MUtM—
Rusty Wier
Rusty Wier, guitar, vocals;
Larry Nye, guitar, vocal
harmony
Br azos Landing, Friday,
April 1.
■kirk
The acoustic duo of Rusty
Wier and Larry Nye performed
country music with a folk flavor
to a small crowd Friday night.
Despite the size of the crowd,
the two Austin musicians put
on an overall enjoyable show.
Mixing music with his
onstage humor, Wier drew the
approval of those in
attendance, who applauded
courteously after each song.
Wier’s set consisted of original
compositions and cover tunes.
“If you have any requests,
write it on a $100 dollar bill and
bring it up here, ” Wier told the
audience. “If I don’t know it,
we’ll take a break and I’ll sure
learn (it) for $100.”
One of the songs Wier
covered was Michael Martin
Murphey’s “5 O’Clock On a
Texas Morning. ” His version of
the song was good, but Wier
has some undeniably great
material of his own which he
performed.
The best song of the night
was definitely his song “Cheryl
Doreen, ” which turned into a
singalong as the audience sang
with Wier about the girl in tight
britches from southern
Oklahoma. Wier and Nye then
launched without hesitation
into “Don’t It Make You
Wanna Dance,” which Wier
wrote for Bonnie Raitt to
record on the soundtrack of the
film “Urban Cowboy.” Wier
and Nye performed a great
version of the song to a warm
reception from the audience.
Wier is a capable guitar
player as well as vocalist. His
songs, with lyrics that often
have a story to tell, are great.
These songs are in the tradition
of Texas folk and country
singers such as Jerry Jeff
Walker. Nye, supplying vocal
harmony and acoustic guitar
leads, is a compliment to Wier’s
talent.
The fact that the attendance
at the show was sparse did not
seem to bother Wier.
“I like crowds like this,” Wier
said. “With a crowd like this, I
get to do whatever I want. ”
He talked about how he
once wanted to own a beer
joint, which he would call the
Black Hat Saloon. He then
sang a song of that very title,
another of his original
compositions.
Besides being a talented
musician and singer, Wier has a
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sense of humor onstage.
Between songs, he shared
funny, often irreverent stories
with the audience about past
experiences on the road. These
“from the road” stories,
combined with the down-home
music of Wier and Nye, made
an enjoyable evening.
Review by Shane Hall
"Birth, School, Work,
Death"
The Godfathers
Epic Records
■kick it
Combining the progressive
sounds of the 80s with the
energy and intensity of punk
rock are the Godfathers, a raw,
guitar-oriented quintet from
England. “Birth, School, Work,
Death” is, to put it simply, an
incredible album from this
band. In fact, it is one of the
best records released by a
European band in a long time.
This album does not contain
the computer bleeps and disco
sounding dance beats so
prevalent in British pop music.
The music of the Godfathers is
loud and rough, while the lyrics
seem to convey a view of the
world that is somewhat less
than optimistic.
With song titles like “When
Am I Coming Down,” “It’s So
Hard” and “Love is Dead, ” it is
apparent that vocalist Peter
Coyne does not parade around
in rose-tinted glasses. “My
situation’s in decline, my life’s a
bitter shade of blue,” Coyne
sings on “It’s So Hard,” backed
by the sonic ferocity contained
in the guitars of Kris Dollimore
and Mike Gibson. Coyne’s
vocals combined with the raw
guitar and driving rhythm make
for a superb track.
On the whole, “Birth,
School, Work, Death” is
superb through and through.
Not a weak song is to be found.
The title cut is another fine
example of the Godfathers’
brand of power-driven rock
fused with punk-like lyrical
anger.
The album’s best cut is the
psychedelic “When Am I
Coming Down. ” Vocalist
Coyne sings against a
backdrop of twin guitars laden
with feedback. This discordant
sound also appears on “’Cause
I Said So,” accompanied by
Coyne’s defiant vocals.
“I never wear a smile, ’cause
that would show I care, ”
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Page 4/At Ease/Thursday, April 1,1988