SOUND CHECK; NIGEL KENNEDY WITH THE ENGLISH CHAMBER ORCHESTRA/``CLASSIC KENNEDY'' (EMI CLASSICS).Byline: - Reed Johnson So much has been made of Nigel Kennedy's image - the spiky post-punk haircut, the bohemian three-day stubble, the attitude of carefully groomedeccentricity - that it's easy to lose sight of what a propulsive yet thoughtfully nuanced violinist this British musician can be. ``Classic Kennedy'' offers a sampler - it's too sketchy to be a proper survey - of his technique and versatility in 20 varied pieces no longer than three-minute pop ditties. None of the selections is exactly surprising: Vivaldi's presto from ``Summer,'' Brahms' Hungarian Dance No. 5, snatches of J.S. Bach, Satie, Gershwin and Debussy, a pair of traditional numbers (``Danny Boy,'' ``Scarborough Fair''), plus a bit of flagrant virtuosity (``The Flight of the Bumble-Bee'') and a gravely elegant reading of Joni Mitchell's ``Urge for Going,'' with Osian Ellisname is cq supplying haunting Celtic harp. But the arrangements by Kennedy, John Lenehan and Malcolm Messiter are refreshingly vigorous and un-reverential. Three star - Reed Johnson Guns 'N Roses/``Live Era '87-'93'' (Geffen) ``Yesterday got nothing for me,'' Axl Rose insists in a buzzsaw wail on ``Yesterdays,'' one of several live tracks that build to majestic climaxes on this only slightly bloated in-concert double disc. Yesterday has something for us, though: ``Live Era '87-'93'' is a reminder that back when grungy grun·gy adj. grun·gi·er, grun·gi·est Slang In a dirty, rundown, or inferior condition: grungy old jeans. [Origin unknown. distortion was still rising and before hard rock and hip-hop merged, there remained one last sometimes-great Stonesy glam-metal band dedicated to the noble tradition of rock 'n' roll rock 'n' roll: see rock music. self-destruction. Before going down in flames, Guns N' Roses was all about cautionary, thrilling tales of innocence  This article or section contains information about an unreleased video game.The content may change substantially as more information becomes available. lost (``Move to the City,'' ``Welcome to the Jungle''), dancing with the dark side (``Mr. Brownstone brownstone, red to brown variety of sandstone. Its unusual color is caused in some instances by the presence of red iron oxide which acts as a cement, binding the sand grains together. ,'' ``Used to Love Her''), and occasional outbreaks of morning-after refinement (``Patience,'' ``Sweet Child O' Mine''). Chances are slim that Rose will get himself together and return to rock the masses in the future, but this intelligently compiled package neatly encapsulates the glory of his yesterdays. Three stars - Dan DeLuca Philadelphia Inquirer Papa M/``Live From a Shark Cage'' (Drag City) It's the last Sunday of the 1900s and, really, what's left to say? Let's just roll the credits and cue up ``Live From a Shark Cage'' as the outro For other uses, see Outro (album). For other uses, see Outro (computer gaming). An outro (sometimes "outtro") or extro means the conclusion to a piece of music, literature or television program. It is the opposite of an intro. music. Essentially a one-man-band trip for Dave Pajo, former Slint guitarist and Tortoise alum, Papa M makes stark, hypnotic instrumentals from a narrow palette of pinging guitar, rudimentary percussion and found sounds. Though tinkling tin·kle v. tin·kled, tin·kling, tin·kles v.intr. 1. To make light metallic sounds, as those of a small bell. 2. Informal To urinate. v.tr. 1. bells, voice-mail messages and drum machines that sound like those toy monkeys that clap cymbals cymbals (sĭm`bəlz), percussion instruments of ancient Asian origin. They consist of a pair of slightly concave metal plates which produce a vibrant sound of indeterminate pitch. together wander in and out of the mix, Papa M's meditative beauty centers on the twinkling, minimalist clang of Pajo's guitar. Without vocals to tether them, the songs drift in the air, and the blank-slate nature of the music provides a suitable screen on which the listener can project movies of the unconscious. And any futurist worth his book advance will tell you that in 2000 and beyond, you will need to be more in touch with your unconscious. Three stars - Jonathan Valania Philadelphia Inquirer Methods of Mayhem/'`Methods of Mayhem'' (MCA MCA in full Music Corporation of America Entertainment conglomerate. It was founded in Chicago in 1924 by Jules Stein as a talent agency. In the 1960s it bought Decca Records and Universal Pictures, and today it produces films, music, and television shows. ) You definitely don't want to let your wife hear you playing this with the kids in the room. Who would have thought a former Motley Crue member - not to mention Internet film star and ex-guest of the state Tommy Lee - could be so crass? Methods of Mayhem's debut sounds nothing like Motley Crue - a good thing, normally. But MOM's generically grinding rock riffs, toothless tough-guy rap and pointless guest parade (Lil' Kim, Kid Rock, Fred Durst) leave you yearning for the halcyon days of ``Dr. Feelgood.'' In spite of the nice 'n' nasty ``Get Naked,'' this is too unfun for party music and too inane for much else. The cover says it's ``worthless plastic unless played loud.'' That's only half-right. One and one half stars - Fred Beckley Philadelphia Inquirer Merle merle a pattern of coat color pigmentation with dark, irregular blotches on a lighter background. Seen in some Collies and Welsh corgis. In shorthaired dogs, e.g. Great Danes and Dachshunds, the similar pattern is called dapple. Haggard/``Cabin in the Hills'' (Hag Records) You wouldn't know it from ``country'' radio, but 1999 has been quite a productive year for Merle Haggard - and that's not even counting the notable reissue of one of his best albums, 1981's ``Big City.'' The country titan rerecorded 43 of his biggest hits for a two-CD set on BNA BNA Bureau of National Affairs, Inc. BNA Birds of North America BNA block numbering area (US Census) BNA British North America BNA Banco Nacional de Angola (National Bank of Angola) , ``For the Record,'' and cut a concert record, ``Live at Billy Bob's Texas'' (Smith Music Group). Now comes the best of all - this set of country gospel. ``Cabin in the Hills'' bears all of the Haggard hallmarks: sophisticated and soulful musicianship from him and his always-stellar band, the Strangers; plainspoken plain·spo·ken adj. Frank; straightforward; blunt. plain  spo yet expressive Haggard writing in the form of four new songs that neatly augment the album's traditional fare (and a song by Iris DeMent de·ment tr.v. de·ment·ed, de·ment·ing, de·ments 1. To make (a person) insane. 2. To cause (a person) to lose intellectual capacity. ); and a baritone voice for the ages that has only gotten better with age. This isn't an overtly rousing kind of gospel music, but in its own sublimely understated way, it is deeply stirring. (The album can be ordered through Haggard's Web site, thehag.com. Four stars - N.C. Elvis Presley/``He Touched Me: The Gospel Music of Elvis Presley (RCA See RCA connector and video/TV history. ) Not to be confused with the 1972 LP of the same name, this two-CD, two-videotape package collects 40 of Elvis Presley's sacred recordings stretching from 1957 to 1974. (The tapes trace the King's love for gospel music with some priceless film clips and too many tedious interviews with old pals talking about what a magnanimous mag·nan·i·mous adj. 1. Courageously noble in mind and heart. 2. Generous in forgiving; eschewing resentment or revenge; unselfish. , God-fearing good ol' boy Elvis was.) ``He Touched Me's'' argument that Presley's gospel recordings capture the ``real'' Elvis is bunk. The King was being just as true to his omnivorous omnivorous eating both plant and animal foods. , undiscriminating un·dis·crim·i·nat·ing adj. 1. Lacking sensitivity, taste, or judgment. 2. Indiscriminate. Adj. 1. undiscriminating - not discriminating indiscriminating self when acting in ``Roustabout,'' singing ``Jailhouse Rock,'' or eating a peanut-butter-and-banana sandwich as he was when pouring his heart into ``How Great Thou Art.'' But there's no doubt that, throughout his career, Presley continually turned to gospel when seeking escape from the gilded gild 1 tr.v. gild·ed or gilt , gild·ing, gilds 1. To cover with or as if with a thin layer of gold. 2. To give an often deceptively attractive or improved appearance to. 3. cage of the life he made. And whether testifying ``I Believe in the Man in the Sky'' in 1960, or beseeching be·seech tr.v. be·sought or be·seeched, be·seech·ing, be·seech·es 1. To address an earnest or urgent request to; implore: beseech them for help. 2. the Almighty ``Why Me Lord'' in 1974, the poorly annotated ``He Touched Me'' does attest that when he turned his gaze heavenward, Elvis delivered some of the most open-hearted, soulful performances of his career. Three stars - D.D. Grover Washington Jr./``Prime Cuts - The Columbia Years: 1989-99'' (Sony/Columbia) Gerald Veasley/``Love Letters'' (Heads Up) Pieces of a Dream/``Ahead to the Past'' (Blue Note) Grover Washington Jr., who died on Dec. 17, virtually spawned smooth jazz - and played it better than anyone else. His last dozen years on Sony/Columbia were not his most successful, but the best numbers of that era, collected on ``Prime Cuts,'' show a consistent artistry that expanded the genre's strictures. This compilation includes some big-hearted ballad playing from the straight-ahead CD ``All My Tomorrows.'' ``Only for You,'' from ``Next Exit,'' projects a keen Latin vibe, and the good-time feeling of the previously unreleased ``Soulful Strut'' is irresistible. It was also the last song Washington ever played. In lesser hands, some of this CD would sound derivative. But Washington almost always sounded good, no matter how commercial the song. Three and one half stars Stevie Ray Vaughan Stephen "Stevie" Ray Vaughan (October 3, 1954 – August 27, 1990), born in Dallas, Texas, was an American blues guitarist. His broad appeal, combination of unbelievable speed, precision, energy, passion and emotion and constant expansion of his Blues style into Funk, Jazz, and Albert King/``In Session'' (Stax) Just when you thought there couldn't be any more Stevie Ray Vaughan product, up pops another posthumous release. And it's a good one. ``In Session'' pairs the mercurial guitarist with his idol Albert King on a set taken from a 1983 Canadian TV broadcast. Though it's dominated by songs associated with King, Vaughan displays the guitar prowess that would soon make him a star. And, perhaps in deference to his elder, he does so without indulging in the flashy excess that marred some of his later playing. In the between-song dialogue, the notoriously cantankerous can·tan·ker·ous adj. 1. Ill-tempered and quarrelsome; disagreeable: disliked her cantankerous landlord. 2. King, who died in 1992, shows a large measure of affection and respect for Vaughan, and it gets downright poignant when the blues-guitar great confesses, ``I'm about ready to turn it over to you. ...'' Three and one half stars - Nick Cristiano Philadelphia Inquirer CAPTION(S): photo Photo: no caption (Stevie Ray Vaughan and Albert King) |
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