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Show Standard-Examiner Harris rambles along with new band Symphonyis joined by Canadian pianist OGDEN — A Canadian pianist joins the Utah Symphony for two piano concertos at a G major during the 8 p.m. concert in the Weber State Univer- Chloe.” Lortie was born in Quebec and madehis debut with L’Or- chestre Symphonique de Montreal when he was 13 yearsold. Just three years later, he won ronto Symphony Orchestra, Lortie toured the People’s Republic of China and Japan in 1978. He returned to China in 1983 for a concert series with the Shanghai Philharmonic Orchestra and for recitals in Beijing and Shanghai. The pianist won first prize in Italy’s Busoni International Competition in 1984 and that same year was a prizewinner in the prestigious Leeds International Competition. Rick Marsh as everyone who's anyone in the ‘At The Ryman’ He will perform selections by Mozart and Ravel. ing, not because she had a failing-out with the members of her Hot Band, but because it was conducive to the continuance of her career. You see, the Hot Band had become a little too hot for Harris’ an- PREVIEW gelic but devilishly fragile vocal chords. She found that she was @ WHAT: Utah Symphony concert @ WHO: Guestpianist Louis Lortie @ WHEN:8 p.m. Thursday @ WHERE: WeberState University Browning Center, Ogden @ TICKETS: $5-$13. Information, competing for dominance over the din of electric instruments. So she did what she should have done several albums back: She hired a 399-9214. “Gi “fF wn_ 7 She’s much morein her elen on songs like Curley ¥ “Half as Much™; Tex Owen’s 1 lou Harris he Nash Ramblers mortal “Cat ways welcome to these ears; a the Though you can hear some of the effects of years of vocal strain on a lot of Harris’ song-ending notes, you can also hear the new confidence projected from working with quieter musicians. Besides, this is a live recording and Harris has bravely decided to leave all of the slight imperfections as they were captured. All that being said, “At The Ry- man”will slowly grow on you, due in large part to The Nash new group of acoustic musicians to frame her famous pipes. tone of a Steve Earle tune, like the Iimoct ianunt aimost jaun Happen That Way,” by Jack Clen ent Those who conjure up ima “Camptown Races,” “Jeannie the Light Brown Hair” Foiks at Home” when the Stephen Fost surprised by e “Hard Times,” which s The Nash Ramblersa1 harmony. And if you want to che¢ their bluegrass credibility (« the group’s member n an ex-mem Revival) just list tion of Bill Monroe's “S FAST FORWARD Soundtrack thoven — the composer’s com- “The Hand That Rocks the Cra- plete piano sonatas and his die.” Graeme Revell. Relative unknown Revell splashes into the “Eroica Variations” were both released on the Chandoslabel. mainstream with this major score free symposium about that can best be described as elegant. This is the kind ofscorethat works on the program will be presented by Daniel L. Martino, director of cultural affairs at We- from the outset sounds very promising. But as you listen further, you find it languishes at the starting ber State University, at 7 p.m. in Browning Center Room 326. point, unable to develop into any- thing worthwhile. orchestrations — beautiful as they are — are wasted because the pri- marily insipid themes just don't seem to get a grip on you. However, the score’s richness alone warrants surveying future work bythis just thej sonal and s« have spice the late *70s. newcomer. Garrett Chandler Standard-Examiner correspondent . Rock Revell’s “The American in Me.” Steve Music for teens isn’t all that bad Parents just need to sort it out kids are bringing these albums home, “I can’t believe the stuff you kids are listening to these days.” Cover art is invariably bloody and repulsive, obsessed with mutilated in- Parents have to laugh when they ; hear themselves saying these words — the same onestheir parents probably said to them years * ago. And the indignant response from the younger generation probably hasn’t changed much either: “You haven't even given it a chance.” Nowadays, with incredibly varied amounts of increasingly controversial music available to the young consumer, it’s harder than ever for parents to keep track of whom and what their kids are hearing. In the last six years, the record industry, under pressure by parents groups, has tried to address the problem by putting warning stickers on certain albums. But these stickers, which read “Paren- 1atched flowered much to their parents’ apprehension. ternal organs. The lyrics are also often graphic descriptions of murder, mutilation, cannibalism; if it has to do with death and pain, it’s here. Although every death-metal group sings of violence and death, someclearly have something to say aboutlife while others are just trying to out-gore one another. Cannibal Corpseis useless gore, almost to the point of silliness, and too extreme for most parents and somekids to handle. The band Deathlimits the kill-o-rama on its new album, “Human,” to discuss social issues, including the right-to-die movement (the group is for it). Sepultura, the most popular of death groups, sings about living through poverty, and Slayer sings about the devil but more in terms of a theology lesson than an endorse- tal Advisory — Explicit Lyrics,” ment. Deicide are Satanists and proud of it, right down to the inverted cross have proven woefully inadequate branded into the bassist’s forehead. as a way to distinguish among albums with widely disparateartis- their cover art, parents should evalu- tic merit. Under this nebulous system, Prince’s “Graffiti Bridge” is just as potentially “damaging” to young minds as 2 Live Crew’s “As Nasty as They Wanna Be,” which is ridiculous. Prince’s album is a work of considerable substance about sex, spirituality and temptation, whereas 2 Live Crew’s album is just one long foul-mouthed — and patently misogynous — joke. Besides, the warning labels refer only to lyrics and give parents lit- tle idea of the total picture. This is music we're talking about, after all. So the only way for a parent to really grasp what's going on here is to listen to the albums that little Johnny and Jane bring home. If nothing else, being well-versed, or at least familiar, with that new Metallica album could certainly open up topics for dinner-table conversation. Toget the rockrolling, here’s a quick primer on somerecent popular albums and what parents should listen for: C&C MUSIC FACTORY, “Gonna Make You Sweat.” Probably the biggest complaint most parents have about this megahit record is that they're sick of hearing singer Martha Wash repeat the refrain of “Everybody dance now!” This hip New York group promises, and delivers, little more than a sweaty good time on the Rather than judging these albums by ate each band on its own merits. They may find that not all death-met- al bands are deadly to their kids growth DJ JAZZY JEFF AND THE FRESH PRINCE, “Homebase.” This is rap the whole family can enjoy, from a duo with All-American looks. Their hit (‘Parents Just Don't Understand’) Gary Cherone, Paul Geary, Pat Badger and Nu- about the eternal generation gap might even get Mom and Dad out on stuff The Molotov cocktail of rap albums To understand “Death Certificate, “Schubert Dip" won't poison young minds so much as leave them empty. EXTREME, “Pornograffitti.” There's really no porn here. The title summarizes all the things a boy encounters as he wanders through a city — a metaphor for life, apparent- album covers, rocker Ford aims to be the biker chick of a young boy's dreams, and her songs extolling the virtues of nymphomania certainly don't detract from that image. On her latest album, however, Ford is finally acting her age (30-plus) and singing about love and heartbreak rather than sexual endurance records THE GETO BOYS, “We Can't Be Stopped.” More curse words per line than even a 2 Live Crew album, and handsome, harmonizing quartet has Playing Tricks on Me" is @ superb captured the kiddie market, thanks to surprisingly moving rap about what it means to be a young black man first big hit “| Wanna Sex You Up.’ though they pledge everlasting love on their second big hit, “| Adore Mi Amore DANZIG, “Lucifuge.” The liner notes fold out into an inverted cruci- fix, and leader Glenn Danzig’slyrics growing up without hopein the ghet to, Everyonein the family old enough to understand what racism means should hear this track and then discuss it afterward GUNS N' ROSES, “Use Yourlilusion | & ti." This brazen hard-rock band is merely obnoxious on songs such as “Back Off (expletive),” in Then again, you'd only know that by which singer Ax! Rose declares war on women, and “Get in the Ring,” an obscenity-filled rant against the studying the lyric sheet, because his group's “enemies” in the media. Oth voice is swaliowed up by the loud distorted musi The effect is erwise, the Gunners sing with com pelling authority about typical rock ‘n roll topics such as rebelling against are obsessed with religion, death doom and other light-hearted topics the young headbanger in your household is probably enjoying this rather considering a conversion to worship authority and worn-out relationshios HAMMER, “Too Legit to Quit.” Fu DEATH METAL ROUNDUP: A’ cifically, the environment of racism police harassment and gang violence out of which Ice Cube emerged. He describes his world with eloquence and vehemence, but his nearly pathological hatred for Jews, Asians, gays and women makes this among the most disturbing albums ever released MICHAEL JACKSON, “Danger- bly wouldn't even have warranted a second look if children weren't his primary audience As for his music, he remains generally child-friendly, though “Give in to Me” sounds suspiciously like a date-rape fantasy girls and having a good time. Even “Shout at the Devil" is merely silly rather than dangerous or thought- the group's “By the Time | Get t zona” video has ¢ J quit provoking NAUGHTY BY NATURE, “Naughty by Nature.” The group's hit single notable for its lack *O.P.P.” is irresistible fluff. On the rest of the album, these rappers show they have a serious side as they address the harsh realities of ghetto life. NED'S ATOMIC DUSTBIN, “God Fodder.” The most controversial thing about these Brits is their hot- N.W.A., “Efil4zaggin.” These hard-core rappers hit a newlow for self-loathing by endlessly repeating a vile epithet usually directed at a black person. This wouid be tragic if it OZZY OSBOURNE, “No More much to its chagrin man's metal t d c unusually thoughtful and s group write bout g { “Best | Can crack en nase the ahead, /iuminate the pat live to be the st | RED HOT CHIL Sugar Sex Magik.” Whit funk bands are j generally (check out Vanilla ice. ké Mark etc.), but this California quartet r ages to puil it off credibly guys do think and sing about sex lot, but there's als f ness here, as weil as impa R.E.M., “Out of Time.” R.E.M instrumentation. package reminds us that much of the Soul and of the Cross.” Dynamite rather than controversy about this performer is stuff, of the world. visual rather than aural. Even songs with risque tities such “Like a Virgin and “Justify My Love” promise more thoughtful lyrics, delicious harmonies and great melodies. Oh yeah, it's a rap album — for people who thought this band more than their k SKID ROW, “Slave to the Grind tititation than they deliver, they hated rap PRINCE AND THE NEW POWER Row’'s second hard-hitting bum, which revolves arour GENERATION, that “You can't be king late dance music, for sure METALLICA, “Metallica.” Metallica ferred to Satanism and suicide, but he never condoned or promotedei- ther, contrary to rumor. Here, he stays away from controversy and concentrates on emotions and fine P.M. DAWN, “Of the Heart, of the with cosmically “Diamonds and not always an ¢ y d t stand j mumbled deliver, any hidden t either. Not recoros Jut singing ) about the ¢ and state mumt boy-girl the « Anger blends with insight you're siave to are well-written, ling Nicki,” have a nasty reputation often sensitive, ex rose-colored picture of life, but its words and music encourage thought for seif-growth : MOTLEY CRUE, “Decade of Deca dence.” With such a Jed title for a Oreatest-nits compiiati th oink May not inspire Mom and Dad's cor that opened the Pandora's Go the Crue's musi justice Mostly, it sings about Sk f by group began forcing the recordin Halen to hear Edward Van siry : t put warning me with explicit lyrics, d Pe se” has its stickers on “Diamonds share of sexual The Enemy Strikes Biack.” Although nee their rebellious att $ tempered by thought on record screaming guitar gars disposable But here. Hagar tive lyrics about world behind such as Dome ‘in f 'f dout yu f v ative t possibly ir y happen vavs have become VAN HALEN, “For Uniawful Carnal Knowledge.” Most k st Va sexual excess. nearly The ferred to masturbation, she and her Parents Music Resource Center lob social conscience as well, But in fact, es. of the the grind.” and throwing thir PUBLIC ENEMY, “Apocalypse ‘91 doesnt S| box of record labeling. When Tipper Gore, the wife of U.S. Sen. Albert Gore, discovered that the song re and fidence. re y or the Parent Pearls.” It was a Prince song, “Dar pressions of adolescent fear and anxiety, Metallica doesn't paint a Stipe’s ent ther sounds loud and nasty, but its songs band's reputation for chemical Harmiess “Emre | MADONNA, “The immaculate Collection.” Madonna's greatest-hits immacu Ozzy has re- couple of songs show evidence of a A Queensryche Tears.” in the past, mnuendo, but probably not enough to yet even Tipper too upset ften numbing dance music. o the black community but generally res cational and QUEENSRYCHE, dance band from England, Jesus Jones at least sounds as though its members have experienced someof the worid and are delighted to share their sense of wonder in topical tunes such as “Right Here, Right Now complete orirkes calls for tolerance and racial ¢ werent so cynical JESUS JONES, “Doubt.” Another 4 aucgicnees King group O! its Overriding theme is for think for the ves. As hot Seattle trio explores themes from Ue way it addresses is conspiracie teen apathy to rape, but the lyrics aren't clearly discernible because the music is so raucous and hard-hitting GQ ima selling concert T-shirts, which have a the f with its violent a ee nomogeneous giant profanity printed across the back. Otherwise, Ned's serves up quirky dance rock with occasionally Clever, alienated lyrics NIRVANA, “Nevermind.” This hot to than Satan one must first understand the history of blacks in America and, more spe- ly. He encounters lust, hate (and bad ous.” It's easy to forget that this guy songs), but the centerpieces of this makes records considering that his videos and bizarre lifestyle that album are bland acoustic love ballads such as the smashes “More Than + get all the attention. His notorious “Black or White" video — repiete with Words” and “Hole Hearted.’ LITA FORD, “Dangerous Curves.” shots of Jackson stroking his crotch With her magazine pinups and racy and smashing car windows — proba- dance floor COLOR ME BADD, “C.M.B.” This constant exposure on MTV. Their squeaky-clean image contrasts with the miid sexual come-ons of their ICE CUBE, “Death Certificate.” tle more than a good-natured soundtrack for Fresh Prince's innocuous TV sitcom, NBC's “Fresh Prince of Bel Air.” EMF, “Schubert Dip.” Inconse- quential dance music from England, of Extreme. Despite the title of their album, ‘Pornograffitti,’ their lyrics aren’t pornographic no Bettencourt (from left to right) are members the dance floor, and this album is lit- some horribly violent and misogynous imagery. But one song nearly redeems the whole effort: “Mind and rn made the top of the charts, plenty of Chicago Tribune cathartic, ss, Jill is wearflowered dress though no death-metal releases have By BRENDA HERRMANN and GREG KOT strangely * the choice plaus nd Ramblers, which maybethe best band Harris has ever worked with. Though the rough and tumble Lortie’s career includes perfor- mances with leading orchestras and conductors in the United States and Europe. Some of his recent recordings focus on Bee- A sw E album’s opener, lost in a voice The Nash R co SSke Re SmNAEIOaOR I first prize in two of Canada’s major competitions: the Canadian Music Competition and the CBC National. As a guest soloist with the To- country music. The grand old palace has hosted played The Ryman, you've played the best. Emmylou Harris debuts a new backing band on this live record- zart’s Piano Concerto No. 24 and Ravel’s Piano Concerto in Second Suite from “Daphnis et On RECORD genre, from Hank Williams to well, Emmylou Harris. if you've Thursday concert in Ogden. Louis Lortie will play Mo- sity Browning Center. The Utah Symphony, under the baton of Joseph Silverstein, will also play Sibelius’ “The Swan of Tuonela” and Ravel’s Over the vears, Nashville’s Ryman Auditorium has becomesynonymous with the best in live é | rs, appearing on |
