The daily collegian. (University Park, Pa.) 1940-current, August 27, 1986, Image 18

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    34—The Daily Collegian Wednesday, Aug. 27, 1986
'Chronicles' reaffirms
Game Theory's album raises the
By JEFF BLISS
Collegian Arts Writer
THE MOST SURREALISTIC EX
PERIENCE OF MY LIFE: I'm
.watching reruns of a German music
show from the 19605, Beat Club, on a
friend's black and white TV at 2 a.m.
Tonight's groups are ' Joe Cocker,
Blue Cheer and The Small Faces.
Sixties pop: sitting here, I remember
how I turned on the Monkees when I
was 3 years old and went to the
"Yellow Submarine" to see if the
Beatles would save Pepperland from
the Blue Meanies and Snapping Tur
tle Turks. Very safe and sane mem
ories, I think.
And then Joe Cocker begins singing
"With a Little Help From My
Friends." The epileptic delivery I
expect, but Cocker is matted badly
onto this background of nude women
who stream by as if seen through the
bubbles of a lava lamp, and the Small
Faces . . . pixie smiles spin across
the set with huge guitars, while Blue
Cheer plays "Summertime Blues"
suspended in air against a madras
background. Christ, what happened
to vintage pop while the rest of us
moved on?
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This question is the essence of
Game Theory, and leader Scott Mill
er, who is credited with the song
writing, guitar and "miserable
whine" on the band's new releaSe The
Big Shot Chronicles, knows it very
well. On a previous single, "She'll be
a Verb," classic bubbly melody lines
were fused together like a Beatles,
Byrds or R.E.M. song; such loving
care is taken with the obvious influ
ences that you appreciate the music
for simply reaffirming everything
that's right about pop. It's one of the
most important reasons for liking
Game Theory, because any band with
good taste is worth saving from
obscurity.
But just as you settle into the
catchy hooks, Miller and the three
other Californians that make up the
group keyboardist Shelley LaFre
niere, drummer Gil Ray and bassist
Suzi Ziegler screw up the formula.
"She'll be a Verb" is pleasantly pre
dictable until you realize Ray is try
ing to get about 20 different sounds
into his drum fills, which are as
quirky as those nude women passing
behind Joe Cocker. Of course the
title's strange, and you can see what
Miller means when he sings, "What's
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copies
worth
this all about?"
That's what makes pop music so
damn interesting: it's so codified that
a little change in tradition is apoca
lyptic.
Now, if you go out and buy Big Shot
Chronicles so that you can hear a
revolution, you'll probably be disap
pointed the first time you listen. And
the second time. And the third time.
But:keep putting it on as soon as
the record is over, flip it back to side
one and begin again. Do this about 10
times, until every song has become a
ritual, and suddenly, amid all the
R.E.M. guitar inflections, the
Beatles-style hipness and the Byrd
sian trebly lilt, everything will get
hallucinogenic.
For example: on the first song,
"Here it is Tomorrow," nothing
seems that different. It has a big
beat, and the album's producer Mitch
Easter still seems fascinated with the
cymbal distortion he created on
R.E.M.'s Murmur, which is fine
but safe. Granted, the guitars and
keyboards combine in a weird fuzz,
and Miller's high pitched singing
makes you feel like you're on nitrous
oxide, but "Here it is Tomorrow"
isn't that far from the mainstream.
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110
of musical groups with good taste
what became of vintage pop?
question:
By "Where You Going Northern,"
you figure that if you've got a decent
falsetto you can sing along with Mill
er. "I've Tried Subtlety" has a syn
thesizer part that buzzes in your ear
like a mosquito, and Miller sweetly
whines on "Book of Millionaires":
Taking love as a cause
Siamese cat ancestral twitch
in the jaws
I'm not quick to act
Held to the ground
Under the weight of the facts
What. the hell's happening here?
you think and don't really recover
when you hear the last song, "Like A
Girl Jesus," which sounds like Led
Zeppelin's early acoustic work, or
Crosby, Stills and Nash or standard
folk, but .. . well, not quite.
Not everything works, and some
times Big Shot Chronicles is in peril
of being a hack work rather than a
fresh look at pop cliches. The organ
part on "Crash Into June", obviously
borrowed from Dire Strait's "Walk of
Life," is a little contrived .
No doubt this band will also suffer
from comparisons they've made in
evitable; that's okay, though good
pop musicians always live danger
ously.
Includes
10
FREE
Game Theory, a band that experiments with pop formulas, may sometimes
sound like a mixture of the Beatles, the Byrds and R.E.M. Listening to some of
their songs may prompt listeners to ask, "What the hell's happening here?"
Songs such as "Like a Girl Jesus," "She'll be a Verb" and "I've Tried Subtlety"
are part of the group's bizarre repertoire. One must listen to Big Time Chronicles
a few times to fully appreciate the band.
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The Daily Collegian ‘Vednesday, Aug
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