The gamecock. (Columbia, S.C.) 1908-2006, September 09, 1983, Page 11, Image 11
Modern rock
m -
innovative so
By Mike Miller
Many people believe the electric guitar
opened the door to acceptance and popularity
for rock and roll music.
This may not be entirely true, but there is
no denying that ever since Bill Haley's
4 Rock Around the Clock" and Chuck
Berry's duckwalk, the electric guitar has been
the front man's instrument in rock bands.
Guitar heros are placed on pedestals in
every rock generation. Jimi Hendrix during
the '60s; Duane Allman, Jeff Beck and Jimmy
Page during the '70s; and now a changing
of the guard for the '80s with Andy Summers,
Tom Verlaine and Mark Knopfler all
vying for the crown.
But a skinny, quizzical looking fellow
from Cincinnati, who has been described as a
rock guitarist from the future, has boldly
asserted himself.
ADRIAN BELEW was in Nashville, playing
in a lounge band called Sweetheart in
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what he heard and offered Belew a job in his
band.
Since the stint with Zappa, Belew has appeared
on albums by David Bowie, Garland
Jeffries and Talking Heads. He is an integral
member of King Crimson and has just released
his second solo album, "Twang Bar
King."
He evokes squawks, car wrecks,
ricocheting bullets and all his favorite animal
sounds ? rhinos, seagulls, and jungle insects
? from his beloved 1957. Fender
Stratocaster by employing his "magic
fingers" and a batch of high-tech gadgets.
TRYING TO explain how Belew uses
Mangers, compressors and graphic equalizers
to create these remarkable pounds is
pointless. It's pure talent and a personal relationship
he shares with his guitar that makes
Belew the most innovative guitarist on the
scene.
"Twang Bar King" is a musical grab bag
of diverse styles and aspirations, with
something different being plucked from the
bag with each listening. The high-pitched,
sustained note hovering constantly over the
final measures in "Another Time," the complex
pattern of the rhythm guitar in "I
Wonder," or the joyous obsession with the
tremolo bar on the title track are but a few of
the delights on this record.
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High tech guitarist
Adrian Belew plays on several popular albuir
Bowie, Garland Jeffries and Talking Heads am
ed his second solo, "Twang Bar King."
The wild and woolly version of the
Beatles tune, "I'm Down," is an electrifying
update of the Mersey sound. A
37-second computerized conversation
with a "Sexy Rhino" gives way to
Belew's self-appointed role of "Twang
Bar King": "rip bash smash burn up a
fret/I can keep it in tune and nearly
beat it to death/That's why they call
me the twang bar king."
"She Is Not Dead" is an arresting,
esoteric number inspired by the enduring
beauty of women. A type of
transcendental Indian chant, it uses
tabla-sounding percussion and sitar
like guitars to create a feeling of
reverence and devotion.
"THE RAIL Song" is an anthemic
eulogy to the disappearing romance of
the railroads, and "Ballet for a Blue
Whale" features Belew as solo instrumental
artist on roland guitar synthesizer
and acoustic guitar.
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vocals are perfectly matched with the
hyperkinetic rampage of music, and
the band ? all old chums from Cincy
? are equal to the warp-speed task.
Christy Bley plays piano and contributes
good-time vocals to "Fish
Head," a humorous Zappa-influenced
tune. William Janssen's saxophone
playing switches from fusion honks
and hisses in the instrumental, "Paint
the Road," to a soulful styling in the
close of "Fish Head." Larrie Londin'i
drumming and J. Clifton Mayhugh'i
bass playing never lag behind and ar<
never overexerted.
This album should be a major stej
in the career of Belew, earning hin
more critical and commercial recogni
tion. It is an improvement over las
year's "The Lone Rhino," which se
the standard for avant-grade guita
piaying ai inc nine.
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Medical book
^ Lewis Thomas is the j^watch
In the late 1930s Thomas was ?
ispptHospitai, making extra it
blood transfusions. He knew he
and the advent of antibiotics, the
neurology and pathology, the d
and sera.
As author, Thomas thanks n
father to the physicians and nut
ambitions and interests. He met
biage, which is not for any re
manages to come across with thi
in his earlier works "The Liv<
Medusa and the Snail." He ma
compilation of essays that tell o,
He tells the story of medk
"youngest science/* despite the
Galen and Harvey. He is quick t
profession, but sounds disencha
has received.
Dunlap. Continued from
THE first story in the
film, will be announced when tl
all rights have been cleared, c
said Dunlap.
"The Half-pint Flask" is
the second story and was r
written by Dubose Heyward B
in the '30s. The third story , tc
"Neighbors," was written by
a young black author from e
Charlotte, N.C., Diane f
Oliver, in 1966, he said. c
The documentary
portion of the film will be c
narrated by USC's poet-in- (
residence, James Dickey, ^
Dunlap said.
When the National Endowment
for the Humanities
, was having an open competi;
tion for television projects,
. with the winners receiving
funding for production,
Dunlap wrote a hurried proposal
and a script for a two- 1
hour film in just under twoand-a-half
weeks, he said.
^ Fellowship oi Ch
GETTING ACQUA
MONDAY. SEP1
I ' - _
(Athletes & Coa<
Brief Tes
MEETING PLACE: Fellow
Evangelical Church. This
behind 1727 Pendleton S
USC Parking Lot behind t
A ALL ATHLETES, EX-ATH
I LOVERS ARE WELCOMf
" MONDAY NIGHT GAT
COME ^ ^
| NEED EXTR
A
I y rlasp
I 1620
I 7:30 a.m.
Call for an appointm
I Phone: 254-2
I First-time donors please <
i before 4 o'clock
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a
at medicaT book! "The
edictae Watcher."
i sleepless intern at Boston
toney selling poems and
was in the midst of an era
tkthroughs: sulfanilamide
birth of new fields such as
liscovcry of new vaccines
learly everyone, from his
ses who helped foster his
snders into scientific verier
seeking re>ose, butf
5 same enthusiasm he had
js of a Cell** and "The
intains the same style?a ;
tie story.
:ine, which he calls the ]
centuries of Hippocrates^
o note the nobility of the I
tnted with the criticism it
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i page 10
Dunlap later found out
lat his was one of two
hosen out of 191 aspirants.
Dunlan hired
:tired film director Laslo
enedek,( 'The Wild One,")
) be production advisor.
He is proficient in virtually
very facet of filmmaking
rom editing to directing to
inematography," he said.
S.C. ETV personnel hanlle
every aspect of the proiuction
from scouting sights
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Emerson, to period woodcutting,
Joe Byrne, to direction,
Dunlap said.
Dunlap is full of praise for
the filming crew. Without
dedicated people like Terry
Pound, the production
manager and Peter Anderson,
executive producer, this
film would not be possible,
he said.
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ristian Athletes V
INTED MEETING k
f. 12 ? 8 p.m. |
ches To Share a
timonies I
ship room of Columbia *
is in the brick building A
t. - which is next to the I
he B.A. Bldg. V
LETES, AND SPUH I b ft
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HERINGS. ? Y'ALL "
a money? I
ia'center i
i
Gervais St. 1
lon.-Fri. a
5:30 p.m. 1
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