Page 6-Wednesday, October 17, 179-The Michigan Daily

Alfred Hitchcock's
NOTORIOUS

1946

RECORDS

An American agent recruits daughter of convicted Nazi, falls in love with her,
and then is assianed to oush her into bed with n old friend of her father's in
Brazil. They're after Hitchcock's "MacGuffin"-uranium-which looked suspici-
ous enough to Hoover's FBI to put Hitch under surveillance. Including the
"longeist" kiss in screen history. With CARY GRANT, INGRID BERGMAN and
CLAUDE RAINS.
Thurs: Portrait Of The Artist As A Young Man

CINEMA GUILD

TONIGHT AT
7:00 & 9:05

OLD ARCH. AUD.
$1.50

I I

The Ann Arbor Film Cooperative Presents at Aud A: $1.50
WEDNESDAY, OCTOBER 17
LOVE ON THE RUN
(Francois Truffaut, 1979) 7, 8:40, 10:20-AUD A
Truffaut created the character Antoine Doinel twenty years ago in The 400
Blows, and Jean-Pierre Leaud has played the protagonist of the autobiogra-
phical cycle in Stolen Kisses (1965) and Bed and Board (1970). LOVE ON THE
RUN is both a retrospective of those earlier films, and a new saga in the love-
life of Antoine. Another charminq, humorous, gently satirical film from the
director who has inherited Renoir's mantle as cinema's great humanist. French,
with subtitles.
Tomorrow: Arthur Penn's THE LEFT-HANDED GUN and John Ford's
WAGON MASTER at Aud A
Wed. Oct. 17 at 4:00 p.m.-Aud A
Free preview screening of "TILL MARRIAGE DO US PART" star-
ring Laura Antonelli

By MARTIN LEDERMAN
The only time Neil Young ever
released a poor album, (Harvest), he
immediately followed it up with some of
his thost powerful, most emotional
work (Time Fades Away, Tonight's the
Night). As Young said, "Traveling in
the middle of the road shown became a
bore, so I headed for the ditch. A
rougher ride, but I saw more in-
teresting people there."
Last fall, he released the unspec-
tacular Comes a Time. A nice album,
granted, but not the stuff of which
dreams (or nightmares) are made. So
it comes as no surprise that his
following project is perhaps the quin-
tessential Neil Young album, with
songs more provocative than any in
recent memory.
Rust Never Sleeps is that album. It is
the story of the life and death and rebir-
th of rock and roll-and then some. It is
a story of power of fear, of sustenance,
of the past, the present, and most of all,

the future. It is also, as critic Jonathan
Cott said of Van Morrison's Astral
Weeks, "an extraordinary trancelike
meditation on the themese of identity,
sexual organization, history . . . and

:V




.the eclipse jazz
FALL CONCERT SERIES ad of
October 14th & 16th
had incorrect ticket info.
Individual tickets are: $7.50, 6.50, 5.50
for Chick Corea & Gary Burton.
Ella Fitzgerald tickets are
$8.50, 7.50, 6.50
Carla Bley Band tickets are $6.50'
All three shows are $21.00
for info call 763-5924

Rust Never Sleeps
Neil Young
Reprise
death (what else is there?)." It is
ultimately Young's successful attempt
to define his ever growing fight for sur-
vival in a world that encourages
stagnation. When he sings, "It's better
to burn out than to fade away," you
know he means it.
SIDE ONE IS totally accoustic, yet it
conveys rock far more than the wailing
chaos of Led Zeppelin or the contrived
excesses of Crosby, Stills and Nash
ever could. Young stands alone and
conquers alone, despite huge odds, the
least of which is the solo protection of
his twelve string guitar. Even for those
who are unconcerned with Young's
thematic power, this side resounds with
a beauty unsurpassed in recent years.
That howling, nasal voice resonates
like the wind. You can feel it, but you
can't capture it.
Behind the beauty, however, lies
danger. "There's more to the picture
than meets the eye," he claims, and he
couldn't be closer to the truth. That line
comes from the opening cut, "Out of the
Blue and into the Black," a celebration
of rock and roll's will to survive, despite
the 'rust' that threatens to overwhem it.
'Rust' is symbolic for decay; the com-
placency that threatends to control us if
we're not able to continue risking our
necks for our musical integrity. The en-
tire album is based on this premise, and
it goes a lot deeper than just musical
preservation. I
"Thraser," a modern day Odyssey, is
Young's definitive song concerning his
constant change and his refusal to
stand idle. It is rich in metaphor, and
the images of "galaxies and stars"
seem so plausible in his voice that we
are whisked right through them just

when we last expect it. Young describes
his friends as people who have chosen
to remain secure rather than to take
any unprotected risks. They are so con-
tent to remain stable that they even-
tually wind up in the symbolic "hotel
for lost companions," with all the con-
veniences designed to let them rust as
quickly as possible.
YOUNG LOSES HIS friends along the
way, and he claims ignornance as to the
reasons why. Yet he's really not as
naive here as he was when his idyllic
love was destroyed in "Cortez the
Killer." This time, he realizes that he'
has not really lost his companions.
Rather, he separates himself by
refusing to fall into the trap that en-
compassed those around him. He gets
bored and leaves them behind,
preferring to find his own way and con-
tinue his journey.
"Ride my Llama" and "Pocahontas"
were both written for Zuma, and it's
easy to see why. Both convey that
feeling of intimacy and fantasy that
was so evident in "Bartstool Blues" and
"Dangerbird." Young is not only our
most thoughtful songwriter, but also
our most adventurous.
The irony of "Pocahontas" destroyed
Utopia (also similar to "Cortez"), and
the campfire frivolity of "Llama" are
but the means toa much greater end.
Both worlds are simultaneously
desperate and enticing. An atmosphere
is created that somehow recalls glim-
pses of Mark Twain, Buck Rogers and
George Orwell in a modern day legend.
Anyone that could get away, with using
Texarkana, Mars, the Astrodome and
Marlon Brando, and at the same time
touch home with a striking sense of
familiarity, must have something in his
cards that enables him to win every
hand without even bluffing.
THE SECOND HALF of the album is
pure rock 'n' roll, electricity and all.
Crazy Horse is one band that has not
rusted. They are as basic and potent as
they were back in the days of the incen-
diary Danny Whitten/Neil Young
guitar battles. Frank Sampedro on
rhythm guitar is not as recognizable as
the late Whitten, but he complements
Young perfectly with his structured
layovers. And there couldn't possibly
be a more fitting rhythm section than
Billy Talbot (bass) and Ralph Molina
(drums).
Most important, however, is Young
himself; the last remaining guitar hero.
Other axemen tend towards simply
displaying their pyrotechnics, but
Young prefers to use his guitar as an in-
strument of expression. Every solo he
takes fits perfectly the mood of each
respective song (i.e. the gale-like
danger of "Like a Hurricane" and the
hypontic, surreal eeriness of "Sedan

Delivery"). Put everything together
and you have the most powerful rock
band around. And power is the key to
side two. There's no bullshit here, just
straight ahead rock 'n' roll.
"Powderfinger" is a folk song, but it
is no ordinary folk story. When was the
Ist time you heard Pete Seeger sing,
"Raised my rifle to my eye/ Never
stopped to wonder why/ Then I saw
black and my face, splashed in the
stars?" "Powderfinger" is a story of
sudden life and sudden death. The
narrator is a young man who is forced
to grow up too quickly, and when the
feelings finally come tohim, it's too late
to be sheltered from his fate. The song
portends what might have happened to
Young had he not had the strength to
survive his struggle. One line is so
autobiographical that it could well be
his epitaph: "Just think of me as one
you never figure."
AFTER TWO MORE scorching
rockers (the hilarious "Welfare
Mothers" and the aforementioned
"Sedan Delivery"), the album con-
cludes with an electrifying version of
"Out of the Blue," this time with a
triumphant cacaphony of electric
guitars. As he did on Tonight's the
Night, Young completes the circle with
a rawer version of the opening thematic
cut. This is Neil Young's ultimate
tribute to rock. His Gibson cries of pure
passion, and his voice rings truer than
ever. When he proclaims that "rock
and roll can never die!," it is quite ob-
vious that Neil Young is going to do all
he can to preserve the power, the
tradition, and thehgrowth that is
inherent in rock.
After all, this is the story of Johnny
Rotten. Or is it? Young doesn't give us
the answer, but it's good to know he's
out there asking the questions.
PEOPLE HAVE a hard time under-
standing the fanatical obsession of Neil
Young admirers. After all, isn't he just
another rock star? What they fail to un-
derstand is that he is far and away the
grea test folk hero we have left. He,
alone embodies the entire scope of the
American experience.
Perhaps this will be the album that
publicly confirms Young's place with
the greats. It is a highly accessible
collection, which, in his case, usually
indicates a less than superb effort. Yet
this time he has created a work that is
both -profound and accessible. Rust
Never Sleeps works on more levels than
any album since Dylan's Highway 61..It
is amazingly simple, and at the same
time, beautifully, comnplex. It is an
album- of folk music, yet controlled by
the power of rock 'n' roll. Young at-
tacks conflict with a passion most other
rockers can't even approach.
And conflict is the basis of our lives.
Whether it be the cnflict between rust
and change, between serenity and
destruction, or-between life and death,
Neil Young takes the challenge head on
and comes out a winner. And this is a
man who has been on both sides of the
fence. His previous insecurity and
romanticism have been replaced by
determination and a fine sense of
reality.
Here we are in the 70s, and Young
is the showman of our times. He leads
us through our days without bothering
to settle down for too long. He is the
only artist who has continued to grow
throughout the seventies. As he said in
"Ambulance Blues," "When you try to
make a good thing last/ It's easy to get
buried in the past."
Neil Young cannot be buried, for he is
rock 'n' roll, and rock n' roll can never
die.*

D YOU LOVE
YOUR WORK?
If you don't, 'learn how you
can do exactly what you want
to do and be paid for it.
NEW CAREERS
WORKSHOP
For more information,
call 769-9073.

ADVANCE TICKETS NOW ON SALE I
Once in awhile
someone fights back.


Come Celebrate The
Union's 75th Birthday
AND The World Series

AL PACING1


A NORMAN JEWISON Film
AL PACINOG
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Music by DAVE GRUSIN Lyncs by ALAN & MARILYN BERGMAN Written by VALERIE CURTIN & BARRY LEVINSON
Executive Producer JOE WIZAN Pgpduced by NORMAN JEWISON & PATRICK PALMER Directed by NORMAN JEWISON
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UNDER 17 REQUIRES ACCOMPANYING Columbia
PARENT OR AOUtI GUARDIAN A Columbia Pictures Release Read The Ballantine Paperback x:17COUMBIA PIOURESINDUSTRIESINC.Pictures

in the University Club of
the Michigan Union-
October 10, 11, 12, 13 and
then next week too!h '
"See the Pirates and the
Orioles battle to the thrill
of victory and the agony of
defeat."
New

6

NEW
FOOT
T.V.
CREEN
at
the

University Club!!


_. ,

n Wlu.Ovla riuwa c.caac ,...- ......,u,..,............t,....,., -

i

STARTING FRIDAY
ADVANCE TICKETS NOW ON SALE
for Fri.-Sat.-Sun.-Mon. Eve shows

CELEBRATION
GOODIES
INCLUDE
50C BEER
and
FREE
SNACKS

it's five miles wide...it's coming at 30,000 m.p.h....
and there's no plae on Earth to hide!


The University of Toledo
STUDENT UNION BOARD
Presents


i

a - ________ROE