Neil Young & Crazy Horse "Broken Arrow"
Reprise 9362-46291-2 (48 mins)
Dial-A-Track Code 1201
At an age when he should be hanging up his guitars and picking up his golf clubs, Neil Young is still knocking out the albums at a rate of knots. Since his last collaboration with Crazy Horse, Sleeps With Angels, in 1994, the of Youngster has recorded a Pearl Jam session, Mirror Ball, plus the soundtrack for the Jim Jarmusch film, Dead Man, only stopping to get inducted into the Rock `N' Roll Hall Of Fame along the way.
While all this prodigious activity is something to be admired in a man of Young's years, it has its downside, most of which can be heard in the eight tracks on this new album. The first three songs, Big Time, Loose Change and Slip Away take up nearly half the album, and are dominated by Young's grunged up guitar solos and the band's dirty pick up truck sound. "I'm still living the dream we had," intones Neil, in that Kermit at Wood stock voice, before grinding out another solo.
There's not much to distinguish the quick stepping country jaunt of Changing Highways, the sauntering This Town, and the downbeat, acoustic Music Arcade, and even Scattered (Let's Think About Livin) only has a few vestiges of classic Young. The album ends on a low note with a patchy live version of Jimmy Reed's bluesy Baby What You Want Me To Do, which sounds like it was recorded in an authentic honky tonk. Exactly the effect Young wanted, I suppose.
Dodgy "Free Peace Sweet"
A&M 540573 2 (64 mins)
Dial-A-Track Code 1311
For their not so dodgy third album, The Hounslow Hippies have shed their lank old Levellers' hairstyles and gone for a look that conjures up a curly headed version of The Police. Seems like Nigel. Matthew and Andy have traded in their fried out old transit van in a hid to get a seat on the bright, shiny Britpop bus, and there's no longer a faint whiff of Crust wafting in the air around them, except maybe in the mud caked Ain't No Longer Asking and the shamelessly Simon & Garfunkeled One Of These Rivers. The Who influence is evident in songs like the bright, expansive In A Room, the frantic Trust In Time and the loaded double shot of Prey For Drinking and Jack The Lad. Other tracks not to dodge include You've Gotta Look Up, Good Enough and UK.R.I.P
Tim Booth and Angelo Badalamenti: "Booth and the Bad Angel"
Fontana 526 852-2 (47 mins)
Dial-A-Track Code: 1421
What a deliciously surreal combination the madly animated lead singer of James joins up with the composer of the Twin Peaks theme to create a genuine modern pop artefact. This should make for a weird and wired experience. Add the contrary exSuede guitarist, Bernard Butler, and the Professor of Pop. Brian Eno, to the equation, and we almost have the full cast for David Lynch's next series. Boot and Badalamenti have composed, produced, arranged and orchestrated this collection of II songs, creating a smooth, subtle soundtrack for a disconnected disco. The songs veer from the vibrant, soul saving I Believe and the frantic, fluttering Heart, to the dramatic dialogue of Lets Gets Better and the slow swell of Rising, locking into some keyboard and guitar grooves like Butterfly's Dream and The Dance Of The Bad Angels. Sit down and enjoy the damn fine coffee.
Amusement: "...And After Optimism"
Dirt Records DIRTY 8 CD (56 mins)
Dial-A-Track Code: 1531
Amusement is the alter ego of James Eadie, former keyboard player with Dublin band Into Paradise, and this album was recorded on an 8 track cassette machine in the privacy of Eadie's own home. Apparently, Eadie has become "sick of musicians", so the only other person involved in this project is producer Aidan Foley. The songs mix effects laden guitars with disjointed keyboards and thumping bass, Eadie's vocals sounding anything but amused in tunes like Not Yet, Dum Dum and Can't Stop Laughing. Each song was written and recorded individually, so there's a diversity in the sound, but there's also a somewhat misanthropic thread running tightly through each tune.
