MUSIC REVIEWS

Ghetto Supastar Pros

**** Up R.E.M.

by Bridget Egan staff writer

by Nick Luchko staff writer

Phish's newest studio album, "The Story of The Ghost," The third masterpiece has taken place. Pras, of the tells a tale quite different than any of their previous studio Fugees, follows fellow members Wyclef Jean and Laualbums. The new album has more funk elements and defi- ren Hill onto the single charts with his new album nitely showcases the band's willingness to explore. "Ghetto Supastar."

The vocals on the majority of the album can be best described as haunting, especially in "Shafty" and "Fikus." There are the tell-tale signs of Phish's infamous jams in "Guyute," but the rest of the album's jams are quite different than previous ventures. Instead of fast-paced guitar oriented jams, there are great collaborations between the entire band that tend to lean more towards the funky side.

Some may be disappointed by the brevity of the album, but within the short time-span are lyrics that come across as more meaningful and much more weighty than their other studio albums.

The album was written in an entirely different style for the band. The foursome, along with songwriter Tom Marshall, went alone to a secluded farmhouse and just jammed. Many of the songs on the album are first cuts, and this lends to the pure sounding music that comes across.

"The Story of The Ghost" doesn't try to recreate the incredible live shows that Phish puts on. Instead, it concentrates on the purity of the lyrics and the talent of each individual band member. This aspect may disappoint some fans when they hear songs like "Limb by Limb" on the album. It sounds much different than the live show, because there isn't that intense level of energy.

The best part of "The Story of The Ghost" is that it picks up where "Billy Breathes" left off. It shows Phish's ability to strip away layers and start fresh with a different sound but still retains their ingenuity. This album excellently showcases Phish 's ability to expand musical frontiers while still retaining their classic style and sound.

Pras uses well-known rhythms combined with a fresh mix of raps to come out with an explosive sound for today's hip hop generation. From the first track to the last, Pras develops a beat for any fan. Guest artists include Wyclef Jean, Cannibus, Mack 10 and Lenny Kravitz on guitar.

The album begins with a rendition of "Hallelujah" from Handel's "Messiah" and ends with "Amazing Grace." The album also includes the smash summer hit "Ghetto Supastar," where Mya adds her soft sound and ODB adds his Wu Tang rhyme.

"Blue Angles" is the first single off "Ghetto Supastar." It mixes a new style of rap lyrics with the beat from the title track of "Grease." The song continues the art of sampling songs that has been widely used throughout hip hop in the '90s.

Another tune that develops a unique style to it is "Wat'cha Wanna Do." Here, Pras rhymes about life on the street while the beats are consistent with a Caribbean drum.

Also heard throughout the album is a variety of messages from well-known celebrities to wish Pras good luck with "Ghetto Supastar." Some include Donald Trump, Elton John and Flava Flav from Public Enemy. "Ghetto Supastar" places Pras in heavy competition with other hip hop artists and we will see if he can stand up to be a real superstar.

by Adam Greenberg staff writer

Jettisoning the guitar-drivenarrangementsof its previous two albums, REM. has opted to focus on forging new soundscapes with its latestrelease. ''Up" marks the band's debut as a trio following the departure of drummer and founding member Bill Berry.

Ironically,the loss seems to have revitalized the group. The remaining members, Mike Mills, Peter Buck and vocalist Michael Stipe, have constructed their most ambitious album since 1992s "Automatic For the People."

The opening track, "Aiiportman,"floats in on a wave of bells accompaniedby a distorted pulse. While Stipe's vocals swim in the deeper reaches of the mix, he sings of how "great opportunity blinks" for this man moving through the airport security.

As the only straight rock song on the album, ''Lotus" serves as a bridge between 1996s "New Adventures in Hi-Fi" and ''Up." Through an oddly effected vocal, Stipe's decadent protagonist brags, '1 ate the lotus."

From the slithery "Suspicion" to the gorgeous pop of ''At My Most Beautiful," every track is the sound of a band fighting to claim new sonic territory;ambient noise and a disregardfor traditional song structures are the album's dominant characteris-

cover of R.E.M.'s "UpnCD

When fellow modern-rock veterans U2 attempted a similar rethink of their music with last year's "Pop," their new direction ultimately led them into a cul-de-sac. RE.M.'s ''Up" is more promising; marching to the beat of no drummer has put them on a new and exciting musical path.