M fjy Aggie Cinema Movie Information
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To Catch a Thief Oct. 25 7:30 PM $2.00
Lethal Weapon II Oct. 27/28. 7:30/9:45 PM ..$2.00
Blazing Saddles Oct. 27/28. Midnight $2.00
The Rescuers Oct. 28 3:00 PM $2.00
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Tickets may be purchased at the MSC Box Office. TAMU ID
required except for International features.
Page 14
The Battalion
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Rolling Stones rock Los Angeles
1
Guns n’ Roses,
Living Colour
added bonus
By Chuck Squatriglia
Of The Battalion Staff
LOS ANGELES — Time is defi
nitely on their side ....
After 26 years, the Rolling Stones
proved they still are among the best
bands in rock history. They kept
110,000 people on their feet for
more than two hours, and they did it
for four nights.
Saturday’s show at the Los An
geles Coliseum was the third in a
four-night stand featuring the Roll
ing Stones, Guns n’ Roses and Living
Colour. By Sunday evening, almost
half a million people had seen the
extravaganza.
At about 9 p.m., the thundering
Morrocan beat of “Continental
Drift” blasted through the massive
P.A. system, and explosions rocked
the stage. When guitarist Keith Rich
ards strummed the opening chords
to “Start Me Up,” the Rolling Stones
started a 24-song set which spanned
their entire career.
From the very start, Mick Jagger
was determined to prove that, de
spite their age, the Stones can still
provide one of the best shows
around. His voice was in top form,
and his dancing was fantastic; his en
ergy and personality quickly silenced
any jokes about Geritol sponsoring
the tour.
The band started the trip down
memory lane with excellent perfor
mances of “Tumbling Dice” and
“Miss You,” during which the audi
ence sang along enthusiastically.
Jagger then slowed the trip down
with “Ruby Tuesday,” which drew
cheers from the older fans and looks
of bewilderment from the under-16
w
Photo by Phelan M. Ebenhacl
The Rolling Stones perform at the Los Angeles Coliseum Saturday.
set.
Never ones to remain sedate for
too long, the band promptly picked
up the pace with two new tunes,
“Between a Rock and a Hard Place,”
which featured a meaningless video
accompaniment, and their latest hit,
“Mixed Emotions.”
The remainder of the concert was
purely classic Stones. Starting with a
rousing rendition of “Honky Tonk
Women,” (featuring two 80-foot tall
inflated bar floozies) the band tore
through “Midnight Rambler,” and
several other Stones classics.
Drummer Charlie Watts then
played the opening drum beats of
“Paint It Black” and got the adrena
line going again with the psychedelic
hit “2,000 Light Years from Home”
from the 1967 release, Their Satanic
Majesties Request.
Jagger sang “Sympathy for the
Devil,” from a platform 100 feet
above the stage. Lit from behind, he
cast a gigantic shadow over the en
tire coliseum; it was a perfect visual
accompaniment to a song about the
effects of evil on society.
The Stones appeared for one en
core, “Jumpin’ Jack Flash,” and
ended the concert with an incredible
fireworks display.
All in all, the Stones provided an
excellent show. Jagger was as lively
and energetic as ever, and Richards
seemed content to let his guitar play
ing do the talking. Guitarist Ron
Wood, bassist Bill Wyman and
drummer Charlie Watts let Jagger
take the spotlight and remained in
the back, providing the foundation
on which the show was built.
No expense was spared in the pro
duction of the concert. The stage is a
massive structure, 296 feet wide and
100 feet tall, built to resemble a di
lapidated factory. It includes pipes,
steel girders, cables, chains, scaffold
ing and a light show so incredible it
can’t be described; the entire stage
must be seen to be believed.
While it may have been the Roll
ing Stones’ tour, it was Guns n’
Roses’ town, and L.A.’s favorite sons
received as great a response as the
Stones.
The Guns n’ Roses show was in
credible. All five members (vocalist
W. Axl Rose, guitarists Izzy Stradlin
and Slash, bassist Duff “Rose” McK-
agan and drummer Steven Adler)
were in top form. They were clean
and sober, and it showed. Rose’s
voice sounded the best it has since
the release of Appetite For Destruc
tion, and the other members’ play
ing was equally strong. The entire
band was animated, running around ’
the massive stage and interacting
with the crowd.
Their hour-long set highlighted
their biggest hits from Appetite.
Opening with a powerful rendition
of “It’s So Easy,” the Gunners tore
through blazing performances of
“Mr. Brownstone,” “Out To Get
Me,” “Move to the City” (from
1986’s Live Like a Suicide LP), an
electric version of “Patience,” their
anthem “Welcome to the Jungle,”
and “Sweet Child of Mine,” among
others.”
Guns n’ Roses chose to play faith
ful renditions of the original songs,
adding few, if any, embellishments.
There were three exceptions to this.
The first was an extended jam dur
ing “Rocket Queen,” featuring Mi
aggan on percusion and Rose jn
bass. The Latin-style beat prona i(
an interesting diversion fromtli:
“raunch and roll” style.
The second example was a sp I-
ited sing-along between Rose 1
the audience during a cover oft j
Dylan’s “Knockin’ on Heave (
Door,” and the third came dun
the encore, where the Gunn
pulled out all the stops anddeliven
“Paradise City” with all the forced j
runaway train.
Living Colour got a raw deal! t
cause of the sheer size of the eve
They hit the stage at five, w!) I
more than three-quarters of thet [
dience were still caught in trai i
Additionally, the majority ofpeep |
there had little enthusiasm fori j
band. Despite this, vocalist Cos |
Clover and the rest of thebandgt I
1 10 percent.
As usual, the band’s perforniat t
was impeccable. All four meml* 1
(Clover, guitarist Vernon Reid,Is I
sist Muzz Skillings and drumi I
William Calhoun) are virtuosi mis [
cians. It is unfortunate the audiei: [
didn’t support them, because its I
missed one of the best new band 1 *
the country.
fEi
U;
fa
By
Pixies’ Houston performance disappointing|-
Of]
By John Righter
Of The Battalion Staff
HOUSTON — Expectations for a concert can
run so high sometimes that it is almost impossible
not to feel let down when the show actually takes
place. Saturday night’s performance by the Pixies
was one such occasion.
The show, which took place at Houston’s
Numbers, was not a bad one, but it definitely
failed to capture the sensual allure and manic vi
tality of the group’s three recorded efforts.
The Pixies, who hail from Boston, have been
skyrocketing up the college and British music
charts during the past year. Their latest release,
Doolittle recently joined the ’87 EPCome On Pil
grim and last year’s full-length Surfer Rosa as a
number-one indie album in the United Kingdom
and a top-ten independent release in America.
Add to this bullish rush a brief stadium tour
with Love and Rockets and the Cure, and a hot
single in “Here Comes Your Man,” and you can
see just how close the Pixies are to really breaking
through.
In fact, in the more alternative waves of Eu
rope, the Pixies are already major headliners,
and even on the east coast of the United States
the Pixies are only a step away from R.E.M.-type
status. This made Saturday night’s performance
especially significant for the 4AD (Britain’s pres
tigious record label) artists, since it marked their
first appearance in Texas.
Lead singer, guitarist, and all around dough
boy Black Francis, bassist and singer Kim Deal
(no longer Mrs. John Murphy, as she was listed
on the band’s first two albums), drummer David
Lovering, and lead guitarist Joey Santiago hit the
stage around 10:30, beginning their 25-song set
that lasted until midnight.
The Pixies kicked their set off with an instru
mental that broke into “Bone Machine,” the first
track from Surfer Rosa. Immediately I was wary
of the low level of madness and spastic nonsense
that had so endeared me to the Pixies on vinyl. I
had naturally assumed that their spontaneity and
high energy would be at least equal, if not
greater, live. Most alternative groups drop their
aesthetic pretensions, strap on the turbo chargers
and turn everything up a notch when perform
ing live.
Unfortunately, the Pixies seemed determined
to subdue the evening, only peppering their set
with the thrash-style rage I haa so vividly imag
ined. Instead of a full, slammin’ pit with flying el
bows, fists, knives and sticks, there was just a
bunch of annoying, pogoing idiots who looked
really stupid (except for me, of course).
Black (Charles Thompson IV) Francis, was es
pecially disappointing. The pudgie frontman was
anemic on excitement and quite slim on intensity.
Actually, the psychotic dough boy from hell (on
vinyl) couldn’t carry his weight live (not that I
could carry that weight either).
The man who screams, hips, heps and whines
on albums more than any singer since Iggy Pop,
was as proper and well behaved as Stoner Bill
Wyman. In fact, Francis only spoke once through
the entire set. (I strained so hard fortheseworc
of sweet, delectible wisdom, that I missed whai
said. Sorry.)
It was Deal, the former Mrs. John Murpl'
who did the PR, which was OK, since Dealisqc
a bit prettier than Francis. In fact, by the tis
their set was through, I was quite infatuated
Ms. Deal. (Then again it might have been the:
cohol and the fact that I was squashed with a fff
hundred smelly high school punks.)
Basically, the show really lagged except forth
few moments Francis let loose and got wild,ash
did during “Vamos,” a cerebral rocker tb
ended with Francis head-butting an amplife
taunting it and then repeatedly kicking it. No*
that’s quality entertainment!
Other bright spots were “Debaser,” “Gigantt
and “Where Is My Mind,” complete with aoi
ence sing-along. Unfortunately, the band re£
blew it on “Wave of Mutilation,” performing
arsenic crusher as if they had a bottle of vahffl
crammed up their wazoos.
All in all, the Pixies weren’t really all thatbai
but we all have our expectations. They
seemed lifeless and dull. From a band that pis
their songs in alphabetical order, reversing th
direction every night (first A-Z, then Z-Ath
next night), you just kind of have to expect mo;!
But please don’t let this prevent you frombi;
ing the Pixies’ albums. The Pixies on vinyla»
the Pixies live are two different things. Ml
time, I’ll listen to the Pixies at home ... with:
twelve pack and Kim Deal poster.
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