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About The Battalion. (College Station, Tex.) 1893-current | View Entire Issue (Jan. 31, 1980)
— ; t m MSC Town Hall opens the spring semester Feb. 2 with Tom Mallow’s National Touring Company of “Deathtrap,” a comedy thriller written by Ira Levin. “Deathtrap” concerns a playwright who, after writing nothing of consequence for years, gets his hands on a play from a student that is so remarkable he must have it in his own name. The per formance will begin at 8 p.m. in Rudder Auditorium. Tickets for the show are $4.50, $5.50 and $6.50 for the general public, and $2.75, $4 and $5.25 for students. Tickets are available at the MSC Box Office on the first floor of Rudder Tower. Picture is of the Broadway company. Records KTAM Singles 1. Phoenix — Dan Fogelberg 2. Sara — Fleetwood Mac 3. Lost Her In... — John Stewart 4. Yes, I’m Ready— Terri DeSario 5. You Know That — Santana 6. Crazy Little Thing — Queen 7. September Morn — Neil Diamond 8. Wait For Me — Hall/Oates 9. Rock w/You — Michael Jackson 10. Last Rain To London — ELO Albums 1. No Nukes 2. Pink Floyd 3. Fleetwood Mac 4. Led Zeppelin 5. Eagles 6. John Cougar 7. Dan Fogelberg 8. Jefferson Starship 9. Aerosmith 10. Richard Fagan Review Young’s ‘Live Rust’may draw new fans Neil Young’s contribution to modern music in the past decade and a half has been both pleasingly traditional and suprisingly innova tive. Young’s music has served as a sound track to the rebellious sixties and to the hedo nistic seventies. Through vehicles like Buffalo Springfield, Crosby, Stills, Nash and Young, and more recently Crazy Horse, Neil Young has provided the public with some of the most meaningful and enduring music of all time. All of this brings us to the last three years. In 1978, Young released the heavily acoustic album “Comes a Time,” and in 1979 he gave us two provocative releases “Rust Never Sleeps” and his in-concert document “Live Rust.” “Live Rust” ties Neil Young’s career together in a very listenable package. “Live Rust” provides Neil Young fans with the most authentic recording of a Crazy Horse “Live Rust” provides Neil Young fans with the most authentic recording of a Crazy Horse concert ever. live versions of “Sugar Mountain,” “After the Gold Rush,” and “Cinnamon Girl.” It’s good to know that the oldies are still goodies. The pace of “Live Rust” is also well thought- out and constructed. Side one is purely acous tic featuring Neil on guitar, piano, and harmoni ca. Side Two picks up the tempo a little and contains songs like “The Loner,” "The Needle The pace of “Live Rust” is also well thought-out and constructed. and the Damage Done,” and the Nicolette Larsen hit “Lotta Love.” On the last two sides, Young and Crazy Horse really cut loose. “Like a Hurricane” never sounded so raw, so cutting and so deep. The crowd reaction to “Hey Hey, My My (Into the Black)” gives a hint of the powerful rock found in the song. “Hey Hey, My My” could be the next Neil Young classic. But the most gratifying of all the live versions comes at the albums finale. “Tonight’s the Night” (no, not the thing that Rod Stewart re corded) never sounded better. “Tonight’s the Night” was the title cut from Young’s most critically acclaimed (and poorest selling) album and on that album the song’s lyrics were much tighter than the instrumental tracks. But on “Live Rust,” it all comes together to close the album on the highest note possible. It seems necessary to mention the other members of Crazy Horse in this review as their contribution to “Live Rust” is incredible. Frank Sampedao (guitar, keyboards), Billy Talbot (bass) and Ralph Mouna (drums) prove that this is the greatest incarnation of Crazy Horse ever to record with Neil Young. As long as Neil Young continues to put out music like this his popularity should never wane. “Live rust” may turn on a whole new generation of Neil Young fans. I certainly hope so. — Geoff Hackett Hackett is a junior marketing major. concert ever. Although the record is not with out its flaws, the good parts heavily outweigh the mediocre. First the mediocre. Four of the sixteen cuts on the new album were also included on last summer’s “Rust Never Sleeps”. Though the inclusion of these songs is presumably integral to Young’s live performance, it appears that he may be attempting to push them too much. The strange thing about all of this is that the four cuts (“My My, Hey Hey,” “Sedan Delivery,” “Powderfinger,” and “Hey Hey, My My (Into the Black)”) sound exactly, and I do mean exactly, like those on “Rust Never Sleeps”. If Neil is including the same tracks on two diffe rent albums, it surely does not diminish this album’s effect. It also gives radio stations another shot at “Powderfinger,” probably the strongest song from “Rust Never Sleeps”. Maybe this time the song will get some airplay. Now for the good stuff. Neil Young seems to possess the uncanny ability to take his old songs and turn them into completely new ones just by re-recording them. Most notable are the United Press International Fiction Princess Daisy — Judith Krantz The Devil’s Alternative — Frederick Forsythe Smiley’s People — John Le , Carre Portraits — Cynthia Freeman Jailbird— Kurt Vonnegut The Third World War — Gen. John Hackett Triple — Ken Follett The Establishment — Ho ward Fast The Dead Zone — Stephen King Memories of Another Day— Harold Robbins Nonfiction The Brethren: Inside the Supreme Court— Bob Wood ward and Scott Armstrong Aunt Erma's Cope Book — Erma Bombeck Donahue — Phil Donahue Anatomy of an Illness as Perceived by the Patient — Norman Cousins How to Become Financially Independent in Real Estate — Albert L Lowery Body Shaping for Women— Arnold Schwarzenegger The Fanny Farmer Cook book Marian Cunningham with Jeri Laber James Herriot's Yorkshire — James Herriot The Pritikin Program for Diet and Exercise—Nathan Pritikin Free to Choose — Milton and Rose Friedman .