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About The daily Nebraskan. ([Lincoln, Neb.) 1901-current | View Entire Issue (March 20, 1991)
lilt is Courtesy of Digital Music Products Big Price Cuts on Macintosh Ilfx and Macintosh Ilci If you want the best performance in a Macintosh, now is your chance because Apple has just announced major price reductions in its two top of the line models, the Macintosh Ilfx, and the Macintosh Ilci. Apple has also improved the memory configurations for all Macintosh II models, including the affordable Macintosh Ilsi, giving each more RAM and thus more computer power. So not only has the price dropped, but the configurations have gotten better. So come in and check out the new' prices and configurations. We think you will like them. f For more information contact ^ The CRC Computer Shop University Bookstore Lower Level Nebraska Union 472-5785 * Hours: 8am-5pm \_ _/ Watch for Big Red Apple Days April 9-12. f) I9W Apph- < »n Applr fir Applr SufrrOnvt ini PmUlhiir rrpMrixl tr*l'truffe <tf Applr < i .inpuiii In i U*» » i ifjjWifrd tndmwfc kronl W> Appk (impKn In MSI*?' p,.1 n-#*tTr'lfni<lmi,iriiirf tonr*»*iA (nquntNvi 1 tS i*.. rvjtNrmt iruii Turk >4 Inumn* *ul Hosm M..i tun*'< 4iq»*4li«Hi Instrumental album lacks special traits to separate style from elevator music By Andrea Christensen Staff Reporter “WithoutWords”isan incompleti title for Thom Rotella’s latest releasi from Digital Music Products. To b< accurate, the title should read “With out Words, Without Dynamics, With out Rhythmic Variety and Wilhou Melodic Interest.” Because the album is entirely in strumental, it needs something spe cial to hold the listener’s attention “Without Words” just doesn’t havi what it takes. The problem is that the record in] sounds like elevator music. One simpl theme is introduced at the beginninj of each piece and then is passed be tween guitar and keyboard withou any significant dynamic or melodi variation. All cuts on the album, written b Rotclla, feature the artist on stec string acoustic guitar or classic gui t Thom Rotella “Without Words” Digital Music Products Rating: 2 ' Ratings are 1 (bad) to 5 (excellent). y ] tar. Keyboards and drums comprise t the rhythm section. The first cut on the album, “Since i I Met You,” is typical of the other ; tracks. It lasts a mind-numbing four minutes and 53 seconds. The loud , one/three drum beat, played by Car l los Vega, detracts from the piece. . Rotella’s simplistic steel string guitar repeats five limes by the end of the I song. The album is a little better when Rotclla plays classical guitar. “Ma chu Piccu” evokes a Latin flavor in the beginning until the drums and bass guitar take over. Apparently Rotella can’t decide if he wants to Collins Continued from Page 9 gets funky right along with him. On the fifth cut, Gayden provides one of the funkiest bass lines to come along in a long time. Richardson’s percus sion also complements well, always present but never overbearing. The only major flaw in the album is the lack of any other solo perform ers other than Collins. Hollywood Paul Littcral does some soulful trumpet Pianist Continued from Page 9 and he promises to be good in return. “People coming out is good,” Williams said. “I’m going to give them the best show they ever did sec. It don’t matter whether there’s two or 200,000.1 play because I love to entertain the people.” Along with a specialty on the pi ano — Williams can’t read notes to play anything else — he emphasizes that he can play anything from boogie woogie to classical. “(My show) It’s a musical roller coaster. I play all sorts of music,” Williams said. “It’s a God-given McCray Continued from Page 9 the blues. Lines like “If it weren’t for lipstick and powder/that girl wouldn’t go nowhere/ Oh, the lord is gonna bless me/ I even bought that girl a piece of hair,” arc scarce in the song, but listening for them is half the fun. The other true blues song on the album, “Frustrated Baby”, shares many of the same qualities, but McCray JudyBats Continued from Page 9 vocals and Johnny Sughrue on acous tic guitar and vocals. But the JudyBats lose points for absolutely pointless cuts like “Con valescing in Spain,” a tale of trying to recover in Spain, and “Waiting for the Rain,” which doesn’t seem to have a subject. The group calls “Convalescing in Spain” “a lengthy, lovesick telegram.” r " 1 1 ■ ■■ ■ — ■ JUST BECAUSE IT'S LEGAL DOESN'T MEAN IT'S SAFE. Did you know that alcohol and some medications can cause serious birth defects, even mental retardation? Please read labels carefully, consult your doctor, and call your Association for Retarded Citizens for more information arc Asscxndcn for Retarded oasert play ethnic or pop music. He man ages to combine the worst of both in this piece. In “Only Love,” Rotella returns to steel guitar. Once again the drums are too loud, and the melody is simplis tic. The title cut includes a cello solo, a welcome change. The shortness of this track — three minutes and 25 seconds — minimizes repetition. Unfortunately, by the next track, “Carnival (En la Playa)” Rotella re turns to the steel guitar, playing yet another innocuous ditty. The song doesn’t go anywhere. The first min ute sounds just like the last five. Its theme never evolves, and the dynam ics and tempo arc the same through out the piece. The last track is “Somewhere Over the Rainbow.” Finally, Rotella deep sixes the overbearing drum beat and plays alone. Unfortunately, making this overused piece interesting seems to be beyond his musical ability. Anyone who just can’t get enough of those catchy tunes played in gro cery stores, elevators and dental of fices should run to a music store and buy “Without Words.” Those who like music with a little more pep should probably save their money. work on “Blues For Gabc,” a tribute to late trumpeter Gabriel Fleming. It’s too bad that the talent of the horn line isn’t featured a little more often. They play well; they deserve to do more than play backup licks the entire lime. Albert Collins has produced a solid album full of the punctuating riffs and stinging solos that have typified his style. Blues fans will appreciate this album immensely, and newcomers to the blues will find it a good place to start. talent.” Music is a high pressure business; it wears and tears on the soul. But Williams said he really wouldn’t want to do anything else, because there’s so much he hasn’t done. “There’s a lot of music left in me,” Williams said. “My music is straight from the heart. There are several different routes I can go as far as music.” And if people at the Zoo Bar want to know which performer is Jason D. Williams, look at the stage. “I’ll be the fella at the piano,” he said. Williams’ show begins at 10:30 p.m. at the Zoo Bar, 136 N. 14th St. The Tablcrockcrs open at 9 p.m; cover is S8. docs better solo work. He finally puts a little more emotion into what he is doing. When he does this, he sounds really good. He should do it more often. The rest of album is basically the same, but with different names. Noth ing overly original appears, and eve rything sounds too polished and too clean. McCray is a good player and singer, but as soon as he learns to sing through his guitar, he will be great. Until then, keep trying, Larry. That’s somewhat accurate: The song is lengthy,and more than likely itwill make listeners sick. “Waiting for the Rain” is slightly better; the lyrics are nonsensical, but ihe background music is pleasant. Overall, “Native Son” is enjoy able; it should especially appeal to fans ofgroupslikeR.E.M.and 10,000 Maniacs. The JudyBats are still evolv ing, their style is still developing — and this album is a positive step in that growth.