Pros: M. Doughty and company are talented and different
Cons: May be too strange for some tastes
The Bottom Line: Soul Coughing is amazing. Combining samples and an upright bass, the band breaks new ground. One of the most amazing albums in existence.
lambchops's Full Review: Ruby Vroom by Soul Coughing
Indescribably cool, calm and funky.
Soul Coughing is very much unlike any other band to permeate the edges of ‘the scene’ in the 1990’s. The band’s sound is about as close to timeless as something so trendy can come. Ruby Vroom was the band’s first attempt at a record. And, oh! What an attempt it turned out to be.
It’s sad that M. Doughty and his colleagues are no longer joined together as part of Soul Coughing. Throughout the New York band’s career, music fans were given three treasures: 1994’s Ruby Vroom, 1996’s Irresistible Bliss, and 1998’s El Oso. The guys, M. Doughty (vocals, electric guitar), Sebastian Steinberg (acoustic bass), Yuval Gabay (drums), M'ark De Gli Antoni (samples), parted ways (thanks to Doughty wanting a solo career) in 2000.
Ruby Vroom is an interesting example of freeform music. The band’s sound as a whole seems to shift between trippy jazz to hip-hop (with rap) to spoken work with seamless ease. But, what makes this album more than just moderately good is the fact that it’s fun, danceable, and interesting all at the same time. Soul Coughing doesn’t sacrifice their talent in favor of pleasing the masses. The band is making music to please themselves, and in doing so have pleased the masses.
Shut your eyes and relax. Let the music do the talking. With Ruby Vroom it’s impossible not to be impressed and entertained by Soul Coughing’s infectious grooves. From the beginning, it’s apparent that this music isn’t rock nor pop nor any other pigeonhole. The acoustic bass is the first clue. The acoustic bass joined by the samples and electric guitar is the second clue. ”Is Chicago Not Chicago” proves to be a great track to begin the first album from a new band. Doughty’s voice does its job switching from a wail to his near spoken-word tempo. The track is so layered that with each listen, music lovers are given a different facet of what as a whole turns out to be Soul Coughing.
Slow, soft and full of intense groove, ”Sugar Free Jazz” actually reminds me of what I like most about Bjork. This thing I like is the obvious ability to make music free of constraints. The addition of odd samples (screaming gulls, for example) adds an amazing element to music that could otherwise just be good. Driving this particular track, the drums beat methodically behind Doughty’s pretentious beat poet persona. This track catches the virginal listener off guard. The sound is literally too good to be true. We are in the presence of greatness.
Jazz. ”Casiotone Nation” is the modern version of jazz. It’s also a commentary about the consumer nation…it references everything from nipple clips to Milton Bradley. I can almost see Doughty standing on a small stage at a small, dark coffee house spewing out these lyrics to brooding poetry lovers. Backed by a sampled horn, jazzy drums, and that darned acoustic bass, this is one of the best tracks of this album. The chanting paired with a certain flying superhero mouse announcing Here I come… is brilliant.
The guitar that begins ”Blue-Eyed Devil” should hook any listener immediately. If it wasn’t for the occasional addition of a muted trumpet in the background, this song could almost be mistaken for mainstream. Like I said…almost. To listen to this track (and most of the others) is to listen to layer upon layer of influence and instrument. At the center of each song is the hilarious person best known as M. Doughty (actually Michael at birth). This track doesn’t prove as funny as the last one, but it’s executed just as well technically. Add this to the list of songs to put on your next mix tape.
”Bus to Beelzebub” actually sounds a bit like a cartoon theme. The sampling here of what I believe to be a Looney Toons theme song seems to be out of place when combined with the striking and sparse sound of Doughty’s voice chanting about how It’s a grind, grind. This contrast is also one of the factors that makes music from Soul Coughing very different from, say, N’Sync. This is a modern, pseudo-psychadelic trip of sorts meant to perplex and entertain all at the same time. It’s a wild, unpredictable ride into the depths of what could only be M. Doughty’s psyche. The lyrics, pace, and feel can change from one moment to the next. This kind of unpredictability usually frustrates me. Soul Coughing manages not to frustrate, but to entertain.
Spooky and ambient, ”True Dreams of Wichita” is one of the more evocative songs on this album. It’s quiet and simple, reminding me at least a bit of the lovely and simple Cowboy Junkies version of ”Sweet Jane”. M. Doughty’s voice is calmer and more reserved than in other, stranger tracks. This song is probably more user-friendly than other more sample-laden songs (although, the tempo picks up and more samples are added as the track progresses somewhat erratically.
A song with a story. ”Screenwriter’s Blues” is actually much more a spoken word track backed by funky instrumentation than it is a pop or rock or jazz track. The story contained within the song is that of a young Los Angeles-based screenwriter and the sordid and strange life that person (Doughty?) lives. The song is slow, methodical and thoughtful. It’s another one of those darned social commentaries. Perfect, splendid, exquisite, clever…all words that easily describe this track.
The funky guitar that starts out ”Moon Sammy” is fast and frantic. It’s anxious pace and Doughty’s equally unstable delivery prove to be a droning and ridiculous reminder of the grace and perfection that is and will always be Soul Coughing. With fewer instruments and samples, there aren’t really as many levels to relish in as with other tracks, but it’s nonetheless an excellent listen.
The strange opening to ”Supra Genius” teases the listener. The song is actually mid-tempo and plodding. The lyrics aren’t particularly catchy no intelligent. If there’s one song on this album that doesn’t live up to the hype of this album…this one may be the one. I like the sampling efforts, but the tempo leaves something to be desired.
”City of Motors” is a sneaky track. It begins soft, almost like a whisper. But then, Manuela said she saw the brakes fail. The song actually tells the story of a city that seems to happen with this Manuela at the axis. I like the fact that this is a story and that this is spoken word poetry backed by the upright bass. This particular track may not be for everybody…especially people who just want to dance. If you’re just looking for a grooved-up story set to music, this is definitely for you.
To moderate fans of Soul Coughing, ”Uh, Zoom Zip” is a great song. This is actually the sound that I most appreciate from the band. It’s loud and anxious and obnoxious at times. Doughty seems almost crazed as he sings over the low bass and lounge act-esque drums. There’s also a lot of samples, and get this. There’s even what sounds to be the old-fashioned recorder (like the one you played in elementary music class). This song begs listeners to close their eyes, tap their toes, and sway in unison to the erratic beat. Wow. That’s all the more that really needs to be said.
The Motown feel to ”Down To This” makes it a very unique song. Of course that D-Town feel doesn’t stay focused. The samples continue throughout, but Doughty’s touches and the strange Soul Coughing touch make this purely creative and funky…more so than some of the other tracks on this LP. This is a must listen, although I like some of the other songs more than this one. Anyway, You get the ankles and I’ll get the wrists.
”Mr. Bitterness” sounds strangely like a dance track at the beginning. It doesn’t even sound like Soul Coughing until the addition of Doughty’s voice. Then, the song goes awry. The samples pop up and the upright bass is added to the mix. This is one of the crazier songs by far on this album. It definitely could prove a bit too strange for some tastes. For me? Well, I’m strange anyway.
Answering machines rock…so does ”Janine”. Sounding more like a teen dream 1950’s rock ballad than a Soul Coughing track, this song is perfect. I love it! The tempo is slow and soft and Doughty sings softly just a notch louder than the acoustic guitar and exceptionally soft drums. This is one of my favorite songs of all. It’s not as loud, as fast, as bass-heavy, or as obnoxious as other tracks. Instead, it’s just nice and sweet. Doughty even mentions Al Roker.
As you can clearly see, I like this album. But, what needs to be said the most is that other reviewers and critics also like this album…a lot. There aren’t many LP’s that prove to be this special and this complete. Ruby Vroom is a special find for fans of strange music. If you are only into really heavy metal, this album really isn’t for you. If you like Britney Spears, for gods sake don’t pick up this album and then wail on and on about how bad it sucks. If you like stranger music like Cake, Bjork, Jamiroquai, or even Brit pop, this band and this album definitely is perfect.
Since I’ve repeated the fact that this album is perfect, I can only give it 5/5 stars. It’s definitely the strongest album I’ve reviewed to date (only barely surpassing The Black Crowes with Shake Your Moneymaker). So, if any of what I’ve said seems even remotely interesting, run (don’t walk) to the nearest record store. Find Ruby Vroom and throw it in your stereo. You’ve never heard anything quite like this.
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