By Bree Davies
By Emerald O'Brien
By Gina Tron
By Jon Solomon
By Drew Ailes
By Courtney Harrell
By Kyra Scrimgeour
In last week's issue, Westword celebrated 1997's finest albums by national acts. Now it's Denver's turn in the spotlight. What follows is an alphabetical roster of the finest discs released during the last calendar year by locals or recent graduates of the scene. They make always buying Colorado seem like an idea whose time has come.
Tone Soul Evolution
The lo-fi essence of previous recordings by the Apples has been replaced on Tone Soul Evolution, the act's long-awaited new full-length (which will be re-released by Sire Records next week), with crystalline clarity. For a lesser band, this decision could have presented a myriad of problems: Nakedness can be intimidating, you know. But the compositions of Robert Schneider never needed to be smothered in fuzz in the first place. Here they shimmer like the perfect pop creations they are.
Hi-Fi Latin Exotica
Too many of the albums attempting to capitalize on the public's renewed interest in big-band, swing and Latin music are presented satirically, as if the music can be enjoyed only as a quaint joke. So give Cabaret Diosa credit for balancing its exuberance with affection and respect. Exotica blends originals and traditionals that are as spirited as a bottle of fine wine.
An EP that comes closer to capturing the punky mayhem these guys create on stage than anyone had a right to expect. Producer Bill Stevenson, of All and the Descendents, keeps the sound raw and righteous, then sits back and lets the four Electricians plug in and power up. The words they bellow are appropriately surreal--e.g., "Shock! I'm a panda/Shock! I'm a picture/Shock! I'm a soda," from "Shock"--and the pace is unremittingly fast. Speed thrills.
The Element 79
Although this band has gone the way of all flesh, it survived long enough to complete this engaging chunk of neo-garage racket. The three-chords-and-a-cloud-of-dust formula is used to perfection, resulting in a CD that's innocent and knowing at exactly the same time. Gone but not forgotten.
The Emergency Broadcast Players
Only a Test
All too often, modern jazz albums are merely reproductions of post-bop recordings that didn't need updating in the first place. But Test, put together by Geoff Cleveland and a daunting collection of Denver's most respected instrumentalists, eschews easy-listening stereotypes in favor of musical adventurism that's particularly bracing.
Five Iron Frenzy
Our Newest Album Ever
(5 Minute Walk/SaraBellum)
If you want to think of the folks in Five Iron Frenzy as the nation's premier practitioners of Christian skacore, you can, but that's certainly not necessary: Messages about faith pop up every now and again on these twelve songs, but heathens simply interested in rocking to the beats can do so without fear of conversion. This genre seems completely exhausted until Five Iron Frenzy begins to play. Then it comes to life again.
Ramblin' on My Mind
Although Front Range has released five albums on Sugar Hill since 1992, the band remains one of the bluegrass community's zealously guarded secrets--and that's too bad, because Mike Lantz, Bob Amos, Bob Dick and Ron Lynam do what they do very well indeed. The picking can be spectacularly rapid-fire, but never at the expense of songs that sound like old friends the first time you hear them.
A Star Unborn, or What Would Have Been If What Is Hadn't Happened: The Amazing Story of Ralph Gean
There aren't many genuine originals out there--and only a few of those who deserve this honor are as singular as Gean. Unborn assembles several decades' worth of Gean-penned oddball opuses that transcend novelty status by dint of a quirky darkness over which even Ralph himself doesn't seem to have total control.
The Hate Fuck Trio
Ol' Blue Eyes
Coming on the heels of You Know, For Kids, the Trio's delightfully obnoxious 1996 full-length, Ol' Blue Eyes, a loving deconstruction of the Frank Sinatra myth, initially seems overly silly--a curio rather than a fusillade. But taken on its own terms, this EP, which blends rewrites of "I've Got the World on a String" and other Sinatra treasures with a couple of appropriately snotty originals, emerges as a joyous blast of anarchy in a world haunted by normalcy. A curveball thrown for a called strike.
Everything I Need
Anika Zappe, Juli McClurg and Dan Tafoya make punk the old-fashioned way: They bash it out without worrying if every note is in tune and every vocal is pretty. Everything I Need assembles the fruit from several raucous vinyl offerings on a convenient platter overflowing with a drunken sense of fun.
Jackson fans who already own her indie platter Moments in Denial will be familiar with some of these tracks, including "Maple Tree" and "Rice and Beans." But her debut for Hybrid, a national company whose first release this is, can't be dismissed as a retread. The production, by Los Lobos veteran Steve Berlin, brings out the best in Jackson and her longtime band (Glenn Esparza and Brian McRae), as do guest spots by the likes of John Medeski, of Medeski, Martin & Wood. To know her music is to love it.