Page 8-The Michigan Daily-Tuesday, September 17, 1991 RECORDS Continued from page 5 ten better. Metallica has been working toward a sound that is fast and hard but musical at the same time, with songs that change tempo in seconds, with words threatening and con- fusing but ultimately optimistic. They are looking for an LIbermetal, and though they may never find it, the results of their efforts can often be amazingly musical. People may confuse music with noise, but "Enter Sandman" and "My Friend of Misery" tell us that more than making sounds Metallica is making music; "The Struggle Within" and "Through the Never" tell us that they still rock; "Holier Than Thou" and "The God That Failed" tell us that their lyrics still cut deep; and the whole album, when played end on end as loud as possible, will pull you in and shove you about and let you know this above all else: for as long as they've been about, for as much as they still do music they'd be safer not doing, Metallica still kicks ass. - Antonio Roque The Geto Boys We Can't Be Stopped Rap-A-Lot Yes, those malicious enemies of politically correct protest music as dictated from above and beyond are back. And as before, the force of sheer willpower being exercised in We Can't Be Stopped makes the Geto Boys admirable figures in this universe called rap. The controversy arising from their lyrics has caused them to be dropped from Def American, the major label that re- leased The Geto Boys through pio- neering rap producer Rick Rubin. But the Geto Boys did not wait for another contract. Instead they recorded through Rap-A-Lot, a considerably smaller company with less money. Thus the production is sub-standard on some tracks. The ab- sence of unnecessary flash and luster that is, in part, destroying rap makes this album a hallmark in its sim- plicity and integrity. And then, the grotesque cover featuring Bushwick minus the eye he allegedly shot out only celebrates the appeal a bit more. This confrontational spirit extends throughout rap's widely divergent levels with a sledgeham- mer bluntness. The sampling of the opening bars of Latifah's "Ladies First," only to be rudely cut off with a needle slip, begins Willie D.'s "I'm Not a Gentleman" with a cleverly com- bative spirit. The lyrics are im- mediately arguable, but also in- sightful. D. is a sexist, but he pro- vides his complete lack of social demeanor as a basis for understand- ing him. Then the inclusion of the track "Punk-Bitch Game," basically a rewrite of Sly's "Don't Call Me Nigger, Whitey" with the trade-off of racial epithets exchanged for a verbal battle of the sexes, opens this field of discourse a bit more. The real gem on We Can't Be Stopped is the clearly self-deprecat- ing gesture "My Mind Is Playing Tricks On Me." Scarface glumly considers suicide, while Bushwick awakens from a fight on Halloween to find his hands "bloody, from punchin' on the concrete." The gritty, melancholy motion of the groove is driven with guitars and a beat that simply trudges through the ugly world the Boys have depicted. This grim spirit, alongside the starkness of the lyrics, explains why the Geto Boys' music is so pop- ular. It's an honest consolation for whatever we refer to as insanity. -Forrest Green III up with eight to fill the band, as well as the crazy bodyguard-turned- drummer Mickah (Dave Finnegan). The Commitments rehearse, grow tighter, play amazing gigs, sleep with each other, fight and, when they have an opportunity to move forward with a record deal, fall apart. The group never makes it out of hell as the Commitments, but, hopefully, they've learned to believe in themselves (though it isn't apparent at the end if they: really do). The transition to a higher state of confidence as musicians, perform- ers and people stuns because The Commitments is full of real people and places. Kids are everywhere - half of Ireland's population is under 25. Jimmy's father (Colm Meaney) thinks that "Elvis is God," and can't understand his son's soulful musical tastes. There isn't room in the movie to even slightly explain every cha- racter's background. We get an idea that lead vocalist Deco's (Andrew. Strong) anger and assholeness comes. from somewhere within. But his in- complete character doesn't matter whenever he opens his mouth and sings. 16-year-old Strong's gritty, throaty voice is fully mature with grain, gravel and a depth unsur- passed by most other singers of any age. Apart from being a constant prick with the vocal chords of the devil, Strong doesn't act much. His character however, fits into the story well. It isn't obvious that all the main characters (save Bronagh Gallagher as overworked back-up singer Berniea and Johnny Murphy as old, long- nosed braggart/ladies' man Joey1 "The Lips") in the film are note played by actors, but musicians. Their facial expressions and small movements - especially Arkins', during the audition scenes - add a profundity that Hollywood actors have lost by trying to "feel good" all the time. But the sequences in which the Commitments perform, or'even just practice, are the most potent of the film. The actors mesh as musicians, playing for their lives and dreams, giving their characters something t' look forward to, as Bernie says, in a life of unemployment and nothing to do. Music becomes the preferred release, and the depth of soul makes it that much more powerful. THE COMMITMENTS is playing at Briarwood and Showcase. IU:-IS LJ - MULTI COLOR SPECIALISTS - ARTIST ON STAFF - RUSH ORDERS " NEAR U OF M CAMPUS 1217 PROSPECT, ANN ARBOR 665-1771 VFF with this ad The Commitment-ettes are (-r) Imelda (Angeline Ball), Natalie (Maria Doyle, a former member of the Hothouse Flowers) and Bernie (18-year-old Bronagh Gallagher, who is a professional actor in real life, not a musician - atypical for the cast of this film). Bernie's minding the kid. Cute, huh? 'MENTS Continued from page 5 to manage two friends, guitarist Outspan (Glen Hansard) and bassist Derek (Ken McCluskey), in a band. But the kind of band Jimmy forms - a soul band that covers American hits - is unusual and powerful, playing the tight music Black Americans once used to escape their own hell. After auditioning every unemployed musician in Dublin - much like Parker did when he cast The Commitments - Jimmy comes ., U CELEBRATE OUR OPENING! 0 a 0 6 a d. 14 al 0 The- Third Coast I A COFFEE HOUSE & WINEBAR 0