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New releas SOUND micz MARCUS AMAKER Staff Writer "THE BURDENS OF BEING UPRIGHT" Tracy Bonham *A1<2 (out o< (our stars) When Tracy Bonham exploded on the music scene with the hit "Mother Mother," the first thing many critics said was that she was "just another Alanis Morissette." While it may be true that Island Records were looking to capitalize on the recent success of female singersongwriters by her, Bonham's "The Burdens of Being Upright" proves that she can stand on her own. Clocking in at just over thirty-five minutes, "The Burdens of Being Unright" is a roller coaster ride of emotions. Virtually every song on the album could be a single because of Bonham's knack for writing extremely catchy and melodic songs. This album is much more polished than her independent release 12t7 fatte^e Street ^ C*C st (next t? t&e Txviqei TUny) 0 256-4246 CAFFE o, j ESPRESSO | % C?^44 S^WQlcitU'S n.^ .. N - f| " - 11 - ; ' V > " '- ' ;e proves 1 "The Liverpool Sessions", leaving no doubt that she wants to reach a Top 40 audience. "The Burdens of Being Upright" is the kind of CD that grabs your attention and doesn't let go. Prom the harder-edged "Bulldog" to the softer "Every TT*LAC.Y Breath," each song has an addictive ? chorus that will V leave the most 9 skeptical listener | 1 humming for days. fl A native of Boston, Bonham fl has expressed her admiration for fl another talented artist, Liz Phair. I That influence is heard throughout ' the album, especially on the song "30 seconds", one of the highlights. In fact, "30 seconds" sounds so much like Phair, you'd think that there was a misprint inside the CD. Seutdcucc^eA 9 *DeAAenXA SaladA C'^U^ ten until uUdniyht eoeny nic^t x all cpxtc late niyAt flava udtiee :: ' , : , : ' " ' ' ' ' : . , I Tha Gamecock "racy Bonhar However, this doesn't mean that albu Bonljam lacks originality. Her use of the ^ violin is a welcome addition and adds a confc musical flavor not found in many of Bea today's popular artists. com Instead of using the violin in its as"! ? vr ?classical form as and artists use tne inst r violin roar in the it's i te* 4 * background, repe ' providingan a soi a^ema^ve *? ^ste :?" ' Crack," her violin shot acts as the perfect combination with the sing! lyrics "have you ever heard the sound/ mus of you head on the ground." One only on p wishes that she would have used the favo instrument more often throughout the albu 1 OOO's of Us CD's, Tapes < ALL KINDS C no dnrv iiddam dpd ni a rur, nuutv, unoHii, n?o, vjlh We Buy Used CD*s, * V p Tapes, LP's, | Everyday V Open 10-7 i"on-'/So PAPA JAZ cUN 2014 GreeneS Columbia, SC 2 MAC! UcaiI CD'C ITIW1 WlfVll W If : : .: . . ' ' ' ... ... ..,, ... ......... .. .. - V.:' / V I ' ' , . . . : r " . ' . ' . - . :r":' ; ' J;';. . > i, . v V: V mmm < . t WxMMM / - - - - | v | Monday, August 26, 1994 n's talent .m. Vhile "Hie Burdens of Being Upright" ains some solid rock songs, like "Navy n," most of the album's material es in the form of slower tunes such rell it to the Sky," "One Hit Wonder^ "The Real". )f these songs, "One Hit Wonder" is aest. It addresses those who believe stereotype that women are oneansional human beings, only worthy l man's desire. It's unique rumentation and deadpan lyrics e it one of the best songs on the CD. f there's a problem with this album, that Bonham too often relies on atiner a catchv line or hook to carrv c? */ ? * ng. This provides for an enjoyable m initially, but it never ends up lenging the listener. The Burdens Of Being Uptight" ild give Tracy Bonham several hit es. It follows the familiar "alternative" ic formula seen on MTV and heard opular music stations. 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