The Michigan Daily -- luesday, July 10, 1984 -- Page I1 R.E.M.: R apid Ear Movement By Larry Dean W HAT BETTER metaphor could there be for the R.E.M./Dream Syndicate double bill Sunday night at the Royal Oak Music Theater than the fact that the ceiling started to collapse near the end of R.E.M.'s final encore? Yes, it was truly a bring-down-the- roof kind a night, at least for Athens finest. However, the Dream Syndicate didn't fare so well, at least with the staid audience. Opening their set with a flourish of classically-flavored piano played by non-member Tom Zvon- check, they segued into "Tell Me When It's Over," from their debut album, The Days of Wine and Roses, which brought whoops of satisfaction from Dream Syndicate fans in the audience. But it was tough keeping both the fans and the newcomers interested. Many audience members got up and walked out during their brief opening set, either bored by the Syndicate's wall-of-sound- like compositions, or else disgusted by their tattered togs and hippie-era hair- dos. It's actually quite amazing to con- sider that this is the same band that played Joe's a little over a year ago, albeit with one new member-their overall sound and look have changed so drastically, that it was almost like seeing a different band. The Dream Syndicate played a generous assortment of songs from their new LP, The Medicine Show, the first for A&M Records since leaving in- dependent label Ruby. Fortunately, they chose most of the -best ones. "Merritville" sounded very Springsteen-like, a surprising aural an- nouncement considering the adroit Bob Dylan and Velvet Underground in- fluences all over Wine and Roses. "The Medicine Show" and "Armed With An Empty Gun" showed the Syn- dicate's forte of guitar-heavy music in full-swing, with lead guitarist Karl ("call him Pagoda") Precoda standing stage-front, reeling off Marshall- stacked riffs as effortlessly as he swit- ched guitars. And vocalist/writer Steve Winn sang his most impassioned on "Still Holding On To You." Much as I enjoyed the musical changes made by the Dream Syndicate, their newer, tighter approach was somewhat discerning. Originally famous for playing impromptu covers, rearranging sets at a moment's notice, and getting off on feedback-fattened, set-long jams, their seriousness at Royal Oak was downright distracting. Unfortunately, Steve Wynn isn't a very spectacular presence when he tries too hard to play the "rock 'n' roll singer personified", either, so by the time they finished their set and abruptly exited, I. was relieved, somewhat surprised, and curious about what path they choose to follow - sloppy fun or pristine songsmithing. Tacky as it sounds, the night belonged to R.E.M. As the lights went down, the capacity crowd filtered up to the isles with hope of getting a better view of Athens, Georgia's power- popsters. The crowd screamed wildly as the four musicians came on stage, but quickly hushed when'the launched into a short, pretty version of the Velvet Underground's "Pale Ble Eyes." Then, without even allowing a lull to set in, they tore into "Radio Free Europe," off *of Murmur. The rest of the night, R.E.M. pumped out energy and sweat in every song, only letting up on occasion. In the cour- se of their set, they played songs to satisfy every R.E.M. fan's fan- tasy-"Letter Never Sent," "Harbor- coat," "Seven Chinese Brothers," and "Little America," from reckoning, plus, of course, the ubiquitous "hit single" (as vocalist Michael Stipe an- nounced), "So. Central Rain," with its gloriously impassioned chorus of, I'm Sorry. Murmur was equally well- represented, with highlights like "We Walk" (a jaunty pop ditty), "Catapault," and "Talk About the Passion." The encores were special occasions unto themselves. The best songs from Chronic Town were represen- ted-"Gardening At Night," "1,000,000," and the finale, "(Carnival of Sorts) Boxcars," where guitarist Peter Buck wore his love for Pete Townsend-styled acrobatics on his sleeve, but that wasn't all. For their first return trip, drummer Bill Berry and bassist Mike Mills treated the audience to their special rendition of the classic "Barney Miller Theme," while Stipe remained in the wings, and Buck did push-ups to the funky beat. Then, the second time out, Stipe gave a hokey "apology" to the audience, ex- cusing himself from blame for "what's about to happen." Buck announced it was time for their Detroit cover, and the band delivered a primative stab at Brownsville Station's "Smokin' in the Boy's Room," with most of the lead vocals by Mills, who knew the words, whereas Stipe didn't! For shame. R.E.M. has certainly moved up in the eyes of the critics and the record- buying populace-as I recall, they, too, played at Joe's about two years ago, with a very minimal crowd on hand. I don't think a place even as conser- vatively-sized as Royal Oak could cap- ture the heat and spunk of an intimate hole-in-the-wall show, but the band that played Sunday night sure knew how to get their energetic presence across. I only hope that, as with the Dream Syndicate, their climb continues uphill, and that they don't disintegrate into the platinum void of sports arena dinosaur rock. It would be sad to see such verve gone to pot. Michigan Daily -rts 763-0379 A "©ARBOR y INDIVIDUAL THEATRES 5* A"'w b" T"** $1.75 TUESDAY ALL DAY SENIORS EVERY EVE. $3.00 1:01P.M. SHOWS $2.00 THE FUNNIEST FRENCH FILM SINCE 'LA CAGE AUX FOLLES -Richard Freedman NEWHOUSE NEWSPAPERS PIERRE GERARD RKHARD DEPARDIEU A film by FRANISVEBER The Day the Earth Stood Still (Robert Wise, 1951) This classic sci-fi flick bears a vital message to the Star-War-mongers of today: Don't play with nuclear Campus films weapons. Klatu and Gort also decry self-righteous nationalism and hysterical ignorance. Heavy and fun; the space ship looks like a Raymond Loewy original. Klatu bar ada nicto. Remember that if you run into an in- vincible space being in an alleyway. (Friday, July 13; MLB 3,7/30) Invasion of the Body Snatchers (Don Siegal, 1956) Pods from outer space, fluoridated water - Commie plots? Decide for yourself at this schmaltzy horror classic. Psychosis turns to paranoia when Mary and John Smith (not their real names) aren't quite themselves anymore. And neither are their neighbors. Nor their neighbor's neighbors. (Friday, July 13; MLB 3, 9:15) Small Change (Francois Truffaut, 1976) Filmgoers know that Truffaut loves women, but he loves kids just as much. We delve into the world of French adolescence to discover the ingenuity, resiliency and vulnerability which dazzles jaded elders like ourselves. (Saturday, July 14; MLB 3, 7:30 and 9:30) Gallipoli Two young Australian soldiers (Mark Lee and Mel Gibson) are carried from the ochre outback to the creamy sands of the Dardenelles through gorgeous cinematography as well as the naivete of the likeable young men. Life in the Light Horse isn't exactly what the two bargained for.. (Saturday, July 14; MLB 4, 7:30 and 9:30) - Compiled by Deborah Lewis By TI IG be. I adve fbea supp It C ting mak and In the and had to be 'Pope of Greenwich Vilk fails to inspire its audience Phillip K. Lawes be likeable, or have something to say. when his girlfri As it turns out, it is hard to detect any beats the hell o reason why the two men would be and destroys his. IS perfectly clear what The Pope Of friends. In addition, they are almost Eric Robert'sl reenwich Village was intended to totally unlikeable, and they have ab- paralleled as ai t was supposed to be a comedy- solutely nothing to say. ting: A sort of J nture, a buddy picture with two of- Mickey Rourke's Charlie is the better with a prominent t but likeable protagonists. It was realized of the protagonists, but that is ic Roberts has a' osed to be funny and touching. a rather dubious distinction. As he is turned corners fo fails in all these objectives. The ac-- written, Charlie is not exactly ad- He does most o and the screenplay combine to mirable and is by no means a full mouth, biting do e the movie disappointingly tedious character. He is brooding and im- delivering his li emotionally unrewarding. penetrable, a study in barely contained -bray that is supp order for the film to have worked, rage who seems to communicate most New York accei duo of Mickey Rourke as Charley, comfortably in a series of shoves and sight. Eric Roberts as Paulie would have slaps. At one point he even kicks a guy Stuart Rosen to work well. Their friendship has - on the street - to drive homea point. credible, and they either have to His repressed hostility comes to a head See GREET age' end leaves him - he ut of his refrigerator, apartment. Paulie is probably un- n example of overac- Jerry Lewis character t streak of larceny. Er- wide mouth with down- orming a natural snarl. of his acting with his own on his words and nes in a coarse nasal osed to approximate a nt. It is not a pretty berg, the director, NWICH, Page 14 TUES. 1:00, 7:10, 9:10, 11:00 P.M. WED. 1:00, 7:10, 9:10 P.M. From the makers of the original "AIRPLANE!" (Not The Wright Brothers) A PARAMOUNT PICTURE PG TUES. 1:00, 7:20, 9:20, 11:000 P.M. WED. 1:00, 7:20, 9:20 P.M.