The Michigan Daily - Tuesday, October 19. 1999 --
OF THE MUSIC INDUSTRY'S NEW RE
CLAPTON SELLS OUT WITH HITS COMPILATION
returns with 'Thirst'
In Bob Dole's 1996 presidential cam-
paign, Dole named Cannibal Corpse
was one of the indicators of the decline
in values in our youth. With songs that
go by titles like "Fucked With A Knife"
and "Dismembered And Molested" it
was easy to see why the group was an
easy scapegoat for our society's bigger
problems. Three years later Cannibal
Corpse returns with "Blood Thirst" and
proves that it still has plenty of the
goods that politicians love to hate and
will likely help bring the band's name
into speeches by election candidates in
next year's elections.
Listeners this time are treated to
cheery numbers such as, "Ecstasy In
By The Beast"
*** and "Dead
Cannibal H u m a n
C o CI e c t i o n ."
Corpse Compared to the
Biood Thirst group's last
Metal Blade album, "Gallery
Reviewed by Of Suicide,"
Daily Arts Writer Cannibal Corpse
Adlin Roshi have gone back
to faster playing
and are experimenting less.
What makes this release special from
other Cannibal Corpse albums is the
production handled by Colin
Richardson. The man responsible
behind capturing Machine Head and
Carcass' best works has done an amaz-
ing job crisply recording Cann
The songs are relentless in their fury
powered by the amazing guitar riffti
of Pat O'Brien and Jack Owen. It isthe.
two's electrifying technical yet furi.u
contribution that really make til
album stand out from the homoeou
selection of Death Metal releases. The
dueling guitar solos of the two are also
terrific. O'Brien's neo-classical styling
is a great contrast to Owen's pumpedtp
Everything you could want in a
Death Metal release is all here, the gu-
tural vocals, the heavy riffing, the blast
beats and the bass player buried to deep'
in the mix. Sure there isn't anything all
that groundbreaking to this release, but
damn to these guys are good at what.
track crowd. The trend started with the hit "Change the World" from the film
"Phenomenon" and two sappy new songs, "Blue Eyes Blue" (from "Runaway
Bride") and "(1) Get Lost" (from "The Story of Us") are shamelessly pro-
moted through their inclusion on the disc. Both are sure to get plenty of air
time on VH-l.
Whether the release of "Chronicles" was the result of a contractual loop-
hole, the idea of greedy record company executives or of Clapton himself, its
sole purpose is to get some extra mileage out of merely mediocre material.
Shepherd stakes claim to fame
He's been compared to Stevie Ray Viughan. Some
say he is a modern Hendrix. IHe's toured with Joe
Satriani, Steve Vai and Van I lalen. It's time to quit using
words like "sounds like" and "reminds me of' and start
A live album is always received with
a2crtain amount of caution. Either the
d performs the songs perfectly and
me. off as competent but boring or
thiiv surprise the listener with some-
thinig new. What Sunny Day Real Estate
accomplishes on their live album is
nrid blowing. They reinvent them-
seles by performing the songs not only
vith furious and clear eiotion, but also
ih the voice of Jeremy Enigk doing
something new. His voice is mysteri-
admitting the most
Daily Arts Writer
obvious fact: Kenny Wayne
Shepherd is a budding modern
guitar legend. With his third
album, "Live On," Shepherd
takes a deep stab into establishing
himself as one of the foremost
blues rock guitarists ... ever.
"Live On" erupts with a hard-
driving, wah-wah screaming "In
2 Deep." Don't know what blues-
rock is all about? These opening
3 minutes 14 seconds define it.
Vocalist Noah 1Hnt's deep, pas-
Daily Arts Writer
,- Andy lein
ously different in
the live setting. It
has a machine
quality that gives
the band a rawer
sense of power
than they achieve
with Enigk's high
in the studio. And
with the depth of
lyrics that Enigk
writes, power is definitely an asset.
funny Day Real Estate began in
1992 without Enigk who joined in
193, adding the final touches to one of
the most influential bands of the early
'90s. A band that drew the blue prints
for all emo-core to follow. In 1994 they
were signed to Seattle based Sub Pop
where in the same year they released
their first full length album, "Diary", to
the delight of fans and critics. The
album was successful but the band
Ierwent internal problems and after
putting together a mix of B-sides and
new songs for "LP2, they decided to
break up in 1995.
Drummer William Goldsmith and
bassist Nate Mendel went on to play in
Foo Fighters while Enigk created a solo
album and Daniel Hoerner pursued per-
sonal interests. But in 1997 the band
decided to get together again putting
out an album and going on a sold-out
t of halls.
n May 26, 1999 they performned in
Eugene, Oregon and recorded their live
album. Just the fact that the entire
album was recorded on one night
proves the point that Sunny Day Real
Estate is a live powerhouse. They play
selections from all of their recordings
and keep a constant mood. So well in
fact, that this concert could work as a
studio album. The playing is certainly
One thing that Sunny Day Real
Estate has been able to incorporate into
their songs that many bands fail to is
the bass. Most rock bands use the bass
as background rhythm. Bassist Nate
Mendel, however, creates his own bass
theory, using it as a tool for melody and
it comes out surprisingly clear in a live
atmosphere. The interplay of guitar,
bass, drums and vocals is astounding
because there is no one instrument that
stands out more than another. What is
produced is pure music as if being
played by one instrument.
The highlight of the album is "The
Prophet." It begins with a soft but
steady rimshot pattern on drums that is
eventually accompanied by a repeating
guitar line. As the volume grows Enigk
hums high and mournfully until the
song explodes into poem about the dan-
gers of leaving a safe place and ends
with a scream of terror just as the music
reaches a fevered pitch.
The album ends with "Days Were
Golden" which features the soft beauty
of Sunny Day Real Estate and Enigk's
voice switching between high-pitched
grace and eerie calling. The music
slowly fades out in the saddest lullaby
ever played. The crowd was obviously
captivated, as there is complete silence
until the end of this eight-minute epic
when just the drums carry out the song
with the crowd clapping along. From
the first note to the last silence, Sunny
Day Real Estate has created a new stan-
dard for live albums.
sionate voice cuts through the song like a downhill
skier's skis through a slalom. Look for "In 2 Deep" to
receive radio play crossing over more genres than the
band's previous hit, "Blue on Black."
Shepherd's sit-in soloists read like a Who's Who of
great musicians: Les Claypool from Primus, Stevie
Ray Vaughan's former band, Double Trouble, and old
friend Dr. John. After touring for more than 6 years
with none but the greats, it's surprising Shepherd
doesn't have more sit-in legends on the album.
However, with critics crying that Shepherd's music is
simply an echo of blues greats, past and contempo-
rary, I applaud his choice to limit guest musicians and
showcase his own impressive talent instead.
Every aspiring blues musician will appreciate
"Shotgun Blues." A classic example of 12-bar blues
mixed in with a screaming harmonica over timeless
lyrics: "I ain't afraid of no man / Whiskey and wine are
my only friends / Yes, I ain't afraid of no man / Still got
a shotgun in my hands." Yes, even John Lee Hooker
would be proud.
"Every Time it Rains" features an incredible slide-
guitar intro. Lyrically repetitious, this song is anything
but boring. Shepherd has already learned that blues
lyrics need not be eloquent words of poetry. Simply the
title, "Ever Time it Rains," sums up the voice of
Shepherd's guitar throughout this song.
Critics will complain "Where Was I?" is a direct Keb'
Mo' rip off. There's no denying that this young guitarist
incorporates many contemporary and legendary sounds
into his music. But to be able to sound like acoustic
greats Keb' Mo' and Howlin Wolf, and then also make
the electric guitar scream, wail, and sing like no man has
ever done requires far more than copy-cat talent.
Shepherd finishes off the CD with a mellow instru-
mental aptly titled, "Electric Lullaby" This song beauti-
fully illustrates the fact that blues songs aren't about
what notes are actually played, rather where these notes
are taken. Each note is bent, drawn, and hammered to
perfection with the delicacy of a fine-handed surgeon.
Often accused of sounding too much like Vaughan,
this album firmly plants Shepherd on his own two feet.
Shepherd and his 6-string Fender are inseparable.
Take 6 promotes early gift-giving with Christmas release.
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Although the holidays are more than
two months away, Take 6's "We Wish You
a Merry Christmas" already manages to
inspire thoughts of gift-giving and
Take 6 has been producing successful
religious music for more than 10 years.
"Christmas," their eighth album, only
strengthens their reputation. With Take
6's greatest hits album released earlier
this year, they are now at the status level
where they can feel comfortable doing
whatever they please.
That's exactly what they do with
"Christmas." Take 6 turns l l traditional
holiday songs into i 1 very non-tradition-
al tunes. Mostly a cappella, songs such as
the jazzy be-bop "Have Yourself a Merry
Little Christmas" or
We Wish You
For the Daily
What remains remarkable is the fact that Shepherd
keeps most tracks under four minutes. Great guitarists
tend to drag on songs with extended solos longer than
a Phish concert.
Blues "founder" Robert Johnson is quoted to have
said, "The blues is a deep, down feeling." Kenny Wayne
Shepherd manages to remarkably capture that feeling at
an infant age of 22. Given the maturity and evolution of
his style through three albums, Shepherd is taking giant
steps in engraving his name with the legends. .,
Kenny Wayne Shepherd may be the most influerial
product to come out of Louisiana since Tabasco. Like
Tabasco, beware, large doses of Kenny Wayne may cause
an addiction to burning sensations that don't go away.,.
"Go Tell It on The
ent from the origi-
"We Wish You a
M e r r v
of the Bells," with
at times 10 differ-
ent singing parts,
illustrates the group's attention to detail.
Also, "Oh Little Town of Bethlehem"
belts out an assertive attitude towards
Christmas that is not usually heard any-
Guests like Brian McKnight, Kirk
Whalum, Paul Jackson, Jr. and three of
the member's wives complete this soulful
dedication to the holidays. Contrary -to
many of the holiday albums available-on
the market, "Christmas" captures- the
spirit with rich, strong vocals and har-
monies. "Christmas" satisfies the listener
with the feeling that each song is sung
straight from the heart.
New CD set celebrates Woodstock '99
This summer, more than 50 bands and solo artists
invaded Rome, New York to play in a three day festival
marking the 30th anniversary of the original
Woodstock. A two-disc set highlights 32 of the event's
widely ranging performances.
The two discs present the festival as an amalgam of
performers from across the musical spectrum. While
Breaking Records Star System
***** ~k- Classic
*** - Good
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If you missed a week
of Breaking Records,
check out the Daily's,
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the album as a whole faithfully
reproduces the music played at
Woodstock, it cannot recreate the
festival's atmosphere. The pump-
ing fists of more than 200,000
people during Metallica's
"Creeping Death"; the swirling
clouds of dust during Sevendust's
"Bitch"; the Canadian flags fly-
ing during Our Lady Peace's
"Superman's Dead"; Elvis
Costello standing alone onstage for his entire set: All of
these images wete as much a part of the performances
as the actual music. The album's insert does contain
action shots of most of the performers, but these stills
do not do the actual events justice.
The only non-musical event addressed by the col-
lection is the stoppage of the Red Hot Chili Peppers'
set, the last performance of the weekend, due to a fire
on one of the speaker towers. Some listeners may be
surprised by the fact that the album does not simply
ignore this ugly side of the festival. Instead, an entire
track is devoted to the announcement that fire trucks
are on the way.
Although the album does not give an accurate por-
trayal of the true Woodstock experience, it stands on its
own as a compilation, presenting a wide variety of pop-
ular and cult favorites in their element, performing in
front of hordes of adoring fans.
Where will you be in stunmer 2000?
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