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| MUSIC NEWS by Terence Nuzum | CD REVIEWS by Terence Nuzum | |||||
![]() ![]() The peppermint clothed rockers The White Stripes claim that they too may split after their next album. The group, Jack and Meg White, say that "an arena is no place for a two-piece band". They also claim that their fame has gone out of their control.
It's finally happened and who would've thunk it? The egotist Roger Waters and one of his three archenemies Rick Mason has reunited for a Waters concert. Mason played drums on "Set the Controls for the Heart of the Sun" a song that Waters penned for their group Pink Floyd. This is the first semi-renunion for Pink Floyd since their break up in 1983. Waters broke up the band and Mason, Gilmour, and Wright continued under the band name sparking Waters to isolate himself from them for the past 20 years. Waters has long credited Pink Floyd's success to his direction and leadership. I say jump off the Thames Roger. Pink Floyd was Syd Barretts band and you,ve ridden on his genius ever since. And no "Darkside of the Moon" is not the greatest Floyd album. Get over it. |
Lauryn Hill: Unplugged version 2.0Available at Amazon.com! Right at the beginning of this concert Lauryn Hill lets a bewildered audience know where she stands in 2002. Donned in blue jeans and a hat over her bandana she claims that she doesn't get "dressed up" anymore. She made many more such comments as the night progressed among others that "fantasy is what people want but reality is what they need. I've retired from the fantasy part". She also makes it known that everyone of these songs are "about me first". Lauryn stresses again and again that she has to be who she is and not what the public expects of her. The songs definitely show that. If the songs are emotional ramblings than we can only assume that Lauryn is trying to find a better direction than the one her music was headed in. Lauryn starts the set off with "Mr. Intentional" which reminds one of Bob Marley's "Redemption Songs". She follows that song up with "Adam Lives In Theory". The lyrics are perhaps the most surreal blues this side of Captain Beefheart. For example Lauryn leaves us with the image of "the king of exploitation in the field". For all her originality in lyrics though Hill is not without her musical influences. The guitar stylings of the entire night's set are deeply steeped in the Peidmont rag picking of Blind Blake. In fact "Oh Jerusalem" almost sounds like a Blind Gary Davis cover song. Unlike the blues greats though Lauryn hasn't yet found a way to cohesively communicate her emotions into an actual song which leaves me with the only complaint that I can give this performance: that she rambles on too much. Lauryn does a good job of mixing genres though. "War in the Mind" opens up with a Billie Holiday feel before turning into an acoustic Public Enemy rap about the state of the world and how we need to return to Scripture. It's these religious statements however that Lauryn relates as if fact-- that makes her a little too self-indulgent at times. At other times though she is right on target. When Lauryn says that we have no freedom because we are so used to being complacent and that we must destroy to rebuild it comes off as perhaps the most important mission by a musican since Dylan. Finally after all the heavy emotions on the rack Lauryn gives a little break in the tension with "I Just Want You Around" a tender love song for her hubby. At the end "The Conquering Zion" adds congos for an uplifting finale. In the end people will either love this DVD/CD or hate it. But regardless it sends out an important message in these times of mass media and money whores. Lauryn Hill, on her stool, with her acoustic guitar and near onstage emotional breakdowns, frighteningly reminds us that what art is truly about has been lost. It's not about money, fame, appearances or even how well you play a guitar but instead about emotions, ideas, and messages of truth. In a time when Lauryn Hill was poised to be the great Hip-Hop queen, she chose the blues and not since the Delta tunes of Charley Patton in the 1920s has such raw emotion and pain been turned into furious and important art. Though I'll get shit for this, I'll say it again: if Lauryn Hill plays her cards right and gets her self together, she could be the most important musician since Bob Dylan. As a follow-up to last year's best-of collection, Billie Joe and the boys drop the punk bomb b-sides compilation Shenanigans. This album to put it in a short 3-chord punk kinda way , rocks. From the Ramones cover "Outsider" to the Kinks "Tired of Waiting For You" to punk-pop originals Shenanigans delivers the goods. It's Green Day's most punk record since Dookie (most punk record not the best). Green Day's better albums are more pop than punk and a b-sides compilation like this is probably the final nail in the coffin for Green Day's punk sound as Billie Joe's songwriting has matured into pop songs ( and it has--just listen to 2000's Warning) . But, at least it goes out with a bang. So, spike up your hair, lace up your Doc Martens, crank up Shenanigans and blitzkrieg bop to Green Day like you did in the Christmas of '94 with Dookie because next time you hear Green Day they will have matured even more. Enjoy it one last time. Hey-Ho!
As the story goes Director Todd Solondz was searching for music for his current film "STORYTELLING". Solondz chose the indie group Belle and Sebastian, whose trademark English folk sound he thought would be a perfect complement to his film. Well, after the group viewed the footage and wrote some tunes, Solondz ended up using only about 6 minutes' worth. What we have now is the soundtrack that never was. It's kinda like listening to Alex North's aborted 2001: A Space Odyssey score, you would have loved to seen it used in the film but in the end you know it wouldn't fit. That being said Belle and Sebastians STORYTELLING has to be heard as a stand-alone album. But that doesn't work either because it's too short and too empty. There are some great revelations though. For instance the instrumentals "Fuck This Shit" and "Nightwalk" prove that Belle and Sebastian can write a damn good movie score if given the chance. The non-instrumental numbers "Black and White Unite", an ode to 60s protest songs, and "Wandering Alone", a samba-ish 50s pop tune, show that the group is moving into different territory. So like Solondz's film of the same name (which has been heavily edited), STORYTELLING the album feels like an unfinished product. But if the greats on this album are a foreshadow of what's to come, then Belle and Sebastian may finally have a masterpiece waiting in the wings.
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| REMEMBERING JOHN ENTWISTLE by Matt Drinnenberg and Nolan Canova | ||||||
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John Entwistle, bassist and co-creator of the legendary rock group The Who, was found dead in his Hard Rock hotel room in Las Vegas, only one day away from the bands new tour. Current reports say his death was caused by a Heart Attack, and he is known to have battled heart ailments in the past which had him taking medication for the problem. Not one to try to upstage his bandmates (LIKE A CERTAIN GUITARIST FRIEND OF MINE), Entwistle was the lone member of The Who that showed any semblance of sanity..on and off the stage. On it, he allowed Townsend, Daltry, and Moon to get all the glamour and accolades that go with being a rock star...off it, he was an accomplished painter and, in fact, was in Vegas displaying his new art. Entwistle, who was born October 9, 1944, in Chiswick, England hooked up with high school buddy Pete Townshend and formed, if you can believe it, a Dixieland combo. Once Roger Daltry and Keith Moon came aboard, there was no stopping them from becoming one of the world's most renouned and appreciated acts in the history of Rock and Roll. Entwistle also could stake the claim to "Bassist of the Millennium" as voted by Guitar Magazine, beating out such notables as The Beatles' Paul McCartney, Led Zeppelin's John Paul Jones and Cream's Jack Bruce. Stated Guitar Magazine on his selection "The Ox distills inspiration, technique and that fine edge of madness that separates the great from the merely good," Suprising to some, but not to me, The Who are going forward with their tour. Many, including myself, thought the group was done for good with the untimely death of drummer Keith Moon several years ago, but they regrouped and continued rocking and rolling their faithful fans. Surely it will be difficult to replace a bassist who played his axe like a lead guitarist. Entwistle was married twice and leaves behind a son, Christopher, from his first marraige. I should mention here that Christopher just recently posted a letter on Pete Townsend's web site that he agreed with the tour going forward, and that John truly would have wanted them to go forward with the tour. This has dispelled much of the disillusionment some fans had over the issue. For this fan, I'm glad they reached this decision. One of the truth's of rock and roll is that it will never die, even if some of its elder statemen reach that inevitable point. Nothing or no one will ever be able to replace him, just as certainly no one should. And while many try to emmulate him now and in the future, they will continue to fall way short of this man's genius with the bass guitar. And while genius gets tossed around a lot these days, it fits John Entwistle very well, indeed. Matt Drinnenberg Certainly no argument with Matt over John Entlwistle's genius on bass. John was truly one of the most severely under-rated musicians on the planet by the passive consumer public, but not by the insider rock musicians who certainly knew better!
Never one to demonstrate any insecurity about stage-performing (UNLIKE A CERTAIN VOCALIST FRIEND OF MINE), his presence was more felt that heard, but anyone with the determination to learn bass guitar could not help but be amazed at what this man was able to achieve. With Entwistle, you didn't need a second guitarist....his bass filled in all the spaces quite nicely, thank you!
As for The Who's getting on with their current tour despite a seeming lack of grieving time, to me it is more a demonstration of something else: I'm sure they miss their fallen comrade, don't get me wrong, but when Keith Moon died, they were still a major (if troubled, and much younger) recording group. Really, I think it's been a long time since the Who thought of themelves as little more than a "reunion" act, albeit a great one. I figure, since they likely feel their high glory days with the old gang are over anyway, they made some kind of contingency plan for something like this.
All older rock groups are getting on in years, don't you think most of them have, too? That doesn't mean there should be no grieving time, just that they all agree the show must go on.
Entwistle's "Bassist of the Millenium" score with Guitarist Magazine only surprised me in one way: that they didn't go for a more obvious popular choice like Paul McCartney or John Paul Jones, as Matt stated, or even Geddy Lee (of Rush). His place in history is secure, thankfully, and new generations of young bassists will still have access to old Who records when it gets time for serious "woodsheddin'"!
Nolan Canova
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| This issue's Digital Divide music news and CD reviews sections were composed and are ©2002 by Terence B. Nuzum. This issue's Digital Divide retrospective of John Entwistle is ©2002 by Matthew Drinnenberg and Nolan Canova for their respective pieces. Webpage design and all graphics herein, except where otherwise noted, are creations of Nolan B. Canova. All contents of Nolan's Pop Culture Review are ©2002 by Nolan B. Canova. | ||||||
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