manages to sound like The Thompson TWins, James Brown and Cypress Hill at the same time. Honest.

(Doug Johnstone)

DANCE COMPILATIONS Various Artists home: The Album (lNCredible)

* t at t t Bar Grooves: Members Only (Pace) * at i

Scott Gallagher Presents Into The Deep (Choice) 1!

The undisputed king of this f0itnight's house compilations is home. Mixed by Steve Lawler, resident at home’s Friday night slot, Deep South, the album comprises two CDs, one featuring the IWisted, quality house of his early to mid-sets and the second showcasing the progressive style which he closes with Featuring a monster 28 tracks in total, this is a seamless compilation encapsulating all that is fine in house music

Bar Grooves starts With the announcement that 'this is true house music',‘ Just in case you thought it was Tibetan throat singing. This deep, Jany, funky house compilation is inspired by the popularity of pre-club bars where nightlife’s glitterati delicately shimmy to funky house grooves while taking every care not to spill their classy cocktails. Mixed by Dylan James, the resident at London’s Uber-trendy members bar, Chinawhite, the collection includes some very sassy dancefloor-fillers like New Phunk Theory's 'Honey Falls' and the trance- infused ’Hypnodelic' from the legendary FrancOis K.

No reVieW of this fortnight’s dance compilations would be complete though Without mentioning the token turkey Scott Gallagher's effort is one such bll'd. Despite it featuring some half-decent tracks, this is atrooously mixed and a pure example of how not to make a house compilation. (Catherine Brornley)


The Creators The Weight (Bad Magic) k s +. 2‘1

If you want to know where the UK’s hip hop stars are, then look no further ’cause as soon as this hits your CD player/decks, it’s big ole tunes in a tough battling style all the way. Featuring a vast array of vocal talent that runs from the legendary Craig G to West London newcomers Tribel vra guest spots from the kings of New York, Mos Def and Talib Kweli, the turntablism here is equally flawless. Among those cutting up the beats is Edinburgh’s own Plus One, who no doubt Will be damn proud to feature on an album that epitomises all that is fine about hip hop.

(Catherine Bromley)

Eminem The Marshall Mathers LP (lnterscope)

ir 4: Jr

This portal into the Mathers' mind should be banned for its Violently warped, demented and angry lyrical assault. It’s not shocking, but it's damn scary that such black, venomous thoughts are at large. ’Kim’ is particularly disturbing but if you’re a

sucker for the exaggerated nasal rapping stello of this talented wordsmith then it’s more of the same. Dr Dre’s surrealistic funk respiendently flows and Eminem’s raw cussing has managed to gain respect from even the hardest heads. Shady needs to step

off and follow the mellow drawls of his

guest emcee, Snoop, where catchy,

; cartoon-theme beats, meets Eminem’s

putrescent, egotistical bile. (Angie Brown)

SOUL The Meters The Very Best Of The Meters (WEA)

e Jr ir i

The Meters started off in the late 605 as instrumental sculsters and backing band. Their unique New Orleans ’second-line' parade rhythms soon developed into some of the most deVIlishly syncopated funk to come from the mid-70s era (many of the breaks Will be familiar to hip hop ears). It’s the Allen Toussaint- produced, latter period stuff that makes this collection worth buying (the earlier material has been available on CD for years). ’Just Kissed My Baby’ is the standout track With the most literally awesome drum and bass rhythm and sneaky wah-wah. This is nothing short of aural Viagra. (Mino Russo)


John Herald Roll On John (Spit & Polish) at a i at

Recognised by his peers as a superlative bluegrass singer-songwriter (Bob Dylan calls John Herald the country SteVie Wonder), this GreenWich Village born-and-bred troubadour has cruelly missed the big time. Roll On John is his first offiCial release for eighteen years. Eight hours in a Glasgow studio plus a couple of live numbers has resulted in a warts ’n’ all combination of rough-hewn spontaneity and marrow-melting mellowness. The vulnerably plaintive title track and the tough as old boots ’Martha And Me' stand out, alongside some fine gospel and rockabilly. Herald's charisma and plain honesty make you want to hear more.

(Gabe Stewart)

JAZZ Andrew Hill

Dusk (Palmetto) v». + + i. t

Pianist Andrew Hill's first album since 1990 stands alongside the best of his work, which also means it stands alongside the best Jazz of the post- 1960 era. Hill’s music, has always been too complex and challenging to CTTJOY mass appeal, but his intricate compositions and unpredictable soloing is consistently compelling. Dusk replicates the instrumental line-up employed on his 1964 classic Point Of Departure, but takes the music in its own richly developed, exhilarating direction. Hill is in superb form, and receives unstintingly creative support from trumpeter Ron Horton, saxophonists Marty Erlich and Greg Tardy, and a rhythm team of Scott Colley and Billy Drummond. The ensemble playing on cuts like 'Ball

Square' and ’Sept' draws on a kind of

collective improwsation, and the Whole disc offers many pOSSlble ways forward for c0ntemporary Jazz, which often seems constrained by its own history. (Kenny Mathieson)

D.D. Jackson Anthem (RCA Victor) :1 a: s- «r

D.D. JacksOn established his reputation as a brilliant disciple of idiosyncratic inspirations like Jaki Byard, Don Pullen and David Murray. That lineage might make the more fusion-oriented direction of this album something of a surprise, but the pianist had signalled his interest in a more groove-based approach With his earlier Rhythm Dance. There is nothing bland about his exploration of melody and groove here, While the solos provide a

= balancing fire and dissonance which

draws on the freer end of the pianist’s musical spectrum, Violinist Christian Howes Will be a new name to most, but he makes a strong impact in both

ensembles and as a so|0ist, as does

guest James Carter on saxophone. (Kenny Mathieson)

Singles round up

Seconds out. Ding ding! Fighting for

the lightweight pop title we have Louise with ’2 Faced’ (EMI *i’i’), a perky little tune with an irritatineg infectious chorus and lyrics straight out of the Jerry Springer Show, against Stephen Gately’s ’New Beginning’ (Universal *), a string-laden slice of

' processed pap, sorry, pop.

A double round of heavyweight champions next: Richard Ashcroft’s ’Money To Burn’ (Hut tit), is a bluesy number With a c0untry twang,

, but doesn't have the strength to beat Eels brandishing their ’Flyswatter’ (SKG

thank), a Simple, pared-down melody which really packs a punch, in typical

Eels fashion.

Despite its title, Space’s ’Diary Of A

record reviews MUSIC


\\3/ I

Louise turns the other cheek

Wimp' (Gut ****) is tough enough, in a summery, singalong kinda way, to take on 'These Wooden ldeas' (Food ***) from Idlewild, the title of which should give you a clue to its content. Good enough, but nothing new.

Throwmg their weight around in the indie ring are Soulwax With ’Much Against Everyone’s Advice’ (Pias skirt), a powerful, pop-punk explosion With more than a trace of Fuga/i in ewdence. Squaring up to them are My Vitriol, Who are far from ’Losing Touch’ (EMI ****) With their energetic guitar-driven sound, topped off With a nice mix of hoarse screaming and tuneful vocals.

Also scampering into the pop-punk arena are MoHoBishOPi, With ’Hear The Air' (V2 ****), a frantic, hyperactive rush of a single, which brings to mind the late 80s, early 90s surf-punk era. And talking of surfing, Aerial's ’Signal EP. (Fantastic Plastic skirt) is the Beach Boys all over again, With lovely summery vocal harmonies over happy guitars.

Knocking out all the opposition Without even breaking a sweat are Action Spectacular With 'General Lee’ (C urveball *tttt), a wonderfully odd Gomez-like offering, full of husky vocals over twangy guitars and fascrnating rhythms. Going a good few rounds With them before being beaten back to challenger status are the altogether fantastic The Kustom Built, wavmg their 'Torch Songs’ (Kustom Built *tttt) for all to see. Currently unsigned, it shouldn’t be long before they're snapped up if this funky, punky, chunky offering is anything to go by. (Kirsty Knaggs)


e V J. . i. Unmissable

1. . -t ~ Very good

i t a Worth a shot

1. * Below average

t You’ve been warned

8 22 Jun 2000 THE “ST 57