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 4 E' . SW. I a , k' f _Y , . 0 ., . i v _ 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. N 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.. \ , U I 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. 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