| [LICD Review] Jerusalem Post |
| April 13, 1998, 11:00 pm |
Source: Jerusalem Post An exciting new generation of pop; [Daily Edition] David Brinn. Jerusalem Post. Jerusalem: Apr 14, 1998. pg. 09 Section: Arts, Newspaper Abstract (Document Summary) Eagle-Eye Cherry's musical credentials are gold - the son of late jazz great Don Cherry and the brother of sassy soulstress Neneh Cherry. But that would never prepare the listener for the sheer excellence of the material, which ranges from pumping acoustic-based rock to rhythm-inflected R&B. The accomplished lyrics and intricacy of the arrangements belie the relative youth of its author. Cherry makes it all sound fresh, exciting and full of inspiration. He possesses the effortless soul gait of Marvin Gaye and Al Green and matches it with brilliant pop songcraft and '90s urban street smarts. And on the final track, he lets loose on some improvisational work that remind us who his father is. With Desireless, Cherry has definitely focused his eagle eyes on his target. MORE derivative, but certainly no less engaging, is the debut effort of Smashing Pumpkins guitarist James Iha. Don't expect a distorted guitar-fest channeled through Marshall amps that has become the Pumpkins' trademark. Beneath the grunge exterior lies the heart of a sensitive songwriter with a penchant for introspective odes that would make Jackson Browne blush. Full Text (713 words) Copyright Jerusalem Post Pub. Ltd. Apr 14, 1998 In Tune Who would have thought that two of the finest singer/songwriter debuts so far this year would come from someone with a famous name and someone who plays in a famous band? Eagle-Eye Cherry's musical credentials are gold - the son of late jazz great Don Cherry and the brother of sassy soulstress Neneh Cherry. But that would never prepare the listener for the sheer excellence of the material, which ranges from pumping acoustic-based rock to rhythm-inflected R&B. His father's wanderings brought the young Cherry to Europe, and he eventually settled in Stockholm,where Desireless became a huge success last year. This prompted the release of the disc in the rest of Europe. "Save Tonight" is a classic radio hit, already raising eyebrows on these shores with its engaging Counting Crows accessibility. But that's only the tip of the iceberg. Almost every track has some standout element which screams out authenticity and originality. The accomplished lyrics and intricacy of the arrangements belie the relative youth of its author. Cherry makes it all sound fresh, exciting and full of inspiration. He possesses the effortless soul gait of Marvin Gaye and Al Green and matches it with brilliant pop songcraft and '90s urban street smarts. And on the final track, he lets loose on some improvisational work that remind us who his father is. With Desireless, Cherry has definitely focused his eagle eyes on his target. MORE derivative, but certainly no less engaging, is the debut effort of Smashing Pumpkins guitarist James Iha. Don't expect a distorted guitar-fest channeled through Marshall amps that has become the Pumpkins' trademark. Beneath the grunge exterior lies the heart of a sensitive songwriter with a penchant for introspective odes that would make Jackson Browne blush. But Iha capitalizes on his grasp of pop aesthetics and sounds like he's having the time of his life in his home studio creating an intoxicating sonic collage. The sentimental, touchy-feely lyrics are awashwith a broad palette consisting of shimmering layers of acoustic and electric guitars, a solid rock beat and gorgeous harmonies. Imagine Crosby, Stills & Nash backed by a classic pop band like Badfinger on an all-1970s radio hit weekend. Occasional country-rock influences also emerge, reminiscent of Gram Parsons or Harvest-era Neil Young. Over the course of 11 songs, Iha's songwriting doesn't hold particularly well, but here it's a case of the irresistible sound beating out the ordinary material. When The Smashing Pumpkins eventually self-destruct, Iha, with a little more emphasis on his songs, will easily find his niche as his generation's James Taylor. ZANY is the only word to describe Squirrel Nut Zippers. Busting out of that alternative haven of Chapel Hill, North Carolina, the septet attacks big band jazz with rock & roll irreverence and exuberance. It's the kind of music you would expect to hear in the background of old Betty Boop cartoons, but accelerated to a fervid pace. Featuring sax, clarinet, string bass, banjo, violin and ukulele, the band calls their output "hot" music and one listen will explain why. A profound New Orleans influence pervades their second album, appropriately titled Hot. It sounds like it was recorded in a smokey club during Prohibition. Not for every taste, Squirrel Nut Zippers remind us why they call it the devil's music. FROM THE DEVIL'S music to the music of the Lord, the sophomore release by local "spiritual rockers" Reva L'Sheva, Kumu, is a giant leap forward for the band. Combining keen pop sensibilities with traditional Jewish themes may seem a jarring thought to those who like their music and religion separate. But the quintet of transplanted Anglos and native Israelis accomplish the task seamlessly. On Kumu, the individual songwriting talent of the band members begin to emerge, with guitarist David Ambromson particularly shining on "Lonely Friday" and "In Your Soul" which, lyrics aside, are dead ringers for Shalom Hanoch at his best. The band smokes on the bluesy shuffle "Hashem Oz" and it cops a funky David Bowie-inspired "Fame" riff on "Welcome the Angels". The chances of Reva L'Sheva closing the religious- secular gap with its inspiring and danceable message is slim, but Aviv Geffen could do far worse than picking up on some of these tunes. [Illustration] Photo; Caption: Beneath the grunge exterior of Smashing Pumpkin James Iha, lies Credit: David Brinn |