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October 31, 1984 - Image 6

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Publication:
The Michigan Daily, 1984-10-31

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4

ARTS

The Michigan Daily

Wednesday, October 31, 1984

Page 6

del

By Dennis Harvey
The del Fuegos are pure dirtboy rock
'n' rollers, as shameless and unpreten-
tious as they come nowadays. If their
set this Tuesday at Joe's seemed

uegos:
mostly slanted toward perspiration
rather that inspiration, a journeyman's
stop on a hard tour, it still delivered
more solid energy than this town
deserves,
Starting out with a block of tunes of
their excellent Slash debut LP The

Dirtboy rock at its best

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Longest Day -- "When the News is On,"
"Mary Don't Change," "Backseat
Nothing" -- the del Fuegos quickly
abandoned the old record-plug strategy
and launched into a head-knocking glut
of covers and unrecorded originals.
Having been dumb enough to reside in
Boston for several obviously misguided
months a couple of years ago without
ever having seen the band on their
home turf, I can only toss out a few
caught titles -- "Jealous Glove," "Mid-
nite Hour," "Just a Little," "On the
Town," and other big hits -- and release
general post-concert hums of satisfac-
tion.
This band may have smoothed itself
out a bit (apparently east coast fans
were initially put out that their favorite
sloppy, sure-we'll-play-at-your-party,
back-to-basics faves had "cleaned
up" their act, added keyboards, etc. on
The Longest Day), but they remain
rootsy cool. Cornerstone of the group is
the dual gee-tar playing of real-life ac-
tual brothers Warren and Dan Zane,
who can create quite the impressive
electric din in concert; number two in
sheer impact is the highly agreeable,
sandpaper-scratchy vocals of Dann and
bassist Tom Lloyds (who sang a pretty
mean lead on a couple of songs). Pity
that at Joe's the vocals were rather
weakly mixed and somewhat lost for a
large part of the show. No poor third is
drummer Brent "Woody" Geissman,
whose big beats had the floor fairly
hopping after a slow start in audience
involvement.
An inspiring few moments of nondan-
ceable, gritter-Everlys-type balladry
was provided by Longest Day Track
"Anything You Want" and "Have You
Forgotten," both of which highlighted
the backwoods harmonics of D. Zane
and Lloyd to ace effect. Further points
of brilliance were offered by versions of
three of the LP's best songs -- the
rocking "I Should Be One," the equally
rocking but routsier and more melodic
"Missing You," and the more-
everything "Mary Don't Change,"
which has the kind of chord changes a
boy could die for.

Dily rhoto by UUUG McMA-
Dan Zanes and Tom Lloyd of the del Fuegos brought their own brand of rock 'n' roll to Joe's Star Lounge Monday night.

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The coolsville crowd was somewhat
reluctant to lose face and sweat en
masse on the dancefloor, despite a few
space-filling exceptions and one urging
from Tom Lloyd to start dancing on
tables or else. Still, I suspect that the
fairly well-packed Joe's audience was
secretly dying to dance, constricted
only by the general cloud of polite
mutual hesitaton; by the final encore
good singing and playing, but the stage
on Sloopy," everybody's feet were
crying for liberation -- but too late,
suckers. The near-ultimate in high-
cheekboned 100 per cent jagged-edged
Boy Bands was soon gone. Everyone
had a beer (it was still just 1:20) and
repented their shyness. No doubt the
next time the dF's play this town,

they'll be deluged by screaming con-
verted followers. Fair enough. This
not-quite-'50's-revivalist band, with
their gonesville boy/guitar type stage
action and fine tunes, earns the
regressive potsteen madness they en-
courage.
Local band Map of the World opened
with a typical set -- excellent songs,
good singing and playing, stage
presence as intense as that of a beached
trout. They need to loosen up o LOT.
Their new single (see Daily review in
next week's Weekend) is terrific, but as
a live band the goodwill built up by their
music is smeared by the fact that they
look so bored.
If you didn't know it already, Joe's is
open and safe from the wrecking ball

for -an indefinite while further, despite
all those closing plans. Next month's
schedule includes such important per-
sonalities as rockabilly cult thing
Sleepy La Beef, countrified psychedelic
rockers The Long Ryders, the culty
10,000 Maniacs (any band named after
Hershel Gordon Lewis -- he of Blood
Feast and The Gore-Gore Girls --
movie must be worth seeing), under
dogs Charlie! Pickett and the Eggs
(whose highly promising Cowboy
Junkie Au Go-Go EP features hits like
"Marlboro Country" and "Trash
Fever"), and, most excitingly, the L.A.
psychedelic-brilliant Rain Parade. Get
the schedule or be musically blank,
man..

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Photography exhibit at DIA stirs senses

By Stephen Bergman
The Harry Callahan photographic
exhibit, on display at the Detroit In-
stitute of the Arts until Nov. 25, is a

celebration. It simultaneously honors
the beauty of the human form and the
ever-changing nature of the
photographic medium with its display
of the photographer's expertise in the

manipulation of light, form, and overall
visual and printing technique.
The manner in which the prints por-
tray the human form seems to blend
photography with sculpture. One of the

framed works contains three small
prints, each a rear view of his wife
Eleanor's nude form (Chicago c.1948).
One on top of the other, each print of-
fers a now flexing of muscles, thereby
creating an entirely new image.
One of the most visually stimulating
photographs on display (Chicago
c.1950) was made most effective in its
dramatic blend of the beautiful shape of
the human body and the sharp, direct
use of light, the most basic element of
the photographic print. The partially
silhouetted figure of Elaenor sitting
beside a window is cut diagonally by
several individual splashes of light cast
from the setting's lighted exterior.
Although the elements of light and dark
clash for dramatic effect, the overall
sensation is one of harmony.
This harmonious relationship is in
many ways accounted for by the
richness of tones within the print itself.
The black contained within most of the
print is deep and dark whereas the
white is soft and gentle and yet remains
a sharp contrast to both the figure of the
woman and the black ground surroun-
ding her.
Many of the prints on display from
Chicago c.1952 offer a radical departure
from Callahan's earlier style. These
prints are composed of a variety of
superimposed images seemingly
coming from cutout shapes,
photographs of Eleanor and of both
natural ad urban settings. These
multiple image collages seem to speak
less about beauty of the human forms

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