Monday, May 4, 1987
REVIEW BOARD from Page 16
pie of how far their attitude has slipped,
but for a band that used to have some of
the most fascinatingly and obscure
cover photos, I find their cute little
pseudo-rebel posing on "Midnight's"
cover absolutely revolting. Sorry, guys,
See ya at the Grammy's.
Geoff McMurtry
Randy Erwin, "Til the Cows
Come Home" (Four Dots)
Except for bluegrass, which is really
a different critter, my favorite form of
country music has always been cowboy
songs. I'm not talking about authentic,
archaic folk music, and I sure don't
mean Waylon and Willie's cynical
paeans. I mean those cheesy, mass
produced, dusty sweet hymns to Amer
ican innocence from the singin' cowboy
flicks of the '30s and '40s.
So meet Randy Erwin, America's
newest singin' cowboy. Erwin had a
small part in the movie "True Stories,"
I don't know what as.
Erwin's personal forte is the ancient
art of the yodeling, and he hikes up his
shorts and yodels his little heart out on
all six tracks of his debut EP.
"T is for Texas" is a neat soggy-sad
blues number, and Erwin's cover of the
classic "Cattle Call" is top-notch. But
me, I liked the dumber stuff like 'Swiss
Mountaineer" ("Oh, sweetheart, don't
marry that Swiss Mountaineer! My yo
del's longer and stronger and clear!")
and the sweetly risque "She's All Wet
Now."
Chris McCubbin
Concrete Blonde, self-titled
(IRS)
A couple of months ago "Still In
Hollywood" nuked MTV with lightning
fast bell-tone guitars under Johnette
Napolitano's tough, vibrant vocals tell
ing the curiously hopeful story of some
one trapped in urban hell wondering
why he doesn't feel bad about it.
Combined with maybe the most ex
citing black-and-white montage video
ever, the song was like a backhand slug
from the aesthetic hand of God. At
least five years retro in every identifia
ble feature, "Still in Hollywood" was
the freshest thing to hit the video air
waves all year.
The rest of the album isn't that good.
Surprise.
The potential is there. Concrete
Blonde is the portrait of an excellent
band without a clue to where it wants
to go.
The album, surprisingly, is mostly
ballads. Besides "Still In Hollywood,"
the only decent rocker is "Your Haunted
Head." The best ballad is the band's
other singlevideo, "True" (not a cover
of the Spandeu Ballet tune). Most of
the other stuff is pretty good, but at its
worst the band sounds like the Motels,
and that's scary.
One of these days these durn kids
are gonna have to decide what they
want to do with their lives. I hope they
decide to do more relevant rave-ups
like "Still In Hollywood" plus a few
honest, understated ballads like "True."
Wait for the next album; by then we'll
know for sure.
Chris McCubbin
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Courtesy of Four Dots Records
Randy Erwin
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427 South 13th 475-0204
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322 SOUTH 9W STREET, LINCOLN, KE 6850 476-85S1
Daily Nebraskan
Page 17
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7
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