The Daily Tar Heel from Chapel Hill, North Carolina • Page 4

4The Daily Tar HeelFriday, March 29, 1985 AHbmiinni 'reviews reveal some cmmreiit discs flop 9 some tSnatt fly that don't sacrifice quality lor mass appeal. Beyond Appearances reaffirms Santana's position as one of the world's greatest rock bands and gives every indication that it intends to stay that way. (M.D.) Talking Heads. Stop Making Sense. This live soundtrack captures all the charged excitement of the concert film of the same name.

The most impressive aspect is the recording, which is so crucial with a live album. The sound is perfectly balanced: It couldn't sound any better if David Byrne and his bunch were in your own living room. Four of the nine selections on this album are from the band's latest studio effort, Speaking In Tongues, but it also includes the incredible acoustic guitar and beat box version of "Psycho Killer." Faithful in its execution and production, this album is a celebration of the possibilities of live music. (A.M.) Velvet Underground. V.U.

While polishing up the tapes for an intelligent and long-needed re-release of the Velvet's first three albums, the record company found tapes from a complete but previously unreleased album recorded in late 1968 or early 1969. And surprise! Not only is the recording quality fine, but the songs are also excellent and combine to make one of the band's best albums. (E.H.) I the song of the same name, and after listening to the album it's hard to understand how they could've missed the irony in that statement. King of Rock is petty and vindictive where last year's was socially conscious, obnoxious and stupid where the debut was witty and clever, and arrogant where the first LP showed how good the group was instead of just talking about it. (E.H.) Sade.

Diamond Life. If a book can't be judged by its cover, then perhaps an album can: Sade's music is every bit as artfully seductive as the photograph of lead vocalist Sade Adu on the cover of Diamond Life. Propelled by Stuart Mathewman's sultry saxophone and Andrew Hale's tittering keyboards, this soulful jazz rock quartet's music wonderfully showcases Adu's smoky, sexy voice. In fact, her silk-smooth delivery is the only consistent identifying feature of songs as diverse as the melodic single "Smooth Operator" and the Cabaret meditation "Frankie's First Affair." She is a major talent; her band's debut album, a gem. (F.B.) Santana.

Beyond Appearances. Carlos Santana has always been one of rock's greatest guitarists and songwriters. For 20 years, his band has maintained its unique combination of sizzling guitar and reggae rhythms. Beyond Appearances marks the return of vocalist Greg Walker to Santana and contains some excellent playing by Carlos and the rest of the band. "Breaking Out" and "How with "Say It Again," are catchy songs Mick Jagger Jason the Scorchers.

Lost Found. On the brink of national success, Jason and the boys get cold feet and make an album that's very good in places but an undeniable disappointment in light of their previous work. With the exception of "I Really Don't Want to Know" and "Broken Whiskey Glass," the rockers are fairly uninspired. One song, "If Money Talks," is a blatant rehash of "I Can't Help Myself" from last year's Fervor EP. Still, there are some terrific folk-style ballads here Tied," "Far and the rest isn't bad just good where greatness was promised.

(E.H.) Murphy 's comedy seemed to 'heat if as night progressed Philip Bailey. Chinese Wall. Bailey made the right move when he joined up with producer drummer Phil Collins. "Kasy l.over"is the best track on this album. The other outstanding tracks also happen to be the ones most heavily influenced by Collins, and they include "Photogenic Memory" and I Go Cra.y." Collins' drumming is exceptional on both of these.

Bailey is a great singer in his own right, and Collins succeeds in getting him away from that Earth, Wind Fire falsetto and back into a more natural voice. There are some flaws and some duds here, but Chinese Wall is a vast improvement over Bailey's dull solo debut. Continuation. (A.M.) Bronksi Beat. The Age of Consent.

Of all Bronski Beat's idiosyncracies dull lyrics, an unabashedly gay frame of reference only lead vocalist Jimmy Somerville's pained moan of a falsetto ultimately undermines this otherwise intriguing album. The Age of Consent is synthesizer pop at its slickest; the richly varied original and cover arrangements cast an array of moods from somber to scintillating. Some of the songs the dance tracks "Why?" and "Junk," in particular are kinetic enough to transcend the limitations of Somerville's shrill instrument. But when the tempo slackens for "Heatwave" and "Need A Man Blues," The Age of Consent provokes only censure. (F.B.) Phil Collins.

No Jacket Required. With his third solo effort with co-producer Hugh Padgham, Phil Collins has finally come into his own as a solo artist. His face is once again on the album cover, and this time it looks red and overheated. He seems to be saying, "Hey, guys, no jacket required, 'cause it's plenty hot in here already!" His drumming is more powerful and inspired than on any of his other solo albums, from the opening blast of "Sussudio" to the final rolling electronic thumping of "Take Me Home." The sad, ethereal "One More Night" is his best guilt-and-jealousy ballad to date. (A.M.) Bob Dylan.

Real Live. It's not easy being Bob Dylan. Putting out a good album isn't enough; people expect a masterpiece every time. Real Live is not The Hawaiian and more Listen a the is is the is on of a its of to By ALEXANDRA MANN Staff Writer Great expectations. If you had too many, Wednesday night at Carmichael was probably less than satisfying.

That's not to say that Eddie Murphy was not funny. He always is. But for 8,000 people who paid $15 to see the man they thought they knew from Saturday Night Live, three hit movies, and two smash albums, the time he spent on stage (which was not even an hour and a half) was not all it was cracked up to be. Everything started out great. After a predictable but upbeat performance by Lillo Thomas and his band, the curtain finally opened on a screen with scenes Sade Adu Van Morrison.

A Sense of Wonder. Van Morrison probably thinks he's a poet and an artist, and, by God, he's probably right he's the only man in the world who could even get away with a song like "Tore Down a la Rimbaud," much less get it on the charts. His originals are up to his usual high standards, and the music is a return to the highly accessible, bouncy that got Van what few chart singles he had in the early 70s. This is his best album in recent years. (E.H.) Run D.M.C..

King of Rock. "You talk too much," these heavy metal rappers repeat for about six minutes in concert from Murphy's movies, SNL skits, past concerts and magazine covers. The Pointer Sisters' "Neutron Dance" backed it all up while the crowd went wild. Mr. Box Office had come to Chapel Hill.

At last. Murphy appeared from behind a red screen and stood before a packed auditorium of ecstatic and faithful fans. "You all look so happy," he said. "I was just in New York. New Yorkers don't look happy.

You're all smiling and laughing and I haven't even done yet." i i i CHAPEL HILL 929-5728 SPECIAL RA. He started out by addressing what has become his trademark: his foul mouth. His impression of Bill Cosby telling him he "can't say all those things on stage" was flawless. "But," he said, I curse on stage because I curse off stage." He remained true to that tradition. He talked about the various topics he is famous for, like homosexuals can't go to San Francisco.

They'd have a homo-watch at the Mr.T is not a stable person. Anyone who would cut his hair that way will probably cut your hair that Michael Jackson, and VD say one out of every 20 people has venereal disease. There are 8,000 of you out And there was new material: A York Peppermint Patty commercial as done by Leon Spinks; freebasing; house hamburgers on Wonderbread; acquiring tastes for things; a man's first adolescent and alternative uses for a Water Pik just don't make the mistake of letting the girl go to the It was all as it should have the crowd loved him. For a -r The rest went somewhat downhill. $1.0 OFF Your Order of Any Combination Plate When Presenting This Coupon The Golden Dragon on vinyl classic live album in the manner of The Who's Live At Leeds, but it does offer new renditions of some Dylan favorites, such as "Highway 61 Revisited," "Tombstone Blues" and "It Aint Me, Babe." Some of the songs here lack power and feeling of the original versions, but on the whole, "Real Live" a good look at Dylan onstage, which no small thing.

(M.D.) Hall Oates. Big Bam Boom. Big bams and booms, indeed! The 16th album from the blue-eyed duo is by far their best, and it's greatly enhanced by high-tech wizardry of (producer) Arthur Baker's mixes. It's a beat-oriented album, but the rest of the band in great form, especially Charlie DeChant on saxophone and G.E. Smith guitar.

Daryl Hall's voice is one of the best in rock today, and John Oates shines as lead vocal in two songs as well. The best tracks are "Out of Touch," "Bank On Your Love" and "Method Modern Love," and it's nice to see that the duo has used its talent to create complete album instead of a hit collection padded by filler. It lacks a nice ballad like "One On One," though. (A.M.) Mick Jagger. She's the Boss.

If Mick Jagger's reason for making a solo album was to prove he could make good music without Keith Richards and the other Rolling Stones, then he's succeeded. She's the Boss is an entertaining album that has a rock feel to go along with contemporary edge. "Lonely At the Top," the only song on the album penned by Jagger-Richards, is one of the few songs here with a distinct Stones flavor to it. The rest hedge torward a unique sound quite different from that the Stones. Jagger has an awesome array of musicians behind him including Jeff Beck, Pete Townsend and Herbie Hancock.

Despite the album's many merits, however, it never comes close equaling a Stones record. Jagger by himself is good, but Jagger and the Stones are more than good. They're the best. (M.D.) March 31 3:30 pm Memorial Hall with Conductor Gerhardt Zimmerman directing Mozart's Overture to The Magic Flute and featuring Pianist Emanuel Ax General Admission $8.00 Special Student Price $4.00 Special Musical Guests Tropic Beauty Pageant to 94Z for details. of MasterCard VISA Exp.

Date Zip to XP I Staff writers Frank Bruni, Mark Davis, Eddie Huffman and Alan Mason contributed to this article. Murphy started spending too much time on the wrong things. Twenty minutes discussing how little boys act in the supermarket with their mothers got old fast. Then there was the story about his fight with an Italian in a California disco, which had its funny moments ego was standing there talking to his but it also lasted a little too long. At this point, there was a glimmer of hope for the second half: his father.

Wild applause. But the context of the story was simply not as funny as it had been in the past, on the album Delirious, for example. The enthusiasm of the crowd had slowly died down from the fevered pitch it had maintained through the first half. Then suddenly he stopped. It was as if someone called time and cut him off in mid-sentence.

A shocking ending with no warning. It was undeniably a funny evening, but it all had to do with expectations. Eddie Murphy was not as funny as he should have been. Perhaps he likes unsmiling New York-faces in the -audience better than the happy people in Chapel Hill. We may never know.

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