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The Daily Tar Heel

Rufus Releases Second LP; Take Poses in Small Doses

Four of Five Stars

Rufus Wainwright has answered the hype.

After being named by Rolling Stone as the best new artist in 1998 and garnering a spot on many top-ten albums lists that year, Wainwright has released an intimate, personal portrait of himself in Poses.

On tracks like "Cigarettes and Chocolate Milk" Wainwright mainly looks inward. Though he offers suggestions to listeners about how to cope with their problems, he says about himself, "I'm just a little bit heiress, a little bit Irish/ A little bit Tower of Pisa/ Whenever I see ya/ So please be kind if I'm a mess," offering no claim that he is at peace with himself - though he dispenses advice.

Wainwright's vocal prowess is best illustrated in the title track, in which he paints a picture of the rise and fall of a young man who gets sucked in and spit out by the city.

"There's never been such grave a matter/ As comparing our new brand-name black sunglasses," typifies the feeling the young man has while in the throws of the life he thinks he enjoys.

Only after being "drunk and wearing flip-flops on Fifth Avenue," does Wainwright's character realize it's time to leave the beast that has consumed him.

"California" is a song that features not only Wainwright's keenly observational songwriting but also his multi-instrumental talent. Wainwright examines the stereotypes and hype about the Golden State when he sings, "You're such a wonder/ That I think I'll stay in bed." He also plays the guitar, dobro and piano that appear on the track.

A cover of "One Man Guy," by Rufus' dad, Loudon Wainwright III, also appears on Poses. The song is completely stripped down in comparison to the multi-layered sounds of every other track. "One Man Guy" features only Rufus Wainwright and Martha, his sister, singing with a single acoustic guitar playing.

Though the song is sung to a completely different audience in Rufus' version, the message is still the same - a plea of commitment, devotion and caring to a loved one.

Each song is powerful and beautiful, but this is not the kind of record that listeners can play repeatedly on their stereo. After a few full listens of the album, Wainwright's voice starts to grate.

The good thing is that this album is perfect for radio because in individual chunks the album is incredible; only when completely put together does it falter.

Wainwright has successfully dodged the sophomore jinx that can cut the legs out from under performers who have had such successful debut albums. Wainwright has not only dodged the jinx but pushed himself in another musical direction.

Jonathan Miller can be reached at jlmiller@email.unc.edu.

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