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Music
salvation
Looking for a change in your regular music tastes?
Here’s some good places to start.
1 991 ▼ 21
STEPHEN D. YEW,
D.M .D.
A GENTLE APPROACH TO DENTISTRY_______
Hours: Tuesday - Saturday 8 am-5 pm
700 N. Hayden Island Drive, Suite 330
Phone: 289-1215
by Dr. Tantalus
hen CDs were first released in
the marketplace, their higher
pricetag was explained by in­
dustry insiders as the result of
two factors. First, the cost of
“better technology” (whatever that means) made
CD production more expensive. The production
of vinyl recordings, especially for popular music
artists, was often a hurried affair and the record­
ing quality suffered.
This was particu­
Julian Cope
larly true when the
records were not
Elsewhere, The Evolution of Gospel relies on
pressed for long pe­
the talents of its producers, Jimmy Jam and Terry
riods of time. Clas­
Lewis, who are better known as members of The
sical recordings, di­
Time and as Janet Jackson’s producers. They
rected at a smaller
bring their trademark sound, as they did to Ms.
and more demand­
J’s Rhythm Nation, to such songs as “Optimis­
ing market, usually required longer pressing tic,” “Pressure Pt. 1,” and ‘Testify.” Mix some
times and resulted in better product
occasional rap into, this brew and you can see the
Second, the relatively few CD manufacturing producer’s intent to show the common threads in
outlets were said to create a high demand and these divergent musical styles.
low supply market, thus permitting higher prices.
Showing a different side of the musical spec­
Of course, recent events have laid-waste to trum is Peggy Suicide, Englishman Julian Cope’s
both these explanations. The proliferation of latest effort Although light years removed from
manufacturing facilities has not resulted in lower the sound of Evolution of Gospel, it nonetheless
prices, nor does the CD guarantee a good qual­ reflects a unique artistic commitment to a par­
ity sound when companies use inferior tapes or ticular vision.
take other shortcuts in the recording process.
“Peggy Suicide” is the recording’s nickname
Again, classical CDs typically outperform their for Mother Earth and as the name implies, Cope
popular music counterparts in the area of sonic thinks the planet is in bad shape. This ecologi­
cal conceit, however, is not the emotional center
quality.
Such high prices act as a conservative force in of the album, but merely a metaphor that allows
the music business. Consumers, including Dr. Cope latitude to explore facets of everyday life
Tantalus, are reluctant to shell out upwards of that he finds disconcerting and disturbing.
Cope has a long history of producing quirky
$14.95 for new and relatively unknown artists.
And given that Top 40 radio plays the same three and individual recordings. In the late 1970s he
songs again and again, it’s difficult to get expo­ wedded a punk sensibility to a “power pop”
musical style in his band, “The Teardrop Ex­
sure to different sounds.
Thus it was with particular joy that Dr. Tan­ plodes.” He then wandered into psychedelia
talus, and that jack of all trades. Nurse Consuelo, before it made its resurgence. With Peggy Sui­
recently purchased two recordings on a lark and cide he has successfully combined his varied
influences into a single effort
came out winners.
While paying homage to his past efforts.
The Evolution o f Gospel by Sounds of Black­
ness is best described by simply quoting the liner Cope’s musical repertoire has expanded, and the
notes from the disc: ‘The Sounds of Blackness influence of Neil Young and Jim Morrison are
exists to glorify God and unify people through particularly evident This is real good golly Miss
embracing, proclaiming and performing every Molly rock ‘n’ roll, complete with some (but not
member of die family of African American mu­ all) off-key singing, fuzzy guitars and Lenny
sic.” And do they ever. As the title implies, this Bruce in the background that places more em­
recording has its roots in good old-fashioned and phasis on mood than technique.
In another era, a song like “Drive, She Said”
good new-fashioned gospel sound. And by the
time that they are finished, it’s not unlikely that (an anti-driving song) might have become a hit.
But with rock pushed off the radio in favor of
you, too, will be shouting “Hallelujah.”
O.K. Perhaps we exaggerate. But with song dance-oriented offerings, the only place you’ll
titles like “Hallelujah Lord,” “We Give You hear this song is on the CD. And that’s a shame,
Thanks,” and “He Holds the Future,” it’s not because you shouldn’t miss Cope’s “Safesurfer,”
the best rock and roll song about safe sex ever
difficult to catch the flavor of this recording.
Sounds of Blackness is comprised of both released.
Both Cope and Sounds of Blackness offer
choir and orchestra and is supplemented by some
Minneapolis gospel ensembles. To call the choir quality minutes: The Evolution of Gospel clocks
first-rate is almost an understatement as several in at over 56 minutes while Peggy Suicide is an
a cappella numbers demonstrate their versatility. astonishing 76 minutes in length. Both get
Their soloists, especially Ann Bennett-Nesby, docked a notch in our evaluation because they
remind you of the gospel singers of old who fail to provide lyric sheets.
Whether you find your salvation in God or in
always seemed on the verge of bursting a lung
rock
and roll, or you are simply looking for a
from the force of their delivery. She reminds me
of a combination of Jennefer Holliday and the re­ change of pace from your regular musical tastes,
cent over-the-top vocals from Black Box (“Eve­ this wouldn’t be a bad place to start.
rybody, Everybody,” and “Right on Time”).
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