2005-12 Vital Source Mag – December 2005
The Dials
By Erin Wolf Latest Flame Recordswww.thedials.us Chicago’s The Dials debut album Flex Time is an exciting encounter in the already well-behaved genre of dance-band pop/rock. Snarling like the throttled vocals of Sleater-Kinney and equaling their growly, growly guitars, yet jumping off of dance-y influences such as early Joy Division and Franz Ferdinand and pure poppers such as the Go-Go’s , B52’s, and The Waitresses, The Dials are a motley crew of influences, indeed. With claims to the Chicago music scene, probably better known for its harder-edged sounds, The Dials’ music is a surprising shade of bubblegum laced with pop rocks. Patti Gran’s guitar crunches up chords, Rebecca Crawford’s bass devours the capable drum lines set by the late Douglas Meis, while Emily Dennison’s Farfisa combo organ nibbles at the main rhythms by creating intertwining surf-rock beeps. The whole effect is like listening to The Waitresses who have had too much coffee on the job – wiry and invigorating, and definitely in your face. The lyrics are fun and pop-punchy in the same vein as The Ramones. In “Bye Bye Bye Bye Baby,” Crawford taunts, “You’ll be sitting pretty in your new shitty city with your new girlfriend / I can’t wait until it ends.” Crawford, Gran and Dennison trade vocal shrieks and sneers with the grace of well-executed high-school hallway insult swap. Flex Time is full of dynamic energy, the quartet slamming out notes and chords so fast, they threaten to self-combust. It’s dance music at its best for it has enough raw energy to not be coma-inducing, nor does it put on any airs – The Dials have a lighthearted yet raw and energizing sound, censored of any false pretences. VS
Dec 1st, 2005 by Vital Archives
Thelonious Monk Quartet with John Coltrane
By Blaine Schultz Blue Notewww.bluenote.com About a half-century ago, giants walked among us. They wrote and played music for extended low-key club dates, performing special concerts and releasing records periodically. Thelonious Monk and John Coltrane were two of these giants, and this recently discovered November 29, 1957 recording from the Library of Congress vaults is a vital contribution to their respective legacies. In the summer of ‘57, Coltrane joined Monk’s group at an NYC club called the Five Spot. The Carnegie Hall recording presents the group in more genteel surroundings. Regardless of venue, these musicians are at the height of their powers, Monk certainly the more established and Coltrane ready to open doors previously unseen. If Monk’s piano playing is less spiky and angular than typical (if there is such a thing as “typical Monk”), he certainly gets into the loose sparring with Coltrane’s sax. Opening with “Monk’s Mood” from the early show, the soloists riff and dance around and through each other’s phrases. By the second tune, “Evidence,” a slipstream opens up and Coltrane blows at will. This is the early stage of his technique of playing the notes of a chord in succession—later to be called “sheets of sound”—still within the tune’s melody. But with the benefit of hindsight, it seems he’s testing the boundaries for his later masterworks. Ahmed Abdul-Malik ‘s bass provides a sinewy walking line that is both strong and resilient enough to support and propel the tune. At several points, Monk and Coltrane play unison lines to state a tune’s theme. The effect is a thickness and depth that sounds like more than a piano and saxophone, with the keyboard sounding concise and the sax just on the verge of over-blowing. Credit also Shadow Wilson’s drumming and cymbal work, which seem to have been brought into focus with the digital mastering. The closing tune, a partial take of “Epistrophy,” can be heard as Monk’s statement of purpose. On this night there is a feeling of openness and genuine collaboration. Monk is ultimately unique and not always the easiest player to get a grip on. But this evening he, Coltrane, and the others sound unguarded in their enjoyment. VS
Dec 1st, 2005 by Vital Archives
The Brian Setzer Orchestra
By Kevin Krekling Surfdogwww.briansetzer.com It’s that time of the year again. A time for shoveling snow, mistletoe hookups, eggnog hangovers and Brian Setzer Christmas albums. The former Stray Cat is back again with his second holiday record in three years. And, what you get here with Dig That Crazy Christmas is pretty much the same as what you got with 2002’s Boogie Woogie Christmas. But we’re talking about a guy who has changed virtually nothing about his style since the early ‘80s, so what do you expect? The album is simply Setzer reworking old Christmas classics in his familiar uptempo, horn-driven, rockabilly style. But given the fact that the two newly penned originals are easily forgotten duds, and that Setzer’s voice sounds pretty rough, the album is actually quite fun. Does it stack up to A Christmas Gift For You From Phil Spector? No. But, at the same time, it’s not ‘NSYNC Home For Christmas, and that is something we can all be thankful for. So, if you’re looking for something festive, fun and tolerable to throw on this holiday season, this may be right up your alley. VS
Dec 1st, 2005 by Vital Archives
The Darkness
By Erin Wolf Atlantic www.thedarknessrock.com When The Darkness crash-landed on the stagnant rock scene two years ago, it startled hordes of music fans into stupefied wonder, creating either strong affinity or distaste. Cheeky hair metal can produce nothing but strong feelings. For those hordes still recovering from the initial shock of their first release, Permission to Land, The Darkness bring it on back with their latest, One Way Ticket to Hell…And Back. Somewhere, Freddie Mercury is listening intently to his emulating, three-octaved vox counterpart, Justin Hawkins. Hawkins, sibling Dan, Ed Graham, and Frankie Poullain have become Britain’s most-loved (and hated) rock band for sheer bombast, guitar solos straight from the ‘80s and stage personas amplified by J. Hawkins’ elaborate cat-suit costumes. The Darkness again come clawing through the paper bag that has confined rock music for nearly a decade. One Way Ticket to Hell…And Back slams another dose of tongue-in-cheek, elaborately sung and lovingly frosted heaven down our throats. Take the medicine with a spoonful of sugar or leave it. More solos, more vocal trills, more arena-rock bliss, more flippant than ever, The Darkness’ latest is just more. Confident to the point of annoyance, The Darkness rip through tales of rock-star woe, complete with cocaine sniffing. More orchestrally polished, thanks to producer Roy Thomas Baker (who also has worked with Queen and The Who), the band experiments with piano sounds, bagpipes, sitar, Moog and enough pan flute intro to satisfy Jethro Tull. From Bryan Adams-esque ballads to the fist-pumping title-track, One Way Ticket sounds more pulled together, more ballsy, and more competent: they don’t take themselves seriously, yet they can seriously play their instruments. The Darkness return with a triumphant scissor-kick in the air. VS
Dec 1st, 2005 by Vital Archives
