ERVE VAULTS open; angry
girls growl; Los Lobos
turns out Playboys.

A AN fy
- Michael Becker

RECORD REVIEW

Various Artists — The Verve
Story: 1944-1994, PolyGram
- Records 1994
This four-disc collection, 58
tracks in all, is a gem.
Norman Granz, a film editor
with Metro-Goldwyn-Mayer, ini-
_ tially brought his passion for jazz
to disc by recording live con-
_certs held during the mid-1940s
in Los Angeles.
The Verve catalogue contains
definitive performances by a
pantheon of greats. :
- The discs are loaded with cut-

“THE VERVE STORY

‘standing performances by the ..
~ likes of Nat King Cole, Charlie

~ Parker, Art Tatum, Lester Young,

Billie Holiday, Coleman

“Hawkins, Dizzy Gillespie, Stan
» Getz, Gene Krupa, Count Basie,
» - Oscar Peterson, Ella Fitzgerald,

+> Betty Carter, Shirley Horn and

‘. Abbey Lincoln.

- Configurations range from big-

ADDITIONS
ADD VALUE & PLEASURE

band arrangements to solos.

The sound reproductions are sur-
prisingly clean, piven the vintage
of some of the material.

Those who have ever bought a
jazz disc only to find that it was
recorded mono by a soundman
sitting in the back row of a night-
club, wil] appreciate the consis-
tent quality of this essential col-
lection.

A thorough attention to detail
follows through to the booklet
enclosed -— {ots of great pho-
tographs, news clips as well as
informative liner notes by Chris
Albertson.

Fifth Column — 36C, Denon
1994

An angry girl group! So cool, so
right for the time. These head-
bangers are from Toronto.
They’re not boy toys, the way
girl groups were back in the
1960s. tn fact, Fifth Column disc
artwork states with forthright
candor: boys stink.

in 198€, the group stirred it up
sex war-wise with a bop to
Lulu’s bouffant. Remember Lulu
-— all estrogen goofy, bleating
her one-hit wonderiul To Sir
With Love?

To Sir With Hate defined the
Fifth Column turf.

Now the group is a bonafide
subcultural hit item.

The latest release assumes a raw,
basic punk stance. In the Fifth
Column world, men and women
are dangerous. There is no place
on which to find common
ground.

All Women Are Bitches: Repeat!,

- the best track, opens the set.

With devastating effect Caroline
Azar jeers and growls to nail
down the misogynous mindset:
“t know what he’s thinking, all
women are bitches ... And look,
here he comes now with his
$500 kind-of suit, he’s so cute?
He’s got a lotta loot. And there
he goes draggin’ junior out to
the Cherry Orchard tellin’ him
the facts of life: ‘Look son, just
‘cause mom gets angry some-
times ... don't take it personally
son, because...’ ‘Because why

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dad?’ “Cause all women are
bitches, son.’ ‘Really dad?’ ”
Don’t follows with a glimpse a
womian responding to her fear of
the predatory male: “Don’t go in
the underground parking, don’t
go in the sauna at night, don’t go
in the elevator, in the lobby
something’s not right! She’s got a
gun, she’s got a knife, she’s got
some scissors, she’s got a life.”
Fifth Column is uncompromising
and brutal. Something went terri-
bly wrong in the garden and the
girls make sure you hear about it.

Latin Playboys — Slash/Warner
Bros. 1994

Los Lobos’ members David
Hidalgo and Louie Perez team
up with Mitchell Froom and
Tchad Blake for a roisterous ride
through the dusty barrio.

The project sounds pre-digital
and purposely low-tech. The
Playboys seem to take their
oblique sonic cues from Tom
Waits or the Residents.

Hidalgo and Perez contributed
ali of the material. The songs are
ripe with child-like wonder and
the wisdom of dreams, happy
celebration and resonant blues.

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