The World from Coos Bay, Oregon on June 14, 1995 · 9
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The World from Coos Bay, Oregon · 9

Coos Bay, Oregon
Issue Date:
Wednesday, June 14, 1995
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Music news Wednesday, June 14, 1995, THE WORLD, Coos Bay, Ore. Page 9 By Eric Fidler Associated Press Writer "South Coast" (Red House) Ramblin' Jack Elliott Here's the real thing from the real deal. You can draw a ragged, wandering line from Ramblin' Jack Elliott to Woody Guthrie. Elliott has influenced just about every folk singer-songwriter out there, including in a big way Bob Dylan. Here, on a rare new release, Elliott puts his singular stamp on 12 songs by other writers, including Guthrie, Tim Hardin and Ian Tyson. This is great stuff. "Una Forma Mas" (Sire) Vocal Sampling Vocal Sampling, an a cap-pella sextet, reproduces Cuban music in all its glory complete with realistic, distinct percussion. Somehow they do it without using any instrument but the human voice. Once the mind-blowing novelty of this group from Cuba wears off, what remains is a wondrous album. "Dwight Live" (Reprise) Dwight Yoakam Dwight Yoakam serves up a hefty slab of hillbilly rock, progressive country and pop with an attitude on the 17 songs of "Dwight Live." He's one of a very few current country stars worth listening to, and he proves why throughout this disc. "Louisiana Spice" (Rounder) Various artists This ought to be THE party album of the summer. "Louisiana Spice" is a sample of the wealth of music that's appeared on Rounder over the past 25 years, featuring contributions from some of the top musicians to hail from' Louisiana. Cajun, Zydeco, the funky blues, it's all here. Beau Jocque, Steve Riley, Marcia Ball and the Dirty Dozen Brass Band are a few of those who help make "Spice" so hot. The two-CD set is specially priced, listing for less than a single disc. "Don't Let the Devil Ride" (Waldoxy) James Peterson "Don't Let the Devil Ride" is a fine album from one of the most soulful of the electric bluesmen on the scene today. In fact, tracks like "Children Gotta Eat" sound closer to Memphis soul than Chicago blues. By Molly Hall Associated Press Writer DENVER (AP) Kim Gordon bangs a tambourine against her bass guitar, glancing out into the packed arena with the relaxed nonchalance of an alternative-rock icon. Gordon is the bassist for Sonic Youth, a band that rose to fame with the orchestrated chaos of oddly tuned guitars and high-frequency feedback, in an underground culture of indie rock and fanzines. Sonic Youth recently opened for R.E.M. and will join Lollapalooza this summer. This is new for a band that spent the 1980s thriving in relative obscurity, playing art galleries, clubs and private lofts in New York and touring the country in smoky vans. And while there are no hit singles and no gold albums in Sonic Youth's 14-year history, their independence and innovative sound influenced scores of bands, including Nirvana. A tribute album called "Gioventul Sonica: 11 Young Bands Play Sonic Youth's Songs" was released in 1991. "I see the influence in superficial kinds of things," said Gordon, now in her early 40s. "For other bands, its more like an attitude ... maybe the way we've handled our career... and how it became a career." Called too young to be punk and too old to be alternative, Sonic Youth emerged with a guitar-driven sound in 1981, just as hip-hop and synth pop were taking hold. Major record labels seemed to be looking the other way as the four some experimented with vintage guitars and natural distortion. They joined a growing number of musicians across the country learning to network and promote themselves through fan magazines. Slowly, the band built a following. Lee Ranaldo and Thurston Moore used hollowed-out, junky electric guitars played at different tunings. They created chiming and humming effects by hitting and rubbing the strings with screwdrivers and drumsticks. Steve Shelley became the band's fourth full-time drummer, when he joined in 1985. At just over 30, he is the youngest member. For her part, Gordon brings to Sonic Youth the understated presence of a bohemian-style renaissance woman. A one-time art student, she has written for art magazines, modeled in the pages of Vogue and Elle and more recently, designed hip-hop clothes for X-Girl, a store in New York City she co-owns. Gordon didn't pick up a musical instrument- until age 27, when she was a Los Angeles transplant finding psychic connections in the New York art scene. Since then, she has explored vocal styles ranging from soft whispers to hoarse screams. She writes abstract lyrics, at times comical and disturbing, that deal with such themes as violence and sexism with a subtle hand. On the 1992 album "Dirty," a Gordon song called "Swimsuit Issue" turned a raging eye on sexual harassment, drawing a parallel between a secretary at her desk and a model in Sports Illustrated both the object of lusty thoughts from a boss. "They're no better than you when put in that context," she said. "They're no less vulnerable ... and to think that's what they've achieved." A mentor to up-and-coming musicians, Gordon has lent her talents to bands such as Hole and the Breeders, both producing albums and directing videos. But she is blase about her image as a trailblazer for women in rock, saying she prefers to focus on the music, and on finding "the rock within." "It's about redefining rock in a personal way. ... It's like when you're in your room listening to music ... and you just feel like this is such a great moment or this song is so great and you experience the rock, or whatever." Much has changed for a group that once made a video for $20 and showed up to tour Europe with $65 in their collective pockets. In 1990, Sonic Youth signed with DGC, a subsidiary of Geffen Records. The contract gives the band a larger budget and complete creative control. As a result, some tracks on the 1994 "Experimental Jet Set, Trash and No Star" album were recorded through spontaneous improv in the studio. "The fact of the matter is ... we did it for better distribution," Gordon said, brushing off critics who say they've sold out. "It hasn't changed the kind of music we're K "J( v. 1 I r 1 ' Jf J Li kth AP Photo Kim Gordon, Sonic Youth bassist , recently had a daughter. doing." Also, Gordon now tours with 10-month-old Coco, her daughter with Moore, whom she married in 1984. "She's really at that age where its easy to tour with her," shesaid. "I covet the time I spend with her." When not touring with Sonic Youth, Gordon minds the clothing concern, dabbles in conceptual art and plays music with Free Kitten, a side project that allows her to keep playing smaller venues. And she said she'd like to give filmmaking a whirl. "I think I would like to direct a movie," Gordon said. "It would be fun to act in a movie, but I'd be more interested in the whole thing." oot-scootin rives in countr By Jim Patterson Associated Press Writer NASHVILLE, Tenn. (AP) At clubs all across the country, belt buckles the size of canned hams shine in a sea of cowboy hats. Those wearing the Western garb do variations on the hokey-pokey in neat formation while country music blares in the background, .,, " Line dancing, which seemed the j most faddish" of irehdsfo'ur years0" ago, is still thriving. At 400 clubs throughout the United States, including one in Hawaii, dancers do the Tush Push, the Boot Scootin' Boogie, the Watermelon Crawl and the Cowboy Strut. "Country nightclubs are not just honky-tonks that you drop in for a beer with the boys and shoot pool anymore," said Wynn Jackson, a former rock promotion executive for RCA Records who bet his career that line dancing is here to stay. "They're a place where 18-to-35 and older women can go unthreat-ened and get into an environment where they can dance and they can drink. They can leave the building and feel totally safe 'cause there is tons of lights in the parking lot." And where the women go, the men follow. The Cotton Eyed Joe in Knoxville, Tenn., Cadillac Ranch in Chicago, Nashville Waikiki in Honolulu, and Rockabilly's in Las Vegas are packing them in. Line dancing at the Wildhorse Saloon in Nashville is daily on cable television via The Nashville Network. Billy Ray Cyrus was handed his career when marketer Steve Miller of PolyGram Records took "Achy Breaky Heart" to the dance clubs in 1992. Wynn Stewarty.a former rock promotion man for RCA Records' in Los Angeles, started Country Club Enterprizes that same year. Clubs pay $100 a month to get the latest CDs and The Dance Card, a newsletter that advises deejays on hot dance steps and records. All the major Nashville record labels (except Liberty) use Country Club Enterprizes to help q th y clubs select singles and promote them at the clubs. Country radio stations are still the starmakers, but the clubs offer an alternative, along with video, that can give new artists a better chance, said Kim Markovchick, marketing director at Mercury, Records.' " ' " " "They provide us a way to get . the music heard and get some consumers to call up radio stations and ask to hear it," Markovchick said. "We actually use Wynn for almost all of our singles." Mercury's Shania Twain had a No. 1 single, "Whose Bed Have Your Boots Been Under?" for three weeks in the dance clubs. The same song struggled up to No. 1 1 on the Billboard charts, helped along by the club success and some striking videos. "Shania happens to be gorgeous," Markovchick said. "If she gets on TV, people can't help but watch." Jackson also booked her on what are called track dates. That's where the singer performs at clubs, backed by. taped, music instead of a band. " " " " "Paula Abdul and Madonna and those guys ... were doing track dates in the '70s and '80s," Jackson said. "Tony Brown lthe head of MCA-Nashville) told me, 'Doing track dates in nightclubs broke Tracy Byrd's career.' "Bryan White's another one we've done it with recently who I think is off to a real good start. Shania Twain we did track dates with last year. If the artist has the charisma and has the personality it can work." A survey of 30,000 club dancers, based on ballots placed in clubs by Country Club Enterprizes and tabulated by the Horizons Fulfillment company in Knoxville, Tenn., indicates that line-dancers are also ' record buyers. Among the results: " 1 The typical nightclub regular buys 16 country CDs a year, and 77 percent of them don't buy pop-rock CDs. Country radio was the biggest influence on 69 percent of nightclub regulars in deciding what country artists to buy. Twenty-two percent were influenced primarily by what is played in the clubs. BUSINESS Let newspaper advertising make news for your local business. Call 269-1222 or 1-800-437 NEWS to subscribe Thet World Hear No Evil Speak No Evil smell No Evil Special Utter! lv r ii Smelly ears! Head shaking. Painful ears. Bad Breath! Lome teeth. V I End The Inflamed gums, Suffering! 50 off all Denial and Ear Treatment packages at Ocean Blvd. Veterinary Hospital lor 3 weeks ONLY Offer ends June 30th. 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