n The Music World...

/henever We Wanted - John Mellencamp (Mercury) Johnny Cougar’s latest (I know that’s not his e anymore, I guess 1’mjust a sentimental fool) he away with the accordian, acoustic guitar, fiddle d kitchen sink that marked his last couple of al- ims. in it’s place we have pure, Stonesy, gut-level ck ‘n’ roll, andI say yabba-dabba-doo! Thisisn’ta eat album by any stretch of the imagination, but it’s #t stuttering Keef-guitars whose pauses got more ythm than most guys notes, some fantastic drum- ing ala Charlie Watts, good intentioned dopey rics (“* We kill the young to feed the old/ and man itain’t no good’’ - there ya go, world powers, u’re problems are solved), and no articial sweet- er. It’s all about as original as a sequel, but in the leties it’s a regular four-leaf clover. The songs are stty good, but mainly it’s a breath of fresh air. od enough for me. SOUCY LASS EACH Vim eh No at ocalypse 91...The Enemy Strikes Black - Public emy (Def Jam/Columbia) dn’t bother checking this out until now because I ughtit was justan EP. Maybe it should have n. Apocalypse 91 is apretty minor album by a idedly unminor band; closer to Yo! Bum Rush the yw than Fear ofa Black Planet. PE’s latest is quite pped-down, which isn’t always a good thing in Their last two albums weaved an immense array amples into a rivetting sound that derived it’s icality from roots in funk and r&b (P-Funk, es Brown). Their latest sounds more like the ples-plus-beats-excuse-for-somethin g-to-rap-over most rappers use. The exceptions are ghttrain’’ and especially, ‘‘Can’t Truss It’’, sh feature the usual whirlwind of ever changing ples that seem to energize the raps. even at their worst, Public Enemy ate still the in their game, Chuck D and Flavor Flav’s spir- shouts and rapping interplay mark them as the & Dave of the nineties, and while the arrange- § are quite spare they’re still more pretty force-

is the only great band in rap (a ridiculously

ated genre), and if they’ ve reached the end of record-scratching rope then what does that say tthe form itself? The retro-rap (a contradiction ms, | guess) of Apocalypse 91 may simply bea ‘ie album - it’s only been abouta year since Fear P-pun intended) - or itcould mark the beginning

of the end of rap (that’d be a damn shame). I mean really, how much diversification can you have ina song when you have to speak it (just ask Lou Reed)?

When youcan no longer go forward - as they did on their last two releases - you have to go backward - as they have on Apocalypse. This is probably the best rap release of the year, but so what? Buy the single of **Can’t “russ It’’ and save some green.

Kirby Ferguson

MurderAnd Comedy- For The Price of A Ticket

Long before the advent of televisions and videos, there was radio. Remember Orson Welles and The War of the Worlds? Listeners used to sit anxiously by their radios for the next episode of their favourite soap. The beauty parlour, the coffee shop, your car radio, everywhere you went radios were tuned in to plays, comedy and variety shows. Back then your imagination played a large part in your enjoyment and everyone had a different vision of the male lead or the female star. Well unpack you imagination for this one as Sorry, Wrong Number is being presented as originally written by Lucille Fletcher - a radio play.

Setin the 1940’s, Sorry, Wrong Number, is a murder mystery with a twist. Directed by Dawn Ambler, this play is not your ordinary Who Dun It? since we are looking for Who is the Victim? Sit up and listen carefully for the clues that will lead you to the excit- ing conclusion. Lesley Shaw plays the neurotically paranoid but beautiful Mrs. Stevenson. Jacqueline Fisher’s voice as the annoying Ernestine, the switch- board operator, lends a touch of comedy to the drama.

Mike Ling fits his role well as the laid back Sergeant Duffy and rounding out the cast we have Trina Huggard at the hospital, Mike Caissie as the vicious killer, Clark Wasnidge in a dual role as the Western Union man and the man who hires the killer. An Australian Exchange student, Veronika Huss, plays the Chief Operator who is most willing to lend a hand. This wonderful combination of voices will be accompanied by Geoff Matheson, the ever attentive sound nian and stage manager, Fora new experience and theatre with a difference, come out November 14, 15 ana 16 to Duffy Amphitheatre fo: UPEI Theatre's triple play presentation,

Kate

-P RESS

November 7, 199]

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