Page Four
Team supporters
If Behrend’s winning record is any indication of superior
cheerleading, then the photo below will show why they play the
way they do. Keeping our team on top are, front: Janine Hill,
and from left to right: Diane Polite, Karen George, Kim
DiNicola, Laura Cipriani, Callie Williams, Linda Brown and
Koreen Conley. ' -
Review
Steely Dan,
Heart play
“Straight On”
One of the big “comebacks” of
1978 was the release of the album
Aja by the group Steely Dan. I’m
sure that many of the people who
bought that album (and there are
quite a few of them; the album
was top five) had little if any
previous knowledge of Steely
Dan’s existence. That is great for
them, because ABC just released
Steely Dan’s Greatest Hits, so
they can discover much of the
pre-1978 material without spend
ing a fortune on the older LPs.
Just how is Steely Dan? Before
we go on with the review of the
Greatest Hits LP, perhaps we
should answer this question.
Ah Steely Dan albums are the
product of Walter Becker
(guitarist-bassist-composer) and
Donald Fagen (keyboards-lead
vocalist-composer). These two
men are the nucleus of the band
(if it can be called a band. Walter
Becker has denied that he ac
tually is in a “band.”) The rest of
the personnel are all studio
musicians—mostly jazzmen—
hand picked by Becker, Fagen,
and producer Gary Katz.
Although I could happily go on
forever describing the duo’s her
mitlike lifestyle, we’ll get on with
the review. The first few cuts are
taken from the early seventies,
back when Steely Dan was a
consistent band including
Becker, Fagen, Jim Hodder
(drums), Denny Dias (guitar),
Jeff Baxter (guitar), and later,
Mike McDonald (keyboards).
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(Interesting little sider-note:
Baxter and McDonald are now
Doobie Brothers.) From this time
period, and from the albums
Can’t Buy a Thrill, Pretzel Logic,
and Countdown to Ecstacy, come
songs like “Reelin’ in the Years,”
“Rikki Don’t Lose that Number,”
“Pretzel Logic,” “Any Major
Dude,” and “Bodhivista,” to
name a few.
After this time, the concept of a
band was ditched, and the LPs
Katy Lied, The Royal Scam, and
Aja are all the result of many
talented studio musicians. Songs
representing this period are
“Black Friday, “ “Doctor Wu,"
“Bad Sneakers,” “Kid
Charlemagne,” and of course
“Peg,” and “Josie.” Also on the
album is a previously unreleased
cut entitled “Here at the Western
World.”
The music itself is probably
best described as listenable. It is
a combination of rock and jazz,
with enough whining guitar and
vocals to satisfy the rock fan, and
enough surprise harmony licks to
satisfy the jazz buff. The overall
attention to detail in nearly all
the arrangements is astounding;
every note is in place, and there
are no superfluous instruments.
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For a relaxing evening, it is
probably a very nearly perfect
album.
Heart’s new album Dog and
Butterfly is another winner; I
would have to admit that it’s their
best effort so far. Production
value is super, and many of the
loose-end lyrics have been tied up
with the addition of Susan Ennis
as co-composer.
Drummer Michael Derosier
sets up the excitement in the
opening cut “Code With Fire,”
recorded live in Memphis. It is a
hypnotic, African beat enhanced
by the applause of the crowd.
Guitarists Roger Fischer and
Howard Leese break in with a
mimic drum beat. Then lead
vocalist Ann Wilson explodes into
the scene with bassist Steve
Fossen, as Derosier settles down
into a comfortable but lively
pace. The rest of the song is
action, as Ann coos, teases, and
screams between sister Nancy’s
precise and cool harmonica riffs.
On the opening track on the
second side, we have a contrast:
“Dog and Butterfly,” made with
Nancy’s accoustic guitars. Ann’s
vocals are simultaneously
beautiful, and haunting, and the
entire song seems to float along
as if on a passing breeze.
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The highlight of the album is
the very last track, titled “Mist
ral Wind.” From the opening riff,
an eerie series of single notes
played on the acoustic guitar,
“Mistral Wind” is a nightmare
recorded on tape. It is calm but
strange in the beginning; half
way through, drums (enhanced
with the use of a phase unit) and a
very dirty guitar sound set up
their own eerie riff. The climax
comes as Ann’s vocals are being
drowned out by guitar and bass,
and she screams out the lyrics in
an unsuccessful attept to com
pensate. The effect is incredible.
The guitars and drums, realizing
their victory, immitate the
opening acoustic guitar riff, then
drop out completely, leaving only
the electric piano and acoustic
guitar to fade out by exploring
two strange chords.
Overall, the album is very
good. “Lighter Touch” is
probably the weakest track on
the album, but even this is
salvaged by Howard Leese’s
orchestral arrangement.
“Straight On” is very good, with
punchy vocals and a solid guitar
line. “High Time” has a
refreshing tempo, and is another
showcase for Ann’s incredibly
versatile vocals.
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MANY OTHER MODELS SIMILARLY REDUCED
January 25,1979
Air waves
on campus
WBCR is on the air. Finally,
after many technical difficulties,
including a broken transmitter,
WBCR started broadcasting on
January 6 between 4 and 12 p.m.
It was a good start, and ac
cording to Radio Club president
Dan Hersh, WBCR is here to stay.
Hersh describes the club as
being in a rebuilding process, but
in a short time listeners will be
hearing what they, want —good
music. Until a phone is installed /
in the station’s office you can_J
request anything from music to
public announcements by
stopping at the station (second
floor RUB) and telling the D.J.
what you want. Right now there
are about 20 active members in
the Radio Club, training in such
things as news casting, public
relations, and music program
ming.
WBCR is in a beginning phase.
The Radio Club hopes you will
make it thrive by your listening
support. Remember, “505 on the
A.M. dial.”