Detroit Free Press from Detroit, Michigan • Page 90

"lTTryr''yirlaif'' j8'' igji 'wy 'm my ip ii'ryry yi muni music, cont DETROIT FREE PRESSFRIDAY, SEPT. 10, 1982 4C Coney Hatch is betting heavily on a future winner By GARY GRAFF Free Press Staff Writer The lead singer of a new hard rock band is usually a taxing interview. The vocabulary, it seems, is always the same; the new album is always "real great rock 'n' roll, man," and the band is always happy to be doing a hundred-odd straight one-nighters, "takin' the music to the people." Carl Dixon, lead singer and guitarist for Coney Hatch, is a breath of fresh air. The 23-year-old Canadian native is so new to America that he doesn't even know how to pronounce "Agora," the famed Cleveland rock club where the band played its first U.S. date Wednesday.

(It's ah-gore-ah.) his first time in America, except for brief vi j. i THE BAND has had its current lineup Dixon, lead guitarist Steve Shelski, bassist and vocalist Andy Curran and drummer Dave Ketchum for about two years. Named after an insane asylum in England, Coney Hatch played clubs and bars around Ontario and Quebec until last June, when it caught the eye of Kim Mitchell, a former member of Canadian band Max Webster. After about four months of recording demos and negotiating a contract, the band finally recorded its debut. Coney Hatch is getting exposure.

The group opened for Ted Nugent and Cheap Trick this summer at Toronto's Canadian National Exhibition stadium, and later this month it will start a series of one-nighters on the West Coast, opening for Rainbow. By December, Dixon says, the band will be back in the studio preparing its second album. "I don't expect the album to have such a great impact that we'll be locked into a style," he says. "It's just going to become more musical, but still have the hard rock feel. The second or the third album, maybe, will open it for us." Coney Hatch will perform tonight at Harpo's, 14238 Harper.

Doors open at 8 p.m. Call 823-6400 anytime. drinking trips to upper New York state and Michigan. Occasionally, after the band played in Windsor, theyld come over to Detroit to check out bands at Harpo's. "By the time we got through customs and everything, it was usually too late," Dixon says after the band returns from a Cleveland Indians' game.

"We usually ended up at some snack bar on the corner, betting on pinball with hustlers." DIXON IS also betting heavily on the band's future in the business, though surprisingly not on the merits first Polygram album. Instead, Dixon goes the album, critiquing it more intelligently most critics could and ending his comments with "wait till next time" philosophy. aren't quite happy with the sound on the Dixon says. "It's kind of middy; there's not top and bottom, which bothers me. We can all the holes in there.

It sounds like our first time MINI SltHt KMANPRf itNH fJJVA A lum by Jl AN-jAl (JUt! BHNf IX ArUjHrd lif-'i I'W txtvi-l hy Of i ACOfMA. Si ftf-rtply ly it AIM JA( QMS BttNtlX. Jl AN VANHAMMt DmKxjuc Oy AN JAC OufiS! INFIX Wiin tMDCKiC A NO (ft I kOIANlSBLPIIN. RK HAHU BOHIflNOm Lit RAttV DARMON, 'JAf OlJI I AB1WI IHUV AN UJU. DUMINIOUt f'INON.

ANN HOW AMI Willi ii. p.iMi ijwihi'i til Wll HI IMC NIA WlGf jINS I LRNANUF IhiiM.u H'PI ROUWIOI ftrwquei ION CONNICO AAa AOIMIK OSVA I'r, vim M.n t.n i.u)t'i Ul IV Fit KAHI A i ti i GALAXIf Hi MS I Nw MlM I'WODUC HONS SOUNIlttA( Ai BUM AAII Abi )N ORG Hi OROS studio." Dixon's evaluation is pretty accurate. "Coney is straightforward, uneventful rock, though it a young band that knows how to write good, songs and has a good sense for using vocal The only singing performance Dixon is with, "Hey Operator," is also the album's best CopyiigN 1W0? UmtKj An-iij CoipoftliQfi Afl "gflli '(M-vM United Artists Classics jR! HifciniCTto HELD OVER EXCLUSIVELY AT 1:05. 4:30. 7:20.

9 45 MICHEL SERRAULT Star of 1 lit y-i Aux Folles" CTl-k I'lliST ARKA HUN I mid 9:40 Daily SZL. KENJW ROGERS is Brewster Baiter. His racing career was going in reverse, until six car-crazy kids joined his pit crew Associate A FILM OF PHANTOM FINANCING and put him back on the track. VAV.V.V.V.W.V iv Km tapir Carl Dixon Going with GO-GO'S, from Page 1C who care about their music and who are more intelligent and articulate than they're often given credit for. They'll wear skirts or slacks onstage, thank you, and they can talk as dirty as any biker leering from the audience.

If they want. You can't doubt Caffey's new motto for the band: "We're women who know what we want, and we get it." Each member has a likable, natural wit that, when joined with the others, turns into a tag-team routine of one-liners, gentle bits of harassment that keep interviewers and crew members on their toes. "LET'S GO," says Patron, rounding the band up to go onstage at Castle Farms. "Where are we going, Bruce?" asks Schock, who's busy stretching on the floor outside her dressing room. "We're going to play rock roll, girls," he answers.

"What's that, Bruce?" Schock is pushing it, but he doesn't mind. "It's not like it was with other bands," says Patron, who has worked with several rock including Blon-die. "There's less ego, no burnout. When they do the interview-type stuff, they get into joking around; there's a lot of in-joke type stuff that comes out then." The friendliness and smiles are quite an achievement, considering what the Go-Go's have gone through to get where they are. Carlisle arid Wiedlin, both from around Los Angeles, started the band with two other women, Mar-got Olaverra and Elissa Bello, in 1978.

Unfamiliar with even the rudiments of being in a band, they called on Caffey, who was weaned on classical piano and holds a bachelor of music degree from Los Angeles's Immaculate Heart College, to shoot in some professionalism. THEY DYED their hair and soon found a niche in the new wave and punk scene, eventually replacing Bello with Schock. In time they punted the punk look and gave the music more of a pop edge, taking it to England for a trying but successful stay that turned "We've Got the Beat" into an import hit and the band into a West Coast cult favorite that was perfect for a spot on the rock documentary film, "Urghhh, A Music War." Irj the interim, Texas-native Valentine had joined the band and Olaverra dropped out. On April Fool's Day 1981, after being given the thumbs-down from every major label, they signed with IRS records, recorded "Beauty and the Beat" and found themselves able to say that the rest is history. Now we have "Vacation." The album hasn't hit No.

1 but it's close (No. 5 on the Free Press list; No. 9 on Billboard Magazine's). Stylistically in the same league as "Beauty and the Beat," the songs are stronger, the arrangements are tighter, Carlisle's singing sounds more confident and the advancements in musicianship are pronounced. It's a work any rock band male, female or.

mixed would be proud of, good enough to send the cynics tale-tucking. "We're glad to see them eat their words," Valentine says. "We're serious perfectionists," Caffey adds. "We had the foresight on some songs, like 'Vacation' and 'The Way You to play them for a year. Most of the others are older songs, but we rearranged them, updated them." It's also TWENTIETH CENTURV-FOX hnemi A LION SHARE Pioducnon A DANIEL PETRIE film KENNY ROGERS "SIX PACK" DIANE LANE ERIN GRAY music iiv CHARLES FOX i Piotacft EDWARD S.

FELDMAN an TED WITZER p.oduw.1 b) MICHAEL TRIKILIS wmirn MIKE MARVIN and ALEX MATTER Directed by DANIEL PETRIE PGPWll fiUIOANCt SUfiGtSTED -ISj the Go-Go's AT WHICH POINT Wiedlin pops in, "It was hard, especially with the older songs. We had things stuck in our heads for years. Also, as you get to be better musicians, you know what works and what doesn't. Like 'He's So the original version "was two minutes longer and had this really wild guitar thing during the introduction." "When the album came out," Carlisle adds, laughing, all these people asked us, 'What happened to that great guitar part? Sometime in the future, people might also be asking where the "old" Go-Go's sound is. Like any artists, the Go-Go's might have trouble turning out the same type of pop album after album.

"I want to do an album that features a lot of acoustic guitar and acoustic piano, Wiedlin says. "I think we all have ideas we want to do. That doesn't mean1 we'd do them all the time, I. though." The Go-Go's 70-minute set at Castle Farms features all but three or four songs from the two albums, and even though the band doesn't use its light show in the still-bright Charlevoix sky, the bands bouncy enthusiasm and spirited, if rough, playing carries the show. There are lots of smiles, and Carlisle seems confident enough to get away from the microphone for some swivel hipped dancing and synthesizer playing on "Worlds Away." The rest of the band hops around, paying lots of attention to the audience, which is standing and dancing from the first notes of "Skidmarks on My Heart." "ONE KID asked me if we do aerobics before each show," Wiedlen says.

"I said, 'No, we do Go-Go classes every All in all, it's a fun, upbeat show, and you won't find anyone to agree more than the small squadron of boys who crowd around the band after the show as the members crawl into the cars for the ride back to the hotel. "I want to see you again next year," one practically demands as Wiedlin and Valentine sign a souvenir jersey. "I'll see you next year," Wiedlin answers, adding as the car pulls away, "when you're grown up and ready for a real woman. "They looked so young backstage, but onstage they all look old," she says. "They're all cute, but I'd feel like a child molester." The road is beginning to take its toll on the band.

There is a general feeling in the car that everyone is, well, pooped, as Wiedlin puts it, and the bus leaves for Cincinnati almost as soon as they get back to the hotel. Letting out steam is a problem for this group. They can throw a few tantrums and do some screaming, but while that helps, it's no replacement for guitar-smashing or motel-room-trashing, traditional forms of rock star leisure. But even if that was their style, it's not exactly in the budget. The only thing that's happened so far was in Denver, at a post-show party for the band.

There were a few cheesy paintings on the wall, and there were some magic markers in the room, and "It was sophisticated vandalism," Valentine says. "We drew horns and mustaches on everything." "I couldn't believe they charged us $150 for those prints," Wiedlin says. "Some nights it's not fun," she admits. "But if we do a couple nights in a row where it's not good, we say, 'Hey guys, what's "It's just like anything else," Valentine adds. "You get better after a long time." El si Valentine's "We Don't Get Along" (previously recorded by Phil Seymour), "It's Everything But Party Time" or "The Way You Dance." During "This Old Feeling," they even sing gasp "I love you." They're not sealed in adulthood yet, though.

There's plenty of gossip on "Vacation" "He's So Strange," "Girl of 100 Lists" and "I Think It's Me" and a couple beach-party pop tunes like "Get Up and Go," "Beatnick Beach" and their cover of the Capitols' "Cool Jerk." Not bad for 35 minutes of impossible-to-sit-still-dur-ing pop. Now who says this is a fluke? Gary Graff of its through than a healthy "We album," enough hear in the Hatch" shows catchy harmonies. happy number. 1:15 Chinese Lilted I 1 10:05. 12:15.

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7:15. 9 30 TH ORIGINAL IS BACK. urn ,71 OOLBYSTCBEO I' 25. 9 40 7 25.9 40 nrnrefi.fflWiJ.Li 7 20. 9 35 00 I 30 4 00 7 00 915 00 iK3 I TOO 1 30 4 00 7 00 9 15 10 00 12 20 2 40 5 00 7 15 9 45 Mimra wm-m i mrnm I 00 3 30 7 15 9 40 12 45.

3 00 5 15. 7 30 9-45 "GOOD HEWS FOR EVERYONE. 'ANNIE IS HERE!" -GENE SHALIT, NBC-TV HELD OVER I 1 Today at 1:15 Today at 1:15 10:00 12:30 3:45 7:00 10:00 12:30 3:45 7:00 Tonight at 7:30 Tonight at 6:05 Tonight at 6:05 Extra Terrific "K.T. is fabulous entertainment." "CLASSIC" "A dream movie. A classic tale of the Extraterrestrial A STEVEN SPIELBERG FILM THE EXTRA-TERRESTRIAL DEE WALLACE PETER COYOTE HENRY THOMAS AS ELLIOTT Ml SIC BY JOHN WILLIAMS WRITTEN BY MELISSA MATHISON PROIM't El) BY STEVEN SPIELBERG KATHLEEN KENNEDY DIRECTED BY STEVEN SPIELBERG A I 'NIVERSAL PICTURE NO PASSES PG1 HII'H mua SIWtlTID OhI )C I I OCHflvSTCTEO I' ACCEPTED I MnBtt HELD OVER 1 4 th SMASH UTFK Lm pi Tonight at 7 30 9:36 1:00 7:20 9 35 11:45 3HK Tonight at 7:30 9:30 12:05 2:25 4:45 7:15 9:40 10 00 12 15 2 45 4 45 7:10 9:25 10:00 12:10 2:20 4:30 7:00 9:15 1 Tonight at 7:30 9:40 I.

TTTETTX- I 1:00 7:20 9:35 11.45 1:00 7:20 9:35 11:46 Tonight at 7:35 9:45 Tonight at 7:30 8c 9:40 'mm i also at these DRIVE-INS Tj.lr? A STEVEN SPIELBERG FILM EX' 1:10. 7:25. 9 40. 11:45 7:30. 9 45 7 35.

9 30 7 25, 9:25 The epic adventure of a new kind of hero. mgm'ua g-PGi iirinnitrn 1 40 5 25 8. 9 05 ftm 1:00 7:30 9 50 12 05 12 45 5 15 9 45 HELD OVER 7:00 8:46 10:25 1:00 7:40 10:00 12:00 jS jm vm 7-40 10:00 12 00 1:30 3:30 5:30 7:36 9:40 STARTS TODAY 12:10 2 35 4:55 7 :15 9 35 1-40 4:20 7 10 9 30 i Tin "It's a mean, brutal, well made Los Angeles Times fit p' iirl if BIUY FINE PRODUCTION Jill St JOHN TW(Y MfGWN MRBAM IUN 1H CONCRfTl JUW BASRETT fftfl BROWH MH KUB PENTAGON RELEASING. INC "UT HK t0 OE SIMON! --r sound judgment on the record with our critics The little sisters grow up Connection time First HELD OVER 9 15 7 1 2 40 I 00 7 30 9 50 12 00 I 00 7 30 9 50 12 00 15. 9.15 7 50 Tonight at 7 10:35 Tonight at 8:50 Tonight at 10:55 2:00 5:40 9:20 36 7:36 8.

11:15 Tonioht at 9:10 9:20 PM 1:00 9:20 2:55 11:05 2S5 7:16 8i 11:05 Vacation The Go-Go's (IRSV Or the Go-Go's grow up; at least they seem to. If on "Beauty and the Beat" they were everybody's naive, idealistic little sisters, on "Vacation" they're the girls in school who wouldn't give the time to every guy who wanted to go out with them. They're not stuck-up, just a bit smarter than the rest of the pack and looking for something just as good. That's a far cry from the insecure, giggly girl poses of their debut album, when they sang like spurned girls waiting for the object of their emotions to turn his back. They'll tell it right to his face now with the defiance of Kathy DRIVE-INS MiUfiim 1 I hlJJiliUlil'i lffYli'illi'M drive-ins ClISSH nMi'iiiin'ijiOf iiMiHiiitf.rn.