w w w ,qw- ', T 'W ,w w wqpl -W -W mw C O V E R Concerts (Continued from Page 3) saturated A Flock of Seagulls, with its adolescent, sci-fi lyricism, went gold in no time flat. Now it's two years later and the band has exhausted their two tricks. Score has changed his haircut (he probably wanted to see sunlight) and their sound has degenerated into mixing board muzak. Their Tuesday night concert has been rescheduled twice so that the band could schedule in appearances as an opening act for Thompson Twins and the Go-Go's, which is far more devastating criticism than I could ever conceive against them. The Bangles, a most engaging and exciting new group, was scheduled to suffer the indignity of having to open for them, but canceled out just last week. Hopefully they'll appear in town on their own, and get the attention they properly deserve. R .E.M. has gotten so much press in the past year and a half that there is little to add. In short, this four man band from Athens, Georgia, has ac- cumulated unanimous critical acclaim and a steadily increasing audience without comprising any of their in- tegrity. The greatest mystery about R.E.M. is how a band so unconventional and un- fashionable ever ignited such a fierce following. They don't use synths, or production gimmicks, nor do they pan- der to the dance crowd mentality. They take a basic rock and roll at- titude, and add to it such commerically unviable elements as folk, country, and even traditional Indian. R.E.M.'s music is like the exotic bog pictured on the front of their Murmer album, mysterious and magical at times, but with a very earthy feel. Shadowy, beautiful melodies, worked out in uncluttered arrangements for guitar, bass, drums, and vocals. As principal writer for the band, Michael Stipe fashions emotionally suggestive lyrics that perfectly com- pliments the music's feel. Instead of concentrating on the literal context of his words, Stipe draws their power from the tone and emotional timber of his voice. Listen to the sim- ple, plaintive cry of Sorry. . . in "S. Central Rain" for a classic example of how a single well-phrased word can make a song. R.E.M. tours because they love it, not because (in the most contemptable, ingratiating excuse bands frequently use) they "owe it" to their fans. They play a clean, informal but earnest show. The songs are a bit more rock and roll in their thrust, some songs losing a little from the delivery, others gaining from it. The band gets as much attention for its ethics as it does its work. They come without slick hair styles, make up, or flashy attire, and they regard videos and M-TV with as much affection as the plague. Their first recording, the Chronic Town EP; was completely recorded and packaged, virtually finished, when they signed with their label. Their first album Murmer, was cut in a remarkable sixteen days, and the follow up Reckoning in an astonishing eleven days. The idea is that an intelligent band, with their instincts intact, can go in and feel a song out with a minimum of knob twisting. Reckoning in particular demonstrates that musiciansrwith a sensitivity for writing the mood into a song don't have to sterilize it of all R.E.M. on the other hand, by virtue of their talent, and subsequent voluminous praise, built their career quickly, and established a broad base of fans of different background. One might consider though, that that fact doesn't necessarily mean the people who buy their records are that discer- ning. First, their songs are intrinsically pleasant, with a strong melodic base, so they're easy to like, and second, many of their more recent fans might be the sort of people who want to jump up on 'Each of these four bands might be setting precedents that could eventually influence the attitudes of the "industry," and the way future new bands are handled.' The music is a barrage of danceably dark rhythms. Guitarist Billy Zoom (who plays in the John Entwhistle school of stage immobility) spins out a continual cascade of droning, crashing electric rain against the black heart plulsing of John Doe's bass work.Cer- Vanka's vocals, cackly and muddy, and the perfect instrument for her words. The Replacements arq the least successful of the bunch, but fora num- ber of reasons offer the most intriguing possibilities. They've gotten tremen- dous critical support, and a solidifying word-of-mouth reputation on the tour circuit._ If they were to secure a non- threatening distribution deal with a major label, the potential for finding a commercial niche could magnify tremendously. More interesting is their attitude. While none of these bands - X R.E.M., or the dB's - have the sort of disgust for pop that poisoned the at- titudes 'of so many of the new wave punk groups (who told us they were going to liberate music), the Replacements grew up in and were weened on AOR and top 40 radio, and have not made any good/bad distin- ctions with what they heard. They never "outgrew" their childhood favorites, and hence have a significantly greater volume of wealth to drawdupon than a band with self professed seriousness would. The most encouraging thing about this weekend is it's an unofficial celebration of four success stories of varying degrees. Each of these four bands might be setting precedents that could eventually influence the attitudes of the "industry," and the way future new bands are handled. The possibilities are exciting. Bull is a Daily associate arts editor. humanity by pointless. mixing board perfection - An idea all too scarce in the "industry" today. I N SUMMATION, an interesting point to consider is this: of the five bands the one to achieve the greatest and fastest success (Flock of Seagulls) is the least substantial, most gimmick ridden of the lot. Subsequently, as their tricks were out, so have their prospects for a long career. The'other bands have all resisted shortcuts and trends, though X admit- tedfiy does cater somewhat to it's very segmented audience, and they do also indulge in a certain amount of stage theatrics. another musical fashion, without that much sincere appreciation. Though the dB's share a fair amount of similarities with R.E.M., the key to their failure might be their more eccen- tric (and in some ways more charming) musical sense and lyric wit. The band's new album, Like this, does however, feature more conventional, writing and arrangements, and might prove more palatable. X is a band that - aside from their punk-fashion appearance - easily put off many a casual listener with their very disturbing music. Rising up from the ashes of punk in 1980, this L.A. based ensemble decided single han- dedly to reclaim lost turf, and gain much more. R E L E A S pressiveness. Blegen's performance of "Catfish F R___UL the Poulenc Gloria with the Westmin- Weissenb Stevie Wonder-(Soundtrack to) The ster Chorus is no less impressive. She awesome t Woman in Red (Motown) carries her voice with great skill among about all RellSedoo Stthis massive chorus and the chorus However ( A LU Mm nteviesgofcourseotevineuh produces some very lush and rich choral out a fasci but this album sure isn't his best. I textures. The piece is evidence of a flavor to G does have however, "I Just Called to very well balanced combination of enjoyable. voices with a vocal soloist. N. G. your feet SSaheyear' bev Y tou" wh ing es ar one Lorin Maazel, The Cleveland Or- N. G. with a couple of very worthwhile duets chestra, Tchaikowsky Symphony No. 4 Recent Falco-Jungle Rosemer-(A&M) with Dionne Warwick. I guess I just -(CBS Masterworks) John Lo This album is very slick, but not expect a bit more from big Stevie than Maazel's recent version of the from revi overly commericial. It probably will the simple conclusion in "Don't Drive Tchaikowsky Symphony No. 4 in f WCBN a not get the attention it deserves from Drunk" that Mothers Against Drunk minor Op. 36 with the ever-so-famous mainstream radio and M-TV. this is all Driving are mad. Musically the album mighty Cleveland ensemble is an ex- ter, Marla very well-crafted cosmopolitan con- plays it safe, but I suppose that's to be cellent example of how and when Krell, Del tinental pop sung in German and expected from a soundtrack. J.K. Tchaikowskywis played at its peak. English.D.mR. There were some minor problems such as lack of spark in the Let's Active-Cypres (I.R.S.) first movement's clarinet solo, and the Let's Active is still really dB's-ish. The Hotmud Family-Years in the oboe needing a bit more expressiveness I Overall, the harmonies and melodies Making (VETCO) in the second movements, howevero LN are original - considering the genre of strong in instrumentation, vocals, and and they produce stirring and thrilling could become another teenybop-pop harmony. Their style is a combination results. Maazel always digs into the 40 sound. It's mostly danceable, and more of early and modern bluegrass/coun- real meat of the music and the feelings $ , consistent than the band's EP. R.E.M., try, and old-timey stuff. D.R. radiated through the music are of great dB's, Bongos, and of course, Let's Ac- warmth and vigor. N. G.er23T tive fans should all be happy with this, Alexis Weissenberg, Seiji Ozawa, The M.G. Berlin Philharmonic Orchestra. - Johnny Dyani-Afrika-(Steeplechase) (EMI Angel-Digital) WE Johny Dam-fria-(Seepechse) Just to hear a top German orchestra This album is very suite-like. All of Just the atop mesma orchesra the tunes seem somehow related. play the American music of George Harold Budd/Brian Eno - The Pearl Tricky African rhythms, and a carnival Gershwin is reason enough to listen to Bri (JEM) feel from the steel drums are this new EMI Angel Digital release. A add This is another Eno/Budd augmented by nice ensemble horn Bulgarian born pianist, Alexis CALL collaboration, very similar to the am- work. There are lots of spaces, too. Weissenberg, joins Manchurian born B bient music series, but it is more Overall, an engrossing and complex lp. Seiji Ozawa, in an album featuring the engaging (and more interesting for C.E.K. ever-poplular "Rhapsody in Blue", strict listening). All of the songs are Doug Raney Quartet-Blue and White- variations on "I Got Rhythm", and centered on piano and "mellow" studio (Steeplechase) effects. The songs are all very good, Doub's guitar tone is like a nerf ball, and range between two and five very round and soft. He spent a lot of PLAN minutes. They all will, in the words of time with Chet Baker (look on Chet's Eno, "introduce a space to think." recent lp's) and seems influenced by D.R. that trumpet sound. Solid rhythms and Party Boys - No Aggro - (Independent a very relaxed atmosphere overall. Project) C.E.K. FRIDAY, FEB. 22 - MONDAY, MAR. 4 This record is proof that not every in- dependent release is good. The Party CL I i C L $10.00 DEPOSIT HOLDS: Boys are NOWHERE NEAR AS CLEVER AS THEY THINK THEY Arthur Gold, Robert Fizdale, Judith ARE. Their idea of relevance is a Blegen and the Westminster Chorus - Round Trip to Tampa......... "primitive" sound (or at least what Concerto for two pianos, D minor; they think is one) and simplistic Gloria for Soprano and Orchestra - statements on obvious targets. This (CBS Masterworks) Freeport, Bahamas.......... album is SELF-INDULGENT, Sheer sparkling brilliance, energy, PSEUDO-ARTISTIC GARBAGE. It is poise, charm, everything you want in a not even good as camp or humorous performance is evident in this new re- music. No matter what it says on the release of the Poulenc two-piano Con- sleeve, this poorly recorded lp was not certo. Gold and Fizdale are the pianists made in 1967. They belong in California. in a solidly rousing exhibition combined Corner of Liberty and Maynard D.R. with equal amounts of grace and ex- hife £IOU ti Dal INSUL ATE 1LEATI No. 1 No. 14 Reg. 194.00 s Ie a Man Daig SURPLUS -'201 E . W A SH INGT A T4TH AVE. Weekend/Frida X: post-punk picks up where Woody Guthrie left off. 4 Weekend/Friday, October 5, 1984.