Aural overload

Big Noise's massive Digital Side of the Moon

by Michael Caito

Quetzal

The third of three song Slams presented by Big Noise Records in conjunction with their release of Digital Side of the Moon is tonight (June 4) at the Century Lounge, with the Grand Slam finals held there on Saturday. I mention this now because of the five discs, the folkish Phase 1 is -- by miles -- the most rewarding, and several of that CD's artists will appear tonight. Of course there are decent, even illuminating moments on Phases II through V.

About six. If I'd gone out and bought them, I'd have spent the past fortnight attempting to gnaw off my own feet. We obviously wish the artists success, but wonder -- as we do every time one of these supposed aural bacchanals arrives -- about the point of it. It's cheaper than releasing a full-length, but not much. Big Noise always attempts to wrangle positive coverage from ink-stained wretches at dailies and odious tabloids, but not 'zines. (On cue, the phone rings and it's Gomes, with Grand Slam finalists including Comic Book Superheroes and Rock Gods from Chicopee [place out in yonder western Massland].)

One could ascribe historical significance to it, taking the long view of the 99-song set being another pulse-taking, a frozen moment of a region and a time. Doubtless Digital Side of the Moon will serve as a feeler -- an opening volley for several of these bands. And there have been unavoidable lessons learned about recording as process, available area studios and producers, and their comparative strengths and weaknesses. Those are always-important checklists for the budget-conscious musician. That's all good. It can also wreak havoc with DJs who control their own programming, since they know punch-the-button (having replaced drop-the-needle here) on compilations notoriously renders awkward, goofy segues.

Like this one. Question, then: Why is so much always crap? (Less significant questions:does this count as time off for good behavior if I end up in Purgatory? Am Ithere? Where's Alighieri?)

Happily, Phase 1 is better than OK, starting with Boston-based Lynn McKenna's excelling voice on "My Father," a beautiful opener which also features the talents of Peter Calo (guitar), pianist Brad Hatfield, Mike Turk (harmonica) and the first of the album's six cello accompaniments, this one by Cameron Sawzin. Cali quartet Drayfus Grayson makes it a bi-coastal affair with some soft-rock balladry painted in very broad strokes. Newport troubador Michael Ward contributes a track ("Yardbirds") off his recent full-length debut on his own Three Crowns label, and this track only hints at the greater good found on his own record, with several mighty turns from Joe Fontaine (violin) and Mickey Saccoccio on mandolin. He's also at Hear in RI next weekend. Providence soloist Jon Tierney brings in a Harry Chapin feel on his tale of a former addict looking back wistfully on the more placid times of his youth on "Checkered Flag." Great tune. Mystic-based foursome Dreaming May contribute twice, and both evoke a Natalie Merchant/ Maniacs feel (how could one song not be called "Ophelia"?), complete with a star-crossed heroines, whose tales are recounted by talented lead singer Lars Martin. CeyJay, a Boston singer/pianist, breaks some rules to interesting effect in "Shirt vs. Skins." The mix finds her voice often dropping low, right under her piano, but the track is interesting and eerie enough to have the listener hanging on every word. Singer/pianist Shoshana goes the epic route on "Deeper Than the Night," which is vocally overwrought and comes off like one of Ellen Foley's out-takes with Mr. Loaf. The fearless Shoshana does write incredibly challenging vocal parts for herself, up in the degree-of-difficulty range where phrasing and modulation are crucial, so I can here this on a Streisand album and few others.

Pat & Sarah Tallarico sing together to open the middle portion of this Phase of three folk/rock offerings emphasizing the artists' Christian belief system. Pat & Sarah's "Come to Me" benefits from a tasty violin outro by David Olivier, but Wayword follow more effectively with great, tight (brotherly?) harmonies by Dave and Dean Mueller on "Follow the Son." Brethren's trio harmonies are equally impressive on "May IWorship You," which segues into Japanese haiku translation with Shoshana again on "Under the Edge of Purple Skies." Shoshana's more effective here on a short track based on the downright economical form. Los Angeleno Buz Bergmark sounds like a folkier Jim Morrison on "Open Skies," recorded in Santa Fe. Winding down, Double Helix boast great vocals and Jade Warner's radio-friendly "Hunter" ends it well.

STARS 'N' . . . Hockey: no matter what, I'm psyched for Oates and Juneau. I bring it up because recently a young B's blueliner now being courted by the Rangers (don't do it Kyle!) was spotted courting in Hell. Another wrister for the whizzing summer bladers:cars will mess you up, so gear up. Must be intact to watch the B's.

Judy Stillman's at Chan's in Woonsocket in a jazz duet with Yasko Kubota (synthesizer, percussion) courtesy of an arranged meeting by John Chan, and later guest vocalist Jim Kleyla sings excerpts from Stillman's as-yet unstaged dark comic musical Divorce?Of Course! About her new holiday record, Christmas Reflections (North Star) Stillman said on Saturday, "Ironically, I always seem to make my Christmas records in spring. Here it is sunny and gorgeous and I'm trying to think of sleigh bells and snow." If anyone can do it . . . .

Comparing and contrasting her other holiday offerings, the Pell Award winner said, "The new one has more New Age, more adventurous harmonies." It also features harp ("to make it as magical and enchanted as possible"), and Stillman's sleigh bells recording debut. Shows are on Friday and Saturday at 8 p.m.

Kilgore's along for the Ozzfest Second Stage, while the Crowns join Warped in Northampton, Philly and DC. Billboard on Amazing Royal Crowns:"A wicked hybrid of rockabilly and punk so fierce they sound like the Stray Cats on steroids." Good thing Colonel Maguire knows how good Setzer is. The Amoebic Ensemble, who play the Century Lounge on Friday with Delta Clutch and the Din Pedals, are headed for a Toronto festival to plug Amoebiasis.

Sunday's a phenomenal night at CAV, with Quetzal celebrating the release of their brandy-new Hijos Del Sol (Signature Sounds), one of the finest of '98 so far, blowing away younger, poppier bands I've seen address these styles at International. Destroyin' 'em, matter of fact. Viva Quetzal's Americanos are seasoned and heavy, heavy players -- college faculty and touring vets all 'round. Roberto "Sogueño" Clavijo is their main composer, working the magic outward from his birthplace of Arico, Chile. There's Saya, from the Andean region of Bolivia, Venezuelan Golpe Tucuyano, Ecuadorian Sanjuanito beats. Latino jazz-rock fusion keeps a contemporary ear tuned, and the swing is undeniable. Can't fake verve, and this new record (translated, "Children of the Sun") has tons. Spot-on summertime listening, and odds are it'll be full, so arrive early.