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September 30, 1988 - Image 14

Resource type:
The Michigan Daily, 1988-09-30
This is a tabloid page

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............Record Reviews

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Years later, Little Feat returns without lead singer

Little Feat_
Let It Roll
Warner Brothers
To a lot of people the old Little
Feat was just Lowell George by
another name. On their deservedly
classic LPs Dixie Chicken and
Feats Don't Fail Me Now, it was
his southern-flavored singing and
his electrifying, eclectic songwrit-
ing that guided the band over the
rough straits of the '70s pop music
.....:?;'"'}"' / .%%}sjr{".. 1.rff . .."
scene. When he died in 1979 of a
heart attack, Little Feat was no
more, for all intents and purposes.
He's still dead, but somehow the
remaining Feat have put together
Let It Roll, a record of their own
that can stand proudly beside the
classics in the Little Feat catalogue.
It' s the best straight-ahead Ameri-
can rock 'n' roll release since Bruce
Hornsby's Scenes From the South-
The first trick to making a
comeback record without a lead
singer is to dig up a mouthpiece
with all the charm and range of the
original. In that respect, they
couldn't have done better than ex-
Pure Prairie League vocalist Craig
Fuller. On the stereo-shaking "Hate
to Lose Your Lovin'" and the title
track, he has the patented George
growl and howl down pat. It doesn't
hurt either that the rest of the
band's playing is tighter than bibu-
lous George used to get before his
shows. The other hazard that Little
Feat faces in attempting a come-


a Feat

coming out of Detroit (Toby Redd,
Rhythm Corps, and Second Self),
some serious hardrock groups like
Seduce are still being signed.
This trio's major label debut
comes after years of working the
clubs of Detroit and two and a half
years after their independently re-
leased self-titled debut album. Pro-
duced by the band and Ken Waag-
ner, the band's manager,Too Much,
Ain't Enough rocks more honestly
and flat-out better than any of the
pretty poseur poster-boy bands now
crowding record and CD bins ev-
erywhere. Their pr'ess release bab-
bles about Seduce's energy and
honesty and, for a change, it's not
just hot air.
Seduce's sound is tight, power-
ful, and straight forward-guitar,
bass, and drums, with no key-
boards, sequencers, drum machines,
string sections or other high gloss
crap. Guitarist David Black has one
of the coolest guitar tones around,
and his careening solos and fills are
supported by the pumping rhythms
of bassist/vocalist Mark Andrews
and drummer Chuck Burns. How-
ever, this isn't a group where one
musician's talent overshadows ev-
eryone else's; everyone in the band
is talented and gets opportunities to
display their talents.
Paul Lani, producer for
Megadeth's last two albums, mixed
four of the tracks on the album, and
these four are especially good.
"Watchin'," "Empty Arms," and the
title track are simply great songs.
Seduce also appear in the movie,
"The Decline Of Western Civiliza-
tion Part II: The Metal Years," and
have a bonus non-LP track on the
soundtrack of that movie. With this
exposure, and a hot major label al-
bum out, Seduce should reap some
success after all their hard work.
Now if we could only get a radio
station in the Detroit area to play
their album. Or any new music at
-Chuck Skarsaune
The Adolescents
Balboa Fun* Zone
Triple X Records
From the opening moment of
feedback to the last strains of metal,
this albums blazes through twelve
songs of thrash power. The subjects
of the band's discontent are pre-
dictable; there are the obligatory
songs about drinking, fighting, and
tattoos, however, what separates
this album from being an ordinary
California statement of speed metal
and anarchy are the carefully crafted
lyrics which dominate the essence
of each song.
This doesn't mean the members
of the band are poor musicians,
contrary, there are enough guitar
solos and musical surprises which
See RECORDS, Page 7

Continued from Page 9
She said that not only is
Michigamua continuing blatant
stereotyping but the University is
perpetuating negative images of
Native Americans as well.
Last spring a visiting Native
American saw a University promo-
tional brochure containing a picture
of Michigamua's "Indian imita-
tion." Also, in 1985, the Alumni
Association published a full-page
color photo of members of
Michigamua with paint on their
faces and wearing loin cloths and
feathered headdresses. The book is
titled The University of Michigan .
Barner calls all of these activities
"a real insult." She said that she has
since met with Lund and other ad-
ministrators but added,"After I
started talking about this, they just
cut me off like I wasn't there. They
just talked about how great the
organization was... One man during
the meeting was going on and on
about how they were the 'cream of
the crop'," Barner said. "If they're
the cream of the crop how can they
demean another culture?"
Barner said she is counting on
University students to take up the
fight against the depiction of a cul-
ture in such a negative and stereo-
typical manner.
"I told them that my two daugh-
ters had seen it, I saw it, and I hope
that my thirteen year old grandson
doesn't have to see it - it really
doesn't seem like they want to
quit," she said.
M ichigamua also came under
investigation in 1979. The Depart-
ment of Health Education and Wel-
fare (HEW) found the University in
violation of Title IX of the Civil

Rights Code for providing
"significantdassistance" to the
"tribe" of Michigamua (Daily Sept.
25. 1979). Title IX prohibits
recipients of federal assistance from
discriminating on the basis of race.
The U.S. Office of Civil Rights
based its decision on the fact that
Michigamua receives significant
assistance from the University in
that the administration officially
recognizes the organization and al-
lows it to maintain a close
relationship with the University.
The civil right office objected to-
this official recognition .and to
Michigamua's on-going occupancy
of a seventh-floor Michigan Union
room. Michigamua has also used
Radrick Farms, a University-owned
golf course, in the past for annual
But some believe all the contro-
versy can be more clearly explained
in the context of the University
past relationship with Native
Americans. Elmer White, an attor-

ney, wrote a letter to the Civil
Rights Department in behalf Barner
to explain the history of the disre-
spect the University has shown
Native Americans.
In 1871 the Chippewa, Ottawa,
and Potawatomy Tribes gave nearly
4,000 acres of land to the Univer-
sity to establish the college. The
Treaty of Fort Meigs documents the
deal and is on file in the United
States Archives.
In the Children of the Chippewa,
Ottawa, and Potawatomy Tribes vs.
the Regents of the University of
Michigan in June 1980, the plain-
tiffs claimed that "the treaty created
a trust whereby certain land
belonging to the Indians was con-
veyed to defendant (the University)
for purposes of insuring that the
Indians and their descendent would
receive an education and a variety of
equitable remedies..." (104 Michi-
gan Appeals Report).
However, the court's ruling in
January 1981 was that the lands

conveyed to the University were a
"gift" and that it has no
responsibility to educate Native
American children.
Even a 19th century university
law dean and Supreme Court jus-
tice wrote that the value of the
lands given was greater than that on
which John Harvard of Eli Yale es-
tablished their universities. Still
not one building, statue, or plaque
is dedicated to the Native Americans
who gave this "gift" to the Univer-
There is one remembrance, how-
ever - Michigamua.
"I have witnessed the spectacle of
the Michigamua initiation," White
said. "It is absolutely disgusting.
One does not have to be Indian to
be repulsed by these racially ex-
plicit insults to the culture of the
original Americans. It is difficult to
understand how an institution that
prides itself on being the "Athens
of the West" can stand idly by and
watch the initiation proceedings



back is filling George's uniquely
stylized songwriting boots. His
tunes had a certain lilt, a highly in-
dividualized syncopated tempo that
nobody could duplicate. Keyboardist

Bill Payne(who went on to record
with Linda Ronstadt and James
Taylor after the dissolution of the
original Feat) and guitarist Paul
Barrere have forged a distinct, if less
engaging, style of their own that
passes for most of Let It Roll.
Except for an occasional lapse
into pseudo-folkie James Tay-
lorisms ("Hangin' On To the Good
Times,") the songs are good and
Comparisons to the past aside,
it's an endearing, professional piece
of work from a band of seriously
talented musicians. What else could
you ask for?
-Mark Swartz
Love and Rockets
Seventh Dream Of Teenage
Yep, it's still awesome after three
years in the import bin. This new
domestic version includes an unre-
leased, somewhat average L&R
track, "Inside the Outside" on the
second side, a change that makes for
a much better track sequence. As

long as they left the incredible
closing combination of "Haunted
When the Minutes Drag" and
"Saudaude" alone they couldn't re-
ally damage this record.
The demise of Big Time Records
proved to be short lived - Pastels
and Scientists fans can breathe a
sigh of relief as Big Time is now
distributed by Mercury/Poly-
gram/Polydor/Polymer. As for
Love and Rockets, it looks like
RCA is going to keep them around
for a while. Yaay!
-Brian Jarvinen
Too Much, Ain't Enough
IRS Metal Records
Detroit seems to be having one
of it's periodic musical rebirths.
Local bands are once again getting
major label contracts and national
exposure. It's about time. It's been
way too long since Ted "The Nuge"
.Nugent, Iggy "The Stooge" Pop,
and the MC5 came roaring out of
Detroit. Thank God that in spite of
the Top 40-whimp pop groups

waxing Poetics

E M 9557



Available now on Emergo LP's, cassettes, and compact
discs (featuring bonus track, "Marianne Faithful")
225 Lafayette St., Suite 709, New York, NY 10012.
Distributed by MCA

523 E. Liberty : 994-8031
Hours: Monday - Saturday 10-9:30, Sunday 12-8:00

Love and Rockets: They're not just a group of pretty boys.


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