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Monday, June 1, 1998

Soundbites

Various Artists, "Godzilla: The Album" (Epic) How can such a lame movie be saved? Create an enjoyable and multi-dimensional soundtrack that features great songs, high-profile artists and an aura that mirrors the tones and moods of the movie ... even if it has its exceptions.

The main commercial draw for this soundtrack, the Wallflowers' cover of David Bowie's anthemic "Heroes," is one of the exceptions. This lazy delivery of the classic song hardly reflects the themes of the movie, save maybe the ending. As a Wallflowers song, it works; as a Bowie cover, it comes across as unemotional. Foo Fighters and Ben Folds Five offer decent, softer songs while Green Day wonderfully loops their 1995 "Brain Stew" with Godzilla's roars and screeches.

Clearly, though, the highlight that speaks volumes here is Puff Daddy's "Come With Me," featuring Jimmy Page and his guitar riffs from the Led Zeppelin classic, "Kashmir." While the rapping and lyrical quality might be improved, its paranoia and confrontational mood reflect the movie's theme perfectly. Furthermore, the song makes a huge statement about pop music. Puff Daddy is the only rap and R&B artist featured on this alt-rock soundtrack. The fact that Puffy embraces such rock heroes as David Bowie, the Police and Led Zeppelin contradicts the anti-guitar attitude of most rap stars today. Where rap and rock stand sharply divided in today's Top-40 environment, except acts like Rage Against the Machine (featured on the album with the driving, masterful "No Shelter"), Puffy unifies the two beautifully. His role as the protagonist to the perpetual fragmentation of pop music, especially on this rock album, represents the ambition of one artist to change the seemingly racist nature of the popular genres. He gives rock some rhythm; rap some melody. He's got a way to go, but his efforts are to be heralded, especially on an album with such commercial potential. Mike Prevatt B+

Sylk-E. Fyne, "Raw Sylk" (Grand Jury) Forgoing personal commentary about the troubles in the streets, Sylk-E. Fyne has slip-slided her way onto the charts with unabashed sexual simplicity. Her debut album, "Raw Sylk," is a light mixture of youthful exuberance and elderly sensibility. Unfortunately, this does not allow her to escape the big-name, female rap acts that have recently preceded her, like Missy Elliot, Da Brat and Foxy Brown.

The music in its entirety is entertaining, sampling a wide variety of old remastered tunes. But, Sylk-E. Fyne often fails to add power to her words. She settles so comfortably in her routine that each track treads dangerously close to monotony. By not utilizing the accompanying melodies to complement her voice, this young artist's vocals take a back seat to the slow tempo beats.

The only standout song on this album is the top-selling single, "Romeo and Juliet" (featuring Chill). It is a raunchy, no-holds barred, bedroom-romping testament to pure lovemaking. Enjoyably mischievous, Sylk-E. Fyne is unafraid to express the naughty, kinky side of human nature.

"Raw Sylk," is a decent effort in creating a spot in a crowded hip-hop market. But until she is able to strengthen her vocal delivery, Sylk-E. Fyne will only remain a name. Teron Hide C+

Guster, "Goldfly" (Hybrid) Ever since alterna-rock's initial burst in the early '90s there has been a continued softening of that genre's sound. The raw originality of bands like Nirvana and Jane's Addiction has given way to sterile, formulaic bands like Matchbox 20 and Tonic. This trend results from greedy record label executives making a mad dash to sign any and every young band with a two-guitar attack and an apathetic world view. Guster, the latest band to follow this trend, is a prime example of what happens when a band is signed before they have a chance to mature.

What sets Guster apart from most modern rock bands is their mostly acoustic accompaniment. That style works well on slower, more introspective songs like "Demons" and "Rocketship." However, a beefed-up electric sound would benefit the band's more upbeat material, especially the catchy album-opener "Great Escape."

Besides giving the album more texture, a few electric guitars here and there would help to take attention away from singer-guitarist Ryan Miller's overwrought and melodramatic lyrics. His sophomoric musings on apathy and love manage to be simplistic and incomprehensible at the same time.

If given a chance to hone their sound a bit more, Guster could become a contender in the alterna-rock arena. But do we really need another Matchbox 20? Adam Tolber C+

Todd Snider, Viva Satellite (MCA) After hearing the opening cuts of Todd Snider and the Nervous Wrecks' third album, "Viva Satellite," listeners will be inspired ... inspired to listen to Tom Petty, a better craftsman of the powered-up folk rock that Snider attempts to produce.

The lackluster opening track, "Rocket Fuel," has a driving guitar hook, but the vocals become tiresome after the third mention of "rocket fuel," a phrase that crops up in the song 13 times. After this initial stumbling, Snider seems to right himself, rebounding nicely with "I Am Too." Not only does it feature grooving rhythm, it has one of the most offbeat lines on the album. While growling about being a rebel, ready to show his girl a wild time, Snider suddenly snarls "I wanna hit this town 'til its teeth come out." Sure, it doesn't make sense, but it sounds darn cool.

"Out All Night" is fairly well done, with a catchy beat and more ticked-off lyrics about family conflict. "I got this feeling that my step mom hates me/ that gold digger's got a worthless bone / she stays drunk on rum and Pepsi / she'll never notice if I'm not home." Curiously, Snider's voice, which handled the gritty vocals of "I Am Too" easily, seems weak here, Snider seemingly unconvinced of his lyrics.

His hyped sense of humor emerges in the closing track, "Double Wide Blues," a mock-country ballad that sounds sort of like a less angry cousin to Jon Wayne's "Texas Funeral." This ironic send-up of trailer park life has all the touches of a down home country tear-jerker, from the self-pityingly whined vocals to the plinking honky-tonk background piano. If he wrote more songs like this and stayed away from Petty territory, Snider would be in good shape. Brent Hopkins B-

VARIOUS ARTISTS

"Godzilla: The Album"