There's no disputing Generation X's current infatuation with Bennett, given the pools of ink recently devoted to the 67-year-old crooner. But why is this standards singer, who hit his stride before most slackers were even born, so appealing? Is Bennett so anti-hip that—in the inexplicable, inverse logic of cool—he's hot? Or could it be that young people can see clearly enough through their haze of angst to know real talent when they hear it?
I vote for the latter. As this splendid CD shows, Bennett is a multigenerational crowd pleaser who knows he's not the Chairman of the Board but who can still wrap those husky pipes around a tune with style and panache. Accompanied by his longtime band, he treats the MTV set to a sweet, flowing version of Irving Berlin's "I Love a Piano," a snappy "Old Devil Moon" and the bittersweet "When Joanna Loved Me," a song about lost love as relevant to twenty- as to sixtysome-things. Guest appearances include duets with k.d. lang and Elvis Costello. Hearing the prototypical angry rocker and the aging, happy-go-lucky balladeer sounding like old pals makes you realize how this disc could narrow the generation gap. For once, parents will be yelling, "Turn that music up, will ya?" (Columbia)
John Mellencamp
One would think that after releasing the critically lauded Human Wheels in 1993, Mellencamp would indulge in a little well-deserved time off. The 42-year-old grandpa has a new baby with his third wife, model Elaine Irwin, and enough interests (including his acclaimed painting) to keep him busy. Instead he chose to make this album, on which he sounds just about tapped out. Yes, there's the usual rootsy kick and guitar crunch we've come to expect from the former John Cougar. But songs such as the lyrically obvious "Brothers" (they don't gel along, even when they're older!) lack melodic punch. And a duet with hot hip-hopper Me'Shell Ndegeocello is squandered on a dull cover of Van Morrison's "Wild Night." So next time, John, may we suggest a hiatus with the easel and brushes? (Mercury)
Various Artists
Maverick—The Soundtrack is as chock-full of country-star cameos as the movie it comes from. The best of the crop: Vince Gill's saloon-ready version of the Band's "Ophelia," Waylon Jennings' grizzled "You Don't Mess Around with Me," and Patty Loveless and Radney Foster's affecting "The Rainbow Down the Road," reminiscent of a Gram Parsons and Emmylou Harris duet. Also featured is a star-studded (and rather ho-hum) version of "Amazing Grace," including Reba McEntire, Tammy Wynette and Clint Black. Despite all that country muscle, the most inspired moment—"Ride Gambler Ride"—ends up coming from city-slicker Randy Newman, who composed the film's score. Panoramic, wistful and more than a touch irreverent, it is the most Maverick-like track on the album. (Atlantic/Icon)
Various Artists
Rock musicians have been coming out of the closet recently, confessing that it wasn't really the Beatles or the Sex Pistols who inspired them to pick up guitars. It was those makeup-sodden dollboys, Kiss. Maybe because the metal dinosaurs were actually talented musicians who wrote some good songs, most of which are represented here. Dinosaur Jr. does justice to "Goin' Blind," the Gin Blossoms take "Christine Sixteen" on a joyride, and Toad the Wet Sprocket contributes an acoustic (!) version of Rock and Roll All Nite." Lenny Kravitz's "Deuce" is worth hearing for Stevie Wonder's surprising guest appearance (on harmonica, no less). If liking Kiss is a deep, dark secret you thought you'd never admit to, stop worrying: You're in good company. (Mercury)
Boston
When the topic is rock musicians, the word "fastidious" rarely comes up. Except when you're talking about Tom Scholz, the man who is Boston. A notorious studio hermit, he agonizes for months over every nuance of his records—an aurally retentive approach that has yielded only four releases in 18 years, the last in 1986. In some ways, Walk On was worth the wait: the three opening tracks—stirring anthems as good as anything on Boston's self-titled 1976 debut—have a grandiloquence rare for rock. Unfortunately, what follows can be unforgivably indulgent. (Check out that 12-minute title medley.) With little dynamic differentiation, it's hard to tell ballads from rockers, since both build to multiple climaxes punctuated by torrential guitar solos. And Scholz's micromanaged music ultimately proves too studied. But then that's no surprise. When the record comes from Boston, you know it don't come easy. (MCA)
>Gene Simmons
KISS'S ARMY HAS USD DAY
"WE'VE BEEN REVILED, HATED BY anybody who writes about music," says Kiss cofounder Gene Simmons. "But for 20 years we've been stubborn and committed to our vision, even though it meant going totally against fashion. Perhaps that's why we've lasted." Despite the 10-inch platforms and Kabuki-from-hell makeup of the early days, Simmons, now 44, sees Kiss's longevity as a triumph of substance over style. And with a still-thriving worldwide following, 70 million albums sold and a 21st in the works, it's hard to dispute him.
The idea for the Kiss tribute came after Simmons heard artists as disparate as Garth Brooks and Soundgarden cite Kiss as a seminal influence. With band cofounder Paul Stanley, he approached musicians who had either covered their songs or expressed interest in working with them. "I gave them only three rules," says Simmons. "Pick your own song. Do it your way—no mimicking. And if two groups wound up cutting the same song, the one who came in first won." The only song Kiss agreed to play on was Garth's—"Basically because he begged," laughs Simmons.
He and Stanley pointedly titled the final 11 tracks Kiss My Ass. "It's a message to the Grammy people, the Rock & Roll Hall of Fame and the critics we've outlasted," concludes Simmons. "The Kiss army has graduated, and we're now the rulers."
- Contributors:
- Andrew Abrahams,
- Billy Altman,
- Tom Sinclair,
- David Hiltbrand,
- Mike Flaherty.
Saved by the Bell Reunion
The hookups, the meltdowns, the memoires
The case reveals what was really going on what they think of each other now!
