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About The daily Nebraskan. ([Lincoln, Neb.) 1901-current | View Entire Issue (March 21, 1985)
Thursday, March 21, 1935 Daily Nebraskan i M f M - ; C P it f )l iUf Hi 4 CI v J v 'I Ml . 61 V J B. S Hy ICyte Fester f.T:fr.i 77:5 Sun, Eric Clapton's latest rcleene, is his best effort in sev ers! VC:f IS, 4 y V' -' Behind The Sun is produced by Phil Collins cf Genesis ferae. Collins' influence era be heed throughout the record. Many scr.i have the heavy, drunvctienicd sound and scaring key boards unique to Collins and Genesis. In fiet, cm cf the better scn3, ''It All Depends," could easily be mistaken for a Collirj cr Genesis song. Clapton 13 still era cf the best blues guitarists around and proves it crt "Same Old Blues' and "Just Like A Prisoner." Clapton's trademark, female background vocals, are evident on al most eveiy song. The combination cf Clapton's and Collins' style produces & sound that is mere listenable to the modern ear. Yet at the sane time the album sounds urcr-Js-taksbly Clapton and old fans will not '03 disappointed. "Eehind The Sun" is a conglomera tion cf several Claptca styles. "Forever Man," 'Ta-gied In Love" cr.d "Knock On Wood" are in the tradition cf old Clapton classics "Lay Down Sally, "Watch Out For Lucy" and "Levla." "Sea What Love Can Do" ard "Sere thing's Happening" are reggae coaja in the tradition of "I Shot The Sheriff." "It All Depends" d "Never Make You Cry" are beautiful slow songs writ ten 3 only Clapton can. "Sane Old Lines," "Just Like A Pri soner" and the title track, "Behind The Sun" are strange psyched slic ficngs that prompt listener to ask them selves what Clapton was doing while he was in the West Indies recording the "She's Waiting" the lead cut on the record, is somewhat of a departure from previous Clapton style. The song is boardcrlir.8 heavy metal. It is a good swig; but is somewhat artistically sus pect because the chord progression is the same as the '80s classic "Wild Thins" by the Trcgs. Behind The Sun is a delight to listen to. Phil Colins has a reputation for being an excellent producer and lives up to it on this alburn. It is obvious that a lot of hard work went into creating and producing the album. Old fans as well as new will enjoy listening to Behind The Sun. hN snows smasn pote igeoan singei By Scott nsirah Staff Reporter It's not often that we get to see the birth cf a musical legend, so you'll want to pay attention to Sado (pronounced SHAB-day) .Ada, lead singer of the pop Jazz quartet that bears her first name. This BritishNigerian songstress' debut opus Diamond Life, is already a smash overseas and has prompted critics to label her the next Billie nuiciili rr "7 . 1 1 Sade, a former fashion design stu dent, was bom in Mica and raised in London. From the exotic sound of her first album, she could have been born in New Orleans, Detroit, Jamaica or even Rio. This elegant chanteuse possesses one cf the most versatile voices in his tory, and she uses it with deft zeal on the many jasz, torch, reggae and mood ballods on Diamond Life. Side one opens with "Smooth Opera tor," already a hit in America. After hearing this song, you'll know that you're in for a treat as far as the rest off the disc goes', for the sensual saxo phone odysseys, upbeat Caribbean tempos and adroit crescendes never let up. Most of the album's lyrics, penned by Sade herself; are on the prosaic side, but her strong pipes more than make up for them on songs like "Hang On to Your Love" and 'Tour Love is King." The second side's first track, "Cherry Pie" is a perfect display of Sade's sophisticated vocals, saxophonist guitarist Stuat Matthewman's sonor ous musical arrangements and the Songbird's silly lyrics: When I met you, boyA'cu were as sweet oj cherry pie and as wild as Friday night Sada lapses into seme mawkish ter ritory on "Sally," a iseUodnssstie ditty about a streetwise woman with a pen chant for impoverished younger men. The singer also dip up a few socio logical cliches with a remake cf a 1872 Timmy Thomas hit, "Why Can't We Live Together," another one of those "Ebony artd Ivory" numbers about integrating races that have good intentions, but are too sappy to be convincing: No matter what colorYou're still my broiherAVhy cant we Um together. Sade may not be the next Billie Hol iday, but she does demonstrate some of the successful elements cf such musi cal luminaries as Eobert Flack, Eickie Lee Jones and Nina Simone. Ker lyrics are a bit pedestrian, but her band's orchestration and her vehement vocals show enormous poten tial that makes Diamond Life a das ding gem. n 0 W fcW h it ft um review a mm mo immwopna Why, oh why, did Eobert Winner review Reclaming by EEM? That LP has been released fcr 11 months. Winner mentioned that he was troubled by its lack cf success." Beckoning reached number 23 cn the KUbosrd charts, a far better tt2 than EZM's first LP, Murmur, or the initial EP. Beckoning also had three songs, not one as Winner said, which received commercial airplay: "So. Central Bain," "Pretty Persuasion," and "Don't Go Back to Rockviiie." Beckoning was hardly "mediocre," as it gained ESM the attention the band so richly ds-erves. Look for the group's third LP, which will be cut this Joe Janecck mudc liZUii radio m -. -J T-Arf-i.?- --JK t 2.- i fj- -3'- sr V .ls d.aV S'9 k4ht&tf&m$02 dav p(ice;. 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