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SOUNDBITES

Lou Reed
Magic and Loss
What a long, strange trip it's been for Lou
Reed. After being one of rock's most
deviant characters with the Velvet Under-
ground in the late '60s
and on his own in the
'70s, Reed has trans-u
formed himself into a=
social commentator
and keen observer ofm
the human condition. -
Reed's new album,
Magic and Loss, makes a powerful statement
about mortality. Inspired by the loss of two
friends to cancer, Reed has come up with a
series of songs with gripping emotional
content. Magic and Loss is as literate as
anything he has written. He strikingly
articulates his sense of grief and feeling of
loss, and tempers both with typical Lou
Reed irony and humor.
The music on Magic and Loss is as strong as
the lyrics. Reed's minimalist guitar playing is
characteristically smooth, and Rob
Wasserman's bass playing may be the best
anywhere. And despite the weightiness of
the theme, Reed manages to avoid being
overbearing. Most of the songs are delivered
matter-of-factly, and rarely hit the listener
over the head with gloom.
Loss is never easy, particularly the
absolute end of a relationship. Reed, while
driving home exactly how hard it can be, is
able to throw in some magic to even things
out. .Jeffrey Bukowski, The Diamondback, U.
of Maryland

U. COLLEGE RADIO CHART
1. Lou Reed, . U F 5. Big Wheel,
MagicandLoss Holiday Manor
2.Enya, s 6. The Verlaines, Ready toFly
Shepherd M7.LveBatteryDayglo
3. Teenage Fan Club, 8. Uncle Tupelo,
Bandwagonesque StillFeel Gone
4. Various Artists, 9. Shonen Knife, 712
I'm YourFan, Songs of Leonard Cohen 10. Lush, NothingNatural
Chart solely based on ollege-radio airplay. Contributing radio stations KASR, Arizona State U.; KALX, U. of California, Berkeley;
KLA, U. of California, Los Angeles; KUCB, U. of Colorado; WXDU, Drexel U.; WUOG, U. of Georgia; WIUS, Indiana U.;
WXJM,.James Madison U.; WRFL, U. of Kentucky; WLDC, Loyola U.; WVUM, U. of Miami; WCBM, U. of Michigan;
KCOU, U. of Missouri; WNYU, NewYork U.; WXYC, U. of North Carolina; KTRU, Rice U.; WIDB, U. of Southern
Illinois; KTSB, U. ofTexas; WTUL, Tulane U.; WAKEWake ForestU.; KCMU, U. of Washington

They Might Be Giants
Apollo 18
On the map of pop music, They Might Be
Giants occupies a country all to itself. The
band consists of two guys from New Jersey
named John (Linnell and Flansburgh, for
those of you keeping score at home) with
nasallyvoices and a keen sense of the absurd
in life.
On their past three albums - particularly
1990's Flood- the pair has taken traditional
pop song structures and turned them inside
out. The result is a collection of songs with
impossibly catchy lyrics, well, lyrics which
offer a world seldom seen. The ridiculous
masquerades as the sublime.
Now maybe it's the recession, but They
Might Be Giants' newest release, Apollo 18, is
somehow more serious than its predeces-

sors. A band which was previously singing
delightful nonsense about puppet heads
and birdhouses is now crooning about
graveyards ("Turn
Around") and killing
one's mother ("I Palin-
drome I").
Not that the band
has waxed completely
philosophical. They
Might Be Giants' same
quirky, tongue-in-cheek approach still
pervades all 18 bite-sized tracks, each of
which is under three minutes. Apollo 18
should thus satisfy the most faithful fez-
wearing fans. Those wishing just to try the
band out, however, might want to start with
the more accessible Flood before moving up
to 1992's spacier endeavor. a Heidi Strom,
The TulaneHullaballoo, Tulane U.

Social Distortion
Somewhere Between Heaven and Hell
Social Distortion, a living relic from the
late '70s LosAngeles punk laboratory, is like
a refurbished fin-tailed automobile rolling
down boulevards of old glory, police
surveillance and busted statues. Having
weathered the onslaught of Southern
California's early to mid-'80s hardcore
digression daze, singer-guitarist Mike Ness
has since restyled his spikey bangs into a
delinquent pompador, signalling his return
to roots rock'n'stroll.
The bopping p-rock
anthems that roamed
their Mommy's Little
Monster album, re-
leased more than a
decade ago, were
remodeled by more
sober and retrospective tunes of urban cow-
spunk nature in the Prisonbound LP of 1988
and 1990's self-titled re-debut.
Now, with Somewhere Between Heaven and
Hell, Ness proves to himself that there is a
bunk in between rock and a hard place.
Included are the regular up-tempo garage-
style rockers. But the songs that preserve the
Social D. sound are those that show Ness'
ability to retread country-based chord
progressions into catchy, likeable pop tunes.
Ness once said that seeing his heroes, the
Rolling Stones, in concert was cool, but "the
novelty wore off after a couple of songs."
With Between Heaven and Hell, Social D.'s
novelty is on the rise and taking form. .J.W.
Lim, TheDaily Athenaeum, WestVirginia U.


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