311
“Omaha Sessions”
What Have You Records
Grade: B
311
“Live”
Capricorn Records
Grade: B+
311 has always worked diligently
to release new albums. Although the
former Omaha act’s next full-length
studio album won’t be in stores until
eleased its eighth
of the decade,
ffld**311 Live.”
ms” is a best-of
compilation of songs from the band’s
out-of-print first three albums,
1990’s “Dammit,” and 1991’s
“Unity” and “Hydroponic.”
The songs on “Omaha Sessions”
aren’t second-class tracks, though.
311 ’s biggest early hits included
“Slinky” and “Summer of Love,” and
“Damn,” which was part of the set list
the songs were cheaply made, 311
chose to liven up the sound. Four of
the songs on “Omaha Sessions” have
been remixed, and all of the tracks are
freshly remastered.
On the remastered tracks, there
are some noticeable differences in
quality. SA Martinez’s harmonious
vocals on “Right Now” are much
clearer, as is P-Nut’s rhythmic bass
playing, | . ..
s four remixed tracks
well., There is
more vocal and guitar distortion on
the chorus of “Soulsucker,” and new
vocals and guitar on “Slinky”
improve on the classic.
The new mix of “This Too Shall
Pass” is disappointing, however.
Much of the comedic phrasing by
vocalist Nick Hexum has been taken
out, and the song is left with longer
guitar sections that aren’t reflective of
the track’s previous “Dammit”
recording.
“Omaha Sessions” cannot be
purchased in stores, but it can be
found through the band’s mailing list
or its Web site at
http://www.311music.com.
While it will be available in
stores, “311 Live,” won’t be released
until Nov. 3. Fans undoubtedly will
flock to record stores to get their 311
on 11-3, a date intentionally set by the
numeral-conscious fivesome.
Since its early days, 311 has been
best known for live performances
rather than epic records.
The first three songs on “311
Live” are singles, with straight-up
rock versions of “Down,”
“Homebrew,” and “Beautiful
Disaster.” The rest of the tracks on the
record contrast well, from the hard
and funky “Omaha Stylee” and
“Feels So Good,” and a better-than
original version of the “Light Years.”
The improvisation that is appar
ent at 31 l’s live shows has been cap
tured here as well. There is an extend
ed guitar solo by Tim Mahoney at the
end of “Nix Hex,” and Chad Sexton’s
drum solo on “Applied Science”
. itself is worth price of the album.
-Patrick Miner
Eclectic musical i
style expected in^
Lyle Lovett’s shot%.
By Liza Holtmeier
Staff writer
No one knows what to expect from Lyle
Lovett.
The wild-haired musician defies catego
rization musically, slipping between genres like a
wet bar of soap in a Texas shower house.
His dry, sardonic sense of humor tends to catch
new listeners off-guard, and the man is just as com
fortable singing about his long, lost baby as he is
about the size of his ... hat.
And, to top it all off, the quirky artist was mar
ried to Julia Roberts, a match still pondered by fans
of both stars.
So, the speculation surrounding Lovett’s perfor
mance tonight at the Lied Center for Performing
Arts comes as no surprise.
The Lied Center admits to its almost entire igno
rance of the details of Lovett’s performance, and his
publicist doesn’t seem to know, either.
Most likely, Lovett will perform selections from
his new double compact disc, “Step Inside This
House.”
The album, composed of songs by some of
^Lovett’s most important influences, capitalizes on
' Lovett’s subtle, sarcastic sense of humor. With songs
by Guy Clark, Steven Fromholz, Michael Martin
Murphey and Walter Hyatt, the album invokes ten
der images of life and love in Texas.
Like Lovett’s past musical endeavors, the
album traverses from honky-tonk to blues to rock
’n’ roll to pop.
Lovett also should perform works from his
past albums, which include the Grammy
award-winning “Road to Ensenada” and
“Lyle Lovett and his Large Band.”
Lovett’s unexpected stop in Lincoln
resulted when the previously booked Chet
Atkins canceled his Lied Center engage
ment because of illness. Atkins also canceled sev
eral of his other October performances.
Fortunately for Lincoln, Lovett is between per
formances in Minneapolis and Denver. His stop in
Lincoln is the first since his performance at Farm
Aid III in 1987.
The other act slated to appear tonight, guitarist
Leo /
Kottke, /
will still I ^
perform. \
Kottke has \ y<
performed ^
with Lovett v <
before and V;
has released \:
more than 20 \
recordings. A ]
guitar legend,
Kottke also
is hard to
cate
W1 " 1
gorize.
His albums can be found under country, jazz,
folk and miscellaneous at record stores.
Lovett and Kottke will perform tonight at 8 at the
Lied
Center
for
Performing Arts,
301 N.12th St.
$24 and half-price for stu
dents. For reservations, call
the Lied Center Box Office at
(402)472-4747.
Courtesy Photo
THE JON SPENCER BLUES EXPLOSION has a new album fea
turing an old sound. Spencer is now rejecting the term
“blues,” while rediscovering the improvisational-based
genre as a rock musician.
The Jon Spencer Blues Explosion
“Acme”
Matador
Grade: A
That’s right ladies and gentlemen, the Blues
is still number one!
If you doubt the claim, prepare to become a
believer, because Jon Spencer and his band the
Blues Explosion are out to declare war on your
senses (and your booty) with the blues flavored,
hip-hop party record of the year, “Acme.”
“Acme” is a party waiting to happen, a feel
mg the first line of the opening track, “Calvin,”
asserts - “Let’s have a party, come on every
body!”
The band’s last effort, 1996’s “Now I Got
Worry,” found Spencer, guitarist Judah Bauer
and drummer Russell Simins attempting a
more experimental, punk-influenced sound
reminiscent of Spencer’s former crew, Pussy
Galore.
With “Acme,” The JSBX returns to a
groove-oriented vibe similar to that of 1994’s
“Orange,” which included a guest appearance
by hip-hop’s great white hope, Beck.
Like he did for the 1995 EP “Experimental
Remixes,” Spencer opened up the production
of “Acme” to see how outside influences would
affect the songs. The experiment paid off, as the
new album travels effectively between blues
and hip-hop without sounding ludicrous.
“High Gear,” the choice track, and “Bemie”
are fronted with the straight-forward guitar
rock that frequently flows from The JSBX. And
Spencer may “Talk About the Blues” on the
fifth track, yet he proclaims, “I do not play no
blues, I play rock ‘n’ roll!” So is The JSBX a
blues band, or a group of rock misfits? You
decide.
The most interesting aspect of “Acme” is its
exploration of beats. “Lovin’ Machine” bor
rows a sample from the Beastie Boys’ epic beer
drinkin’ anthem, “Paul Revere,” but Spencer
makes it his own by adding a touch of soul.
“Acme” ends in a state of total mayhem
with “Attack.” Hard-core drum licks, record
scratches and Spencer assaulting the mic make
for a great finish to a remarkable album.
With an enigmatic personality and pres
ence, Spencer reaffirms his position as the ’90s
version of a younger Elvis, a blues rocker him
self. Spencer may claim that he doesn’t play the
blues, but he can’t deny the influence.
Regardless, it’s 1998, and the Blues is back!
- Jim Zavodny