Wednesday, April 22, 1987
Daily Nebraskan Page 6
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PRINCE from Page 7
Be a Beautiful Night," a live cut recorded
in Paris including Wicked-Witch-of-the-West
mignon background vocals
and an all-out nine-minute jam, a per
fect night-and-day pairing with the first
side's "Play in the Sunshine,"
Almost all of the 16 songs on "Sign of
the Times" is worth mentioning. Sev
eral cuts scream out as this summer's
half-dozen hits bound to make even
more people sick of Prince.
"I Could Neve Take the Place of
Your Man" is a bouncy pop number that
has the potential to be No. 1 in a shor
ter, edited version. "U Got The Look,"
"Hot Thing" and "Play in The Sun
shine" are also good bets to get heavy
play on MTV and KFRX.
But it's the quirky, off-beat and off-the-wall
tunes that make "Sign of the
Times" a fascinating album. In "If I
Was Your Girlfriend," Prince asks his
lover whether they would be best friends
if he wasn't a male. Then he returns to
his Rated-X roots and offers to do many
unmentionable things, creating some
of his most unintentional humor since
the end of "Do Me Baby" on the "Con
troversy" LP.
On "The Cross," Prince sings a slow
spiritual praising Christ. Some would
call this hypocritical. So what? Remem
ber, Prince has always been a spiritual
guy. He did ask God if he wanted to
take a bath with him a few albums
back.
On "Sign of the Times," the title
track and first single, Prince jumps on
the hard-core African-beat bandwagon
and tells us how screwed up the world
is. Thanks for telling me, Prince, but I
already knew. But it is refreshing to
hear social commentary on top-40 radio
again. But after a few listens, I quickly
got tired of this track.
Besides the joyous dance numbers,
the best track is the lyrically bizarre
"Starfish and Coffee," the story of a
strange schoolgirl who packs a weird
lunchbox.
So try to forget Prince's latest ego
maniacal comments to the press: try to
forget "Raspberry Beret" and the silly
things he wears on the covers of his
albums. Just listen to the music.
just a SHORT
reminder
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Brian MaryDaily Nebraskan f t') ,
U2, "The Joshua Tree" (Island) Places someone in the pantheon of Meat Puppets,"Mirage" (SST)
un,n d w r i.u. rnrk'n'rnll sunprstars was nnHnnhtpHlv TKn Moot D..nnt' j
: 4 ' -5
i.itfiif.0
Ulien Bono left the stage of the
Amnesty International concert last
summer at JFK stadium, anyone who
was not convinced that he possessed
the sort of madness and passion that
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rock'n'roll superstars was undoubtedly
converted immediately.
Bono came off as equal parts Jim
Morrison, Boby Dylan, Jimi Hendrix
and an Irish prophet obsessed with
ideas of home, religion, God, spiritual
ity, war and redemption that onl escaped
The Meat Puppet's fifth album is not
quite the stylistic leap the last four
were. Guitarist Curt Kirkwood seems to
have found satisfaction in the round,
fluid guitar tones that he discovered on
1986's "Up on the Sun" and continued
to experiment with on last summer's
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being cliche sloganeering through the nitifnllv hripf "Out Mv Wqv
power of his voice. Like the Irish hero Kirkwood is a genius guitar player, a
Sweeney, Bono is the man in the wil- guitar hero in the classic sense of the
derness. Unlike Sweeney, Bono is far word. He's Jimmy Page, Jerry Garcia
from being alone. The music of U2 has and Eric Clapton all rolled into a punk
broken free of the movements that recklessness that breathes life into the
spawned it and joined the accessibility masturbation that drags most guitar
of mainstream rock'n'roll with a ven- solos into Novocaine territory.
fieace- . Kirkwood basically saves his show-
The music of U2 is undeniably sim- ing off for live shows, though, and the
pie. The Edge is a limited guitar player guitar sound, a series of trickling beau-
who invented a sound and now crowds tiful descending scales, on "Mirage"
moody production around it to give it leans more toward the laid-back Jerry
teture; , Garcia than the hot strings from hell
Bonos vocal-patterns never have braggadocio of Jimmy Page
strayed far from where they were on Up on the Sun was SQ seamless
Boy. It was the relationship between that on the first four or five listens it
Bono and Brian Eno that produced U2's was difficult to differentiate discerni-
real masterpieces "Unforgettable ble melodies. "Out My Way" added
Fire" and "The Joshua Tree" - two just enough thrash'n'flash to the mix to
albums that vacillate gorgeously be- make it more immediately appealing
tween Bono s brooding angst and his "Mirage" is a happy medium a cau-
tnumphant ecstasy. tious venture that breaks the strings of
The startling introduction of Ameri- melting guitar lines and turns them
can musical forms, namely blues and into full-fledged riffs. Kirkwood's voice
faux country, normally would seem a still is stuck in the mumbly Neil Young
bit vain from an Irish band, but Brian range, occasionally getting molten
Eno's sparse production makes it haunt- enough to burn through cataclysmic
ingly unique rockers like "I Am a Machine" and the
Jor a band that has gotten steadily fristan Tzara inspired "Liquified."
better with every album and every per- Kir-kwnnH'c lvrinc ,m j i
formance to make another leap this pJStef models
EisnothingshortofproofofBPo
Charles Lieurance
Charles Lieurance
3A
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