The Weekender from Wilkes-Barre, Pennsylvania • 36

36 THI WEEKENDER October 31, 2001 APP IISTFMIMB? songs and melodies, but Take it from us We want you to give this CD a whirl, so we're offering a FRKK CI) to the first readers to call the Weekender's Hotline at 570.831. 7325. Call for a free copy of 'Evolution' and leave your FULL name and phone number. Congratulations to last week's Tomcats Screaming Outside I sic that will draw you in w( 'Escape Enrique Iglesias Admittedly, the first single of Enrique Iglesias' fifth offering "Hero" has all the elements expected of a monster hit single: a charismatic vocalist, sentimental lyrics, and orchestration that runs the emotional gamut. In this case, it garners extra credit because it is presented by a Spanish crossover artist, so it reaches audiences of all ages, musical stylings and cultures.

Also, it arrives at a time when the public is eager to embrace heroes and anthems, in that order. But one great single does not a purchase make. Unless of course you buy. the cassette single. In fairness, there are a few other solid offerings like "If the World Crashes Down" and "Maybe." In fact, sometimes the other songs 4 start out strong, even if the lyrics are a bit simple, but by the end, they are overdone in any number of ways.

In 'Don't Turn Off The Lights," things take a bad turn with a repeated high pitched screeching. In "Maybe" it's the overemo-tional gasps and sighs. And why would anyone record another song entitled "I Will Survive?" Been there, heard that all before even if it is an entirely different rune. Any self-respecting copy editor will have issues with a song by the name of "She Be the One," complete with the line "She Be the Bomb." Just take a cold shower and omit the caveman jibberish, thanks. There's no denying that Iglesias' offering is danceable.

You can already hear the future club remixes of "Love volution- TO 'Gifts from the Dead' Various Artists P- en ct- L' I i to See You Cry" and "One Night Stand." But it might be prudent to hold out and listen to them on Friday nights out, in spinning class at the gym and of course, on the radio. Kristie Grier Weekender Editor fans are used to, but still a jj instrumentation here is beautiful, especially on tracks like "Ripple" and "China Doll." But the latter just can't reach the emotional high of the Dead's version; you'd much rather hear Garcia belt out the line "Just a little nervous from the fall" than hear violins and flutes take his place. "Magnolia" and "Mexicali Blues" are begging for Weir tne closest thing to a true "rocker" in the Dead, to inject energy into them. Credit Bogert and his crack compatriots with trying an original idea based on some old music, but pick this one up only if your a completist, a collector that needs to have all things Dead. Michael Lello Special to the Weekender Reach Michael at mlelloleader.net WRKC Radio King's College 1.

The Faint Danse Macabre 2. Bjork Vespertine 3Stereolab-SouiKH)ust 4. American Analog Set Know by Heart 5. Ivory Coast Clouds 6. Owte-Owte 7.

Cake Comfort Eagto 8. Homesick For Space 9. Moldy Peaches Moldy Peaches 10. New Order -Get Ready CO 1 i i 'Evolution' Narada Decade Two If the term 'new age music' leaves you running for the exit, you can probably stop reading right here. If however, you enjoy contemporary instrumental music, the Narada label has just issued a second ten-year retrospective of talented artists, called "Evolution 1992 to 2001." A trip through "Evolution" allows the listener to hear many of the styles featured on the label and decide which to explore further.

Narada specializes in serious music that paints a soundtrack for daily life rather than trying to interpret the world around us: Along with the highly successful Windham Hill label and Pure Moods collections, Narada has explored and expanded the genre to include ambient, smooth jazz, world beat, and a host of other intriguing sounds from around the globe. To showcase the label's newfound diversity, "Evolution" collects representative tracks from many of the Narada artists. From the flamenco rhythms of Oscar Lopez and Gloria Bendita to the cosmopolitan jazz of Warren Hill and Alex Bugnon, it's all about quality musicianship. While much of the music has a soothing meditational quality to it, there's substance and passion on every track. There's even a handful of vocal tracks, a rarity for the new age genre.

This two CD set quickly shifts from fiery flamenco and salsa (Cuba L.A.) to a frantic Celtic workout (Leahy) to the Native American chant of a piece called "Simuna" by Lila Downs. Piano pieces by Michael Gettel and Kostia are romantic and melodic, while Don Ross "Klimbin" is reminiscent of the late Michael Hedges, with its fingerstyle guitar complexity and circular melody lines. Someone like Ross is nowhere near a household name, but his work is steeped in dedication and an obvious love for th guitar. The most recognizable names in the Narada stable are Hans Zimmer, who has constructed boatloads of Hollywood soundtracks, David Arkenstone, who has had several successful releases on the label already, and Tony Levin, who is often featured as Peter Gabriel's bass player. Not exactly chartbusters, but they're all steady performers on the adult alternativenew age lists.

If you haven't explored the world of new age music, Narada's "Evolution Decade Two" is like reading the first chapter of a book of short stories that eventually draws you in, A very worthwhile listening experience. Kevin Krieger, Weekender Correspondent features genres that were the biggest influences on the Dead, especially Garcia: folk and bluegrass. This all-instrumental disc, which features guest work from Dead family members Vince Welnick (former Dead keyboardist), Merle Saunders (longtime Bay Area keyboardist and Garcia associate) and bluegrass violin legend and Dead friend Vassar Clements, strips Dead classics to their most basic elements, with banjo, piano, violin and other acoustic instruments doing the deed. And while this treatment shows just how strong these compositions are at any level, the relative lifelessness that haunts most of "Gifts From The Dead" reinforces the fact that only one group of musicians truly had the ability to breathe soulful-ness into these tunes: the Dead themselves. While the seven-piece group, especially guitaristbanjo player Pete Huttlinger and the guests do a fine job of interpreting some classics, most of the disc comes off as chamber music suitable for background fare at a supermarket.

During the opening strains of "Sugar Magnolia," you can't help but expect to hear an announcement like "Sheila to the deli counter please, Sheila to the deli counter." There's no arguing that some of the Joe Nardone's Gallery of Sound 1. DMX Great Depression 2. Incubus Morning View 3. Dave Matthews Band Live In 4. JaRule Pain Is Love 5.

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Unkin Park Hybrid Theory Although admittedly an acquired taste, there's no doubting the Grateful Dead are one of the most influential bands in rock history, arguably second only to The Beatles, Rolling Stones and Bob Dylan. A whole genre has sprung from their philosophy of open-ended playing, a scene which boasts superstar groups like Phish and the Dave Matthews Band among its ranks. Some groups, like Jazz is Dead and the equally talented Dark Star Orchestra, have made successful careers of interpreting the massive and beloved Dead repertoire, playing strictly Dead material. And the number and diversity of tribute albums to the Bay Area band is astounding, with artists from Elvis Costello to Henry Rollins to the Stanford University Marching Band contributing to "Stolen Roses," the fantastic, eclectic 2000 tribute to Jerry Garcia, Bob Weir, Phil Lesh, Mickey Hart, Bill Kreutzmann and company. So on the heals of the music community's payback to the Dead, an act even more prevalent since Garcia's 1995 death, comes "Gifts From The Dead." Interestingly, rather than showcasing styles spawned by the Dead, this album, assembled and produced by multi-instrumentalist Fred Bogert, With Sean Valentine Sponsored by Gallery of Sound 1.

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