'I-10 Chronicles' Is One of Several Routes to Take

‘I-10 Chronicles’ Is One of Several Routes to Take

By ROBERT HILBURN

April 30, 2000 12 AM PT

Robert Hilburn is The Times' pop music critic

The parallel isn’t exact, but there is enough warmth and loving sense of musical and cultural tradition to “The I-10 Chronicles” to make you think of it as a sort of “I-10 Social Club.” Interstate 10 connects the Pacific and the Atlantic, but the musical settings on this concept album stretch only from Southern California to Texas. It’s not clear how all the songs relate to the region, but it’s a delight to hear the informal interchange. Willie Nelson sings lead on Fred Neil’s “Everybody’s Talkin’,” then sings backup for Bill Hearne on Guy Clark’s “L.A. Freeway.” Buena Vista Social Club alum Eliades Ochoa sings lead in Spanish on one track, then backs Charlie Musselwhite on acoustic guitar on another. And so on, with a cast that also includes Joe Ely, Adam Duritz, Emmylou Harris, Flaco Jimenez, David Hidalgo and some noteworthy newcomers. “Chronicles” highlights the latest guide to keeping up with what’s enticing in pop music on an album budget of $50 a month.

March

Various artists’ “The I-10 Chronicles” (Back Porch/Virgin). Again, don’t expect something as polished or stylish as “Buena Vista Social Club.” Listening to “I-10 Chronicles” is merely like experiencing a good night of music in a club or cantina, whether in Echo Park (Duritz singing Warren Zevon’s “Carmelita”) or somewhere in the Southwest (Meredith Marshall singing Ry Cooder-James Dickinson-John Hiatt’s “Across the Borderline”). An understated delight. Some of the cast members, including Jimenez and Ely, play the House of Blues on May 12.

Eels’ “Daisies of the Galaxy” (DreamWorks). “I think, you know, I’ll be OK,” Eels leader E sings wistfully in the opening track of this follow-up to 1998’s excellent but somber “Electro-Shock Blues,” and the line conveys nicely the gentle optimism underlying this album. Just as Oasis’ energy-filled “Definitely Maybe” seems like the ideal soundtrack on days when everything seems right, this is the companion piece when you’re looking for some gentle comfort. There’s even a trace of Beatle-esque sunshine filtering through the tracks.

Travis’ “The Man Who” (Epic/Independiente). This Scottish band gave us one of the great rock tracks of the ‘90s in “All I Want to Do Is Rock” on its debut album, “Good Feeling.” But the tone is more melancholy this time around. While you listen, you can have lots of fun trying to figure out if the mood of most tracks is closer to the Verve’s “Urban Hymns” or Radiohead’s “OK Computer.” Either way, those models should tip you off to the fact that Travis’ Fran Healy is a singer-songwriter with considerable promise and passion.

April

Toni Braxton’s “The Heat” (LaFace). Because of her glamour and her history of hit ballads, Braxton is often lumped in with Mariah Carey and the other divas. But there are moments in this album that suggest we should begin thinking of her in the more artistic vein of Lauryn Hill and Erykah Badu. Braxton has a lot of co-writers and co-producers, but in the heart of the album she somehow maintains a strong, identifiable presence. And there are enough hit singles here to keep her on the charts through Christmas.

Common’s “Like Water for Chocolate” (MCA). Like much of rock over the years, rap music often seems to have a special code that speaks only to its target audience. There may be a certain universality to the Beatles and U2, but Nirvana, for instance, was never meant to address everyone. Common’s appeal, too, is probably limited to a core audience, but he is one of the few high-profile rappers who is as interested in challenging lyrics as he is in seductive beats. His language is sometimes offensive as he explores all sorts of politics (from rap to sexual to social), but his most compelling tracks urge his audience to question attitudes and assumptions in the tradition of Chuck D. and KRS-One.

Magnolia Sisters’ “Chers Amis” (Rounder). There’s something about the mix of fiddles and accordions in Cajun music that is hard to resist but also hard to expand on record. Yet the Magnolia Sisters--billed as Cajun music’s only all-woman band--infuse the vintage style with some engaging freshness. The women--including lead singers Ann Savoy and Jane Vidrine--aren’t really sisters, but their shared sense of musical spirit and tradition makes the group name seem quite appropriate.

Robert Hilburn, The Times’ pop music critic, can be reached by e-mail at [email protected].