Reviews

Lowlights

Raised in rural New Mexico, Dameon Lee—aka Lowlights—gravitated first towards power pop with Albuquerque combo Scared Of Chaka. In 1999, six albums later, he set about beating a more sepulchral trail of his own. Co-produced by Dustin (Rocketship) Reske, this painterly debut is a sad-slow delight. Nothing maudlin about it either. Lee's voice has an autumn-leaf warmth, carried on swirls of organ noise, understated pedal-steel and shadowed by the faint harmonies of Angela Brown.

The Outsider

Fifth album from prolific, acerbic British singer-songwriter

Dub Pistols – Six Million Ways To Live

Formerly linked to the late-'90s big beat movement, Barry Ashworth's Dub Pistols have become one of the UK's leading exponents of political dubtronica. Jamaican Studio One veteran (and sometime Massive Attack collaborator) Horace Andy adds guest vocals to opening track "Sound Clash", eclipsed in the surprise stakes only by the appearance on "Problem" of former Specials frontman Terry Hall, making his first outing over a ska beat for decades. Electro, jazz, dancehall, hip hop—everything's here, mashed up in a smoky dub haze.

The Nitty Gritty Dirt Band – Will The Circle Be Unbroken: Volume III

Orange County proto-hippie cowboys still plying their ornery trade

John Mellencamp – Trouble No More

Roots-based album of covers from poor man's Springsteen

David Bowie – Black Tie, White Noise

Lavish two-CD repackaging for Bowie's 1993 return to form

Various – Northern Soul Floorshakers

Enjoyable, rarities-stuffed collection. Pass the talc

Le Chignon D’Olga

Exquisite Rohmer-style romantic drama

Thunderbolt And Lightfoot

Four years before The Deer Hunter, Michael Cimino made his debut as writer and director with this macho love story, starring Clint Eastwood as a typically crusty old bank robber and Oscar-nominated Jeff Bridges as his wide-eyed and adoring young sidekick. Excellent support from George Kennedy and Geoffrey Lewis as a couple of hoods after Clint's ass (as it were).

The Kid Stays In The Picture

Ridiculous documentary in praise of the gigantic ego of producer Robert Evans, 'somebody' in the '70s but a self-promoting Hollywood Del Boy now. Sure, he bankrolled great films once (The Godfather, Chinatown), but this indulgent, visually static puff-piece (chiefly composed of photos and Evans saying what a fabulous mogul and stud he is) isn't one of them.
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