W.O.O.
Wootopia
(Funky Mushroom)
reviewed in issue #73, 3/31/95

Music that will never exist again, or so the press states.

W.O.O. prefers to improvise heavily in a semi-jazz format, which is why this live set is supposed to showcase the band's real talent.

The members are generally proficient on their instruments, and occasionally the band kicks up a real big racket. But is this really good?

I don't know. Things get pretty messy often enough, and I like the moments of chaos. But much of the time the sound is just too sparse for me and the whole thing reminds me of a bad beat poetry experience.

These folks are trying to be highly creative, and on the occasional track, they succeed. But W.O.O. needs to do a little more study before it tries to tackle the tricky world of jazz improvisation head on. Too often the folks come off as cheesy rock musicians faking at jazz.

Quite a while back I said some less than kind things about a W.O.O. album. I didn't think the folks were quite ready back in 1995. Perhaps I wasn't ready. It happens.

W.O.O. Revelator improvises. Wildly. Freely. And so no version of a song sounds even vaguely like another. For this disc, the band invited Ernesto Diaz-Infante and Pat Harman to sit in. Since that review, Chris Forsyth and his guitar wizardry has joined the group. That's a big help. Diaz-Infante and Harman also help to create a wonderful atmosphere for creative ferment. This is otherworldly-sounding fare.

Basically, no one else sounds like this. Not even W.O.O. Revelator, as the scene changes every night. But this intoxicating set of songs should be more than enough to encourage folks to see a show and become entranced in real life. Barring just, just plop this in the discer and revel.

Five more free jazzy improvisations from the W.O.O. Revelator core: Bonnie Kane, Ray Sage and Chris Forsythe. Different from the album I recently reviewed simply in that the folks are trying out new ideas. Otherwise...

Right. Much the same. If you kinda groove on riding free thought sound waves, then these folks have your magic carpet. It's kinda amazing the sounds that three people can come up with. There are no overdubs here, either. This is live to tape.

I get the idea that the band never plays the same song twice. Oh, the basic concepts might hang around, but these folks prefer improvisation to strict structure, and that's just the way it is.

Lucky for me, I dig the stuff. I like the float, and there's plenty here to keep me flying high. Is this earth-shattering, brain-smashing fare? All depends on your state of mind, my friend.

W.O.W.
One Hit Wonder
(self-released)
reviewed in issue #165, 8/17/98

Easy-moving jangle rock, mastered a bit low (I had to really crank the sound). Still, that's not a big problem. I could hear the songs just fine.

I've always wondered how to take sarcastic lyrics tossed off over shiny happy pop music. You know, an anthem that undercuts itself. Though I can't tell if that's an intended effect or not.

The music is straight out of the book, decent if uninspired hooks and plenty of backbeat kickers. While I think the lyrics are pretty cool, they don't fit very well with the music. Or maybe the combination doesn't work well for me.

Well, I know that's true. It's a weird dichotomy. If a cliche is used in the lyrics, it is obviously intended to be ironic. But the music is riddled with cliches, with no irony present. Perhaps it's a case of different stages of development. I dunno.

Ben Wa
Devil Dub
(Black Hole)
reviewed in issue #170, 10/26/98

Kinda exactly what you might think. Over-the-top dub work, heavy in the groove. Some guitar and sampling work, but mostly bass, keys and that electronic reggae dub beat. The notes thank everyone from Lee "Scratch" Perry to Bill Laswell. Oh, yeah, and Kraftwerk. Now you get the picture?

Of course, of course. Solid work, too. The grooves do get a bit mindnumbing, but the hypnotic effect is working its magic on me, swinging my brain into the right direction, appreciating the numbness. Letting it wash all over me.

A nice little trip disc. Nothing complicated, mind you, just a little warped. Something to take the edge off the mania and reduce the real world to a distant memory. Okay by me.

Justa kickin' back sorta disc. Plenty of the goods right here. No need to shop elsewhere.

The "Legendary" Wailers
Live at Maritime Hall
(2B1)
reviewed in issue #183, 6/7/99

Despite the liners, Aston Barrett wasn't an original Wailer. Though he was there almost from the beginning. And he is the only person here with a connection to the band's 70s glory days with Bob Marley, Peter Tosh and Bunny Wailer.

The recording is good, and you know the songs. Even if you don't know reggae, you know most of these songs. The performances are fine, though not particularly exceptional. A lot like sleeping through a latter-day Dead live set.

I understand touring with a name in order to make money. That's fine, I guess. But there's just not much of a reason for this disc. The original Wailers made plenty of live recordings of most of these songs, and those recordings are better. Just because this is more recent doesn't mean it is somehow more vital.

I hate to slag on this, but I just can't groove on something so mediocre. Particularly when at one time the Wailers were truly amazing.

Waiting for God
Quarter Inch Thick
(Reconstriction-Cargo)
reviewed in issue #127, 1/27/97

Seven songs, with six remixes added on to the end. Waiting for God is much more traditional-sounding than Tinfed (prowling the electronic universe with a seriously artificial sound), but the songs have a bit more flow to them.

And there are plenty of diverse elements woven into this fabric. Daemon Cadman's lighter-than-air vocals mix well with the edgy guitars and sea of keyboards brought in by the rest of the band. Yeah, it's just dreamy dance music, I suppose, but Waiting for God does a pretty good job with it.

Appealing stuff. The remixes honestly don't add a whole lot, though a couple of them are interesting. The rest of the album is treat enough; the mixes can be viewed as a pleasant topping.

A solid, if generally tame, effort. Waiting for God should try to branch out a bit more, but it handles its current responsibilities rather well. If it reaches for more next time, I bet Waiting for God will truly excite.

A much edgier sound than the first album. This puppy is more than three years past that first effort, though it is only a year behind Quarter Inch Thick. The change in sophistication and general adventurousness is impressive.

While I liked that first disc well enough, this one is a real winner. Waiting For God employs a huge number of samples to create a wide variety of sounds and moods, and Daemon Cadman sings with much more authority and attitude. The gothic waif-like vocals still flit past, but there's much more meat here.

In general, that's the story of this disc. This is simply a much more mature album. And when a band begins to feel more assured, wonderful things can happen. Waiting for God even tickles the milled blades of its sterile sound with bits of cotton, adding some humanity to the proceedings. Just enough of a hint to be enticing.

Altogether glorious. Potential realized. No more talking about what might be; Waiting for God has arrived.

Waiting for Rain
If You Must... EP
(self-released)
reviewed in issue #133, 4/28/97

A band that resides not two hours from my soon-to-be-new stomping grounds in Pennsylvania. The quality makes feel pretty good.

Waiting for Rain plants a rootsy veneer over rambling punk-pop anthems. And sometimes distortion-soaked country music breaks out. Not unlike a heavier version of (early) Uncle Tupelo.

Great driving music (which I'll keep in mind on my 20-hour drive up north), the sort of stuff that simply makes me happy. Nothing complicated or difficult, just tuneful stuff that is a perfect fit for my musical sensibilities.

Precisely what they were thinking about with the REO cover is beyond me, but even that works reasonably well. Something special going on here.

The Wake
Christine CD5
(Cleopatra)
reviewed in issue #89, 10/9/95

Goth pop with cool production from Rosetta Stone (who know how to put the "g" in goth, for sure).

Um, I'm not sure what that last statement means, but it just sounded cool at the time. Anyway, "Christine" is the lead track from the new Wake album, and you also get two remixes of "Watchtower" and "Masked" from the last album, Masked. Oh, and a b-side called "Siren", just to round things out.

The songs themselves are decent goth, but the real star here is the performance and production. The vocals are quite affected, and as I noted, Rosetta Stone really knows how to crank up the goth in anyone. A nice lead-in for the album.

One of the top US goth bands returns with a bang. The sound is positively bombastic, which kinda undercuts the whole concept, I think, but whatever.

The production is appropriately lush, but messy enough to keep the mood flowing freely. I mean, this stuff should have a somewhat mushy feel.

The lyrics are as silly as ever. Goth bands will never overcome that. Heavy-drinking college students may find wisdom here, but eternal depression seems absurd from the outside. On the other hand, it sure as hell sounds pretty cool.

Well-crafted tunes are plentiful. The Wake has the attitude necessary to carry this sort of thing off pretty well. I'm still not a big goth (dark wave, whatever) freak, but when it's done well, I must acknowledge it. The Wake has a pretty good album here.

Wake Ooloo
Stop the Ride
(Pravda)
reviewed in issue #117, 8/26/96

If youıve always had a soft spot for that ³Byrds all over again² thing that Tom Pettyıs been preaching for twenty-something years now, then Wake Ooloo should hit the spot.

These boys tear it up like petty hasnıt in ages, and the pop feel is pretty much immaculate. Nothing to complain about. You know exactly where this has come from and where itıs going, but why not enjoy the ride?

And to make sure you donıt miss the connection, Wake Ooloo includes a rendition of ³So You Wanna be a Rock and Roll Star². The music is a dead-on replication, but the vocals are completely fucked. Which, of course, does deviate from the ideal. Proves the guys have a sense of humor, even if their musical aspirations arenıt very high.

A fun little ride. Light, refreshing and eminently forgettable. Like a sunny day on Lake Erie.

Kimmon Waldruff
Kimmon Waldruff
(self-released)
reviewed in issue #241, May 2003

Kimmon Waldruff plays acoustic guitar. He sings every once in a while. That's just about all that you hear on this album. And that's more than good enough for me.

Waldruff is an exceptional player and a very good songwriter. His style lies somewhere between roots and jazz and classical (the instrumental pieces are more to the conceptual side, and the pieces with vocals are more rootsy), which means he likes to wander a bit from piece to piece. Thanks goodness.

Waldruff's real skill is how skillful he is at infusion emotion and passion into his playing. He's not just a skilled player, he's an expressive one. It's the expression that gets to me. The power is such that these songs speak to me without words (he sings on only two tracks out of 13).

A lot of folks can play guitar very well. Waldruff knows how to use his guitar to communicate. And he's able to write songs that make his feelings very clear. This intimate album is a most fulfilling experience.

Walk on Water
Solvent Based Melodies
(Small Stone)
reviewed in issue #165, 8/17/98

The inside liner notes say this about their drummer -- "He plays drums very loudly. Whether he knows it or not, he triggers the overall volume of the band to play loud in order to obtain a balanced audio dynamic." Which is funny because this was my only problem with this group.

I thought the songs were fantastic, a very cool psychedelic pop, but with the drummers aggressiveness destroyed that mood completely. It's like trying to fit Andy Warhol with Picasso, it just doesn't work. Overall, the playing between the players just didn't fit their own glove.

--Brian Chavez

Scott Walker
Tilt
(Drag City)
reviewed in issue #143, 9/15/97

Fontana released this album in the U.K. a couple years back, mainly because folks over there have a clue as to who Scott Walker is.

He was Scott Engel before becoming a member of the Walker Brothers (none of the members were brothers or named Walker), a group which had some monster pop hits in England (a couple of which made the U.S. top 20). After that group splintered, he put out four albums before the 60s ended, and then kinda disappeared.

He released Climate of Hunter in 1984, which, according to the press info, one reviewer called "the most terminal songs ever written" (I like that, myself). Now this effort, which cannot be placed in any neat category or described as any one "type" of music. But I might as well try.

Imagine if Einsturzende Neubauten were to use A Saucerful of Secrets as a starting point, with the Aphex Twin as the ending point. Drop in truly weird lyrics and an even stranger voice (an almost toneless baritone, kinda like what Bill Ward sounds like after he's modulated his voice severely), and you might begin to understand. But I don't think so. I read all of the press and did a lot of research before putting on the disc (I had a hint it would challenge me), and I still wasn't prepared for what came next.

And I'm still shattered. The images and sensory perception of pain, agony and loss won't be leaving me any time soon. This is profound stuff, haunting as it pierces your mind. There is no way to prepare the uninitiated. You simply must endure the experience for yourself. And keep all sharp objects well-hidden.

Walkie Talkie
School Yard Rhymes
(Laundry Room)
reviewed in issue #126, 1/13/97

Sounding like Jackson Browne back when he made good music, Walkie Talkie takes that cool rock sound and runs it into the sea. Plenty of blues and country roots show through, and the band is willing to wander far afield to make music. All good signs.

The stuff simply keeps rolling out. Each song is a new experience, keeping the sound steady, and yet still managing to innovate within the set form. Walkie Talkie plays like it's about to make a grand statement; this album is perilouly close to that territory as it is.

I see "cash cow" written all over this band. If Jim Lacey Baker's songwriting holds up, Walkie Talkie will be huge. Not just big. Huge. I don't make predictions very often, but then music like this comes by only so often. A couple minor adjustments (punching up the production just a bit and perhaps a little less self-indulgence on the arrangements) and Walkie Talkie will be in the promised land.

Oof.

A rather interesting chance of pace from the album I heard a couple years back. Rather than imbue each song with a sense of impending importance, Walkie Talkie has stepped back, sticking instead to basic pop gems. Simplification never sounded so good.

The same country and blues roots are present, but there's nothing over the top about these arrangements. The spotlight shines sharply on the writing, and the writing carries the day.

Whether acoustic or electric, Walkie Talkie's stripped-down approach and vastly clearer sound really impresses me this time out. The songs alight from the speakers and attack my ears with just enough intensity to bite. Having made a fine introduction, they trickle on in.

I heard potential in the last album. It's fulfilled here. Of course, now the band doesn't have a deal. Well, music like this just might change that. Certainly, these songs are more than worthy.

Wall of Orchids
Wall of Orchids EP
(The Bus Stop Label)
reviewed in issue #233, September 2002

Lane Steinberg is Wall of Orchids. He's got great handle on pop music of the early 70s, whether he's channeling Burt Bacharach, Big Star, Todd Rundgren or the Flying Burrito Brothers.

In fact, his style is something of an amalgam of all that and more. These songs evoke that period, but there's something utterly modern within them. I can't quite put my finger on it. Suffice it to say that Steinberg is much more than a simple rehash artist.

Rather, he's found his own little niche in the pop world. These songs are gorgeous and glowing. Would there were twice as many (or even more). Finest quality.

Dan Wallace
Neon and Gold
(Torito Bravo)
reviewed in issue #272, March 2006

Wallace takes the "everything is more" approach to roots rock. There are minimalist ballads, dense acoustic prog pieces, pretty bits enlivened by electronic paintings and, well, more.

Each song is built around the vocal melody with guitar of some sort (generally both acoustic and electric), but past that all bets are off. Wallace also incorporates a good amount of piano and keyboard, and he likes to cram a lot of notes into small spaces--kinda like Frank Zappa writing a prairie opera.

Or a more acoustic version of the Dixie Dregs. Or (much) less bombastic Kansas. The funny thing is that Wallace has just as much grand ambition as all the folks I mentioned, but he's more willing to restrain himself in service of the song. Which makes his work that much more listenable.

He's still one idiosyncratic puppy, to be sure. Wallace will always take the road less taken, though he's careful to line it with rose petals. That consideration for the listener is what makes this album such a simple pleasure to hear.

I liked Wallace's last album, and this one sounds awfully good to me as well. Wallace is an ambitious songwriter, penning pieces all over the spectrum. There's often a folksy or rootsy undercurrent, but he's quite willing to move past first influences to paint a more complete picture. I like his pastiche approach. It gives his songs that extra shimmer. Another one well done.

Shawn "Thunder" Wallace
...And the Music Lives On...
(Schoolkids' Records)
reviewed in issue #92, 11/20/95

Wallace wears many hats on this disc. Various members of the saxophone and flute families, piano and keys. His able side men keep things going, generally in a cool mode, but occasionally picking things up as necessary.

The performances are fine, with everyone giving a workmanlike, if not brilliant, effort. Wallace's own compositions make up most of the album, and like the performances, the tunes are good, but nothing exceptional. Wallace does show off his considerable skill, sounding equally at ease with hot and cool moments. His tone, particularly on whatever saxophone he's playing, is impeccable.

And while this is a perfectly good record, Wallace and friends have not created any sort of distinctive record. Perhaps he was trying to do too much with one session, or maybe Wallace needs to polish his tunes a bit more. This disc is missing something that would make it truly memorable.

The Wallmen
Electronic Home Entertainment System
(Wild Pitch)
reviewed in issue #154, 3/9/98

Definite fans of the "more is more" concept. Each of the songs here is a wonderful pop gem overwashed by so much stuff (sometimes walls of distortion, pedal steel on one, generally lots of noisy overdubs) the end result is a breathless rush.

Despite the craziness, the Wallmen keep the music within the realms of reality. Sure, the sound goes beserker at times, but I never got lost. Just more and more curious as to what would happen next.

Bizarro pop gone extremely right. Juicy, inviting hooks almost deconstructed. Way too many tasty bits to be savored in just one listen. Far too much bliss to be properly described by me.

The high doesn't break until the disc finishes, and then depression set in until the repeat button gets hit. Highly recommended. In fact, this is required listening.

Alex Walsh
Light Another Candle
(self-released)
reviewed in issue #245, September 2003

Alex Walsh got an awful lot of his friends to back him up on this album, but this puppy sure has the feel of a one-man-band recording. The production sound is stellar; I'm not talking about that. I'm talking about-the single-minded vision behind these songs.

Walsh has his own particular style of songwriting, one that brings to mind such influences as the Small Faces and the Who and other fine rockers from the early 70s. Walsh decorates his songs with plenty of organ and piano and vocal overdubs, but he never lets them overshadow the songs themselves.

And damn, if this lush sound isn't so pristine you could cook up crank in it. That's kind of an oxymoron, of course, but that's why I'm so impressed. The sound is ultra-clean, but it's also loose and full. I'm not sure how else to explain it, but it sure does work.

The songs themselves are just as crafted, though Walsh has an off-handed feel that keeps the proceedings moving at a leisurely pace. Just the sort of album to wrap things up with. Ease on back and take a load off. This stunning album will help you fade in a most pleasant way.

Steve Walsh
Glossolalia
(Magna Carta)
reviewed in issue #204, 8/28/00

Probably best-known as the keyboardist and singer for Kansas, Steve Walsh has been around. And this disc tries hard to touch as many bases as possible.

And instead of playing it safe, this puppy is seriously progged out. Very little cheese. Not much in the way of easy listening. Walsh sounds like he made this album the hard way. In any case, it's sure a challenge.

The main problem is that the sound can get a bit antiseptic, especially where Walsh speak-sings instead of just letting go. The writing shows off an amazing range; why stay pent up?

Grand designs, and they mostly stand up. This is an experimental prog album, something that might scare off a few folks who were hoping to hear another "Dust in the Wind." But if you're up for it, Walsh has prepared an album worth a listen.

Walt Mink
Pink Moon 7"
(Red Decibel)
reviewed in issue #13, 5/15/92

The buzz on this band is incredible. Everybody I know raves whenever the name is mentioned. We somehow got them to play for our Springfest (see related story), and they were rather amazing.

Live, the bass is just incredible. It's more subdued here, but I figure there will be more opportunities on their full-length, which is coming out on Caroline in a few weeks (like the end of May/beginning of June).

If this is just a taste of what will sound like, then a full release will be rather great.

One of those bands that has always been on the "the next album will do it" list. Hell, I heard that before the first album. And while some of the singles have been stunning bits of work, the albums on the whole simply don't keep up that sense of wonder.

The same goes here. The songs nicely undercut the standard expectations of "alternative rock" by always cutting against the expected grain, which is a band trademark, and that's always welcome. But, see, being contrarian just for the hell of it doesn't always make sense.

And as the membership of the band has dwindled, the reliance on editing has increased. There is a bit of the "one-man band" sound going on (this is most easily heard on "She Can Smile"), and that's a little annoying.

All caveats aside, though, the simple fact remains that while Walt Mink still hasn't put out that brilliant monster album, any and all releases are more than worthy of owning. It can be frustrating hearing how close this album came, but even that result is pretty damned good.

The last show. I assume some editing took place (a 74-minute show? doesn't quite make sense), but even so, this set showcases one of pop music's great innovators.

Walt Mink excited me more with its potential than with how everything turned out. The music made me imagine what was possible, and often enough the actual songs didn't quite live up to what was in my mind. But don't take that observation as any sort of detraction. Walk Mink inspired my imagination. It takes great music to do that.

And the fine recording job captures the live sound without completely losing track of what the band can do. This particular performance is a little less restrained than the two shows I saw years ago, and I like that. Might as well go out with a band.

Fans (and while they may not be legion, they are fanatic) will be happy to know a set of b-sides and odds and ends will be coming out sometime next year on Deep Elm. Until then, they'll have to make do with this suicide note.

Bill Walton
Men Are Made in the Paint (advance cassette)
(Issues)
reviewed in issue #46, 1/15/94

Lots and lots of basketball talk from one of the great talents in the game. I'm guessing this is excerpts from his new book.

Wank
Get a Grip on Yourself
(Maverick/Reprise)
reviewed in issue #167, 9/14/98

The use of the old Stranglers song as the title of the album is, of course, a double entendre. Cute. The music inside is basic power pop, with some Replacements-style punk sloppiness added in for flavor.

Overproduced, though not as bad as many major label projects. There is too much bass in the mix, lending a bottom-heavy feel to the songs. These are pieces which need to be bouncy, and they're weighted down by the mix.

As for the stuff, well, it's decent. A notch above workmanlike, but often a nice pop song gets worked into an overwrought anthem. A band called Wank thinks it's going to make some great statements about society? Come on. If that was the intent, the guys should call themselves The Starr Chamber or something.

I think there's a nugget of something good here. But in the attempt to produce a mega-seller, the band lost the soul of its songs. An old story. Of course, if you want to sell a few million, your soul is the first thing to go.

The Wannabe Hasbeens
Former Trans Future Vol. I EP
(self-released)
reviewed in issue #290, October 2007

Really, really shiny pop punk rawk. And to tell the truth, this isn't punk at all. But since folks will call it so, I guess I ought to along.

Don't mistake that rumination for a complaint about the music. If you can play pretty heavy pop rock music well, I'm your boy. And the Wannabe Hasbeens do this well. I'm a bit concerned that I'll soon burn out on the confections within this disc, but I think I can live with that.

'Cause, you know, listening to pop is like chewing gum. And right now, these boys taste pretty good to me.

The Wannadies
The Wannadies
(Indolent-RCA/BMG)
reviewed in issue #147, 11/10/97

These Swedish popsters had a song on the Romeo + Juliet soundtrack (it's here as well), and from there the idea seems to be upward and onward. Oh, and if you're expecting stuff like the first part of "You and Me Song", well, you're gonna be disappointed.

Hyperkinetic stuff, with a mix that really pops the music out of the speakers without overwhelming the songs themselves. Generally extremely upbeat, The Wannadies midtempo numbers sound fast in relation to most other pop bands.

There's a wonderful reliance on the simplicity of the guitar. Every song is completely built around a riff (and most of the time a rather original one), and while the songs follow basic construction rules, they still manage to find a way to carve out their own niches.

It sometimes helps to observe a trend from afar. The Wannadies are obvious fans of Big Star (and even bigger ones of the Posies), but there are a few side glances that wouldn't occur to American bands. And I have to say, the production is awesome. Thick, full and bouncy, without succumbing to excess. An ace shot.

War & Peace
Time Capsule
(Shrapnel)
reviewed in issue #45, 11/30/93

A band that almost didn't exist. And doesn't any more. Jeff Pilson, ex of Dokken and now with MSG and Freakshow, leads a bunch of guys who are now playing elsewhere in a last stab at glam.

They mean well. Many of the lyrics have something to do with racial harmony and general peace, love and happiness. Idealistic, but it sounds kinda silly considering the commercial nature of the music.

They cycle through all the necessary glam moods, from anthemic hard rocker to anthemic 12-string straight rocker to anthemic 12-string ballad rocker. I think you get the idea. There is a reason not many folks are into this music anymore. It is far too pretentious to take seriously. These guys should try the "new directions" they espouse on the album.

Bill Ward
When the Bough Breaks
(Cleopatra)
reviewed in issue #130, 3/17/97

Ward's first solo album, Along the Way, is one of my all-time favorites. The way he remanufactured sounds and vocals was way ahead of its time. It's been a long time, but he's back with a new record.

I've heard that the commercial version of this release will feature a total re-recording of the first album (minus the songs featuring Ozzy on vocals) by the new band. I have no idea why, but then that is simply an unconfirmed tale as of now.

As for this stuff, Ward has gone for a much more traditional rock and roll sound, without the rampant engineering intrusions. I'm not sure this helps his voice, which is kinda reedy and weak, but Ward's songwriting touch is as sharp as before.

Still way out of time. Ward is practicing a form of prog-metal that no one has ever tried before, kinda surprising because it works rather well.

I'm not sure what to make of this, which was my exact reaction to his first album. There are many songs and elements that just don't make any sense at the moment. Ward has once again packed his music and lyrics with layer upon layer of complexity and subtext. This one will be in my discer for some time.

Wargasm
Ugly
(Massacre-Century Media)
reviewed in issue #47, 1/31/94

From what I hear, this consists of songs in demos the band has made the past few years. The production is pretty good, so I figure they must have re-recorded somewhere down the line.

Certainly a little cleaner than earlier efforts, and instead of trying to get on the death metal bandwagon, the boys veer more into the traditional metal vein, following Suicidal Tendencies, Biohazard and Cro-Mags. It's at least as good as those. Accessible yet heavy, I can see reasonable commercial attention.

If you were expecting the old days, you're out of luck. But this is a solid record that deserves to be judged on where the band is today.

Warm
Make You Worry
(B-Group)
reviewed in issue #171, 11/9/98

Goodness, but that bass pops right out. Lots of funk-inflected bass and keyboards at the points of impact. Not a lot of guitar work, just enough to know it's there. Very pretentious stuff.

Yeah, these guys think they're really making a statement. That's the sound, anyway. And, well, it works, some of the time. I do wish there wasn't that sheen of arrogance, but sometimes you've got to work with what you've got.

And what I've got here is a rock band appropriating pieces of the current r&b scene. Sort of an attempt to re-create Ike and Tina Turner or Sly using today's rock and soul. Again, I like the idea. It's not quite seamless enough (and the forms don't mix as well as they used to, for that matter), but there are moments.

Not enough to make me cry out in joy, though. Just not enough passion in the delivery (which is my problem with latter-day r&b, for that matter). Warm is too disconnected from the songs. An intriguing attempt, though, anyway.

Warrior Soul
The Space Age Playboys
(Futurist)
reviewed in issue #80, 7/15/95

Last Decade Dead Century is one of my all-time favorite albums, with apocalyptic pronouncements and anthems that actually said something interesting (and no whining about some girl who did them wrong).

Since then, Warrior Soul has disappointed me. The second disc was alright, the third dreadful, so much that I didn't even pick up Chill Pill for $3 in the cutout bin.

And this is the comeback? Kory Clarke's voice is still one of the more interesting around, but songs still lack the immediacy and prophetic insight of Last Decade: "Government hides behind religion, kids like us are thrown in prison." Five years ago that sounded like paranoid claptrap. And now?

While some of the songs here are topical, they are behind the times instead of out front. And that's the big disappointment for me.

Warzone
Live at CBGB 7"
(Victory)
reviewed in issue #41, 10/15/93

Unlike some stuff recorded at this club that was almost unintelligible, the engineer got good sound.

Warzone in good form, and you get five songs, which probably makes this an EP kinda thing.

While I've never been a huge fan, this is a good representation of their work, sounding perhaps even a little better than recent recordings.

A new song, "Can I Get a Witness", five covers and five live tracks.

The new track is alright, but a little silly and sounds a lot like bands the notes slag. The production on the five covers reflects the $200 the band insisted on holding the spending line at. As an artistic statement about the way those songs were recorded in the first place, it's cool. But it still sounds like complete shit.

The live tracks have a great sound, and the songs (being older) are better. But to get excited about the live cuts on an album, well...

Warzone may be a hardcore stalwart (though I have heard other opinions) and all, but this is a pretty bad excuse for a record.

Warzone
Cause for Alarm
split EP
(Victory)
reviewed in issue #92, 11/20/95

God only knows why Warzone consented to this. Cause for Alarm plays old school thrash hardcore like nobody's business, shredding through the pretentious multitudes with vicious lyrics and ace playing. Its four tracks are among the better hardcore performances I've heard this year.

And then comes Warzone's four-song contribution. This is the best I've heard the band in some time, which isn't saying much. The playing is sloppy (and the production leaves stuff so muddy it's hard to tell at times anyway) and the lyrics are typical Warzone.

Your cash is warranted for Cause for Alarm. Ignore the Warzone half, and you'll be pleased.

Watch It Burn
Twice the Dose split EP with Tiltwheel
(Attention Deficit Disorder)
reviewed in issue #230, June 2002

Watch It Burn cranks out some solid emo tracks, and Tiltwheel bashes forth some basic pop punk songs. A bit of a contrast, one that makes for a most enjoyable disc.

My little attempt at labeling kinda glosses over the fact that Watch It Burn likes melody a lot. For that matter, Tiltwheel has the strident guitars (a la a Naked Raygun) that a lot of emo bands use.

Right. What I really need to mention is that there six great punk songs on this EP. If you've never heard of either of these bands, this release will get you to picking through the back bins looking for old albums. Truly.

Waterdown
drawasmilingface EP
(Two Friends)
reviewed in issue #214, 4/2/01

Waterdown is a recent signing at Victory. This disc is one of the things that got the band the deal. A full-length is coming soon. This here is merely the window dressing.

And quite a show it is. Waterdown has that technical hardcore feel of bands like Refused, but with a few twists of its own. The utilization of a number of different vocals styles is one, and the way the band warps styles is another. Waterdown just don't won't play straight up.

Rather, it makes one whale of an impression. This disc is far too short. I don't know if you're gonna be able to find the thing on this side of the Atlantic (the guys and the label are German), but if you do--grab it!

Waterdown has a singer and a screamer. That's two vocal positions. They'd better be good. Well, if you read my review of the band's European EP, you'd know the boys can change styles on a dime and still sound great.

Same story here. Waterdown is as at ease with extreme hardcore as it is with anthemic melodies and any number of other vaguely punkish sounds. Most often, the boys mix more than two sounds into any one song.

These different styles are layered rather than segmented, so maybe Ingo will be screaming while Marcel sings a Pennywise sorta melody. The music underneath probably most resembles European deconstructionists like Refused. Not that that should come as any surprise.

Every song is a thrill ride, and the entire album was almost too much to take. Some folks just know how to make the music of tomorrow. Don't try to classify Waterdown. You can't. There's no way. Just call this disc fucking brilliant and be done with it.

Hardcore has come a long ways since the time of Black Flag and similar contemporaries. What started out as untrammeled anger and angst has evolved into a wide variety of sounds and feels. Waterdown tries its damnedest to hit on each and every one.

And so there is some extreme riffage, a healthy dose of melody and more than a little Refused-style dissonance. I'm not talking about changes from song to song, but from measure to measure within each piece. The writing here is complex and involved, and the playing is intense.

But it all comes together. This is no mish-mash without purpose. Rather, Waterdown simply wants to use all of the tools at its disposal to make its many incisive points. Believe me when I say no band sounds anything like Waterdown.

I mean, who can shift from a little art hardcore (a la the Ex) straight into an emo-esque melodic passage--and make it really sing! I've liked these guys from the first import disc I heard a couple years back. This album is an extension and refinement of those earlier ideas. Greatness confirmed.

Jeff Watson
Lone Ranger
(Shrapnel)
reviewed in issue #15, 5/31/92

Who helps out? Carmine Appice, Steve Morse, Sammy Hagar, Bob Daisley, Steve Smith and old Ranger Brad Gillis. That's just for starters.

This is much more musically satisfying than any Night Ranger album. Saying that, though, I must say I liked the freshness of the first two NR albums over the almost-pompous arrangements of some of the things here.

On the plus side, Watson keeps the annoying pyrotechnics to a minimum. He still hasn't quite broke out of the commercial sounds of Night Ranger. But he's well on his way.

Watsonville Patio
Faster, Please EP
(self-released)
reviewed in issue #235, November 2002

I often agree with the sentiment expressed by the title of this disc. The fact that Watsonville Patio specializes in midtempo pieces (though still peppy) could be seen as a fun irony. I dig the stuff, so I'll go along.

Straightforward bash'n'pop. The rhythm section is stellar, always keeping the songs in motion. This stuff isn't doesn't have the pedal pinned to the floor, but it doesn't make any rest stops, either. The five songs here are all tightly-wound, finely-crafted works that shimmer with the energy of a well-oiled band.

There's nothing wrong with music done well. Watsonville Patio doesn't do anything new or unexpected. It simply plays great pop music with a heavy rock edge. Simple pleasures are some of the best.

Somewhat dreamy rock music that just keeps on chugging through the night. Not exactly the sort of thing that generally turns my ear, but Watsonville Patio is so damned unseductive that it manages to draw me in almost instantly.

What I mean is that Janice Grube has one of those vaguely husky voices that, well, works--if you know what I mean. Often enough, bands try to play to that. And while the songs are contemplative, Watsonville Patio doesn't pull a Mazzy Star and go into a pure alpha state--that's cheesing out. Rather, these songs are complete ideas that find full expression in the combination of music and vocals.

And the sound is just bright enough to bring a ray of sunshine to the proceedings. This is a tough trick to turn, as much more edge to the guitars, in particular, would have taken the band in a totally wrong direction. But as the many albums these folks have created will attest, Watsonville Patio generally knows exactly what it is doing.

Is this commercial enough to draw a wide audience? I seriously doubt it. But Watsonville Patio ought to be pleased with another sterling album. Good music is, indeed, its own reward.

Watts
Flash!
(self-released)
reviewed in issue #170, 10/26/98

Tightly crafted pop tunes featuring some seriously active rhythm guitar (you know, like that Wedding Present groove?). This is a band which has figured itself out.

The songs, simply put, are great. Top notch work in the writing and performance. Harmonies where they're needed, and lean hooks to compliment the strident guitar. Watts is primed for, well, something.

I mean it. This is good stuff. Pop with an unusual edge. Songs which say something and still entertain. Not an easy balance to maintain, but Watts makes it sound simple. Like it's the most natural thing in the world. I can assure you it's not.

But that's the joy of listening to discs like this. Music which brings life into focus, and with a nice beat, too. Ah, hell, I just love this one to bits. They have to be doing something right. Watts
(Boston)
One Below the All Time Low
(self-released)
reviewed in issue #292, December 2007

The album leads off with "20 to 12," which is the best muscle-laden "shoulda been the Stones" song I've heard since Laughing Hyena's "Just Can't Lose" some 12 years ago. It's a ripper of a piece, all at once loose and tight, clean-shaven and hairy-chested. All the stuff of a classic rock and roll song.

The rest of the album fades into a bit more of a latter-day Social D groove. That has its charms, too. Solid rock and roll with tasty hooks played with enthusiasm.

Yes, I do wish the boys had stuck with the aggressive groove laid down on that first track, but even as an aberration it's still fabulous. And the rest of the disc is well above average. It's just more clean-shaven than hairy.

And I'm a hairy guy. Whatever. This is a wonderful album that will be playing in my car all next summer. Big smiles and large happinesses.

Wax
13 Unlucky Numbers
(Side One-Cargo)
reviewed in issue #69, 1/31/95

Decent punk-tinged pop that brings thoughts of Treepeople (or Stuntman or whatever those folk call themselves these days), Superchunk and their ilk.

Not bad company. The songwriting is not quite as universally strong as you might find in those bands, but it holds up well enough. And Wax never stays in one spot for long, so you can't get bored or annoyed.

This isn't a "big break" sort of album, but it is a nice start. If Wax can improve on this base and really shore up some of the inconsistencies and get a better feel for crafting tunes, then there is quite a chance for a decent future.

These boys have real potential.

Jon Wayne
Texas Funeral
(Fist Puppet-Cargo)
reviewed in issue #10, 3/31/92

Riding out of Fresno comes an outfit that keeps the togetherness of the country spirit but still manages the distortion of a Shockabilly. Sort of the potential child of Johnny Cash and any member of the Young Gods.

But it sounds better than great. Reminds me of Bubba. You know, the archetypal Texas (and elsewhere) voter they have been talking about during the presidential primaries.

You want sick? You want twisted? You want a nice backbeat and twangy guitar? Don't forget the distorted vocals. Wow. A country album that would be more at home on a psychedelic show.

Wayward Sway
On a Broken Machine
(self-released)
reviewed in issue #291, November 2007

Not many rock bands have full-time banjo, mandolin and violin players. Not many rock bands can play credible bluegrass licks. Wayward Sway is one of the few.

And this is a rock band. These songs are set in regular rock and roll constructions, even when the arrangements ape bluegrass or other roots sounds. The feel is almost punk, given the manic playing and occasional inattention to small details. Consistency in key or tuning isn't a must. Energy and intensity is.

The technical lapses are small, however. The spirit of these songs and performances are what drive this album to greatness. The loose studio sound--not sparse or minimalist, just loose--gives the songs and players room to breathe, which leaves everything sounding impeccably natural.

Wayward Sway doesn't fit in any genre. It simply makes great music. I guess these folks will just have to live with that.

We Ragazzi
Suicide Sound System
(My Pal God)
reviewed in issue #180, 4/12/99

Kinda new wave sounding stuff, rough pop based around sparse drum beats and an organ. Some guitar, and when that kicks in, the sound is more modern. In a retro fashion. Am I making sense?

I hate it when that happens. We Ragazzi is the sort of band that does that to me. As soon as I lock on to something, the rules change. And it's not like the band is playing anything complex. This is basic basic, nothing surprising or shocking, except that each and every turn surprises me. I'm back to where I started, I'm afraid.

Try again? The lyrics are poetic and somewhat intentionally offbeat. There is a greater point beyond the strange juxtapositions of words and the non-rhyming lines. I can't tell you what that purpose is. The music simply keeps bobbing along, driven by that incessant organ and drum beat.

I can't compare this to anything, really, and that's a pretty high compliment. We Ragazzi has crafted something truly unique. Is it really good or am I simply overwhelmed for reasons I cannot quite discern? I can't say. But I will listen again and try to find out.

I thought this trio was perhaps the perfect My Pal God band. Utterly offbeat music that sounds something like a Tom Waits take on new wave (I mean that in the musical, rather than the vocal, sense). Of course, these folks are just as at home with Self-Starter.

I know that the keyboards help, but the sound here is much fuller and orchestral than you get from yer average three-piece. The core of each piece is pretty simple, but an awful lot of ideas get added before the process is finished. That the songs sound like songs at all is impressive.

This disc is more fleshed out than the band's first (which also impressed the hell out of me). The pieces sound more assured and surely more complete. A lot is going on, but even the strangest tangent is tied to the center with 100-lb. line.

Yeah, yeah, this is more music you've gotta think about. There are visceral charms aplenty, but the cerebral aspect generally takes precedence. That's fine by me. If I start to overtax my brain, I simply turn up the volume. A good prescription for anyone.

The Weakener
What Do You Know About It
(Wordsound)
reviewed in issue #155, 3/23/98

Yes, another Mick Harris project. One that is particularly well-suited to the Wordsound stable. More throbbing, almost throttling beats, so thick and painful continuing is barely an option. But press on, I must.

Harris is the indisputable master of crafting electronic beats and making them speak for themselves. His problems almost always come when he tried to match those beats up with some sort of accompanying music. Here, he really doesn't bother. There are some nice keyboards and bass work, but strictly tied to the beat. No fucking about.

Which leads listeners deeper and deeper into the dark. That is, after all, what this journey is about. How far will you go. How far can you go? Do you dare at all?

When he focuses on the beat, Harris is at his best. The Weakener is almost single-minded in that approach. Ipso facto, dinnae dunno, you get the idea. Now boarding.

Weasel-MX
Cracker Gasoline Party
(demo)
reviewed in issue #71, 2/28/95

Heavy rap-funk from the asshole of Texas (I know; I spent way too much time there a while back). After kicking off with a harsh remake of "King of Rock", the rest of the tape sticks to original compositions.

All in all, it sounds no worse than your average Beastie Boys records (and Weasel-MX sounds a lot like the Beasties), but the production left everything in that heavily-baffled demo hell.

Nothing that a little more care won't help. This stuff is pretty good, if a little derivative.

The Dave Weckl Band
Rhythm of the Soul
(Stretch-Concord)
reviewed in issue #166, 8/31/98

Weckl is a drummer, and he leads his band through the fusion paces. Lots of r&b and rock influences, with basic jazz underpinnings.

There are some cool moments, like the beginning of "Mud Sauce". But a lot of this sounds like a late night orchestra, you know, like Paul Shaffer or what have you. Easy music with just enough style to attract the masses.

And the more I try and find complexity and nuance in between the notes, the less I hear. Just not there, really. While not quite to the unfortunate level of "happy jazz", it's too close for my comfort.

I wish Weckl felt the need to take a few more chances, really reach a bit. It sounds like he and his band are simply standing still, not really going anywhere. And I think the capacity is much higher.

The Weigh Down
The Weigh Down EP
(Garbage Czar) reviewed in issue #191, 11/15/99

Sorta like if Robert Smith fronted a prog emo band. Oh, the possibilities, right? Matt Thomas has those seriously overwrought vocals (more so in feel than tone--he doesn't shriek much), the guitars noodle endlessly about while dueling with the bass and the song structure is definitely of the nonlinear form.

The highly technical playing sounds a bit strange at first, but it's not hard to acclimate. The vocals are a bit rougher to handle, though I managed quite nicely. Just another direction for this almost ubiquitous sound.

Enhancing the prog feel is a knob job that leaves the guitars with that dull, Stanley Jordan sorta sound. It certainly works, bringing out the intricate melodies with verve and urgency. The mix leaves plenty of space between the instruments, also lending to something of a jazz feel.

I like this sound. I like the way these guys write and I like the way they play. It's just quirky enough to make me lean back a smile a spot. And, hey, when they've got something important to say, I'm all already there. The music is perfect prep for introspection.

Weird War
Weird War
(Drag City)
reviewed in issue #232, August 2002

Neil Hagerty and a few supremely talented friends come together. The result is something that recalls the funkier moments of Royal Trux, I suppose, but with plenty of new elements. Hagerty's voice and guitar don't change a whole lot from project to project, so the quality and interests of his co-conspirators most often tells the tale.

This album is idiosyncratic to the extreme. But I expected that. The sheer oddity of the sounds heard here is standard fare with a Hagerty project. Enough description. I suppose I oughta pass judgment one of these days.

Alright, I dig it. There's a soulful quality to some of these songs that even the most 70s of the Royal Trux efforts couldn't reach. I'm not saying it's sincere soul--Hagerty isn't exactly known for bright-eyed idealism--but it's kinda quirky anyway.

Shit, I'm a sucker for goofy, inventive music. Weird War is nothing if not goofy and inventive. The songs hold together pretty well. That's good enough for me. Like I said, I'm a sucker for this kinda stuff.

John Weise
split 5" vinyl with Panicsville
(Nihilist)
reviewed in issue #184, 7/5/99

When I say 5" vinyl, I mean it! This thing is, well, small. Very inventive packaging, which is what can be expected from Nihilist.

If you got through my review of the Nihilist full-length, then just apply it to their side of this slab. While possibly even a bit more lo-fi than what I heard before, it fits right into the psychotic electronic style I was expecting.

The John Wiese side is pure electronic noise in the finest tradition. This side rolls at 45 (the Panicsville is at 33), so the squelches and yelps burst past at a fair clip. Pretty cool.

Actually, the entire execution here is pretty cool. Weird, certainly, but quite impressive. I wish 5" vinyl held more sound.

The Mort Weiss Trio
The Three of Us
(SMSJazz)
reviewed in issue #260, December 2004

I'm always a bit nervous reviewing jazz albums because I'm simply not particularly knowledgeable about the stuff. I know most of the biggies, and I know what I like, but it would take years of study before I'd even think of doing a short bit for Downbeat.

Well, maybe a month's study. But you get my point. Anyway, one of the things I like about the Mort Weiss Trio is its unusual construction: Weiss on clarinet, Ron Eschete on seven-string guitar and Dave Carpenter on bass (stand-up, of course). The guitar-bass rhythm section lends the songs (all of them standards of one sort or another) something of a beat, hipster feel, while the clarinet simply adds an otherworldly character.

Weiss has a warm, round tone and handles the melodies on these songs with strength and grace. Eschete and Carpenter match his style and feel quite well, giving this album a toasty, cozy sound.

Is that good? I dunno. I know I'd like to hear some of Weiss's own compositions--it's always nice to hear what an artist writes for himself. But his selections are good and the performances are quite engaging. I suppose this isn't the most challenging album around. It is a lot of fun, and that works for me.

Welfare Gypsies
Upstairs/Downstairs
(self-released)
reviewed in issue #188, 9/20/99

The first song on the disc is called "Another Form of the Blues," and that's what the Welfare Gypsies seem to be cultivating. The funkier side of the blues, but more of a sheen than out and out syncopation. All of the songs have their base in the blues, one way or another.

And there are a lot of ways that the Welfare Gypsies wander. Always looking for a new shading of the blues, the band adds some salsa, boogie and roots sounds to the base funky feel. The influences don't overpower, however; they bring the strengths of the band to the surface.

One strong point: the technical skill of the band. These songs are played with immaculate skill and a good amount of touch. At times I'd like to hear just a bit more emotion, but in no way is the sound stilted. It's more wanting for more success.

The folks can play and sing; the sound is good and the songwriting more than up to the task. On the mainstream side of sounds, of course, but quality is quality. And the Welfare Gypsies have all that.

Bob and Danny Weller
Tree of Thorns
(Circumvention)
reviewed in issue #270, November 2005

And now back where we started. Bob and Danny Weller lead a fine quintet (which includes two more Wellers, Ellen and Charlie, and Cliff Almond) through a number of their own pieces and a few standards.

The arrangements are somewhat unusual, what with the heavy reliance on piano and bass (in almost equal measure). It's more the combination rather than the featuring of the instruments themselves that catches my ear. By and large, though, this is still traditional jazz fare. The solos are well-taken, fitting in well within the songs.

The sound, too, is traditional jazz, leaving plenty of space for all the players to express themselves while still providing a modicum of warmth to the proceedings. That's a tradition that will likely never go out of style.

Not the most adventurous outing around, but a highly enjoyable one nonetheless. Weller, Weller and cohorts know their way around a tune, and the songs here get fine workouts. Solid, refined and most engaging.

Welt
Kicked in the Teeth Again
(Doctor Dream)
reviewed in issue #124, 12/2/96

Kinda like Bad Religion, except substituting slacker philosophy for the politics. Actually, a lot like that.

And damn, I've missed that pop-punk buzzsaw attack, so this is a stroll down memory lane for me. And even a full-on cover of "Suspicious Minds". What could be better?

Well, the lyrics are inane at best. And after a few riffs, the Welts seem content to stick along in the same mode for the whole album. A nod to various current movements (ska, really poppy stuff, etc.) here and there, but mostly the same old-same old.

What I like about Welt is also what I don't like. Call it conundrum corner, but that's the way it is. And by the way, that cover of "Suspicious Minds" is indicative of the album: It's starts out with a bang, and ends in a sea of mindless, repetitive nonsense. I know, that's pop. But it doesn't have to be punk.

Punk anthems throughout this CD. Sick of jobs, nothing to believe in, nothing left to say. A lot of people compare these guys to Face to Face which seems about right. The guitar grooves also give a nod to Pennywise. All in all, a pretty solid punk band. Does it stand out? Not quite, but if you're looking for someone else to support your punk theories and attitude, Welt will do just fine.

The new album was produced by Bill Stevenson and Stephen Egerton (Descendants and All), so it's pretty clean and clear for everyone to hear. Angry pop punk. That's definitely better than happy thrasher punk. Feel free to add this one to your punk collection. It'll fit quite nicely between Voodoo Glow Skulls and X. Or is it not punky to alphabetize?

-- Aaron Worley

Wench
Wench
(demo)
reviewed in issue #23, 10/31/92

Not a completely unknown band, Wench has been around in one form or another since 1987. Before that, a related band went by P.M.S. Everything about this is real slick, but the music is not too bad. As the release notes, it bears a passing relation to Soundgarden, though Yana Chupenko's vocals are rather unique.

Production is good and the aim is definitely at a commercial record deal. Some thing about his bugs me, but I can't put my finger on it.

Oh well, the music isn't bad.

John West
John West's Mind Journey
(Shrapnel)
reviewed in issue #137, 6/23/97

West is the singer for Artension (also on Shrapnel). He's got the usual Shrapnel sides (including George Bellas, making his third appearance in this issue) and has crafted an album of mid-70s power rock.

I do wish the keyboards sounded more like an organ than a Casio, but even so, the songs show off West's considerable singing talent. And unlike some prodigious belters, West actually manages to convey the feelings of his songs.

But where the singing and playing are good, the song arrangements sound almost artificial. This goes much further than the keyboards, whenever West isn't singing the sound simply takes off into some alternate universe. This is more than a bit disconcerting.

West pulls this album through on the strength of his voice alone. And if the other parts had made a bit more sense, then this might have been a real statement.

Once again, West (who also sings for Artension) has surrounded himself with some of the top Shrapnel session sorts (including Scott Stine on guitar) and cranked out a load of power metal tunes which bring back memories of Deep Purple and Uriah Heep.

Without the keyboards, I guess. This is a guitar and vocal album, and I have to say that the music arrangements compliment West much more than on his last album. There's still a few strange asides (this stuff works best when presented balls out, without the arty touches), but West sure knows how to belt these songs out.

And it's not like they're particularly good. Not bad, actually, but not the sort of fare to inspire legions of fans. The musical ability is much higher, perhaps, but the human factor in the songs does seem somewhat diminished.

Which is not to say I didn't enjoy myself. Of course I did. This music falls nicely into my comfortable cheese range. Stuff I like, regardless of the merit. And there's plenty of merit here. Not as much as you might hope for, but enough to put a smile on my face.

Leslie West
Dodgin' the Dirt
(Blues Bureau)
reviewed in issue #45, 11/30/93

Thanks to Miller and his Mountain of work, Leslie West has been pretty busy. He played on a few tracks on Billy Joel's new album (returning the favor with "New York State of Mind" on this disc) and, well, you seem to see and hear him everywhere.

Of course he can still handle a guitar very nicely, and his voice is a pleasant, bluesy kind of rough. His choice of songs to cover is rather odd, except for Hendrix's "Red House", which I think almost everyone has done. He, of course, manages as well if not better than any of the other pretenders.

This heavy blues-rock is really not my bag, but West almost makes me really like it. It's fairly commercial and all, but thoroughly enjoyable.

Weston
The Stepchildren of Rock split LP with Doc Hopper
(Go-Kart)
reviewed in issue #179, 3/29/99

Actually, Weston leads off this double shot of live sets, but in the interests of alphabetical order I stuck Doc Weston first. Hope this doesn't confuse anyone.

And really, this is two live albums for the price of one, clocking out at more than 70 minutes. Each band goes through a full set (16 and 13 songs, respectively) , rambling through most of the familiar territory.

Right. Weston's songs are fairly crafted, but the playing here is rather sloppy. In the live context, this works quite nicely. Plenty of energy, and the sound is excellent. Works about as well as a studio album, really. In fine form, truly.

And the Doc Hopper is much the same way. Looser and more aggressive than studio stuff, but not overly so. The clever lyrics are still on full display, and quite honestly, I like this sound better than what I heard on Zigs.... Well done all the way around.

What Made Milwaukee Famous
Trying to Never Catch Up
(self-released)
reviewed in issue #257, September 2004

Laptop-style keyboards, but in the context of a band. Or, perhaps more accurately, imagine moody laptop-rock played by a band. No, that still doesn't do it. Well, hell.

Simple, solid, tuneful rock and roll, with a decidedly mordant side. Not dour, but introspective in a slightly snarky way. Just enough bite to make me smile.

Take away the out-of-place (but highly effective) keyboards and the clever lyrical bits and you have basic rock done exceptionally well. What Made Milwaukee Famous doesn't really go balls-out, but the subtle approach works well for the boys.

One of those albums this might sneak up on you. Listen to it a couple times and you'll think, "Hey, that's really good." Indeed.

Wheat
Medeiros
(Sugar Free)
reviewed in issue #148, 11/24/97

Lush, lush pop music with a heart of tin. Skins and drum machines are used interchangeably, often with the base rhythm track sounding a lot like a click more than a thump. The vocals are delivered in a varying sheen of distortion, and the bass and guitar are completely dulled.

Without such excesses the songs themselves would likely come across as saccharine, but this wretched excess in the booth saves the proceedings. So much that I dig it excessively, kinda like pork rinds after I've had a couple beers.

The self-conscious deconstruction of their music extends to the playing. On "Soft Polluted Blacks", for example, the acoustic guitar accompaniment can't keep a steady tempo at all. And again, that woeful inconsistency puts a fresh face on stuff that would otherwise be rather unpalatable.

Walking the edge of disaster, Wheat stays on the cool side. The difference between Sonic Youth and the Carpenters may seem like a gulf, but Wheat likes to hang out in that tiny corner of the world where they meet. One slip, though...

When Dreams Become Nightmares
Lucid EP
(40Hz)
reviewed in issue #247, November 2003

I don't know if it's the food, the voodoo, or something else. All I know is that there have been a number of great loud bands from New Orleans. When Dreams Become Nightmares follows in a proud tradition.

The sound here is a fine cross between anthemic, melodic Eurometal, hardcore and serious death metal speed. With a dose of the grind thrown in just to make things meaner. These guys have written some astonishingly long songs (for this kinda music), but they work. The ambition is impressive. The execution is incredible.

Okay, so these boys are young. As long as no one comes along to eliminate a few of their wide-ranging influences, I think these boys could make some serious noise before they're done.

Where's Moo?
Green Light EP
(self-released)
reviewed in issue #201, 6/26/00

A foursome from Central Florida that sounds like it's trying really hard to make "important" pop music. With a few jokes thrown in.

The four songs here sound something like a cross between the B-52s and R.E.M., with a Britpop sheen falling over at times. The writing is a little uneven, though the songs all have a nice depth. There are times when the pieces run out of steam.

Basically, the songs could do with some live shows. I think Where's Moo would really benefit from a few more gigs. There's a nice core of talent here. It's just young and somewhat unrealized. I know, another one of those "keep working" reviews. Well, sometimes that's what's needed most.

Whipped Cream
...& other Delights (advance cassette review)
(Dali)
reviewed in issue #26, 1/15/93

A comprehensible My Bloody Valentine. I'm not sure if that means it's better or worse. The new psychedelia is all mush to me.

Whirlpool
Inside Glass
(Revelation)
reviewed in issue #125, 12/23/96

In the enclosed press stuff, the Rev boys tried to convince everyone that Whirlpool wasn't too weird. This from the label that houses Iceburn...

So no apologies necessary. Stop it. Whirlpool rips out all sorts of stuff, from atmospheric pop to balls-out rockers. Rachel Stolte takes most of the vocal duties, but Rodney Sellars provides nice counterpoints from time to time. This stuff has been crafted with exquisite care, and yet sounds as raucous as a drunken brawl. Quite the accomplishment.

Inside Glass just keeps coming on as the songs roll by. What a great album to end the reviews. Simply a joy to hear. I'm sorry, am I non-sequituring you to death?

Then quit reading me and go do something else! Whirlpool is truly wonderful, and you can ignore all of my other flowery prose. Just get thee to a record store and hear this for yourself. Awe-inspiring.

Whiskeytown
Strangers Almanac
(Outpost)
reviewed in issue #141, 8/18/97

Fully orchestrated roots stuff, complete with fiddle, piano and occasional horns. Whiskeytown prefers to plays full on, with a sparsely recorded but still resplendent sound. Sounds a lot like the Jayhawks of 10 years ago, which I liked quite a bit.

The songs generally relate some dreadful situation which managed to resolve itself, most of the time not in the favor of the song's subject. And the songs' styles mutate nicely to better describe the tale within. Everything from the blues to western swing is broached and twirled into the basic Whiskeytown sound with nary so much as a wink.

This is a group of folks who know precisely what they wanted , and they got that. Each song is well-conceived and expertly executed, all with a loose-as-they-come feel. The genuine article.

Maybe its just the oncoming rush of cooler air and better days that's got me feeling so good. But my guess is that Whiskeytown has a pretty big hand in that mellow, contented feeling as well.

Michael White
So Far Away
(Noteworthy)
reviewed in issue #78, 6/15/95

A perfect example of what the P.D. at the Missouri NPR station (as opposed to the college music station) used to call "happy jazz". Well, he probably still calls it that, but I don't think he works there any more.

White is a drummer, but the reason his name is on the album is that he's the producer (not unlike Sergio Mendes). And while this is perfectly charming easy listening music for the masses, I can't get into it at all. Any rough edges have been mercilessly refined.

Hey, if you like Kenny G, you might dig this. But I don't.

Sarah White
Bluebird
(Jagjaguwar)
reviewed in issue #196, 3/6/00

The accompanying descriptions says this is "not folk, not country, not rock...", and I'd have to agree. White is very much in the same territory as Songs Ohia and Palace, a singer-songwriter who uses expressive singing and playing to get her point cross.

Though I'd say she's a bit more accomplished musically and vocally. White has an amazing emotional range with her voice. Her guitar picking is precise without sounding mechanical. It just sounds great.

The songs themselves aren't really wrenching, though they do delve into some uncomfortable areas. This is a very personal album (which I think I alluded to with my references), one that connects in ways much deeper than surface musical sound.

Daring and original, White steps confidently on this disc, making a big statement without any pretension. I'm utterly smitten.

White Collar Crime
The Work Release Program
(Tender Stone)
reviewed in issue #123, 11/18/96

Boy, this could pass for Blue Yard Garden's peppier brother. Same roots-rock influences, with just a bit more bounce in the step.

And a little more generic, too. Pleasant stuff, sure, and executed quite well, but still somewhat uninspired. That acoustic backbeat groove gets old quick, and the hooks are sweet but tired. I know plenty of folks who dig this kinda thing (say, the critics who made the Uncle Tupelo alumni albums the hit of the Village Voice poll last year), but it doesn't hold my interest for long.

Good enough run-throughs of a familiar sound. If that's all you want, then dig in.

The White Fires of Venus
Skin and Light
(Corporate Nightmare)
reviewed in issue #290, October 2007

After all the high energy and easy-rolling of most of the reviews in this issue, it's nice to settle into a mellow and emotionally-intense album like this one. More palliative than purgative (I always embrace my inner cheese) as far as all that goes, this album comes on like a lamb before it sears the soul.

And I'm talking as much about the music as the lyrics. Jeff Sparks is the songwriter, and he pays as much attention to the tunes as his words. Which, in turn, makes those words that much more important.

Funny how that works out. Resonance is a beautiful thing. The attention to the sound is similarly impressive. The songs sound like they're sparsely arranged, but most of them have a few nice little bits hidden in the margins. Treats for the discerning listener--treats that enhance, rather than distract.

Quite simply well done. The Ponyno album might have the sound of sunset, but this one has the feel of midnight. A very welcome repose after a most rewarding day. Ride this until the coals fade from the fire.

The White Octave
Style No. 6312
(Deep Elm)
reviewed in issue #207, 10/30/00

These guys have the lead track on the new Emo Diaries compilation, and they show a real desire for shaking up the emo universe. The first song is acoustic, the second a starkly crunchy staggering rocker and the third a wonderfully combination of fuzzy bass and ragged guitar chords.

So the first thing that can be taken from this is that the boys don't like to play nicely in the corner. How do they fit in to the whole emo thing, anyway?

Well, see, there is the rather stripped-down feel to all of the songs. And, of course, the trademark heart-baring that is about the only thing that really holds all of the bands within this "movement" together. The White Octave has a quiet intensity that gives this album a real emotional wallop. The thing never lets up.

And when that intensity is combined with wide-ranging influences and a need to explore the outer limits of music, well, good things are bound to happen. The White Octave never stops pressing, and that leaves me totally impressed. This one leaves a mark.

These guys really do the deliberate emo style well. Kinda traditional, with that anthemic chorus trip really amped up. Yeah, it's kinda predictable, but I still get a rush at the climax. That's the key to a good song.

And there's two good songs here. The first fairly short and the second kinda long. Both settle into much the same groove. Something of a progression from the band's recent Deep Elm album, I'm detecting a bit more maturity here. Just a bit.

Mostly, though, I had a good time. Simple as that. There's nothing like settling down with a fine slab of vinyl and letting the songs flow forth. Worked to perfection here.

William Elliot Whitmore
Ashes to Dust
(Southern)
reviewed in issue #261, February 2005

William Elliot Whitmore takes his inspiration from just about anything that might be called roots music: rural blues, folk, you name it. He's got one of those raspy voices--with a real range--that gives him instant credibility. This is a voice that has lived.

His songs are generally written in some sort of blues construction. Not call-and-response so much as a ballad style. But not romantic. These songs are probably best described as laments. Really cool ones, at that.

While Whitmore's voice and acoustic guitar have a truly rustic feel, there are a few additions in the studio that really help to fill out the sound. Particularly arresting is some haunting electric guitar work that doesn't add melody but rather a sense of loss.

The complete package. Whitmore can write, play and sing the blues. These songs are some of the most arresting I've heard in quite a while. Whitmore is an American original.

Michael Whittaker
Earth Tones
(Brajo-Ichiban)
reviewed in issue #130, 3/17/97

Jazz with a definite new age twist. Whittaker isn't as sickly sweet as many of his keyboard counterparts, but he obviously doesn't want to be stuck in any one musical realm.

I don't like the excessive flourishes, and the melodies here are far too facile to allow for much appreciation. Whittaker does have nice voicing on both the piano and keyboards, but I don't like the way he uses it. There's too much talent here to leave a sound like this.

As evidenced by many other albums in this issue, mellow doesn't have to mean insipid. But Whittaker has sacrificed his creative integrity in the name of a wider audience. Hey, if that's what he wants...

Whorgasm
Lead Me 7"
(Hi-Karate/Brave New Records)
reviewed in issue #85, 9/4/95

A pop band in metal clothes. Whorgasm cranks out grungy riffola and attitude, but the whole package then gets filtered through this whole punk-pop veneer, and the songs are basic verse-chorus pieces that are much more tuneful (even "Scream Motherfucker") than your average Seattle outfit.

Also, Whorgasm doesn't slow up for anyone. This is a most original sound, and it bodes well for the upcoming album. They haven't had a single out on Bob Mould's label for nothing. A nice little set.

My turntable must have been playing tricks on me. Considering the recent 7", I wouldn't have described Whorgasm as L.A. Guns meets the Pretty Hate Machine side of NIN before, but that's right where this album is.

Catchy as hell (which I do recall) and so cheap and easy it almost seems like a guilty pleasure. Of course, there are the artsy and trippy moments where they borrow a lot from the old glamsters Sweet (dig "Numb" for those wonderful Connolly-Priest-Scott-Tucker gang vocals and sound).

And the mutations continue from there, as Whorgasm keeps up the beats, riffola guitar styles, wild samples and cool vocal effects. The Bowie cover is great, and by the time you get to obvious novelty hit types like "Michael Jackson's Sex Change" and "Tell Him to Get a Bigger T.V.", you'll be completely entranced. And probably laughing a bunch as well. Whorgasm is about as unpretentious a band as I've every heard (good thing, considering the music the band promulgates).

As fun a ride on an album as I've had this year. Not specifically what I expected, but I did anticipate a good album. Whorgasm comes through with a real blockbuster. We are all powerless to resist.

Brandon Wiard
Painting a Burning Building
(Cerberus)
reviewed in issue #256, August 2004

Bright, shiny pop songs (or, as his web-site so eloquently puts it, "Michigan indie-pop") that have just enough of an undertow to kill off the initial sugary overkill. Set the hook--then yank hard!

In fact, Wiard seems to really dig the darker sides of the universe. The songs themselves rarely lose their smiley-face sheen, but the lyrics can get downright mean. Again, this is about the best way to use pop.

Obviously a Nick Lowe devotee (and there's nothing wrong with that), Wiard isn't above slipping in a little misdirection and slop when it feel right. Kinda like those intentional flaws that make up the "signature" of a master craftsman's work. The sound has that clunky "real" feel that made Lowe famous as a producer.

Truly exciting music. Wiard has a real knack for writing lyrics that cut right to the chase, and then crafting some fine pop music to dress the whole song up. Top notch all the way.

Wicked Angel
Heads Will Roll
(Raven Music Group)
reviewed in issue #153, 2/23/98

Dual lead guitars and a short-cropped blond singer who favors leather? Wow, I haven't heard such a Judas Priest tribute in ages. Rob (another coincidence?) Rose has the perfect droning growl for the sound, and the band cranks through a series of fine melodic metal anthems.

And I'm not kidding with the Judas Priest reference. These folks are steeped in the sound. Okay, so Vicki Rose and Dwight Farmer do have their own styles of taking leads, but the rhythm work and general song construction is dead on.

There are moments where band breaks out of the mold, in particular the power ballad "Goodbye", which instead apes the Scorpions, complete with that weird German-inflected English singing style that is a Klaus Meine trademark. One I get past the obvious influences, I must say the sound is great. Whoever produced this has a great hand.

I'd like to hear more originality. Hey I love this stuff, too, but to really go somewhere a band has to find its own road. Wicked Angel needs to wander down that way.

The Wicked Farleys
Ken Theory 7"
(Big Top)
reviewed in issue #138, 7/7/97

Rather disjointed fare that lurches to-and-fro, from singer to singer and rhythm to rhythm. The strange thing is that in the end, it all makes sense.

The actual content of the songs is kept behind wall of fuzz guitars and a something akin to a mattress. It's something like that demo feeling, except that this is intentional and it works. Maybe it's the flute that comes by every once in a while.

Heavily layered stuff that requires some discipline to appreciate. I promise, though, that if you sit through it you will be much happier afterward. This is one of those sounds that must be experienced to be understood. Outstanding work.

The second cool seven-inch from Doom Nibbler reviewed in this issue. The Vehicle Birth does a tune called "Toronto," and The Wicked Farleys issue forth "How's my Driving?"

The Vehicle Birth keeps the sounds muted for the first half of their piece, though the playing is often intense. Ever-churning, "Toronto" blazes into a messy pile by the finish. A somewhat typical construction, I'll admit, but it works well here.

The Wicked Farleys, by contrast, open with a flourish and don't slow up. Some great strident rhythm guitar work drives the motion of the song (I'm not sure there's really a "lead guitar" anywhere). Did I mention that this is an instrumental? Yep. Top notch, too.

The second cool seven-inch from this label. Well, when you can tap into talent like this, it's not surprising that the stuff sounds good.

Wicked Maraya
Cycles
(Mausoleum)
reviewed in issue #64, 10/15/94

If you're like me, there is a certain part of you that yearns for quality anthemic metal, such as was popular in the early- and mid-eighties. You know, Iron Maiden, Judas Priest (and not their later stuff; some on), etc.

The danger, of course, is than many of these bands rip-off rather than revise. They accept mediocrity. That is not the case with Wicked Maraya.

Yes, you can clearly hear who influenced these guys (a couple of American bands make that list, too), but this is their music, not a carbon copy of someone else's.

There isn't anything particularly groundbreaking going on here, but it just sounds so great. Cycles is a fun disc to play. Nothing to be ashamed of there.

Jason Wilber
Lost in Your Hometown
(Flat Earth)
released in issue #160, 6/1/98

Can I just say that Jason Wilber has some of the scariest hair I've ever seen. Fonz hair, stiffened with soft hair spray instead of lard. Alright, I said it. Now on to the tunes themselves.

Country-tinged rock music, but old style country. Almost rockabilly at times. I can hear echoes of Johnny Cash, Buddy Holly and Carl Perkins. The sound has even been altered to present a somewhat scratchy picture of the songs. Tape hiss. Wow, it's been a while. A pretty cool additive to the songs.

Wilber is happy to kick out ballads and ravers as he pleases, and he sure knows how to write folksy songs that cut right to the center of the situation. The classic style, done real well. And the music is hardly overdone; the loose sound gives the songs room to breathe and find their own space. Somewhat surprisingly, on the second half of the disc he begins to favor a Paul Simon-like sing-spoken delivery. It works pretty well, offering a bit of a departure from the first few songs on the album.

Well done all the way around. Wilber has a real talent for songwriting, and this album captures all the poignancy of those pieces. One of the best albums I've heard this year.

The Wildwood Band
Bad Attitude
(self-released)
reviewed in issue #278, September 2006

I'm generally not a big fan of the rockin' blues. I like bluesy rock and roll, but not the other way around. And Doug Wood and friends are definitely playing the blues with a rock and roll beat. For some reason, though, they seem to have gotten it right.

One of the main reasons it works, I suppose, is that the music is played with a light hand. There's no forcing the sound into a corner, which leads to an easy melding of styles. And then there's Wood's harp work, which is simple and yet unrestrained.

If you're familiar with Steve Miller's pre-"Joker" output, you might have an idea of what's going on here. But there aren't a lot of guitar pyrotechnics, just an emphasis on solid songwriting. Which might be another reason this stuff makes me smile so much.

Nothing complicated. Just good music played with steady hands. Sometimes that's all you need to settle into the groove.

Kathleen Wilhoite
Pitch Like a Girl
(V2/BMG)
reviewed in issue #154, 3/9/98

Simple, unadorned songs, some thoughtful lyrics and the occasional good hook. Mostly, though, the star is Wilhoite's voice. A voice which is not as expressive as it could be, but just breathy enough to do the trick.

Very basic songwriting, with a few nice bits from the producers booth (layering a guitar lick here, dropping in some organ, punching up the drums there). Songs of empowerment, each one telling a tale of how someone CAN get what they want. Even if what they want isn't quite what they had in mind.

Subtle, at least for a major release. The producers managed to avoid the "let's make a hit" mentality, sticking simply to what works. And make the star the star, of course.

One of those albums I hope hits it big (and when you work with a major label, well, that has to be an aim). I wouldn't mind hearing this stuff on the radio. Beats the shit out of what's there now.

Will
Pearl of Great Price
(Third Mind)
reviewed in issue #6, 1/31/92

Another Front Line Assembly side project (see Delerium also), Will is the more industrial of the pair. You CAN'T dance to this, unless you also frequently hit the floor whenever the tempo drops below 80 bpm.

But I think that's a good thing. Most of this would seg quite nicely with the slower passages of Tiamat's album, or any other slow death passage. The vocals are gritty enough, and it certainly is rather harsh sounding.

Very streamlined, however. This is not a samplefest. They find an industrial, soul-less groove, but a groove nonetheless, and stick with it. I like this a lot. I'm not sure why, but I do. And with titles like "Furnace of Souls" and "Exhaust Inhibits," I don't see why this wouldn't fit into the progressive loud music format.

Side projects give folks the opportunity to explore music that their normal groups do not. Rhys Fulber of Front Line Assembly took this to mean he should make boring music on the first Will album. I'm not sure what the other two members of this project were doing, but it wasn't terribly interesting.

On this EP, however, things have changed. Will is still nowhere near FLA aggression levels, but as dancey mood music it is rather nice. I admit it: I listen to early Neil Diamond at times (my girlfriend just can't understand it). This may be a guilty pleasure, but a pleasure it is nonetheless.

Will Haven
WHVN
(Revelation) reviewed in issue #191, 11/15/99

The hardcore edge of the metal/groovecore revolution. Will Haven thanks tourmates such as Vision of Disorder and Limp Bizkit, but really, this sound is more extreme. Every single sound is simply, well, more so. There is more distortion, heavier guitar sound and a greater sense of chaos.

Heading toward the great waves of excess works well for the boys. This isn't happy music; it is the sound of rage and alienation. There is no need to simplify for the masses. The masses don't care. That's why this album sound so raw in the first place.

Oh, and simply a lovely job in the producer's booth. The sound is heavy (though flexible so as to move when necessary), and the mix blurrs the instruments and vocals just enough to create that solid wall of pain that's fairly necessary.

The songwriting is impressionistic in style, obliterating a number of styles with the keel haul sound. A vaguely friendlier Buzz*Oven? Sorta. Will Haven has crafted its own sound quite well within a sound full of generic posers. I bow in honor.

Atmospheric extreme hardcore, verging on doom metal drom time to time. Oh my, I think I'm gonna make of mess a myself here.

The power alone is enough. Will Haven blasts enough sonic disturbance to sterilize insects at 50 feet. Add to it an almost perfect grasp of just how far to take untrammeled aggression without losing touch with reality.

These boys stay in the real. There's very few studio tricks or other nonsense. Just throbbing, achingly harsh riffage. The kinda stuff that burns on contact. The boys manage to keep their sound fresh by incorporating a number of interesting ideas, including just backing off for a moment to emphasize the power that is to come.

Once again, I'm left without proper words for the experience. Will Haven leaves a path of wreckage strewn in its wake. This stuff grinds and pummels any object that offers resistance. And that's not me. I'm the one saying "Full steam ahead!"

Willard
Steel Mill
(Roadracer)
reviewed in issue #17, 7/31/92

Do we really need another Seattle band attempting to define "The Sound of Fuck?" Probably not, but the public wants it, so who really gives a damn.

Yes, Roadracer's latest attempt to cash in on the Nirvana-Pearl Jam-Soundgarden-Alice in Chains-Queensryche-etc. craze is yet another very competent band. If only Willard had a song called "We Really Groove on the Melvins." Then I could stomach this better.

Slower-than-fuck at times, but definitely Seattle to the hilt. You're gonna succumb, so why not get it over with?

Willard Grant Conspiracy
with Telefunk
In the Fishtank 8 EP
(Konkurrent-Touch and Go)
reviewed in issue #226, February 2002

Most of the time, the liner notes describing a particular project are overblown and excessive. They hype the album more than describe it, and the whole thing ends up sounding like a blow job. On this disc, there's a short description on the back. And it says everything I'm going to say a whole lot better. So if what I say intrigues you, just go find this disc and you'll be properly enlightened.

In the Fishtank, of course, is a long-running series of short improvisational encounters between bands. Except this time the Willard Grant Conspiracy and Telefunk rehearsed beforehand. The result isn't so much a wild sound that whipsaws between slammin' electronic beats and acoustic guitars but rather a muted confluence.

The rehearsal allowed the artists time to research and arrange some very old songs (with a couple more modern ringers). The recording sounds almost fragile, which fits the material very well. This disc doesn't have nearly the synergistic improvisational energy of others in the series, but the quality of the collaboration more than makes up for that. Another more than worthy addition to the canon.

Robert Fisher and Simon Alpin wrote most of the songs here, and they're joined by a cast of more than a dozen. Recorded in Slovenia (really!), this album sounds more like a one-man effort than a collective.

But maybe that's what it is, after all. Fisher has the bulk of the writing credits, and I assume that's him doing most of the singing. The songs themselves are these gorgeously dark rambles, something that brings to mind the sight of a midwestern dust storm a few minutes before impact.

I suppose that might be a bit of an obscure reference. These songs are well-crafted and produced to elicit a decidedly spooky sound. There's a good amount of reverb, and when the fiddle wails I do get a bit of a Dirty Three chill. Works like a charm, too.

Just when I think things can't get more desolate or bleak, there's a killer of a last line. The lyrics follow in the tradition of the blues. This works well, even if the music itself is anything but bluesy. The end result is, strangely, uplifting and affirming. Survival is something of a task, but it does bring great rewards.

William Carlos Williams
White Women
(Shoestring-Ichiban)
reviewed in issue #145, 10/13/97

Obviously not the famous poet, but a band that figured it would be cool to use his name. Fine by me.

The stuff itself is rather undefinable. Kinda like a free jazz approach to rock music. Most of the songs are instrumental, mostly because there would be no way to introduce vocals without completely civilizing the chaos within. And I have a feeling no one wants that.

Rarely is there construction of any sort. The band members seem to have an unwritten understanding of how to react to each other, though I'm not sure I would be able to tell if that wasn't the case. It's just that in this swirling world of joyous, seemingly-random collisions, I think I can almost hear some cohesive element. Or maybe that's my brain trying to impose order where none is needed.

Who knows? Certainly, William Carlos Williams is intended for those who like their music free and unfettered, without any preconceived notions of what is and isn't music. People like me.

Not the poet, but a band which likes the poet. And makes music that is certainly poetic. A kind of free jazz-noise rock fusion. Like if Charles Gayle got together with K.K. Null, just to see what happened.

Since this is the second disc I've heard from this band, I can tell you that the effect is intentional, and it's stunning. Music that not only avoids convention, it shreds any notion of stability.

There are, of course, limitations to "unlimited" music, but William Carlos Williams manages to swim its way past most of the obstacles. While certain squeals and squelches are probably spur-of-the-moment, most of these songs could be replicated in a reasonable fashion.

And so while carving out new realms of sonic chaos, the band can also play live shows without simply improvising all the way home. Oh, this is wild stuff, alright, but certainly it qualifies as "real" music. Very good music.

The Dave Williams Project
Garden Variety
(self-released)
reviewed in #164, 8/3/98

Making money as a band is a bitch. If you want steady money, the easiest thing to do is play covers and drop in a few of your own pieces, selling discs on the side. Maybe not a path to fame, but at least a (reasonably) steady paycheck.

The Dave Williams Project is one of these bands. I got a repertoire, and it's heavy on the 70s AOR sound and power ballads. All of the songs on this disc fit into the "hair band trying to sound sensitive" vein, first in a "regular mode" and then in "light acoustic mixes" (which, honestly, aren't far removed from the other versions).

The sort of songs which used to be some of my favorites. But I'm going into my adolescent Bon Jovi fixation here. What I can say is that Williams has a hell of a voice, and his songs are pretty good. At least as good as the stuff that put such bands as Warrant and Firehouse on the map.

For what the band is playing, this is good stuff. That said, there isn't much commercial call these days for the hair band ballad. I'm fairly sure there are plenty of good reasons for that. I just don't know where these songs might go.

Davey Williams and Numb Right Thumb
Texas Was Delicious
(Megalon)
reviewed in issue #196, 3/6/00

Davey Williams plays guitar, devices and toys. His side men also play, among other things, devices and toys. The music they make, well, it's not so neatly described.

Where some instrumental noise pop bands get contemplative and moody from time to time, Williams and Numb Right Thumb almost always keep things in motion. There are less involved moments, but these songs (while often lengthy) come in a rush.

Which is not the say that the sound is excessively filled out. Not at all. Indeed, there's lots of space between the notes. This disc sounds anything but full and heavy. Cluttered, perhaps, but that's another thing altogether.

The title of the disc kinda shows that the band likes the oblique side of reality. The songs here reflect that attitude, and they can be a little difficult to handle at first. I'd suggest kicking back and letting everything hit you at once. Don't overanalyze any one part; judge the whole. It's pretty impressive.

Gene Williams
Welcome 2 My World
(World Alert)
reviewed in issue #114, 7/15/96

This album is Gene Williams. Oh, there are a few small guest slots (mostly where he wanted a real drum sound), but the vast majority of sounds and ideas here come straight from Williams' head and hands.

For an album composed and performed mostly on keyboards and computers, Williams has crafted a very human sound. The beats are funky, but not overbearing. The samples are relevant and insightful (some moments reminding me of the Bomb Squad's best work with Public Enemy) and the music manages to lilt without pandering. Smooth, but not boring.

Very impressive, indeed. Williams plays reasonably well, but he's a master visualizing his work in progress and then assembling all the necessary pieces to complete the sound. Is it jazz? Rock? R&B? Sure. All of those, and even more. Williams borrows from everywhere and has found his own niche.

Williams deserves all the hype he can manage. He is one of the few people who can take the lessons of the past and incorporate them into a whole new sound. Exciting is hardly the word.

Saul Williams
Saul Williams
(Fader Label)
reviewed in issue #258, October 2004

Saul Williams casts himself as the anti-gangsta gangsta, the literate MC who managed to crawl from the ghetto to get an education and make something of himself. Um, no. See, Williams rejects absurd nonsense like that as well. He stays rooted in reality, not theory.

This album is a wondrous melange of hip-hop, rock, soul, electronic disturbance and all sorts of whatnot. His shouts in the liners go to Andre 3000, the Mars Volta, Planes Mistaken for Stars and Mike Park, among others.

Williams is the maestro at the center of the maelstrom, and when he waves his hands, chaos erupts. Imagine a much more grubby N.E.R.D. without any pretense of pop sheen. Williams doesn't seem to be interested in the mainstream world, but nonetheless he's crafted a dense, tension-filled symphony that has more than enough presence to catapult Williams into the spotlight.

A pressure-cooker of epic proportions, this album is so jam-packed with ideas and creative thought that I thought my CD player would melt down. Okay, that's a cheesy and stupid thing to say, and Williams is anything but. In any case, this is one album that ought to earn respect and admiration from just about everyone. Mind-blowing.

Wesley Willis
Greatest Hits
(Alternative Tentacles)
reviewed in issue #79, 6/30/95

Chicago's own Daniel Johnston. Willis has recorded something like 400 songs and released (on his own) 20 albums over the past three songs. His regular job is street artist, and he's been diagnosed as a chronic schizophrenic. So, of course, he's a remarkable artist.

His odd, Biz Markie-like vocals are backed by a cheap keyboard most of the time. The lyrics are often based on personal observations or news stories, often without much embellishment from name, date and place.

Much like Johnston, the music seems completely stupid at first (and even after a while). But a few listens help provide a portrait of a schizophrenic. Songs like "Outburst" really bring the point home.

A odd collection of songs that require some explaining, but who said music should be easy?

The only reason to listen to Wesley Willis is to experience the sheer joy of making music. Wesley is not terribly creative musically (every song has pretty much the same Casio backing), and he tends to repeat himself lyrically. But he sure does enjoy what he's doing.

Which makes this sort of thing almost irresistible. Lots of folks (including me) profiled Wesley with the release of his "greatest hits" on Alternative Tentacles, so you probably know all about his history of mental illness and other stuff. If not, I'm sure MTV news will have something tomorrow.

Not to be taken seriously. Morning shows will jump all over stuff like "Alanis Morissette" and "Rock Saddam Hussein's Ass" (which have many lines in common, actually). You can get tired of this stuff pretty quickly, but hell, catch an amusement buzz while you can.

Assisted by the Dust Brothers on this one, the sound comes out a bit fuller. Of course, there are only so many ways to mutate the same Casio riff. Yes, there can be too much Wesley. Most folks would probably balk at the second album in two months. Whatever.

I just like the stuff, I guess. Wacky and utterly annoying, Willis satisfies some need inside me. Don't know what it is. I don't want to know, either.

What else can be said about Wesley? He rants, he raves, he has only one piece of backing music. And he's still amusing. To me, anyway.

Brian Wilson
Imagination
(Giant/WB)
reviewed in issue #162, 6/29/98

Ten years past his supposed "comeback" solo album, Brian Wilson has finally exorcised many of the demons that have plagued his life for more than 30 years. Hey, everyone wants this to be a great album and a big hit. And with such Wilson-philes as the High Llamas and pop in general ruling the "alternative" scene, the kids may finally be ready to embrace a true rock and roll pioneer.

So, if all the stars are in alignment, is the album any good? Well, it is gorgeously appointed. Wilson's voice sounds great (he quit smoking a while back, so this album doesn't have any of the rasp of its ten-year-old predecessor), even if he's not singing about anything profound. In fact, the lyrics are downright inane at times.

But the music is so wonderful, complicated and pristine. Supposedly some of these songs have 96 different vocal tracks (okay, Wilson is still a little obsessive), and he also layers the instruments as well. A producer's dream project, a masterwork.

And so I'm more than willing to forgive silly lyric content. Imagination is the sound of a genius stretching his legs a bit. I hope he keeps working out, because from the sound of this Wilson has plenty of waves left to catch.

Matt Wilson
As Wave Follows Wave
(Palmetto)
reviewed in issue #116, 8/12/96

Cool composers find ways to incorporate disparate types of music into each other. Matt Wilson wrote most of the songs here, and while it is some seriously aggressive jazz music, I can sometimes hear inflections of folk and bluegrass music.

Some of that is simply inherent in Wilson's percussion work and in the sparse production of many of the songs. While much of this follows both bop and cool schools, there is an echo of another form altogether, and Wilson isn't afraid to let it in.

I've often been annoyed by drummers who think that playing fast and loud is the way to show off talent. On "Old Porch Swing", which Wilson plays on his drums with no accompaniment, the tempo is slow, but Wilson's skill expresses more than even words could say.

Some of the time I think he gets a little too happy about his drumming, but for the most part Wilson allows his sidemen to shine nicely. The alternating moods of the songs provides nice counterpoints, and makes the overall experience very pleasurable.

Wilson's debut was a fine example of how jazz doesn't necessarily have to sound like jazz. He dabbled with a variety of ideas and sounds while still giving his sides plenty of room to shine themselves.

Wilson's a drummer, if you didn't know, but instead of peppering his albums with excessive drum breaks, he simply keeps time in inventive way, breaking out tastefully.

His own compositions are easy to identify, because Wilson doesn't limit himself to any sort of "official" jazz school. Now, Wilson is a very careful composer, but he allows his mind to wander into many areas which are a bit odd. The title track is based on the rhythms of an auctioneer (the introduction helps there), and Wilson in general likes to infuse his music with midwestern themes (there's a reason he calls his publisher "Grainfed Music").

As impressive as his first album. For a young guy, Wilson's adventurousness is impressive. He's not afraid to take a chance or ten. And his music is the ultimate beneficiary of this attitude.

Pauline Wilson
Intuition
(Noteworthy)
reviewed in issue #78, 6/15/95

Easy listening stuff from the lead singer of Seawind. This sounds a lot like DeBarge, which I remember liking when I was 12.

Of course, I think this sort of thing is commercial cheese today. Pseudo-pretentious lyrics allied with bouncy keyboards and Top 40 bass (a really nasty affliction).

And not terribly distinguished for that sort of thing, even. Wilson has a strong, clear voice, and maybe this is what she sings best, but I still like those early Seawind songs much better.

Windmill
My Apartment's Many Smells
(self-released)
reviewed in issue #208, 11/20/00

Kent Randell was in the fine UP (that's Upper Peninsula--Michigan) band manRay 19. His explanation of that's band's demise is as pathetic as any I've every read: "Our drummer stole the van, so I guess we broke up."

That sense of humor is extended to the name of his new project, which is hardly reggae (any more than anything else) or even particularly sex-obsessed. Instead, it's basically Randell making music with a wide variety of friends and in a wide variety of styles.

Randell does wander, and while he generally does stick to some sort of a noise pop/rock feel, he drops so many unusual ideas into the mix that it's hard to really classify this entire project.

Other than horrifically inventive. Randell's ideas don't always work, and even when they do they come in at such an odd angle that it's sometimes hard to approach them. Patience is the key in any such endeavor, and I think I'm going to find more and more that I like with each listen. There's an awful lot here to hear.

Windmill is Kent Randell and a whole bunch of friends. And not unlike the Slomo Rabbit Kick album I reviewed in this issue, it sounds more like an idiosyncratic one-man effort than a collaborative band project. Hey, weird is good in my world.

But Windmill is really more quirky than weird. Imagine grand, sweeping landscapes populated by some strange old coots who can't (or don't want to) keep quiet. These songs burble and pop along without a solid sense of direction, which is fine.

The song as character study. Or somesuch. The sound is rich and full, but with just enough space for the loopy interspersions to drop in. It almost sounds normal. But almost isn't. Not quite.

Again, that's a good thing. There are so many little nooks and crannies in these songs that even the laziest explorer will discover entire new worlds. And that texture is what makes this album most enjoyable.

Wine Field
Wine Field
(Watchtower Entertainment)
reviewed in issue #158, 5/4/98

Two guitarists and a drummer. Mostly acoustic guitar, folky harmonies. The occasional extra instrumentation. If the songs aren't very good, they get found out quite quickly in this format.

They are good. Introspective, searching lyrics that examine the most naked of human thoughts and emotions. The music is pretty damned good, too, with some fine interplay between the guitars. Mellow, sure, and nicely textured. Contemplative, but not dreary by any means.

Solid songs put forward in a striking style. Sometimes the quietest albums can be the most searing. Wine Field shies away from nothing in its attempt to understand why. And there are plenty of whys to explore.

An emotionally wrenching album. Nothing cloying or saccharine; Wine Field trucks only in genuine goods. I hope these guys keep looking for a long time.

Winechuggers
Thank You All Very Much EP
(Box Factory)
reviewed in issue #209, 12/11/00

Think of a trio that tries pretty much to split Big Star and Palace right down the middle. Or, as some might say, this is a collection of muddled pop songs that reek of heavy inspiration.

Stuff full of heavy licks and throbbing hooks. Though the hooks aren't necessarily coherent. Just wonderfully affecting. These songs wobble in such a charming way it's pretty damned hard to put them away.

But I don't really have to, which is a wonderful thing. Winechuggers have an endearing way of writing and playing. This short introduction is just enough to make me want lots, lots more.

Winter