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Home , Beth Orton, Blue Rodeo, Colin Cripps, Greg Keelor, Jim Cuddy, Sarah Harmer

GLOBAL MUSIC by William Shea MAY/JUNE 1999—AGENDA—11

Jim Cuddy “All In Time” Jeff Beck Who Else Warners Music Canada 53:19 Epic 53:59 “And the 1999 (the Cana- I haven’t listened to Jeff Beck in quite a dian Grammy Awards) winner for Best Male while. After his remarkable 1970’s work with Vocalist is for his solo work, ‘All Beatles producer George Martin (particularly In Time’.” “Blow By Blow”), it seems Beck’s music Cuddy and are Canada’s didn’t gibe with the sounds and actions that most popular (and arguably best) songwriting were taking place in the commercial musical team. Usually fronting the great group, Blue world. His music didn’t rock as much as it Rodeo, this solo release has given Cuddy the oozed. Sure his guitar work was always way chance to record some songs which are harder above average, but his material lacked pro- edged and more fiddle-based than the material pulsion. Or maybe Beck’s material was pro- on ’s last recording “Tremolo”. pelled by his own sense of musicality, which The result of this musical combination is a was inconsistent with music of the time. This strong countrified album that rocks. seems to make sense. In the seventies Beck’s Blue Rodeo fans won’t be disappointed music fit perfectly on the dance floor even by this work. Of course, Cuddy’s vocals are though it did not force the disco issue. Now first-rate: powerful, melodic with great Beck’s latest, “Who Else”, seems to have twang; the songs are comfortable, catchy, caught the groove again. although not as dense and complex as his The opening number, “Mama Said”, be- work with Keelor. And because long-time longs on the current techno dance floor. It’s Rodeo engineer is co-producer hot, rhythmic and electric, filled with a power with Cuddy, the production sound of the re- groove that could literally drag one to the cording is in the same vein as Rodeo’s later floor. Similarly, “Psycho-Sam”, with an en- work: hard and clean. ergy long missed in Beck’s work, has that The core ensemble consists of Cuddy on beat—power and push—consistent with guitar, on drums, today’s dance tracks. on guitar and Rodeo’s Bazil Donovan on This CD also has some enjoyable sur- bass. When keyboards were called for prises. Beck shows he certainly still has the Rodeo’s James Gray stepped in. Musical aid- muster for some great get-down guitar action. de-camps included and His use of dynamics and feedback has never Armin, violins; , background been stronger than on “Brush with the Blues”. vocals; and alt-country rockers, Jay Bennett It’s as searing a blues number as Beck has put and of on guitar, banjo out in decades, and it’s live. “Even Odds” is and vocals. All this talent and camaraderie as hard as rock gets. The delicate “Declan” is results in a strong, familiar recording, one just plain beautiful. Celtic in tone and incli- that stands repeated listening. nation, it’s probably the most remarkable Musical standouts are the opening num- melody on this recording. ber, “Second Son” and follow-up “Whistler”. Jeff Beck has always followed his own Both are a bit wild, complexly mix, with a musical heart. “Who Else” shows that his strong sense of melody. Title tune, “All in musical thinking is rightfully in tune with guitar, bongos and vibes. On “Central Res- Time” is the rockiest cut on the album. Driv- current trends. I’m sorry I missed his recent ervation (Original)” the mix jumps between ing yet controlled, this cut could easily be a Detroit concert, but glad I have this record- Central Reservation sparking hi-tech to grungy lo-tech sounds. classic FM single. The most interesting tune ing. Pick it up today. Arista 58:57 On “Central Reservation ( Mix)” a is “I’ll Make Believe It’s You”. Sung as a slow-groove dance beat is mixed with elec- duet between Cuddy and Jeff Tweedy, it’s a Beth Orton’s important 1997 debut re- tronic lounge instrumentation. One moment poignant song about the difficulty of getting cording, “Trailer Park”, showcased her strong we’re being led around a sonic eclectic arena, over a long-standing relationship. Often all alto voice, some very quirky lyrics and an the next we’re being dropped off into what one can do is make believe. extraordinarily-produced recording. It com- seems a very chaotic hodgepodge of drifty, Cuddy says, “I wanted to see if I could bined a strong lyrical sense with a post-mod- self-indulgent, prattle. All this is strangely be the sole guide to a record. I developed into ern slant, a kind of techno-folk music. Critics complex, interesting, often smoldering and the songwriter I am being in this partnership loved it. chilling, but at all times unique. [with Keelor]. If anything, the solo experi- On “Central Reservation”, while still It’s hard to tell if Orton’s approach to ence has made just sitting down easier for sonically fresh and lyrically interesting, Orton, sound manufacturing will survive or what it Blue Rodeo.” As great as this recording is, who is still being in good voice, offers a bit will do for the listener. But for now it tells us there’s one down side. It has yet to be re- of a challenge to the listener. Because Orton much about Orton, her boldness and cour- leased in the US. For those who want to be mixes her plaintive alto voice with a certain age. Whether the market, critics, and listen- initiated into Cuddy’s great work, at this point unusualness of instrumentation and produc- ers will give her the time and place to make it can be obtain from HMV Records in tion, the listener must be prepared for the her statement remains to be seen. All I can 800-567-8468. plunge. On “Couldn’t Cause Me Harm” say now is that “Central Reservation” is damn there’s a curious yet compelling mix of slide hard to get off my CD player.