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NIRVANA UNPLUGGED IN NEW YORK
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Taking inspiration from little known British band Curve, the formula behind Garbage was simple enough: Industrial strength beats, grungy guitars and ice queen vocals. But in Scottish fireball Shirley Manson the three middle-aged studio whizzes from Wisconsin not only found a muse but a front woman whose infinite charisma and wicked sense of humor--as evidenced by the title of this greatest hits set--gave even No Doubt a solid run in the hits race. For a few years, the group ruled the charts with shiny metallic pop gems like "Queer," "Stupid Girl," and "Only Happy When It Rains," hampered only by some remedial lyrics and a penchant for cribbing other bands' melodies (see: The Pretenders aping "Special"). There's a discernible dip in quality midway through this collection, when at the turn of the millennium Garbage seemingly lost its fire, but at least the group's token James Bond theme, "The World Is Not Enough," is more Shirley Bassey than Sheena Easton. Fans who are already up do date with the originals will want to pick up the special edition set that features a bonus disc of remixes by some of the biggest players on the '90s electronic music scene, including Massive Attack, The Crystal Method, and Unkle. --Aidin Vaziri
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THEORY OF A DEADMAN THE TRUTH IS...
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Smothered by the indulgence of his rock star ranking, Jack White steps into the eccentricities of the supergroup, and at first glance, this seems to be a band where White's imposing presence could overshadow the rest. Not the case with these Raconteurs. Teaming with fellow Detroit songwriter Brendan Benson and Jack Lawrence and Patrick Keeler, the rhythm section from Cincinnati band the Greenhornes, White exhales a bit, deferring enough to his mates to make Broken Boy Soldiers play like a team effort. Following the Benson blueprint, "Steady as She Goes," which opens as a slice of 1960's radio pop, the record steers away from pigeonholing the rest of the way. White's in a Middle Eastern mood for the title track as he pulls off a wicked Robert Plant howl, while Lawrence and Keeler excel on the chorus-strong "Intimate Secretary" and the optimistic acoustic rocker "Yellow Sun." Like so many all-star bands before them, The Raconteurs could be one and done. But don't place the blame on this fertile and genuine debut. --Scott Holter Leading up to The Raconteurs... The Alternative to Love Brendan Benson Get Behind Me Satan The White Stripes Sewed Soles The Greenhornes The Greenhornes One Mississippi/Wellfed Boy Brendan Benson De Stijl The White Stripes
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Originally hailing from Wakefield, West Yorkshire, UK, The Cribs, the all Jarman brother three piece, expand their catalog with the upcoming release of their fifth studio album In the Belly of the Brazen Bull this Spring (May 7th - UK / May 15th - US). The band enlisted Dave Fridmann (Flaming Lips, MGMT, Mercury Rev) and Steve Albini (Nirvana, PJ Harvey, Pixies) to produce the relentless yet blissfully sonic endeavor. Early stand outs ''Chi-Town,'' which the NME calls ''...a pressure cooker of stomping riffs and broad sea shanty melodies'' and ''Come On, Be A No-One,'' have been received with overwhelming and unanimous praise.
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Tidal is the debut album by Fiona Apple, a New York singer-songwriter-pianist who was 18 years old at the time of its 1996 release. Apple is obviously talented--she has a dark, smoky alto and a knack for an arresting turn of phrase--but she's still several years away from realizing her potential. For every fresh lyric she writes ("Daddy longlegs, I feel that I'm finally growing weary of waiting to be consumed by you"), she provides two examples of embarrassingly precious schoolgirl poetry ("Adagio breezes fill my skin with sudden red," from the same song, "The First Taste"). She also has yet to refine her moody piano chords into actual melodies, though "Shadowboxer" comes close. --Geoffrey Himes
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