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April 10, 1987 - Image 16

Resource type:
The Michigan Daily, 1987-04-10
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Continued from Page 5

Two bands
Rank and File
Rank and File (Rhino)
The Del Fuegos
Stand Up (Slash)
The Del Fuegos and Rank and
File, two journeyman rock-and-roll
quartets, are comparable on several
Both bands were founded by
brothers - Dan and Warren Zanes
for the Fuegos, and Tony and Chip
Kinman for Rank and File. Stand
Up is the Del Fuegos third album
for Los Angeles' Slash records.
Rank and File recorded two sturdy
albums for Slash; Rank and File is
their third effort. Both bands play in
the hard-hitting, rootsy style
pioneered by The Band and the
Stones, updated by Jason and the
Scorchers and the Blasters (another
Slash group). The two groups even
kind of look alike on their album!
jacket photographs, which depict
the leader affecting a Jaggeresque
glare, the other three posing!
uneasily behind him.
But the similarities end there.
The Del Fuegos leave Rank and
File miles behind on the the trai to
musical salvation. Stand Up is a
valuable album. Dan Zanes is a
vocalist of the Mick Jagger/ early
Van Morrison school of throaty
delivery. He writes and sings des-
perate, genuine tales of lost love,
loneliness, and liquor. "Long Slide
(For An Out)" and "I Can't Take
This Place" are quality tunes on par
with "Don't Run Wild" and "I Still
Want You" from their second LP,
Boston, Mass. The gin-soaked "He
Had A Lot To Drink Today" is a
daring attempt, Zanes probably
sucked down quite a few himself in
the studio to make it sound real,
but it comes off a little stupid.
Longtime producer/keyboardist
Mitchell Froom makes contri-
butions on several tracks, especially
"Wear It Like A Cape." He provides
a balance to Warren Zanes' grind-
ing, sometimes overbearing guitar.
Although Froom has been accused
of mangling efforts by Richard
Thompson and Peter Case, his
prowess is undeniable on this record
(and on Crowded House's recent
Stand Up is a fully realized rock
and roll album. The Fuegos show
their maturity (and integrity,
regardless of their beer commer-
cials) in knowing when to hold
back and when to let loose. They
are an honest, hardworking band
that leaves an impression.
Rank and File , by comparison,
maintains the group's amateur
status. The mode of operation here
is country rock-tinged powerpop.

similarities end when the music begins

masterful re-make of "Lean on Me,"
which is superb the first time
around, with a bouncy "Candy
Girl"-era New Edition beat, and
even better in the remix which
features a loud crowd shouting
"Pump it Up," with booty-shaking
The rest of the album is filled
with lightweight, but entertaining
funk. "Promises Promises" stands
out because of a silly cartoon-'
inspired voice, but all of the cuts
are more than good enough for
dancing, even the ballad.
-John Logie
Pseudo Echo
Love An Adventure (RCA)
Billed as "Australia's No. 1 New
Rock Band," Pseudo Echo starts
potential listeners off with high
hopes. Does the name mean that
they're sort of like Echo and the
Bunnymen? Will they be the Down
Under's next hard-driving INXS?
Although they sometimes whet
the musical appetite, Pseudo Echo's
debut, Love An Adventure, soon
proves to be a bland diet. The album
opens with "A Beat For You," an
appropriate title considering the
band's extensive use of strong
electronic rhythms. All the tracks are
danceable, though often restricted by
the beat. The rest of Pseudo Echo's
sound is filled in by overabundant
synthesizers, and makes for rather
ordinary music.
The band does come up with some
surprises, however. Front-man Brian
Canham's potent guitar breaks
Through the keyboards to give added
texture to some of the songs. The
group also adds jazzy horn patches
(especially in the title track) and even
a little Oriental feel (in "Lonely
Without You") for a creative touch.
Not bad for a band that still dresses
in the clothes that Duran Duran
threw away five years ago.
Lyrically, Pseudo Echo often
sticks to familiar pop ground:
relationships, betrayal, loneliness.
They do a pretty good job of
conveying emotion but hit snags
when they try for anything deeper, as
in "Living In a Dream," where they
make a trite speech on war and then
preach escapism.
The lyrics to "Listening" are:
"Now it's too late/You're not
listening." This may prove to be pro -
phetic for Pseudo Echo. Their songs
are sometimes catchy and danceable,
but they lack staying power. In
short, their music is only pseudo
-Michael Jourdan

Patrol, as a program designed to
stop street crime by getting neigh-
borhood watch groups actively
Selected volunteers are brought
to the Academy to be trained, and
not surprisingly, they are a loveable
bunch: sweet-little-old Mrs. Feld-
man (Billie Bird) who is tough-as-
nails underneath and tired of rotting
away in a retirement home; Arnie
(Brian Backer, Fast Times at
Ridgemont High), a skateboard
punk is who being rehabilitated
through the Academy; and Hooks
(Marion Ramsey), who gets hers
into Zed (Bob Goldthwait), a gang
member turned police officer who
seems to have snorted coke one too
many times.
While Lassard is off attending
the Annual International Police
Chiefs' Convention, Captain Harris
(G.W. Harris, M*A*S*H), a strict
by-the-book officer, doesn't like
this C.O.P. program two bits. He
wants to get rid of it. Mahoney
(Guttenberg), a little aloof but with
a heart of gold, sees the positive
values of the program. He wants to
keep it. The good and the evil then
go to war, cartoon style. They
reconcile their differences by attacks
to the groin, putting glue on the
mouthpiece of a bullhorn, substi-
tuting mace for deodorant, and then
more attacks to the groin. It's silly,
and it looks awfully painful.
The script makes very little
effort to hide the fact there is no
storyline and no coherent plot. This
is not a ninety-minute movie, but
rather a collection of 90 one-minute
comedy routines, showcasing the
various talents of the cast.
Some of the displays are good.
Guttenberg has a pleasant, easy-
going charm that goes over well.
And Michael Winslow, who plays
Guttenberg's sidekick, has a re-
markable talent for precisely
imitating electronic, mechanical and
musical sounds.
But with all the talent Police
Academy 4 has, the film is
disjointed in too many places.
There is no real sense of continuity
or direction. One bit leads to
another, and halfway through the
film we realize we haven't gotten
anywhere. Not really knowing how
to end the film, the producers decide
upon a big jailbreak, which comes
out of nowhere, and having the
C.O.P.s pursue them. Not via the
automobile, mind you, but rather
hot air balloon and airplanes. How
What further drags this movie
down is a loud performance by
Goldthwait, who snivels all over
the screen, and a supporting cast
which is more or less a roll call of
Care Bears. Each has a deep,
personal problem and each takes his
or her turn on the screen. They tell
a joke, solve their problem and then

make way for the next one.
Maybe that is what makes the
Police Academy series work.
Beneath the slapstick surface flows
a very warm undercurrent. No
matter how hard the pies are thrown
or the balls are busted, we always
sense the light touch. The cast des-
perately wants you to like them,
and at the same time don't give a
damn if you don't. They care the
very least of what Siskel and Ebert
The audience I was with liked
the cast very much. I have never
heard an audience laugh so hard, for
so long, at such silly things. And
when the lights went up, and I took
a look at the audience, I saw
doctors, lawyers and businessmen,
en masse, with the seventh-grader.
They all laughed. U

Continued from Page 8
Cellar) through these rough times
and we even indicated that we were
going out for bid because we began
to hear rumors that they were
considering other space. We went
out for bid and it was at that point
that they announced that they were
going to move.
D: So did the current design of the
basement come about by default,
because the U-Cellar pulled out ?
C: When the U-Cellar pulled out,
that left about 30 percent of the
ground level vacant. What we did
then was create the possibility for a
variety of shops.
D: How do you feel the renovatioQ
has has changed the Union's role
208 S. First, Ann Arbor 996-8555
This Week at
The Blind Pig
Apr. 10 Let's Talk About Girls
11 The Urbations
12 Womyn's Night
13 Snake Finger
14 Atomic Cafe
15 Celibate Rifles
16 The Difference
Drink Specials Every
TUES: $3 Labatts Pitchers
WED: $1.50 Margarita Mugs
THU: $1 Watermelons

in the University community?
C: I think we've made a significant
impact and change on the environ-
ment, predominantly with regard to
students and to some degree we've
had a positive impact with regard to
alumni. When I started in 1980
there was very little activity in the
building and there were very few
social gathering spots on campus.
One of the hottest spots was the
Undergraduate Library.
D: Do you have future plans to
increase the programs and services
provided by the Union?
C: I think we need to constantly
evaluate that. I think we've been on
a dead run trying to put a staff
together, offering the programs,
doing the renovation and I think
we're at a point where we have to
stop and check, are we still in tune,
are they still the appropriate kinds

a v

Continued from Page 8

Rank and File could learn a thing or two from The Del Fuegos (above).

The new guitarist, Jeff Ross, adds a
hard-rock attitude, but instead of
giving the songs a fiery edge, it
sounds out of place. The Kinman's
harmonies are pleasing, but they're
not the Everly Brothers. On the
whole, the band sounds unmoti-
vated, uninterested, and uninterest-
ing, other than the single, "Black
Book" and "RBT." "Oh! That Girl"
is a particularly deplorable, sing-
songy annoyance featuring an ab-
solutely lame heavy-metal guitar
solo. "Good Times" and "Unlucky
in Love" are about as original as
their titles.
Rank and File has lost the brash
charm of their Slash outings. A
much wiser purchase is The Del
Fuegos' album, which shows their
growth and maturity since their
own Slash debut.
-Mark Swartz
John Lennon
Menlove Ave. (Capitol)
By their very nature,
posthumous recordings require a
reduction of critical standards.
Mourning fans deserve the rough
drafts of works in progress, and re-

release of significant live perfor-
mances, and to her credit, Yoko
Ono supervised the release of Milk
and Honey and John Lennon Live
in New York City, both of which
were welcome additions to the
Lennon catalogue. But Menlove
Ave. is another sort of creature
entirely, an album made up of
songs Lennon attempted, disliked,
and placed into cold storage.
Artists have the right, and
probably the obligation to prevent
their failures from reaching the
public. During his lifetime, Lennon
managed to keep these abject
stinkers from the public, and had he
not been gunned down, the tapes
would still be languishing
somewhere dark. Unfortunately,
Lennon is languishing somewhere
dark, and the record is out.
The out-takes are mostly from
the Phil Spector-produced sessions
for Rock and Roll, one of Lennon's
lesser endeavors. Lennon sounds
tired, and his writing lacks his
characteristic sharpness and wit.
Perhaps the worst offense is a tepid
re-make of Spector's "To Know
Him (or in this case 'Her') is to
Love Him," which simply doesn't
breathe. Only "Steel and Glass"

features the merest echo of
Lennon's best work.
Even mourning, material-crazed
fans deserve better than this, and I
hope Yoko Ono Lennon will take
more care in the future, and prevent
future volumes of justly unreleased
John Logie
Club Nouveau
Life, Love & Pain (Warner Bros.)
Everyone got good and sick of
Timex Social Club and their mega-
hit "Rumors" last year, so when
word got out that the lead singer
had left the group, and the end was
near, a collective sigh of relief was
voiced. But Timex pressed on
without their ex-lead, and the lead
went on to form Club Nouveau.
Timex's album proved worthless,
not surprisingly, as the whole of
their talent is on this record.
With the exception of
"Jealousy," a sharp, "Rumors"-
flavored reply to some of the nasty
things Timex members said, Life is
a startlingly original and exciting
record. The album's centerpiece is a

I don't expect people involved in
these movements to be especially
sympathetic to my complaints.
After all, they are fighting for basic
human rights, for considerations
which I take for granted. They pro-
bably feel that there are more im-
portant issues at stake than whether
a well-meaning member of the
"opposition" gets his feelings hurt.
I just know that when I hear
people generalize about, and
criticize "the white community,"
"men,"~ and "straights," I become
concerned, and I suspect that these
generalizations can be almost as
damaging as their frowned-upon
opposites. Moreover, I can't accept
a movement opposing the by-
products of a sexist society
resorting to sexism, or protests
prompted by threats of violence
threatening violence. These strike
me as examples of the wrong
methods for the right reasons.
Sitting in the midst of the
majority, I find myself -able to
applaud efforts to end discrimi-
nation only when they are willing
to include me. I'm not certain
whether this is fair or just. My
desire for unified, non-
discriminatory movements may
stem from ignorance, or a mis-
placed idealism. Perhaps it is
important for me to learn what it
feels like to be excluded on the
basis of my sex.
But it seems to me that the
eradication of injustices stemming
from differences in race, gender,
religion, and sexual preference is
very nearly as important for meas
it is for mnembers of "minority"
groups. I won't ever experience
these issues in the same way. I
cannot fight discrimination with the
same sensitivity and understanding
that discrimination's victims can.
But it is my hope that I can fight
beside them, if I so choose, and that
our eventual victory can be achieved

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P~gl WEEKEND/APRIL,10, 1987'

VIKEND/APR1L 10,I 987.

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