w w w w w w w w w U MMMW MM -- "IW Wr l4w w wr mr w -IMF- -W -W ..s- 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 ,. , . . ." y i ~ h ^1% A! m Q . rai " " j 4, A N N A R 8 0 R N V hos neX 4 ~ xxiy _ t 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 I f