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Stereophile-2000-02 Die4 Scruggs, Mother Maybelle Carter, Doc 2 HIM: Sweat Eyes Watson, Roy Acuff, Jimmy Martin, and Bubblecore BC-024 (2 LPs), Perishable PER009 (CD). 1999. Doug Scharin, prod.; Merle Travis. The album is important for introducing songs such Brian Deck, eng. MD? ris: co 60:00 (LP), 55:23 (CD) as "You Are My Flower," "Nine Pound Hammer," and "'Tenn- essee Stud" to the Dirt Band's young audience, but also for prov- With labels like Perishable, Thrill Jockey, Touch and Go, Quarter- ing that they could hold their own among such stellar company. stick, and Drag City leading the way, Chicago has quietly become the unlikely center of American musical innovation and experi- SOUTHSIDE JOHNNY ZS THE ASBURY JUKES: Hearts of Stone mentation. Best known for blues, the Windy City today hosts such Epic JE 35488 (LP), Epic/Legacy EK 35488 (CD). 1978. Stevie Van Zandt, prod.; post-avant-garde luminaries as Tortoise, Gam- del Sol (David Jack Malken, eng. AAA/AAD. Tr: 34:24 Grubbs and Jim O'Rourke), Isotope 217, June of '44, and many, many others This mostly instrumental music is an enticing mix of Growing up in the Italian section of South St. Louis, Joe Garagiola was amajor-league talent, but still only the second- jazz, percussion, and electronica, with some folk thrown in for good best baseball player in his neighborhood: A few doors down measure. Best of all for audiophiles, thanks to another local hero, recording engineer and analog purist Steve Albini (also amember lived future Hall of Famer Yogi Berra. Southside Johnny and the of the rock group Shellac), the sound quality of almost all of the Asbury Jukes faced asimilar situation in the barrooms of New Jersey, always playing second fiddle to Bruce Springsteen and the releases by these groups is absolutely superb, with many of them available on vinyl as well as CD. HIM revolves around drummer E Street Band. The Jukes leaned on Springsteen through their Doug Scharin and cornetist Rob Mazurelc, who, along with guitarist first couple of albums, recording such Boss songs as "The Fever" and "I Don't Want to Go Home." In fact, Hearts of Stone consists Jeff Parker and bassist Bundy K. Brown, produce here what can best be described as "post-Bitches Breur jazz-rock, or maybe Miles meets solely of songs by Springsteen and guitarist/producer Miami Steve Van Zandt. But what songs they are — fiery tracks such as Eno. Though the emphasis is on rhythm and there's lots of sampling and electronica, the overall vibe has aflowing, organic, minimalist "Talk to Me," "Take k Inside," and "Trapped Again," and the quality that is soothing, mesmerizing, and utterly pleasurable. The title tune, akiller ballad. Southside Johnny's soulful delivery and five tunes work equally well as background and foreground music. the Jukes' brassy arrangements are perfect, making this an album If you liked Tortoise's TNT, you'll like this too. If you don't know for the ages. from either, this is as good aplace to start as any. The two-LP set, available directly from Bubblecore (www.Bubblecore.com) for $12, MICHAEL FREMER JASON FALKNER: Can You Still Feel? stomps all over the good-sounding CD. Lovitt 016 (LP), Elektra 62205-2 (CD). 1999. Jason Falkner, prod.; Nigel Godrich, prod., eng. ADD? ris: co 52 (LP), 46:27 (CD) LARRY GREENHILL EMMYLOU HARRIS: Spyboy In the world Igrew up in, the handsome young Mr Falkner, afor- Eminent EM-25001-2 (CD). 1998. Emmylou Harris, prod.; Buddy Millet prod., eng, mer member of Jellyfish, would be declared asexy pop/rock mix; Dean Norman, Doug Dawson, engs.; Greg Droman, mix. AAD? genius, would be on the cover of Rolling Stone, and would sell amil- Ti: 6707 lion copies of this superb, self-produced album, for which he wrote It helps to read this magazine. Ihave to thank Robert Baird for all of the songs and on which he plays almost all of the instruments, choosing this CD as his December 1998 "Recording of the and well. But this is adifferent world, and since Mr. Falkner does Month." Since then, it has become my standard musical source. not sport visible tattoos, dress like aprofessional wrestler, rap, or Why? Harris's "birdlike soprano, fragile as spun glass," and the pepper his songs with the F-word, this tuneful, ingeniously enter- "spaciousness and pristine quality of this live recording" — RB's taining, lushly produced set has not set the musical world on fire. words —pull me into the music. The album title says it all. If you value melody, hooks, intricate pro- Examples of this CD's magic abound. The sinisterly throb- duction craft, lyrical intelligence, and listening to music that makes bing, churning bass/synthesizer vortex that opens "Deeper you feel good, even inspired —in other words, if you like The Wells" thrills me. Which is the real Harris: the open translucen- Beatles — get this and you won't be disappointed. If Fallcner's cy on "Prayer in Open D"? the dark, rich, slightly nasal timbre achingly gorgeous "Revelation" doesn't make you "feel" some- on "Calling My Children Back Home"? or the weary, too-thin, thing, your answer to Fallcner's challenging question of an album broken notes heard on "The Maker"? Idon't know, but they all title would have to be "No" —in which case, you should seek pro- pull me into the music. Right now, I'm most taken with that fessional help. For the rest of us, there's this great pop album. The final track, on which drummer Brady Blade erupts into one of CD, mastered by Alan Yoshida at A&M, sounds decent, but don't the most explosive percussion solos I've heard on alive album. expect audiophile fireworks. For the usual unexplained reasons, the Yes, this one's akeeper! (XXI -12) LP, mastered from DAT, is much better-sounding, and features two tracks not found on the CD, one of which is Fallcner's take on JEROME HARRIS QUINTET: Rendezvous Eno's "Burning Airlines Give You So Much More" —and there's Stereophile STPH013-2 (CD). 1999. Jerome Harris, Wes Phillips, prods.; John different cover art. Order online for $8 at www.lovitt.com. Atkinson, exec. prod., eng, editor, mix. DDD. Ti: 60:30 % ittertítiie Febru .
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