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About Just out. (Portland, OR) 1983-2013 | View Entire Issue (March 3, 2000)
march 3. 2ÛOO ' Survey says... Mala and other cats and dogs need loving homes. Contact: Buzz! Buzz! Buzz! Three new CDs fall short of the mark, but do so in interesting ways by Nala is a three-year-old fem ale eat with playful energy and curiosity. She loves it when you rub under her chin and she is intrigued by play toys. Bring this cat hom e with you! K aty D a v id so n Jou R ide the P ony (I’ ll B e the B u n n y ) piack Kali M a • Alternative Tentacles Records can’t put my finger on Black Kali Ma. Even if Black Kali Ma were a piñata in a small room and I had the biggest baseball bat in be world, I think I would repeatedly swing and niss until 1 became too exhausted and finally ave up. W ithout a doubt, these are the emotions 1 Experience when I listen to this hand’s debut >D, You Ride the Pony (I’ll Be the Bunny). Black Kali Ma is the newest creative outlet lor Gary Floyd, a musician who has been »round the punk rock block. Floyd once front ed the seminal Texas-based band called Dicks; ■>ow he has joined forces with some of San Francisco’s rootsy rock musicians to form this Eaw new five-piece. O ne weird thing about Black Kali Ma is that, although the hand isn’t doing jnything stylistically new or unique, its ongs are still all over the map. T he first three tracks are unforgiving rock [tunes that anchor heavily in the blues ool. However, w hen the fourth song, “Wonderful,” cranks into gear, it sounds notably m odem rock, kind of like a gruff version of U2. The next track, “Evil Clowns,” plays like an indie rock follow-up to “W on derful,” and it’s actually pleasantly melodic for the first few measures, but then it becomes muddled and crappy. The disc ends with two anthem like rockers that are riff-oriented enough to make you believe Black Kali Ma is an ’80s hair band. O n the contrary, the CD booklet sports a photo of the group, crew cuts and all (for the most part). Hmmmm. Considering that A lternative Tenta cles Records is know n for releasing hip acts such as the dyke-driven Tribe 8, it’s surprising they picked up this band. Black Kali Ma seems a little outdated and clas- sic-rockish for San Francisco’s young scene. T he N ext B est T h in g Various artists • Maverick Records long, long time ago, way back in the 1990s, movie soundtracks started to make 1 a bigger splash than ever before. Holly wood producers suddenly realized how much untapped potential rested in the aural realm of their latest blockbusters, then— boom! Star- studded soundtracks started popping out of record stores like hyperheated com. However, after a while listeners began to realize that the music always sounds much bet ter in the theater w hen it matches up with a story line, and that no m atter how you look at it, a Top 40 song is just a Top 40 song. The soundtrack to M adonna’s and Rupert Everett’s new movie, The Next Big Thing, offers no new hope for the future. It does have a few shining moments, but on the whole it can be lumped in the same “overhyped, undertalent- ed” category into which the majority of block buster soundtracks fall. The beginning of this C D sounds like an onomatopoeia party. First, Metisse seductively lures the listener in with the Latin piano melodies and smooth beats of “Boom Boom Ra. T hen Manu C hao jump« the same smooth OREGON HUMANE SOCIETY vibe train with the next song, "Bongo Bong.” Further on in the compilation, Madonna herself (who is also the soundtrack’s executive producer) contributes a condensed cover of Don McLean’s long-winded classic “American Pie” to the potluck that is this soundtrack. This must be one of the weirdest recording decisions made all millennium, and weirdly enough, I somewhat enjoy hearing it. T he song sounds like a folksy pop mixture stirred into a slow-paced Atari game. If that’s not bizarre enough, we’re treated to some surprise backup vocals from Everett (who campaigned to get the tune on the CD). This soundtrack does have gems. But the oh-so-distant ’90s taught us something impor tant: Gems are never reason enough to hold onto a soundtrack longer than the movie remains in our memory. In time, these gems will lose their shine. 1067 NE Columbia Bfvd. Portland, OR 97211 503.285.7722 www.oregonhQauae.coiii <$§$§§#4 * . < » -‘ ¿ S v ¿ T h is a d c o u rtesy o f ju s t ; , i ■ Betty DeGeneres “ Unity through Diversity” mother, author, speech therapist, breast cancer survivor and National Coming Out Project spokesperson Saturday, April 1st, 7pm McMinnville Community Center Tickets $8-$26 info: (503) 434-2685 [■ ■ K n g ig g sii^ ^ | [ »i 1 1 A i r T o U C H” 1 u u ^ n _________________________________ ^ ______________________ Now you can. t o d a y s m u s i c Let us Create your P ieces in a M odern S tyle William 0rbit • Maverick Records : W hat does any good pop musician do when he can’t make up any good melodies? A: Steal them! William 0 rb it, the producer and song writer most known for his collaboration with Madonna on her last album, Ray of Light, has just released Pieces in a Modem Style, an MTV- friendly disc of remastered, reorchestrated clas sical songs. This collection plays like the Boston Pops on a synth and reverb diet. 0 rb it’s first (ahem) single, Samuel Barber’s “Adagio for Strings,” swells with emotion and sentiment, and thank fully is reproduced without too much techno logical enhancement. Pieces’ version of Pietro Mascagni’s “Caval- leria Rusticana” is fueled by leftover Ray of Light energy. Its timbre and presentation are more than reminiscent of 0 rb it’s other work— it’s catchy and fun. If you’re numb to the classical music world but you’re seeking an casy-to-swallow introduc tion, 0 rb it’s disc may be a good pickup for you. If you’re a classical snob already, you may find this disc a little cheesy. ■ K aty D avidson is a Just O ut staff writer who never sleeps and thinks she knows everthmg. Business Website David Rcssler 5 0 3 -3 3 5 - 9 3 6 3 ^ dave@NetTenna.com www.NetTenna.com r0^ Gai-Tied For The Gay Man In Your Life - -¿flKafe- - VHS & DVD Sales, great selection o f Dance Music CDs. 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