(Dreamworks Records)
After seven years of making music, El Paso, Texas, natives At the Drive-In seemed to be gaining momentum. The quintet released the full length Relationship of Command in 2000 to much praise from critics and fans alike. The album showcased At the Drive-In's spastic-rock style and produced an electrifying single, \One Armed Scissor,"" that showed up on MTV from time to time. It seemed as though this was the future of rock, however amidst all the speculation the band wiped the slate clean by calling it quits in 2001.
Since the recent turmoil the group has split into two separate projects, Mars Volta and Sparta. The later retains three Drive In members Tony Hajjar (drums), Paul Hinojos (guitar) and Jim Ward (vocals/guitar), and adds bassist Matt Miller to the mix. What has resulted is a much more mature and breathtaking venture into the cosmic side of rock.
Sparta's debut, Wiretap Scars, contains 12 tracks that wax and wane back and forth between heavy and melodic. Songs like ""Cut Your Ribbon"" and ""Mye"" bring the group's roots to the forefront with thrashing guitar lines and screaming vocals. At times the album is reminiscent of the widely emulated Fugazi sound, however Sparta beats its own path by twisting together space-rock riffs with echoing vocals, and throwing keyboards, cello and various samples into its repertoire.
This layering of sounds culminates in songs like ""Collapse"" that provide a cerebral experience by featuring intoxicating guitar progressions and dreamy vocals that take the listener into another dimension.
Wiretap Scars also ventures into the electronic sphere with drum machines and vocal effects. Such tracks remain unpretentious by maintaining the consistency of Sparta's driving rock style. The band keeps things interesting by varying each song's mood and instrumentation, but what results is a beautiful compilation instead of a hodgepodge of experimentation where many groups have tried and failed before. Sparta has proven with Wiretap Scars that they have evolved into a more polished rock machine that can combine both bleeding hearts and banging heads to create a new and refreshing sound. The four piece may be able to breathe some life into the heavy rock realm that for now remains stale.
(Sony)
The latest Dixie Chicks release, Home, is a highly satisfying treat. The Chicks are at their best when they forget the pop sound of Nashville and stick to their signature sound. A major highlight is found in ""White Trash Wedding."" It glorifies the tradition of the shotgun wedding with down-and-dirty guitar solos and blunt lyrics: ""I shouldn't be wearing white/And you can't afford no ring."" ""Lil' Jack Slade"" is a mandolin and guitar-heavy instrumental for bluegrass fans. The ballads on the album showcase singer Natalie Maines's rich country voice. ""More Love"" is a bittersweet song of a loveless marriage and the cover of Fleetwood Mac's ""Landslide"" is done with gorgeous harmonies. The ever-haunting backup vocals of Emmy Lou Harris are featured on the lullaby, ""Godspeed (Sweet Dreams).""
Home is an improvement from their last release ""Fly."" The album is less mainstream country and more traditionally sincere. This album is a sampling of the best of what country has to offer: stories of love, loss and celebration. It's a good choice for people who are curious about country music, without resorting to its clich??s.
(Warner Brothers)
The latest installment in the Red Hot Chili Peppers' rap-rock-punk-funk-junkie confession saga is one that might not sit well with their fans at first. By the Way is an uneven album with more holes than previous efforts, but it also demonstrates that, 15 years removed from their first gold album, they're still trying to broaden their horizons and grow as artists.
The real difference is that the group seems to be spending more of their energy on creating different sounds, instead of creating bankably radio-friendly songs. This has obvious perils, like becoming obnoxious art rockers, but they're mostly just experimenting with a new variety of sounds, adding harmony and on ""Cabron,"" even dabbling in Latin rhythm, but mostly making their sound more classically California. This variety makes them more hit or miss.
The bottom line? Flea is sickeningly good on bass, Chad Smith's drumming makes every song at least a little funky and powerful. Anthony Kiedis' voice is better than ever and guitarist John Frusciante earns his new role as creative leader of the band, creating some really interesting guitar parts, like on ""Dosed."" With Rick Rubin on board, production is always crisp and funky, and ""By the Way,"" ""The Zephyr Song"" and ""Dosed"" are three of their best songs ever, especially the latter, which is achingly beautiful. The Chili Peppers will never make another album like Blood Sugar Sex Magik, but this is a very good album, even if it takes a couple of listens to get it.
'Amos Posner
(V2 Records)
Just because a band breaks up does not mean the record company still can't make money off of them. Greatest hits, b-side collections and live albums are a few of the options still available for a band that just split. In the case of the recently deceased Black Crowes, the third choice seemed best.
The two-disc set simply titled ""The Black Crowes Live"" was recorded during the last shows the band performed during a two-night stand in Boston, Mass. Guitarist Rich Robinson selected and produced the tracks.
Since the tour was in support of the Lions album, six of the 19 songs are from this one record. Most of the songs on the album are live standards like ""She Talks to Angels,"" ""Remedy"" and ""Wiser Time,"" but rarities like ""Title Song"" make it worth the purchase. This is the first time the song has been commercially released and sounds better than any bootleg copy floating around.
""Live"" does a good job of mixing all the moments of a typical Black Crowes concert. Ballads like ""Girl From a Pawnshop"" and ""Miracle to Me"" capture the band's delicateness while ""Midnight from the Inside Out"" and ""Black Moon Creeping"" showcase the raw energy the Crowes have during a performance. The album also features many Chris Robinson ramblings between the songs that help make that complete the live experience.
Taping has always been common with Crowes fans so a professionally mixed live album makes sense. But since the band has broken up, this release begs the question, ""Who is going to buy this album?"" This record probably won't attract any new listeners to the Black Crowes, so why not put out a live album with songs the die-hard fans want to hear? Lesser heard songs like ""Evil Eye"" and ""Nonfiction"" were passed up in favor of the familiar ""Twice as Hard"" and ""Sting Me."" How many times does a Crowes fan have to hear their rendition of?? ""Hard to Handle?"" Everyone knows how it goes, so why not include their cover of the Rolling Stones ""Can't You Hear Me Knockin'?"" instead? It doesn't make much sense.
While the song selection may not make the greatest setlist, it is about time fans had a live album besides bootlegs to put on their shelf. And if this is the last album from the Crowes camp, than at least it's a decent good-bye.
