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About The daily Nebraskan. ([Lincoln, Neb.) 1901-current | View Entire Issue (Dec. 6, 1993)
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Store Hours: Monday-Saturday 9-6 Thursday lil 8 Sunday 12-6 13th & Q*476-0111 GET READY FOR FINALS! Helping Good Students Become Great Students Jon’s Hours: 9:00-5:00 Monday-Friday 12:30-5:00 Saturday-Sunday Courtesy Germany Public Enemy “Whatever Happened to X” German Records Chuck D and the crew arc back again, kind of. Looking back. Pub lic Encmy’s“Greatcst Misses” was just a remix album with just six new tracks, none of which blew up. And although Jam Master Jay’s remix of “Louder Than A Bomb” was slammin’, these guys haven’t really been heard from since “Apoc alypse ’91...,” apart from Chuck’s recent guest spot on the new Pro fessor X album. And with this release we still have nothing new from Chuck D. This live album was put out by the independent label German Records, obviously to capitalize on the pop ularity of the group and and not to further Public Enemy’s career. This album was recorded for the most part in New York City in 1992, except for the last three of the 22 tracks, which were recorded in Holland. The material is 70 minutes of pure PE electricity, which could only be felt in a live performance. The album is also priced as a dou ble length album, though with to day’s long-running CDs, twice the price seems to be very poor judg ment. The only saving grace is that this is Public Enemy. Chuck D and Flavor Flav perform their most popular songs and the remix is live by the turntable master Terminator X. Early on. Chuck rocks hard on “Bring the Noise,” no Anthrax need ed, and follows up strong on “Wel come to the Terrordomc.” Soon the crowd gets excited as a superb version of “By the Time I Get to Arizona” rocks, followed by “Fight the Power.” The crowd excitement peaks to wards the end with the performance of “Don’t Believe the Hype” and “Shut ‘Em Down.” The Holland-recorded tracks at the end seemed redundant and un necessary except for “Rebel With out a Pause,” an enormously popu lar song in Europe in 1989. For die-hard fans of Public En emy, the album is probably a must. However, for those waiting for Chuck D to make the next big splash in the hip hop pool, the wait isn’t over. —Greg Schick Courtesy Atlantic V Phil Collins “Both Sides” Atlantic “Both Sides” is, according to Phil Collins, the most enjoyable album he’s ever made. The fifth solo album from Genesis front man and drummer Coll ins represents an evolution in style and substance. His solo debut, “Face Value,” was released in 1981 — in the wake of a painful divorce — and the songs reflected the agony of break up. His follow-up, “Hello, I Must Be Going,” in 1982, continued in much the same vein. “No Jacket Required” began the move from introspective songs to more up beat, uptempo tunes. Unfortunate ly, it didn’t last. “Both Sides” is a lot like “But Seriously,” his last release in 1990. Both arc slower, heavy on synthe sizers and social consciousness. Collins fails to include any tracks on his latest that have the driving beat of a “Sussudio” or the jazzy feel of “I Missed Again.” The title track, “Both Sides,” tells of the despair of the ghetto. A black'youth asks a rich white man “Would you respect me if I didn’t have thisgun?” Another track,“We Wait and Wonder,”decries the IRA terrorism that Britons live with — “these brave heroes only know to hit and run/slowly my sadness turns to rage and we wondcr/how can these scars ever heal, when all is said and done?” Collins asks. To be sure. Coll ins docs include a few good love songs, perfect for a bearskin rug in front of a roaring fireplace such as “Can’t Find My Way” and “There’s A Place for Us.” Overall, “Both Sides” acquits itself well, but those with a hanker ing for a bit more energy may want to dig out their old tapes and belt out “Sussudio.” — Sam Kepfield Various Artists “Zappa’s Universe” Polygram Do Frank Zappa’s compositions really need Steve Vai, two acappella groups, a rock band and an orchestra to be played well? Nope. But to celebrate Zappa’s 50th birthday, someone did it anyway. Zappa, ex-lead singer of “The Mothers” and a pioneer of bratty art rock, had little to do with this per formance at The Ritz Theatre. “Zappa’s Universe” is an over done onslaught of frivolous musi cal homage to Zappa, recorded at The Ritz Theatre in New York. This rash absurdity, just shy of a London Philharmonic tribute to the Ramones, stretches the limits of pop culture’s unwavering self-adu lation. Zappa, the pioneer of bratty art rock and ex-lead singer of “The Mothers,” had nothing to do with this album, and it’s doubtful he would have allowed such a derog atory performance under his own supervision. — Patrick Hambrecht Overview Continued from Page 9 ports human rights. In July, Carlos organized a benefit in New York City to stop Homell’s distribution of Crazy Horse Malt Li quor. Hornell’s advertising of Crazy Horse 1 iquor degraded Indians, Carlos said. Carlos also campaigns against the stereotyping of American and Cana dian Indian musicians. His personal experiences with prejudice and ste reotyping prompted him to join MARS, Musicians Against Racism and Sexism, he said. He is also one df two American Indian contributors working on a com pact disc to benefit the imprisoned Leonard Peltier, who was convicted ofmurderingtwoFBI agents in 1975. The producer of the record, Van Riker, has been the program director of MTV’s “Rock the Vote” for the past two years. Riker said the C D, to be released in the spring of 1994, features 15 tracks by various individuals and groups, including Helmet, Rage Against the Machine, Quicksand and Tribe After Tribe. “The purpose of the CD is not only to raise funds for the defense of Na tive American Leonard Peltier, but to also raise the consciousness of young people about the continued oppres sion of Native Americans by our soci ety and by our government,” Riker said. Tom Bee, a record executive and reservation rock legend, also strives to raise international consciousness. Bee, the founder and president of Sound of America Records in Albu querque, N. M., started 1 i fc as a Dako ta infant abandoned in a garbage can. Now 49, Bee has been in the music business most of his life. He said his rock group, XIT, was inspired by the Woodstock festival. XIT disbanded more than a decade ago. “We were the innovators of Amer ican Indian rock,” he said. “We were the first to mix contemporary with a dash of traditional. “Today you can make a living making political statements through song,” he said, citing rap as an exam pie. “But in the ’70s, it was the kiss of death ... I never considered the lyrics political. Because it was American Indian, it was amplified. Noonc want ed to remember the holocaust that happened to American Indians. They didn’t want us to say anything. Bee’s SOAR company internation ally distributes American Indian mu sic ranging from the sounds of new age to adobc-grungc. Recently, Bee and his son, rapper Robby Bee, produced “Electric War rior,” the debut of “rap-ajo,” the mu sic of actor Russell Means. Like many Indian entertainers. Means’ palette of talent includes a politically shaded past. He co-found cdAIM and led the 1973 resistance to the U.S. government siege at Wound ed Knee. “Russell Means carries more weight as an actor and entertainer than he ever did as an activist,” Bee said. “Now, more than any time in his tory, we have the opportunity avail able through the arts to speak our message.” Concert Continued from Page 9 an expression of a kind of quasi spirituality and the rebirth of a very modern “paganism.” It has been called soulless, and facile—and yet it holds a mysterious fascination for many people. Sunday night’s performance was solid and enjoyable. It showcased musical styles that seem diverse enough to fall in sepa rate categories — yet all the musi cians showed the influence of jazz, folk and what has come to be called “world music” that characterizes the new age. If new age music is seldom pas sionatc, it is almost never bombastic. And when performed by commit ted and personable musicians, it can seem downright pleasant—especial ly as it grows colder outside. All that was missing from last night’s performance was hot cider and a fire in the hearth: loved ones not included, some assembly required. — Mark Baldridge