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October 15, 1991 - Image 8

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Text
Publication:
The Michigan Daily, 1991-10-15

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0I

Page 8-The Michigan Daily- Tuesday, October 15, 1991

Maman, Maman! Laissez tomber les cheveux!
So you couldn't get enough of Yves Robert's My Father's Glory? Well, here's the sequel! But no matter how
much you liked Glory, My Mother's Castle is far more likable. More a continuation of the same film than a
sequel, Castle features the same cast in the same pastoral location - it's all so familiar that one can only
relax and enjoy the presence of some old friends, including Philipe Caubore as Joseph Pagnol and Nathalie
Roussel (pictured above) as his wife, Augustine. And the ending provides a surprising twist which makes us
cherish these sweet, simple moments even more. Best of all, unlike the G-rated Glory, Castle is rated PG,
providing tons o' racy fun that we won't spoil. My Mother's Castle is playing at the Ann Arbor 1-& 2.

Alison Moyet
Hoodoo
Columbia/Sony
Once upon a very recent time, a
certain woman singer's warm, deep,
low voice was belting out of my ste-
reo at a considerable volume. About
ten seconds passed when suddenly, a
hole opened in the space-time con-
tinuum inside someone's brain, two
and two made four, and he spoke.
"You're right!" my friend ex-
claimed. "Alison Moyet does sound
like Andy Bell's long lost twin sis-
ter!"
When Moyet left her earliest band
effort, Yaz, which featured Vince
Clarke on synths and Moyet on vo-
cals, Clarke did a ridiculously incred-
ible job of choosing her replacement
in Andy Bell, forming the well-
known electronic duo Erasure. Whe-
ther Bell is truly Moyet's twin bro-
ther or not, Moyet went on to a solo
career that has been sadly repressed
compared to the flamboyant Bell-
Clarke duo. Now, on her third and
newest solo album, Hloodoo, Alison
Moyet continues a tradition of
soulful vocalizing that she began
with Yaz-spawned dance hits like
"Situation" and "Don't Go."
The first track, "Footsteps," has
Moyet crying out, "Ay, ay, aaaaay!"
like the banshee she's always been.
After hearing the most recent deluge
of awfully unoriginal super-syrupy
Mariah Carey-esque ballads, the
more stringent sounding "It Won't
Be Long" ("When I wake up/ I won't
see you on the bathroom floor/ In
the tangle of clothes we left lying
there") puts some red blood cells
back into your grey heart.
But the real kickin', wall-bust-
ing, "I-have-to-jump-out-of-my-fa-
vorite-cushy-listening-chair-'cause-
my-brain-won't-believe-she-even-
thought-about-doing-this" tune on
the album is "Rise," which does not
sound even remotely like "Si-
tuation." Acoustic instruments
groove in abundance - bass, double
bass, acoustic guitar, Moyet on
harmonica (!) and a whole bunch o'
Hammond organ riffs - not to men-
tion her purring and growling vo-
cals. This song will remind you of
Marvin Berry telling Marty McFly,

"Hey. Let's do something that really
cooks !!!"
-Jeff Rosenberg
Richie Sambora
Stranger in This Town
Mercury
Richie Sambora. Now why does
that name sound familiar? Best
known as the guitarist from Bon
Jovi (and the one-time beau of
Cher), Sambora steps out, at long
last, and proves that he was much of
the talent behind the supergroup.
Sambora finally gets to play what he
wants, and he gets to sing it, too.
Does he sound like Bon Jovi,
you ask? For the most part, no. He
sounds more like Whitesnake a lot
I'm not going to say
that the songs aren't
reminiscent of Bon
Jovi, because they
still have that poppy,
hard rock sound
of the time, but then again, he
sounds like many different people.
Sambora's voice has the depth of
David Coverdale's, the scratchiness
of Bryan Adams' and the intensity of

Roger Waters'. I'm not going to say
that the songs aren't reminiscent of
Bon Jovi, because they still have
that poppy, hard rock sound. But
Stranger In This Town differs in thatv
it doesn't have that sometimes
whiny "I want to be a cowboy"
drawl.
Sambora offers a strong group of
anthemic songs, the most moving of
which are the pulsing "Ballad of
Youth" and the ger' ly engaging
"One Light Burning." Among other
guest musicians, Eric Clapton ap-
pears on the Jovi-esque "Mr.
Bluesman," contributing an impres-,
sive, typically-Clapton solo.
All of the songs were either writ-
ten or co-written by Sambora.
"Rosie," co-written by the infamous;
team of Sambora, Bon Jovi, Warren,
and the hook-happy Desmond Child,
is amazingly un Jovi-ish, given its
writers. Ignoring some mild similar-
ities to Bon Jovi's "Silent Night,"
"Father Time" is touching, provid
ing a smooth lead-in for the album's~
final song, "The Answer," which is4
a slow, melodic ballad that finishes'
the album with a special soulfulness;
never captured by Jovi.

NFO*FEST '9
Brought to you by the Undergraduate Library and the Residence Hall libra
Where you can eat, drink,
merry, and learn somethin
at the same time.'
Coming Soon to a Residence Hall Ne
Tuesday, October 15 5-7 pm
Marley Hall
Wednesday, October 16, 5-7
Bursey Hall Main Lobby
Thursday, October 17,5-7 p
South Quad East Side Lobby
Games, door prizes, cazndi, xiveawoays, computer d

-Kristen Knudse

f

1-

1
aries.

bel

g

01

Richie Sambora looks kinda blue, but getting dumped by Cher does that
to a guy. Maybe he can get together with Mayor Bono and cover
"Heartbreak Hotel."

who

what

where

Tonight at Club Heidelberg,
long-haired, toad-licking, grammat-
ically incorrect guitar rockers Das
D a m e n - translated as The
(singular, neuter) Women - release
their Sub-Pop-approved tunes live
on stage. Tickets are $4, doors open
at 9:30 p.m. and Ann Arbor's own
Faithhealers open. By the way, the
damen in Das Damen are really men-
schen.

Run, don't walk! Buy your
tickets now! Barry "Copacabana"
Manilow appears at the garish Fox
Theatre in Detroit for a two-night
stand, this Friday and Saturday. Sure

when
to be a crowd-teaser-'n'-pleasq ,
Manilow's first tour in two-and-a-
half years is a tribute to Americaj
musical theater. Tickets are $32.
in advance (p.e.s.c.) at TicketMaster.

A"L
"II

BONES
Continued from page 5
ened faces portrayed Black stereo-
types on stage. But the minstrel
groups also specialized in mocking
pretentious foreign cultural im-
ports, promoting American cultural
nationalism.
"By the time I was a child (in the
first decade of this century)," said
Danforth, "everybody knew about
the bones." But the popularity of
the bones began to fade, and only re-
cently has interest again begun to
grow. Ray Schairer of Dexter, who
actually makes the bones, has made
87,000 sets of bones over the past
decade. He uses all kinds of wood,
from balsa and pine to hickory and
other exotic hard woods - and
sometimes even real bone. Danforth
uses the bone bones for special ef-
fects, for example, in graveyard
songs.
Albright and Danforth have
worked out 12 or 15 pieces that they
play together, from Mozart to
Ragtime to "The Victors." Rag-
time, Albright's specialty, seems to
work the best. He and Danforth
trade the lead back and forth, not
relegating one to be the accompanist
and the other the soloist. Sometimes
they'll have a competition to see
who can play louder. Stop-time is
another technique that also works
well, in which the pianist (or an
orchestra) plays short, simple
chords with rests in between that
can be filled in by a complex
rhythmic display from the bones (or
a tap dancer).
Originally from North Dakota,

Danforth has had a varied career,
from architecture to public educa-2
tion. He also fought in World War
I, and built bombers at Willow Run
airport during World War IL
"Every time I got going on some-
thing, a depression or a war came
along to make me reset my sights,';
he said.
Then, years ago, when Albrighi*
was music director at First Unita+
rian, he heard about Percy Danfortli
and his bones. He arranged for
Danforth to come and play the,
classic tune "Maple Leaf Rag" at
the church, and "Mr. Bones" was
born. Albright takes modest credit
for the subsequent expansion of
Danforth's second career, most rer
cently trying to get him a spot on
Garrison Keillor's radio show':
Though almost 92, Danforth reL
mains active as a performer, teacher
and salesman for the bones.
"I play three or four times a
week, and I'm booked up to New
Year's," he said. "I just don't knoav
how to say no... I'm always happy
when I'm playing the bones."
Danforth has no trouble satisfying
his listeners. With pieces ranging
from Mozart to Scott Joplin, h@
boasts no mean repertoire, though he
admits to no special favorites. "All
I have to do is hear the music," he
said, "and I play the bones."
PERCY DANFORTH and BILL
ALBRIGHT perform this afternoon
in the University Hospital Lobbyt
2 p.m. as part of an ongoing seriesof
concerts in the Gifts of Art pro,
gram. There is no charge. Call 936
ARTS for more information.
Ranger theme song - "Hi-ho
Silver!"), which added color and fun
to the more formal atmosphere, and
included a charismatic solo by cel-
list Nadine Deleury. The beauty of
"La Serenata" by Mascagni verified
Pavarotti's worldwide popularity. ;
As a dynamic finale, the tenor
delivered five encores, including his

SOLO MIO
Continued from page 5
stelle," also from Tosca, was well-
received by the audience and one of
the highlights of the performance.
Griminelli's delicious flute so-
los and the MOT symphony, con-
ducted by Leone Magiera, were right

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