Section B·Page 6
The University Daily Kansan
Wednesday, July 12, 2000
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Orchards Corner Mall
3300 W. 15th Street,
842-9383
正负零
sports • music darts • billiards JACK FLANIGANS Bar and Grill We now have Golden Tee 4
Monday
$2.25 Import Frottes
$4.95 Chicken Flavors
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Tuesday
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Cent Tacos
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Wednesday
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Thursday
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Saturday
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Friday
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Open at 11am
By Derek John Special to the Kansan
New releases reveal musical ups and downs
Sunday
$2.75 Long Island Tea's
$6.95 Chefs Choice House Pasta
FREE POOL ALL DAY
BELLE & SEBASTIAN fold your hands child, you walk like a peasant
But in the midst of solid compositions lurk noticeable weak spots. The female vocals of Isobel sometimes fail to convey the full meaning of the lyrics.
Belle & Sebastian's newest release is pretty doggone good, almost wonderful even. But it's a bit disappointing. It doesn't make the sun peek out of the clouds on a gray afternoon. It doesn't raise forgotten feelings for first loves. It doesn't distract school girls from their books. And it doesn't conjure up dreams of wild horses.
The reclusive seven-member group sounds like early Simon and Garfunkel, pens Bob Dylan-inspired lyrics, and appears to know the gospel of Peter, Paul and Mary. Under those influences, Belle & Sebastian recall lost innocence, checked pasts, tragic heroes and the fraying kilts of its native Glasgow.
This new release from Matador Records doesn't sound that different from its earlier works. For the most part, the troupe follows the same songwriting recipe for fold your hands.
Their message, simultaneously nostalgic and ultramodern, speaks of love, at once unexpected, reluctant.
The bluesy organ and mournful harmonies of "Don't Leave the Light On Baby" punctate the lead vocals of guitarist Stuart—first names only for this band—that waft in from the Highlands.
Many tracks benefit from perfectly arranged string, horn and woodwind parts that never become overhearing.
The title of the cut, "Nice Day For a Sulk," seems trite at first, but its catchy piano chords and nonchalant snare backbeat give the song an endearing "Raindrops Keep Fallin' On My Head" quality.
tainted, overwhelming, doomed and,
ultimately, exhilarating.
At their best, Belle & Sebastian are expert tune smiths who can spin a yarn with the best of them. And although fold your hands falls just short of this critic's uncompromising and semiridiculous expectations, it should find a warm reception among diehard hippers who dream of a Scottish Invasion.
But these should be minor quibbles for most listeners. Rarely does an album grow on you like this one does. It is a testament to the talent and artistry of Belle & Sebastian.
—fold your hands can be heard on KJHK 90.7 FM. The request line is 864-4747.
Kid Rock's disk jockey and MC, Matt Shafer, better known as Uncle Kracker, decided to release his own solo effort, Double Wide. For Top 40 listeners and Kracker's fellow hickhop artists, this was a regrettable decision.
UNCLE KRACKER Double Wide
Billed as the laid-back Yin to Kid Rock's thunderous metal Yang, with roots in funky Detroit rock 'n' roll, Motown, country, southern rock and hip-hop, Kracker supposedly tops everything with his own flowing, loose-limbed, story-telling rans
Come again? Kracker strives to create rough and tumble beats with country-tinged instrumentation that, if pulled off, could serve as an updated soundtrack to Urban Cowboy.
But Kracker's abandonment of the raw shock value so successfully employed by his compadre Kid Rock is puzzling. The MC's pseudothuggish lyrics, accented by juvenile rhymes that exhibit a severe shortage of vocabulary, portrait Kracker as a big softie.
But it doesn't happen. Instead, we get generic beats that lack any semblance to a funky Detroit. Some tracks seem to follow the well-worn conventions of boy bands, presumably to make them more accessible and radio-friendly.
On "You Can't Take Me," Kracker bleats these forgettable lines: "I've been wasin' all my time/ And I've been drinkin' all that wine/ And I've been drinkin' all that beer/ And I've been sheddin' all these tears! I can't go and you can't stay/ You're not gonna take me out that way."
The album was recorded during the Kid Rock Tour in a makeshift studio at the back of the tour bus. But this didn't produce an authentic stripped-down sound. The songs were slickly produced and lack any real depth or emotion. And the liner notes are just too much with their pictures of Kracker trying to look hard in a pair of goofy shades.
In the end, Kracker simply comes across as a clown. *Double Wide* will have listeners crying "foul" long before they cry "Uncle."
the student perspective
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Kansas Summer
YOU'RE A GOOD MAN
CHARLIE BROWN
BASED ON THE COMIC STrip PEANUTS
BY CHARLES M. SCHUZL
University Theatre Presents
Theatre 2000
Laundry and Bourbon & Lonestar
by James McIure
1959 Pink Thunderbird
Directed by John Gronbeck-Tedesco Scenic and Costume Design by Bill Nelson Lighting Design by Cosey Kears
8:00 p.m.
July 7, 9, 13, 15, 21, 23, 2000
Inge Theatre
All seating is general admission, seating is limited $ public $12, senior citizens $11, all students $6
The University Student is partially funded by the KU Student Senate Activity Fee.
Tickets are available through the KU box offices. Murphy Hall, 715/864-3632; Lied Center, B64ARTS, SUA Office B64 3477; VISA and Master Card are accepted for phone orders.
STUDENT
SENATE
DRINK UP
1.00 Bud
1.00 Bud Lite
1.00 Miller Lite
MONDAY
TUESDAY
3.25 Micro Brew Liters
3.75 Imported Liters
1.75 Domestic Bottles
WEDNESDAY
WEDNESDAY
2.25 Call Drinks
4.00 Doubles
THURSDAY
75¢ Bud Draws
75¢Bud Lite Draws
75¢Miller Lite Draws
1.50 Liters
2.25 Anything
3.75 Doubles
NO COVER
1.50 Miller High Life
3.00 Rolling Rock Bombers
NO COVER
FRIDAY
SATURDAY
SATURDAY
2.00 Rolling Rock
NO COVER
SUNDAY
1.50 Wells
2.75 Doubles
50¢ Pool Everyday
HARBOUR 841-1960 LIGHTS 1031 Mass