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JUDGEMENT NIGHT Music From the Motion Picture

(Sony)

grand gesture and one of the most im- A pressive collections of names ever to

appear ona soundtrack, Judgement Night is simply one the greatest soundtracks ever released. The rap/rock hybrid has been infre- quently played with, but surprisingly it’s never really caught on. As Judgment Night demon- strates, the combo can be incredibly exciting. The lack of melody that mars rap is still appar- ent, but at its best the form gets by on gut-level impact and these guitars and flesh and blood drummers up the ante. A revelation... they don’t come often, y’know.

Rw KIL

COME ON FEEL THE LEMONHEADS The Lemonheads

(Warner)

ndearingly tuneful, happy vibes and = general senselessness -- call ‘em the

Ramones of slacker rock. Evan Dando is a total bozo, though ‘‘Big Gay Heart’’ is a nice answer to ‘‘Achy Breaky.’’ Worst line (I’ve ever heard): ‘‘If 1 was a booger would you biow your nose / Where would you keep it / Would you eat it.’

ECORD_ RATINGS kkekwk* CLASSIC keke EXCELLENT xxx GOOD **x FAIR * POOR

kn

BELIEVE IN ME Duff McKagan

(MCA)

ay, more G’n’R by-product. Duff Yy McKagan’s first solo venture, Believe

in Me, is constantly teetering on the brink of banality -- I guess imagination isn’t the stock in trade of someone who’ d title songs *‘I Love You’’ or, better yet, ‘“Fuck You’’ -- but an interesting collection of cameos (Slash, Jeff Beck, Lenny Kravitz), some fine moments (the title track) and a superficial resemblance to Guns’n’Roses will undoubtedly satisfy the band’s billion fans. I’ve heard rumors that Guns’n’ Roses’ collection of punk covers could be released by year’s end. Deducted a halfa star for featuring Skid Row’s Sebastian Bach.

kak

AMERICAN CAESAR Iggy Pop

(Virgin)

or such an off-beat guy, Iggy Pop’s — recent music has been awful normal.

Since deciding he wants to be a social commentator, Iggy’s music has ranged from moderately entertaining to much less so. He still thinks he’s a smart guy, but American Caesar is his oddest and most rocking release in many moons. His new band really rocks on cuts like ‘‘Wild America,’’ ‘‘Sickness’’ and ‘‘Per- foration Problems’’ and his version of ‘‘Louie Louie’’ is one of the best ever. And I mean that. His balladry is as dull as ever, his voice doesn’t match the energy of his band and ‘‘Caesar’’ is a seven-minute art-wank.

Film

THE AGE OF INNOCENCE Starring Daniel Day-Lewis, Michelle Pfeiffer, Winona Ryder Directed by Martin Scorcese

artin Scorcese is not known for his restraint. Generally depicting the

squalid lives of society’s underbelly in films like Mean Streets, Taxi Driver and Good Fellas, Scorcese has managed to find many of the same themes in the most unlikely of places: Edith Wharton’s Nineteenth cen- tury novel, The Age of Innocence.

_ Inthe film, Newland Archer (Daniel Day- ROR om Co meee ie Lcoe Ot Con) Olenka (Michelle Pfeiffer), his gateway to a life without illusions. Instead, Newland mar- ries the loveable but vacant May Welland, (Winona Ryder), while still lusting after Ellen. Without gratuitous sex and violence, Scorcese portrays both intense sensuality (the film

features one of the steamiest glove-removing scenes I’ve ever seen) and the overpowering corruption of his other films. The perform- ances are superior: Daniel Day-Lewis is a truly magnetic screen presence, fully captur- ing the intense inner turmoil of the charac- ter; Michelle Pfeiffer gives the performance Mao me eco LORNA IED AQ ome Tico moti miscast in Francis Ford Coppolla’s Dracula and Night on Earth, easily conveys the inno- cence of her character. Scorcese’s direction is lusciously artful and the cinematography and production design are immaculate. You can skip the Oscars this year, this is Best (autos

KIRBY FERGUSON