2003-10 Vital Source Mag – October 2003
Elvis Costello
By Jon M. Gilbertson ELVIS COSTELLO North Deutsche Grammophon www.elviscostello.com As he grows older and perhaps wiser, Elvis Costello increasingly resembles another former enfant terrible from the UK: writer Martin Amis. Both sons of notable practitioners of their respective arts, both more famous than their fathers, they are almost embarrassingly skillful and variegated: Amis the novelist, reviewer, journalist; Costello the explorer of New Wave, Tin Pan Alley, country & western, rhythm & blues. Costello’s latest album, North, finds him meditating in the gorgeously melancholy shadows once inhabited by Cole Porter, the Gershwins et al. He’s been there before, but never so deeply. His facility with the forms – particularly the alternately lush and spare arrangements, which include a horn nonet, the classically trained Brodsky Quartet, and Attractions keyboardist Steve Nieve — recalls the clarion blurb on Amis’ last paperback, 2002’s The War Against Cliché: Essays and Reviews 1971-2000: “Is there anything Martin Amis can’t write about?” Indeed. Is there any musical style Elvis Costello can’t master? More to the point, does a creative chameleon eventually forget or lose sight of what he’s best at? The most devoted Costello fan, asked to define the man’s essence, would reach for the early work, its electric guitars and tumbling wordplay. Yet North deserves better than polite applause. Even more than Painted From Memory, Costello’s much-lauded collaboration with Burt Bacharach, these 11 songs weep with the admission of a romanticism usually thwarted by irony or buried in anger. From the desperation of “You Left Me in the Dark” to the serenity of “I’m in the Mood Again,” North is about passionately careful artistry. It is about Elvis Costello’s cracked but strong baritone register. It is about grace in the teeth of love. Above all, North is about hopes: betrayed, dashed, renewed, fulfilled. The album represents the outpouring of a beating heart, not another notch in an artist’s impressive catalog.
Oct 1st, 2003 by Vital Archives
Is this thing on?
By Frizell Bailey The view from Ben Merens’ 23rd floor office is spectacular. It sweeps the eastern half of downtown, with the river and the lake as bookends. Admittedly, not at all what you’d expect from the offices of a public radio station; a ClearChannel office, maybe. “It’s a little embarrassing,” Merens says with a smile. He explains to visitors and would-be public radio members and underwriters that Wisconsin Public Radio got the space at a steal when occupancy in the building was low. Merens is the host of a call-in talk show that airs from 3 p.m. to 6 p.m. on the Ideas Network, broadcast in Milwaukee at 90.7 FM. The show covers current events and includes expert guests, policy makers and commentators. It’s a perfect fit for Merens. But it took a while to get there. PR = Public Radio. Merens studied Public Relations at the University of Wisconsin in Madison. He admits that he didn’t really know what career he wanted to pursue while studying at UW. He recalls one of his professors hinting that Public Relations might not be for him. “She said ‘you’ll never practice a day in PR.’ I don’t know why she said that; I didn’t know it, but she was right. I never really have.” After graduation, he took a year off from school to study with the Second City Theatre Group in Chicago. He got a job doing singing telegrams to pay the bills. He eventually went back to school and received his Masters from Northwestern University’s Medell School of Journalism. Over the next few years he worked in print and radio in Long Island and Chicago, but he still hadn’t found his niche. In the late 80s, Merens was teaching at Chicago’s Columbia College. He remembers telling his class that it was not enough to simply get your degree without a plan for what you wanted to do once you completed your studies. He challenged them to think about what they wanted out of their career. They, in turn, challenged him. He had to admit that he didn’t know what he ultimately wanted to do, but he promised them that he would have an answer for them by semester’s end. He soon realized that what he liked most about journalism was asking questions and conducting interviews. “I was the kid in school who was always asking questions. My teacher would say ‘what is going to become of you, you’re always asking questions?'” Fast forward. Merens has been with Wisconsin Public Radio for twelve years, a job he might not have noticed had his wife not brought it to his attention. “I was looking for work and my wife said ‘have you read the paper today?'” It was Sunday night and he was in no mood to sift through the classifieds. But he took the paper from her and noticed the ad for a host/producer for a nightly business show on Wisconsin Public Radio. Ben landed the job, and in an […]
Oct 1st, 2003 by Frizell Bailey
Nappy Roots
By John Hughes NAPPY ROOTS Wooden Leather Atlantic www.nappyroots.com Nappy Roots are the best musicians to come out of Kentucky since Joan Osborne, and a lot more fun. On this CD, like a champion racehorse at the Kentucky Derby, they burst out of the gate, grab an early lead, hold the pace despite some stumbles, and surge to a win. I am a 46-year-old white male, on whom the charm of hip-hop is often lost, and I can’t get enough of Nappy Roots. They have an infectious groove on 15 of these 18 songs; if you’re at all well they’ll get you on your feet, shaking it and clapping. The glorification of violence and misogyny so prevalent in much of rap is absent here. These gentlemen obviously have been listening to country blues, traditional soul gospel, Caribbean rhythms and Philadelphia soul, as well as hip-hop. But they are not at all derivative. They carry their forbearers in their hearts while living in the present, and create a vibe of joy and freedom. Nappy Roots are deeply proud of their rural background, and consequently remind me of the defunct, lamented, Arrested Development. But these ambassadors of the Bluegrass State are more lovable than Speech and Company, because Nappy Roots deploy funny vocal stylings, and avoid prophetic pretension. It’s just a rhythm party from start to finish, marred by a few bad songs, but ultimately ready for the Winner’s Circle. Yea, Kentucky!
Oct 1st, 2003 by Vital Archives
The Upscale Vagabond
By Frizell Bailey One evening I was walking down Brady Street when a couple sitting on the sidewalk near Jimmy John’s asked me for some spare change, a fairly common occurrence. Usually, depending on my mood, I fork over whatever I happen to have in my pocket or say I don’t have any cash on me if my pockets are empty. The pair was a young couple, probably in their early to mid twenties. Their black lab-ish dog sat next to them wearing a bandana. Given my situation at the time, the term “spare” change had taken on a much more literal meaning. Struggling to balance graduate school and a personal life out to kill me, working had become sporadic at best. I politely told them that I had no change to offer and continued on my way. But a block or two down the street it occurred to me that there was something rather odd about this down-on-their-luck trio. While the two humans looked sufficiently scruffy to be panhandling, the dog looked decidedly less needy. What nerve they had, I thought to myself, to ask me for money when they have a dog that looked like it had never missed a meal or bath. The couple, I decided, must be dirty and un-kept out of personal choice, or to scam suckers like me for change. This got me thinking about myself and my own situation. My well kept appearance belied the fact that I had no job, very little money, and no place of my own to live. Despite this I had managed, through the kindness of others and other more creative means, to fairly closely maintain my standard of living. This was the genesis of the upscale vagabond. The Ethos of the upscale vagabond. The upscale vagabond ethos was borne out of necessity. Since college I have acquired certain tastes. Though not quite caviar in scale, my personal likes are definitely not the ramen noodle tastes of my undergraduate days. Needless to say, even though I was temporarily “down on my luck,” I had no desire to return to this lifestyle. Upscale vagabond existence is about living above your means, but without actually paying for it. It’s about being able to sip suds or martinis when you can really only afford fountain drinks with free refills. It’s who you know. The adage “it’s not what you know but who” applies not only to getting a great job, but also to having a fun and fulfilling social life, especially when money’s a little tight. When you’re broke is not the time to be timid or introverted. Trust me, people will exchange cocktails for lively conversation. On the question of libations, the first thing you want to do is chat up your bartender. They’re at work so they have to be there. And especially if they are working a shift alone, they’re probably jonesing for a little conversation, particularly with someone who is not either tanked out of their mind […]
Oct 1st, 2003 by Frizell Bailey
Marj Hahne
By Russ Bickerstaff MARJ HAHNE notspeak When the instruments and singing voices are left out of audio, all that remains is the music of spoken ideas. In her poetry CD notspeak, Marj Hahne presents a gently flowing symphony of ideas almost completely devoid of music. What little music there is serves more as a segue to the next track than an accompaniment. The tracks add up to 39 minutes of audio, but there is far more here than a pleasant half hour. The CD contains 21 tracks that serve as doorways into a microcosm of familiar worlds that grow richer in depth with repeated listenings. Hahne’s childhood Barbies wore only go-go boots, and she describes them in the same tone and rhythms she uses when evoking a bug splattering on a windshield. One track honors New York with the words, “minus the twins.” It is one of the few points in the CD where Hahne’s cadence picks up a bit. She has a dreamy precision, hypnotic in its stark simplicity. Concrete pastel words form linguistic landscapes spoken in a voice lost somewhere near the horizon of its own distant rhythm. This is the kind of relaxing experience that can electrify when the last track ends, the dream lifts and the senses return. Interested in obtaining notspeak?Contact Marj Hahne at: marjhahne@earthlink.net.
Oct 1st, 2003 by Vital Archives
June Carter Cash
By Brian Barney JUNE CARTER CASH Wildwood Flower Dualtone Records The heartbreaking beauty of June Carter Cash’s last record, Wildwood Flower, defies description. The tracks flow in an autobiographical movement, where the purest of instrumentation provides the background for songs that tell the stories of a life based on tradition, and values that escape the trappings of politics and trend. The CD is an obvious final testament to her 2002 visit to her parents’ home in Virginia, where she sat on the back porch, singing family classics with husband Johnny, and her cousins, Janette and Joe Carter. What followed was a two day recording session producing 14 songs, eight of which are heard on Wildwood Flower. Opening track “Keep on the Sunny Side” sets the tone with rich, full bodied, piercingly bright 6-strings that provide accompaniment to her voice which, while somewhat quavering, resonates with as much strength and emotion as the version recorded by her late mother on the Nitty Gritty Dirt Band’s Will The Circle Be Unbroken. The enchantment continues throughout with gut-wrenchers like “Storms Are On The Ocean” with its’ string arrangements so achingly beautiful that…well…let’s just say, it could set a grown man to weepin’. There is also an air of fun and abandon in tracks like “Temptation,” and snippets of conversation between June and family spanning time from early Opry days to the current sessions. Standout tracks featuring flat top at its’ best can be found in “Alcatraz” and “Cannonball Blues,” while gospel meant for hand holding and praise is displayed in classics like “Anchored in Love.” The Carter/Cash coalition has long been considered by many to be the most important and influential contribution to Americana and country music ever, and proof of that is certainly found in this must-have record.
Oct 1st, 2003 by Vital Archives
A Dance of Survival & Freedom
By Alexander Ragir In the 17th century, African slaves in Salvador (Brazil’s oldest city) were routinely shackled and beaten. But those slaves of 400 years ago were not as beaten down as they may have appeared to their Portuguese slave masters. Always coming up with ways to survive their oppressors, the slaves practiced combat moves under the guise of a dance, and taught one another how to fight. When you watch Capoeira dancers/athletes in action it’s easy to see how those 17th-century slaves from Angola outwitted their masters: the purpose is to avoid aggressive movements, instead relying on stealth. The martial art was outlawed until the 1930s in Brazil; now you see it everywhere in the city of Salvador. Salvador was the second most important city in the Portuguese empire after Lisbon, and the center of the sugar trade. The city is said to be the most “African” place outside of Africa. It is also one of the poorest places in Brazil. The old city of Salvador, Pelorinho (meaning “whipping post”), was formerly the home to Bahian aristocrats and its cultural elite. Descending from the baroque architecture — gold-filled churches and beautiful mansions at the top of the hillside — are steep, twisty cobblestone roads paved by the hands of slaves. Four centuries later my North American friend, Joey, and I drank in the same breathtaking view overlooking the plaza below. A man approached us, spreading arms colored with beaded necklaces in the shape of a berimbau, the principal instrument of Capoeira and proclaimed, “Amigo!” He went on to inform us that 10 necklaces for three reals (90 cents) is a good deal, because all the Bahian women love them. Today, Pelorinho is restored for tourists and packed with restaurants, bars, art galleries and boutiques. The architecture is wealthy 17th-century Portuguese, while the culture is more African or Jamaican than South American. The relationship between past and present in Pelorinho is striking; understanding it, elusive. Survival on the streets. The spirit of Salvador is belied by smiles and overfriendliness that lend a superficial air of gaiety, but its true theme is survival. Whether being befriended by a stranger, seduced by a woman or being invited to participate in a Capoeira performance, tourists will be asked for money afterward. Native Salvadoran culture was developed through a struggle to survive as slaves. Now, the spirit of survival embedded into that culture dips into the hearts and pockets of tourists. Begging in Salvador is endemic. If you do not completely ignore the beggars, you will be surrounded with palms-up. For many in Salvador, one American dollar is equivalent to one day’s work at minimum wage. We had arrived that morning from the red-eye, an 11-hour bus ride from Puerto Seguro, and were waiting on the front steps of what is now the Jorge Amado Museum. It was to reopen after the midday siesta. The humid heat made it hard to breathe. As we sat on the steps, the man with necklaces tried new […]
Oct 1st, 2003 by Vital Archives
Oh My God
By Brian Barney OH MY GOD Interrogations and Confessions Novo Records www.ohmygodmusic.com Since their reincarnation under their current moniker in 2000, Chicago’s art rock trio, Oh My God has been creating a national buzz, prompting kudos from the likes of VH1 and Rolling Stone Magazine without the support of a major label. Their third full-length release, Interrogations and Confessions, is another step upward in this highly original band’s climb to the top. No guitars needed here, as the keyboard genius of Iguana brings on a Leslie-driven tidal wave that drenches the listener with an erratic, quirky smoothness showing a flip side that has more muscle than any stack of Marshalls can muster. Lead singer/bass player (and Milwaukee native) Billy O’Neill fronts with a theatrical flare and a voice that has Sinatra’s smoothness with the edginess of Bono at his best. Newest addition, Bish, holds things together with a drumming style that leaves the novices awed and experts impressed. The disc is a bit of a departure, with a few tracks that seem to creep toward the fringes of the mainstream. Cuts like “Our Loves” and “Shine,” show radio friendliness, while the driving, almost ballad-like beauty of “February 14” (in this writer’s opinion, the record’s high point) has a flavor that could easily be described as national. For those of you who have come to love the band for its’ eclectic and “artsy” side, don’t despair; songs like “Tom” and “Rat Man’s Confession” along with the bicep flexing drive of “Volatile” and “Get Steady” will leave you with plenty to chew on. In a recent interview, Iguana talked about their struggles on the road. “We played 114 shows last year covering both coasts, and only had a hotel twice. Hard touring has caused us to look inward” he stated. The boys seem to have done just that, coming up with yet another body of work that is as unpredictable as it is accessible. There is no filler on this album. Like all their prior work, OMG’s latest is a work of art.
Oct 1st, 2003 by Vital Archives
