REVIEW: Chris Isaak, Speak of the Devil (Reprise)
- Robin Lapid
You know Chris Isaak -- he's that guy who parades around in VH-1 videos with a half-naked model while cementing his historical role as alt music's master transcriber of love gone wrong. What if I told you that on his latest release, Speak of the Devil, he actually lifts himself out of that 'I'm the singer with the movie star looks who gets dumped all the time' fog and creates an album chock-full of full-bodied rock music that explores a different musical terrain such as Isaak has never before approached? I'd be half off-base, is what. There are subtle hints of surprise on the album, but the singer still shows a knack for plaintive-sweet warblings a la Roy Orbison and a seductively sinister Elvis impression that is completely like the Isaak of old.
Which is not a bad thing, considering that the singer-songwriter, like an updated Orbison or Presley, knows how to perfect the rock-and-country sound of a heart melting into heartache or pelted with frustration and misplaced lust. But also on the album are welcome nuances of uncovered territory, like the surf-y instrumental "Super Magic 2000", which sounds something akin to if the Pixies' Frank Black had been obsessed with the Wild West instead of space aliens. "Speak of the Devil" builds into a rollicking rock song wherein Isaak lets loose with the crooning wail more evident in his looser live shows. "Don't Get Down On Yourself" blends Isaak's soft and tender vocals with acoustic guitar and hints at how good a lo-fi, less-produced Chris Isaak album might sound.
Most of the songs, however, fit into the mold that both sets Isaak apart and invariably limits him. The opening track and first single, "Please", with a salacious and gritty guitar line backing Isaak's dead-on rockabilly croon. "Black Flowers" carries Isaak's soft and deadly vocals much like the formidable "Dancin'" did, crescendoing into an eloquent and controlled chorus and some complementary guitar licks. In all, Speak of the Devil conflates Isaak's trademark sound with a tad more playful sonic variations. Not a big leap forward, but more like a suave sway to the left.
