Instrumentation, from snare to strings,
inspires praise for ‘Logic’ and ‘Love’
“Animal Logic IF*
Animal Logic
I.R.S. Records
Logically speaking, the formula
for success in the pop rock world is
“Keep it simple.” Make it easy for
people to take. A couple of good licks
and a hook or two is all a band needs
to find mass appeal.
So what kind of logic is it when
you take possibly the world’s greatest
drummer, Stewart Copeland, and
possibly the most talented bassist that
can be found, Stanley Clarke, and
form a group that breaks the age-old
mold? It’s Animal Logic, of course.
Animal Logic, which is in its third
year of existence, has just released its
second album, inconspicuously titled
“Animal Logic II.” The album, which
features the song-writing of lead singer
Deborah Holland, is an improvement
on the band’s somewhat boring 1989
debut “Animal Logic.”
“Animal Logic II” accomplishes
what “Animal Logic” failed to do —
define one possible new direction for
pop music. It certainly has an innova
tive feel to it. Perhaps it’s a “progres
sive” movement for the 1990s — the
term first used in the early 1970s to
describe the growing trend of com
plex arrangements and top-notch
musicianship.
That is definitely the approach of
this band. Holland's songs utilize the
excellent musicians at her disposal.
Clarke’s bass playing is superb as
always, and his unusual rhythms and
style stand out, challenging the lis
tener.
Copeland’s drumming is better than
ever. He can be heard playing classic
| — —■ .- ■ 1 —1 ■ ■ ,—■■■
Police grooves on “Through A Win
dow” and “I Won’t Be Sleeping
Anymore.” All of the tracks bear his
trademark whip-crack snare and high
hat wizardry. It’s interesting to hear
him tackle the almost hip-hop sound
of the single “Rose Colored Glasses,”
in which he sounds as tight and pre
cise as a drum machine. However, his
human touch makes the song sound
real, keeping it from washing away
into the electronic drone of so many
modem pop tunes.
The songs of “Animal Logic II”
have some very appealing pop hooks
while still managing to stick to the
progressive feel. Among the best are
"Rose Colored Glasses” and “An
other Place,” on which Jackson Browne
adds some excellent backing vocals.
Unfortunately, Holland’s lyrics arc
limited mostly to relationships and
the failure thereof. None of her obser
vations are terribly insightful or inter
esting, but they serve their purpose
well enough. Besides, her beautiful
lead vocals make up for the lack of
genius in her verses.
As with all music that tends to
steer clear of easy categorization,
“Animal Logic IT’ probably will get
little radio airplay and have to rely on
VH1 for exposure.
However, taost artists that steer
clear of categories do so knowingly.
They realize that lack of commercial
success is a small price to pay for the
satisfaction of creating something of
enduring quality. Such is the case
with this album.
— Carter Van Pell
“Love”
Heidi Berry
4AP _
Once in a while an album whispers
itself into existence, and it is perfect.
Heidi Berry’s latest release, “Love,”
is at least that.
“Love” is Berry’s first recording
on the 4AD label. Previously known
for her work on Creation Records, her
label switch seems a logical one.
First and foremost, “Love” is a
4AD release, following the prece
dents of perfection set by labelmates
The Cocteau Twins, This Mortal Coil
and Dead Can Dance.
“Love” fulfills the promise that
Sarah McLachlan’s latest docs not
quite reach. Actually, it’s McLach
lan’s 1988 debut that stands as a fit
ting predecessor to the instrumenta- ,
tion on “Love.”
Much of the credit for the album
should be given to the talented list of
musicians Berry gathered for the
recording of the album. Guitars and
drums arc provided by Levitation’s
Terry Bickers and LaurcnceO’Kecfc,
with other instrumentation coming
from members of the Pale Saints and
other 4AD labelmates.
How could she go wrong?
She. couldn’t. Berry even covers
Hiisker Du’s “Up In The Air” from
that band’s final and finest album,
“Warehouse: Songs and Stories.”
“Up In The Air” is a startlingly
different version of Bob Mould’s .
original composition. Only the lyrics
remain the same. The rest of the song
is filled with the ambienceof Christo- I
pher Berry’s shimmer guitar, filled in |
with a soprano saxophone improvisa- J
tion and smooth acoustic guitar fills.
__l
See LOVE on 14 <
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We’re Conoco, the Hottest Brand Going. And if you're a Business, or Engineering Msyor, have we got a date for
you. On Wednesday, September 25,1991, from 6:30 p.m. * 8:30 p.m., well be hosting a reception. Please see the
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Conoco is coming September 25,1991!
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