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MUSIC
The road
(Continued from Page 5)
Then in England, Green On Red
recorded their new EP, No Free Lun-
ch, with Stuart making his debut as
producer. Commenting on its brevity
Stuart remarked, "The Old Man and
the Sea is only 98 pages-this is great.
It's Harvest meets Exile on Main
street."
On the new release, Stuart's brash
realism and perspective are matched
only by the powerful backdrop the
rest of the band provides. The title
track goes "On the Road" and obser-
ves:

Y U U
U

AV

_qv

V V V

w

We moved down to L.A., the city
of hope and sin/But all our friends
were Republican or on
heroin./Then we made a record
for a local company/We traded
our souls for guaranteed misery,
while Prophet leads the band in a
rough country stop for "No Free Lun-
ch."
And once more the internalizing
Stuart saw a chance for some
songwriting didacticism with a unique
cover of Willie Nelson's "Funny How
Time Slips Away." The Green On Red
version might not have the aesthetics
of the original, but that's not where its
appeal is supposed to lie.
In fact, nothing Green On Red does

"
!
"
S
"
"
"
"

Copying
Resumes
Binding
Brochures
Foil stamping
Carbonless forms
Business cards
Letterheads
Envelopes

" Transparencies
" Books
" Word Processing
" Typesetting
" Padding
" Stapling
" Folding
" Labels
" Dissertations
Coupon ..........._..___

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has any direct external purpose. They
play strictly for their own sake, much
like the Replacements, only with
more originals and less beer. Much
like the Dream Syndicate, Green On
Red's weight never rests wholly on
one musical/lyrical footing, but in-
stead on the intimate synthesis of
these elements, void of any over-
bearing complexity.
Much like the Doors' "N'ot to Touch
the Earth" or the Velvet Un-
derground's "Sister Ray," the appeal
in Green On Red's music lies not in
our enthusiasm towards the music,
but their enthusiasm toward what
they're doing. Stuart's whining
voice-a hoarse hybrid of Neil Young,
Bob Dylan, and chain smoking-is as
irritating as it is pleasing. You don't
just listen to it, you watch him sing,
feeling the sharp resonance right
along with him, and afterwards buy.
him a beer to cool it down.
At the Blind Pig this Monday night,
you'll get your chance to do just that.
But bring money, the rest of the
band'll be thirsty too.
D D
Support the
March of Dimes
BRTH DEFECTS FOUNDAION
THS SPACE ONTR BUTE TEPUBLISH*R

10 Free Crisp Quality Copies
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1217 S. University
Ant Arbor, 995-2111


GENUINE HOUSEROCKIN' MUSICFROMALLIGATOR.

Bye, Bye Miss American Pie
Drove my Chevy to the levee
but the levee was dry
and good old boys were drinking
whiskey and rye
singing this will be the day that
I die... This will be the day
that I die...
" < A MERICAN PIE" was a
rphenomenon. It defied the
three-minute rule of the pop music
industry, running in excess of eight
minutes. Nevertheless, it was a
runaway hit in 1971. As a result, its
composer, the 26-year-old Don
McLean was suddenly thrown into
the national spotlight with the smash
successbof this title track from his
second album.
The song touched everyone in a
special way. With its numerous
allusions to other musicians - Bud-
dy Holly (to whom the album is
dedicated), Janis Joplin, Bob Dylan,
Mick Jagger, John Lennon, and
others - it left millions asking
"what does it mean?" There were
countless interpretations, such as
the death of the '60s mentality or the
death of rock'n'roll. McLean had
carefully woven an intricate web of
imagery and symbolism, even using
references to the Holy Trinity in a
song where he describes himself
reborn.
American Pie went on to pick up
four Grammy nominations that
year. McLean was soon doing exten-
sive touring, playing to sold-out con-
cert halls everywhere. Another
single from the record, "Vincent"
had also scored a commercial suc-
cess, especially in the Netherlands
where it is still played daily at the
Van Gogh Museum. And in 1973,
Roberta Flack had a huge hit with
"Killing Me Softly" - a song about
experiencing a Don McLean con-
cert.
To date, McLean has released a
total of nine albums and ac-
cumulated 50 gold and platinum
records worldwide. Not bad for a
guy from New Rochelle who got his
start as a travelling folksinger
playing along the Hudson River
during the summer of 1968. And yet,
America today remembers him best
for that first hit in 1972.
The '80s have brought McLean a
number-five hit with a remake of
Roy Orbison's "Crying," as well as
other chart successes like "Castles
in the Air" and "Since I Don't Have
You." But, artistically, McLean has
not given in to the dictates of the
music industry. In'81he told the New
York Daily News, "The labels didn't
understand what I was trying to do.
They wanted "American Pie" parts
II, III, and IV. But I'm too creative
to be the Sylvester Stallone of
Music."
If McLean is remembered for his
successes of '72 at home, it's cer-
tainly another story abroad. For
example, the Irish mode his "Moun-
tains of Mourne" a number-one
seller and Israeli national radio
plays daily his single, "Jerusalem."
"He doesn't like to be called one
certain thing," explains Joyce

Petrasko of McLean's publishing
company, Benny Bird Company.
"He does a little of everything and
doesn't like to be categorized."
Petrasko adds, "He doesn't want a
hit for the sake of a hit. Not that he's
against the money, but he will do it
when it's right for him."
Currently, McLean is not on any
record label, although he has recen-
tly recorded five new songs in Nash-
ville. He is considering the possiblity
of a TV special, and will be working
with the Nashville Symphony this
month. He still tours all over the
globe, and this November he will
continue the tradition of - his
"American Pie" anniversary con-
cert, which he has been performing
on every evening before
Thanksgiving at Carnegie Hall since
the song turned 10-years-old.

that band was on tour. In fact, it was
Mike Love of the band who coined
the nickname "Captain" due to
Dragon's penchant for nautical at-
tire.
When Dragon went back on the
road with the Beach Boys in 1971, he
persuaded Tennile to join them on
Piano - making her the first and
only "Beach Girl." The duo then
began working together and the rest
is pop history.
Pop history, by the way, means
five gold albums, six gold singles,
two platinum albums, and one
platinum single. Plus 14 songs on the
charts and even an ABC TV series in
1976 a la Sonny and Cher.
Toni and Daryl own a three million
dollar recording studio which has
been used by such artists as Tom
Petty, U2, REO Speedwagon, Bette
Midler, and others. In 1984, Tennile
released her solo album Toni
Tenille: More than You Know, and
Dragon cut his own solo, Space Case.
He also worked on a film score for an
animated feature.
The Captain and Tennile still tour,
performing at Las Vegas hotels,
Harrah's in Lake Tahoe, and many
concert halls across the country.
Remarking upon the nature of the
music business, Tennile says, "The
peaks and valleys come with the
turf. You have to be prepared for
them. The idea is to always believe
in yourself and keep a positive
outlook...talent will always win
out."
Macho, Macho man
I want to be a macho man
HESE LINES were key to
the vision that helped Jacques
Morali link together the six
American-Male stereotypes that
were to form the instant mega-hit,
The Village People.
Morali left his native France with
a plan to build a flashy, campy
musical/visual group around the
various cliches of the American

male.
the E
that
mark
Afte
found
actor
mike
Glenn
(India
and I
tion w
The
hits I
and '
whici
eleme
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group
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milli
albur
The
ped
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arena
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Say
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.I,

THE VILLAGE PEOPLE: Stereotypes or archtypes? Or maybe just
marketing genius.

Love, love will keep us
together....
THE CAPTAIN and Tennile's
cover of a Neil Sedaka/Howard
Greenfield song in 1975 sold 2.5
million copies and went on to win a
Grammy for Record of the Year.
Fom there, this pop duo went on to
bust the charts with "The Way I
Want to Touch You," "Muskrat
Love," "Do That to Me One More
Time" among others.
The couple met while working in a
rock musical in 1970. Daryl "Cap-
tain" Dragon had been playing
keyboards for the Beach Boys while

Doi

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