Staff Reports
Arizona Daily Wildcat
April 9, 1998

Music Meltdown

James Iha

Let it Come Down

(Virgin)

As the "other" guitar player for the Smashing Pumpkins, James Iha has been lost in Billy Corgan's shadow. When you back up a guitarist like Corgan in a band like the Smashing Pumpkins, even if you're a credible musician yourself, your creativity is going to get squashed. Even if you can sing way better than the lead singer.

Iha's solo effort, Let it Come Down, features 11 melodic '70s-style songs with clean guitars chiming in alongside his unenhanced voice, sectioned out in three-minute increments.

The songs would be dead ringers for something off of the Pumpkins' last couple of albums, except that instead of the songs erupting into a raucous, sandpaper, guitar-wall of noise, they progress using things like back-up harmony vocals, pianos and string sections.

Nina Gordon of Veruca Salt adds her voice to "Beauty" and Adam Schlesinger of Ivy, Fountains of Wayne, and the "That Thing You Do" song lend a hand on "Country Girl." Every song sounds like every other song on the compact disc, which all sound like something you'd listen to while wearing bell-bottoms, sitting on your brown and green sofa, enjoying a herbal refreshment of your choice while the sun shines on your skin.

Iha does not deny the overlap of the work of the band he's famous for and of his own material. Let it Come Down is like what the Smashing Pumpkins would be without the "Smashing" part. Just "Pumpkins"; pure, simple, wholesome - grown naturally in the fields, without any pesticides or chemicals.

-Annie Holub

Daz Dillinger

Retaliation, Revenge and Get Back

(Death Row)

Life hasn't been great on Death Row lately. The label's head honcho is behind bars, its greatest talent is resting in peace and everyone else is trying to follow Dr. Dre's lead and jump ship.

And then there's Daz Dillinger. The emcee and producer formerly known as Dat Nigga Daz and member of Tha Dogg Pound has put together a solo effort that may be able to breathe new life into the record company that once dominated the rap industry.

On Retaliation, Revenge and Get Back, Daz does not stray from Death Row's trademark sound, using tight, low bass lines with a rat-a-tat lyric delivery.

If anything can be said about Daz Dillinger, it's that he's thorough. He produced all but two of the tracks, as well as getting in on the programming and keyboards for most of the album. His lyrics show his many sides, from graphic gangsta acts and betrayals to child support scams and faith.

Retaliation, Revenge and Get Back also boasts an impressive lineup of guest artists. Daz goes back and forth with B-Legit effortlessly in "Playa Partners," while BoRoc of the Dove Shack offers up some smooth background singing. Kurupt, the other half of Tha Dogg Pound, shows that he is still the better emcee of the duo on "Gang Bangin' Ass Criminal" and "It's Going Down." The best track, however, is "O.G.," which feature's Daz's cousin Snoop Doggy Dogg and the deep voice of Nate Dogg over a well produced backing track.

- Joel Flom

Craig Armstrong

The Space Between Us

(Melankolic)

If you told me a couple of years ago that I would be listening to orchestral music, and not only enjoying it, but pulling it out of my own CD collection, I would have scoffed.

Just goes to show ya.

Craig Armstrong is a modern-day composer who has done his damndest to make symphonic sounds appealing to a new generation, whether he knows it or not.

See, Craig's most well-known for his work with Madonna, U2 and, especially, Massive Attack. Two of his compositions graced Massive's last album, bridging the gap between trip-hop and classical score, hitting home with a whole new audience.

The Space Between Us is actually one of the first releases on Melankolic, the label recently created by the guys in Massive Attack, showing the group's support for the man.

Armstrong is also known for his film scoring, most notably for "Romeo and Juliet." Both that work and his work with the Massives are represented on his album, the former through the inclusion of "Balcony Scene (Romeo and Juliet)," the latter with versions of the two Armstrong tracks from Massive Attack's Protection, "Weather Storm" and "Sly."

The high point of the album is the stirring "It's Love," featuring the enchanting vocals of the Cocteau Twins' Liz Fraser, one of only two tracks to feature vocals. (The other is "Let's Go Out Tonight," which spotlights Paul Buchanan of Blue Nile.)

Of course, this isn't the kind of album you'd want to put on at your next house party (unless it's the kind of thing that involves a wine tasting), but it's perfect for setting a different, more relaxed atmosphere.

Could be just what you need.

-Doug Levy

John Scofield

A Go Go

(Verve)

About this time last year a very talented, but relatively little-known, trio made its way onto the UA campus to perform for about 500 privileged students. I was lucky enough to be in attendance that night as John Medeski (keyboards), Billy Martin (drums) and Chris Wood (bass), collectively known as Medeski, Martin & Wood, filled the Arizona Ballroom with their almost otherworldly musical sounds.

That was the last time I heard MM&W, until I picked up John Scofield's latest release, A Go Go. Scofield teamed up with the innovative trio for the album, and the result is one amazing track after another, starting with the funk-laden opener, the title track, where Scofield's crisp guitar is accompanied by Martin's drums.

Along with the up-beat, toe-tappin' feel of "Hottentot" and "Chank," Scofield shows he has no problems slowing it down a bit, with tracks like "Chicken Dog" and "Southern Pacific," where he provides a smooth, melodic guitar line to go along with the soothing keyboards of Medeski.

Without missing a beat, they pick the tempo right back up again on "Jeep on 35," a song dominated by Medeski's fast-paced ivory-tickling abilities.

In all honesty, although A Go Go is a showcase for Scofield's tremendous ability, the true highlights of the album are provided by Medeski, Martin & Wood. Although the album is ostensibly a solo release, in reality, it's a spectacular collection of music provided by four very talented musicians, all of whom deserve top billing.

-Eric Anderson