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Flagpole Magazine
December 11, 1991
Ear Wax Facts
Trip Shakespeare
Lulu (A&M)
This is one that just has to grow on you after a few spins.
The songs are still as strong as ever, so that's not the
problem In fact, you find yourself humming them five
minutes later. However, the band wanted to find that "live"
feeling, so they set
up in the studio and
played the songs as
if it were concert
time. While Trip
Shakespeare is one
of the best live
bands you will ever
hear, something
goes painfully awry
in the translation to
disc. The results
here are weak,
tinny, and lifeless.
The vocals, usually their strong suit, lack presence
(particularly when they shift to their trademark falsettos in
“Down My Block" and “Will You Be Found") and detract
from the depth of the songs. As you might expect, the
rockers are what work best this time. “Bachelorette" ,
"Patricia", and "Your Mouth" are pulsing gems. Also effec
tive is the ballad "Today You Move’ and the gnashing title
song. Oddly, the CD liner uses a line from that song ("do
you remember, do you recall?") to pay tribute to another
Minnesota band that lost its way upon heading to the
majors. One has to wonder if this is A&M's fault, or just a
great idea that didn’t quite work. In any event, this uneven
effort still begs for attention, even with the flaws. (Someone
please give the drummer my phone number!)
J. E. Sumrell
Tar
Jackson (Amphetamine Reptile)
Jackson is the third release by Chicago's Tar on the
Fresh Pasta,
Pizza,
Calzones,
Sandwiches,
and Salads
354-6966.
401 E. Broad St.
AmRep label. The band combines heavy, solid rhythms
with smooth, lightly distorted, layers of guitar. The arrange
ments feel very natural, and manage to build form quiet,
soft parts up to explosive levels, such as those found in
“Short Trades". Tar continues to hold up the reputation of
the midwest to kick out great bands, like the Laughing
Hyenas and the Jesus Lizard.
I was pleasantly surprised the first time I heard this
album. I really like what the bassist does. He plays with a
sharp attack that is complimented by a nice round sound
. (I wonder if his sound has that much to do with that wild,
aluminum, hollow body bass guitar.) Jackson is full of
songs with enjoyable
bass progressions,
like "Cross Offer", and
pounding rhythms,
such as the last song,
“Viaduct Removal".
The guitars strike a
nice balance between
sustain and rhythm,
and makes good use
of feedback. The
vocals are spoken
rather than sung, and
are sort of reminiscent of Big Black.
If you enjoyed what you saw at the 40 Watt a few weeks
ago, or liked what Tar did last year on Roundhouse, then
you ought to pick up Jackson. I like it, and would say that
it is one of the best releases of this year.
Doug Ahern
Beanland
Beanland (HiCool Records)
The band Beanland and its four members may sound a
little foreign to most readers, but their sound is downright
righteous Southern rock 'n' roll. Following such predeces
sors as Little Feat and Widespread Panic, Beanland is set
to become the next G A. Theater filler. Originally from
Oxford, Mississippi (Ole Miss for non-Geography majors)
they have become a favorite in the Deep South. Beanland’s
sound is a distinct combining of Memphis and New Or
leans, blending rhythm and the Blues throughout.
The album begins with some solid rock rhythms that
carry you all the way through to the “Panic" style instrumen
tals on the second side. The exceptional finger work of "Jo
Jo" Herman is superbly displayed in an old Professor
Longhair cut, “Stager Lee." Herman rolls up and down the
keyboard so frequently you might beleive Jerry Lee Lewis
was slamming on the keys.
Beanland’s energy is phenomenal, the last time I heard
a band with this much energy it was the aspiring band
Allgood. With this combination of talent and energy,
Beanland’s first album is certain to please even the most
die-hard Southern rock *n* roll fan. If not, just save your
copy until they sign with a big record label; then you can be
cool, too.
J. Brandon Tidwell
Gin Blossoms
Up and Coming (A&M)
I wonder if A&M was really doing these guys a favor
when they signed them up to that Major Record Deal. Will
they EVER
pay off the
loan?Tothis
end, I am
trying to re-
member
Major Label
Debuts as
boring as
this one
from even
tual big-sell-
ers. It strains the cranial. From the clich6 opening of “Mrs.
Rita," to the familiar major-chord progressions of "Allison
Road," to the no-bram, stand-a-mike-in-front-of-’em’n-see-
what-happens approach to the production, it all recalls a
scund of no fury heard over and over in this famous college
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