1 The Michigan Daily-Thursday, January 31, 1980-Page 7 POETRY READING with. DEBORAH SOLTAR, E. BOBBE ATKINS NOON LUNCHEON HOMEMADE SOUP and SANDWICH 75 cents Feb.1 By MARK DIGHTON ' always manages to stay on thetOck and) some inex- roll track. Some may see the Ex- The new wave has, forsoemx plosions as a disappointing com- t icable reason, brought a revival of promise, but they're more of a dream groups fronted by women. Blondie and come true. The whole point behind the the Patti Smith Group are the most New WiVe from the beginning was to noticable examples, but they're really give 4l music a kick in the rhythm sec- little more than the tip of the proverbial tipi, including (and most especially) iceberg. You won't trap me into any the stuff on the radio. Pearl Harbor and .theorizing abouwhether or not wome groups like them could do just that. In in this new phas of rock and roll will ee fact, the Explosions are probably the accorded any more respect than hey most listenable dance band since the have been in the past, but it cerainly is early days of the Jackson Five. ice to hear some female ;ices after The Pretenders, on the other hand, MPTLNDIR Si her songwriting abilities, she possesses a uniquely gripping voice. Along with a sort of chillingly fragile nasal quality, it is also marked by a heart-wrenching vibratto wider than a warped record. The overdubbing of several vocal tracks on some cuts also gives it an eerie-unforgettable quality. She applies these qualities quite appropriately to her loose, almost Joni Mitchell-like compositions without ever losing an inherent sense of gut rock and roll. PEARL E. GATES' voice is no less distinctive, though in a very different way. While Chrissie Hynde's voice plays ambiguously with fragility and strength, only the latter quality is found in Ms. Gates' voice. She has a voice that people used to describe as lusty. Despite her group's funk underpin- nings, she doesn't resort to the demeaning cooing of most female disco vocalists, but instead goes right for the throat. Her voice fairly drips self- confidence, a quality not foreign to her compositions or stage personality. She's lucky to have found a group who can even match her boldness. Theirs is the first album released in a while that really merits being described as "hot." The only fault I can find. in the entire album is that the group is perhaps a bit too self-confident, if such a thing is possible. Instead of the exploratory fun of the Pretenders, the Explosions fain- tly smack of smug, unchallenged com- petence. However, you can't really fault a band for their professionalism, unless it leads to glossy slickness, which the Explosions manage to avoid. A group as original and demanding as the Explosions is clearly not one to dismiss as just another calculated cor- porate clutch at the New Wave ban- dwagon (such as The Knack or The A's). Throughout their funk foundation and mainstream sound there is an un- deniable thread of rock and roll in- tegrity. Even on their slow numbers they manage to pull together a haun- tingly pleasing sound, even for someone like me who hasn't really loved a ballad since the Velvet Underground's "Pale Blue Eyes." ON THE other side of the Explosions' coin, we have their heavier rock and roll side. There isn't much to say here except that the songs are nearly faultless. They're twice as melodic, heavy, and danceable as a million Foreigner - clone cuts. Songs like "Driving" and "Shut Up and Dance" are simply the most enjoyable rock and roll dance tunes aimed at a mainstream audience in recordable memory.- So, here we have an excellent professional record that may bring dancing back where it belongs - to rock and roll. Even if Pearl Harbour and the Explosions doesn't take as many chances as it might, you can't fault any group that has so much poten- tial for bringing danceable rock and roll with some integrity back to our tur- ntables and airwaves. However, if my bias isn't obvious already, I have to admit that I still slightly prefer the less fully realized but more alive testing-of- wings of The Pretenders. Before long, this group should be able to combine their diverse influences more fully and consistently, and find themselves to be the contenders they deserve to be. But as for now, if the worst thing you can. say about an album is that it has two evangelistically perfect pop tunes and ten songs that are only great slabs of new wave rock, then it's difficult to complain. If you can be satisfied with that, then pick up The Pretenders. and Sue Kaufman program JOHN REINHARD Assoc. for Women's Concerns, Reading from their works U-M Affirmative Action Thurs. Jan. 31 -7:30 P..- "Women's Concerns at REFRESHMENTSte n of Michigan No admission charge the UNIV. GUILD HOUSE-802 Monroe George Roy Hill's 1969 BUTCH CASSIDY AND THE SUNDANCE KID One of the most popular films of all times, this is a very special romantic adventure with ROBERT REDFORD and PAUL NEWMAN in their co-starring roles. As bandits the two men rapidly find themselves out of time and place at the turn ot the century. Winner of five Academy Awards. With KATHERINE ROSS. Sat: TEXAS CHAINSAW MASSACRE Sun: DOCUMENTARY DOUBLE FEATURE Mon: TRASH (with Joe Dallesandro) CINEMA GUILD TONIGHT AT 7:00A9:03 OLD ARCH. AUD. $1.50 TeAnn A *r F/ixa Cepemfe Presens at Au. A: $1.50 THURSDAYJANUARY34 THE BEGGAR'S OPERA a.Od-AUD. A (Peter Brook, 1953)6:-ADA SIR LAWRENCE OLIVIER is Captain MacHeath, rogue, adventurer, lover, in this multi-faceted romantic tale which follows MacHeath as he escapes the law, a hangman's noose and more than one would-be bride. With STANELY HOLLO- WAY and MARY CLARE. (Ingmar Bergman, 1975) THE MAGIC FLUTE 9:3--AUD. A An adaptation of Mozart's opera which is luscious and enjoyable. Mozart's *score accompanied by a Swedish version of the lyrics, supplies the backbone of this tale of love, magic and quest as it follows a pair of starcrossed lovers and an impish little man whose greatest desire is to find a wife. "A blissful present, sensuous, luxuriant."-NEW YORKER. 35 mm the interminable rule of crotch-rock groups like. Bad Company and Foreigner during the seventies. It is especially pleasant to hear more women involved in rock and roll when they are as talented as Chrissie Hynde ,#f the Pretenders and Pearl E. Gates of Pearl Harbour and the Explosions. Besides their unique vocal styles, each of these women is also responsible for a majority of the songwriting credits for their respective groups. Chrissie Hynde is a former American rock writer transplanted to Britain, where she helped form the Pretenders. Pearl E. Gates was a dancer in another group from San Francisco, the Tubes, before founding the Explosions. Her tage presence (and attire) will not soon be forgotten by those who wit- nessed her with the Explosions when they opened for Talking Heads at Masonic Auditorium this past Novem- ber. ASIDE FROM their rather obvious girl-group and '60's pop influences, though, neither of these groups sounds particularly new wave-ish. The Preten- ders falls closest to that genre in their diverse mixture of uncompromising, hook-oriented rock and roll and subtle Phil Spectorish wall-of-sound produc- tion. On the other hand, Pearl Harbor and the Explosions employs a more separated funk-oriented sound, much like the aforementioned Heads. Its cool, solid but sparse production and main- stream pacing occasionally borders on Fleetwood Macism, but somehow. Join Arts The Michigan Daily is (still) looking for arts staff writers. The only prerequisites are a specific interest in writing and a general interest in the ar- ts: theatre, dance, film, visual arts, all, forms of music, and whatever else comes to mind. Beyond the standard reviews, arts-orientedi features are welcome. If you're interested, stop by the Student Publications Bldg. at 420 Maynard (right behind LSA) any after- noon after 2:00 and ask for the arts editor. /4ring along a sample of your writing. Length isn't important; we just want something representative of your style and interests. aresomething close to '60's pop purists. Their first single, a cover version of an old Kinks' song from that era, "Stop Your Sobbing," was a mesmerizingly perfect reminder of the by-gone era of echo chambers and multi-tracked har- monies. Their next single, "Kid," made Nick Lowe (who had produced the first) instantly sorry he had turned down the chance to produce their album. Not only was this particular tune self- penned, but it was also one of the pret- tiest little pieces of rock and roll heard in ages. SO, WITH these singles behind them, I anxiously awaited their album. I probably should not have expected so much from them, though. The B-sides of their singles pointed out that even these fast, catchy new wave songs would pale (perhaps unfairly, but un- deniably) next to their A-sides. The album is no different. Most of the songs are intelligent, dynamic, intriguing pieces of punky (is it safe to use that term yet?) rock and roll and slower, mysterious ballads that are unfor- tunately quickly forgotten when the multi-tracked acoustic guitars of "Stop Your Sobbing" or "Kid" appear. Still, the album as a whole manages to work. Its saving grace is, obviously, the talents of Chrissie Hynde. Beyond AtN AB "Before Absolute Sound 5th Avenue at Liberty St. 761-9700 FormerlyFift Forum Theater J A KNOCKOUT COMEDY IN THE TRADITION OF THE 3 STOOGES! TIM CONWAY. DoNwKNOTT difference the right hifll.. cornenscan make. 'T FII PRIZEJ 1 ER Thurs, Fri-6:20, 8:10, 10:00 Thurs, Fri-Adults $1.50 til 6:45 (or cop.) Sat, Sun-2:30.4:20, 6:20,8:10, 10:00 Sat, Sun-Aduts $1.50 til 3:00 (or cap.) Adults $2.50 til 4:45 (or capacity) Sue F., University of Michigan student, talks-about her stereo buying experience at Absolute Sound. CYNIVEI Sr' UILSICAL OIETV present Leo ntijneprice "After shopping around, a friend of mine--who is quite an audiophile'--suggested that I go to Absolute Sound. I took his advice- and now I'm glad I did. Absolute Sound's salesman, really impressed me. He took time to explain things and to find out what system was best for me. Unlike other stores, there was no 'Buyr Now' pressure.Y maxi FREE for] GET A FREE Jazz, Classical or purchase of 3 Maxell UDXL-I o cassettes. 3for $ Take advantage of our spe record offer on the mostp performance tape around L Chone the right tane form :e1l Your Choice UDXL-I or XL-II THREE r Rock Album with or UDXL-II 90 minute 300 stereo system at Absolute Sound. I could hear familiar musical passages a lot more clearly. Before Absolute Sound, I never realized the difference the right hifi components can make. f 11mreAy "Sfied with my. system. My friends have given me a lot of compliments. In fact, one of my friends was so impressed that he went to Absolute Sound and bought an identical system for himself! Yet'OI11Il1end Absolute Sound to anyone who wants to get the best-sounding system for their money. You'll really appreciate how much ' better their people and products are after you shop there like I did." '' cial low price & free popular high -- Maxell. mula for vour deck: " I discovered how good my favorite music really sounded after I bought my f...I1VVJt. }t1\. 11511L k"JJ%, LV1111411G1 1V1 .YV6a1 UV 11. the U DXL-1 or XL-11. Maxell's unique epitaxial base ensures you'll get the best sound possible on all your recordings. Offer Expires February 3, 1980 . , Saturdag, Feb.9.,83:3 Hill Ailitoriuin o Ann Arbor 312 S. State (Upstairs) Across from . 7 T T 1 T 1 Y 1 ,