Austin American-Statesman from Austin, Texas • 38

Tuesday, November 18, 1997 1013 a Listening Station love you just the way you The whole is wrapped in a slick yet strangely flaccid commercial packaging that manages to give both rock and country a bad name. the alcohol-related death of Bon-ham in 1980, Led Zeppelin was, for better or worse, an ever-expanding, ever-evolving entity. The strength of this collection is that it catches them in motion, LED ZEPPELIN rL VN To hear cuts from albums reviewed today, dial 416-5700 and enter categories below: "Stairway to Heaven" Ledd Zeppelin LEDD (5333) "From This Moment On" Shania Twain SHNA (7462) Twain and Lange have no one to blame but themselves for this uninspired effort, ftm. "Come on Over" by ShsnJa Twain (Mercury) ft tit tej hania Twain's third alburn clocks in at GIFT CERTIFICATES AVAILABLE "just over 60 min SESSIONS -i since they co-wrote all of the album's 16 songs, an achievement that pushes the edge of this pair's talent envelope way past the red line. Listening to Twain's limited voice strain for falsettos, or try to inject timbre and tone into one song or another (even a tune about spousal abuse sounds phoned in) is an exercise in wasted empathy Compared to genuine country stylists like Patty Loveless, Trisha Year- A utes.

That's about 55 more than the Canadian songstress and her producerhusband Robert "Mutt" Lange need to display everything they are bringing to the table for the follow-up to Twain's "The Woman in Me," the best-selling album by a female artist in country music history. Shook Me," "I Can't Quit You Baby" and "Dazed and Confused," this two-hour collection is a true test of attention spans. "BBC Sessions" could be stickered "For Diehards Only," with another warning about how you shouldn't operate machinery during Page's violin bow solo in the middle of "Dazed." Led Zeppelin did, after all, provide its own best putdown by naming a thudding 1976 concert film "The Song Remains the Same." But when they're good, as they are quite often on "BBC Sessions," Led Zeppelin is really good. And when they're sloppy, that's OK, too. Hearing the Led Zep mythology stripped away to show what they sounded like as a working band is one of this project's main charms.

There's plenty on this double CD (with disc one recorded at three BBC sessions in '69 and disc two at a 1971 live radio concert), that make it a must-have for Led Zep fans, not the least of which are versions of "Stairway to HeavenK" "Going to California" and "Black Dog," which the band played on the BBC seven months before their release on album. Page muffs the guitar solo on "Stairway and Plant's vocals threaten to crumble at times, but hearing such imperfection on a song that's been played to death almost makes it new again. From their first albums in 1969 until their creative peak with 1975's "Physical Graffiti" and, finally, their sad dissolution after T3C Sessions" by Led Zeppelin (Atlantic) By Michael Corcoran Amencan-Statesman Music Writer Bf you want to know when the hippie dippy peace and love period endedi, when decadence started overlapping the innocence, it was 1969, when three events led to the beginning of the end. The Charlie Manson murders showed that a lot of dangerous people had infiltrated the flower children. Then there was the Rolling Stones concert at Altamont where con-certgoers were beaten, and in one case killed, by Hell's Angels hired to provide security.

On the musical side of things, it was the release of the first two Led Zeppelin albums, in February and November of '69, that turned the peace sign into devil's horns. After you heard John Paul Jones' bass line on "Communication Breakdown" from the first LP or Jimmy Page's monster guitar riff of "Whole Lotta Love" from "Led Zep you didn't want to sit in a field and listen to Richie Havens. You wanted to take your bellbottoms on down to the arena arid tap into that tuneful new aggression. With John Bonham's double bass drum making the earth rumble and the choirboy-from-hell vocals of Robert Plant reaching the stratosphere, Led Zeppelin had a deeper bottom and a more soaring high than any Stegmann wool felt cloys have a contoured coil; lixrtbed that molds to til your feel. Twain's new album is a largely vapid effort that layers bor band before them.

Jimi Hendrix pioneered a fierce virtuosity and Page's earlier band the Yardbirds had already explored the idea of making rhythm and blues for teenagers, but no band filled in all the spaces where sound could go like Led Zep. But the band had its drawbacks, as evidenced by the oft-tedious "BBC Sessions" double disc, which hits stores today This is the group, after all, that gave us "The Lemon Song" (thankfully included here only as a snippet in the middle of "How Many More Like so many great bands, they didn't seem to have a full understanding of why they were so appealing, as their '69 sets favored often-turgid blues workouts to brilliant pop moments like "Living Loving Maid" and "Good Times Bad Times." "Communication Breakdown" is one of Led Zep's shining moments, but with three versions included here and two each of "You wood or Kathy Mattea, Twain barely casts a shadow. John T. Davis CD. Neighborhood: Besides the new Led 3105 Guadalupe (Next to Whetitsville Omp) 512-476-5110 rowed guitar licks (a pinch of Tom Petty here, a smidge of Beatles there) be-; Zeppelin double disc, other releases tween lyrics that rival a Hallmark greeting card for LS in stores today include "Reverb by Austin's Derailers (Sire Watermelon); "Live" by Erykah Badu (Universal); "The Capeman" by Paul Simon (Warner "Re-Load" by Metallica (Elektra).

emotional depth, complexity and fresh insight love keeps me alive You're all I need to Be a winner be a star Be happy to be who you Eddins conducts ASO with focus and flourishes SPRUCE THEE IN A DAG Artificial tree 24" tall with 50 tips. All tied up with pretty red velvet bow. Decorates nicely. We have all the trims you need. Now KUNDtB Of AffinClAl TTttES WUUIIi Maty Sin to 9 R.

Symphony review marked with dramatic pauses and other romantic indulgences, perhaps taking leeway from Mozart's forward-looking hyperdramatic first movement. When he got to go it alone in the first movement cadenza, the release of pent-up tension flung Eddins further out of Mozart's stylistic orbit into Chopin and Liszt's, until he even was exploiting the modern con-. cert grand pedaling for special When there was a break in his pianistic responsibilities, Eddins leaped into action as a conductor, transferring the physicality of his musicmaking from the piano to his fellow musicians, who dug in that much harder. However, that also emphasized the seams between passages. But Mozart can take all of this, and it mostly worked because Eddins knew exactly what he wanted and had the chops to pull it off.

brought out expertly when it reappeared in many disguises. Mozart's Piano Concerto No. 20 is a regular part of Eddins' repertoire, and it showed. The piano (with lid removed) was rolled into the midst of the reduced orchestra so he could sit in the traditional conductor's spot, but with a piano in front of him. His orchestral interpretation was mostly straight and classical, while his piano playing was -SaUalf Coupon LJLALJ1 Res.

79 Top size butt. Many vanetiet and colon, carry, mtd and tatt season btoomcrs. to. 80 final chord, a joyful enough shout, carefully scaled to proportion. Eddins expressed ambivalence about Shostakovitch's most popular Fifth Symphony and regarded his first performance of it here as a chance to come to terms with it.

If apprehensions remained, you couldn't tell. Eddins didn't get caught up in extra-musical intrigues and mostly took the work at face value, showing remarkable clarity, supple control and structural integrity although he might be faulted for giving the work too happy an ending. The main theme of the first movement moves forward two notes at a time, the significance of which Eddins 9 Coupon By Jerry Young Special to the American-Statesman Regardless of whether the Austin Symphony Orchestra hires William Eddins as its new music director, his Friday night concert at Bass Concert Hall showed he is a musical force the world will hear a lot from in the next millennium. Rarely are conductor and orchestra so responsive to one another. It showed up in little things.

He conducted Bartok's "Romanian Folk Dances" without a podium, and he conducts without a baton. He uses his vast vocabulary of nods and flourishes, contractions and extensions succinctly, and as animated as he is, he never seemed to be putting on a show. There is a tendency to play the "Romanian Folk Dances" a little coarsely but Eddins focused on the delicate string timbres of the reduced orchestra, spicing each dance with a woodwind or two, and letting us hear each individual player. He gave musical value to the pauses between the dances and withheld the climax until the Reg. 79 pa Cwcrsecd your lwn now for a green liwn all winter.

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