Weekly Wire

July 8 - July 14, 1997

Music

Pressure Drop
The re-birth of reggae. [2]
Christopher Gray

Pop'll Free You, Too
If all of Papas Fritas' music sounds familiar, that's because it's built on our culture's popular music bedrock. [3]
Roni Sarig

Music Feature 1
Supersuckers with The Drags and Jal Lure. [4]
Michael Henningsen

R-E-S-P-E-C-T
Austin's dream of a legitimate hip-hop scene is taking shape. [5]
Tim Stegall

Row Model
A tribute to Hazel Smith, a Music Row veteran who's still quite the maverick. [6]
Beverly Keel

Rhythm and News
New Orleans music news and reviews. [7]

Tiny Tunes
Various Artists The Monterey International Pop Festival: June 16, 17 and 18, 1967(Rhino) [8]

Rhythm & Views
Combo Chameleon, Hanson, John Fahey. [9]

Live Shots
Performance reviews of Peter Tork & James Lee Stanley, Link Wray, Soulhat 3, and more. [10]

Showoff
Dave Hall and Cold Cold Hearts with Papas Fritas and the Rondelles. [11]
Michael Henningsen

Now What?
A Web link page chock full of resources, recommendations, and staff picks pertaining to the subject of this section. [12]

From The Vaults

Soul Man
Grover Washington Jr. captures pure elegance. [06-20-97]
Michael Henningsen

Destinations Unknown
The Latest sounds from Trans Am, The Sea and Cake, and Ben Folds Five. [06-06-97]
Noel Murray


S umming up an entire musical style and evaluating its current state takes writers who are really willing to put themselves on the line. This week's music section features two such scribes. Their targets: reggae and hip-hop. Refreshingly, the authors mix so much context, detail, and perspective into their narratives that the stories almost take on the texture of anthropolgical studies. At one point someone will explain that reggae is Jamaica's own form of country music, noting the popularity of artists like Patsy Cline in reggae circles; elsewhere, Bob Marley's demise and what it means (or doesn't mean) for reggae is compared to Sid Vicious and punk. Only when writers allow themselves to make these sorts of connections can they begin to capture music with words.

That reminds me of the quote, "Writing about music is like dancing about architecture." I don't know who said it, but if I did I'd like to ask him or her: Is it really so difficult to dance about architecture? Haven't you ever watched people play charades? I know I could tell the difference between the Stonehenge dance and the Sears Tower dance. That said, we've got a lot of dancers in this issue of Weekly Wire. If they're not comparing Boston-area popsters Papas Fritas to the spirit of truth or the taste of fast food, they're comparing the Supersuckers' latest release to trailer parks and dusty roads. We've even got a tribute to one of Nashville's finest old dancers, a journalist named Hazel Smith whose fancy footwork continues to shake the foundations of buildings upon which she pirouettes. Have I extended this metaphor far enough? Time to hang up my dancing shoes?

That's fine, my legs are sore anyway. Just remember that Weekly Wire has everything from ballet about warehouses to moshing about coliseums. A sampling of our other new steps:


Talk Back
If anything in this section offends, annoys or perturbs your senses, here's your place to scream like an angry punk rocker.




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