r The Michigan Daily - Friday, June 7, 1985 - Page 9
, Holsapple returns to bar-band roots
(ContinuedfromPage8) arrangements with the kind of color- of "Amplifier" and the maddeningly absolutely stunning in a starkly Lie" that detailed one man's com-
drummers around) and new bassist ful, splashy guitar frills that made danceable "Spy In the House of realized, chilly rendition. "Living A promising plea for love. It might very
Jeff Beninato, who gave the band the Like This one of last summer's Love." Lie," which is an amazing little piece well be the most mature, insightful
bouncy foundation it needed, freeing freshest, and most inexhaustibly Most importantly, Holsapple and of soulful pop in its original incan- piece of writing Holsapple has done,
Holsapple and lead guitarist Gene delightful LPs. hand have sussed out arrangements tation, with the brassy backup of the and bodes well for the future of this
Holder to better stylize the For the first few songs, the band that sensitively flesh out the music Rumour's horn section, was band that now seems bound unstop-
seemed a bit reserved, (playing "She and give it depth. "Lonely Is," a smashingly redressed with harsh, pably for success.
Got Soul" and "Rendevous" with melancholic, introspective song that cold steel guitar riffs. It may take a little more time for
power but not enough rpms). But by is heavily (though not excessively) Most impressive was the introduc- the dB's to break through, but when
Ethe fourth song, a new number called produced on vinyl, didn't lose a shade tion of another new song, a slow, they do the sound is going to be a
"Working For Somebody Else" they of its effectiveness, and in fact, was touchingly plaintive sketch called "I LOUD one.
let go with a new-found momentum,
hitting country-funk terrain and
Ry Cooder-Paris, kicking up a vicious dust cloud that
would make Joe Walsh sick with envy.
Texas/Original Soundtrack Holsapple himself seemed much
(Warner) more secure at centerstage. Confiden-
tly brash, he showed off a newly
discovered vocal strength and finesse,
Ry Cooder's third soundtrack-after ranging from wolfish yowl to gentle
ose for The Long Riders and The Bor- whisper. The set was fast and breezy,
r-is probably his most interesting, if thoughtfully sampling the bands
least accessible to date. Cooder effec- repetoire, juggling favorites like
ively uses a sparse arrangement of "Love Is For Lovers" and
uitar, piano, and something that soun- ntos ike rad g Bwit k m ruck
a lot like a gamelon in a style mnto ike " H Factor"
omewhere between Tex Mex blues and and te kinrmet H actor,
avant garde to sketch a psychological and taking more than a few sly liber-
portrait of a desert drifter: dry, sun- ties with extended, tinkered versions
parched, and lonely, but not without
momentary glimpses of buried war-
mth. Disquieting, but haunting, the I
bum is marred only by a dialogue ex-
.act from the movie that features an
eight minute monologue by actor Harry S
Dean Staton that is incomprehensible
out of context, and detracts from the
beauty of this otherwise fine record. ' '83 Models
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