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September 10, 1990 - Image 18

Resource type:
The Michigan Daily, 1990-09-10

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Page 18-- The.Michigan Daily - Monday, September 10, 1990


continued from page 16
ties, too. Somewhere between Elvis
Costello and Terence Trent D'Arby,
Harris' blend of obscurely precise
lyrics and fragile voice has been suf-
focated by a churning swamp of
clunky electro rhythms and clutter-
ous effects; only afew easier-breath-

ing songs, such as the moody
"Rhythm of Life," give better evi-.
dence of what Harris has to offer.
The record's oddest touch may
well be the stereo swoop of electric-
razor-like buzzes which mar the be-
guiling album closer, "Her Engine
Froze"; with any luck, Harris' next
record will let his sonic arrange-
ments be subjected to the aesthetic

of his new-found taste in haircuts.
- - Michael Paul Fischer
The Gear.
In the New Hitsville (EP)
Chocolate Moustache
"Hitsville," as everyone knows,
stood as the center of Motown; the
last big sonic wave from Detroit to
make a really big impact on Ameri -

can music.
In a sense, when seeing In the
New Hitsville as the title of a
record, it lends one to think that the
band playing on the record has either
a lot of gumption, or that they are
overly arrogant. In reality, the band
is making a statement about the Mo-
town music scene as it stands
decades after the label sold-out to the
city lights of Los Angeles and New
The main target of the title track
"In the New Hitsville" is Detroit ra-
dio, which has become extremely
commercialized and as the song says,
dictated by "the many concert T-
shirts to give away." This bold ex-
pression of the frustration felt by
most bands trying to fight their way.
into national recognition gave the
group a certain degree of respect
from many local artists.
The one main problem with the
song is that the lyrical refrain "In the
New Hitsville" tends to get very
repetitive, and drags down the up-
ward-style beat.
"Get Twisted," another song from
this EP that received critical acclaim
since the record came out in
September, is a sort of cynical social
commentary about the blue-collar
suburban Detroit scene. It's the kind
of song that one can get the most
out of by listening carefully to the
lyrics, much like most songs by
Lou Reed and Bob Dylan. Occasion-
ally, the guitar work drones, but this
helps accentuate. the message of how
life can be in the outskirts of the-
Motor City.
Many reviewers regarded the other
.two tracks on this EP as less worthy
efforts of the band (and perhaps this
is true), but' they are still decent
works with their own messages.
"Loud Hard and Fast" is a jump-
around-and-thrash-about-style piece
that takes out what probably was a
lot of frustration about rock music
The Gear as a band has a lot to
say, and as they continue their song-
writing, they may eventually be re-.
garded as suburban Detroit's answer
to the folk-rock wave that has been
taking form in music scenes across
the country - or they may .fall
against the weight of the Glitter
Rock/Baby Boomer occupation force
that keeps its hold on Motor City


Keeping the Faith
OK, so Faith No More isn't going to be anywhere near Ann Arbor tnight.
That doesn't mean it's time to stay in and catch Designing Women. Music
fans can still be relisiously devoted by catching the Faithhealers gig atthe
Pig tonight. It should be just as rockin' so don't forget your lighter! Doors
at the Blind Pig should open around 9:30.

- actually, the same traits that
make a man a man.
1.) Vanity - Pompadour-wear-
ing pimp and bad-ass lead singer
Morris Day became the ' 8s Birth of
the Cool when he primped in -his
suit and called Jerome to bring him
his mirror. The pomp is faded now,
but once again Day is in top form.
On the title cut, he reprises his re-
turn to the world brilliantly: "fellas,
I'm back/the aristocratic black/my
bag ain't got no crack -.got a hell
of a back." Indeed, the backing Part-
Time of Ice Cream Castles is a
thing of the past. The lead single
"Jerk Out," is a display of vanity so
well-structured that rappers should
take note, An interesting moment is
the video, wherein Morris steals a
babe from Quincy Jones. Now that's
2.) Determination - Well, as
long as we're talking vain, let's talk
about the urge itself. Anyone who
relishes the urgency that made "777-
931.1" so damn funky must add "Jerk
Out" to the list as well. Despite
Morris' obvious detachment, his
chorus, "got to make some love
tonight," is what makes the jam so
accessible. The most determined line,
from "Chocolate," goes, "Now I
ain't tryin' to brag, but if I ever get
you in the bed/I'll rock that body so
hard, you'll wish all you had was an
aching head."
3.) Groove - What makes any
group of grown men don suits and
get funky, but the groove? Even
when your copy of GQ is missing,
the groove is what insures one's hit-

continued from page 16
tributes greatly to the dramatic con-
tent of the movie. And though the
would-be love triangle between Julia
Roberts, Keifer Sutherland and Ba-
con is sidelined in the plot, the con-
stant tension between the three
drives the movie forward. Sutherland
and Roberts are both impressive as
their characters' personalities trans-
A last good word goes to Joel
Schumacher for his directing. Given,
some of the scenes are strongly rem-
iniscent of The Lost Boys. For ext
ample, the-Halloween party scene,
with its bonfire, odd camera angles
and off-speed shooting, looks a lob
like some vampire "feeding"scenes
with which Lost Boys fans may be
familiar. But these effects contribute ;
to the dangerous atmosphere of
young adults courting death, and'
they work well. The death/dream se-
quences are visually striking. As-
cending and-descending camera an-
gles, and rapid succession of shots
give the dreams alternately airy,4*
startling and intimidating qualities,
Basically, if you're looking for intel-
lectual stimulation this movie is lit-
erally a flat line - brain death. But
if you're interested in something that
is visually exciting, well acted, and
gets you away from the books for
awhile, 'this is a good pick. But it
might make you think twice about.
medical school.

Doro, late of the German metal outfit Warlock, has released a strong feeling but darer-produced sounding solo
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- rn Anoel
The Time
Paisley Park/Reprise
It's only fitting and fair that in a
time when the band is on the way'
out that the toughest, funkiest band
in the world should reunite. The
Time is back. Their fourth album,
Pandemonium, features the band's
original line-up, plus Mirror Man
Jerome Benton. It features giant
steps for' the eminently influential,
band as well as Minneapolis sound
retreads that make me forget about
AIDS, crack and Kuwait, convincing
me that these are, in fact, the good
I'll avoid' the song-by-song de-
scription and instead point out what
makes the Time so damn charismatic




is showing


See RECORDS page 19

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