The gamecock. (Columbia, S.C.) 1908-2006, November 22, 1982, Page 8, Image 8
-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
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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