- Jesse Niemenen
- Albums and Singles
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There is a greater dimension to the sound than the relatively-flat bootlegs. Of course, the price for greater clarity of the original analog source material means some audible hiss in spots, but I think the improved quality otherwise outweighs this minor annoyance. The new CDs also offer more music on each disc — about 20 seconds apiece for the first and third albums, and 41 seconds for Neu! 2. Some of this disparity can be be attributed to the fact that the bootlegs were taken from inadequate source (I have heard they were made from the best vinyl copies available). In remastering, Neu! brought back in some skips and pauses that had been errantly "fixed" for the bootlegs. Some tracks are also broken slightly different than on the bootlegs. As for the packaging, it's slightly more aesthetically pleasing than the bootlegs, and borrows a bit from the big foldouts that accompany Dinger's releases on the Captain Trip label. And although the promo material promises "new liner notes," don't expect any further insight into the music itself. Having owned the bootleg versions for several years, I can say that the quality of the official reissues is definitely worth the investment.
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This is the latest in a series of CDs presenting one live performance from each stage of the Fall's more-than-25-years-long career. Most of the tunes on "Live in Zabreb" come from the "Extricate" album of 1990, a point in the Fall's life when they were past the angular, percussive post-punk scream of their classic albums (such as "Hex Enduction Hour") and were moving ever-closer to repetitive techno-rock.
Smith's lyrics are mostly bitter rants about his ex-wife (a tune which might about her then-new solo music career is pointedly titled "Sing! Harpy"? yikes?), but that unhinged quality that made the early 1980s albums unique is gone, replaced by bitter grumbling over dance beats.
The music references funk (as in the overblown wah-pedal exercise that is "Telephone Thing") and disco ("I'm Frank", supposedly a tribute to Frank Zappa, though you'd never know it), yet it bears only a hint of the full-blown Manchester dance-party that would be "The Infotainment Scan" album a few years later. The high point of this Yugoslavian concert is the overexcited organ solo which ends their cover of the Monks' "I Hate You", a beautiful minute of sloppy exuberance that only reminds me of what the band used to be like.
In older days, the band would nervously fight onstage, improvise lyrics, rewrite songs while they played them; songs could be half their recorded length or twice as long; poems were read over some songs, other blurred by tapes of fragmented noise. By comparison, "Live in Zagreb" contains music by a professional group, well rehearsed. The tunes are good, catchy pop, but this is not the place to start if you want to hear what the Fall are all about. It's fine, but ultimately not essential.
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What a great influence Weezer have had on the youth music scene. Their fun-sounding geek rock was almost revolutionary to most kids (who unfortunately had heard nothing like Weezer before) when "Undone: The Sweater Song" hit the radio and television airwaves. And now the kids influenced by Weezer and the like are starting to record music.
Take the b-sides, for example. From the first notes of "The theme song," you hear the Weezer influence. You immediately wonder: can they sustain this for a whole album? No. Can they show us that there is a maturity in the other songs, mixing the poppy moments with sober rock songs that are well-crafted and hooky? Yes, they can. This first release for the band, sub-titled their greatest hits from their next four albums in the liner notes for the CD, is the first full-length release from the b-sides, whose members are no older than 21, except bassist Ken Mosher of Squirrel Nut Zippers fame. The CD is a pop gem. Vocal harmonies and hummable melodies abound, backed by rhythms that will make your toes tap on their own. The b-sides try hard on this release, showing off a great range of styles and sounds. They also show competent proficiency with their instruments for their (seemingly) tender ages. Independent geek rock has new saviours in the b-sides. Yes, indeed, quite.
 
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A lot of places on the album turn me off because the sounds mimic thoseripped off any old groovebox or Roland synth. I guess there's somethingto be said for old school sounds but I am not going to say it nor willI hear that.Most of the tracks can be broken down like this: they have their kindof nice places, then more bad parts, and then the awesome atonalcomposition that seems to be taking electronic music by storm!!I guess my issues with this album is that the chosen sounds could havebeen better and the melodies could have made sense or shown an emotionpresent on the any other full-length releases by Squarepusher.
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'Welcome to Detroit' is like a warm pot of gumbo, that includes abeautiful blend of raw emcee talent and dirty, minimal breakbeats,tweaked to perfection. Jay Dee successfully mixes R&B, Hip-Hop, andwhat can only be called Experimental, into a concoction that creates aninfectious vibe leaving you wanting another. The opening track is a 5/4masterpiece. Other highlights include 'The Clapper', a start-stop headnodder your rewind button had better be ready for, and 'Featuring PhatKat', which does for obvious reasons. The kid is nice. This isdefinitely one to play for your friends; but don't let this album outof your sight, for it might disappear. With 'Welcome to Detroit', BBEhas set a clear standard for quality product, and the second releasefrom the "Beat Generation", composed by the Chocolate Boy Wonder, PeteRock, is no exception.
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'Petestrumentals' is a stark deviation from his prior solo release,"Soul Surviver", which included a guest artist on every track. Thisalbum only invites members from UN to grace three of its tracks, therest are perfectly designed to allow budding emcees a chance at rockinga groove from the legendary producer. This album is yet anotherseamless fusion of Reggae, Jazz, Pop, Soul, Rock, Folk and Other forPete Rock, making it an instant classic for your shelves. Those whopurchase this record on vinyl will have the added pleasure of listeningto it a 45rpms. My hopes are that this series will change the stagnantdirection in Hip-Hop production today, where it seems as if every trackis a remix of a previous Timbaland or Neptunes project. So far BBE is 2for 2 and batting 1000%. Stay tuned.
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- Jay Dee - Come Get It
- Jay Dee - It's Like That
- Pete Rock - Pete's Jazz
- Pete Rock - Something Funky
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