Thursday, March 12, 1992 Lifestyles The Battalion yJ Page 3 en really well lb ers said iers as au- ■d, but the Is and is worth i! up regulai 'am. something th modih- she said are in a several are I’ping out, or this be- >m homes have role : positive siphomore ar, works Iren. One rl and the dems. ! children ns can be 'You can't 'e to gain t always g. It can os/Page! dm oday MSC he follow 'resident Yanni's latest doesn't dare to be too different By Timm Doolen The Battalion 992 ele / in ro> landate g toniglt he MSC. questions II Studeni 3051. Yanni "Dare to Dream" Private Music New-age pioneer Yanni has released his latest installment in his keyboard stylings, and while it may "Dare to Dream," it doesn't dare to be too different. On the other hand, it has an irre sistible charm that seems to grow on you. Greek-born Yanni has put out pleasant, new-age, keyboard music for almost a decade, in cluding ground-breaking al bums like 1986's "Keys to Imagi nation." In recent years, he has refined his musical style, experi menting with new instruments and even dabbling with limited vocals on some songs. He tries this again on the song "Aria," which is loosely taken from a French opera "Lakme" by Leo Delibes. "Aria," which in opera means song is the most interesting song on the album. Other songs, such as "Once Upon a Time" and "A Love for Life" signal less creative imagi nation from the keyboardist. The music is nice to listen to, but nothing reaches out and grabs you like on his earlier albums. The songs where he uses the piano generally work better than his completely synthesized pieces. And the two songs where he includes acoustic violin, espe cially the catchy "Nice to meet You," show Yanni at the peak of his songwriting talent. The slower songs don't work as well - "Face in the Photo graph" and "So Long My Friend" are virtually indistin guishable from a handful of songs from earlier albums. Yanni has lost the drive of "The North Shore of Matsushi ma" from "Keys," and has toned down the fine quality of piano playing on get "Chameleon Da jms like 1988's )ays." But if you want Yanni as you know and love him, this album is perfect. Those unfamiliar with his work will find this a pretty good intro duction to his music. ant HIP) nd iheif Friday. [SC, tli e -ogranii Eltudeni M.C. 900 Ft. Jesus mixes rap, psychedelia By Kevin Robinson The Battalion M.C. 900 Ft. Jesus "Welcome to My Dream" Nettwerk/ I.R.S. "It's 3:00 A.M. I reach over and turn on the radio. It coughs up a noise that reminds me of a soundtrack from a bad dream." These lyrics from the latest al bum by M.C. 900 Ft. Jesus fairly well describe the atmosphere that pervades the band's music. The Dallas-based group has, un til now, released only a few sin gles and an incredibly well re ceived independent album. Mark Griffin, the force be hind M.C. 900 Ft. Jesus has man aged to do something absolutely new, using a framework of rap and hip-hop. While a lazy comparison might be Nine Inch Nails meets Digital Underground meets some midnight '50s jazz quartet, the songs that Griffin wrote for "Welcome to My Dream" de serve better than mindless analo gies. This album isn't rap, isn't psychedelia, isn't jazz, and it isn't industrial. Somehow Griffin has taken a little of the best elements of all four and come up with mu sic completely original. The album begins with "Falling Elevators," the song that contains the lyrics quoted above. The seven minute piece is a surrealistic landscape of hip- hop scratches, moody keyboards, industrial noises, and low, brooding sax that sweeps. The next two tracks, "Killer Inside Me" and "Adventures In Failure," showcase Griffin's rap talents. "Welcome to Mv Dream" also contains the group's current hit, "The City Sleeps." The lyrics are from the point of view of an arsonist, lighting fires that "push back the night, taking me high er." With the exception of some acid house numbers and "What Time Is Love?" by the KLF, there really hasn't been a song that blends sheer atmosphere and rap vocals so well. "Welcome to My Dream" just might be the beginning of a new industrial -rap hybrid. The al bum's catchy, original, and trip- py as all hell. And the name? Griffin says he was inspired by Dallas tele vangelist, Robert Tilton who claims he saw a 900 Ft. Jesus walking across Texas. "Welcome to My Dream" indeed. Cochrane's solo effort differs from Red Rider By Chris Eklof The Battalion Tom Cochrane "Mad Mad World" Capitol With the release of his first solo album, "Mad Mad World," Tom Cochrane takes a step beyond the lunatic fringe. Cochrane's greatest success came as the lead singer of Canadian band Red Rider. "Lunatic Fringe," released 11 years ago, remains an album- rock radio staple to this day and the song's success still hangs over Cochrane's head. The release of "Mad Mad World" marks the end of a five-year hiatus and gives Cochrane the chance to dispel the ghosts of his past. "Mad Mad World" w r as released last August in Canada and recently knocked Michael Jackson from the top of the Canadian Pop Album Charts. The question now is how well the album will do in America. The album's first song, "Life Is A Highway," ought to do well with its bouncy, light rock style. It has a bit of a funk edge and features a blues har monica weaving in and out of the song. Cochrane sounds just like Tom Petty on "Washed Away" when his voice gets a bit of a nasal twang. The slow-moving songs have this ef fect on Cochrane's voice. Ballads like this represent only one end of the musical spectrum on the album. The two ends of the musical spectrum on the album are not that far apart. The guitars take a prominent place on songs like "Crazy," but Cochrane still leans more towards acoustic or light rhythm guitars for most of the songs. "Get Back Up" is straight-ahead rock song that takes no prisoners. The guitars tear through the air like knives ripping through flesh. This is definitely the hardest song on the album and it displays much of Cochrane and his band's musical talents. Most of the songs on "Mad Mad World" lie somewhere in the middle-of-the-road between bal lads and light rock. It is a non-offensive style that will not shock anyone and will probably sell some records, too. This album certainly will not come close to the success of "Lunatic Fringe." Cochrane does, how ever, take a big step out from the shadows of Red Rider. r DEPRESSION STUDY % Are you currently taking medication to treat your depression? 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