Newspaper Page Text
Page 16
Flagpole Magazine
October 9, 1991
Ear Wax Facts
Titanic Love Affair
Titanic Love Affair
(Charisma)
Lars Gustafsson, the bassist with Titanic Love Affair,
says that he likes to imagine a group of people thinking that
it is really important to take his band’s tape on a road trip,
and I think it would make a great driving soundtrack. I also
suspect that alcohol consumption in a hazy bar would
make the straight ahead guitars and percussion sound
even better. However, it isn't going to offer up many deep
thoughts or innovative song structures to listeners who
want more than a rowdy rave up from their music.
The exceptions to Titanic Love Affair’s driving rock
sound are “The Wait,* a country influenced heartbreak
ballad, and "Ground and Sky,* a guitar solo anthem which
any number of lightweight metal bands wish they could
write. Although their lyrics fall short of Paul Westerberg’s
inspired irony, the overall effect is similar to that of The
Replacements, and the melodic single “Planet Strange,” is
so like everyone’s favorite musical mixers’ work that I have
to keep reminding myself that this is a new band from the
University of Illinois town, Champaign — Urbanna, rather
than the Minneapolis institutions themselves.
Understandably, drummer Mike Hazelrigg says that
they hate being called Replacements, Jr. or Soul Asylum,
Jr., but their sound makes such comparisons inevitable.
Perhaps in the future Titanic Love Affair will develop a more
unique sound and a sharper lyrical focus. If so, they could
deliver a higher octane kick than mothballs in the gas tank.
In the meantime, turn up the volume until everyone in the
room can hear the uproar in your headphones and unscrew
the top off another bottle of red wine while they play
Lisa McDonald
Nirvana
Nevermind
(David Geffen Company)
It is not documented that the phenomena that is Sub-
Pop seemingly began in some Seattle garage with a
banged-up Marshall amp, an out-of-tune Stratocaster and
a cheap distortion pedal, but that could probably be
considered close. Well, everyone has their own opinion
about Sub-Pop, but one thing that can not be doubted is the
success of Nirvana.
Now, the term "success” can easily be unseen, that
sinister undertow for a band not treading those treacherous
waters of mainstreamdom. Well, Nir
vana grabbed at a golden opportunity
and signed to Geffen Records.
Major label — major sellout? Ques
tions have to be answered and Never-
mind is clearly out-of-control, distorted
state of spiraling euphoria. This album,
it seems, is a test, a test to separate true
Nirvana fans from trend-trippers. Nev
ermind is a gleefully garish prison of
acoustic and distorted loose grunge
that speeds along, brakeless, plunging
your auditory senses into a constantly
reverberating feeling of bliss. Unfortu
nately, it seems that many people will
dislike this album because it is more of
a maturation of their sound. After all,
Bleach was a benchmark for the grunge
phenomena.
I would agree with that, but
Nevermind is so much of a positive
progression and polishing of their per
petual sound that it seemingly slaps
you into their reality like that of "Smells
Like Teen Spirit" — tactile. This spank and crank over
distorted anthem is screaming, smashing, hypnotic — an
end-all epic. It is a clear definition of the Nirvana experi
ence.
John Mincemoyer
Buddy Guy
Damn Right, I've Got the Blues
(Silvertone Records)
Buddy Guy is a true legend in the world of blues music.
People like Eric Clapton, Jeff Beck, and the late Stevie Ray
Vaughan all agreed that Buddy Guy is one of the most
talented blues guitarists alive today. Buddy, who got his
start in the highly competitive Chicago club scene of the
'50s and '60s, was touted as one of the greatest guitarists
of the '60s, in the blues genre. Jimi Hendrix even cancelled
one of his shows so he could hear Buddy Guy play live. So,
with all of this heritage, it is not unusual for many people to
be excited about his new album Damn Right, I've Got the
Blues.
The album is Buddy’s first recording in ten years and it
is definitely not a let down for real blues fans. All of his songs
contain traditional blues lyrics and progressions as well as
many guest appearances. For instance, Jeff Beck and Eric
Clapton appear on “Early in the Morning" and Mark Knop-
fler (from Dire Straits) plays on the track “Where is the Next
One Coming From." Many of the cuts have sharp blues riffs
and Guy’s guitar work could easily be mistaken for Stevie
Ray Vaughan’s or visa versa (buddy did come first). Buddy
even does an instrumental tribute to the late Vaughan with
the song, “Rememberin’ Stevie.”
Damn Right. I've Got the Blues really does capture a lot
of Guy’s guitar talents, however, the heyday of the blues
has a long past and Buddy Guy will probably not get the
recognition he deserves. This album, though, is well put
together and is worth a listen if you are interested in hearing
some traditional blues from one of the genre’s greatest
.musicians.
Charles Weeks
Sons of Freedom
Gump
(Chrysalis)
Like their fellow Canadians, The Tragically Hip and The
Pursuit of Happiness, Sons of Freedom play melodic hard
rock with unpretentious, yet thoughtful lyrics. Gump, their
second album (and first on a major label), releases an ex
pressive blend of emotional, intellectual and aggressive
outpourings through the speakers, and as the walls vibrate,
a cathartic glow fills the room.
Particularly impressive among the ten tracks are the
poignant, regret plagued "Circle Circle;" an ironic picture
of God’s love and human misery, "Jesus and Jim;" and an
atmospheric take on the moral collapse of America, “USA
Long Distance," which samples presidential speeches
including Nixon’s lunatic farewell ramble. Only “I Can
See," a slow tempo number about first love, left me cold.
However, I believe
that it suffers pri
marily due to being
compared to the
high standards of
the other songs on
Gump rather than
due to being poorly
written or per
formed in itself.
Sons of Free
dom have honesty,
energy and intelli
gence. I could
hardly ask for more
from a band, even
if they hadn’t
sampled Nixon
Lisa McDonald
TheiMusician's M«^C|Stoi
•*wo for Jjne
I Best ;: Tea<llwig''B
■Hi Athens^
mmm-
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855 W. Broad St. - 548
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