The Cure: Lost In The Labyrinth

Written by Fantasma el Rey

The title sounds as if this DVD might have some real insight to it and the description on the back makes this seem even more so. As I gave this disk a spin, I found all that to be… well, false. I was excited about this disk as any Cure fan would be and was let down to find that for just over an hour, I sat and got no real information about one of my favorite bands. On the other hand, I am glad that I have had this chance to view it before I had any interest in paying for it.

I was so excited about this disk that I invited a fellow Cure fan to watch with me as I figured it to be an interesting film to see. Right from the start though, we were concerned that this disk had a disclaimer stating that this film contained no original music and is not endorsed by the band or anybody really affiliated with them. Not a good start but many a good documentary has been made with no consent from the subject. Yet, as this one began to get going, we quickly realized that this was going to be a train wreck.

After about fifteen minutes, any real interest was gone, and there was still forty-five minutes of filler left to go. The highlight of the film by far, was the time spent on Cure founder/vocalist Robert Smith’s involvement with Siouxsie and the Banshees. Siouxsie and company were very influential in the direction that Robert and The Cure were going, from look and stage appearance to sound as well. The only interview of interest is that with Steve Severin of the banshees and The Glove, a side project of his and Robert’s; Other than that we get to hear opinions from DJs and writers, who’s involvement with the band is never specified.

There are maybe one to two minutes of crackly recordings of a Smith interview, other than that there is nothing; no footage of the band behind the scenes or in the studio. Nothing. We get close-ups of still photos and that’s it. The history of the band could have just as easily been read online, accompanied by better pictures. The last half of The Cure’s output is rushed through and my only thought at this point, was that maybe the filmmakers were getting just as bored with this thing as my friend and I were; Just a question.

The bonus features on this disk are all right, there is a trivia game which is fun to play before the film to see how much you know already, so by the end you can find out that you are a bigger fan than you thought or that you got next to nothing out of this documentary. The discography is hands-down the best part of the DVD; it contains not only standard listings of albums and singles but also an interesting and in-depth list of bootleg albums.

Lost In The Labyrinth has a great name and that’s it; the rest of the film goes nowhere fast. To be perfectly honest, I don’t know why a promotional copy would be sent out for this one, it truly seems that to make a buck a company would need to put this one out under the radar and dupe a few people into picking it up. Really, I would have had a more informative hour sitting and talking about The Cure with my buddy and some of my other friends who are Cure fans. Hell, even the ones who aren’t would have had a more interesting point of view. So to all The Cure followers, who may happen upon my work, I say avoid this one like the plague; go out and get the video collection instead. Its more informative and way more entertaining.

Seven Falls

Written by Fumo Verde

Aloha, babies....this is Fumo with a local band called Seven Falls. Four guys pumpin' tunes straight out of Orange County, with more energy than all the cars and trucks parked on the 55, 57, and 22 freeways at rush hour. They have a sound that seems to combine the speed and quickness of Green Day with the catchy and playful lyrics of Sum 41. Combine these sounds together, and Seven Falls comes off raw and clever.

The energy can be felt in the first track, "Miss Connections". After its ripping guitar intro, the bass and drums jump in with just as much ferocity. The lyrics are simple and easy to sing along with as all of us have similar questions when it comes to relationships. Seven Falls is in touch with the thoughts and ideas of regular folks, i.e., their fans.

The energy level drops a little with "Breathe". It starts out very Green Dayish-sounding, with slowly building guitars and the singer’s voice sounding louder than the instruments that will soon over take him. "...out of state, out of mind, out of gas long ago" How many times have we all have felt like that…okay, just me, whatever. You would think due to the intro on this tune that the music would over run the singer, like it seems to do in most cases, but here the boys keep "Breathe" at the right level. They could have gone over the top, but they didn't.

"Rearview" starts off pretty raw, almost Iron Maiden-like with its dark chopping sound of bass and drums while the guitar’s high notes give off heavy metal rage. Although the song seems somewhat dark, the pure energy of the riffs and the drumbeats make you jump about and head-bang yourself into a migraine. It has that type of hard beat, but again, the lyrics come in clear, and the singer holds his range well. People who choose not to scream out their lyrics are a plus with me. Believe me, sometimes you need to scream the lyrics out, but Seven Falls opts not to on occasion. I like that.

If you want to hear more or learn more you can contact Seven Falls at either their website or their MySpace page. Here at the "Snobs" we like to support local bands and indecent films-- or at least I do.

Have a good 4th and be good citizens. Mahalo...FV.

Willie Nelson: The Complete Atlantic Sessions

Written by Fantasma el Rey

Willie Nelson. What more can I add to the biography of this country outlaw? As we all know Willie is a fellow country outlaw along with Waylon Jennings and Kris Kristofferson; also lumped into this group is the legendary Johnny Cash, who became “too country now, for country” to quote Dale Watson, a personal favorite of mine. On these three Atlantic albums you can further see where and how this outlaw tag was placed upon Mr. Nelson. Although Willie will be the first one to have you call him just plain ol’ Willie. The three CDs are remastered and expanded versions of Nelson classics: Shotgun Willie, Phases and Stages and Live At The Texas Opry House; the set itself is a nice-looking package. The outer box, looks like it’s made of wood, the perfect place for hiding little treasures such as these CDs, while the booklet that comes with it is very informative and easy to read. Each CD is a reproduction of the original album cover, which is something that I have always found very cool and have always been drawn to.

Disk one is the masterful Shotgun Willie, which on the cover shows a smiling Willie’s face in both barrels of a shotgun, wonderful, a great in-your-face contradiction. The title track opens the disk and is a fun romp with sarcastic, witty lyrics about Shotgun Willie and other characters. “Biting on a bullet/ and pulling out all of his hair” if you listen you can catch the plucking sound of the dobro being played in the background, along with that last line. I particularly dig the horn section on this tune, very much in the Atlantic soul tradition; Honky tonk-soul, I guess it could be called.

Followed by what is now a Nelson staple “Whisky River”, which by the way, ghoulies, is not a Nelson-penned tune; sorry to burst anyone’s bubble here, but it is a song by the great and underrated Johnny Bush. The sound of the entire song is a tribute to songwriting and arrangement; you get the feel of a lazy river with ripples brushing up on the shore and a great drifting sensation. This piano-driven, honky-tonk, hardwood-floor number is an excellent choice for Willie’s vocals; he holds nothing back here. Add some bass dripping with funk and some exceptional guitar picking, and there you have it: a classic is born and delivered to the world.

“Sad Songs and Waltzes” and “Local Memory” showcase Willie’s songwriting skills. “Sad Songs” is about the state of the country music industry with lyrics that pack sting and wit. While “Local Memory” gives you a sense of locals headed back to the corner bar every night, to drink and think, or not think.

“Stay All Night” and “Bubbles In My Beer” are jump tunes written by those legends of western swing, Bob Wills and Tommy Duncan. These two solid senders are wild and will get you toe-tapping and longing to play in a jug band, while you clap along with the band. Seriously, y’all, nothing but a good time here. Shoot some rotgut whisky and you’re on your way to redneck heaven. That’s what I did, so join the fun.

The rest of the original album is rounded out by such wonderful tunes as “She’s Not For You” “So Much To Do” and “A Song For You”. This one is truly a masterpiece and sets the stage and the concept for his next album.

Phases and Stages is a concept album about a couple’s separation and their reemergence as individuals. Willie draws attention to key moments in the story by repeating the Phases and Stages theme throughout. The first five songs are from the women’s perspective, slow and contemplative. “Walking” and “(How Will I Know) I ‘m Falling In Love Again” are the two tracks that stand out most for me. The lyrics are strong and on “Walking” they made the women seem that way. While “How Will I Know” has her taking a solemn look at that sometimes sad question.
On the other side of the coin is the man’s point of view, and here one will notice that the songs are a bit more up-tempo as we see a man trying to keep moving on and deal with what he has gone done in his life. “Bloody Mary Morning” is a great country jump number with Willie’s laid-back vocals in full effect. This tune is a stomper cut from the mold of the good old-fashioned country shuffle beat. The rolling barrelhouse piano with aid from the banjo has that “flying down the highway” sound to it; a perfect compliment to the song’s lyrics. “I Still Can’t Believe Your Gone” and “It’s Not Supposed To Be That Way” has our womanizing yahoo pondering the mistakes he has made, like why “you’re supposed to know that even with women on the side I love only you” doesn’t work.

On the second half, the intros are delivered with more force and power. As a whole, this is also one of Willie’s best and from these two Atlantic studio albums one can see the path that he was on and the direction he would take once he moved to Columbia records and released Red Headed Stranger.

The third disk in the set is a romping, stomping live recording that has Willie and the band jamming though songs from his two previous albums; songs that would become staples of his live shows for years to come, such as “Whiskey River”. The live versions of some of the songs from Phases and Stages are stronger and have more of a drive live. A true treat is a medley of classics penned by Willie, including “Crazy”, and others, George Jones’ “She Thinks I Still Care”. Some bonus tracks include versions of “Shotgun Willie” and “Bloody Mary Morning” done with an electric guitar.

Each disk contain a certain amount of bonus materials, which are good to have and nice to listen and compare to the alternate versions of songs; Shotgun Willie and Live have the most interesting of this bonus material. “Shotgun” has outtakes of songs that did not make it to the original album, but that are still strong, such as the rocking “I Gotta Have Something I Ain’t Got” and the slow ballad “I’m So Ashamed”. While the bonus material for Phases and Stages consists of all alternate versions of songs from the album, which is all right but some only have slight differences. When this is done on expanded CDs, it’s a good idea but does go over better with the more hardcore fans of the artist. Don’t get me wrong here because faced with the choice I’m buying the one with as much extras as possible; I’m just a nut like that.

Overall this three-disk set is worth a good solid listen and is something that I do look forward to hearing over again a few times. Shotgun Willie and Live at the Opry are the two disks I dig the most here and would be more enjoyable to hear more than once in their entirety. This box is a must for Nelson fans and very interesting for those that want to get an example of how Willie became the outlaw that he is respected as today.

Miles Davis All Stars: Walkin' & John Coltrane: Soultrane

Written by Fumo Verde

For all my jazz lovin' katz and kittenz out there, here are two CDs, remastered and released from Prestige, that will get you in the mood to crawl into some dark, dank smoky nightclub (not in California, though) where you’ll sip on some slow gin, while some beatnik on stage pours his heart out through a brass instrument as he stands alone under a single red light. Miles Davis and John Coltrane are two masters of jazz. The way they play and the directions they go in vary greatly, but a rose by any other name is still a rose, and so is the jazz created by these two legends.

Even before Coltrane joined the Miles Davis Quintet back in 1955, Davis was known for his sound and arrangements, and how he pushed the boundaries of jazz (basically finding out that jazz really has no boundaries). Miles started off as a sideman for Eddie Randall's Blue Devils, where he met and was mentored by Clark Terry. While studying at Julliard, Miles played clubs in the city where he met people like Charlie Parker (Bird) and Coleman Hawkins. Coltrane, on the other hand, first played in a band during his enlistment with the U.S. Navy. He signed on with Dizzy Gillespie and became one of Dizzy's featured artists on his radio shows. Coltrane has been described as the best sax player in history, although he was known for being a "bop" sax player before he joined Miles in 1955. Unfortunately, neither CD has both of these greats playing together, but they are joined by other greats of the jazz sound.

On Walkin', Davis brings together his sextet that includes J.J Johnson on trombone, Lucky Thompson on tenor saxophone, Horace Silver on piano, Percy Heath on bass and Kenny Clarke on drums. They play on the first three tracks on the disc: the title track, "Blue 'N' Boogie" and "Solar". "Walkin' " is a funked-up blues jam that the sextet gives a big band sound. The intro is played, then Miles lays down a solo followed by other solos and little jams.

Miles and his quintet, which is the sextet minus the trombone and the sax switched for an alto played by Dave Schildkraut, perform the last two tunes. Where "Walkin'" and "Blue 'N' Boogie" were up-tempo rhythms that let Miles explode with ferocity, "You Don't Know What Love Is" and "Love Me or Leave Me" are toned down only a few notches. The tempos are still upbeat and jumpy, with solos around the board.



Coltrane's Soultrane begins with a Dameron-Basie composition called "Good Bait". The sax starts it off with a little bit of bop that gives me the image of a spring hootenanny at a country fair. The band is comprised Red Garland on piano, Paul Chambers on bass and Arthur Taylor on drums. Whereas "Good Bait" seems to have the most upbeat rhythm, "Russian Lullaby" has the quickest tempo to it. Here, Coltrane rockets his sax to new levels, racing up and down the scales as Chambers and Garland jump in and out while Taylor drives hard with quick brush strokes that fuel Coltrane's rush.

The three middle tracks are where the album's soul resides. Here, deep blues are felt, and the rhythms and melodies are played out like a streetcar named “Desire”; the sadness, pain, love and hopes are felt in "You Say You Care", "I Want to Talk About You" and "Theme for Ernie".

Both of these CDs were well worth the time I spent testing them out, if ya' know what I mean. Miles has always been a favorite of mine since my buddy BCM first introduced me back in the late 80's. I am still new to Coltrane, so for me this was a great treasure to have. Shuggi-duggi, another close music pal, turned me on to Coltrane about five years ago and I have been a fan ever since. "Soultrane" has now cemented John Coltrane into my music library right next to my other cornerstone of music, Miles Davis. If you love jazz, you'll dig on these two discs, and if you're not a big jazz fan yet, then you need to listen to these and see what jazz is all about.

THE LAKE HOUSE

Written by Hombre Divertido

The thought of Keanu Reeves and Sandra Bullock reuniting in a romantic fantasy, might make some people shudder, but surprisingly, it’s not the performances that caused this house to fall. Their performances as two tenants of a house on a lake who manage to contact each other through their mailbox while living in different times, though limited in dimension, are quite endearing.

The problem with The Lake House is in the story. Not only do our lonely doctor (Bullock) and our frustrated architect (Reeves) fall far too easily into dealing with the magical mailbox that allows them to communicate though existing two years apart, but the key plot points and twists come at us as obviously as a runaway bus.

Like watching a horror film, and screaming at the character not to go outside when she sees someone in the garage with an axe, you can’t help but wonder why our two main characters don’t react to the incredible situation like any normal person might. Making no attempt to figure the situation out, or do any investigation, they fall quite easily into a pen-pal relationship that leaves them standing at the mailbox with the anxiousness of a teenager waiting for a note from their first crush.

The movie is not without good qualities: Reeves and Bullock manage performances that are intriguing, and the audience does care about them, unfortunately, the plot has the audience longing for them to get together not because they care, but because of the desire for the story to be over. One can’t help but know where this is going, and are left wishing the theatre were in the mailbox so that we might jump to the end of the film with much more Speed. The Lake House also has a wonderful soundtrack that compliments the relationship well, and a solid performance by Christopher Plummer as the estranged father of Reeves’ architect.

Unfortunately, there are just not enough good things about The Lake House to warrant a tour; at least not one that lasts ninety-nine minutes.

Recommendation: For more enjoyable exploits of our stars dealing with issues of time, rent Bill and Ted’s Excellent Adventure and Demolition Man.

Pet Shop Boys: Fundamental

Written by Tío Esqueleto

Neil Tennant and Chris Lowe, better known as British pop duo Pet Shop Boys, have been recording together, in one form or another, since a chance meeting in an electronics store in their native England back in 1981. It wasn’t until their eventual signing with Parlaphone Records in 1985, and the re-release of their breakthrough (and now signature) single, “West End Girls”, that the band first saw major success, selling 1.5 million copies worldwide.

Often viewed as a one-hit wonder here in the states, Pet Shop Boys are anything but. With a rampant fan base the world over rooted deeply in, but certainly not limited to, the gay community, and over 38 Top-40 singles in the UK, Pet Shop Boys have enjoyed fairly constant success (the usual peaks and valleys apply) throughout their always ambitious 25-year career. Chris Lowe’s synth-driven pop compositions ranging in everything from traditional classical, early New Wave and European disco, and contemporary House, Techno, and Electro are the unlikely, perfect companion to Tennant’s (undeniably British) wit and charm, his unique singing style, and (often poetic) flair for the English language, earning them a spot at the top, among fellow artists of the same cut: Depeche Mode, New Order, Erasure, and O.M.D.

Fundamental is the boys’ 9^th studio album (16^th, if you count various remix, hits, and b-side compilations), continuing in a long tradition of to the point, one-word (Please, Actually, Behavior, Very, etc.) album titles. This time around they have enlisted the help of ‘80s producer extraordinaire, Trevor Horn, who the duo last worked with on the song “Left to My Own Device” from 1988’s Introspective, their compilation of 12” dance singles.

A founding member of The Buggles, Horn is responsible for the ‘80s smash and MTV catalyst, “Video Killed the Radio Star,” as well as being a founding member of Art of Noise. He also enjoyed a stint, albeit brief, as the lead singer for the band Yes on 1980’s Drama album. Horn has since gone on to produce the likes of Tom Jones, Tina Turner, LeAnn Rimes, and Belle and Sebastian, to name a few, but is most known for his work with Frankie Goes to Hollywood in the ‘80s, and his on-again, off-again relationship with Seal throughout the 1990s.With Fundamental, the marriage of Horn’s trademark orchestrals to Lowe’s usual disco delights is the perfect blend of producer-artist commerce, with either side taking center stage. It doesn’t sound overtly Trevor Horn, yet there is something setting it apart from the last few PSB releases, something ultimately different, yet very familiar. It runs the usual Pet Shop Boys gamut from traditional four-on-the-floor, club tracks to sweeping, lovelorn ballads to biting (this time political) anthems.

“Psychological”, the album’s opening track, is a sweet, little electro ditty, dark in its lyrical content and, in a word, paranoid. Not your usual Pet Shop fare, and certainly not indicative of the rest of the album, but a stellar opener nonetheless. The next track, however, “The Sodom and Gomorrah Show”, is a trademark PSB anthem about sense of belonging with the usual strings and lush synth chords you’ve come to expect, and a Xanadu feel throughout that would have any good E.L.O. fan questioning his whereabouts.

From there, the album unfolds much like a typical Pet Shop Boys release. Overall, I would say it is better than recent efforts, Nightlife and Release, with one exception, the singles. “I’m With Stupid”, the album’s first major single, is a riff on Britain’s Prime Minister Tony Blair’s relationship with George W. Bush. While it is certainly the most Trevor Horn of all the tracks (second only to the 1:30 “God Willing”), relying too heavily on its political content, it falls short as a single, certainly radio friendly, but mediocre at best. Even more lackluster and predictable is the album’s second single, “Minimal”. Its reliance on an all-to-used (and, unfortunately, now cliché) vocoded chorus spelling out the word M-I-N-I-M-A-L and bad Ibiza-style synth line throughout are more than enough to overshadow what few good elements lie underneath. The right remix(er), however, could make all the difference. Compared to “You Only Tell Me You Love Me When You’re Drunk” from Nightlife or “Home and Dry” from Release, the singles from Fundamental, so far, leave something to be desired.

Having said that, there are plenty of wonderful “deep” cuts on this album to keep the fans coming back for more. The painfully applicable “I Made My Excuses and Left” is a brilliant account of running into one’s ex, while Chris’s bounce and Neil’s brains on “Twentieth Century” are more than enough to make up for a couple of lacking singles.

Pet Shop Boys are currently on tour in Europe and the UK with a North American leg kicking off in Montreal on October 10^th. They hit the states on October 13^th in Boston, continuing through November, finally ending in Los Angeles, before moving on to Mexico. On Friday, October 27^th they will be at the Chicago Theatre in Chicago, and God willing, so will I.

Olga: Now Is The Time

Written by Fantasma el Rey

Olga’s third album Now Is The Time is the first time that I have been able to hear this amazing, sexy guitar slinger and vocalist. From just one spin of this disk, I got a sense of nearly everything this musician is about; from her voice to her backing band, which includes husband Jimbo Mathus, you can feel the love for what she is committed to doing. This love comes shinning though on this powerful country blues recording.

The disk opens with the title track and from the rumble of the first drum roll you can tell that this one is going to be good. The band, which can expand to seven instruments, comes together well here in one of its simpler forms. The bridge is a wonderful example of country blues done right, everyone complements each other well throughout the entire disk. The funky bass and guitar work set the tone for the rest of the album. Even Olga’s vocals blend perfectly with the sound of the band, as if just another instrument.

“Weary” is a jumping blues boogie, driven to madness by the backbeat of Paul Taylor and Steve Malcolm, while Jimbo again shows his mastery of the guitar. The tune is cut from the mold of blues rockers Canned Heat; “Weary” has the same vibe as their “On The Road Again”. Definitely a jam you can play over again while cruising down a long, lonely highway. While “Ain’t It A Shame” is a slower tune with a rolling sound provided by a solid drum kick and a “washtub” bass thump. Here Jimbo shows his mastery of string instruments in general, by playing the mandolin as Olga’s passionate vocals drive home lyrics such as “such a shame/ two people so deep in love/ can’t act like grown-ups”.

“What’s The Matter with The Mill” and “Stealin’” have the band playing in a 1930’s country/blues style, very similar to the same simple sound that can be found on Jimbo’s new album, old scool hot wings. Olga’s strong vocals get playful in these tracks as Jimbo and company sing alongside her.

“I Won’t Ask” is a solid rocker that has a soul/English-blues sound to it. Certainly a tune that would have found a place on the Billboard Top-Ten in the mid 1960s, with its groovy guitar and Memphis soul bass. The mixing of Olga’s vocals is perfect on this track, with just the right amount of distortion and feedback.

The country/soul of “Can You Forgive Me” make this track one of my favorites, Olga’s sweet yet strong vocals display a passion that shakes the soul and hits your heart as she repeats the title and asks for forgiveness.

On “Fool” and “Gotta Keep Moving” the band gets into some solid blues/funk with deep bass runs and a solid shuffle on the drums. Jimbo’s guitar picking is outstanding as usual and is a highlight of the CD.

The CD closes with a track that puts the spotlight on Olga’s vocals and Jimbo’s picking, “GDTRFB” (going down the road feeling bad). The song is a wonderful example of the fact that at times less can be more; a perfect blend of two guitars and two voices. At the beginning and end of this track we get a sample of Miss Olga’s very sexy speaking voice, complete with a light southern accent.

Now Is The Time is an entertaining slice of country blues, packed with style and flair, each entry has its own appeal. The band’s performance is solid throughout, tackling every style effectively and with ease, while Olga’s strong, passionate vocals weave it all together. This being her third album makes now the time for me to run out and find the fist two and hear what I’ve been missing out on. Needless to say that Olga has got a new fan in…

Monsters Are Waiting: Fascination

Written by Fantsama el Rey

Monsters Are Waiting could definitely have some monster success waiting for them if luck and promotion serve them well. The band form a strong unit, combining elements of great alternative bands from the 1980s that one can clearly hear from just one spin of their debut CD. A solid danceable beat, steady bass drive and some razor sharp guitar hooks prove that these cats have the talent, as is evident on this entertaining, well-moving forty-two minute disk

Fascination opens with “Last Goodbye” giving us our first look at lead singer Annalee Fery’s wonderful vocals and excellent delivery, which are sublime, yet filled with attitude and strength. It stands out right away for its catchy guitar and bass opening, very reminiscent of work by New Order. The lyrics to this one hit me as well, with lines such as “it’s hard to admit it/ this could be are last goodbye/hearts are breaking/ don’t ask why” and “carried away/ thoughts of you / I can’t sleep tonight” which say plenty with just a few simple words.

The title track “Fascination” starts off with that heavy drumbeat that is subdued, yet steady and sounds as if it’s bubbling under, waiting to burst; which they do in the middle of the song, coming alive and moving to the front. Following the drums are more driving bass and guitar work, add Annalee’s vocals that start slow, low and then explode with some wonderful “aahh aahh”s and the track sends you spinning.

“Nobody” has the band mellowing out a bit, while losing none of their strength. On “Ha Ha” and “Don’t Go” the drums kick into overdrive and again have me foot-stomping and head-nodding. “Don’t Go” finds our heroine singing the title line with feeling and more hardcore attitude, giving us a sense that even though she’s asking someone not to go, she is still very strong and almost sarcastic.

“Christine” popped out at me because the bass and drum remind me of Pere Ubu’s “Life Stinks”, which is a punk rock classic. Again, Annalee’s vocal wanderings are very well placed at times through out this track. “Monsters” finds the band in a somewhat more playful vibe, beginning with a peppy guitar and more happy-sounding bass runs, complete with a marching drum kick; the vocals here are in high spirits as well. The tune gives off an almost sixties pop sound.

Overall, Fascination is a strong album that I haven’t found a weak point in yet. The length of the album and songs make it very enjoyable to spin over and over again, which any ghoulie that follows my ramblings will know as my mark of an exceptionally excellent recording, so I’m sure that says something in itself.

I have also had the opportunity to see Monsters Are Waiting live and had a blast. Interesting to note of the band in concert, is that halfway through their set the guitar and bass players will change instruments and still perform flawlessly. These cats are truly professional with the sound and style that they have chosen to play, drawing from past masters such as New Order, Stone Roses and the Pixies; when I saw them live, they even closed with a Stone Roses tune, “I Wanna Be Adored”. With luck, Monsters Are Waiting will find success in the modern rock field alongside other bands such as the Bravery and the Dead 60s with a similar “turn back the clock” sound.

Freddie McGregor: Bobby Bobylon

Written by Fumo Verde

Studio One does it again with some great old school Reggae. Freddie McGregor, the internationally acclaimed, Grammy-nominated singer/songwriter is presented here with some of his earliest tracks. Bobby Bobylon brings Freddie back to his beginnings with Clement "Coxsone" Dodd, this being the time when many Jamaicans were embracing Rasta and when Reggae was starting to explode. Here, McGregor shows how he kept in touch with the Jamaican public by writing great love songs and true-to-life cultural material. This new release has not only the ten original tracks but also eight additional singles.

Okay, you katz and kittenz, I'm gonna cut right into the meat of this awesome disc. "Bobby Bobylon" is the title track (#6) and it is my favorite right off the bat. The rhythm comes from the Jackie Mittoo's "One Step Beyond" instrumental, and lyrics like "...you brought us here in captivity and feed us with your brutality, turn your back on humanity..." reflect the roots of Rasta music and allow you to feel what Rasta and Reggae is all about. The liner notes stated that this version is previously unreleased. I dig when the liner notes give you a little history of where or how the song came about, and Studio One has done that plenty with this disc, which is a plus in Fumo's book. My other favorite song is "I'm a Revolutionist" and as you can tell by the title why, once again Rasta Roots is presented in all its glory. This track was first released as "I’m a Rasta" on the original 1976 release of the Bobby Bobylon LP.

This CD is a mix of strong, rebellious Reggae blast, groovin' Rocksteady beats and warm Caribbean love songs that are as soothing as the soft island breezes that blow through the night. The words of "Tomorrow is Today" strike a chord with those who have ever been in love. Other songs such as "We Need More Love" and "Wine of Violence" stress the points of love, kindness and social justice. "We Need More Love (in the Ghetto) " brings a melodic Rocksteady beat with a chorus of brass leading to the bridge. "Wine of Violence" was sung over Ernest Wilson's "Undying Love" rhythm and was covered by Freddie in 1987. The title is a biblical reference from Proverbs 4:17, For they eat the bread of wickedness, and drink the wine of violence. This song sounds like it was to remind Rastas to stay pure to their faith. "Rasta Man Camp" is another Rasta rally song with deep root drumbeats.

Now that I have learned of this great artist, I will definitely be picking up some more of his work. Bobby Bobylon is a must have for any Reggae collection and Freddie McGregor is up there with Bob Marley, Peter Tosh and Burning Spear. His soulful voice flows along with rhythms as his lyrics give way to scenes and stories of what life looks like from the Jamaican point of view. This CD has just made its way into the rotation of my "usual suspects" that I seem to constantly bombard my neighbors with-- always play it loud-- and from now on, I will be picking up more from Mr. McGregor.

This is Fumo saying... Ire I and a rub-a-dub-dub.

NACHO LIBRE

Written by Hombre Divertido

No No Nacho!

Jack Black is like a caged animal in his new film Nacho Libre. Not because he takes on the role of a wannabe professional wrestler with great intensity and ferociousness, but because he is restrained by a weak script and plodding direction. Both of which can be blamed on Co-writer and Director Jared Hess (Napoleon Dynamite).

Anyone who saw Orange County knows that Jack Black is quite capable of playing an outrageous character, and we get brief glimpses of his skill in this film; unfortunately far too brief.

It is as if he is breaking free of the cage near the end of the film as he begins singing in the locker room. Then, he has to go wrestle. Actually they both do. Nacho with the villain in the film, and Jack with the script and direction.

It is obvious that Jared Hess is going for the same type of subdued story and characterizations that he delivered so beautifully in Napoleon Dynamite, but he is missing so much, as are we the audience.

Hess does not have the supporting cast that he had in ND. He does not have the wonderfully woven storylines, or the interesting characters surrounding his lead. What he does have is unexplored supporting characters, and a one-dimensional story that never goes anywhere. The music is as complementing to the film as it was in ND, so if you like a film with an interesting sound track, well…no, just say no.

Recommendation: For a more enjoyable experience with Jack Black, rent the 2002 film Orange County. For a more enjoyable film about wrestling, rent the 2000 film Ready to Rumble. For a more enjoyable Jared Hess film, rent Napoleon Dynamite. Enjoy the triple feature with some Nachos rather than seeing Nacho Libre.