THE VIRGINIAN-PILOT
Copyright (c) 1996, Landmark Communications, Inc.
DATE: Thursday, May 2, 1996 TAG: 9605020031
SECTION: DAILY BREAK PAGE: E6 EDITION: FINAL
TYPE: Album reviews
LENGTH: Medium: 91 lines
Dave Matthews Band, ``Crash'' (RCA)
If the Dave Matthews Band didn't have such good songs, they'd be just another jam-band. Then, if this quintet didn't play so well, listening to those songs wouldn't be quite as much fun as it is on their second major-label release.
That Matthews' writing has improved since ``Under the Table and Dreaming'' is obvious in both the ambition of the songs and the immediacy of their appeal.
``Drive In Drive Out'' and ``Two Step'' have an ingenuity and complexity that would warrant comparison to the most intricate art rock - if not for the fact that both songs are utterly without the pretensions that made art rock seem so pompous.
And while there's enough instrumental brilliance built into ``Tripping Billies'' or ``Say Goodbye'' to leave technique-obsessed listeners hanging on every note, you don't have to be dazzled by the polyrhythmic polish of drummer Carter Beauford or the brilliant eclecticism of violinist Boyd Tinsley to be swept away by the music's power.
Maybe what really makes the Matthews Band so special is that tunes like the catchy, topical ``Too Much'' offer something for everyone - smart lyrics, great playing, a good beat and a sing-along chorus. What more could a pop fan want?
J.B. Considine, Baltimore Sun
Alternative
Rage Against The Machine, ``Evil Empire'' (Epic)
It's been three years since last we heard from socio-political rap-metallists Rage Against The Machine. They were railing at injustice then; not much has changed with album No. 2.
Choosing American imperialism as their primary target, Rage seethes and sweats nobly, ably fusing the opression-awareness of Public Enemy, the angular riffing of Helmet and the metallic brute force of Pantera. Vocalist Zack de la Rocha spews his rap in a nasal, Beastie Boys kind of way, but is actually more effective with the lowkey songspeak of the album's moodier moments.
Granted, groups like the Red Hot Chili Peppers, Faith No More, Anthrax and a host of lesser (or less lucky) lights tilled the rap-metal terrain years ago.
But next to the imbecilic likes of the Presidents of the United States of America and their radio-clogging ilk, Rage is a proud little island of alt-rock substance.
Sue VanHecke, Virginian-Pilot
Country
Merle Haggard, ``Down Every Road, 1962-1994'' (Capitol)
If there was ever a doubt that Merle Haggard is among the most complex and compelling of American musical icons, ``Down Every Road'' puts it to rest. This 100-song, career-spanning collection does the ornery old coot justice.
``Down Every Road's'' four discs show how ambitious Haggard has been, from the Buck Owens-style California country of the 1962 opener ``Skid Row'' to the 1983 loner's lament ``Kern River.'' There are selections from Haggard's masterful Jimmie Rodgers and Bob Wills tributes, dashes of Dixie blues and hidden treasures, such as the interracial romance ``Irma Jackson'' and the frighteningly self-aware `I Can't Hold Myself in Line.''
Hands down, Haggard is the greatest triple-threat songwriter-singer-musician in country history, and there's never been better evidence of it than in this box.
Dan DeLuca, Knight-Ridder
Jazz
Christian McBride, ``Number Two Express'' (Verve)
Christian McBride's second recording is deeper than his first, with none of the easy soul references that enlivened the earlier outing. Mostly, the bassist dallies with older jazz icons: pianists Chick Corea and Kenny Barron, drummer Jack DeJohnette and alto saxophonist Gary Bartz. (Alto saxophonist Kenny Garrett and vibraphonist Steve Nelson also play here.)
The interplay with Barron is especially tuneful on Wayne Shorter's ``Miyako.'' Corea's ``Tones for Joan's Bones'' presents a showcase for the pianist's kinetic flights of fancy. And ``Divergence'' is an attempt by McBride to update the expansiveness of Miles' ``Bitches Brew'' sound, complete with Corea on Fender Rhodes.
Not all of these tunes enchant, but they expand the repertoire of McBride, his generation's bassist of choice.
Karl Stark, Knight-Ridder ILLUSTRATION: Photo
EPIC
Rage Against The Machine is still railing against injustice on their
second album, ``Evil Empire.''
by CNB