Steve Ward: Opening Night

(Lucky Records)

The full disclosure here is that I've been a huge Cherry Twister fan since I first saw them play in 1998. When I received the announcement that Steve Ward was releasing a record under his name instead of the band's, I was half expecting a lo-fi, introspective meditation on his own navel lint and who hasn't seen that happen when the band leader goes solo!? Thankfully, upon closer inspection, I see the Cherry Twister compatriots are still offering considerable contributions, with Mike Giblin doing most of the bass parts and back up singing, and past drummer Ross Sackler and most recent Cherry Twister drummer, Jason Hoffheins filling out the rhythm section. So is it a Cherry Twister record? My guess is that it started out that way, but as the songs developed and the themes became more personal, Steve wanted to claim full responsibility. Although a song like "Good" sounds big and orchestral, the purest pop song of the year, one of those songs you will hum to yourself on the bus, (in no small part due to Mike Giblin's melodic bass parts: thank god for headphones!) you still feel, just a little, like it's more reflective of one person's ideas, as opposed to a song like "Don't Forget Your Man" from "At Home With Cherry Twister" which comes off as more of a rock and roll collaboration.

"Still Life" is probably one of the most evocative songs I've ever heard. Spare instrumentation, with keyboards filling in for strings or flutes, the song tells a story using photographic images. Most striking is the occasional vocal effect that sounds almost watery, like the developer bath a print would soak in to bring up the image. I've listened to this track countless times and hear something new every time, yet when I try to pinpoint what it is I'm hearing, it changes and fades again. The instant gratification tune has to be "Western Skies" a countrified swing tune with pedal steel by Rob Zwally. A toe-tapping, sunny marshmallow fluff of a song, in some ways it's so unabashedly jolly it seems like the biggest musical risk of all.

I unreservedly will place "Opening Night" at the top of my "best of 2000" list. All the elements of it, from vocal performance, to production, to melodic brilliance, have come together in one of the most consistent records I've ever heard. I knew I'd like this record, I should have known how much it would affect me.

www.steveward.org

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Other reviews

Mike Randle: My Music Loves You (even if I don't) (Eggbert)

I seem to get roped in by these Summer-like records. "My Music Loves You" captures a lot of what surf, sun, and sand can do to a brain, both good and bad. On the one hand, it's relaxing, feels good, and keeps it groovy. It also breeds some levels of laziness and disposable culture. My first thought upon hearing the opening cut, "In My Heart," was "DAMN, Elliott Smith has changed the face of music production as we know it!" Record after record employs the breathy, overdubbed vocals, and the slightly plaintive, off-key refrain. These are all good things in my book, but hard to make your own. Fortunately, the rest of "My Music Loves You" diverts into other lanes, like the very Smokey Robinson-flavored "Island View Inn" or the smoky, last-call-at-the-piano-bar "Out Of My League." Mike Randle has a voice that sounds like it's going to break half the time, and it's possible this is used on purpose as an emotional device, I can't really tell. It's always encouraging when an artist takes chances, when they are ALLOWED to take chances by whatever powers that be. For better or for worse, "My Music Loves You" sounds like the record Mike Randle wanted to make. He tries different themes, different instruments, and gets his friends to play on everything. As soon as the first snow falls, I'm firing up the blender for some Margaritas and putting this disc on repeat. It's mood music for jaded sunburned romantics.

www.eggbert.com/mike_randle.html

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Dixie Chicks: Fly (Monument/Sony Music Entertainment, Inc.)

The Dixie Chicks are a spectacle, a force of nature, a pink and yellow exploding Easter basket in popular music. So much has been written about them, good and bad, that it becomes hard to just listen to this cd and figure out what I really think. By putting themselves "out there" as cutesy girl-power debutantes, have they compromised the importance of the music they make? Aren't they just an extension of what Dolly Parton has perfected, the bleach blonde goddess in a tight top, who sings like an angel, picks like a devil, and laughs all the way to the bank and the award podium? The truth is, despite all the talk of the Dixie Chicks breaking ground; country music has always been about divas, stylists, and talent. It's a complete package, and something you will NEVER see in Nashville is a successful performer who can't sing, no matter how pretty. From Pasty Cline posing in her fringed skirts to Billy Gilman, the 12 year old boy with enough products in his hair to support a chain of salons, it still comes down to the voice. The Chicks have voices, both physically, and in their song writing. "Sin Wagon" with the infamous line about "mattress dancin'" is just a kick ass rave-up. Empowerment? Why make things so deep? It's all about being human, having needs, and getting what you want out of life. "Goodbye Earl," written by Dennis Linde, is a perfect Dixie Chicks song. The "Thelma and Louise" theme, the sistah's doing it for themselves, the poisoned black-eyed peas, all add up in a performance that, I swear, makes me tear up every time. I guess that makes me a chick, too. The truth is, I'm not really a fan of popular country but I was still humming along on the second listen, which is the true test of a hook. Every track on "Fly" is hooky as hell.

I'm not enamored of the hyper-clean production on "Fly." Having seen the Chicks perform live on TV, I know they are capable of more heart and grit and down-n-dirty hollerin', but the studio is a nice clean place and Sony probably wanted things to sound just-so and consequently, a lot of the heart of these songs is likely on some amazing studio out-takes tape that's locked away. "Fly" is probably the soundtrack of many a bachlorette party, and many a girls'-night-out in daddy's convertible, and there's comfort in knowing music can make people smile and forget their problems for a while.

www.dixiechicks.com

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Anna's Picks to Click: November, 2000,OOOctober September, 2000 (her reviews)

Anna's Column: November, 2000, October, 2000 September, 2000

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About Anna

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