Rebel Yell, 1995-05-04, page 20B

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Rebel Yell, 1995-05-04, page 20B
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Rebel Yell, 1995-05-04, page 20B
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rby_19950504_0038
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Various Artists The Celtic Heartbeat Collection Celtic I IeartbeatAtlantic j-i New Dublin- FV'Vi'r-TTV based label Celtic TOJH'M Heartbeat, co-founded by U2 manager Paul 'V. v AlcGuinness, documents the LvT , present state of .7JV.' ' ! traditional Irish I'KyV J music on this diverse and engaging sampler. The collection contains eight instrumental, featuring musical tools rarely used this side of the Atlantic. Andy Irvine and Davey Spillane employ traditional Celtic instruments such as the uil-Ieann pipe and the bouzouki on the impressive 78 romp "Chetvorno Horo." Moving Hearts' "The Storm" is a real standout that fuses Irish tradition with jazz, rock and even gasp! the f-word (funk). Of the vocal selections, tracks by groups Clannad and Anuna are especially poignant in their use of rich medieval harmony to create a haunting and inspiring musical anguage. V.speciay for strangers to traditional Irish music, The Celtic Heartbeat Collec- ) ton offers an inviting 12-track taste o the genre. James T. Diets, Daily Northwestern, Northwestern U. Fossil Fossil SireWarner Bros. '"." I Ev. so often an artist (ormove-yyk'ft-X ment) emerges to ; 'cih capture the spirit MsisP" of '64 and embody f! all things Beatles-esque. Fossil, the debut album from "0"v tne band of the 1 same name, shows that a band can effectively incorporate the musical traditions of rock's past without sounding like a dinosaur museum. The first single and album opener, "Moon," is a clever turn on the lack of non-cliched communication between lovers (i.e., singing about the moon). The track is filled with great hooks especially the guitar intro and strong lead vocals from lead singer and lyricist Bob O'Gureck. The rest of the songs are almost as catchy as "Moon" check the ode to androgyny, "Molly," and the muscular yet ambient "Fall." Darren Gautbier, KLSU-FM, Louisiana State U. The Goo Goo Dolls A Boy Niwied Goo Warner Bros. r;,ity.m7 J Big on riffs I U - J short on melody, V W A Boy Named Goo jf j Foves the Goo jvj Goos can rock V out and be tune- '' fu 1 at the same ... .' time (unlike, 1 say, Tool). But we already knew that from listening to the band's superior 1993 release Superstar Carwasb. The melodicism here isn't quite as consistent (although tracks like "Flat Top" and "Ain't That Unusual" are exceptions), and nothing really reaches out and dares you not to listen. An attempt at a slower tempo, "Name," falls flat sounding less like a Wester-berg lament than a Richie Sambora power ballad. A Boy Named Goo is at times downright tiresome like hearing a mid-'70s heavy-metal stomper but not quite as much fun. On this latest outing, The Goo Goo Dolls sound like the older brothers of today's neo-punks trying to keep up. f M JarTen (inatbier, KI.SU-l-'M, Louisiana State U. The Nonce World Ultimate Wild WestAmerican . I Tired of the THE WilCf G-Funk era? On " trieir full-length ' f debut, L.A. duo i riJ The Nonce i i vi i abandon dated ' gangsta conven- tions and honor W the old school with deliciously spare beats and a stripped-down style that slams harder than your average Snoop du jour. "Keep It On" is a potent party jam, with members Yusef and Nouka displaying solid street flow, while "Eighty-Five" and the blow-up single, "Mix Tapes," pay tribute to the mid-'80s scene that inspired them. The lyrics and samples reflect their "now school" ethic a blend of classic rap vibes and original hip-hop flavor. With World Ultimate, The Nonce stay true to the underground and give West Coast rap a much-needed dose of spontaneity. James T. Diers, Daily Northwestern, Northwestern 17. l , 31..;&;ir'i nj;&g J Listen, U. Belly, King Benefiting from tighter musicianship and looser production, King fulfills the promise of Belly's 1993 debut Star. This is your chance to hear a state-of-the-art rock band in fifth gear. A majestic album. The Roots, Do You Want More?! Accomplished musicians, fluent rappers and hip-hop scholars, The Roots are dangerously talented. Do You Want More?! is a historical document proof that live, instrumental hip-hop can stand on its own. You Are What You Shoot It's what happens when Mother Jones magazine gets together with 12 Chicagoland bands: great music. This is a compilation disc ofup-and-coming groups in support of gun control. Call 1-800-GETMOJO for more info on where you can pick up this little ditty. Umbo Cafe, I Uko My Pie With Cream This unsigned Oklahoma City band sure is convincing. Featuring intricate arrangements and folksy instrumentation (violin, mandolin), this debut LP sounds like the work of aspiring musicians, not aspiring rock stars. Call (405) 330-0746 for distribution info. Alternachycks Sure it's sexist, but man Liz Phair, Veruca Salt, Julianna Hat- j field, PJ Harvey, Tanya Donnelly they make life worth living sometimes. Yeah you're for me, punk rock girl.... j Dagobah A long time ago in a midwestern town far, far away, the boogie began. And it hasn't stopped since. Iowa City-based band Dagobah takes its name from a sunny-day meditation concern- ! ing Jedi master Yoda's weed-choked home planet. The six-man group's spaced-out, funky j sound, goofball stage presence and tongue-in-cheek humor seem to flow naturally from the same source. ' "I like to be stupid and idiotic onstage," says guitarist and co-vocalist Pat Willis, explaining the lack of self-consciousness typical of a Dagobah show. "When an entertainer acts that way," Willis adds, "people seem to loosen up. Everybody has a good time. And that's when we're serious. When we're goofy, let the vomit fly!" Blending the space-pirating, hopping-across-the-galaxy raucousness of Han Solo with i Yoda's Zen-like teachings, Dagobah's "pfunklectic" music takes you on an emotional roller coaster. It runs the gamut from introspection to all-out psychedelia. For every I crazed, sweating concert-goer gyrating on the floor during a Dagobah gig, there's someone j standing right beside him, staring into space. "It's a matter of taking quality music seriously while poking fun at music in general," i says bassist Todd Fackler. Dagobah's self-titled CD epitomizes that carefree, sarcastic attitude with songs like ; "(Whatever you do) Don't Dance." The disc features original material, but the band's occasional cover tunes have become notorious there's a mix of Kansas' "Carry On" with "Jungle Boogie" on a single track and a ska cover of Nirvana's "In Bloom." Source material is endless in that regard, and it points the way to a playful, funkadelic future like a swinging light saber. "I've btcn learning how to play 'Lights,' t..y Journey," Willis says. "But I'm playing it three octaves leaver." for muio i! Ij, v.'ii'e: D-tfolxih, 117 S. Sum. nit St., Iowa City, IA D22-I0 . I :.-..- ::, i V- !J,:!y lo.v.iaTrTV " I U. Radio Chart 1. PJ Harvey, To Bring You My Love, Island 2. Mike Watt, Ball-Hog or Tugboat?, Columbia 3. Belly, King, SireReprise 4. Bralniac, Banzai Superstar, Grass 5. Poster Children, Junior Citizen, SireReprise 6. Archers of Loaf, Vee Vec, Alias 7. Stone Hoses, Second Coming, Gcffen 8. Lew rep fafclia, The Death of Excellence, World Domination S. ! m:l the Banshees, The Rupture, Geffen 10. T5"! T.-csth, Our Personal Best, ChainsawCaiuly Ass Chm .r W m, nJh i,vty. Cmirtmfr ,,,.th w KKXU U fv, ...... v,-t ,, 20 U. Magazine . . MAY 1995
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