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WCU - Western Carolina University Publications

Western Carolinian Volume 64 (65) Number 07

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Item 1 - Western Carolinian Volume 64 (65) Number 07
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Western Carolinian Volume 64 (65) Number 07

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Western Carolinian Volume 64 (65) Number 07

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Western Carolinian Volume 64 (65) Number 07

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Western Carolinian Volume 64 (65) Number 07

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Western Carolinian Volume 64 (65) Number 07

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Western Carolinian Volume 64 (65) Number 07

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Western Carolinian Volume 64 (65) Number 07

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Western Carolinian Volume 64 (65) Number 07

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Western Carolinian Volume 64 (65) Number 07

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Western Carolinian Volume 64 (65) Number 07

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Western Carolinian Volume 64 (65) Number 07

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  • September 29,1999 FEATURES ' CAffiSLWi *N 7 'Morning' Delivers a Scrambled Blue Plate Special by Jeff Leatherwood Staff Writer Mammoth Records, an up and coming record label, recently sent theWestern Carolinian a compilation CD of 17 recorded performances entitled Morning Becomes Eclectic. These selections were culled from KCRW Studios, one of the most influential National Public Radio stations in the US, with constantly revolving broadcasts of new music. Granted, this compilation isn't the best I've ever heard, but still, I must concede that a few excellent contemporary artists exist in the-dross of 1990s music. Most of these people do not have major recording contracts, but rather occupy the ever- shrinking independent music industry. Angelique Kidjo, a native of Benin, opens the recordings with a traditional anthem in her own African language. It's all too brief, but being a fan of Ladysmith Black Mambazo, I can appreciate the beauty of her vocal performance, entitled "Blewu." Scotland native John Martyn interprets a rich throaty blues vocal in the tradition of Eric Burdon. "Glory Box" is a good mood piece, reminiscent of both traditional R&B and late '60s power pop. I cannot be so flattering toward the alternative band Cake, whose canned percussion reminds me of an unimaginative home recording. Another strike against them is the unnecessary inclusion of brass instruments. Some rock bands make exciting use of horns, but "Is This Love?" has a tacky, added-on feeling about it. Joe Henry, a contemporary blues vocalist, is an affable singer, but the backing band overshadows him on "Monkey" with enormous guitar swells and overall atmosphere. I don't quite know what to make of Buffalo Daughter's offering, "Socks, Drugs, and Rock 'n' Roll." This Japanese-American all-female outfit is unusual, with strange synthesizer noodlings and angular surf-rock guitar. But the vocals are jarring and often blurred. One of my absolute favorite tracks is English-born Beth Orton's "Sugarboy," an acoustic lament which transcends the typical lost-love ballad. It is an appeal to a wayward boyfriend, very emotional and reminsicent of early Tori Amos and Kate Bush. I also detect not a little inspiration from Grace Slick. Orton is highly visible in the States and shows great promise with two popular albums. Air's "All I Need" is an example of production triumphing over talent. Studio magic expands this slight piece into another atmosphere piece, suitable for a nice midnight cruise or a candlelit dinner. Sixpence None The Richer are featured performing "Kiss Me." It's typical alternative without the horns or the dreadlocks. Another casualty is The Freestylers, who are a bleached hip-hop act. The title, "Dance Hall Vibes," says it all. Canned drum machines, sparse instrumentation, and blatantly danceable rhythms just don't do it for me, I'm afraid. Semisonic's "Secret Smile" suffers from an aimless vocal performance, although the song is not unpleasant. The weird Native American Ednaswap appears to me as just another acoustic guitar- swinging woman in a long line of sound- alike artists, if "Torn" is any indication of her style. Lyle Lovett, a popular country-folk performer does not impress me with an overly- sentimental song called "Bears." The CD begins to improve after a while, with Mercury Rev's "Opus 40." It shares progressive leanings with a heavy Donovan Leitch influence. Donovan was a brilliant singer-songwriter of the 60s and 70s who has the dubious distinction of having first united Jimmy Page, John Paul Jones, and John Bonham as session men in 1967. The piano-driven melody also reminds me vaguely of John Lennon's "Imagine." Another piano talent, Brad Mehldau, has a terse and moving style which is bogged down by unnecessary bass and percussion. Without these jazz pretensions, Mehldau's communicative "Exit Music (For a Film)" might well be a perfect solo performance. The last three acts are crashing disappointments. "Is This Desire," by the internationally popular PJ. Harvey, is so typical of the genre that I began to question the word "eclectic." Like the Motown formula of the early 60s and the glam-metal bands of the 80s, this trend is beginning to grow stale. Morcheeba's "The Sea" is similarly dull but the music is a little more interesting, not as minimalist as the P.J. Harvey song. Finally, Pink Martini covers the Broadway classic "Que Sera Sera," and in its minor key and spooky style, it might have been a potential novelty, like Melanie's classic "Brand New Key." But instead, it sounds gratuitous instead of ironic. Showtunes do not always translate well to pop. of CocCt-CollcA classic, ■two -tkmas you ccka a$wcACj$ comf ow. Come to Hines University Center to get a 12 pack of Coca-Cola® classic and a Memo Board for only $6.59*. *Whiie supplies last. «**t9""t9 The Coca-Cola Company. 'Coca-Cola," "Coke." and the Bed DtsX Icon are registered trademarks of The Coca-Cola Company.
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Western Carolina University Publications

The Western Carolinian is Western Carolina University’s student-run newspaper. The paper was published as the Cullowhee Yodel from 1924 to 1931 before changing its name to The Western Carolin...

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