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Page 6 • The Battalion • Tuesday, July 16,1996
Denton^based Baboon closes out
regional tour in Bryan-College Station
By April Towery
The Battalion
A n intense and ener
getic live band, Ba
boon, is preparing to
close out its regional tour with
Centro-Matic and UFOFU at
Vertigo tomorrow night.
The Denton-based alternative/punk
band includes four University of North
Texas former students.
Lead vocalist Andrew Huffstetler said
the band has just released a shorter CD
with Grass Records.
“The EP, which we titled The Numb EP,
has six songs, two of which will be on our
new album to be released in October,”
Huffstetler said.
Baboon’s first album, Face Down In Tur
pentine, was released in October 1994.
Baboon has been playing for almost five
years. Guitarist Mike Rudnicki played in a
band with Huffstetler during their college
days at UNT, and the two auditioned and
began playing with drummer Steve Bar
nett and bassist Mark Hughes.
The four guys have more than the band
in common; they are also roommates.
"We live together and just practice here
in our house,” Huffstetler said. “We’re all
really good friends.”
Baboon just finished a month-long tour
on the East Coast and will tour the West
Coast later this year.
Huffstetler said Baboon has had some
great experiences during their performances.
“We were able to play with the Toadies
and Fugazi,” Huffstetler said. “I love
playing live. We’re pretty intense record
ed, but there’s just so much energy that
goes into playing live.”
Baboon’s former drummer, Will John
son, has gone solo with his one-man band
Centro-Matic. Johnson is excited about the
upcoming show at Vertigo.
“Baboon is one of my favorite bands,”
Johnson said.
Johnson, a senior English major at
UNT, said he had no grand vision of
playing by himself — it just sort
of happened.
“Frankly, I wanted to start a
band of my own,” Johnson said.
“I was so nervous playing by
myself,” Johnson said. “I need
ed to build confidence. When
you have a band be
hind you, it’s not all
your fault. You
have backup.
“But then the
David Koresh
and Nazi came
out in me and I
just wanted to
do it all myself.”
Johnson
records himself
playing drums and
bass, then sings and
plays electric guitar
live onstage. John
son said it’s a sight
to see.
“I do a lot of jumps
and kicks,” he said. “It’s the
13-year-old arena rock, I
guess. It’s kind of pop in mu
sic, and punk in approach.”
Although Johnson plans to
earn a master’s de
way that sounded.”
Centro-Matic released a 7-inch EP, The
Transistor EP, in May. Johnson hopes to
release a full-length album by the end of
next year.
In addition to playing all the instru
ments, Johnson said he also writes all
his songs.
“Occasionally I have been known to do a
Prince cover,” he said. “Right now I’m work
ing on AC/DC’s ‘Back In Black’, but most
of the time I like to play my own stuff.”
Besides Johnson’s obsession for col
lecting snow globes, he said he has a fas
cination with playing in bizarre places.
“I played at ‘This Sud’s For You’
Laundromat,” Johnson said, “but I
have high hopes to play at a gas
station someday.”
Johnson said the quality of
his audience, not
the size, is what
is important.
“I’d rather
i have 20 peo
ple who are
intent on lis
tening than 400
who really don’t
care,” he said.
Johnson said be
ing comfortable with
playing alone was not
automatic.
“Six or seven songs
into my first show, I was
right in the middle of a
jump when my guitar just
totally went out,” he said.
“I took my guitar off
gree, he said he does Will Johnson of Centro-Matic
want to continue a ca
reer in music.
“The good thing about a one-piece band
is that there’s no internal tensions or possi
bility of the band breaking up,” he said. “I
definitely want to pursue music in the fu
ture. There’s something appealing about
touring in a Honda Civic. I just liked the
and just finished the
song a capella. That’s
when I knew I could get
comfortable with this and not panic. It re
ally helped me to gain confidence.”
Johnson believes the upcoming show will
be a blessing for any rock-and-roll enthusiast.
“I love to sing melody and approach my
songs from all angles,” he said. “It’s therapy.”
Connick Jr.’s new funk
style fails with Star Turtle
>1. 102,
By Jeffrey Cranor
The Battalion
There is good news and bad
news. The good news is Harry
Connick Jr.’s newest album,
Star Turtle, is out. The bad news
is he is playing funk-rock style
similar to his last album, She,
but it sounds worse.
As he did in She,
Connick uses a five-
piece accompaniment
instead of his big
band. But since aban
doning the crooner
sound that made him
famous, Connick has
produced two marginal
albums that walk the ■■■■■i
line between medioc
rity and strangeness.
Four of the 15 songs on the
new album are entitled “Star
Turtle” and are as odd as their
name suggests. And many of
the other songs are hardly
memorable.
“Hear Me in the Harmony,”
his first release from Star Tur
tle, is his best song on the al
bum. Using his Sinatra-like
voice and outstanding piano
melodies for which he has been
historically acclaimed, Connick
teases listeners with “Hear Me,”
although he still cannot quite
satisfy them.
Connick grew up in New Or
leans and began as an entertain
er at age five when he jumped
onto the stage at a blues club
with his father and played the
piano. Audiences have given
their approval ever since.
His first eight albums were a
pastiche of jazzy piano solos, big
band sounds and New Orleans
cabaret tunes. His voice and the
spirit of his band made nearly
all of his earlier songs enjoyable.
Connick’s lounge singer voice
found room to prosper in the
1980s and 1990s, despite a i
demand for big band music.
But Connick’s newfound
rock seems to be more represetf
tation of the band and less of h
voice. And although the band:;
good, it should not overpower:
Connick’s magical voice asi
does in most of Star Turtle.
Star Turtle is not one of Con!
n
Album Review
Harry Connick Jr.
lond
nick’s better works — the mu
sic and lyrics are simple, ani
the rhythms are highly repeti
tive — but it is not totally irre
deemable. One still cannot hel;
but enjoy Connick’s swinging
grooves, no matter how bask
His band is much more alive
than in She, and the back
ground vocals and hand-clap
ping are reminiscent of his bip
band albums.
Connick also incorporates
techniques of 1970s rock, jazz or
gans and wailing electric guita:
solos, which are alien to any o;
Connick’s other music. In “Rea:
Me,” the soft jazz organ help:
move the song along and gives ii
a lighthearted feel.
The song “Boozehound
starts with a nice electric gm
tar solo, but the mood is quick
ly ruined when the sound mu
tates into a harsh screech anc
bad lyrics.
This exploration into new mu
sical styles proves to be fruitless
after two albums. But for
young talent like Connick, a re
turn to glory is not impossible,
may, in fact, be inevitable.
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