Lifestyles
Thursday, March 25,1993
The Battalion
Page 3
OAKAM
Honky-tonk wins again ‘This Time’
By LESA ANN KING
Dwight Yoakam's style of old-time honky-tonk mu
sic with a rock and roll mentality has brought him to
the forefront of the new country movement in the
last five years. Yoakam's new Reprise release,
"This Time," lives up to his standard with a
powerful mix of energy, passion and honky-
tonk blues.
Each song on the album has its own style,
story and personality. The instrumentation
on each single also stands out and adds to
the songs' identity.
The first single, "I Ain't That Lonely
Yet," is the only song on the album not
written or co-written by Yoakam.
Kostas, who has written hit songs for
Patty Loveless and others in Nashville,
and James House wrote this powerful
song that is rich with the standard
See YOAKAM, Page 4
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BRIAN MA
Queen’s guitarist breaks out
THE TRAGICALLY HIP
By TODD STONE
Former Queen guitarist Brian
May has been faced with the diffi
cult task of following up the suc
cess of a musical group which sold
more than 100 million albums over
a 20-year span.
With his original and crafty de
but solo album, "Back To The
Light," May demonstrates that he
may be up to the task.
The album features 12 tracks of
intelligent, well-arrangeu rock n'
roll augmented by clever explo
rations into other musical genres
such as blues, country and classical.
May wrote Queen classics such
as "Keep Yourself Alive," "Tie Your
Mother Down" and "We Will Rock
You." But Queen has been no more
since lead vocalist Freddie Mercury
died of AIDS in 1990, and May has
gone solo.
May's first project, started five
years ago, does not rest on his pre
vious musical laurels. "Back To The
Light" offers a collection of fresh
compositions heavily laced with
multi-tracked guitar harmonies,
contrasted by more raw solos.
"The Dark" is an intriguing in-
See MAY, Page 4
Third album
is repetitious,
fads to spark
interest
By JOE LEIH
Almost every rock and roll band
crafts, in nearly all original compo
sitions, some kind of catchy musical
hook to snag the listeners.
The result of this creative musi-
cality is a toe-tapping, head-bob
bing, and basically get down and
boogie reaction from the long
haired rock fan subculture of the
civilized world.
Unfortunately, Canadian electric
rock band The Tragically Hip fails
to elicit any of the above reactions
with their virtually hookless new
album, "Fully Completely."
All this quintet's new release
manages to spark in the listener is a
pathetic yawn and a stretch.
The opening track, "Courage (for
Hugh MacLennan)," is the first in
dicator of the dark disease of tedi
um that shrouds the album. Gor
don Downie's vibrating vocals
blend with the "ho-hum" guitar
work of Bobby Baker and Paul Lan-
glois resulting in relative obscurity,
while Gord Sinclair's bass playing
and Johnny Fay's drum beats casu
ally limp along. Not one element of
the song reaches out to capture the
audience.
Even the stan
dard guitar solo, al
most always the
paramount of inten
sity, sounds listless
and dull in this in
sipid track. To be
blunt, this song-
this album- is a ter
rible bore.
Yet, somehow the
band does not com-
See HIP, Page 4
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