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About The daily Nebraskan. ([Lincoln, Neb.) 1901-current | View Entire Issue (Feb. 22, 1993)
/ Tuesday — 14-year old trum peter Justin Kisor joins the Ne braska Jazz Orchestra at the Ramada Hotel; Not All There, Zoo; Mouse trap/Mollisol/Bamboozle at Howard Street Tavern; Acoustic Night at Duffy’s; Tight Fit plays through Sunday at the Ranch Bowl. Wednesday — Mercy Rule/ Rosebud, Duffy’s Tavern; Byrds Hi'' ■ ■ jr » a jr ' m *» of a Feather, Zoo; Techno-Rave at Panic!; Acoustic Breakdown Night, Howard St , Thursday — Peter, Paul and Mary at the Pershing; Nebraska Chamber Orchestra at Lincoln High School; Tuna Fish Jones, Rockin’ Robin; Slide Show/Bone Club, The Edge; Sue Foley, Zoo; blues jam at 9th Street; Kingfish, Howard St. Friday—UNLNORML Hemp Benefit, Red & Black Cafe; Nate Turner & the Windy City Blues Band, Zoo; Caribe, Howard St. Friday and Saturday, Free man James, rhythm and blues at Rockin’ Robin; The Midnight Angels play country at the Get away Club in Beatrice. Saturday — Coffin Break at Red & Black Cafe; Fishbox/Roach Factory, The Edge; Hi-Fi & the Roadbumers, Zoo; Zeitgeist at the Carson Theater; Banti Roosters, Howard St; Lickety Split, The Mountains. — Compiled by Jill O’Brien T DC W QO0 -•-«' Wed, Feb. 24* 7 PM Lied Center Tickets $16 & $20 Call Lied Cento- Box Office 472-4700 Sn Student admission half price ($8.00 & $10.00) Ballet Omaha Nebraska's Professional Ballet Company Robert Vickrey. Artistic Director UNFORTUNATE^ THIS IS WHERE PEOPLE ARE PUTTING TOO MANY RETIREMENT DOLLARS. Every year> * lot of people make a ' huge mistake on their taxes. They don’t take advantage of tax deferral and wind up sending Uncle Sam money they could be saving for retirement. Fortunately, that’s a mistake you can easily avoid with TIAA-CREF SRAs. SR As not only ease your current tax bite, they offer a remarkably easy way to build retirement income—especially for the "extras" that your regular pensior and Social Security benefits may not cover. Because your contributions are made in before-tax dollars, you pay less taxes now. And since all earnings on your SRA are tax-deferred as well, the money you don't send to Washington works even harder for you. Down the road, that can make a dramatic difference in your quality of life. What else makes SRAs so special? A range of allocation choices—from the guaranteed security of T1AA to the diversified investment accounts of CREF s variable annuity—all backed by the nations number one retirement i system. -> Why write off the chance for a more rewarding retirement? Call today and learn more about how TIAA-CREF SRAs can help you enjoy many happy returns. - - --' ii in ■—■in. i. —■—n, i CMFctri+c*r v, tuinkuiti k, TtAACAFF mi W Ft mr, i+rmtim, UriLfcy adi ISOO-S42-27J1, «*. SOU RmitkprTpctmJCTtfmibLtfriym rnmt tr fmJmtmy. Gloom, grunge highlight moody English attempt Courtesy of Beggar's Banquet Records The Hair & Skin Trading Co. “Jo In Nine G Hell” Beggar’s Banquet Records The Hair & Skin Trading Co. sounds alternative, doesn't it? They even feature “ex-members of LOOP1’ — it says so right on the cover. Actually, there is some cool stuff on “Jo In Nine G Hell”, the Trading Co.’s debut. They have a gloomy, industrial style, probably what Minis try would sound like if they’d grown up in England and hung out with Robert Smith a lot. They don’t go for the brutal, fierce approach that Ministry does, how ever. Instead, they play a lot of moody dirges that slowly unroll over bizarre samples and tape loop effects. In “Ground Zero,” the voices of Jane Jetson and George Bush pop up, and underneath the eerie album highlight ‘Torque,” a tape loop of a squeaky fan plays the entire time. “Jo In Nine G Hell” isn’t without its dull moments either. Sometimes the band’s experiments fall flat or are just plain annoying, and even when the album is at its best, it’s not a very uplifting listen. Still, if you like Min istry, the Cure and all the gloomy sounds in between the two, you might find the Hair & Skin Trading Co. interesting as well. — Matt Silcock Innovation in new releases further defines 'alternative' Waldo the Dog Faced Boy Tingle WJ.N. Records pcxyoor Is Stardnb Starctub Island Records Quicksand Slip Polydor These three compact discs, all ap parently “alternative,” prove one thing —thatthe label “alternative”no longer gives any indication about a band’s style. Waldo the Dog Faced Boy plays rock-jazz with an improvisationaf less is-more philosophy. Staiclub main tains a steadier groove in a typical 4/ 4 rock format. A gulf away from both of them is the heavy bass and the piercing feedback of Quicksand. ‘Tingle,’’ the fourth release from Waldo the Dog Faced Boy, claims to be a neo-psychedelic experience ca pable of bringing on the apocalypse. The release’s 11 tracks are empty and resonant, interrupted by sudden rushes of music. The drums, percus sion, trombone, guitar and the voice of the talented Mary Ellen Mason combine in an experimental void that sometimes works but is too often a bit of a noise. The experience is less than earth shattering. Waldo sounds best when Mason steps forward and assumes the tradi tional stance of band leader, giving the band’s improvised sound a direc tion of sorts. At present the approach is too formless to realize the potential that lurks within the band’s five mem bers. Staiclub avoids all these problems by sticking firmly to a traditional and Records WIN Records approach. Their style is a product of their upbringing. The four members of the band met at school, at agel2, an<| started playing together because of a mutual admiration for The Beatles. Their name, Starclub, is an expres sion of that. Starclub recorded this, its first al bum, with producer Chris Hughes, who has worked with Paul McCartney, Steve Reich and Tears for Fears. The first song on the album, “Hard to Get,” is a protest against people having to work all week and only having the weekend free for them selves. The last two lines of the song may be directed at people with day jobs, but they apply equally to students: “One more day ‘til Friday/Only one more day to go.” Quicksand, on the other hand, sounds as if each moment may be its last In every song the band plays, they try to fit in as much as possible. Where Waldo left gaps, Quicksand played a hundred notes. The pound ing tom-toms, feedback, distortion, power cords and perpetual bass on “Slip” are effective, but they lack originality and the style quickly be comes heavy-handed. These three releases show that, although the label “alternative" may not provide any type of exact defini tion, it still provides a forum for music that is prepared to take chances, and sometimes comes up with something worthwhile. — Matthew Grant COUNTRY WESTERN TOP 10 Dries South, Suzy Queen of Memphis, Confederate In a Week or IWo, Diamond Rio Let Go of the Stone, John Anderson hi Theee Years, Sawyer Brown What Pert of No, Lorrie Morgan Just One Night, McBride A the Ride Once Upon a Lifetime, Alabama I Want You Bad, Collin Raye Souroo: Coihbox maQa/ine
