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I
■ SOUNDTRACK
All new and upcoming bands should enter the third annual 96
Rock-off at the Cotton Club. Interested bands should send a
three-song demo tape along with other info. Deadline Is March
1. For more info about what to send call (404) 876-8436.
The Red and Black • Tuesday, February 13, 1990 • 7
SOUND
■ ALBUM REVIEW
Peter Murphy doesn’t reach potential in ‘Deep’
By DAVID WILLIAMS
Contributing Writer
Peter Murphy’s new album,
"Deep." A Banquet I RCA release.
The release of Peter Murphy's
third and most fully-realized solo
album “Deep” is cause for cele
bration (or at least that’s what
the people at Beggars Banquet
say).
This is a bit excessive, but then
press releases are notorious for
being silly. When it’s allowed to
speak for itself, “Deep” says a lot,
but unfortunately it doesn’t say
as much as it could.
The A side of “Deep” contains
some of the best music that has
come out in a long time. If the en
tire album was this good, it would
be a serious contender for best
album. But it isn’t. The B side
lacks variety, and as a result, it’s
muddled and kind of boring.
‘The Hundred Men,” Peter
Murphy’s new band, is really
good and manages to keep up
with the changes of style in his
songs. This is no mean feat with
an album that ranges from the
haunting melody of “Marlene De-
itrich’s Favorite Poem” to intense
dance music in “Shy" and goth-
rock in “The Line Between the
Devil’s Teeth.”
The influences of David Bowie
and Murphy’s old band, Bau-
haus, can be seen on “Deep,” but
his “most profound influences”
are the lullabies his mother used
to sing to him. His songs are
somber and have an eerie
quality. Murphy doesn’t see these
songs as negative though, and in
fact he says performing these
songs makes him feel really good.
The main theme of “Deep” is
confrontation. There is the con
frontation between good and evil
in “The Line Between the Devil’s
Teeth,” and the confrontation of
Murphy facing his concept of God
in “Deep Ocean, Vast Sea.” But
the best song on the album is
“Marlene Dietrich’s Favorite
Poem,” which doesn’t seem to be
about anything (and Marlene Di
etrich isn’t even mentioned). It’s
a beautiful song, and “Deep” is
worth having for this song alone.
“Deep” is a very good album. It
isn’t great, which is unfortunate,
File
Peter Murphy: His ‘Deep’ could have been year’s best
because it could have been.
Murphy is a talented performer.
He has already proven himself as
a member of Bauhaus and is
showing a lot of improvement as
a solo artist. Hopefully, when he
gains confidence in his own crea
tive abilities, he will receive the
credit he deserves as a solo artist,
instead of just the former singer
for Bauhaus.
Innovative Bonedaddys mingle styles
By JEFF WOHL
Contributing Writer
“Worldbeatnlk*’’ by Tha Bone-
daddys. Released by Chameleon Re
cords.
As the music industry enters the
’90s, listeners are searching for the
next sound to dominate the decade.
The ’60s had a British accent, the
’70s had a Bee Gees-Disco kind of
feel, and the ’80s brought the
sounds of soul and rap to the
mainstream listener.
Intermingled in the ’80s was the
emergence of sounds from outside
the U.S.-European markets. Paul
Simon’s Grammy-winning “Grace-
land” and David Byrne’s Brazilian
work demonstrated the possibili-
■ ALBUM REVIEW
ti. i open-minded listeners had.
Into this awareness is “World-
beatniks” by the Bonedaddys.
Their music is a hybrid of the best
of various musical styles.
The first song on the album is
“Shoo-rah, Shoo-rah.” It best typ
ifies the pace of the collection. It’s
an upbeat song that would sound
best on the beach with jumbo
shrimp boiling and beer on ice. It’s
a spring break party song, not to be
confused with spring break songs
like “Funky Cold Medina” or so-
called party songs by the Beastie
Boys that I refuse to name.
Also on side one is “Zombie,”
which continues the conga-driven
beat with horns. Interlaced with all
of this is a guitar that accents but
doesn’t overpower. The result is en
joyable yet innovative.
The Bonedaddys become polit
ical on side two with “Yes they do.”
It discusses topics including dis
crimination, homelessness and
government inertia. Unlike other
bands, the Bonedaddys are able to
inject conscience into their sound
without a drop in quality.
Another song on the tape, “Jok-
enge,” credits an African national
song as its source. The band is
clearly able to combine diverse mu
sical sources into a great product.
I was already sold on the tape
when the last song on side two
cued up. It’s a song from the
opening scene of the ’50s flick
“king Creole” starring a young
Elvis Presley. In the movie, The
King sings “Crawfish” as he pushes
a cart of the delectable edibles
along the streets of New Orleans.
The Bonedaddys rework the song
in a funky-reggae way that is a
nice change of pace.
Songs from “Worldbeatniks”
may never see the light of top-40
radio, so ask for them on your fa
vorite college station. Expect to
hear more of the band as more lis
teners look for alternatives to the
mundane.
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‘Louder’ delivers
■ ALBUM REVIEW
By GREGG PARKER
Entertainment Writer
A review of the latest from
Soundgarden, entitled “Louder
Than Love” on A & M records.
At first listen, the word
haunting comes to mind.
With the music comes the pain.
It is the pain encompassing the
sheer vocal power of lead singer
Chris Cornell. With that the com
parison ends.
This comparison lies within the
infinite musical tabloids juxta
posing this Seattle-based foursome
to the infamous Led Zeppelin. This
isn’t meant to be an insult, only a
distinction. Soundgarden is truly
in a league by themselves.
“Louder than Love” breaks new
ground while reflecting just
slightly on the past. Soundgarden
has found itself thrust into the con
fusing limelight of heavy metal
commercialism, but its unique
style of grinding guitar fury and
pained lyricism gives an edge.
All styles and forms are present
and accounted for. With the first
cut, “Uglv Truth," guitarist Kim
Thayil snows touches of Sonic
Youth. The passion is there but
with a little less of the mysticism of
Sonic Youth’s efforts.
“Gun” focuses the energy of the
band into one powerful, locomotive
surge. As the song progresses, so
does the tempo. Nothing like con
trolled violence.
There’s even some humor and/or
cynicism. “Big Dumb Sex* has
radio potential, although the lyrics
are a bit blunt.
But to delve into “Louder Than
Love” with good intentions is a
mistake. There are no purty love
songs on this album. This is raw,
unadorned anger cast on vinyl.
Soundgarden’s actions definitely
speak louder than words.
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