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circa 1992. The soundtrack
collects a who's-who of
known and unknowns and is
bound to surprise even the
most jaded enemy of
grunge.
Soundgarden. Pearl
Jam, the Posies and Nir
vana are included, but you
couldn't do a retrospective
of Seattle grunge without
them. The producers of the
soundtrack stuck with their
early material. It's good to
have a starting pcint for
these bands to compare
their later material to. The
really exciting thing about
his album, though, are the
lesser-known bands.
Green River, who split
up, forming pieces of Pearl
Jam and Mudhoney. Tad,
Young Fresh Fellows,
Supersuckers and the Fast-
backs. all help to explain
why ever major label was
scouring Seattle looking for
grunge. The Gits, who
might have been the next
Nirvana if their lead singer
hadn't been muroered, are
a grunge explosion in their
own right. Screaming Trees
lead singer Mark Lanegan's
solo track is a beautiful, folk
break from the louder
tracks.
What HYPE! does best
is to capture the energy of
the moment, while reflect
ing some of the actual di
versity of the Seattle scene
before grunge became a
household word. HYPE!
also gives a broader con
text and history of grunge
by painting with such broad
strokes and with many of
ten-overlooked faces.
Neil Swanson
CHRIS HILLMAN &
HERB PEDERSON
Bakersfield Bound / Sugar
Hill Records
Ex-Byrd/Fiying Burrito
Chris Hillman and Ex-
Dillard Herb Pedersen have
recorded this great tribute
to the famous Bakers‘ ; eld
“sound” of the mid 1960s
made famous by Buck
Owens and Merle Haggard.
Fans of contemporary
country music may not be
aware of the influence of the
Flying Burrito Brothers and
Chris Hillman Although the
Burritos were a rock act way
back in 1969, their sound
was toe “country" for rock
audiences, complete with
pedal steel and songs
about cheatin' women. They
also were too "rock" for
country fans; just listen to
the electric guitar solo in
"Christine’s Tune." The fuzz
lead solo was straight out of
Haight Asbury.
On this new disc Hillman
and Pedersen cover a hit
parade of the best country
songs ever written. There is
the perennial Burrito favor
ite “Close up the
Honkytonks" and the won
derful cover of the best
song Hank Williams never
wrote, "The Lost Highway.”
“It's Not Love (But It's Not
Bad)'' by Hank Cochran
gets the royal treatment
here as does Skeeter Davis'
“Time Goes So Slow." Buck
Owens' “There Goes My
Love” and “He Doesn’t De
serve You Anymore” both
are played with all the oc
tane and heartache they
deserve.
Bill Scoggins
JONI MITCHELL
Hits / Reprise
Misses / Reprise
All the liner notes really
say about the simultaneous
release Hits and Misses is
Joni Mitchell doesn't like
the jewel case. Well into
Hits, the first lyrics that
caught me were "cart
wheels turn to car wheels,"
from "The Circle Game."
Seasons are important. She
comes back to nature imag
ery often, rooting herself.
Her voice soars soprano
trilling for no seemly reason
other than showing she can.
“Help Me” sounds like mu
sical comedy. This is not a
volume of greatness but
more a sampler urging the
listener to Explore! (her ex
clamation.) Her musing is
best.
More seasons, less slow
is Misses, showing how ba
nal hits can be. More ex
perimental with arrange
ments and instruments,
about every other song
worth salvaging, a 1940s
Radio Hour now and then
when bored, “bonfires in
her spine." She spans 1966
to 1994 and calls her last hit
in '91, by which time she
plays billatron, keyboards,
piano, dulcimer, collage
and electric guitar along
with her acoustic. She
swings in nostalgia, a body
of work, vinyl notches add
ing up to show a career of
outspoken observations.
josi Hltclull kits
Misses ends like all B-sides
should, leaving you thinking
there is more to hear. It's
easy to get accustomed to
the lyrical oversights for the
sake of art that accumulate
in lofty pretensions, clean
ing house. Never really lis
tened to her before, not
sure why she calls what she
does a hit. "...like a drag
onfly on a tomb" she ex
claims and often breaks
free, attacks the "poet" who
"asks some guy to circulate
his soul around" and cer
tainly may seem self-righ
teous at times. Eut unapolo-
getic, like in the Details in
terview she dio last spring,
if I remember correctly.
Douglas A. Martin
SINCOLA
Crash Landing in Teen
Heaven / Caroline
Records
Looking at the pictures
on the inside of this CD, I
thought that Sincola was a
band made up of really an
gry people. Or maybe just
really intense ones. Or
maybe both rolled together.
C'mon people, it's not that
bad being in a rock band.
The lead singer, in particu
lar, made me think of the
look on the face of Linda
Blair during most of The
Exorcist. With this in mind,
I expected a pretty rough
sound.
Ironically enough, the
music is actually edgy pop-
based stuff, as one might
expect from Caroline
Records. At times I heard a
less innovative Toenut, but
it's certainly no L7 or Fugazi
(as suggested by tne
scowling pictures). Of
course, I should have
guessed the pop angle just
by seeing a couple o f
Rickenbackers in the guitar
ists’ hands. You show me a
band that plays hardcore
with a Rickenbacker and I'll
give because of it, but
Sincola's edgy sound is
best left to the more head
thumpin' songs. And, okay.
I'll make them happy and
admit that maybe they do
have a little angst. So now
they can go back to scowl
ing.
Jeff Montgomery
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