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THURSDAY

Bars and Clubs

The Apartment - (7694060) - Jazz
and Jam session.
Bird of Paradise - (662-8310) -
The Ron Brooks Trio jazzes it up.
The Blind Pig - (996-8555) -
George Bedard and the Kingpins bowl
you over.
The Earle - (994-0211) - Larry
"The Man" Manderville.
Rick's American Cafe - (996-2747)
- Traverse City rockers
Skyscrapers.
D D
Support the
March of Dimes
BRTH DEFECTS FOUNDATION

U-Club - (763-2236) - Reggae
Dance Party with Tom Simonian.
Campus Cinema
The Mouse That Roared (Jack Ar-
nold, 1959) MED
Peter Sellers takes on a couple of
roles in this farce in which a tiny
European nation declares war on the
U.S., yet are intending to fail and
reap the benefits of foreign aid. Nat.
Sci., 7:30 p.m. only. $2.50/single,
$3.50/double.
Dr. Strangelove (Stanley Kubrick,
1964) MED
Kubrick Week at the Michigan con-
tinues with a macabre look at the Cold
War. Before you can say "How I
Learned to Stop Worrying and Love
the Bomb", you'll be laughing at the
sharp satire, deadly humor, and
striking parallels to today's world.
Nat. Sci., 9 p.m. only. $2.50/single,
$3.50/double.
Nazarin (Luis Bunuel, 1958) C2
Somber story of a priest whose

example of love and brotherliness
only aggravates those he meets on his
,mission. Bunnel's usual attack on the:
church is more muted in this com-
pelling picture. MLB 4, 7 p.m. only.
$2/single, $2/double.
Pinte (Hector Babenco,1981) C2
Mesmerizing look into the lives of
homeless children in Brazil. Babenco
mixes humor, violence, and
salvation in this story of one child
struggling to survive. MLB 4, 9 p.m.
only. $2/single, $2/double.
The Seventh . Seal (ingmar
Bergman, 1956) CQ
An unusual and somewhat inac-
cessible work that tries to examine
life, death, and faith in the context of
a knight returning to his plague-
ravaged homeland. Visual poetry.
Aud. A, 7 p.m., 9 p.m. $2.
A Tree Grows in Brooklyn (Elia
Kazan, 1945) Hill St.
Dorothy McGuire, Joan Blondell,
and James Dunn star in the film ver-
sion of the classic novel. A family
hopes for the best amid the poverty of
Brooklyn tenement. Hill St., 7 p.m.,
9:15 p.m. $2.

Fluid
without
fault

Everybody's favorite weasel-eyed cold-blooded death machine, Clint East-
wood, perforates the guys with the black hats in Cinema Two's Spaghetti
Western film series, starting Friday.

By Michael Drongowski
Stevie Ray Vaughan and the Double
Trouble Band
Friday, September 27
Friday, September 27
Hill Auditorium
8 p.m., $12.50-$13.50
S 0 SAVVY it hurts. Raunch? It's
there. Velocity? Yep. Never
mind the late-nite gigs where you
owe the bartender after the stoned
young hangers-on have left; sure the
beer's plentiful - but it's half-warm.
The blues, however, are hot.
Lonnie Mack is present in that
smokey, poorly lit beer hall, hunched
over one of those tepid draughts.
Albert King is over there - the second
table to the right. Yeah, right behind
B.B. King. Hendrix was here earlier
sure, but he left, said something about
having to look for his "Voodoo Chile."
Stevie Ray Vaughan sits square in the
middle of it all, sometimes calmly,
more often not, taking,it all in. More
importantly, however, as he recently
stated in an interview with Guitar
World magazine, "People like Muddy
Waters and the cats who started it all
really had respect for what we're
doing because it made people respect
them. We're not taking credit for the
music. We're trying to give it all
back."
No doubt.
With influences that run deep into
the down-and-dirty blues greats like
the aforementioned Lonnie Mack, and

extend to such modern innovators as
Jimi Hendrix, Stevie Ray Vaughan and
his band, Double Trouble, have
emerged on the forefront of today's
bourgeoning blues scene, and in most
reverent tribute to past masters
making us laugh, making us cry, and
chilling our spines by bending G flats
so far we think they'll break - just
like the blues have been doing for
years.
As far as years go, Stevie Ray
owes nothing on that account. A man
who's seen 28 summers, Vaughan
began playing the local clubs of
hometown Austin, Texas at the age of
12 - that's 16 years of "paying his
dues." You can just picture him as a
kid, bent over an old beat-up '59 Strat,
trying to play along with the Ray
Charles or the Albert King spinning on
an equally worn Silvertone
phonograph. (Did they have stereo
back then?)
He has said, "Listening to those
people - how they played and were so
relaxed. I'm still learning to play that
way. I'll probably do that for the rest
of my life!"
Relaxed or not, Stevie Ray and
company are playing the blues - Tell
it, Tell it! - in a way that would make
its founders proud; the slow blues
show beautiful, soulfully lyric patter-
ns of phrasing and unreproachable
tone, the fast stuff raucous and mean.
Soul to Soul, Double Trouble's latest
release under the Columbia label,
contains most of these Vaughan
trademarks, the flashy pyrotechnics of
songs like "Texas Flood" and the
funky syncopation true to the style of
"Pride and Joy" abound, while con-
tinuing in its down-home, roots-'
conscious basis.The guitar wizardy is
still there.
Soul to Soul has taken Vaughan and
Double Trouble in a slightly different
direction, for newly present are'
:strong hints of R&B. The blues are
still there - certainly no less than
before - but these new cuts represent
a different approach for the band.


STEVIE RAY VAUGHAN: Clean, fluid blues.



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To emphasize this point, several
new players have been added, a piano
has taken its place alongside the
whammy-barred Hendrick, and horns
and a distinctly happier mood per-
vade both sides of this hot new disc.
In regard to this new bent, Stevie
Ray mused, again in Guitar World,
"We're trying for feeling. We try to
accomplish something with the
music, which is to feel through things.
I've been trying to grow up some
myself, in my heart, and its hap-
pening quick and I feel good about it,
and I want that to come out in my
music."
This sense of responsibility, this
- --------

dominant need to give back rather
than merely take from, places Stevie
Ray Vaughan in the position where he
can really do the blues some good. He
has helped to bring them out of the.
stormy, after-hours honky tonks, and
put them into larger, more accessible
venues, where more people will hear
them. With this prospective new body
of support, Vaughan has more chance
than ever to bring the blues even fur-
ther into the mainstream of pop and
rock music, which would mean more
respect, not to mention more money,
for the_ players of blues, who have
long struggled against meager gate
receipts and prejudiced promoters.
-- ------

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Weekend/Fl,


8. Weekend/FridaySeptember 27, 1985


8 Weekend/Friday. September 27, 1985 Weekend/F