X-RAY SPEX The Anthology
(Castle Music)

     Back in the day, I didn't pay much attention to Poly Styrene and Co., except for their legendary single, "Oh Bondage! Up Yours!" Imagine my delight when I got my hands on this 2 CD retrospective, and discovered that aside from that anthem, they had some fucking great tunes that still stand up in 2002.
     Comprised of their first studio album, Germ Free Adolescents, plus bonus demo tracks and live recordings from London's Roxy Club, the package makes it clear that Poly was revolted by social conditioning more than politics per se. Lines like "I wanna be Instamatic/I wanna be a frozen pea/I wanna be dehydrated/In a consumer society" (from "Art-i-ficial") are great mini-manifestos that stand up musically as well as lyrically, thanks in part to guitarist Jak Stafford and sax squealer Lora Logic(who went on to form Essential Logic, one of England's first "post-punk" bands, before the term became a cliche).
     Melodic and outright bouncy at times, X-Ray Spex reminds us that the best early punk bands defied Generic Punk Rock even then. There is still chainsaw guitar throughout, it's just not the only factor in the sound. Like Subway Sect and The Adverts, they were an important band that never got nearly the recognition in the States that they did in the U.K.
     My favorite song here is "Identity", a solid chunk of self-image angst; other standouts are "Let's Submerge" and "Genetic Engineering". I could do without the live tracks--the band's performances are by and large lukewarm. There are even two live versions of "Oh Bondage..." and Stafford comes in late on BOTH of them. I'm sure it was thrilling if you were there, but I'll take the studio disc anyday. Poly had a strong and soulful voice when she belted this stuff out, and even though she turned to Krishna for many years, was still more punk rock than idiots like The Exploited will ever be. So there.

TOM WAITS Alice (Anti-)

From the first note of the first number, you know that this one is a spiritual cousin of Waits' early work, due in no small part to the fact that he uses strings here for the first time since his soundtrack to One From the Heart, over 20 years ago. But instead of using the backdrop of an orchestra, Tom interweaves cello and violin parts with the rest of the band--piano, horns, organ, and oh yeah, guitar. The vibe here is much more melancholy than its sibling, Blood Money, and is beautiful in places. Many, many places.
     Every rock mag seems to be reviewing both of his new albums together, but this album stands up on its own, and is more of a departure, so let's focus on just "Alice". Originally written for Paul Schmidt's 1992 play of the same name, based loosely on the relationship between Lewis Carroll and his muse, a very real girl named Alice, the versions here were only recorded recently.
     "Lost in the Harbour" is easily one of the saddest songs I've heard Tom sing, sad in a narcotic, resigned way: "All the roses are frightened to bloom..." he mourns. Roses and the ocean have recurring roles in these pieces, along with typically bizarre characters like Poor Edward, a man born with a woman's face on the back of his head. Yet even this is treated tragically, not for laughs.
     Aside from bass ace Larry Taylor, most of the musicians here are new collaborators for Mr. Waits. When Colin Stetson comes in on sax near the beginning of "Alice," he drops you back into that late night/early morning twilight, sleepy and smoky and even relaxed. Longtime fans will hear echoes of early chestnuts such as "Invitation to the Blues" and "Ruby's Arms," yet this is no mere rehash. There is too much originality in the arrangements for that.
      "You haven't looked at me that way in years/You dreamed me up and left me here..." Waits sings on "I'm Still Here," lines that could just as well be his '70s music talking frankly to present-day Tom. After the careening, Beefheart-lovin' experimentation of the last two decades, this is what I've been longing to hear him do again. This is what I've been missing.