MICHAEL SAJECKI; ALBUMS: 1) Tubular Bells-Mick Oldfield (Virgin/Atlantic) , 2) Quadr~phenia-The Who (MCA) 3) Berlin-Lou Reed (RCA) _ 4) Six Wives of Henry.VIII-Rick Wakeman (A & M) 5) Dark Side of the Moon-Pink Floyd (Harvest/Capital) 6) Tyranny and Mutation-Blue Oyster Cult (Columbia) 7) Mott-Mott the Hoople (Columbia) · 8) Stealer's Wheel-Stealer's Wheel (A & M) 9) Grand Hotel-Procul Harum (Chrysal1s/Warners) 10) TIE Larks Tongue in Aspic:King Crimson Desperado-The.Eagles Honorable Mention - The Smoker You Drink, The Player You Get-Joe Walsh (ABC) SINGLES: 1) Everybody's Agreed that Everything Will Tum Out Fine-Stealer's Wheel ·· 2) Rocky Mountain Way-Joe Walsh 3) Tequila Sunrise-The Eagles Special ,Awards: 1. Milk Dud of the Year - Cat Stevens ·_''Forei~ner" , 2. Redundant comeback of the Year - Chicago - "Chicago VI" 3. Goodyear Blimp award - Carole King - "fantasy" 4. Intoxicated spirit award - Goerge Harri~on - " in the Material World" ANDY CUTLER: ' ALBUMS: ' 1) A Wjzard, A True Star-1,'odd 'Rundgren (Bearsville) . 2) Old Soldiers Never Die-Heads, Hands and Feet (Atco) 3) Overnite Sensation-Mothers (Discreet/Warners) ;4) Boulders-Roy Wood (United Artists) - 5) Tyranny and Mutadon-Blue Oyster Cult (Columbia) 6) Mott-Mott the Hoople (Columbia) _ 7) Paris 1919-John Cale (Reprise) 8) Tattoo-Rory Gallagher (Polydor) , 9) Quadrophenia-Who (MCA) 10) Great Lost Kinks Album-Kinks (Reprise) SINGLES: 1) See My Baby Jive-Wizzard 2) On of the Survivors-Kinks 3) Keep On Truckin'-Eddie Kendricks BEST MOVIE: 0 Lucky Man - directed by Lindsay Anderson; starring Malcolm McDowell, music by Alan Price. BEST NEW GROUPS: Aerosmith, Scrubbaloe Caine, White Chocolate, l0C.C. \ DECAPTIATION . AWARD HUMANITY: N.Y. Doll~ FOR CRIMES AGAINS'I'


. -·-·· ··-------·

bye-bye '

Volume One· Number Five

Shakin Street Self·Indulgence Issue

SELF-INDULGENCE ~owie did it. Bryan Ferry did it. Elton John did it. Climax Blues Band did it. Wishbone Ash did it. Focus did it. Clapton has been doing it for years. Neil Young did it. Peter Panks did it. Wet Willie did it. John Lennon did it. Paul McCartney did it. George Harrison did it. Ian Anderson did it. The Dead ... well, you know about them. Marc Bolan did it. Self-indulgence is giving to one's own desires to excess and it's a part of rock as sweat, good times, electricity and sex, sex, sex.

Probably the worst example of self-indulgence is right here. The Shakin' St. staff (Sperrazza, Cutler, Sajecki, Meinzer), along with v,arious other frustrated rock s'tars, giving in to one of their fondest desires: listing their very own Top 10 albums for 1'973, top singles and whatever else they feel like giving in to. Ask them and they'll tell you they're ·acknowledging t_heir _ love and respect for the stars by imitating them. But we know what they're really doing. ' Shocking.

5. Truck Driver in Drag award - Elton John - "?" (take your pick-ed.) (>. The Ram it up your ass award - Deep Purple - "Made in Japan" 7. Preachy nose-picker award ·- Carlos Santana and John Mclaughlin - "Love Devotion and Surrender" 8. The most aptly phrased album title award - The Bee Gees - "Life in a Tin Can" 9. Stratovarious Award (for having the nerve to exist) - Uriah Heep 10. Hus!) Puppy of the Year - Art Garfunkel - "Angel Clare" 11. Cheshire Cat award - Neil Young - "Time Fades Away" Bye Neil EXTRA - Music to pop pop-corn by award - The Rolling Stones - "Angie"

GARY SPERRAZZA! ALBUMS: \ 1) The Sweet (Bell) 2) Mott-Mott The Hoople(Columbia)

3) Tyranny & Mutation-Blue Oyster Cult (Columbia) 4) A Wizard, A True Star-Todd Rundgren (Bearsville) 5) Split Ends-Move (United Artists) 6) Boulders-Roy Wood (United Artists) 7) Wizzard's Brew-Roy Wood's Wizzard (United Artists) 8) About Us-Stories (Kama Sutra)

9) 10 C.C. (UK/London) 10) Aerosmith (Columbia) SINGLES : 1) Rubber Bullets-IO C.C.


2) See My Baby Jive-Wizzard 3) Avenging Annie-Andy Pratt SONG OF THE YEAR: Hellraiser-The Sweet C?NCERT OF THE YEAR: Mott the Hoople (Oct. 17) ROCKWRITER OF THE YEAR: Greg Shaw, Michael Sajecki MAN OF THE YEAR: Todd Rundgren

This is Andy's Passport photo. No wonder they won't let him out of the· country. ,

BRIGHTEST AND BEST NEW GROUPS:.The Sweet, lOC.C., Aerosmith, White Chocolate, Montrose, Blue and all Shakin' St. readers 1 _ ' DEATH AWARD: Jim Croce, Eric Clap.ton THE "GET DOWN AND GET WITH ,IT OR GET LOST" AWARD: to all those left-that I didn't mention

THE FIRST ANNUAL "IT'S ABOUT TIME YOU GOT OFF YOUR FAT ASS AND GOT BACK TO SOME GOOD MUSIC: Steve Miller, for The Joker THE "HOW COME YOUVE GOTTEN SO GODDAM LAME LATELY" AWARD: all the former Beatles, Booker T., Ian Anderson, Eric Clapton, Rod Stewart and Jeff Beck· ROCKWRITER OF THE YEAR: Gary Sperrazza ,\

MOVIE TO END ALL MOVIES: Sisters (American International Pictures)


STRAIT, 13 DECEl\,'IBER 1973. 1


1>' STRAIT, 13 DECEMBER 1973



' - Long Players Sometimes it seems that there 's a limit

to the- inventiveness one can reap from electronic keybaord devices'. Synthesizers have been touted to be the instrument of the future, but haven't we heard just too much too soon? Ever since they made their appearance on the contemporary scene, they've been used and misused into banality. Emerson may be the keybaord genius of -our time, but his obsession with futuristic electronics cannot appeal to the ·masses. This may sound reactionary but how do·you think your parents felt the first time they heard an electric guitar? If Brain .Salad Surgery is an example of what rock is becoming, I'll take Chuck Berry anyday.


over-fuzzed \ bass and dramatic vocals, Emerson playing with his custom made synthesizer much like a child obsessed with some new toy. Now don't get upset with that last simile, I admit Emerson is as good as anybody's going to get, but for crissa[{es, I'm bored with the whole approach._ T3rain Salad Surgery is typical ELP : high-energy triviil,. It. seems that this is just another chapther in the-,continuing saga of · what the modern comgoser, Emerson, is into lately. The album opens with "Jerusalem," a mild unassi.uriing song about the Second Coming (or the first d~pending on which church's dogma you want to believe) of the Messiah, this 'time to "England's , green and pleasant land." Next comes Alberto Ginastera's "Toccata," a great example of Emerson's egocentric overindulgence of electronic keyboard devices. This one goes nowhere f~st faster than anyone would expect. "Still You Turn Me On" will probably be their next single. It's a pleasant : inoffe~sive song, the type Lake sings best. "Benny the Bpuncer" tries to be a , honky-tonker but it's too mechanical to be real and Pete Sinfield's shallow, vapid lyrics make it all the more distasteful. Sinfield's collaboration is very evident on , this album and his lyrics for "Benny" don't reflect the poetry that can be found in any of his previous work (Solo album : Still, and various King_Crimson LP's). "Karn Evil 9," divided into three impressions, takes up the i:est of the albµm. "Impression One, Part One" ends side ·one with some tasty organ licks and · continues onto side two. The theme of this piece seems to have been based on the malevolent carnival in Ray Bradbury's "Something Wicked This Way Comes." "Impression Two" is an instrumental' opening with Emerson, a Ia Brubeck, on piano and turn.s into a Caribbean "Dance Macab,re" with Emerson's synthesizer capturing the sound and feel of steel drums. This part is the best and most inventive track.-on the album as Emerson heavily relies on piano, something he doesn't often do these days. "I~pression Three" ends the album, Emerson's fingers flying wildly, matching Palmer's flurried drumbeats.

1) Last of the Brooklyn Cowboys-Ario Guthrie (Wamers) 2) Last Train to Hicksville-Dan Hicks and his Hot Licks (Blue Thu!Ub) . 3) Don't Cry Now-Linda Ronstadt (Elecktra/~sylum) • 4) Comin' Right At You-Asleep at the Wheel (United Artists) 5) Hank Wilson's Back-Leon Russell (Shelter) - 6) Quadrophenia-Who (MCA) 7) Roger McGuinn (Columbia) 8) Full Circle-Byrds (Elecktra/Asylum) 9) Playin' Favorites-Don McLean (United Artists) 10) Don't Quit Your Day Job-Country Gazette (United Artists)

-Andy Cutler


Hank Williams'

MOST! LAMENTED CASUALTY OF THE' "CREATIVE ENERGY" CRISIS: Loggins a_nd Me~sina ROCKWRITER OF THE YEAR : Andy Cutler DEATH AWARD: Clarence White, Gram Parsons Jim Croce Dan Hicks & Pals , Shakin' Street Gazette, ' · '

BEST NEW GROUP : Asleep at the Wheel

ELP ' BRAIN SALAD SURGERY Emerson, Lake and Palmer (Manticore/Atlantic) Like I always say, ypu hear one ELP disc and · you've heard ·'em ·all. 1 Keith Emerson is a fine organist, probably one of the best to emerge in the Sixties, but nqw he's so preoccupied with playing with his synthesizers, one cannot expect from ELP the eclectic joy we came to expect from him when he Jed the Nice (Note: the Nice have re-formed without . Emerson. Lee Jackson and Brian Davison have gotten back together, with a different organist named Patrick Moraz and , the new band is called Refugee. Album due in February-Ed.). Even then he was into shock rock, what with his fabled tap dance on fhe keys 9f h_is organ 'and making love to it like Hendrix made love to his guitar. Their unorthodox mixture of the classics, rock and blues endeared them to few so tl;leir cult . following was all the more enthusiastic and fanatic. Few had heard of Keith Emerson when ELP's first disc came out but it swiftly became a must for the. 'with it' crowd fo have in his or her collection. It was a good album, full or original ideas and it ~xplored territory that had been wilderness up to then. The only trouble , with what ELP have ' done since then is . that tt all sounds tlie same: Carl Palmer beating holy hell out of the World's Largest brum Kit, Greg Lake's

BEST VOCALIST: Linda Ronstadt I BOOK OF /THE YEAR: Writings and Drawings by Bob Dylan

JOE FERNBACHER: ALBUMS (in no particular order of import~nce) Mott-Mott the Hoople (Columbia) Sweet (Bell) - NewYork Dolls (Mercury) A Wizard A T_rue Star-Todd Rundgren (Bearsville)

Alice has nothing to say this ish, so he asked us to print him in a pose befitting his noble stature. Shakin' St. readers know full well that Alice picked Buffalo as the last date of his Billion Dollar ' Babies 'Holiday Tour and the Aud is the No. 1 place to be New Year's Eve as Alice Cooper anH Z.Z. Topp introduce you to 1974. Tickets are $6, all reserved seats, and can be purchased at all Festival East outlets.

Rock On-David Essex (Columbia) Paris 1919-John Cale (Warners) Tyranny _and Mutation-B!ue Oyster Cult (Columbia) Preserv~t1on Act One-Kmks (RCA) (for centimental reesons only-sigh, pant, huff~ Brownsvi~Ie Station-Oh Yeah (Big Tree/Bell) ('cause Cubee is so ugly - like John Lennon oh ·drano for a month.. .) · , "ol' blue ~yes is back" Frank Sinatra (Warners) (anybody who ~as born m Hoboken,did da do in the show biz for almost fi~ty ~ears should be .o~ e,veryone's tqp ten list, everi if the Ip stmko1ds-for the fan listen to Frankie Laine-Kingpin of the Nashville Mafia-huh) Bubbling Under : Harper's Bourbon- an' Old Crow hallucinations: The _rest 'of the y~ar sucked, and I·probably would've sliced my eyelids o_ff, but _I m a~ apathetic as the,rest of you mushrooms out der m 0-mmd Mecca,verse... 'member 1974 : Year of th~ Smooth Shit. Hemrrohoi~ of the . Year: Lou Reed, Lou Reed, Lou Reed, s_ubway tram eats 01d ca~se oid is just zip in the iip and still likes Judy Garland-how drool. Unconscious Award of the Year: goes to the bass 'player from the York DoHs, ~rthur cause he's a living example of :ock n roll p~wer at its finest - besides his old lady, whose Just as O as he 1s, cut off his thumb because he wouldn't take her sumwhere over the rainbow

The Jo~seph Goebbells Award : goes to Sandy Pearlman for his work with the Blue Oyster Cult Man 1 ofthe Year : Juen Millington Woman of the Year: Wayne County .

Enviroment of the Year: Jackson Heights -Year of the Year: 1986-buzzzzz click Special Awards section :

Jim Thrope wah-hoo award: goes to dat fat red face what made an ass of herself on the Academy Awards show-just so's she could show her custard in playboy- boooooooooooo- . 00000, remember Troy New York-cause no-one else will not · even the Trojans. ' Meltzer Sports Award of the Year: goes to Pedro Morales cau_se 1 he should eliminated, and the only way your gonna do It ,s to make him more famous ... spike da spik .. . Noddy Hol~er Ayvard: Goes to Noddy Holder cause he's .ugly ,and ~lade am't ever gonna make it in the States cuz they can' spel nte: , (Joe is Music Ed. of the Spectrum, co-editor of Punk Magazine and writer for the Buffalo New Times, Zoo World and Creem. With such hotshot credentials, ladies, his are the shorts you'd want to mitk-Ed.)

"I wanna be your dog." Well, not really, but everybody knows where Iggy Pop gets his inspiration from, all of which has nothing to do with the fact that Festival East will be presenting themusical parody Grease at Kleinhans Jan. 10 at 8 pm. Tickets are $6.50, $5.50 and $4.50 and are available at all Festival ticket outlets-.





Their songs are concerned with surfing, teen-angels, a conversation on the telephone with a sixteen year old sweety, building up your musicles, high school proms, etc., you know, all the things that made being a teen-ager an orgasmic experience. And whether 10 CC are. poking fun at our memories or are . in dead earnest isn't important. The songs are all still there, waitng for you to get involved. Side one starts out with "Johnny Don't Do It," an old sixties type ballad about a teen angel who met his end on a motorcycle. For those of you who may be foaming at the mouth already, ther's a tiny bit of .moog thrown in for diversity as well as some tasteful heavy lead guitar. The seriousness with which 10 CC approach tbis mock-epic is evidenced by their lyrics. "Now Johnny's wit_h the angels, the angels in the sky, I wonder if he thinks of us, as he goes riding by . .." " Sand in my Face" is a little rock paced ditty dealing with the old Charles Atlas "Dynamic Tension" advertisements seen in comic books and magazines for generations. The little 97 lb. weakling on the beach held in awe of a cat who is "200 lbs. of surf board Hercules." Once again we have some moog thrown , in, sounding much like high pitched electric guitar as well as a dobro guitar sounding much like a slide guitar. "Donna" is an early 60ish cornish love ballad about a fascination with what must be a sixteen year old nymphite. The telephone conversation interspersed within the song is aided by a telephone ringing. A squeaky, high pitched vocal, countered by a manic lead guitar as 10 CC once again poke fun at a teen-age institution. · "Oh Donna, you made me stand ,up, you made me sit down Donna ,, "The Dean and I," one of 10 CC's hit singles in England, opens up with a slow "Hum Drum Days" chant and then breaks into a good time, rock and roll tempo. You can swear· you hear the Beach Boys singing in the background, as the superb instrumentalization keeps the song from becoming a simple trifle. \ It keeps going like tbis all .throughout the album; superb production, better than average musicanship, inventive song writing etc. plus a playful fascination with what rock and roll was, how it · affected us, and how seriously it should be taken. Their current number one .single (in England), "Rubber Bullets," is also

included on ' the album, and in terms of production, inventiveness and musicianship, it is as well done as anything else on the album. To listen to "Rubber Bullets" is to really know what a pop single is all about. It's an infectious sound and it gets better each time you hear it. 10 CC are terribly slick, with no negatives attached to thei terminology. They are party music, because they're aggresive and seemingly ·non-sensical thematically. But when one listens closely to 10 CC's impressive . debut album, he hears how really well produced and how excellent they are musically. / You make discoveries each time you listen ·to them, but you have a good time' doing it. 10 CC are progressive nostalgia, if you know what I mean.

the same percussion effort combined .with Gabriel on flute to ·give the number a little Jamaican flavor. ' "Firth of Fifth" follows and begins with some classical oriented piano work. The power trio of Banks, Collins, an9. Rutherford get to work. Once again, there is great diversity of keyboard wizardry evident on the part of Tony Banks who is ·every bit as good as other mentors such as Rick Wakeman and Keith Emerson. The arrangement also features Steve Hackett with a well executed guitar solo and a flute solo from Gabriel producing a rather hypnotic effept. Side one ends with a shorter slower paced acoustic ballad called More Fool Me. Sung by drummer Ph:il Collins, it presents itself as being a beautifully lilting mood piece , as Gabriel adds vocal harmony and Steve Hackett offers an inspired acoustic guftar effort. "The Battle of Epping Forest" opens up side two and begins with a drum-beat march with ,flute addedo give it a true battle flavor. This arrangement presents itself as one of Gabriel's mini-dramas as he plays charades at being a Reverend, a ·gang leader (Mick the Prick no less) and a couple of other roles. Some tasty moog work adds to the infectious quality of the chorus line. Gabriel once again sings with a great deal of diversfty. The arrangement also features Steve Hackett on a moog guitar, ·producing an electrical dripping effect. "After, the Ordeal" is a short instrumental, featuring some good piano work but the arrangement is really a vehicle for some well executed acoustic and electric guitar soloing · by Steve Hackett. "The Cinema Show" is best remembered at the concert here at Buff State by Peter Gabriel's introductory notes, graphical pantomimes of Romeo and Juliet. Once again th1s arrangement begins with piano and acoustic guitar fused together to produce a ballad-type effect. But, as u~u~I and very convincingly, the_. tempo picks up a tiny bit. Then guitar and flute protrude to provide a ' gentle-moodish effect. The Bafi

present one separate vein of Genesis. Then there is Steve Hackett on guitars. He is a focus all of his own as he keeps the above-mentioned trio honest; his is a conflicting force as well -as a fusing force within Genesis: And finally, there is Peter Gabriel, lead singer .and flautist . Gabriel, who is the extroverted dramatist, the Roman Centurian, the Flower, the aged child, the English gentleman · and various other guises. His is the egc;>tistical, wistful , playfulness that establishes an awesome response from his audiences as a necessity in maintaining that Genesis is indeed a spectacle. The conflict within the group has always been to achieve a balance of sound between the musicians and Gabriel himself. This subtle imbalance was evidenced on Genesis' earlier albums, "Trespass," "Nursery Chrymes," and "Foxtrot." Although these albums are still masterful productions, their latest presents a true collaboration, a fusion of musical directions. "Selling England by the Pound" is the most diverse album ever conceived by the group as they seem to be shunning their focus upon mini-dramas or conceptual . arrangements and are more .concerned with their total sound. The~ first arrangement on side .one is called . "Dancing With the Moonlit Knight." It begins as a slower b'allad with acoustic guitar aqd piano blending for this effect. Gabriel presents himself with emotion, tension and diversity as he sings with the music rather than in competition with it. One of the amazing elements of Genesis, . as evidenced by this arrangement is the subtlety and non-chalance ·with which Genesis makes transitions of sound, tempo and mood: The pace is speeded up a s t r i u rn' p h a n t crescendos o f instrumentalization and vocalization interwoven with quick tempoed assaultive collages of electricity featuring maniac lead gui taring fused with keyboard wizardry and a steady beat. It all ends as it begins. Banks on Mellotron and Hackett on acoustic guitar fuse for a lilting mood effect which lets the arrangement end itself. "I know what I ,Like (In Your Wardrobe)" utilizes Gabriel•as the leading force iri the presentation of a chorus line of an infectious nature, as he drunkenly sings, "I know what I like, and I like what I know :..." He scat sings alpng with an intoxicating percussion effect, as the bass guitar hums and he moog enters as a 2nd lead guhar. The arrangemen~ ends with

To answer your question : "Who am I and What am I doing Here " - Lemmings Satyrday Night. beef. Genesis are a group of_ excellent mus1C1ans. Each could be a super-star with his own band if he chooses to . Yet they remain together to produce a homogenous sound, a fusion of brilliance with Gabriel as that element of theatricity which makes their stage show quite unique; an exp,ii;,ience of the senses. Genesis are a group with a future as well as a :past. Mike Sajecki

10 cc 10cc {London Records1

Well, we hear a lot these days about good time rock and roll you know, the whole nostalgia bag. Everybody's been trying to cash in on what they believe the "old time - good time beat" was; and all it usually adds up to is to dig up some old Chuck Berry numbers and throw a bit of tinsel on them. And what do you got? Instant rip-off. The kids run for cover and hope to find satisfaction listening to the American Graffiti soundtrack and The Best of the Beach Boys: Sheesh! Where is that long awaited sound that would take ,nostalgia and make it sound progressive? Fear not, over aged pubies and high . school dropouts. 10 CC is here. Who? Why that mythological gorgon of musical ability {he's starting to get into verbal masturbation. Come back to earth, Mike-Ed.) 10 CC are basically concerned with taking bits and pieces of the past, dusting them off, and putting them all together with ·a few "progressive-type ideas of their own. they don't worry about whether they sound authentic. They're having a good time, and they want their audience/to do the same. Just in case you're curious, 10 CC are Eric Stewart, Kevin Godley, Lol Creme and Graham Gouldman. They are no new comers to the music world, having written a bevy of hits for a number of pop groups. Two of the above mentioned musicianf were involved with the group, Hotlegs,I whose single, "Neandrethal Man" pfaced number one on charts all over the country. But 10 CC's sound is not neandrethal. Their production is slick and · this becomes more evident each time you listen to the album .

Genisis SELLING ENGLAND BY 'THE POUND Genesis (Charisma/Atlantic) It seems strange that I feel I have to introduce this group called Genesis to you, the reading public. Genesis have been around for quite some time now, producing albums abounding in musical genius one after the other. The cultists know this. .With Genesis' tour of the states and th.eir remarkable new album, "Selling England by the Pound," it seems that their time has come and Genesis will attain the recognition they have always deserved: There has always been a tension within the group insofar as what the dominant force or thrust of their sound should be. There is the heart throb of Genesis, the Emerson/Lake and Palmer trio type set up of Phil Collins on drums, Tony Banks on keyb6ards and Michael Rutherford on .bass. Together, these three

Dylan D-YLAN Bob Dylan (CBS)

Thyfact that the third cut on this album, "Sarah Jane," is obviously a song about Dylan's wife, but no composer is credited (the publisher is listed as pending) may be an indication of just how quickly .this package was put together in the 1 wake of Dylan's planned return to the concert stage. Yet if it is an original Dylan, it's the only one among the nine tracks. · All of the cuts sppear to be taken from the hundreds of hours of recording Dylan· did for her Self Portrait and New Morning albums, and might be as recent as his single "George JacksGm" (in '71) or later. They all feature a full' electric





. I Cold -Cuts BETWEEN NOTHINGNESS AND . ETERNITY Mahavishnu Orc_hestra Live (Columbia)

urban-country band and a female chorus. The arrangements are / loose, but professional. "Lily of the West," the opening track, is ·a fine old ballad . with a driving arrangement and some of Dylan's patented harmonica playing. "Can't Help Falling in Love" is also an old ballad and is followed by "Sarah Jane '.' which has .a happy time love . song sound, a la Nashville Skyline . The side ends with an almost emotional version of Pete_ LaFarge's "Ballad of Ira Hayes.". It was reported when New Morning was released .that one of the things left off was a version of "Mr. Bojangles." This seems to be it, leading off side two; and you can see why it was left off. Like the album in general, it ts interesting but / weak. The cut features an organ oart strikingly si~ilar to Procol Harum's "Whiter Shade of Pale" (Procul's sound had its roots in Dylan's Highway 61 Revisited · and Blond on Blond albums). The next cut, "Mary Ann," is very unspecial but the next two are really fun to listen to. Joni Mitchell's "Big Yellow Taxi" ("pave paradise, put up a parking lot") is still an effectiv 7 song, and "Fool Such As I" is probably the tightest cut on the album with a real jumping arrangement. He closes with a tune from the coffee house ,days, "Spanish Is A Lovin! Toung." This album holds together surprisingly well but if this is the best they could dig out ~f the vaults maybe they better leave them shut. The music for Pat Garret and Billy the Kid was nice but it was only background music . Let's hope the Band can get Bobby back on the track, because he seems to be almost as lost as "Mr. Jones." Dave Meinzer

London Ontario (too close to be real stars) a~d they're ugly! I mean really ugly' One guy's beard droppe~ down_to his neck, another guy is fat ai:id ~o~ks hke a "security" man the band asked m when the real guy" didn't show up, ano th er guy has' a sunken chin. That leaves 25 % an~ that 's how much of the album rates. This 25% is really really good 'n' differ':nt even though the old Cactus sounds hk,e they stepped in when the band couldn t make it. The driving beat and heavy chording of "Africa," released as a single a while back, is enough to make anyone drive into a building, it's that good. "Mickey Mouse Club" is a quic_l<; hipshake which sounds like a commencal pla~ed on a l 968 progressive rock station. "Victoria Muse" is a short instrumental with four guitars intertwining excellel)tly. The best cut is "Orbit," a great. pop/rocker with' enthusiasm that leaps out of your speakers and saves the ~tsy vocals and tight but not-too-ongmal music ·of Thundermug from dyin? a natural deatp.. Unless they get a htt~e stricter and more choosy with t?e!r- material, they're going to get left behmd. Strike one. JUMPIN' THE GUNNE Jo Jo Gl\nne (Elecktra/Asylum) Surprise! Jo Jo don't nee~ any ' ·advance notices. Their third album 1s here ar{d I really couldn't see how 1974 rock ,could get along without 'em. Veterans are already familiar with Jay Fergus~n, ex-Spirit and a prime talent for captu'.m_g everything good rock is all about. On this newie, he's again penned all the tunes and has signed his California ,flash and traditional grossness that's so much a P?rt of rock 'n' roll with the help (once agam) of producer Bill Szymczyk, a more perceptive rock ·producer would b~ ha:d to find. All are fine cuts but worth special mentio~ · are : "I Wanna Love You," "Getaway," "Monkey Music" and '_'High School Drool." Sure, they can't cut 1t as a live band (awfully inconsiderate of the audience, y'see ), but when you can g:t . hi-energy, thickly textured r,ock mama like this and their two perv10us LPeez, Bite Down Hard and Jo Jo Gunne, only the lonely can complatn. '' 'AQUASOW Elliott Murphy . ( (Polydor) 1 • This album picks up where Blonde on Blonde left off; it's the type of stuff

Dylan might have done if he h,adn't_ screwed himself on that motorcycle. I believe this album has created a minor sensation in some circles anq. it's no surprise. . With his literate lyri~s and non-voice coupled with a Columbia type band circa 1966, Murphy succeeds admirably in his first effort. The best cuts are "Last of the rock Stars" about Hendrix, "Marilyn" about Monroe sung like Lou Reed. singing like Dylan and "White Middle ' Class Blues," the typical Johnny. won't-eat-his-favorite-dinner- ·CUZ· he's-so-JUNKED-u p -he's-seeing- •snakes. Murphy has a great future in music and ·as long as he plays like Dylan and Lou, people are going to like him, no matter w.hat. , .· APOTHECARY (Paraipount) Not too much to say bout t hese Detro iters except they totally ·misrepresent their city. Instrume~tally they're OK but their incessant sl!ghtly off-key group harmonies remin~ o~e of CSN&Y, a nausi:iating thought 'm itself. According to the liner notes, they h~ve two drummers but it's hard to tell with the muddled production job. These guys sure as hell don't have much of a future in the music biz and it's a pity. Can you imagine telling all your friends that yo~ band just cut an album and then play t~1s for 'em? Talk about · embarassmg situations. ATOMIC ROOSTER IV Atomic Rooster (Elecktra/Asylum) The first Atomic Rooster album was called Atomic Rooster. The second was Death Walks Behind You . Third, In Hearing of . .. Fourth, Made in England . Recently, a "best-of" album w~s i~sued in England called Assortment. No_t1ce that the sixth Atomic Rooster 1s called Atomic Rooster IV. Now look . . . if a group can't get their own albums str?i?ht, whaddya gonna do 7 Or maybe 1t a subtle warning cuz this album sounds hke all the other Atomic Rooster albums and all the Atomic Rooster albums everything else anyway. Occasionally, keyboard and Mr. Atomic Rooster himself Vincent Crane s_hows moments of genius in his song construction but the genius doesn't surface when really needed or else he wouldn't have lost Carl Palmer to ELP (he played on AT No. 1). Or Jqhn Cann and Paul Hammond (both played on AT Nos. 2 and 3) to form Hard Stuff (a not bad power trio who have two

those rock-hard licks, racked up credits by playing with the celebrities above, hot his own band together, hit a prestigious record company, lured an excellent producer -to help him (Ted Templeman, who~e done Capt. Beefheart, Little Feat, Harper's Bizarre) and voila! A rock and roll success story, This album is a straight-ahead loud 'n' proud rocker that'll shake your bone. Now all he needs are some fans.

And what is ·exactly between nothingness .and eternity? Why, self-indulgence of course. Otherwise known as the Mahavishnu Orchestra. This album was not ~nly recorded in Central Park·, but it sounds as if the arrangements ' were ail written there too, on the spot. Not wanting to fall back on the musical redundancies of ·"Birds of Fire," Mclatighlin is set upon creating new ones. There is a slim line of difference between

ROCK ON pavid Essex (Columbia)

David ·Essex is known to the British assaultive rock-jazz and useless jamming. .audience through his performance in The Maha Orchestra are existent in the Godspell and his No. 3 hit single ("Rock latter on this album. Too bad. , On " reviewed in Shakin' St. No. 1) and There are only three arrangements on his' newest single ("Lamplight"). He's,, the album which is actually a blessing in · known to Americans through his lead role disguise. "Trilogy" is the first which in That'll Be The Day, an amusing parody featur~s sophisticated noise and bird of British life in the early 60's. In said whistles. The next is "Sister Andrea" movie, Essex plays a boy caught between which was penned by Jan Hammer. It's a . a quiet normal life and the adventurous hell of ' a lot better than "Trilogy" life of rock 'n' roll. In the movie, rock 'n' because it is shdrter. It features useless roll wins but on this album, it loses. Not moog sound I eftects. Side two is I one . to say it's bad; the album \foesn't rock composition called "Dream," which is out, ·true, but there is a qujet sensuality whdt. you do while listening to this on _all the selections. David can sing well album. Is "Between N0thingness and when he want but the most effective cuts Eternity" boring? Only Sir Chinmoy, are those on which he parodies himself: · Mclaughlin's spiritual sap-sucker knows "Rock On" and "Streetfight" reveal more for sure. than a hint of African rhythm ,with an "Barren of events, eerie coating. "On and On" and Paul Rich in Pretension~ Simon's "For Emily" have ,an overplayed My earthly·life." sense of drama that is surprisingly MONTROSE (Warners) i


endearing after a few listens. Essex at times reminds one of Andy Pr,att; each uses subtlety to its fullest and Essex's material (controlled by mentor Jeff Wayne) catches up .and makes you a captive fan with repeated listenings, much like Pratt's. Only Essex has the advantage of having a 'star' ·f:ace - and appeal, and both rightly deserve ,attention. THUNDERMUG STRIKES Thundermug (Epic/Columbia) We were hoping that Thundermug along wit.h Scrubbaloe Caine, )Maqogany Rush. and Pagliaro, would . signal a Canadian invasion of sorts into · t,he American rock scene, Sure, they've got some disadvantages: they come from

To attract your attention, Montrose is the name of the group starring Ronnie Montro!ie, who has played with Boz Scagg~, Van Morrison's St. Dominic's Previe'I( and Tupelo Money albums and the current Edgar Winter group. If I can fall into the current state of Rolling Stone's psychoanalytical reviews, this kid is a great guitarist and perso11ality·who suffers from a11 inferiority complex. So he .masks it with being rough 'n' tough with a put-on 'ego bigger than life. When Edgar Winter playeci here last fall, no one knew who the little punk guitarist was, whose enthusiasm was simply startling, .but it was damn sure this kid was out to make a name for himself. He practiced

Since we feel bad tha·t everyone is going to -ignore them, Shakin' St. gives a plug for . the group picture abc;we. Who sez we ignore bad talent?



. 29




• albums, Hard Stuff and Bolex Dementia). , We're waiting for Steve Bolton (he played on AT No. 4) to surface with a new band . since he just left this on~. Instead, Crane ends up being the steppmg stone for everybody else to say they came from\ even Chris Farlo_we the Welsh teddybear v.ocalist of the early 60's British R&B fame attempting · his eighteenth comeback. Crane seems to be the only one who can put up with his obnoxious· caterwauling. .As for the music, you've heard this kind of vapid British half-rock befqre and if you haven't, pick up their . second (Death Walks Behind You) and see for yourself that you haven't missed ~ything. As the music progresses and the J'I\Ulti-million dollar record industry grows, it gets more and more difficult to pidgeon hole or type even a single album, let alone an artist. Andy Williams' latest album is a good example. His vocal sfyle shows quite obvi_ously that he is still an easy listening, pop/variety singer. But you can' also tell he's been listening to some "contemporary" rock. Harry Nilson recorded an album of old ballads, and now Andy has a collection of "new" rock ballads. His strings are still there, but they're beefed up a bit with electronic bass (Klaus Voorman), electronic guitar (Jimmy Calvert), and another pair of rock studio men, Nicky Hopkins, and Jim Keltner. The sound, while not very imaginative, is not bad, and matches pretty much the stuff done ~Y television studio orchestras. The material is by Stevie Wonder, George Harrison, Paul McCartney, et al. It'sinot rock, but it's one small step for a man... THE FASTEST HARP IN THE SOUTH , Charlie McCoy (CBS) Now here's a guy that knows about album credits. Each of the thirty or so musicians wh·o contributed to this mainly instrument album are listed on the jacket and can be heard on the 1 r tracks. Many of the same musicians that joined Leon Russell on Hank Wilson's Back are here (compare the arrangements of "Rollin' in My Sweet Baby's Arms"), but Charlie McCoy's harmonica is featured and demonstrates why he is one of the most respected (and employed) Nashville musicians around. SOLITARE Andy Williams (CBS)

Photos by Janet Czombel

Shakin' Street Fans storm the office.

Space Ritual (United Artists).

Metal mania strikes! Hawkwind gets the Sonic Attack award for their 2-record

with girls young enough to be his ·daughters.Hint: it's not Helen Reddy.

Puzzle: Find the hidden Move poster and wonder what a noted rock star is doing ( {


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