Monday, March 9, 1998
Soundbites
MUSIC:
Madonna, "Ray of Light" (Maverick/ Warner) Perhaps one of the
few female pop stars truly worthy of being called a "diva," Madonna
teams up with producer William Orbit to throw us all an electronic
curveball with "Ray of Light." At first, one must wonder if Madonna
is jumping on the electronic-pop phenomenon with her loop-laden and
uncharacteristically atmospheric new album. However, within seconds
of first experiencing what is clearly her finest and most creative
release to date, you know the former Material Girl has given us
something new and exciting to fawn over.
All the tracks on "Ray of Light" sparkle, as keyboards, guitars
and various computerized sounds float in and out of the speakers
with a harmony not yet found amidst the electronic, hyped albums of
the past couple of years.
Songs like "Skin" and "The Power of Goodbye" explore the
potentials of synthesizers and computers, and yet they don’t merely
function as canvases for Orbit to show off. Instead, the musical
soundscapes mix harmoniously with Madonna’s singing and poetic
proclamations.
Yet even the innovative music is eclipsed by the superstar
herself. Madonna gives us her best vocal delivery and lyrical
presentation yet. The title track, undoubtedly the standout song of
the album, is a fantastic, innovative dance song that isn’t too
different from U2 and David Bowie’s newer material, but its power
emanates from Madonna’s new vocal range, as she proudly proclaims
"And I feel/ quicker than a ray of light." The material on "Ray of
Light," benefits greatly from Madonna’s increased yet rather
restrained range, something she worked on through voice lessons for
her role in "Evita."
Her introspective lyrics cover every aspect of her life, whether
its selling out in "Drowned World/ Substitute of Love" ("I traded
fame for love/ without a second thought/ it all became a silly
game/ some things cannot be bought") or her relationships with
those close to her in the light, softer "Mer Girl" ("I ran from my
house/ that cannot contain me/ from the man I cannot keep … from
my daughter that never sleeps"). The multi-layered yet tender
"Little Star" also explores her life with her daughter who breathes
"new life into my broken heart."
Rather than a collection of radio-friendly singles, "Ray of
Light" is a flowing work that shows Madonna’s well-developed
songwriting and singing skills and, more importantly, proves she
best exposes her true self through her music. Mike Prevatt A
Chris Knight, "Chris Knight" (MCA Records Nashville) For those
of you who like the twang-filled, mellow tunes associated with
country music, here’s another earnest – and corny – Nashville
singer who’s more than happy to croon to you his philosophies about
the mystery we call life.
In his debut album, Knight sings 12 nearly identical tracks
about love lost, friends long gone and his yearning for the
innocence and simplicity of an easier life.
While Knight does have a fairly pleasant voice and his talk of
realities and disillusionment of adulthood are cathartic, his
easygoing melodies soon become redundant and tired.
One way to distinguish the similar tracks is by listening to the
mini-stories Knight packs into each of the songs. "It Ain’t Easy
Being Me" is a rather contrived and insincere song about what a
jerk he thinks he is because he broke his girlfriend’s heart.
"Framed" is a self-pitying, whiny track about how he was fooled by
a woman to commit murder and that it’s not really his fault.
After 20 minutes of forlorn and pouty lyrics, accompanied with
extended and rather slow melodies, you kind of wish Knight would
quit complaining so much. There are, of course, exceptions. "The
River’s Own," an ode to fathers, picks up the pace just a little
bit to breathe some life into this sluggish album. But in general,
Knight’s album should be reserved for those who believe the saying
"misery loves company." Aimee Phan D
The Specials, "Guilty Until Proven Innocent" (Way Cool Music/
MCA Records) Look out Bosstones, step back Aquabats, The Specials
are back on the beat. The British ska band that gained popularity
in the ’80s with hits like "Message To You Rudy," and "Little
Bitch" are ready to reclaim their position on the ska circuit.
Although this album’s tunes aren’t quite as memorable as the songs
on their self-titled album, a few measure up to The Specials’
standards like "Bonediggin" and "Fantasize."
The combination of the horns, guitars, organs and clearly
English-accented vocals on certain songs makes the album uniquely
different than the recent ska wave hitting the radio today. Whining
girls and men who need to clear their throats do not show up on
this album. But the classic reggae influence that the band has
always used does present itself. Still, some songs prove The
Specials have watched what is popular nowadays and taken heed in
the recording studio.
The tendencies for bouncing, head bopping and running out to buy
every other Specials album released aren’t quite there. But after a
few listenings, certain songs begin to stick out in your mind and
you might just find yourself quoting the crudely humorous lyrics
(in a British accent, of course): "Got this funny feeling going
through my head that if I go down to the pub I might just end up in
bed … "
Highlights include the three bonus live tracks at the end from
the self-titled album, like "Concrete Jungle" with its guitar
driven riffs, and "Gangsters," with its traditional ska organs,
brass section and bouncy tempo.
This album won’t make a diehard ska fan out of you, but it will
prove that today’s trendy ska isn’t the only sound out there.
Danielle Myer B
The Vandalias "Buzzbomb!" (Big Deal Records) If lead singer
Jim-Jim Vandalia sounded anything like Robin Zander, then his
band’s blatant attempt to be Cheap Trick might be amusing. But he
doesn’t, and instead they just sound like crap, or worse, Redd
Kross.
As the 11 songs on "Buzzbomb!" prove, this band couldn’t find a
hook in a tackle shop. Instead Jim-Jim, Alan and Bobby, who purport
to be brothers, preen their way interminably through happy,
soft-headed anthems and mopey sensitive boy ballads with a lack of
momentum that makes Prefab Sprout sound like the Troggs. Michael
Gillette F
Warner Brothers
MADONNA
"Ray of Light"