The gamecock. (Columbia, S.C.) 1908-2006, April 21, 1989, Page 4, Image 4
Picking
ff Your
<Sr> Notes
Bill Sengstacken ?
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me to walk into a record store, buy a
record that I know nothing about
and find that it is a devastatingly cool
piece of work. At least that's what I
found to be the case of the self-titled
major label debut of the The Indigo
; Girls (Epic Records).
A pair of well-played acoustic
guitars seems to be the instrument of
choice for Amy Ray and Emily
Saliers, the girls in question. The
\ simplicity of the music allows the
heartbreaking harmonies of the pair
to shine forth like a beacon from
heaven.
Those harmonies are not wasted
on lyrical pablum, either. On the
album's highlight, "Closer To
Fine," Saliers sings the story of her
,, life. "I went to his knee/ He never
did marry or see a B-grade movie/
He graded my performance, he said
he could see through me."
While only these two make up The
Indigo Girls, they've enlisted topnotch
help. The album was produced
by Scott Litt, who recently finished
work on R.E.M.'s Green, and he
called in the instrumentalists from
that band to lend support on "Tried
To Be True." The boys from down
South add a refreshing punch to the
girls' sound. Don't think that
Michael Stipe was left out of the picture.
His signature background mutterings
can be found on the moody
"Kid Fears."
If you're looking for something
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heart into the stereo, you'd be a fool
to pass on this disc.
Not so free flowing, but certainly
interesting is Pin & Web, the eclectic
release from Caterwaul (I.R.S.
Records). In an album that almost
defies description, lead singer Betsy
Martin leads the tight-knit foursome
through a maze of musical
directions.
For the most part, the band sticks
to an aggressive hard-edged sound,
musically similar to Jane's Addiction,
but with a vocalist that seems to
have problems deciding whether it
wr\nlH hf? pnnlfr tr\ cr?nnH a u/ail
ing, twanging Loretta Lynn or a
mystic Kate Bush. Sometimes, such
as on the mandolin-based "Lay
Down To Rest," she does both.
No surprises to be found on the
latest from XTC, Oranges & Lemons
(Geffen Records). Like 1982's
English Settlement, Oranges &
Lemons is a melodic delight. Like
1986's Skylarking, the album
features enough crisp pop songs to
keep a Revolver-era Beatles fan's toes
tapping for months. In short, the
three from Britain have done it
again. Ho hum, another masterpiece.
About the only concrete difference
that separates Oranges from previous
efforts is the use of relatively
unknown producer Paul Fox. In the
past, the band tended to stick to the
bigger names like Steve Lillywhite,
Hugh Padgham and David Lord, but
after the rift that developed between
Todd Rundgren, who produced
Skylarking, and XTC leader Andy
Partridge over the direction the
record would take, they decided to
try something new. With Fox listed
as co-producer along with the band,
it's clear that this is the record XTC
wanted to release.
From the bouncy "Mayor of
Simpleton" to the grinding
"Scarecrow People," the album
misses no marks. In you liked
anything that they have done before,
you'll have few difficulties rationalizing
this purchase.
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^""^^Welcome^VilhT^I
GS151 J
Young maest
By LYNN GIBSON
Staff writer
For most freshmen, college brings new experiences.
For Robert Bradshaw, the new experience
is having his first symphony played at the
Koger Center.
The 18-year-old music composition major's
"Majestique" will be performed by the Carolina
Amadeus Players on April 30 at 2 p.m. Tickets are
available to non-students for $5 and students and
senior citizens for $3.
Music history graduate student Doug Robinson,
the conductor of the chamber orchestra, said he
was half joking when he asked Bradshaw to write
something for him.
"I was the T.A. for his classical piano class, and
I heard his major was composition, so I suggested
that he write something and I would look it over,"
Robinson said.
The piece was a challenge for the Massachusetts
resident because he had never tried to write a symphony
before. It illustrates an English fox hunt,
Bradshaw said.
"I thought it would be interesting," he said.
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"I've never heard of any piece with a fox hunt as
its theme, and I wanted it to sound royal and exciting,
like the title."
"The score is fabulous," Robinson said. "It's
classical, but it also has a melody that goes right to
the heart. Most classical music is high and lofty,
but this piece will have the audience humming as
they walk out the door."
Bradshaw, who also plays the piccolo trumpet
for the orchestra, said a special feature of the symphony
is the use of meter.
"There are no stressed beats, no one note more
important than the other," he said. "It's like one
giant phrase ? it just flows."
Bradshaw looked at many schools before
deciding to attend USC. He was impressed
because it was the one school that didn't try to
restrict his music or what instrument he could
play.
He said his entire family is musical, so he was
born listening to music. He started the piano at
age five, began playing the trumpet at age eight
and took up the bass guitar and acoustic bass
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be presented
wh'en he was 12.
He listens to a variety of music, from classical
to rock to jazz. In fact, his grandfather John
DeFeo, a professional jazz guitarist, got Bradshaw
started on the bass.
Bradshaw's music is influenced by the people
around him, he said.
"I write to affect people's emotions, so my
ideas relate to people's personalities," he said.
But Bradshaw's primary influence is his
16-year-old brother, Jody. The two are in a
jazz/rock band back home called Cold Shoulder
that plays at dances and fashion shows.
"He (Jody) is my one critic; I always bounce my
ideas off on him," he said. "He's extremely
talented."
Robinson said he expects big things from
Bradshaw.
"He's got natural talent, and he's very determined
in a positive way," Robinson said. "He's
like a 50-year-old in an 18-year-old's body."
"My music is for other people to enjoy," Bradshaw
said. "I don't do it to accomplish anything;
it's just what I have to do."
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Robby Benson.
Classifieds.
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?ping you informed.
U HELP YOU BRING
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Candidate School (O.C.S.) is a 14-week
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