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-entertainm Band rnr.l By John Vaughan The Swimming Pool Q's roared bad afteri an absence, rocking Russell a pair of interesting and talented banc music hot spot. Despite the growing reputation W - |^M|BHMH| ^J t? -.'.K-r -----^-- -'Mm fir I? Bob Elsey's lead guitar provides mui contrast in the Swimming Poo! Q's mi Singer fails Bv Hftckv Burnnttn Kier Irmiter, a young singer who f musical impressionist, performed considerate crowd of about 150 at t niflht mO"? Irmiter, who bills himself only standing ovation after a Thursday n Spur, but the crowd in the campus b; unappreciative and rude. Kier, a native of Clemson, S.C., ; fan," passed up a voice scholarship . 1 1 f _ A t classical music 10 pursue nis musi Greensboro, N.C., Kier plays up an accompanying himself on acoustic gi THE HIGHLIGHT of his perforn "imnprsnnatp" nfhpr miisir?innc hv musical sound. He has a repertoire eluding original material. Kier opened his first set Friday w Taylor's "Carolina in My Mind" ai "Liisien to tne Music.'7 He played ea> talent, relating many old favorites to Musician ii By Brian McHenry Peter Gabriel's investigation ol continues on his latest album, "Sect listenable album of Gabriel's aim fo through sound and rhvthm "Fourth-world" music is a term u combination of primal, ethnic sour keyboards. "Security," with its cl synthesizers, fits that definition well I have always been a fan of Gabri premier rock vocalist today. His although weak as a whole, did contai It was his third album, however, th the forefront. THE UNIQUE sound of that albi "fourth-world" fusion of prim* technology keyboards. Also, the produced an open, airy sound. It \ . experiments with "fourth-world" m "Security" follows the lead of th framework of "Security" consists UU1CI eiciiiciiw aic auucu. *nc m panding interests in diverse ethnic this effort. Indeed, he has even included son he worked on the WOMAD (Worli ent cs Ballr spa des k into Columbia Friday iev House Ballroom witn hov Is from the South's new for T of Athens, Ga. as a the whi 'V,;:v'*;y . ' dm ev aHHHj Ric the A Bal fori Am fun 1 "R. cro Banc the F cep rap feci pop anc F pro mo : ~ , H isr Photo by Andy LavaBey1 j :h of the melodic usic. dif i 'nmiii > iu mipi i accents his abilities as a JJJj before a highly in ne uoicien spur F riday ^ as "Kier," received a J ight performance at the ~ ar Friday was generally r and a devout "fllemson soi and a possible future in M< cal love. Now based in 1 id down the East coast, im ritar and piano. clc To nances is his ability to 1 closely imitating their ye ! of about 150 songs, in- Sp di> ith tunes such as James im id the Doobie Brothers' ch song with pride in his tes the audience. be ivestigati f "fourth-world" music irity," and the result in a r spiritual enlightenment ? sed to describe Gabriel's ids with high technology lants, pipes, drums and el, and I believe he is the I first two solo albums, I in glimmers of brilliance, tat brought his talents to um was achieved by the I il rhythms and high I ? absence of cymbals vas the beginning of his I iisic. g at last album; the basic of rhythms upon which /v/ n-II jiucuwe ui \oraunci s ex sounds are apparent on ne musicians with whom d Of Music And Dance) SK? "AHmw," page 8 ' * nnm in hett iwning ground for ..talent, (the B52's, Pylon ;pite the diverse sound and despite the sheei el" of the opening pair of Love Tractor ai vever, the concert was powered by the expl mance of the Atlanta-based Q's. 'he Q's riveting and exciting delivery fairly sen band is at its best ever ? and that's better th at's going on anywhere on the music scene. HTH THE addition of bass guitarist J.E. Gi unmer Billy Burton, the Q's are tighter rhythm r oetore. ui course, tne musical skill c tarist/vocalist Jeff Calder, vocalist/keyboan ihmond Boston and lead guitarist Bob Elsey is r band's anneal jid that appeal is great ? or should be. F lroom was only one-third full, yet the Q's g< mance fhat overflowed with musical accessibUi iprien ? thic ic lurir-al Hnnronhlo licfonaMn / 'he Q's opened Friday with a driving roc] estless Youth." The song, which kicks off side up's 1981 LP, "The Deep End," immediately i dynamism of the duo on bass guitar and drum I Burton provided an urgency the tune never i studio. torn this beginning, the group tossed out gei itual diversity. The Q's rambled through "Stocl iiuwl intn fho funlr d\t "OKnuf Chiff " mumkl/u -pvvi 1A1W VA1V AVA11LTK VI kJAAWA V UtUll , IllUHlUi^X ted nonchalance with the bluesy "Overhe; >ped into raw fun with "Big Fat Tractor," "B 1 "Rat Bait." 'UN IS NOT a neglected concept with the Q's, \* vided by Calder's lyrics or Boston's consi( nies. The most pleasant sounds in the band': tally stem from the embellishment of Boston's h ess sweet, but just as effective, are Calder anc ividual waitings. Both deliver a vocal defianc roots of their music. neers greeted tne Dana's renditions of "Little r ingray," a somewhat familiar pair of danceat jased on a single this year. Calder's intense dc nic stage antics made the latter a concert highli Calder said the group has recorded a demo taj ne response from record companies, so a f( he Deep End" may be in the works. One must nore than about time for the Q's to be heard nati FRIDAY'S CONCERT also showcased the mui ictor and Oh-OK, two very different groups rereni aims. ress' rude croi Midway through his first set, Kier mentioi dience he once lived in Boston and detested : 1 ? 11. >> i* ;ic wcic suiuc icauy wenu peupie mere, w ; city, he wrote a song entitled "Say Goodbye I e crowd gave little response to the song. tier tried to hold the crowd's attention with i ige rapport, constantly making jokes at rolina. Even his humor was not enough Friday, rHE SECOND set seemed to mellow th< mewhat, especially when Kier played "Fe )rris Albert. L?ater in the concert, the singer showed the audi personate Bruce Springsteen. KeeDinc his mc ?ed as he sang, Kier delivered a greafrenditic Run." Kier said he wanted to be an impressionist sine ars old. He said his favorite artists to impel rings teen, the Beatles and Billy Joel. He said h /erse repertiore, though, to expose the enti iperssionistic abilities. rhe young singer has recently released a debu >t marketing in the Carolinas; if it does well, the released nationally. ? J ?L..j us suuiiu, inyi album review mm hr aBSWg8B?BHa -Hk p^Mfcf iBi Peter Gabriel has released his best album to di vork on Security." er form t > r.e.m.), wmtmmsam "interest id Oh-OK, osive per- B _ samed that an most Of ; 'Vv-x 11 i amett and icany man >f rhythm n list Anne effected in L Z^Jr j riday, the == ave a perity. listen, , ,* M ..7 artful and '. :Wm^&m?rnleer railed I /- ; two of the wmS?0S showcased I, s; Gamett j^HpP^S attained in 4 W SSI ms of con- fPL WL. ' i Car Sin," : Ik | i some af- ?J ited" and men. r>ug g 'hcthcr it's jeff Calder's witty lyr lered har- n. , 5 material ^Os style. armonies. Love Tractor is a foi 1 Boston in clean, slick and enjoy e that hits music critic as "rollin' i MarK <jnne, Micnaei J Misfit" and Wellford each have a s >le rockers knowledge of how thei (livery and exceedingly good music ght. Oh-OK is almost the that won guitar from Lvnda Sti )llow-up to Pierce and vocals from hope so; it Oh-OK walked on staj onally. a discouraging sight f< member of a band less sic of Love light yet sincere attitiu with very stage presence, works a ancentanraMin and rinwi n/d 'Amadeuj led to the excellent it. He said lien he left By Pamela S. Shaw to Boston." ? ou ** ? m Peter Shaffer's Tony , bantering sta8ed at The Town "? o" presentation of the US< however"' Performance, the brill why the play has b? j audience critics alike. elings" by "Amadeus" focusej between composers Ai ence how to Mozart, a bitter rivalr >uth almost topic, but the play's c >n of "Born essential: how ambitio destroy even tne most < e he was 10 The play is presenter donate are with most of the action e stresses a playwright Shaffer ("I rety of his SALIERI HAS long t album for I" "Amadeus," the S; i album will wished to relate his \ years. "I'll call it 'The a mischievous smile," , Salieri proceeded t f n m confidants, back to w L11111 whom Salieri introdu would associate with ? boor who took more j< music. The moment Salieri the decline of Salieri tY Before Mozart's arr to compose for the g Mozart's music coup] personality caused Sal and, indeed, his medio AS ACT I progresse a man's religion and ii was praise God, but h< desire to compose wit end, his frustration ha The feeling of inade Salieri it was still a c embodied in Mozart, < he soon felt his empi Salieri had lost his de? only: to cause the dest Salieri's jealousy w intense desire to sho^ over him. "For what |OB| lessons?'' Salieri criec Salieri entered Act mind, causing the au( lie with his piay-within-a-play, "fl : w : w h Viif - "*' Y "I/:"".'. >I*MP : - - -_ - - ] | <* rnoio oy Aimy uvancy ics and vocal intensity characterize j*-man instrumental band sporting a able sound, aptly described by one more than rockinV' Richmond, Kit Swartz and Armistead f?*Anrf Kiif lilfirirt f/\nnU nnrl u U115 uui miiug luutu aim luaaici ltu r instruments should sound. This is : for just driving down the road, opposite, a trio utilizing only bass pe, sure-handed drums from David Linda Hopper. ?e to face an almost empty Ballroom, m* any musician, especially a young ; than two years old. But the group's ie, expressed by Hopper's whimsical as the key to the group's fast-growing n the East coast. >' cast stages production Award-winning play "Amadeus" was ship Thursday night as a special 2 Cultural Series. In its only Columbia liant touring company demonstrated sn highly praised by audiences and 3 on the 18th-century relationship itonio Salieri and Wolfgang Amadeus y tnat lasted 10 years. An interesting entral theme is more fascinating and n, mediocrity and disillusionment can Jedicated of men. d entirely from Salieri's point of view, i contained in the flashbacks for which Squus") is known. been rumored as Mozart's murderer, alieri character told the audience he version of what happened in those 10 ?Death of Mozart.' Or," he added with How I Did It." ;o take the audience members, his hen he first met Mozart. The Mozart ced was not the honorable man one such genius, but rather a lascivious >y in life's sensual aspects than in his i first heard Mozart's music signaled le human being. ival he was happy, virtuous and eager greater glory of God. The beauty of led with the young man's repugnant !if?ri to hpoin nnoctinnina V?ic mim vaa w \juvuviviiiug llktj VTTH UAldlV crity. d, the audience witnessed the decay of nspiration. All Salieri had wanted to do 3 now felt he was made mute, given the ti the inability to do it well. By the act's d reached manic oronortions quacy may be a universal one, but for levastating blow. He had pure genius, jangled before him, taunting him, and :iness as "Adam felt his nakedness." iire to write and was left with one wish ruction of Mozart. ent far deeper than rivalry ; it was an n God was wrong for picking Mozart : use is man if not to teach God His i at one point. II with his evil goal foremost in his jience iu rememoer me suDlitle oi his [owlDid It." See "AifMutotft," page 9