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The Studio, Where the Tracks Were Com- Bined to Produce the Duet. the Resulting Sounds, at Times Suggestive of George

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The Studio, Where the Tracks Were Com- Bined to Produce the Duet. the Resulting Sounds, at Times Suggestive of George PAGE 6 The Tech TUESDAY. AP'RIL'5, 1983 l · RM l Random record rou ndup "Ha" Killing Joke Live, on Editions EG Joke has to rely on its own rather spare Records. sound in a live situation. In lieu of treated vocals, Jaz tries to impart a raspy gurgle Killing Joke's 1981 debutrshowed it to to his -singing, but he inevitably fails to be a clever synthesis of punk sensibilities, maintain the sound and falls back on his heavy metal attack, and electronics laden Johnny Rotten-esque British accent. 3-1 gloom. It alsd' showed the group to be The live mix renders the band's limited somewhat derivative, although no direct sonic palette to the point where the pro- influences could be cited. The release of ceedings sound monochromatic, with gui- this six-song live EP finally. makes clear tars and synthesizers melding into a wall who is influencing whom: Killing Joke is of undiscernable noise. little more than a Public Image Ltd. clone. "Hia" is the work of a band that has Stripped of all the production and Teu- never lived up to its initial potential. The tonic sheen imparted by producer Konrad joke was never funny; now it's time for a Plank (also Kraftwerk's producer), Killing mercy killing. The Man From Utopia, Frank Zappa on the studio, where the tracks were com- Barking Pumpkin Records. bined to produce the duet. The resulting Frank Zappa's 35th - that's right, 35th sounds, at times suggestive of George Ben- - album finds him sinking deeper into the son on acid, are the only truly humorous morass of scatology and bad taste he's moments on the album, amusing despite been creating since the dissolution of the the ridiculous lyrics. Mothers of Invention. His once scathing Elsewhere in Utopia we find Zappa dis- social commentary has been supplanted by coursing on cocaine abuse ("Cocaine Deci- his desire to rub our noses in our own cul- sions"), bad science fiction movies ('The tural refuse, with less than satisfactory re- Radio is Broken"), labor unions ("Stick sults. Together"), and sex ("Sex") with his usual When Zappa amuses it's because his tar- misanthropic cynicism, taking swipes gets are mere caricatures: The Disco Boy, we've all heard before at easy targets. The the Dancin' Fool, and the Valley Girl were three short instrumentals provide little re- the subjects of jokes long before Zappa lief, serving only to remind us of the pau- joined in the derision. Whenl he tackles city of Zappa's compositional ideas. larger issues, however, Zappa falls flat on I feel obliged to mention, even at the his face, as is evidenced by The Man From risk of being accused of nitpicking, how m Utopia, a desultory collection of half- little music - less than 37 minutes I baked ideas and weak instrumentals. there is on The Man From Utopia or any w As is the case with other Zappa albums, other Zappa release since 1977. I know Utopia incorporates, one new idea and he's out to make a buck, but he also de- - _-pl ·-h - -C- -- I works it to death; in this case the idea is cries record industry tactics. Heav'e--aivdi' the guitar-voice duet in botha "The Dan- knows there's enough Zappa materiaF-in" Beat Surrender, the amn on Polydor Re- gerous Kitchen" and "The Jazz Discharge the vaults to make another 35 records, so ~6d. Party Hats." Both tracks are based on live why is he spreading it so thin? Why "Understand kiddiwinks, that there are performances in which Zappa sang lyrics doesn't he just shut up and play his guitar? times, undoubtedly, when it's a kick to be to a simple accompaniment. Guitarist For the answers to these and more ques- alive .. 9 Thus spake Paul Weller, guiding Steve Vai transcribed Zappa's singing and tions, wait for the next Zappa manifesto, 'light of the Jam, in the notes for his band's The M~an Who Sold the World. final single. After one listen you'll under- reproduced the melody note for note in I stand that the Jam had a real kick record- i. ing this EP, a double single. "Beat Surren- Z! der" is in the running for the best song the band ever made, and "Shopping" is their ARTS ARTS second best B side (after "Dreams of Chil- dren"). What makes this EP such a delight, however, is the second side's trio of rhythm and blues classics, a set of lovingly rendered homages to the Jam's influences. ARTS ARTS Curtis Mayfield's "Move On Up" and Barrett Strong's "War" take on a new life, I . MOVEUNUP The King of Comedy. original soundtrack dy" - are, unfortunately, the only two fueled by the Jam's boundless energy and i. l I, STONEDOM OFMY M.jNA produced by Robbie Robertson, on Warner flops. In a way it's Robertson's own fault: heartfelt playing. * t\ _ ~~~~SHOPPING Brothers Records. How could he expect his song to stand up it's always sad when a band dissolves at &W-- i ETSURiENDfB t E *V bb WAR The King of Comedy soundtrack is a rar- to the Pretenders' "Back on the Chain its creative peak, but the Jam have pro- ity in the record business: a cohesive film Gang" or Van Morrison's "Wonderful Re- vided us with a fitting farewell, and a re- under the banner of the beat surrender score that is also a collection of singles. mark"? minder: 'i... only when coffee and milk brothers and sisters, it's then you make What further distinguishes this compila- There's something for everybody on this are mixed do they both become delicious your mind up." tion is the unavailability of these singles soundtrack, be it the new wave contribu- elsewhere. Producer Robbie Robertson, tions of the Talking Heads ("Swamp") and former writer/guitarist/vocalist for The Ric Ocasek ("Steal the Night"), the blues Band, has compiled 10 songs from the of B. B. King and Ray Charles, or the outtake bins of various recording artists cocktail jazz of David Sanborn. If you're a and ordered them into what could serve as fan of any of these artists, you'll want this a greatest hits colection. record. After all, you won't find these The only two tunes written specifically songs anywhere else. for the fillm Robertson's own "Between It's nearly impossible to detect any of Trains" and Bob James' "King of Come- this music in the movie. Beeswax: Some B-Sides 1977-1982 and Beeswax proves XTC renders the distic- Waxworks: Some Singles 1977-1982, XTC tions "A-side" and "1B-side" meaningless. rues lo''S' irzz1rr"c ' As /I **f& rf. I- Every one of these tunes coulU ue a blit, es- XTC have done it again: The initial pecially 'Smokeless Zone," "Punch and pressing of Beeswax comes with a "free" Judy," and "Heavenn is Paved-with Broken copy of Waxwvorks, making this double re- Glass." What these discs collectively prove cord compilation the finest of the genre. is XTC's prowess as pop sorngwriters. Waxworks contains a representative sample Taken together. Waxworks and Beeswax of XTC's hit singles spanning their whole serve as a concise retrospective of XTC's career. If you've bought the recent reissues career, displaying the band's prodigious of the band's first three albums, Waxworks maturity in five short years. Essential lis- becomes essential, being the only record- tening in every respect, this compilation ing on which you'll find h"Making Plans charts XTC's progress as they draw ever for Nigel" (released only as a single) and closer to the great art-pop mean. '"Science Friction" (originally released on a David Shaw four-song EP)..
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