Soundbites

Published: Monday, August 31, 1998

Monday, August 31, 1998

Soundbites

Liz Phair, "whitechocolatespaceegg" (Matador)

It's been a long four years, but Liz Phair has returned to pop musicdom with "whitechocolatespaceegg," her third consecutive masterpiece. Following in the footsteps of the much-heralded '93 debut, "Exile in Guyville" and 1994's more accessible "Whipsmart," Phair continues to explore the art of the brutally honest pop song. Here, with the help of longtime R.E.M. producers Scott Litt and Brad Wood, Phair's music transforms from low-fi alt-rock to a fuller, less minimalistic pop style that varies from song to song, as tracks sway from the quiet, humble "Perfect World" to the gritty, Dylan-esque twangster, "Baby Got Going."

Yet the highlight here, as is usually the case with Phair albums, is that the lyrics do not disappoint. Yet while Phair still relies on the long-winded and direct narrative style, she occasionally dabbles with a more abstract approach, as seen in the deathly metaphoric "Ride." Some of the tracks deal with marriage and motherhood, hardly fluid with her sexually introspective bluntness from previous works. But her confessional, no-holding-back prose remains the same, as do some of the obsession-related themes, such as in "Johnny Feelgood." Even falling in love has her realization skills working intact, as she sings "Love is nothing, like they say/ you gotta get up and work the people every day" in "Love is Nothing." Such unconventional, proclamatory statements help make Phair one of rock's most unrelenting delights.

Mike Prevatt

Various Artists, "For the Masses" (1500/A&M)

There's no denying that synth-pop kings Depeche Mode deserve a tribute album. Where '80s electronic pop bands such as Erasure and the Pet Shop Boys have offered great singles on mediocre albums, Depeche Mode displayed consistency, unappreciated songwriting and always-morphing methods of making synthesized music. Now the groups of the '90s, some heavily influenced by Depeche Mode, have lent their own interpretations of D-Mode classics on "For the Masses," and the result is mixed.

Most of the artists are not mainstream acts (save Smashing Pumpkins, with their lethargic version of "Never Let Me Down Again," and the Cure, chaotically reworking "Policy of Truth"). A wide variety of styles are represented here, from the Deftones' alt-metal treatment of "To Have and Hold" and Rabbit in the Moon's drum 'n' bass version of "Waiting For the Night" to Failure's wonderfully guitar-driven interpretation of "Enjoy the Silence" and Rammstein's solid industrial take on "Stripped."

Most of the versions also represent altered interpretations of the D-Mode classics, which run from bad (Locust's awful kitschy-lounge cover of "Master and Servant") to good (Gus Gus' pleasantly hypnotic "Monument"). The remakes that sound a lot like D-Mode's vary in result too. Veruca Salt's "Somebody" resonates as poignantly as the original, yet Apollo Four Forty's "I Feel You" adds nothing to D-Mode's version. Maybe executive producers God Lives Underwater, whose retooling of "Fly on the Windscreen" is a highlight, should have been more discriminating in their selections, but let's give them credit for both finding some worthy tributes and finally paying homage to one of the great '80s bands.

Mike Prevatt

"How Stella Got Her Groove Back" (Flye Time Records)

R&B audiences never imagined such an eclectic mix of artists on one album. From the unlikely pairings (Shaggy and Janet on "Luv Me, Luv Me") to the resurrection of apparent one-hit wonders (Diana King, Soul II Soul), mega-producers Jimmy Jam and Terry Lewis have assembled a who's who of popular R&B and reggae, interspersed with some unknown talents.

While the ensemble may be original, the concept and even the feel of the soundtrack is hardly so. The mellow sound and themes of love and self-discovery are reminiscent of Babyface's innovative soundtrack for "Waiting to Exhale," which was much catchier and more unforgettable.

But standing alone, the "Stella" soundtrack is a river of smooth vibes and lounging grooves. "Mastablasta '98" by Stevie Wonder and Wyclef Jean highlights the album with its seamless fusion of reggae, Motown and rap. The improbable partnership of Wonder and Jean proves a successful collaboration, as both voices complement each other's divergent individual talents. Boyz II Men's beautiful ballad, "Your Home Is In My Heart" (Stella's Love Theme), features the angelic harmonies of Chante Moore.

K-Ci and JoJo's "Never Say Never Again" is a satisfying incarnation of their staple power-ballads, and they show that their limited style range can be reliably successful. Predictability, however, does not work to Big Punisher and Beenie Man's advantage in "Makes Me Sweat," despite the interesting incorporation of INXS's "Need You Tonight." It's tempting to fast-forward past "Dance For Me" by Kevin Ford and Rufus Blaq, unless a craving for Lionel Ritchie-style, '80s cheese overwhelms your taste buds.

At best, "Stella" is a sensual afternoon on a hot Jamaican beach. At its worst, the soundtrack is formulaic and reeks of mediocrity.

Louise Chu

The Surfers, "Songs From the Pipe" (Epic)

Who would have thought that three professional surfers would have crafted such a fine, enjoyable album?

It's easy to be cynical about athletes making music (ahem, Shaquille O'Neal), but in this case "Songs From the Pipe" represents a new kind of "surf" soundtrack that doesn't reek of lame Dick Dale covers or run-of-the-mill punk songs. It's actually a rather ambitious album for three men who spend most of their time chasing professional surf titles.

Made up of five-time world champ Kelly Slater (vocals), renowned surf stylist Rob Machado (vocals, guitars, piano, bass and more), and action-sports and surf icon Peter King (vocals, guitars, bass and organ), the Surfers create oceanic moods and textures through R&B flavored guitar pop ("Never"), modern rock styles ("If" and "Not Your Slave"), atmospheric instrumentals ("Australia") and dreamy ballads ("Alone By a Tree").

Besides talent-rich musicianship, Slater's vocals stand out with his various, soulful styles. In "Anything From You," he switches from brooding angst-meister at one moment to a pleading ache to the chorus that never allows the song to lose its emotion. His shining moments, however, come from two powerful ballads - the distortion heavy "Spill" and "Hawaii," a song almost as beautiful as the island itself.

"Song From the Pipe" may be the perfect beach record, for both those who live and work among the waves and others who just love the ocean. But it's also a testament to the striking musical talent these three men have beyond their other impressive accomplishments.

Mike Prevatt

Barenaked Ladies, "Stunt" (Reprise)

Ten years in the making, Barenaked Ladies have finally connected with the youth of America. Already a seminal rock band in their native Canada, the Ladies' fourth studio album, "Stunt," has hit a nerve in the States with the too-catchy, destined to be hated "One Week," a short burst of pop guitar chords played to freestyling rap provided by vocalist Ed Robertson.

The upbeat, pop-culture-reference laced opener is misleading. The Ladies are not a rap and pop fusion; the rest of "Stunt" is two parts pop and rock, one part blues and a dash of country, cooked up by young boys stuck in grown men's bodies.

Co-lead vocalist Robertson and Steven Page's lyrics border on condescension. On "Never is Enough," they poke fun at college students and the value of a degree.

Robertson and Page suffers from Peter Pan syndrome, and it shows in their lyrics.

The songs are a recollection of the better times of youth that are usually insightful and charming, like "Told You So," but sometimes stray too far into the juvenile and trite ("Alcohol").

What saves the Ladies from those occasions are the melodies, which win you back over to their side.

The guitars play with a definite country and blues influence, twanging away during the chorus and a heavy dose of keyboards, which compliment the odd unity between standard pop and country swank.

Trinh Bui

LIZ PHAIR

"whitechocolatespaceegg"