12 - The Michigan Daily - Wednesday, October 11, 1995 RECORDS Continued from page 9 Grateful Dead Hundred Year Hall Arista Records ~ Where to start? How about 142 min- utes of musical ecstasy that only the Grateful Dead know how to contrive. Or maybe we'll talk about the crystal- clear sound you can't find on any boot- leg tape. Or how about the 20-minute "Lovelight"sung by theman who origi- nally turned this nation on to their mu- sic, Pigpen. This double disc set man- ages to bring across the finest moments the Dead have ever shown in over 25 years of being on the road. Much like their previously released live albums"Without aNet,""One from the Vault" and "Two from the Vault," the true and only musical spirit of the Dead is allowed to shine in "Hundred Year Hall." The concert was recorded in Frankfurt, Germany on April 26, 1972. For all you hard-core 'heads, these CDs will be some of your favorite shows. For those of you who kind of like the Dead and enjoy a handful of tunes, you'll be more than happy with the favorite songs they always throw you(Imust warnyouthough,youmight want to skip the 36-minute cryptical envelopment; it gets pretty ugly ... but in a good way). A few tracks, such as "Bertha," "China Rider,""Jack Straw" and"SugarMagnolia"along with"Next Time You See Me," "Big RxR Blues," "GDTRFB" and "Playing In the Band" allow the listener the pleasure of being at home while feeling as if they were at the show because of the wide selection of songs and the superb sound quality. Even "Truckin,"' one of the band's most radio-friendly tunes, is allowed a solid 18 minutes of breathing room. What an excellent piece of memora- bilia to have to celebrate the life and music ofJerryGarcia. Although Jerry's gone, it is made quite evident that "the music never stopped." -Aaron Huppert S.F. Seals Truth Walks in Sleepy Shadows Matador Barbara Manning's second Matador album with her band the S.F. Seals is a triumphant follow-up totheir full-length debut for that label,"Nowhere.""Truth Walks in Sleepy Shadows" is beautiful, rough, funny and heartbreaking all at once. The mix ofacoustic psychedelia and garage rock is similar to Love's; on "Ipecac" Manning cleverly com- pares a bad relationship to poisoning: "I can't stomach you!" she wails. It's both poetic and catchy. The album is full of such intruiging, off-kilter jangle-pop, with tracks like "Ladies of the Sea," "Locked Out," and "How Did You Know?" best exemplifying the laid-back but complex moods of "Truth Walks in Sleepy Shadows." Manning and crew get bonus points for the cover of the ultra-cool Pretty Things song "S.F. Sorrow." "Sleepy Shadows" is one of the most relaxed and entertaining albums of the year - and that's the truth. - Heather Phares Orchestra from Down Under gves top performancc By Matthew Steinhauser Daily Arts Writer Picture a group of musicians from Australia, all of whom look under 30 years old. They enter the stage wearing black pants and loose untucked black shirts. Who could they be? This group of young string musicians actually forms Australia's only national orchestra that boasts an excellent interna- tional reputation. Last Friday evening, the Australian Chamber Orchestra under the directionofviolinist Richard Tognetti made their University Musical Society debut with guest French hornist and fel- low Australian Barry Tuckwell at the Rackham Auditorium. Australian Chamber Orchestra Rackham Auditorium October 6, 1995 The orchestra exuded an almost elec- trifying, youthful freshness as they took the stage. An almost uninhibited energy permeated their stage presence as they jumped into their program with George Freideric Handel's"Grand ConcertoinD Major." The group achieved a full, rich sound, attacking the big,livelythemes ofthe first and fourth Allegro movements. The Aus- tralians crisply accentuated quick pro- gressions of notes as they navigated eas- ily through the Presto movement. Throughout the concerto, Handel di- rects duos or trios of violins to play the solo parts. Frontman Tognetti played the solo parts with spirited enthusiasm, but at times when one or two soloists joined him, the tone suffered. The rest of the orchestra nicely balanced the solos play- ing the tight, controlled second parts. The Australiansmaintainedtheir free- spirited, fun approach for C.P.E. Bach's "String Sinfonia No. 4 in A Major." The group nicely melded the complex array of contrasting themes into one unified, grand explosion of beautiful sound. They accented small violin so- los with full-forced, grand melodic pro- gressions. When the orchestra encoun- .1 i I tered some of the more challenging, softer rhythms in the first Allegro ma non troppo movement, they tended to sound slightly confused and muddled. By the third Allegro assai movement however, the group had tamed Bach's complexities and boldly set the stage for the horn soloist, Barry Tuckwell. Tuckwell joined the Australian Chamber Orchestra for Franz Joseph Haydn's "Horn Concerto No.1 in D Ma- jor." With the fabulous accompaniment ofthe chamber group, Tuckwell revealed his strong, mellow tone and near perfect technique. He played tough rhythms in high and low registers with equally im- pressive propensity, and every note he drew out of his horn echoed clearly. Tuckwell tore at the hearts of the audi- pnr- wit+ h1- --a -+- nt a +n hi Allegro movements he commanded at- tention with sharp, lively playing. After the intermission, the orchestra performed two works by 20th-century composers, intensely attacking all the awkward rhythms and bizarre disso- nances.InRogerSmalley's"Strung-Out," the group emphasized extreme confusion with contrasting high and low notes and with weird combinations of fast, busy notes and plucked notes. Interestingly, while generating an ef- fect of extreme disorder, the Australians organized themselves on -the stage in a strict, military-like fashion. While stand- ing in one even row facing the audience, they played a pizzicato passage by taking turns in succession from one end of the row to the other. Visually, they gave the imnrescinn ofmmamiltrvdil comc ,while dominos falling across the stage. For an encore, the Australians play a dance piece that interspersed sto ing feet to emphasize the upbeat meld It brightly capped off a charming p formance by a young, emerging gre of musicians. Director/violinist Richard Togn< spearheads an honest, energetic style performance. The group evenly blet the higher pitches of the violins: down to the deep notes ofthe celloss bass, creating a resonant, balant sound. Barry Tuckwell's marvelous Fre horn playing left the crowd in awe asking for more - but the inten brilliant rendition of the contempor pieces that comprised the second h of the concert more than appeased 1 I ME &z MYI CAREI Come see why Chase has the best career opportunities available. 0M CHASE is looking for unique individuals to be part of our future. The type of people who want to apply their skills to a challenging career- one that offers a ties that Chase provides. And as a premier global banking institution, you'll have t- chance to work with many different people in many different businesses and markets. broad range of options along with high quality training. So come meet with Chase professionals when they visit your campus.'Ask them r Whatever you're interested in, from Corporate Finance and Product Management to questions, and find out how they've grown while working at Chase. After all, you coul Retail Banking and Operations, we think it's important to explore the many opportuni- be next. 1 1995 The Chase Manhatan Corporaton, I t {