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About The daily Nebraskan. ([Lincoln, Neb.) 1901-current | View Entire Issue (Aug. 27, 1998)
ouDume “Stand By Your Van” If done correctly, live albums can bring forth the vibe of a show while displaying the band is greatest hits. If done incoirecdy, the album is usually a poor-sounding mess of songs that either means the band is bad live, the mix of songs is poor, or the sound quality is bad The new Sublime album, ‘‘Stand By Your Van,” fits a couple of the latter points. The record is a collection of live songs recorded from *94 to *96 that will leave most Sublkne fens feel ing a bit let down. Afro: listening to a few Sublime live recordings, it is obvious Sublime was a quality live act From lead singer and guitarist Brad Nowellh improvisa tion to the interesting song order of the band’s two-part shows, the band thrived on playing shows. The problem is that this album isn’t a fair reflection of what Sublime had to offer. First of all, the majority of the album was recorded at the Kommotion in San Francisco in September 1994, which was almost two years before the band tragically ended. Plus, many of the songs are already available elsewhere. The show was recorded on a live boodeg album, “It All Seems So Silly in the Long Run,” which many Sublime fans already own. Making thingswrase, the sound on “Long Run” is better quality than on “Stand By Your\fan,” making the latter completely unnecessary to own. There are a few saving points here, however. More recent recordings, including the bass drum thumping of “Waiting Far My Ruca,” and die only song from their self-titled album, “Caress Me Down,” make these indi vidual songs worthwhile. Still, it would makealot more sense to put on the “Scarlet Begonias/What I Got^medley or die acoustic version of “Wrong Way” to make the afcum more welkxmnded While the fims who are recently learning about “40 Oz. to Freedom” may enjoy the record, it will find its way to the bottom of die stack for everyone else. Although it may have hurt sales, releasing a double-disc album with an entire show or continuous parts of a show woukl hare been a k* mote sub lime than this tow-quality butcher joh — Patrick Miner ... Are available t College Indepenc • Study and take exams whc when you're ready. • Take^astong as^year or a Call 472-4321 fora Study catalog, or visit our Nebraska Center for Continuing Education, Room 269, . . u_ ■K 8 W B8 8 B HP 8 W B V ■ I III BHiift||li||i9{|i||iiiiS^| Social Distortion “Live at the Roxy” Time Bomb Recordings Grade: A In sharp contrast to die painful live Wails of Sublime, the new Social Distortion record, “Live at the Roxy,” shines as an example of everything that is good about live albums. The disc was recorded across three shows, April 7-9,1998, at the Roxy in Hollywood. Produced by James Saez and guitar/vocalist Mike Ness, the shows were edited together perfectly to gi«Mhe illusion of onevery cohesive set ^ The album contains 17 of the — ... _.j83Tf .. full decades of music. Kicking off.wife “Story of My Life,” from fee band’s self-titled album, fee listener is happily subjected to an hour-long assault of Social D. punk rock. From the trademark guitar of “Mommy’s Little Monster” to the con trol-centered Rolling Stones cover “Under My Thumb” and the us-vs. them attitude of “Telling Them,” Social Distortion plays fee songs fens want to hear and plays them well. Some fens may complain about the omission of “Sick Boys,” the absence of which Ness mentions in the liner notes. Still, it would be hard to gripe at this mix of songs that spans seven recordings, including EPs. Even fee commentary between fee songs is hoe, and Ness will never be accused of being too subtle in that department At one point, he displays a gold record to the crowd in the middle of fee set and explains fee tremendous effort the band undertook to achieve the goal Being the furthest thing from another punk rock burn-out Social D. has once again put out a record that is iffeey can go another 20 yeaeSi^S ” - Patrick Minor ' hi,’i Kick off the football /ith tj» I Rest Assured * An annual premium of only $399! The convenient location and services of the University Health Center (located at T 5th & U) for initial treatment! Depeodent^coverage isalso available! The Cows ~ “Sorry In Pig Minor” Amphetamine Reptile Records Grade: B+ The Cows have made an inter national parade out of the “great live band” reputation. However, their recordings have usually portrayed the meager lev els of vision one would expect from Roger Daltrey teaming up with a rejuvenated Candlebox. For the first time, the Cows on “Sorry In Pig Minor” sacrifice the obligatory Amphetamine Reptile Records sonic elbow grease for some thought, and by God, even a little artistic pretense. The Minneapolis-based quar tet’s newest offering is distinctly highly produced compared to past releases and showered with musi cal jabs profoundly hew for the L band. / cabin Man, me album $ first track, features singer Shannon Selberg reciting a frighteningly humorous short story about being delivered from suicide’s door by a flying cockroach. Selberg, who also plays bugle for The Cows, enjoys die admira tion of underground types around die globe for his clever and bizarre stage performances. The singer-performer seems intent throughout the record on baffling die emotional senses of his listeners. Every song is a bit ill from Selberg’s combination of UVB* .£2*" -e’ffc t-f no ? On “Finished Again,” he dead pans Bob Dylan’s nasal overkill while commenting on a rock ‘n’ roll singerfe chore of self-reinven tion. “I have nothing left to send... ‘cuz I am all done and I’m finished again.” Selberg employs a ridiculous mock Mexican voice on “El Shiksa” under the great instru mental work of percussionist Freddy Votel and Lincoln natives Thor. Eisentrager (guitar) and Kevin Rutmanis (bass guitar). - , th| aioum, nowever, aoesn t involve lyrics or vocals. “E Dad,” a song dominated Rutmanis on organ, migh described as elevator music fc Bates Motel. Upon numerous list “Sorry In Pig Minor” evolves an album with entertainment v ~ and fine musical pieces. However, like the majority of noise rock bands, The Cows lack terrif poignancy in their song writin For that reason among oti you won’t be seeing Shan Selberg replacing his signa magic marker mustache wi milk one and a billboard smile time soon. -t: 11 iTTIllMlllllliH1 :