By Staff Reports
Arizona Daily Wildcat
September 18, 1997

Music Meltdown

Talk Show- Talk Show (Atlantic)

Reviewing CDs is generally a good thing. You get free music and if you don't like it, you can freely exchange it with the kind fellows at the record exchange shops around town.

Talk Show is in fact a new band comprised of ex-Stone Temple Pilots. The only difference from the Pilots is the fact that the drug abusing front man has been replaced by a more sober individual, who actually seems to have far more musical talent than Scott Weiland could ever hope for.

This CD was not the greatest thing I've ever heard, but it certainly wasn't the worst, which is why I couldn't decide whether to keep the copy, or to trade it in for better music.

Musically, in general, the sound is somewhat similar to STP, although Talk Show have realized that 'grunge rock' is dead. The melodies within are often reminiscent to those of Oasis, although many would disagree.

The singing though, bears no resemblance to that of the Gallagher brothers, bordering between that of a grunge-boy and glam-queen.

The first track titled "Ring Twice," was pretty mediocre Pilot-esque ditty. The second offering "Hello Hello," which is in fact the first single, was rather upbeat and uplifting, although it too sounded like STP. To quantify, fully a quarter of the album sounds like the Pilots.

"Wash Me Down" and "End of the World," were probably the best tracks on the album. They were both solid rock'n'roll tracks, not too heavy, not too light. These two tracks seem like American Oasis spin-offs. This isn't necessarily a bad thing, considering that American rock is dead, and good old Britannia are yet again destined to be the rising storm of guitar music.

(It's a fact, all supergroups that were good were British, unlike stuff like the Grateful Dead who were pants.)

My copy of Talk Show never actually made it as far as Zia's, or any other record exchange store. It is actually firmly planted in my ever-growing music collection and will probably find itself at home along with the other lesser listened, and liked, bands such as Pearl Jam and the Stone Temple Pilots. (3 1/2 out of a possible 5)

-James Casey

Catherine Wheel, Adam and Eve (Mercury)

The cover art for this album is a whole bunch of naked people in Hollywood Squares type boxes. The album is called Adam and Eve, so it could represent some kind of artistic love-theme; modern Jan Van Eyck-esque men and women in their primitive form. But the bright backgrounds and enhanced skin colors make it seem downright pornographic and unnatural. It's as if the artist were trying to be brilliant but missed it completely, not unlike the music contained within.

The first track starts out horribly, with a brief slide-guitar backed up by vocalist Rob Dickinson wailing, "Let's get started." This is reminiscent of the introductory verses to "Do Re Mi" and is not a good sign. The third track, "Delicious," starts out amazingly, with a catchy little pop hook, giving the first-time listener a glimmer of hope. And then it just dies. It's sad. So sad I became obsessed with the song, listening to it over and over again, trying to figure out why they killed such a great song. Eventually, it picks up again, but nothing like how it should be.

"Ma Solituda" gets stuck in my head just because it's so redundant, and I can see "Satellite" as a radio single. It's by far the best song on the album- energetic drums, a classic pop song structure and chord progression don't fail to make this one radio-friendly. "Here Comes the Fat Controller" is epic-like and would probably be a good movie soundtrack song. The sound is intense and guitar-heavy, fitting nicely into that modern rock genre characterized by bands like the Wallflowers and Live, teetering on the edge of pretentiousness.

Adam and Eve makes great background music, with it's bluesy undertones,

smooth production and melodic guitars, but it doesn't really do anything for me. It's OK, but definitely lacking something major, like charisma, or maybe, innovation. If you happen to be a big Catherine Wheel fan and you're perfectly comfortable with the same old deal, then you won't be let down.

-Annie Holub

The Statics- Punk Rock and Roll (Rip Off Records)

Coming out of Seattle, The Statics do one of the finest current versions of the old one guitar, one bass and drums music formula. Depending on your definition of "punk," the album title of Punk Rock and Roll may be a little misleading because the Statics are definitely about having a good time. A good time means being able to do some hip-shakin' and doesn't involve dumb-head jock rock or the predominant plucking of bass lines.

In their latest release, the Statics' influence by the Rolling Stones, Bo Diddley and R&B is even more apparent than ever. They're humorous, but not in the dreaded Dead Milkmen way. "Sold My Soul" gives credit to Brian Jones while the album ends in one of the most admirable white-band versions of Diddley's "I'm a Man." There's also a rockin' cover of "One Ugly Child."

The Statics' originals remind me of frat dance shouters from the '60s, starting with the instrumental "The Static Revenge" and including fun-spirited numbers like "Dance Baby Dance."

With Punk Rock and Roll, The Statics continue their take on that Northwest sound that made bands like the Sonics and the Kingsmen popular in the 1960s, but add a new sense of maturity.

- Fen Hsiao

Retro Review

Without Lester Bang's writings, I would've never discovered half the music I am obsessed with now. Growing up in Tucson's musically barren wasteland, I depended on articles and fanzines to point out what I knew I was missing, and it was from reading Bang that I first discovered Question Mark and the Mysterians. Actually the piece was on the Count Five's "Psychotic Reaction," but within the text was mention of a band with the coolest, most mysterious name I'd ever heard.

Question Mark and the Mysterians were from the Saginaw Valley of Michigan, America's answer to the British Invasion. In the mid-60s they made their biggest mark on the charts with their sexy, instant favorite, "96 Tears." The song is backed by this insistent, almost preposterous one-key organ repetition, yet remains one of rock 'n' roll's greatest tunes.

The album contains some of the raunchiest, most suggestive melodies and lyrics while still appealing to teen-age dance-craze fanatics with its dirty organ sounds. Like most garage punk bands of the '60s, they also got away with more sinful implications than any present-day "meaningful" band could, by just letting their minds run wild. The combination of rock 'n' roll guitar drive, repetitive organ and sleazy vocals is sometimes almost indecent in their music.

Although they never got further than the success "96 Tears" and, like many other ill-treated garage punkers, were quickly forgotten, recent compilations have resurrected the fandom that such bands deserve. Luckily, Question Mark and the Mysterians are also still playing around. Tales have been told of Mark crawling on his knees, belting out old faves, oblivious to cops trying to stop the show. As witnessed by true fans, the performances still possess the same raw energy that first created the madness of this overlooked band.

- Fen Hsiao