Page 34


by Alan special


Friday, March HI,1995

Robertson to Imprint

by Sunil Imprint

Don’t let the title of the new Manhattan Transfer Tunin ‘fool you. This is just another, in what is hopefully the last, of the series of ‘Duets’ albums. Cheryl Bentync, Janis Siegel, Tim Hauser and Alan Paul share some of the lead vocals on Tonin’ but for the most part these talented harmonizers have reduced themselves to the roll of a back-up quartet of Doo-Woppcrs. The bulk of the singing here is handled by guest vocalists including Frankie Valli, Bette Midler, Smokey Robinson and James Taylor. They try their best but aren’t successful in saving an album full of 60’s covers that sounds more like the second coming of The Big Chill soundtrack. There is one bright spot here with Phil Collins and Tim Hauser joining forces to cover the 1966 Motown classic “Too Busy Thinking About My Baby.” To be fair to the Manhattan Transfer, they do get a couple of chancei to shine. The tracks “Along Came Mary” and the beautiful “God Only Knows” allow the band to bring out their true taients. Unfortunately those same talents are wasted on the rest of this album.

by Brad Imrpint

Hughes Staff

First The Spoons reform and now this: a band that tries to bring back the heydays of 80’s music. Thrill Squad used to be called Go Four 3. They made some minor rumblings on the Canadian charts last decade. This album is, I guess, kind of a comeback for them. “Comeback from what?” you might ask. I think the answer is the planet these guys have been on since the 80’s ended. This band sounds like they’ve never heard anything that has come out since that decade. For example, in the opening song “Heart of Tears” the guitar during the verses is a complete rip-off of Platinum Blonde’s “Standing in the Dark” while the guitar lines during the chorus are straight out of Big Country’s “In a Big Country.” I’m really disappointed that a band cannot at least incorporate something from today’s music into what they used to play. Considering what they used to play didn’t exactly set the charts ablazin’ I have to wonder what they

think they have to offer. If their music couldn’t sell back when their genre was popular how are they going to sell now? Their music wasn’t very good then and it surely isn’t now. It’s standard guitar, bass, and drums. They try and hide it behind Roxanne Heichert’s voice by placing the vocals up front in the production. While she might have a decent voice, she isn’t any more interesting than the music, This choice of placing the focus on Heichert’s voice also displays the weakness of the lyrics. Nothing stands out as particularly poetic. Most times the lyrics fall into cliche. You can even see it in the song titles such as “Now or and Rain” and Never, ” “Love “Someone to Believe In.” The only song that kind of caught me as good was “Sick and Tired of It.” This song really broke down after several listenings though. This album just serves as a reminder that regurgitating the sounds of the past without applying something from the present is going to end in disaster. The only bright side for the Thrill Squad is that they can open for The Spoons on their next tour.


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For those of you who know, ‘I’m sure you’re already snickering. And for those poor unfortunates who don’t know, allow me to fill you in on the phenomenon that is Traci Lords. Traci came onto the “scene” in the mid-eighties in Los a star



numerous cheesy Sci-Fi/Horror Bmovies that bombed and mostly got her nowhere (except for Cry Baby and M&me Place. ) And now she’s been unleashed on the music world. This new album isn’t half-bad. I had expected . .-. d complete rubbish and instead was quite impressed. Groovy, rave-inspired tracks with heavy beats, analog riffs and sophisticated hi-hat lines make it all a satisfying experience. Behind the electronics are Mike Edwards (vocalist and main musician of Jesus Jones) and Bab-



ents” brought her exposure and fame. In case YOU haven’t clued in yet, Miss Lords was a PORNSTAR! She made hundreds of movies and was the first actress of the genre to command the then unheard sum of $10,000 a “performance.” However her career was cut short when her studio (and unfortunately the government) found out that she was under 18 at the time when most of her flimxx were made. They were banned and lifted from shelves. After making a few farewell movies, Traci retired. (Don’t ask how I know all this. Just Don’t!). Anyways, she went on to make

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listenable. However, the inclusion of Traci seems to Ibe a marketing ploy. Anyone could have been doing vocals and it wouldn’t really matter. However with Traci at the helm and on the cover, it’s sure to sell more,. She sings in the cliched, breathy style that so many female artists seem to prefer nowadays. Very fitting indeed for one who made an artform of heavy breathing.. . But in the end we all know that though her music isn’t bad, her movies a:re better.. .

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