t
The Michigan Daily - Friday, October 5, 1984 - Page 7
Records
(Contined from Page 6)
grabbing, a sort of picturesque quality.
Sort of dulcet, dulcet ringing bells.
This is a cop from Reader's Digest, but
4usker Du seem to have captured
gibbed held strangle grip throw jet
scream stroke the harmonic hum of the
girapped ears that star on the cover of
Zen Arcade.
Spurt gout but it's not funny
anymore. But there is a sense of humor
and fun and revelry in the swimming
red corpuscles and picked bones and
teeth. This record smells like a really
bad motorcycle vs. car wreck. But a
hedonistically deft motorcycle vs. car
wreck.
It's all planned, but spontaneous in
execution with dim evolution and min-
ds choking free from pollution. Why this
and why that and come on and please
and no no no no!
All the noises from a twelve year old
who never cleaned a septic tank chock
ull of every damn human chewed body
ste and part.
>I this weren't so fun, and funny, it
ould be terribly bleak. I am trying to
make sense of three guys trying to
make sense in a rockin big beat.
here is where we can start to grow as
x ;whole thing starts to grow from a
ziroscopic view of here come the
planes. Grow like a mold. But a con-
tained petrie dish mold that never
leaves the confines of the two record
"arty headbang discs that really is all it
wanted to be and does that very well.
.S;mething you can put on and play
airtrash can to. Or you can mime barf
long with the words. But it's not funny
any more. Not entirely.
I mean, something out there mated
an gave forth of this fleshy splinter
acid disease. Maybe it's tragic but by
the same token what's tragic about
hurling your body all over the room and
walls and other bodies in visceral ex-
citement and exulting maiming.
Here is where the picture becomes
bigger and bigger until there is a whole
world full of neds flinging their guts
about in mindless rush of circular saws
cutting through cement and howling
something awful, with the occasional
eClies of a stray limb or squirrel
sb ificed in the name of hotly freshly
tarred streets.
JrZen Arcade is such a cold shower type
of squeeky clean that'you just can't
srub off your body. More cracked
braincases happen in the bathroom
'tliri anyplace else.
- C.E. Krell
The Time - Ice Cream
Castles (Warner Brothers)
Morris Day has a bad sense of
(unavoidable pun) timing. For three
years he has fronted a band best known
as Prince's warm-up act. While Prince
pursued the crossover market, and
relegated his more sexual songs to the
B-sides of his singles, the Time
remained a nasty, funky band made for
the soul charts.
Then Morris and the band stole Pur-
ple Rain out from under Prince, and all
this without a concession. Now would be
the time (sorry) for Morris and the
band to cash in, but instead they have
disbanded.
Their final album is their third ex-
cellent funk offering, and it is better
than either of their previous releases.
Ice Cream Castle is a solid record, and
a fitting companion piece to the Purple
Rain soundtrack which shamelessly
omitted "Jungle Love" and "The
Bird." These are included in full-length
versions, rather than the excerpted
versions in the movie.
Also from Purple Rain, sort of, is a
dialogue over music titled "Chili Sauce."
It is an extended version of the seduc-
tive patter Morris used on Appolonia in
the movie, but this time (sorry, again)
the results are, predictably, in Morris'
favor.
One gets the sense that Morris did not
enjoy playing the guy who loses the girl
in Purple Rain, and perhaps his depar-
ture from the Time is motivated by a
desire to be his own man at whatever
cost.
"Ice Cream Castles," (the song) is a
plea for racial tolerance, if only to allow
Morris to spread himself around more
liberally. "My Drawers" and "If The
Kid Can't Make You Come" are a pair
of nasty little ditties, the first with
screaming guitars and an incredible
hook, the second more soulful.
"Kid" is also notable for its ending,
which features a climaxing woman
reciting "The Pledge of Allegiance."
It is important to recognize that there
is a qualitative difference between both
the music and the lyrical content on this
album, and that of Vanity's record.
Where Vanity takes herself seriously,
Morris is outrageous and self-
'-SH I'RT
cPBINTINe
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From 10-800 T-shirts screenprint-
deprecating. While both records are R-
rated, The Time's shows a sense of
humor, and the content is so
outrageously overstated and put-on
that there is little comparison to be
made between the two records.
It is hard not to wonder whether
Morris Day will suffer the same fate as
Vanity now that he has left Prince's
production, and quite possibly Prince's
authorship. While Morris clearly
possesses much more talent than
Vanity, it is hard to tell how much of his
success to date he has earned, and how
much of that success really belongs to
Prince under the auspices of the Starr
Company.
That Morris has left would seem to
indicate that he feels that he has
something to prove. In any case the
record buying public stands to gain.
Prince, no doubt, will exercise his star-
making abilities elsewhere - if they in
fact exist - and we have solo work
from Morris Day to look forward to.
The rest of the band remains a first
rate funk unit, and they undoubtedly
will not sink into oblivion. There will
always be a place for the first-rate dan-
ce floor music with the exquisite licks
that this band has on vocals, guitar, and
synth.
Maybe it was time for a change.
- John Logie
Vanity - Wild Animal
(Motown)-
The press kit accompanying Vanity's
first solo release manages to sum
things up pretty well by providing this
definition from Webster's,..Vanity -
excessive pride; excessive attention to
one's appearance; a thing or trait
regarded as vain..."
Somehow Prince's production job on
the Vanity 6 album managed to conceal
the factthat Vanity is one of the.most
talentless pieces of window dressing
since Bo Derek.
This record is almost impossibly bad,
and the amazing thing is that the things
that make this record bad are almost
all Vanity's fault.
.It must now be recognized that
Vanity has no singing voice.
Recognizing this, the prudent thing to
do would have been not to tax her in this
area. Instead Vanity gets many, many
chances to show off her nonexistent up-
per register. It is gratingly off-key, and
downright ugly in places.
Vanity is quite proud of the fact that
she has "co-written" the songs on this
record. It is possible to sing about sex
and sexuality without being tacky, and
the sense of humor displayed on the
Vanity 6 album was one way of avoiding
tackiness. Unfortunately, Vanity does
not seem to have learned anything from
Prince's tutelage. She tries to be clever;
but fails miserably.
The most damning review I could
imagine for this record would be simply
printing the lyric sheet. In the absence
of that, these examples should serve:
"I'm Flippin out! YAH! I'm
Flippin OWOWOW OUT ooh. /
HA HA. Yoo can swallow me all in
1 bite, / creme de la cocao is what I
taste like. / Bite me here swallow me
there..."
- from FLIPPIN OUT
"Don't you provoke me, come on
stroke me.
STROKE ME. / Strap this thing
tight. / If you want to glide down
my highway it's open. / STRAP
yourself in RA Hi HA HIDE."
- from STRAP ON "ROBBIE BABY"
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"Ooh, yeah, such a pretty mess /
He made such a pretty mess on my
dress.''
- from PRETTY MESS
"Yor anything but ordinary / and
I'm getting your attention hard! /
Yor body's shooting X-ray bullets /
Fire away, I'm unarmed and all of a
/ sudden you push replay replay /
mechanical emotions in my middle /
Hey! Ahhhh yor in my symphony /
Fine! Why? Wh? Why? / love yoo
anyway.
- from MECHANICAL EMOTION
This is all delivered in a series of
yelps, howls and orgasmic moans over
a surprisingly good musical
background. It doesn't matter. The
music itself is thoroughly obscured by
Vanity's insipid lyrics and delivery. If
she's trying to be campy, she has failed.
People who enjoyed Vanity 6 in all
probability will not like this record. It
also should not draw any fans of
Motown music. It will, however, be
very popular with fans of sleazy cover
art, and will complement the works of
the Ohio Players and Montrose's
"Jump On It" quite nicely.
John Logie
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BLOOM COUNTY
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*4'.
'/1I HiU
A student bites a teacher.
The school psychologist goes berserk.
The substitute teacher is a certified lunatic.
And students graduate who can't read or write.
It's Monday morning at JFK High.
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TEACHERS7
United Artists Presents
An AARON RUSSO Production
An ARTHUR HILLER Film
starring NICK NOLTE -JOBETH WILLIAMS -JUDD HIRSCH RALPH MACCHIO
"TEACHERS" ALLEN GARFIELD iih LEE GRANT ad RICHARD MULLIGAN
Written by W. R. McKINNEY Production Designed by RICHARD MacDONALD DirectorofPhotogrnphy DAVID M. WALSH
M '.] Executive Producer IRWIN RUSSO Produced by AARON RUSSO. Directed By ARTHUR HILLER
SOUNDTRACK AVAILABLE ON LAWtRECODSANDCASSETTES
RST-ICTEO O Featuring the music of lZZTOP-BOB SEGER-JOE COCKER- NIGHT RANGER-.38 SPECIAL-THE MOTELS
JllU*I 17 REQN(UISACCg.PA~NYI.6
mM eNRARUL A FREDDIE MERCURY -IAN HUNTER- ROMAN HOLLIDAY - ERIC MARTIN & FRIENDS
STARTS OCTOBER 5th AT THEATRES EVERYWHERE
1984COLLEGE 'NEWSPAPER
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