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Meet Maggie, Terre and Suzzy Roche Ibe Rocbes

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Meet Maggie, Terre and Suzzy Roche Ibe Rocbes JTUESDAY, -MAY t, 1979 THE TECH - PAGE 5 .u_ I- I1 l - - - Meet Maggie, Terre and Suzzy Roche Ibe Rocbes. Warner Biroters BSK 3298. also manage to convey a message. The sonlg By David Shaw works on two le-vels: on~the surface it is a We are Maggie and Terre and Suzzy song of flight (If you go down to H~am- Maggies and Terre and Suzzy Roche mnondl You'll never comwe back), but after a we don't give out our ages- few listens it also becomes a colloquy and we donut give ouR our phoe nwbrs- -between parent (In Gus oplinibn you're on the giVe out our phone numers wrong track) and child (fiWhy don't yoa~ce. sometimnes our voices-give out the factlyou old upstart/We fall apart). Cat but rnot outr-ages and-our phone numbers Stevens' classic "Father and Son" pates in This is the -opening verse of ""We,"9 an comparison to "NHaminond Song." offeat autobiography that, should tell you - ir.-Sellack"' is Ter'res, plea to her old everything you want to know about an employer, asking to have her old-job again. amzazing trio of sisters that call themselves its moderate, chunky rhythm makes, it (you guessed it) The Roches. For want of a reminiscent of some Aztec Two-9tep tunes, better classification, they could be called a Out "Sellack'9 is delivered with a lighter folk/coffeehouse type group, but this feel. ""Damned Old Dog" is a thinly veiled 'talentts triumvirate is already redefining anti-male' chauvinist'statement in a the genre. The standard I love nature/X peculiar, draggy blues style; more of an a love life/l love you fluff that has plagued cappella rendition. with ail almost non- most folk artists is totally foreiga to the existent accompaniment. Side one closes Roche sisters'; instead, they sing of train with "'The Troubles,"e a light, lilting tune rides, trips to Ireland, chauvinism and with an Irish folk feel (complete with Irish feminism -songs of innocence and ex- accents affected by. the singers) that serves perience. I as a showcase ,fr thze sister's guitar playing. "We" opens the album on a slightly silly -Side two isn't quite as- memorable as the note; sprightly singing atnd witty lyrics, first side, yet it does have its. moments. mnake the tune very'enjoyable. (it has also "Thre Train" starts things off in a silly vein - been receiving some local airplay.)-. The- (again); this time the silliness is Suzzy sing- mood changes to seriousness inl the next ing about the unpleasant experience of hav- to an exceedingly fat, beer- number, "Hammond Song,7' the album's ing to sit next Left to right: Suzt, Maggie and T erre KDcne. minor masterpiec. Miaggie's alto, Suzy's drinking man on a very hot, stuffy train. tittion is limited'to the sisters' guitar play- mezzosoprano and Terre's soprano com- ""The Married Men" is their version of the thesizer and percussion give- one the in n ad! but two songs: the aforemen- to form three-part harmonies that sug- ballad of the Other Woman that represents impression of listening to a whole bine `~Quitting Time" and a very gest 'a whole -choir, resolving chords -in the view of all the persons involved. ""Pret- orchestra, with the girls' voices acting as tioned charalcteristic Fripp electric guitar solo in ways that surprise the listener used to stan- ty and High" uses whimsical circus and the solo instruments. "Hammond Song." After hearing the dard folk harmonies. Their voices are exc- fairy tale metaphors to create a mordant The album is produced by veteran genius the album one couldn't imagine Maggie, Terre ceptionally clear and sharp with no parable about social masks arnd sexual Robert Fripp, which might seemn lo be and Suzzy accompanied by anyone but vibrato, which lends them a deceptive paranoia. And if you want to know what greatest mismaatch possible when one the Roches would sound like with some recalls F~ripp's progressive tendencies, yet themselves, and rightly so -the Roches simplicity. are one the few new acts that deserve to "'Hammond Song" the sisters display backing instrumentations listen to "Quit- the Roches' style lends itself perfectly to his or In on their own prodigious talents. their range anid power perfectly, and they ting Time" -the addition of bass, syn- current minimalist trends. The instrumen- get by Mya Ncune, II I . is1, ,, a. tr utnph' for* Rudolph' * I; venien'tly happens to be at the con-struction star- With the help of cinematographzer rips up Perkins' garden. She makes several ****~Remembeir My Name, mirably. site the day he is fired. He takes her out for Takei Fujimoto, the actionl takes place in a annoying phone calls to his home. Emily ring Geraldine Chaplin, Berry Berenson, a drink or two in one of the funniest scenes and Je~f hazy, golden California. The editing is throws a brick, through Nleil's window. Anthony Perkins, Moses Gunn in the film. The ending.doesn't bear reveal- Goldbluin; produced by Robert Altman, langorou~s; slow pans and long tracking These events cause Barbara, Neil's cur- music shots abound. This works well in contrast. rent wife (Berry Berenson), to become ner- ing. written and directed by Alan Rudolph. Perkins makes Neil's dilemma quite Nickloe- with the tension or the screenplay. vous. In a beautifully played scene, her by Alberta Hfunter. Playing at the believalble. He is torn be'tween Emily's Emily (Geraldine Chaplin) provides parents ask her if her marriage is in trouble deont Theatre through May 10. perversity and Barbara's cozy domesticity. most- of this tension. She becomes obsessed right after Neil calls to say that he will be By Claudi Peff In the end, though, the choice is. not his. Remember My N~ame is a reprieve of with her ex-husband Neil '(Anthony three hours later than he expected. Barbara' doing so she begins a cam- is o~ne of those people who has lived her en- It's Emily's. sorts for director Alan Rudolph. His first Perkins). Ulpar. of the interesting sidelights of . of harassment that leads tire life to have ai happy marriage. She isn't One film, Welcome to LA, was an uneven effort paign insane Remember May Namve is the appearance of to her arrest. about to admit that she doesn't know if her that received mixed reviews. Remetrber-My ultimately Jeff Gioldblulm aIs Mr. Nud, the pathetic makes Emtily a believable, marriage passes the test. Namve should vindicate Rudolph with the Chaplin- manager of the discount store where Emily From the way she puts out a At one point Emily breaks into Neil's critics and the public as well. forceful kook. works. Nud's mother is in prison and has Rudolph to the manner in which she carries house and confronts Barbara. Emily A Robert Altman protege, cigarette promised jobs to all her friends at her son's creates a subdued California mood ad:- herself youl know that she Is disturbed. She calsually explains how she and' Neil met while Barbgra holds her at knifepoint. The store. Emlily's interaction with Nud and the that the resolution of this scene is one of the most other employees is a light touch satisfying moments inl the film movie needs. the film has ..Emily has sexually manipulated Pike Ailbertsa Hunter's score for L onthetauI echoes and -- -e - -- (Mo)ses Gunn), the superintendent in her been receiving wide acclaim. It Joseph D. Everingham,, will be perform ed She MoPlvies building, into getting her room fixed uip for contralsts the screen action perfectly. Thursday through Saturday, May 3,4 & 5; Los A Hard Day's Night, the MidNite Neii's eventual arrival. Pike helps her wil- alos( sings the title track as Emily enters Movie, Saturday in the-Sala. and Friday and Saturday, May I I & 12 in Angeles to begin her search for Neil. Theatre. All performances lingly until he realizes that he's being used. This week's LSC lineup: Kresge Little doesn't care. All she The combination of acting, music and will begin at 8pmn. Tickets are $3 (opening- O~f course, Emily Saturday Night Fever, Fri., 7 & l0, %wantsis Neil pacing are what makes Remember My night $2.50) and may be purchased at the Kresge. 'When Emnily is arrested for breaking NaJIme a memorable film.. Rudolph details door or in Lobby 10. For reservations call you The Seventh Seal (Classic), Fri., 7:30, 10- Neil's window, more of the story unfolds. the atmosphere so relentlessly that 253-4720. action as 250. Neil persuades Barbara to drop the can't do anything but believe the Simokey sand the Bandit, Sat., 7 & 9:30, telling her that Emily is: 13 his ex- it unfolds. Music charges, no sur- 26-100. wife and 2) a convicted murderess. This is This isn't to say that there are The MIT -Chrmt Society (John Oliver, The ending Casno Royale, Sun., 6:30 & 9:30, 10-250.l the first Barbara has heard of thlis. Neil as- prises in Remlembler My N~ame. conductor) presents Beethoven's Mi~ssa One of the sures her that it was an accident and askes is one and there are others. Theatre Soleomni~s Sunday, May 6 at Sacred Hleart of Alan if he can talks to Emily. Barbara is largest of them is the revelation MIXT Dramashop, presents Henrik Church, East Cambridge; tickets $6, $4 & Barbara this film furious but agrees. Rudolph's directing talent.
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