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Quadrophenia: The Past is the Future SHAKIN' STREET GAZET1E

than even he realized, was. the rationale behind individual solo efforts, which were always interesting but never as satisfying as the Who in entity. "Quadrophe-n-ia," the latest Who effort, presents this entity. "Quadrophenia" is the story of Jimmy, a mod-kid in mid-sixties London. He does all the things that mods did. He chases roe ke rs, smashes windows, takes pills, picks up birds, and goes to see the Who in concert. He is also seeing a psychiatrist who says he is a schizophrenic. From another angle, Quadrophenia is also the story of the Who; what they are today fused with what they were at one time. This very fusion is the concept of Quadrophenia. The vision of Quadrophenia is one that took Peter TowJ1shend two years to realize, and for the Who to mature towards. Townshend offers, us a surface level plot, the teen angel embedded in his own confusion. Perhaps the deaf, dumb and blind kid revisited. But there is that other level of involveme"nt, which Townshend and his compatriots struggle with , a progressivism which returns the Who to their past, their roots perhaps. It is this conflict of past and present image, what they stand for, which makes Quadrophenia so enticing. Each of the four dominant themes of Quadrophenia, presents a personality of the Who, Daltry, Entwhistle, Moon and Townshend himself. ' They ask each other why they are doing what they must do. Why they symbolize what they must symbolize. The Quadrophenia booklet which comes with the album is illustrative of a fusion between these two plots, as Jimmy floats through the streets of London. But ever present are pictures, advertisements, and symbolic tokenisms of the Who, who are ever present .in Jimmy's saga, just as jimmy is a crucial symbol of entity in the st6~y of the WhGJ. This fusion, a seeming diversion of interests, is actually enlightening insofar as Townshend's message is concerned as the series of pictures, graphic spaces of time, illustrate. The piece itself opens with a rush of water and crashing, breaking waves; snatches of music and singing are heard em bedded in the sound, presenting us wi t h the four themes which make up Quadrophenia : "Helpless Dancer," "ls It Me," "Bell Boy" and "Love Reign O'er Me." Each theme reflects a member of the Who, and each represents a part of Jimmy's character. The noise ends, and a massive guitar chord is sounded as they break into "The

. (' "Yeesh, thank God I don't have to do this 9 to 5 anymore . ... " ----------

do is keep on Rockin • • \ . Volume One, Number Four The Who Makin' Waves: The Past is the Future .

..." but he is also the same man who can only stutter my generation in his con.fusion rather than accusingly as he did '., in the past. Side two begins with "I'm one (at least)" a number which reasserts Jimmy's as well as Townshend's uniqueness as an individual in space and time. It begins as a soft song which later swings into a full rock sound. This pattern of a song of confusion of identity followed by a song ,) of. reassertion of personality is a constant on this album and reoccurs again and -;, again. This number is followed by "The ,, Dirty Jobs," one of th'e standouts on the album. John Entwhistle's growling bass works with a pleasant guitar/synthesizer intro, and then carries a throbbing violent arrangement of a song about being put down, pushed round and screwed with : menial dirty work and drudgery. This one ends with carnival so~nds as Jimmy quits ·' his job as a dustman after seeing people who had been doing it for years and are .I stuck with low pay and garbage. Roger's theme (Helpless Dancer) follows. This is Jimmy's evaluatibn of life ·· at this point and the very struggle for it ,. by every one. With a very simple piano/horn arrangement, Daltry begins the vocal for the first .two lines. He is however disguised, replaced or mimed as the voices that follow take on, strikingly, characteristics of the other' members of the Who, Not always vocally reminiscent :- of their counterpart, but lyrically each member of the Who is done to a tee, best " exemplified by Keith Moon's line "If you ·' complain, you disappear, just like the . lesbians and queers." Remember Moon is 1 blatant; not subtle, eccentric (remember Uncle Ernie)., The lyrics, written by ' Townshend, fit Moon's person~ity. Townshend also creates Roger's dilemma,

Re al Me" an earnest, hard rock song expressing Jimmy's p\ea to the doctor, preacher, and ~is motMr, all of whom say they want to help him. It is a plea for them to see the "real him." The next cut is a beautiful instrumental, r~peating the four themes. They are played with an orchestral synthesizer/horn background, superbly ,,, dramatic drumming from Keith Moon, and some uncharacteristically melodic lead guitar from Townshend. ''Cut My Hair" follows with a soft pretty verse and pulsating nervous chorus, one representing the pseudo quietude of Jimmy's home life, the other the excitement of being out with fellow mods. He feels uncomfortable in both roles however, and the cut ends with a 'radio newscaster reporting a gang fight as the morning kettle comes to a boil. Side one ends with "The Punk Meets the Godfather," described as "A mini opera with real characters and plot." The Godfather exhaults himself, the star of the show, the great hero. The ·Punk cuts him down by exposing him for what he is, a product of the people and a facetious fraud. This is another urgent rocker and it beau ti fully combines Roger Daltrey's strong vocal with Townshend's biting lyrics. This number purposefully eludes the surface level plot of Jimmy the mod, and concerns 'itself with two ambiguous characters, the punk and the godfather. ' I On carefuly examination of the lyrics, one can see that.both of these characters are Townshend, an introspective process called schizophrenia. Townshend the one-time punk, is now the fat cat godfather of rock and he knows it. He comes to wonder who controls who; does generation ·motivate spokesman or vice-versa? In the song Townshend is "the ' guy in the sky flying high flashing eyes

Pepper's Lonely Hearts Club Band), Townshend was experimenting with what he called a '!mini-rock opera" (A Quick one while he's away) and later, on their first attempt at a concept album, "The Who Sell Out," he had an extended cut with several themes called "Rael."

Peter T,ownshend, the innovative perfectionist of rock music, and the whiz-kid of those punkish mongrels · known as the Who, has composed and conducted a piece of music called Quadrophenia. Townshend has all the intuition of a

approached, let alone to be toppled by those hard rockers who could see for miles and miles but maybe not far enough. , The group, swallowed by the outrageous proportions that "Rock Opera" came to symbolize, sensed that

showman, as well as the cold, seemingly sterile expertise of a master ·producer. As the layed back extrovert of the Who, .he ; has guided . their succ.esses ecstatically and carefully .. As the undisputed creator of the Who's nrusicanci' lyrics, it is through his eyes that the story of Quadrophenia is handed to us as revelation. Townshend, in the

the only follow-up that they could present was a live album. "Live At Leeds" presented them as a tight, theatrical rock band with their feet firmly planted in the Rock and Roll of the later 50's. Their studio efforts were mainly confined to individual experimentation. With "Who's Next " Townshend was again experimenting. Several cuts displayed his synthesizer work, attempts rangil'_lg from an ever present drone to orchestral background (best exemplified on "You Won't Get Fooled Again"). Included on the album, also significantly, was "The Song Is Over" the remnants of an abortive attempt at a second rock opera. · 1

early years, was able to write some very tightly arranged and effectively expressive songs for singles. Hits like !'My Generation," ''Substitute," "Can't Explain,'' "The Kids are All Right," "Happy Jack," and "I Can See For Miles" had tunes which caught the ear quickly and had enough nervous energy to keep the hyper acti','.e kids of the middle and late 60's interested. But he perfected/this so quickly that he needed something bigger to sink his musical teeth into. On the Who's second album , at the time that the Beatles were inve nting the concept album (Sergeant

"Tommy," the first full length rock opera, soon followed. "Tommy , " while being a unique musical expression, surpassed even what Townshend conceived it and it led the Who to question whether the artistic p inacle of Tommy could ever be

After Who's Next however, the desire to be heral.ded as rock and roll innovators became apparent as· the distance between the group and the recording studio loomed ever .more enormou s. Townshend's statement that a group effort would take time, much more time

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,I accent, Moon himself. , This lyrical depiction of the working class hero is Moon's cup of tea , as he re-ech'oes· 'the ~unk'~ fl'auntingly justified accus,ations at the godfather (Townshend) "Ain't you the guy who used to set the paces, riding up in front of a ~undred faces .. ."Again, all , of' the i,nstruments, including syn thes_izers and , horns, com_bine for a fine arrangeqient. The last side opens with more ru~hing waves leading into the orchestral sound and splasbiq.g cyn:i,bals of "Dr. Jimmy." This aggressive song is interspersed with pieces of John 's theme, "Is It Me?", which represents a romantic side of this complex character. "Dr. Jimmy and Mr. Jim" is slightly reminiscent of "Dr. Jekyll an~ Mr. Hyde," an early Entwistle .tune. Entwistle is the introverted , laid back -

" and has Roger point his Jinger accusingly at Townshend. Daltrey is the voice of the Who, their .personality, their ego, their extrovertive puppet. He is in many ways a helpless dancer, doing what a rock stud, le.a cf singer should and has . to do; and singing the lyrics which don't belong to him as an individual. A small part of the beginning of .,,The Kids Are All Right" punctuates the song followed by Roger ( Ji'mm y) singing, "is i't me for a moment?." H;e then turns and questions his own evaluatio'n in "Is It .In My Head," a track which features some interesting guitar with a synthes{zer indµced astral sound. Side two closes with "I've Had Enough," another beautifully arranged number with traces of Pete's theme and a curious banjo- percussion sound. A lyrically morbid little chant is featured as a chor.us, ''I've had enough of living, I've had enough of dying, I've had enough of smiling, I've had_tnoug,h of crying,';·sets the stag,e·for the shape of things to come. 1 Townshend begins to become abstract in theme . on sides threJ and four .as he. personally identifies. with the much abused Jimmy, and character·and cn=~ator· both seek peace in beirig and nothingness. Realizing that he is going nowhere, Jimmy decides that he's had enough of living with the dancehalls, pills and street fights. Side thr!=Je, however, finds Jimmy still ' searching for love, a love which has lost all sense of personification. "5:15" is 'a bouncy r~cker about wandering around high on pills and spending a day in a railroad carriage just thinking. He win_ds up on the beach trying to face things. Be's been thrown .out by his parents, and , has become a fy.11 time, roaming mod. Verses and musical themes from "I've had · enougl)." are repeated but this time 1 he is enjoying his life-style instead of spurning it. Still on the beach, Jimmy becomes soothed by his isolation, and lack of direction; "nothing is planned by the sea and the sand" and "Drowned," another fine rocker with horn breaks, he imagines himself as part of the sea. ·

. "The Man With The Golden Gun" further explores the Peter Gunn soundtrack effect started on ''Unfinished Sw_eet" (from Billion Dollar Babies) and · spotlights guest vocalist Liza Mennelli's spooky wailings. ''Teenage Lament '74" is almost like the .Ballad of Alice featu~i,ng Ronnie Spector, the Pointer Sisters, LaBelle and again, Liza. The album's closer, "Woman Machine," will scare you with its muddy closing narrative and ' electronic J'.lOises; as always, this is where ' Alice excels. So here's Alice, stretching out again ' when he thinks he's returning to his roots. A special note is the increasing use ' of keyboards and horns and; well, ,anything that will further enhance the effects the _ band is c~eating. Vocally, he's trying to lose himself in the group sound again _but those special only-Alice-could-write-them lyrics always shine. The Muscle of Love concept (sailors and sex, running rampant, e.tc.) does not leave much room for a complete show to be build around. So,, as I hope you'll se~, when Alice stages his New Years Eve party here at the Aud (courtesy Festival East, natch), it ~ill be a recreation of the Billion Do]lar Babies show last spring. Tunes froin Musple will be incorporated into the show and whether you went -before or have simply heard about it, it's

pleading Peter's theme. They are then combined to form one of Townshend's most beautifully complex compositions. And it begins to rain. · · As it rains., an echoing, pulsating synthesizer lays- the groundwc:>rk for the gracefully picturesque final number, "Love Reign O'er Me" (Pete's theme). Although Townshend's vision seems to be one of a romantic vein, his last stanza casts a shadow of uncertainty to the meaning of love. "On the dry and dusty road . The nights we spent apart alone. ', I need to get back home to cool cool rain. · The nights are hot .and black as ink, I can't sleep and Ilay and I 'think Oh God, I need a 'drink of cool: cool rain." The theme 9f Townshend'~ composition seems t,o be included in t'hese -lyrics: . . "You were under the impression. That when you were ikalking forward You'd end up further onward But things ain't quite that simple" ., Townshend and the Who have had ,to dig deeply into their past to examine what they sta~d for now ve~sus wh~t they st?od, for in;the PilSt. Has success changed their direction? This is a question \eft , u n a n s we re d a s .Ji m m y , i n t h e Quadrophenia booklet walks off into the shore line and simply disappeflrs.· The Who have returned to their roots musically; i\ took them two years w~rth of solo projects to really examine themselves as individuals and as components of an orchestral/rock unit. But then again: it !S worth ~entioning that Townshend has mastered the whole project ·called "Quadrophenia." He -has . created, both lyrically and musically, the tensions and revelations of the surface level story of Jimmy·. But more significantly, To»7nshend has created the · antagonisms of the other three members of the Who and has directed. these antagonisms against himself. Either this is· the ego:mania of keeping his colleag\les voicel~ss to keep them from out shining him; or it is the schizophrenia of a man who is so confused by his image of himself on stage/off stage, that he has written a concept album with •two levels which try to drown out eac'h other. At any _rate , they say t'hat all' g~nuises are mad, or all madmen are geniuses. The I • , ' mus1.c world heeds a few more persc;rnalities like Town~hend's. Be it madness or genius. . -Michael Sajecki and David Meinzer ' '

sound." Nice try, Alice. It's no Killer but even · you can't top your own ma§terpieces, you just create new ones. Muscle is too slick to be a return to the roots, if Killer is the "roots" you· indicated. Even· though you used Jack Richardson(producer of Poco, Guess Who) . instead of Bob Ezrin (who just finished producing Lou's Berlin ), nothing's changed. But that's OK cuz Muscle is great ancl,:_Alice, you haven't disappointed us yet. For such an attempt at simplicity, it's surprising that Alice has exp~rimented so much on this 'un. Side One is quite a "Let's try this, Let's try that" foray. The opener, "Big Apple Dreaming," i;m't as striking as most of the previous album's openers. None of the bone-crushing attacking of "Under My Wheels" or "School's ,Out;" none of the melodramati9 sentimentality of "Hello Hurray." Just a misldle-teinpo rocker with great escalations of power. "Never Been Sold Before" settles into the Alice

Al ice Cooper MUSCLE OF LOVE Alice Cooper (Warners) Well, Alice is rich. So he's releasing his older album. Y'know 1 the one he recorded 35 miles off the coast of Zanzibar Jan. 72 to be the follow-up to Killer. When they tried to

tradition of "riff-rock with a difference" ship it to the States, it was·intercepted by . and satisfie~ anyone's power-craving, even t~e U.S. Coast Guard who then relayed it/ • though the.horn section (yes, I think this the the Navy. The Government .has been is wh 9 t they call progressive rock) does hush•hush about Muscle but now that get a bit unnerving at times. "Hard Alice is rich, he _bribed a few key officials Hearted Alice" is a dreamy contradiction into breaking into the safes and getting to the album's main thrust (ha, ha-Ed.), the album out. It had to be released as fitting into Muscle the way "Changes" packaged, there was no time to design a did to Black Sabbath IV. Alice even sings ' cover. This is why the album comes in a this one softly until the tune drifts into a carc;lboard box with__ grease stains and sleazy flow with Neal Smith's great enclosed is an Alice bookcover (no doubt cymbal shakes and Dennis Dunaway's ,a rough sketchy idea to be used for what bass accenting the suppressed energy. was to be thi? next album, School's Out). Side One's closer, ·"Crazy Little\ Child," Before the album was returned to Alice's rocks in a Dixieland vein a 1~ the Kinks hands, they tried various mea.ns of getting vaudeville parodies in !.ive performance. the album, one (depicted on fhe inner Side Two opens with two classic Alice sleeve) shows the band, disguised as rockers; the title tune is a tickling sailors, trying to inflitrate a sailor's powerhouse and '.'Working Up A Sweat" off-duty hangout hoping to get info. . . is a 'boogie (Alice boogie-ing?) with Alice Well, not really. But you get the idea. singing of the ,problems of "flaming" love Maybe Alice doesn't. Lissen Alice, we in a motelroom : were overjoyed when you said: "It's very "Dante's flamed Inferno was a trip to much of' a back-to-the -roots album. Hen and back; · Musically, I think this is our best album. But you and a bottle in a cheap 11otel It's _not complicated in any sense and. screams pyromaniac. there's not a lot of theatricality on it. It's Bandages come off today, really feeling very basic rock and roll throughout. We sick recorded it live in the studio. That way it ~,_ The hardest part: explaining all those doesn't have that real clean clinical blisters on my ... nose."

"Hey, ,c'mere you little . . .. "

bass player ,of the Who, a part which has been stereo-typed 'grotesquely in most rockagroups toaay . And yet, here we have an individual who is quite forward, daring, fighting scared. But mostly he is angry. Angry at being voiceless withi~ the Land, angry at being inotionles; on·stage. "Dr.. Jimmy and Mr. Jim , When I'm pilled you d_on;t notice hi~, he only comes out when I drink my gin.!' This repressive, schizoid personality is one that Townshend places on Entwistle; be it true or untrue. This tune leads right into "The Rock," an instrumental where .the four basic themes are given a reprise. Jimmy, still searching, has gone to the rock, a small off shore island, and, because he is drunk I > he has 'let the boat drift. off. Each theme is repreated: the bouncy, rrussianesq~e Roger's theme, the dramatically thundering Keitlr's theme , the soft, splashing J_ohn's theme , ano ,the vividly

Look, we'd like to see something like this happen New Years Eve . too. You've probably heard lots of rumors th9 t aren't necessarily true. Like the one · about ticket prices being outrageous, or that you hav-e to be -18 to get in, or that the (pick any combination) Moody Blues, the Who, Deep Purple and Black Sabbath will be there with Alice also. Everbody would like you to believe these rumors so you '11 shell_ o.it your $$$ for Alice Cooper New Years Eve Party at the Aud right here in Buffalo. Well, the only thing .that's true tight now is the back-off band is Z.Z. · T9pp and ticket prices will not . be outrageous and _ that, from Alice, all you can expect is surprises, In the meantime, indulge your fantasies with the cute couple above. Ticke,tsgo on sale Monday.

Jimmy returns to the city and gets a job as a bell hop. "Ben Boy" is Keith's ..,__ theme and is another stand out cut. Keith is Peter's choice to personify the typical English mod, struggling in a world of ·menial reality, and questioning his idolatry of such pagan demi-gods as the Who; "I don't suppose you would , remember me, but I used to follow you back in sixty three .'.' The chorus of "Bell Boy" is spoken in a rough heavy English

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foot-tapping "Tattoo'd Lady," a 1 Sixties-ish punk-rockin' '!Cradle Rock," a l scorching "Living Like A Trucker," a boogie-in"'Sleep. On A Clothes Line," a jazzy "They Don't Make Them Like You Anymore" and the album's closer "Admit It." ' Of the slower tunes, Rory flashes his roots without losing his own distinct personality. "Who's That Coming," starts with Rory playing slide acoustic, he sets up a repeating riff, switches to electric •and the band (a remarkably tight one consisting of Gerry McAvoy on bass Lou , I ' Martin ,playing the best blues/honkytonk piano in the whole rock field and Rod D'Ath on drums) crashes in behind him. "A Million MilEls Away" is the alq_um's prettiest _tune (somewhat in, his older style), a Gallagher classic of liquor, loneliness and lost love. On "20:20 Vision," an acoustic blues number, you can hear him stifling his laughter as he sings "She can make my Grandpa feel like he's six years old." , It's th1ngs like the. laughter in "20_:20 Vision," the inspi~ed screams he utters just before beginning a solo; these bursts of shy but happy enthusiasm draw o'ne .closer to -the album. He works his skinny little ass off for every song and the effort he puts into the songs pushes the rest of the band to perform at their peak. Although it's senseless that his music still hasn't gained a wide circle of recognition, it really doesn't seem to matter to him. He refuses to release singles or trade in his faded jeans and work shirt and he's just as happy to play . in bars as he is to headline a concert. He doesn't have star fever but, like I said, he's, got the ,you-know-what fe~er and ' 1, although RoJy GallagheF won't change the world, he sure is nice to have around. -Cary Sperrazza!

the lyrics. The band is second to Ray and serves to thrust him further into a solo spot: Tob bad but let'~ wait for the rest. · -Andy Cutler

a special affair you won't want to miss. I was given the pleasure of attending the ppening show last February in Rochester and honestly, it's the most extravagent and magnificent show in the rock world and possibly the whole of show biz. , Back to th,e album: what seems like a very petty bitch now is that although Muscle is not mediocre or unsatisfying, it lacks the most effective aspect of Alice's music - that it grabs you by the balls first time out. But thilt's OK cuz when you get down to business with the album, there's nothing crucially wrong at all. On Killer, Alice was naturally raunchy·. On Muscle, it's an obvious attempt to be raunchy and thars what runs through your mind at first listen. On Quadrephenia, the Who got back to their roots too but they needed a whole concept to finalize their return (See Michael Sajecki ,and Dave Meinzer's Who feature in this ish ). So, the difference between the two is that Alice announced his intentions which doesn't really jive with Alice's policy of surprising. You win again, Alice. Just keep on shocking us and all us , masos will be happy. . · -Gary Sperrazza!

Everyb~dy's in, Showbiz), the non-concept album. Each. song can stand alone but taken together compledi'ent each other to form a finished pictme of the album's theme: here it's the • ' ' I ! des-truct1on of the people's lives by crooked politicians, evil Capitalists and MONEY. Each sorig is sung by a differel'lt character all played by Ray, with the additional help of a chorus. Side one opens with the Chorus as the townspeople of the Village Green (the name should sound familiar to Kinkophiles) awakening to their daily routine and, of course, idyllic dreams. As the village slowly resurr.es_ life, the Tramp enters singing "Sweet Lady Genevieve," his past ,love whom, he did wrong. The Tramp serves. as ,narrator of sorts, introducing himselfhere and popping up later to intro.duce others. ,;There's A Cbange in the Weather" is sung by the working class man, the middle class man and the upper cla.ss man. It deals with the coming storm of discontent and destruction that many feel ~s·coming but the three gen,ts end on an optimistic note hoping that the clouds '• obscuring their lives will ·blow away. Enter the Tramp wi ~h "Wjlere Are They Now," a reach into the near past, setting the stage for Johnny Thunder blasting out with "One Of The Survivors," a strong rocker and my favorite on the , album . Johnny .. Thunder is all the old rockers who are still out there somewh,ere trying to re-ignite the old spa,rks. · The Vicar opens side two, with "Cricket," a comic argument for that game as a trµe British institution and favored by God. In "Money And Corruption," the townspeople start 'to rise up against the rich and corrupt 0nd they 1 find their Lenin in Mr. Black. The n 1 ext character to appear is the ultra-evil Flash who is religion in' Cash and whose main ambition is to buy out the •town ind level it. The Tramp delivers his final solHoquy with "Sitting In The Midday Sun," an ode to vagrancy and just taking life easy and as it comes. Evil seems" to win out finally as Flash and his. cronies gloat iO: their den singing 11 bemolition" and how they're going .to take over the town to satisfy their greed for money. ·' R11y doesn't sound top hopeful for humanity's fate (this i,s the first part of a two-part 1 musical 'Ray has written, don't forget, so there's more to come-Ed".) and his socialist tend.encies stand out. His ability for singing overshado"".s this .f!lct and just hearing his voice alm6st blots out

J. Geils Band LADIES INVITED The J. Geils Band (Atlantic) '.

Rory Gallagh~r TATTOO Rory Gallagher (Polydor) ·

"OK, . you , all kn:ow who I am or you wouldn't be reading this snotrag. Just because that Judy Collins character is gonna be at Kleinhans the same night as me,- don't think it's gonna steal my thunder. Dec. 8, UUAB presents me . . .Lou Reed, the· purveyor of the New Rock (I didn't make that up. Someone really said that about me.) and Mr. Hotshot himself at the Century Theatre. Tickets are; $4-studnuts $5-others, $5.50 and $4.50-night of show, and are available at UB and Buff State ticket outlets.' And if Shakin' Street's caption writer makes me look like an idiot, I'll personally break him with my . bare hands." Yeah, sure Lou. We'll meet you after the· show and no whips and chains this time.

The J. Geils Band is to the Seventies what the Butterfield Blue~ Band was to the Sixties. Actually, J. Geils is a sort of . continuation of what Butterfield started: bringing blues to a mostly middle .class white audience. Without first hearing Butterfield o~ his English counterparts like Cyril Davies, Alexis Korner and John Mayall, what would have turned these people on to Little Walter, Shakey Horton and the like and eventually onto the blues boom of the late Sixties?.The J. Geils Band is not a blooze band in the strict sense of the word, they variate their music with traces of bastard blues both Yaµk and Limey style and 50's R&B. Pete Wolf, lead singer, claims to ha~e an extensive collection of rhythm and blues and ·this fact explains the reason for some of the stuff on Ladies Invited, their fifth LP. "Did You No Wrong" starts out the album with a very poppish feel; Seth Justman alternates on vibes and piano. "Diddyboppin' " is a typical f1,mker, you know its Saturday mor,µing and Elick Clark ,asks some insipid fourteen year-olds to rate a song and they give it a 75 or so cuz 'you can dance to it.' Big deal. Ever si:Qce J. Geils started blowing groups like Yes off concert stages, they've been losing their force and strength. (Eh, we " don't need any nasty letters. Andy is referring to the Yes/J. Geils concert in Buffalo Feburary 28, 1972 where J. Geils really did do just that-Ed.) The first two LP's were killers, monuments to explosive music but Full House couldn't capture · the experience of J. Geils live and Bloodshot's only · high points were "Southside Shuffle," the second part of

Anyone who has been within hearing range of my ramblings in the past five years has heard of Rory Gallagher. Where · 1 all my other fave raves faded away to be replaced by new ones, Rory is one of the few 'rockers who hasn't gone the way of . age, ~ohey or anything that puts a middle age gut on the fat,cat rockers still going in 1973. Rory is still as fresh and str<;mg as he was in 1968/69 and each one of his albums up to now have reinforced that statement. Rory, !:he Irish cowboy, had his beginnings in a group called Taste one of the most unde'~rated heavy blo~z-rock bands from the UK ever. Four albums done (Taste, On The Boards, Live Taste, Live at the Isle of Wight), he got solo itchiµgs and surfaced 'with his own band cailed Rory Gallagher. For all purposes, Taste might as well have· been 'Rory Gallagher' too s'ince Rory wrote arranged, sang, played guitar, y'knoV:, was· the band's resident Superman. This present band has had · four albums also (Rory Gallagher, Deuce, Live, Blueprint) and this new one, Tattoo, carries on in the high standards , Rory ·has set for his albums with delightfulness. Gallagher is bas~d in the blues but does he have rock 'n' roll fever! He makes every one of his songs sizzle on the tur~table, Aside from being one of the mo~t impressiye

The Kinks PRESERVATION ACT I The Kinks (RCA)

"What? Lou Reed actually said those things about me. It doesn't bother me that we're in Buffald the same night. I think I '11 send him a flower and my personally autographed picture of Steve Stills. Maybe I'll do my newest song that night: "I Got A Knuckle Sandwich for Domenique Sanson" .. :" Dec. 8, Festival East pres~nts Judy Collins at Kleinhans. ' Tickets are available at all usual Festival outlets and cost '$6 and $5 for the main floor and $5 and $4 for the balcony.

Ray Davies is more an actor than a musician; that is, he's a trouper ·on top of his witty and intelligent lyricism and theatric vocal delivery. He's ·an)sle of melodrama in a sea of freak shows'.' That's the reason the Kinks are still kicki,ng after ten or more years, in the limelight. Preservation Act,I follows in the tradition of the Kink's last four LP's (Arthur, Lola vs. Powerman, Muswell Hillbillies,

This is what rock 'n' roll fever does for Rory. It can do the same for you. Just send $5.98...

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"Give It To Me," and the red plastic it l was pressed on. The saving grace here is "No Doubt About It," where J. Geils puts forth the ultimate in Clapton imitations. This song could very well have been cut at the fabled Clapton-Powerhouse sesstons. At this point, the J. Geils Band can't afford· ro·be caught with their collective pants down and if this album ain't self-abuse, they " haven't reached puberty yet. -Andy(;utler

Cold Cuts 1 WHITE CHOCOLATE (RCA) WELCOME Santana (Columbia)

Go out of your way for once and get this album. The, emergen~e of all these great· new groups is such a relief to tired ears and probably the note best typifying rock in 1973. White Chocolate is not.._pne of "those" groups, y'know, a bunch of white creeps thinking to flaunt the stereotyped sexuality of the black man by gyrating their hips and yelling "funky" or "get it on" underscored by off-beat drumming and a _wall of aggravating horn accompaniment: Then again, White' Chocolate aren't Americans imitating -a British band doing soul a la "Brother Louie" (w,ithout Michael Brown, Stories have degenerated into a gaggle of faggoid, pseudo-English creeps). What White Chocolate is, is an American teenage-y amphetamine power guitar-bass-drums rock rush of heaven! Whatever blackness may be interpreted by their music is no doubt the work of the excellent Andre and Maxayn Lewis (who ·ha've two fine albums, under the group namt Maxayn on Caprieom) and they've used their keyboard and vocal work, respectively, to help White Chocolate achieve the degree of emotion

The release of a new Santana album is usually not enough to get me to my . neighborhood Cavages store, especially when I'm do\ng something significant like watching an old Ronald Coleman movie on TV. As a matter of fact, I didn't even buy Caravanserai (yes, with its gorgeous cover, complete with camels and exotic sun). I ended up receiving it in a trade. Anyway, it's always neat to see what gimmick the latin leprfchaun has to offer us on his newest album. On Citravanserai, he opened up with an eerie saxophone and acoustic bass.. His newest album, "Welc _ome," is just as musically revolutionary. Carlos has now become completely ·iVIahavishnized. You can tell because the album. is completely white and has all sorts of exotic writing on it. The only trouble is, with the band's new female vocalist ·(Wendy Haas) and the alm?St no,n-existent Latin percussion complete with the usual wind effects, the end product sounds like John Mclaughlin jamming with Brazil 6(:> • not enough of the old Santana we heard on "Abraxas."

Would som~body please tell us are and what we're doin' here?

This was to be the cover of the new Ringo a!bum. This caption was to be the review. Too bad.

and rhythmic tightness they were lookjng HOURGLASS for. It's much the same approach thclt the (United Artists) J. Geils Band takes but the music here Another chapter in the '.rue sto:y. of isn't as steeped in traclition (See Andy · the Allman Bros. Hourglass 1s the m1ssmg Cutler's review of the new J. Geils album link between Allman J~ys and The in this ish). Same approach as Hendrix Allman Bros . Ba!'}d , This re-released (who th~y sometimes remind me of) but double set is the two ill~at~d albu~ns no flaunting necessary. White Chocolate Hourglass recorded for Liberty ~h1ch are new, exciting, and best of all, they've became UA in l 97~. T~e stuff here 1s n~t got a distinctive style with their debut indicative of the Bros. m the least and 1t album quite a task. If you're a rocker seems as if Duane had yet to mas_ter those and e~joy a tight polished group, don't ~one-chilling_ (ha, ha-Ed.) slide hc~s. The wait until Easter to g~t White Chocolate. first album is a beef~d-up expenmen'.al

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atrosity, the potential of the material smothered by an excess of horns and back-up vocalists. The second album (originally titled Power of Love),is an improvement, but still lacking that certain spark to .insure its success. The . best cut on both ai'bums is "Going Nowhere" pen~ed by Gregg and featuring Duane on Yardbird-style fuzz guitar. If you think this might be a great lost Allman collection, forget it . Read the liner notes, they 'll tell you all you need to know. It's the Hourglass with a couple of 'nobodies' named Allman.

SERPENT IS RISING Styx (Wooden Nickel/RCA)

This group has a problem. It's their third album (a crucial .one for any group) ari'd Styx have still to decide whether they want to play -','chuga-chuga" rock or art-rock. Rather than combine the two into a solid driving force , the two styles exist rather disjointedly. If you've ever put on Yes right after listening to Three Dog Night then Styx is for you. Slick production but all in all a spotty album.

John Belushi and Chevy Chase, stars of the original off-Broadway hit National Lampoon LEMMINGS, greet each other in a scene from the show. Both Belushi and Chase are appearing in the touring

Road." Dec. 15, SUB presents Lemmings at the Century Theatre, 8 pm. Tickets are $5, $4, $3 for students and $5.50, $4.50, $3.50 for others and are available at UB and Buff State ticket offices.

concert version of LEMMINGS along with other ·members of the original cast an(i such performers as Zal Yanovsky, formerly of the "Lovin' Spoonful" and Nate Herman, formerly of "Wilderness

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