Bob Dylan: Love
and Theft
Sony 85975
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 With some 40-plus albums to his name, Bob Dylan has delivered his
share of hits and, it must be said, misses. Veteran producer Daniel Lanois pulled him from
a seeming past-middle-age slump on two recent outings (Oh Mercy, Time Out of
Mind), matching a new sound to Dylan's search for meaning. Unlike those psychedelic,
heavily atmospheric albums, Love and Theft sounds almost "live." Credited
to producer Jack Frost -- actually Dylan himself -- it was laid down fast, with a weighty
sound that would be at home in a small club. It’s good -- really good.
Surprisingly good. The folksy Dylan has turned bluesman here, and the 12 songs have a
sparse, upbeat sound with great lyrical content. Dylan’s weathered the storm; now
he's having fun and it shows. The driving "Lonesome Day Blues" is going to bring
the crowd to their feet when he inevitably tours behind this release. And there's nary a
clunker among the remaining 11 tracks, which places this among his best releases -- with
no apologies or excuses needed.
Depeche Mode: Exciter
Warner Brothers 47960
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 I've been a loyal Depeche Mode fan for over 15 years, and Martin
Gore’s ability to craft memorable lyrics, not to mention the band’s talent for
coming up with densely melodic compositions, have rarely disappointed me. But there comes
a time when even the most successful and original band produces an album that is, well,
less enjoyable than its past efforts. There are also times when the most original of
approaches fails to yield a memorable outcome -- and that's what has happened with Exciter.
In spite of Exciter’s originality and nerve, very few of its songs come across
as memorable or irresistibly melodic. Only the shimmering "Dream On," the
sublimely beautiful "When The Body Speaks," and the catchy "Freelove"
offer arrangements that depart from the album’s overly minimalist soundscape.
Technically, however, Exciter is very close to pop perfection in its recording and
in the musicians' performances. My fannish criticisms notwithstanding, the ambitious
qualities of Exciter easily clobber most of the top-40 nonsense currently in
rotation.
Roland Orzabal: Tomcats
Screaming Outside
Eagle Records 159
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 With its bubbling synths and soaring choruses, Tomcats Screaming
Outside proves to be a surprisingly effective and listenable solo effort by ex-Tears
For Fears frontman Orzabal. As a whole, it's not the last word in new ideas -- certain
songs include bass lines and ethnic influences that one may find familiar. But the overall
effect is a consistent, non-fatiguing example of extremely good pop. Standouts on the CD
include "Low Life," "Bullets for Brains," "Under Ether" and
"Day By Day By Day," and, while I could have done without the gnashing guitar of
"Dandelion," all of the songs are well written and produced. Relatively
well-executed guitar and drum work, as well as a densely packed electronic backdrop, also
set this album apart from most others of its ilk. While neither overly revealing nor
crisp, the recording does have a warm, very analog texture that only added to my enjoyment
of the record.
John Zorn: The Big
Gundown: John Zorn Plays the Music of Ennio Morricone
Tzadik 7326
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 Do you remember those
"spaghetti western" films from the 1960s, directed by Sergio Leone? If so, then
you undoubtedly recall their haunting musical scores, composed by Ennio Morricone.
Originally released on Nonesuch as a ten-track package in the mid-1980s by downtown NY
musician/composer John Zorn, The Big Gundown was an exhilarating avant-garde
tribute to those films. Today, John Zorn has his own recording label, Tzadik, and has
re-released this masterpiece with vastly improved sonics and six additional (and
significant) tracks. The Big Gundown features works from such films as Duck,
You Sucker, A Fistful of Dollars, Once Upon A Time In The West and
of course The Big Gundown, performed by a plethora of great NY-based jazz
musicians, including Bill Frisell, Bobby Previte, Marc Ribot, Anthony Coleman, Fred Firth,
Wayne Horvitz, Joey Baron and many, many others. This is a disc you’ll want to play
over and over, discovering something new and something different each time -- never a dull
moment.
The Ocean Blue: Davy
Jones’ Locker
March Records MAR068
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 I got hooked on the short but energetic Frigid Winter Days
when I was a sophomore in college. The guitar work, catchy lyrics and distinct vocals on
The Ocean Blue’s debut album were treats for the ears as well as the soul. Since then
I have continued to listen and, mostly, enjoy the band’s infectious music. However,
following See, the least inspired example of the groups’ talents, I was a bit
skeptical about this new record. My concerns were immediately allayed. Starting with the
first song, David Schelzel’s trademark vocals, along with the shimmering guitar and
percussion, are back and in top form. Unlike many pop albums, Davy Jones' Locker
wasn’t mixed to favor radio, so listening to it on good-quality headphones or
speakers rather than a boombox will expose the listener to some fine production values.
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