Staff Reports
Arizona Daily Wildcat
November 6, 1997

Music Meltdown

Arizona Daily Wildcat

The Cure, Galore (Elektra/Fiction)

Standing on a Beach, the Cure's singles collection from 1986, is my favorite mix tape by far. It's every good early Cure song without the hassle of the fast-forward button or multiple compact discs to deal with. If I'm starting to sound a bit like those TV ads for The Greatest Hits of the '80s, it's because a singles album stems from the same ideology. The record company sells you a ready-made hit. They know you already know them, love them, would do anything for them, so they damn well better make money off you in the process.

And so they bring us Galore, the Cure's singles from 1987-1997. Standing on a Beach's sequel, "Best of the Cure: Volume Two." And I couldn't be happier. And not just because of the new single, "Wrong Number."

Galore not only ensures the Cure a new generation of fans, it allows die-hard fans to be lazy and listen to favorites like "Catch," "Never Enough," "Fascination Street" and "High" without fumbling with many little plastic boxes. Songs such as "Close to Me" and "Just Like Heaven" are the remixed single versions, not the album versions, and are a welcome addition to any lacking collection.

This CD brings with it a singles video collection that will hit stores Nov. 11. I can't wait to see the "Why Can't I Be You" video again. Robert Smith in a bear costume. Sometimes these capitalistic money-making schemes work.

-Annie Holub

hurricane #1, hurricane #1(Sire/Warner Bros.)

To start with, hurricane #1 only has that number at the end of its name because there was already another artist called Hurricane (of Beastie Boys fame), and it just couldn't be bothered to come up with a new name after getting set on it.

Next, let it be known that this band is the creation of one Mr. Andy Bell, the man, the myth, the legend (well, he should be a legend, at least) behind former shoegazers, and later, rockers, Ride. We already knew Bell could write brilliant songs because of this. We already knew he could play guitar, and I do mean play. But nothing could have prepared us for some of what he delivers with his new band.

"Hurricane #1" shows off an incredible adeptness at guitar work on Bell's part, as well as his ability to write full-on stadium rock anthems. "Step Into My World," the album's first single, is possibly one of the greatest rock songs ever written (as you should know from the Ground Zero mix tape, remember?). "Just Another Illusion" is a raucous, keyboard driven, honky-tonk foot stomper, a high point for vocalist Alex Lowe. "Touchdown" and "Smoke Rings," UK b-sides included on the American release, are also standout tracks, which complement the rest of the album for added enjoyment.

Yet, this is not the classic album it should be. While the singles, including "Chain Reaction," are almost flawless, some of the other tracks, most notably the slower ones, do tend to drag in parts. Especially since Lowe's gravelly voice, so suited for the faster songs, can't quite carry the emotion they need. And since Bell proved with Ride that he has the perfect voice for performing quieter songs like "Lucky Man" and "Let Go Of The Dream," the question comes up of why he didn't just sing them himself.

Even if this album is only half-great, it's still twice as good as any other recent release. The UK rock throne just may be in danger of a coup.

- Doug Levy

The Honeyrods, The Honeyrods (Capricorn Records)

After their touring stint with Seven Mary Three, the Honeyrods look set for success. Their music is a blend of pop, punk and funk, with a solid rock 'n' roll backbone, which creates a flexible but equally interesting sound.

Their songs could be seen as a mixture of 311, Stone Temple Pilots and The Marshes, with a hint of the Red Hot Chili Peppers thrown in for good measure. "Love Bee," the fourth track, is a great example of this, as the upbeat conglomeration of sounds creates a fast-paced and unique track, worthy of almost any of the aforementioned bands.

The guitar-driven quintet will never be guilty of homogeneity, as each song rings to a different tone. This is promising since, more often than not, bands like this have one hit song, which sounds like the rest of the album, and diversity in style is often hard to find.

The album itself is not really ground-breaking, but is not bad, as it packs the punches but sometimes fails to follow through. "Into You," is one such song, which is heavy on guitar, but soft on content.

All in all, the LP is good, and will please, although if you're looking for a weighty release, The Honeyrods won't fill you up, only leave you temporarily sated.

-James Casey

February, Tomorrow is Today (Carrot Top)

Think about what Garbage would be like if Shirley Manson were more like Jewel. Not as angry, still powerful, but not so stupid and cute. What you'd get is a '90s non-techno dance album with light and airy vocals. You would get February.

February has a sound that can de described as crunchy guitars with a crisp electronic filling. "Dreampop," say the publicists. Not dream in the sense of bubblegum and cute little melodies in the Shonen Knife sense. This is more like that hazy state of subconciousness; like when you're not sure if you actually did something or just dreamt it.

Tomorrow is Today conjures up that ambiguous mental state. Vocalist and keyboardist Amy Turany's voice echoes with a reverb-like effect over extensive drum rhythms - the drummer is not just a drummer, he's a "rhythmic programmer." They switch from synthesized to primitive while a guitar, soaked in effects, wails in the background.

Most every song fits this description, save guitar-heavy tracks such as "Riproar," "Easy" and "Swoon." February has its pulsating get-off-your-ass-and-dance moments with "Slan" and "Make a Sound," and subdued melancholic waves with "Rue Mouffetard," "Peacock" and "Trace." The songs are relaxing - good to do homework to, and if the gang should stop by, all you need to do is turn up the volume and you've got an instant party.

-Annie Holub

Retro Review -1993

Blur, Modern Life is Rubbish (Food Records)

Anyone who knows Blur well will probably agree that Modern Life is Rubbish is probably its best release ever. With many a classic indie tune, such as the opening track "For Tomorrow," this album is the quintessential English indie compact disc. Asking someone to name the best track is like asking someone to draw a right-angled circle.

Many of the songs on the record can clearly be seen as the beginning of the "Brit-Pop" era, as "Chemical World" and "Sunday Sunday" definitely influenced the sounds of post-'93 British music. The poppy masterpiece "Starshaped" is one of the great achievements of the CD - its catchiness and upbeat rhythms are guaranteed to impress.

"Colin Zeal," the third track, is a pop classic, with a chorus that would make even the St. John's Choir jealous.

One of the more underrated songs, "Turn it Up," is a campy but enjoyable spin-off of a 1960s-style television advertisement, which rings with harmony and that trademark Blur energy.

Graham Coxon's innovative guitar led many a child to his or her first aspirations of rock stardom and more than one person worked on their basic guitar skills from the chords given in the inlay card. Generally a top release, and any Blur or indie fan would be mad to miss it.

-James Casey