As I sit here trying to think of the best way to describe Cobra Verde’s latest offering, Nightlife, I am reminded of the timely proverb "Never judge a book by its cover" — or in this case, CD. Because if you approach this album with the notion that it’s going to be a rockin’ package of party tunes, you’re in for a surprise. Especially given the sultry album cover (courtesy Mick Rock, who has created memorable visual artwork for Bowie, Queen, and the Ramones, among others) and the seemingly obvious title.

The first four tracks are fairly straightforward, rock-oriented, and catchy. Nothing new here, right? Ahh, but then the album takes on a David Lynch/Angelo Badalamenti-an twist, and before we have a chance to re-orient ourselves, we’re spinning on a mad artsy gamble through a land of Casinos and $2 Souvenirs (tracks five and thirteen, respectively). Welcome to Cobra Verde country.

Each song has a different feel, a diffent attitude, and most obviously, vastly different vocal stylings by frontman John Petkovic. In "What Makes a Man a Man," the lounge-lizardlike feel is eerily reminiscent of something David Lee Roth, while echoes of U2’s Bono float down over "Don’t Let Me Love You." He can cruise the folkish, Stone-sy waters of "Back to Venus," ride the gravelly vocal edge of "Crashing in a Plane," and narrate the Biblical-cartoonish "Pontius Pilate." This makes for a thoroughly confusing listening experience. But, that may be where the mystifying attraction lies — Nightlife covers a vast expanse of sonic territory and manages to satisfy, perhaps, several aspects of your personality in one shot! (Motel Records, Inc., 210 East 49th Street, New York, NY 10017)

When a recording artists achieves success in whatever genre he initially engages, he may start looking towards other challenges. Some venture into acting, others purposely select musical material that will expose them to a new audience (i.e. Garth Brooks’ pop attempt as Chris Gaines.) Some are more successful than others in their new endeavor.
Dolly Parton is no exception. Having been country music’s songbird for decades, she has already conquered Hollywood with such films as 9 to 5, and Straight Talk. But, since the grass always seems greener on the other side, Parton has crossed the field into Bluegrass.
Parton’s voice is a natural for the twangy, string-strummin’, porch rockin’, country blues. There is a song for just about every stereo-typical country bumpkin scenario. From jail ("Cash on the Barrelhead") to drinking and cheating ("I’m Gonna Sleep with One Eye Open") to Gospel ("I Am Ready") to leaving (the rest). "Travelin’ Prayer" seems to be the one anomaly of the CD. After all, it talks of love and caring. Then again, it is about a truck driver.

Harmony vocal contributions by Alison Krauss and Patty Loveless are hard to distinguish, but compliment Parton’s vocals. It creates that musical chime that reverberates deep inside. Other vocal contributions include Claire Lynch, Dan Tyminski, Keith Little and Alan O’Bryant.

Despite the underlying theme of many of the tracks, there is a compulsion to toe tap. Without the benefit of the music, the toe tapping might be replaced by eyes misting. For those not fans of bluegrass (or those who never had reason to listen), Parton has the ability to fool the listener. After all, The Grass Is Blue is foremost Parton, bluegrass second. It will be a disc that will sit among the collection, not hidden or traded in —chalked up to an experimental phase for the artist.

O.K. fans of power pop, pull out the gift certificates you got for Christmas and run out to the store for The Shazam’s latest release Godspeed the Shazam. This Nashville based outfit put the "P" in power pop and will certainly make indelible impressions on the rock n’ roll world in the new millennium. Right off the bat, the leading "Super Tuesday" kicks you right in the head and grabs your attention. The album does not falter from there, delivering great songwriting with mostly uptempo songs reminiscent of Jellyfish and Cheap Trick. The production by Brad Jones is wonderful, and well-polished. The Shazam features the quirky, yet confident vocals and guitar work of frontman Hans Rotenberry, while drummer Scott Ballew and Bassist Mick Wilson provide not only a strong backbone, but brilliant harmonies to round out the rich songwriting. The Shazam will throw a few curve balls your way. Check out the wild "Chipper Cherry Daylilly" or the cool theorem in work in "Sparkleroom." The lone slow number on the album "A Better World" is a beautiful, yet dark ballad. Stripped down to acoustic guitar, piano and vocals it displays the tender side of The Shazam in a few short minutes. Godspeed the Shazam is truly a wonderful package of pop music. (Not Lame Recordings, P.O. Box 2266, Fort Collins, Colorado 80522)