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Bowser & Blue Entertainmen wn-mmmw.mmm Sylvester Stailone and Kurt Russell are reluctant partners in Tango and Cash. w MIR adiiadininreint in : us MMG A .c db The two were united (actually, reunited â€" they had met briefly in Cambridge, England before Bowserâ€"apfigrated) eight years later, and decided for good reason to team up â€" Bowser had a gig and Blue had a P.A. system. The comedy gradually crept in. "Georgeknewwmmgbyaongs.westaneddoingthem,md realized that people liked them," Blue says. "So we started looking for humorousâ€"type folkie songs, but discovered they wendifficulttofindnow:hmnedm;‘mkeupourmflm. with that we were playing night after night, we started tahnmesvithtbewordatomnuoumlmmdwe discovered that people enjoyed them as much as we did." Bluesnystbeirmpmfa'gedinpuhu.dub‘,mdban,md their humor stems from that seedyâ€"type atmosphere. "It'squitemugh.maadandmdeâ€"minlyonrliveactia" Tbeduohuboenpiningnotaietyforparodiumhufleau Are Not Enuff, and Your Dick is a Dud (which, like Weird Al Yankovic‘s Addicted to Spuds, is a vmdy of Robert Palmer‘s Addicted to Love, but is quite unlike Yankovie‘s cutsie version). Bowser and Blue have released three albums, their debut selfâ€"titled album in 1986, Is It In Yet? in November of 1987, and a live album released last spring. (Continued on page 19) Smmkmythinkthomufialwmedyduoliom& Blue are sexist, homophobic and racist. Notn,uy.kichBluedtheMonmd-bandtwosome.They just have bad taste. "I like to shatter the barriers of good taste," Blue says of the music with which he and partner George Bowser have been tickling the funny bones of Montreal pubâ€"goers for almost 12 years. "leqpymkingtheaudicneeaingemdoquednther than just laugh." Tiad rick band io Both musicians roc experience before teaming up in 1978. Blue, born in Liverpool but raised in the U.S., came to Canada with the folk movement of the late 60s. At 20, after stints with Rick Davies and John Helliwell (preâ€" Supertramp) and an early Katrina & The Waves, a Britishâ€"bred Bowser decided to drop his Oxford language studies to delve into his passion for rock ‘n‘ roll. A visit to Montreal in 1970 led to a music gig, which led to a rather lengthy "visit". Not racist, sexist just tasteless Russell, as Tango and Cash, respectively. Tango dresses in expensive suits and takes eallafinmhx'nhmker.cmdnuuinmat- shimt.hathnvethenechrippedoutoflhem. Who rips the neckg'out of all those movie sweatshirts, anyway? Peramee e ue gwe s wl get % kingpins duck for cover. Excuse me if that sentence read like a line from an ad. The thing I can think of to say about the film is that it makes absolutely no difference whether you Te soue g ons mio regpige * whole is a big, noisy, k The stu:h:r‘e‘Sylvem Stallone and Kurt Russell, as Tango and Cash. respectively. Tango and Cash is a brainless, exhausted example of the buddy action picture, that 'heuyoldfamatwhenaeoupl&gfdw team todutroym.my :R' IieF innovation in ts rerapn o the itlo of action to dialogue, wHithdnbkODSe Tango and Cash offers only brainless action 9â€"tol (in favor of pe people talking to one 8 f C .:f&fi Hvis f fi â€"RECYCLE s > Your Chronicle good guys time to act. Palance does most of the talking in the movie. He wants Tango and Cash killed, but not SIMPLY killed, you see: No, they have to die according to his own specific scenario, which is so complicated and timeâ€"consuming, alas, that it gives them time to kill him. (Is that giving away the ending? Who cares? If this movie ended with Palance killing Stallone and Rusâ€" Cash was that I knew with an awful certainty it would be bad right from the opening seconds. The screen goes black and we hear Stallone m. "All right, let‘s do it," and then the track bursts forth with that unspeakably grotesque actionâ€"movie music they manufac; mflphyfwthhmviemndalihlinufi'om an ; Beloved old Jack Palance is the other star of the: movie, as the wonderfully named Yves at movie cliche where the killer, ihg‘ talks too much and gives the (Continued on page 18) F3 ® l r/ 1," * 1/