counter with a Chesire cat smile ori ' his face·and says ~'I'll take it. 1 How much?" Well, hell, after that demonstration, I just couldn't take his·money so, suµimoning all my strength I managed to croak out a . few words · s~ying in effect "H's yours man, gratis.!' He said thanks and walked out leaving us like so many zombies. We all knew that things would be ·different from now on; we knew we had finally witnessed The Greatest Guitarist to Ever Live. About 2 or 3 years later, I was waiting for a bus in Topeka, Kansas, of all pl~ces. While I waited, I sat down at one of those Rent-A-TV's, the kind you put a quarter in and get to watch for a half-hour or so. Well, I'll,tell you, there isn't n;i.uch on the Tube in Topeka; but they do have a , Public TV station there and I just . happened on it by chance. All of a sudden those very same artery-hardening riffs jumped out at me and I insta~tly recognized them as · the very same that had mesmerized me in that little town in Pennsylvania years before. .Here he was, shrunk to three inches by that video wizard but still the same giant among guitari~ts. I watched it until it was over, unable to perform even the simplest of bodily functions. Right as he finished some creep jumped on stage and screamed "AWRIGHT LADEEZ AND GENTUHLMEN LES HEAR IT FER THE UNBELIEVABLE ROY BUCHANAN." So that's who he was (and , is)!' · 'Well, I tell you; I searched every record . st·ore from coast to coast for ' months until they finally released his first album. I cried myself to sleep every night until f got his second album and my friends almost committed · me while awaiting his third .and newest, That's What I'm Here For. But still I'm, not ·satisfied. I've just eaten 25 hits of seconal and if they don't release another one soon, they're going tG have one dead hombre on their han.... -Andy Cutler . Shakin' St.Gazette Staff:

Where all the Kidz wanna do is just keep on rockin' and rollin' and reelin' with the feelin' Vol. 1, No. 7. ------------ ·--- --------- The End Of Andy Cutler?

Hey, lovers, rally the forces cuz here's a- concert battle that beats the Lo!.,! Reed/Judy Collins and Eddie Kendricks/Billy , Preston ba1ttles of previous is;ues. Here's a Battle of the Bands between two bands who ain't got . no b~nds. Feb. 22, UUAB presep.ts Proctor and Bergman (from the Firesign Theatre, who have a new LP out; 'by the , way) in the Fillmore Room at 8:30 PM. ; Tickets are $2-students, $2.50-loafers and : · the opening act will be Charles Octet and Firedog. Who are these merry madmen up ., against? Well, we listened to the ·~ oppositions albums, followed their advice >., and ... duh ... we just can't seem to

Hookfoot ROARIN' Hookfoot (A&M)

eyes peeling through my skull and paralyzing my frontal lobes and said in a low voice, "Plug it in." That's all he said and I just about killed myself getting over to the demonstration amp. Plugging it in, I tested it briefly myself arid made sure all ,was working correctly. Carefully, I handed it to him. - None of the kids had opened their . mouths, they had said nothing and only ·stared in awe .as if struck dumb by this guy's presence. Now, most of these guys were wiseacres and would have definitely· said something to this presumptious dude, but they, were as amazed at this guy as I was. I then ventured to a~k him if he wanted a wah-wah pedal or some ,other device to test the axe's capabilities. Well, he just gave me another look, not - menacing or evil, but one that seemed to · ~Y "You shofld know better:'' Then he started to play. Play is not the word for what he did,. Starting off slow, he coerced the screaming voices of eagles from that lowly instrument. Working' his way from ' the piercing beginning, he began to peel the reluctant notes off the guitar, moaning and screeching, hurling them high in the air, hitting the ceiling and cascading them on our heads like cats a~d dogs in a violent storm. It was as if a new man had picked up that axe and transformed it into a vehicle for some forgotten Gods. None of us present will soon forget it. His hands blurred in their flight along the neck, suddenly stopped and the effect was like running long and hard and suddenly stopping. My senses reeled ·and I thought I was somewhere ' else. I was staring so dumbfoundedly, I · felt as if my chin had sunk to my waist and my tongue was mopping the.floor. It seemed hours before anyone could speak, but it couldn't have been more than a minute. So then the guy walks up to the

Eric .Clapton 1; still others would go with Alvin Lee. Invariably I was always treated as the·supreme source of information and . I always gave them the same answer to their question: the greatest guitar player of all tiine was either dead or hadn't been born yet and we ,probably w.ould never know or hear · this semi-mythical individual. I also added that probably the best guitarist I had ever heard was Frank Zappa, but he was not the "greatest" as h~ relied on electronic distortion devices (as they all did) and the Greatest Guitar Player of All 'f.-ime would not need any devices at all on account of his incredible talent . Anyway the arguments always went on along with life ·in that small town and the months passed and the seasons changed. The day it happened started out as Saturdays always did. After about noon, the pµnks and the freaks came down to drink bottomless Cokes , smoke miles of cigarettes and continue their fruitless search for the Ultimate Guitarist. I was trying to read a trade magazine when the bells al;iqve the door tinkled the entrance of a customer. In walked this guy . I'd never seen before, who looked like he could have been the father or at least older brother of any of these kids. He couldn't have been younger than 30 and looked so ordinary, it was painful when he asked to see our very best guitar. I thought that he was kidding, I mean this dude didn't want that model and I asked if he was sure he wanted the best. Before going further, I have to tell you about this guy's eyes. On the surface, they looked as everyday plain 'n' . ordinary as 'everything about him, but on doser look, WOW I There was a fearful - gleam of · passion and almost demonic spark in those eyes and I knew the minute I saw them, this dude was no average Joe. Well, he just looked at me with those

A rockwriter's exasperation: I don't know-what's wrong with these guys. They h~v..e such potential. Good God, a whole · new area of creative quality in rock music. Maybe they're too lazy or maybe I'm wrong or maybe they're just too damn: busy. · A rockwriter's faxsheet: Hookfoot as a whole backed Elton John up to his Honky Chateau album. Caleb Qttaye has played guitar ,on so · many albums, it's· enough ·to boggle the mind: Pete Townshend, Lou Reed, Nilsson, Al Kooper, Mike Hugg, Bill Quateman, Philip Goodhand-Tait, Shawn Phillips, John Korigos, Ralph Mc'Fell, Dick . Heckstall-Smith, JI/lick 'Grabham, Tony Hazzard, Nigel Olssen, Bernie Taupin, David Elliot ... and many more. ,A rockwriter's explanation: Now all this wouldn't make ,a peaches 1bit 1 0 1 difference if Caleb wasn't not only the most distinctive guitarist this side of Rory Gallagher, 1-

THAT'S WHAT I'M.HERE FOR Roy Buchanan (Polydor) .

I used to work in a little qiusic store in a small town in Southern Pennsylvania. Not too much ever happened and no one ever expected too much to happen. I was lucky I had the job, ·being a transient of sorts. One day as l was passing thru town on my w,ay north, I happened to see the "Help Wanted" sign in the window and being a fair guitarist with some musical knowledge, I was hired on the spot. Every small town has a hangout, some places it's a cafe or a gas station but'here it was the music store, the only one in a 150 mile radius. So in the towns where the kids hung out at cafes or gas stations, they'd love food or cars, the kids in this particular town were music crazy. Every afternoon when the junior high and high school 'let out - and on Saturday afternoons, they'd all be down, their , ·. patch jeans, Frye boots and plaid worksheets. There was a running argument on who was the best guitarist alive today. Some would ,say Jeff Beck; others would say

but the most creativ~ and Aw ... why's he still singing the blues? If ' imaginative guitar player around. He you had a buddy like Steve Miller .. who baits, lures and attacks' each song with went out of his way to get you on all the \ the fury of a tornado. His playing has TV rock shows ~nd then jammed with " character, razzle-dazzle and a flashy speed you so that everyone could sit up and that is unmatched by the heavyweight take notice, you'd be in like Flynn. This guitarists. Because of his decreasing ~ime, we'll play Steve Miller and 1 participation in Hookfoot lately, this may announce tbat UUAB will present the ·i - account for the drop in fire of their last I James Cotton Blues Band and Luthar two albums. \ Allison in the UB Gym Feb. 23 at 8: 30 A rockwriter's biased history: 1971 PM. Tickets are $2.50 for students and $3 i marked the release of Hookfoot, a for non-students and night of stunning debut. With Caleb • Quaye performance and if you want, ·you can get (guitar, keyboards), Ian Duck (guitars, tickets for both this show and the Feb. \ harp), R,oger Pope (drums) and the first 22 Proctor and Bergman show combined , bassist, Dave Glover, Hookfoot's strength for a meager $4. How UUAB figures there 1 was in the careful interplay between are actually people whose tastes are so 'guitars; between piano and guitar and all diverse that they'd like both shows, Oh with the steadfast rhythm team of Glover well we jus' walks 'em likes they talks · and Pope. The rockers great, the slower 'em, else ya lose that Shakin' St. beat.

Editor: Gary Sperrazza , Graphics: Dave Meinzer Contributing Editors: Andy Cutler Michael Sajecki Staff: Cornelius Johnson . Melissa Beckman Fred Eyre

Chris "Sigh" TrancheH R~ckin' Ron Camacho Spiritual Guidance: Alan Harrington pf Harvard U.

/ . SHAklN'ST.


the talented song writing duo of Hudscm and "R~und and Round;'' there is always the right a~ount of electricity to keep And yet despite these and other losses, their tunes alive, but just the right Th~ Str'awbs ",have yet to produce an amount of delicacy and regality to album which ·hasn't been excellent in distinguish them from most of their "art terms of cohesiveness, dive;;i,ty and rock" brethren, and to keep them from tiisteful, musical fusions. Their latest · being overdone. album, Hero and Heroine, is a further Another standout cut worth noting is tribute to the group's endurance, or th~ title cut of the album, "Hero and rather to the ·musical adapfivity of the Heroine," a pompous, exaltive number, band's leader and remaining forefather, sparked with electrical jig-like and Ford split in another direction.


{· " (Always in context - Rockwriters Rule No. 1) wiH make the wait a little easier. It has its moments of brilliance and in this ,case, some is really better than none. The ·best part apout this Hookfoot slump is that, in the interim, the band has refi~ed themselves into real pros, , tight as a sonofabitch and when they decide to ge,t down and get with it, this British foursome will flash. their way to the top. No question about it. And they won't do it by following any trend, as one of the most beautiful ladies in this school said: it should be the reverse.

things beautiful - especi~lly "Coombe Gallows" "- all ~n ail, a.good solid album. 1972 .1 marked the group's second LP, Good Times A' Comin', easily their best LP. Here the . band rocked with' enthusiasm unmatched' by others and the guitar interplay, especially on -the title tune was one of the more exciting bits of rock mania. 1973 saw the third LP Communications : a new bassist (Freddy Gandy) and sheer laziness on the grou·p's 1 part: Rather than ta~ing a complete tune and adding to it all the little extra touches and frills that made Hookfoot so ' special, they seemed satisfied to let everything out as it stood, •,even some boring jamming. Ian Duck (who does 75% of the group's vocal chores) had a hard time controlling his cracking voice, sounding at times as if his throat was filled with Sl)Ot (.maybe he had a cold). Caleb's ·guitarist and songwriting · contril;mtions were below par, except maybe for the beautiful "The Love That You Save" and the introspective "And Nothing Changes," but the latter's snoozy tempo although conducive to the lyrical content, left you sittin' and sleepin'. A rockwriter stops avoiding the issue: So here's the 1971 we've all waited for and although the rumour floated ·about a live Hook foot album, Caleb's stuff-strutting will have to wait again. Roarin ' is all studio and the songwriting is 55%' Duck arid 45% Quaye. The Quaye tunes are usually the morn personal, · with music thoughtfully constructed to fit the themes. " There's . The Chance" works the best. It's a snappy acoustic number that wonders about "the next generation of rock and roll children." "Tradin' Riffs" is dedicated to Mylon LeFevre (don't ask me why) and the riff is that most · associated with Injun-rock bands : tight, funky, clean with a good harp solo by Duck. "Three Days Out" is about touring trouble and serves as a follow-up to "Flying in the U.S.A." on the Good Times LP ("My watch was three days out of date/Now how am I supposed to relate 7 " ) . Ian Duck always seemed dwarfed by Caleb but some words to his favor are even though his contributions are nothing tb climb the Empire State Building over, his songs are always dependable ·(as 9pposed. to predictable). Since Duck's and Quaye's styles are so similar, this explains why they complement each other so niGely. His best tune was the mysteriously beautiful "Movies" on' the first LP and while none of . Duck's contributions to f?.oarin' in context

David Cousins. It is his savvy and interspersions, and spitting, calloused, A&M has a better idea with L . T.b. dexterity which has_been ever present and .·infectious vocal gymnastics by David .,._. s--. •·"·-~---- ··"·- ·--- - ··- ·-- ever dominant in the band's career, and · Cousins. · · has probably been the cause of a few of The Strawbs are a fresh, innovative the personnel losses the . band has experience whose existence is still a bit entailed. too premature to 'make them an & Roberta) arid success. On side twQ "Whatcha Wanna Do, 11 • "~ Told You I'd

Be Back" and "Lucky Day" will be the side to make or break this album. The first two move with funky, funky groove. And on the last one "Lucky Day" they go straight to St. John's Baptist, and havE; a good time in church. With a mixture of ·gospel and blues, Jeffery · Osbone gets down so much like him you_'d swear it was Donny Hathaway. In the middle of the tune it picks up tempo and it turns from easy listening to easy dancing. Here's a group (as I said, before I got off into that) that with a little bit of cash and time has 1the potential of a real Lucky Day. Check the album out. And I' guarantee if you can't get down, give it to me. I'll take as many as I can ·get. Later. In a duece. Signing Out, Dr. Co~n M.D.S. (Masterful Doctor of Soul:

Aside from David Cousins on guitars established cult in the art/rock field. and vocals, and David Lambert who They, along with Genesis, are the only debuted on The Strawbs last album, "progressive" bands still capable, of Bursting at the Seams, also on guitars and growth, ·ex u be ran c e an cl vocals, the band has been completely experimentalization. With a little luck, renovated. John ,Hawken, late of The Strawbs just might remain intact in Renaissance, is on keyboards,. Ex-Stealers time for their next outing, and they may Wheel, Rod Coombes plays drums, and have even more to offer us. ex-sessionman Chas Cronk plays bass. · -Michael Sajecki

Cheech an<;/. Chong will be at the Century Theatre Feb. 22,. courtesy Harvy and Gorky Productions and Purchase Radio. Tickets are $6,$5,$4 and are on sale at all Purchase' Radio, Festival Ticket Office and D'Amico's. ;

Hero and - Heroine exhibits The :strawbs rather distinct personality and their·ability to perform as a solid unit as few pthers do. Aside from

S~rawbs HERO AND HE.ROINE Strawbs (A&M)

There is a propensity of disharl1),ony insofar as the value of ·so called "art rock." bands is concerned. It is this very labeling which has destroyed the spontaneity and creativity of groups which .are determined to become an establishment in this genre. For example, Procul Harum were smothered by tl;ieir monicker·of "avant garde," and riow they can only cling to their type-cast mold of classical rock. Their future growth seems highly questionable. The Strawbs have been a'round ' for . quite some time now, but their • real impact has yet to be felt. The band. has been labeled "art rock;' by critics who have little else to say about them or anything else. The Strawbs have been plagued by many personnel changes, ever since their inception. They have harbored · talented musicians; given them a chance to develop in a band format, and have bid them adieu when these musicians felt they had outgrown the band. As a result of this type of individual maturity, th_e Strawbs lost keyboard wizard Rick Wakeman to .the ever progressive Ye 1 s: and

Jackson Browne and Linda Ronstadt are at the .Canisius College Student Center, February 17 at 9 PM. Tickets.are $4 - gener~l admission, $2 - with ID and are ;available! at the Canisius Ticket Office.

L.T.D. (A&M)

A&M Records has just released a new group on wax dubbed L.T.D. (Love, Togetherness & Devotion). Here is a group of ten musicians and one vocalist. Also the vocalist is the only female•in the group and she sounds a lot like Jeissica Cleaves did in the beginning of her stint with the Friends of Distinction. Speaking • of the Friends of Distinction (F of D), there are two former members of the F ·of D Band in L.T.D. and five former members of Sam & Dave's Band ("H9ld On I'm Coming," "When Somthing's Wrong With My Baby"). Into the album, this group has very good sound on the first side; _cuts like "To The Bone," "Elegant Love" (where incidently, they sound much like Donny

Thurs., Feb. 14, Festival East presents Dave Mason and the everlovin' Strawbs at Kleinhans, 8 PM. Tickets are $6, $5, $4 and are available at all the Festival outlets you 've come to know and love ('specially that Lisa).

Yeah, you guys laugh now but wait until you se.e our review.

SHAKIN' ST. GAZETTE ..•••••••••••••••••••••-.....•-•-•••••••••••••••••••••••132th St. ' seemed to develop and conclude itself in a satisfying way.

Fingers" ("Work your fingers to the bone and what do you get? . . . Boney firigers."J and "Pet Parade," a song that · 'Captain K;angaroo might _be interested in as long as he can overlook raunchy lines like, "All of. the pets and all of their brothers/ dance in the streets and loved one another." Whew! Man ... this album is FAROUT! The chart is neat, the songs are neat, and Linda Ronstadt sings on it. How can it ·miss? It's re'ally neat; you better go get yourself a copy before they're all gone.

of man as monofuck~waa dat a man or waa dat a lady, don't .matter so long as they's liberated, wuzzza wuzzza. Common any record that sports a title like "More Than Your Mouth Can Hold" ain't about Annette Funicello and surfir(. No its about a mans-eye· view of come tongue ala Meltzer n' Japan'ese ladies-pud pudding, and there , is eertainly no reason a man should deny his own sexual being for the sake of a phantom: wish for liberation. We're all slaves and we'll never be free, so as soon as you get around to believing that you'll be ok and I'll be okay.

first because I thought someone finally had ·written an homage , to Wonder Woman-actually it turn:; out to be a totally . cynical picture , of women as balloon brains, which they certainly ain't because they've been running this ,planet since the first male Trilobite tried to bite the chitin of his lady Trilobite'. · 16 and Savaged is the titletoon and it won't make anybody sit up and take notice because ya can't understand any of the lyrics. Overly produced. Ifin ya wanna know more steal the record and play it for yourself- you'll see I'm right.

Soft Machine 4 I w11s better. The suite "virtually" contained discreet solps by the horn players with some material backwards-by-tape-reversal in the last section. "Teeth" also contained solos that 1 were focused and quite good, especially . ·by Elton Dean on alto sax and saxello. Soft Machine 5 represented the group at its zenith.. · The music became ·· structurally simpler and rhythmically more potent as the five-piece horn section was reduced to one man Elton Dean and the drumstool was taken over by ·John Marshall. Marshall was the drummer Jack .f?ruce used on Harmony Row (now there is a great record). Bruce's own rhythmic concept is so unique and wierd that only ·an exceptional drummer could measure . up to it. Marshall did. On Soft Machine 6 and the new Soft Machine · 7, the group (still a quartet) seems to have faJlen back to an unfocused, poorly directed format that can most charitably be described as ' "program 'music" - that is, play Riff A for x minutes, Riff B for y miqutes, etc. etc. and link all these little riff blocks together into a "suite, II :Enough for two sides and you have an honest to goodness LP that's good towards your <;::ontract and $$$$uccess. Well, as Rex Reed would say: "I like the book a lot better." And as Miles Davis wduld say: "Is this. really necessary?". And as I would say: "the record is all riff anci no .warmth, no love, no soul." I· · If · you must .have a Soft Machine record, get Number 5. If you've alreqdy got them all, I gue~s there's no stopping you but if you take that $5.00 and buy Miles Davis' Kind of Blue or T. Monk"s Pure Monk - just for the hell of it - you'll · see. -Fred Eyre

Dusty Myles

,, Hoyt Axton LIFE MACHINE Hoyt Axton . (A&M)

Soft Machine SOFT MACHINE 7 (Columbia) Alright students: Before we discuss the newest chapter of Soft Machine, Soft Machine 7, let's begin with a brief review of the history of Soft Machine and their contribution to Western Culture. You'll recall that in the beginning (circa 1969), there were a handful of British rock groups gammg some notoriety as "experimental," experimental in the sense that they were using instrumental combinations foreign to the guitar rhythm and blues oriented sound so prevalent then (as well as now). ' Syd Barrett and Pink Floyd opened up their ·Pandora's Box of sound effects (natural and artificial). Viv Stanshall and the Bonzo's gave us the Spike ·Jones/Goon Show kind of slapstick humor in their music, complete wit]:l · washboards and tubas. Then there was Soft Machine; and their brand of . Dada-rock. Basically a keyboard-oriented group, Soft Machine's guru-in-residence, Kevin Ayers, was preoccupied much more with East Asian music than with the blues 'and R & B currents coming from the USA. But after the first Soft Machine LP, he le.ft the group and after two albums on ABC that sold very po9rly in the States, the group moved to Columbia, changed · their format to inore reflect organist Mike Ratledge's interest in Miles Davis and Herbie Hanc.ock's electric bands than Kevin Ayers' dada-eclectic;ism. Soft Machine' 3 ,was four long pieces - each a melange of reed-keyboard effects. The music in these four pieces was rather like a flood with currents of electric reed instruments flowing around and through currents of electric piano and organ - with no specific focus or direction or unity - just rushing. to all the low ground. Of the fou r pieces, only "Out Bloody Rageous"

Hoyt Axton? Isn't that ' the hippy neighborhood in San Francisco? No? He's a . . . oh ,yea! He writes songs like "Lightning Bar Blues" an,d "Joy to,,..the World" that people like Ario Guthrie and Three Dog Night s~ng. Sure .. . I 'member .npw. He sings them himself too. At least that's what it says in the 17th column of the neat chart that comes on the back of ·his new album: Vocal-Hoyt... Hoyt ... Hoyt... ,Yea, he sings them all at least once. That must be his voice that sounds SQ much like Mac Davis. And you know who else sings? Well, there's a whole bunch of 'em. Folks like Merry Clayton, Bob Lind, and Flo and Eddie. But the ·best of all is Linda Ronstadt (sigh) on "When the Morning· Comes" (row 5 on the handy chart). She sings her half of the duet real good. So does another golden throated chick, Renee Armand (rows 7, 10 and 11). There's a bunch pf neat people playin' instruments too. A lot of those CBS House Band guys contribute their expertise, including Milt•Holland on what . the chart describes as "Melody Maker with brushes': (column 8, row 7). Dad-gum, that's what it sounds like he's playin', (probably for about a hundred bucks an hour, too)'. Red "Top ' of the World" Rhodes plays steel guitar (column 7, rows 7, 10, and 11 ), and Doug Dillard - oops -· Douglas Dillard plays banjo (column 11, rows 4 and 8). · The songs are neat too. Hoyt and his pals do some old standards just to keep things rockin' steady (sort ' of). "Maybelline," "Geronimo's Cadillac" and · "That's All Right" ... oh eat yer pipes· , out Rod Stewart! But Hoyt wrote most of. the songs himself. Songs like "Boney

Silverhead . (MCA)

Poontan_g: teenage poontang, the kind ya get when ya listen to the Troggs doin' "G<;mna Make You a.ka I Can't Control Myself" or better yet the kind of sleaze ya get in pornathons like "Teenage Fantasies" - quite a movie quite a record-well, not really, but the cover makes it all so freeking worthwhile that -; , you hardly even notice the music. All you gotta - do is go out to your favorite drugstore· and get a large economy-sized jar .of vasoline (Planters Peanut Oil, ifin ' your a true afficienado- kitty kitty brains ifin your a warpoid) grip the sausage and do a stickey wet all over the cover . . . mmmmmmmmmmooooooo- onnnaaa I ,I I wanna live next door to ya!!! Sex-muzak is okay except you can't in-out to it-why? because it's usually so distracting that all you Janna do is dance ip.stead of lance-hotcha. 16 and Savaged might've been a. great album about four years ago when a few tinges of innocence were still flourishing-in the context of this here present-day time-warp it's not necessary. Ohh; the titles of the songs show promise. Th~y lead you to anticipate a musical debauchery based on the principal of anti-sex, the Orwellian vision

Look, ,Buff State's SUB were here first. And they can't help if every other concert promoter in the cosmos decided to book concerts around Sunday, Feb. 24. On that night, L YNYRD SKYNYRD and · DUKE WILLIAMS AND THE EXTREMES will hold a Dance Concert in the New Gym. L YNYRD SKYNYRD

have their -debut LP out already and are comprised of seven of the toughest musicians the South has recently given to rock and roll. · Those who would accuse u~ of blasphemy can 1 see for themselves. Tickets are $2.50 with ID, $3.50 for others and are on sale at UB and Buff State ticket offices.

BLACK SABBATH told the James Gang to tell you to tell Festival East to tell Shakin' St. to tell me to tell you to announce :that all of us will be at the Aud. Feb. 20 Ticket prices are $6, $5 and $4.50 and are on sale at all Festival outlets.


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Cold Cuts , SOLAR FIRE KINGS OF OBLIVION Manfred Mann's Earth Band Pink Fairies , (Polydor) ' · 1 (Polydor). Hey, now this is a real slick item, as With a background out of the English Polydor's. answer to Black Sabbath .burst psychedelic scene (circa •1967-68), there engines and kick up a 'real: storm. This came to be . a band . that ' has grown · time ·arourid, Mighty Manfred takes no through that era to 1974, in the interim 1 chances; as he and his Earth Band present picking 'up and losing band members from us with · JVIahavishn'uized '. melodies, cozmic s1,1ch · diverse sources as the Deviants, lyrics, and synthesized tinklings that wm Pretty Things, ' UFO, T.Rex, Tomorrow send chills up your toes. The Might Quinn ·and tl).e Move. The Pink Fairies of and his boys borrow freely from their the few English bands left unscathed 'rock band brethern; tokenistic. ch~ck since , Americans ravaged the . country singers ala.Pink Floyd, Pluto the Dog ala 'starting 10 years ago (which includes just Hawkwind, and electric toothbrush ala abou.t ~verythii:ig). Their newest album, Edgar Winter (which really ain't so bad, Kingi/ of Oblivion, sees the group as a• considering Manfred and Edgar flunked three-pie9e: veterans· "Sandy" Sanderson ' Keith .Emerson. school at ' just :abqut the (Basso profundo) and Russell Hunter . ' I same time). But its all quite silly. The .,(demon dru~mer) and newcomer La,rry: · lyrics .,are silly, ala·yes: The song titles are Wallis (Big GtiitaO. Wh~~ you hear titfeis ·pretentious, ala everybody. And, the best · like "City Kids," 1•1 Wish I W-as A Girl," ;thing about it, is that this is some type of "When's The Fun Begin," "Street a concept album and it doesn't ' work. Urchin" and you're told the music . is Which makes.this the greatest rock. satire freak-out, . loud, offensive, lewd, album of all time. The band are a damn outra·geous, · degenerate rock and roll in fine bunch, capable of a whole lot more 1 the gqmd ole British Heavy Metal Flash than this, even thougJ:i the album is still ' tradition: and not only is it great, it's worth a few listens anyways. If Manfred listenable, I suspect I already \pst half'the Mann could produce; ·super solar, heavy readers· (May I .interest you in a Size .7 metal pop sin,gles, he'd be a . real smash. ..• .. ) and the other half (love ya' all) But 'then again, if he did, we wouldn't be ,probably have Kings of Oblivionby now. able to try tongue twisters li,ke '}Saturn, ·, : · · ··,


St. '



Mose Jones . ,.. (Sounds of the South/)VICA.) , .. ··

Mike Vernon (Sire) .

, . I guess anybody who produces a lot of talented bands • harbors a secret desire for stardom for himself. Vernon, long the Scion of Blue Horizon Records, the label many Limey Bloozoids got their start on, is such a person. Awhile ago, Blue Horizon/Sire put out an anthology of some .of their better acts and lo , and behold, one cut was by ole Mike hisself. This may or may not have been a test cµt for this see if he could make it, ·as a solo artist. The song wasn't too bad and this ·al.bu~ isn't either. Helping the LP immensely are the musicians; Ric Lee and Leo Lyons of Ten Years After, Andy Sylvester (ex-Blodwyn Pig) now with Savoy Brown, Mitch ' Mitchell, Bruce' Rowlc1,nd of the Grease B,and, Paul Butler and Pete Wingfield of Jelly Bread, .etc., etc. Vernon also produced the album and he J.'.eally knows' what he's doing. I mean, who wants to blow their solo career with a lousy production job? U he' continues with more albums of this caliber, who knows? Mike Vernon just might be a star in his own right yet. gumball. For all practical purposes, this is, Bread's l,p.test ·album, what with all the ex-Bread boys doing sessions for James. (All except David Gates, whose making cruddy extravaganzas of his own.) Why even Peter Yarrow look!alike, Robb Royer ·showed · up to produce · this bombastic achievement. To make matters worse, the C.B.S. house band elite showed up to help in this endeavor, and we all know what that means. It's the same basic Bread album formula, musky, overproduced .ballads, mixed in with crusty, cream cheezy rockers, performed to a tee by James Griffin, whose getting . to look more like Michael Parks every day. (Why, he hasn't.shaved in pert near a week or so.) Now even though anyone who writes lyrics like ,"I'll love you till the cows come home" can't be all bad, Jimmy should use .his talents for more important things, like doing session work · for the local I high school Gqdspell production. BREAKIN UP IS EASY .James Griffin (Polydor) It sure is, when you listen to this

Not entitely predictable, but to an extent, this is common everyday Southern rock and roll. They don't know their limitations and Producer Al Kooper (who is partly responsible for every act on his label, S.O.T.S.) has them hacking their 'way through_ pop,, soul and even quasi-Allman material. Not too much excitement, although guitarist Jimmy O'Neil manages to sound like Burton Cummings on ."Home." The title cut, an . instrumental, sparks slightly, but as for ' the rest of the ~P: No-Doz is cheaper. You might remember Charlie Daniels. from his mildly amusil}g · hit •single .''Uneasy Rider." bon't let that discourage yoµ from buying this album. Th~~e guys are dyed-in-the-woll So1,1thern rockers in t;he Allman Bros. tradition and even if the rest of The Bros. should suddenly leave this vale of tears, Charlie and Band are ,ready, more than willing, and quite able to fill their allotted spot in rock and roll. Just by 'looking , at the simµlate

WINDFALL ' Rick Nelson (M½A)

The jacket of Rick Nelson's newest album, Windfall: says a lot about the music inside. It's handsomely made with a smooth, slick, shiny finish, and an even dozen well done full color photographs insidE) ·and out.. However, it has a very personal feel ·to it ' despite the slickness, , because every wqrd, from the name of . the album and artist, to the song lyrics, and even the copyright information, are all hand written (by -Kristin Nelson). The music inside is much the same: slick and · very professional, but with a personal feel. · . R;ick •Nelson and · The Stone Cany,011 Band have their own brand .of the.popular I . • country/rock . sound. They . sometimes resemble . Eagles both in the thinking behind the arrangements ,and in the tight-harmony vocals. (The Eag!es' Randy Meisner was one of Rick's back-up men when he made ' his , debut as a country/rock artist several years ago.) The band will change to fit the s6ng, one moment playing soft and smooth acoustic ·oriented country, the next using fuzz or ' wah-wah electric guitar with a strong rock beat. The material is nearly all original, written by Rick or guitari~t Dennis · Larden, both of whom display considerable talent. The music has an unexpected depth botp. in s.ound .and content which sort of creeps up on you as you listen, partly ,because Rick's xocals often sound a littfe self-consc;:ious, but you can tell that underneath he is a very confident singer. The result of' all ·. this is a very attractive album from an appealing artist (I havri it ·on good. authority that Rick is cute). It also proves that Rick Nelson ·has risen completely above his TV son role to a position of respectability and hopefully re.cognition in the music world. - Dave Meinzer•

Lord of the Ring, Mercury the Winged Messenger." Move over Sabbat,h. Move over Hawkwind. You got company.

. NINE Fairport Convention

A&M) The only th~ng this line-up h~s i~ , common 'fJith the 9riginal Fairport is the name. The last ,original member, Sim.on Nicol, departed after Babbacombe Lee is Dead (Encore-Ed.) ' in l 97i Althou~h Fairport is not as ' interesting as 'their counterpart s, Lindisfarne, they are instrumentally s11perb and fine ' traditionalists. Dave Swarbick's mandolin and violin stylings stand out, the former on "Big William," th,e latter on "Bring. 'errt Down" and '.'T.he Medley and Cherok'ee Shuffle." ''To Althea Fr0rri' Prison" is.a bluesy lament, the lyrics born from th,e writings of the Davalier Post, Richard Lovelace, · while in Prison in 1642. :Fairport's music is English traditiodal and its very easy to see how Bluegrass devefoped from 'this in the . isolated hills of Appalac;:hia. For folk devotees, f:airport Convention is a fine study in roots.

HQME THOUGHTS Clifford Ward (Charisma/Atlantic)'

Funny ... those Engflsh Kidz. Af the same time as good.rockers by the Sweet, Slade, Suzi Quatro are topping the charts, , along comes a No. 2 hit in Clifford Ward's ."Gaye," i=l syrupy ballad with the power of a wet ·n0odJe and the freshness of mouldy cherry·cheesecake. Oh well, we'd be the last 'ones to complain'; it's this kind · of constant change that makes the British pop spene so endearing to Js (and the lac~ of it in ·the States so frustrating). "Gaye" and the follow-up single,. "Wherewithal" are included here on this schoolteacher - turned · - . musicmaker's debut, called Home Thoughts. The music is soft English folk that hasn't any impact whatsoever: Ward seems to be running away rather than coming at you with .his .Iullabyes. Sure it's pretty but zzzzzzzzzzz. . .

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