Daily Staff Writer

Pig

Sinsation

Yet another Trent Reznor wanna-be, Pig’s new release is even on Reznor’s Nothing record label.

But don’t let that fool you, Sinsation is the worst thing to happen to Reznor’s label since Marilyn Manson.

The disc opens with “Serial Killer Thriller,” a slowed down White Zombie sounding tune, with the word “sinsation” whispered behind most of vocals.

Pig (a.k.a. Raymond Watt) builds up an industrial edge quickly, but the sound is not nearly as effective as the Nails or Prick (another Nothing dude).

The tempo builds up from song to song, with an occasional change-up here and there. “Painiac” lands midway through the record, giving birth to the first bass lines on the record. Both echo and distortion play a big part in making the singing on this track tolerable.

“Shell” is Pig’s best Nails impersonation, creating the perfect sequel to “Hurt.” “Analgesia” is very similar in sound, but without any vocals.

“Hot Hole” shows a different White Zombie influence, this one more similar to “Electric Head” or something along those lines.

Sinsation’s creepy background sounds compliment the crazed lyrics of Pig nicely (actually, nice is probably not the right word here). The point being that no other lyrics would bring this music any justice.

Pig’s biggest flaw is the stupidity of his lyrics. If this guy is half as psycho as he claims to be, he shouldn’t be making records. He should be in prison, raping Charles Manson or something.

1/2

— Corey Moss

Various Artists

Get On the Bus

Original Motion Picture Soundtrack

The cover of this disc says: music from and inspired by the motion picture.

They aren’t joking either. Get On The Bus is probably one of the most emotionally charged CDs out there.

Of course, given the common threads of the song material, one would expect nothing less.

Inspired by Spike Lee’s new film of the same name, the film centers on last year’s historic Million Man March. The music centers on the feelings and unity of the men who went.

Bus features a dozen newly-recorded songs, nearly all original compositions, headlined by major African-American artists.

Executive produced by Lee, the album ranges from the classic R&B of Curtis Mayfield to the pop of Stevie Wonder, from the rap of Tribe Called Quest, Guru and Doug E. Fresh to the contemporary soul of D’Angelo, BLACKstreet and The Neville Brothers.

The first single released off the disc, “New World Order,” is from Mayfield, whose own personal tragedy touches on a theme of several of the songs.

Paralyzed after a 1990 concert accident, Mayfield has endured and has since been inducted into Rock and Roll Hall of Fame.

Hope and faith resonate throughout this CD.

Nary a word about busting out the chronic or hanging with the gang as many might expect from the roster of artists. Instead, it has a thoughtful message and intelligent lyrics.

One such song of hope is Wonder’s cover of Bob Marley’s “Redemption Song.”

The gospel ensemble, “God’s Property,” which features Kirk Franklin, perform uplifting rendition of “My Life is in Your Hands” which sets you right in the front pew.

“Over a Million Strong” is by the Neville Brothers, who took the opportunity to write a song about the people of the march who’s message of unity reached millions.

But, by far the most impressive work on the disc, is “Ayinde”s Speech” by Ayinde’ Jean-Baptiste. The actual speech sums up any qualms one might have about the relevance of the march itself.

In a time when rap and R&B is getting such negative publicity, it’s albums like this that are a big ‘ole bird to those who think these genres have nothing to contribute.

The songs are meaningful, touching and good listening. They offer words of hope and reflect on issues that are relevant to every American; white, black, man or woman.

— Kris Fettkether

Various Artist

Shared Vision 2, The Songs of the Rolling Stones

My whole life I’ve grown up with the Stones. They have always been my father’s favorite band.

He passed on his enthusiasm down to my older brother who played them non-stop in high school. But, I must admit, I always thought they were no big deal.

With the help of Shared Vision, and a quick glance at a recent photo of Mick Jagger and Keith Richards, I realized why I never got into the Stones. It was the band, not the music.

Now I can say I’m a fan of the Stones music, but not the Stones. Shared Vision is not a tribute album, but one of those “we’re the music industry and we care” type discs. Part of the proceeds will be donated to The Lighthouse Inc., the world’s leading resource on vision impairment.

But enough about good deeds, how’s the music? In a few words: not too bad.

You already know the songs. Classics like “Jumping Jack Flash,” “Honky Tonk Women” and “Paint It Black” are just a few.

What’s interesting is to hear how other bands interpret these tunes and churn them up in their own style.

Everyone from “God” status on down to “one-hot wonder” contributes to Vision. Joe Cocker’s 1970’s rendition of “Honky Tonk Woman” is tossed in with Cinderella doing “Jumping Jack Flash.”

The standouts, groups Jagger and Richards should have just sold the songs to in the first place, include Buckwheat Zydeco who do “Beast of Burden” the way God intended: Cajun style.

Then there’s Marianne Faithfull who performs a live version of “Sister Morphine” the likes of which the Stones could only dream of dubbing.

The pans include the live “You Can’t Always Get What You Want.” If you thought there was no way in hell this song could go wrong, just check out Tom Jones singing it.

You become caught up in a vision of satin sheets, velvet paintings on walls, disco lights and women throwing their panties. The Stones ought to sue for defamation.

The all time best Stones song holds up, though, when Thrashing Doves sing “Sympathy For The Devil.” Give this band a hand, they didn’t screw up the one song I said should never be covered.

Old songs, new style. Just like everything else these days, it’s amazing what comes out of recycled products.

— Kris Fettkether