Monday, 8/4/97 Soundbites MUSIC:
Various Artists "Men in Black" soundtrack (Sony) With an opening
that sounds like a mysterious Trekkie episode, middle flavored with
rid’dim raps, and an end of hypnotic lullabies and loungy
instrumentals, the "MIB" soundtrack proves to be as sophisticated
as those slick Armani-esque black suits and move-over DKNY, because
Ray Ban shades are sported by Tommy Lee Jones and Will Smith
himself. This hot selling scrap o’ metal (which has already hit No.
1) screams for attention. Big names include Snoop Doggy Dogg,
Ginuwine, Nas, De La Soul, Roots, and Will Smith, to name a few of
the funksters. If you can get past occasional flashbacks of the
Fresh Prince in his sideways cap and butt- crack-showing baggies;
you Will Smith fanatics and other listeners won’t be able to stop
yourselves from steppin’ to the smooth vocals and quick double
handclaps forever clicking in the theme song. And while the "Men in
Black" song is about little (and big) green men, the idea of love
is mulled over and crooned out by Ginuwine in "I’m Feelin’ You."
The Roots’ sharp-cornered rap is softened and made ironic by a
romantic sentiment with rhymes like "She was a hypnotic/ Like a
narcotic," while Emoja’s Erotik City turns to the slow groove using
wah wahs and swaggering beats. Whether it be the sultry female
bellows of Trey Lorenz’s "Make You Happy," the whisking stompin’
grooves of Smith’s raps, or the brassy jazz horns of Danny Elfman’s
closing theme song, the "MIB" soundtrack has danceable fast trips
and sleepy spins for everyone (including little green men). Nerissa
Pacio A+ The Charlatans U.K. "Tellin’ Stories" (MCA) After
inner-band turmoil and the tragic death of keyboardist Rob Collins,
the Charlatans (U.K.) have regrouped with "Tellin’ Stories," the
Manchester outfit’s fifth and perhaps best album. "Tellin’ Stories"
is a very upbeat and cheery affair, bringing in elements of the
"Madchester" sound they helped create and late ’60s/’70s British
psychedelic-rock. The first half of the album is full of
happy-go-lucky, driving-with-the-top-down songs. Such British Top
40 singles as "One to Another" and "North Country Boy" could easily
be KROQ hits, provided they got beyond the Rodney-on-the-ROQ show
and into normal airplay. "With No Shoes" and "Two of Us" are
reminiscent of fellow Manchester musicians, the Stone Roses and
Oasis. Other songs like "Title Fight" and "Area 51" deliver
guitar-crankin’ audio images of the Jam and Paul Weller. The
record’s bright organ melodies and dance-pop rhythms highlight what
might normally be your standard British guitar-pop album. In the
face of such personal tumult, it’s great to see the Charlatans come
out in such a festive and musically polished manner. Mike Prevatt
A- Echo & the Bunnymen "Evergreen" (London) After solo albums
and a side project known as Electrofixion, vocalist Ian McCulloch
finally reunited the post-punk British sensation Echo & the
Bunnymen for "Evergreen," which is more reunion sensationalism than
it is an attempt to create a stand-out record. Echo & the
Bunnymen, often lumped into a group of early ’80s bands that
usually consist of U2 (whom they seemingly hate), the Jesus and
Mary Chain and the Smiths, haven’t changed their sound too much.
Much of "Evergreen" remains unoriginal and unadventurous. In fact,
some songs sound a lot like the bands they are often compared to
(especially the Jesus and Mary Chain!). However, despite much of
the album’s relatively boring tone, it does have this comfortable
flow to it that keeps your finger away from the "stop" button
somehow. The album opens with "Don’t Let it Get You Down," which
swoons nicely like a teen romance-movie pop song, as does the
Psychadelic Furs-like "I Want to Be There (When You Come)," the
first and perhaps best single of the album. "Too Young To Kneel"
beats with some tenderness and feeling, breaking the gloom-pop
monotony most of this record suffers from. Some of the songs
resonate with some bouncy Cure-esque pop ("Just a Touch Away,"
"Evergreen"), and others attempt to put you in the doldrums ("I’ll
Fly Tonight," "Nothing Lasts Forever"). "Altamont," an exception
and perhaps standout on this uninspiring record, rocks out
pleasantly. Surely Echo fans from long ago will find this record
undetestable, despite its distance musically from what made this
British band popular 12 years ago. "Evergreen" doesn’t suck, but
perhaps McCulloch and company should work on their songwriting
skills a little bit before they aim to be taken seriously. Mike
Prevatt C+ Puff Daddy & the Family "No Way Out" (Bad Boy) After
producing a string of massively successful singles for the late
Notorious B.I.G., 112 and others, Sean "Puff Daddy" Combs has put
out his own debut album. "No Way Out" represents an enjoyable,
worthwhile collection, undoubtedly a multi-platinum seller
containing four or five potential hit singles. However, it’s not
Combs’ best work to date. No track on the new album is as smooth as
112’s "Only You," as bumpin’ as Biggie Smalls’ (a.k.a. the
Notorious B.I.G.) "Mo Money, Mo Problems" or as infectious as
Smalls’ "Hypnotize." Songs like "Senorita," "Don’t Stop What You’re
Doing" and "Been Around the World" do come close, though. The album
permeates with songs about Puffy’s feelings of loss after the death
of Notorious B.I.G., his protege. Seven of the album’s 15 tracks
deal with this theme, best expressed on the haunting "Pain," and
the excellent single, "I’ll Be Missing You" (No. 1 now for eight
weeks). However, the album seems like it could have been somewhat
more compelling, had Combs spent more time expanding on diversity
of beats and themes. Seeing that Biggie Smalls died in March and
this album was released just four months later, Combs may have
rushed a bit in order to release the album as soon as possible.
While "No Way Out" remains a tight album, it does not live up to
the expectations Combs has created for himself. Hopefully, next
time around he will more time to release something that fully
realizes his potential. Jeff Hilger B+ VARIOUS "Men in Black"