back beat

Rip It Up, Issue 203, 1 July 1994, Page 37

back beat

PAUL KELLY Wanted Man (Mushroom)

The problem for even the greatest singer-song-writers is how to keep their sound alive and interesting, beyond folkiedom. The Messengers’ time was up, and here Kelly experiments with various feels using Melbourne and LA musicians. He drops Australiana and becomes more personal, tries reggae, even a noirish torch song. But it works best when he’s not trying so hard, on the narrative ballads that are his forte: ‘Song from the 16th Floor’, ‘Love Never Runs on Time’, ‘God’s Hotel’. On these, he’s John Hiatt’s equal — now there’s a singer-songwriter who stays alive, by changing his band with his underwear.

BOZ SCAGGS Some Change (Virgin)

“The Buzz is back” claimed the last Scaggs comeback; this time it's true. Taking a hint from Bonnie Raitt, Boz sounds refreshed by updating his sound while staying true to his roots. The production is big and warm, but subtle (he plays most instruments himself), and the songwriting has both diversity and consistency. Boz regains his

crown as the best-dressed white soulster from such clothes-horses as Robert Palmer and Bryan Ferry. 70s survivors will enjoy this on their car CDs.

JIMMIE VAUGHAN Strange Pleasure (Epic)

This Fabulous Thunderbird goes places you don’t expect: down Texan backroads. Acoustic and loose, with sophisticated colours and genrebreaking feels, this takes in gospel, jump blues and R&B. It is guitar-heavy without the overblown tendencies of his brother; ‘Six Strings Down’ is Jimmie’s ‘Tears in Heaven’, a paean to Stevie Ray and all lost blues players. This drips with Freddie King but will also please Ry Cooder fans, especially the after-hours guitar doodles with Dr John. Produced by Nile Rodgers (watch out Don Was!).

WINDY CITY STRUGGLERS (Eelman)

Twenty-five years after shocking the local folk scene (they had amplifiers!), the godfathers of Wellington R&B make their first album. Rick Bryant and Bill Lake’s rootsy jug band mixes Chicago blues with classics both old and new

(‘Heartland’, by Lake and Arthur Baysting). Unpretentious and infectious, this has sincerity, expertise and taste; the authentic sound (slide guitar, double bass, tacked piano, Little Walter harp) sometimes emulates 2120 Michigan Ave, the Chess Studios.

VARIOUS ARTISTS Stone Rock Blues (Chess/MCA)

These songs are the birthright of rock’n’roll. They travelled from the Mississippi delta to the southside of Chicago, then across to London’s Dartford delta. There, Mick, Keith and Brian studied anything on the Chess label and either covered it or rewrote it. As we prepare for another Stones onslaught (the last time?) it’s good to remember the power of these originals: the macho strut of Muddy Waters, the wily wordplay of Chuck Berry, the magnificent Chess rhythm sections. Essential listening; next step, a Muddy Waters box-set.

BACKBEAT Soundtrack (Virgin)

“Let me hear some of that rock’n’roll music / Any old way you choose it / It’s got a backbeat you can’t lose it...” The Beatles at Hamburg, as recreated by young grunge stars (Soul Asylum, Nirvana, Sonic Youth, Afghan Whigs) for the forthcoming film. “Make them sound like a punk band,” Ringo advised producer Don Was, and the result is full of verve, energy and sweat, with strings breaking, voices croaking, cymbals smashing and tom-toms thumping. Dave Pirner (Paul) and Greg Dulli (John) just can’t match the masters’ voices, but this proves that the Stones didn’t have a monopoly on choosing good covers.

CHARLES LLOYD, CEDAR WALTON, BUSTER WILLIAMS, BILLY HIGGINS Acoustic Masters I (Atlantic)

“Got no kick against modern jazz / unless they play it too damn fast / And lose the beauty of the melody / till it comes out like a symphony ...”

Tasty sub-bop playing from former jazz-rock leaders who would have trouble keeping an espresso bar awake, let alone a supper club.

BOOKER T & THE MG’S That’s the Way it Should Be (Columbia)

Revitalised by Neil Young, R&B’s greatest backing band (with the Meters, that is) returns to remind us they were best with a vocalist. The MGs only had two singles — even the Abbey Road tribute, McLemore Avenue, didn’t make it, despite the great songs. With Booker T’s B 3 organ hogging the melody, this becomes lounge music —

there aren’t enough chunky chords from Steve Cropper, or lyrical basslines from Duck Dunn. The covers are best: the tantalising ‘Have a Heart’ (Raitt), seductive ‘Just My Imagination’, minimalistic ‘I Can’t Stand the Rain’, even the stately ‘I Still Haven’t Found What I’m Looking For’. But not Dylan’s ‘Gotta Serve Somebody’.

POPS STAPLES Father Father (Pointblank)

Pops may not have the voice of his daughters, but this captivates thanks to its warm, rich, modern sound, combined with Staples’s strong socialcomment originals and apt choice of covers. Swampy but slick, the languid feel gently wins you over. Highpoints include a big gospel ‘People Get Ready’ and a spare, credible ‘Gotta Serve Somebody’ (twice in a month??).

THE PAPER Soundtrack by Randy Newman (Reprise)

Soundtracks without pictures are rarely satisfying, but this may be as close as we get to a new Randy Newman album. He writes melodies in his sleep, it’s the lyrics he finds hard work. You can hear the kernel of song ideas, and lines that evoke Aaron Copland, Stephen Foster and Newman’s illustrious Hollywood music-making uncles. Unfortunately, the orchestrations aren’t his - although that’s where soundtrack greats such as Schifrin, Bernstein and North stamped their personality. The one song, ‘Make Up Your Mind’, is a throwaway. Newman devotees should see Maverick instead.

JOHN TRUDELL Johnny Damas and Me (Rykodisc)

Trudell’s debut AKA Graffiti Man wowed some critics: those that read lyric sheets. A Native American (ie, Red Indian), his PC spoken-word sermons are set to tasteful (ie, uninspired) white rock backing with ethnic seasoning. This has intelligence and integrity, but it makes the portentous Robbie Robertson look funky. Now if Paul Simon discovered Dances With Wolves ...

HACKBERRY RAMBLERS Cajun Boogie (Flying Fish)

The Hackberrys' camaraderie is contagious: these Cajun legends have been playing together since 1933. This has the feel of an old-time radio show, with explanatory dialogue, scratchy violin and Bob Wills vocal asides. But you can also hear the roots of Hank Williams and rock’n’roll — and a fun party you’re missing in a small hall outside of Lafayette.

CHRIS BOURKE