By Jacob Katel
By Laurie Charles
By Nate "Igor" Smith
By Abel Folgar
By Kat Bein
By Jacob Katel
The Road I'm On: A Retrospective
He's best remembered for the string of brilliant doo-wop hits he had in the Fifties with the Belmonts -- swaggering, salacious cuts such as "Runaround Sue" and "The Wanderer" -- but Dion DiMucci not only maintained a career throughout the Sixties, he pushed his art to exciting new levels. The Road I'm On is a magnificent assemblage of Dion's work for Columbia, where he dived headfirst into scorching blues and introspective folk, as well as continuing to perfect his street-smart, cocksure rock and roll anthems. Talking about his Columbia sound a few years back to writer Gene Sculatti, Dion described it perfectly as "R&B, street-corner doo-wop, some Hank Williams 'Honky Tonk Blues.' You filter it all through an Italian neighborhood full of wiseguys and all that, and it comes out with an attitude, like 'Yo!'"
That's what you get through The Road I'm On, from the hits "Ruby Baby" and "Donna the Prima Donna" to ace covers of Chuck Berry ("Too Much Monkey Business," "Johnny B. Goode"), Willie Dixon ("Spoonful"), and Bob Dylan ("It's All Over Now, Baby Blue"), not to mention a slew of amazing tracks that have been tucked away in the Columbia vaults for nearly 30 years. Although his hits dried up not long after "Donna the Prima Donna" (in part because of a nasty drug problem), The Road I'm On is a tribute to the genius that never strayed too far from Dion's art.
-- John Floyd
The Colour and the Shape
Slight expectations are easy to meet. Who knew that Dave Grohl wrote songs before the Foo Fighters' 1995 debut? And what a pleasant surprise Foo Fighters was, proof that Nirvana's pop-punk glory didn't die with Kurt Cobain. "I'll Stick Around" and "This Is a Call" aren't the equal of Cobain's best, but Foo Fighters earned most of its raves and million-plus sales. Any doubts of its quality were overshadowed by sheer disbelief that Grohl -- a drummer, for chrissakes -- had done most of it himself.
But Foo Fighters is now a real band (Grohl, guitarist Pat Smear, bassist Nate Mandel, and new drummer Taylor Hawkins), and The Colour and the Shape is their answer to the prove-it-again challenge that follows any big breakthrough. Unlike Cobain, however, Grohl seems destined to survive whatever comes his way, be it mixed reviews, tepid sales, or the end of his marriage, which crashed and burned between albums.
The Colour and the Shape is supposedly Grohl's "divorce album," but don't expect the white-knuckle ride of Richard and Linda Thompson's Shoot Out the Lights. Grohl doesn't have the patience to stay sad for long, and producer Gil Norton (Pixies) has buffed his can't-help-singing-'em melodies to a bright, mod-rock sheen.
Truth to tell, Grohl sounds more comfortable on the power-pop surge of "Monkey Wrench" and the light, jazzy breeze of "See You" than on the Cobain-like screams he forces on "Enough Space" and "Windup." Overall the band uses Nirvana's sonic formula (soft verse, loud chorus) a little too often -- the effect has been cheapened by too much imitation. Considering Grohl's formative background (drummer on the Washington, D.C., hardcore scene), it's disarming how good he is at writing and singing ballads. There's nothing particularly distinctive about the lyrics of "February Star" or "Walking After You," but Grohl's voice is sweet enough to soften the lingering sting of loss and regret.
The Colour and the Shape won't stand the music industry on its head or inspire a generation of like-minded bands. It's not even the equal of Foo Fighters, though part of what's missing is a sense of surprise. A good album, it has some of the same facile appeal of Veruca Salt's Eight Arms to Hold You. (Consider Grohl and VS's Louise Post the newly crowned first couple of post-alternative pop.)
Though Grohl has never spoken publicly about Cobain's suicide or his relationship with Courtney Love, I always assumed there was meaning buried deep in the noisy bowels of Foo Fighters. Now I'm convinced that Grohl is simply an ordinary hero; he'll bleed for his own pain, but damned if he's going to suffer for you, too. In other words, look to Foo Fighters for reliable hooks, but don't expect them to shatter your world or build it up again either.
-- Keith Moerer
Keeper of the Flame
Mitch Woods is a first-rate blues and boogie pianist and leader of one of the most dependable bands on the national blues circuit, the Rocket 88s. Keeper of the Flame is a departure for the San Francisco Bay-area musician in that he's offering duo performances with five different luminaries of blues and R&B. Call it Woods's labor of love, or simply a lot of fun for your ears.
Woods is attentive to the modulations of feeling from boogie man John Lee Hooker on "Never Get Out of These Blues Alive," getting more from the Hook than most collaborators have in ages. In the faster company of harmonica ace James Cotton, he cruises right along, hammering his 88 keys on four tunes -- the train-riding "Chicago Express," the revamping of Jackie Brenston's "Rocket 88," the emotionally naked "Blues for Michael," and the self-explanatory "Blues Hangover." In "Blues Ya 'Fore I Lose Ya," Woods matches the scintillating verve of Chuck Berry pianist Johnnie Johnson note for note; the two also are in agreement on the ebulliently rolling bass lines of "Blue Boogie" and "Full Tilt Boogie." Woods doesn't just play stirring piano; he turns in an enjoyable vocal here and there, rounding out many lyrics with a convincing wryness.