Little Village natives fuse talent,technology
“Little Village”
Little Village
Reprise Records
Ry Cooder, Jim Kcltner, Nick Lowe
and John Hialt were never really stars
of the music industry. They just sort
of became legends.
Throughout the 1970s, Lowe was
cutting his teeth in Dave Edmunds’
group Rockpilc. Hiatt enjoyed a criti
cally acclaimed solo career with his
band, the Goners. Through solo al
bums, Cooder evolved as a master
blues guitarist. Kellner just let the
stars come to him when he needed a
pro behind the trap set.
The four men had played together
only once, on Hiatt’s acclaimed 1987
release, “Bring the Family.” From
that album, it was evident that they
would be fools not to join forces again.
Now the four have converged to
jam under the moniker Little Village.
This news brings anticipation, as Little
Village could be called a supergroup
in the same vein as the Traveling
Wilburys.
While interest in the Wilburys came
from the major celebrities involved,
Little Village draws attention because
the four men are master musicians,
thinking and playing like a real band.
“Little Village” already is a contender
for album of the year.
Most of the album’s intrigue comes
from its mixture of modern technol-*
ogy and genuine musical talent.
“Solar Sex Panel,”an outtake from
the 1987 sessions, sets the album’s
pace with its propulsive beat and
Cooder guitar snarl. Hiatt chimes in
with a perfect melody line, and the
results are seamless.
Throughout the album, Kellner
relies on varied percussion techniques,
keeping the tunes rooted in godlike
grooves. The humble, simple track he
lays down on “Inside Job” allows the
others to form a slow burner dripping
with old-time soul.
The album even has a pop gem —
a radio-friendly jewel the guys de
serve. “Don’t Go Away Mad” is as
i
silly and wondrous as simple pop can
get, and the mixture of warm key
boards and Hiatt’s falsetto crooning
with scratching guitar provides a
danccablc sound not heard often
enough.
Music lacks the words to describe
the sounds made by Little Village,
since it’s been so long since such
sounds have been on radio. Bluesy
rock, country grunge, rough pop: All
you need to know is that this is real
rock, delivered by people who should
know what that’s all about.
All four men tower in character,
grace, talent and finesse as they teach
those young whippersnappers of to
day where their music came from.
—Paul Winner
r\
esy of Warner Bros Records
-.---1
»...li
WALT DISNEY WORLD
COLLEGE PROGRAM
Walt Disney World Co. representatives will present
an information session on the Walt Disney World
College Program on Tuesday, March 10, 7:30 pm, in
the Student Union. Attendance at this presentation is
required to interview for the SUMMER/FALL '92
COLLEGE PROGRAM. Interviews will be held
following the presentation. The following majors are
encouraged to attend: SUMMER—Business,
Communications, Recreation, Theatre/Drama and
Hospitality. FALL—all majors.
Contact: Internship Office
Phone: 472-1452
r *
World Co.
O The Wall Dancy Company An Equal Opportunity Employer
|_^fp ^ \ •• . -----d- mm
Courtesy of Hanna Barbera
The characters of CBS’s new comedy “Fish Police” are, clockwise from left: Mussels Marinara,
Pearl, Inspector Gil, Angel, Calamari and Crabby.
Show to sink, swim based on pun pool
—0
By Steve Pearson
Staff Reporter
“Fish Police,” the CBS entry in the
prime-time cartoon race, swam onto
the airwaves with a colorful splash
Friday at 7:30 p.m.
The show borrows its concept from
a British comic book of the same
name. The comic was considered too
dark for American television, so the
tone has been lightened with colorful
characters and aquatic humor.
Producers describe the result as
“fish noir.” Capturing the feel of the
1940s, “Fish Police" pays homage to
“The Godfather” and “Dragnet.”
In the premiere episode, “The Shell
Game,” Fish City’s greatest detec
tive, Inspector Gil (John R ittcr), inter
venes when “fin-fatalc” Angel Jones
(JoBclh Williams) is framed for a
murder she didn’t commit.
Just as Gil expected. Fish City’s
most evil citizen, Calamari the squid
(Hector Elizondo), was behind the
plot with the help of his slimy hench
men, Sharkstcr the lawyer (Tim Curry)
and Mussels Marinara the bodyguard
(Frank Welker).
Other notable characters include
Pearl (Megan Mullally), who pines
for Gil; Catfish (Robert Guillaume),
the police force’s master of disguise;
the “dorsal-kissing go-lcr” Tad (Charlie
Schlatter); Chief Abalonc (Ed Asner);
and Mayor Cod (Jonathan Winters).
The animation is truly superb. Lush
backgroundsandan incredible under
water effect arc joined by Hanna
Barbera’s cast of memorable charac
ters.
It is obvious that the animators
have given special attention to how
the characters move. Each character
has a distinctive swim, from Calamari s
slither to Angel’s strut. And the char
acters arc cleverly drawn, down to the
smallest detail — Gil carries a living
badge, a starfish named Sandy.
The all-star cast adds to the fun of
“Fish Police.” Ritter provides a “jusl
thc-facts-ma’am” persona for Gil. And
Williams provides a wonderfully sultry
voice for her Jessica Rabbit of the
Deep. But the star of the celebrity
voices is Guillaume, who gives Cat
Fish a sly, witty voice befitting a master
of disguise.
Award-winning composer Jack
Homer of “An American Tail," “Field
of Dreams” and “Glory” provides a
vibrant score worthy of a feature film.
The show relies on fish puns and
double meanings for most of its humor.
The show’s success ultimately will
depend on whether its creative force
can consistently tap into such a lim
ited “joke pool.”
j Lincoln Donor Center J
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• physical on your first dona- ■
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NETV
Continued from Page 9
The production team edits the film
to get an idea of how the program
should be assembled, Geycr said. This
is the “rough cut.”
The rough cut is followed by a
“fine cut,” which involves fine tuning
but no major changes to the program,
Geycr said.
In post-production, he said, the
program is “conformed,” which is an
expensive editing process done on a
machine that, to an outsider, would
cost about $300 an hour to rent.
Finally the audio, music and sound
effects arc added to the film. These
additions arc called “sweetening,”
Geyer said.
From start to finish, he said, a
production takes about four months
of 40- to 50-hour weeks to complete.
“1 wish I could work a 40- or 50
hour week,” Geyer said. “Most of
them arc more like 60 or 70 hours.”
“Director’s Choice” will air some
time next fall, he said. The program
follows the work of six artists and the
three museum directors who show
their work.
Martha Horvay, a University of
Ncbraska-Lincoln associate profes
sor of art, is one of the featured artists.
