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Entertaini Jon By JOHN At last. The long-awaited Jones has finally arrived. Em brings with it more of the strc made her debut album of t\ acclaimed success. The music on the new recor the songs are a bit slower ai self-titled first album. Aftei music, "Pirates" offers a ref commerciality of all the top 44 me first song, "We Belong King, a city sailor in charg "crosstown seas/' who loses better days. "LIVING IT UP" continue three members of the "Grei Lee describes as a collection to put together their broken li Eddie and Louie sit on the stc here to do anymore," and Zer J- ?t _ ri 1 i i urcs?s aiier ilaving Deen Deal to rebuild their lives, refus anything but "living it up." The next song, "Skeletons, man taking his pregnant wi pulled over by the cops (". beams"). As the man reaches is going for a gun, and they si melody combines with the inr the album's strongest tracks. Side one ends with "Woody Peking," a tribute to the o melody and blaring saxaphoi Memphis-Stax Volt-Fifties mi Side two opens with the ti begins with a jazzy, uptemj turns moody and reflective "my buddy boys, my sad-eye again at the end, though, giv will turn out all right. "A LUCKY GUY" is a sli loaded with wistful irony as t but in the end calls herself Hnilhllocclu incnirml Kmr Inn* MwwwMVtJUtJ tuppii VU UJ UUIU boyfriend Tom Waits. Traces of the Western Slop best melody. Aimu By DAVID BAKER The amazing movie summer of 1981 continues to become more amazing. Almost without exception, the waves of big-budget movies we're subjected to during times of peak box office activity are borne out of an ocean of mediocrity. We've so far thriled to the special effects of "Raiders of the Lost Ark" and ." <*' S. & ; : Cleavon Little, James I nent ICS, J I BAKTUS second album by Rickie Lee titled "Pirates," the new album ?t characters and imagery that vo years ago such a critically d is better than ever; in general nd more reflective than on her * an otherwise dismal 1981 in reshing change from the excess ) clones. Together," is about Johnny the [e of his "rooftop docks" and ; his lover and now yearns for s the album with a story about it Diconnected," which Rickie of runaways and hobos striving ves. The characters are losers ; >op all day, but "there's nothing I . ttLl 1- 1 ? ? v wains uy 111 a oiacK ana Diue ten by her husband. They strive ring to admit they are doing " is a haunting ballad about a fe to the hospital when he his ..in step a waltz of red moon ? for his wallet, the cops think he loot and kill him. The mournful edible lyrics to make this one of and Dutch on the Slow Train to Id RxB scene. The boDDine - ft & nes are a throwback to the old isic. *uly remarkable title track. It x> arrangement that suddenly as the singer says goodbye to sd Sinatras." The beat picks up ing the feeling that everything ightly more conventional song .he singer laments a lost lover, "a lucky guy." This song was 2 s reiationsnip wiin longtime >es is the album's jazziest and "Dragonslayer," reveled in the romantics of "Superman II," gotten our bi-yearly dose of 007 in "For Your Eyes Only" and split orx collective sides in "Stripes" and Blake Edwards' superlative "S.O.B." Now six more features have opened, or are about to open, and each one has enough merits to make it worth one's while. WALT DISNEY Studio's lifii!? * jBSBHBWW mB tj irolifi, Chick Venera and Bruce I ackson L( The vocal and instrumental arrangements really shine, and the lyrics fuse with the music to form one of Jones' most memorable efforts. It is a song about the road to depression and despair, and the thin thread of light that rescues the singer from the Western Slopes (going off the deep end). KEEPING with the album's theme of reconstruction from despair, "The Returns" closes the album on an optomistic note. The song says there are always things that help one to keep trying even when all seems lost. The lyrics convey the message of renewal: ...but after all,there are such things and these are the things who'll turn vour memories hach intn tire>nma nonirt If I had to choose one of this year's albums to buy, this would be the one. The production and arrangements are superb, and the musical and lyrical quality of the material goes far beyond what I've been able to convey here. Rickie Lee Jones is light-years ahead of any other female artist on the current music scene, as a songwriter, composer, and vocalist. Only Joan Armatrading comes anywhere close. Also, perhaps the best thing about this album is that it make absolutely no attempts at commercialism. It makes the current chart-topping artists like Sheena Easton seem ridiculous. I'm anxiously awaiting future efforts from Rickie Lee .1 nnpc Hor nntontiol conmc litv>Ulnr.o * ~"-'4 4- 1 UUML4J. net punmiui uiuiucas, diiu i can i wan iu near more from this mended mirror of the Great Disconnected. 'miner iriuvi "The Fox and the Hound" is they originally did when both a touching story of love compared with the exquisite and friendship that wasn't background paintings and meant to be and a startlingly lively characters on view in beautiful example of "The Fox and the Hound." animation, as it was meant And, unlike Bakshi, the to be. nf*onlP? nt Hisnm/ knnu; hnui The trash-flash feature- to tell a story. Here, they tell length cartoons that hack it so well that even those who film-makers like Ralph go to the theatre only to see Bakshi have been foisting off the animation techniques on the moviegoing public in are bound to get caught up in the past several years look the surprisingly somber even more amateurish than dramatics. j as ever, is topcast as Arthur ) 1 Bach, the richest and hapIS %s *C" ,Sr i piest drunk in all the world. ,^j HIS ONLY problem in an {K^BJL:. bow to his family's wishes ] PSFF * W | that he marry a Long Island I1 . || debutante (Jill Eikenberry), k j* whom he perceives to be the ~ SIBBSEUUMmm most boring woman ever ! Davison in 'High Risk/ restrained Liza Minelli. C \ "tst f * r By MARK McEWAN "If you're successful and repeat a formula, you're as good as dead. You've gotta keep changing. You gotta keep trying. If you stop, you may as well give up. What I don't want to do is pigeonhole myself." This quote from Joe Jackson is over a year old and was meant to describe his feelings about the just released, Beat Crazy. But it holds true for his recent album, Jumpin' Jive. And how! This album consists of '40s jazz tunes, very different for this popular poprocker. While his fans may be taken back by the music it is a very enjoyable record. '40s jazz is thought to resemble Frank Sinatra, Glenn Miller, Benny Goodman, etc. Not here. Most of the material is from Louis Jordan, King of the Jukeboxes, and a few are from Cab Calloway. They were considered amusing performers first and musicians second. With the fine renditions here they are shown to be pop artists with a dancing beat. The vitality comes through even though oc tm WvH The relationships Arthur has with the women in his life (there's also a happy hooker and a greedy grandmother for him to contend with) are fine and funny, but the most interesting relationship is that of Arthur and his butler, UnK^/\n ( T/\Km iiuuouii vuuiui uici^uu;. The banter between Moore and Gielgud, who is certain Ifr-, " ^ .y. The Fox and the Hound' i 20th animated feature. eat the songs are 40 years old. Definitely not sappy lyrics. This should partly be attributed to Joe Jackson's affection for the songs to the point of presenting a contemporary sound. The songs do not sound dated. The song titles alone are very amusing. Is You Is Or r _ t/ a > ? jif z uu /tin 1 jwy aaoy, ttve Guys Named Moe, You Run vour Mouth (And I'll Run My Business), What's The Use Of Getting Sober (When You're Gonna Get Drunk Again) have some fine jive lyrics. This is jive in the '40s sense of sly humor not in the present day sense of bulls**t. Jackson just plays vibes and sings. He has someone else, Nick Weldon, playing the piano. This is a wise . decision because Jackson's cocktail-non stvlp wmilH Kp incongruous. The whole band is strong Graham Maby on bass is the only holdover from The Joe Jackson Band. Everyone else is a London studio musician. The horn section is the strongest here. Raul Olivera on trumpet, Pete Thomas on alto sax, and Dave Bitelli on tenor sax and clarinet, take turns shining. They blow it out or cool it down when the situation arises. Each one has suberb tone. With vivid arrangements and alot of gusto Jumpin' Jive is best of all an album to dance to. So reap this righteous riff, bop, bop. They, the cats shall hep ya. itinue nomination lor ms performance, is what makes "Arthur" work so well. Gordon should be heartily thanked for bringing their incredible talents together in what is one of the funniest movies of this, or any other year. ALSO QUITE humorous, and very unexpectedly so, is "High Risk," which should , ? " . - 4 * y:sv.s pe?1, nssis Walt Disney Production's