10 A- The Michigan Daily - Thursday, October 5, 2000
ARTS
Warning, Green Day; Reprise
By Joseph Farhat
For the Daily
Yes, Green Day has always had
underlying pop tones and structures in
their music. And yes, these are what
helped Dookie, their third album,
become a huge success. And yes,
"Good Riddance (Time of Your Life),"
arguably their most poppy song ever,
kept the band from disappearing from
the music scene altogether after the
release of Nimrod in 1997. But I still
didn't expect the band to cater as much
to all of the boy-band-loving teenagers
of America on their new album, Warn-
ing. The trio has filled its new songs
with more pop hooks and cheesy
melodies than ever before and more
than should ever be found on a so-
called punk album. This may be a sign
of the band's business intelligence, but
it leaves their true fans running for
their old albums.
The piano intro on the opening
title track makes you think that you
just bought the new Fastball album.
That is, until you hear Billie Joe's
familiar faux British accent enter
the track and you get ready for the
punk assault on your ears.
The band rarely attacks on this
album, though. And when they do,
they really start to sound like the
Green Day of old, maybe too much
so. "Blood, Sex, and Booze" starts
with the same drum line as
"h itchin' a Ride" off of Nimrod and
there are some self-derivative pas-
sages scattered elsewhere through-
out the album. Of course it's
expected that a band would retain a
certain tone or theme throughout
their career, but most bands don't
make things as obvious as Green
Day has on this album.
"Misery," the standout of Warn-
Ing, finds the band almost being
experimental.
The track's cheesy synthesizer-
like organ intro leads to a superb
meshing of accordion, violins,
organ and various other percussion
instruments. The song comes out
as an imaginative hybrid between
an Italian bistro and the villain
song of a Disney movie.
While it is interesting to hear
Green Day experimenting and play-
ing around with their music, there
is just no hardcore spark on Warn-
ing. Most of the songs are as inter-
esting as those on the band's prior
albums, but without the thrashing
energy that they have exhibited in
the past. It is this subdued tone that
causes Green Day's new songs to
be less affecting than those on
prior albums, and makes me won-
der "what happened to the punk?"
Grade: B-
Bowie at the Beeb:
Best of'the BBC Radio Sessions
68-72, David Bowie; BBC Radio
By Jeff Dickerson
Daily Arts Writer
For five decades, David Bowie has
written some of the most cherished
songs recorded in rock history. From
the psychedelic sounds of the '60s to
the grunge of the '90s, Bowie has seen
it all. He's transcended every conceiv-
able genre of music while preserving
his lyrical genius. His sound and
vision change with each new album,
making him the true "chameleon of
pop." Bowie at the Beeb, a 2 cd live
set from BBC radio, takes us back to
the genesis of one of rock's legendary
stars.
The first of the BBC sessions found
on the 2-disc set goes back to May of
1968. At the beginning of his career,
David Bowie was a folk singer search-
ing for his own voice in an overcrowd-
ed world of rock. He was years away
from becoming Ziggy Stardust or
Aladdin Sane. The 21-year-old Brit
was aspiring to join the ranks of his
fellow British musicians. The work on
the first disc features several songs
from the albums Space Oddity and
The Man Who Sold The Morld.
Through the second disc, the
change from folk hero to glam rocker
becomes evident. Bowie at the Beeb
includes two versions of the ever-pop-
ular "Ziggy Stardust" from the 1972
album of the same name. Both record-
ings of the hit are concentrated and
passionate. Pure rock at it's best. Other
landmark tracks include "Changes,"
"Starman'"Space Oddity" and "Rock
n' Roll Suicide." The songs are
arranged in chronological order, mak-
ing for a splendid display of Bowie's
evolution through the years. From the
first track of the first disc to the last
track of the second disc, the transfor-
mation in between is a fascinating
glimpse into the mind of a rock icon.
A limited edition release of Bowie
at the Beeb includes an extra CD fea-
turing his BBC concert from June 27
of this year. The concert contains
songs from his latest album Hour; and
goes as far back as 1971's The Man
Who Sold The Wo'ld. Even at the ripe
age of 53, Bowie can still put on a
great show.
The raw tracks are so sharp at times
it sounds like a studio album. Unfortu-
nately the set does not include some of
his brilliant later work on the albums
Low and Station to Station. Hopefully
this isn't the last live set of Bowie
we'll see.
Grade: IB+
You're the One, Paul Simon
Warner Bros r
By Gautam Baksi
Dailv Arts Writer
Well into his fifth decade of song writing, Paul
Simon's music is like the proverbial fine wine,
improved and more mature with age. Filled with eleven
mellow tracks, You're the One is a refreshing release
with some lyrics still reminiscent of Paul Simon's early
albums.
Fans of modern radio pop may find the CD slow and
sluggish, but the patient listener will be rewarded with
an easy-listening classic, certain to be ranked with
Rhvmin ' as one of Simon's best.
The album opens with an unassuming flute melody
on "That's Where I Belong." Tracing back roots and
heritage, the song takes the listener through piercing
images of a writer's memory. The silly "Pigs, Sheep and
Wolves" appears to be little more than a parody of
"Animal Farm." However, like Orwell, Simon's work is
deeply politically based.
Questioning the need for capital punishment, Simon
cleverly narrates the tale of a sheep's death leading to
the lethal injection of a wolf.
But the album's title track. "You're the One," is far
aiid away the best. Rhythmically evocative of "Late in
the Evening Simon mixes congas, keyboards, guitars
and a horn section into a cynical love song: "May
twelve angels guard you when you sleep / Maybe that's
a waste of angels, I don't know."
Other standout tracks include the syncopated "Dar-
ling Lorraine" and sitar-based "Love," both of which
could have easily found a home on Simon's last studio
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album, Rhvihm ofthe Saints, released in 1990.
Throughout YoU're the Oe,* Simon juxtaposes a col-
lage of colorful images, mixing references to music,
humor, politics and love with his established, thought- 4
provoking lyrics.
The result is a pensive album that may aliente th
passing listener, but captures a deep spirit lacking i
contemporary releases.
Not to be compared with the immaculate Grace/and
or his best works with Garfunkel, You're the Oneis still
a "must-have" for any Paul Simon fan.
Grade: A-
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Essential Dance 2000,
DJ Skribble; Atlantic
By Kiran Divvela
For the Daily
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Those who think DJ Skribbh wh e
being MTV's techno represeith'on. i
actually proving his metitl Qn this
album are terribly mistaken.
Skribble's Essential Danc' Ofs
yet another repackaging0o "16
songs. Paula Cole's "I Believe 4 odc
Moby's "Bodyrock" and a fo'ot
forgettable dance tracks wereanmel
chosen and tinkered with by,.Skrrbb4j
create Essential Dunce.
A few of these songs art ut"6f
place. The fact that Bob Madanidt4t
theme to "Schindler's List-.arc on.6e
same album is disturbing indi
itself, but Cher on any record-oiler thi
her own is troublesome.
Skrible doesn't liven up thespnmg
fiddles with, either. Sure, you'll hW
him scratch a bit on a track ad fade=a
different places, but the cox of O
song is essentially the same.pop ciq%
The one redeemable qualty abe
Essential Dance 2000 is the traisiti(
from song to song. Every one is flaw-
less, proving Skribble can do better
than this.
Grade: C
Church of Today Presents
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'who htave tem aid how to (et11-emm
Food For Thought
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