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  • Article

    Southern-Fried Soul

    Maybe it's because they recorded tough R&B, raunchy blues, and wildcat rockabilly in a city where straight-line honky-tonkers ruled the Nashville nest. Or maybe it's because its staggering roster of talent never cracked the pop charts. Whatever the r...

    by John Floyd on July 15, 1999
  • Article

    Rotations

    Juan-Carlos Formell Songs from a Little Blue House (Wicklow) This isn't your father's son. It isn't Juan-Carlos Formell's father's son, either. On Songs from a Little Blue House, Juan-Carlos takes the kind of wide departure from the traditi...

    by John Floyd on July 8, 1999
  • Article

    Dubbed Out

    There was something in his eyes, Augustus Pablo's inevitably reefer-blurred eyes, that was alternately haunting and sad, chilling and beautiful. In the numerous photos of the dub innovator that grace the slew of albums released during his life (which...

    by John Floyd on July 8, 1999
  • Article

    Rock On

    Ask for James Baldwin. That's how you get Chris Rock on the phone this morning, by telling the hotel operator in Philadelphia you want to talk to the author of Go Tell It on the Mountain, The Fire Next Time, and Blues for Mr. Charlie. The operator ch...

    by Robert Wilonsky on July 8, 1999
  • Article

    Kulchur

    Where were the Cubans? That was the nagging question hanging in the air at this year's MIDEM Americas conference. Cuban music may be hotter than ever, but it was virtually invisible at the convention. The official word out of MIDEM head Xavier Roy's ...

    by Brett Sokol on July 8, 1999
  • Article

    Zaftig Beats

    Delano security is acting a bit nervous. It's a beautiful afternoon in the hotel's artfully sculpted grassy back yard, but today's lounging guests look very different from the usual run of schmoozing businessmen, high-rolling European tourists, and H...

    by Brett Sokol on July 1, 1999
  • Article

    Clean and Sober Psychedelia

    Wayne Coyne is no madman. Julian Cope may have fried his brain and come out the other side barely intact, but Coyne (rock's other modern-day psychedelic warrior) makes it a point to soberly lead the Flaming Lips into the studio playground to tweak an...

    by Rob O'Connor on July 1, 1999
  • Article

    Method Men

    The Beta Band fits approximately nowhere. Signed to a label known for spearheading the pop-electronica invasion in America, the band's records feature nary a danceable track. Beta's music bears some resemblance to the hip-hop folk of Beck, but the gr...

    by Alec Hanley Bemis on July 1, 1999
  • Article

    Rotations

    Rubberoom Architechnology (3-2-1) Like Public Enemy in the late '80s, Staten Island's Wu-Tang Clan has cast a long shadow over the '90s hip-hop scene. Public Enemy's great innovation was to speed up the beats pioneered by rap artists such a...

    by Ted Reichman on July 1, 1999
  • Article

    Rotations

    Miles Davis Panthalassa: The Remixes (Columbia) When the Star Wars trilogy was updated for re-release over the past few years, George Lucas's crew at Industrial Light & Magic tooled around with added special effects to modernize those sci-f...

    by David N. Cassuto on June 24, 1999
  • Article

    Kulchur

    Kiss the Cameo Theatre goodbye. That's the word from Chicago-based developer Ken Smith, who has just signed a ten-year lease to take over the operating reins at the Miami Beach venue. The winner of a fierce bidding war for the site, Smith intends to ...

    by Brett Sokol on June 24, 1999
  • Article

    Sworn to the Drum

    Percussionist Francisco Aguabella is emphatic when asked whether anyone else can perform the types of rhythms he has been playing since he came to the United States from Cuba in 1957. "No," he says in his heavy Cuban accent, "nobody else can play the...

    by Ezra Gale on June 24, 1999
  • Article

    Brian's Kids

    The sophomore slump is a popular phenomenon in modern music. A band's debut release does well; the next album falls short of expectations as the group stumbles to re-create the magic that brought fans into its realm in the first place. Maybe this lac...

    by Mark Watt on June 24, 1999
  • Article

    Kulchur

    The word crossover hangs in the air at this year's MIDEM Americas 1999 conference, which rolls into Miami Beach next week with a series of daytime panels and evening music showcases, all spotlighting Latin, Caribbean, and African artists and the reco...

    by Brett Sokol on June 17, 1999
  • Article

    Salsa Hard and Fast

    On one typically addictive track of trombonist Jimmy Bosch's upcoming album, piano and brass embrace like an inspired couple on the dance floor, shimmying together then breaking apart for some saucy solo moves. Congas keep the rhythm, and a male chor...

    by Judy Cantor on June 17, 1999
  • Article

    Rotations

    Faust Ravvivando (Klangbad) For aficionados of the genre known as Krautrock, Faust is a big deal. A style that flourished in the early '70s, Krautrock was an attempt by (mostly) German artists to fuse two major streams of twentieth-century ...

    by John Floyd on June 17, 1999
  • Article

    One Nation Under a Groove

    In California a crowd of 10,000 shakes the Santa Monica Pier for the last free concert of the summer. High school kids, industry types, the homeless, cholos, black, white, and brown all make elbow war for room to dance. Ozomatli pounds its sound out ...

    by Josh Kamensky on June 17, 1999
  • Article

    Rotations

    Vinicius Cantuaria Tucumo (Verve) Maybe Brazilians are just musically superior to the rest of us. It's food for thought not only because the leading lights of Brazilian popular music -- artists such as Caetano Veloso and Gilberto Gil, who d...

    by Mark Watt on June 10, 1999
  • Article

    Boy Wonder

    At a recent well-attended reading, a fan asks writer Nick Hornby about the influence of music on his work, asserting maybe a bit too strongly that his personal soundtrack directly influenced the text. Hornby steers the question a bit, answering it, b...

    by Thomas Crone on June 10, 1999
  • Article

    The Once and Future King

    In the summer of 1953, a shy Memphis teenager steals up enough courage to go into a local recording studio, pays eight dollars and twenty-five cents, and, accompanied only by his rudimentary guitar playing, cuts two ballads: the pop standard "My Happ...

    by John Floyd on June 10, 1999
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