mane. _ “minimum on the vinyl-only ‘llainbow Bridge’, has JIMI "Eunmx benefited enormously from the on re- ctaig McLean reviews Bum (Powder) mastering. ‘Voodoo Chile Blues’ more singles than is . features a classic line-u of Steve "m"y mama” While Robert Johnson s at the p i crossroads, .liml’s waiting on platform mnmod ("93")! Jack “33" (bass)! on. "and," takes the blues and Mitch Mitchell (drums) and .llml on In a Seefeel single. no- distils it, refines it, "defines it, guitar. Sadly it’s culled from two

one can hear you scream. takes the filst half being lacklustre . , ranging from gently acoustic through Their Starethmugh EP ; swam.“ Imminent”, .30,“ undo, but post-splice it blisters along the

gfiz‘figjg'iiggfi‘f“ ; A Bad Sign’ to duplications ol ‘Bed "‘3" 3 "Wm- 59? " 1°" c?" 59'" "'0 ambient music of the llouse’. Mind you, some of these get loin“ Appannuy’ ,‘Ie‘fly 292 is W‘ “Home,” sub-genus 3 "I," "m airing hem, managing to on Duke Ellington s oooli Wooli , but

- - .llmlstornu the i dthe lt’ electmmw €X()!l(‘(l, and . beat the bootleggers for a change, 9 "ms c an in n 3 other such hyperbole. All A couple 0' the tracks tend m smokin . Wonder what the Duke makes very calming. if.‘ i wander aimlessly but others like ‘llear 0' "7 , Ultimateiy‘ a mild] 9 Train comm! "om a Berkeley this is" t the bOSt Hendrix

ngcarlgngefd;):]a:kmfizlt:hosis concert are near perfect donnmve album in the world. But it is the best make his transition from small clubs

lStewart) _ to thousand-seaters seem inevitable. ‘Live At Sin-e’ is a document of an

Live in 51..., (339 cm) intimate event (judging from the

It can’t be overlooked, disguised or Sleeve ph°t°§t sill'e is a 5m?" "80th swept into a corner that Jeff Buckley Fate) and a" '"t'mat‘i expemnce

is '8” much his “maps so". That itself. After the opening chords, swooping, scattlng voice, the sound of afih'wle‘ms :"thlhe 50295.) tar

a man who will settle for nothing less ems” "’5’ w "3 599'" ° 9 "‘9 man being swallowed whole by the Buckley where they want to go rather songs he's singing, is just pm than the other way around.

animated atliiospherics to n ‘Blue‘ (Circa). Blue isn‘t shon for Blue Nile. but it should be. Jah Wobble. ace of bass. has one- world/one-voice epicness on his ‘Becoming More Like God’ (Island). The Secret Knowledge remix is higher than the sun.

Celebrity cover corner: lnsplral Carpets can‘t quite match the Sabs on

their version ‘of ‘Paranoid’ ganeuc desmly. lie pullmutfla" tYhe stops on till: ten- ifilulfc‘ b’5‘qaf’fm Aunts This mini-album is the opening shot "Mae 9 ts? flung dovfi's 0‘" m 0”" )’ g by a major talent. It’s all there: the “a "‘9 “5 ":3 V a" 8 mm 8 V

bring a snarl to the Smiffs with their take on ‘Ask‘ (Fire. b-side of ‘Mrs Washington'); and oalllano give David Crosby‘s ‘Long Time‘ (Talkin' Loud) the skunk- funk treatment the end-

stroking and pummelling his open- tuned electric guitar. Maybe it’s overlong or unfocused, but it demonstrates what he’s capable of. Get this, so you can say you were into him all along. (Alastair Mabbott)

vocal charisma; the ability to sing, play guitar (‘Je ll’en Connais Pas Le Fin’ is built on a gorgeoust fingerpicked waterfall of notes) and most likely chew gum at the same time; and movie-star looks which



result being Isaac Hayes ' ahead with gusto to prove absoluter mew the NW BrotherS- , _ none of it here. This is the reliable old . . , . Floyd, reassurineg downbeat, 0:2: figgggoniiéfigsfl PINK FLOYD Gllmour’s guitar familiarly heroic. good as we would have The Division Bell (EMI) i Years after Roger Waters’ departure, you expect _ re-issued, Speaking as one who never made any 5 they have even (like a tanker taking with Norman Fanclub as secret of the fact that he’s always ; miles to slow down and even longer to lovesick crooner. ‘Serious found parts of ‘Wish You Were llere’ ‘: change course) retained that keep- Dmgs‘ is the superlative and ‘Animals’ absurdly haunting - l the-luck-away-frorn-me tone in the Soundtrack ‘0 this JU‘CYr thrilling, even - and who reckons that F vocals. tender Spnng' Gm your the ambient merchants of the ms owe i Interestingly, what lingers after the

m'lgf‘i‘gu‘géry more than they let on to late SOs/early i record has ended are the trademark

Crucifixion Scene. (cw 70s Pink Floyd . . . bearing all that in ' textures. not the rock-stories melodies 5 mental): song not as good mind, ‘The Division Bell’ is still a dog I themselves. If this was an Aphex Twin ;

as title. More turbulent of an album. A knee-jerk response i album, that would be ha" "‘9 90"“:

indie-guitars and fey from an ageing Pistols fan? Well, flan, ' but in Pink Floyd’s case it seems a , indie-Voices Ditto. take it from Dave Gilmour himself, who parllcularly woeful cart/horse ; moreorless. flide’s ' suggests that no“ have “not a" that displacement. One for those

‘Birdman' (Creation). Why does sounding like Verve constitute a ‘landmark release’ in Alan McGee’s book? The b-sides on 18 Wheeler’s ‘Kum Back‘ (Creation)

much to prove any more, frankly, f introspective Sunday afternoon runs in Which makes sense, for they forge } the Volvo. (Alastair Mabbott) l

Except that, to be completely _ dispassionate, he sounds like a

NICK CAVE AND THE BAD minimize. n... n...

irifiggedhifify, lines grew hopelessly tangled/And the and ‘Alness Gurls‘ is a Let Love In (Mute) bells from the chapel went jingle-

The genius of lick save is In the way iangle’, and others, from the single ‘00 he walks such a thin line between the You love Me?’. This is high comedy. role of the ultimate debauched especially When The Bad Seeds (bless tortured torch balladeer and that of ’8'“, '0! they are a rate decadent

the old lush swaying precariome on wonder) echo llick’s torment with their the pub threshold serenaelng portentous baritone backing vocals. uncomfortable pedestrians with an ‘Let Love In’ is very . . . llick Cave. For array of old Scots laments and various his fans, there’s his Cinemascopic sectarian nonsense - and not for one portrait of life as emotional minefield. minute does anyone doubt that he’s For those who can maintain some

the supremo of sleaze and doyen of more distance from His Lowness, doom. lllce one, llick. You’ve got it there’s the camp overtones to play licked there. with and the furrowed brow outlook

fine. funny Big Star reference (probably).

Racing onwards and northwards, we note that Khartoum Heroes’ ‘Song i For A Flower’ (Lochshore) is anodyne -_ country-folk and a perfect i cousin of ‘Serious Drugs‘; that ‘The Last Ship On The River‘ (iona Gold) is not nearly the best song

i on love & Money’s latest. h

excellent album; and that Whiteout‘s ‘Starrclub‘

(Silvenone) is stomping An exanple: ‘Loverman’ with its that’s too perfect. And for everyone, riff-a-delica_ If only overwrought dramatic denouement - there’s a rich, evocative musical blend everything in life was as all around him Instruments clatter in of demon rockabilly, lounge jazz and reliable inf? bunch of west the storm and lick is supposedly theatrical balladry. Brownie points all coast SCTU S.

haying ln frustrated emotional agony. round. (Fiona Shepherd)

42 The List 22 April—5 May 1994