Consumable Online Older Reviews, sent out before the official subscription list. REVIEW: Bryan Adams, _So Far, So Good_ - Bob Gajarsky REVIEW: Chipmunks, _Here's Looking At Me!_ - Bob Gajarsky REVIEW: Culture Beat, _Serenity_ - Bob Gajarsky REVIEW: Def Leppard, _Retroactive_ - Bob Gajarsky REVIEW: Go West, _Aces and Kings, Best Of_ - Bob Gajarsky REVIEW: His Boy Elroy, _His Boy Elroy_ - Bob Gajarsky REVIEW: INXS, _Full Moon, Dirty Hearts_ - Bob Gajarsky REVIEW: Manic St. Preachers, _Gold Against The Soul_ - Bob Gajarsky REVIEW: NKOTB, _Face The Music_ - Bob Gajarsky REVIEW: Various Artists, _No Alternative_ - Bob Gajarsky REVIEW: Tom Petty, _Greatest Hits_ - Bob Gajarsky REVIEW: Soundtrack, _Philadelphia_ - Bob Gajarsky REVIEW: Survivor, _Greatest Hits_ - Bob Gajarsky REVIEW: US3, _Hand On The Torch_ - Bob Gajarsky REVIEW: Vinyl Devotion, (Demo) - Bob Gajarsky REVIEW: Weird Al Yankovic, _Alapalooza_ - Bob Gajarsky REVIEW: Kim Wilde, _Singles Collection_ - Bob Gajarsky REVIEW: Wonder Stuff, _Construction for the Modern Idiot_ - Bob Gajarsky --- BRYAN ADAMS With the holidays fast approaching, labels often release greatest hits albums for established artists. This year's crop includes Bryan Adams and his 14 song compilation, _So Far So Good_. Adams, who first signed with A&M Records back in 1979, first broke on to the charts in 1982 with "Lonely Nights". 1983's _Cuts Like A Knife_ firmly broke him in the United States, and 1985's _Reckless_ established him as a household name. _Into The Fire_, released in 1987, was a bit of a commercial letdown, but Bryan returned back to the limelight in 1991 with the theme for the remake of Robin Hood, "(Everything I Do) I Do It For You". This #1 single broke records all around the world, including Britain, where it logged a record-setting 16 weeks in the top position. With a wealth of material to choose from for this single disc compilation, it was inevitable that some worthy songs would be left off. With the exception of "Heat of the Night", _Into The Fire_ is completely ignored, as is his work before _Cuts Like A Knife_ (including "Lonely Nights"). "One Night Love Affair" and "Thought I'd Died and Gone To Heaven" are also excluded, as is the one-off rarity "Diana". But, enough on what's left off. Thirteen previously released songs are included here, rockers from "Cuts Like A Knife" through "Heat of the Night" and ballads from "Straight From The Heart" to "Heaven" and a new ballad, "Please Forgive Me", produced by Mutt Lange. Every song is immediately recognizable from the large amount of airplay Adams has received over the years. The anthematic "Kids Wanna Rock", a track from _Reckless_, is the only non-single included on the compilation. Those who only like the harder side of Adams on this greatest hits compilation will be slightly disappointed. But, if you're looking for a holiday gift for that special someone who loves a mix of rock and power ballads, _So Far So Good_ could be the perfect solution. Track listing: Summer of '69, Straight From The Heart, It's Only Love, Can't Stop This Thing We Started, Do I Have To Say The Words?, This Time, Run To You, Heaven, Cuts Like A Knife, (Everything I Do) I Do It For You, Somebody, Kids Wanna Rock, Heat Of The Night, Please Forgive Me. --- CHIPMUNKS It was 1958 when Ross Bagdarsarian took his recorded voice and sped up the playback. Now, Alvin and the Chipmunks are back in a 35th anniversary compilation, _Here's Looking at Me!_ This release is designed to capitalize on revitalized Chipmunks events, including a network special late in 1994, new videos and book releases and the broadcast of classic and new Chipmunk epsiodes and new prime time specials on the USA Network. Included here are the Chipmunks timeless classics, "Witch Doctor" and "The Chipmunk Song". The version of "Leader of the Pack" is also good for a laugh or two. Unfortunately, the novelty quickly wears thin. While some might say that Billy Ray Cyrus' "Achy Breaky Heart" sounds better in a high-pitched voice, it becomes difficult to listen to the entire album at one sitting. And, the Chipmunks songs which actually DID hit the charts (including "Alvin's Harmonica") are left off in favor of more recent tunes, such as "Beat It", "Uptown Girl", and "Express Yourself". This can only be in an attempt to garner younger "fans" of the Chipmunks at the expense of older ones. In conclusion? With the revitalization of the Chipmunks on television, I'd only recommend the Chipmunks _Here's Looking at Me_ to people who have children under the age of 10. It's sure to be a hit with the kids. Track listing: "We're The Chipmunks", "Witch Doctor", "Girls Just Wanna Have Fun", "Let's Go", "Uptown Girl", "Beat It", "Wooly Bully", "Leader of the Pack", "The Chipmunk Song", "Express Yourself", "On The Road Again", "Achy Breaky Heart" --- CULTURE BEAT The common gripe about most dance albums is their lack of depth and variety. Many artists are one-song wonders with one catchy beat that grows old quickly. Culture Beat is hoping to avoid that tag with their recent release, _Serenity_. Combining sounds that created international fame for groups like Snap and Technotronic with a techno backbeat, Culture Beat has created perhaps the dance album of 1993. "Mr. Vain", the first single from _Serenity_, was a worldwide smash, topping the charts across Europe and Australia. The song uses an almost identical beat as Snap's 1991 smash, "Rhythm Is A Dancer", so its sound is familiar to U.S. audiences. Currently zooming up the pop charts, it seems likely to achieve top 10 status. _Serenity_ is Culture Beat's second U.S. album, following up 1991's _Horizon_. That album gave the band some inroads at nightclubs, but it took the release of "Mr. Vain" for the band to break things wide open. The musical backbone of Culture Beat is Torsten Fenslau, who was the resident DJ at the famed "Dorian Gray" disco at Frankfurt Airport. Unfortunately, Fenslau died in an automobile accident in Germany on November 6, 1993. The vocal part of the group (New Jersey native, rapper Jay, and London native Tania) is continuing onward, and is actually touring the states at this time. Of the other songs on the album, "Adelante" has a driving beat designed to get you out of your seat, with Jay repeatedly screaming "La puerta esta abierta!" ("The door is open!"). "The Other Side of Me" has the same driving beat as "Mr. Vain", but instead of singing in-your-face, it remains a little more laid back. "Mother Earth" has some keyboards reminiscent of New Order and "Anything" uses a melody that recalls the girl groups of the '50s and '60s. The only dull point of the album is the slower song, as "Key To Your Heart". So, in conclusion? This album packs no unpleasant surprises; keyboard driven music made for a dancing generation, created with a European sound in mind. Guaranteed to make entire legions of people get up and dance, now! --- DEF LEPPARD It has been said that the true sign of a band's talent can be traced to the quality of their "throwaway" songs. Def Leppard make their claim for greatness with their latest release, _Retroactive_, a collection of B-sides and previously unreleased tracks. The album starts out with "Desert Song", a track originally written during the _Hysteria_ sessions. With some Indian influences throughout the song, and sounding similar to a slower version of "Bringin' On The Heartbreak", Joe Elliott and the band open this latest release with a musical nugget inspired by the late Mick Ronson's battle against cancer. Ronson is also the reason for one of two cover songs on the album, "Only After Dark". One of Joe Elliott's favorite songs, it was recorded as the B-side to "Let's Get Rocked", and has been re-recorded for this album. Not as loud as one would expect from the typical Def Leppard song, but a solid track nonetheless. The other cover to appear on _Retroactive_ is glam-rockers Sweet's "Action". Although not as good as the original, this song won't make a listener shut off his stereo. The first single, which has been tearing up the airwaves, is "Two Steps Behind". Two versions of this track appear on the compilation; the radio-version and a full-fledged electric version. The latter version is a nice twist from the already-familiar acoustic version. Another ballad, and a likely second single, is "Miss You In A Heartbeat". I got goosebumps when I heard the opening to this song, and expect it to be a monster smash in either its acoustic or electric form. It also is included in an electric version, and as part of a "hidden track" at the end of the disc. There are a total of 11 different Def Leppard gems, ranging from 1978 to 1993, on _Retroactive_. Listeners won't find themselves asking "What happened to the songs that didn't make the albums?" Instead, the common voice will echo on the power of an album filled with unreleased songs and B-sides. Buy this album. Now. --- GO WEST Go West have a sound that seems as if you've heard it a hundred times before, while still retaining a touch of originality. In the wake of the holiday season, _Aces and Kings: The Best of Go West_ has been issued. This crafted pop disc highlights their three album, ten-year career. The standard track selection for a greatest hits album usually includes all a group's hits, a couple remixes of hits, a couple hard-to-get tracks, and a brand new song. _Aces and Kings_ successfully follows this formula to the letter. All of their American singles, from remixes of "We Close Our Eyes" and "Call Me", to recent hits "What You Won't Do For Love", "Faithful" and "King of Wishful Thinking" are included on this 17 song compilation. Two songs not on any previous Go West albums appear here; "One Way Street" from the soundtrack to Rocky IV and "Never Let Them See You Sweat", from "White Men Can't Jump". Unfortunately, the new single appearing on here is a cover of the classic "Tracks of My Tears". The Go West take on this song is a bit weak, and leaves the listener yearning for the heartfelt power of the original. Which tracks *could* have been included? Only one U.K. single, "True Colours" (peak position: #48) is omitted from the compilation. Given the length of the album (more than 78 minutes), this omission is quite excusable. While not breaking any new ground, Go West continue to produce quality pop songs. Overall, anyone familiar with the feel-good sound of Go West's bigger American hits ("King...", "Faithful") will enjoy this album. --- HIS BOY ELROY Seattle, Washington has been the breeding ground to many of the hottest bands around. However, in proving that there are other bands from the Seattle area, His Boy Elroy has taken a decidedly different approach to receiving airplay. Rather than cashing in on the grunge-fad, main man Johnny Fly has produced an album that leans heavily on the psychedelic 90's sound from British artists such as Jesus Jones, E.M.F., and the Soup Dragons to generate a new, catchy sound. The first single from the _His Boy Elroy_ album, "Chains", weaves accessible music with lyrics strife with references to Nancy Friday's classic book of female sexual fantasy, "The Secret Garden". Phil Harding and Ian Curnow, who worked on the recent Jesus Jones album, have remixed "Chains" to bring the most out of the song. In the song, "Fly", His Boy Elroy produces a song that sounds like a combination of George Michael meets "Willie and the Hand Jive". An odd combination, to be sure, but not unlike others on the album. "Free" utilizes a "Theme From Shaft"-style introduction, and "Receiving Me" uses the distorted, jangly guitar sound prominent that brought the Charlatans and Stone Roses fame. The entire album, which also includes potential future singles "Fade To Black" and "Don't Leave Me", doesn't have a weak track from start to finish. Not unlike Trent Reznor of Nine Inch Nails, Fly has bolstered the group's lineup while on the road. A full fledged band is touring with Fly to help re-create the sound produced in the studio. A summary? The eponymously titled debut is simply one of this year's must-get purchases. --- INXS The recent release of INXS' _Full Moon, Dirty Hearts_, the band's 10th album, elicited comments of "ANOTHER INXS album?" In an era where it is commonplace for an act to take two years off before producing a mediocre record, INXS have produced an album a year with no weak tracks. The latest release is no exception. The first single, "The Gift", features a distorted bass line behind lead singer Michael Hutchence's voice. Surprisingly, this is not even near the best track on the album, nor the most unique. Those honors belong to tracks that include people other than INXS. "Please (You Got That...)", which features Ray Charles on co-lead vocals, is the band's acknowledgement of the power of R&B and Motown. This song is what Michael Jackson and Mick Jagger wished "State of Shock" could have been, and that is meant only as a compliment for the boys from down under. Chrissie Hynde is the other guest vocalist, and she is featured on the title track. This bluesy track is different than the usual INXS material, but comes off without a hitch. INXS continue to tastefully explore their own musical limits without venturing into poor-sounding territory. "Cut Your Roses Down" features a soul twist, some horns, and the classic INXS guitar sound. This track epitomizes the sound that INXS target. Andrew Farriss, one of the writing forces behind most of this album, explains: "Having started out in the late 70's, we think it's funny that punk music and disco are so hip and groovy now. That's what we've always been; INXS are raw guitar and dance music together." "Time", a probable second single, resembles the song "Kick" (from the album of the same name), but with a more refined sound to it. The poignant ballad, "Kill The Pain", will never be mistaken for a single but eerily provides the band with another killer (no pun intended) track. And, the final track, "Viking Juice", has Hutchence reading poetry to a soul feel. Brass stabs and a manic sense of urgency surround this track. INXS have not put out a bad album in the last 10 years. Better than either of their last two albums,_Full Moon, Dirty Hearts_ continues this band's trend of solid albums from beginning to end. --- MANIC ST. PREACHERS _Gold Against The Soul_, the Manic St. Preachers (Columbia) second album, has finally reached the American shores. After their first album produced an amazing 6 top-40 U.K. hits, the Manics have decided to try and conquer the U.S. Unfortunately, their sophomoric release falls short of the high expectations produced by their first effort, _Generation Terrorists_. The album opens up with "Sleepflower", pumped up by a guitar reminiscent of Randy Rhoads or Black Sabbath. "La Tristesse Durera (Scream To A Sigh)", the album's first single, takes on an almost acoustic sound for the first minute of the song before launching into an attack on those who use personal tragedy to gain pity from others. "From Despair to Where" highlights the Manics at their best - straight-forward guitars, and drums backing the distinctive vocals of James Dean Bradfield. The almost-classic "Life Becoming A Landslide" slows down the tempo just a bit, and is just a touch away from being the song to finally break the Manics in America. Biting poignant lyrics are still the order of the day, as bassist Nicky Wire and rhythm guitarist Richey James compose songs around escaping reality with drugs, Tourette's syndome, and cries of anguish from the British mining towns. A parental advisory (for explicit lyrics) is included for good measure. With a sound and image that echoes back to the Clash, New York Dolls, and Sex Pistols, _Gold_ rocks harder than had previously been expected. Does it break any new musical barriers? No. Does it grab the listener and not let go? On select tracks like "Landslide", "Tristesse" and "Despair", the answer is an unequivocal yes. It appears likely, and unfortunate, that American audiences will probably never get a chance to hear this album. However, fans of driving metal or of the first album will not be disappointed by the Manic St. Preachers _Gold Against The Soul_. --- --- NKOTB Before New Kids on the Block changed their name to NKOTB, the formula for success was simple: put a couple of bubble-gum pop songs together with a few ballads, add a couple dance steps, and watch them soar up the charts. However, after breaking with producer Maurice Starr and enduring a worldwide backlash against them, NKOTB don't have it easy anymore. So, it's time for the five men (yes, men) from Dorchester, Massachusetts to _Face The Music_. The first single, "Dirty Dawg", is not garnering the attention it should receive. Sounding like Color Me Badd with a faster beat, NKOTB sample the James Brown "Papa Don't Take No Mess". Granted, James Brown isn't the most original person to sample, but you've got to start somewhere. And, taken as a *song*, instead of "New Kids", it's not bad; a driving beat and a catchy hook. "You Got The Flavor" makes NKOTB sound like Portrait, while being a weaker song than Black Sheep's "Flavor Of The Month". The title isn't the only thing that's similar between the two songs; the refrain sounds quite similar to the Black Sheep tune. However, it's got a beat, and is a bit stronger than almost all of the group's previous tracks. On the album's title track, "Face The Music", NKOTB say they've grown up. Unfortunately, these few songs are not indicative of the entire album. The hip-hop songs make NKOTB sound like an R&B act trying to break into the pop scene, but the album is laden with nods to their multi-million selling past as teenage heartthrobs. Fans not into hip-hop will find immediate familiarity with the ballads "If You Go Away" and "Never Let You Go". Although the album includes producers such as Teddy Riley (Guy, SWV, Whitney Houston), Narada Michael Walden (Whitney Houston, Mariah Carey) and Walter Afanasieff (Mariah Carey, Michael Bolton), the ballads sound almost identical to tracks with Starr such as "Please Don't Go Girl". NKOTB have stepped away from Maurice Starr to their self-proclaimed hip-hop roots. Although most people can only dream of NKOTB's past album sales, their previous success will continue to hang around their neck like an albatross until a formal break from the past is made. _Face The Music_ should be viewed as a maturation as NKOTB discover for the first time what sampling and a groove can do. If they scratch the ballads and continue growing, NKOTB could evolve into a successful hip-hop act. --- NO ALTERNATIVE _Red Hot and Blue_ and _Red Hot and Dance_ were two of the first successful AIDS compilation albums. _No Alternative_ is the third in a series of AIDS awareness and fundraising productions by the Red Hot organization. The song which is receiving the most airplay is Soul Asylum's cover of the Marvin Gaye tune "Sexual Healing". Coupled with the Minneapolis band's recent popularity, this track has been crossing over radio formats in a huge way. It lacks the raw energy which Soul Asylum is known for, but puts a neatly refined pop twist on the song. Other interesting covers include the Goo Goo Dolls rocking rendition of the Rolling Stones' "Bitch" and Uncle Tupelo covering John Fogerty's "Effigy". My favorite track from the disc is an uncredited song by Nirvana, "Verse Chorus Verse". This track was rumored to have been a potential single for the _In Utero_ disc, but was put on this compilation instead. It is reminiscent of "Lithium" from their _Nevermind_ album. More tracks appear on here that deserve mention. Pavement rips apart R.E.M. and express their distaste for the boys from Athens in "Unseen Power of the Picket Fence", Soundgarden continues the "Seattle sound" on "Show Me" and Matthew Sweet and Bob Mould keep up their quality recordings with "Superdeformed" and "Can't Fight It", respectively. Cassette buyers will get more for their money, as extra songs by Jonathan Richman and Sonic Youth grace the tape version. Those frustrated with the lack of variety of music on radio will take special interest in _No Alternative_. With the exception of "Sexual Healing", and possibly the Nirvana track, your local top 40 station won't touch this album. And for plenty of fans out there who like songs just a bit off the beaten bath, there will be no alternative to this album. --- TOM PETTY Tom Petty & the Heartbreakers have been putting out successful albums since the mid 1970's. Their latest release, on MCA, is an 18 song compilation simply titled _Greatest Hits_. The Heartbreakers first breakthrough song, "American Girl", sounded so much like the Byrds that their lead singer, Roger Mcguinn took to performing a cover of it. But the Heartbreakers don't just sound like the Byrds. It's easy to forget that their music went against the disco sound of the late 70's so much that their albums were regularly appearing on the alternative, College Music Journal (CMJ) charts. Petty's Dylan-esque voice comes through on some of the earlier, rougher singles such as "I Need To Know" and "Breakdown". The band is truly the only 1980's representative of "Southern rock". Enough on the band...how about the music? Well, the collection contains 16 previously issued tracks, and 2 new ones, "Mary Jane's Last Dance" and a cover of the Thunderclap Newman song, "Something In The Air". "Mary Jane..." represents a slight departure from Petty's recent work, as Rick Rubin (Beastie Boys, Def Jam) was brought in to handle production chores. This leads to a more "spontaneous" sound than Petty's recent work, with the standard Heartbreakers sound. "Something...", unfortunately, doesn't represent much more than a moderate album track, at the expense of earlier hits. However, "Something" is the first time that Howie Epstein and Petty sing lead vocals throughout the entire song. Refined (Jeff Lynne-produced) singles such as "Free Fallin", "I Won't Back Down", and "Into The Great White Open" help define the recent Petty sound, while "Don't Do Me Like That", "Here Comes My Girl" and "You Got Lucky" remain indicative of the early-80's Petty releases. What's been left out? Two singles from the _Southern Accents_ album ("Rebels", "Make It Better"), "Woman In Love", "Change of Heart", "Jammin' Me", and their cover of the Byrds "So You Want To Be A Rock and Roll Star". But with 18 songs already included, the question remains - what could be left out? Nothing except "Something In The Air"; it is an excellent representation of Petty's 20 years in rock. My conclusion on this disc? There's no surprises here, which is good. The new tracks maintain Petty's consistent track record of quality songs, and MCA has included a wide variety of Petty tracks while including his hit singles. Anyone who is a Petty fan, the Traveling Wilburys, or the Byrds will know what to expect here and be competely satisfied with this tasteful holiday offering, Tom Petty and the Heartbreaker's _Greatest Hits_. Track listing: American Girl, Breakdown, Listern To Her Heart, I Need To Know, Refugee, Don't Do Me Like That, Even The Losers, Here Comes My Girl, The Waiting, You Got Lucky, Don't Come Around Here No More, I Won't Back Down, Runnin' Down A Dream, Free Fallin', Learning To Fly, Into The Great Wide Open, Mary Jane's Last Dance, Something In The Air --- SOUNDTRACK: PHILADELPHIA With the new year comes new movies, and with the arrival of new movies comes new soundtracks. The first soundtrack, with blockbuster performers, comes in the shape of the Tom Hanks/Denzel Washington film _Philadelphia_. The soundtrack opens, as does the movie, with Bruce Springsteen's "Streets of Philadelphia". With an almost acoustic, quiet sound similar to "My Hometown", Bruce harkens back to the early 80's with a somber, thoughtful tune that captures the spirit of the film in just 4 minutes. The song keeps growing and getting stronger with each listen. Its place at the beginning of the Tom Hanks film signifies that this is no comedy. Two other songs from the soundtrack truly stand out; Peter Gabriel's previously unreleased "Lovetown" and Neil Young's "Philadelphia". Both tracks from these superstars are slow and well-paced, giving the introspective music afficionado a great time. Pop fans beware; the aforementioned three tunes aren't up-beat, dance songs, but carefully crafted combinations of thoughtful music sung with respectful lyrics. The Spin Doctors' cover of the Creedence Clearwater Revival favorite, "Have You Ever Seen The Rain?", comes up just a little bit short. It's good, and doesn't lapse into a Steve-Millerish rendition of the song; but it just doesn't have the extra oomph to carry the song over the edge. Cover songs, I feel, should either be different workings of a song, or take a song to new heights. Unfortunately, the Spin Doctors do neither of these, and leave the listener wanting to listen to John Fogerty. The same problem plagues two of the other covers on the album, the Indigo Girls "I Don't Wanna Talk About It" (originally by Crazy Horse; also by Rod Stewart), and Sade's "Please Send Me Someone To Love" (originally by Percy Mayfield). Sade fans will enjoy her version of the Mayfield classic, but other listeners will wonder if it was really necessary; I don't think so. The one new song which IS good is by Pauletta Washington. Titled "It's In Your Eyes", this track established Washington as being able to carry a soft tune and turn it into a romantic croon. I feel _Philadelphia_ comes a couple songs short from falling into the "must-buy" category of albums. The originals by Gabriel, Springsteen, and Young carry the soundtrack, but the covers by younger artists just fall short of the mark. Track listing: Streets of Philadelphia - Bruce Springsteen; Lovetown - Peter Gabriel; It's In Your Eyes - Pauletta Washington; Ibo Lele (Dreams Come True) - RAM; Please Send Me Someone To Love - Sade; Have You Ever Seen The Rain? - Spin Doctors; I Don't Wanna Talk About It - Indigo Girls; La Mamma Morta - Maria Callas; Philadelphia - Neil Young; Precedent - Howard Shore --- SURVIVOR When you think of Survivor, theme songs to two Rocky movies ("Eye of the Tiger" and "Burning Heart") immediately come to mind. Former lead singer Jimi Jamison has had a non-descript career since leaving the band, with his keynote being the theme song to the television show "Baywatch". But, Jim Peterik and Frankie Sullivan, the writing genius behind the band, have still remained together. And, a reuniting with original lead singer Dave Bickler has caused a release of the Survivor compilation, _Greatest Hits_. This twelve song compilation features ten Survivor cuts spanning seven albums and three soundtracks. It also includes two new songs, "You Know Who You Are" and "Hungry Years". The two Rocky themes, which garnered the group the most attention and established a then-record for the largest selling single in CBS' Records history (for "Eye of the Tiger"), are included here. Most of the songs are familiar, and bring back a feel-good quality of the 80s rock that Survivor's sound captured so well. The poppy side of the band is included with "Is This Love" and "High on You", and the syrupy ballad side of "The Search is Over" is also here. However, this pop style is not altogether indicative of the Survivor sound. "Somewhere In America", taken from 1980's debut _Survivor_, includes Dave Bickler on lead vocals in a song similar to the sound of Steve Perry and Journey. "Poor Man's Son" and "American Heartbeat" both have deep down rock and roll roots with Springsteen-styled lyrics, "You Know Who You Are", which was released as a single without much fanfare, sounds surprisingly like Crosby, Stills, Nash & Young. "Hungry Years" has the musical poppiness of recent Genesis work without the Phil Collins vocals. This compilation was released earlier this year to reintroduce Survivor fans to original lead vocalist Dave Bickler, and welcome in a new era of Survivor hits. Unfortunately, it seems that the band has lost their original base from the early 1980's that expected a rock and roll, and not pop, sound. The sound is still there, with a mainstream accessability that everyone can accept. So, as a compilation that not only looks back to the 80s but harkens forward the rest of the 1990s, Survivor's _Greatest Hits_ proves it can fight back with the rest of today's music. Track listing: Eye of the Tiger, You Know Who You Are, Burning Heart, The Search Is Over, High On You, Is This Love, I Can't Hold Back, Hungry Years, American Heartbeat, Poor Man's Son, The Moment of Truth, Somewhere In America --- US3 Everyone is out looking for the next new thing, whether it be group, sound, fad, or what not. Sometimes, the next big thing comes out of nowhere, and just grabs ahold of you and won't let go. The next big thing is US3, and their debut album is _Hand On The Torch_. US3 (pronounced us-three) is the brainchild of Geoff Wilkinson and Mel Simpson, both jazz lovers who have envisioned the natural partnership of jazz and hip-hop rap. Two singles were released before the band was signed to Capitol Records, and offered the unlimited use of the entire Blue Note (jazz) library. This partnership has produced 13 tracks on _Hand_, including the debut single, "Cantaloop (Flip Fantasia)". Brilliantly combining laid-back rap with samples from Herbie Hancock ("Cantaloupe Island") and the Art Blakey Quintet ("A Night In Bangkok"), Cantaloop is the standard by which all other jazz/rap songs will be judged. Some of the great names in jazz history are tastefully sampled on this disc, including Lou Donaldson, Ronnie Wilson, Big John Patton and Donald Byrd. Theolonious Monk is sampled on "I Go To Work", which sounds like the rap Young M.C. only wishes he could do, and "Tukka Yoot's Riddim" incorporates Grant Green's "Sookie Sookie" with Jamaican-born rapper Tukka Yoot. "Eleven Long Years", which takes samples from Horace Silver's "Song For My Father" and Hancock's "Blind Man, Blind Man", is another standout track. However, US3 is not just a sampling/rapping studio project; the disc actually consists of 11 members (3 rappers) who not only can play jazz, but love the music. The rap on this album isn't "in-your-face" and boisterous, but beautifully webbed with the jazz to produce a sound completely different than of its jazz origin. I'm neither a huge jazz buff, not a great rap fan. However, US3 have combined these two forms of music into an irresistible format that will prove to be at the forefront of music. Do yourself a favor, and get _Hand on the Torch_ now. Your player won't thank you for the endless plays, but your mind and ears will be treated to a rare treat from the next real deal: US3. --- VINYL DEVOTION The sweet voice of Shalini Chatterjee and a twelve string guitar played by Richard Hardack are the constants throughout "Aren't You Bored California", one of two songs on the demo cassette from San-Francisco based Vinyl Devotion. Chatterjee wrote this track, which seems to claim as influences bands like R.E.M. and the Byrds. The lead vocals smoothly flow throughout; if Kim Deal (Pixies, Breeders) were taking sedatives, this is what she might sound like. Take a touch of Husker Du, circa 1984. Imagine the in-your-face guitars, without Grant Hart's drums. Add in a more sensitive Bob Mould, circa 1992. This combination gives you an idea of what "Biofeedback", the second song from the demo cassette, sounds like. Hardack's vocals resemble those of Johnny Lydon, and the guitars in this song will test the synchronization of your speakers. The other Vinyl Devotion material currently available is a 1992 single, "Sorry Isn't Good Enough"/ "Nobody Told Me". The lineup for the band for these two songs included Chatterjee on lead vocals, but includes part of the Loud Family/Game Theory pool of musicians; Gil Ray on drums, Paul Wieneke on piano, and Scott Miller on guitar and handling production chores. "Sorry" is a beautifully crafted tune, in the musical style of Lush or the Primitives, which will immediately capture the listener's attention. The lyrics tell a different story; "After wheels came motorcycles smeared with blood and scorn / Angels fighting for teenagers hardly worth to mourn / Sorry isn't good enough when there's time to think / in a million different places wallpapered in pink". Nothing fancy musically here, but quite enjoyable nonetheless. "Nobody Told Me" is a cover of the post-humously released John Lennon song, but with slightly different lyrics. Chatterjee and Miller have modified the words, such as "There's U.F.O.'s over New York, they look just like the Graf". Chatterjee's voice comes up a bit flat on this song, which should not be construed as a criticism of her overall talents. However, the spoken lyrical style required for this song doesn't suit her voice. When actual *singing* is required, however, Ms. Chatterjee more than holds her own. And Chatterjee doesn't just sing; she also plays lead and rhythm guitar, and has played with Kissyfish, Otis Ball and the Chains, and on the current Loud Family Release. And the group's name? According to Chatterjee, Vinyl Devotion does not refer to the band's love for vinyl, but instead refers to "people fooling themselves that they are obsessed with something". Good stuff, well worth listening to. And they're even playing in and around the San Francisco area. Interested parties may purchase either the 2-song demo cassette _Vinyl Devotion_ at $3 ppd., or the 45 single "Sorry Isn't Good Enough" at $4 ppd., from: Mitochondria Records P.O. Box 411122 San Francisco, CA 94141-1122 --- WEIRD AL YANKOVIC "Weird Al" Yankovic has returned to mock pop culture through his latest release, _Alapalooza_. The album's sleeve, and the first single, are both based on the blockbuster movie Jurassic Park. Parodying the Jimmy Webb classic "MacArthur Park" (covered by the Four Tops and Donna Summer, among others) may not have been the best move as a first single because of its lack of recognition by today's pop purchasers. Yankovic has always had the most success parodying hits of the moment ("Smells Like Nirvana", "Eat It", "Fat"), and this song goes against that trend. A better choice for a first single would have been "Bedrock Anthem", which medleys the Red Hot Chili Peppers "Under The Bridge" and "Give It Away" in a Flintstone setting, complete with the voices of Barney, Fred, and Dino. Another parody, "Achy Breaky Song", rips apart the big hit by Billy Ray Cyrus. All songwriting proceeds from this song will be given to a good cause, the United Cerebral Palsy Association, which might explain Cyrus' decision to allow Al's parody to be recorded. Weird Al's original songs have definite links to some of star artists. "Young, Dumb and Ugly" owes its guitar part to the Stones "(I Can't Get No) Satisfaction", "Frank's 2000" TV" bears more than a striking resemblance to R.E.M.'s "Texarkana", and "Traffic Jam" has an introduction similar to Prince's "Let's Go Crazy". Since Al has always surrounded himself with solid, talented musicians, these songs come off without a hitch. The inside cover features Al in his best Freddie Mercury pose, and continues the Queen trend on his polka-based cover of their classic, titled here "Bohemian Polka". Most of Al's previous polkas had been medleys of present-day songs, with unique takes on them. However, this polka has to rate as one of his weakest, and a weak spot on the album. Overall? It falls short of the benchmarks he had previously established for parody albums with _In 3-D_ and _Dare to be Stupid_. However, Weird Al is back, and the shining moments like "Bedrock Anthem" and "Achy Breaky Song", along with some clever originals, make _Alapalooza_ worth purchasing. --- KIM WILDE Kim Wilde has enjoyed worldwide sales of more than 6 million albums, and her previous 8 albums have yielded sales of more than 11 million singles. Her 9th and most recent album, _The Singles Collection 1981-1993_, gives a look back at her career and provides an answer to her lack of American success. "Kids in America", the first song on the compilation, still remains as one of the keystone songs from the early 80's. It has already appeared on the _Living in Oblivion_ collection and is a staple on many alternative stations throughout the country. Many of Wilde's songs have a slight tug to them, but only because they appear to be culled from other people's influences. This offers a sound that isn't substantially original, but yet it is well refined. One exception to this is "Chequered Love", which like "Kids in America" truly captures the spunk and glamour of the early 80's. Unfortunately, Wilde's sound is much more predictable after these two songs. Her duet with Junior, "Another Step (Closer To You)", is pure pop joy. A cover of the Supremes "You Keep Me Hangin' On", her only U.S. #1, is also included, as is the new cover, "If I Can't Have You". Wilde's voice, especially on her most recent songs, remind one of former Go-Go's lead singer Belinda Carlisle. Carlisle has achieved greater solo success in the United Kingdom than the States, so this may provide a slight answer for the lack of penetration in the U.S. market. Wilde's music has gotten lost in the States during the backlash to the early 80's British invasion, and the R&B explosion of the late 80's. _The Singles Collection_ compilation gives the pop listener a good opportunity to catch up on music which still sounds fresh today. Track Listing: Kids in America, Chequered Love, Water on Glass, Cambodia, View from a Bridge, Child Come Away, Love Blonde, The Second Time, Rage To Love, You Keep Me Hangin' On, Another Step (Closer To You), You Came, Never Trust a Stranger, Four Letter Word, Love Is Holy, If I Can't Have You, In My Life. --- WONDER STUFF _Construction for the Modern Idiot_, the Wonder Stuff's fourth release on Polydor, combines lead singer Miles Hunt's sneering lyrics with violins, banjos, guitars and keyboards for a sound that maintains the band's unique alternative edge. The album's first single, and unofficial title track, is "On The Ropes". "Ropes" reminds this critic of "Caught In My Shadow", a single from the _Never Loved Elvis_ disc. "Maybe it's a bit pompous to call what we do art", Hunt notes, "but the song's about the constant fight between holding onto your values and accepting the realities of the situation you've put yourself into". "Swell", one of the five catchy tunes on the disc, mocks those who long for the "good old days" with lines such as "Our good is lame, their bad is fame; it's just a circle game". The man-love boy association doesn't escape Hunt's wrath in "I Wish Them All Dead", where he spits "You know these fucks have the balls to use municipal halls/to bring their shit into light/It's time to pick up a knife... to see an end to their lives". A new positive style of critical lyrics has evolved throughout the disc, especially on "Cabin Fever", which can almost be seen as a follow-up (five years later) to "It's Yer Money I'm After Baby". In fact, this time around, Hunt tells the audience that "You're not funny / stuff your money", a direct change from the band's focus five years before. The other song which immediately caught this critic's ear is "Hot Love Now", which would be a good choice as a second single. Unlike any other Wonder Stuff song, this could be a track capable of opening the band up to larger audiences without alienating old fans. The only problem with this release is the choice of filler songs on the disc. Of the 12 songs on _Construction_, seven seem to fade in the background. New fans won't be brought into the Stuffies camp, but fans who have appreciated the last album (_Never Loved Elvis_), or people who like the sound of groups such as the Levellers or the Clash will have no regrets about purchasing _Construction for the Modern Idiot_. ---