Cap'n Jazz
Analphabetapolothology
[Jade Tree]
Rating: 8.5
Every generation of indie kids has their own musical Holy Grail. Like
Slint's Spiderland or Rodan's Rusty, it's usually a bold,
epic, almost revolutionary statement created by a band that has long since
broken up and spawned other excellent bands, despite their never
managing to escape the shadow of that one incredible album. Cap'n Jazz, a
young, volatile Chicago band that broke up in 1995, fits this description
perfectly; their only full- length release Shmap'n Shmazz (also
known by another title too long to bother writing out fully) is their Holy
Grail to the post- emo indie- rock world. The mythos surrounding this
way- out- of- print and impossible- to- find album has only increased
with time, until Jade Tree Records recently decided to re- release it as
part of a compilation of all Cap'n Jazz's recorded material. If
Analphabetapolothology partially demystifies Cap'n Jazz by making
their music more accessible, it makes up for it by proving that the music
is well worth all the fuss.
Analphabetapolothology is a document of a band whose unabashed
enthusiasm is their greatest charm. Even the title betrays Cap'n Jazz's
need to say everything at once; their songs careen at breakneck speeds
with ragged guitars falling all over each other in a race to the finish.
But it's Tim Kinsella's voice-- a screechy, hoarse thing-- which makes Cap'n
Jazz so special. Kinsella's lyrics spill out of his mouth faster than he can
pronounce them, all blending together in a wild, unschooled yowl. He may
not be quite on pitch all the time, but his energy is so infectious it
doesn't matter. The first half of Analphabetapolothology, which is
Shmap'n Shmazz in its entirety, is the distilled experience of life
in all its messy glory; it makes you want to to laugh, cry and scream all
at once along with the band.
Being a two- disc set, Analphabetapolothology is a treasure for
completists, while rubbernecking passerbys may balk at its length. Truth be
told, there's a lot of material which could have been mercifully cut;
after Shmap'n Shmazz's tracks, the uneven collection of seven- inch
releases are a bit of a comedown, although covers of A-ha's "Take On Me"
and the Beverly Hills 90210 theme (remade as a Pavement-y amble) are
mildly amusing. In this case, you gotta take the good with the
not- so- good; getting a chance to own Cap'n Jazz's first album in any form
is well worth the cost.
-Nick Mirov