July 2000When I first began to write about music, I concluded that the "column inch" was much too precious to squander on inferior or mediocre releases. However there are instances when one must deal with moral dilemmas, precisely where good music (or artists) have gone bad. On MACY GRAY's "multi-platinum" album, "On How Life Is," (Epic) there is a song titled "I Committed Murder." I received one of the promo remixes which were mailed out (pressed on lovely gray marbled vinyl). There is a big problem with this song that the remixes only exacerbate. First I must digress. Macy's first single "I Try" is great. It is the best song on the album. Living in a cave is the only excuse for not having heard this huge crossover hit or seen the inventive video. "I Try" portrays the vulnerable state one is left in when love has trounced your heart. Macy Gray conveys torment beautifully via unique music and vocal styles. Before receiving "I Committed Murder" in the mail I had not listened to Ms. Gray's album or paid much attention to her lyrics beyond the anguished words of "I Try." The focus here is on "I Committed Murder," but after a "listen" to the rest of the album, infantile and dysfunctional are kind words to describe the brunt of Ms. Gray's lyrics. No artist should have restrictions imposed on them, of any kind. Yet even the most liberal among us expects some social conscience when artists attain such pop prominence as Macy Gray. In short, the lyrics of "I Committed Murder" offer support and viability to "revenge killing," with "monetary gain" and topped off with "no regret!" Granted Ms. Gray's scat-y vocal style is nearly unintelligible -- she's almost reminiscent of a female Tom Waits. Unfortunately, clearly written-out lyrics in the liner notes make her irresponsible themes too accessible to young and impressionable music fans. I do not want to create an intrigue around "I Committed Murder"; for the best interest of everyone (including Macy) it should just go away. Mos Def's rap adds an element that certifies Gray's already dubious song into the rank of "gansta" (or would that be "gansta-rette"?) The press sheet accompanying this single noted "'I've Committed Murder' finds Macy returning to her roots." While I do not presume to have knowledge of Macy Gray's "roots," I hope that this is not so, since such behavior would soon put her in prison or worse. Did any one at Epic listen to "How Life Is" before it was released? I can see how one could hear this album without listening to it. Style abounds over substance in these ten songs. There is no argument that Macy Gray has great potential, she just needs some home guidance to express messages that are not so abhorrently negative or self-destructive. Affecting a quasi-blues style and approach does not make the message in "I Committed Murder" acceptable. The person in this song is not "singin' da blues" by a long shot. At press time "I Committed Murder" was not confirmed for a commercial release; let's hope the correct decision is made. SARAH JANE MORRIS "Ever Gonna Make It," first released about two years ago, is remixed for 2000 on Irma. This former Jimmy Sommerville cohort offers two versions of the track. Morris' fine vocals are featured on the Italian import over sweeping synth-filled productions enhanced by KAMASUTRA and ALEX NATALE on the mixes. On the flip is "Dream On Baby" with equally fine vocal remixes. These are fine examples of songs that are commercially plausible without layers of "cheese." The Irma domestic offering is two full sides of RON TRENT's extra deep production style applied to "Dream On Baby." All you expect from Trent's moods are found here: deep grooves, crisp percussion, gorgeous keyboards, and just enough vocals. The flip side of this disc goes even deeper by bringing the keyboards way up front. Both are a deep classic journey. My friend MIGUEL MIGS' "Find What's Mine" on Yoshitoshi progresses from his previous efforts. Migs retains all the warmth of his Naked Music releases, with west-coast-soulful vocals by Francis Chambers, but punches up the tempo and production to allow for potential peak-hour play. The "Mig's Deluxe Pusher Dub" could hold its own even in the most underground set. The "Transporters Vocal" should not be neglected with its uplifting message and pumped-up vibe. This excellent release could be better with just a lighter touch on the compression. Yoshitoshi re-issues the still-in-demand original mix of YELLOW SOX "Flim Flam" in a double-pack that includes remixes for 2000. OLAV BASOSKI strips it down but beefs up the bassline and tempo as usual. CHRISTIAN SMITH & JOHN SELWAY take the same approach but their outcome leans into the percussion and is edgier with a techno flavor. DAVID ALVARADO's mix keeps more of the original themes with a percolating rhythm over top. The stand-out is the "Unreleased Mix" by DIESEL (aka Yellow Sox). This mix naturally keeps all the original themes intact with a throbbing Hammond organ jam throughout. Look At You Records out of Denver release DAVID HARNESS presents THE DHJ PROJECT "The Beginning EP." The shrewd guys at L.A.Y. were the first to snag San Francisco's own David Harness after negotiations with Twisted ended with the label. Each of the three tracks offers a different aspect of this promising artist's potential. "Pumpin' & Jumpin'" is very much in the "march & walk" style that Twisted often worked through the likes of Danny Teneglia, Underground Sound Of Lisbon, etc. This stripped-down track is very late night and that mood is supported by a sexy, undulating bass line, quirky keyboards, and processed vocals by Tookie. "Your Spirit" is an excellent fusion of raw gospel-styled vocals, provided by Avis Berry, coupled with a fairly progressive backing track. The song breaks down midway with vibe-laden old school keyboards and rubbery bass lines that really warm things up and add to this futuristic "church" energy. "The Breakdown" completes this EP with a fairly self-descriptive offering. The highlight of "The Breakdown" is a joyously played cowbell interlaced with some manic-powered jazz guitar work over energized, "batucada-ish" percussion. If you want the perfect segue from the Harness track "Pumpin' & Jumpin'," drop EVERLASTING THROBBING POPPERS "Pulsing," remixed by Dave Audé on Raw/4 Play Records. With production by Montreal's Black & Blue Party veterans Nicola Torriero and Rob Milo, you can be guaranteed a "deep, dark, sick, twisted, and pulsing" journey engrossed by an aura of sexuality. Included is a "deep dub" by LA's own Dave Audé that will work for those too repressed to play the dark and sexual vocal version. POUND BOYS "Gibraltar/A New Frontier" on Chez Music is a release that provides the quality we have come to expect from Chez and the Pound Boys. This is definitely a "double A-sided" release. "Gibraltar" is a luscious summer track with mesmerizing alto sax, glowing keyboards, and subtle vocal stabs. The well placed tribal chants supply an energy that's a perfect counterpart to the otherwise dreamy tone of the track. Viva Ibiza. "A New Frontier" has "big room" written all over it, with cheeky samples. JFK's "new frontier" speech seems to be used in its entirety and the message is of course beyond uplifting. Everyone will be hooked by the bold exploitation of TAFKAP's "I Want To Be Your Lover" which includes the bassline, rhythm pattern, and guitar licks. A sure winner indeed. ANANDA PROJECT featuring GAELLE ADISSON "Cascades of Color" is out on Nite Grooves, written by Chris Bann and vocalist Gaelle Adisson and taken from the forthcoming album "Release." Mixes are provided by Joe Claussell, Chris Brann (Wamdue), Ben Watt (EBTG), Plasmic Honey, and Danny Teneglia. Just perusing the line-up of remixing talent should give everyone a good idea of what this excellent double-pack has to offer. Anyone with a discerning ear should find at least one mix that would fit neatly in their set. I've been caning Danny's edit, but it will take a while to exhaust all the potential from this great project. Also on Nite Grooves is LORD G's "A Latin Vibe." This is almost what it sounds like. Lord G takes "Latin" to a whole new, deeper zone. Essential. BASEMENT JAXX "Bingo Bango" on XL/Astralwerks is released with a dazzling array of mixes from David Morales and includes the DJ Funk mix from the import. Morales doesn't take this track to a whole other "Latin" zone, but keeps to his own inimitable classic interpretation. The original "Bingo Bango" gave some nods to the Latin elements, Morales takes off from that lead and embellishes it with his own pumped-up keyboards, rhythm patterns, and percussion. He makes the track his as he is want to do and that is always a good thing. It would be well advised to include see the fierce Harry "Choo Choo" Romero mix surface domestically at some point as well. Speaking of HARRY "CHOO CHOO" ROMERO, his "The Beats-Volume 1" are out on Subliminal Records. This release is just "two DJ tools tracks destined to burn up any dance floor." On a first listen the two tracks, "Ambient" and "Beetle" seemed far too basic and stripped-down for Subliminal, but upon hearing the tracks on a big system the true power and nature of the record comes through. After talking to the label reps I found out that this release is the first on a new label imprint. This one will be destined to be picked up by all contenders from the most pop DJ through the underground techno DJ. Subliminal will soon be busting a new "tech house" label imprint, more on that in the next column. Some quickies: 2ND SHIFT & HEATHER "Freaks Return of the Blu Meany" on Seasons is a deep and moody track keeping up the high standards of the label. The Freaks (Justin Harris & Luke Solomon) and Derrick Carter both provide the mixes. MENACE "Another Time," featuring remixes by OSCAR G on Harlequin, presents a whole new production sound from Oscar G, very punchy and progressive. I had doubts when SESSOMATO did a cover of the ESG classic "Moody," but Joey Negro's mix on top of the fine vocals turned it out on Junior Boys Own (UK). JAZMIN & FACE are a new addition to the OM family from Dallas. "Music and the Moon EP" is five tracks of exceptional "disco-soul" that further bolster the quality that we have come to expect from OM. More Quickies: The fourth single from MOBY's "Play" full-length is "Porcelain" on V2. Two fabulous club remixes are presented from Futureshock and Rob Dougan. BENTLEY THYTHM ACE "Theme from Gutbuster" on Parlophone (UK) is an essential purchase just for the Jon Carter remix bomb. Send review material to: |