The daily Nebraskan. ([Lincoln, Neb.) 1901-current, May 05, 1989, Page 8, Image 8

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t——Courtesy of Caroline Records
Live Skull plays Duffy s Tuesday night.
After touring Europe, Live Skull
will perform at Duffy’s Tavern
By Micki Haller
Senior Editor
The dark and seemingly fore
boding sounds of Live Skull are
coming to Duffy’s Tavern Tues
day.
But according to guitarist Mark
C., critics arc wrong when they call
Live Skull’s music “gloomy.”
“We think we’re very human,”
he said.
The music uses barrages of
guitars that fall off into a pit of
silence; the lyrics match the musi
cal intensity with physical imagery
that can often be gory, Mark said.
The sum total equals some very
strongly expressed music, some
thing all the members want, he
said.
“We used physical imagery as
an emotional metaphor for feel
ings and sentiments,” he said.
Problems can arise from such
strong statements, however.
“People took it totally seri
ously,” Mark said.
The band wants to provoke
people to think, he added, and the
goal is to make the music as inter
esting as the band could.
“We’re always trying to ex
pand the band within the original
idea,” Mark said.
Changes in the band’s line-up
since its 1982 beginning has also
added to the sound. About 1 1/2
years ago, the bassist and drummer
left Live Skull to return to school.
Singer Thalia Zadek joined
about a year ago. She not only
commands the lead vocals, but
writes many of the lyrics, he said.
“A central vocalist is impor
tant,” he said.
The band currently consists of
Mark, Zadek, guitarist Tom Paine,
bassist Sonda Andersson and
drummer Rich Hutchins.
The Lincoln stop is part of the
band’s first “serious” tour.
“We’ve been on kind of a
massive tour starting in Europe,”
Mark said.
The European leg included
Holland, Austria, Germany,
France and England.
“Every tiling went really well,”
Mark said. “Especially in the big
cities.” The band came back to the
states, and is touring for the newest
album, “Positraction.”
“We’re really a working
band,” he said.
“In terms of ‘Positraction,’ the
songs are basically kind of one
song,’ Mark said.
The band concentrated on mak
ing things clearer on this album,
Mark said. The band was more
upfront on “Positraction,” with a
band picture on the cover, printed
lyrics, a cleaner mix and promi
nent vocals, he said.
“We’re trying to draw people
more into the music,” he added.
The band should be heard live,
however, to be fully appreciated.
“It’s very difficult to get the
huge, reverberating tones we like
to work with on a recording,” he
said.
Versatility is key to album's success
By Kelly Anders
Staff Reporter _
Though relatively unknown at
present, Anne G.’s debut album, “On
a Mission,” boasts of many of the
elements that will raise her to star
status in no time.
llbtm^
Anne G. is blessed with one of
those voices that can change pilch,
mood and style in the blink of an eye.
She belts out the lyrics one minute
and purrs or raps them the next. One
second she’s an alto, but she becomes
a soprano before one has time to no
tice. Usually, only the best of sea
soned artists can accomplish such
feats.
Her band isn’t too shabby, either —
it supports and enhances her voice
without drowning her out
Especially noteworthy are the
keyboards and percussion. They do
their jobs well, giving a strong base to
■
many of the songs on the album. The
beats are powerful; the use of synthe
sizer sounds intricate, but smooth.
Both are good enough to record solo.
Most cuts on “On a Mission” are
pure dance material, but there are
some nice ballads.
“If She Knew” kicks off the al
bum. The beat is great -- fun and
danceable. It alters slightly through
out the song which keeps it interest
ing. Anne G. uses her voice like an
instrument. Although she’s singing
on the higher register, her voice
sounds soft; it’s not brassy or annoy
ing as many high voices can sound.
“Mission” is another dance tune.
Bass and percussion sport a strong
and fast edge. Anne G.’s voice is low
and smooth. She even raps during a
segment of the song, and does so
surprisingly well. The spacey back
ground provided by the synthesizer
gives the piece an intriguing person
ality.
One of the best cuts on the album
is “Heart Donor.’ ’ A nice mid-tempo
dance tune, the song boasts of synthe
sizer and vocal pitch transitions ga
lore.
The first, and prettiest, ballad on
the album is “Love’s Here.’’ The
beat is slow, with the slightest hint of
calypso in it. Anne G. purrs the lyrics
a la Karyn White. The background
vocalists harmonize with her beauti
fully. The saxophone solo is as appro
priate as can be, interrupting with a
typically sexy ring.
“Give Me All Your Lovin’’’ is
another upbeat piece. Nothing like
the ZZ Top tune, it sounds like a
blend of E.U.’s “Da Butt’’ and Karyn
White’s “The Way You Love Me.”
Unlike many debut albums, Anne
G.’s “On a Mission” has not one
terrible tune -- Anne G.’s got a good
foundation. Provided she works at it,
she’s sure to grow and develop into an
influential, perhaps even innovative,
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