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ARTS


The Michigan Daily

Wednesday, November 14, 1984

Page 6



Records

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Various Artists-The Girls
Can't Help It (Rhino
Records).
Much of Rhino's output leans toward
the campily nostalgic in both new ar-
tists and reissues, so this LP of '13
swinging hits from today's grooviest
gals" has a decidedly retro bent,
largely toward the Shirelles and
Shangri-Las and other exquisitively
inane stars of the first teengirl music
era. But the production values are up-
to-the-moment, and the pop-bullseye
quotient is very high.
"The Only One" by Scotland's
Sophisticated Boom-Boom has a bit of
Siouxsie Sioux's echoey obey-or-die
vocal command. There's pure '66 trash
harmonica-and-all joy from L.A.'s fan-
tastic but now splirttered Pandoras'
(buy, buy, buy their debut LP on Voxx,
It's About Time) "You Lie," a gorgeous
hopper that's poppier and more har-
monic than anything else they've
recorded. On the Air achieves pop bliss

with the stop-and-start construction
and delicious quitarwork of . "Even
Try," while Laura Zambo's classical
quitar training lends an acoustic
sweetness to the charmed, lovecrazy
"Patience."
An important historical footnote for
Go-Go's fans is Chris Somma's version
of years ago when Go-Go Karen Valen-
tine and now-members of Dream Syn-
dicate and the Droogs were members of
a band called the Textones. Tiger Lily
ably goes the route of harmonic ;power
pop on "Die Laughing," while Ru
Carley goes ditto with a beautifully
chordal-changing "Boys in L.A." (swell
lyrics too - "Man, you're so GQ".)
The NY-based Antoinettes do a super-
bly produced synth-funker, "Never Let
Go," which is suitable for any decent
dancefloor in the land.
Three members of the goddess-like
Bangles do backup vocals on "Run to
Him," an enjoyably silly obsessional
teen-throb song by Jane Bond and the
Undercover Man, who were rather less
impressive on the Radio Tokyo Tapes,

compilation's "The Spy Movie." The
whole swinging' LP closes with a Phil
Spector/Crystals remake, "Little
Boy," by the Signals. The cheering ef-
fect of Byrdsy ringing guitars and han-
dclappy effects on so many of these ef-
forts (especially Sednesday Week,
Leslee Swanson( is a definite plus for
all of you new-type psychedelia fans.
Where most compilation albums offer
a high-risk selection of goo/bad/ugly,
The Girls Can't Help It is consistently
excellent. If its range isn't exactly as
progressive as one might like - you
can look in vain for any sign of true
female modernists like the Delta 5,
November Group, Bird Songs of the
Mezozoic, etc. - this is nevertheless a
completely delightful set of songs by
women who've found their niche within
the pop slants of other musical ages.
Highly recommended.
-Dennis Harvey
Various Artists-Teenage
Tragedy (Rhino Records)
Billed as "torrid tunes of terminal
teens" and "a specially priced collec-
tion of dream-date discs with a death
wish," this is a necrophiliac
rockophile's dream-absolute mor-
bidity within a solid pop framework.
Of course, legendary nice biker
queens The Shangri-Las are the most
immediately recognizable stars here,
with their black-leather sob master-
piece "Leader of the Pack" and the
domestic drama "I Can Never Go
Home Anymore." On a slightly less
venerated level is the Everlys-flavored
"Teen Angel" by Mark Dining, and Ray
Peterson's sweetly gut-wrenching "Tell
Laura I Love Her" (that's the message
related through Laura's mom just prior
to the hero's death in a racetrack
"twisted wreck."). In a similar
category is J. Frank Wilson's "Last
Kiss," ideally quoted and explained in
the liner notes-She's gone to heaven
so I got to be good/So I can see my
baby when I leave this world. "True
to his word, he (Wilson) is currently
See RECORDS, Page 7

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Chicken delight
Tim Hopper and Brian O'Sullivan star in "Charlie, the Chicken," one of three one-act plays currently being performed
by The Ensemble Theatre Company at the Trueblood Theatre. For more information on the plays, which run through
Saturday, those interested may call 764-0450.
ie

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for

career

and

BURBANK, Calif.-The bulletin board
of Sally Field's office at the Burbank
Studios features a quote from the late
mystery writer, Agatha Christie: "The
happy people are failures because they
are on such good terms with themselves
that they don't give a damn.'
The maxim seems to apply to Field,
not that she has any reason to be
unhappy. She has been drawing raves
for her latest film, Places in the Heart,
and she is in love-with Alan Greisman,
producer of the film, Windy City.
BUT SHE IS so serious that during a
recent interview her face betrayed a

smile only a few times. She does care
about a number of things, such as
preserving her own privacy and
making good films. By her own
calculation, she has appeared in a
movie only once every year and a half
since she won the best actress Academy
Award for Norma Rae in 1979. Absense
of Malice proved a hit, but Back Rods
and Kiss Me Goodbye failed.
Of the latter film, a supernatural
comedy with James Caan and Jeff
Bridges, she said she liked it and still
does. "I thought it was funny and sweet,
no matter what some of the critics

- U

another op'nin...

another show"

0
a-
W
Yo

Koiss Me Kate
Power Center for the Performing Arts

November 15,16 & 17, 8pm
Tickets $6.00 Available at the
Michigan Union Ticket Office
For more mformatiom call 763-1107
_/ w R~~~

'LI

ove
said," she remarked. "When you look
back at a body of work you forget the
hype that accompanied the projects.
You say only,'Did I perform well? Wasit
it worth doing? Did you learn from it?'
That's all that matters."
To assure more control over her
career, Field has formed Fogwood
Films, which is developing projects
with the backing of Columbia Pictures.
Fogwood is no vanity operation to
placate a superstar. The company's fir-
st production, Murphy's Romance is
scheduled to begin in January. The
director is Martin Ritt and the writers
are Harriet Frank Jr., and Irving
Ravetch, the crew that created Norma
Rae.
Places in the Heart returned the ac-
tress to the rural South, this time as a
Depression-era widow who struggles to
save her family from breaking up and
her farm from being foreclosed. Direc-
tor-writer Robert Benton made the film
entirely in Waxahachie, Texas, where
he restaged many of his boyhood
memories.
"It was a tough job," Field observed,
"but it was a 'good' tough. It was a
wonderful script, the kind of work that
actors love...I doubt if I will even be
part of such a powerful, talented and
generous company again."
The company shot in Texas for three
and a half months, including three
weeks of rehearsal, and Field filmed
without makeup.
It was right for the character;" she
said, "and right for me. When I'm in
normal life, I don't use any makeup;
being able to do without it on a movie
was the greatest luxury in the world.
What a relief not to be powdered and
puffed and painted between takes!"
Sally Field has spent much of her 37
years in makeup. Her mother was Ia
Paramount contract actress, Margaret
See FIELD, Page 7
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