Center Of The Universe #34: Nothing New

Giant Sand, “Center Of The Universe”
The Undisputed Truth, “Since I’ve Lost You”
Hot Snakes, “Reflex”
Clem Snide, “Strong Enough”

Welcome to the Center Of The Universe, revived after a week’s vacay if not necessarily revitalized. After all, we’re once again without a clear theme beyond Stuff I Find Enjoyable, In An Order I Find Novel. After our seismic if sluggish theme song is The Undisputed Truth, producer Norman Whitfield’s most pet of projects, with a song easily mistaken for great ‘70s Jerry Butler. Then comes Hot Snakes in 2004, led by Rick Froberg, whose sad passing I’ve yet to acknowledge on here. It’s amazing his shredding holler lasted as well as it did for decades, and it’s terrible we’ll never hear from it again. Then a predictably lovely, if pointed, number from Clem Snide’s Soft Spot, released the year before Hot Snakes’ Audit In Progress.

Franz Ferdinand, “This Boy”
The Zombies, “What More Can I Do”
The Distillers, “Young Girl”
Crystal Waters, “100% Pure Love”

A 21st century Scottish band complaining about some boy, a 20th century British band complaining about some girl. The Distillers’s paying more earnest, but still conflicted tribute to a former “Young Girl.” Crystal Waters showing zero conflict or concern while pledging devotion on her 1994 house-pop classic.

Outkast, “Last Call (feat. Slimm Calhoun, Mello, Lil Jon & The Eastside Boyz)”Grouper, “Second Skin, Zombie Wind"
East River Pipe, “We’re Going To Nowhere”
Morrissey, “Tomorrow”

I must have forgot how similar Dungeon Family’s Slimm Calhoun sounds to Andre 3000, because when I revisited this track from Speakerboxx I seriously thought it was one of the rare tracks featuring both members of Outkast. After that nod to crunk comes even woozier keyboard work from Grouper, and more soothing work from East River Pipe (until you notice the lyrics). I don't know about you, but I’ve retroactively canceled Morrissey after Maladjusted. After all, the album ends with Satan rejecting his soul, so it could argued he passed away. Not that he wasn’t already spewing toxic bullshit on songs like “Bengali in Platforms,” and some of Your Arsenal has been ruined by my increased awareness of his moronic glibness-at-best about race and politics. But I have a hard time denying myself some of the pleasures I’ve known since I was a kid. Like “Tomorrow.”

Luther Vandross, “Never Too Much”
Bloc Party, “So Here We Are”
The Vines, "Get Free”
Silkworm, “Redeye”

I’m woefully ignorant about Luther Vandross’ career, but I know his breakthrough hit after years of background vocal work is damn good. I should also learn more about what the Bloc Party did after their second album, as the rhythm section (such a major factor in Silent Alarm’s appeal) didn’t fall apart until 2013. I kept up with the Vines longer than most Americans - even reviewed the third album! But I had no idea they’d released albums as recently as 2018 until looking it up just now. I still get a kick out of their Nirvana-Donovan bubblegum, what can I say? If the Vines aren’t credible enough for you, I’d like to reaffirm there’s lots of great Silkworm albums out there.

Brand Nubian, “Feels So Good”
Jill Scott, “The Real Thing”
Germ, “AR Pistols”
Transplants, “Diamonds And Guns”

Is there a more joyous yet deeply problematic album than Brand Nubian’s All For One? They sound so happy about living that hateful, macho five percenter life! I know Jill Scott has said some shit online, but I’ve found her albums anything but uncomfortable. After the trumpet-blessed title track of Scott’s sophomore release, glowing with erotic authenticity, Germ and the guy from Rancid celebrate the gun life. Most of my experience with rap these days is digging a vibe initially, and then waiting to see if the lyrical content kills the mood. But you can still get away with a lot if the beat’s right.

Colin Newman, “I’ve Waited Ages”
Al Green, “I’ll Be Good To You”
The Drifters, “Up On The Roof”
Matthew Sweet, “I Wanted To Tell You”

If you’re a Wire fan who hasn’t heard Colin Newman’s debut album, you are missing out (and probably didn’t know much of it was intended to be on the band’s follow-up to 154). If you’re an Al Green fan who hasn’t heard his debut album (credited to Al Greene), I get it. But there’s a real novelty to hearing him over ‘60s soul arrangements audibly not overseen by Willie Mitchell. You’ve probably heard “Up On The Roof,” but I can’t imagine why you’d be mad about hearing it again. Unless you’re afraid of heights. Speaking of heights, the guitars on Matthew Sweet’s Girlfriend reach such great ones! Oh! Robert Quine's on this track! Robert Quine! With Fred Maher on drums! If you’d like Lou Reed’s 80s work if not for that fretless bass and tuneless singer, you better be acquainted with this.

Mississippi Fred McDowell, “Back Back Train”
Pitbull, “Krazy (feat. Lil Jon)”
Swell Maps, “New York”
Derek & The Dominos, “Keep On Growing”

Google seems to think that if you google “Back Back Train” you’re definitely looking for info on Honkin’ On Bobo. If you google “Back Back Train Fred McDowell,” they still say “you sure you don’t mean Aerosmith” every couple links. After Fred is our second Lil Jon feature of the episode, one of Pitbull’s last hits before he started having bigger, if less thrillingly frantic hits, without Lil Jon. If I’m not mistaken, “New York” wasn’t on any Swell Maps single or full-length before 1999’s International Rescue (it’s a bonus track on Jane From Occupied Europe now, but wasn’t when Mute reissued it in 1989). That’s wild. I have no desire to listen to Eric Clapton these days, but I still enjoy Cream and especially Derek & The Dominos. What ever happened to those guys? Something to ponder as we leave the Center Of The Universe once again. Thanks for your time!