New Music Review: Moby -- Last Night

Alive in Concert Rating: 2.0 / 10.0

If Found, Please Feed Roasted Pork
and Place in Incubator.

Moby has been one of the most popular proponents of club / electronica for several years now, although I'll admit I've never been quite sure why. Aside from a couple of excellent tracks and a handful of recognizable commercial beds, his brand of music has always struck me as particularly fey. Ecstasy will do a lot for your listening pleasure, however, and one thing's for sure -- there is nothing in his oeuvre that could in the least bit offend anyone, being utterly innocuous as it is. Like a bowl of vanilla ice cream with marshmallow topping, Moby music eases by with nary a lump or an audio double-take.

This preconception notwithstanding, I sat down to absorb "Last Night" with my ears as open as they could be. I'll offer a running commentary on a handful of tracks.

Ooh Yeah: If you have ever felt the desire to hear a classic Abba disco track with all of the interesting parts removed, and slowed down to a nearly unbearable tempo, then this will be "right up your alley." I imagine the title comes from the fact that a sampled "oohyeaH" is heard consistently, unerringly at the beginning of every four beats. Just a guess. The strongest part of the track is the female vocal harmonies, which are kept timidly buried in the mix, as if Mr. Moby is afraid to make any one part stand out too much.

Okay, that's enough of that - the above-mentioned description holds true for pretty much the rest of the album: one endlessly repeated vocal sample, buried in the mix behind limp disco beats and soft house chords. That's the formula. Nothing interesting in the way of harmony, timbre, or rhythm. Move along, people - nothing to hear here.

Ironically, Moby takes a public stance against the use of drugs. I say ironically, because I think the only way I could be brought to enjoy this music is stoned beyond my cortex. And even then. . .

Overall, after giving "Last Night" the old college try for a few listenings, I would describe it this way: tired, bland, uninspired, and frustratingly unwilling to take a musical stand at any point along the way.

In the Apollonian / Dionysian continuum, music works best at one extreme or the other, unless we're talking about that rare artistic genius who can meld both elements with equal creative aplomb. "Last Night" sits oh so comfortably in some sort of detritus filter, smack dab in the middle of Blah-ville. If it were a book, it would be a competently written plumber's manual.

My advice: save your money for the plumber's manual.

New Music Review - Neptune - by The Duke Spirt

Alive in Concert Rating: 7.5 / 10.0

"Neptune" -- My introduction to The Duke Spirit -- was recommended to me, and I am thankful for that. After 35 years of voracious music consumption, it is still so rewarding to find something new by creative and inspired musicians - and that is certainly an apt description of the members of this pop/rock group from the U.K.

Without a doubt, the standout feature of The Duke Spirit is the singing of Liela Moss -- rich, deep and full-bodied. Sexy. She has a great instrument and she knows how to use it. I hear slight shades of Janis Joplin, Siouxie Sioux, heavier amounts of early Grace Slick, and, here and there, touches of Hope Sandoval. From the band, I hear some very early Rolling Stones and Kinks, Stax/Volt, and Motown - all well blended with a mix of the major developments in English pop music over the last 30 years. Oh - and a healthy fascination with Sonic Youth.

I hear yet another great British band that knows more about the history of American music than most Americans. This is Rock n Roll -- with a rhythm section that kicks it right on every time.

Equal parts driving and seductive, "Neptune" provides a solid listening experience with nary a clunker in the lot.

The songs are all original, and show a mature sense of song craft, featuring rich and powerful arrangements. These are musicians who know how to interpret their own material. It takes a firm grasp of the musical arts to decide where and when to use a Rock n Roll Flugelhorn.

"Neptune" is a real treat - I am very much impressed - and I recommend it whole-heartedly.

Members:
Olly Betts - Percussion, Piano, Drums, Glockenspiel, Backing Vocals
Toby Butler - Bass, Guitar, Backing Vocals, Horn Arrangements, Vox Organ
Luke Ford - Guitar, Vocals
Dan Higgins - Guitar, Autoharp, Hammond Organ, Backing Vocals, Omnichord
Liela Moss - Vocals, Organ, Harmonica, Percussion, Piano

New Music Review: The Black Crowes -- Warpaint

Alive in Concert Rating: 9.0 / 10.0

The Faces. The Rolling Stones. Jimi Hendrix. Led Zeppelin. The Band. Dr. John.

The Black Crowes have always worn their influences on their chests, and have proven time and again that not only are they fans but, in a musical sense, they understand their heroes. Chris Robinson and Co. are neither a novelty act nor a museum piece. They have produced consistently vital rock and soul music, and their latest effort, "Warpaint" may be the best so far.

On one hand, I sometimes feel guilty comparing musical artists to other musical artists. I mean, the Black Crowes stand on their own without having to make unfair comparisons to the Rolling Stones, right? On the other hand, they DO often sound like the Stones, and what's wrong with that? Would the Crowes really mind if anyone said so?

Besides, I think such comparisons are inevitable and unavoidable. What other way should we talk about music than to show its connectivity to tradition? And certain musical forms are more rooted in generational traditions than others -- like Jazz and Blues, for instances. One really shouldn't discuss the Rolling Stones without mentioning Howlin' Wolf or Muddy Waters. Laying out such landmarks for reference points gives credit to the source and also lends credence to the artist for proving worthy of being mentioned in the same breath. Ultimately, it allows for a broader commonality of rich musical language that we can all converse in, once sufficiently enlightened.

So, with that out of the way, let's go through this album for my second listen, and put down some random thoughts concerning musical guideposts.

Goodbye Daughters of the Revolution

This playful sense of rhythm - simultaneously loose and tight, sloppy but disciplined - is a 100% nod to The Faces. But the Crowes have now made this sound their own - it is now the "classic" Black Crowes sound. Wonderful slide guitar work.

Walk Believer Walk

Starts with a riff I can only describe as AC/DC, but soon turns into AC/DC heavy gospel dirge. More tasty slide work. I love the bass during the refrain. A little solo vocal chanting, a la Black Dog.

Oh Josephine

Almost everything about this cut sounds like Rolling Stones circa 1973: the opening acoustic sound, the soft wah filter on the lead guitar, the Keith Richards harmonies, the Nicky Hopkins-like piano, and Chris Robinson's lead vocal. If he wanted to embark upon a career as the Mick Jagger Experience, this would be a good demo. Really a beautiful song. Wonderful instrumental ending with a lovely little modal vamp line.

Evergreen

Heavy introduction - sublime dissonant intervals on guitar riff -- strong musty whiffs of Manic Depression -- more perfect organ work - C. Robinson in fine full sonority. Guitar solo = more shades of Hendrix. Who is this drummer? Note: must learn more about the drummer - he is extraordinary.

Wee Who See the Deep

Drum intro: Cripple Creek? Guitar riff: a graft of 25 or 6 to 4 with the turnaround lick from Hey Joe. Glorious and unexpected harmonies on the Chorus. I love the guitar solo, and now want to touch the hem of the drummer's garment. Outro features a breakdown to piano, vocal and slide guitar. Nice.

Locust Street

Mandolin intro - piano entry at chorus is absolutely spot-on gorgeous. I'm wishing they could have gotten hooked up with Emmylou Harris for this one. Beautiful chorus melody like a long lost child of Graham Parsons. This one is pure Americana.

Movin On Down the Line

It's all right sisters, It's all right brothers. Is that a mellotron? (Led Zep - No Quarter) Intro vocal chant build up and build up until it sounds like an outro instead, then the rock kicks in. Turns into some kinda New Orleans / Dr. John funk for a few lines. Main lick sounds like a little piece of Beatles' I Feel Fine riff. Instrumental breakdown section in funky 7/8 time with sweet harmonica soloing. Rhythm section is making me ruin my underpants.

Wounded Bird

Chordal intro -- The Seeker? After the first verse, song enters a beautiful and totally unexpected melody for the chorus -- it's grabbing me hard. Is this my favorite of the album? Could be.

God's Got It

Swamp stomp. Heavy. Think: Buddy Guy's "Sweet Tea" album.

There's Gold in Them Hills

Lyrically, a variation on Bob Dylan's Isis? Musically -- stunning. Just Brilliant. Chris Robinson's full talents as a singer are on display here -- excellent phrasing -- inspired melodies. Also, the Crowe's combined talents as an ENSEMBLE unit shine and shine and shine here. The honky-tonk section of this track is worth the price of the entire album. Random associative thought: the movie, "McCabe and Mrs. Miller."

Whoa Mule

Lyrically and musically, a perfect follow up to the previous track. The B.C.'s show off some folk roots, with this Irish / English-style jig transplanted to American soil. Wistful and innocent, it proves to be an effective way to cap this rootsy and soulful album.

So what else can I say? If you have even the tiniest inkling that you might enjoy this album, then by all means go buy it today. . . Now! I didn't think they made 'em like this anymore, so get it while it's hot.