The Michigan Daily - Saturday, August 6, 1983 - Page 11
Hunter's latest falls s-hort
members of Bruce Springsteen's E-
By Larry Dean Street Band in the rhythm section, and
was boosted by a healthy bit of help
Ian Hunter-'All of the Good from temporary Mott guitarist and
Ones Are Taken' former Spider From Mars Mick Ron-
son. Sparked by "Just Another Night,"
(Columbia) "Cleveland Rocks," "Bastard," and
A LL OF THE Good Ones Are Taken "When the Daylight Comes,"
was released with little or no Schizophrenic soared high on a last-
hoopla. Hell, even I didn't know it was ditch-effort feeling, something that
out until I read a review in another rock permeated every groove on the album
rag! And that person treated Hunter's and made it apparent that Hunter was
new LP with little or no respect - and giving it his all.
what there was was begrudgingly All of the Good Ones Are Taken is not
given. But All of the Good Ones Are like that. It has its golden moments -
Taken is an album to take notice of for a like Mick Ronson's sole appearance on
few reasons - unfortunately, not all of the album, the searing solo guitar in
them good. "Death 'n' Glory Boys" - but overall,
This is Hunter's sixth solo studio it is too contrived and uneven to stand
album (exempting a wonderful live up as an Ian Hunter album.
collection, Welcome to the Club), and The music on All of the Good Ones
his biggest bid yet for commercial suc- Are Taken fluctuates between good and
cess. His maiden group, Mott the derivative. The title song, which is
Hoople, was famous for being able to inlcluded in two versions - one at the
fill up the Albert Hall for concert ap- beginning of the album, and one at the
pearances, but never selling many end - is a great Ian Hunter tune about
albums - until David Bowie came lost love. The first version has fine
along and offered them their only true tenor sax by Clarence Clemons ( from
hit single stateside, "All the Young the E-Street Band) and is significantly
Dudes." livelier than the second, which is a
Until now, Hunter's most successful more controlled and reticent version.
solo effort has been You're Never Alone "Fun" tries to copy the enthusiasm
With A Schizophrenic, which featured generated by "Cleveland Rocks," but
A selection of campus film highlights
lost souls and voted most-likely-to-be-
The Shining crucified by his hebrew class. John
(Stanley Kubrick, 1980) Cleese, Michael Palin, Eric Idle,
Kubrick's version of Stephan King's Terry Jones, and the rest of the circus
novel is void of any real characters, play the usual assortment of Romans,
but the film works to some extent lepers, mothers, and counter-counter-
thanks to the frightening final reel. revolutionaries, including Otto and
Jack Nicholson plays Jack Torrence, his suicide squad. (Sunday, August 7;
ex-English teacher and alcoholic who Michigan Theatre, 5:30, 7:15, 9:00).
accepts the job of caretaker at the --compiled by Richard Campbell -
Overlook Hotel during the off-season. -_-_ -
As the long months of winter stretch
out, Jack gets a case of cabin-fever
and starts terrorizing his wife, ineptly J INDIVIDUAL THEATRES
played by Shelly Duvall, and son. s'^ "'
Meanwhile, the hotel begins to have $2.00 WED, SAT, SUN SHOWS TIL 6:00
flashbacks, scaring the heck out of all.
(Saturday, August 6; Lorch Hall, 7:30,
9:40). *
(R)
C mp sSAT SUN
1:103:105:107 109:10
Films WOODY ALLEN
FILM FESTIVAL
The Man Who Would Be
King
(John Huston, 1975)
Director Huston has taken the
Rudyard Kipling short story and by
embellishing it with detail and in-
sight, has produced a rousing adven-
ture. Sean Connery and Michael Caine
star as two happy-go-lucky soldiers of
fortune in 19th century India who run
off to become kings of Khafiristan.
With a superlative vignette by
Christopher Plummer as Kipling and
Saeed Jaffery, last seen in Gandhi, as
Private Billyfish. (Saturday, August
6; Auditorium A, 7:30, 9:45).
Life of Brian
(Terry Jones, 1979)
Though not the best Monty Python
film, it is still better than nothing. (R)
There's just a smattering of the
crazed, nonsensical humor for which SAT SUN-
the troupe is best known, but lots of "ANNIE" 3:40 6:55 10:10
funny sitcomish jabs at religous
fanaticism. Graham Chapman plays "MAN" 1:50 5:15 8:30
Brian, new found idol to hundreds of
goes in the wrong direction and ends up
like every other mundane, teenage an-
them - Hunter could do far better than
this!
Ian Hunter has always been one of
rock and roll's prime icons. He has
prompted a scourge of contemporary
fans who admire him for his honesty -
after all, who else would write a song
like Mott's "Ballad of Mott," with the
lines: You know all the tales we tell,
you know the band so well/And still
I feel, somehow, we let you
down./We went off somewhere on
the way/And now I see we have to
pay, /The Rock 'n' Roll circus is in
town.
Such openness can be the death of
an artist and on All of the Good Ones
style to break through with that
honesty. The cover says it all: there's
Ian, without his traditional sunglasses,
for all to see. But his eyes are avoiding
ours, and the picture is from (of all
things) a video.
Ian Hunter cannot survive through
contradictions. The final point is driven
home in the context of a poem written
by Hunter for Mott producer Guy
Stevens, which is reprinted on All of the
Good Ones' inner sleeve: I'll be
rehearsing tomorrow at S.LR. /Still
tryin to be your superstar. Ian Hunter
doesn't need to be one of those. And
while All of the Good Ones Are Taken is
a respectable bid for airplay, it
ultimately lacks the emotion and com-
mitment to sincerity for which Hunter
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WALT DISNEYS HARRISON FO
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PHOEBE CATES THE THIRD
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ALL NEW
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J raIt'i steal your heart!
( G '.)ROBERT DUVALL in
"T" TFENDE R
MERCIES
PG
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