The gamecock. (Columbia, S.C.) 1908-2006, November 09, 1987, Page 3, Image 3
Features I
Monday, November 9, 1987 THE GAMECOCK } H|
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? -By Bill Sen
Fetehin nones, Galaxy 50(), Capitol
Rccords
There's some strange things going
on in the outskirts of Charlotte, N.C.
Maybe it's something in the water, or
maybe they hold their breath a lot,
but Fetehin Bones is one of the
weirder bands this side of the Violent
Femmes.
Lead Bone Hope Nicholls sings
\ wiin me raw power 01 a woman
possessed, but with a vocal style that
brings traditional country music to
mind. With eyes blazing, hair flying
and arms wailing, she drives the band
to uncharted areas of the backwoods.
Suitably inspired, the band roars off
on a collision course with Nicholls.
When the two meet, there is hell to
pay.
Galaxy 500 is Fetchin Hones' third
release in three years, but with an
altered line-up, a bit of the spark has
left the band. In addition to Nicholls,
only bassist Danna Pentes and
rhthym guitarist Aaron Pitkin remain
from this past year's amazing
Bad Pumpkin. New members Clav
Richardson on drums and lead
guitarist Errol Stewart take over for
Marc Mueller and Gary White,
respectively.
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The problem lies in the loss of
guitarist White. In addition to his
axe-swinging duties, he shared leadvocal
honors with Nicholls. The two
had a chemistry that is missed on the
new record. Rather than looking for
a new co-vocalist, Nicholls takes the
job on by herself, which makes for a
slightly duller sound this time
around.
Now, Galaxy 500 is a fine record.
The album has enough strengths to
mnkr it worth n trin to thf* rrrorrt
store. Highlights include the inspired
"Everybody Is a House," the rocking
"Stray" and the hilarious
"Chicken Truck."
"Chicken Truck" tells the story of
a chicken-truck driver who gets in a
wreck. After hitching a ride, he goes
to a chicken house and orders up a
mess of wings. To hear Nicholls
scream, "and it was finger-licking
good" in the chorus is to hear
inspiration.
All told, Galaxy 500 is not as
strong as Bad Pumpkin, but when
compared to some of the disappointing
releases 1987 has seen so far, it is
a welcome change of pace.
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Freedom <
By FIRDOUS BAMJI
Assistant features editor
Fads can he frightcningly tornnrtriru
r\?i o ?>/! F ( liA Si'li'it V* ??l
what's-out' list faster than a rookie
cowboy in a rodeo.
Recently, reggae has saddled the
Columbia hip-music scene with a
vengeance that seems to say, "Buck
like hell if you want to, I ain't bitin*
the dust."
But Columbia listeners aren't
bucking, and reggae will soon
become a veteran rider on the
rigorous circuit.
Nashville's Freedom Of Expression
has been one such rider for the
past couple of years.
The band offers a well-structured
mix of reggae and ska, which
splashes shades of the English Beat
and UB40 throughout their music,
which works for both the seasoned
ears and newcomers to the island
rhythms.
Keyboardist and lead singer Bob
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ronsro
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Freedom Of Expression are a Tennessee
of Express
Hoskins is the founder and only
original member of today's FOE,
which includes Skip Bcthune on
guitar, Tim Brooks on bass, Teddy
Jackson on saxophone and percus
sion and Chris Nieto on drums.
Collectively, they put on a highenergy
ska show that is also nimble
enough to dip into the slower intensity
of a strictly roots beat.
But reggae from Nashville?
"Yeah, it is kind of interesting,"
band leader Hoskins said, "because
most people's perception of
Nashville is the Nashville Network,
stuff you see on cable.
"Nashville's finally starting to
grow up. Every time we come back,
there's a new interstate or a new high
rise on the horizon . . . there's a
really good hard-core scene; there's
some heavy metal happening, and it's
not cover bands. There's a lot of really
good musicians in Nashville to
choose from. You have a pretty good
mixture of styles, because so many
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band that delivers Carribean rhythms.
luri uums
people from so many different areas
end up in Nashville somehow or the
other. It's a really good atmosphere
for original music."
FOE was born in 1983 and spent its
infancy mainly in the recording
studio. The original members were
all students of Middle Tennessee
State University in Murfreesboro,
and some were in the recording in
dustry management department.
"Then it progressed to being a live
band," Hoskins said, "just around
Murfreesboro and Nashville. Then
we started getting on the road a little
bit, and we kept on expanding our
circle till now we're spread so thin it
takes us like three months to get back
to any given section of the country."
Hoskin's musical career started in
a very different vein.
"1 started with like a post-punk
kind of thrash sound . . . we were
doing a lot of mod stuff like XTC
covers and Elvis Costcllo and Joe
Jackson. It wasn't really hard-core, it
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ends fads I
was hip to play back then. I got into te
The Jam and started looking further K
IIIIU nit IIIUU aivin, anu .>WIIH_ uiuu> i
was hanging with turned mc on to the
English Boat, and I said, 'God, this is
what I want to be playing.' After I
got the ska thing into my old band, it
pretty much dissolved; and the drummer
from that and 1 put together this,
and that was like February '83."
Because of the intense touring and
their contract, the band hasn't been
able to put out anything on vinyl
since their bold and critically acclaimed
debut RP, For l ack Of A
Better Word.
Wc re under contract till January I
that prohibits us form doing (<.
anything till then. Then, look out, [|
because we're going to be devoting 1
pretty much of our time to getting the f|
next product out." :
So fad or no fad, right now Col- fe
umbia craves reggae, and Freedom
Of Expression delivers it expertly. 1
S And I
ore And H 1
For Everyone ^