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About The daily Nebraskan. ([Lincoln, Neb.) 1901-current | View Entire Issue (Feb. 15, 1993)
Nebraskan Monday, February 15, 1993 ARTS0ENTERTAINMENT Lincoln band about to cut major label deal Music industry notices group’s powerful sound By Dana Franks Staff Reporter Almost Blue is on the verge of cutting a major contract deal, and doing so would be a dream come true for all the members. ' Their powerful music has caught the attention of many a “big wig” in the music industry, and the whole process of grabbing a major label was not at all what Dave Witt and Scott Gwartney had perceived it to be. “It’s all business out there, brutal business,” said Gwartney. Where is “out there?” New York. Cold Springs Harbor to be exact. Home to Black Rose Pro ductions, Inc., and the source of anxi ety for Almost Blue. “All we can do now is sit back and wait,” Gwartney said. So how does a band /rom Lincoln get out of its garage and into a studio in NewYork.oroutofDuffy’sTavem and into an 11:30p.m. slotatCBGB’s? It lakes three simple ingredients— raw talent, a little bit of luck and one person who knows Tito Batista of Black Rose Productions. Gwartney said he knew one per son, « profesaoe at Doane Collogo, who could move a demonstration tape into the hands of Batista. October rolled around, and Almost Blue found itself in New Y ork signing a three-record production deal with Batista and Black Rose Productions. Once a production package was established, the band flew home, only to return to New York two days after Christmas for six weeks. Gwartney said they put down $5,000 so Black Rose knew they were serious, or as they say in New York, “bleeding with us,” and received $30,000 worth of studio lime and a limited-edition compact disc. The CD, with publishing rights belonging to BMG Music Publishing South East Asia, completes the pack age. All the band can do now is wait, Gwartney said. -44 I’ll do what it takes, as long as I don’t have to wear Spandex and The time spent in New York gave 1 Almost Blue a taste of the music industry , and Gwartney said they were a bit disillusioned by it all — a whirl wind of meetings with lawyers, pro ducers and presidents of major labels. “It’s just like the Lincoln scene,” Gwartney said. “Everyone knows everyone else, except out there, ( everyone’s famous.” Gwartney explained how im pressed they were with all the string pulling that took place. Batista asked the band members if they wanted to pipy any shows while . they were in New York*and ifceband # decided to play at CBGB’s and The Bitter End. Batista tried to talk them odt of playing “in those dumps,” »ikes on my shout — Gwartney Almost Blue ff - Damon Lee/DN The members of Almost Blue take a break from work, rehearsal and performance planning. Almost Blue is, from left: Scott Gwartney, vocals; Dave Witt, guitar; Jamie Bundy, drums; and Jake Guenther, bass guitar. awartney said. The bands already scheduled were mumped,and Almost Blue was moved into the 11:30 p.m. slots for both bars. “It was amazing,” Witt said. “We realized we knew absolutely noth ing.” Both shows went over well, jwartney said, and as far as testing a ijand’s musical talent, there’s no bet ter place to do it. Witt and Gwartney said they felt he neeo’lo control their music. “They love gimmicks, and they’ll pul a lot lof pressure on you to do things Lhcinway^ Gwartney said.. The band members said they real zed they couldn’t make it by.lhem >clves, but as Gwartney said, “I’ll do what it takes, as long as 1 don t nave to wear Spandex and spikes on my shoulders.” By listening to Almost Blue, it’s easy to understand why they want to keep their music just the way it is. There’s no need to fill it with gim micks. It’s pure, honest rock ‘n’ roll. “Judgment Day” is a sure single hit. The lyrics stick with you all day as you strum along on your invisible acoustic guitar. “Go Away,” on the other hand, expresses the best of all emotions — pure anger. The music beats furiously and G wartney ’ s voice pushes the fine line between screaming and singing. The biggest thing going for Al most Blue is the tightness the band nas. ineir music is weii-structurea and is not just an interior-design job. This tightness is one reason why Gwartney, Witt, James Bundy and Jake Guenther are biting their nails and waiting by the phone for the call that could send them on their way to fame. Between now and then, Almost Blue will be busy making its first video with the help of Rick Padilla (Alice in Chains and Pearl Jam), play ing in the Austin, Texas, South by Southwest in March, and the New Music Seminar in June. Almost Blue will perform at The Edge, 227 N. 9lh St., Wednesday at 11:30 p.m. Director s, symphony s performance makes second visit in Lincoln welcome COHgfe&*i By George K. Stephan Staff Reporter There’s something really marvelous about hearing a really great 101-member symphony orchestra. The strength and size of the sound—a string section with no fewer than SO agile musicians, large powerful brass sections, unified reed and flute sections—all crowded on a stage with the express purpose of producing the rivers of emotion that flow from symphonic music. , The symphonic sound is truly one of the greatest of all staged musical experiences, and this same Adrenalin-pumping experience was enthusiastically shared between the St. Louis Symphony and its audience at the Lied Center for Performing Arts Saturday evening. Under the baton of charismatic music direc tor Leonard Slatkin, the orchestra performed brilliant music varying from Berlioz’s more melodic “ Roman Carnival Overture’ ’ to Bartok ’ s more atonal suite from “The Miraculous Man darin.” Slatkin, who has guest conducted around the world with such great orchestras as the New York, Los Angeles and Chicago symphonies and the London, Berlin and Vienna Philhar monics, showed the audience why he is so acclaimed as a great conductor. Slatkin is a short man with the intensity of a giant, and he radiates this intensity out to his orchestra. His famed, direct “now-to-business” conducting style was apparent from the mo ment ho stepped up to tnc podium. Tossing open the first page of music, the conductor, in traditional coattails, threw for ward his hands for the first bars of music. Pointing with the baton like a painter touching canvas with a brush, he produced some won drous colors of sound. A mirror to the music, Slatkin stretched to the tips of his toes on several occasions in the waves of the tension and release that filled the Bartok. Li Courtesy of the St. Louis Symphony Orchestra Leonard Slatkin and the St. Louis Symphony Orchestra perform at the Lied Center for Performing Arts. Slaikin s sense of timing throughout the concert was masterful. This, combined with a surplus of talented musicians, produced results that were wonderful to listen to. Perhaps the highlightof concert was Dvorak’s great Symphony No. 9 in E minor, “From the New World.” The late romantic symphony was written by the Czechoslovakian composer while he was visiting America, and it reveals in the melody of beautiful musical descriptions of the Mid west. The piece’s movements dramatically con trast each other, and the St. Louis Symphony’s performance precisely portrayed this—at limes vigorously, at limes delicately — but always richly and melodically. As program director, Slatkm has always shown nis support for new compositions, and the program reflected this with the symphony’s performance of a new work by composer David Vayo. Auer tnc conclusion 01 sympnony: Blos soms and Awakenings,” Slalkin brought the composer out to take a bow. The symphony also performed one encore, which was another work by Dvorak — his Slavic Dance No. 5 in G minor. When visiting the Lied Center, one is some times exposed to less inspired performances by great artists visiting Lincoln, as though the artists see Lincoln as a pit stop on the way to a larger, more culturally diverse city. But none of this was present in the St. Louis Symphony’s performance., * St. Louis is part of the Midwest, and from Saturday’s performance, it is evident that the symphony cares about Midwest performances. This performance was the second time the St. Louis Symphony has been at the Lied Center. With such an inspired performance, a return visit by the St. Louis Symphony would bring nothing but pleasure to all fans of classi cal music in Lincoln. Symphony, blues, alternative, metal; upcoming concerts offer varied music Tonight — Gared at the Red & Black Cafe; Mala Hari every night through Satur day at the Royal Grove; Dashboard Saviors at the Zoo Bar; All-Star Blues Review at .Omaha’s Howard Street Tavern; Trixter at Omaha’s Ranch Bowl. Tuesday — Lincoln Symphony Orches tra with Leo Ncjar at the Lied Center; UNL graduate student composers at Kimball Re cital Hall; John Walker’s country blues at the Zoo Bar; Grumpy/Peoplc Bomb/Secret Slain at Howard Street Tavern; On the Fritz at the Ranch Bowl Tuesday and Thursday nights. Wednesday—u NL Saxophone Quintet at Kimball Hall; Mud Jack/Fishbox at Duffy’s Tavern; Joanna Coniior at the Zoo Bar; Techno-Rave (DJ Ted Eil) at Panic!; Acous tic Breakdown Night at Howard Street Tav ern; Nightmare/Frumunda/His Boy Elroy at the Ranch Bowl. Thursday — University Program Coun cil presents Rock-a-rama through Saturday; Moran Woodwind Quintet at Kimball Hall; Cactus Nerve Thang/Billy Pilgrim at The Edge; Too Smooth at 9th Street Blues; Tribu lation at Rockin’ Robin through Saturday; Chris Duarte Group at the Zoo Bar through Sunday. Friday — American Siring Quartet at Kimball Hall; Grieg and Friends atO’Donnell Auditorium; Kevin Muldrow (happy hour only) and Kingfish (Friday and Saturday) at 9th Street Blues; For Against at the Red & Black Caf6; Secret Skin at Howard Street Tavern;Zwarte through Sunday at the Ranch Bowl; The Rumbles through Saturday at Beau-ice’s Getaway Club. Saturday — UNL Flute Ensemble at SeeKONZERT on 10