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 I 1gg1 1! t 1g 1*university $10 Rush 'ickets Tickets on sale 10 am - 6 pm the day of the performance or the4 Friday before a weekend event at the UMS Box Office located in the Power Center, 121 Fletcher Street.C 50% Rush Tickets Tickets on sale beginning 90 minutes before the event at the Performance Hall Box Office. 3t. Frnvecu; A.Ss(s t Cth Vc Ckuch Frid O ctober 0, 0p A valid student ID is required. Limit two tickets per student, per _-_ event. Rush Tickets are not offered if an event is sold out and seating is subject to availability and box office discretion. 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- Disposable Contacts $ 59 99 Introductory otter with 2 six-packs (12 lenses) Sotmed disposable lenses for new patients only. 2 Pairs yeg lasses $499 Offer includes single-vision plastic lenses. select frames and eye exam. Both pairs must be the same prescription. Essential Dance 2000, DJ Skribble; Atlantic By Kiran Divvela For the Daily 0 A.. to schedule an appointrent! One toll-free number connects you directly to the store nearest you. www.twopair.com AM ERICA'S BEST CONTACTS gf EYEGLASSES- ANN ARBOR Arborland Center . 3601 Washtenaw Ave. (near Starbucks) www.bestcontacts.com PONTIAC " CENTERLINE " DEARBORN HEIGHTS "-SOUTHFIELD " STERLING HEIGHTS Eye exam by independent Doctors of Optometry. Restrictions may apply 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 EDE?0 Jc@ Lf®UM~ 'who htave tem aid how to (et11-emm Food For Thought ri a I'MI I I