12—The Daily Collegian Wednesday, Nov. 6, 1985
arts
Charles to sing on campus
By PAT GRANDJEAN
Collegian Arts Writer
The only genius in the business.
Frank Sinatra on Ray Charles
Einstein he was a genius. Not me
Ray Charles on himself.
Ray Charles will celebrate his 40th
anniversary in the music business
next year. Despite his modesty, he is
credited by many for the invention of
"soul music" that improvisational
blend of gospel music intensity, coun
try and blues-style narrative and jazz
arrangement that first turned up in
"Mess Around" (1953) and sold a
million records for the +scandalous
"What'd I Say" in 1959. Local audi
ences will most likely hear these and
many other classics in a University
Concert Committee-sponsored con
cert event (featuring the Raelettes,
Charles' longtime backup singers) at
8 p.m. on Nov. 20 in Eisenhower
Auditorium.
Charles enjoyed his greatest popu
larity in the 1950 s and '6os, but his
reputation among his peers and fol
lowers has barely diminished since
that time. His cover of "Yesterday"
in the the late 1960 s was a major thrill
for composer Paul McCartney, who
had spent his own early career with
the Beatles singing Charles songs like
"What'd I Say" and "I Got A Wom
an" to the bar flies in Hamburg,
Germany. Bruce Springsteen had a
tribute of his own to give upon witnes
sing Charles' arrival at the "We Are
The World" recording sessions at the
beginning of this year: "I don't be
lieve it. That's like the Statue of
Liberty walking in."
His career history reads like a 40's
movie script. He began playing piano
before the age of 5. Though an un
treated case of glaucoma left him
blind the following year, Charles
went on to study music composition in
Braille and had learned to play alto
saxophone, clarinet, trumpet and or
gan by the time he was 15. Beginning
his professional- career at the age of
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At 8 p.m. on Nov. 20 Ray Charles will bring his trendsetting music and the
Raelettes, his backup singers, to Eisenhower Auditorium.
16, he hit a few roadblocks: He spent
the first few years as a Seattle lounge
singer and soon began a 20 year
heroin addiction (which ended with a
well-publicized bust and sanatorium
stay in 1965).
Subsequent work as pianist and
arranger in New Orleans for blues
artist Guitar Slim had a major im
pact on Charles' development of his
own band a'id his characteristic,
earthy singing style. The mixture of
his inventive musical mixture with
his raw, exuberant vocals made "I've
Got A Woman" his first big hit on the
R & B charts in 1955. It wasn't until
the next year that he hit his stride
with "Hallelujah I Love Her So," the
ultimate marriage of gospel and gut
ter. "What'd Say," which sounds
like an actual church service at its
climax, brought him to the attention
of a White audience and earned him a
major contract with ABC Records.
On this label, he had number one
pop hits with Hoagy Carmichael's
"Georgia on My Mind" and "Hit the
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mark Modetn Sounds in Country and
Western Music album, which
spawned pop/country classics "I
Can't Stop Loving You," "You Don't
Know , Me" and "Take These Chains
From My Heart." Since that time he
has worked mainly in the pop/coun
try idiom, most of his song arrange
ments built around angelic choirs and
strings.
Recent events suggest that Charles
still retains much of his power as a
singer. It's his vocals and presence
that catapult the recording of "We
Are The World" out of the realm of
stiff school recital and into the realm
of emotional, shared artistic experi
ence. Though he's had his share of
critical detractors of late, he hasn't
let them affect his approach to his
art. "Every experience I've had
good and bad has taught me some
thing," he once said. " . . . All of it
was like going to school and I've
tried to be a good student. I don't
regret a damn thing."
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=Collegian
Penn State's morning newspaper
University Readers:
Show has problems but gets crowd involved
By MARIA SAWKA
Collegian Arts Writer
You've got to pay your dues, if
you want to sing the blues. Dr.
Smith, professor of bluesology.
In the University Readers' Birth of
the Blues last Saturday night, a Dr.
Smith gave a formal presentation
on the blues.
concert review
Meanwhile the other performers
presented a musical history of the
blues in their unique style. Carry
ing their scripts around the empty
stage, they spoke and sang lyrics
from classic blues tunes.
In the script Dr. Smith, played by
Neil Leftwich (senior psycholo
gy), tries his best to explain the
blues in scholarly fashion. Left
wich was much too un-stuffed as
the stuffed shirt. He was helped out
in his explanations by Alcide Clay
ton ( junior division of under
graduate studies) as the character
"Slow Drag" a man who not only
knows the blues but lives them.
Clayton tried to be cool and hip, but
he kept stumbling over his lines
despite the fact he had the script
right in front of him.
During the show, which was also
performed on Friday and Sunday,
Dr. Smith and Slow Drag talked
about the blues the ideas, the
style and the emotions. Each facet
they discussed was highlighted by
a musical performance, spoken or
sung by the four featured Readers
(Ken Bolding, Jean Zeppi, Eric
Homan and Suzanne'Wolfe).
The "proper" Dr. Smith turned
cool in the second act and began to,
get a real feel for the blues. Smith
(111 1
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FOR HIM AND HER
learned that the blues is a way of
talking about life and a way to
make it through life's hard times.
He also learned to like Slow Drag's
booze. At certain moments in the
show, Leftwich would grab Clay
ton's flask and pretend to drink
from it, but it was painfully obvious
that he was faking it. The least he
could have done was attempt to
make it realistic. ,
Finally, after draining Slow
Drag's bottle dry, Dr. Smith "does
the blues" for the first time by
performing.
Throughout, Dr. Smith's presen
tation was constantly interrupted
by Slow Drag, who would insert his
own ideas on the subject. Each idea
they talked about was followed by a
musical performance. The format
worked well up to the second act
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essential and always free. IR
Because
Calder Square II
when the performance began to
move more quickly and the ideas
got jumbled up.
Backing up the Readers musical
ly were Arthur Goldstein on piano,
J. Jerome Zolten on acoustic and
steel guitar and Richard Sleigh on
harmonica and guitar. The best
moments were when this trio
played alone, without the benefit of
the Readers.
The two-hour performance gave
the history and a lot of examples of
the blues. The Readers tried to
bring the audience into the parfor
mance as much as possible by
making eye contact and speaking
directly to the viewers and it
worked. The audience snapped
their fingers, clapped their hands
and stomped their feet.
Set" Confined
100% cotton
ich crew $6O
ich legs $56
, blue
ja6ria,
Kane Gang leads Top 20
The following records make up
WPSU's Top 20 for the week end
ing Nov. 6. Tonight at 8 p.m., 91.1
FM will present the Top 20 Count
down.
1. "Gun Law" Kane Gang
2. "25th Pill" 28th Day
3. "Cruiser Creek" The Fall
4. "Don't Run Wild" Del Fue
gos
5. "Faron" PreFab Sprout
6. "Can't Get Enough of You,
Baby Color Field •
7. "Hate Paper Doll"
Du
8. "Return to the
House" Fleshtones
9. "I'll Be Around"
This
10. "Strength" Alarm
11. "Piece of Your Love"
Untouchables
12. "Drinking and Driving"
Black Flag
13. "Hell's Home"
Voltaire
14. "How to be a Zillionaire
ABC
15. "Forget the Swan"
saur
Vienna Orchestra visits
At 8 p.m. this Sunday in Eisenhow- their Vienna or world premiere with
er Auditorium, the Artists Series, them. Among these pieces are Schon-
Center for the Performing Arts will berg's Gurrelieder, and Ravel's Con
present one of Europe's most distin- certo for the Left Hand. •
guished performing groups the Sawallisch, one of the world's lead-
Vienna Symphony Orchestra under ing conductors, made his Vienna de
the direction of Wolfgang Sawallisch. but with this orchestra and went on to
The group will perform works by become its principal conductor. He
Mozart, Brahms and Strauss. has also been the principal conductor
Thd Vienna Symphony Orchestra of the Hamburg Philharmonic and
was founded in 1900 by conductor the Orchestre de la Suisse Romande
Ferdinand Lowe. Since 1913 the group and is the honorary conductor of
has performed in the Vienna Konzer- Tokyo's NKH and Rome's Santa Ceci
thaus under a number of different lia Symphonies. He is presently the
directors. One of the most distin- Music Director of the Bavarian State
guishing facts about this group is that Opera in Munich• and regularly con
over 900 musical works have received ducts operas and orchestras all over
The Pennsylvania State University
LABOR STUDIES CLUB PRESENTS:
A Month of International Labor Relations
Featuring: Central America, Japan, and Australia
*NOVEMBER 6 Miguel Cifuentes, International Representative of CNUS, the Labor Umbrella
Organization representing the 3 major Labor Federations of Central America
"The Current Labor Situation: Military takeover of Union Headquarters"
7:30 pm in 158 Willard
NOVEMBER 13 Dpn Kennedy, Prof. of Labor Studies at PSU_
"My Trip into the World of Japanese Labor Relation's"
7:30 pm in 307 Boucke
NOVEMBER 20 Brahm Dabscheck, Prof. of Industrial Relations at The University of New South
Wales, Australia
"Recent Corporatist Developments in Australian Industrial Relations"
7:30 pm., in 307 Boucke
Refreshments will be served RllB
Husker
Haunted
What Is
The Del Fuegos
16. "The Baby Screams"
Cure
17. "Grimly Fiendish"
Cabaret Damned , ,
18. "99 Red Balloons"
Seconds
19. "Big Man" Electric Peace
Dino-
20. "Underground"
••
~1'
$
The
The
Seven
Kafir
Princess tops
this week's
Jam 10 list
The following records compose
WPSU's Jam top 10. The list is com
piled by call-in votes and requests
taken all week.
1. "Say I'm Your Number One"
Princess
2. "You Ain't Fresh"
Boys
3. "Alice, I Want You For Me"
Full Force
4. "Krush Groovin' "
Groove All-Stars
5. "Object Of My Desire"
point
6. "Love Bizarre" Sheila E
7. "I'm Leaving Baby"
Funk Shun
8. "You Are My Lady"
Jackson
9. "The Show" Doug E. Fresh
10. "Never Look To Love" Cam
eo
campus
the world
This 90 member symphony orches
tra will be performing three pieces:
Mozart's Symphony no. 41 in C major,
Brahm's Tragic Overture and
Strauss' tone poem Ein Heldenleben,
Op. 40. Jan Pospichal will have a
violin solo during the piece by
Strauss.
"Both the orchestra and the con
ductor have an affinity for the music
they are playing," said Richard Mar
tin, manager of programming for the
Artists Series. "It promises to be a
very satisfying concert."
—by Jennifer Edwards
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