March 10, 1989 The Manitou Messenger/page 13 PERSPECTIVE

• : =0- '- ^ ' ^ - 1 ' -C, ^ ' '"'• | Black Spot hammers toward big time

by Beth Pesoneii

For a band that has only been playing together for a year and a half, Black Spot is really going places, and fast. Their first CD and album, Bum, is enjoying wide sales in national distribution through Tower Record Stores, and within a month you'll be able to see their video for "Bad Ass Hammer" on MTV's alternative music show, "120 Minutes." The band is already writing songs for their second album, which, according to drummer Pat Bransteg, "will be bigger and better, more spy- type (referring to their live hit, XTC resurrects the 1960's 'Secret Enforcer')." This loud, hard and fast band consists of members Steve Bransteg by Gregg Schmitz (thought to be one of, if not the best guitar players in the Twin Cities), bassist Scotty Hell and lead singer XTC-Oranges and Lemons and screamer J. Christopher, in addi­ In a recent interview with the StarTribune, folkie Michelle Shocked remarked an album cover shouldn't sell the album as much as the tion to Pat Brantsberg (Steve's brother). Members of the band have record should sell the cover. The medium is the message. In one sense, it's welcoming that XTC's Oranges and Lemons had previous playing experience with underground bands Haywah, Rifle- doesn't completely sell its cover, a psychedelic drawing of the three sport, and Figures. Now they spend members with flourcsccnt fruit flowing from the guitars. Instead of an their time concentrating on "hard entire, double-length album devoted to psychedelic rock (which XTC rock music (not to be confused with covered on their Psonic Psunspot under their pseudonym, the Dukes of heavy metal, please) and having a Stratosphere). Oranges and Lemons is an homage to 60s pop music, good time." both in its texture and its themes. The CD/album "Bum" is consis­ This isn't new territory for the band, having mixed touches of tently driving throughout and em­ psychedelia and 60s pop on their last album, the Todd Rundgren produced Skylarking. However, where Skylarking was a dreamy and full phasizes a loud drum and mass mix and Steve's guitar talents, along with Black Spot members Scotty Hell, Pat Brantseg, J. Christopher and Steve Brantseg. of Rundgren's eccentricities, Oranges is more straightforward and better Christopher's harsh vocals. The al­ showcases Colin Moulding and Andy Partridge's evocative, thoughtful bum contains ten songs, while the Want." "How R.U." is an interesting group of musicians, Pat explains that it all away, though. lyrics. Compact Disc features an extra treat- song about Minneapolis rock bands. you "must have a sense of humor for Vou can see them for yourself to­ The albunt centers on two themes: updating the 60s ideal of un­ -a heavy duty remake 999's "Bad Ass Hammer," the band's Black Spot," especially considering morrow night, Saturday, March 11, conditional love and peace, while countering it with today's cynicism. Hcmocide," which alone makes the first video, is one of the strongest on he lists Motorhead and Spinal Tap as in an all-ages show at the Avalon The conflict between these two competing is what makes this a far bet­ relatively inexpensive CD worth the the album. It w.as the first song the some of his influences. Theater on Lake Street in Minneapo­ ter album than Skylarking. Instead of a simply sounding derivative, XTC buy. band ever wrote, and actually written Black Spot's live show contains a lis. Pat encourages everyone to come offers us a meaty, intelligent tussle between these competing philoso­ "Tuesday Morning" features a big before the group was formally to­ lot more energy than their recorded because the band is really geared up phies. rock'n'roll intro to start off the al­ gether. The video is filled with black material, which is not to say that the for the show, and may even be shoot­ On the love side, songs like "Merely a Man" and "The Loving" won- derfuliy evoke the all-encompassing love of 1967. Partridge does this bum. "Beacon from Hell" is a fairly and white live clips with brief shots album is not full of energy. The loud ing footage for their second video, self-explanatory story of a young of a building being destroyed. The live shows, though, pack a powerful "Bum." If you can't make tomorrow's with point blank statements ("And you know it's true/that with logic and love/we'll be lifting humanity higher!) and warnings to pessimists child. If you listen carefully to the group will soon be working on their punch and even feature a few sur­ show, Black Spot usually turns up ("The loving's strumming on your heart strings/ so loud you can't help third track, "Pretty Little Girl," you second video for the album's title prises from time to time-flames, for once a month at both 7th Street En­ but listen"). can catch a Devo rip-off at the very song "Burn." instance. The band also has an in­ try and the Uptown Bar. On the other end of the spectrum. Moulding takes on a defeatist at- end from that band's hit, "Girl You Although Black Spot is a serious credible stage presence. I won't give tidude toward the rise of cynism, as on "One of the Millions" ("I'm not akin to the 80s thing/where you look out for number one"). He sings, "I try to make my world a better place" (on "Cynical Days"), but he just can't manage to overcome the rest of the world. "Cousins" is heartwarming, but lacking morals The music also is a blend of gleaming, 60s pop and hard-edged, 80s post-punk. Thanks to the group's pop sensibilities, the songs are catchy llamc between Tom and Maria fiz­ the twinkling in his eyes make us and easily digestible. The vocals. Partridge's in particular, wrap around by Thomas Oscanyan "Cousins" is a pleasant, sometimes zles, and against all odds, Maria de­ wonder what he's up to next. heartwarming film. The newness of around the music and become a part of it, rather than just being an cides to spend the rest of her life Rosselini is innocently channing, love is superbly captured, but the extension. "Cousins," starring Ted Danson, is with Lany. and Sean Young is one of the finer consequences of infidelity arc not Oranges and Lemons rummages through our pop past and discov­ a fairly entertaining movie that is By this time you are thoroughly seductresses of this decade. Add adequately addressed. I left the the­ ers some modern treasures. It's as breezy as it is philosophic, making it a likely to be a crowd pleaser. confused as to what is going on. That Lloyd Bridges' riotous supporting ater having enjoyed the film, but nearly perfect pop :ilbnWi'AJ,K' tmrnow ir.di ... Based on Jean-Charles Tachella's is the one real problem with this role, and you have a better-than-av- feeling terribly guilty for accepting French film, "Cousin, Cousine," movie. The stoiy is cute, but the crage film. what had happened. "Cousins" takes us on a romantic characters are not always believable Fine Young Cannibals-TSfw? Raw and the Cooked journey through the pitfalls of an all- Lany and Maria must spend time to­ The Raw and the Cooked, Fine Young Cannibals' second release, too-perfect marriage between Tom gether to infuriate the chc -ting cou­ doesn't live up to the promise their debut album hinted at. The group and Maria Hardy (Michael Petersen ple, but fall in love themselves. In -OOQOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOQOOOD began as an off-shoot of the English Beat, whose influence could be and Isabella Rosselini) and the en­ the end, they become just as guilty as heard on that debut album. It was a winning combination of toned thusiasm and newness of an affair be­ Tish and Tom. down ska rhythms and burning soul, thanks to Roland Gift's amazing tween Maria and Larry Kozinski What happened to morality here? voice. (Danson). Maria tries to patch up her marriage The group's second albunt breaks away firom that sound, rather The film begins with the wedding for her child's sake but her husband than builds on it There are so many different styles here (hip-hop, 50s of Larry's aunt, where we find Larry's cannot stay faithful. There are too Folkies unite! guitar pop, pseudo synth funk) that FYC could be considered wife, Tish (Sean Young), seducing many complex relationships in this schizophrenic. Well, at least that would stand up in court as an excuse. Tom Hardy into the bushes. Back at film for the average moviegoer to Not to be mistaken, there are some really catchy tunes on this al­ the reception, meanwhile, Larry completely understand. It is never In the late 1960's, St. Olaf musicians would gather yearly to bum. The big pop hit, "She Drives Me Crazy," is spare, yet driving. The meets Maria and her daughter, quite clear how Tish is feeling, and put on a folk festival in the Pause. Due to various reasons, these melody, and lyrics, are easily embedded on the ears, making this a per­ Chloe. They converse and Tom is Maria's innocence is shrouded by fect radio hit. "I 'm Not the Man 1 Used to Be" Is a combination of light immediately taken with Maria. When her total lack of guilt and her some­ concerts were eventually abandoned. In April, SAC is hoping to funk and hip hop that glides smoothly along on this rhythm. And you Tish and Tom reappear together, times animalistic sexual attitude to­ stage a comeback for the folk festival. To make this work, SAC have to give the Cannibals credit just for remaking the Buzzcocks' both Maria and Larry suspect them of ward Lany. eeds you. If you play guitar, harmonica, accordian, or just quirky "Ever Fallen in Ixwe," supplanting the punk edge of the original infidelity, and the chase is on. The movie's saving grace, though, with an adequate dance beat. For the rest of the movie, Lany is the acting. Danson plays his usual -ing and would like to share your talents with the rest of St. The main ingredient to FYC's success is Gift's falsetto voice (just call and Maria spend a lot of time trying romantic character to the fullest, uti­ )laf, contact Gregg Schmitz (p.o. 1156, x3524 or x3275). Help him Boz Scaggs Jr.). With him, the songs have an emotion and texture to make the unfaithful pair realize lizing his years of experience playing that the music itself seems to lack. He can rise from a cool, Smokey their stupidity. Tom and Maria even­ Sam on "Cheers" and his part in •ring back an Olaf tradition while sharing a part of yourself. Robinson falsetto to an Otis Redding growl, as on "Crazy." tually reunite for their daughter's "Three Men and a Baby" to create the However good Gift Is, it's not enough to hide the weaknesses of The sake, while Tish leaves Cany to spend perfectly suave gentleman. His stage Raw and the Cooked The Cannibals simply spread themselves too thin, some time at her mother's. But the presence is stunning- subtleties like musically. They need to learn concentration and moderation, some­ thing which they did so well on their debut. Until then, FYC will defi- natclv 1

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