ARTS The Michigan Doily Monday, March 3, 1986 Page 5 1Records Bangles Different Light (Columbia) The Bangles have finally come out with a new record. Yep, the girl group that's so good you don't even have to call them a girl group have finally followed up on their notoriously fab 1984 release All Over the Place, however, Different Light is somewhat distressingly removed from its predecessor's state of fab-ness, missing a lot of the earlier Bangles' compelling vocals and intelligent songwriting. The record begins with "Manic Monday," a bit pristine pop fluff pen- ned by one Christopher, an anonymous Bangle-phile described (terribly ambiguously) in the press kit as "one of the 80's most popular recording artists." If you haven't heard or didn't guess (or really don't care), Christopher is really Prince in thin disguise - and "Manic Monday" is a weakish Prince melody with 'decidedly weak Prince-ish lyrics. The whole composition is vaguely at odds with the Bangles vocally - undeman- ding to both singers and listeners - and comes across largely unaffecting and forgettable. Of course, as the single, it'll probably sell millions merely by merit of its having issued from the Purple One's pen... The title track is similarly weak; it is disappointing when considered in the context of its author, guitarist Vicki Peterson, who's exhibited unusual writing skill in the past. It has its moments, but a lot has been sacrificed in the apparent toning- down of the vocals. Next is "Walking Down Your Street," a bit of flower-power Motown written by Susanna Hoffs and her boyfriend, former Three O'Clock guitarist Louis Gutierrez. It's definitely one of the better tracks, has a great hook, but occasionally slips in- to melodic cliches which undermine it a bit. "Walk Like an Egyptian" descends rather disturbingly into cuteness, something the Bangles have suc- cessfully avoided in the past. So does "Standing in the Hallway," which out -Princes-Prince as far as this record goes and sports decidedly dumb lyrics. However, all is redeemed by Vicki Peterson's "Return Post," easily the finest track on the LP. It recalls the sensitivity, intelligence, and vocal prowess of the Bangles' best. Words can't describe how much power the B's can cram into the chorus, but it's the kind of sound that frequently earns them well-deserved comparisons to the Beatles and the Mamas and the Papas. Jules Shear's "If She Knew What She Wants" continues the trend towards fab-ness on side two. Nice Byrds-y tinge and a lovely call-and- response chorus make one wish this collaboration would continue. As far as a follow-up goes, the bottom drops out on the four part vocal "Let It Go" - it's predictable-sounding when compared to similar tracks like "More Than Meets the Eye" on All Over the Place. Just like everbody who's anybody in hep pop circles these days, the Bangles have covered an Alex Chilton tune. And just like most everbody else, it's "September Gurls." While Michael Steele gives an admirable reading, most of the sparkling quality of the guitar in the Chilton original has been drained out, leaving the whole thing somewhat flat-sounding. Similarly, momentum is lost in "Angels Don't Fall in Love" and "Not Like you," although the latter is con- siderably improved by Debbi Peter- son's vocals on the chorus. Michael Steele again puts in an excellent per- formance on "Following," reading with the feeling and subtlety not found on the rest of the side. It's really sur- prising she's not sung lead on records previous to this. Hope she continues to. While ultimately not as satisfying a record as All Over the Place or their 1981 debut LP, Different Light still isn't exactly a bad record, especially when considering the inclusions of "Return Post" and "If She Knew...". On the whole, Different Light seems a bit tamer, a whole lot more predic- table, and a little more mass-market conscious. It's still lots and lots better than the large bulk of pop swill one hears these days, but doesn't even come near to topping the Bangles of two years ago. It's a bit of a downer to play the three records in chronological order and note a gradual decline in their quality. I'd just hope the next doesn't continue the trend. Julie Jurrjens The Bangles, decline of the girl group? A 2 Civic Theatre By Dave Turner A S I LEFT the Mendelssohn Theatre last Wednesday night into yet another snowy 'Spring' Break night, I had to give credit to the Ann Arbor Civic Theatre for providing more than their share of the chill which I felt going through me. I had just seen their intense production of James Baldwin's Blues for Mister Charlie, a classic out of the sixties flowering' of Black Theatre. The chill I felt was due more to the cold, hard realities which the play brings forth than to the weather. Mister Charlie is set in Plaguetown, USA, where the events surroun- ding a black man's murder, for little apparent reason, and the subsequent trial and acquittal of the accused white man, are played out. The story reminds one of our not-so-recent past, and displays the conflict which prejudice brings to any community. Director Lundeanna Thomas, a Phd. student in Theatre at U-M, left the basic structure of the play intact, adding only a few mixed media to help put the story, now almost thirty years old, in the proper context. An TAMARACK CAMPS pays tributeI native use of slides as a preview to the play presented us with s of Ku-Klux-Klan rallies, protests, and a jailed Dr. Martin Luther These slides, along with the continuous use of well-chosen round music ranging from Gospel to Motown, helped settle the nce into just the right historical time frame for the production, and et the explosive mood felt in this country at that time. ay the roles in Mister Charlie seem somewhat dated and contrived Uncle Tom and Redneck stereotypes; but their wants, desires, ices and feelings are those which are relevant at any time. The hate which prejudice produces in men was well portrayed by Steve as the Reverend Meridian Henry who is torn by this hate and his tian beliefs. His son, Richard was portrayed admirably by a virtual to the stage, U of M football player Gene Lawson. Although rd's coolness was brought out more than his implied intelligence, >n deserves credit for the emotion and heart which he brought to the Parnell Jones, Plaguetown's only educated, pro-civil rights white to Black His to ry man was played by Terrance Auch with a calm, experienced hand. The set, which was functional but somewhat flat was brought to life by an imaginative lighting plot which successfully described the changing time, mood, and location. The background during the violent flashbacks seemed to engulf the stage in a seering heat that served the action dramatically. Overall, the AACT is to be congratulated for this production which reminded us during this Black History month of how far we have come in the area of civil rights, and also reminds us to remain aware of the plight of the oppressed. .. 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