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December 04, 1987 - Image 20

Resource type:
Text
Publication:
The Michigan Daily, 1987-12-04
Note:
This is a tabloid page

Disclaimer: Computer generated plain text may have errors. Read more about this.

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S ck s
GG Allin & The
Men
You Give Love A Bad Name
Homestead Records

ounds

eminating from the sick puppy

INTER VIEW
Continued from Page 16
D: Do you think students are
becoming less religious?
R: Not necessarily, the question
is what kind, ofreligion do they find
available to them? There are a lot of
students who want to ask value
questions and questions of deeper
ethical human questions of their
growth and development and some-

of these groups is?
R: I think it partially expresses
the vacuum that the secular univer-
sity operates in and the students'
desire for some kind of value orient-
ation that nobody is offering in a
very credible way. Also, when
everything else is up for grabs,
there's a desire for a very dogmatic
type of religion. It's easy solutions
to complicated problems...I think
that these groups often inhibit actual
faith and moral development because

Holy

First, a confession: I love things
that are in bad taste.
I was thoroughly impressed by
the Raunch Hands' "Spit It On The
Floor," in which an overly-zealous
acquaintance bites off one of the
narrator's particularly vital orifices. I
also believe Pink Flamingos is
among the best movies ever made. If
you think that makes me despicably
sick or some other kind of deviant
devoid of redeeming value, then read
no further. You're not going to like
this album - and you probably
don't even want to know that it
exists.
Now that we've weeded out the
faint-hearted, we can commence. GG
Allin is a sick puppy. Scratch that.
He is the sick puppy. This album,
typical of his decade-long career,
features songs with titles such as
"Teenage Twats," "Bloody Mary's
Bloody Cunt" and "Scars On My
Body/Scabs On My Dick." 'Nuff
said? Nope. Even these titles do
little to warn the listener of the
verbal raunchfest ahead.
Is this some bizarre pose?
Apparently not. In his shows, which
are invariably followed by his arrest
or hospitalization or both, Allin
makes extensive use of his own
semen, urine, and feces (which he...
er... produces onstage) as props. He
regularly slashes his arms and body
onstage. The man is seriously
wacked.
But as far as the music goes, the
disc isn't half-bad. The vocals were!
not mixed particularly well (which
may be a blessing, as the production
helps to obscure the lyrics), and
there is an overall feel of grunginess.
But much of the album stands up
well as a relatively melodic variant
of hardcore. It's sort of a Sid Vicious
meets Wild Man Fischer meets Lary
Flynt type of deal.
OK, I admit it. Ya got me. I like
some of the songs. "Stink Finger
Clit," a story of teen angst with a
girl who has decided to go no further
than heavy petting, is a damn good
cut, and "Garbage Dump" (which as
far as I can determine, contains no
profanities or obscene meaning) has
a catchy psuedo-surf melody. If I
didn't know better, I'd swear
"Dump" was made by the
aforementioned Fischer during the
same session in which he made "Do
The Wildman."
On the whole? A sick effort
without redeeming social value. But
it does have musical (if not lyrical)
high points. A friend of mine said it
would be no loss if Tipper Gore had
it banned. But ol' Tipper has no

fully, each of them will be as mag-
nificent and thoughtful an experience
as this one.
-Akim D. Reinhardt
Sinead O'Connor
-The Lion and the Cobra
Chrysalis
Sinead O'Connor was about nine
years old in 1976. By' now, eleven
years after the revolution called punk,
the genre of rock and roll to arise
from it all has finally amassed
enough tradition - even nostalgia
- for its influences to spawn a
whole new generation of pop artists.
O'Connor's music is the first to re-
ally grow up with it, much as '60s
bands like The Beatles drew from
their rockabilly idols.
The Lion and the Cobra ,
O'Connor's debut solo album,
should spread this promising mixture
of pop styles; it pays homage as re-
spectably to the incendiary and gothic
tones of post-punk rock as it does to
the grooves of '70s funk and '60s
R&B.
You may already have heard her
distinctive voice last year on albums
by World Party or U2's The Edge
(both are fellows of O'Connor). It is
this strongly post-punk voice which
takes center stage in her simple and
raw, yet keenly refined arrangements,
at times affecting the sinister wail of
the Banshees' Siouxsie Sioux, flut-
tering into pretty, mystic falsettoes
like Liz Fraser of Cocteau Twins,
and even grating with the intensity of
a Kate Bush.
Her voice positively haunts the
sparse, drumless "Jackie" - with its
droning guitar and violin-like synths,
it's a characteristic O'Connor piece.
But this affinity of hers for the post-
punk school of angst soon leads
numbers such as "Troy" into dirge-
like monotony. Fortunately, she
:uddenly saves "Never Get Old" from
the same fate midway with a breath-
taking burst of expansive piano and
drums suggesting another friend, tra-
ditionalist rockers The Waterboys.
Indeed, O'Connor is at her best
when she lends her otherworldly
musings to more commonplace pop
fare, drawing deeper from the past.
The grungy, Keith Richards guitar
chords of "Mandinka" and "Just Call
Me Joe" gives a nod to late '60s rock
and soul - however deviant it may
be -as does the placid and soulful
organ of the stirring "Drink Before
The War." Locomotive wah-wah
guitar effects and funked-up bass in-
fuse "I Want Your Hands on Me"
with a Sly Stone-style groove, and
the synth sequencers of the infectious
"Jerusalem" bow to Prince.
Unfortunately, the lyrics of The
Lion and the Cobra , although
See MUSIC, Page 9

'One of the reasons we're not getting adequate
sexual ethics is that sexuality (is) done primarly
by celibate males with a very immature attitude
towards sexuality and women.'
-Rosemary Radford Reuther
times the only kind of aggressive they sort of truncate people at a
campus group around may be the certain stage of dogmatic certainty
Intervarsity or something. There's and they really resist people's ability
actually been, since the late '60s, a to grow any further or ask any
growth in that type of fundamental further questions. I don't think
religion on campuses.. dogmatic certainty really is faith. It's
a kind of short-circuiting of the
D: What do you think the appeal quest for faith. "
-- -
-I

FILM
Continued from Page 6
makes sure he has no chance to act),
so it's really impossible to get away
from the film without discussing.
Streisand, so horribly miscast she
sinks any chance the film had on the
drawing board. She possesses
considerable skill as an actress, and
can demonstrate, by turns, elegance,
charm, sexiness - and mainly
arrogance. She performs admirably
when it comes to expressing rage,
but she just can't convey the
vulnerability so crucial to this role.
You don't believe for a second that
she would ever let herself be abused
by anyone. "
POGUES
Continued from Page 13
and they don't get on so well in the
next verse. There's a 20 piece
orchestra on it, and piano at the
start. I love it, meself. You know,
you don't love everything that you
record. Well, this is one of my
favorites."

COVER STORY
Continued from Page 12
proposals to delete the policy.
Peacock said she felt great frustration
because "not only didn't they go
along with the suggestions but they
didn't even seem to pay attention."
Hauert agrees.
"The religious community has
some cohesion, but it is outside of
the campus infrastructure."
"The University marginalizes
anyone they don't want to hear,"
Hauert said.
The Guild House also was very
involved with the classified research
issue but the Colemans were not
daunted by the failure.
"Struggle is the name of the
game," said Ann Marie Coleman.
"We have to contiinue - to keep
these issues raised. The regents

I

Tonight's the night. Direct from
London, sort of, it's the Pogues.
Todd's is located at 8139 E. 7 Mile
in Detroit. Doors open at 9 p.m.,
showtime at 10 p m. Tickets are
$1350 in advance "

OOOVF- 4F
gIT * NW Nit
1g G
1
M

PPP

-EJ

STEELY DAN
GAUCHO

u
:1

Certified sicko G.G. Allen is at it again. Evidently, it's not just a big joke, believe it or not.

reason to get her dander up; the front
of the jacket bears the prominent
label, "Warning: This Record
Sucks."
-Marc I. Whinston
Kitaro
The Light of the Spirit
Geffen
One of the finer things to come
out of the '80s, in this writer's
opinion, is the genre of new age
music. Kitaro, the acknowledged
grand master of the field, has just
released The Light of the Spirit, an
explosion of rythmic and grandeoise
synthetic sounds interspersed with
conventional instruments that cul-

minates into a surrealistic listening
experience.
"Mysterious," "The Field," and
"In the .Beginning" are moody,,:.
thoughtful pieces that calm and
sober the listener into a state of re-
laxation that leaves him/her
vulnerable to the raging, yet har-
nessed power of songs like the title
track and the thematically related
"Sundance" and "Moondance." Songs
like the first three open and sooth
the soul, and are followed sequen-
tially by the likes of the latter three.
They overwhelm the listener, level-
ling his/her mind with crescendos
and decrescendos that achieve a
melody through their rhythm.
The title track features lead vocals
by Lynn Ray singing her purest

form; no words, just an array of
beautifully sung notes that fill the
song with melodic ecstacy.
"Howling Thunder" rides the listener
over wavesof sound that are charged
by something resembling a french
horn. The album climaxes with
"Journey to a Fantasy," which starts
off with gentle traces of early Mozart
and moves into a majestic, gallant
melody.
Though Kitaro has been recording
with immense popularity for a
decade, this is only his second state-
side new release with Geffen. Co-
produced by Mickey Hart, a Grateful
Dead percussionist and long time
Kitaro fan, this is sure to be one of
many to come, including re-releases
of his thirteen Asian albums. Hope-

I.
o-p c-
*MCA RECORDS

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^1% A!
m Q .
rai "

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A N N A R 8 0 R

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523 E. Liberty " 994-8031 " Mon.-Sat. 10-9, Sun. 12-8
Now carrying largest CD selection in town. For classical music visit SKR Classical, 539 E. Lib

PAGE 4 WEEKEND/DECEMBER 4, 1987 WEEKEND/DECEMBER 4, 1987

PAGE 4

WEEKEND/ DECEMBER 4, 1987

WEEKEND/ DECEMBER 4, 1987

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