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Page 12 The Battalion Thursday, February 2,1989 Reviews Guns N’ Roses’ latest provides contrasts, trademark energy G N’ R Lies Guns N’ Roses Geffen Records By Keith Spera REVIEWER “THE SEX, THE DRUGS, THE VIOLENCE —THE SHOCKING TRUTH!” The tabloid-mocking cover of Guns N’ Roses’ recent release, G N’ R Lies, promises an exclusive on these and other titillating topics. A story tracing this band’s involvement with such vices probably would be way too long to include in an album’s jacket. Perhaps because the news media has been more than happy to report the sordid details of the band’s personal life, Guns N’ Roses has skipped the written biographical information and chosen to let the music tell the tale. The tale that is told is one of con trasts. The first four songs were originally contained on the EP Live *1$# Like a Suicide, released in 1986 on the colorfully-named Uzi Suicide Records. Here is a portrait of a band with the attitude of a hyperactive child, having a whole lot of energy, but ho idea how to use it. Their energy is evident in the two breakneck speed rockers that kick off the album. Although the lyrics are mostly indecipherable, the titles do provide basic summations of their lyrical contents, which don’t ex actly offer new insights: each of the band members leads a “Reckless Li fe,” and they are not exactly “Nice Boys.” The guitar sound of South ern rockers Molly Hatchet’s classic “Flirtin’ With Disaster” is admirably built on by the Gunners in “Move to the City.” The highlight of the old material is the grungy remake of Aerosmith’s “Mama Kin.” The second half of G N’ R Liesis far more interesting. The cliches, the slam-dance rhythms and the raw power are put away for a trip through acoustic-guitar-and-imagi- native-lyric land. If Side 1 was the drunken brawl. Side 2 is waking up the next morning with a hangover and some funny anecdotes about the previous night. The pretty and gentle “Patience” does not offer the typical hard-rock solution to male/female problems (i.e. jump in the sack). Instead, vo calist Rose pleads “take it slow, and things will be all right/ you and I could use a little patience.” The Gunners recently performed this ballad at the American Music Awards, with Rose turning in a fine performance on harmonica. Just so no one thinks Axl, guitar ists Slash and Izzy Stradlin, bassist Duff McKagan, and drummer Ste ven Adler are a bunch of pansies, the thoughtful and tender “Patien ce” is followed by the hilarious and irreverent “Used to Love Her (But I Had to Kill Her).” This is a fun little tap-your-foot song, complete with tambourines and lyrics so ridiculous that they are obviously a spoof. “I had to put her/ six feet under/ and I can still hear her complain” and “I knew I’d miss her/ so I had to keep her/ she’s buried right in my back yard” are the types of lines that only a very demented person could take seriously. This is the sort of song that a bunch of guys horsing around in a studio come up with as a joke, but then don’t release to the public. Guns N’ Roses has chosen to let the rest of us in on their boys’ club hu mor. Another gutsy move is the inclu sion of an alternative version of the hard-driving “You’re Crazy,” which appeared chock-full of distorted gui tar on Guns N’ Roses’ 1987 smash al bum Appetite For Destruction . Even though that version is familiar to the six million or so people who bought Appetite, the band decided to offer another perspective on the song, which was originally written on acoustic guitar. The song is played here on electric guitar without dis tortion. Rose’s firestorm vocals strain against the calm backdrop of the ringing guitar, providing a strik ing contrast. The guitar tries to cage him in, but he’s struggling and screaming at it. Rounding out this collection is the dark and confusing “One in a Mil lion.” It kicks off with acoustic guitar and somebody whistling, giving it the feel of an old western movie’s soundtrack. Then a brooding fuzz guitar kicks in, and Axl tosses out some rather rough lyrics. The singer is looking for “some peace of mind, some peace of mind that’ll stay.” He is going in search of his peace on a Greyhound, and he warns “(I) just need my ticket/ til then won’t you cut me some slack.” Of course, he is not left alone, and is tormented by various groups. He does not mince words when naming them — “immigrants and faggots/ they make no sense to me.” In the chorus, he changes his attitude and says that “you’re one in a million/ yeah that’s what you are/ you know we tried to reach you/ but you were much too high.” Is the street kid (which most of the band members were at one point in time) regretting, if only for a fleeting moment, that he is not, and could never be, a perfect kid? He has little time for reflection, as the realities of his predicament force him into a fighting posture once again. They all know they cannot go back — they are destined to live the rock ‘n’ roll life. From a musical standpoint, as this album shows, it is good that Guns N’ Roses cannot go back — they have evolved into what could be the 1980s equivalent to the Rolling Stones. Their future, if they live to see it, can be as bright as they want. Female rockers score with nostalgia-pop Let It Bee Voice of the Beehive London/Polygram Records y 2 By SHANE HALL REVIEWER During the past two years, the quality and quantity of female talent in rock has increased. Once you get past the Tiffanies, the Debbie Gib sons and other teenage stage props, you’ll find some female performers with substance. From the socially conscious folk of Tracy Chapman to the psychedelic pop of the Bangles, some of today’s best rock has been made by women. Although not an all-woman band, England’s Voice of the Beehive can be included as part of the new wave of female talent. The band is led by sisters Tracey Bryn and Melissa Brooke Belland. Let It Bee, on Lon don/Polygram Records, is the band’s debut album. The record contains 11 songs of catchy, 60s-oriented pop and rock that is similar to the Ban gles’ music. A look at the record’s cover, with its Day-Glo shades of blue and pic tures of the band members covered with flowers, beads, multi-colored ribbons and chunky jewelry, makes one fear that Let It Bee is going to be the work of one of those all-style- and-no-substance nostalgia bands. A listen to the material, however, reveals that Voice of the Beehive has musical and songwriting skills aplenty to go along with their campy “summer of love” look. Vocalist Bryn and guitarist/vocal ist Belland write most of the lyrics. One of the album’s best songs is the ballad “Sorrow Floats,” a warning against drowning your sorrows. “The only thing that you will drown is yourself/ ’cause you see my dear, sorrow it floats,” Bryn sings. Most of the songs deal with relationships in some form or an other, most of them bad ones. On “There’s A Barbarian In the Back of My Car,” Bryn sings about the guy who drinks all her beers and won’t spend any money. “He’s giving me a headache but I still think he’s divi ne,” she says. Bryn’s ideal love is revealed on “Man In the Moon.” Against a folk background of guitars and mando lins, she sings of the man in the moon, who doesn’t talk “so we don’t fight.” “The Beat of Love” (“it’s a nasty one,” Bryn sings) is another high light of Let It Bee. Driven by the simple, catchy guitar lines of Belland and guitarist Mike Jones and a sled gehammer drum beat by D.M. Woodgate, “The Beat of Love” is a good example of the band’s ability to blend the structure of contemporary songs with the style of the mid-60s. Simple lyrics that say much and catchy hooks combine to make Let It Bee a fine album. Unlike Tracy Chapman or Michelle Shocked, Bryn and Belland are not concerned with activism and making statements, but with having fun. Af ter all, fun is a part of what rock ’n’ roll is all about. Throwing Muses falls below ‘el stinko’ rating Hunkpapa Throwing Muses Sire Records -★ By S. Hoechstetter REVIEWER Your assignment for today is to read and memorize this: Hunk- papa by Throwing Muses is bad. Not good-bad arid not cool-bad, but rotten, as in unfavorable. El stinko. Comprende? Now just re member that. Blowing Fuses — I mean, Throwing Muses is an angry band with a warped concept of what music is. They did take an interesting approach to writing their songs for this album. I think they drank some really bad te quila one morning and wrote the band’s guidelines. Here’s a list of what they probably wrote: 1. Always play the guitar loud enough to drown out the vocals. 2. Don’t sing any notes that are in a reasonable vocal range for you. 3. Screech a lot. 4. Make sure that the only peo ple who will understand anything you say are drug addicts and pseudo-intellects. 5. Only play extremely simple drum combos. 6. Make sure all notes — whether sung or played — clash horribly with everything else be ing heard at that moment. 7. Create dissonance. Get the point? To be more spe cific, there’s a song called “Dizzy.” It’s about being in Texas (it even mentions the Palo Duro Canyon) and the chorus is, “It’s just that mean old Texas sun, it makes me dizzy, dizzy in my head.” Brilliant lyrics! The people who contributed to making sounds on this album in clude Krisfin Hersh on guitars and piano, Tanya Donelly on gui tars, Leslie Langston on bass and David Narcizo on drums and per cussion. And they all use their voices too. Of course, the names of the artists may have been changed for their own protection, but we’ll never know that for sure. “The Burrow” is my favorite track on the album because it only has 28 words in it and then it’s over. Unfortunately, the rest of the songs are not so short and sweet. “Dragonhead” is so ridiculous it’s funny. The lyrics are some of the best on the album with lines like, “Too much mascara runs when you sleep, he lies awake raising the creeps, opens the door, I swallow creepy things.” How pro found! I’d like to be optimistic and say maybe this is just one of those bands that expresses itself better live. But I won’t hold my breath. Unconvincing charm hurts ‘Tihree F,ugitives ’ “Three Fugitives” Starring Nick Nolle and Martin Short Directed by Francis Veber Rated PG-13 ★★Vi! By Shane Hall REVIEWER “Three Fugitives” is a movie with funny moments and fine perfor mances by its stars, but it falls short because of an overreliance on charm. The farcical comedy stars Nick Nolte as Lucas, a convict determined to go straight. One hour out of prison, Lucas goes to a bank to open an account when the bank is held up by a panicky bungler named Ned Perry (Martin Short). During Ned’s inept holdup, ev erything goes wrong: his stocking mask rips, the satchel of money gets caught in the chandelier, and he faints when the police arrive. What’s more, Ned takes Lucas as a hostage and accidentally shoots him in the leg. It turns out, though, that Ned pulled the robbery only to provide for his troubled six' year-old daugh ter, Meg (Sarah Rowland Doroff), who hasn’t spoken in two years. “Three Fugitives” gets off to a hi larious start before being hampered by weaknesses in director Francis Veber’s script. The character play between Lucas and the irresistably cute Meg is one of the film’s uncon vincing parts. Why Meg speaks her first words in two years to the surly Lucas, who constantly tells her to get away from him, is hard to under stand. ' It is equally hard to understand how this ex-con can almost instantly transform himself into a compassio nate fellow full of concern for the troubled girl. Despite the script calling for in stant transformation of his character from nasty to nice, Nick Nolte is ex cellent as Lucas, the gruff old bird with a soft spot in his heart. Martin Short is hysterical as Ned, the man determined not to lose his daughter. What makes Short’s per formance even more admirable, however, is the convincing way he conveys Ned’s feelings of despera tion. “Three Fugitives” also boasts some hilarious scenes that will make your sides ache. One of the funniest moments features an elderly veteri narian (played by the late Kenneth McMillan) who operates on Lucas’ wounded leg, all the while mistaking him for a dog. It is the charming Sarah Rowland Doroff, however, who steals the show. The camera’s numerous clo- seups show that she is undeniably adorable. Unfortunately, she is not quite enough to carry the entire movie. Rating Key — A classic. Not to be missed. — Excellent. ★★★ — Good. ** — Fair. ★ — El stinko. Bon Jovi delivers show for all ages By Keith Spera REVIEWER Three songs into the Bon Jovi concert in Houston this past Sunday, Jon Bon Jovi made a profound statement about the nature of the show. He had started to tell a story about the band’s weekend adven tures. He got to the part where, after a hard night of drinking, they ar rived at “an irreputable kind of a place.” What happens next, Jon? “I can’t say it ... this is a family show.” With that, he giggles and then launches the band into “You Give Love (A Bad Name).” A Bon Jovi concert may one day replace the circus as the traditional family outing. The show in Houston was a definite step in that direction. Parents and young kids were every where; the youngest ones were sit ting, wide-eyed, on their dads’ shoul ders. Packs of junior-high girls roamed the lobby, abuzz with the ex citement of being at a concert; their shrieks and cries of “We love you, Jon!” actually drowned out the mu sic at points. A 68-year old female usher said that she was having a “great time.” It isn’t surprising that many par ents would let their kids attend this show, and even go with them. There was nothing frightening or danger ous about this concert. There weren’t gangs of hoodlums wearing studded jackets and spiked brace lets; the most popular form of metal were braces on kids’ teeth. It was tough to find evidence of drug us age; backstage passes contained the message “Say No To Drugs.” Bon Jovi’s songs are composed of harm less phrases and textured guitar. They won’t offend anyone, incite the kids to riot or hurt parents’ ears. lighted when he wore, forabouttt; minutes, a Texas A&M capthauj tossed onstage. He even broughtili action to the fans at the back arena when a catwalk descend# from the rafters, allowing Jon tarist Ritchie Sambora and b Alec John Such to tour the circuit ference of the floor at a safe of 20 feet. Musically, the band deliveredtr actly what was expected of themiit curate versions of their chart-toi ping songs. Bon Jovi’s tried andtrn radio anthems translated well concert sing-a-longs. Starting with “Lay Your Hands on Me.’atj following it with their first hit,“I naway,” the band concentrated the songs from their last two a Keyboardist David Bryan shined® “Runaway.” “Born to Be My hightlighted drummer Tico Torre pounding drum sound. The ended with “Livin’ on A Prayer" a host of explosions. Naturally, the band camehackf# an encore, which featured “Wante Dead or Alive.” A rousing versiono “Bad Medicine” ended thehouran 40-minute show. Because all of Bon Jovi’s sound equipment was hung above the stage, each audience member was af forded an unobstructed view of the band’s performance, featuring the energetic Jon. Clad in tight black leather pants and a sleeveless black T-shirt, he shadow-boxed, he strutted, he crawled, and he pre tended to faint; the crowd loved it. The Aggies in the audience were de- This concert did not break new musical ground, nor did it cm vey any deep messages. Itwassii a good time rock ‘n’ roll show.tk band (who have started referring! themselves as “the Brotherhood was obviously having fun. Theaudi ence was happy to see their heroe and to sing along. Louis Messina president of PACE Concerts ( co-promoted the show with Stout City Attractions), was obviouslt happy as he stood at the entrancett the dressing room area. He be; his company would reap theta efits of a capacity crowd of 17,1 paying $ 17 apiece to see the show In fact, the only person 1 spotto! having a bad time was a 14-year first-time concert-goer, who was a!- most brought to tears when It couldn’t find his ticket stub. A bub usher wouldn’t let him backontoll* floor of the arena without it. Tk boy’s dad came over and waited uni: he finally found it, crumpled up the bottom of his pocket under wad of one-dollar bills. Then, fathi and son walked to their seats, toeii joy the evening Together. Reverend compiles book about shelter for street children By S. Hoechstetter REVIEWER “Sometimes God Has a Kid’s Face” is not a fun book to read. It is a book about reality. The book is 121 pages of Father Bruce Ritter’s chronicles of his ef forts to help the homeless children on America’s streets. The book doesn’t take a long time to read, but it takes a long time to stop thinking about — which is exac tly why Ritter wrote “Sometimes God Has a Kid’s Face.” “Kids’ faces are supposed to be happy and open and excited and al ive,” Ritter writes. “Their eyes should be filled with trust and inno- free of drugs, prostitution, cm and the nearly inevitable emotioii “death.” “It doesn’t take long to murdei child,” he writes. “Three months on the street very long time. Six months is ever. A year? Then they're breathing in and out but dead side.” Covenant House gives runaw children a safe place to sleep start recovering from the harshi they have been exposed to. They fed and given counseling and mti cal attention. Job placement is available older children and young adults they can learn to be independent. cence. But the kids he writes about are not children at all. The book is filled with real experi- Covenant House also offers ei rational centers and churches. Ritter says he expects that mo than 15,000 children and you adults will come to Covenant Hoti His ran (AP) — It’s since the appea picture of Mar an Iwo Jima, at years, tire phot< dial, was beset 1 shot was posed For the recc not posed. Here is the r Rosenthal, i photographer theater for th took the pictur Mount Suribac Marines had ca ing the battle fi The picture among the war won a Pulitzer came the mod Memorial in Vi However, th picture was no on Suribachi th An earlier corded by Staf ery, a Marine whom Rosentl praise. Etc. • IRVING Dick Frymire Ted disgrace tional televis dieted Cincin per Bowl. Bi and should h; 10 TV shows “I tell evei the most fam in the world 0 who has a r telling yarns fering folklor erything fro roaches and si crying baby. For the TV put the name in front of Te of corn in fro first grain of e his choice of t picks up to 10 Maybe tha than his Suj which was ma vision, on Cl ing. It all startei mire put hi shaded with posters, one and the other He set out ; corn kernels, many states V in the election Ted ate thn the number “ “I’m the bij ever was,” Fr thought, ‘The publican on n Since then, winners of br Kentucky Dei Bowl games. It doesn’t take long to murder a child. Three months on the street is a very long time. Six months is forever. A year? Then they’re just breathing in and out but dead inside.” — Father Bruce Ritter, Covenant House founder • CHICAC years of cater cialites, the e: theque on th life strip near out with a bar Owner Gei last-look pai 16,000 card Friday night, lie. Jim Kuri; worked as a mented chan lead to the clc “When it c was like Vi said. “Now, gone. It’s all e and yuppies.’ Customers days became for $50, wh flashed seen Angels,” and rocked to qua “I used to was a bache dances ther bump. I was Logan Duga Grange. He’ five children. ences Ritter has encountered since 1969 when he began providing shel ter for runaways and other kids in the streets of New York City. Over the years, as more kids came to Ritter for help, the shelter grew to try to accomodate their needs. The shelter is now called Cove nant House and is open 24 hours a day to homeless children and adults under 21. Five U.S. cities have Cove nant Houses, including Houston and New Orleans. The privately funded organiza tion has set up a 24-hour toll-free hotline (1-800-999-9999) for run aways and their parents and chil dren who are thinking about run ning away. Throughout the book, Ritter writes about what the children face on the streets every day and how he has attempted to show them a life for help in 1989. Ritter’s book includes pleas fe| personal resource and monetary nations to Covenant House or other program that helps runawafll get off the streets. “They’re good kids,” Ritter writet “Not good maybe the way yo»' kids are good, and not nice mayl* the way your kids are nice. But got' kids. What happens to them shout not happen.” ook is not yet available in moi bookstores but can be ordertfj through the mail for $3. Checks made out to Covena: House are tax deductible and cant*| sent to: Covenant Flouse Texas Box 66330, Fairview Station, Houi ton, TX 77006-3823. For more information about tl< organization and how to become (1 volved, call (713) 523-2231. • POWHA iThey only hat Ian army of of Jto build a nev old Evan Sr fire-damaged His old he He moved ii Patricia Smitl place of his o\ So his son, in the const: Piedmont, S. lis dad’s ins mild a new hi reek vacation ‘I persona :ould do it, imith said 5 Inortheastern 49 residents. ‘With all lave the ab said.