BURDENS OF BEING UPRIG

Personnel: Tracy Bonham (vocals, guitar, violin); Ed Ackerson (guitar); Sean Slade (organ); Drew Parsons (bass); Eric Paull, Josh Freese, Fred Eltringham (drums). THE BURDENS OF BEING UPRIGHT was nominated for a 1997 Grammy Award for Best Alternative Music Performance. "Mother Mother" was nominated for a 1997 Grammy for Best Female Rock Vocal Performance. Perhaps "Jaded Little Pill" might have been a more appropriate title for this classically-trained Bostonian, who seems set to step from indie-celebrity status to mega-stardom. Bonham possesses the same angry energy that helped propel Alanis Morissette, in more concentrated form. Her acidic lyrical stylings, combined with raw, bubble-fuzz melodies, are liable to scorch you if not handled with care. Song craftsmanship is particularly evident in the angry, anthemic rock chorus of "Mother Mother" and the grinding Pixies-ish tones of "Sharks Can't Sleep" (complete with Kim Deal-esque wailing). Acrid as this major-label debut is (observe Bonham's diatribe against the music industry in "One Hit Wonder"), one can only imagine how much more toxic this pop-punkstress is capable of becoming. Classically trained violinist Tracy Bonham emerged from Boston with her first major-label release, The Burdens of Being Upright. The album yielded a significant radio hit with the seething message "Mother Mother," which leads off the album. It raises the bar for the rest of the record and, although she doesn't quite match it, The Burdens of Being Upright is a riveting introduction. Bonham and bandmates tear through tracks like "Navy Bean" and "Bulldog" with energetic punk abandon. Bonham's lyrics are intelligent and her voice is powerful, sounding eerily like Liz Phair on songs like "Kisses," "Sharks Can't Sleep," and "Every Breath." ~ Tom Demalon