Pago 10
Daily Nebraskan
Thursday, September 27, 1934
Romeo Void
Review By Scctt HarrsJi
Daily Nebraskan StsfTWriter
San Francisco has a reputation
for nurturing 'commercial' bands
like Journey and Huey Lewis, as
well as numerous feminist groups
with esoteric followihg3. Out of
this Bay Area monotony comes
Romeo Void, a band nobody has
quite figured out yet. They pos
sess a unique sound that's based
Courtesy Columbia Records on the eerie, often obnoxious vo-.
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CHARLIE BURT
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cals of Debora Iyali and the sax
ophone odysseys of Benjamin
BossL
A couple years back they played
at UNL during the promotion of
their Never Say Never LP and
gained a cult following. Their lat
est release, Irstincts, is getting
some airplay on AOR stations, and
it sounds like theelbum's sophis
ticated sound is going to pull the
band out of oblivion.
The first side opens up with
'Out on My Own", a malevolent
song that sets the mood for thi3
album: angry, aesthetic and mel
odic. The lyrics are fraught with
Angst and discontent, but the
subdued sounding guitar and
soothing sax blows tone down
the tune so it's listenable. "Just
Too Easy" comes next, soundig
like a blend of REM's dirge-like
rhythms and the Waitresses' Irk
some talk-singing".
"Billy's - Birthday," which fol
lows, is a rather insipid song if
one avoids the lyrics which are
about a lonely girl who has noth
ing to look forward to but a party
the following evening. The next
cut, "Going to Neon," is an ir.fec-
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ring notoriety
tious instrumental that's perfect
music for an opium den or a sui
cide session.
MTV i3 now playing the video of
Romeo Void's single, titled "A Girl
in Trouble is a Temporary Thing,"
which opens side two. It is a slow
danceablejtune with more succu
lent sax and lyrics that exemplify
the frustration most love songs
contain:
"A girl in trouble is a temporary
thingShe's got a face that shows
what she knowsShe's heard every
line."
"Say No" comes next a hard
driving, upbeat number that aptly
blends into "Your Life Lj a Lie,"
which contains more interesting
lyric's and whimsical guitar rifft
much like The Psychedelic Furs.
The title track, "Instincts," closes
the album With mellow zeal.
Romeo Void sounds like a com
posite of every avantrrock band
around today. They have the rare
ability to combine effusive anger
with good music, making them a
band hardly de-void of talent.
Helen Terry, who sang descant
backup vocals on Culture Club's
Colour By Numbers LP, has gone
solo. She's that crooning, vibrant
voice you all heard on "Church of
the Poison Mind," and her pal Boy
George wrote most of the songs
for her forthcoming solo LP. Her
interim maxi-single, "Love Lies
Lost," contains two versions of
that song as well as a beautiful
torch song, "Laughter on My
Mind."
Helen Terry sounds a bit like
Gladys Knight, has the volumi
nous vocal capacity of Broadway
torch-singer Jennifer Holliday,
and has en ebullient charm in her
voice that is understated in these
two songs. "Love Lies Lost" has all
the jaunty verve that made Mo
town, and Helen updates it with
her strong pipes, then descends
into the jumbled harmonhingthat
made Ella Fitzgerald famous. The
amazing thing is that Terry's voice
has all of the elements of history's
best black singers and she is
white. But her race isn't Impor
tant; what is important b a quick
completion of her album. Helen
needs to get her voice on the air
waves soon because she going to
tear the music business apart!
1
History livens radio's pace
Vj t j
hi '
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1 - -
Courtesy I.R.S. Records
"By Stephanie Ziak
D&ily Nebraskan Staff Writer
"albums" has come with mixed
blessings. When the album is bad,
it finishes that much quicker. But
some discs are so good, it's too
bad that the fun must end so
soon. Jools Holland Meets Rock
'A 'Billy (IRS) is one such record.
Listening to the record is like
returning in a time machine to
the 1 950s when rockabilly enjoyed
its heyday and Jerry Lee Lewis
was big. That was authentic
rockabilly.
accentuates the lively background
playing. His deep, yet high voice
swings the gamut, especially on
"If You Really Care."
Holland's piano playing isn't as
much of the album as it should
be. It plays softly in the back
ground as bass and drums reign.
And yet his piano is a strong
backbone for all songs. The piano
is soft, yet forcefuL An energy
aids the other instruments to a
forceful and loud sound.
Continued on Pane 11
3 The latest barrage of eight song Jools Holland's unusual voice
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