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missing Shagg sister. That's what makes
the sudden Robert Plant wailing on
"Uptighf such a jolt.
But Mr. Airplane Man obviously
knows what it's doing. Garret and
drummer Tara McManus never suc
cumb to fashionable junky apathy,
keeping pace even as they play
demanding tribute to Howlin' Woll
(‘Moanin'" awTCommit A Crime").
Fred McDowell (“Sun Smkin’ Low") and
the forgotten '60s fuzz rock outfit The
Eccentrics (“Podunk Holler")
Moanin' keeps up the slow-burning,
minimalist blues rock save lo: on its
reading of the traditional "Jesus On The
Mainline," whch wouldn't sound half
wrong between two cuts from the third
VU LP.
PS: In the past. I've confused Mr.
Airplane Man with Athens' Megaphone
Man. There's almost no similarity I
stand self-corrected, (sympathy
recordscom)
Emerson Dameron
BANDWAY
Night Rock
Backburner
This record is kmda' unnecessary if
you've already bought Back in Black or
Highway lo Hell, both of which you
should be ashamed if don't have.
That being said, if you're one of
[hose people that bookends their Stones
collection with Black Crowes records,
you'll probably want to bookend your
AC/DC records with this one For one
thing, these guys do a much more
enjoyable, and refreshingly less-earnest,
take un Australia's finest than Atlanta's
finest ever did on Mick and the boys
Scratchy vocals, guitar riffs delivered
like cinder blocks, and song titles like
‘Gone Rocking." "Day Weekend." and
“Major Damage"—it's all here. It the
Engine Room ever gets tired of Back in
Black they might w-ant to slip this one in
for a night.
John Knight
PRETENDERS
Loose Screw
Artemis
Chrissie Hynde's latest attempt,
Loose Screw, is an inconsistent, over
produced, slippery mess. The album
opener "Lie to Me" starts off fine with a
usual 4/4 rocking verse into a repetitive
double-limed chorus with a wanking
guitar solo halfway through the two
minute iam Loose Screw falls steadily
downhill from there with songs like
"Time" and “You Know Who Your
Friends Are." “Time" sounds like PJ
Harvey fronting the Specials poorly cov
ering an Abba song. "You Know Who
Your Friends Are" meanders into a bad
dub/reggae flavor that remains
throughout the entirety of the horrible
album. At best, the slick sounding Loose
Screw CD makes a great mirror for
shaving in the shower. Don't waste your
money. (130 5th Ave.. NY. NY 10011)
Steve Scarborough
(.oiii* (I rift less
GOING DRIFTLESS
An Artist's Tribute To Greg Brown
Red House
Going Drittless ranks among the
most carefully well versed of tribute
discs. Top shelf Iowa singer/songwriter
Greg Brown has quietly released over
15 alburns of his descriptive, blue-collar
originals, favored especially by critics
ar.u fellow artrsls Here he's represented
by a cast of female admirers, ranging
from the well known (Am DiFranco.
Mary Chapin Carpenter) to the less
familiar (Eliza Gilkyson. Lucy
Kaplansky) When approached with the
album's premise, the traditionally
humble Brown requested that all royal
ties go to a charity benefiting breast
cancer research
All of Going Drittless'content gets
the royal treatment so to speak - an irk
some rarity among tributes. Lucinda
Williams lends her gorgeous lonesome
moan to "Lately," while Victoria
Williams' romp through the ghost town
smg-aiong “Early" is priceless. Ditto
that gorgeous lonesome effect for Iris
Dement s “Tram That Carried Jimmie
Rodgers Home" and Giliran Welch's
brown-eyed "Summer Evening"
Homefires burn and family roots are
bared n Shawn Colvin's rendition of
Say a Little Prayer” and Pela Zoe and
lie Br " I Greg laugh
ters) Ella Mae ” One Etc wn wrote to r a
sick child, the other for tits daughters
beloved grandma and both gam added
insight when given a woman's touen
Though he'd likely shrug off such
praise. Greg Brown's example could be
the standard that many independent
performers strive to meet. His reputation
is built on honesty, conviction and
determination for his craft not monetary
gam or loss thereof No matter what
subject matter Brown tackles next, long
and lovingly may he run. (P.O. Box
4044. St Paul. MN 55104)
Michael Andrews
BLUE STATES
Man Mountain
Eighteenth Street Lounge
The loo-obvious Air comparison
would hold up better il everything Air did
was as soulful, creepy and transcendent
as the theme from The Virgin Suicides
Indeed, everything on Man Mountain
sounds as though it could run under the
end credits of a motion picture, but each
would need a slightly different motion
picture. ("Studio 20* would work for P. T.
Anderson, but "Only Today’ would need
some sort of girly Anime.)
Man Mountain has a dull moment
or two. and is less crisp and immediate
than 2001 's Nothing Changes Under
The Sun. but makes up for it in varieiy.
and in the shy. beautiful voice of Tahita
Bulmer.
Here's something odd about Mar
Mountain: There's a would-be Bond
theme called "Bare Bones." which fea
tures creative juice Andy Dragazis with
only keys, guitars and bass in lieu of the
otherwise ever-present moody strings
and sunsplashed brass, but the synth
works so well that it's hard, at first, to tell
the difference. At least on the car stereo
Lovely. (1210 18th St. NW. Suite
200B, Washington. DC 20036)
Emerson Dameron
ALASTOR
The Late Night Plays
Gate Crasher
When a band names itself after a
work by Percy Bysshe Shelley, chances
are slim they will pander to the nu-rock
dumbass metal crowd That's why it's a
b4 of a surprise to find Korn and
Injected associate Rusty Cobb's name
on this album. Leaving heavy-handed
bombast and iaughable macho swagger
behind, producer Cobb wisely lays low
and lets the interna! combustion engine
of Alastor rip. Raw emotion has been an
Alastor benchmark since their first
shows in '97 The band has consistently
blared a reckless path. strewn with the
charred remains c 1 amazed onlookers
and not-so-innocent bystanders They
don't i;eeu no steenkm producer to
inject any of tnat oh-so-ridicuious arid
irritating faux-rage that the kids dig
these days Trends are trodden upon m
Alastor s world Singer/guilarist/vocalist
Elizabeth Elkins is the heart of the band,
and on tins disc she lays that rapidly
beating organ ba r e m a series of sensual
and frightening scenarios.
Aiastor's two previous efforts of
emotional release earned the band a
solid fanbase in their Atlanta hometown,
yet on this one—amid blazing guitars
and a thundering rhythm section—
Elkins' literate tantrums bleed in sharp,
direct and often radio-friendly fits.
The album, clocking in at well
under 40 minutes, wastes no time in
setting the scene "Deadfall" begins the
‘Late Night" collection with a frenzied
passion play of breathless ire and
desire. Mickey Hendrix's slamming
drumbeat is quickly joined by Elkins'
scratchy guitar. As bassist Brillo's insis
tent throb joins the tray. Elkins' vxals
ignite a raging inferno of despair, yet
she's tar from playing the helpless
victim. Half seductive siren and half
taunting devil. Elkins carries the rest of
the alburn in much the same manner
Blinding bursts of the Pretenders' pop
smarts meet Social Distortion's semi-
metallic buzz, while pages torn from a
confessional diary float above the
wreckage Album highlight is the vol
canic and haunting "Deception Bay" Yet
there's no deception here: Aiastor's
threats are always delivered with a sly
smile that melts into the evil sneer ol a
rubber-clad dominatnx twisting her heel
into your soul. Sure it hurts, but the lin
gering attraction makes the listener hit
replay long before the sting wears oil.
Carlisle Wheeling
Heme OfTfie Oyclene One Thtgfit $tond
353-8869 • 420 EAST CLAYTON ST.
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is looking for a
Mu/ic editor
The music editor will compile the weekly
ABC music calendar, plan music coverage
and assign and edit freelance stories. Ability
to meet deadlines is essential.
Must have
• strong management and editorial skills
• great attention to detail
• broad knowledge of the local music scene
Interested applicants should send resumes and any supporting
information by mail to Margaret Moore, Managing Editor,
Flagpole Magazine, 112 S. Foundry St., Athens, GA 30601 by
January 15, 2003.
JANUARY 8, 2003 • FLAGPOLE.COM 25