SSG06

Volume one, Number six

S+ree+ '

0 But for the work I've taken on · Sto · star maker machine e popular song ut features double electric guitars (Jose Feliciano and Larry Carlton) that Joni's new on top of a light acoustic rhythm., released on the same day as the . "People's Parties!' follows, a . .- Dylan LP (coming in the balancing diversionary pasttimes (pe _s .first tour in seven years) parties) against the underlying s rt of ov wed. Not this repressed dispair in this song an

longing request for release in the fin "Same Situation" which ends: I called out to be released Caught in my 'struggle for _.:,achievement , And my search for love t don't seem to cease -a lesser extent "Car on a Hill") an~ me more standard Joni Mitchell thin · "Troubled Child" and "Just Like Train," ("Counting lovers like cars") are metaphoric . pictur~oems se! to music. "Down on, Ygu" ·s a long ana pleasant piano and orc!'fiestra song wi.th ·c yrics on what it's Ii~e is a mixture, including a little roll ("Raised on Robbery" and

0

~ C:Ot! rts for g time, (including

oni, who I ti4 first time I o{e at Klein _

on February 11, f cqurtesy of Festival East) has changed her I st~'le a little. Her voice has improved a bit and she has tightened up her 'ngirtg"'style. f In adc.ition, the i: oftef\ lush, and V e. O f' may i:qstress so old fans I\ preferrl d her ~ hell at her ' most accessable, anhost commercial. ' The single from the -album, "Raised on 'R.obbecy," is one of ·her tightest pop 1 compositions and sports the ever popular 11,· Andrews sisters har\ onies -and a genuine / rock 'n' roll arrangl ent with so I Robbie Robertson tast · · f hit, and the album will ' it. , , '. ' side one of F lyrically mpl "some newfans. ' ' I Court an ct,Spar . . . '

is in Wha ,,h.eard it yet.

' Over all, it sdu you'd expect Dylan Band t sound. (For reference, see t~ four Isle o Wight cuts on Self Portrait and their thre songs on the Col half of th

"Tribute to Woqd or some of the a oduction i's

29th STREET.::.

SHAKIN' STREET GAZETTE hi~. "Hazel" is a slow beautiful ballad and "Something There is About You" is a love · song with a sort of sentimental, nostalgic lyric ("Something ' about you ..-that ,brings back a long forgotten truth"). Again Robertson displays virtuosity and imagination with · a swirling, I dreamy guitar; · . The last song on the first side, "Forever Young," also kicks off the side two. The first version is slow and thoughtful, a la the sound track album. The second is double timed and is reminiscent of "The Mighty Quinn." The optimistic lyrics simply wish every one . (no doubt Bob included) good furtune .and "May you stay forever young." "Dirge" is some old fashioned Dylan poetry with sparse, stark images and an appropriately dirgy piano balanced with some rather nice acoustic guitar._ "You Angel You". is another up-tempo Band number · with Garth Hudson's nicely controlled organ bouncing off still 'more of Robertson's great plunky guitar. "Never Say Goodbye" is a sentimental poem with a convenient melody. The final tune, "Wedding Song" is a Dylan solo (vocal, guitar, and harmonica), and probably has the most significant lyrics, including the lines: The tune that is yours and mine To play upon this earth We'll play it out the best we know ·What eve,r it is worth What's lost is lost We can't regain What went down in the flood The happiness to me is you And I love you more than blood and: It's never been my.duty - To remake the world at large Nor is it my interiti_on · To sound the battle charge So while Bob Dylan is reminiscing about the past and expressing optimism about the future; Joni Mitchell is examining facets of social life and reaching for an even larger audience with what will probably be her best selling ~bum yet... Witl! these two to start with, things look pretty good for '74. .-------""'!"'-------..._., we.' COM. . . . 1 r With this issue,. Shakin, St. '. welcomes the Masterful Doctor of ; Soul, Cornelius Johnson and James i Braun, who doesn't even know it '\,et to·the arms of rock 'n' roll. ""'------------ \.._ ' j .

-:~ this area makes it all moie important. 'i:..' Fri., :Feb. 8 Black Sheep will be at the: Niagara· Falls Canada Union Center. ' Tickets are $2 at the door and don't complain to us a year from now that you , ' missed 'em when you had the chance. --- 1 . r Shakin' St. sends its' congratu at1bns to;· Black Sheep. ; There is no simple answer. In·Focus,:-:_. Akkerman has to contend with Thijs Van:'.. Leer, who is a creator himself. Therefore . his music is never purely expressed. On 1:, the Peter Banks solo album (Two Sides of"~ Peter Banks; Sovereign), Akkerman : con tributes an instrumental entitled': . . Beyond the Loneliest Sea that is very , artistic. On his second solo album, Profile •:. (Sire), Akkerman u,tilized the ,: commercially successful idea of mixing in .. imaginative rock guitar styles with , acoustic ballads and jigs. On Profile he - kept the attention span of the present p.ay listener by providing an album oL mostly current styled compositions (some 'v will go q.S far as to say that Akkerman v plays a JAZZ guitar; in reality he · .• generally falls back on his choppy nock 1, chords). A well versed jazz guitarist ,; improvises. Akkerman is comparable to a ·v young child who is first learning how to ·,, walk alone. After a few short lively riffs, cl which some interpret as improvisational, ·,, he runs back to mother rock. This makes ·,, for an album that flows smoother, that t.1ie consumer can enjoy easier. By ;, comparison, Tabernakel contains an l overabundance of sixteenth and ;. seventeenth tunes. For example, a tedious ;.!. fourteen minutes ,and six seconds of the ; second side is taken up by an Akkerman -,, "musical idea" entitled Lammy. This :-; begins with a heavy church organ (played ;, by Akkerman) backed by a medieval ~, oriented chorus. The melody drifts into some decent guitar work, where upon ~e ..:c are met by the biggest joke of all. Imagine -~ this; through out a good portion of the ·,. album Akkerman and producer Geoffrey .; Haslam retain the services ·of a full · , · orGhestra (conducted by George Flynn):., tb' add richness to the atmosphere of the . • finish

This group is gonna Rock yourSox off!! f. Chrysalis recording artists, Black Sheep will have their first album released in March, and the single from it, "Stick ·Around," is destined to be a hit in the fine old Rock 'n' Roll tradition ·left for lost by groups like Free, Spooky Tooth, Trapeze. .And the fact that they're from

Jan Akkt.rman TABERNAKEL Jan Akkerman

(Atco/Atlantic)

What could be wrong? There is no question of Jan Akkerman's sincerity towards his music. The accuracy he displays on ' his guitar is dynamjc. His execution is nearly flawless. He performs with a clear sense -of direction. What is wrong with Jan Akkerman is that he is too serious. It is a rare dedicated musician who is willing to sacrifice unit sales for the sake of laying down 'the music that he genuinely lov;es. ' · ·

On his new album, Tabernakel (Atco SD 7032), Akkerman plays galliards;, pavens, and corantos. These are melodies: -Dave Meinzer that were used to accompany dances •in•

the sixteenth and seventeeth centuries. More than three quarters of Tabernakel is filled with this kind of composition. The ~bvious question is "Why?" Why does the premier guitarist of Focus (a solid c

ago?

30th STREET that sound like abbreviated lute studies. Akkerman refrains from trying to shock; He painstakingly exhibits his .acoustic . know!e'dge and agility. Mostly he performs with a delicate gentle tone. This does not mean to say that he is indistinct. Here he is layed back and most serious. . The melodies truely move the listener. The closest that this album comes to rock is . Hcn,ise of the King. This instrumental tune is quite catchy. Remaining within the context of the LP, Akkerman has composed a song with old English overtones, yet complete ~ith a r quicker pc1ce. He overdubs :guitars)quite succintly, succeeding tremendously. Regretfully the rest of the side slows in velocity. · Summation. This elegant production will not rriake .it commercially. It is too involved. In today's market, the one poor so1,1l expressing himself, the MUSICIAN, , loses. He always does, and always will. And that is what makes him beautiful. · . - - James Braun ideas),' added a guitarist and ,singer, practiced dutifully and Bang is one of the surprises of the 'year: it's, it's ... Damn, it's good! Vocalist Roy Kenner has polished up his vocals, the v.eteran rJ:iythm section of Dale Peters and Jim Fox have even come to the fore as one of the finest teams in rock, not having to r.esort to excess to get their point across, as with the talented but offensive ~ogart & Appice of Beck Fame (Hey, what the hell does everyone , have -against these guys?-Ed.). Most · impressive is new addition Tommy Bolin on "British-flash" guitar that gives the band the strong new burst of power needed, once the initial resemblance to Joe Walsh has passed (Walsh picked him for the group). · · Bolin is partially responsible for all . the tunes , except one, an a cappella "Rather Be Alone With You." A happy-go-lucky "Must Be Love" is the choice for single, with Roy Kenner doing a great imitation of .Roy Wood impersonating Elvis. Rockers rule here- with "Standing il\. the Rain," a Sabbath-like "Devil is Singing Our Song," "Ride the Wind" (close enough to the old James Gang sound to be mistaken. for such). "From, Another Time" combines Latin rhythm with biting guitar, not unlike Captain Beyond's recent work. Roy Kenner's voice works best with. the acoustic-based tunes that build to delightful levels, like "Alexis," "Got No Time for Trouble" and "Mystery." The surprise here is that, in light of lullaby comebacks like Clapton and the

.I .

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FLY-6Y-NIGHT GAZETTE

notable stnvmg (Lammy itself contains flutes, .violins, violas, cellos, contrabass and harpischord) who should appear but the Katzenjammer Kids · of rhythin .section rock, BOGART AND APPICE! It was lame enough of them to resurrect the Fudge through Cactus, but why destroy Beck's mind and reputation in BBA? (I fear Beck ,was not only physically disabled ,in his unfortunate car accident.) Carmine Appice relies on rudimentary qeats. Bogart still perceives the bass as .an underlying instrument that should be kept in some back storage closet. The mood of ~ammy shifts with Akkerman delivering interesting .Jute and guitar phrases. However, this over-extended piece always manages to misappropriately find its way back to sixteenth and seven,teenth roots. As stated previously, the musicianship is exceptional, yet its overall outcome suffers because the material is so outdated. Most of the first side of the album is taken up with short galliards or corantos

SHAKIN' STREET GAZETTE' Byrds here is a band that was giyen up- for lbst and have fought their V{ay through the sludge to make us all ~shamed for giving them up for lost. Bang is enough to make you renew your faith in rock America, the government, last year's·s;ale lover. Well, maybe not all that but at· least it proves that just because it's over doesn't mean that if you keep on grindin', the)l.'re can't be a one-more-time.

31th STREETi

Tales from Topo Gigio,s Bathtub

Why is this man (Jackson Brown) smiling? You'd smile too if you were on the same bill as Linda Ronstadt. That's right (hotcha), Feb. 17, 9 PM, Canisius presents these two · Asylum escapees at the Student Center. Tickets are $4 or $2 and are only sold at

O'Jay~ SHIP AHOY O'Jays (Gamble-Huff)

Li sfe.n to this: Jon Aivde.1-son Se.d"we. \ we.~IL in ToKyo Oh tour ant\ I. hO.:.! o.. fe.w rn1nu'te.s +o , l'lyse.lF in the., , hate.I room -

Sweet, melodic 3 part harmony, interwoven with master musicianship is what ,you are baptised with when,you get into the O'Jays piece Ship Ahoy. The O'Jays, a group of 3 lead singers (in their own right) who are originally from Buffalo, N.Y. that's right Buffalo, N.Y., are on the move, riding on the expertise · of the definite "Dynamic Duo" Gamble and Huff, the O'Jays are super-star bound. For ' those .of you who have applied to the Buff State administrati6n for a temporary leave of (memory) and your application was accepted Gamble and Huff 'only' wrote and produced hits for Harold Melvin and the Blue Notes, Billy Paul (of "Me and Mrs. Jones" fame) . . . and just about ei,ery big hit the Delfonics ever made. To note the genius of the ' Gamble and Huff empire, they have taken the O'Jays and incorporated them with just about one of the premier instrumental groups on the music ,scene today, MFSB. MFSB stands for Mother, Father, Sister and Brother. Individually both groups are BAAAD but together they are definitely a Mutha. It is Gamble and Huff who came up with what was known formerly ,as the '' Philly Groove.'' Now they have expai;ided into the domain of the

"Who says were dead, Ya Muddahs?" asks the Shakin' Street staff, played by the James Gang.

James Gans-. BANG James Gang (Atco/Atlantic)

I know, why bother with the James Gang? Ever since Joe Walsh left, those other two dildos have been fighting just to keep alive, forcing their own albums into the quick death of the bargain bins, right? Passin' Thru passed out, Straight Shooter committed suicide, that Dago replacement Dominic Troiano forced his personality on the bahd and before leaving, turned the whole thing into a bore, right? They've had two chances, why give 'em a third, right? Well', the band switched to Atlantic, finally got the OK to call their LP James Gang Bang with an equally amusing cover (they tried to get the title passed for each of their last two albums, but you know how it is with such "shocking"

If you don't believe me, go and ask you Mama, or pick up on the O'Jays "Ship Ahoy." You'll thank me for it later. And speaking of later; be cool. Signing out, Dr. Corn M.D.S. (Masterful Doctor of Soul) P.S. stands for Philadelphia Sound!

"Philadelphia Sound." In the short span of approximately 7-8 years, Oamble and Huff have almost become legends even as' far as the "Golden State" home base of you know who. What? Oh you don't know who? Well dig this. If a certain group of people don't hurry and polish their groups there will be a n!=!W black dynasty on the recording company side.

What are we gonna do with these drunken Loons? See Page 35!

32nd STREET intro riff, and Robbie Robertson's wah-wah guitar. "I Ain't Got No Home" has a, nice dramatic arrangement and the Leiber and Stoller number "Saved" is paired with Fats Dominoe's hit 11 fim Ready'' for several minutes of real rock in'. They include "The .Great Pretender" an early smash R & R ballad,. and a good example of the type of song that made TV's Your Hit Parade out dated; (Dorothy ,Collin's really couldn't do i.t justice once, let alone a dozen weeks in a row). Anci speaking of TV, they also do '''Third Man Theme" (without a zither). Closing out the collection is a fine rendition of Sam Cooke's "A Change is Gonna Come" with an excellent Garth· ' ' Hudson saxophone solo. , But in ,the final ev,aluati0n, 'as good as it is, Moondog Matinee falls little below their past efforts. Their original material is better than this old stuff. I'll give it an 85½, (it's got a good beat). -Dave Meinzer better cuts feature Malcolm Morley and Richard Treece on ·guitars, both of HY. Former Man bassist Martin Ace (who had his own band, the Flying Aces) plays on all cuts· except "Lisa,"· where he's · replaced by Paul Burton of H¥. ' Side one opens nicely with "Razor Bla1e and Rattlesnake," with an interesting confrontation between electric piano and fuzz guitar at the end. The rest of the side drags on aimlessly except for "Looking for a Man" with flash guitar overshadowing the repetitious lyrics. Side two has "Broken Ovation," featuring a great "ooooohing" chorus and coi;nbined lead by Leonc;1rd c!,nd Morley. "10,000 Takers" has Leonard on second guitar (slide) to Treece's biting lead. The, best is saved for last in the,form of "71 71 551." Here Leonard seems less restrained and breaks loose, not brilliantly but more ' than adequately. There are also a couple of curiosities on this album, one of them being "Crosby (Second Class Citizen Blues)," a dog's m outlook on life, mostly growling backed by an insane computer (?). Bryone Berli1te of Country Gazette plays fiddle on "Lisa;' and he seems almost embarrassed to be caught in such maudlin surroundings. With the vinyl shortage, it may be some time before UA releases Iceberg in the States, if at all. Hopefully UA will release it and more of Welsh rock when this shortage clekrs up. In the meantime, pick 'em up in import form' or check the few American releases. ' -Andy Cutler

3~rd STREET

YOU CAN'T GET•RID OF US GAZETTE

, $HAKIN' STREET GAZETTE

writers took it easy, preferring to release albums of non-original oldies and favorites. David Bowie, Don McLean and Leon Russell (alias Hank Wilson) put out collections of classics of the past, and with Moondog Matinee the Band has done the same. , Though it's been two years since 'their last album of new m~terial, they have in that time recorded and released a live album,' Rock of Ages, which stands as the definitive Band performance. (On it - they even manage to improve on some of their own classic originals, including "The Weight.") .Their encore on the concert album, "(I Don't Want to) Hang Up My Rock and Roll Shoes," is sort of a preview of Moondog Matinee. , Yeah, they're still'Weari:n' th' shoes. They've chosen , ten 'Songs, each 'of which qualify as a blast from the past (or at least a strong breeze). They do !Chuck Berry's "Promised Land" with a mock amateur off-key imitation of the Berry r rock 'n' roll. It's a crude brand of rock and if some bands still play Eddie Cochran and Ray Campi material, it's because they've been playing it all along, it's no half-assed nostalgia shit. About the 1 only Welsh bands to have xeleases in America (excluding Badfinger) are Man and Help Yourself. They aren't exactly rockers in the true tradition but they ain't no glai;nour boys either. Once in a while, one guy will wear some kind of weird costume but it's always been good P.R. to have at least on·e seemingly raving idiot in a band (so now you know why you're ·writing for us-Ed.). It adds color. Deke Leonard has been in the Welsh scene since the beginnings. Starting with Lucifer and the Corncrackers in 1963, he played in various pub bands until the formation of the original Man band in 1968> He left them before their latest and only American album, Be ' Good to . Y0urself 'at Least Once A Day. Deke recently surfaced with Iceberg which is ·still an important step for Welsh· rock even .if it's 50% disappointment. Leonard is not the greatest gµitarist in the world and he insists on playing lead q.nd rhythm on a lot of the cuts. Also there's a lot of needless repetition running rampant, in lyrics, chord progressions and even solbs. He's aided through.out by members of Man ·and Help Yourself and two of the

. :,The. Band .. , MOONDOG MATINEE

GREATEST HITS Fleetwood Mac (CBS Import)

What do English bobbies do for kicks? Besides Alice's ass that is.

, ijot a very comprehensive collection of "Greatest Hits," since nothing after their first Reprise LP, Then Play On is included on this album. Hence no material froqi Kiln House, one of their finest moments minus Peter Green. Another main hinderance is · the poor selection of "hits," witness being the low key clunkers like "Oh Well Pt. 2," the well meaning insipidness ·of "The Green Manalishi" and the banality of "Albatross." These are the financial hits, but the true creativity of the band lies in "Rattlesnake Shake," and "Black Magic Woman." The reworkings of Elmore ,James' "Shake Your Money Maker" and Little Willie John's "Need Your Love So Bad" sound reasonably true to the originals, which is something most blooze bands don't tend to do. What bugs me ,is that the liner notes say Christine McVie played on Kiln Ho1:1.se which she didn't · and she's ' present in the g~oup promo · picture adorning the inner sleeve and none of the material she has played on is on this album. What meaningless drivel, what ridiculous statements. Who the hell cares about this bullshit! The fact remains, the rockers are rockers, the crud is crud is crud is crud.... r ""'I Shakin' St. Gazette Staff: 1

:-: The Band :: (Capitol) :• ___

•:'. ill rn ports Last year a lot of very talented song _:_ ____________ ·

_____ ~------ ----------------- \

t ~,-~ ,1 >:! ~,:

I

Status Quo (Vertigo Import)

KEEPING UP Jonesy (Dawn 1mport)

It's been a long time .since "Pictures of Matchstick Men," Quo's 1968 American hit, but so what 7 Status Quo have regressed into one of the most basic rock 'n' roll bands around. They make Slade sound like Yes. Quo have made five alburns since· then and the fact .that this one, Hello, has clobbered all other albums in the running on the British charts shows that there are still lots of people who like their rock 'n' roll loud, proud and basic with a lack of pretentiousness that makes them all the more endearing. • Unfortunately, Hello and their previous LP, Piledriver (still the best rock 'n' roll album cover in ages), seem more like a celebration of their dynpmic live performances and leave you wishing to see them live. If Quo attempt it, an American' tour will send half the American bands running·, ashamed that in all their progressive experiments they've lost the rock 'n' roll ro'ots that gave them their appeal in the first place. Piledriver is -already out in the States on A&M and they plan to release .Hello in a month or so. Let y,our body tell you what to do.

Another in a long line of the "Let's see how much we can sound like Yes without being compared to them" groups. As this is their second album (first called No Alternative) and there's a new one out in England, perhaps they've broken away from this Critics Trap. As the whole Cloud Rock scene is theorized to hiwe evolved from the Beatles experimentation period coupled with the lyrical cliches of Psychedelica, Jonesy qore with the best. Trebly bass, wah-wah guitar, mellotron notes dominating t.he precedings and slick drumming coupied with "cosmic significance!' - lyrics using words like "realm, 11 "destiny," ''universe/' "questions and answers" (that one's enough to scare anyone away), etc. Fi~e trumpet work by Alan Bown of the Alan Bown (Boy, aren't we hip-Ed.), but as soon as people realize that either the Could Rock scene got lost' along_ the way or it's as restrictive as any other rock spin-off, there will be no end to these co~mic rurnmagings.

SDeke Leonard 1~ ICEBERG

l' - Deke Leonard e:: (UA Import) r•. '

Wales is a fairly isolated place and if , :J:. the Welsh had 'their way, it would be as • far away from England as possible. It's no - wonder then that Welsh rock has traveled "•· in a different direction from English rock. "~ Both had a common origin, so to speak, "', .in Blues and R & B but where the English "" have progressed (or regressed, depending •~- on whether you 're talki,ng to Sperrazza or ', Dan Axt) into the glam-punk scene, ,the ~., Welsh have created their own .version of

Editor: Gary Sperrazza! Graphics: D_ave Meinze t Business: Al Harrington Staff: Andy Cutler •

Chris Tranchell Tom Donnelly Cornelius Johnson James Braun and Rrrockin' Ron '

\,_

r. SHAKIN' STREET GAZETTE

34thSTREET C,'

Cold Cuts NEXT The Sensational Alex Harvey Band (Vertigo) . Never to be confused with the PAINTER (Elecktra/Asylum) ·

RIDIN' THE STORM OUT REO Speedwagon (Epic/Columbia) · · ·

orcnestration on "Roads" is just too much, too pretentious maybe, for this 1 kind of thing. Oh well, as long as '1Sall:y from Syracuse" is there ·things can't be too bad.

This should, be retitled Please Save Us Fro/TI th_e High School Dance Circuit. REO wouldn't be such a bad rock band if they would give their producer the boot and get a good one. !3ut then they would have to perk up their ho-hum material stolen from ebuntless other bands yet still producing nothing original. So they would have to get rid of the guitarist who handles most of the songwriting. They should can the singer who can't. And the drummer who won't. And the keyboardist, ashamed of his Farfisa, wh,o gets a Moog solo here and there to prove he's -got one: That leaves ... well, who , knoc,ks bass players? Who can.hear him? Certainly not Epic, who by this time, .should have given their "vinyl shortage, y'know;" reason to their No Man's Band. "Throat" Stewart is rat it. agian, trying to refry stale boogie. This time around he (or the company) has made sure Rod's at center stage, note cover and label. The · concerts where this album was recorded (Anah,eim- and . Hollywood) might have been good as Faces concerts usually are but vinyl is not such a hot mirror of these events. For lack of visuals, the listener tends to doze as the Faces plod through their time-worn repertoire like so many Pavlovian dogs, their "hard" work rewarded by ·' monstrous applause, screaming, etc. John Lennon's "Jealous Guy" and the Temp's "I Wish It Would Rain" are given rpediocre reworkings ·. The raw power of "Bor~tal Boys" which their last album Ooh La La just managed to catch, fizzles into a boring slide solo courtesy of Ron Wood, revitalizes its.elf and then lapses into, of all things, "Amazing ,Grace." To even some stalwart . Faces fans, ' Ooh La La was mostly a disappointment but this is e_ven more so. The rare flash moments could be compacted into about five minutes worth but no, in spite of. the vinyl shortage, albums like . this one are shoved unmercificully down the consumers' throat. COAST TO COAST Rod Stewart and Face Live (Mercury) .

REMNANTS The Crickets

Before Elecktra president Jae Holzman was kicked 'hpstairs only to be replaced by David Geffen ·(who ·brought his Asylum label with him), Jae signed two last acts: , Queen and Painter. The . difference between the itwo bands is like · that between catsup and ketchup. Painter offers a softer, more pop feel but have the slme slic;:k production and m;miacal rock base as Queen. Fine harmonies and a tight rhythm make the best cuts "Goin' Home to Rock 'n' Roll," "Slave Driver," and "Cra?!Y Feeling" (close enough to Le9- Zep's "Good Times Bad Times-" to sound almost like a take-off). , In fact, since Led Zep have never matched their own first album (they've since "progressed"), Queen and Painter do a satisfying job of recreating the tight and tense sounds that Zep have laid to rest. SOMEBODY'S WATCHING Not as . inaccessible as their last LP, · . Epic Forest, Rare Bird present us with what could be their finest album to date. A shake-up in the personnel finds Nie Potter, of the incredible but defunct Van 'ner Gra~( Generator, on bass. Pity these boys should be typecast in the progrock category, they're a rich COI'J'lbination of rock, jazz and classical with well thought out melodies and strongly emotional voices~As this album rocks a bit more, it could garner good sales if the people at Polydor pull an Elliot Murphy (tons of promo stuff, lots of publicity and reviews) on Rare Bird. Picks to click are "Third Time Around,'! "More and More," and "Dollars." I STU NUNNERY Evolution If it weren't for one very good song, "Sally from Syracuse," this album would be very ea-sy to ignore. Nunnery sounds a lot like Kenny Loggins and has a tendency to write the same sort of over indulgent songs. Some of the arrangements are good, an_d there_ are moments of inspired musicianship,_, but the final .track points out one of ·the major probiems. The synthesizer Rare Bird (Polydor)

(Vertigo/Mercury) . . , Knowing your rock 'n' roll history, you'll remember 'the Crickets as the legendary Buddy Holly's back-up band. But if you're expecting rehashed Holly material, you're wrong. This band of Crickets (or should it be sw_arm or something?) .is mote or less countryfied. 1 Like their counterparts in the insect world, they're harmless if not slightiy aggravating with their incessant chirpings. You know, you're trying to get to sleep but the goddamn crickets are having a bleeding rock festival about three feet · (rom your ear. Anyway, one of the high points of Remnants is the_presence of Legend-in-His-Own-Right Albert Lee on keyboards and greased lightning guitar. Believe it or not, Ric Grech, the winner of the Eric Clapton Look-alike .Contest (next to Foghat's Rod Price and Genesis' Steve Hackett, all of whom are dead-Ed.), plays bass and even sings one song which · is more than he does on that ripoff , Greatest Hits album of his (The Rich . prech Memorial Album on Atco . Records-Ed.). The Crickets should have · changed their name, the inference to the great .Holly is enough to turn any dedicated rocker into a Lobo fan:. Dear Casey: Lissen, Godammit! Two times I've shown up at a concert where you were slated to appear and you cancelled. Stop, already. You may get buried under because of the growing dislike for the singer-songwriter-plus- backup-session-people but you do have the ·talent ·to shine through all the dreck. Even though you employed the CBS House Band on 6 of the 10 cuts, they can't stop For Sale from being a fine blend of country and acoustic with ,an enthusiasm matched only by the rock-like feel you add to it. So how can you lose? You look like Andy Cutler and if he catches me writing this, he'll take 'my rockin' shoes away. Lemme go..... . FOR SALE Casey Kelly (Elecktra/Asylum)

folk-based Alex Harvey who has .an LP on ~apital, the Sensational Alex Harvey · ., won't ·win the monthly modesty award, but in the "look-at-me" rock scene, nobody usually does. Alex Harvey, like Slade, the Sweet (who p.ave the same producer as H'!,rvey, Phil Wainman ) and others too numerous to name here, wants your mind, you whole being, even, even YOUR SOUL. Demonic R & R at the very best is the best description for this LP. Even the song titles are enough to send shivers ·down your spine: "Swamp Snake," "The Faith Healer," "Gang Bang." At times sounding like Noddy, ,_ Holder, Alex Harveypossessesone of the best rock voices to errierge from ~ngland· in a long time. The sensational band is fresh ·and crisp and never stalls, a common malady these days. The title song is the most electrifying thing to leap •out of my speakers since Gato Barbieri caused the dog to attack the turntable. Believe it or not "Next" is a Jacques·Brel sortg. Handily translated into English by somebody or other and Harvey's dramatized delivery is incredible. You might even think he could out-fop Ray Davies. Watch out for Alex Harvey, you never know where he'll pop out from. Once he's got you, as the Americans say, he'll never let you go. Horslips are a band of latter day Irish minstrels. Mixing traditional marches and jigs with rock elements, The Tain is a musical retelling of the ancient Irish saga, TAIN BO CUAILAGNE (the Cattle Raid of Cooley:). Horslips differ from· such English semi-traditionalists as Steeleye Span and Fairport Convention in that their arrangement and selection of music mixes better with electric ·guitars, the others getting buried in tradition. The story centers around a cattle raid circa 50.0 B.C. and should be of interest to those with ·a taste for trad~tional myth and music. THETAIN Horslips (Atco/Atlantic)'

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Rivaling the Lou Reed/Judy Collins battle last issue, is Feb. 1's UUAB sponsored Eddie Kendricks/Persuasions concert (Tickets $3.50 · students, $4.50 loafers) up against the sleep-in at the· aud. Shakin ' St. takes sides (Go, Eddie, Go!).

,,.,;_'.._ -SHAKIN' STREET GAZETTE •·..-. ,,...., '" LIVE IN ENGL'.AND Del Shannon (United Artists)

36th STREET

,A R O U N D THE

, H A N G I N '

OBSERVATORY John Hiatt (Epic/Columbia)

Although recorded a year ago_ in Manchester, it doesn't matter when you're talking about Del Shannon. Being ::,.. l another of the fine rockers being ,.u l•.,.1 # re-discovered as a carry-over from last /· ·~ !"-"; year's interest in rock and roll, he hasn't I : ; changed a bit in 15 years. He recreates I•;•~ here, to an ecstatic British ·audience, a lf \, string of 14 tunes, most of them his older l ! , hits. ·Included are "Hats Off t~ ~arry," ! ; ••Swiss Maid," ''Two Krnds of ••• Teardrops," "Keep Searchin'," "So Long I Al,_ • , ,•• · Baby," and the killer encore "Runaway. " : ~: It makes for a fast moving party album , • great for dancing, dips and Cokes. '.·:: Shannon just completed an •album : :: , produced and co-written with Jeff Lynne ·: :: (ex-Idle Race, ex-Move, now heading ?•: ELO) and backing up Shannon will . i '.: fellow ELO members Rev Bevan, Mike :$ D'Alberquerque and Richard Tandy. :~ · =· . ' !:; ,. ;~; ,w :;· ;~ HENRY GROSS · A&M The folks at A,&M have been doing ,a . pretty · good job of finding talented unknowns lately. They recently brought us the Ozark Mountain Daredevils and J • now here's Henry Gross. His songs are tight, sometimes humorous, and the arrangeqients are interesting light rock. Henry himself plays some nice guitar and he gets some competent performances .. from a bunch of .backup musicians, including Eric Weissberg. Now if the A&M promo people can do as good a job as their A and R men, you'll hear a lot more from people like Henry and the Daredevils. I' l~ (ii.;,,.: ..-:,,'4 I~: ~',;- l~¥ '~..t' ..

It's about time that. one or' these seemingly one-shot artists came out with at least one good cut on their albums. Hiatt goes a step further with three, count 'em, three actually impressive songs. The rest of the LP is more or less poop, but the title cut, "Maybe Baby" and "Full Moon" warrant a back-pat for Mr. Hiatt. Aided by the Hot Babies Band, Hiatt uses his unusual voice (sort of a cross between Leon Russell, Joe Cocker and Van Morrjson) to make the three aforementioned cuts stand out in the void inhabited by former grocery store stock boys and grease monkeys:' Maybe this should have been a single instead of an alb1:1m. ' If her name is contrived, she sure pick'ed a good one. Seeing the name Coltrane, you take a second look to see if there's any connection . with John Coltrane but looking at her picture, it's easy enough to see that this Germanic beauty has about as much in common with the real 'Trane as a VW does with a Lotus· Europa. The m~sic here is fairly typical and predictable·: she sings, plays piano arid is assisted by; get this, no less than 5 drummers, 7 bassists and 3 guitarists. Also helping out are Paul Buckmaster on strings and brass by Jim Hom, Jim Price and Bobby Keys. Chi has had . some chart success with a single or two and this fact must account for such a layish production but impressive it ain't. Resident GUITARIST/ LET IT RIDE Chi Coltrane (Columbia)

I

VOCALIST Reader. 6 nights a week. 7-1 l p.in. Respe c tabl e ima g e wanted. Phone Heme! Hempstead 2487 any time needed. - 546 8792. • · SOUL BAND. based York. neer tenor .or alto -or singer or guit : also drummer and girl sir •· Phone Stuart. :Escrick 240. ROCK AND roll saxophomst

EX MOTT requires LEAD GUITAR VOCALS

RARE .BIRD require LEAD VOCALIST . DOUBLING BASS 437 7061 Wli. days only

NAME BAND NEED LEAD SINGER · Doubling on piano Phone: Roger Chapman 01~727 6134 .. · day or night

0432 55082 HEREFORD

FEMALE AND MALE minstrel 0 quired for Mediaeval Banquet- _; Ha:;·_ ?hon~ 219-3978 betweer -t; OM .

lfyou 'reas ambitious as these guys are know then that their new bassist would desper.ate . . . Melody Maker will be in be Nie Poiter from the incredible.Van der · business forever. ·But ... why does Roger Graaf Generator? Does anyone really care Chapman (ex. f'amily) need a lead about these trivial little · fax that make singer? Why doesn't Verden Allen return Rock 'n' Roll so much fun, besides us? to Mott, where he belongs? Did Rate Bird

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