Detroit Free Press from Detroit, Michigan • Page 31

i-3 DETROIT FREE PRESSFRIDAY, JAN. 11, 1985 5C FOR INCLUDING BEST PICTURE BEST DIRECTOR Conductor Zinman proves his mettle wasnifjrrrr, SPECIAL ENGAGEMENT 7:00 10:00 7:10 10.00 7:10 10:00 8:00 "A TOTAL CAPTIVATING, REFRESHINGLY DIFFERENT." new vork post By JOHN GUINN Free Press Music Critic David Zinman has spent the last two weeks undoing the mess he made last summer, and he has done it quite convincingly. Zinman, who will become music director of the Baltimore Symphony next season, led a powerful performance of Bartok's Concerto for Orchestra at last week's Detroit Symphony concert. Thursday night he turned in an equally powerful performance of El-gar's "Falstaff." Both performances prove that Zinman has what it takes, something that was far from clear when he led the orchestra through a murky, disjointed performance of Mahler's Fifth Symphony at Meadow Brook last June. ELGAR'S LENGTHY tone poem contains some heartfelt melodies and some highly colorful orchestral effects that effectively detail events in the life of Shakespeare's fat knight.

Much of the music smiles, but there are tears in some of those smiles, underlining El-gar's intention to portray Sir John as more than a buffoon. The music does tend to ramble, though, and is without the cohesion and determined purpose found In El-gar's "Enigma Variations" (which the orchestra is scheduled to perform under Isaiah Jackson next week). It is to Zinman's credit that he underplayed the rambling qualities, keeping interest by polishing each of the contrasting sections to a high, colorful sheen and strongly projecting the emotional content of the arching melodies. sounding like the warhorse we all know it is. Zinman opened the program with Christopher Rouse's "The Infernal Machine," a six-minute orchestral essay whose title comes from the Jean Coc-teau play.

It's a jovial little piece that mimicks the industrial age in the same generally neo-classical style one finds in "Pacific 231," Arthur Honegger's 1924 tribute to the steam locomotive. Rouse's piece rumbles, crackles, pops and whistles with great energy, although I suspect its effect would be severely weakened were it 12 minutes long instead of six. The program will be repeated at 8 tonight at Orchestra Hall and at 8:30 p.m. Saturday at Ford Auditorium. The orchestra followed Zinman's instructions faithfully, with splendid solos from concertmaster Gordon Staples, principal cellist Italo Babini and principal bassoonist Robert Williams.

CUBAN-BORN pianist Horacio Gutierrez was soloist in Tchaikovsky's B-flat Minor Piano Concerto. He was originally scheduled to play Brahms' First Piano Concerto, but he has only recently recovered from an illness and felt more secure with the Tchaikovsky. He played it with great bravura, projecting a volatile power that never sounded harsh. He also toyed with the more tender moments, shaping satisfying melodic lines and bringing out elements an inner left-hand melody here, a subtle broadening of tempo there that kept the music from THE GOW MUST BE u- tt I l4HY IWIMHlHUMlJft l( HELD OVER 1 1 EXCLUSIVELY AT Rl 7:35 9:45 4 Sun 315 5:20 7:35 9:45 It's a unfilled fantasy. And a whale of an adventure.

It Disney all-time classic back for the WALT Madam finally made it by leaving town DISNEY'S I TTT TBCHNIC010R ft? mcmki Won Otmev Productioru fle-rewowd Dv SutfV visia rasTpiajTioN cn int Li 7:05 8:55 1:00 7:00 8:45 7:15 9:00 irj ii fii iuti By GARY GRAFF Free Press Music Writer Members of Madam at the least the three born in the Detroit area would like to thank all the local booking agents who wouldn't hire the group to play at the local clubs. "If they had made it easy for us, we would've stuck around here," said bassist and chief songwriter Chris Doliber. Adds guitarist Maxine Petrucci, "We would've been bar stars without going anywhere." AT THIS POINT, Madam is where any group of rock musicians aged 21-24 would dream of being: The five-year-old quartet now based in California has a long-term recording contract with a major record label, its first album on the racks, and the prospect of a national tour opening for heavy metal kingpin Black Sabbath. The group started with Maxine and Roxy Petrucci, sisters who grew up in Rochester, graduated from Eisenhower High School and briefly attended Oakland University. But while the band's press material stresses its native haunts, the truth is Madam had to leave Detroit to get this far.

THE PETRUCCI SISTERS' first ambitions were in classical music. Both played woodwinds, took lessons from Detroit Symphony and the Detroit Concert Band principals, and as high school students were first chairs in the Oakland University Symphony. The switch came when an older brother exposed Madam will perform Friday at Harpo's, 14238 Harper. Doors open at 8 p.m. Call 823-6400 anytime.

The concert will be broadcast live on WLLZ-FM (98.7). handle a group with two female musicians. "They weren't interested in a girl guitarist and drummer," Maxine explained. "They wanted a lead vocalist who didn't wear that many clothes. You didn't really have to be able to sing, either." The group moved to the New York area in 1981, added 21-year-old singer Bret Kaiser, and began plying its music around the Northeast.

Within a year, they were a sought-after club attraction and one of the few acts at that level to have a full-time four-man road crew and a tractor trailer full of sound and lighting equipment. THE PROVERBIAL big break came early last year, during Madani X's first trip to Los Angeles. Executives from JetCBS Records Ozzy Os-bourne's label saw their act and signed the band to a five-year, eight-album deal. The Rick Derringer-produced debut album, "We Reserve the Right," is attracting modest attention, enough that the group doesn't regret leaving home. "It's strange," Maxine said in Detroit.

"We come back here to visit or something, and it's all the same bands playing the same places. I'm really glad we got out of here." The members of Madam include, from left, Maxine Petrucci, Bret Kaiser, Roxy Petrucci and Chris (Godzilla) Doliber. them to Fanny, one of the first all-female rock bands. "We were blown away," said Maxine, 24. "There were girls doing rock 'n' roll.

So it ended up being a side thing to the classical music we were doing." They found a kindred spirit in Doliber, 24, who attended Rochester Adams High School. Doliber, nicknamed Godzilla for his gangling, six-foot-plus presence and wild behavior, became the manager. The group, then called Black Lace, scrambled to find a place in the tight Detroit club market. BUT MOST agents didn't quite know how to; Woody Shaw likes to call it his kung fu trumpet pg m. wmtn i over I WPJ 5 00 7 00 9 00 7:15 10:20 fyrj I Wfl 17.

Kim Heron I Jazz i iMfe- if 'taw iryw 10:00 12.2.4,6.8,10.12 6:05 9-50 7 25 9 20 7:05 9:05 7:15 9:15 1:15 3 20 5 30 7:40 9 45 Hall, Oakland University; piano duets by Kirk Lightsey and Johnny O'Neal, at 8 p.m. Feb. 15 at the DIA' Recital Hall; Sam Sanders and Visions at 8 p.m. Feb. 22 at the DIA Recital Hall, and Dewey Redman at 8 p.m.

March 1 at the DIA Recital Hall. JAZZNOTES: The WEMU-FM and Depot Town Association Winter Jazz Series starts in Ypsilanti Jan. 19 with a tribute to Count Basie featuring the Jimmy Wilkins Orchestra, Dennis Rowland and the AndersonReed-Dondero Trio. It continues Feb. 1 6 with the Kamau Kenyatta Quintet, the Little Sonny Blues Band, Joe L.

and Mr. B. On March 16, the series concludes with a Trumpet Summit of the Rayse Biggs Quartet plus Russell Green, Domino and the Joe LoDuca Duo. Woody Shaw combines such grace and athletic combativeness in his trumpet work that it's no surprise he sometimes calls it "kung fu trumpet." Shaw, 40, was last in town almost a year ago to the day to kick off a winter concert series from the Detroit Jazz Center, which he did with abundant style. Shaw's return today (to the Detroit Institute of Arts) to kick off another series for the center promises more of a very good thing.

SHAW HAS BEEN at the center of the jazz world for half of his life. At 19, he was part of the American jazz expatriate scene in Paris. Returning to the U.S., he played with Art Max Roach, Pharoah Sanders, Archie Shepp and others. Woody Shaw appears at 8 p.m. Friday at the Detroit Institute of Arts Recital Hall.

Call 832-2730 between 9:30 a.m. to 5:15 p.m. siders a more important influence than his predecessors on the trumpet. A SERIOUS STUDENT of the Chinese martial art t'ai chi, Shaw once said, "I tell a lot of people the concept that I want is like kung fu trumpet because t'ai chi is based on kung fu." Appearing with Shaw will be a group Including pianist Johnny O'Neal and drummer Roy Brooks. The Jazz Center series continues with an appearance by Frank Foster and the Oakland University Jazz Ensemble at 7:30 p.m.

Jan. 31 at Varner "CITY HEAT IS DYNAMITE" He worked extensively in the late, 70s with returning expatriate saxophonist Dexter Gordon and began aj series of well-received recordings for the Columbia label. His particularly strong group of the early '80s recorded for Enja and ElektraMusician. Shaw's own playing reflects his past associations. It moves freely from traditional hard bop verities to the freer harmonies of artists like John Coltrane, the saxophonist Shaw con- ABC-TV.

GOOD MORNING AMERICA 1 feel more like a cheerleader than a film critic, but this movie is dynamite." -Joe Siege. ABC-TV. GOOD MORNING AMERICA "Eastwood and Reynolds find a good time in this action-comedy. The bounce and style of 'City Heat' will conquer all." -Richard Schickel. TIME Three get five Grammy nominations each first time in a decade that the number of categories hasn't increased.

There will be two new fields best reggae recording and best new classical composition but that increase was offset when the academy merged the male, female and group jazz vocal awards into one category. The following is a selected list of nominees announced Thursday. RECORDOF THE YEAR: "Dancino IrTthe Dark," Bruce Springsteen; "Girls Just Want To Have Fun," Cyndi Lauoer; "Hard Habit To Break," Chicago; "The Heart ot Rock 'n' Roll," Huey Lewis and the News; "What's Love Got To Do With II," Tina Turner. ALBUM OF THE YEAR: "Born in the USA," Bruce Springsteen; "Can't Slow Down," Lionel Richie; "Private Dancer," Tina Turner; "Purple Rain," Prince and Revolution; "She's So Unusual," Cyndl Lauper. SONG OF THE YEAR: "Against All Odds (Take A Look At Me Now)," Phil Collins; "Hello," Lionel Richie; "I Just Called To Say I Love You," Stevle Wonder; "Time Alter Time," Cyndi Lauper and Rob Hyman; "What's Love Got To Do With It," Graham Lyle, Terry NEW ARTIST: Sheila Frankie Goes to Hollywood, Corey Hart, The Judds, Cyndl Lauoer.

Ik 4 Just FEMALE POP VOCAL PERFORMANCE: "Oiril Want To Have Fun," Cvndl Lauper; "The Glam-us Life," Sheila ''Let's Hear It For The Boy," llece Williams; "Strut," Sheena Easton; "What's FEMALE POP VOCAL PERFORMANCE: "Girls I Denlece 1 orous i ri lAltlh it Tin Turner PRODUCER OF THE YEAR (NON-CLASSICAL): David Foster, Robert John (Mutt) Lange and The Cars, Michael Omartian, Prince and The Revolution, Lionel Richie and James Anthony Carmichael. CLASSICAL ALBUM: "Amadeus," Neville Mariner cond. Academy of St. Martin-in-the-Fields, Am-brosian Opera Chorus, Choristers of Westminster Abbey; "Beethoven: The 5 Piano Concertos," Alfred Brendel and James Levine cond. Chicago Symphony Orchestra; Brahms: A German Requiem," James Levine cond.

Chicago Symphony Orchestra and Chorus; "Prokofiev: Symphony No. 5 In Flat, Op. 100," Leonard Slatkln cond. SI. Louis Symphony; "Wynton Marsalis-Edlla Gruberova Handel, Pur-cell, Toreeli, Fasch, Molter," Wynton Marsalis and Raymond Leppard cond.

English Chamber Orchestra and Edita Gruberova. CLASSICAL ORCHESTRA RECORDING: "Amadeus," Neville Mariner cond. Academy of St. Martin-in-the-Fields; "Berlioz: Symphonie Fanlastlque, Op. 14," Claudio Abbado cond.

Chicago Symphony Orchestra; "Gould: Burchfield Gallery and Apple Waltzes," Morton Gould cond. American Symphony Orchestra; "Mahler: Symphony No. 4 in Maior," Sir Georg Soltl cond. Chicago Symphony Orchestra; "Prokofiev: Symphony No. Sin Flat, Op.

100," Leonard Slalkincond. St. Louis Symphony; "Schubert: Symphony No. 9 in Maior ('The Great')," James Levine cond. Chicago Symphony Orchestra.

OPERA RECORDING: "Bizet: Carmen," Lorin Maazel cond. Orcheslre National de France and Choeurs et Maitrise de Radio France; "Britten: The Turn of the Screw," Sir Colin Davis cond. Members of Royal Opera House Orchestra, Covent Garden; "Jana-cek: Jenufa," Sir Charles Mackerras cond. Vienna Philharmonic; "Mozart: Don Giovanni," Bernard Hai-tlnk cond. London Philharmonic Orchestra; "Verdi: Ernani," Riccardo Mulli cond.

Coro Orchestra del Teatro alia Scala. CLASSICAL PERFORMANCE-INSTRUMENTAL SOLOIST OR SOLOISTS (WITH ORCHESTRA): "Beethoven: The 5 Piano Concertos," Alfred Brendel; "Brahms: Piano Concerto No. 1 In Minor," Emanuel Ax; "Rodrigo: Concierto de Araniuez Invocation and Dance Three Spanish Pieces (Music of Spain, Vol. 8)," Julian Bream; "Wienlawski: Violin Concerto No. 2 In Minor, Op.

22 Saint-Saens: Violin Concerto No. 3 in Minor, Op. 61," Itzhak Perlman; "Wynton Marsalis-Edita Gruberova Handel, Purcell, Torelli, Fasch, Molter," Wynton Marsalis. CLASSICAL PERFORMANCE-INSTRUMENTAL SOLOIST OR SOLOISTS (WITHOUT ORCHESTRA): "Bach: The Unaccompanied Cello Suites" Yo-Yo Ma; "Beethoven: Piano Sonata No. 29 in Flat Maior, Op.

104 ('Hammerklavier')," Emil Gilels; "Music of Spain, Vol. 7, 'A Celebration of Andres Segovia'," Julian Bream; "Schubert: Piano Sonata in Flat Maior, D. 960," Alicia de Larrocha; Strauss: Glenn Gould Plays Strauss (Sonata; Five Pieces, Op. 3)," Glenn Gould. CHAMBER MUSIC PERFORMANCE: "Beethoven: The Late String Quartets," Juilliard String Quartet; "Brahms: Piano Quintet in Minor, Op.

34," The' Cleveland Quartet with Emanuel Ax; "Brahms: The String Quartets In and Guarneri Quartet with Pinchas Zukerman; "Corea: Lyric Suite for Sextet," Chick Corea, Gary Burton, Ikwhan Bae, Carol Shlve, Karen Dreyfus, Fred Sherry; "Mozart: Violin Sonatas, K. 301, 302, 303, 304," Itzhak Perlman and Daniel Barenboim. CLASSICAL VOCAL SOLOIST: "Brahms: Songs of Brahms," Hakan Hakegard and Kathleen Battle; "Mahler: Symphony No. 2 In Minor ('Resurrection')," Jessye Norman; "Mahler: Symphony No. 4 in Minor (4th Movement)," Klrl Te Kanawa; "Mahler's Songs of Youth," Dame Janet Baker; "Ravel: Songs of Maurice Ravel," Jessye Norman, Jose Van Dam, Heather Harper.

NEW CLASSICAL COMPOSITION: "Antony and Cleopatra," Samuel Barber, composer; "Apple Waltzes," Morton Gould, composer; "Magabunda (Four Poems of Agueda Plzzaro)," Joseph Schwanlner, composer; "The Perfect Stranger," Frank Zappa, composer; "Winter Cantata," Vincent Persichetti, composer. CLASSICAL PRODUCER OF THE YEAR: Steven Epstein, Marc Auborl and Joanna Nickrenz, Jav David Saks, Robert E. Woods, Thomas Z. Shepard. SONG: "Caribbean Queen (No More Love On The Run)," Keith Diamond, Billy Ocean; "Dancing In the Streets," Bill Wolfer, Dean Pilchford; "The Glamorous Life," Sheila "I Feel For You," Prince; "Yah Mo There," James Ingram, Michael McDonald, Rod Temperton.

Quincy Jones. JAZZ FUSION VOCAL OR INSTRUMENTAL: "Access All Areas," Spyro Gyra; "Backstreet," David Sanborn; "Decoy," Miles Davis; "First Circle," Pal Metheny Group; "Wishful Thinking," Earl Klugh. FEMALE COUNTRY VOCAL: "Heart Over Mind," Anne Murray; "In My Dreams," Emmylou Harris; "The Sound of Goodby," Crystal Gavle; "Tennessee Homesick Blues," Dolly Parlon; "Your Heart's Not In II." Janie Frlcke. MALE COUNTRY VOCAL: "All My Rowdy Friends Are Coming Over Tonight," Hank Williams, "City of New Orleans," Willie Nelson; "Country Boy," Ricky Skaggs; "God Bless the USA," Lee Greenwood; "That's The Way Love Goes," Merle Haggard. GROUP COUNTRY VOCAL: "As Time Goes By," Willie Nelson and Julio Iglesias; "If You're Gonna Play In Texas (You Golta Have a Fiddle In the Band)," Alabama; "Mama He's Crazy," The Judds; "Nobody Loves Me Like You Do," Anne Murray and Dave Loggins; "To Me," Barbara Mandrell and Lee Greenwood.

COUNTRY INSTRUMENTAL: "Cotton-eyed Joe," Carlton Moody and The Moody Brothers; "East Tennessee Christmas," Chet Atkins; "Move It On Over," The Whites; "Twin Sisters," Doc Merle Watson; "Wheel Hoss," Ricky Skaggs. COUNTRY SONG: "All My Rowdy Friends Are Coming Over Tonight," Hank Williams, "City of New Orleans," Steve Goodman; "Faithless Love," John David Souther; "God Bless the USA," Lee Greenwood; "Mama He's Crazy," Kenny O'Dell. BEST GOSPEL PERFORMANCE, FEMALE: "Angels," Amy Grant; "Heart and Soul," Kathy Troccoll; "Look Who Loves You Now," Michele Pillar; "Songs from the Heart," Sandl Pattl; "Surrender," Debby Boone. BEST GOSPEL PERFORMANCE, MALE: "Celebrate Freedom," Phil Driscoll; "I'm Walkin'," Bob Bailey; "J.E.S.U.S.," Leon Patillo; "Meltdown," Steve Taylor; "Michael W. Smith 2," Michael W.

Smith. BEST GOSPEL PERFORMANCE BY A DUO OR GROUP WITH VOCAL: "Keep the Flame Burning," Debby Boone and Phil Driscoll; "Live Forever," Mylon LeFevre and Broken Heart; "Love's not a Feeling," Steve Camp and Michele Pillar; "New Point of View," The New Gaither Vocal Band; "Not of this World," Pelra. BEST SOUL GOSPEL PERFORMANCE, FEMALE: "The Impossible Dream," Albertina Walker; "Jesus, Come Lay Your Head on Me," Kristle Edwards; "Oh, It is Jesus," Tata Vega; "Sailin'," Shirley Caesar; "Unmistakably Danniebelle," Danniebelle Hall BEST SOUL GOSPEL PERFORMANCE, MALE: "Always Remember," Andrae Crouch; "Sanctuary," Jessy Dixon; "The Prayer," Rev. James Cleveland; "Trust In God," Al Green; "Willing," Mel Carter. BEST SOUL GOSPEL PERFORMANCE BY A DUO OR GROUP: "Angels will be Singing," Edwin Hawkins; "He'll Turn Your Scars Into Stars," Clark Sisters; "Lord Lift Us Up," BeBe and CeCe Wlnans; "Psalms," Richard Smallwood Singers; "Sallln' on the Sea of Your Love," Shirley Caesar and Al Green.

JAZZ VOCAL: "An Evening at Charlie's," Mel Torme; "Harlem Butterfly," Lorez Alexandria; "Nothln' But the Blues," Joe Williams; "Rldin' High," Sue Raney; "You're Lookln' at Me," Carmen McRae. SOLO JAZZ House Flowers," Wynton Marsalis; "Ira Sullivan Does It All," Ira Sullivan: "Live at Fat Tuesday's," Pepper Adams and Kenny Wheeler; "Quietly There," Zool Sims; "Thelonlca," Tommy Flanagan. GROUP JAZZ INSTRUMENTAL: "Dameronla: Look Slop Listen," Philly Joe Jones; "New York Scene," Art Blakey and The Jazz Messengers; "Piper at the Gates of Dawn," Phil Woods and Chris Swansen; "Two for the Blues," Frank Foster and Frank Wess; "Whose Woods Are These? "Clare Fischer. BIG JBAND JAZZ INSTRUMENTAL: "88 Basle Basie and His Orchestra; "Magic Time, the Bob Florence Limited Edition; "Mlster-loso," the Carla Bley Band; "Ten Gallon Shuffle," Toshlko Akiyoshl Jazi Orchestra; "World Class," Woody Herman Big Band. i 1 1 4: GRAMMY, from Page 1C in the Grammys could be considered a slight disappointment, particularly since the single "When Doves Cry," Billboard's top-selling single of the year, received no nominations.

THE NOMINATIONS were made by a committee of the National Academy of Recording Arts and Sciences, a national organization of music industry moguls whose 6,000 members will vote on the winners. The biggest individual winner at this year's ceremony could be non-performer David Foster, a California-based producer, arranger and writer who's worked with Chicago, Toto and the Tubes. Foster was nominated for six Grammys, including best producer for "Chicago 17," a category in which he will compete against Prince, Richie, Michael Omartian and the team of Robert John (Mutt) Lange the Cars. Foster was also nominated in the song of the year category for co-composing Chicago's "Hard Habit to Break." A pair of non-musical personalities also received Grammy nominations this year, the Rev. Jesse Jackson in the non-musical recording category for his speech at the Democratic National Convention last July, and "Doones-bury" cartoonist Garry Trudeau in the cast show album category for his Broadway revue based on the strip.

TRUMPETER Wynton Marsalis repeated the impressive feat of being nominated in both classical and jazz categories. Jazz keyboardist Chick Corea and avant-garde pop artist Frank Zappa were also nominated in classical categories. The country music categories honored a broad group of artist, with only Willie Nelson, Lee Greenwood, Anne Murray, Ricky Skaggs and Hank Williams Jr. receiving multiple nominations. This year's ceremony will mark the CUNT EASTWOOD BURT REYNOLDS i "CITY HEAT" Also Staring JANE ALEXANDER IRENE CARA RIP TORN RICHARD ROUNDTREE TONY LO BIANCO am MADELINE KAHN Produced tiy FRITZ MANES 1 by iNNI NltHAUS StorvDy SAM 0 BROWN ScteerdayDySAM 0 BROWN and JOSEPH STINSON edt RICHARD BENJAMIN i uve uui iu uu nun inia iumibh MALE POP VOCAL PERFORMANCE: "Against All Odds (Take A Look Al Me Now)," Phil Collins; "Footloose," Kenny Loggins; "Hello," Lionel Richie; "I Just Called To Say I Love You," Stevle Wonder; "Missing You," John Waile.

GROUP POP VOCAL: "Drive," The Cars; "Hard Habit To Break," Chicago; "Jump (For My Love)," The Pointer Sisters; "Owner of the Lonely Heart," Yes; "Wake Me Up Before You Go-Go," Wham! POP INSTRUMENTAL: "Ghostbusters." Ray Parker "I Just Called To Say I Love You," Stevle Wonder; "Jump (For My Love)," Steve Mitchell, Richard Perry, Howie Rice; "The Natural," Randy Newman; "Nlghtsongs." Earl Klugh. FEMALE ROCK VOCAL: "Better Be Good To Me," Tina Turner; "Dancin' On The Edge," Lite Ford; "Here She Comes," Bonnie Tyler; "Rock It Out," Pia Zadora; "WOW," Wendy O. Williams. MALE ROCK VOCAL "Blue Jean," David Bowie; "Dancing In The Dark," Bruce Springsteen; "Pink Houses," John Cougar Mellencamp; "Rebel Yell," Billy Idol; "Restless." Elton John GROUP ROCK VOCAL: "Genesis," Genesis; "Heartbeat City," The Cars; "Jump," Van Halen; "90125," Yes; "Purple Rain," Prince and the Revolu- "n'ROCK INSTRUMENTAL: "Cinema," Yes; "Do- nut City," Edward Van Halen; "Second Home by the Sea," Genesis; "Vibramatlc," Lionel Hampton; "Voodoo Chile (Slight Return)," Stevle Ray Vaughan and DoublTrouWe.4BvocAL:,,FeeForYou,,cha Khan; "Let The Music Play," Shannon; "Let's Hear it For the Boy," Denlece Williams; "Let's Stay Together," Tina Turner; "Paltl Austin," Pattl Austin. MALE RB VOCAL: "Caribbean Queen (No More Love On The Run)," Billy Ocean; "Don't Stop," Jeffrey Osborne; "In The Name of Love," Bill Withers; "It's Your Night," James Ingram; "The Woman In Red, RM VOCAL: "Dancing In The Sheets," Shalamar; "Edgartown Groove," Kashif end Al Jar-reau; "The Last Time I Made Love," Joyce Kennedy, Jeffrey Osborne; "Tell Me I'm Not Dreamln' (Too Good To Be True)," Jermjine Jackson with Michael Jackson; "Yah Mo There," James Ingram, Michael MCDRb1nSTRUMENTAL: "Ghetto Blaster," Crusaders; "Inside Moves," Grover Washington, "Shortberrv Slrawcake," Sheila "Sound-System," Herbie Hancock; "Time Exposure," Stanley Clarke, HELD OVER ire 7:20 9:20 7:15 9:15 11:10 1:00 7:40 9:3011:15 i mm irCTir 7:20 9:20 7:15 9:15 1:00 7:30 9:35 11:35 7.20 9:15 1:50 3:50 5:50 7 55 9:50 1:15 3:15 5:15 7:30 9:45 TTT 1:30 7:30 9:40 11:45 7:20 9:20 1:00 7:40 9:50 11 50 tr A A J- m.

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