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■ BEST BET
The American Society of Composers. Authors and Publishers
(ASCAP) is sponsoring a showcase concert tonight at 7 p.m. at
E.T.'s Hangar. The show is free and open to the public and fea-
tures local musicians The Healers and the John Berry band.
The Red and Black • Tuesday, September 18. 1990 • 7B
SOUND
Living Colour gives rockin’ history lesson
in latest metal-edged album, ‘Time’s Up’
By KYMBERLY TAMBOURINE
Staff Writer
■ ALBUM REVIEW
Jane’s ‘Ritual de lo Habitual’ promises to
be an infectious and addictive experience
By AL DIXON A TOM WHITE
Contributing Writers
■ ALBUM REVIEW
Living Colour ‘Time’s Up”
(Epic)
At the Greyhound bus station in
Atlanta, Georgia, there is a pin
ball machine that operates under
the name "Heavy Metal Melt
down", As soon as the quarter is
in and the machine is on, this sort
of grinding prototypical metal
rhythm section bumps out of the
huge speakers on either side of the
game board, accompanied by
squeals of electric guitar. Press
the right flipper, and you can
hear the shout: “HEAVY!". Press
the left flipper, and you can hear
the shout “METAL!-. Pull the
plunger, and you can hear
"MELTDOWN!". There are sev
eral moments on Living Color’s
long-awaited new album “Time’s
Up" that sound for the life of me
like that pinball machine. It’s
grinding, on-the-edge, over-the-
top, and I swear to God at any
moment some voice is going to
float out of the speaker, shouting
“HEAVY! METAL! MELT
DOWN!". That’s not to say that
this is a heavy metal album, but it
has that pinball machine kind of
mood. Go to the Greyhound sta
tion and see if you don’t agree.
Unlike many other rock bands,
Living Colour utilizes its musical
talent to convey a message other
than sex, drugs, and rock ’n roll.
“Time’s Up” is similar to the
band’s last album “Vivid,” as it
deals with both racial and gov
ernmental issues.
The most recognizable differ
ence between Living Colour’s
first and second albums is that
“Time’s Up" contains a scattered
trilogy of short musical clips. The
first of the trilogy, “History
Lesson,” has mixed voices in the
background giving bits of African
history. The lesson is about reli
gion, music, and the lack of iden
tity of the negro.
Second in the trilogy is
“Ology,” a collage of 70’s type
music performed solely by the
group’s bassist, Muzz Skillings.
Even if one is not fond of 70’s
music, “Ology” is still quite im
pressive.
‘Tag Team Partners,” the last
of the trilogy, is a completely
vocal rap snip. The fact that it is
not something the listener ex
pects from Living Colour makes
it even better.
Aside from Living Colour’s typ
ical songs about racial equality,
there are songs about safe sex,
religion, and Elvis. Yes, Elvis.
The song “Elvis Is Dead” humor
ously responds to the tabloid phe
nomenon of Elvis’ present
existence on earth. The lyrics
alone are entertaining enough,
but lead singer Corey Glover’s
grunting imitations of James
Brown and Michael Jackson
make the song even more inter
esting.
“Safe seduction isn’t what it is-
/sexuality isn’t what it appears to
be— it’s what you think you see.”
“Under Cover of Darkness,” no
doubt, is a song about human sex
attraction, and the consequences
of that attraction. “I’d like to
touch your skin/even if it is a
sin/I’d rather bum than not touch
you.” Queen Latifah intellects a
rhyme of her own promoting safe
sex and monogony. This is defi
nitely something to think about.
"Solace of You” bears a
striking resemblance to the
rhythm of Paul Simon’s “You Can
Call Me Al”. The song’s heart-
lifting lyrics and rhythms remind
us that there’s always solace, if
we just look for it.
Living Colour’s latest album,
“Time’s Up,” is even more en
joyable than their first. Though
“Vivid” was good, this recent
album offers a even greater va
riety of music and subject matter.
From riveting guitar solos to rap,
“Time’s Up” has got it all.
— Noel Murray contributed to
this review.
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Jane's Addiction: “Ritual de lo
Habitual” (Warner Bros.)
Although this is only the band’s
third major release, the powerful
and varied assembly of tracks on
Jane’s Addiction’s latest offering
“Ritual de lo Habitual” promises to
solidify their position as a promi
nent alternative band.
This new album is filled with
solid cuts which may follow in the
footsteps of songs such as “Jane
Says” and “Pigs in Zen" and be
come classics in their own right.
The album echoes their earlier
works, yet manages to remain
fresh and original.
The first side begins with the en
ergetic tune “Stop” and ends with
the excellently crafted romp "Been
Caught Stealing.” These songs call
back to the loud, fast and fun style
found on the band’s self-titled
debut. "Ritual de lo Habitual” in
cludes a few tracks that threaten to
spread the Addiction to the realm
of mainstream radio. “Been
Caught Stealing” is especially in
fectious.
On the second side of “Ritual de
lo Habitual,” Jane’s Addiction
shows the other end of their broad
spectrum of musical styles with
four lengthy, involved and intro
spective tracks. These songs, with
their progressions from mellow be
ginnings to powerful screaming cli
maxes, are reminiscent of some
songs from their last album “Noth
ing’s Shocking” such as “Ted, Just
Admit It” and “Summertime
Rolls.”
Some of the most expressive ly-
Jane's Addiction: L-R David
Avery, and Stephen Perkins
rics ever offered by Jane’s Addicton
are presented on the album’s
second side.The last verse of the
song ‘Three Days” is a lyrical de
piction of the album’s controversial
cover done by lead vocalist Perry
Farrell. “Erotic Jesus lays with his
Marys. Loves his Marys. Bits of
puzzle, fitting each other. All now
with wings!”
An interesting addition to the
lyric booklet is ‘To the Mosqui
toes,” a letter addressed from
Jane’s Addiction to the parents of
today’s youth urging them to be
more open-minded when dealing
with their children.
Also worth checking out, at least
Navarro, Perry Farrell, Eric
for die-hard Addiction fans, is the
E.P. released a few weeks prior to
the album which contains tne orig
inal demo version of “I Would For
You.”
Jane’s Addiction breaks new
ground on this album with their
thoughtful arrangements of eerie,
haunting vocals backed by a versa
tile band that can and does change
styles with the mood of the songs
from sparce accompaniment to
thrashing solos. As a whole,
"Ritual de lo Habitual" is their
strongest offering yet, both musi
cally and lyrically. It should please
even the pickiest fan.
VISIT the UGA Creamery!
•'i. ..v V
• cones
• sundaes
• cheeses
• soft drinks
• milkshakes
• floats
• fresh sandwiches
• soft serve yogurt
Vyff jal,
^JGA Creamery ^
to
b
3**7 Sort •* 1 [
Hu*)", | 1 1
Aj
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Located in the Dairy Science Building
(H
across from the Pharmacy Building
Tin'll* S' id mm
ly
Kappy New UJear 5751
B nat B'ritfi Hdlel Foundation
Conservative/Traditional Service
Tate Center - Reception HaU
Wed., Sept. 19 Lveninq Service 7:15 p.m.
7Kur., Sept. 20 Morntnq Service 9:00 a.m.
Trt., Sept. 21 Morninq Service 9:00 a.m.
fte/orm Service
Con^. Children oj Israel 115 Dudley Drtve
Wed., Sept. 19 Evening Service 8:00 p.m
Thur ., Sept. 20 Mormnq Service 10:00 a.m.
Welcome to Jeivish Student Life on Campus*
A welcome to all jeivish Students at the University of Georgia
Sunday, September 23, 5:00 p.m., Legion Field
jeivish student groups, fraternities and sororities will make
presentations about their activities for the 1990-91 school year.
BBQ Dinner fodoiving $2.00
For more information please call 543-6393