The gamecock. (Columbia, S.C.) 1908-2006, April 28, 1997, Page 5, Image 5
SITE OF THE DAY
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MATT CHEVERTON Staff Writer
To a passer by, it must have made a somewhat bizarre
sight: four Brits sitting outside the Elbow Room in the
blazing heat arguing about who was going to win the
English soccer title and the relative merits of British and
American television.
They like to talk, the Boo Radleys, a four-piece band
from Merseyside, England, home of The Beatles and
Liverpool FC, although, I soon realize that trying to focus
i tneir attention on tne questions l ftad prepared was a
fruitless approach.
"So lads, why did the album come out here seven months
after its British release?" This seems on the face of it a
reasonable enough question, don't you think?
Sice, the diminutive bald-headed lead singer of the
band, looks up somewhat surprised, "If s not out yet is it?"
When I inform him that it was actually released a week
ago, he simply shrugs and, laughing, says, "We don't find
anything out until we get to New York!"
Both Sice and his childhood friend Martin Carr, the
guitarist and songwriter in the band, are refreshingly naive
when it comes to the workings of the music industry. "We're
not careerists," Martin said. "To be honest, we don't really
understand the business," Sice said.
Maybe that explains why, despite possessing far greater
talent than many of their so-called contemporaries in
England, they have failed to sell anywhere near the same
number of records. Their latest album, C'mon Kids, sold
60,000 copies in Britain, and they don't seem to hold out
too much hope for any greater success in America.
The brief stardom they eryoyed in their homeland with
their one and only hit single, 'Wake Up Boo," from their
USC musician he
Jewish remembranc
JESSICA NASH Staff Writer
f A solemn period in the Jewish calendar is approaching:
i Yom Hashoah, a remembrance of the victims of the Nazi
Holocaust.
On Mnv 4- fit. 7 n m t.VlPrp is a mmmomnrofinn aonnpo
at Beth Shalom Synagogue on Trenholm Road. Eileen
Andrews, a senior majoring in music and German, will
present part of her senior thesis at this service.
Andrews researched the musical activities that occurred
in the concentration camp Terezin (or Theresienstadt),
located just outside of Prague. When this camp was
established, many of Prague's most talented musicians
| and artists were sent there. Composers such as Gideon
Klein, Hans Krasa and Viktor Ullmann, all musical
descendants of Schoenberg and Janacek, continued their
work in the camp, even under the most appalling conditions.
The composers perished in Auschwitz, but some of their
works survived.
"I think one thing that's poignant is that their fame
expired at the gates of Auschwitz. We don't know what
they could have achieved," Andrews said.
Andrews' presentation will be an abridged version of
a lecture-recital she gave on April 9. This event was an
vaxtension of her senior thesis. 12 USC students performed
works of several of the composers, and Andrews gave a
lecture summarizing the musical activity in the camp and
its use as a propaganda piece for the Nazis.
wusc Call now for a
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LI
:k? in the fori
previous album, bb=========
Wake Up, seems a I
predecessor, the Boo | E .:
Radleys latest m
first single, "What's BBS J k\
In The Box?" and I
title track, "C'mon I H^viPalS'VoPO
Kids," to the strange
trip-hop ofi
"Fortunate Sons" I
and the weird but B
wonderful "Four HH kH
Saints," Carr's 8
favorite track on the HB ^ %l||
album, but HB m
impossible to |^B
perform Uve. OH
Caw*said when I I
question him as to j^^H^^HHH^H^^BH^H^HH
why the band's
sound appears to change so much from one album to the lifestyl
next. "It's where we're at at a particular time. It's not we list
that we don't want to sell records, but we're not going to like all
fall into the trap of making records in a conscious effort to "In
like co
lps commemorate ^
;e of the Holocaust ?&
Des
She said that music served as a force in their daily
struggle to live, and that music existed despite atrocities.
On May 4, Andrews and several USC students will
present an oboe and piano suite, a piece of a children's
opera, and a lullaby.
Much of the works have been lost, but Andrews still
had to choose from a sizeable body of works. She picked
these because of their historical significance. Some were
performed specifically for propaganda purposes. These
works are also complete; many are not.
"These aren't as difficult, and I had the musicians
available for them," Andrews said. "Also, I wanted to
please the audience so the works couldn't be too atonal."
None of the music is completely atonal, but it does have
atonal tendencies. The style is expressionistic, with hints
of Moravian and Bohemian-folk themes running through
it.
"It's high-quality music," Andrews said.
Still, the works are rarely performed, the composers
rarely honored. Andrews' project has paid them homage.
"I feel good that I've exposed USC musicians to this
kind of music, and soon the audience at the synagogue
will hear it, too," Andrews said. "It's been one thing to
write the paper and give the performance on April 9, but
to give it to people?some who were in concentration
camps?who are really affected by the subject, means a
lot more."
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I So don t .
|S| Radfeys in with other
WB guitar bands coming
, 9 out of Britain. While
1h 1 J lilt
Hsaia tnat mere were e
at least three or four e
Boo Radleys songs i
which he wished he
had written), The 1
Prodigy and c
Chemical Brothers, ?
that's about as far as I
it goes. c
So what do c
they listen to?
"Everything," Carr r
said peering through r
his sunglasses, which I
| ? - < , ? . m
help to hide the \
affects of an overdose c
of the rock 'n' roll r
e. "The Flaming Lips, Pavement, The Prodigy, but
en mainly to compilations because we don't really s
bums. r
fact that's why we try to make our albums sound o
mpilations," he said. y
ten they take the stage just after 10 p.m. in their a
t slot for Better than Ezra ("We got sent their album
it it"), it must seem like a marked difference from t
ist gig just three days before when they supported g
mic Street Preachers in front of several thousand e
Royal Albert Hall in England. h
jpite this, they appear to relish playing a small but p
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I think one thing that's poignant
is that their fame expired at the
gates of Auschwitz. Wedont
know what they could have
achieved.
Awaaluaaamtrm
AJUWU ^UIIU t no
USC music/German senior
00 Radleys
sacked venue and to a crowd that have almost certainly
lever heard of them. They open with the rip roaring "Cmon
fids," the kind of adrenaline charged assault on the senses
hat was so characteristic of the early Oasis singles before
heir Beatles obsession got the better of them. Lyrically,
he song is a naive appeal to the kids of Britain to open
heir ears to something other than the unambitious
onservative sound of what has been labeled "Britpop," as
haracterized by bands such as The Bluetones and Cast,
rhe opening lines are sang by Sice as though his life
lepended on it "Cmon kids, don't do yourself down, throw
>ut you arms for a new sound. Pretty face, it don't mean
1 thing, if you look the same as your crowd But have we
sver let you down?" The answer, after hearing this show,
s a resounding no.
Next up is "Meltin's Worm," where, as always, Sice's
ugh-pitched yet beautiful voice is a superb contrast to the
rashing guitars and general noise surrounding him. Then
lice announces the pop-tastic and irresistible "Wake Up
loo" and the crowd goes berserk. Well, not quite, but it
luea manage lu enuee a iair proportion 01 uie crowa into
lancing, albeit in a rather restrained manner.
But this is merely a brief excursion from the more
agged, yet equally compelling, sound of the band's latest
naterial personified by songs such as "Melodies For The
)eaf (Colours For The Blind)" and "What's In The Box,"
vhich are interspersed by the acoustic-guitar-based beauty
?f "Everything Is Sorrow," the beginning of which is
eminiscent of early David Bowie.
Despite the excellence of these songs, it is the final few
ongs that prove the highlight of the show. The sevenninute
beauty of "Ride The Tiger" flows effortlessly into
Id favorite "Lazarus" before the set closes with the short,
et equally sweet, "Get On The Bus," which backs up Can's
issertion that the band is playing better than ever.
Hardly an overwhelming triumph, but there appears
o be a few converts judging by the warm reception they
?et from most of the crowd when they leave the stage. We
xit quickly following the band, not bothering to wait for
Leadliners Better Than Ezra. After all, how can they
ossibly match what has gone before.
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