The Philadelphia Inquirer from Philadelphia, Pennsylvania • Page 98

NEW RECORDINGS Sunday, Dec. 2, 1990 The Philadelphia Inquirer 14-G Guy and E.U., Willie Nelson, Mozart's 'Cosi fan tutte' 1. WHITNEY HOUSTON I'm Your Baby Tonight 2. MARIAH CAREY Love Takes Time 3. STEVIE Because I Love You 4.

DEEE-LITE Groove Is in the Heart 5. BETTE MIDLER From a Distance 6. POISON Something to Believe In 7. ALIAS More Than Words Can Say 8. UB40 The Way You Do the Things You Do 9.

WILSON PHILLIPS Impulsive 10. TONY! TONII TONE! Feels Good 1. MYRIAM HERNANDEZ 1. GARTH BROOKS Dos No Fences 2. GLORIA ESTEFAN 2.

RANDY TRAVIS Exitos de Heroes and Friends 3. DANIELA ROMO 3. REBA McENTIRE Ouiero Amanecer Con Alguien Rumor Has It 4. A2UCAR MORENO 4. KENTUCKY HEADHUNTERS Bandido Pickin' on Nashville 5.

RUDY LA SCALA 5. VINCE GILL Cuando Yo Amo When I Call Your Name 6. LUIS MIGUEL 6. CLINT BLACK Luis Miguel 20 Anos Killin' Time 7. JOSE FELICIANO 7.

GARTH BROOKS Nina Garth Brooks 8. ANA GABRIEL 8. GEORGE STRAIT Omen Como Tu Livin' It Up 9. LOURDES ROBLES 9. ALAN JACKSON Imagenes Here in the Real World 10.

RAUL Dl BLASIO 1 0. KATHY MATTE A El Piano de America A Collection of Hits head of the Paris Opera. His approach is generally clear of affectation and arbitrary tempo, although there are romantic swells and lingering tempos in the second act and one abrupt leap to a presto that has no support from markings in the score. He includes virtually the complete score, including the commonly accepted bits of recitative that were not written in Mozart's hand in the manuscript. The cast includes Mozarteans of varying kinds.

Leila Cuberli, singing Fiordiligi, accurately negotiates the notes and the expressive landscape of the role. Her gift is in making a recorded role seem theatrical and evolutionary. Cecilia Bartoli projects the text with greatest care, and sings Dora-bella's role with considerable color. The young bass John Tomlinson sounds young as the old cynic Don Alfonso, but both Kurt Streit and Ferruccio Furlanetto sing the lovers' roles with the vigor and care the music deserves. Joan Rodgers is an able comedian who gives De-spina an earthy clarity.

This recording won't challenge the recent Bernard Haitink version, nor will it erase the memory of Herbert von Karajan's older version with Elisabeth Schwarzkopf. philosophizing and without any Nelson-penned songs, but steady, sure of itself and satisfying nonetheless. Nelson's craggy, often off-key voice may not be a beautiful instrument, but he sure knows how to convey a nearly elegiac sense of sadness and regret. Whether he's just rolling along on "It'll Come to Me" or taking stock on "Pieces of My Life," he sounds like a master with nearly all of his interpretive skills still at his disposal. And at this late date, that's more than enough.

DON WILLIAMS True Love (RCA Country music's Gentle Giant has been sounding so settled lately that Catatonic Cowboy would seem an apter sobriquet. On True Love, Don Williams perks up here and there, if only to recall his supposedly rambunctious youth on "Back in My Younger Days" and to declare his antipathy to city life on "Lord Have Mercy on a Country Boy." Elsewhere, he's in his standard sitting-on-the-porch-tapping-my-toe mode, sounding soothing and catchy but mildly diverting at best. There are no Williams originals here, and the most ambitious song, Craig Bickhardt's "Donald and June," is a through-the-years family saga with little to say and an awkward way of saying it. But even so, there's enough of Williams' lulling likability on hand to satisfy longtime fans who know what they're getting into. Classical Reviewed by Daniel Webster MOZART: Cosi fan tutte Daniel Barenboim conducts the Berlin Philharmonic and MAS Kam-merchor with Leila Cuberli, Cecilia Bartoli, Joan Rodgers, Kurt Streit, Ferruccio Furlanetto and John Tom-linson (Erato 2292 45475-2 This is the Berlin Philharmonic's debut in opera, and Daniel Barenboim said it took a year of preparation and planning to bring the orchestra to the recording studio.

Immediately noticeable is Baren-boim's decision to accompany recitatives with harpsichord, rather than fortepiano, and without the cello, whose continuo line is notat-ed through the opera. The forte-piano, which was Mozart's instrument, would have supplied a more robust sound nearer the quantity supplied by the orchestra. In program notes, the conductor says he changed the continuo to help clarify the text and to speed the shift from aria to recitative. Barenboim had conducted the three Mozart-Da Ponte operas, of which this is one, when he was Pop Reviewed by Tom Moon GUY The Future (MCA E.U. Cold Kickin' It! (Virgin Vx) The more Washington's E.U.

tries to broaden its go-go base, the more it sounds like Guy, the enormously successful trio led by wiz-kid producer Teddy Riley. That's not necessarily good: Guy has aped go-go for some time now, calling it "new jack swing" and homogenizing it into a cash-register-ringing formula recognizable only by its drum machine program. Alas, Cold Kickin' It! doesn't define go-go clearly enough to distance E.U. from Riley's pale imitation. Of 10 tracks, just "Let It Go," "I Confess" and the happy chant "Ain't Found the Right One Yet" deserve extended dance-floor duty.

There are some interesting experiments, notably the reggae lilt "M-O-N-E-Y" and the rap-inflected "Funky Like a Monkey," which find E.U.'s vocalists cannily working cadences of the street into production pop. But where last year's LP Livin' Large was a model of good pacing, with gloriously sweet ballads providing respite from a zealous go-go assault not unlike the one that E.U. stages in concert, this collection is erratic. There's one memorable ballad, the Earth Wind Fire sound-alike "Got to Be Wherever You the three others fall flat and there's too much filler between the stomping throw-downs. On their second outing, The Future, the three members of Guy try to sound soooo hip.

They're ultraca-sual as they drop studio lingo into their lyrics. They're slick as they plead for long-term love. "Take it to the bridge," Aaron Hall calls at one point, as though telegraphing a change in the song (oddly, none follows). "Are you ready for this jam?" asks Damion Hall at the start of "Teddy's Jam 2," imploring Riley to crank up his groove, which serves only as a launching pad for more aimless discussion. The banter helps lend human feeling to this stiff recording, on which Riley plays (or programs) the lion's share of the instrumental parts.

But it doesn't cover up the weakness of the songs. A series of repetitive, minimally funky vamps, "Wanna Get With "Smile" and "D-O-G Me Out" (three of the most interesting tracks) are like Riley's homework assignments proof that he has been watching what has gone on in black pop over the last year. Between the souped-up synth sounds are dabs of craftily innocuous rap a la M.C. Hammer, dance grooves that abandon new-jack- fZEEZE) mtmR tag From Billboard maganne 12190- 1990 band's expanded personnel (a well-utilized horn section makes Scram! a seven-piece) and correspondingly expanded musical outlook. The band has maintained its ska bent but now is comfortable with wicked funk (the Tower of Power sendup "Piece of the Buster Poin-dexter calypso compact pop hooks Side You're and heart-thumping reggae (a cover of the Jimi Hendrix classic "Fire!" is a highlight).

Some songs outlast their welcome, and there are problems with the lyrics "Don't Run Away" tries too hard to offer compassionate advice, and the ballad "I 1 2 Thang is downright weak. But the consistently high level of energy these musicians generate on the remaining tracks more than compensates. GALAXIE 500 This Is Our Music (Rough Trade In 1960, Ornette Coleman released what became a landmark of post-bebop jazz, a bold quartet record called This Is Our Music. The folk-meets-psychedelia-meets-anthem-rock trio Galaxie 500 has appropriated the title for its second Rough Trade effort, and though last year's image-rich On Fire led fans to anticipate a statement with the import of Coleman's, this sullen record doesn't deliver. It's slow and a little overly reliant on extended two-chord jams rambling explorations that feel simultaneously like trailblazing experiments and throwbacks to a more psychedelic era.

The lengthy coda that closes "Summertime" showcases guitarist Dean Wareham's meditative lead playing and provides a logical winding-down feeling that complements the anthemic start. The same treatment is given Yoko Ono's "Listen, the Snow Is Falling," with less convincing results: Here the ending is long and IWMCf KM0fDlf Bell Atlantic' Mobile Systems Orcuif From Billboard magazine 12190- 1990 swing for the Jimmy JamTerry Lewis Minneapolis jaunt, and moments of Prince-like experimentation that actually make Terence Trent D'Arby seem thoughtful. Add to this Hall's writhing voice, which borrows from Stevie Wonder at every emotional climax, and the result is a handful of easily digestible hits and a lot of hardly electrifying album fodder. At IS songs, plus one extended remix, The Future is way too long: Those who listen on CD will want to program around the cloying relationship patter "Let's Chill," the incredibly boring tribute song "Long Gone" and the macho plea "Do Me Right," among others. KINGSESSING SCRAM! Kingsessing Trials (Internationalist Records Remember the wah-wah pedal, that object of '60s guitar-jam fire and 70s scorn? Philadelphia's hard-driving rhythm band, has resurrected it.

On "Listen to Yo Momma," one of the most engaging tracks on Kingsessing Trials, Scraml's danceable second LP, guitarist Matt Mungan pumps the pedal as though re-writing history. He uses it for effective, if unconventional, propulsion, and doing so forces his excellent rhythm-guitar playing into a soloist's spotlight. Such surprises are all over this collection, which showcases the Authorized Retailer Bell Atlantic Mobile Systems "Prices include required installation and antenna. Requires 90 day minimum new numoer activanon wim uircuir uty authorized cellular telephone company. Certain cellular telephone company fees ana restrictions may apply.

Price will Be higher without from alocal All backed and coming soon to CKICW crrv ft "STSTFlttl IHTT ST UlrJurf CITY COTTMAN SUPERSTORE 7227 Buslleton Ave. (215)333-0412 STATE ROAD ALLENTOWN 69 mm ci iH SUPERSTORE Marple Springfield Shop Clf State ft Sproui Road SUPERSTORE lUbburapest. (215)266 66-61 66 Alarm Phones. See From Billboard magazioa 12190' 1990 indulgent and full of haywire guitar spew. The shorter songs are more focused.

"Sorry" conveys a mood of contemplation in magical slow motion, and "Hearing Voices" contains the band's best attempt at a pop hook though again, it's delivered in a time-warp suspended animation that makes it (and the bulk of This Is Our Music) excellently suited for a rainy Sunday afternoon but utterly dreary on Monday morning. Country Reviewed by Dan DeLuca WILLIE NELSON Born for Trouble (Columbia Willie Nelson stayed awake for this one, and counting last year's A Horse Called Music, that makes two in a row. So ignore the cover photograph of the gray-bearded stranger on his cycle and the misleading title, both meant to drum up sales with the portion of his following that pines for the "outlaw" days. What lies within is a good Willie Nelson album marred by one dumb novelty song With a Two" "I ain't never gone to bed with an ugly woman, but I sure woke up with a The album is a little too heavy on aging space-cowboy The largest cellular carrier in the Mid-Atlantic region Service now auailabli in Dover, DE 99 Number Memory pack pQ 7 7) NO INSTALLATION NECESSARY KfTSUBISH Mitsubishi Transportable Cellular Phone with Multi-Level Call Restriction SPECIAL PURCHASE NO INSTALLATION NFOFSSARY BOOTPK SAVE100 PRICES EFFECTIVE THRU 12890 HOLIDAY HOURS MON-FRI SAT SUN 10-10 10-10 11-7PM CAR STEREO INSTALLATION! STATE ROAD COTTMAN 543-6991 333-0436 CHERRY HILL ABINGTON 482-9477 572-0988 ALLENTOWN DEPTFORD 266-6399 227-6695 NOW OPEN NOW OPEN ATLANTIC CITY KING OF PRUSSIA 272-0360 975-9785 FINANCING ft LAY-AWAY "Quoted monthly payments are with a Circuit City charge account, subject to credit approval. Monthly payment assumes no prior balance on account and excludes sales tax.

I II .11 IIMllllll.inillj 'ill 9 9 Over 19,000 square miles o( coverage No monthly tee for detailed billing No monthly fee for Custom Calling Features 10th Your Cellular Phone Quarters 0 Nortel Nortel Novatel Hard Shell Transportable Cellular Phone MOZART: Wind Octet arrange ments of Cosi fan tutte and La Cle-menza di Tito Julius Rudel conducts the Amadeus Ensemble (Musicmasters 7054-2-C Before the age of recordings and broadcasts, wind octet arrangements of opera served to make the music known. Joseph Triebensee's version of La Clemenza di Tito presents the overture and the melodies of the big arias linked by phrases from the opera. It all makes sense until "Parto, Parto," the aria for mezzo-soprano with clarinet obbli-gato, emerges played by bassoon in its middle register. That sonority has the capacity for burlesque, and it comes close here. Johann Nepomuk Wendt, who arranged Cosi fan tutte, avoided such pitfalls to present a jaunty resume of the opera's big tunes.

The ensemble plays with care and affection. Ratings: Excellent Good ifk Fair Poor Annual great holiday gift selections, prices. $30.00 to $100,000.00. I VYNJF. FOR? A lively WEDNESDAYS with Speakerphone user selectable transmit power levels: 3-watt or 1 Novatel Mobile Cellular Phone with 9-Number Memory Electronic Lock last number redial removable handset, swivel mounting on-hook dialing call continuance after engine shut-off weighs less than 6.3 lbs with battery DC car adaptor charger 4 separate nam system November 29 December 3, 1990 Adam's Mark Hotel Exhibition Center City Avenue Monument Road, Philadelphia Browse and buy.

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