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O Ice So Gs? Jamie Lewis What Is Uncommon Is the Way They Poser

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O Ice So Gs? Jamie Lewis What Is Uncommon Is the Way They Poser 8-8. SIGNAL T......,.~ 3.1ta a o ice So gS? Jamie Lewis What is uncommon is the way they poser. from Corelli to RechrMninov. expr .. It. Lyrically the Ip i. full of Gary lameD Signal Staff Wnter den. Salieri'. symphonies ere r.. 11y.infoni .. queltiona rMny ... an answer to. But Signal Staff Writer or .xt.nded concert overtur .. , like Lucio People who buy recorda aoIely for Theatre of Hate has rMneged to expr ... Silla or Symphony 32 of Moz8rt. This "fun" .nd "entertainment" won't lIuthe their dilutilfection mu"'ly .. well. Von Weber: CI.rinet Ouintet, Op. reviewer found the symphonies majestic new Theatre of Hate record, Wutworld. Their rneIUD8 _me to be more moods 34/Dahl: ConcertoA 1re/Doug/a.: Cele- but non-memorable except .. "lCho- People looking for lOInething to think and f.lings rather then concretedidecti- brationll larly" pieces. The Varietions, on the other about will. cism. With the .bI.help of producer Mick 1a6lli hand, reveal an orchestral diversity and Westworld is Theatr. of Hete'. ~ (of the Clesh), Theatr. Of Hat. ha. RCA ARL 1-4328 ingenuity that i. quite real; moreov.r, second .Ibum. 80th ar. unevail.bIe carefully constructed a sound that is just Th. Richard Stoltzman-Ida these ar. the only .uch orchestr.1 v.ria- domestically, but any local import shop •• effective ... ny lyric. Kavafian-Fred Sh.rry combination tiona in the 19th c.ntury to precede worth Its vinyl should stock them. Jones' mix pieces Kirk Br.ndon'. known a. ,•• hi off .... us thr .. compell- Brahm •. Th. theme, long f.miliar to fan. One glence at the cover tells you this choir-quality voice deep in the web of ing clerinet-enHmbl. works, of which of Liszt'. S/Mni611Rha~ody. i. giv.n a is no party record. The bend's name, sound wh.r. Its r.str.ined pow.r the Bill Dougl.. Celebration II wa. espe- gr.nd tour of compositional procedures, .mblazoned above the pictur. of. prole- creates • tenMon that runs throughout ci.lly writt.n for StoltzrMn in 197B. Th. all of which Zolten Petko, the LSO, and tarian figur., and the name of the record the record. Just .bove Brandon'. voice Weber Quintet i. no I... avirtuoso show- the CBS .ngin ..... reproduce with glow- Itse" indicet. this bend has. lot mor. on .r. Johnlbov Lennerd'. cI.rinet .nd sax- piece, having been writt.n for Heinrich ing det.i1. Its mind than entertaining. ophone riffs that replace keyboards in .n Beermann around 1812. h isafine .xam- Mahler: Symphony No. 2 in C Minor Theatr. of Hat.'. view of Western eerie way. pie of m.lodic, color.tura writing for the "Resurrection" society i. not a pretty one. They give the cl.rinet, certainly limong Weber's f.vor- Klaus Tenmtedt. conducting listener a uniquely European view from But It's the rhythm. cr.ated bv Luk. it. instruments. String writing has some London Philharmonic Orche.tra, down under (end I don't mean Australia). R.ndle·. incessant percuuion, Bran- unexpected polyphony and some haunt- with Edith Mathi. (.oprano) and Dori. "Love Is a Ghost .. is a despairing song of don'. spa,.. guitar riffs, and Stan ing textur •. Th. Ingolf Dahl Concerto i. a SoHel (mezzo-.oprano) lost love, "The Klen" questions raci.m Stammers pounding .... that drive this jazzy, perky bit of post-Stravinsky (1947) Angel DSB-3916 (2 disc., Digital) and "Fre." is a dialogue with .11that i. record inexorably. The r.soIute sounds which shows off the performer.' versatil- Whil. ..M.hlerit.... mey look to considered "normal" in society. pu.h each track to the limit of tension. ity in rhythmic and diglt.1 fI.xibility. It .ith.r of the Leonerd Bernst.in recorded Their sense of di.iIIusionment i. One can almost hear the bend members sounds lik. a happy arr.ngement of a treatments of this Toten'ei., (Funeral- never uncle.r. 8econds into the first side grit their teeth as they control the power scene or two from L'Hi.,oire du So/dat. Rite.) sympbony, or to Kubelik, SoIti, or the Iist.ner i. challenged when the .in- behind .ach song. Celebration II might have .. rved a. music Haitink, this reviewer still thinks "th. kid ger asks, "do you believe in the west- Theatr. of Hat.'. subject matter i. for the film Walleabout, with Its penta- to beat" i. Stokowlki'. immenH, patho- worldr' Economic despair and political not surf; beat and pop. Their frustration tonic scales, Its "primitiv." modal fea- logical account .on RCA (ARL2-0862). uneasiness have many Europeans asking with the world is apparent in every cut. tur.. , its jazz and African rhythm •. Only B Tennstedt i. not nearly so nervou.1y themselv .. that same question, soThea- People with the .ame feelings will be minutes long, it i. accessibl., jaunty, spi- intense, but hi. tr.atment is persua.ive, tr. of Hate's di.cont.nt is not glad to know there are othe ... out th.r. as rited, and bear. r.hearing. Tashi and deliberate, taut, .nd controlled through- uncommon. desperate as themHlves. guest artists fly through all the.. and the out. In the lyrical movements there is a RCA sonics are unobtrusive and lif.-lik •. calm and maturity reminiscent of Bruno Salieri: Orche.tr.1 Work. Walter. Everywhare there is the longing London Symphony Orche"r. for grace h.mpered by the demands of Zoh.n Pesko, conductor the flesh, a musical equival.nt for which Robert Plant Takes His Turn CBSM37229 was best communicated by that occa- Ahhough the Broadway play Am.- sional Mahler interpreter, Eduard Van Gary Held drumming of Cozy Powell is eerily like daus may tend to perpetuate certain neg- 8einum. Orchestral responsiv.ness by Signal Staff Writer John Bonham's, .pecially on "Slow ative myths about Antonio Salieri, he was the London Philharmonic is brilli.nt, Dancer." While Phil Collin. shares drum- in fact the Italian leader of Vienne .. mus- clear, loving. The two vocal soloists are in If there was one Ip so far this year ming duti.s, his songs all have a more ical lif. from 1776-1800, .inc. he was excell.nt voice, and the "atmosphere" of that has aroused at le.st a little bit of syncopated feel, in contra.t to Powell'. Kap"IImei.ter to the court of Emperor une.rthly deliv.rance hov.rs tangibly curiosity, then Robert PI. nt's Picture•• t beshings. Powell is a logical replacement JOHPh II. This dilC, the labor of editor before u.. Angel sonica are conspicu- Eleven would have to be it. With all the for Bonham. Pag.'. growing fascination Pietro Spada, includes two symphonies, ously quiet, the musicians notably "pres- inceuant (and very tiring) rumor. con- with .ynth .. iz.... was demonstrated on ent." In short, the T.nnstedt cycle of the "La Scuola De'Gelosi" and "II Giorno cerning the future of the nucleus of Led In Through the Out Door, Plant .Isotands complet. M.hler Symphonies finds in Onomastico," as well as the "La Follia" Zeppelin, one had to wonder when Plant to use agreat de.1 of synth on Picture. at Variations baaed on the Portugese folk No.2 another admirable addition to acrit- would get around to releasing an Ip. Eleven, .pecially on "Slow Dancer. "In a song which provided inspiretion to com- ically acclaimad conception. Jimmy Page's sojourn into movie sound- way, It isash.me to see that Plant's best tracks was adisaster, soitwa. with some cut, "Slow Dancer" is a direct copy of Minimum Wage Rockers relief to find out that Picture. at Eleven "Kashmir," right on down to the mid- was a regular Ip. For those hoping to pos- e.stern melody lines. Plant'. vocals are sibly hear something new from Mr. Plant, strong on this cut, with Plant also bar- Serve Second Course rest assured that this is something that rowing phrasings from "Nobody's Fault Plant is not doing. Indeed, Pictures.t But Mine." The other strong cut. also Dwight James band'. second r.le.s. will be judged a little harsher in lieu of the debut record. Eleven is very much a Led Zeppelin Ip, bear re.. mblance to past Zeppelin Signal Staff Writer Americ.n Worker is a good album, yet sort of In Through the Out Door, part two. efforts, especially from th.last Ip. "All of Busboys some of the spark of the first seem. to be All that is milling are some of the exces- My Love" from the last Zep Ip indirectly Americ.n Worker missing. I really don't know why, either, sive guitar meanderings of Jimmy Page. influences two or three cuts here. Ari.,. becau.. th.re are some excell.nt songs Still, Page'. influences, though subtle, While a slight lack of originality is a produced by Pete Solley here. There are no complaints with side are all ov.r the new Plant record. problem, Picture. at Eleven still remains Th.r. were probably a great many one. Ev.ry song is good, without being Th. alleged guitarist on Picture•• t the freshest thing to come from Swan peopl. wondering if the Busboys were too flashy. Yet nothing stands out like Eleven is on. "Robbie Blunt," heretofore Song Inc.• ince Physical GraHitti.1t is sort ever going to put out a second album. "There Goes the N.ighborhood" or unknown as • musician. The theories er. of nice to hear Plant'. casual cockiness Th.ir first Ip, Minimum WalJtlRod .nd . "Minimum Wage" or .ven "KKK." The endless a. to who this Robbi. Blunt actu- on songs like "Burning Down On.
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