1982_05 The Daily Collegian May 1982

              > Daaty Colefjaa-Mav 7,1W2
McCartney matures with 'Tug of War'
Paul McCartney's latest album Tug of
War" anil probably receive mixed reviews:
it's not trendy, nor docs it contain the new
wave elements so popular in today's music.
Surprisingly, for McCartney, it's not that
overtly commercial.
Refreshingly, it's a well-crafted, ambitious effort from the ex-Beatle turned
Wing. It's also the best thing he's done
since the'Band on the Run—Venus and
Mars* period.
Tug\of War" is the work ofa maturing
artist. It tacks the rawness of'McCartney*
or "Ram." but it does not lack the power.
Working with producer George Martin.
McCartney's work has never been as fully
realized. The depths of his talent are well
displayed and framed in Martin's lush,
crisp production.
But its McCartney's ambition that is
the star of the proceedings. The title cut
Tug of War* opens the album, and it sets
the lone for what proves to be a joyous,
yet reflective view of life through McCartney's eyes.
Lennon's death has affected McCartney. Hell questioning life; he's exposing a
side of his psyche he's never shown. Although be lacks Lennon's lyrical finesse,
McCartney is heading in the right direction. Hopefully, there will be no more
songs like'Cook of the House'and'Mary '
Had a Little Lamb* in his future.
" We expected more
But with one thing and another
We were trying to outdo each other
In a tug of war.'
That type of introspection (possibly
about Lennon) is unusual for McCartney,
but it's a welcome relief. The melancholy
mood of the song is complemented by
Martin's orchestration. The production
throughout the album enhances McCartney's songs. He's exorcised the ghost of
the Beatles out of his soul and for the first
lime since their breakup, appears comfortable with his past.
REVIEW
'In the years to come they may discover
What the air we breathe and the life we
lead
Are all about
But it won't be soon enough...for me."
The amount of work that went into this
album is evident upon first listening. The
songs are highly structured musical adventures. The musicianship is first rate, and
McCartney's singing is exceptionally
forceful without losing its delicacy.
McCartney has also shared the spotlight with such musical luminaries as Ste-
vie Wonder, Stanley Clarke and Carl Perkins. That musical generosity is unexpected
from the man critics label "an egomaniac.*
Working with other musicians has broadened McCartney's scope. He attempts
many musical styles without suffering
from overreach.
The rockabilly of "Get It" gains much
authenticity with the addition of Carl
Perkins' guitar and vocal contributions.
The fun he and McCartney had in the
studio come across on vinyl.
Take It Away' features Ringo Starr
and Steve Gadd on drums, setting a pulsating beat that McCartney follows with a
booming bass line. Once the horns enter
the song, the listener is taken away.
"Ballroom Dancing* begins with McCartney playing a barrelhouse style piano.
By the song's conclusion, the arrangement
encompasses 40 years of dance music.
"Ebony and Ivory" is probably the
weakest song on the album, and also the
most commercial. Many people complained the melody is downright whimpy.
For those who expected a bit more from
McCartney and Wonder, there is "What's
That You're Doing."
The song is pure Stevie Wonder. McCartney has always been a big fan of his;
it's a pleasure to hear them work together.
Although it was co-authored, it's Wonder's song. McCartney gives his most soulful vocal performance in years, but Wonder steals the show. The song drips with
funk.
Most of the guitar work is handled by
McCa rt ney.and it showsa flair for melodic
structure his solos have lacked in the past.
On "Somebody Who Cares" and "Dress
Me Up as a Robber* McCartney's acoustic guitar playing stands out. Trie latter is
musically the most adventurous song on
the album.
The most touching song, though, is
"Here Today." A poignant ballad in the
"Yesterday" tradition. McCartney addresses Lennon's death in a heartfelt, passionate way.
"And if I said
I really knew you well
What would your answer be?
If you were here today...
But knowing you
You'd probably laugh and say
That we were worlds apart
If you were here today."
It's unfortunate that it took Lennon's
death for McCartney to start showing
some real emotion. Let's hope this newfound expressiveness is not a fleeting one.
'But as for me
I still remember how it was before
And I am holding back the tears no
more
I love you."
Tug of War* is a side of McCartney
long-time fans have been waiting ten years
to view. He is beginning to see hit place in
music's history, and it's more important
than singing "Silly Love Songs.*
dB's
Arnett leads meat judging team to 2nd place
A meat judging team from CSUF placed CSUF won the breeding class division,
second overall in competition at the placed second in carcass judging and was
Northwestern Meat Animal Evaluation third in market animals. Kevin Arnett of
Contest held at Twin Falls, Idaho. The Clovis was the high individual in the
event was won by the  University of breeding class meat animal judging.
Wyoming.
continued from page 9
its simple witty lyrics and the use of a surf
guitar.
Not all of the d B's songs sound vaguely
like someone else's. The band draws their
songs from true life experiences. "Amplifier* is a punchy, humorous tale ofa friend
who comes home to find that his wife has
left him and taken everything but, of
course, his amplifier. "Storm Warning" is
based on a phone call Chris Stamley
received at 3 a.m. from a friend who
screamed at him, "You're a loser and
you've been a loser all your life." With
friends like that...
Repercussion is a gem of an album from
start to finish. It makes me feel as if there
may be some hope yet for American
music. However,even though the dB's arc
American through and through, no American label would sign and record the band.
Therefore, the dB's Repercussion is available only as an import, on Albion Records
Ltd. (UK). When will the major American
record companies realize that a veritable
forest of native talent lies in its own
backyard? Who knows, but I hope it is
soon.
The Daily Collegian, which publishes every school day of the semester,
has openings in all departments for the Fall semester. Applications for
all positions, except Editor-in-Chief, are available in the Collogian office
in ihe Keats Campus Building and must be submitted not later tl.an 4
p-m.. May 7. All Collegian positions will be filled by the new editor The
positions, a brief description of duties, hours and pay are as follows-
Managing Editor
Develops story ideas, assigns stories
and photographs, supervises reporters and photographers, assists with
backroom production. Pay: approximately $300 monthly. Hours:
25-30 per week.
Sports Editor.
Has responsibility for assignments
of all sports stories and photos.
Requires in-depth knowledge of
sports and sports writing. Edits
copy and assists with backroom
production. Pay: approximately
$250 monthly. Hours: 20-25 per
/week.
Photo Editor
Coordinates photo assignments between newsroom and photo staff,
develops and prints photos, maintains photo supply inventory. Pay:
approximately $250 monthly.
20-25 per week..
Reporters
Must fulfill story assignments a;
assigned by editors, develop story
ideas from an assigned beat, and
adhere lo strict deadlines. Reporters
must write two to three stories a
week. Pay: S1I0-SI60 monthly.
Photographers
Take photos as assigned by photo
editor or other editors, develop and
print photos, and write cutlines for
photos taken. Pay: $120 monthly.
Hours: 10-15 per week.
Typesetters
Set type using AM Varityper 5810
Pay: approximately $160 monthly.
Hour: 10-15 per week.
Staff Artist
Does all drawing for editorial, advertising and business departments.
Includes editorial cartooning and
graphics for brochures and flyers.
Art background essential. Pay: approximately $120 monthly. Hours
10-15 per week.
Production
Manager
Responsible for supervising back
room production, does layout as
assigned by Managing Editor for
production, sets type when necessary, orders production supplies,
maintains all production equipment. Pay: approximately $270
monthly. Hours 18-20 per week.
Production
Personnel
Assists Production Manager in
paste-up of the newspaper. Pay:
approximately $200 monthly.
Hours: approximately 18-20 per
week.
Business Manager
Responsible with the Editor-in-
Chief for the financial operation of
the newspaper, prepares pay vouchers, bill statements, and prepares
monthly budget reports. Pay: approximately $280 monthly. Hours:
18-20 per week.
Asst. Business
Manager
Assists the Business Manager with
clerical and office d uties as assigned.
Pay: approximatley $110 monthly.
Hours: 10-12 per week.
Advertising
Manager
Overall supervision of the advertising department. Organizes sales
strategy and policy. Pay approximately $350 montly. Hours: 20-25
hours per week.
Asst. Advertising
Manager
Helps organize sales strategy, assigns clients and maintains accounts.
Pay: Approximately $350 monthly.
Hours: 20-25 per week.
Advertising
Representative
Make contacts and presentation to
prospective clients and services existing accounts. Pay approximately
$225 monthly. Hours 17-20 per week.
Advertising
Production
Responsible for advertising copy-
writing, layout and pasteup. Pay:
approximately $225 monthly.
Hours: 17-20 per week.
Circulation
Responsible forcirculation of newspaper on campus, distributing it lo
specified areas of the campus. Pay:  ,
approximately $80 monthly. Hours/
6-8 per week.
The Daily Collegian is an equal opportunity employer.
May 7, lN2-taW DaOj Cnliajai   Pf 11
Stealer's Koontz talks on music biz
By Alan AUmlan
Daily Colkfun Contributing Wriier
"Some hit right away; some take three
or four months."
No, Randy Koontz is not referring to
the symptoms of a new social disease.
Rather the bassist and background vocalist of 'Stealer* is relating the course that
new musical releases take. Stealer's debut
album, which 1 reviewed in the April 2
issue of the CdHegian is in the latter
category.
It has been shortly over two months
(March 5) since Stealer hit the record
stores and shortly over a month-and-one-
half since Randy Koontz, hailing-from
Fresno, gave me an interview about the
world of breaking into the music biz over
the phone.
Randy moved to Los Angeles about
eight years ago, first signing with A&M
Records and playing as back-up on an LP
for Sheryl Bilcher. Randy related how the
synthesis of Stealer occurred.
Robin Miller, guitarist and lead vocalist, had moved out from Detroit about
three years ago. having worked with Chi-
cagoan drummer Lee Kix already. Syracuse, N.Y., contributed keyboardist
Tony Russo to the effort and Fresnan
Koontz completed the quartet. The band
formed two years ago, but the name was
chosen only six months ago for Randy.
There's nothing like sitting around a
REVIEW
rehearsal room thinking ofa band name,*
laments Koontz. 'Ask any rock musician
and they'll tell you what that's all about.*
But as lime has indicated, what lies
ahead dwarfs the difficulty of choosing a
name. Stealer still hasn't been added to
any Fresno playlist.
One Fresno radio station spokesperson
told me yesterday lhat his station (a hard
rock one) has not yet added the LP. but
that he did listen to the album and didn't
see a 'hit* out of it. At least he did listen to
it, though.
Koontz said that with the fifty staffers
Record companies
turn to campus radio
stations for air time
in MCA Records artist development, distribution, and promotion working just on
his groups project, the disc jockey is still
stuck with two to three hundred new LP's
per week to listen to piled in his studio.
*lt s interesting to note that a rock station is now searching for "hits,* for commercial successes. This trend didn't go
unnoticed by Randy.
'None of us know exactly what is commercial and what isn't,' he said. 'But we
do know that tVmake records that people
will listen to and (that will) get played on
the radio, you don't put extended Inagod-
dadavita drum solos on it anymore. You
don't put six-minute guitar solos on it.*
"Music is a little bit more regimented
now for radio, and I'm kind of sad about
that but that's just a fact of life and we
considered that when we put our material
together."
He pointed out that Lover boy and Foreigner are two examples of acts that were
'smart.* planning songs that were easily
swallowed by the radio genre. He noted,
however, that all of the songs on his LP
are under four-and-one-half minutes in
length. Evidently his group planned for
radio too.
Koontz is satisfied with his album and is
confident in its success. Koontz says that
"as the band played, the direction of writ-
NEW YORK, NY (CPS)—College radio
stations, often financially-strapped and
shunned by student governments, are becoming increasingly, important to record
companies.
~) The reason is that, aside from a dwindling number of free-form stations, college stations are the only-ones that will
venture to play "new* music, industry
sources say.
The colleges are our bread and butter,*
says Bruce Kirkland of Stiff Records, a
prominent independent label that records
people like Ian Drury and the Undead.
"About six months ago," he remembers,
"when we were throwing out a lot of
records and waiting for one to break and
sell 300.000 copies. 1 decided to find out
where our market was. These days we go
out to around 150 college stations."
Kirkland's sentiments are echoed by
independent labels across the country.
They often find college students to be the
only audience willing to give even critically-acclaimed bands like Black Flag
and X a chance.
aftl
THE THE HAS COME TO TALK OF
USED BOOK BUYMCK
May 12—21       [J1W
Kemtei<Bookstore
ing became more mature.'
He also says that the band was well
budgeted in its effort by MCA records but
that no one is ever totally satisfied with the
final result.
"After listening to it you can always
think it could be better.*
As Randy noted, the album was added
on to the playlists of. seven major FM
stations in three major markets: Minneapolis. St. Louis.and Detroit. Robin Miller
is from Detroit. The other members have
also received a boost in airplay from their
hometowns—all except Fresno.
The rock station spokesperson that!
referred to earlier noted that the band had
more airplay on the East Coast of the US.
But Randy still hopes to come back to
Fresno and play as part of a California
tour as soon as a live show is developed.
*We'd love to come up and play Fresno
and other cities in California—back to the
old home town.*
'I-want to come in the summertime
when all the fruit s ripe.* he added.
Hopefully Randy can make it when
Stealer's debut album is ripe'for local
picking.
Special thanks to KFREIKFRYradio
in Fresno for providing the facilities for
the recording of the interview.
Even major labels, despite their hefty
promotional clout, are having trouble getting air time on commercial stations for
their new acts.
There is probably more rock being
played today than at any time since the
mid-sixties, but almost none of it is being
heard," complains Peter Campbell, a promoter involved in new wave music.
Consequently, the industry is turning
toward campuses as a last resort.
'More and more, college is where we go
with our new music,* says Linda Walker,
promotion coordinator at Polygram.
"We've had good luck there with new
wave bands like the Jam and Teardrop
Explodes. Mainstream radio wouldn't
touch them."
Polygram, Walker says, is in the process of resuscitating its college promotion
department, which had been dropped during the music industry slump of the late
seventies, a period Cashbox magazine refers to as "the harsh economic realities of
See RADIO page 12
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