamonds” on
“Trusty.” Still, it’s definitely worth the trouble, but 1 wish it
had been an EP.
The Replacements’ newest album, All Shook Down, may not be
their best, but it’s worth listening to.
But, at least Indigo Girls set their sights beyond their own lives, refus
ing the narcissism cited in the opening, “Hammer and a Nail.” The lead
ened arrangements next echo the sparkling themes. A good example is
“Hammer and a Nail,” a faster, catchy number, and even the quasi-omi-
nous “Welcome Me” incurs noticeability. After that, song distinction is lost.
I realize most Indigo Girls’ fans appreciate the simplicity of the acous
tic backdrop, and Sabers’ and Ray’s preoccupation with the Dylan theme,
but the consequence is stagnation, and nomads is full of that.
Rollins Band
Turned On
Touch n Go
“The last person you blame is yourself when you feel like a
victim, and it feels great... to be put upon by love. This song
is called ‘You Didn’t Need to that to Me.’ Let’s all revel in it.”
Henry Rollins has an uncanny ability for touching on com
monality through his harrowing despondence. Turned On,
an album worth reveling over, is also one that poignantly
captures Rollins Band’s fatalistic stumbling, and Rollins'
witty yet wicked tongue.
Turned On’s strength lies in the double album’s six new
songs (all either strong and graphic, or very funny), and
Rollins’ perverse efficiency at extracting laughter from tense
atmospheres. Only uneasy laughter can follow a song about
mental and spiritual destruction.
As for the sound, the reproduction is good, but unfortu
nately, sloppy editing (especially fade-ins and -outs) mars the
album’s continuity.
Indigo Girls
nomads*indians*saints
Epic
Bitten by a lack of separation from Indigo Girls, nomads is
a mediocre collection of social, spiritual and environmental
awareness. The songs funnel within one another, and the ly
rics, although well-intentioned, seem grandiose.
Brian Eno/John Cale
Wrong Way Up
Opal/Warner Bros.
I never thought I would hear Brian Eno croon another pop song. Roxy
Music’s original keyboardist, who despite his anonymity has remained a
critical favorite and industry wizard (U2, David Bowie and Talking
Heads), swore he would never return to the pop fold after a string of in
fluential new wave-avant garde-pop albums (he broke the promise some
what when he collaborated with German ambient artists, Cluster).
Eno, a forerunner of today’s yuppville New Age movement, should
Wartime
Fast Food For Thought
Chrysalis
Wartime is a Henry Rollins and Andrew Weiss (bassist of
Rollins Band) production that bares no relationship to its fa
ther. Wartime is an alliance of Rollins’ individualistic fervor
and Weiss’ bass experimentalism.
The pairing is perfect. Rollins’ modulated vocals induce
clear, metallic warbles and ominous whispers to contrast with
his usual vindictiveness. Weiss’ equally modulated bass
sound, and catch-all, rhythmic percussion forge the novel at-
moshere, void of guitar, drumming and keyboards.
The tone is aggressive, yet definitely infectious, with the
opportunity for commercial appeal.
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