The gamecock. (Columbia, S.C.) 1908-2006, December 07, 1984, Page Page 26, Image 26
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JANUARY 30 - FEBRUARY
Pepper. CMtiMMd from p*fl? 25
mayhem machine. The vocals were handled
by Davis and former Bangle Annette
Zilinkas. Drummer Hermann Senac kept the
horse going.
Some of the highpoints of their set were
"Single Girl,*' "Landlord" and "Freight
Train," which had the audience moving.
During the set change, WUSC-FM spon
sorca a emu pepper eating contest with first,
second and third place finishers receiving
album packages.
From the second the Peppers hit the deck,
there was non-stop motion. They opened
with the autobiographical "Out in L.A."
Before long it seemed as if bassist Flea and
singer Anthony Kiedis were locked in a
heated contest to see who could stir the
crowd to the most enthusiasm.
KIEDIS WAS rapping hard and fast while
Flea heat nn his axe. leanpri out wilHIv anH
proceeded to beat up his instrument some
more.
With all the frenetic activity onstage, one
Britain's 'Franl
_ _ * _ i -
interest tnroug
by Ron Sheridan
Instant success is hard to come by in the
music industry, but in Great Britain, the hottest
act since Elvis or The Beatles is exactly
that ? a tremendous instant success. A
poster advertising a Frank Sinatra tour is the
origin of the name of Britain's most con
_ ; _ i i_ j. r* .i-?_
uuvcimsi uanu: rraiiKic uocs 10
Hollywood.
In America, Frankic Goes To Hollywood
made their debut with a single entitled
"Relax," which is bluntly about the joys of
ejaculation. This type of outrageousness
Frankie is famous for.
i ^ ~ i 1
in vjicdi Diuaui, inc sung was uamicu
because of shocking revelations of BBC
Radio One. During his morning program,
disc jockey Michael Read declared the record
and its cover obscene. "The record isn't being
banned. It just isn't being played, said a
Radio One spokesman. So be it.
Rut that HiH nnt nrm/^nt ITvan 1/-1o frr\m Kit
JWUl 11IUI U1U MV71 pj VTV1U X ICtlirVAV 11 V/lll I1IL
ting the top of the pops. As a matter of fact,
"Relax" is the biggest single of this year and
the tenth by American standards. It's conceptual
to a point, most consisting of sex
(gay sex, that is), propaganda, nuclear war
and the corruption of the young.
All is set to dramatic operatic intros and a
thriving disco beat. And for the decadent,
the gatefold jacket opens to a Picasso-style
drawing of Noah's animals entering a huge
nhollnc ^ \iAiir pViiMron ' e nt/nr
piiauuo. V'W vi jrv/ut viuiui vn 3
The American magazine Interview,
published by Andy Warhol, suggests "Their
success is due to more than cleverly provocative
marketing." That may be so, but
the album doesn't deliver. Side four of the
set completely diminshes any of the quality
set up on the other three sides. Songs like
"Krisco Kisses" (the allusion is obvious),
"Black Night White Light," "The Only Star
in Heaven," and "The Power of Love," are
all Door comnositions. The lvrics are weak
and the vocals even weaker.
FRANK IE SA Y: MAKE IT AGAIN! The
strength of this album relies on Frankie Goes
To Hollywood's ability to do justice to
SHOP:
Office of Adm
The Fuqua Sch
Duke Universi
i of Duke Durham, Nortl
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?f graduate
?s, a guide PLEASE SI
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^ ' - - - - | ^ i tn
might expect a few mistakes. This was not
the case. The wilder the group got, the more
technically flawless they got. What poured
forth from the P.A. was some of the most
immaculate power funk imaginable.
They rifled through nearly all the songs on
tneir aiDum, plus tnree as yet unreieasea
tracks. Cliff Martinez, a Beefheart alumnus,
kept the rhythm going while Flea and
guitarist Jack Sherman traded licks.
ON "GET UP AND JUMP," the audience
went berserk, bouncing around as if
they were one entity and not separate individuals.
The bass was thumping constantly
as the mass moved. For their last encore,
Flea and Kiedis appeared wearing only
strategically piacea tune socks.
The Red Hot Chili Peppers are consummate
showmen. Each member of the band
fits the context perfectly. They are like pieces
of a puzzle interlocked in importance to the
sound, and the sound is pure fun. If you were
mere, you undouDtably nad a iantastic time.
lie' arouses
h controversy
classic songs. There's a cover version of
Bruce Springsteen's "Born to Run," which
captures the intensity and power of the
original. Unfortunately, for the sake of
decadence some of the lyrics have been
altered to include rudely sexual connotations.
"War," a b-side to the original "Two
Tribes" single is an excellent remake. But
they chose to kill it on this album. It's been
reduced to a monotonous beat. For shame.
There is even a remake of Dionne Warwick's
"San Jose." And, it's been left intact, and
that is another disappointment.
One original composition does capture the
raw energy of "Two Tribes," and that's the
title track. There's almost a live feel to the
song and it's enough to cause some toes to
tap.
The problem facing Frankie right now is
shaking their controversial image so that they
can be taken seriously. Most of the music industry
in Britain believe that Frankie Goes
To Hollywood are simply pawns of their producer
(Trevor Horn) and their record company
(ZTT/lsland). And with an image like
this it's hard to take Frankie seriously.
The band insists that "Relax" was about
working hard for rewards and relaxing. Yet
even their video was banned. "Relax" had
girls dragged in chains across the stage of a
gay disco and the harsh image that was supposed
to "freak people out," said Holly
Johnson in Interview magazine. Holly is the
most noticable of the group and is a lead
rinnA** tin f V* D mil 13 < ? U ? -J * I- ? ? ? A -
oui?vi vrmi i rtui rvuiuciiuiu. ouiii die quae
adamant about their homosexuality.
"...Who wants acceptance anyway," said
Holly in the Interview interview. "I don't
think gay people want acceptance."
But has all this controversy gave way to the
insight of how good are these guys anyway?
If chart positions answered that question
then the fact that they spent seven weeks in
the number one and number two positions on
the British charts must mean something. But
See "Frankie," page 27
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