Fleetwood concert transcends personality conflicts
By JON PLATT
Reviewer
These days it fairly obvious that no one goes to a major rock concert to hear the music. Bad acoustics (in this case Kemper Arena), the band's sound, beat, deranged crowds and spiraling ticket heat, deranged crowds and spiraling ticket heat make live performances erratic
events.
Beyond that, immense crowd necessarily distort a band's stage act. Only the broadest theatrical gestures will be visible in the balcony and only the most basic, universal responses will be heard on stage. Although this works well for primarily theatrical groups like Kiss, it poses complications for the subtle, more musical artistry of Fleetwood Mac, who appeared in Kemner last Friday night.
Kemper lasts Phyllis the Fans, though, don't go for the music. In this case, probably more than few fans go to perform well the band as a whole can transcribe its well publicized personal problems, which include the supposed rivalry between two very talented female leads and a 100 per cent intragroup divorce rate.
rate.
Fans go to contribute to a legend, to demonstrate their approval; in short, to celebrate. And few bands from the last
decade have been more consistently
decade have been current superstar status
then Fleetwood Mac.
THE YEARS of experience are paying off on this tour. Even though Stevie Nicks, the nearest focal point of the group, still is missing the top half of her vocal range, the rest of the band works well around the gap. It's obvious that she's not yet comfortable on a stage and that she hasn't yet edited some of her sililler "witch" affectations. But her stage presence alone is so intense that only a purist would notice the rest.
It took a few numbers for the band to get its technical bearings. The opening act, Kenny Loggins (minus his former partner, Jim Messina), had its own problems with the Kemper acoustics—some of the newer material sounded like noise. By the end of the set, however, the band was back to old standards; the mix was up and Loggins' singing and expressive and keyboarded, with keysboards and a wind section that was in excellent form, the band left a strong, rocking impression that was hard to follow.
**ward to follow**
For him the sound of one guitar and
for a chair the thick and McVie her looked
tired. When Nicks sang her first name,
"Dreams," the tempo was slightly rushed—
KANSAN Performance
perhaps to get it over with. Her voice was clear on the lower melodic lines.
NICKS TOOK a break at stageside during the next number, a surprisingly crisp rendition of Peter Green's classic "Oh Well." She returned to sing "Riihannon," still half-hiding under a black witch's hat, and sounded dreadful.
The melody was thoroughly reworked into a lower register and it was still rough, despite ambitiously abrasive guitar work from Lindsay Buckingham. It was it was McVie who carried the tune, staying farther close to the spirit of the original.
original
begins to solidify in the next number, McVeil's plaintive "O Daddy." Here the spareness of the live arrangement actually made the song work better than on Back Bee's original tune. Back," a perky acoustic tune, picked up the pace a little more.
There's no telling what Stevie Nicks was doing at the side of the stage, where she consistently fled between her numbers, but
By REBECCA YERADI
Symphony performs Romantic potpourri
The group closed with a pair of Buckingham originals, still more rock 'n' rock. Nicks went crazy, hopping all over the stage, playing emcee and blowing kisses.
Ernest Chauson's first and only symphony is rarely performed. It was given a good performance by the Lawrence Symphony yesterday afternoon in the University Theatre. Chauson studied composition in Paris with Caesar Franck, whose influence is apparent in the harmonic and formal structure of the work.
solutions and partnerships.
Wiley's leadership was most evident in "The Soccerer's Apprentice," by Paul Dukas. The inspiration for the work was a
The Lawrence Symphony's fall concert was a Romantic potpourri: a little Wagner, a little Berlioz, a little Sibelius and a little Chausson.
Also apparent in the performance was the
After a suitable interval, the band came back for two encores. The house lights stayed out long enough to make it clear that the second was expected.
the added guitar punch the mix was lacking and it would be nice—from an outside perspective, anyway—to have him back on a more permanent basis.
Reviewer
the second were worn out. In all fairness, though, the band had been playing hard for nearly two hours. The audience was nearly worn out, too.
THE PROGRAM opened with an energetic performance of the Prelude to Act III of "Lobengrin," by Richard Wagner. Jian Silebius' tone poem "The Swan of Tuena" followed, featuring English horn solist Jan Penner.
new professionalism that Russell Wiley's directorship has brought to the symphony. Occasional intimation problems, especially in the strings, were of little consequence in light of the finesse that the orchestra exhibited as a whole.
FORMER MEMBER Bob Welch, unannounced, joined the band for a couple of loud rocking performances of newer songs, lows and cries. Woody Welch, an incarably hard rocker, supplied Welch, an incarably hard rocker, supplied
Karea Blaas, professor of viola, was the viola soloist for the first movement of Hector Berlioz' symphony, "Harold in Italy," Wiley University. He played in the country," and the audience seemed to agree. The enthusiastic applause was well deserved by Blaas.
folk tale in which a sorcerer's apprentice, who is ordered by his master to fetch water, employs the help of a broom through a magic spell. The apprentice is unable to stop the industrious broom, and soon all is submerged in water.
Eleonor Turk, Assembly secretary, said the new committee would benefit students in the program.
Chris Caldwell, College Assembly member, said the new committee would try to promote better student attendance and improve student awareness of issues in the assembly.
In an effort to increase student participation within the College Assembly, a newly organized but unofficial steering committee will be elected at the Assembly's Oct. 4 meeting, members of the faculty and campus organizations said recently.
Fine playing in the wind and brass sections brought this story to life.
New group to boost College Assembly
hold onto them, crush them, rocking to *You Make Love Loving* it kept hot. By this point the band members were all fairly relaxed and kept turning their backs on the crowd and playing to Fleetwood. While Fleetwood looser than it is on records, it's clearly Fleetwood who holds the band together, providing an emotional focus for all the diverse eggs and musical directions. He also has a great ability, solid backbone that just doesn't quit.
Assenthy
Caldwell, Overland Park Junior, said why that poor attendance had been a problem and that he hoped attendance would improve by sending a special newsletter summarizing Assembly issues and decisions.
It was a strikingly professional vocabulary, well paced and balanced to up all the separate strengths. This combination works well; each member seems to have the experience without getting stale. And they seem, miraculously enough, to still really like each other.
"It's an opportunity for students to exchange information among their peers and don’t miss out on those don’t."
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FINALLY, SHE came out without a hat (she went through several during the show) and the initial impact of piles of golden curls was breathtaking. A genuine rapport between the band the audience began to develop.
As the band segued into McVie's hit, "Over My Head," Nicks and Buckingham moved to sing backup vocals into the same mike. They have a light-hearted sweetness and a visible affection for other things, like beauty Battles, and evoke the same excitement.
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"Someday in the future," Caldwell said, "if it's effective, I think it (the committee) will be amended in."
BEFORE THE student steering committee can officially be written into the Assembly's bylaws, Caldwell said, it first would have to prove itself.
have access to what is going on in other committees."
when she came back to sing "Landslide" and saw an audible sigh from the crowd and said, "I'm ready."
will be invited to.
Another new committee added to the College Assembly was the Committee on Policies and Educational Goals (CPEG).
Fleetwood and John McVie, on drums and bass, let the tension build through a long stretch of music. The band finally stalled sounding like herself—simply enchanting. Her stage presence.
Debicki said the committee would suggest topics that needed study to other committees in the Assembly and would not get tied down on specific issues.
"The idea was to have a committee that would not be involved with specific tasks, but just gather ideas," he said yesterday.
Andrew Debicki, professor of Spanish and
Portuguese, said the committee differed from other established committees.
"We had no intention to make this an executive committee," he said. "It will just try and look into the future and see what's needed."
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