QUOTE OF THE WEEK: “Rock ‘n’ roll is a combination of good ideas dried up by fads, terrible junk, hideous failings in taste and judgment, gullibility and manipulation, moments of unbelievable clarity and invention, pleasure, fun, vulgarity, excess, novelty and utter enervation.” — Greil Marcus

SONG OF THE WEEK: “Coney Island Baby” — Lou Reed

KT Tunstall
Eye To The Telescope
2005
Virgin Records

In one of those rare moments between pouring copious amounts of alcohol, pain meds and snarling garage rock down my gullet and into my brain, I found myself the other evening actually relaxing in my living room and watching VH-1, of all things. Let’s be honest here—there hasn’t been a decent music video channel around for a long, long time—if ever.

I gave up on MTV ages ago, and though VH-1 has a better variety of informative, educational, music-related specials and programs, the “music” part of the whole equation usually leaves quite a lot to be desired. That’s why I was so taken aback when the vid for KT Tunstall’s breakthrough U.S. hit “Black Horse And The Cherry Tree” came winkin’ outta my late-night screen between some overblown, faux hip-hop fuckaree and some maddeningly overplayed mini-infomercial like the one on “Killer Hair Metal Hits!!”

Here was a chick who obviously had no pretense, no hidden agenda, no social climbin’ ambitions, no trendy, phony, plastic image to cultivate or hold on to. First clue—she’s Scottish, she’s been playin’ smoky pubs and dark, dingy corner bars for years, and she not only writes or co-writes all her own shit, but plays damn near every instrument you can think of—guitar, Wurlitzer, piano; a veritable cornucopia of talent and style.

Is she a buzz-name? Hell, yes. A cute new face with a great voice and some drop-dead hooks that’s makin’ music biz wonks slobber and drool from London to New York to L.A.? Damn straight she is. A shooting star who’s most likely destined to end up in cut-out bins and Cheapo Record racks across America as soon as her one or two big hits get played out on FM radio? Sadly, that’s probably true, too. Just ask Tracy Bonham, Jill Sobule, Kate Bush or a hundred other talented, from-the-heart singer/songwriters who’ve blipped across the stinky national FM waves since the so-called “Alternative Revolution.”

So yeah, I dug the lead single from KT’s album—“Black Horse And The Cherry Tree” is a rollicking, beat-heavy scat-fest, replete with whoo hoos, hand-claps an’ heartily strummed, folk-y guitar. It’s a great one to introduce new fans to (remember, she’s HUGE in the U.K., where this album has sold over a million copies an’ she’s been playing for years) and catchy as bird flu.

Thing is, like those old albums by Bonham, Sobule and Bush, the rest of this package is absolutely loaded with awesome aural treats that for one reason or another (usually record companies going through their ubiquitous staff shuffles, chart stiffs or maddening trend swerves) never make it out to folks who only buy singles or download ‘em off the ‘net.

“Other Side Of The World,” the first cut here, is a lush, dreamy, haunting ode to a long-distance love affair (either in the heart or geographically) with instantly memorable lines like, “Over the sea an’ far away/ She’s waitin’ like an iceberg/ Waitin’ to change, but she’s cold inside/ She wants to be like the water/ All her muscles tightened in her face/ Buries her soul in one embrace/ They’re one an’ the same, just like water ... but it’s too hard to say, I wish it was simple/ But we give up easily/ You’re close enough to see/ You’re on the other side of the world to me ...”

“Under The Weather” is a soft-spoken, sweet ditty that really showcases Tunstall’s sugary pipes and evokes all of the natural feelings that go with heartbreak, unpredictable weather, and even more unpredictable emotions: “I’m under the weather/ Just like the world, so sorry for bein’ so bold/ When I turn out the light, get out of sight/ Although I know, that I’m not alone—it feels like home.” Here’s an artist who can belt out a gritty, rockin’ international blues buster like “Black Horse...” and in the next breath, effortlessly lay down a slab of pure tear-salt like “Under The Weather.” Phenomenal.

There are plenty of other nuggets here as well—“Another Place To Fall” recalls the post-adolescent drive of Tracy Bonham’s “Mother Mother;” “Miniature Disasters” crackles and snaps along like a ferocious Tracy Chapman number; “Heal Over” is a gorgeous, sexy come-on of a torch ballad that should melt the coldest, most winter-hazed soul within hearing distance; and “Suddenly I See” rocks, snorts an’ rumbles along like a soaring, uplifting battle cry of the heart.

Tunstall may be just another pretty face with great lyrics an’ an amazing command of instruments (her guitar playing should not be underestimated—this lady can play with the best of ‘em) to the record company suits and the trendmongers at the music video channels and radio, but methinks Through The Telescope is only the first shining glimpse we’ll get of an up-and-coming star who spews out true, honest pop/folk/rock like it’s goin’ outta style. Which, sadly, it is.

Undeniably powerful, no-bullshit, from-the-heart music from an artist who will surely outlive her single to become one of the music world’s more respected singer/songwriters as time goes by. Keep an eye—and ear—out for this one. Check it out in stores March 7, or for more info, surf to KtTunstall.com.

Tom Feldmann
Driven To My Knees
2005
Magnolia Recording Co.

I’m really, really, really hopin’ that local (and eventually, national) record shops don’t stock this album in the section local blues guitarist/singer/songwriter Tom Feldmann describes his album (the first of three—two as yet to be released—produced by local whiz Mark Thomas Stockert) as belonging in: “Gospel Americana.” Why? Because although it’s true—Feldmann does dedicate this album to “songs about Jesus” and tags it as gospel—it would be a gross injustice to call this collection of sharp, shimmering, country-rockers and electric soul ballads “Christian Music.”

That’s actually a pretty sad thing, as it’s clear here that Feldmann, with his rich, deep pipes and command of a strong, authentic roots groove, really does love and respect his subject matter. Thing is, the people who’d really appreciate the lyrics on songs like “Friend In Jesus,” “Holy Living Lord” and “Freedom” probably aren’t really the same people who might appreciate the absolutely stunning music and spine-tingling vibe running through Driven To My Knees—and vice-versa.

Feldmann’s voice evokes vague echoes of Eddie Vedder’s throaty, stoner come-on, with maybe a bit of John P. Strohm’s sloe-eyed country drawl thrown in for good measure. The songs here range from the ravaged complexity of “Friend In Jesus” to the good-time, barn-dance banjo bounce of “Rise Again Today” to the heartbreaking, in-the-moment darkness of “Johnny Cash,” which describes The Man In Black’s last precious moments on this mortal plane.

Musically, lyrically and soul-wise, this collection of hearty, fulfilling roots music is simply outstanding—frankly, Feldmann could be singin’ and playin’ about the glories of Buddha, Shiva, Mohammed or the alien race that Question Mark from the Mysterians thinks actually rules the universe, and it wouldn’t make a diddly-damn bit of difference to me—I honestly, truly believe Driven To My Knees is an undeniable masterpiece. Check it out at MagnoliaTecording.com or TomFeldmann.com. Highly recommended listening.

That’s all she wrote this time out, gang. Tune in again, same space, same place, for more of the same. Watch for upcoming reviews of a whole gaggle of killer DVDs in the coming weeks. Until we meet again—make yer own damn news.

If you have local music news/gigs/events/CDs you’d like to see listed in this space, or you’d just like to put some shimmy shimmy in Tommy’s koko-bop, send replies to: Tmygunn777@peoplepc.com. ||