By Emma Silvers
By Gary Moskowitz
By Alee Karim
By Ian S. Port
By Ian S. Port
By Derek Opperman
By Emma Silvers
By Alee Karim
Not surprisingly, the record does stumble upon some of Tom Waits' patented gruff 'n' clang, with the jagged blues and vocoder/megaphone intonations of "La Paloma" and the funky "Shore Patrol" (another vaguely Beck-ish sounding number).
At his best, Prophet seems capable of synthesizing his many influences -- musical and lyrical -- into a uniquely original vision. When he does, the results are the apogee of understated brilliance, as on the album's centerpiece, "Apology."
A languid mesh of warm bass and Mellotron, the song takes the universal human need for forgiveness and turns the concept on its ear with a litany of comical examples: "CBS from the MTV," "the shoulder from the road," "the Cancer from the Scorpio."
But the moment that best captures Prophet's ironic worldview comes after a verse in which he opines that "someday soon the Vatican is gonna call" -- an allusion to the recent papal apology for the Catholic Church's toleration of the Holocaust. Prophet follows that heady reference with a bridge that asks, "How can I swallow every little thing she says?/ She don't even know Elvis from El Vez."
Surprisingly, Prophet's signature guitar work is downplayed on The Hurting Business. The album boasts few traditional solos, as the instrument is more a character actor than a featured star in Prophet's wide-screen production. His twangy runs and subtle fills are still there, but they never rise above the songs, married instead to a bed of keyboard sounds, clipped percussion, and ghostly background vocals (provided by a studio cast that includes Prophet's wife, singer/ pianist Stephanie Finch; bassists Roly Salley and Andy Stoller; American Music Club's Tim Mooney; and longtime drummer Paul Revelli, among others). For Prophet -- a man who made his early reputation as a six-string hot shot -- the lack of over-the-top fretwork isn't a problem.
"My tendency is to turn the guitars down. I hear that sometimes with Lindsey Buckingham or J.J. Cale -- where it sounds like they're just a little bit underneath everything. I don't know why, that's just where my sensibilities lie. It's not that way onstage, though," he says.
Like a number of his fellow roots-rockers, Prophet has long faced an unusual career quandary; all but ignored in his home country, he's maintained a healthy following -- even minor star status -- overseas.
"I've got a love/hate relationship with Europe. I mean, I enjoy the success we have over there, but I'm not making this music thinking what someone in Paris would like. I'm making American music," he offers adamantly. "After a while, you start walking around thinking you're crazy because you're not connecting with more Americans. But I think we've sort of turned that around with this record. It's been really gratifying to go to shows and see a lot of people, especially when they speak English."
Prophet's popularity is flowering in many quarters, thanks in part to the cult surrounding Green on Red, one that continues to grow on both sides of the Atlantic. In 1995, China Records released a GOR best-of; in 1997, Germany's Normal issued Archives Vol. 1, a retrospective collecting demos, B-sides, and live tracks; in 1998, Edsel U.K. put out the group's last four albums as a pair of special-edition two-fers. And later this year, Restless Records will issue an expanded, remastered version of 1985's altcountry pioneering Gas, Food & Lodging.
Prophet (who hooked up with the originally Tucson-based Green on Red in L.A. in the mid-'80s) looks back at his time with the group fondly. Still, he has no regrets about GOR's 1992 demise.
"You can only drag your adolescence so far into your adulthood. Being in a band is like living with your parents. You gotta move out of the house before people start talking -- 'How old is he? Thirty-five years old and he's still living at home!'" he says, amid gales of laughter. "It's just natural to get out of it. Plus, nobody can break me up. I've tried. Believe me, I tried to break myself up and it's hard to do."
Prophet's immediate plans include the long-delayed completion of the debut album from Go-Go Market, a collaboration with wife Finch that he describes as "fulfilling a Brill Building jones."
A follow-up to Business is also in its early stages. Instead of again taking the redacted studio route, Prophet plans to write and record a more ornate and traditional album, one that will feature fleshed-out arrangements, horns, and a string section.
It's hard not to marvel at Prophet's versatility and output. It seems especially remarkable for a man once regarded as the epitome of wasted, junkie cool. The same Chuck Prophet who once denounced "rehab" as artistic immolation on the pages of Melody Maker.
"In a lot of ways I feel like I'm crazier now than I was back then -- I'm just not on drugs anymore," he says, laughing. "I'm off my medication and I feel like I'm much more dangerous now. I really do."