R.S. Murthi Reviews Notable Recent Rock Albums

Last Update: Feb. 25, 1999

CLICK HERE FOR THE LATEST REVIEWS

JOHN FOGERTY - Premonition (Reprise/68:35): This is the album most diehard Creedence Clearwater Revival fans would have been waiting for: a live recording of CCR classics by the man who defined the sound of swamp rock. John Fogerty was mired in a long-drawn legal battle over the rights to the songs he penned over 20 years. But now, seemingly freed of old contractual obligations, he's approaching the material with a fresh vigor. And evidence of it is ample on this set recorded live last December. Backed by a handpicked band that includes the watertight rhythm team of bassist Bob Glaub and drummer Kenny Aronoff, Fogerty charges through his old compositions with a renewed creative impetus. Well, the tracks may sound a bit over-rehearsed (Fogerty's contrived announcements in between songs, which mask an underlying nervousness, allude to his caution) and too faithful to the original arrangements, but precision-driven as they are, the songs bristle with infectious bounce and jollity. The readings of Born on the Bayou, Green River, Susie Q, Who'll Stop the Rain, Bad Moon Rising, Proud Mary, Fortunate Son and other CCR humdingers are not only relevant as retrospective updatings but also measure up to the originals in more ways than one can imagine. And it's amazing that Fogerty's high voice can still sound so assuredly majestic. Of course, his guitar work is as remarkably tasteful as ever, contrasting in sheer restraint its supreme effect over the limpness of all the hundred-notes-per-second solos by lesser players. There're a few songs from his solo albums as well, including Centerfield and The Old Man Down the Road, but this is mainly a back-to-CCR showcase. The title track, a new song that's full of future promise, should reassure fans that this is a really fresh beginning for one of rock's true-blue icons. (Distributed by Warner Music Malaysia/603-2485611.)

VARIOUS ARTISTS - Godzilla: The Album (Sony Music Soundtrax/Epic/64:35): An often interesting and sometimes exciting collection of songs by artists who straddle a wide stylistic range. Opening with an inspired cover of David Bowie's Heroes by The Wallflowers, the set takes you through everything from sample-splicing rap (Puff Daddy's Come With Me which is nothing more than Led Zeppelin's Kashmir given a slight hip-hop accent) and new-funk (Jamiroquai's Deeper Underground) to hard-rocking rap (Rage Against The Machine's American Eyes) and aching balladry (Ben Folds Five's Air). Michael Penn's Beatlesque Macy Day Parade, Foo Fighters's A320, Green Day's Brain Stew and Days of the New's Running Knees are the other highlights. And for a taste of David Arnold's made-to-order orchestral score, there's Looking for Clues and Opening Titles. (Distributed by Sony Music Malaysia/603-4523233.)

THE SMASHING PUMPKINS - Adore (Virgin/73.21): Arguably the most adventurous of the alternative rock bands to emerge on the scene this decade, The Smashing Pumpkins spring yet another surprise on fans who expect more of the eclecticism that characterized their last album, Mellon Collie and the Infinite Sadness. This is a pretty straightforward light-rock effort that owes more to the British ambient movement than to any of the Seattle grunge bands in terms of tone, texture and atmosphere. Indeed, on the most effective cuts here, including Ava Adore and Daphne Descends, synthesizers overshadow guitars. And the beats have a strong electronic resonance. Singer Billy Corgan's lyrics alternative between anguish and ecstasy -- extremes of emotion which bring an alluringly languid beauty to the ballads here, especially the ethereal Once Upon a Time. It takes a while to really get into the music, but once you do, you'll be enthralled by the freshness of approach. (Distributed by EMI Malaysia/603-9455033.)

JERRY CANTRELL - Boggy Depot (Columbia/62:38): On his solo debut, Alice in Chains guitarist/songsmith Jerry Cantrell sticks basically to the same route travelled by his band. But despite the similarities in approach, Cantrell manages to stake his own sonic territory, mainly by intensifying his guitar attack. Most of the songs are hard-edged reflections on life's tough choices; their ominous feel is underscored by oblique power chording and unrelenting beats. Cantrell may not be as impressive a vocalist as he is a guitarist, but he sings with enough conviction to make you take what he's saying seriously most of the time. (Distributed by Sony Music Malaysia/603-4523233.)

PEARL JAM - Yield (Epic/48:31): The first time you play it, Pearl Jam's latest album sounds like nothing more than an obligatory extension of the high-energy slam-drive that marked its last outing, No Code. But closer attention reveals the cohesive power and reflective grace of this work and its strength as a provocative effort that's bound only by the confines of the rock format. Though there may be some familiar riffs and rhythms, Pearl Jam is hardly the kind of band that repeats itself or functions according to formula. So even on the weakest tune, the rocking but somewhat uninspiring opener Brain Of J, Eddie Vedder and cohorts manage to display the pure attraction of fluid propulsion. Vedder's songs are still about the things that threaten the rights of a free society, like abuse of authority and thought control. But he has refined his expression to the point where he doesn't need to be blatantly venomous anymore, though his anger still comes through in his impassioned vocals. There are some rousing ballads, exciting power trips and a few goofy moments that seem to be there just for comic relief. In terms of freshness of vigour and tunefulness, Yield may not be in the same league as Ten and VS., but it marks an assured and mature transition by a band that has kept the grunge fire going despite various setbacks. (Distributed by Sony Music Malaysia/603-4523233)

BONNIE RAITT - Fundamental (Capitol/44:17): Although she's something of a mainstream darling now, Raitt doesn't seem to feel the need to satisfy a broad pop listener base anymore. That's good because on her latest, she goes back more to the folk blues that inspired her journey into music more than two decades ago. The numbers are raunchier and more spicy than those on her previous Capitol studio sets. The album may not offer much in the way of surprise or originality, but Raitt has burnished her craft to such an extent that even on her off day she can sound on. Producer Mitchell Froom makes sure the sound and texture are not overengineered. And though she's more an interpretive singer than a songwriter, Raitt does a pretty neat job on Spit of Love (yikes!), Blue for No Reason (with Paul Brady) and I'm on Your Side. Not exceptional but a solid set from a woman whose voice oozes passion and who plays a mean slide guitar. (Distributed by EMI Malaysia/603-9455033.)

JIMMY PAGE & ROBERT PLANT - Walking into Clarksdale (Mercury/60:52): It's not exactly a glory-rekindling journey into the past, though there are moments that recall Led Zeppelin at its most exciting. But neither is it a jumble of tried and trusted moves. Indeed, right from the hummable folk-tinged midtempo rocker Shining in the Light, which opens the album, a new vigor is evident in Page and Plant's performing spirit. And the shifting dynamics and inspired arrangements on When the World was Young, Blue Train and Heart in Your Hand demonstrate the compelling power of the duo's new shared vision. There's none of the sexist nonsense that marred Led Zep's early work. If anything, the songs have a mildly philosophical feel. And while the music is pretty straightforward, it still bristles with exotic flavors. Bassist Charlie Jones and drummer Michael Lee may not be the best substitutes for John Paul Jones and John Bonham, but they do a pretty decent job of keeping the heat in the beat. If you're tired of the generic hard rock that's swamping the scene now, Walking into Clarksdale should come as a breath of fresh air. It's music with an inimitable pedigree. (Distributed by PolyGram Records Malaysia/603-9835633)

GARBAGE - Version 2.0 (Mushroom/49:40): Garbage is one of those underground-spawned "noise pop" bands that emerged as part of the rock counter-culture in 1995. The group's debut album featured an uneasy mix of electronica and guitar-powered abrasiveness which in a way reflected the confused ethos of the new generation of lost souls. This follow-up is a much more cohesive and thoughtful effort that tries to pass on radical and often nihilistic views on ultra-stressful modern urban life through a more melodic than raucous approach. The electronic touches are there but they're subtly and strikingly used on such pieces as Temptation Waits, I Think I'm Paranoid, Medication and The Trick is to Keep Breathing. Well, it's no joyride, at least where the lyrics are concerned, but the music has a seductive power that keeps you pulling to it again and again. (Distributed by BMG Music Malaysia)

PULP - This is Hardcore (Island/69:57): More vibrantly depressing (an inevitable oxymoron for much of post-industrial cutting-edge pop) music that'll make you dance or enhance your angst. This British band captures the mood of the age in a style that combines its acid-house roots with serious pop. You don't need to look beyond the song titles to guess what the main themes are - The Fear, Help the Aged, The Day After the Revolution... - but the bubbly music offers a wonderful contrast to the dark subject matter. (Distributed by PolyGram Records Malaysia/603-9835633)

( These reviews were first published in the New Straits Times )

* 'Rock Solid'

FEEDBACK: Some Lines from Assenters and Dissenters

BACK TO RATED RS PAGE ONE

Rolling Stone Online: The cyber edition of one of America's most influential pop culture rags is, as always, big on rock news and album reviews. It's a slow-loading site but it's chockful of info. The artist index is an especially cool feature.

Billboard Online: Get the latest music buzz and chart action from the US' No. 1 trade weekly. A fairly fast-loading site.

Addicted to Noise: A webzine mainly devoted to the serious side of rock. Features articles by some of the finest and most penetrating critical minds focused on the music and the culture behind it. Takes a while to load but is worth the wait.