ARTS # A p T ' , S'I ____ -- F The Michigan Daily Sunday, January 10; 1982. Pale. W- - ------- - ------ - ;p 1 Records .: f "3 v '^ " 1 a "" Neil Young-'Reactor' (Reprise) When I saw Neil'Young's new album, Reactor, with the name "Crazy Hor- se" below his, I couldn't help but drool a bit. If you don't know, Crazy Horse is the rock trio whose backing in the past provided Young with the freedom and inspiration he needed to let loose on lead guitar; just listen to "Like a Hurricane" or "Down by the River" and you'll know what I'm talking about. Unfortunately, Reactor hardly lived up to my expectations and will probably disappoint most Neil Young fans. To be brief (yet unkind), Neil Young plays very little lead guitar and the little he does is lacklustre 4(for Neil Young, at least). At best the song lyrics are adequate; at worst they're offen- sive-none of them even come close to being as good as anything he has done in the past. For example, the lyrics to "T-Bone" consist of the two lines "Got mashed potato/Ain't got no T-bone" repeated over and over for the song's nine-minute length. Listening to Reactor it seems that Neil Young has adopted a minimalist approach to his music (either that or he recorded the album in two hours-in- cluding songwriting). Minimalist, to Neil Young, means a chunky riff-based guitar sound and crude (pointless?) lyrics. Although this works on the songs "Opera Star".and "Surfer Joe and Moe the Sleeze," the rest of the songs seem to be born purely out of contempt for the form as reflected in predictable playing and unimaginative lyrics. It's certainly not the case that making a statement on music is beyond Neil Young; for on his last album, Hawks and Doves, Young used his near- perfect assimilation of country music as a vehicle for indicting red-neck men- tality with devastatingly funny results. What Reactor really suffers from is a lack of focus; it seems hurried, con- fused, and just plain careless in places. It should be made clear that as an album,.Reactor is fairly good. Yet as a Neil Young record it's poor and is easily the worst record he has ever made with Crazy Horse. For those reasons, Reac- tor should be avoided. -Douglas Coombe Throbbing Gristle- Greatest Hits' (Rough Tide) T. G. is back! Or should I say T. G. is here? For those unfortunate souls who missed the first Four Throbbing Gristle albums, the hour of redemption is at hand: Rough Trade records has released the group's first domestic LP. This album contains a fine selection covering the highlights of one of the original pioneers of the electronic music movement, a movement which spawned such bastard sons as Gary Numan, the Silicon Teens, ad nauseam. Before its amicable breakup earlier this year, Throbbing Gristle embodied the idea of experimental music-the eagerness to cross new frontiers and the courage to face the consequences. At their best, they created the atmosphere and tension associated with the finest of the Velvet Underground. At their least successful, they presented an exciting challenge to the listener. Moving from their classic "Ham- burger Lady"-an eerie account con- cerning a victim of a Napalm at- tack-this disc covers every facet of their much too short career. Their first single, "United," was an underground classic, selling more than 50,000 copies with no advertising, promotion, or significant airplay. But T.G. is not for everyone-only for those who are not afraid to take. chances with their music. As the liner notes say, "this whels burning, this gristle's throbbinglsg long as something is doing sometf~ you better be diggin', dig?" --Tony Corbeil Chevy Chase loses control in Modern Problems. Chase fruitless ry Richard Campbell NE OF THE distinguishing marks of movie reviews is their naturally caustic manner. If a film doesn't stack up favorably to Gone With the Wind, it is fair game for snide remarks. Many reviewers, like Rex Reed, are read simply because they are funny. Even an esteemed critic like Pauline Kael of- ten falls into the pattern of snide remarks, and nasty put-downs for their own sake. Modern Problems is exactly the kind of filrm that is going to receive more laborous jokes than critical insights. It is a bad movie, a comedy that isn't fun- ny, a special effects, film that is pretty tame, and a romance that is dull. From here it would be all too easy to write one-liners about the star, Chevy Chase, falling flat on his face. But there are items in this film that deserve to be commented on. As -the title suggests, Modern Problems is the story of a ordinary guy beset by all the hassling trivia of today's world. Chase stars as an air traffic controller who has lost his wife, his girl-friend; who is inundated with breaking appliances, sun-roofs, and stereos. Driving home one night, a truck hauling liquid nuclear waste ac- cidently dumps some of its cargo onto him. The resulting burst of radiation endows Chase with telekinetic powers. It isn't hard to envision somerkind of pointless, yet hilarious comedy that has Chase running around 'moving things through the power of his mind. Director Ken Shapiro, whose previous effort at screen comedy produced the cult classic The Groove Tube, would seem to be a good choice to direct such a visual joke-a-minute farce. But ap- parently Shapiro wanted to do more than direct an ordinary comedy. Shapiro tried to introduce some depth of characterization and reality to this physic world. ,His script makes an un- subtle attempt at giving some depth to the movie. Like Woody Allen, Shapiro obviously wants his comedy to have some fleeting social significance. But unlike Allen, Shapiro's blend occurs unevenly and unrealistically. A sim- pler, straighter comedy would have n better. The script and the direc- tion don't explain any of the dramatic pauses that litter the film. As far as the comedy goes, what there is isn't particularly inventive.- The special effects are dwelled upon for no reason. When Chase levitates, the camera stays on the scene, the music stops; id we are supposed to gasp in awe. It simply isn't that exciting, or funny. Dabney Coleman makes an ap- pearance as a conceited. author of various self-help books. His rantings on what people are supposed to do provides a stimulus for much of the ac- tion. But, again, his character is too absurd for the dramatic aspects, and not funny enough for the comedic. Other supporting roles add little to the plot. Patti D'arbanville and Mary Kay Place play woman at various times in and out of love with Chase. Nell Car- ter and Brian Doyle-Murray provide some relief from the strained at- mbsphere by their broad, ingoistic characters. Modern Problems is a film that could have been good, but was ultimately ruined by good intentions. Shapiro should try to present one idea well, rather than waste his time on developing two ideas badly. Chase is not to blame for his hapless performan- ce as many anti-ex-SNL critics contend. The basic structure of the film is poorly developed. , : _ , , A. ,.. #IA.I i / __ . Join News Staff Trust us.... I r ANNOUNCING The University of Michigan Gilbert & Sullivan Society ORGANIZATIONAL MEETING For the April 1982 Production of "Patience" Please join us if you are interes'ed in participating in the cast, orchestra, costume or set crews. Everyone is welcobel 8 PM Sunday, Jan. 10th Pendleton Room in Michigan Union - well be gentle with you, .-.. -,,,r:. \ ( a. IN"OIDuAL THEATRES $1 5th A!!am liberty 7614700) "REDS IS PERFECT 'L WED, SAT, SUN $1.50 TIL 6:00 PM (Except "REDS") qp G 77r _,,:. . _ _ Discount Course Materials.... 5% Off list prices on new course books 25-50%OffI prices on usec list - . 2nd Floor Michigan Union Ballroom Hours: SAT., SUN. 1:00, 4:45, 8:30 $2.50 til 1:30 p.m. Mon. 8:30 (PG) II "PHENOMENAL. part burlesque, part satire, part Folies-Bergeres and all cinema. -Vincent Canby, The New York Times Sun. Jan. 10 Mon., Jan. 11 Thurs. Jan. 14 Fri. Jan. 15 Sai. Jan. 16 Sun. Jan. 17 Mon. Jan. 18 Tues. Jan. 19 12-5:30 through 9-9 through 9-5:30 12-5:30 ,hrough 9-7 Discount school supplies. ;, " . --. r a AL _ :_ U .