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(02/09/01 2:20am)
It's always nice when a movie's accompanying soundtrack has absolutely nothing to do with the movie itself. The only thing "Dracula 2000" and its soundtrack have in common is the ability to take something that was once original and creative, make it modern and rip its living soul out. It is a marketing tool and nothing more.\nJust as there is little new about the movie, the soundtrack is a boring rehash of new wave metal bands. All the notables are here: Marilyn Manson, Pantera, Powerman 5000, System of a Down, Monster Magnet and newcomer Linkin Park. Nothing on this album is original, just overbaked rock bands trying to make a few extra bucks.\nPowerman 5000 and Static-X, both of which have scored with the "alt-metal revolution," torture listeners with yet more repetitive grunge lines on top of angst-ridden lead singers whose growling voices hardly make up for actual singing ability. On the other hand, Disturbed and System of a Down, whose lead singers might actually pass for "talented," are too weighed down by bland and boring music.\nMonster Magnet, the gods of modern stoner rock, even provide a rather mediocre track, "Heads Explode," off its still-to-be-released-in-the-U.S. album, God Says No. Perhaps proof that metal needs a swift kick in the ass before the genre starts producing any more good music. Need more proof? Pantera of all bands comes off with "Avoid the Light," which is scattered in so many directions that the song makes little sense. But at least it goes along with the theme.\nMarilyn Manson's career seems to be pulling apart at the seams; his appearance on Godhead's "Break You Down" shows why. It's a mediocre and uninspired performance that sums up his latest album, Holy Wood (In the Shadow of the Valley of Death) and really, the entire metal genre right now.\nSoundtracks rarely create a consistent album of quality songs. Usually they score with a few decent tracks that give listeners a good accompaniment to the movie. But the Dracula 2000 soundtrack is so full of washed-up metal groups, it simply wastes away in the sunlight.
(02/08/01 6:12am)
An explanation on the back of The Best of Ken Burns Jazz says the 20-song sampler of both the PBS miniseries and the $80-something comprehensive companion boxed set is meant to merely introduce listeners to the evolving sound of jazz, particularly instrumental jazz.\nTo that end, the tracks appear on the CD in mostly chronological order, with recordings from the end of the 1920s to a 1992 recording of "Take the 'A' Train" by the Lincoln Center Jazz Orchestra. \nAlthough the CD is fun, mostly upbeat and easy to listen to, the feeling that something is missing lingers throughout its run. Neither the end notes nor the track listing gives much rhyme or reason as to why each track well represents a jazz overview. In some ways this is nice because the music can speak for itself. But the CD title promises the best of the recordings from the documentary, which combines music with history. It would have been nice if the Best of CD combined this element as well. As is, the Best of CD feels like the product the whole "Jazz" marketing machine forgot. In addition to the documentary and the CD boxed set, Jazz is also being sold in a pricey coffee table book and in 22 "best of" compilations from the some of jazz's greatest artists. \nIt's great to put on jazz and hear great recordings such as Count Basie's "Jumpin' at the Woodside" and Louis Armstrong's "Stardust." But for some reason, Best of feels like less of an overview and more of an incomplete product. For a real jazz fan, or a novice who wants to get up to speed, it's almost more worthwhile to fork over the money for the boxed set or to purchase "best of" compilations of favorite musicians.
(02/08/01 5:00am)
An explanation on the back of The Best of Ken Burns Jazz says the 20-song sampler of both the PBS miniseries and the $80-something comprehensive companion boxed set is meant to merely introduce listeners to the evolving sound of jazz, particularly instrumental jazz.\nTo that end, the tracks appear on the CD in mostly chronological order, with recordings from the end of the 1920s to a 1992 recording of "Take the 'A' Train" by the Lincoln Center Jazz Orchestra. \nAlthough the CD is fun, mostly upbeat and easy to listen to, the feeling that something is missing lingers throughout its run. Neither the end notes nor the track listing gives much rhyme or reason as to why each track well represents a jazz overview. In some ways this is nice because the music can speak for itself. But the CD title promises the best of the recordings from the documentary, which combines music with history. It would have been nice if the Best of CD combined this element as well. As is, the Best of CD feels like the product the whole "Jazz" marketing machine forgot. In addition to the documentary and the CD boxed set, Jazz is also being sold in a pricey coffee table book and in 22 "best of" compilations from the some of jazz's greatest artists. \nIt's great to put on jazz and hear great recordings such as Count Basie's "Jumpin' at the Woodside" and Louis Armstrong's "Stardust." But for some reason, Best of feels like less of an overview and more of an incomplete product. For a real jazz fan, or a novice who wants to get up to speed, it's almost more worthwhile to fork over the money for the boxed set or to purchase "best of" compilations of favorite musicians.
(02/08/01 5:00am)
It's always nice when a movie's accompanying soundtrack has absolutely nothing to do with the movie itself. The only thing "Dracula 2000" and its soundtrack have in common is the ability to take something that was once original and creative, make it modern and rip its living soul out. It is a marketing tool and nothing more.\nJust as there is little new about the movie, the soundtrack is a boring rehash of new wave metal bands. All the notables are here: Marilyn Manson, Pantera, Powerman 5000, System of a Down, Monster Magnet and newcomer Linkin Park. Nothing on this album is original, just overbaked rock bands trying to make a few extra bucks.\nPowerman 5000 and Static-X, both of which have scored with the "alt-metal revolution," torture listeners with yet more repetitive grunge lines on top of angst-ridden lead singers whose growling voices hardly make up for actual singing ability. On the other hand, Disturbed and System of a Down, whose lead singers might actually pass for "talented," are too weighed down by bland and boring music.\nMonster Magnet, the gods of modern stoner rock, even provide a rather mediocre track, "Heads Explode," off its still-to-be-released-in-the-U.S. album, God Says No. Perhaps proof that metal needs a swift kick in the ass before the genre starts producing any more good music. Need more proof? Pantera of all bands comes off with "Avoid the Light," which is scattered in so many directions that the song makes little sense. But at least it goes along with the theme.\nMarilyn Manson's career seems to be pulling apart at the seams; his appearance on Godhead's "Break You Down" shows why. It's a mediocre and uninspired performance that sums up his latest album, Holy Wood (In the Shadow of the Valley of Death) and really, the entire metal genre right now.\nSoundtracks rarely create a consistent album of quality songs. Usually they score with a few decent tracks that give listeners a good accompaniment to the movie. But the Dracula 2000 soundtrack is so full of washed-up metal groups, it simply wastes away in the sunlight.
(02/01/01 6:20am)
The British Invasion Returns! Coldplay has soared up the modern rock charts since coming to America in July and hitting it big over Christmas with their hit-single, "Yellow." Coldplay has managed to do what other chart-toppers fail miserably at, creating sentimental pop melodies that are both beautiful and carefully constructed.\nParachutes flows gently and methodically through 10 tracks of distinctly British pop. But far from being another Radiohead or Oasis rip-off, Coldplay has a sound they can call their own. A plesant mix of acoustic and electric guitars, along with the occasional classical piano, the music puts listeners in a comfortable limbo between enthusiasm and relaxation.\nWhile "Yellow" is a standout track on Parachutes, it is fairly atypical of the album. A gentle love song filled with heart-warming acoustics and up-tempo electrics, "Yellow" is both sweet and subtly depressing. It is this contrast that gives the song its true power. "I came along / I wrote a song for you, and all the things you do / and it was called 'Yellow,'" sings Chris Martin.\nOther songs like "Don't Panic" and "Trouble" exemplify the power of this album. On both tracks the cool piano and quick electric guitar hits catch the listener. Each seperate element is in no way exceptional, but each is pure in its musical sense and, when combined, they create a sound of ambience and soft beauty.\nLike many British bands, it is the lead singer's distinctive voice that helps add energy to the songs. Martin's vocal range and British accent compliment the music, striking a delicate balance between chaos and artistic mastery. \nWhile Coldplay may lack the artistry of Radiohead or the marketing power of Oasis, they make up for it with pure musical simplicity. Their music is rarely too complex, but multiple layers and soothing sounds make Parachutes a catchy and relaxing masterpiece.
(02/01/01 5:00am)
They're back … After a prolonged absence because of lawsuits and side projects, Tool returns from the shadows with a DVD/CD box set of videos and outtakes (The set is also available on VHS/CD). While a far cry from new material, the set should keep fans happy until the new album appears.\nOnly one of the five videos, "Hush", is new to Tool fans. But the set gives viewers the ability to play them at will in their unedited glory, a definite plus since they rarely, if ever, appear on MTV. The videos seem more complete when played on a DVD player. Not only are they higher quality, but they lack the destruction of MTV censors. "Stinkfist" is actually called "Stinkfist," not "Song No. 1" as MTV called it. Often grotesque, often disturbing, always strangely artistic, Tool's videos are displayed in the way the band meant them to be. "Hush", is an outtake from Tool's first EP, Opiate, and is only available on the DVD edition.\nBut while the DVD provides little new material to Tool fans, the CD is an eclectic collection of various live tracks and outtakes. While Tool is far from being a jam band, tracks such as "Third Eye" and "Pushit" are played out to let the sonic metal rush extend far beyond their original reach. Amplified guitar solos and digital effects showcase Tool's talent as a live band and prove they are one of the most groundbreaking bands in metal today.\nOuttakes from the Aenima sessions, while not adding much to the CD as a whole, are interesting in their own respect. "Merkaba" is known to Tool fans as the live intro to their hit, "Sober." On Salival, the bands steps into the studio to record the acclaimed track. But without "Sober" following it, the track is essentially useless. "Message to Harry Manback II" is more or less a repeat of the original "Message" on Aenima. \nThe CD also features two covers. The first is, "You Lied," a track by bassist Justin Chancellor's side project, Peach. Also included is Tool's rendition of Led Zeppelin\'s "No Quarter." A far cry from the original Zeppelin track, Tool pays homage to one of the original heavy metal acts with the angst-ridden cover.\nTool's next project is due out in April, and if the strength of Salival is any indication, it should rock the heavy metal world.
(02/01/01 5:00am)
The British Invasion Returns! Coldplay has soared up the modern rock charts since coming to America in July and hitting it big over Christmas with their hit-single, "Yellow." Coldplay has managed to do what other chart-toppers fail miserably at, creating sentimental pop melodies that are both beautiful and carefully constructed.\nParachutes flows gently and methodically through 10 tracks of distinctly British pop. But far from being another Radiohead or Oasis rip-off, Coldplay has a sound they can call their own. A plesant mix of acoustic and electric guitars, along with the occasional classical piano, the music puts listeners in a comfortable limbo between enthusiasm and relaxation.\nWhile "Yellow" is a standout track on Parachutes, it is fairly atypical of the album. A gentle love song filled with heart-warming acoustics and up-tempo electrics, "Yellow" is both sweet and subtly depressing. It is this contrast that gives the song its true power. "I came along / I wrote a song for you, and all the things you do / and it was called 'Yellow,'" sings Chris Martin.\nOther songs like "Don't Panic" and "Trouble" exemplify the power of this album. On both tracks the cool piano and quick electric guitar hits catch the listener. Each seperate element is in no way exceptional, but each is pure in its musical sense and, when combined, they create a sound of ambience and soft beauty.\nLike many British bands, it is the lead singer's distinctive voice that helps add energy to the songs. Martin's vocal range and British accent compliment the music, striking a delicate balance between chaos and artistic mastery. \nWhile Coldplay may lack the artistry of Radiohead or the marketing power of Oasis, they make up for it with pure musical simplicity. Their music is rarely too complex, but multiple layers and soothing sounds make Parachutes a catchy and relaxing masterpiece.
(02/01/01 4:47am)
They're back … After a prolonged absence because of lawsuits and side projects, Tool returns from the shadows with a DVD/CD box set of videos and outtakes (The set is also available on VHS/CD). While a far cry from new material, the set should keep fans happy until the new album appears.\nOnly one of the five videos, "Hush", is new to Tool fans. But the set gives viewers the ability to play them at will in their unedited glory, a definite plus since they rarely, if ever, appear on MTV. The videos seem more complete when played on a DVD player. Not only are they higher quality, but they lack the destruction of MTV censors. "Stinkfist" is actually called "Stinkfist," not "Song No. 1" as MTV called it. Often grotesque, often disturbing, always strangely artistic, Tool's videos are displayed in the way the band meant them to be. "Hush", is an outtake from Tool's first EP, Opiate, and is only available on the DVD edition.\nBut while the DVD provides little new material to Tool fans, the CD is an eclectic collection of various live tracks and outtakes. While Tool is far from being a jam band, tracks such as "Third Eye" and "Pushit" are played out to let the sonic metal rush extend far beyond their original reach. Amplified guitar solos and digital effects showcase Tool's talent as a live band and prove they are one of the most groundbreaking bands in metal today.\nOuttakes from the Aenima sessions, while not adding much to the CD as a whole, are interesting in their own respect. "Merkaba" is known to Tool fans as the live intro to their hit, "Sober." On Salival, the bands steps into the studio to record the acclaimed track. But without "Sober" following it, the track is essentially useless. "Message to Harry Manback II" is more or less a repeat of the original "Message" on Aenima. \nThe CD also features two covers. The first is, "You Lied," a track by bassist Justin Chancellor's side project, Peach. Also included is Tool's rendition of Led Zeppelin\'s "No Quarter." A far cry from the original Zeppelin track, Tool pays homage to one of the original heavy metal acts with the angst-ridden cover.\nTool's next project is due out in April, and if the strength of Salival is any indication, it should rock the heavy metal world.
(01/31/01 3:47am)
One of the most prolific writers of our time, Stephen King has penned 28 novels and countless short stories during his career. "Carrie," "The Stand" and "The Green Mile" are a few examples of the excitement and suspense King has brought to readers. With "On Writing: A Memoir of the Craft," King allows readers a brief glimpse into the mind that has generated some of the most memorable horror classics of our time. \nIn the beginning, King presents the reader with a detailed story of his childhood. He recounts the struggles of his mother, who fought hard to raise King and his older brother in a one-parent household. His mother jumped from job to job, never making much money, but enough to keep King and his genius brother in school. His mother would become his first customer when he transposed a children's book into his own short story. \nKing writes of school-age adventures and encountering trouble when his talent clashed with the will of the administration, instances when he would write stories and try to sell them in school only to have the administration take them and force him to give the money back. He had problems with experiments in journalism during high school (a craft he hacked at for years while working for his brother's small-time, basement-published newspaper). But even there he ran into trouble when his sarcastic humor offended several teachers.\nPerhaps the most intimate story he shares is that of his battle with drugs and alcohol. Beginning on a high school field trip where he and his friends first got drunk, King chronicles the viscious downward spiral that came close to destroying his career. It wasn't until a family intervention meeting that King finally was able to face his problem and move on.\nKing includes a section to help new and upcoming writers. For much of this section he rants on grammar (the passive voice is hated by Stephen King). He even includes an edited copy of one of his stories, marked up with footnotes to give readers an idea of how complex the editing process can be. He also writes about his ideas of secluded writing and editing, before allowing others to see his work.\nKing began "On Writing" before the much-publicized car accident that almost took his life. But his last section relives this horrid moment as King, detail by detail, tells the story of the car that hit him as he took a short walk along the road. \nThe accident caused King to stop writing for more than a year, a prolonged absence for a man typically known as a book-writing machine. Among the works left hanging is the next book in the "Dark Tower" series. According to www.stephenking.com, King has plans to finish it eventually, but the only book scheduled for release this year is "Dreamcatcher"
(01/18/01 5:12am)
What is rock and roll? To most it is an ever-evolving style of blues popularized by the likes of Elvis Presley and the Beatles. To VH1 it is whatever the hell it wants it to be.\nVH1, in its persistent quest to destroy all that we know about the last century of music, began showing "The 100 Greatest Albums of Rock 'N Roll" last Monday. Subsequently there was rioting in the streets.\nThe most blatant crime in this list lies right in the top 10. Nirvana came in with an atrocious No. 2 for their pinnacled grunge album Nevermind. Granted, Nirvana made a tremendous impact on 1990's music culture, but has their music had the lasting impact of bands like the Rolling Stones? How about Jimi Hendrix, who inspired generations of musicians with his phenomenal guitar work but ended up getting shafted down to No. 5 for Are You Experienced?. VH1 also fails to recognize the other bands that, without whom, the grunge era never would have gotten out of Seattle. Pearl Jam is the only other grunge act coming in at No. 79 with Ten. But where are Alice in Chains, Stone Temple Pilots and above all, where the hell are the Smashing Pumpkins?\nVH1 is obviously partial to the Beatles, and not much can be said to counter that. The Beatles brought rock and roll into the mainstream, making ground-breaking albums in the process. Revolver tops the list at No. 1, and the band has four albums in the top 10 alone. Here, VH1 might only be guilty of going a tad overboard. Not every Beatles album shook the rock 'n roll genre.\nSome bands got some obviously unfair treatment. The Who managed to get Who's Next in at No. 13, but Quadrophenia came in a disappointing No. 86 while Tommy mustered up a sad No. 90. Ouch. Even worse is the poor standings Pink Floyd registers. Britain's masters of synth and sound got slammed with only one album, Dark Side of the Moon at No. 51. Where's The Wall or Wish You Were Here? Pink Floyd continues to influence bands, especially modern Brit-pop, but VH1 could apparently care less.\nLogically, rock is rock, R&B is R&B, rap is rap. But according to VH1 they are all rock. VH1's list includes the likes of Aretha Franklin (No. 30), Michael Jackson (No. 23, No. 36), Public Enemy (No. 20), and the kicker of them all, N.W.A. (No. 62). VH1's "experts" should have researched their genre a bit more before coming up with this atrocity of a list.\nAnd if they were going to put rap in the list, why not hard rock and heavy metal, which are much more closely related to rock than rap or R&B? Led Zeppelin, who happened to be VH1's pick for greatest hard rock band of all time, came in at only 43 and 44 for Led Zeppelin and Led Zeppelin II respectively. Guns 'n Roses and AC/DC made the list, but many others failed to even touch it. Metallica, Black Sabbath and Aerosmith are all sorely missed.\nTo give VH1 credit, it avoided making horrendous errors by leaving off most modern bands. Rock 'n roll has fallen into an era of despair, and VH1 recognizes this by avoiding most albums from the past five years. In fact the only modern albums that made the list were Radiohead's cyber-rock-anthem OK Computer at No. 94 and Lauryn Hill's The Miseducation of Lauryn Hill. But since when is Lauryn Hill rock?\nVH1 unfairly blurred the line between rock and pop and proved once in for all that it is in no way an authority on music, but merely a commercial infrastructure determined to destroy music forever.
(01/18/01 5:00am)
It is a shrine to that which might never be again. Seattle's alt-rock scene has essentially perished, and Alice In Chains, once a leader in the grunge market, has long since slipped into obscurity, an existence put into serious doubt by the success of guitarist Jerry Cantrell's solo debut. But Live stands tall as a testament to the power Alice In Chains once possessed on the road. \nWhat one must remember is that Alice In Chains is not technically broken up, just on an indefinite hiatus. But the fact that it hasn't released an album of truly new material since 1995 is strikingly obvious in Live, which contains no new tracks. It provides little hope.\nDespite all these songs being old and somewhat played out, it still retains its original power and emotion. Live documents Alice in Chains' live power as the band blasts through 14 alt-rock classics. Grunge might be dead, but not on this album.\n"Dirt," "Would?" and "Man In The Box" are all on this collection in their full rock splendor. Cantrell burns away on the guitar as Layne Stanley rages on the mic. It's nostalgia at its best. While none of the songs deviate much from their studio counterparts, producer Peter Fletcher was able to capture the live-feel lacking on many modern live albums.\nThere is the occasional lesser-known track. "Queen of the Rodeo," released commercially only on the band's box set Music Box. It's a "country tune" about a boy who feels a duty to be his mother's daughter and resorts to cross-dressing. While slightly humorous and slower than most Alice In Chains tracks, it still manages to meld its anger with the rest of the album.\nThis album was not taken from a singular concert, but rather several concerts during the band's career. This enables the band to capture each song when it was still fresh in the band and not weighted down by endless touring or radio airplay. While it is a far cry from a much needed new album, Live at least gives fans the electric live album they have been craving.
(01/18/01 5:00am)
What is rock and roll? To most it is an ever-evolving style of blues popularized by the likes of Elvis Presley and the Beatles. To VH1 it is whatever the hell it wants it to be.\nVH1, in its persistent quest to destroy all that we know about the last century of music, began showing "The 100 Greatest Albums of Rock 'N Roll" last Monday. Subsequently there was rioting in the streets.\nThe most blatant crime in this list lies right in the top 10. Nirvana came in with an atrocious No. 2 for their pinnacled grunge album Nevermind. Granted, Nirvana made a tremendous impact on 1990's music culture, but has their music had the lasting impact of bands like the Rolling Stones? How about Jimi Hendrix, who inspired generations of musicians with his phenomenal guitar work but ended up getting shafted down to No. 5 for Are You Experienced?. VH1 also fails to recognize the other bands that, without whom, the grunge era never would have gotten out of Seattle. Pearl Jam is the only other grunge act coming in at No. 79 with Ten. But where are Alice in Chains, Stone Temple Pilots and above all, where the hell are the Smashing Pumpkins?\nVH1 is obviously partial to the Beatles, and not much can be said to counter that. The Beatles brought rock and roll into the mainstream, making ground-breaking albums in the process. Revolver tops the list at No. 1, and the band has four albums in the top 10 alone. Here, VH1 might only be guilty of going a tad overboard. Not every Beatles album shook the rock 'n roll genre.\nSome bands got some obviously unfair treatment. The Who managed to get Who's Next in at No. 13, but Quadrophenia came in a disappointing No. 86 while Tommy mustered up a sad No. 90. Ouch. Even worse is the poor standings Pink Floyd registers. Britain's masters of synth and sound got slammed with only one album, Dark Side of the Moon at No. 51. Where's The Wall or Wish You Were Here? Pink Floyd continues to influence bands, especially modern Brit-pop, but VH1 could apparently care less.\nLogically, rock is rock, R&B is R&B, rap is rap. But according to VH1 they are all rock. VH1's list includes the likes of Aretha Franklin (No. 30), Michael Jackson (No. 23, No. 36), Public Enemy (No. 20), and the kicker of them all, N.W.A. (No. 62). VH1's "experts" should have researched their genre a bit more before coming up with this atrocity of a list.\nAnd if they were going to put rap in the list, why not hard rock and heavy metal, which are much more closely related to rock than rap or R&B? Led Zeppelin, who happened to be VH1's pick for greatest hard rock band of all time, came in at only 43 and 44 for Led Zeppelin and Led Zeppelin II respectively. Guns 'n Roses and AC/DC made the list, but many others failed to even touch it. Metallica, Black Sabbath and Aerosmith are all sorely missed.\nTo give VH1 credit, it avoided making horrendous errors by leaving off most modern bands. Rock 'n roll has fallen into an era of despair, and VH1 recognizes this by avoiding most albums from the past five years. In fact the only modern albums that made the list were Radiohead's cyber-rock-anthem OK Computer at No. 94 and Lauryn Hill's The Miseducation of Lauryn Hill. But since when is Lauryn Hill rock?\nVH1 unfairly blurred the line between rock and pop and proved once in for all that it is in no way an authority on music, but merely a commercial infrastructure determined to destroy music forever.
(01/18/01 4:27am)
It is a shrine to that which might never be again. Seattle's alt-rock scene has essentially perished, and Alice In Chains, once a leader in the grunge market, has long since slipped into obscurity, an existence put into serious doubt by the success of guitarist Jerry Cantrell's solo debut. But Live stands tall as a testament to the power Alice In Chains once possessed on the road. \nWhat one must remember is that Alice In Chains is not technically broken up, just on an indefinite hiatus. But the fact that it hasn't released an album of truly new material since 1995 is strikingly obvious in Live, which contains no new tracks. It provides little hope.\nDespite all these songs being old and somewhat played out, it still retains its original power and emotion. Live documents Alice in Chains' live power as the band blasts through 14 alt-rock classics. Grunge might be dead, but not on this album.\n"Dirt," "Would?" and "Man In The Box" are all on this collection in their full rock splendor. Cantrell burns away on the guitar as Layne Stanley rages on the mic. It's nostalgia at its best. While none of the songs deviate much from their studio counterparts, producer Peter Fletcher was able to capture the live-feel lacking on many modern live albums.\nThere is the occasional lesser-known track. "Queen of the Rodeo," released commercially only on the band's box set Music Box. It's a "country tune" about a boy who feels a duty to be his mother's daughter and resorts to cross-dressing. While slightly humorous and slower than most Alice In Chains tracks, it still manages to meld its anger with the rest of the album.\nThis album was not taken from a singular concert, but rather several concerts during the band's career. This enables the band to capture each song when it was still fresh in the band and not weighted down by endless touring or radio airplay. While it is a far cry from a much needed new album, Live at least gives fans the electric live album they have been craving.
(01/11/01 5:00am)
GOING TO JAPAN\nSitting around a table at Bears' Place, sipping on a Newcastle and joking away the time, the five men who are OlO show off the new shirts they will use for the recording of their first music video, the song "Red Man Go On."\n The shirts are blank except for the numbers 010 on the back. The shirts are all various colors, and the band members fight over which color each will wear for the video, which will be filmed in Brown County and Chicago. The video will air in Japan to support the album OlOrizedcoloralbum.\n OlO will tour Japan beginning in March.\n "Kampai," (cheers) says drummer Matt Griffin, who is trying to learn a little Japanese before the band leaves.\n OlO got its start in Japan from an interesting album cover and a little luck. Cornelius, a high-profile record producer and owner of Polystar subsidiary Trattoria Records, discovered OlOrizedcoloralbum and bought it because of its rainbow-striped cover. OlO isn't sure how the album got to Japan, and the clerk in Japan couldn't order additional copies.\n Cornelius liked the album so much that he named it one of his top 10 albums of the year. He signed the band a deal to release OlOrizedcoloralbum in Japan with two bonus tracks. OlO is also recording an EP and another album for release in Japan before its tour.\n "It's going to be total rock star Japan," says Brad Biancardi, vocalist and keyboardist for OlO.\n Vocalist and guitarist Corey Allbritten, a senior, says OlO is mysterious in Japan right now because the group members have never been seen in the country. But already the band has received acclaim from the public and from other bands in Japan like OOIOO, a group OlO admires.\n "We are a little intimidated because we're probably going to play with OOIOO," Allbritten says. "They rock so much."
(01/11/01 5:00am)
Occasionally, a movie comes along that is so powerful and inspirational that it raises the bar for all others. A movie so filled with social ills that it touches the lives of all who see it. "Dude, Where's My Car?" is not just some half-bit, stoner/teenie-bop laughfest, it is a comment on all that is wrong with American culture.\n When Jesse (Ashton Kutcher, "That 70s Show") asks, "Dude, where's my car?," he is not wondering about the placement of his automobile but rather his place in society. Both he and his best friend, Chester (Seann William Scott from "American Pie" and "Road Trip"), feel out of place among others and are tormented by a gang of high school jocks. It is this oh-too-common struggle that leads Jesse and Chester to a life of pot and alcohol, which causes their inability to remember the previous night's events.\n There are other consequences of their irresponsibility. The missing car contains their girlfriends' anniversary presents. Here, scriptwriting genius Philip Stark subtly inserts a comment on the stupidity of the male race in its treatment of women. Throughout the movie, Jesse and Chester learn that they need to be better boyfriends, an inspiration to all men.\n All this is layered on top of a classic struggle between good and evil. As Jesse and Chester retrace last night's events, they learn they were in possession of an object of galactic proportions. The Universal Transfunctioner is missing, and the boys are obligated to recover it. On their tale are many sides to an interstellar struggle, from a gang of "hot chicks" offering "pleasure" to the bubble-wrapped followers of "Zoltan" to two "totally gay Nordic dudes." It is up to Jesse and Chester to solve this conflict and save the day.\n The quirky laughs are only a sugarcoating to the social ills that this movie is trying to address. It is a cry for outcast-teens everywhere to rise up and be respected. Its inspiration will have viewers asking, "Dude, where's my car"
(01/11/01 1:30am)
Occasionally, a movie comes along that is so powerful and inspirational that it raises the bar for all others. A movie so filled with social ills that it touches the lives of all who see it. "Dude, Where's My Car?" is not just some half-bit, stoner/teenie-bop laughfest, it is a comment on all that is wrong with American culture.\n When Jesse (Ashton Kutcher, "That 70s Show") asks, "Dude, where's my car?," he is not wondering about the placement of his automobile but rather his place in society. Both he and his best friend, Chester (Seann William Scott from "American Pie" and "Road Trip"), feel out of place among others and are tormented by a gang of high school jocks. It is this oh-too-common struggle that leads Jesse and Chester to a life of pot and alcohol, which causes their inability to remember the previous night's events.\n There are other consequences of their irresponsibility. The missing car contains their girlfriends' anniversary presents. Here, scriptwriting genius Philip Stark subtly inserts a comment on the stupidity of the male race in its treatment of women. Throughout the movie, Jesse and Chester learn that they need to be better boyfriends, an inspiration to all men.\n All this is layered on top of a classic struggle between good and evil. As Jesse and Chester retrace last night's events, they learn they were in possession of an object of galactic proportions. The Universal Transfunctioner is missing, and the boys are obligated to recover it. On their tale are many sides to an interstellar struggle, from a gang of "hot chicks" offering "pleasure" to the bubble-wrapped followers of "Zoltan" to two "totally gay Nordic dudes." It is up to Jesse and Chester to solve this conflict and save the day.\n The quirky laughs are only a sugarcoating to the social ills that this movie is trying to address. It is a cry for outcast-teens everywhere to rise up and be respected. Its inspiration will have viewers asking, "Dude, where's my car"
(01/11/01 12:46am)
GOING TO JAPAN\nSitting around a table at Bears' Place, sipping on a Newcastle and joking away the time, the five men who are OlO show off the new shirts they will use for the recording of their first music video, the song "Red Man Go On."\n The shirts are blank except for the numbers 010 on the back. The shirts are all various colors, and the band members fight over which color each will wear for the video, which will be filmed in Brown County and Chicago. The video will air in Japan to support the album OlOrizedcoloralbum.\n OlO will tour Japan beginning in March.\n "Kampai," (cheers) says drummer Matt Griffin, who is trying to learn a little Japanese before the band leaves.\n OlO got its start in Japan from an interesting album cover and a little luck. Cornelius, a high-profile record producer and owner of Polystar subsidiary Trattoria Records, discovered OlOrizedcoloralbum and bought it because of its rainbow-striped cover. OlO isn't sure how the album got to Japan, and the clerk in Japan couldn't order additional copies.\n Cornelius liked the album so much that he named it one of his top 10 albums of the year. He signed the band a deal to release OlOrizedcoloralbum in Japan with two bonus tracks. OlO is also recording an EP and another album for release in Japan before its tour.\n "It's going to be total rock star Japan," says Brad Biancardi, vocalist and keyboardist for OlO.\n Vocalist and guitarist Corey Allbritten, a senior, says OlO is mysterious in Japan right now because the group members have never been seen in the country. But already the band has received acclaim from the public and from other bands in Japan like OOIOO, a group OlO admires.\n "We are a little intimidated because we're probably going to play with OOIOO," Allbritten says. "They rock so much."
(12/07/00 6:10am)
Surf rock is dead, and listening to Dressy Bessy's The California EP made that fact painfully clear. Not to mock these people personally, who all may be talented in their own special way, but they turned out an EP that contains four tracks of poor-quality surf rock and one track that does not fit into any genre, it's just bad.\nSurf rock is supposed to inspire listeners to make a mad dash to the nearest coastline, but with The California EP, listeners will sprint to the highest peak possible. In fact this album's only saving grace is that the longest song is just over three and a half minutes.\nThe songs are overtly simple and repetitive. There's nothing along the lines of ingenuity on this album. The guitars and drums are far too predictable and dull, shifting tempos right on cue and using a few chords as possible on each track.\nBut it seems that surf rock is the only thing these guys are capable of. The final track, "In The Morning," is a percussion track that still contains the annoying pop sounds of every other track. Not only does it have a poor beat, but also the song as a whole is of overall poor quality.\nNot to mention that the vocals are just plain poor. Tammy Ealon has a good voice, but often times she reaches for notes way out of her vocal range. "You look like you've seen some better days before you became this way, I feel better than I did yesterday," she sings on "Some Better Days." Really, it doesn't get any more blatant, poppy and just plain absurd than that.\nIn fact, The California EP sounds surprisingly like every Beach Boys album ever made, only not as good. The Dressy Bessy foursome may have some musical talent, but it certainly doesn't show on this album. Maybe they should take another trip back to the drawing board.
(12/07/00 5:35am)
Even though all Rush projects are on indefinite hold, it hasn't stopped Rush lead man Geddy Lee from putting out new material. His first solo project, My Favorite Headache, is just as strong as any Rush album. Yet it holds its own distinct style.
(12/07/00 5:17am)
1. Radiohead -- Kid A
Easily the most explorative and musically beautiful album of the year, with Kid A, Radiohead shows how they can continue to morph and mold their style to remain at the cutting edge of music while still keeping a grasp on their distinctive sound. Despite the hype, Radiohead created an album that is powerful, entertaining and musically superior to any other album this year.
