The Best of Mickey Hart: Over the Edge and Back - Album Review

Mickey Hart
The Best of Mickey Hart: Over the Edge and Back(Rykodisc)

By Christine Leonard
Jul 10, 2002

Percussionist/composer/producer/author/ethnomusicologist Mickey Hart, former drummer of The Grateful Dead, presents Over the Edge and Back, a retrospective spanning 25 years of musical experimentation and exploration. Gathering together previously recorded materials, Hart re-encapsulates the essence of his artistic odyssey into one dynamic audio-showcase. This "Best of-" compilation opens with the song taken from Hart's most recent new-age release Supralingua, "Angola", an evocative instrumental track which signals to the listener that they aren't in Kansas anymore. 

Carrying on from there, the disc flows into the seductive and optimistic "Where Love Goes" sung by the London-based group The Mint Juleps. I do declare, that this is one beauty of a track, with pure vocals and an African sway to it. Drawing on a lifetime of experience, Hart has rounded up a collection of diverse material from his numerous solo and collaborative performances around the world. One of these significant side-projects is known as Diga, a self-described 20th-century rhythm orchestra. 

Featuring the lightning-quick beats of tabla virtuoso Zakir Hussain, Diga is the source of the album's fourth track "Sweet Sixteen." Another compelling cut entitled "The Compound" was one of many Hart composed for the percussion-based soundtrack to Francis Ford Coppola's Apocalypse Now. Turning his studies ever inward, Mickey Hart has taken the shaman's path to spiritual enlightenment, as documented in his memoirs "Drumming at the Edge of Magic" and "Planet Drum," and the complementary CDs that accompanied them. 

Indeed, the theme of this new album is very much in keeping with Hart's visionary quest to conjure the ancient metaphysical roots of his musical soul.

RECOMMENDED TRACKS: "Where Love Goes", "Call To All Nations"

Christine Leonard, CJSW Radio, Calgary, AB

Battershell: Luv Punks - Album Review

Battershell
Luv Punks
(Ng)

The circus has come home to Popopia and we're all invited, courtesy of gurlee-punkers Battershell. The adventurous trio from New York City is back with "Luv Punks", a return to the "non-mundania world of fantasy and frolic". 

The U.S.S. Battershell has witnessed some serious crew changes since the release of their EP "Beautiful Princess of Spit" in 1995, the year they were signed to NG Records. After gigging around New York and touring the U.S. they released their debut full-length album "Sunshine on Popopia" in 1997. Trapped in their urban environment the band: singer/songwriter/guitarist Tammy Lynn Fulkerson, bass/vocals Hannah Head, and drummer Charlie Lauth, sought to escape into a utopia of their own making. Based on Tammy Lynn's personal experiences, the fifteen songs on the new album will probably ring true for the many patriotic Americans raised on country and western music. Reminiscent of The Muffs, Veruca Salt, and, at times, Jane's Addiction, the drawling lyrics and rockin' melodies constitute a pop-punk meatloaf sandwich with a little mayhem on the side. 

While Tammy Lynn has claimed no affinity for Meat Loaf; Johnny Cash, Ace Frehley and Jimmy Page are definitely on her plate. Her impressive vocal range and solid guitar playing have earned Battershell much adulation as they've been showcased at industry festivals and events such as South By Southwest (two years running), Foundations Forum '96, CMJ Music Conference, and the Macintosh Music Fest. Battershell performs two of their songs on the soundtrack for the movie "Ripe", and have contributed a cover of Bow Wow Wow's "I Want Candy" for the Elektra Records one-hit-wonder compilation. 

Although the upbeat energy and bounce of this album is appealing in a Ramones-y kind of way, it all starts to sound the same after a while. And the lyrics are way too literal, as in: "My chords are tangled, this tone really sucks on my guitar. These cheap effects keep on buzzing, pissing me off." The rangy guitar and bizarre sound effects seem very promising, but the high pitched vocals sour the sauce. Water in the whiskey, if ya know what I mean. 

The real gem on this album, however, is the enthusiastic, trans-gendered cover of Billy Idol's hit "White Wedding". Recommended Tracks: "White Wedding", "Dizzy The Tattooed Dog", and the hidden song six minutes into the final track (Battershell's answering machine and a couple of hot little ditties at the end)

By Christine Leonard
Jul 24, 2001

Kittens: Night Danger Album - Album Review

Kittens
The Night Danger Album
(Sonic Unyon)

The fierce threesome from Winnipeg is back with The Night Danger Album, featuring cover art of an inverted mountain goat that reminds one of a shot from an old Viewmaster 3-D picture disc.

This album reads like a true Melvins tribute, from the muffled bass and unintelligible lyrics right down to the song titles and the font they're printed in. Funnily enough, Kittens have been kind enough to provide the listener with the lyrics to same said songs, i.e. "Water moccasin, choke on the phone/Jeckyll man, /Jeckyll man, the blindfold of hope" taken from the recommended song "Moosejaw". 

All I can say to that is, "Like stee moanin' Ludlow" (see Melvins " Bullhead"). Still, definitely worth listening to, The Night Danger Album possesses all the Kittens' natural charm and (by now) signature ingredients. With six tracks recorded in only three days, this album retains a certain live performance energy with a touch of Oi and honky tonk thrown into the mix, most prevalent in the song "Honky Tonk Werewolf Song". 

I also recognize the more esoteric final track "Silent Night" which seems to have just been thrown in as filler and yet provides some audio relief with the mellow weirdness of a modern hyper-ballad. All too short, this album is a 6 oz. steak where a 10 oz would have satisfied. Kittens can also be heard on the recently released "Now We Are Five" Sonic Unyon artist compilation.

By Christine Leonard
Jul 23, 2001

Scratching Post: Destruction of the Universe - Album Review

Scratching Post
Destruction Of The Universe
(Squirtgun)

That's right cats, a brand new Scratching Post has arrived for your enjoyment! Now, let's try not to tear it apart too quickly! The energetic pop-core foursome from London, Ontario are back with their second major effort Destruction of the Universe, the long-time-coming follow-up to Flamethrower released back in 1996. Short and sweet, Destruction takes only a brief eight tracks to accomplish its task, with a quick one-two punch of raw ambition. 

One: girlie rock lyrics dripping from Nicole Hughes' irresistible candy apple lips. POW! Two: massive and crunchy thrash-metal guitar underlying the whole production, courtesy of her Slayer convert bandmates. ZONK! 

There you have it, two sounds for the price of one. If you enjoy Liz Phair, Veruca Salt, Helmet, Slayer, Voivod and/or Kiss be sure and check out these self-professed pinball wizards. Of course, knowing that the driving force behind the band, singer Nicole Hughes, is a fan of Duran Duran and Shania Twain only intensifies the image in my mind of three metalheads shackled to the stage, dying to let their demonic tendencies loose upon an unsuspecting, besparkled and tank-topped all-ages crowd. Insert maniacal laughter here. 

Obviously, she keeps these beasts on a pretty short leash, as they fill in the songs with heavy bits here and there and even manage to break out a little with some scary screams on the final track which lends the hastily assembled album its title. Eager to be signed onto a major US label, Scratching Post ventured south of the border to create the album under the watchful mastery of Phil Nicolo, famed producer of Urge Overkill and Life of Agony. They certainly caught Nicolo's ear, and his influence in the mixing is apparent as you listen to the more feminine vocals surf on top of the waves of power chords without losing any ground. Much like Urge Overkill, the overall energy level is high enough on both sides to maintain a certain equilibrium. 

As I mentioned, this cd only contains eight songs for a total playing time of a mere 25 minutes. The single "Bloodflame" is rather noteworthy, but the material has often been described as sounding "eerily similar." Basically, when I hear this cd (which can easily be done in one sitting) I hear a cash register in the back of my mind. We're talking huge commercial potential here and this album officially puts Scratching Post on the international auction block. Going once...going twice... 

Look for big things from Scratching Post, including a video for "Bloodflame" which is currently in the works for release in April. As well, the band has plans to tour extensively in the spring and summer of 1999. 

Recommended Tracks: 1. Unforgiving Love 2. Bloodflame

By Christine Leonard
Jul 23, 2001

The Buttless Chaps: Death Scenes I, II, III - Album Review

The Buttless Chaps
Death Scenes I, II, III
(Lonesome Cowboy Music)

Tobacco-chewin' tunes for the lonely rambler in all of us. Showdown at the Circle K corral these nouvelle country dusters deliver the goods, with a bit of electric twang thrown in for good measure. The latest and greatest from Canada's favourite bare-assed barstool busters stampedes to a store near you in the unassuming form of an 11-track tribute to roadkill, the adorable fuzzy critters who never made it to the other side of that broken yellow line. A tender subject, but no cut is too rare for these calamitous cattlemen. Death Scenes I, II, III's alternate title might have been Let It Bleed.

Heartbreakingly simple songs, with plenty of banjo accompaniment, are the catalysts for many a romantic prairie reverie. The sweet smell of fresh-cut hay and the scarlet hues of a harvest sunset have been digitized here for your aural pleasure. One listen and you will find yourself transported to flavour country. The presence of Spanish trumpets evokes a Tex-Mex aesthetic, reminding us of bullfights, refried beans (aka. Mexican strawberries = always in season), and lazy, sunburnt siestas. Siesta time indeed, for despite their unsettling appellation, the exposed ones constitute a surprisingly mellow smoke, with 25% less tar than your new country music groups. Rather, they adhere to the Hank Snow, golden-oldie days of country predating Shania and the rest on her inbred, pop-fed kin.

Soft and slow, Dave Gowan's dreamy vocals will lull you into a state of repose faster than you can say "Rhinestone Cowboy." The gentle and contemplative songs on this album blend together until there is almost nothing left to distinguish them from one another. The biggest standout from the mass is "Six Strong Men," the title that answers the burning question: What will it take to get me into church?

Making excellent use of pianos, violins, clarinets, and, of course, euphonium, The Chaps create a wonderfully, warm ambiance that's guaranteed to put their audience at ease. Each tune seems so casual and off the cuff that it would be tempting to assume they were written in an absent-minded flow of consciousness à la Wesley Willis. Yup, just hit the Country Demo button on the old Casio organ, sit back, sip some Southern Comfort and write some poop-kickin ditties about what you did or maybe just thought about doing that very day.

If you're a fan of vintage country music, or you just really enjoyed David Byrne's movie True Stories, be sure to check these dudes out. The Buttless Chaps may not be the fastest guns in the West, but they sure do sit tall in the saddle.

 ( http://www.thebuttlesschaps.com )

RECOMMENDED TRACKS: Six Strong Men, Disco Dancer

By Christine Leonard
May 1, 2001