Daily Staff Writer

“Hampton Comes Alive”

Phish

In a move typical of artists whose live music is frequently downloaded from the Internet, Phish fires its latest rocket in the battle against piracy of tunes.

“Hampton Comes Alive,” a boxed live set recently released by the group, captures the psychedelic, good-times attitude in a six-disc collection.

Recorded from a two-night stint in Hampton, Va. on Nov. 20 and 21, 1998, “Hampton Comes Alive” features almost six hours of non-stop rockin’ and rollin’.

This third live release from Phish (“A Live One,” 1995; “Slip Stitch and Pass,” 1997) is easily the best yet. “A Live One” centered heavily on Anastasio’s guitar solos, pushing the bass, piano and percussion to the rear, while “Slip Stitch and Pass” was entirely too brief for a live album, consisting of only nine tracks.

This effort combines solos from each group member and uniquely balances jams so that the listener can appreciate any instrument at any moment. Instrumental harmony is particularly impressive on the ten diverse covers spread evenly over the weekend performance.

Covers amazingly vary from “Nellie Kane,” an upbeat bluegrass tune released in the ’70s by Hot Rize, to Will Smith’s contemporary rap tune “Gettin’ Jiggy Wit It,” which Phish bookends with Argent’s “Hold Your Head Up.”

The first set appropriately kicks off with Gary Glitter’s famous, crowd-chanting “Rock and Roll: Part 2,” which incites “Hey” cheers from the crowd.

Phish also covers and puts its unique spin on Dylan’s “Quinn the Eskimo,” Hendrix’s “Bold as Love,” The Beatles’ “Cry Baby Cry,” Stevie Wonder’s “Boogie On Reggae Woman,” Beastie Boys’ “Sabotage” and Chumbawamba’s “Tubthumping” (if you can imagine the song being any more goofy).

It’s always nice to hear a new cover from the Vermont ensemble, but the greatest listening treat comes from the original Phish tunes on set lists that will floor even the most dedicated Phishheads.

Ranging from the classic rock sound of “Funky Bitch,” to the acoustic tune “Driver,” the weekend’s first set is the most impressive. Phish cleverly mixes short, vocal heavy songs with extended instrumental jams exceeding 11 or 12 minutes in length.

Live versions of the band’s latest studio release, “The Story of the Ghost,” add freshness to each concert.

The songs of choice are some of Phish’s older tracks. “Bathtub Gin” teases the listeners with its pauses and bounces the crowd with its catchy, circus-like melody.

Other old faves include the rambunctious “Stash,” a harmonic “Train Song,” the sweet funk of “NICU” and the pounding grand piano of “The Mango Song.”

Like many other performances, Phish involves guest performers such as Tom Marshall, who writes a lot of Phish’s stranger lyrics, on vocals in “Gettin’ Jiggy Wit It.”

For fans of live, hard jammin’ tunes, this two-concert collection is unbelievable and worth a dent in your checkbook.

If you are not a devoted Phish fan, the sticker price of $65 to $70 at retail stores is a little rich for the college pocket.

Regardless of price, “Hampton Comes Alive” is hard proof that a four-piece band can pump out solid music of any genre.

4 Stars

— Trevor Bleedorn

“Lushlife”

Bowery Electric

“Do not listen to this album while operating heavy machinery or while driving.”

A label bearing this statement needs to be affixed to every jewel case that contains “Lushlife,” the latest release from Bowery Electric.

Or, perhaps a public service announcement needs to be made. Those who suffer from insomnia should be immediately notified of a new product that is guaranteed to put anyone to sleep: this record.

If ever there was something that could be called the “anti-Vivarin,” this album would be it. No stimulant can possibly stand up to the computer-based duo’s electronic music.

No matter how a person would attempt to stay awake — whether it be popping caffeine pills, guzzling Mountain Dew or sipping a cappuccino — all attempts would fail if “Lushlife” was playing nearby.

This record is the bane of all-nighters and workers of the graveyard shift.

At first, the looped drum machine seems almost catchy. Almost. However, the beat never changes. It just repeats and repeats and repeats and repeats and repeats.

The lack of rhythm variety would not necessarily be a problem in some cases. In fact, it probably wouldn’t be an issue in most situations.

But it is a problem for Bowery Electric. Both the vocals and samples all sound exactly alike in every song and throughout the entire record, blending with the unimaginative drum loops.

Whole countries could be conquered in a day if the attacking nation only played this record over the airwaves prior to invasion.

The droning monotone of a Chemistry 178 lecture is more exciting than the lackluster vocals that grace many of the tracks on “Lushlife.” If Martha Schwendener’s voice ever sounded different, it might be easier to identify when one song ends and another begins.

This not being the case, it would be easy enough to leave the room for 10 minutes with the record playing and come back without realizing the song had changed.

Musically, Bowery Electric’s “Lushlife” is a failure.

However, for the numerous individuals who suffer sleepless nights, it is a godsend.

1 Star

— Jon Dahlager

“Introduction to Mayhem”

Primer 55

Primer 55 is straight out of Memphis, Tenn.

Like other new metal bands, frontman J-Sin splits his time between rapping and screaming, but Primer combines crushing guitars that remind a listener more of Coal Chamber and Machine Head than traditional rap/metal bands such as Limp Bizkit.

The outfit definitely is not going to win any Grammys for their songwriting. In fact, there is nothing creative or fresh about Primer’s songs.

Almost every track deals with killing and destruction, with the exception of the painfully embarrassing sex song, “Supa Freak Love,” which is too bad to discuss.

But what Primer lacks in creativity, it more than makes up for with pure, adrenaline-pumping metal music.

These guys are awfully pissed off about something, and wow, does it come through in their music. If songs such as “Set It Off,” and “Loose” don’t get metal fans circling their rooms in a frenzy, nothing will.

Primer 55 hates a lot of people, which is quite clearly shown in “G’s” and “Pigs.” “Got something for that wanna be g-ass/got something for that fake/got something for that wanna be g-ass/something I know you love to hate,” J-Sin barks in “G’s.”

“Pigs,” on the other hand, is aimed at you know who, those boys in blue. Nothing fantastic — doesn’t everyone come out with some sort of anti-police song nowadays?

“Dose” is the standout song on this record, not to mention the only song on which you hear actual singing in the chorus, as opposed to J-Sin’s demonic screams. The song content, and especially the chorus, will make listeners crack a smile. “Somebody help me/I’m falling apart at the seams/Only salvation is a drug called LSD.” Everyone needs salvation, right?

“Introduction to Mayhem” contains only about four or five really good songs; the rest is just mediocre. But if you’re craving some raw, grinding, heavy-as-hell music (that’s filled with more cussing than a 2 Live Crew record), Primer 55 can fit that bill.

2 1/2 Stars

— Trevor Fisher

“Voodoo”

D’angelo

It’s been five years since the release of “Brown Sugar,” the breakthrough single from D’Angelo, and the much-anticipated “Voodoo” is on its way. Still staying with his soulful R&B, D’angelo has used various artists to diversify his music.

Recently, the artist said he just needed some time to think about the next album and some time away from the industry. Using that time wisely, the songwriter/singer/producer presents a gritty, cool album with an urban feel.

The record features jazz trumpeter Roy Hargrove, A Tribe Called Quest’s Q-Tip and the drummer from the Roots. With every artist, the music sticks to a soulful, dramatic beat.

The only rap song, featuring Redman and Method Man, “Left to Right,” keeps you spinning with lyrics like “Baby you got me like Joni had Cha-Chi.” A little jagged D’angelo manages to keep “Left to Right” moving with his mellow approach.

In the passionate “Feel Like Making Love,” featuring Lauryn Hill in whispers, D’angelo creates enriching, intimate thoughts. The song is fairly emotional and one of the best on the album.

With the relaxed mood of “Untitled,” D’angelo pleads gently, “How does it feel?” over the organ sound of the track.

Still, D’angelo’s jamming flow carries the disc. Soon to be on tour, he converted the album to be jam oriented. By touring, he wants to represent music the same way Marvin Gaye, Jimi Hendrix and the Artist have — by looking at it as an art.

Rather than trying for mainstream hits, D’angelo is using the talents that made him famous, creating songs like “Chicken Grease,” to get people out of their seats.

Although repetitive at times, the fluent shifts from the array of artists give this unique album style and energy. So let the soulful rhythms of “Voodoo” float beneath you.

4 Stars

— Pat Racette

“Believo!”

Enon

If out-of-tune instruments and annoying sound effects become trendy, Enon will be the most successful band in the history of modern times. Reality, though, says that they will fail — miserably.

Anyone who purchases “Believo!” is destined to be in line at their local Disc-Go-Round trying to receive whatever cash or credit the store is willing to pay.

“Believo!” is an excruciating experience for the listener. After the initial run-through, not one song stands out as being worthy of listening to ever again. This CD is far from revolutionary, and a far cry from being considered a decent album. The three members of Enon try to cover for their lack of talent by not claiming to be accomplished musicians. But anyone that listens to “Believo!” will quickly find that out for themselves.

The CD opens with the screeching “Rubber Car.” If the singer’s high-pitched voice doesn’t cause deafness, then the annoying, repetitive bass will drive the listener to the brink of insanity.

Also included on the 11-track disc is “Conjugate The Verbs.” This song’s sound is reminiscent of the ever-annoying fingernails-raking-a-chalkboard sound.

The only track that exudes any form of melody, “Get the Letter Out,” begins rough but actually goes into some sort of tune, only to be ruined by the usual pointless sound effects that plague the entire album.

Another low point of the disc is the incessantly long “For The Sum Of It.” The painstaking song is just another garbled mess that seems to be Enon’s calling card. “For The Sum Of It” could only be followed up by the annoying “Selected” and tiresome “Biofeedback.” Both songs are an exercise in irritation.

There is no excuse for how bad this CD is. Enon is taking up a spot on a record label’s roster that definitely could have better served another band who actually gives a damn about the music they are making.

1 Star

— Justin Kendall