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About The Battalion. (College Station, Tex.) 1893-current | View Entire Issue (Feb. 14, 1980)
0861 11 vaj ysBed United Press International Fiction Princess Daisy -Judith Krantz The Devil’s Alternative — Frederick Forsythe Smiley’s People — John Lg Carre The Third World War — Gen. John Hackett The Dead Zone — Stephen King Portraits — Cynthia Freeman Memories of Another Day — Harold Robbins The Top of the Hill — Irwin Shaw Jailbird — Kurt Vonnegut Sophie’s Choice — William Styron Nonfiction The Brethren: Inside the Supreme Court— Bob Wood ward and Scott Armstrong All You Need to Know Ab out IRS — Paul Strassels Donahue — Phil Donahue Aunt Erma’s Cope Book — Erma Bombeck The Pritikin Program for Diet and Exercise — Nathan Pritikin Cancer and Vitamin C — Linus Pauling How to Become Financial- ly Independent in Real Estate — Albert L. Lowery The Fanny Farmer Cook book — Marian Cunningham with Jeri Laber They Call Me Assassin — Jack Tatum On a Clear Day You Can See General Motors—J. Pat- Albums KANM — 99.9 FM Hits Pink Floyd — The Wall Led Zeppelin — In Through the Out Door Z Z Top — Deguello Weather Report — 8:30 Steve Forbert — Jackrabbit Slim Tom Scott — Street Beat Fleetwood Mac — Tusk Dan Fogelberg — Phoenix Eagles — The Long Run Pat Benatar — In the Heat of the Night 1 / MSC Town Hall will present Anne Murray at 8 p.m. Feb. 21 in G. Rollie White Coliseum. Mur ray, with 18 U.S. chart hits to her credit, is best known for such songs as “Snowbird, ” “Sha dows in the Moonlight, ” “Broken-hearted Me, ” “You Needed Me” and her most recent hit, “Day Dream Believer. “ Review Ellen Foley ‘some very good rock’ The days when all female rock singers are Linda Ronstadt clones are numbered. It is no longer fashionable for women to cry over lost lovers and the “man who done her wrong.” Female rockers are becoming more gut-level, singing songs that until recently were reserved for the male of the species. Cases in point are Patti Smith, Pat Benatar, Ann Wilson and Ellen Foley. Ellen who? Most of us remember Ellen Foley as the featured female vocalist on Meat- loaf’s “Paradise By the Dashboard Light.” Well, Ellen has released her first solo album on Epic Records and her effort is more akin to Bruce Springsteen than to Stevie Nicks. “Nightout” is the title of this new album that has gained Top Twenty status in Australia, but Female rockers are becoming more gut-level, singing somgs that until re cently were reserved for the male of the species. really has yet to make a significant dent in the U.S. charts. Which is really quite a shame actually because this is some very good rock. “Nightout” was produced by a pair of rock ers, Ian Hunter and Mick Ronson, who lend their musicianship to the album. The result is a combination of Mott the Hoople instrumental tracks and gutsy lyrics that showcase Foley’s vocal talent. The material ranges from Hunter’s own “Don’t Let Go” to a cover version of the Rolling Stones “Stupid Girl.” Most of it is pretty hard- edged, dominated by Ronson’s distorted rhythm guitar riffs, but it is all satisfying when compared to the drivel that’s been put out by the West Coast women in recent years. The opening track on side one sets the pace for the rest of the album. “We Belong to the Night,” the only song on the record that Foley had a hand in writing, moves along with the tempo of Bruce Springsteen’s “Because the Night. ” If the name Ellen Foley was not familiar before this, the voice certainly was. Her gravel ly, throaty voice certainly lends itself to the material. “What’s A Matter Baby” is the next cut on side one and this one sounds a little like Patti If the name Ellen Foley was not familiar before this, the voice certainly was. Her gravelly, throaty voice certainly lends itself to the material. Smith meets the Supremes. The song is not particularly well written, but Foley has the voc al talent to pull it out. “Stupid Girl,” the Jagger-Richards song, fol lows and I really have to question the inclusion of this cut. In the Stones version, the girl the title refers to is being put down by the singer. But the way Ellen sings it here, it makes it sound more like jealousy than contempt. If that’s what she intended, it certainly comes off, but then the song’s lyrics do lose some of their impact. And another problem: whoever played the sax on “Stupid Girl” was not given credit, a pity because he pretty much saves it. The title cut closes side one. Ellen’s voice on “Nightout” is probably the best of all the cuts on the album, but the song is a trifle long and begins to border on tedious. Side two starts off with “Thunder and Rain,” a good, solid showcase for Ellen as well as Hunter and Ronson. Ronson’s guitar through out is every bit as good as when he played with David Bowie, and he and Hunter play off one another so well that it almost makes you wish that the whole album sounded like “Thunder and Rain.” “Sad Song,” “Young Lust,” and “Hide away” are all good rockers with power and Ellen’s voice on “Nightout” is prob ably the best of all the cuts on the album, but the song is a trifle long and spunk. Rory Dodd, another Meatloaf protege, handles the backing vocals exceptionally well. “Don’t Let Go,” a slow Ian Hunter piano ballad, closes the album on a high note. The rendition by Foley is the best ever by another artist covering a Hunter song. Not at all like Barry Manilow’s syrupy version of Hunter’s “Ships.” I suppose since Ian was there he had more of a say in what went down on vinyl. Ellen Foley is one of the best female rockers in the United States today. She bypasses the sweetness and candy of Stevie Nicks and the poetic ravings of Patti Smith to deliver a strong album of rock and roll. We should hear more from and about her in the months to come. — Geoff Hackett Hackett is a junior marketing major. Forget candy, cards & flow ers!!! Treat your sweetheart to a unique Valentine gift. Bring him or her to ZACHARIAS’ Q2C? VALENTINE DANCE FREE VALENTINE TREATS for couples! 1201 Hwy. 30 (in the Briarwood Apts. — next to Woodstone) NO COVER CHARGE.