St. Louis Post-Dispatch from St. Louis, Missouri • Page 72

st. louis post-dispatch ARTS ENTERTAINMENT Sunday, November 25, 2001 G3 Wi II a mil classical HSU lULUir Radio "White Christmas" is in forecast -for the airwaves By Diane toroian Of the Post-Dispatch Phrictmnc mncip ic a littlo lilrA 1 it I a 1 ii 1 mm i a High-flying U2 gets ready for another St. Louis landing fruitcake a festive tradition to some, a nauseating reality to others. Recently, it seems many radio stations have drifted into the cut-, the-fruitcake camp. But a new survey shows that listeners expect "Santa Claus is Coming to Town" and "Jingle Bell Rock" on the radio.

RateTheMusic.com, a Florida-based music research company, asked fans of pop, alternative, rock, country, and rhythm and blues what songs they like and how often they should be played. The answers intrieued Mark jAr Xi 1 U2, Garbage Where: Sawis Center, 1401 Clark Avenue When: 7:30 p.m. Wednesday How much: (a few tickets were still available at press time) More info: 314-241-1888 Bono, The Edge and Adam Clayton biggest concert I'd ever seen at the time, and we worked hard to get those tickets." Kramer remembers the young man the band allowed on stage to perform. "It was one of those goofy moments. He wanted to play a song, and they let him play.

Nobody knew who he was, but he got on stage and they let him do his thing." Eric Schmidt, assistant program director for the Mall 104.1 FM and music director for KNPT 105.7 FM, saw his first U2 concert at The Arena in 1987, and says "that was a great show. They were unbelievable. Anytime I drive by Hampton Avenue, that's the one thing I remember." The concert also served as a first date with a girl at his high school a date ruined after he misplaced his car keys. "We sat for three hours in the parking lot." Mike Kociela of event management and production company Entertainment St Louis saw The Arena concert as well, and it changed his life. "I just remember them coming on stage, with the music starting before they walked onto the stage.

They were all backlit with red and deep blue lighting that made them look larger than life. Then the tunes hit. It reconfirmed my goals in the music business. It was one of the defining moments for me," says Kociela. "They were the ultimate rock band, and they still are." Jesse Raya, marketing and promotions director at The Pageant, has seen the band many times.

His favorite U2 moment was elsewhere on 1987's Joshua Tree tour, which he saw at the Rosemont Horizon suburban Chicago. "A U2 recording doesn't even stand up to a U2 performance, point blank. There's a feeling evoked from Bono's voice in recordings, but when you see him singing it live, it's a whole different experience." And thankfully, St. Louis is once again one of the cities able to experience that live. Critic Kevin C.

Johnson: E-mail: kjohnsonDOstKtispatch.com Phone: 314-340-8191 Such praise fits U2's Bono, The Edge, Adam Clayton and Larry Mullen who've built a rock-solid, rock-steady reputation since debuting in 1980 with their "Boy" album. Throughout the '80s, into the '90s and up through today, U2 managed to stay relevant, socially conscious and politically savvy, with few of its peers still standing as strong (R.E.M comes to mind, though Michael Stipe and crew have seen some major slippage on several fronts after their last few CDs). U2's career, thus far, includes such landmark albums as "The Unforgettable Fire," "The Joshua Tree" and "Achtung Baby." The band has won several Grammy Awards including a small stash earlier this year for its "Beautiful Day." Save for" some natural stumbling (like that PopMart tour), the group has had the press wrapped around its collective fingers. Time magazine put the band on its cover in 1987 with the headline "U2: Rock's Hottest Ticket," and Rolling Stone dubbed U2 the band of the '80s. U2 has always contributed regularly to benefit events.

Most recently, Bono sang on the "What's Going On" single for Sept. 11 relief efforts. It seems Bono can always be counted on for thoughtful words. Joe Edwards, Delmar Loop revi-talizer, saw this in 1992 at the Rock and Roll Hall of Fame ceremonies in New York, where Bono inducted reggae legend Bob Mar-ley. "He was really eloquent, and he chose his words very carefully.

His phrasings and his messages came across so powerfully. It was really impressive," says Edwards. The band's major tours have subscribed to a bigger-is-better philosophy. They're been colossal events destined to go down in pop music history. St Louis watched U2 come to town in 1997 for PopMart (the tour with the giant arch) at the Trans World Dome; in 1992 for Zoo TV at Busch Stadium; in 1987 at The Arena for "The Joshua Tree." There were also smaller events, in the band's early days.

1, U2: From left, Larry Mullen U2's Bono performs in front of a Trans World Dome in 1997. Their 1980s gigs included concerts at such places as Night Moves, known at the time as the "Midwestern capital of female mud wrestling." Most St. Louisans who've caught U2 in concert over the years have memories that stand promise before the whole thing devolves into a punky rant. "Parade" is classic Garbage, bursting with attitude and the musical chops to back it up. However, placed within reach of "Cherry Lips (Go Baby Go)," which sounds like something the Go-Go's would have tossed off and then discarded, every moment that's golden takes on the feel of counterfeit.

Brian Q. Newcomb (Gaifage opens for U2 at Sawis Center at 7:30 p.m. Wednesday.) MickJagger "Goddess in the Doorway" Virgin Records Mick Jagger's albums have been solid side-projects inevitably overwhelmed by the long shadow of his work with that band of his, the Rolling Stones. Although there's plenty of proof all up and down the radio dial, somehow it's easy to forget, with all the attention paid to Jagger's extracurricular celebrity antics, that the man has written some of the best songs in rock 'n' roll. His instincts are flawless when he stays in the groove and lets his heart take the lead, as he does here on "Goddess in the Doorway." A Stone alone, Jagger gets plenty of help from his high profile friends on "Goddess in the Doorway," but what makes the record work over time is the reflective, personal tone of Jagger's lyrics.

He writes a song each with Lenny Kravitz and matchbox twenty's Rob Thomas, who both perform on the disc. And, Jagger U-- Pi a1 j' 1 mm 77ie 7risi ian is sd pfay Soitis Center on Wednesday night, rekindling memories of previous concerts at Tlie Arena, Busch Stadium and the Dome. By Kevin C. Johnson Post-Dispatch Pop Music Critic St. Louis' U2 fans watched anxiously for months as the band's lengthy Elevation 2001 tour went on and on without a stop here.

Two sets of performance dates came and went without any mention of our city on the itinerary. But finally, just this month, came the llth-hour announcement that U2 would play Sawis Center on Wednesday night, one of the tour's final days. No one expects the still-hot Elevation 2001 to arrive on weary, wobbly legs just because it's late in its run. The tour is one of the most profitable and highly anticipated and has traveled with glowing reviews since its March 24 kickoff in Fort Lauderdale, Fla. (The band learned with its 1997 "Pop" CD and accompanying tour that glowing reviews aren't a guarantee, not even for these veterans).

Here's what USA Today had to say: "Unlike the dazzling Pop-Mart and Zoo TV stadium tours, where spectators were dwarfed by giant props and visual tidal waves, the embracing Elevation show upgrades passengers to first-class emotional participation in U2's potent songbook Gone are the futuristic bands of video monitors, the suspended cars, the colossal disco lemon, the kaleidoscopic imagery. But Elevation manages to be just as provocative and daring as past tours." Want a second opinion? Variety's review said: "The quartet is nearing the end of what may well be remembered as one of the best tours in its incredible career, as entertaining as 1992's 'Zoo TV production and as uplifting as 1987's 'Joshua Tree' outing. This was an emotional, two-hour performance, for both band and audience." And just in case, you're on the fence about going, here's a third take, this one from the Chicago Tribune. "After the events of Sept 11, the stakes have been raised for touring rock bands. And U2 never a band to shy away from a major challenge brought the goods." Reviews CDs Robbie Fulks' Robbie Fulks "13 Hillbilly Giants-Bloodshot Barely three months after Robbie Fulks released "Couples in Trouble" an ambitious song-cycle that hopscotches from honky-tonk to synth-pop and Broadway-worthy bombast, the singer-songwriter humbly returns to his country roots with "13 Hillbilly Giants." This time, the man responsible for "She Took a Lot of Pills (And Died)" mines the source material that first inspired him, assembling a baker's dozen of covers from Nashville's last golden era of the 1950s and 1960s.

Aside from Robbie Fulks "13 Hillybilly Giants" a Dolly Parton composition Afraid of the Dark," written with Porter Wagoner), the selections here tend toward the obscure, tunes that Fulks' small but loyal fan base of mostly young alt-country types likely haven't heard. Fulks leads them on a delightful musical history tour whose highlights include faithful treatments of Bill Anderson's slyly humorous "Cocktails," Wynn Stewart's country shuffle "Donna On My Mind" and "We Live a Long Time to Get Old," played with the sparse instrumentation that was Todd, who conducted most of the research. "Playing Christmas music used to ue someuung raaio siaaons just did every year, but it seems there has been significant resis--tance in the last two, three. years," said Todd. "All of a sud-.

den it seemed that playing Christmas music has become passe. But when we saw the actual numbers' of people that want to hear-Christmas music, we were like. Stations across the nation are cation Radio Records reDOrts that 33 radio stations nationwide have or will switch to all-holiday programming by the end of this weekend, a dramatic increase from prior years. The survey found that country and adult contemporary listeners like Christmas music best while alternative and rock listeners like 1 ii ieasi. ino surprise mere, me typical country or adult contemporary music hstener is frequently a woman and often a parent.

dui ayyauo umi even uic young male fans of System of a I- Down and Ozzy Osbourne like a urae nouaay cneer. "Basically, it's not that people (inn i WHin in iirjtr i isifiihs iiih- sirv it's inst that thpv rfnn't want to set blitzed with it" said Todd. Alternative station KPNT-FM (105.7) will celebrate the season at its naughtily titled "Ho Ho Show," but program director Tommy Mattern says the station will put maybe 10 holiday songs on its playhst. He suspects the RateTheMusic.com survey over states ians appeuie ior nouuay music. "It's hard with our format, because there's not a lot of great Christmas music for us," said Mattern.

"We get a lot of input from our listeners and the inter- Act ie tVifit liirrli Mattern said come will start spinning hu-. morous titles like "The Chanukah Song" by Adam Sandler, by far the favorite modern holiday song. Down thf dial 923 program director Russ Schell says country music lovers devour Christmas music of all types. -Though country stars such as i i wn man dacKbuii aim vuitc uui nave Christmas canon, traditional car ols and religious hymns also are -popular requests. "We start at Thanksgiving be-1 cause people are out shopping and preparing.

They're in that frame of mind, so we in radio should match what that they're doing," said Schell. "As the sea son progresses, we add songs that are more somber, more religious. Anrl whpn win apt rirfit nn nn thfl --n 1 holiday, I really believe there is no such thing as too much Christ- mas music." Top holiday songs by genre based on testing by RateThe- iviuailj.iuiu. ouiiga nib iw- peated because they cross over to different radio formats.) Alternative "The Chanukah Song" by Adam banaier "I Won't Be Home for Christmas" by Blink-182 "Santa Claus and His Old Lady" by Cheech and Chong Rock "The Chanukah Song" by Adam Sandler "Santa Claus and His Old Lady" by Cheech and Chong "12 Days of Christmas" by Bob Doug Pop "This Gift" by 98 Degrees "The Chanukah Song" by A 11 Auam oanuiei "All I Want for Christmas Is You" by Mariah Carey Rhythm and Blues "The Chanukah Song" by Adam Sandler "All I Want for Christmas Is You" by Mariah Carey "Silent Night" by Boyz II. Men 4t AduK Contemporary "Have Yourself a Merry Little Christmas" by Amyv Grant do iou Hear wnat near by Bing Crosby nVi Hnhr Micrht" Tolino Dion Country "White Christmas" by Bing "Rockin' Around the Christ-.

mas Tree" by Brenda Lee "Holly Jolly" by Burl Ives POST-DISPATCH FILE PHOTO giant video image of himself at the out. Jennifer Kramer, marketing director at the Sheldon Concert Hall, saw the Zoo TV concert at Busch Stadium. "When 'Mysterious Ways' opened the concert, the place went crazy. And it was sloppy wet because of the rain. It was disgusting, but we didn't really care because it was U2.

It was the "13 Hillbilly Giants" salutes Nashville's golden era writes three songs with former Stones keyboardist Matt Clifford, but it's on the seven songs written completely on his own that the disc finds its focus and fire. "Joy" takes an obvious star turn with U2's Bono in duet and Pete Townshend on guitar, but it's no more potent than the disc closing "Too Far Gone" and "Brand New Set of Rules," which similarly explore Mick Jagger "Goddess in the Doomay" i 1 n. the trademark of composer Jimmy Murphy. Fulks animates these songs with his strong voice, accomplished guitar playing and a genuine fondness for the material that bubbles to the surface on each track, making "13 Hillbilly Giants" an engrossing listen from start to finish. William Lamb Garbage "beautifulgarbage" Almolnterscope One person's trash may indeed be another's treasure, but on Garbage's third disc, the band's alchemy fails to turn its mix of rock and electronic dance music into gold.

Sure, singer Shirley Manson comes out spitting on "Shut Your Mouth," but it's merely a reprise of more frightening fits that date back to the band's '95 debut By the time she's led the band Butch Vig, Steve Marker and Duke Erikson through a standard issue tale of gender-bending, "Androgyny," to the Phil Specter-esque wall of sound and sappy, sad romance that is "Can't Cry These Tears Anymore," you can almost smell the desperation. With the rant of "Holy Jesus Holy rock n' roll" in 'Til the Day I Die," Manson turns to her tried-and-true tactic of outrageousness, but its more tired and worn than shocking. Not everything fails to connect "Cup of Coffee" is a cinematic tale of remorse over unrequited love, and the bluesy slide riff that opens "Silence is Golden" show Jimmy Eat World Bleed American (Dreamworks) Wondering if there are any kids still writing songs instead of rants? Meet Jimmy Eat World. The Arizona quartet's fourth full-length album, "Bleed American," is packed with both hooks and hope, and is refreshingly free of angst. They can rock full-on without breaking a sweat, but the charm here is the way they unabashedly embrace the craft of pure pop songwriting.

The disc opens with a stop-start, stun-guitar effect on the title track, which wakes listeners up, but that doesnt foreshadow the melodic richness and variety of the rest of the record. Vocalist-guitarist Jim Adkins will change the cadence of a line or add a harmony on a whim, resulting in subtle quirks that are clever and never cloying. The song "Sweetness" is a fine example of Jimmy's unwillingness to let a song rest on its riff. It starts with an alarming vocal a bit of '80s new wave obnoxious-ness which is quickly met with that beautiful '90s-style sturm-und-drang guitar and manic drumming. Verse flows into chorus, guitar tones change, harmony backups build, then a banging piano comes out of nowhere.

Jimmy Eat World walks the fine line between sincerity and sappiness with great confidence. Douglas A. Enkler (Jimmy Eat World opens for Weezer and Tenacious at 730 p.m. Thursday at Family Arena in St Charles.) s. the two-headed coin of romance and spirituality.

Remarkable for its restraint, Jagger appears to grant insight into his inner process, without succumbing to the temptation to paint himself as either victim or hero. Along with the three above, the best here are the Kravitz collaboration on "God Gave Me Everything," the Wyclef Jean-produced soul-reggae stomp of "Hide Away," "Everybody Getting High," with Aerosmith's Joe Perry on guitar, and "Don't Call Me Up." Satin voiced and fearless, Jagger engages the bold new world and, for the first time on his own, comes up with a pop record that's forward-looking, yet has a classic rock sensibility. Brian Q. Newcomb 1...