"Modern music," as one musical category is sometimes labeled, often has one foot shakily planted in pop and the other in contemporary folk. Veterans of the field and creative newcomers alike show off the results of this cross-genre musicmaking in a batch of new albums.POI DOG PONDERING; "Volo Volo" (Columbia). * * * 1/2
Multiethnic folk-pop band Poi Dog Pondering seems to have a great time making albums and minialbums.Poi Dog's previous two full-length efforts have included influences as diverse as Hawaiian folk, tribal chants, lilting psychedelia and traditional rock. They've also been a lot of fun, and their third full-length release is no exception.
Relying on veteran production team Clive Langer and Alan Winstanley (Madness, Morrissey, They Might Be Giants) to bring even more variety to Poi Dog's jam-packed sound, the band has begun to embrace soul and R&B as new influences.
Typical of that approach are "I've Got My Body" and "Jack Ass Ginger." Poi Dog hasn't abandoned its pan-cultural roots, though, as is well documented by "Ta Bouche Est Tabou (Your Lips Are Forbidden)" and "Te Manu Pukarua."
Poi Dog Pondering is a true original. May it make albums for a long, long time.MARVIN; "The Mandolin Man" (Restless Records). * * *
Although crowds at the recent Toad the Wet Sprocket and Origin show failed to appreciate the talents of this singer/songwriter, who was the opening act, let's hope this promising debut album finds an audience.
Formerly the bassist for Lone Justice, Marvin Etzioni has crafted simple and appealing folk numbers that well utilize his expansive acoustic guitar- and mandolin-playing skills and his limited but charming vocal stylings.
"How Great Is the Ocean" and "Can't Cry Hard Enough" are achingly lovely lonely heart numbers, while the title track and "The Climb" both brighten things up with optimistic messages.
While there are creeping Dylan-isms throughout (especially in its near-religious tones), Etzioni has survived his former band's dissolution nicely and seems well on his way to a promising solo career.GOLDEN PALOMINOS; "Drunk With Passion" (Virgin). * * *
Once a superstar agglomeration of early '80s drone-rock talents, the Golden Palominos used to produce subtle rock numbers that recalled both the Byrds and R.E.M.
Stress "used to."
Though this album's debut single, "Alive and Living Now," features the latter band's Michael Stipe on vocals, the cut's no more than a pale imitation of a band that, frankly, is starting to lose much of its charm.
Throughout, even such bright talents as Richard Thompson and Bill Laswell can't brighten this album's thuddingly dull numbers (featuring vocalist Amanda Kramer in place of Syd Straw).
A testament to this effort's disappointment is the fact that the promising sounding "Dying From the Inside Out," written and performed by former Husker Du leader Bob Mould, is actually the biggest flop. What a pity.JONATHAN RICHMAN; "Having a Party With Jonathan Richman" (Rounder). * * *
A survivor of the early '70s post-punk, or "new wave," movement, Jonathan Richman might best be described as the new wave Mister Rogers of folk.
Though "Modern Lovers," a brilliant album he made with musicians who soon joined both the Cars and Talking Heads, still stands as the pinnacle of his career, Richman still has a lot to offer with his whimsically poppy folk.
Rebounding nicely from the disappointing "Jonathan Goes Country," an interesting experiment gone awry, Richman has returned to his silly songs about love and life in general. Typical of his approach are "Our Swinging Pad," which well features his plain but appealing nasal vocals, and the too-ridiculous-for-words "My Career as a Homewrecker."
While there is some inconsistent chaff in places, even if the rest of "Having a Party With Jonathan Richman" was awful, it would still be essential for fans because of "Monologue About Bermuda," which explains Richman's about-face in career moves. Fortunately, that's not the case.THE WONDER STUFF; "Never Loved Elvis" (Polydor). * * *
Once the world's snottiest pop-rock band, Britain's the Wonder Stuff has managed to add a little variety to its repertoire.
Expanding on 1989's already terrific "Hup!," "Never Loved Elvis" adds acoustic folk and other surprising influences into the Stuffies' Beatlesque pop. "Welcome to the Cheap Seats," for instance, features prominent accordion work in addition to very good acoustic guitar work.
"Play" shows singer Miles Hunt has listened to at least a few Waterboys albums, as he adopts a Mike Scott-like vocal and lyrical approach that, if it isn't too successful, helps the number avoid pop cuteness. "The Size of a Cow" humorously pokes fun at the dangers of taking yourself too seriously, and quite well, too.
Unfortunately, the Stuffies do run out of steam with their material ("Caught in My Shadow" and "Maybe" sound too similar to earlier Stuffies' songs), but there are still enough gems to make this worthwhile.