Dr. Bristol's Musical Prescription

Dr. Bristol's Musical Prescription

by Bill Holmes

Bill Holmes is an avid music fan and music collector whose reviews and features are published on four continents. That's right, carved right into the beach with a wooden stick. Big deal, eh? Actually, he lives to widen his musical bandwidth, and hopefully by reading his column, so will you. Some things old, some things new; since you asked, I'll review! (Trust me, you don't want any more poetry from me...) Many, many great things flying through the Doc's office since last issue, so let's slap some of them on for a spin and see what they sound like...

Bill's Virtual Pet

HOLE, Celebrity Skin (Geffen)

"Oh make me over/Im all I wanna be" belts Courtney Love on the title track, and that sets the stage for Holes transformation into a pop band. Love and the gang are taking a serious beating for "selling out", or bringing in Billy Corgan as a song doctor, or both, and as Ms. Love might say, so fucking what? Hole still packs a wallop, but now the guitars ring a bit more, the vocals are a little clearer and (gasp!) there are some serious melodies going on here! "Awful" pokes fun at the whole/Hole situation ("I was punk/now Im just stupid/Im so awful!") while "Use Once And Destroy" and "Playing Your Song" generalize the cannibalistic side of El Lay. Love claims the band set out to make a new "California sound", and in that they succeeded - beneath the shimmering harmonies, chiming guitars and made for radio melodies lurks a string of vapid, empty people playing out their wannabe lives. Theyll be the ones walking aimlessly down Melrose, singing the backing vocals to "Malibu", cheerfully clueless. (www.geffen.com)

FARRAH, Downtown (Hutch)

Unsigned Brit band that has the American power pop thing down stone cold, and I cannot imagine that the land of Blur and Oasis will let these guys stew much longer. Angelic harmonies, classic song structure and melodies that frame one hook after another. The title track of this EP and a single called "Talk About Nothing" would knock most of their competition on their ears. Drop any of the well known names you can think of, and Farrah would probably fit in the same circles. Jez Ashursts creamy lead vocals are radio-ready, and so is the band. (jez@farrah.co.uk)

MICHAEL JERLING, Early Jerling (Waterbug)

Jerlings current label gathers some prime cuts from the Kerrville Folk Festival winners early releases, and even then you could see this was someone special. Jerling has a resonant voice and a deft pen and is as comfortable in uptempo acoustic jump as he is in somber ballads. Highlights include the searing "Stupid", "Hotel DeVille" (featuring the criminally unknown bar band Johnny And The Triumphs) and the Vietnam themed "Long Black Wall", which says more about war and injustice and the fallout of Americas innocence in five minutes than most historical pundits have said in a lifetime. Jerling has several records available and tours often, this is a nice glimpse back at a road once traveled. (www.waterbug.com)

THE PILLS, Wide Awake With The Pills (Monolyth)

The guitarist cops not one but TWO Pete Townshend poses in the CD booklet, and thats as good a spot to start as any. The Pills mix 60s psych-pop roots with 70s punk energy and sloppiness, toss in a sliver of ska and swing and take no prisoners, especially on the killer cut "The Devils Song". Maybe weve finally got a band that mixes The Beat (English) with The Beat (Paul Collins) - "Call Me If Theres Any Change" is the best Collins tune he never wrote! Lots of pogo pop like "Back Of Your Head" and "Soft", and only one clunker ("Molly And Me"). This CD is chock full of great lyrics, but with music this primal they could have sung the phone book and it would have been okay. Turn this up to twelve so Nigel Tunfel can hear it over his guitar amp! (www.monolyth.com)

SHERYL CROW, The Globe Sessions (A&M)

Crows third record is a large leap forward, and she may have finally shaken the critical backlash shes been wallowing in ever since her initial success. Maybe its the freedom the label gave her, maybe its a natural maturation of a songwriter, or maybe she just doesnt give a shit about pleasing others anymore, but whatever crawled up her back and forced this one out should be bottled and saved. Amid the nods to Petty, The Band and especially The Stones, Crows confessional songs about sour relationships, painful affairs and surviving the nineties are light years better than her previous work. She wrote most of the songs on bass to force a fresh approach and produced the record herself; songs like "My Favorite Mistake", There Goes The Neighborhood", "Anything But Down" and "Am I Getting Through" are much the better for it. The instrumentation is diverse and well chosen and her vocals have never been better. Bonus video of "My Favorite Mistake" for computer owners. Give this one a spin before you dismiss her; you might be very surprised at what you think afterwards. (www.sherylcrow.com)

LEE CHABOWSKI, Drinky-Poo (Half Wit)

Former Dogs Life guitarist Chabowski steps out on his own with a short (23 minutes) but punchy collection of songs. Lees ska/surf guitar tones take funny tunes like "Clown Killer", "Space Monster" and "Crazy Behind The Wheel" and jack them up nicely. He rocks with acoustic as well - "Shrunken Head" is a hilarious They Might Be Giants kinda song. Although most listeners might center on "Between Walls", "Atomic Overload" (which was originally a bouncy pop tune for Dogs Life) is a surprisingly effective sparse ballad and probably his best vocal. Chabowski is no half wit, but his surreal take on life is refreshingly skewed left of center. (www.leechabowski.com)

MARSHALL CRENSHAW, The Nine Volt Years (Razor And Tie)

Criminally underappreciated artist retrospective, but this time its skeletons from his closet. Most artists couldnt write a full record as solid as Crenshaws throwaways. Everyones favorite B-side "Youre My Favorite Waste Of Time" is the centerpiece, but the record is chock full of gems like the instrumental version of "Blues Is King" ("Bruce Is King"), alternate takes of "Someday Someway", "Rockin Around In NYC" (think Ramones on Unplugged!) and "Somethings Gonna Happen", and songs from his almost-as-underappreciated brother Robert ("Shes Not You" and "Everyones In Love With You"). Humorous and informative track notes from Crenshaw himself makes this collection a must for anyone with ears. Even one ear. (www.razorandtie.com)

DAVID GARZA, This Euphoria (Lava/Atlantic)

"Kinder" kicks off this eclectic release, and youll swear Marc Bolan jumped out of the grave and drove to the studio to cut it himself. My God - the fat fuzzy guitars, the goat-quiver voice, the leaping falsetto on the chorus, its all there. Then, in a heartbeat, its a funky, hoppin number like "Core In Time". Oops, then its Led Zeppelin doing hip hop on "Glow In The Dark" and "Slave". Then more Bolan on the killer title track. You lo-fi freaks can listen to "Float Away" and throw all your Guided By Voices records in the dumpster where they belong. This Euphoria is schizophrenic as all hell, even derivative as hell, but dammit its really, really good! Like a kid who had a diverse record collection and decided he liked all of it. (www.atlantic-records.com)

EARLE MANKEY, Earle Mankey (frigidisk)

If you buy an Earle Mankey record you dont need a warning that you are headed for an alternate universe, so I wont give you one. The frigidisk label (their small "f", not mine) has compiled and reissued Earles EPs from the early 1980s. Primarily playing and singing everything himself, most of these lo-fi classics are as much a testament to his studio ingenuity as they are to his songcraft. "Mau Mau" is the Beach Boys twisting on a spit in Hell, while "Trashman" predates NIN by a decade and a half. His take on "The Lion Sleeps Tonight" is a synth oddity, while "Black And Blues" is somehow doo-wop and dirge at the same time. Highlights are "Bigger Than Life" (which truly is) and the manic "Weenie Woman" (no helium balloon is safe around Mankey). Twelve tracks that you will NEVER hear on the radio. (www.frigidisk.com)

THE POLINS, Starthartflower (TMI)

Harrisburg, Pennsylvania based pop band that mines the alt-guitar-pop vein pretty well; the record starts out with two tracks that feature good vocals and interesting guitar work. Then things slow to a crawl for a bit, unfortunately - "Deeper Down", "Drag" and "Bittersweet" (which does feature some nice harmonies) could send the unsuspecting listener into a trance. But then "Everything" starts to pick up the pace, setting the stage for "Shattered Pieces", which is easily better than anything else on the record. Energy! Hooks! Life! The Polins would be smart to juice it up a little more often; theyre very good when they do and just another melodic pop band when they dont. (www.fresefamily.com/polins)

LOUDMOUTH, Loudmouth (Hollywood)

Well, the promo quotes Metallica as saying they think Loudmouth rooools, so what does that tell you? If pomp without circumstance is your bag, line up for this one. The fans of this Chicago based headbanging band will tell you theyre innovative, but thats because theyre not old enough to recognize the Deep Purple and Black Sabbath licks without a crib sheet. Produced by Chris Lord-Alge (need I say more?), the focus is squarely on thundering rhythms. I will admit they do two things well, though - the guitar solos are in and out without overstaying their welcome, and the vocalist does at least have more range than say, Ozzie. But didnt the Good Rats do this stuff better twenty years ago? (www.hollywoodrecords.go.com)

THE NEWSBOYS, Step Right Up To The Microphone (Virgin)

Well, the news theyre bringing is religion, but theyre not bashing you over the head with it. Matter of fact, if you dont pay attention to the lyrics, its just like any other safe made-for-radio beat rock. And looks wise, weve got the bald guy, the guy with the long blond hair, the guy with the bad dye job, and so on - basically your marketing-savvy Something For Everyone band. Think Backstreet Limey Boys, but they all play a few instruments. Lead vocalist Duncan Phillips has a nice voice, but outside of "WooHoo" I dont hear a track on this record that I wouldnt skip past on the radio. Which means MTV will be all over it. (www.virginrecords.com)

CRUMB, Seconds, Minutes, Hours (Red Ant)

About half a great record - the first three tracks sound like someone found The Vapors in a time capsule and defrosted them, and they landed mid-riff! Wow! "Tonight", Overboard" and "Exhibit A" all have great vocals, power-buzz guitars and that Big Drum Sound I love so much. Then theres "Do You Remember? ", the acoustic ballad with strings, proving that the Goo Goo Dolls didnt patent the genre. (Matter of fact, if this was on the radio, it would sell a million just like the Goos do.) But then after literally launching me into orbit, the second half leaves me lost in space, free-floating away from my capsule, air sucked out of my lungs. Okay, okay, maybe thats a little overboard, but energy aside it all starts to sound the same (with the exception of "Cressida", which smokes!). Lets just say that lovers of muscle pop should gobble this up regardless while others will see Crumb as a band with EP ideas and a CD budget. So if you can accept skipping over the mundane to savor the charms, go for it. (www.redant.com)

JASON FALKNER, Can You Still Feel? (Elektra)

The knock on ex-Gray, ex-Jellyfish Falkner is that (besides apparently not being able to stay in a band) for all his melodic chops he is incapable of writing a song thats simple enough to be easily memorable - in other words, the Big Hit Single. So what is he supposed to do, dumb down? Besides playing and singing and writing and arranging everything, he also took the time to craft a boatload of great music that will nudge you at first listen, yet worm its way deeper with repeated listenings. "Eloquence", which he had been performing live for a while, is reminiscent of Lennon and could be radio fodder with a more spry arrangement. Ditto "Holiday", where Falkner gets the chance to show off his vocal acrobatics. "Author Unknown" (ironically the title of his previous record) has a great repetitive chorus and the double-time tempo at the end is a great touch. If a band like Radiohead can conquer the planet with their adventurous, textured sounds and pensive wordplay, why not Falkner? (www.elektra.com)

VARIOUS ARTISTS, Velvet Goldmine soundtrack (London)

I confess up front that I havent seen the movie, although that has not been a deterrent to appreciating soundtrack records - they usually have little to do with the plot anyway. But I know good glam punk when I hear it. Shudder To Think does Bowie incarnate with "Hot One"; Placebo gives Bolan a workout with their version of "20th Century Boy". Also included are some great turns by Teenage Fanclub ("Personality Crisis"), Thom Yorke and star Ewan McGregor (a ripping version of "TV Eye" backed by Ron Asheton, Mike Watt and Thurston Moore, among others!). Plus how can you go wrong with Eno, Lou Reed, Roxy Music and Pulp? And for those who forgot Steve Harley and Cockney Rebel in Motts wake, heres a reason to dig out your vinyl. God, the energy, the passion, the feelingso tell me again how the pulse of the music world had its balls shrink into raisins over the past few years? (www.miramax.com)

THE MODERN RELICS, Phonograph (Modern Relic)

Most bands going for the sixties vibe seem to lean towards the Beach Boy harmonies or the jangly Britpop sound. Heres a band who sounds like they listened to as more Jefferson Airplane records than they did pop singles. Despite some Ray Davies music-hall inflections on "Every Single Day", most of the songs here fall into Marty Balin territory. Tony Darlings vocals are competent, the melodies are nice but not too varied, and there is some nice guitar work on a couple of tracks. Overall, though, Phonograph is little more than pleasant music that will waft in and out of your head without sticking. Also guilty of serving up a PBT (pointless bonus track). (members.aol.com/modrnrelic/modrelic.html)

MY SUPERHERO, Solid State 14 (Risk)

Why everyone thinks ska-pop is the thing to do is beyond me. But at least these guys have the smarts and musical cred to rise above the skateboard mentality, and thats mostly due to Chris Clawsons excellent drumming. None of the singers are strong on their own but together they are solid ("Long Gone" being a great example). Roots in sixties pop rear their head occasionally - "Big Thursday" starts out like "Lets Live For Today" before settling in, and covering "Groovy Kind Of Love" deserves props. The band switches tempos frequently and well, the guitar playing is solid but not overwanking, and theres a sense of humor at work. Two more conventional tracks shine also - "Another Kind" should be a breakout song for them, and the acoustic starkness of "4 Years In February" is unlike anything else on the record. (www.mysuperhero.com)

POOLE, Amongwhomeweshine (Spinart)

This is much stronger overall than The Late Engagement. Old mate back in fold and back to a foursome, Poole is a leaner, stronger band with Harry Evans firmly steering the ship. Comparisons could be made to many bands, but I would suggest Squeeze and XTC and The Posies because, like Poole, they have a strong emphasis on lyrics and the whole concept of "songcraft". Solid musicianship, excellent harmonies - especially the creamy sixties pop of "Anyway" - and smart use of horns on a few tracks. Stolen licks alert: the fade out of "Better Off On Your Own" is a direct cop of J Geils "Centerfold", the title track owes a large debt to the Fabulous Poodles (!) and "Make It Right" rips the hook right out of "Olivers Army". So what? Poole is ready to explode to that next level - like people knowing who the hell they are! (www.erols.com/spinart)

MARTI JONES, My Long Haired Life (Sugar Hill)

Don Dixons partner in crime is a little more subdued here than usual; maybe the loss of the tresses is a break with more than long hair. The few Dixon/Jones originals are solid, but selecting great covers has more or less been a career theme for her. Besides the obligatory nods to soul music (Joe Tex and Otis Redding), she works her pipes on Squeeze ("Black Coffee In Bed"), Elvis Costello ("Sleep Of The Just") and the underrated Aimee Mann ("Put Me On Top"). However, her cover of Nick Lowes "I Love The Sound Of Breaking Glass" is so dirge-like I thought it was in the wrong speed. This one wont win her any new fans - Live At Spirit Square will hopefully do that - but it will keep old ones appeased until the next one. (www.sugarhill.com)

FULL, Hotdogwater Cocktail (Acme)

Yummakes your mouth water just thinking about it, doesnt it? Actually this is one kick-ass take no prisoners ride by an energetic trio. All three co-write the music while bassist/vocalist Fred Morg writes all the lyrics (some quite hilarious, actually), and if youre not hooked by the 1-2-3 punch that starts Hotdogwater, youd better get a pulse check. Or maybe the inclusion of an amped up version of "Sister Golden Hair" will float your boat! Twelve originals, mostly good - "Pick It Up" is amphetamine pop punk, "Pepsled" is the 1990s answer to all those surf and drag tunes of thirty years ago, and "Music Critics" puts all those smarmy jerks in their..hey, wait a minute! (www.acmeent.com)

B*WITCHED, B*witched (Epic)

Spice Girls from Ireland. Why, God, why??? So much for the peace talks

DEAD LEFT, A Wishful Life (Noray Eel)

Its not so much Aaron Stroessners nasal vocals (no worse than many), nor the pedestrian lyrics ("who makes the rain fall on my head/another storm has made me wet".whew!). Its not even the musicianship - theyre not sloppy, but then again theyre not really doing anything either. I think it might be their utter and complete lack of energy that makes me want to take this Phish-lite disc out of my player and use it as a Frisbee. There are ten songs about love and insecurity, which is fine song fodder, but this is one of the most boring slabs of aluminum I have ever heard. Guys, shoot your producer and get a fresh start. (www.deadleft.com)

BELLOLUNA, Livid And Loving It (Daemon)

Now heres something different! Like a warped, lo-fi version of Steely Dan, this boss nova/lounge lizard act will appeal to anyone who appreciates the self-depreciating style of Barenaked Ladies or the campy pop of a Bryan Ferry solo album. John Brands affected vocals are ably supported by Jeff Jursos fluid guitar lines and outstanding musicianship in general. Although the tempo changes and general loopiness on songs like "I Wanna Be Like Martha Stewart" and "Nothing On My Christmas Tree Is Yours" make you think this is one big smirk, there are also moments like the bluesy "Oma" when you realize that few, if any, are making music like this. Slap this on and dance cheek to cheek. (www.monsterbit.com/daemon)

GIGOLO AUNTS, Minor Chords And Major Themes (E Pluribus Unum)

Back after a five year hiatus (interrupted briefly by their EP) and down one Hurley, the Aunts have been scooped up by fan Adam Duritz (Counting Crows) for his new label. The result is a collection of songs so strong that two thirds of them could be singles on their own. Trading some of the bombast for a breathier pop sound, songs like "Half A Chance" and "Everyone Can Fly" are major hookfests that should appeal to a very wide audience. "Cmon Cmon" and the Odds-like "Super Ultra Wicked Mega Love" are more uptempo guitar oriented workouts, while the delicate "Youd Better Get Yourself Together, Baby" (featured on that dreadful Felicity TV show) might be the most beautifully fragile song youll hear all year. Steve Hurleys vocal on "Residue" is also a major league winner. In a perfect world this would be feeding radio a new killer track every three months for two years, but since its not, go buy what might wind up 1999s best record. (www.epluribus.com)

THE ROSENBERGS, The Rosenbergs (Hungry Hippo)

Self-release by the NYC area band that varies from solid lo-fi jangle to run of the mill alterna-pop (although even those tracks have a little more pizzazz than the Matchbox 20 pap MTV and commercial radio is locked into). "Keep It To Yourself" has a simple hook and nice Gin Blossoms feel to it, while "Time Warp" is Ramones-ska (oops, is that a synthesizer??). The best cut, "Soaked In Polyester", is a lesson on how to milk three chords for all theyre worth. Interesting guitar, better than average vocals, and worthy of keeping an eye on. (www.therosenbergs.com)

THE CANDYSKINS, Death Of A Minor TV Celebrity (Velvel)

Maybe the best 1988 release by a British band, and certainly the groups best work by far. One listen to "A Song" and its obvious that even on a simple piano pomp number, The Candyskins are effortlessly everything that Oasis tries so hard in vain to be. (For one, they know when to end a song!) "Somewhere Under London", the records best cut, is a glammy Psychedelic Furs take, a three chord fuzzbomb with anthemic bridge and chorus. Similarly, the anguished vocals and superlative drumming on "Its A Sign" lifts the cut right out of the speakers. However, the band can play the other side of the coin equally well - the title track is moody and sparse and "Teenage Suicide" is hypnotic. How as this record not huge? (www.velvel.com)

BLISTER RUST, Whos Gonna Scratch Your Rust (Thundermug)

Okay, let me set the scene here. The cover shot is a corpses feet complete with toe tag, data indicating Christ has parted the last sea. The bands slogan is "drink bong water and eat ass". Competent headbanging rock and roll, overwrought vocals, ten songs about not getting fucked over by the man that somehow slide in religious and optimistic overtones, and some decent guitar wanking when necessary. "Get A Life" even has a melody until the chorus kicks in. Imagine Handsome Dick Manitoba without a sense of humor. For you computer geeks and geekettes, four bonus videos. Bonus points as well for being a self-produced, self-sufficient entity. (www.blisterrust.com)

VARIOUS ARTISTS, Blastered (Run Wild)

Anyone who knows me knows that I love tributes, even though most of them are a hit and miss affair (mostly miss). Mike Lynam of Run Wild Records has assembled one of those rare collections where almost every track is strong, and perhaps its because musicians who play this type of music arent in it for the money. Phil and Dave Alvin and the boys were one of the ultimate barroom rock legends, and arguably the most "American" band sincewellsince The Band. Baltimores Barn Burners flat-out ignite "I Dont Want To" into a rockabilly mosh pit anthem, while Billy Hancocks version of "Marie Marie" admirably measures up to the originals fire. Eighteen tracks of footstomping music, and Lucky 7 even validates the accordion as a rock and roll weapon when they ska-ify "So Long Baby Goodbye". The Blasters erupted from the same Californian town as The Carpenters. See, God does balance the scales! (no website; write to PO Box 123, Lebanon NJ 08833 USA)

To get more details on these and other releases send email to:
bholmes_fm@msn.com and/or pop on over to his website at
Dr. Bristol's Musical Prescription and soak up more of the vibe.