October '98
Pick of the Month
Dogfish Jones
Artist: L.S.U.
Label: Light Records / Platinum Entertainment
Time: 57:35/14 tracks
Michael Knott: mayhem magnet or mostly misunderstood? Maybe to some
extent both, but the former by circumstance not choice. He does seem to
crave both attention and acceptance. Wild rumors abound, most of which
are historically unfounded, especially if careful attention is paid to
his honest albums full of ironic wit, faith-filled encouragements, and
stark observations of life at once joyous and cruel. Too tawdry for the
church-minded? Too tame for the mainstream? A boundary pushing pioneer?
A prolific musical genius? And worse yet (gasp), an imbiber of alcohol!
Blame him if you want for being a wild rock and rolling, attention-grabbing
sinner--but please don't make the mistake of dismissing him as a saint.
His considerable body of work as the front man and principle songwriter
for the Lifesavers, LSU, Aunt Bettys, Brow Beat compilations, and a handful
of solo albums all testify to his desire to serve God both truly and artfully.
Yet in spite of this ample evidence, Michael Knott still swims a sea of
controversy. How appropriate that his latest concept album features a seafaring
soul in search of redemption.
Although the lyrics are not always easy to make out, the plot clearly
centers around a weathered seaman alternately referred to as both Dogfish
Jones and Barnacle Bob. This poor sailor is then shipwrecked, swallowed
whole by a whale, swamped by personal struggles, shot at by killer mermaids
but rescued by a sexy one, and later subjected to skirmishes with scurvy
pirates. If that wasn't enough, he also falls in love with Seashell Sally--plus
learns a little something about himself. Not bad for a boy by the name
of Barnacle who just "can't seem to get it right." Thematically, the album
explores envy and relational difficulties using the Greensea Island as
an appropriate metaphor. Could this be Knott's own personal story? It not
only seems very likely, but a strong case could be made. Nevertheless,
some of the surprises are best left unexamined in a review. Why spoil your
personal exploration of the album? Lyrics are not included, but you'll
get the gist after repeated listens. It might take that long for your overall
appreciation to grow on you--not like an unwanted algae but more like a
worthy fondness for rich, hearty seafood. The more you eat, the more you
will be satisfied.
In the past, Michael Knott under his various monikers has explored
everything from aggressive acoustic to surf-pop, neo-classic rock to modern
hard rock. Same story with Dogfish Jones, which owes some passing
similarities to other LSU projects, as well as the expected divergences
and other assorted weirdness. One of the most pleasant of these is Gene
Eugene's keyboard bits--which sound like spooky, bubbling, undersea organs.
His inspired playing is one of the most noticeable sonic effects on the
album, especially on the stand-out cut "Let Me Out." The rest of
the band is basically the Aunt Bettys with Farewell to Juliet's guitarist,
Jeff Elbel, replacing Brian Doidge. Together they create a sound that invokes
everyone from Bowie to The Who, The Beatles to the Beach Boys, even Floyd
and The Stones, without stealing any unwanted seaweed. Knott uses his entire
vocal range here, from higher-pitched caterwauling to lower brooding. At
times the vocals are layered rather thickly, but don't fear that Knott
has turned into Enya. Not quite. The overall effect is a unique one to
a Knott album, and makes for compelling listening. Howard Knott, Michael's
father, appropriately embodies an old sea dog himself on two tracks of
a traditional sea-faring folk nature. Musically, these two chanties are
at odds with the capricious classic/modern rock blend of the rest of the
album; however, they provide an appropriate thematic fit and sound delightful
raucous--the kind of song that will make you forget you're swabbing the
deck.
There is plenty to admire here: a creative plot, fun concept, interesting
arrangements, and a profusion of fish stories worth sharing. As a concept
album it appears to be more personal in nature, but not quite as compelling
or energetic as The Grape Prophet. Perhaps the story lacks high
enough stakes or is just too much of struggle to make out at times, but
this one may not grab you quite as speedily or solidly. It verges on, but
doesn't quite reach, his best work like Shaded Pain, The Grape
Prophet, Grace Shaker, and the quintessential Aunt Bettys.
Regardless, it is still a considerable, creative, and ambitious artistic
statement from one of our resident geniuses. And recommended.
One of the better-produced LSU albums, with a boatload of fun songs
and great new album artwork by Knott himself, Dogfish Jones is seaworthy
for inspection. Don't be caught out in the waves without it! Drop
anchor at your local music store, or cast a line out to http://
www.platinument.com and pull this one in before the sea swells and
the seashore sinks out of sight.
By Steven Stuart Baldwin (9/2/98)
