Wednesday, June 17, 1992 -The Michigan Daily Summer Weekly - 9
RECORDS
Continued from page 8
mous" suggests sarcastically: "Hey
cool catch a star/let it tell you who you
are."
But through all of the drag-down,
self-examining lyrics, Bend's music
remainss amazingly positive. Themost
catchy track, "Waiting," creates the
excitement of infatuation even as it
claims "I'll probably wait a lifetime. .
.for an I with a you."
Simple yet masterful acoustic gui-
tars are found in "Racing With the
Moon," a foreboding song that warns
against vanity and (again!) material-
ism. Thesamesimpleguitarsandamini-
malpercussioncreateabeautifulstoned
depression on the album's title track.
Least appealing is the ballad "Giv-
ing It All," a song that promises more
that it can deliver with a bad-ass har-
monica inroduction that the rest of the
song struggles to live up to. The story,
"Trapped In a Dream
Machine" blends dreamy
vocals with slow, lazy
music to suggest that
perhaps being trapped
Isn't so bad.
about a woman who stays with her
husband even though he mistreats her,
is almost too bad to be rescued by a
secondharmonicasolowhichisthrown
into the middle of the song in adesper-
ate attempt to save it.
"Trapped In a Dream Machine"
blends dreamy vocals with slow, lazy
music to suggest that perhaps being
trapped isn't so bad. The end of the
songisapoeticmonologuethatispartly
lost because it's a little too quiet in
comparison to the music it accompa-
nies; nevertheless, it ends the album on
aprofoundnote: "words gush frommy
own truth/like notes from a cathedral
organ/I will sing rejoicing/I have been
united unto myself..."
If the purpose of Bend is to unite
listeners unto themselves, the album is
a success. And with any luck, the
danger of The Origin drowning in the
cesspool of mainstream-alternative
muck will be reduced by the band's
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genuine enthusiasm for its music and
by its delicate balance of positive vibra-
tionsandintrospectivecontemplations.
-Kelley Dawson
Little Village
Little Village -
Reprise/Warner Brothers
There's an old saying which goes,
"Supergroups never are," and proof of
that can be found in Asia and Firm
records. Little Village is the exception.
This album is yuupified country rock
(or countrified yuppierock) at its best.
Though John Hiatt has been the king of
that genre for afew years, writing songs
and jamming with Nick Lowe, Ry
Cooder and Jim Keltner takes all of
No, it's not the Village People grown up, it's just Little Village (from left; Keltner, Cooder, Lowe, Hiatt)
themonestepbeyondtheirusualrealms.__
When Lowe sings "Fool Who
Knows,"it's hard to tellhe wasn't born I1111111I
in the South, let alone this country. He
isnow anofficialmemberof the Carter/
Cash family he married into.
Cooder's sliding and picking is asE -
impressive as usual, but the best guitar
sections are when he and Hiatt duel
each other. "Do You Want My Job," a
dark portrait of a tropical island native
who unloads nuclear waste off incom-
See RECORDS, Page 11
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