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About The daily Nebraskan. ([Lincoln, Neb.) 1901-current | View Entire Issue (April 13, 1987)
Pago 8 Daily Ncbrcskan 1 r i r FOR 5 o D ISC O U NT A M T . STORE USE i I Louriic: a OFF OALH 2137-A Cornhus!:cr I lightay 477-6410 Open to 1 am. Every Night! Sun Country Coolers . . . 4 pk, all flavors . . . wmcold . . . .$2.49 Wild Irish Rose . . . 750 ml . . . three flavors $1.77 Keller-Geister ... 750 ml 2 for $5 Kessler . . . Liter $3.45 Old Milwaukee . . . case, warm $3.09 Hopfenperle-Switzerland . . . 6 pk . . . warm $2.99 Nordik Wolf-Sweden . . . 6 pk . . . warm $3.59 Yuengling Pilsner-Pennsylvania . . . 6 pk . . . warm $3.84 Other I n-Store Specials! We feature 191 Imported and Specialty Beers for your enjoyment AT SUITE 9 YOU HAVE A CHOICE! 2137 COflNHUSKER 477-6410 mi mm 1 re' 1 N l 1 V PER AXLE MOST CARS Our Brake Job Includes: New Guaranteed Brake Pads or Shoes F17- r9t I 1 1 ' If1 " il'i J V -S aW'UI aM. I r in - in Kf r . Famous Midas quality 1 year guarantee Fits most cars (Pipes, clamps and hangers extra.) I ((USUI VAl."-'-, (Semi-metallic pads extra.) ( ( II iJ0 Ja (X V Recondition Drums or Rotors Vis. v x J) Inspect Calipers Inspect Wheel Cylinders Inspect Brake Hardware Road Test It is likely additional parts and services will be needed which are not included in this price. See guarantee terms at your local Midas dealer. FREE BRAKE INSPECTION LINCOLN 2118 "N" Street 477-7724 7030 "O" Street 464-2252 Review Board Siouxsie and the Banshees, "Through the Looking Glass" (Gefien) Siouxsie Sioux has had numerous monikers attached to her dirgelike, gloomy music and her wailing (banshee-like, of course) vocals. Call her a rock'n'roll Sylvia Plath or a punk Billie Holiday if you will, but labels aside, she's been one of the most tenacious female musicians of the new music scene. She's survived barbs from caus tic critics and the emphemeral capri ces of the haircut set, and has managed somehow to maintain a standard of poetic, artistic and offbeat excellence. On 'Through the Looking Glass," Siouxsie perpetuates her image of the tortured observer, peppering a patiche of unlikely cover tunes with enough dexterity and moodiness to make them part of her realm. She borrows songs from the icons who shaped her identity, like the Doors' "You're Lost, Little Girl," Iggy Pop's "The Passenger," Bob Dylan's 'This Wheel's On Fire" and Billie Holiday's "Strange Fruit." One of the oddest cho ices is "Trust in Me," originally sung by a cartoon boa constrictor in Disney's "The Jungle Book." The problem is that they tend to blend into one flowing, wandering, whiny unit which is usually quite evoking when the eerie guitars, violins, synthesizers and Siouxsie's vocals are put together with Siouxsie's lyrics. But juxtaposed with cover tunes, they just don't seem to work. Only the cover of Holiday's "Strange Fruit" captures the unsettling lynch imagery of the original. Perhaps this is the album Siouxsie always wanted to record a collection of her favorites. Unfortunately, the spirit she insets into each track is hardly commensurate with the origi nal, and one begins to wonder why she didn't bother to simply write some more of her own songs. "Through the Looking Glass" is her unintentional way of isolating herself and her band from her own vision. If only she had decided to leave singing cover songs to Pia Zadora and Linda Ronstadt peo ple who lack the invention that has always flowed through the Banshee's career. Scott Harrah Kim Wilde, "Another Step" (MCA) Five years ago, Kim Wilde, the daughter of British pop legend Marty Wilde, launched her career with a self- it Si - f " HH W 3 EL, Midasue is a registered servicemark of Midas hlcnuuonai Corp. ! il H ! titled solo album and the international hit "Kids in America." Although she was basically overlooked on these shores, she developed a large following in Europe and Australia and for a good reason. Her first album was a brooding, harsh glimpse into the maladies of youth with a quirky, if not complemen tary, blend of guitar and synthesizer backdrops. Although she was only 1 5 at the time, she came off sounding like a pint-sized, pop-oriented version of Patti Smith on a bubblegum binge. But then the angst of her youth sud denly ended and she let producers turn her into a mindless, technopop disco diva a la Sheena Easton and Stacey Q. It all started with her puerile second LP, "Select," and ends miserably with her latest and worst effort to date, "Another Step." Wilde wrote all the songs here and sings them with her usual tragic song stress soul, but one would never know if because most of her voice and lyrics are buried under an obnoxious pile of some of the most overproduced elec tronic rhythms since the days of 70s disco. The hit single "You Keep Me Hang ing On," a remake of a song that's been remade more times than it deserves, is the best example of the album's lack of any musical plausibility. And the rest just seem to drone together, waiting for someone to dance to them. "Another Step" is Kim Wilde's final descent into the depths of pop pablum, proving that talent can be pathetically wasted for a good dance beat. Scott Harrah Jr. Gene Wild, "Less Art, More Pop" (BYO Records) Jr. Gene Wild plays the same joyful, light, chiming pop that everybody else on the block plays, making you wonder how the stuff ever got into the record bins marked "alternative." But the band plays with such fervor and the production is so gleaming that you almost forget you've heard the same sounds on the last nine albums you played. But Jr. Gene Wild manages to create its own innocuous niche here. They're too happy-sounding to fall into the Connells, Winter Hours groove. They're not experimental or odd enough to be lumped into the Let's Active school. They just move their retro-pop along at a hundred miles an hour and pay cyni cal bastards like me no mind whatsoever. Even the heavier cuts with pseudo messages like "God the Father," where the band strings together every cliche about Christianity not being very, uh, Christian, never really phase you. But as the title of the album says, Jr. Gene - , Moriday, April 13, 1937 Wild has no interest in art of signif icance. From the moment "Never Change" (one of the greatest Byrds numbers ever played by someone other than the Byrds) jumps off the turntable till the closing irony of "Why I Hate the Six ties," Jr. Gene Wild displays a devil-may-care urgency that is, in the final evaluation, totally winning. Of course, if you asked them to name their influences, they'd probably ven ture into total no sequiturs like Aero smith and Emmylou Harris, but that's just musicianese for "It's none of your stinking business who my influences are." Completely fun and completely mindless pop with no excuses. And the album cover, Venus De Milo with Popeye's arms, is a beaut by even real critical standards. Charles Lieursnce Album Courtesy of Pickles Records Big Dipper, "Eoo-Boo" (Home stead) Hailing from Brookline, Mass., Big Dipper displays eclecticism above and beyond the call of duty. Their sound is somewhere between the Byrds and Tel evision on the opening cut, "Faith Healer," with its tense Richard Lloyd guitar part and laid-back, effortless Byrds harmonies. Dipper guitarists Bill Goffrier and Gary WaJeik continue their Lloyd-Verlaine interplay throughout. The second song, "San Quentin, CA," puts Dipper more in line with Led Zeppelin, reworking the "Whole Lotta Love" riff in a raucous cowpunk set ting. Of the album's six inspired, quirky tunes, none is particularly like the other. There's a sound in there some where (probably the tension between their countrified vocals, tendency toward galloping bass and scraping sophisticated lead guitar parts makes for the best material) but at this point, the variety displayed her is the band's most promising characteristic. Side two's "Wrong in the Charts" is the weakest thing here, coming off the blocks like a scorching remake of the "Rawhide" theme and basically run ning out of ideas and steam halfway through. The closing whoa-oh-whoa choruses are plain awful. Come to think of it, most of side two is disappointing. The closing song, "Loch Ness Mons ter," is just dumb. Side one easily makes up for the inadequacies of the second side, how ever and a forthcoming full album will tell which side they're on. Charles Lieurance Album Courtesy of Pickles Records s r'r iii- -WW I ' If. "W 1 ft 7" v 4 w f f 30m r.z mm Find Ibur Spring Eyewear At Duling! Update your spring wardrobe with new contact lenses or eyeglasses! Choose from a selected assortment of fashionable frames with single-vision plastic and oversize lenses for only $49 complete. Enjoy daily-wear spherical soft contacts by CooperThin, Wesley-Jessen Durasoft 2, or Hydrocurve Soft mate B for only $49 per pair. Eye examinations not included. Offer excludes all other discounts and certificates. Contacts to powers of 60. Additional charge on bifocal prescriptions. See optician tor limitations. Eyewear shown may not be available at all stores. Offer good through April 18 i The Atrium Lincoln, 476-9652 2923 South 48th Street, East Park Plaza Lincoln, 488-3 1 06 Lincoln, 466-1 924 (Open Sunday)