ARTS The Michigan Daily *Wipe Wipers' sc Tuesday, January 24, 1989 Page,5 up th e stage through live )und comes o BY ROBERT FLAGGERT I THE Wipers are coming to town. It's their farewell tour. And if I knew more about them than that, I could * probably weave a relatively convincing and effective preview based on my knowledge. Which is supposed to be fairly simple - just putting down on paper why said band is talented and entertaining enough for others to want to see them live. Unfortunately, that's easier said than done, because I know little more about the Wipers than those of you who know nothing about them, and probably a lot less than those of you who know anything about them. This preview, therefore, is targeted specifically at those who know nothing about the Restless Records record- ing artists the Wipers. Those who are familiar with the Wipers' (specifically singer/songwriter/guitarist Greg Sage's) work might as well stop reading right now, because I assume you'll go to the show anyway. The little knowledge I have about the Wipers is all vinyl. Actually, that's not true, but I prefer not to count the seven pages of idle garbage Restless sent along as a press pack. How much do band photos and rmembers' life stories actually say about the band or its music? Not much. So it boils down to information from only two sources: Their 1987 release The Circle, and one live cut, which happens to be my favorite, from the Sub-Pop Compilation LP. Two sources. Adding up to a grand total of only 11 songs. Not much to base an intelligent and convincing preview upon. But enough. The live cut - a song called "Nothin' to Prove" recorded back in '82 in Portland - rocks. Ferocious angst-driven rock 'n' roll American style. Guitar cen- tered rock played the way every Replacements-wannabe garage band across this country could only hope to play. Melodic, yet at the same time, powerful. Truly driven. The studio recorded cuts on The Circle, however, are terribly weak, which I attribute to one cause: the power and the energy that makes up the Wipers simply cannot be harnessed on vinyl. Which creates the in- evitable problem of people thinking that the band is lame and that there would be no sense in seeing them live if the album is any indication of their live show. But it's not. I know that, as does anyone who has heard them live. Doubtful? Take a gander at the three youngsters in Dinosaur Jr. Their albums are excellent works, one might even say godly, but I'd much rather see them play live than listen to their recorded material. The same goes for a handful of other guitar bands: Redd Kross, Naked Raygun, Squirrelbait (RIP), the Necros. And it's not just the funny comments between songs or the jumping and thrashing about upon stage. Those are merely the means to the end. These, like the Wipers, are musicians who obvi- ously feel more comfortable on stage than in a record- ing studio, and consequently, when they are jumping around and talking to a live audience, play better. And put on a better show. It's not surprising. The Wipers leave their studio stuff behind and play live tonight at the Blind Pig. Doors open at 9 p.m. and cover is $5. When they're not Greg Sage, Brad performances. busy hanging around Davidson, and Steve in dark alleys looking sinister, the Wipers (from Plouf) have been known to turn in some great left, live Bound. BY BETH COLSQUITT THE set of Neil Simon's Broadway Bound is the perfect type of house for the Jerome family. It has a quiet, humble dignity. An afghan sits on the back of a comfortably worn sofa. The dining room table, as Kate Jerome (Barbara Tarbuck) tells us, was handmade by her grandfather. It is the nicest piece of furniture in the room. This backdrop reflects the people who live in it. The Jerome family is a little dilapidated, but still lovingly cared for by its matriarch. Simon's latest comedy is not just a comedy. The comedy was there, as Eugene (Kurt Deutsch) states, and it was good enough that Eugene really ' did succeed in selling about 1400 seats, as he joked to the audience, for people to come and watch his family in their natural habitat. However, the real storyline is comic-tragic. The story is told to us from Eu- gene's point of view. At first this seems like a corny technique for en- lightening the audience, but it serves to constantly remind us of the hu- mor and the irony in all the situa- tions. Through Eugene's eyes we ;can see the world from the point of :view of one for whom the world is full of opportunity. Simon contrasts Eugene's and Stanley's (Brian Drillinger) attitude to that of their " Well-furnished I was surprised that (Broadway Bound ) was not at all spectacular. This was because Simon's humor and tragedy come from everyday people living normal lives. grandfather and mother, who are both soured towards life. Barbara Tarbuck did a wonderful job of portraying a survivor. To play a shrew with feelings underneath, and make it realistic, is not an easy task. I really felt a kind of from-the- heart regret and sadness for Kate Jerome. This being my first Neil Simon play, I was surprised that it was not at all spectacular. This was because Simon's humor and tragedy come from everyday people living normal lives. As I watched it, I realized that this sort of humor is the funniest kind,sand this sort of tragedy goes deepest. In many ways, Broadway Bound is a play within a play. In the scene in which the whole family is sitting around the radio listening to Eugene and Stanley's radio show, one sees that the play is written as a com- mentary on itself. Several of Eu- gene's dialogues with the audience are the same way. The dialogues comment on the situation of the Jerome family as well as on how the situation would appear to outside viewers. The reason for the use of this technique is that the story is loosely autobiographical. I can honestly say that the play was hysterical. I was hooting with laughter during most of the show. The way that Deutsch and Drillinger bounced off of each other was better than slapstick, and one could see that, as brothers, the two were sure to make a great comedy team - if comedy they would just stop and listen to themselves argue for a minute. The funniest scene I can remem- ber was when Stanley demanded that Eugene be serious about his work. Mocking Stanley, Eugene took a moment to play an over-dramatized Hamlet and did one of the best sui- cide scenes I have seen since Kabin Thomas' Bottom in last semester's Midsummer Night's Dream. It was a moot point to review this show, because there was only one performance, which is now over, and because it is sort of silly for a University sophomore to pose as a critic for what has already been praised on Broadway, the theatre Medina of the world. I loved it, though. Reach 40,000 readers after class, advertise in -, - - - - i'iian !-- -- - -MAGAZINE The University of Michigan SCHOOL OF MUSIC Wed. January 25 Historical Performance Forum. John Holloway, violinist of the London Classical Players, in a lecture/ demonstration, "Violin Playing in the 17th and 18th centuries." Recital Hall, 12:30-1:30 p.m. FREE Violin Masterclass. John Holloway, working with student violinists in historical performance practice. Recital Hall, 3:30-5:30 p.m. FREE Thurs. January 26 '4h fl I f d o, [Dal If you ever want to see your favorite blues, jazz, or reggae artists (a)live again, become a Michi- gan Daily music writer. Call us at 763-0379, or bring yourself (in a brown paper bag) to the second floor of the Student Pub- lications Building. L I- s CK with Carl Gue WEDNESD lrra AY JAN 25 Order your college ring NOW. JOST ENS A M E R I C A' S C O L L E G E R I N G - D JAN. 23-27 Time: 11:00 - 4:00 Deposit Required: $25.00 Payrnent PlansAvailab'e Plce: MICHIGAN UNION BOOKSTORE ", m~ Me : ri; Jtoter 0 r.-er ntatv° 0!rfu (etaiis See or Complete nnsel;cu n or iplay =n your coege bookstore 88 739fCO 526 589 MASS MEETING __C HKA0 A MUSICAL VAUDEVILLE A sexy, steamy, late 1920's musical actors, assistants, and crew members needed JANUARY 25 7:00pm KIIpn7I Rm_ The University Club is a private club forstudents.