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Show Thursday, November 44, 1996 twitch r as '. Jis&"M"$r hbp Let's define "soul music: . hmv mmm mmmm mm the stylistic popsupis the combination of Jazz type and bluesTheV there'ssoul' n m V ,n , mr w V : - -- w i fT--- ' that musicthe universal feeling or-chick- ivH ,r f en soup for the soul, that transcends' genre: v S & iv ); Rusted Definitions asidep Rootf; infuses both types of soul. The result; as any RR fan will testify C to, Is a hypnotic journey through expressive vocals; never-endin- g jams and weaving rhythms.-- v' History, both individual and c collective, is at the root of RJC; Based in ittsburghf. the band 4' formed early in 1990, when leadi y : i '' LM 1 v ' f' : - . 1 V (drums) and Patrick, Nprmah j s" $jgjir 1 J . .L n flul;WJ; label could W fdt'tfrA giveRustedRoo"toreiexpo - - "1 .(r :;ij ?!- growmg tnbe of fans, in addition fefl to a hard-oor- e of mJ9?4after the ' band that thley didn't wari Bad :cenisti ustesgomglaloim ; more J . in --y eVefflt musi :ple4T'tb4!ilip teilMwbwl; fiUk&kk t wn J- - r. . e lotc like hinttiis i ThenKereV - tbrftii" fteoDf e :wh6'dress toKippi-oft- f voodoo, trtbaf '4fWcl aatfjltTol descibH Utfto&t m Buynak attributehat ifceyldfwjie o ' vtt The band released their first ourshowsT.tfiereV, f ' Deocle wholi stveariniarmtisic: t ne tra tr 1992,on.the inde4abet;Blue aprecuelor of bigger ratlws fast " t 5majoabels:C ilTher;rtcnt:tWrd:-lbum- : an rything'iiaytngatjttbts oiifcan-feetVi- t, Jira,m exposure n Well as di (percussion:,handburoftwo; drummer)- Joined in tm.f Wote9Sf4) following- the .coateat, RR wmembcltj9) began vbookLng;, themseye,t7 Inevitahly;. e ' suae, oacK oown tn isoaex wn a - Wertz.;howeverwas latere tU prpveto Following dohn) joined later that;yea seir-produc- 'X--'- interviewed ,thelabe for abW seven monAsRR piaicd Aemt Jielves so well arid hid ucfia lojral issitei;- .ii' regionally playing, t (Mercury) s ZZJht band's second CD; When J (bass guitar, percussion) DiSpirito, ts''-,-- Records came in fourth placeAlso fea-- , of tured in the contest-versio- n the band were Liz Berlin (back-u- p vocals, guitar), Jim Donovan Rusted. Root member 2i - singer Michael Glabicki ,(lead j vocals, guitar) "entered, a band contest This early version PRR Buynak (percussfcln; if " TOO T T 50.UCQ Vrtfrt A r y -- r"V v- tesiwe irAiw VMfr&tlhm 5 f&ofc Either - -a- , -- eMtJinalindartv A Mit&ii felit MafS ViiStJ'iaiJ uucK, wnicn 5010 UjUuu copies. r; the kmmevth ntliidaie because they think they havrto. 5 shows to harmonize Each sons: delivers somethine ththek beSai of people, votce. h There's a phenomenon wifU Spreading, ; and , e ventually viust followers' bfl the"Iead; CcimW." koMnWtiw'tfDhilemDOar rootsVoW'core dfcrfp Mercury, Kecoras nottcea. but ottr music h $ COm0ietelv. : for the barwL Wtoblisnirie a feaitt .h&at. has beeii klnd of ihdui Mercury1 approached RR and after witnessing one live jam ses sionconcert, asked them to sign the '96 HOKDE tour. "The ener- -, RRs tendency to grow, evenW ak we.are X34ng getbck;thcyhypcdie story After about 7, months ot- gy was v i that dayJ fr6mthwhole ;cdmes high rop.. ? Vmoreopular wmng processx s ieiy -"mtennewing Mercury, they, remember the Utah show specif tact 'that trade in all. Xememuf6kpresse zM KdQt'PlaY?'lom&ht't signed. "We wanted to be very tp'c v"'i;Vii;k.i-v.ir.--'their-audi- ' caieiui oui nutmg sure w to 5uccess were doing the right thing," said ' tuW hh-IeVe- l' nf en John Buynak. "There wa a point to' accompany jswitchoff on guitars seems always andpercuseif'Miiiyi Ihe-K- 'tttitv;c&&V R cross-ecti6- anmlAr. s - alLthe:-memb'ers- XHX ? i I "It's a gas, man, The band has ; really been this great creative1 lis) w A ii IB Call them giants, but don't call them geeks. "It's an unpleasant tide for me. I don't like it," says John Flansburgh, commenting on They Might Be Giants common classification as "geek rock." "I feel like it's really trivializing the kind of expression that we're doing to call it 'geek rock.,'" says (S r. two men and r; il , fl a drum machine (.-- shows. TMBG now have a permanent live band, featuring Brian Doherty, Graham Maby, and Eric Schermerhorn. Flansburgh Wednesday from his Brooklyn said stu- -' TMBG struggled early on with artificial instrumentation. Songs like "The Guitar" from 1992's Apollo 18 didn't take shape until the introduction of a breathing rhythm section. "We had never really successfully done The Guitar" as a duo, ... It made us feel kind of like Milli Vanilli, humming and strumming away to a very over-acti- : . ve rhythm section, or Ten years and five albums later, TMBG have grown. Gone are the 6 pre- - r Frank Ockenfell i n "vij'.. of Hair X J! A Seattle affair from . over-activ- e it so it's definitely I (LookoutMint) ; certain way," Flansburgh explains, "But the ' strings' and the horns' kind of pull it into 19761977;..; ! think" d i s cp self-title- ! s CUB Box at f ure.ln and his musical partner, John Linnell, took their band's name from a 70s George C. Scott movie, d LP, best and recorded a known for Don't Lets Start ? f "i : 7 However you label them, TMBG are definitely different Flansburgh "y t4 drum machine," said Flansburgh. Though it was only intended as an experiment, the band became a permanent addition. Factory Showroom; TMBG's new album,' proves that the band has found ' their vibe, the open- ' ing track, is a good example. The song has a kind of a funk bassline' and "Shaft" high-hfig- - y " with me." ' - machines," Flansburgh explained. Flansburgh. fine J, lit-d- dio. The band has changed TMBG sound considerably different from TMBG occupy their own niche in rock, a fact Flansburgh can accept. "A lot of people who like rock like it for very mediocre, mundane reasons. I think the general rock audience is very conservative, and very orthodox, and not really into challenging themselves. It's this very heterosexual, very white kind of world, and this sort of prepackaged form of rebellion. ... if we're on the outside of that, that's their early recordings. As thejrve moved away:: from the drum machines, TMBG have found a new groove. "You can do some specific 'drum machine' kind of grooves, but the organic grooves that I like from the '60s are a e bit harder to obtain with drum explosion for us. It's really opened our eyes to a whole lot of things that we weren't that tuned into before," 5 Vancouver. What One gives part riot, grrrl, one part K-ba- r-, rette-lollipo- two p, parts inane melodies and lyrics an album latching on to trendy sounds that have already passed. Cub isn't one of the " better, grrrillas to emerge: from the bur- geoning Vancouver mist, but if you happen to be into dilute Bikini Kill and Softies, Cub is ' your Huggy Bear. ' . ; Arial " : - |
