page 20 daily nebraskan Wednesday, march 29, 1978 Oorts and Andrew Gold's second album is not a musical treasure By JeffTaebel Now that he has his initial hit single under his belt, Andrew Gold should be ready to move on to bigger and better things. Pictured in a white suit, stepping out of a starry sky on the cover of his sec ond album, All Tlx is And Heaven Too, Gold seems to be commenting on the "heaven" of his recent success. Unfortunately, there is nothing heaven ly about the music on this album. album. review Gold sings and plays his own songs, as well as co-producing the album with Brock Walsh. He also has the help of the infamous Greg Ladanyi, who is Jackson Browne's sound engineer. Gold also draws on some of Browne's personnel for instrumental backing, with Russ Kunkel and Leland Sklar of The Sec tion on drums and bass. The ever-popular session guitarist Waddy Watchell adds some subdued playing on a few of the songs. However, since Gold is singing his own songs and playing lead guitar, piano and percussion on a few of the tracks, he estab lishes himself as the dominant star of his own show. His sidemen rarely get a chance to breathe, let alone show their stuff. The album opens with a bouncy little number called "How Can This Be Love?" which sounds like it would be a good vehi cle for an act like The Captain and Tenille. This number, like most of the others on the album, is produced so it sounds like it is coming over an AM radio, even when it is playing on your home turntable. The second song on the side is called "Oh Urania (Take Me Away)." Gold's ex cellent falsetto wanders around on this meandering melody, making it sound like he borrowed bits and pieces from other songs to fill it out. The clarinet solo and the vocals that follow will remind tl rt lis tener more than a little of Gilbert O'Sulli van. Despite what the title might imply, the third song on this side, "Still You Linger On," is not the comedy number of the set. Instead, it is Gold's self-styled showcase, on which he sings and plays all the instru ments. The song has a set of lame lyrics with catch lines like "Baby, baby I miss youBaby, baby I miss youBaby, baby I do." The next tune, "Never Let Her Slip Away," starts out with a drum beat that sounds like it was taken from the fox-trot setting of a combo organ percussion sec tion . This song includes an appearance by John David Souther, as so many seem to these days, but a cameo appearance cannot save the tired melody. The side's closing selection, "Always For You" is by far the best piece on the album. Although the song's lyrics are nothing memorable, Gold's vocals are pow erful and he adds sensitive piano work as well as a blazing guitar solo in the middle of the song. Tilings slow down again on side two. The opening song, "Thank You For Being A Friend," exhibits Gold's propensity for writing incredibly sophomoric lyrics. Lines like "if it's a car you lackI'd surely buy you a Cadillac" can really jump out at you. The next two songs are the strong points of the second side. The first song, "Looking For My Love," again features Gold on all instruments. Gold creates a haunting backdrop for one of his more refreshing melodies on this cut and ends up with a pleasant overall effect. This number is followed by "Gene vieve," which is the most upbeat selection. This song is satisfying if for no other rea son than to see Gold work out for a change, after sitting through a side and a half of his rather stodgy love songs. The last two songs on the album, "I'm On My Way" and "You're Free" finish things on a nondescript note, leaving the listener with a somewhat empty feeling, which, I must admit, is better than leaving a bad feeling. However, if Andrew Gold doesn't exhibit any more diversity or ori- This And Heaven Too, he may soon be a ginality in his songs than he does on All very lonely boy indeed. to aunt mMB j (Jt Photo courtesy of Asylum Records. 'Barney Miller9 shows glimpses of quiet desperation By Pete Mason Entertainment Editor Just because a television show is labeled a "comedy" does not mean it's funny. There are numerous examples, past and present. Consider, if you will , My Mother the Car, Gilligan's Island, Me and the Chimp; all turkeys mercifully snuffed out. Today we have Three's Company, Alice, Good Times, Baby I'm Back, and a few other pretenders, all hiding behind the guise of comedy and miraculously surviving. television. revi Then there's Barney Miller. Comedy is a subjective thing. What's funny to one may not be to another. Some people laugh at dead baby jokes. It's all a matter of taste. Barney Miller is my cip of comedy. It ma be because I appreciate the arts of absurdity and exaggeration, both evident at Barney Miller's precinct. Barney Miller is a cohesive show There is a wonderfully whacky balance in the cast of characters. Detective Hams (Ron Glass) is a pseudo-suave. morie -conscious black whose sole arm. n would seem, is not to protect and serve as much as to follow in the steps of Joseph Wamhaugh and write the great American police neve!. Wohohowiesc (Max (,ai) , p0ish defensive, and hunter thar be ari..n' else belie ve Yerr.ana Ja V Wi - fa.r,te .r,ar. acter, is incredibly laid back, totally un-ruffle-able and is a master of the under statement. He wastes so little energy he should be honored by a presidential com mittee. Fish (Abe Vigoda) was so loveable a character with his weak kidneys and un bridled cynicism that he got his own show. He was replaced by Dietrich (Steve Lan desberg), a melancholy philosopher who knows something about everything, or so he would have you believe. In a transitional show (when Fish was retiring and taking in his street kids) Dietrich visited Fish's home. One of the children presented Dietrich with a box and asked him if he could identify the animal contained therein. Dietrich: "Sure. I've always been very interested in living things and their relationships to the environment and our planet's ecology. Our treatment of plants and animals will affect the balance of nature in the future. We should know all we can about nature so as not to upset this balance. That's why I've taken such an in terest in all living creatures, (opens box) What the hell is that9" In the midst of all this diversity, Barney (Hal Linden) maintains a semblance of sanity. It would seem to be a hard job because every working day at Miller's precinct is an exercise in neurosis. Barney Miller, if nothing else, is a statement on the pressures of urban living. It would seem to support the theory that urKan existence is an abnormal exis tence and those who survive it come out a little out of synch with the rest of the world. The cops in Barney Miller's precinct have known this for ages which is why the all seem so world-weary. They see the world through different eyes than the re-t f us. and what the see prompts them to a certain cynical humor that brightens their perspectives and keeps them on the outside of a rubber room. In this sense Barney Miller is very real. Everyone who comes in the precinct office is trying to cope. The parade of vil lains and victims is never-ending, and after a while it becomes hard to discern which is which. No matter how kooky, every visitor has a desparate quality about him, whether he has been stopped from jumping from a 20-story building wearing wings "made to the exact configurations of a lark" or arrested because his puppet has been making obscene comments to female passersby. Everyone of them is trying to escape an intolerable environment by any means necessary. Barney Miller is an exception to a rule. Urban comedy, with its absurd, neurotic qualities has not been too successful on television. Calucci's Department, a fore runner of Bamey Miller about life in a big-city welfare office, lasted only eight weeks. The major criticism : it's humor was too urban. The same criticism was leveled at The Paul Sand Show and it too died. The fact that Barney Miller survives, even thrives, in the ratings, would seem to prove that either audiences have become more sophisticated or that, as far as the critics are concerned, urban comedy is "in." Barney Miller has gotten nothing but glowing reviews. But it wouldn't matter to me what the critics said about Barney Miller. If they all hated it. I'd still have to say it's the finest comedy on television. School of Music sponsors vocal, instrumental recitals The schedule of today's UNL School of Music student recitals includes public performances by two juniors and two seniors. The recitals will begin at 3 30 p.m. and are free. Three women will perform in Kimball Recital Hall. Patti Bell, an oboe player, will present Sonate d mnll for flute, Ohe and Basso continuo by Teleman and Fan taisie Pastorale by hugene Bozza Her accompanists will be Janece Bevans on flute. Bruce Mclean on cello and Holly Berquist on piano Danna Stevens, trumpet player, will perform Valsc by (laude Dehusss -Snell and Credo b John Barnes C hance Lynn Nesrmth will He her accompanist Connie Feese, a soprano. Xos Souvenirs and I. a Chanson Bien Douce by Lrnest Chausson. Der Hin auf dem Felsen, Op 129 by Franz Schubert and O My Blackc Soule by Benjamin Britten. Kathy Knebel will play the piano and Marlin Palasek will play the clarinet for Feese. Diane Parker is the sole performer on the program in the Choral Room (119) of Westbrook Music Building. She will play flute selections Fantasia for Flute and Piano (1961) by Walter S H'artley. Tri. Opus 40. for Flute. Viola and Cello by Albert Rmissel and First Sonata for Flute and Piano (1951) b Bohuslav Martinu Her accompanists vull be Mary Indermuehle on piano. Ron Arden on Tla and Pan! Bedell n cello