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January 31, 1985 - Image 11

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Publication:
The Michigan Daily, 1985-01-31
Note:
This is a tabloid page

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R E C E N T
ALBUM S

John Fogerty-Centerfield (Warner
Bros.)
This is Fogerty's third album since
his Creedence days, and the first in
over ten years. If you really believe the
publicists that he spent all of those
years working on this album then it
should be a disappointment. On the
other hand, if you're just looking for a
good new release, this is it.
There are only nine songs on the
album, but seven of those are top-notch
mellow swamp rock. In particular,
"Rock and Roll Girls," "The Old Man
Down the Road," and "Centerfield"
stand out as probably above-average
fare for the AOR stations.
Fogerty has recaptured most of the
Creedence sound, but he's slowed it
down some. The driving beat is still
there, but it's more subdued and in
some cases (notably "Big Train (from
Memphis" and "I saw it on T.V.")
seems almost melancholic.
Fogerty did absolutely everything
connected with the album from writing,
singing, playing all the instruments and
producing, and that overload is the
album's biggest weakness. In the midst
of the pure Cajun air, there seems a
wisp of artificiality; the album feels put
together.
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Nevertheless, it is a pleasant surprise
from somebody who has been silent too
long. J.K.
Martin Briley-Dangerous Moments
(Mercury)
This is Briley's third album since
coming to the United States in 1977 and
his style hasn't changed much from his
last album One Night With a Stranger.
Although Briley has a flair for clever
lyrics and an interesting voice to go
with them, the album tends to drag a bit
and lacks excitement.
Phil Ramone produced the album and
hooked Briley up with some fairly ac-
complished musicians, such as
guitarist G.E. Smith (Hall & Oates),
bassist Carmine Rojas (John Waite,
Bowie), keyboardist Peter Wood (Pink
Floyd, Lou Reed) but no one in par-
ticular hines through.
There are a few cuts where the band
and Briley scm to come together well
and the result is a polished, consistent
sound which comes closest to pop. "It
Shouldn't Have To Hurt That Much,"
"Ghosts" and maybe the title track
"Dangerous Moments" fall into this
category and with Briley's better than
average lyrics they manage to be
reasonably entertaining. Overall
though, the album just doesn't quite
muster up enough pizzaz to keep the
listener interested. E.K.
Stone Fury - Burning Like a Star
(MCA Records)
After listening to the first two songs on
the album-the hard drivin' hit song
"Break Down The Walls" and the bouncy
little number "I Hate To Sleep
Alone"-one is left with the impression
that Stone Fury has something. But to the
dismay of the listener the rest of the songs
on the album are found to be lacking. The
last seven songs suffer from low-key,
mundane pop rhythms and a basic overall
lack of musical energy. Sometimes this
album sounds like it's going at half speed.
What also hurts the album and the band is
the lack of a genuine talent; there are no
Eddie Van Halens or Ronnie James Dios,
re one to give the music a flair or a distin-
ctive sound. Recommendation: avoid this
album but buy the hit single. R.L.
Deep Purple-Perfect Strangers (Mer-
cury)
After 11 years of solo projects and
other interests Deep Purple has
reunited to bring us Perfect Strangers.
Reflecting the early days of heavy
metal, Perfect Strangers is proof that
Deep Purple has not lost its punch. The

only change in the music of Deep Pur-
ple is that they've gone from a raw, ear-
thy sound to a cleaner, more polished
sound. Perfect Strangers features solid,
quality performances by all members
of the band. One of those members is
Ian Gillan whose raw, gutty vocals add
plenty of fire to the music. Another
member, Ritchie Blackmore, shows
why he is still one of the best lead
guitarists, who has long, tastefully done
solos that do not rely totally on speed.
For the most part heavy metal and
keyboards are like fire and ice but Deep
Purple makes it work thanks to Jon
Lord. With his 60's style, John Lord adds
a psychadelic, mystical sound to the
music. This album is recommended for
those looking to make an excellent in-
vestment in music. R.L.
The Dazz Band - Jukebox (Motown)
With the exception of the single, "Let
it All Blow", Jukebox is an album of
thoroughly pedestrian funk, with a few
quasi-soulful ballads thrown in just for
good measure. The synthesizer farts
we've all heard too much of make the album
rather numbing. "Blow," in contrast,
lifts Trevor Horn's synthesized horn
blasts from "The Art of Noise," pairs
them with a snappy bass line, and poof!
The Dazz Band has a well-deserved Top
Ten Dance tune. If you like "Blow",
buy the twelve inch. It seems to have
been grafted onto an album the band
probably finished three years ago. J.L.
Jermaine Stewart-The Word Is Out
(Arista)
Jermaine comes on like a would-be
Michael Jackson, stealing licks where
he can manage, but neither his voice,
nor his material, are up to the
challenge. This record features an
ambitious mix of musical styles,
ranging from pop-funk to reggae, and
rockabilly to a song that sounds for all
the world like Paul McCartney wrote it
("Brilliance"). Every song stops mad-
deningly just short of true quality. The
cover shows an all too fashion-
conscious Jermaine, and features
credits for garments, hair styling, and
make-up. Jermaine has potential, but
needs solid production. J.L.
C L SICA L
A Little Sondheim Music: Music from
Sweeney Todd, A Little Night Music,
Pacific Overture, Merrily We Roll
Along and Anyone Can Whistle; Los
Angeles Vocal Arts Ensemble-(Angel
EMI Digital)

This new release is an especially
satisfying collection of Steven Son-
dheim's ingenious musical pieces for
Broadway Theater. The varied selec-
tions on this disc are evidence of Son-
dheim's skillful handling of unusual
stories, with songs and lyrics that ar-
tistically convey the mood and charac-
ter of the plays. It is a compilation of
light hearted, lilting and energetic
music which would make a fine ad-
dition to one's record library,
especially for those who, enjoy the
lighter classics. N. G.
Brahms: Lieder (German Songs) for
Voice and Piano; Jessye Norman,
soprano and Daniel Barenboim, piano.
(Deutsche Grammophon)
Here's a new album perfect for
classical lieder lovers and U-M
nostalgia lovers as well. The inter-
nationally reknowned soprano Jessye
Norman who attended the U of M
School of Music some years ago, teams
up with Daniel Barenboim in an album
of exquisite music making. Norman's
awesome vocal control combined with
Barenboim's flying fingers are healthy
additions to the overall effectiveness of
Brahms' meaty songs. The album in-
cludes such favorites as "Das Mad-
chen" and the always enjoyable set of
"Gypsy Songs" Op. 103. An added treat
is the addition of a song and text booklet
included with the album so the listenter
may follow the words as the music
progresses. Beautiful album.
A r,
This week's Releases were compiled
by Neil Galanter, Rob LaDuke,
John Logie, Ed Kraus, and Joe
Kraus.,
200 Million People,
And Only 35,000
Get to Read
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764-0558

T wo weeks after an argument ended
the relationship with her boyfriend,
Sarah walked over to University Health
Service for a free pregnancy test. It
was positive.
Sarah, who spoke only on the con-
dition that her real name not be used,
said she didn't bother with pregnancy
counseling. There was no need to. She
wanted an abortion.
During the seventh week of her
pregnancy, she and a friend drove to
Woman Care in Ypsilanti. The abortion
was over in about five minutes.
The decision to go ahead with the
abortion was an easy one, Sarah said.
"There was no doubt in my mind,
because the relationship was over. I'm
a student and I have millions of plans to
attend to," she said.
For most women who discover an
unwanted pregnancy, making a
decision about the future can be an
emotionally draining experience. More
often than not, the decision must be
made quickly and, once a decision is
reached, there are frequently some
reservations.
Many find themselves faced with a
crisis, said Joan Zald, a University
counselor who often works with
pregnant women.
"Most of the women who we see find
themselves in a position where a con-
flict of values comes into play and they
must choose one value at the expense of
another," she said.
Sarah's case was no exception. And
although Sarah said she has recognized
abortion as an alternative ever since
she became sexually active and started
using the rhythm method for birth con-
trol, her decision caused her to suffer
physically - and mentally.
"I really thought I was killing

References: helping people make an educated decision

something and it was only $150 to do it,"
she said.
"Nothing physically hurt so bad in
my life," Sarah said. "But I wouldn't
take it back either."
Yet if she became pregnant again,
Sarah said she probably wouldn't
choose to have an abortion. "I'd be too
embarrassed to say I had two abor-
tions," she said.
For now, part of the child Sarah gave
up continues to live.
Sarah has named the unborn child
Gwendolynn - a name which she said
signifies an English background, the
days of King Arthur, and something
"grey, intangible, and mystical."
She said the only way she can make
up for the "killing" is through her
writing and filmmaking.
"I'd give life to this child through an
artistic method. I can see her. It's a lit-
tle psychological game. But it's safe
because I don't get carried away with
it. It's like any other crutch, I guess,
like smoking, drinking, eating," she
said.

Last year, University Health Service
administered almost 2,000 pregnan-
cy tests, according to Dr. Robert Win-
field, assistant director in charge of
clinical affairs. However, he said
Health Service doesn't keep statistics
on how many of these tests were
positive or how many women opted for
an abortion.
Women who decide their pregnancies
are unwanted can be referred to
University Counseling Services, he
said. Health Service does not perform
abortions.
Local anti-abortion activists say they
would like to make sure that women
aren't given a choice. They say that life
begins at conception and that the Con-
stitution doesn't grant anyone the right
to murder another human being.
On Jan. 22, 28 anti-abortion demon-
strators rallied briefly at noon to
protest the anniversary of the 1973
Supreme Court decision legalizing
abortion. The Roe vs. Wade decision
made it a woman's right to choose an
abortion during the first trimester of
pregnancy. It restricted government
interference during the second and
third trimesters.
At the protest, local abortion foes
h".-Tied out literature to students
walki._K through the Diag. After
speeches a.. l a prayer, the protesters
marched on to L.he East Ann and Obser-
vatory entrance of University
Hospitals. They circled around a traffic
island for 45 minutes and chanted.
"Life yes...abortion, no," they yelled.
"Motherhood yes...abortion
no,.. .Fatherhood yes...abortion no."
Last year, 250 abortions were per-
formed at the hospital, a hospital
spokesman said.
While the local protesters condemned
abortion, feminist groups across the
nation conducted vigils at abortion
clinics, which have become the targets
of bomb and arson attacks.
However, local feminists did not con-

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Joanne Peterson: explains her position
Weekend/

10 Weekend/Friday, February 1, 1985

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