BoDeans
Homebrewed: Live From the Pabst
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For their third album, the BoDeans offer a paradox. Home is the Wisconsinites' most sophisticated and energetic album to date, yet it is also their most consciously derivative. Since their 1986 debut, Love & Hope & Sex & Dreams, the BoDeans have largely been heralded for their rootsy, no-frills style. Led by the writing team of "Beau and Sammy BoDean" (singers and guitarists Kurt Neumann and Sammy Llanas), the band has built itself on melodically simple hooks. But at a time in their career when most bands are embellishing their sound, the BoDeans appear ready to discard much of their individuality in favor of some of the most familiar rock mannerisms, particularly those
Read More of U2 and Bruce Springsteen. At times, this borrowing reaches almost ludicrous proportions. "You Don't Get Much" is such a blatant attempt to sound like U2 that it scarcely contains any element of the BoDeans. Springsteen receives the highest form of flattery on "No One," which tells the story of a woman named Cherry whose "husband was young, he got scared and left her behind," leaving her a "fallen angel of blue, like an Orbison song." Even more familiar is the imagery of the otherwise powerful "Worlds Away," which deals with kids who have names like Johnny and Sheri and are "Romeos and street heroes . . . tellin' lies with angels' eyes, pullin' switchblade knives." Yet Home has more than a few fine moments. The opening tracks – "When the Love Is Good," "Beautiful Rain" and "Good Work" – are intelligent, straightforward rock & roll delivered without a trace of self-consciousness, and "Far Far Away From My Heart" is a plaintive and moving ballad of frustration and loneliness. For several tracks the BoDeans are augmented by John Cougar Mellencamp's outstanding drummer, Kenny Aronoff, in whose presence the band evinces a drive not to be found on its first two albums. But the greatest enigma on Home is the song "Brand New," which appears deep into the second half of the album. Starting with an Edge-like guitar riff, the song suddenly shifts gears and uses a variation on the chorus vamp from "Tunnel of Love" to tell the story of a couple who – on the brink of emotional and financial bankruptcy – experience a rebirth of their love. That the BoDeans are able to rise above the song's one-from-column-A, one-from-column-B structure and create a deeply moving and personal piece of music bodes well for their future. Someday soon the BoDeans are gonna get to that place where they really wanna go and they'll walk in the sun. (RS 559) FRED GOODMAN |
