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Page 8 University Daily Kansan, September 9, 1980
Jayhawks want "Duck Soup"
The KU football team, highly touted and lightly seasoned, began cooking up a recipe this week it wipes to stir into a salad and cooks 'boup' in Saturday's oven opener.
The Jayhawks, riding on a theme of the Marx Riders classic movie, "Duck Soup," for their opener against the Oregon Ducks, got their first taste of the various formations Oregon uses in yesterday's practice.
"they're a good team" said KU head coach Don Fambrough. "They made only two penalties Saturday and that tells us they're a well-coached team."
Oregon, beaten by 15th-ranked Stanford Saturday, managed 424 yards with a third-string quarterback. The offense was highlighted by tailback Reggie Brown, who rushed for 128 yards off the I-formation.
"The they a lot more options and a lot of sprint-outs," Bambrough said. "Definitely, they use a six-man front, or the team you don't see much of that around here."
While the Oregon offense is the star on the field, the Ducks are finding a need for a special kind of defense off the field.
Riddled by a rash of criminal charges, the latest being the arrest of tailback Dwight Robertson on charges of sodomy and coarserion in 2013, two years ago, the Ducks are also one of five Fac-10 teams ineligible for post-season play.
"The problem hasn't torn them apart," Fambrough said in summing Oregon's woes. "It has drawn them closer, and that's what makes everybody is picked on them."
For the 'Hawks, senior Steve Smith will probably start at quarterback, with the tailback slot still open. It is double that, and the Mavens Kerwin Bell will get the starting nod.
George Brett
Perhaps the biggest question mark on the team, the kicking game, has been answered. Freshman Bruce Kallmyer will handle kicking duties while Bucky Scribner fills the punting vacancy left by Mike Hubach.
Defensively, the 'Hawks, which gave an average of 32 points a game last year, will be counting on youth.
"I have been pleased with all of our young players," Fambrigh said. "In the future I can see a defense out there." Mr. Fambrigh said that the defense was hung hard last week.
One returning defensive starter, however, will be missing Saturday in the team's first Sealers Young, who led KU in tackles last season, is out with a sprained ankle.
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The loss snapped a four-game winning streak by the Royals, who played without George Brett for the second straight game.
Brett, who had his injured right hand x-rayed yesterday in California, was given permission to take batting practice before the game and could return to the lineup this week, club officials said.
NAHEIM, Calif. —Carney Lansford had three hits, including a double and a home run and drove in three runs last season. Angelis Angels past the Kansas City Royals 7-4.
Brett was hitting .396 and needs 55 more at-bats in Kansas City's remaining 24 games to qualify for the league batting championship.
ph 841-6642
The injury is similar to tendinitis and will be treated as such, team officials
Angels drop Royals 7-4; Brett returns this week
By United Press International
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Without Brett, the Royals had 11 hits to the Angels 12 last night. The Angels belts four home runs and attacks against Larry Gura, 18, and Marty Pattin.
A single by U.L. Washington, who went three-for-three, and a double by Wilson Wilson in the fifth set up Frank White's two-run single. Willem Aiken's followed with a double to tie the score off Martinez. But then Aase came in and silenced the Royal's bats the rest of the way.
said, with ice, whirlpool and ultrasound therapy.
It is up to Brett, trainer Mickey Cobb and Kansas City manager Jim Freay as to when Brett will return to the lineup.
Gura surrendered a two-homer run to Dan Ford in the first inning, but Amos Otis came back in the second with a home run to cut the lead to 2-1.
Lamport's home run gave the Angels a 3-1 lead in the third and Brian Downing added a solo shot to build the lead to 4-1.
The loss, coupled with a Texas victory over Oakland, kept the Royal's magic number at eight. Any number of Kansas City victories or Texas losses totaling eight will clinch the American League West title for the Royals.
In the American League East, New York beat Toronto 7-4, while Baltimore
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THE ROLLING STONES Emotional Rescue
(Rolling Stones) Whether one views the Stones as the reigning defenders of rock & roll incarnate or as faded women who have been coated on past mistakes, some Girls proved there were still some excellent songs and killer rallies in the Stones bones. But only a hopelessly dhard "The Rock" album would fail to recognize that Emotional Rescue falls far short of that standard.
The Stones have favored a no-frills, ramshackle sound recently — one that is infinitely preferable to the sort of 50 take sterility popular these days — but the songs here sound skiffy, unfinished and, most crucially, unfinished. The music is an problem in the facad, lackluster work of Richards and Wood.
The material ranges from typical Stones rocking fare through disco, reggae and jazz excursions that allow jager to slip into several of his vocal persona to sing in the band's alchemy — it sounds like the voice of Cheech and Chong's 'Basketball Jones' — for the title track in the Jack Nastiegs' Indian Girl he sounds a bellava lot like Willy DeLorean -- despite an excerpt of Spanish Harlem (transplanted to Laredo in this instance) street travelogue.
Let Me Go' effectively creates an aura of underestimated men but the tump guitar lead leaves it a bit too harsh. A string instrument is a rocker stones in the grand tradition that sports jugger's best vocal on the album but simply doesn't go anywhere 'Summer Romance' per se. The sound of the music problems — we can hear Graham Parker's 'Soul Shoes', Nick Lowes 'Heart of the City' and the Stones own 'Respectable' in the riff but the song doesn't come close to matching any of them.
Emotional Rescue sounds like a collection of faster track filters and outtakes rather than the question of two years labor. It raises the question of what happens to bones in areas producing loud music without a direct challenge.
Don Snowden
september, 1980
JACKSON BROWNE Hold Out
(Asymtum) Here it comes — another,
Statement on Our Times by Jackson
Browne, the voice of modern America
that he grew up in. But someone
but someone has to look at this artist's
work with less than half the reverence
Certainly Browne himself is not willing
Browne has long been touted as the crème de la creme of contemporary songwriters, but his talents may have be considerably exaggerated. True to his prestigious and shown him to be concise and craftsmanship like a composer — but they also reveal that he is adept at an unmarkable approach and an unremarkable melodic sense. "Rock Me on the Water," "Fountain of Sorrow," "The Preender" and so many of Browne's other songs are top-heavy with their own impor
rance, offering social and religious in sights that are intended to be grandiose but now rather ordinary.
Barry Alfonso
*Hold Out* is little better or worse in this regard than previous Browne at bums. Again he offers sigatures of everyday alienation and attention. Give up your heart and you find yourself/Living for something in somebody else, he intones in *Hold On Hold* on people watch the time go by/They do everything but live in mundane Disco Apocalypse. Such pearls of mundane wisdom wouldn’t be objectionable except for the stiff solemnity of Browne’s singing and production. These observations are set to the same trite folk chord progressions Browne has been writing for years. Supposedly tough-sounding rockers like Toad and who what whom such as *Hold Out* can incubate and a bit numbing.
The LPs arrangements deserve a little more praise than its material. Considering the session men involved in the album (David Lindley, Bill Payne, Craig Doveger and A.L. Mellow Maloff), it is not surprising that *Hold Out* is smooth and restrained in sound, with plenty of depth and moody organ work here and there to add dramatic color to otherwise underlined songs.
Richard Levinson
(Richard sentence, long-time Ampen
contributor) a freelance writer
best known for his composition "Let's
go to school" and "Superficial.
Make that four copies."
Some artists challenge their audien-
ces with new musical approaches
and freshly ideal ideas. On Hold Out,
Jackson Browne tells his fans what
he's been saying about the music.
Before playing it thoroughly safe in
the name of sincerity.
O $ ^{N} $ D $ ^{I S C} $
SMOKEY & THE BANDIT-II Soundtrack
(MCA) Enough's already been said that John Haiti attends the Elvis Costello-angry young man sance. The comparisons of Haiti to Costello on Slag Lina, his debit, went especially well with the movie. Young (note the bald spot) and not all that angry either; he just likes to mouth off a bit.
(*MCA Records*) Man, what an album! Not only do you get line performances from the likes of Bill Don Williams, Tanya McKay and many others, there a special treat as well. Burk Reynolds, in his album singing deburwatches an enchanting little dint entailed. Let's Do Something Cheap and make two copies that three copies
JOHN HIATT
Two Bit Monsters
Unfortunately, Hats will follow up, two *Bit Monsters*, won't be the band to extinguish those lame comparisons. Hats's forte is b妖, a wise and wit aced. The music of both sets looks identical. Both men strive for maximum mileage out of a well-structured
phrase. Hiat hits the mark exception ally well on Two Bit Monsters
"Trace the Nation is his agitated discourse on the news program of the same name, now two times more visually lively; ten times more of excuses. Not talk non-lim, not only chatter! Little chipmunk words don't get away," said Dylan Pink Bedroom. His hirte of惊喜 "Sharon's Got a Drugstore" from *Stug Tine*, but "Bedroom is badly weakened by a hokey, back-and-forth character." World features a promising music intro which promptly bounders at the first vocal utterance and then an awkward one that flawed on *Stug Tine*.
Various numbers exhibit some interesting influences, particularly the organ riffs and rock steady beat of "Tspy (for the FBI)" which unexpectedly echoes the Mount sound (at least it is Motown as anyone has gotten on MCA) Hiatts's record and chance but the company should be glad that they did John Hattis is proving to be a tenuous original and special talent.
oers and the slower paced 'Back to the War,' a wonderful exercise in which Haiti creates warfare analogies to a bitter personal relationship
But Hatt is usually right on top of things. The arrangements are fully developed and, for the most part, equal the energy and bite of the vocal performance. Occasionally reminiscent of songster Dag Hamilton, Hatt possesses an unusual nasal whammy but is well-suited to the urgency of his raw, emotional visions. Hatt achieves strong impact with musical subtilies on New *Num*
Vicki Arkoff
BOB MARLEY & THE WAILERS Uprising
*(Island)* it is always difficult for an artist — whether in music or cinema — to succeed. Although Bob Martin and the Walters last release *surri*
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Jonathan Richman
THE ROXY, LOS ANGELES
Rock and roll has many self-proclaimed singers, but Jonathan Richman may be its one bona fide saint. The ex leader of the Modern Lovers qualities for the title in the music industry are his sweet and pure, his innocence so extreme as to be otherworldly. The main obstacle to his canonization is the off beat way he expresses his love for rock and roll, a population by Martian bakers, talking airplanes, fatherly mosquitos and other fabulous characters who act out his ideas on life and love. Alternately whimical, heart-ringging and just plain fun, these ambitious situations have so far proven useful for mass acceptance.
Eleshwing most of his earlier punkish material (except for the now classic " Roadrunner" ), Richman rapidly ran through the best of his recent songs. Such are " Bloody Heads," " Braillechains," " Ice Cream Man," and " I a Little Dinosaur" were served with froth some rockyblade flavor, accentuated by Richman's rhythmic hand clips and a few fins on the back. Brand new tunes were included in the sets, most notably " Stop This Car, I'm Getting Out," a saddly account of the evils of smoking dope while driving. The audience laughed along due to the elusive moments, intertwined with Richman's tumultuous serious
An example of the latter was 'Affection', a personal confession on the subject that Richman recited with a life and death earnestness. "People all over the world are starving for all kinds of food," he sob in his voice, and the pathos of the lyric came through powerfully. Like a rock and roll Charlie Rich, Pinch
If Richman was at times excessively cute this Maurece Cherlain invitation during "Morning of Our Lives" was a reminder of how radiant he fun biased he made one will love to forgive him anything. Richman is at once utterly professional and winningly charming, with a sense of usering and posting, a little saintiness is most appreciated.
man stood before the crowd as a forlorn wail pleading for love, blending the comic and the tragic maserfully
Barry Alfonso
Besides his own compositions, Richman performed an assortment of cover tunes, recasting each as a gentle dance tune. Sam Cooke's "shake provided him with writing and awkward but appealing fruit." A Latin-singer guitar interlude segued into a spirited if somewhat incoherent "la Bambia" given the songwriter's subject was subjected to Richman's decidedly personal interpretation.
Todd Rundgren's
Utopia & Ambrosia
MERRIWEATHER POST PAVILION,
COLUMBIA, MARYLAND
"Coming in from the Cold" is another depiction of the struggle against the system. Marley's said it many times before, and a lot better "Real Situation," on the Christian basis. The man famous for standing up for your rights here says the only solution to its deprivation "Ant么no one, no canse
was probably too polished by regime standards. Marley's lyrical commitment and intensity were quite common in the world of political situation at the time
Ambrosia kicked off this hot night in the big tent with a charming curiosity "Nice, Nice, Very Nice, very Nice," to the poem with many a wist and turn of dynamics. Neither their snappiest rocker nor their most recognizable ballad, it signalled that the band was performing four album career, and not just their overplayed Top 40 soundlike successes. Believe it or not, they can rock with the best, even when burdened with an immense green heat and no opportunity for a sound check. The initially indifferent audience of Todd Rundgren fans
It is now 1980. The world is still a political internexbox. We would seem logical that Marley would follow up last year's critical success with more of the same *prising* does have the same smooth flowing reggae, again almost too polished for comfort, but Marley displays more power and confidence as he decides a decidedly mixed bag - a number of highs, but also a couple of lows.
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Jonathan Richman
came in from the ice cream stand and frisbee on the tree to listen, found the intelligence and variety of Ambrosia's sound to be qualities they like in Todd's material, and stayed for an earful.
Utopia had its ups and downs this evening. They opened with "Road to Utopia" and the power failed twice in the first thirty seconds. The monitors were blacked out, and the squad never worked to his satisfaction, and he spent perhaps a third of every song talking to his techie about that. He also relied on a portability suit, which allows his shoulders for most of the evening, which allowed the audience to see that he wan't actually playing much of anything. On the louder numbers they sang from the keyboard dazzee to countersaint Tout heavy-metal guitar.
time around, however, Utopia brought along some home movies, the first product out of Ludd's recent work with video. Shown on a backdrop behind the hilarious video, Willow Wilcox, the images ranged from an abstract for a Roger Pewlson to a very literal interpretation of "You Make Me Crazy" featuring Wilcox as the love on the brink. In concert
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