(Continued from Page 8)
ew records before attempting to
roaden the musical scope beyond in-
ividual songs. D.C. 3 has somehow
anaged to bypass its first few
ecords, and move directly to ex-
rimentation and conceptualization.
onsequently Dream is a whole
roduct replete with linkage, echoes,
gThe album opens with a tumbling
coustic guitar riff which gives way
n mid-phrase to a heavy distorted
alectric guitar. Crinkly chimes join
n. Jangle. And then the assault.
ladena on guitar and vocals, backed
y Paul Roessler (the brother of Blac-
Flag's bassist Kira) on keyboards
and Kurt Markham on thunderous
Cadena is the focus. His guitar is
onstantly in motion. Sonic snarls
em to flow relentlessly from it. But
is only because his guitar work is
errific that he ultimately steals the
ocus from Roessler and Markham.
Roessler handles the basslines with
lis synthesizer, a concept which I
ejected completely before I listened
o the record. I am not above
Drejudice. Generally I think basses
should be basses, just as
horn sections should be
horn sections and strings
ould be strings. gut Roessler
is unobtrusive and subtle. His bass
keyboard work does not announce it-
self as such, it merely provides the
The Michigan Daily - Wednesday, July 10, 1985 - Page 9
footing the music needs. Cadena's songwriting is terrific.
On high keyboards Roessler is daz- The album opener "We Feel the Sky"
zling. He manages to capture the has a monumental-gigantor chorus
cheesy sound of the '60s organ, and he We feel the sky / and we wonder
scrabbles over the keys like he why. The song feels big and
belongs in Arthur Brown's band. He mighty . . . almost anthemic, but
was, in fact, the keyboardist in a late Cadena undermines the song's cer-
incarnation of Iron Butterfly. tainty. He turns it into a balancing act
Markham is a classic slasher- between art-metal and mash.
The title song closes side one by
picking up the opening bit from "We
Feel the Sky" and extending it.
"Dream" is also somewhat anthemic,
but this time a country feel is thrown
into the mix. Again elements are
juggled deftly. Disparity becomes
"Twisted and Turning" mixes
rockabilly in similarly. "Dance of the
Imbeciles" throws in a grandiloquent
piano, before degenerating to Dez
alone over a Lennon-esque piano.
"This is the Dream" in a real
achievement. From the opening
acoustic jaunt to the final electric
Cadena presents music with unity and
continuity, yet still manages to main-
tain the freedom to occasionally move
in right angles and surprise the
.Dez Dez's Black Flag days are long
gone, but they have given him a sen-
. .. hums a different tune sibility that serves him well. D.C. 3 is
basher His drumming tumbles for- ;
BERRR ERRY WI
ITTLE R CARD \
BILL Y L ;
HALEY 'PR LY
ward as breakneck speed. His work is
betrayed somewhat by a typically
tinny SST pressing, but it's still
TENT ER TAINMENT FOR E x
Issu N iEA
powerful, innovative, and watchable.
and the white big band influence of far more than the bulk of '50s rock
-John Logie Bill Haley's "Rock Around The collections.
Clock" both tug in the same direction, -Byron L. Bull
Various Artists - Rock and if by far different routes.
Hello -- s that right?
Roll: The Early Years (RCA) One could toss in minor quibbles, TeDaily?
First off, one cannot seriously be that "Mannish Boy" would have ser-
expected to find fault with a record ved as a better representation then The Michigan Daily?
that lists Carl Perkins, Elvis, Chuck "I'm Your Hoochie-Coochie Man"-- Carries Bloom County ...
Berry, and Muddy Waters - among a too obvious choice - and even if
many others - for company. Secon- "That's All Right Mama" was Elvis' THE BLOOM COUNTY?
dly, how do you knock any collection first single, others that soon followed
that puts "Tutti-Frutti," - like "Don't Be Cruel" - define his
"Mabelline," "I'm Your Hoochie- essence more fully. On the other hand
Coochie Man," and "Great Balls of "Blue Suede Shoes" sums up Carl
Fire" - among plenty of others - back Perkins better than probably any
to back? other song he cut. "Great Balls of
Rock and Roll: The Early Years Fire" pretty much wraps everything
compiles twelve artists and their of Jerry Lee Lewis up into one hot
songs together in celebration of what ball, and what one song does Bo Did-
RCA claims is, "Give or take a year dley more service than "Bo Did-
or so," the 30th birthday of rock. Ac- dley"?
tually the real reason is for a vinyl tie-
in with a newly released video tape Rock and Roll: the Early Years is a
compilation of the same name, but good, fast, joyful history lesson, worth
one can't ignore any record that goes
to the trouble - and I'm sure con-
siderable expense - of putting
together so thoughtfully a dozen of the UE VF h 1
more influential songs from the RALPH'S MARKET
seminal days of rock.
Purists will haggle over missed
details, over artists and songs 709 Packard (Near State)
overlooked, over the merely cursory
liner notes, and shrug the record off
as just one more hits compilation in a THIS WEEK'S SPECIALS
sea of cheap slapped-together efforts.
But despite what may be commercial
motives for this record's release, it
does a surprisingly smart job of Bologna Baked Ham
the genre and its more influential ar-
tists. $1.99 lb. $1.S9 1b
The album pays equal credit to
white and black performers, and
nicely exemplifies how seemingly
irreconcilable styles meshed together Ground Beef
so magically. On one side of the coin is
the Chords' elegantly gentle "Sh lb
Boom" while on the other Jerry Lee
Lewis' hillbilly revelry in "Great
Balls of Fire," and the connection, if Hours: Sunday-Thursday 10:00 a.m. - 12:30 a.m.
intangible and invisible, somehow
holds, just as the R&B fire of Stanley Friday & Saturday 10:00 am. - 2:00 am.
Turner's Shake, Rattle and- Roll"
Double exposure Associated Press
Playboy magazine released the cover of its September issue Tuesday in
O icago which features rock singer Madonna. A Playboy spokesman
says the issue will hit newsstands in major U.S. markets next week. Pen-
thouse Magazine previously announced a forthcoming pictorial feature