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rootsâ€"rock, backâ€"toâ€"basics thing in which technoâ€"pop has no place. it‘s an earthy sound â€" not necessarily folky â€" but it‘s generally acoustic. And withitsslight(andaomofirrmnotsosligm) country twang, it‘s reminiscent of late 6Os/early 70s rockers like CCR, The Band and Country Joe and the Fish. Perhaps it‘s the prominence of this roots‘rock thing that, by comparison, makes a band like Bootsauce that much more innovative, that much more unique, and that much more inâ€"yourâ€"face. With the release a couple of years ago of its debut The Brown Album, Bootsauce set out to prove that Canadians can be just as funky as the next guy â€" that all Canadians need is a little something to inspire them to shake (the cow poop off) their booties. A fusion of funk, dance, rock and soul that‘s ‘‘every good thing out of your record collection rolled into one‘", The Brown Album went double gold nationally â€" proof positive that, yes indeed, Canadians harâ€" bor a secret burning desire to get down. Further â€" proof:; the Montrealâ€"based band‘s second album, Bu/l, has boited out of the starting gate, and shows every indication that it will far surpass the first in terms of unit sales. The Brown Album was great â€" it was Nobody does it like Bootsauce By Deborah Crandall A definite trend has been evolving on the â€" it‘s a the new album entitled Misunderstood suggests, Bootsauce was just that. "I don‘t know if it‘s that Canadians were ready for us, or if it‘s that they were just bored with listening to the same old s# * !,‘‘ says the band‘s guitarist Sonny Greenwich Jr. ‘‘The second album is just blasting out â€" it‘s almost scary how fast it‘s moving.‘‘ But apart from getting regular updates concerning the sales of Bootsauce‘s latest album, Greenwich says he‘s really sort of oblivious to the band‘s success. "It‘s hard for me to analyze, because we‘re so close to the centre of things. | don‘t see it as people might see it from outside,"‘ Greenwich says. ‘"Also, in Monâ€" treal, we‘re sort of insulated, so 1 don‘t really see the Bootsauce machine, as it were. | don‘t really know yet what (sucâ€" cess) feels like. But I know that it‘s great to have people enjoying the band and listenâ€" ing to the record â€" that feels good." But it wasn‘t too long ago that "Bootâ€" what?"‘ was the typical response upon introduction__to the band. And as a song on singles likes Everyone‘s a Winner went straight to the top of Canadian charts. But Builis better. The energy level is just as high, perhaps higher, though it‘s more channelled. It‘s loud yet clean, funky to the max, and is quite sexy in a sophisticatedâ€" lyâ€"raunchy kind of way. Above all, as with the first album, Buil is in a league of its fresh and raw and full of P & V â€" and Not known for songs that provoke thought on controversia! or political issues (Greenwich says he hates being told what to think and therefore doesn‘t tell others what to think), Bootsauce sticks more to songs of the ‘‘toilet humor‘‘ variety. About the closest the band comes to serious issues is on the first single off the new album, Love Money #9, which deals with laboratory testing on animals. Hendrix,"‘ Greenwich sys. ‘‘On top of that, each of us likes everything â€" we‘re real music lovers and literally listen to anything. So when you mash all that stuff together, for me, anyway, it‘s more of the emotion thing that moves it along.‘ 1 ‘‘The first time through Canada when we were opening for 54â€"40, it was very much that way â€" people with mouths open, just kind of staring at us, saying ‘what the . . .‘. Butaspeopleootusedtous,theyfound that the music is really not all that different â€" It‘s just not what Canadians are used to seeing on a stage in front of them.‘‘ Because each member of Bootsauce (Allan Baculis on bass, Pere Fume on guitar, Drew Ling on vocals and Greenâ€" wich) brings a different musical influence, the result is a collage of many music genres. ‘‘Baculis was in a sort of funk/jazz band, Drew was into the disco thing, Pere was into AC/DC, and | was into Zappa and (Continued on page 16) ‘‘Madame Bovary‘ plays at the Prinâ€" cess Cinema March 1218 Movies which pull back from the book and adapt the essence of the story always seem to work better (Field of Dreams, Total Recall come to mind) than literal . tellings. ‘‘Madame Bovary , though an unquestionably moving story, suffers from the availability of too little time. French directory Claude Chabrothas risked this seemingly certain degree of failure by adapting Flaubert‘s French classic to the medium of film, and does not get away cleanly. Amounting to something like the Coles Notes of the book, Chabrol‘s film, starâ€" ring Isabelle Huppert as Madame Bovâ€" ary, glosses and races with abandon over and through the story. All the elements are there, yes. Dr Charles Bovary (Jeanâ€"Francois Balmer) is timid, peaceable, and falls very much in love with young Emma. A quiet country girl she delights in her promiâ€" nent new role as the doctor‘s wife, yet soon grows weary and bored of her existence. Charles is rather a pathetâ€" ic‘‘ man, she thinks, always letting his peers get the better of him. So to take up the slack of of her days she takes up with a younger, more dynamic lover, M Boulanger (Christophe Malavoy) But soon he leaves her and she is left again to cope with Bovary‘s blandness. She is manipulative, selfish, crue!l and spends her husband‘s money with a determined ease, running up unpayable debts uppert