0 Spe ech less Inarticulate Speech of The Heart Van Morrison, Warner Bros. By Leizer Goldsmith W HEN VAN MORRISON went into seclusion in the mid-1970s, he was exhausted from touring and no longer interested in making records. But since his re-emergence in 1977 with A Period Of Transition, Morrison has churned out albums prolifically, and with a respectable degree of success. Even if Period and Wavelength weren't as exciting as Saint Dominic's Preview and His Band And Street Choir, it hardly seemed necessary to find fault with Morrison for not living up to a legacy as awesome as that of his early work. And when Into The Music was released in 1979, fueled by Morrison's conversion to "Born Again" Christianity, it became evident that given the right inspiration, Morrison was still able to write and sing in a style as articulate as anyone's Van Morrison's greatest virtue has always been his sincerity. When he sang about Jackie Wilson in one of his biggest hits, or name-dropped Sonny Terry and Brownie McGhee in last year's "Cleaning Windows," Morrison was able to inspire his listeners simply by conveying the emotion which he heard in those others' voices. That which might have seemed tongue in cheek coming from Neil Young always sounded real when Van Morrison sang it. In this context, Inarticulate Speech Of The Heart, the new Morrison LP, is a real letdown. Not only is this album plagued by weak songs and muddy production, but it also falls victim to the very sanctimony which Morrison had so carefully eluded in the past. Last year's Van Morrison release, Beautiful Vision, was a less than per- fect album which consisted of a few strong songs surrounded by a bunch of throwaways. Inarticulate Speech Of The Heart contains songs which sound like leftovers from Beautiful Vision ("The Street Only Knew Your Name," "River Of Time"), as well as a new batch of synthesizer experiments ("September Night"),. attempts at Irish and Celtic sounds (you guessed it, "Irish Heartbeat" and "Celtic Swing"), and dull poetic diatribes ("Rave On John Donne"). But what finally condemns this otherwise inof- fensive album to near total failure is that "Van The Man" begins to sound like a parody of himself. On "Inarticulate Speech Of The Heart #2," for example, Morrison tries to get away with releasing an incomplete song simply by claiming that it was born of sincerity. It sounds as if the title was conceived before the tune, which was then thrown together as a remake of "Beautiful Vision," which it- self was derivative of a dozen earlier Morrison tunes. Likewise, "River Of Time" is a steady Morrison soul num- ber, which simply lacks the punch of predecessors like "Beautiful Ob- session" and "Almost . Independence Day". The lyrics of "River Of Time" run: Heart and Soul! Body and Mind! Meet me by the river of time These lines are repeated over and over in .a fashion which is a standard Morrison stylization, but pushes the genre no further. The lyrics are cer- tainly no revelation, and the music is so completely familiar that it would have required a remarkable performance to make the tune worthwhile. Unfor- tunately, this is not to be found. In fact, none of the performances on this album are of any particular in- terest. There are no guest appearances on Inarticulate Speech like Dire Straits guitarist Mark Knopfler's on Beautiful Vision, and "The Van Morrison Band" simply plays out Morrison's stream of consciousness music perfunctorily. Synthesist Mark Isham is featured prominently on many of the cuts, in an apparent attempt by Morrison to add modern elements to his sound. The syn- thesizer is, however, mixed far too loudly on a number of cuts, and on "River of Time" especially, seems, actually to undercut much of the emotional power which the song might have conveyed. Van Morrison has used synthesizers to positive effect in the past, most notably on 1978's Wavelength, but on Inarticulate Speech their use seems excessively designed to cover the basic weakness in the songs. Not to be too hard on one as illustrious as Van Morrison, there are at least a few redeeming features here. "Con- nswater" is an interesting attempt at using traditional Irish melody, and "Cry For Home," though certainly a Morrison cliche by now, concludes with some fine soulful shouting, in sharp contrast to the half-interested ram- blings which occupy most of the record. Too bad the production on "Cry For Home" (Morrison's own) makes it sound as if it were recorded in the garage with a bottom-of-the-line syn- thesizer. These few highlights notwithstan- ding, Inarticulate Speech is very weak, and one is left to wonder why one who conceived of such pop gems as "Moon- dance" and "Domino" was so lacking for new ideas this time around. There are two possible answers to this question. The cynic suggests that Morrison ishsimply following his prescribed policy of putting out albums with great frequency, which he stated in several interviews last year. If this be the case, then the new album can be dismissed as an ill-advised record a . .v..;: : : ",:." x . AA x,.;: :", , ." ..::',:: '3:'i:..; . .', . .:.v" -,r y y : "-; ~~~~~ ~~~~~~~~~~~~~.*... t'. .Y.,,t..v....*." .....} w:: xt ' r". **= r}.:sktrc' aC3?.'+"+'. ** :....,,.. "__._.:"_ ________________________________________________________{_.__________4.:.......______'"_'_, FASHION ISSUE I The Forecast Page 5 Trendiness, faddishness, and cheerleader cutesy are out. Individuality and personal statements are in. Aren't you glad we told you that before you made a fool of yourself? Cover photo by Brian Masck. Catherine Hipp extended shoulder dress in monopoly blue cotton lawn. Available at Ayla. Why I wear what I wear Page 11 Our fashion correspondent uses the Daily as a forum to praise some of her friends. Store reviews Page 12 Revenge (or warning). The people who take your money in exchange for habiliment are subjected to critical scrutiny. which probably was made by a relatively uninspired Morrison, who felt compelled for whatever reasons to put it out. The apologist, on the other hand, may take Inarticulate Speech as some sort of experimental foray into Jazz and "New Music," and may consider the album's apparent lack of heart as a manifestation of Morrison's attempt to be something other than just Irish Soul Brother #1. Van Morrison has been on the scene now for close to two decades, and he has recorded as much worthwhile music as anyone in the rock era. If you haven't got them already, albums like Saint Dominic's Preview and the truly trans- scendent Into The Music, are highly recommended for anyone who's interested in a man who has stretched the rock idiom in countless fascinating directions Inarticulate Speech Of The Heart, however, serves neither to ad- vance rock nor Van Morrison's desire to be recognized beyond it. Not only is it truly inarticulate, but it hardly seems to come from the heart. Fashion losers Page 15 The many. The unfortunate. The sartorial incom- petents. A heartless expose. Sew your own Page 15 Have you ever mused, "Gee I wonder what it's like to make one's own garments?" You haven't? Read the story anyway. THEATER Mime time Pages 22-23, The University Mime Troupe puts on a fresh face this weekend, while a Beggar on Horseback arrives at the Power Center. Also, laugh with Sunday Fun- nies tonight. FILM Sad Boys Page 25 What happens when Sean Penn, the doped-out- beach freak of Fast Times at Ridgemont High, goes to a detention center? Find out with this week's review of Bad Boys. University mime troupe: Two-faced 9 THE LIST_ Happenings Pages 25-28 Honda power Page 32 Honda has long powered the motorcycles and dreams of American teenagers and Japanese auto executives across the Pacific. Detroit honchos have long envied the unique cultural and corporate en- vironment which made Honda successful; Tetsuo Sakiya's new book examines the whys and hows. DISCS Three pop platters Pages 33-34. Todd , Rundgren, Kimberley Rew, and Chris Stamey have one thing in' common: they have all come out with excellent new records which reflect the ideals of contemporary rock music. It's a wonderful life... Also this week, new releases from two classics: Von Morisson and Roxy Music.~ Roxy gocrazy The High Road Roxy Music Warner Bros. By C.E. Krell TYLE. 1970s. Make up, feather boas coiffed hair. The sexy grind, the gocrazy guitar, the gocrazy drums, the gocrazy bass, the gocrazy saxphones and oboes, the gocrazy treatments, the gocrazy piano, the gocrazy voice. Imagine a basement full of sweaty people, mass body movement, boun- cing up and down, doing the Strand with (what's her name?) Virginia Plain. Those crazy kids. Roxy Music did not tour the United States in support of last spring's Avalon. Enter The High Road, a new 4 track EP, an aural glimpse of Roxynow., We've all grown up now, the boas are bye bye, a bit of a paunch. What can ya do? Music for adults. No more 'scleen and Thunderbird, just iced Stolichnaya and free base-balls in the snow. The girls, oh year, they scream, cos Bryan he's still around, charming the wayworn sentimental way. Married, but still the durable incurable. In this live set, the songs are half Bryan, half O.P.'s (Ferrycovers). Still in there woo-pitching are originals An- dy Mackay (saxaphones) and Phil Manzanera (twistguitar), and a host of session others, including the obligatory whirlygirlys on backup moans. Style now is big band percussive sleekness, rhythmically anchored and synthetically bubbled. And for mature guys (and gals), they swing. "Can't Let Go" is the dancebop that Santana will never ever be: lots of skins, the keen sheen vocals and keyboards, and streetlamp sax and Phil. OK, Phil plays guitar in a rock band, therefore he is a rock guitarist. But it's ok, he's cool. Cool because he plays the same notes (and some new ones) that you may have heard, but he plays them in a different order. We like the guitar if Phil plays it. On "Like a Hurricane," hear Phil feedback Neil Young (we also like the guitar when Neil plays it) into Phil into Neil imitating Phil imitating Neil. Oh, and listen to the sax on the chorus, right behind it, as it is as playful and neat as a bunny. Bryan sings this one using the Method, digging into the Scene of the crowded hazy bar. Ol' Neil never sounded so damned dreamy. And the girls, well, o1' Neil never quite could figure out what to do with all those voices. He probably wouldn't like all Your guide to fun times for the coming week in Ann Arbor. Film Capsules, music previews, theater notes, and bar dates, all listed in a handy-dandy, day-by-day schedule. Plus a roster of local restaurants. EXHIBITS Blixt plx Page 29 Blixt Gallery hosts a not-quite-picture-perfect exhibition of Darcy Drew Greene's photographs. Ex- pose yourself to this week's review. MUSIC Margueritaville Page 30 The master of Carribean mellow returns to Ann Arbor April 10 for an evening of ballads and soft core rock. The Hill Auditorium concert promises to be a memborable one as Buffet performs songs from his latest release, Somewhere Over China, and favorites from his classics. CLASSICS Simply Solti Page 31 The Chicago Symphony Orchestra, perhaps the finest such ensemble in the whole entire world, per- forms at a sold-out Hill Auditorium this week. Sir Georg Solti, current dean of American conductors, directs. Fashion Editor............................Phillip Lawes Fashion Editorial assistants................Pamela Gould Mara Moradoff Sales Manager...........................Meg Gibson Sales Representatives.....................Steve Bloom Debbie Dioguardi Eric Friedman Jennifer Greene Ingrid Halpern Elizabeth Levy Navarro Tim Pror Jim Schoenburg Aaron Talsky Scott Waxenberg Julie Winokur Fashion Photographers...................Brian Masek Jeff Schrier Wendy Gould Doug McMahon Elizabeth Scott Tod Woolf Fasnion: Cornered Hair consultant............ Make up................... Models Roxy Music: No feather boas Alan Blum1 Christine Eldred4 Paul Fleuranges ] Kenny Gear Pamela Gould Mary Alice HaywardI Jackie Hats Dede Key Sarah La Fred Leap Gwen Le1 Adolfo Li Becky Ma Carl Miri that shouting, but this is Roxy, this is Style music. Sadness, Sadness. Loneliness. Tired. There are two songs on this record where Bryan, he sounds weary, yet s-u- a-v-e. "My Only Love" a quiet, dubious sexbeat, subversive in a way; "Jealous Guy," a Lennontune of nonscream proportional, "I'm just a jealous guy" croonspeak. Everybody here is alone; where did the band go? Bryan is out all tiny like in a spot (probably baby blue) weaving vanilla smoothies. Andy, weeps into reedy rapture, Phil doesn't even distort, just picks platitudes in purple. Sigh. OK, so The High Road not remade or remodeled spurts of joynoise trip beat. It ain't what it used to be, But it'll do. There just isn't a choice once you're a big person. And there is an undeniable prettiness (what, in rock and role) to this Musique de Roxy. At least there is a girl on the cover. Shit, though, we're older now, so she has her clothes on. tongue firmly cheek implanted. Weekend Weekend is edited and managed by students on the Weekend, (313) 763-0379 a Vo- 18 staff of The Michigan Daily at 420 Maynard, Ann Ar- Daily, a64- )2 Circulation, Magazine Editor ....... ................Ben Ticho bor, Michigan, 48109. It appears in the Friday edition tising, 764-0554. Associate Editors ..................... Larry Dean of the Daily every week during the University year Mare Hodges and is available for free at many locations around the Copyright 1983, The Michigs Susan Makuch campus and city. X134 We/r Ar'W'1983 ...