8 - The Michigan Daily - Tuesday, February 24, 1998 GRAPE GETS 'STUPID' WITH SECOND CD Law guilty of G-funk Seattle Sonics center Sam Perkins is a talented and multi-dimensional basketball player, one who possesses a sweet baby hook shot and hits 3-point- Black Grape Stupid Stupid Stupid Radioactive Reviewed by Daily Arts Writer ers with consistency, yet still blocks opposing behemoths' shots and snatches defensive rebounds with aplomb -- which is all the more impres- sive when one observes the fact that "Big Smooth" looks completely fried every time he ambles down the court, arms, legs and dreads akimbo. Likewise, Black Grape aron Rennie frontmanlguiding force Shaun Ryder is a versatile performer - he plays Sean Connery's bad guy sidekick "Bully Boy" in the forthcoming "The Avengers," and com- fortably unleashes his mean hybrid of rock, dance, funk and hip-hop for club kids and soccer hooligans alike - yet he is completely out of his head at all times. This is a man whose rap sheet for drug busts was so' long that he temporarily could- t n't get a visa to tour the U.S. in 1996, so instead he entertained American journalists in com- munist Cuba. This is the same man whose tour bus was pulled over by police officers who smelled pot inside, so Ryder decided to wake up his tour manager by turning on a chain- saw in front of his face (he was unsuccessful).X Ryder and his Black Grape bandmates - rappers Kermit and Psycho, guitarist Wags, keyboardist/saxophonist Martin Slattery, drummer Ged Lynch and bassist/producer Danny Saber - continue their merry partying ways on their sophomore album, "Stupid Stupid Stupid." Like the group's '95 debut, "It's Great When You're Straight ... Yeah," "Stupid Stupid Stupid" contains bawdy humor, catchy choruses and danceable rhythms. The album commences with "Get Higher," recently featured on "The Jackal" soundtrack. In addition to its funky beats and Ryder's falsetto on the chorus, the song is notable for its Ronald Reagan impersonator, who says, "Tonight I can report to you that former President Bush smokes marijuana regularly. And there's one more thing: Nancy and I are hooked on heroin." Not for the prudish or faint of heart, the follow- ing track, "Squeaky," includes one of "Stupid Stupid Stupid"'s numerous sexual allusions: "I wanna get cheeky with you / I wanna get squeaky inside you." In his strong Manchester accent, how- ever, it sounds like, "I wanna get jiggy with you," but I digress. Saber, who has also pro- duced the likes of David Bowie and the Rolling Stones, does a fine job layering the song's big riff with the throaty ragga rap of Kermit, giving the tune a commendable bal- ance of urban hardness and Caribbean bounce. "Dadi Waz A Badi" is a fantastic track, which will be a sure-fire fiesta fave if it is ever given proper exposure. The chorus - "You got it / I want it /You know I'm gonna get it" - is just as catchy as that of one-hit-wonder Chumbawamba's "Tubthumping," except about a million times less annoying. All the instruments mesh perfect- Those who think that G-funk died when Dr. Dre left Death Row Records, think again. It simply moved from the mainstream to its rightful home: the underground. Tommy Boy artists Above the Law, while not as well-known as the Doctor, also helped establish the G-funk sound, and keep it alive in "Legends," the band's sixth album. Cold 187's production is top notch, mixing the laid-back G-funk style with experimental sounds and instru- ments, keeping the music familiar but fresh. Even the most anti-West Coast listener can't help but nod to the gui- tars of "Deep as the Root," the ethere- al "Worldwide," and the brooding "Adventures of ..." 187's high-pitched flow comple- ments KMG's baritone, and the two approach this album like the true rap veterans they are. They successfully mix the smooth pimp/hustler talk that put them on the rap map, ** with harsh ghetto war stories that Above the Law hold an unblink- Legends ing eye to the underside of life Tommy Boy in Killah Kali Reviewed by (like on the oth- Daily Arts writer erworldly "Soul JuQuan Wiiams Searching," and the introspective "Promise Me"). While good, this album could have been better. 187 does a commendable job taking chances on his production, Courtesy of Radioactive Records Shaun Ryder has two major roles In 1998: He's front- man of Black Grape and sidekick in "The Avengers." ly, while the admittedly less-than-Dylanesque lyric, "My daddy was a good guy, he wore a good guy's hat / Any chick with massive tits my dad just had to shag," will likely produce a chuckle or two. Other highlights include "Spotlight," an uplifting love (?!) song complete with horn flourishes, and "Lonely," a winning remake of Frederick Knight's 1972 soul hit, "I've Been Lonely For So Long." And despite a couple of filler tracks and Ryder's fre- quently out-of-whack vocals and questionable lyrics, "Stupid Stupid Stupid" is definitely a worth- while investment if you're in the mood for good, dirty fun. but some of his efforts fall flat, like; the hokey "Sumner Days," and-the incomplete "LA Vibe." The guest rap- pers aren't particularly memorable, and one wonders why Above the Law bothered to let Yuckmouth of the Luniz. Jayo Felony and others waste valuable studio time. Also, some of the better songs ar broken up by unnecessary skits and trash-talking. Some of it happens mid-song, and one may want to sim- ply go to the next song when that hap- pens. The reports of G-funk's death have been greatly exaggerate, and for six albums, Above the Law has been con- sistent with its sound and subject mat- ter. Its previous album didn't reach expectations, but with "Legends" Above the Law has returned to form. For those of you still unfamiliar with Left Coast hip-hop, you won't be dis- appointed if you give these under- ground legends a chance. Swervedriver careens into 'Dream' and survives Diverse 'Lebowski' bowls itself over Talk about bad luck. For the better part of the past two years, Swervedriver has gotten the short end of the stick and has fallen victim to the dirty business that is the music business. The band's first label, Creation, dropped them right after the release of its last (and best) album "Ejector Seat Reservation." Needless to say, this low-ball move left Swervedriver Swervedriver in the uncom- 99th Dream promising situation of having an album released without any Zero Hour luxury such as promotion or Reviewed publicity. For the Daily by Over the past seven years, Philip Son this Oxford quartet has been able to develop a trademark sound based on heavily layered guitars with oozes of reverb, echo, and distortion. But each album has shown a marked progres- sion towards a more poppy feel and "99th Dream" is the most soulful, consistent effort. Whereas "Raise" was harder-hitting and "Mezcal Head" more in-your-face, "99th Dream" is smoother and more refined. Tracks such as "These Times" and the title track provide indelible pop hooks with an instantly hummable chorus, "She Weaves a Tender Trap" shows the marked improvement of vocalist Adam Franklin's voice as he croons his way through. The seven-minute closer. "Behind the Scenes of the Sounds and the Times," is a post-Ride thriller that recalls the best of the shoegazer scene. Overall, "99th Dream" is a fine effort that shows how committed and much improved the band truly is. This is a testament to the band mem- bers' strengths to be able to endure all the crap they have, and to still be at the top of their game. Would they, could they 'Freak' you out? Samiam returns Samiam started in 1988 in San Francisco in the same Gilman Street scene as Operation Ivy, Jawbreaker, Green Day and the Mr. T. Experience, but somehow never quite fit in. Not too much has changed since then. Samiam's still not your typical punk band, proven once again on their fifth and finest album to date. After releasing three albums on New Red Archives records, Samiam signed to Atlantic Records, where they released the polished, diverse "Clumsy" in 1994. After parting ways with Atlantic, Samiam went on involuntary hiatus. Four years later, Samiam is back with a new record label, new drummer, and a new album, titled "You Are Freaking Me Out." "You Are Freaking Me Out" takes off where "Clumsy" landed, blending Samiam's emo-core roots with a gen- uine pop sensibility. Samiam's trade- mark thick, wall-of-guitar sound and Jason Beebout's pained, impassioned vocals combine with new drummer M.P's driving beats to create the most definitive and interesting Samiam pack- age to date. Samiam's approach to fast tempos is "been there, done that," as evidenced by the slower ** tracks like the 7 Samiam catchy "If You Say So" and the sur- You Are Freaking prising Beatles' Me Out cover "Cry Baby Ignition Cry." That doesn't Reviewed by mean Samiam Daisy Arts Writer can't still rock out, camn Bartos though, which they do on the majority burners like "Don't Break Me" and "As We're Told." This album is no excep- tion, hitting the gates running with "Full On," which deals with Beebout's attempt at trying to let go of someone who's obviously treated him horribly. The first single, "She Found You," is probably the poppiest song Samiam has ever written, putting the listener in an almost pogo-like trance. "She Found You" just might be the tune to give Samiam a little radio recognition. The album just gains momentum with the next track, "Factory" - an aggressive tune to say the least. Beebout continues his poignant observations on interesting people on "You Are Freaking Me Out," too, on songs like "Ordinary Life," "Mr. Walker" and "Nothing New." Samiam's strong points always have been intriguing lyrics paired with a strong punk background. "You Are Like many great sports, bowling is an arena for athleticism, camaraderie and sportsmanship. But just when you thought it was safe to lace on the rental shoes and roll a strike, Joel and Ethan Coen hit a 7-10 split, and throw murder on to the lane in their new film "The Big Lebowski." "The Original Motion Picture Soundtrack of The Big Lebowski" shows that the mix of pins, balls and blood is just as messy as it might seem, as the album gives an odd musical blend of classic rock tunes and new-age and classical pieces. The album kicks off with three rock tunes. Bob Dylan's "The Man In Me," Elvis Costello's "My Mood Swings" and Captain Beefheart's "Her Eyes Are A Blue Million Miles," The Big combine to grab Lebowski the listener's attentions and Mercury place him in an Reviewed by average, dingy Daily Arts Writer suburban bowling Aaron Rich ally. Beefheart's strong string- plucking in conjunction with his robust vocals make this song a true winner. And like the memory of a perfect 300- point game, this song sticks in the mind for a while after the fact. The incomparable jazz vocalist Nina Simone sweetly croons "I Got It Bad and That Ain't Good." Backed up by a full orchestra, her vibrato cuts right to the listener's melancholia - tears will be shed. This is surely the anthem to the gutter-ball. There is also a new-age side to the soundtrack. Moondog with Orchestra, seemingly a Philip Glass knock-off, play its tune "Stomping Ground." Thi song sets up a good feeling of drama- and expectation - two important fac- tors in any movie about bowling. Another new-age tune of note is Meredith Monk's "Walking Song." This piece must have been incorrectly named, as there seems to be no walking at all. Instead the song is made up entirely of heavy breathing. (Sex on the lanes, anyone?) With a comprehensive mix of differ ent styles and imagery, this is a darin soundtrack. It seems as if film makers have recently been more interested in including flashy, popular tunes on their albums instead of creating a cohesive work of art in sound. This collection would be a nice bit of art if it were not for the fact that it is far from cohesive. The songs follow no stylistic or chrono- logical theme and therefore leave the lis- tener frequently confused and bothere by the jumpiness of the disjointed conti- nuity. It is a fun and very eclectic mix, though - perhaps the most eclectic in a while. Freaking Me Out" doesn't stray from this formula, either. Samiam's longtime fans will definitely not be disappointed with this and new fans are sure to be eager to jump on for the ride, too. Samiam hasn't changed its style, just tweaked it to the point that the band really excels at what it does. of the tunes. Samiam's past three albums have started out fast, with emotional barn- U You are invited to the sixth annual for Campus and Community A meditative service of Scripture, prayer, silence, meditative singing of music from the Taize Community, imposition of ashes and Holy Communion HUSs T-cHno SOSOE By nOJ1Ur=sHs SPONSOREDBY MOJO CLOrrHING 4 i Fph u m~pru rv 25(1 - 7 :3C- 0l n m + I