Page 6-Tuesday, November 29, 1977-The Michigan Daily
': Dramatic realism
l11 t v 0
stands as one of the few superb
efforts, along with Peter Davis'
Hearts and Minds and Gillo Ponte-
corvo's partially fabricated Battle of
Algiers. However, director Patricio
Guzman chooses not to use subtle wit
and irony in his film (as does Peter
Davis), but counters instead with a
wealth of fast-breaking action, de-
signed to resemble the purely factual
presentation of a news broadcast.
The film also contains a very
strong linear narrative, and it is this
that distinguishes it from the miser-
able failure of The Sorrow and the
Pity. Whereas Sorrow's director,
Marcel Ophuls, gets bogged down in
endlessly banal interviews and third-
hand information. Guzman chooses
to present on the spot information
with very few interviews.
In addition, the camera-work is
excellent. The extremely mobile
camera adds dynamism and the
zoom is used quite effectively. The
prime achievement of the camera-
work, however, is the courage of the
filmmakers in getting dangerous
footage. In fact, one cameraman was
killed when he strayed too close to a
Nevertheless, the film has its
failings. Guzman's point of view is
too biased, with opposing statements
and interviews cleverly edited for
particular effects. In addition, evi-
dence revealed through the narration
is not supported. This makes The
Battle of Chile resemble propaganda
rather than history, but the film is a
success as an example of dramatic
This Chilean president was murdered
during the coup d'etat in Chile in 1973.
A great start for the Cate Bros.
By RIC SHAHIN
I LIKE REVIEWING albums by
new groups. You don't get the
usual hype that established groups
have, and there isn't that Top-40
stigma staring you in the face. The
music is generally more relaxed and
natural, and closer to whatever
sound the group is trying to achieve.
The Cate Bros. Band (Asylum
7E-1116) is in that musical genre
usually entitled 'Easy Listening'.
You don't have to struggle to enjoy
the album or bust an eardrum to
listen to it. Volume is forsaken for the
quality that the musicians are cap-
The group is composed of, oddly
enough, two brothers named Cate.
(Ernie on keyboards and lead vocals
and Earl on guitars and harmonica.)
The rest of the group includes Terry
Cagle (drums and harmony) and Ron
Eoff on bass. There is also an
occasional appearance by Joe Lala
with some background percussion.
Taken as a whole, the group is a
composite of different styles. Some of
their songs are similar to established
artists, but their actual sound is their
own. Some of the vocals resemble Dr.
Hook. The harmonies are strikingly
similar to those of the Eagles and
Orleans. The guitar work isn't the
greatest in the world, but it makes
the general work flow. Most of the
bass patterns are intricate, and avoid
the overkill that many bassists feel
The drumming and percussion are
average with an occasional flash of.
brilliance. The drummer does not
trample over the softer songs, a
welcome change from the new school
of drummers, who feel the need to
destroy a set to get the best out of it.
The Cate Bros. Band is pretty good
for a first album. Listen to it once or
twice first to get the mood, then sit
back and savor it. It is one of the few
good albums by new groups.
One warning: If you are a Kiss
freak, forget this album. Your musi-
cal taste is too far gone to enjoy it
properly. For those of you who enjoy
good music of almost any type, try
The Cate Bros. Band. You won't
regret it (I hope).
By ALAN RUBENFELD
BILLY COBHAM is an enigma.
His work with the Mahavishnu
Orchestra is now legendary. His
driving percussion work was the
force that propelled McLaughlin and
company to previously unattainable'
levels of musical energy. But for the
past several years, Cobham has been
responsible for a number of surpris-
ingly mediocre records. Only his first
two solo albums Total Eclipse and
Crosswinds showcased any musical
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" important internship opportunities in social service
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An equal oppartunity/affirmative action university
innovation or ingenuity. Unfortunate-
ly, this creative lapse reaches its
pinnacle with his latest album on
Columbia records, Magic.
Magic is a classic paradigm of a
musician compromising on talent.
The album presents a pastiche of
jazz-rock's greatest licks. Cobham
combines every known hook found in
fusion music and mixes them togeth-
er on two sides of vinyl. The result
reeks of unorigiality. In fact, the
effort is rather pointless. Guitarist
Pete Manuu comes across as if he
were the winner of the Al Dimeola
sound-alike contest. He is undeniably
unoriginal. Joachim Kuhn offers
some noteworthy piano work, but
Randy Jackson's bass playing con-
sistently maintains the composition
of overcooked oatmeal - tasteless
and mushy. But the biggest musical
disappointment has to be Cobham's
On his less successful solo albums,
there were opein avenues for indi-
vidual solos on various percussion in-
struments. But on Magic, Cobhan
opts for a pseudo-disco drone that i;
an example of eithercompromising
his talents for the sake of inferior,
musicians or a commercial stream-
lining of his drumming virtuosity to
get a dance beat all the record buyers
will be head-over-heels to purchase.
Whatever the excuse, there is no jus-
tification for the s o p h o m o r i c
rhythms Cobham displays.
Perhaps a record with some musi-
cians of comparable ability will
make him overcome the deficiencies
that completely mar Magic. There is
certainly none of the material on this
record that the album's title implies.
For a more intriguing look at Billy
Cobham, try listening to his Maha-
vishnu Orchestra work or his earlier
"Paul Simon's Greatest Hits, Etc"
Slip Slidin' Away, Stranded in a Limousine, Still Crazy After All These Years,
Kodachrome, Duncan, 50 Ways to Leave Your Lover, Me and Julio Down by the Schoolyard,
I Do It for Your Love, Have a Good Time, Something So Right, American Tune,