Wednesday, December 2, 1998
Soundbites
Rush, "Different Stages – Live"
Rush’s fourth live release comes just in time to celebrate their
30th anniversary as the world’s best known "thinking man’s
hard-rock band." Since its 1976 breakthrough with the futuristic
"2112" (an album based on the writings of Ayn Rand), all of the
band’s albums have gone either gold or platinum.
Rush consists of a power trio of Canadian virtuosos, all who
regularly appear in the Top 5 of music magazine readers’ polls. The
band has had its ups and downs through its lengthy history,
highlighted by the four-million album selling "Moving Pictures" in
1981, which marked the transition from epic ballads to shorter,
punchier pieces.
The two discs of "Different Stages" is a compilation of live
performances taken from six shows between 1994-97, concentrating
heavily on recent compositions. The third disc is taken from a
single set at a 1978 London show, arguably the band’s peak
year.
The trademark screeching vocals of bassist Geddy Lee have indeed
calmed down through the years to a mere soothing whine, Herculean
drummer Neil Peart has taken on the appearance of an aging WWF star
and guitarist Alex Lifeson has finally joined the Hair Club for
Men.
Despite the physical alterations, Rush continue to rock the
crowd. This is evidenced by the masses of screaming fans in the
background, the blistering guitar maneuvers, the orchestrated
syncopation and the surge of pure adrenalinistic sonic resonation,
which might cause someone like Jakob Dylan to discharge all over
his plastic Fender.
Tracks range from newer, failed singles ("Test for Echo") to
resurrected epics ("2112") to guaranteed crowd pleasers ("Tom
Sawyer"). Probably the most interesting songs are found on the
1978-set disc, as this was the more typical, hard-core Rush fans
know and love. Pieces like the 12 minute, 30 second "Xanadu" drench
the listener with all the grandiosity of progressive rock at its
height, and typify the grace of a bygone era – one just before
popular music tastes collapsed into disco and new wave.
All and all, "Different Stages" is essential for anyone who
calls themselves a Rush fan. For those who don’t might try starting
out with something more typical like "Moving Pictures," as the live
experience can be better appreciated after exposure to studio
recordings. Either form taken into consideration, Rush is bad
ass.
Cyrus McNally
Total, "Kima, Keisha & Pam"
With the absence of vibrant, influential female groups like TLC
and En Vogue, solo artists and collective rock bands have been
dominating the billboard charts. But that may all change in the
near future, because the first ladies off Puff Daddy’s Bad Boy
label, Total, have arrived in slinky fashion on their sophomore
album, "Kima, Keisha & Pam."
Taking their name to heart, the three ladies act as a smooth,
energetic and sensual unit. Whether crooning softly to dreamy
ballads or playfully teasing in a "get-your-groove-on" dance mix,
they are equally adaptive. But they are at their best when
accompanied with light background beats and subtle guitar chords,
which only accentuates the silkiness to their respective
voices.
Ironically, though, the biggest change for Total is their
selection of producers. Along with not overloading their album with
featured guest stars, the group has shifted Puff Daddy from the
majority of behind-the-scene duties to only a few. And in his
place, they have wisely brought along Missy Misdemeanor Elliot to
help on production and vocals. The result has been a more refined
and matured sound, as well as allowing them to broaden their
repertoire.
The best example of this is the self-explanatory track called
"Move Too Fast." Overlaying samples of Mary Jane Girls and the Love
Unlimited Orchestra, Total is free to lyrically frolic in their
naughty stories of cat-and-mouse between the sexes.
With the possible exception of Xscape, no other present-day
female group has the long-lasting potential of Total. They have
staked their claim to being one of the premiere acts in R&B.
And if this album proves nothing else, these promising young
singers as a whole make an interesting package.
Teron Hide
Cher, "Believe"
Now do you really believe that Cher can manage a comeback? Well,
unfortunately, the outlook remains grim. Her newest album,
"Believe," shows no indication that Cher was ever holding back
something truly inspirational from her fans. Dull and stale, even
Cher fans will be disappointed.
Desperately trying to fit into current styles, she suffers from
the boring, cheesy, techno crap that many washed up artists think
will work for their sounds. The song "Believe" remains the best
song on the album and it isn’t even all that hot. Overly simplistic
melodies and softly mundane tunes characterize beat after beat. The
intro to every song is long and drawn out for a suspense factor
that never pans out into anything worth waiting for.
Among the laughable picks remain "Dove L’Amore" and "Takin’ Back
My Heart." If anything, these few songs that deviate from attempted
dance hits only serve as odes to the dying pop hits of the
eighties.
We all loved Cher from the movie "Mermaids" and slutting around
in her "If I Could Turn Back Time" video. Unfortunately, she now
turns away from cool to the land of the overly trendy
yoga-one-day-and-goth-the-next middle-aged women of the
nineties.
Michelle Zubiate
Various Artists, "The Prince of Egypt – Inspirational"
Looking for a CD that will lift emotions to unprecedented
heights? Grasping for an inner tube among the cluttered billboard
scene? Waiting for an album that offers more, rather than less?
Well, ladies and gentleman, the "Prince of Egypt – Inspirational"
compilation is definitely not your cup of tea.
In the wake of their biggest animated film to date, Dreamworks
has parted the musical seas to launch an unprecedented marketing
campaign by presenting the public with their first installment of
the three-available soundtracks for the "Prince of Egypt."
Taking a page out of the Disney guide to consumer success,
Dreamworks has an abundance of big-name soul talent on their latest
innovation. Collecting the likes of Boyz II Men, Kirk Franklin and
Brian McKnight on a single album is fairly impressive on paper, but
it does not amount to much on this particular work.
The only track that comes remotely close to being noteworthy is
Trin-I-Tee 5:7’s "As Long As You’re With Me," which sounds more
like it belongs in the rap or club scene. But instead of
exemplifying the best of R&B and gospel, the listener will find
a product that is left with generally unremarkable music.
If this is any foretelling of things to come in the actual film,
then Dreamworks will find their animation department in serious
trouble. Suffice it to say that if the most remarkable aspect of
the album is the inclusion of a group of artists with intriguing
names (Tyrone Tribbett and Greater Anointing, featuring Dave
Hollister and Mary Mary), then "Houston, we have a problem."
Teron Hide
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