The Boston Globe from Boston, Massachusetts on September 24, 1987 · 81
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The Boston Globe from Boston, Massachusetts · 81

Boston, Massachusetts
Issue Date:
Thursday, September 24, 1987
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THE BOSTON GLOBE THURSDAY, SEPTEMBER 24. 1987 81 wn sx The slinky By Steve Morse Globe Staff The Silencers, a new Scottish rock band, played before 70,000 people in an outdoor show this summer in Car- fti diff Wa,es wlth 7 U2, the Pretend- preVieW ers and the Alarm. That's pretty stiff competition, but singer Jimme O'Neill will always remember the thrill of seeing this graffiti on a wall at the site: "I came to see the Silencers." Now visiting these shores for the first time, the Silencers are out to justify the support of that Cardiff fan. Boasting a slinky, Celtic-influenced rock sound, the band will play the Paradise Theater tonight. They arrive on the heels of their hit song, "Painted Moon," featuring hypnotic dual guitars and an anti-war lyric drawn from the Falklands Islands War between Britain and Argentina. O'Neill once led the quirky, semi-popular Fingerprintz in the U2: Intimacy Reprinted from tete editions of yesterday's Globe. ; U2 - In concert with the Pogues . and Little Steven and the Disci- , pies of Soul at Sullivan Stadium, Tuesday night. , By Jim Sullivan Special to the Globe FOXBOROUGH - No one would ever claim that a football stadium is an ideal rock 'n' roll venue. Great rock 'n' roll Movie has to d with inti rtsxAoxu macy and bonding, ICVieW and the notion of ' four tiny-looking guys being able to accomplish that in front of 55,300 folks stuffed into Sullivan Stadium seems, well, far-fetched. Then again, we're talking about U2, the Irish group that's made intimacy and bonding integral elements of their concerts, as they've moved ' up the rock 'n' roll ladder from small clubs to bigger clubs to theaters to arenas and, now, to stadia. There were no cameras and no Diamond Vision screen to offer close-up video views - just naked U2, a spectacular lighting rig, a crystal-clear sound and a sea of enthusiastic faces. If the idea of intimacy can be applied to a stadium concert, this was an intimate show. Sullivan Stadium seemed like a very big rock club and U2's 100-minute set contained all the emotional peaks and valleys U2 has become noted for over the years. Driving to the stadium Tuesday night, though, through the snarled traffic and inclement weather, it looked like U2 would be singing in the rain - and that the opening Pogues might have penned the theme song for the evening. In "The Boys from County Hell," Shane MacGowan barks, "On the first day of March it was rainingRaining worse than any-, thing that I had ever seenSo I drank two pints of beer and I cursed all the people thereOh when will this rain stop falling down on me?" Well, it stopped. Call it divine intervention, U2's pipeline to the powers that be. or Just fate. Under clear skies, U2 brought its ennobling musical magic to the masses. U2 was fronted by an injured Bono, who fell off a Washington, D.C., stage Sunday night and had his left arm in a sling. The stocky singer was less mobile, but no less fervent. Bono again raised the flag for peace and Justice ("Sunday, Bloody Sunday," "Pride"), again invoked the idea of eternal quest ("I Still Haven't Found What I'm Looking For." "I Will Follow"), and tackled Issues such as heroin addiction ("Bad") and love's redeeming power ("New Year's Film Times Allaten: "Li Bsmba." 3, 5. 7:0; "Boboeop," t. 9 35; "HMIrelMr." :tS. 3:15. S IS. 7 30. 8 45 Aiumbly Square: "Fulel Ameclion," 12:15, 2 35, S. 7 30. 10; "the Prlmnpnt." 12-40. 2:55. 5-10, 7:30. 10; "Piek-Up ArWM." 1, 3 15. 5 30. 7 45, 10; "Hell-riMMK," 1:15. 3 15. 8 15, 7 20, 9 40; "Big Eeny." 12 30. 2 45. 5. 7 20. 9 45; "Fourth Protocol." 12 30. 2 50. 5 10. 7 30. 9 50; "Hamburger Hill.'" 12:45, 3. 8 15. 7:30, 9-45; "Dirty Dancing." 12 45, 3, 6 10, 7 45. 10:10; "Can't Buy Me Love. 1, 3:10. 8:10, 7:60, 9 45; "No Way Out." 12 20. 2 45, 5. 7 30, 10; "Stakeout." 12 30, 2 46, 5, 7:20. 9 45; "Robocop," 1, 3 10, 6 20. 7 40. 10 eecen Hill: "Hamburger Hill." 1-50, 3 45, 5 30, , 750. 10; "Living Daylights." 1 30, 4 10, 7:30, 946; "Robocop." 1:40, 3 40, 6 40, 7 40, 9 40 rattle: "College" lahown with "Copt ), at 4 30. 8; "Three Agee" (shown with "My Wile i Relations '). at 816.9 30 Cherlee; "Pick-Up Artist," 115. 1, 8. 8, 10; "Fourth Protocol." 1, 3 15, 6 30, 10 15; "Dirty Dancing," 1 15.3 20.8 30.8.10 Cherl: "Fatal Attraction." 1. 3 18, 8 30, 7 45. 10; "No Way Out," 1, 3:15. 6 30. 7 56. 10; "Stakeout." 1. Hi. 6 30, 7 46. 10 Chestnut Hill: "Fatal Attraction." noon, 2 30. 4 55, 7 25, 9 50; "The Principal." 12 45, 2 65, 6 10. 7 36, 45: "Pick-up Artist." 1. 3-15, 6 20, 7 45, 10; "Fourth Protocol," 1 45. 4-18, 7:10.9 35, "Big Easy," 12 15.2 40,4 46,7 10,9 35 Cinema I7t "The Principal." 12 30. 3. i S, 7:30, 945; "Hnllraiser," 1, 3 10, 5 10. 7:15. 930 Circlet 'No Way Out." 1:45. 4 30. 7 30. 10: "Slake, out," 1 30, 4 15, 7 25. 10. "Tough Ouys Don't Dance." 1. 3 10. 8 16. 7 35. 9 85: "Prayer lor the Oy-mo." ' 30. 4-18. 7:20. 9 45; "Olrty Denclng." 1 15. 3 To. 8, 7 15, 9 40 Ceelldgei "Tampopo," 6 30, 7:40. 9 50; "Ben Hur," i 7 p ut only . I I sound of the Silencers early '80s, but has set about making the Silencers a band with a deeper message - and hopefully a deeper impact. "We're doing no Fingerprintz material," says O'Neill. "That was almost 4-5 years ago. I think the Silencers' songs are better. They connect more emotionally - and are meant to be more melodic. They're not quite as spikey or quirky. We wanted a sound that flowed - and we wanted it to be more Scottish. "I want each song to be worth writing about," he adds during a recent phone interview from New York. "A lot of Fingerprintz stuff was just a play on words and was tongue-in-cheek." The Silencers write personal songs that also address the dark side of romance and even the controversy of abortion. The lyrics are given a hypnotic feel by the intertwining of 6-string and 12- string guitars, played by O'Neill in a football U2's Bono kicks high despite his Day '). It seemed, however, that U2 doesn't want to be viewed in such elevated terms these days. Bono commented from the stage that he was sick of reading about U2 as a "political" band or as a "gospel" band, but not sick of reading about U2 as a "good" band. (Cynics might just be sick of reading about U2, period.) Alas, "good" is a pretty neutral term. Rarely, if ever, will you see a more Introspective, progressive megaband, a group as capable of sculpting music that pushes such intense buttons. Sometimes joyous, sometimes bittersweet, their music often has a cleansing, spiritual effect. U2 doesn't play up the pop star aspect of their success. First and foremost they're musicians -and not spokesmen of a generation. In fact, U2's accelerating popularity has been accompanied by a toning down of their tendency to pen easy-appeal anthems. They seem to be searching for more intricate arrangements, more tex-tural sounds, more specific, personal lyric writing. The show began with the lights up as the band walked on, joining the house sound system and concluding Ben E. King's "Stand By Me." Then, it was Into "Where the Streets Have No Name" and a set dominated by other songs from their latest LP, "The Joshua Tree." Standouts included the dark, chilling "Bullet The Blue Sky" and tensile "Exit," during which The Edge's guitar lead had the Intensity of a helicopter's propeller blades. The Edge was, as always, a master tapestry weaver. Bassist Adam Clayton, the most active guy on stage, and drummer Copley Place: "Big Easy." 10 15. 12 30. 2 4s, 6 7 30. 10; "Can t Buy Me Love." 10 30. 12:45, 2 45 5 7 45, 10; "It Bamba." 10, 12:30, 2 30. 5. 7:30. 9 45 "Living on Tokyo Time." 7 45, 10; "Roxanne." 10 30 12-30, 2:45, 5; In addition: Boston Film Festival showings ol "Maurice" at 7:15, 10; "Someone to Love" at 7-30, 10; "Rampage" et 7:45, 10 15; "Sam. my and Rosie Get Laid" el 7 30, 10; "Trevelling North" at 7:45. 10; "Trouble With Dick" at 1030 t m., 12:45. 2 45. 5; "Wolt at the Door" at 10 15 a m 12:30. 2:45, 5; "The Hit" at 10 am, 2:30; "Le Grand Chemln" at 12:15. 4 45; "Adustmenl to Work" et 10 30 a m,. 4; "Multi-Handicapped" at 1 Rm only rvard Square: "Tough Guys Don't Dance," noon, 2 20, 4 45, 7 20, 9:50; "Wish You Were Hare," 12-46 3, 6, 7 30, 9 40: "My Lite as t Dog," 1. 3. 6:10. 7-45 10; "No Way Out." noon. 2 20, 4 40. 7 40, 10-"Fourth Protocol." noon, 2 20. 4 45. 7 20. 9 45 Janus Cinema: "Big Easy." 1, 3, 5, 7 30. 9 40 Nickelodeon: "Jean de Florette," 12 30, 3, 5-10, 7-30, 10; "Wish You Were Here." 1, 3, 6 30. 8, 10-15-"Lew ol Desire," 1. 3 10. 5:15. 7 40. 9 45: "My Lite as I Dog." 1 15, 3 30, 5 45, 8, 10:10; "Big Easy," 1. 3 10.8 15, 850 Parlsi "Tough Guys Don't Dance," 1, 3, 8:16, 7 45, 10 Revere thoweaee: "House II Second Story," 1 10, 7 15, 9 15, "le Bsmbe." 1, 7 50, 10; "Dirty Dancing," 1 50, 7 45, 945; "Stakeout," 1 25. 7 30. 9 50; "No Way Out," 1 20, 7 20, 9 40; "Tough Guys Don't Dance," 1, 7:40, 9 55; "Big Easy," 1 30. 7-45, 9 65; "Wellraner," 1 SO. 7 36, 9 35; "Can't Buy Me Love" 1 40, 7:10, 9 10; "Hamburger Mill." 1 40. 7 25. 9 46 "Fatal Allrachon," 1 15, 7, 9 30; "The Principal" 1 45, 7:40. 9 60; "Robocop," 1 35, 7:50, 10; "Pick-Up Artist." 1:15. 7 25. 9 20 Waal Roibury Village: "Living Daylights," 7 30 only Move tchtdulft are tubnet lo unmnpoatd CAanoee. s ' "j, wv X and another Fingerprintz alumnus, Cha Burns. Where Fingerprintz was half Scottish and half British, the Silencers are all Scots. Rounding out the group are drummer Martin Hanlin and bassist Joe Donnelly, two veterans of a Glasgow rock scene which this decade has produced such acts as Simple Minds, Hipsway and Danny Wilson. "Martin and I had worked with Jimme in the studio. That's how we got to know him, and then we became friends," says Donnelly. "And since we all come from Scotland, we really understand each other." The group is now based in London, but has retained its Scottish roots. "In Scotland, from an early age you go to parties where parents have sing-songs, so you learn a lot of Scottish songs," Donnelly adds. "Even if you don't go out and buy Celtic folk and blues records, you absorb that influence. And we've taken that and combined it with American blues and stadium Globe staff photoSuzanne Krleter injured arm. Larry Mullen Jr. played dextrous- iy- The featured covers were the Beatles' songs, "Help!" and "Helter Skelter," played back to back. Nay on the former - it lacked urgency; U2 should listen to the Damned's ripsnorting version. Yay on the latter - U2 wants to rescue the tune from the legacy of Charles Manson (and 8 million heavy metal bands that think it's "cool") and bring back the rock 'n' roll-as-a-carnival intent. Changing people's minds, as you've probably gathered, is very much within U2's grasp. Quality marches onward; a proud band remains as humble as humanly possible, given the demands of super-stardom. The Pogues, who mix Irish traditional music and punk rock, played a 35-minute opening set that was rife with lilting, skittering banjos and tin whistles, and yet, cut with MacGowan's fierce vocalizing. Bono finds hope in conflict; MacGowan, more often than not, stares up through the bottom of a whiskey glass and finds a dead end, then decides to kick up his heels and raise hell anyway. The Pogues make their point as credibly and convincingly as U2. There's no doubting Little Steven's credibility - he's the most Impassioned leftist in mainstream American pop. It's Just that his songs can plod, thud and overreach, and many did just that during Tuesday night's 40-minute middle set. A political harangue, too, brought to mind all the arguments against kneejerk liberal-Ism. Even If Steven is not a knee-jerker, that sort of backfiring effect can't help his cause. Still, the final song, "Sun City," carried real power, especially when the crowd joined in for the chorus. "AN ELECTRIFYING THRILLER that keeps you on the edge of your seaf -Marion Dodd, CKVU-TV, VANCOWER u"ij,,,-Tj,. T"CopyriahtiM7eyFsrereuniPitUreseefiostien, if " . An eiiehts m . (H1HNU1 Hill HtAMINCHlM (DIDHAM( " nil i Lin mo in t9fl No Pas;ms at I 1 11 v P Jfe If r . in w lib The Silencers have a new hit, "Painted Moon," from their album, "A R&B influences and '60s pop. All those elements are in our sound." The Silencers will frankly admit they don't feel totally comfort Griffith's new, old Nashville sound By Scott Alarik Special to the Globe Nashville calls them "New Traditionalists" and they are causing quite a stir in Music City, USA They are coun- MUSiC tTl music stars who stubbornly prCVICW insist on spare acoustic arrangements, lean toward intellligent lyrics with a populist bent and proudly display their love of country music's roots. They are pumping new life into an industry that has suffered under the weight of mushy middle-of-the-road country-pop stars who owed more of their sound to Henry Mancini than to Hank Williams. George Strait, Reba McEntlre and Ricky Skaggs are representative of this new breed. Three more prime examples - Nanci Griffith, New Grass Revival and Steve Wariner - will come to Berklee Performance Center this Saturday at 5 and 9 p.m. Griffith's success has been closely followed by Boston's folk fans. From her first appearances here as an opening act at Passim, there has been a deep affection and a special loyalty for Griffith. Like proud parents, the folk community followed and supported her career. "Lone Star State of Mind," her first major label album, reached number 23 on the country charts last March and the 33 year-old songwriter seems on the brink of stardom. All this came on the heels of the stunning success of her two albums for RounderPhilo, however, and ten solid years on the folk circuit. Like most of the New Traditionalists, she built her own career her own way and, until very recently, had given up hope that Nashville would ever accept her. "I was very disenchanted with country music five, ten years ago," Griffith said from her new home in Nashville. "It was trying to be pop, trying to be slick, and there's Just nothing slick about hillbilly country music. I had been told that I wasn't a commercial artist, that my songs said too much. You had to listen to them more than once to appreciate them, so they'd never work on radio. Acoustic music has been my soul for many years, and getting to the top of that scene was all I ever wanted to achieve. So 1 was thrilled when Rounder signed me, and they were very, very good to me. When 'Once in a Very Blue Moon,' my first record for them, hit the charts, that was the brass ring for me. I thought I'd be fifty before that happened. "That's how I ended up on a major label. They just weren't selling records, and to have an artist on an Independent label selling as many as established country stars, you know there's something wrong with the music that going down on major-label vinyl. So I started getting offers from major 1 crr'rfynftVwe StOfy WOBURH "t) ijjo' ' SOMfRVIUI "wvirT" lit . ,1 ...I " H I IH l-ll USA Oemm is rone IB lev v - .-;iszk "i -ft' Vf II L 1 r t, "', I 1 V J able in London, the music center of the British Isles but not always their cup of tea. "London is very fashion-con- Nanci Griffith says, "I was very disenchanted with country music five, ten years ago. It was trying to be . . . slick, and there's just nothing slick about hillbilly country music." labels. But one label said I was a cult artist. Another wanted me to be a little more like so-and-so and less like Nanci Griffith. Well, that's never going to happen; I'm too stubborn. Finally, I went with as 7 i a . )J'"" 'wmmiih- in mm-lime, ii, ...lulu, i, I., , mm hK i va ' ti a if-. j i ij H'l.vvai a iim mt. STARTS TOMORROW USA Cinemas CHARLES CSMI St NISI OOV tCII 527-1330 USA Cinema. S0MERVILLE Ol AtMMItT SO 111 J 628-7000 General Clneme PEAB0DY 599-1310 SHOWCASE CINCMAs W0BURN III, III Hit H ( III. il 933-5330 WATCH FOR "SOMEONE TO WATCH OVER ME" i W I 1 Til J '" i Letter From St. Paul." scious - and disco has had a big revival there," says Donnelly, "But as you can tell, that's not what we're about at all." MCA. I was convinced they believed in me, and they've been real 'go do what you want to.' " Griffith was reconciled to living without Nashville's brass ring; proud and happy to be a star in the grassroots revival of acoustic music. But that revival is at the core of the New Traditionalists, bringing a new integrity, a return to the basics - and record sales - to Nashville. "It's a real renaissance in Nashville now," Griffith said. "There are people who are mainstay stars who would not get signed to a major label if they were just starting out. They're looking for solid deals right now, people with integrity and talent, good writers. Label's aren't looking to take someone and mold them into something that fits the formula like they were before: Search for the lowest common denominator and hit it. "I never thought I'd be allowed on the Grand Ole Opry stage. I just wasn't doing the country-pop that was in style. But it was still my Carnegie Hall, from my roots, and it's so exciting to be playing there. Before, my folk audience was mostly young. Now I look out and see dyed-in-the-wool country fans - the people I write my songs about - sitting next to my. old familiars. It's Just a great feeling." USA Cinemas NATICK in io" ihoui enc 6S3-5005 '237-5840 Oenerel Cinema BRAINTREE tOUtH IHOM eiAIA 848-1070 SHOWCASE CINEMAS REVERE Tl. CI A touiai 10. . 286-1660 SHOWCASE CINEMAS CIRCLE CUvhano oacil 566-4040 FROM COLUMBIA PICTURES OCTOBER 9,

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