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Alex Harvey ' Ducks Deluxe Gram ·Parsons . ~aspberries

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3065 DELAWARE AVE. KENMORE, N. Y.. 14217 71·'-873•9534

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DEAR OCCUPANT:

_ more letters from the Orient and too many bills ......... '. .. .. . . ..Page 4 all the hits you'll never hear .... : .... .. .............. , . . .. . .. .Page 5 , Mr. T wingecj it to England to give us the news on rock 'n' roll's last bastion of traditionalism . . ' p 6 by Pete Tomlinson ...... . . .. ... . . . ... . . . . ,. . . .. ............. age Finally, everybody involved has pulled the strings necessary to get this sparklingly Sensational Alex Harvey Band over here and if it's up to us, we'll never let them go. \ , by Mitch 'JD' Hejna, Joe Fernbacher and Andy Cutler . .. . .... ,... . .Page 7 , Although ' Wally Bryson is rumored to be splitting the band to rejoin ex-R11spberries Bonfanti and Smalley in Dynamite, the Raspberries still retain their position as an American pop-rock institution and their latest album, Starting All Over, strengthens their position admirably. by Bob Kozak ............. : .............. . .... . .... , ....Page 11 The wake for glitter, the end of glam, the Woodstock of the sequin set. Jymn Parrett painted his face and snuck in for the scoop by Jymn Parrett .... ·..................................... . .Page 14 The conclusion of the long-running series with speci~I attention paid to Gram Parsons, one of the men behind it all by Dave Meinzer ........... . ..............................Page 15 The usual assortment of ramblings and vinyl stomps by The Shakin' Street Staff ............................ 1 ••••• Page 20 1 by The Shakin''Street Staff ............... . . . ...... .. ......' .Page 26 \ , by The Shakin' Street Staff ...... . . . . . ................ .. : ...Page 30 , Remember that last issue, we discovered the hottest new b_and for _1975. . ' P 32 by Gary Sperrazza ! ... i . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . yge

I Ff:IOM YOUR

-A XMAS PRESENT SHAKIN~ .STREET TO PARENTS! \

SHAKIN' STREET'S HIT PARADE ,_

DUCKS DELUXE

THE LATE 50's ARE t3ACK!!! Yessirree, folks, Tin Pan Alley has returned,r ravaging its way in.to the Jop 40 at a most opportune time indeed. Record companies are now, back in · control of the recording industry. No more rebellious geniuses and irresponsible punk artists to strain the foreheads of the industry heads. The companies have ~,,. the rules again, and everyone from the · historical woodwork to fill the Top 10 I , slots. And none of these faceless talents, inc Iu d i_ng former Bette Midi er arranger-producer Barry Manilow, will complain until a new teenage music • forces them all back into obscurity. Speaking of Barry Manilow, his show will land in Buffalo's Kleinhans on January 18 and we'll be more than happy (overjoyed! ecstatic!! ·relieved!!!) to give two Jr,ee tickets to the first person who, via the US mail, can tell us the name of Manilow's newest single . Easy enough? Now, we expect a sheer mountain of mail on this one, so send y_our entries to Shakilil' Stre'et'.s school office and leave our poor misguided editor (yes, he still likes that rock 'n' roll teenage crap) alone to his Sweet, Ducks Deluxe, Roy Wood and Roxy Music albums. , The Shakin' Street ' I Gazette 1s Published by the Students of Buffalo State College, thru the Mandatory Activity Fee.

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VAMBO ROOLS ... OK?

FRIENDLY PRICES . . .

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RASPBER'RIES

THE HOLLYWOOD TRASH DANCE

CALIFORNIA COUNTRY ROCK; PAR1T 3

LONG PLAYEAS

IMPORTS

COLD CUTS

THE DUDES CARRY THE NEWS

Street Staff Editor-in-Bondage: Gary Sperrazza! Staff Writers-in-Heat: Bob Kozak Mitch 'JD' Hejn-a Andy Cutler Bernard 'Winkie' Kugel Joe Fernbacher Jim 'the Bug' Bunnell DECEMBER 12, 1974

Contributors-in-Theory :

SCB

Metal Mike Saunders

- Pete Tomlinson Tom Bingham Jim Parrett

Graphics-i n-~laved:

David Meinzer (Mr,. Big) , Lois 'Angel' Anzelowitz Carol Panaro

600AM

Business-in-Debt:

Barbara Krakoff

Distribution :

Plug us in.

The East Wind

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Dear occup~ nt •• Gary,

Animals, Hugh Grundy of the old Zombies. Even another fine • drummer is the incredible Kenny Jones of the late and lamented Small Faces. Performers such as Steve Stills, Jimi Hendrix, and Mick Jagger just exude class, as vye all know, Kenny Jones had as much class and style as any of them. And KEITH MQON·! All right, you Ginger Baker freaks can snob over Keith Moon all you want - but this is MY letter. Keith Moon ca·n say more in a 30 second "Cobwebs and Strange" lunatic drum sol.o than a Ginger Baker can in a lifetime full of toads. Really! And it's not so much what Keith Moon does as how he does it. Tommy basically stinks, but Keith Moon is the star of the album .. . he 's one of the I prototypal drummers of rock and roll history . .One is Kenny Jones and the other is KEITH MOON. Thank you! Having depleted my hot air, I remain ... -Mike Saunde rs (You forgot about Mitch's Fabulous drumming on the B-side of Mitch and the Mellow Dopers last single "You Put It In (and All I Did Was Laugh)" b/w "Shakin' Street OD (A Rock Novelle 1 ttel"-Ed.) THEN HE CHIRPED AT ME I was at Reg Shaw's and I thought I might aslt him to dance But Marty was there so I didn't stand much of a chance He sat and played his records for me Talked about pop history He chirped at me in a way I never heard before He chirped at me in a way that said forever more (it's all pop don't stop) Well that was last year and I hear Reg's house has been repossessed 1 His records all ·melted when they cut off the water though I must confess His magazine folded it was quite a mess He (an off with Patti Smith Though I'll never forget Box 75 - Yocum Hall University of Arkansas Fayetville, Ark . 72701 Well I had enough So I got up to leave And then he chirped at me. I understand you're putting out a highly interesting magazine featuring music and related topics. Please let me know if you accept overseas subscriptions and whaf your notes would be; and also if there are any .sample copies available . Jorma Nippala · 60100 Seinajoki 10 Finland (Sample issues are on their way . Thanx foryour mterest.-Ed.} ' Dear Shakin' Street, -What is this pack of bullsh it? Claimi ng that Brian Connelly .wrote that stunning, cataclysmic, marvelously degenerate review of Greenslade in this issue's coldcut section? This is all lies! We wrote it, and the Sweet damn well know their careers as rock critics would be gone in a mi ~ute if it wasn't for us! · Nicky Chinn and Mike Chapman The night I got up to leave And then he chirped at me Dear Mr. Sperrazza, .

BOWIE BOWIE David Bowie you tore your dress David Bowie your face is a mess You can't rock and you never will Why don't you swallow a bottle of pills Nothing happening on the street Nothing shaking with the people I meet Take a trip or cut your hair It's all the same man, cause I don't care Cruisin' around but it's just no use Can't do the things we us~d to do I'm sick and tired of 'this whole damn scene Wish I was young again, 'bout sixteen Glitter faggots ain't got no sense Glitter faggots can't pay their rent They like Bowie cause he's so lame They think they're hip it's the same old game David Bowie you're such a wimp Your music sucks and you're looking limp You can't rock and you never will Why don't you swal)ow a bottle of pills David Bowie you're such a drag You think you're cool but you're really a fag Your kind of music makes me sick David Bowie suck my dick

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Canadian record companies; what they do is: 1) if the album is one that has a gatefold or such, immediately remove it 2) never include a sleeve to protect the disc while it is ·being shipped 3) use the scratchiest plastic possible so that a heavy dose of static accompanies the music 4) and then on top of all this charge the neat sum of $5.29 . I

Thanks for the latest issues of Shakin' Street Gazette . Going to Brockport State, alcohol, chicks, etc. takes up all my spare change. Issue No. 16 was great. I really dug the Monkeys (sic) article, it was fantastic. I can remember watching their show when it first came out in '66 (I was in fifth grade) . I wasn't that crazy aboµt them but I could really get into the reruns . As for issue No. 17, this has to be the best one · 1 •ve read yet. I love how you build up to the final article. The Dudes story was great. Shakin' St. is like PRM was in '72 but-- better. / Al Baase Brockport U. PS. Di.d you know in 1939 A&M won the National College Football Char'pionship? (Yeah, but who cares? Baylor finally did it so they can pulverize the Lambert trophy addicts of Penn State. Oh yeah, one more ting - Anthony Davis iz gonna explode and give Woody a coronary-Mitch 'JD' Hejna) D!:!ar Shakin' Street, Hey ... it was fun seeing my name on a byline, almost like old times. I told you .1 wanted the punk article anonymous because approximately four dozen people have threatened to beat my face . to a pulp the next time I go into my "the Shadows of Knight were better than the Yardbirds" spiel. · Next time? The Wackers narrative was a' solid piece of journalism, the kind of thing you never see in the (worthless) American . rock press. I'm a staunch New Musical Express fan ... as far as I'm concerned their magazine is IT. They know what rocknroll is, an_d they know how to write about it. Don't wanna be a peapicker, but .. . I ran across the Mitch & the Mellow Dopers album in a 39 cents promo bin the other d_ay" and I could've sworn the best cuts were "Keep Your ~thma To Yourself," "Solar System Suckoff," and "Hey Baby (Goin' Down On You)" (not to mention "Burgers for the Asking" and "Dwarves on the Rampage"). Who's responsible for the hack job your mag did on this great album? You pussies! \ Tacos togo, Hollywood, CA 90028 (Ed-Yeah, but have you ever heard their early 45 on A-Dust Records called "Your Dad's a Hunchback" b/w "Bazookas In Orbit"? Huh? And what about Mitch's even earlier guitar work with Mack Jones & The Backtracks, later known as Metal · Mack & the Maniacs? Huh? Stick that up your GNP Crescendo discography-Ed.) Dear Editor, What is this anyway? I just purchased the new Creedence Clearwater Revival album, Green River, and was dismayed to find that this long awaited LP consisted of 4 previously unreleased cuts and 5 other short songs bringing the total time to a laconic 28 minutes. What can be said in that short time? It seems the record companies are doing thei r best to ru in a good thing. And the way things are going Well , take the SHAKIN' ST 1 • GAZETTE Metal Mike Saunders c/o BRAIN DAMAGE 6621 Yucca No, 2 •

Jim. Parrett 2996 Marcel St. Ottawa 10, Ont.

Dear Shakin' Street,

Thanks for the nice review of our fi rst album. Mike Saunders might be as pleased as we were to learn that "Solar System Suckoff" reached No. 3 in the Bolivian charts before it was banned for being politically motivated. By the way: have either you or Saunders heard our excellent if somewhat poorly recor ded early demo of "Scratch It, Pick It, Bite It Off," which also included a 17 minute cover of "Turn, Turn, Turn," recorded with the Memphis Horns? Or did you see us on "Upbeat" in '68 doing ' 'Bazookas In Orbit" with Joe Walsh filling in on drums (although he has denied this on several occasions)? Mitch and the Mel!ow Dopers Dear Sirs, yThis is a crank letter! In your January issue, there is a letter calling Ginger Baker the "best drummer in pop music." I'm getting cranky l;>ecause the only drummers written about these days are Ginger Baker and Mitch Mitchell. Well, what about,,all the great but unheralded rock drummers? Yes! Such as Viv Prince of the old Pretty Things, Barry Jenkins of the old

RENAISS~NCE MAN

I'm a renaissance Man Yeah that's what I am Got my hands on the future of.- pop I predict it to the date Yeah I prognosticate And my prophesy it just won't: stop

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I've said it before And I'll say it again It's all coming back all right I can feel it, I can hear it I can see it, I can touch it It might even start tonight!!

You remember our friend named Pagliaro · And our good old buddy' Chris Hodge Well, just open the door Cause there's a hundred more · , Practicing in my garage!

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Renaissance Man (It's all coming bac!d Renaissance Man (We're on the right traclc!) Renaissance Man (It's in the l)irl

Renaissance Man_ (It's everywhere!!)

-Murtz Gurtz, champion stockbroker, and i)II 'round bagel basher, says that Shakin' Street: "is u~doubtedly the 4 breakfast of champions, oh yes ... Hi Mommy!" (UPI)

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DECEMBER 12, 1974

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but irresistable. Interspersed with the aforementioned tunes was a batch of th,.'!ir . own sonJs, with titles like ''West ,,. Texai. Trucking Board," and music to match. ft became appar!)nt as the night flew by that a new _ai;e of mutant rock ·was ' emerging, and that Ducks Deluxe would be in the forefront of whatever ·was gonna happen - nothing like overstating the case, I always say! 1 As the night reached its conclusioh, I was overcome with silliness. I shook the hand 'of anyone .who didn't run away, I slugged my final pint down with a speed and finesse unequalled by anyone since, and I danced all the way back to my room convinced that this was a night of nights, a true reawakening of my rock and roll blah blah. Get the message? Back home once again, I tried to piece together the n,vstery. What had made these Ducks so special? They were great live. So what? So is Bob Segar, to cite but one example, and his later music has never bored -a hole in my cerebellum like the Duck!s' did, and upon only one listen at that. I don't know, I've never been much good at unclerstariding these high sociological and economic implications so often associated with the rock process ,these days; but I think I know a winner when \ I see one. Friends, I was confused. All confusion was cleared up, ,however; as soon as I received Ducks Deluxe. Know why the.se guys are so good? 'CAUSE THEY'RE TOTAL SLOBS, just like you and me. They've got just about every rodk style from Elvis to the Stooges assimilated right up the ass. This may be due to the fact that all four (now five) members of the Ducks are nothing but- English boys who wish like hell they were born in America, -so they could hop freights and cruise Burger King at night a_nd scream Cajur, curses down in th.at good, ol' Louisiana swamp. . Of course, nobody that you or I know _has . ever done all of these things (and most people haven't done any of them); but what do Limeys know about that stuff? It's this "how others see us" principle that makes the Ducks' Ip charmer from the word go. A charming album is not a great one, as we all 'should know; the music is a prerequisite at ' all times, and Ducks Deluxe play A-1 hophead fun music. None of them are particularly proficient instrumentally, which is just as well, because they're proficient enough to keep things moving without self-indulgent soloing of any sort. Every song on the alb~m is a ~em, if (cont. on Page 10)

DUCKS DELUXE: Raucous Roadies Reap Rewards (sort of) If one gauge of rock and roll greatness is blatant crassness, then Ducks Deluxe must be on top of the heap. They're on top of the heap anyway, and I believe that their unerring ability to throw taste to the winds in favor of slobbering party jive is what pu~s them there. Their first album (RCA LPL1-5008, ho hum) is a classic of its genre, which is ... uh, what is their genre? How does one describe that sublime moment on Ducks Deluxe when vocalist/guitar~st Sean Tyla bel~hes _out "1 'm ready fussum rockuhroll !" and the rest of the band consider that an incitement· to musical riot, lurching and screaming right off the turntal:>le for three minutes ten seconds?!? What makes them one of the finest live bands in En£1ancl (ain't much competition there these day~)? What makes their album not onl·t one of the neatest released in this or any other year, but more important than 3 new Mott The Hooples? These and other pertinent·. questions of the day will be answefed just as soon as I change paragraphs. , When I was on vacation in London around July of 1973, every music, business person I met kept me prisoner for an hour or more, raving, -as music biz folks are ' wont to do, about this• -wonderful new band called Ducks Deiuxe, presently tearing the pub circuit apart. It sounded sort of suspicious to me ' (!,ow many of these stories do you believe?), but my own curiosity got the better of me, and eventually my friend dragged me down to this rock boozehut of some repute called the Kensington, in order to view in person what I had been hearing (and hearing) (and hearing!) about. The Kensington is kind of a nice modern (as opposed to mod) bar, and was pretty empty as we entered and bought our first pints of hotcha Limey suds (admission was free, and the beer was cheap, by the way). Within an hour, though, all available floor space was taken, occupied by drunken patrons and fans .who were obviously "ready fussum rockuhroll," as it were. My blood started to boil even before the band came on; it was a joy to finally be amongst a_group of people whose aims at that particular point in time were identical to mine, which were: getting drunk, rocking out, and checking out the potential female psycho action (not necessarily in that order). · The third item on my list was abruptly forgotten - as this mangy group of

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.Ducks 'Deluxe's Quacky Career · by Pete To°:'linson

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\ to do with the English system of rock 'n' roll apprenticehood, whereby most bands are tossed in a system of pub and small college situations for various lengths of time, until they can bridge the gap and launch themselves on full-fledged careers, a most recent example of this being the current coming of age of the Ducks Deluxe band, and the menacingly invasive nature of such bands as Roxy Music, the Sweet, etc. For all tho~ in search of that 'new wave' business, just take a look over your shoulder and you 'II see the Red Coats are coming (again) one if by Deluxe, two if b y Sweet, three if by the Sensational Alex . ~rvey Band, another pub-produced musicaf tribe whose surreal acuity is staggering as well as amusing-as in tee hee, and ha-ha. It's _about time ·someone ressurrected the sense of humor in rockon: and that's exactly what Alex Harvey-not to be confused with Alex Harvey the folk-wimp, or Alec Harvey from Noel Coward's 'Brief Encounter' - and his band of mugge rs accomplish. Take for instance the ir first LP (incidentally, you'll get a good chance . to witness all this madness when Alex Harvey sweeps adoss the US on the next Deep Purple tour): -Joe Fernbacher

I mus1c1an types shuffled onto the tiny stage. These were the Ducks, of course, and did they look like they wJre gonna kill! Three-fourths of them were chubs, with lead . guitarist Martin Belmont possessing the additional physical ·characteristic ·of standing well over six feet tall. The other fourth, drummer Tim Roper, looked as if he'd be in place at either a ' Long Island glitter bar or a London gutter. What class! The musk wasn't bad, either. In fact, it was too much! The Ducks launched into a succession of moondog chestnuts, old and new : Chuck Berry's "Wee Wee Hours," Eddie Cochran's "Nervous Breakdown," "It's All Over 1 Now," and others. Maybe that sounds very Sha-Na-Na standard, but these mugs treated each with an irreverently sloppy pure Seventies excitement th-at was all

Now, those fish n' chippers are a crusty bunch used to their daily doses of tea, Tangueray, an' tarts and it's ol;>v ious to any inter continental interloper that it's this melodic combination of environmental ingestions which gives 1 'em their oft 'overbearing but usu.ally pleasant polite nuance, which in turn is reflected back to the outisde world through various cultural motifs, the least ' of which being their constantly successfu\ bombardment of the American shores-spreading as they go along a particularly nasty sense of punknacity into the ever supine, continuously mendicant, nonage concert cruisers-with a musical vociferous°'ess attitude which reeks of the early days of rockon: as in Gehe Vincent-mean ing that they seem to have a better underitanding· of a basic American genre than most American musicians-it's all a matter of respect for those ever illusive roots. Oh, when they finally do arrive on the lost continent they shift attitude just a 'might and what's presented is a workshop definition of professionality combined ever so wincingly with a gutteral understanding of jus' what makes all the little cry. Why is it that most English bands present a polished aplomb seldom noticed in native born bands? It could have qu ite a lot DECEMBER, 12, 1974 7

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SHAKIN' ST. GAZETTE

Alex Harvey is -definitely twisted; he might be faking it, though, cashing in on . A. Gooper's success, but who care,s? The biz~arrer they come... Framed has yet to be released here, so it's only available in the import section of your local record emporium, but you can bet it'll be .released Stateside if the band takes off at all .. Basically, it's not half as. good as their second album, Next (produced by Phil Wainman·, who does likewise honors on the Sweet) but for diehard's it's palatable as least. Best cut is that old chestnut, "I Just W11ni: To Make Love .To You" which guilds up into a uniform frenzy befitting the performer's desires (if that's possible to believe). "{fhere's No Lights on the Christrhas Tree, Mother, They're Burning Big Louie Tonight" wins Absurd Title of the Year awards, a song about the death of a gangster sung dramatically in sort of

vaudevi.lle delivery by Harvey and the chorus sounds like "The Utica Club Beer Drinking Song." "St. Anthony" is driving and full-tilted unabashed rockaroll de~igned to turn the inner ear into jelly. The title tune, "Framed," puts Little Alex walking down the street minding his business as cops come up and bust him for a crime he insists he was ·'framed' for. It's as hard to swallow as Alex Harvey himself, sensational or otherwise. But anyone who gets as worked up as he does deserves some sort of massive following, provided he will try just as hard when he's a star as he is now to provide audiences with a rockin' good time. If not, he might do something drastic. Like marry your sister. And look, anybody who persists in pulling stockings over his head during his job, you don't need for a brother-in-law. -Andy Cutler

Vambo Rools ...OK?

Next, came 'Next' a sensational sorte by the Sensational Alex Harvey Band. Again much of this LP's worth comes from ' the pop-pazzazz of producer Phil Wainmen-whose production credits· include the ~weet. Anyway, "Next" mystically enough turns out to melt whenever they hear the likes of "The Healer" and my personal favorite "Last of the Teenage Idols" which just might be the song of the year because it was extremi::ly hard to like at first, but•eventually lapsed into pure -joy, and perhaps that's the real test of a toon. The rest of the LPs border on being great but never quite attaining that status, maybe because it's so overshadowed by those two ominous cuts. If you're really a fanatic you'll enjoy "Gang Bang," "Vambo''. and "Giddy Up Ding Dong" which ·sounds better •than it reads. All in all Next is nice and a logical step for this band . . . -Joe Fernbacher Well, it looks like Alex 'has one final bridge to cross, and of course every band from England faces the sa.me macho test ... making it in the' states. Actually Mr. Harvey should have no trouble whatsoever iri making himself known to the American public. All he has to do is prance out on the stage because he is fortunate enough to possess a potent and powerful stage presence (after 20 years what 90 you expect?) . But the record charts are the true indications of success so his latest release ' The Impossible Dream_ has been released simultaneously in Europe, Britain, and the U.S. What I'd 1 like to .know is: why wasn't this sort of campaign launched,sooner? Because of poor promotional work the American audience has probably missed some of the best material Alex was doing in early releases Framed and Next, and if you have bad:' timing forget it (look what happened to Slade). Like I said, visually this band possesses a dynamic stage force and a combination of good music mixed with a witty humor. Do you recall when In Concert first brought Alex and his crazies to the TV screen last summer? It must have been fate because somehow the network thought they were booking the Alex Harvey that wrote some of those hit tunes for Helen Reddy. So in walked ,SAHB and the producers stood there witt their jaws hanging to the ground, all they could say was "Whaaaaaa!!??'(_ It turned 9ut to be one of the best mistakes that the network ever made for the show because Alex won the viewers at home hands ~own . People were wdting in asking for anothe_r look at the band. It's hard enough trying to get people to accept you over the radio even if jocks play your record a thousand times a day, and brother if you can make them believe you on the stage, much less television well that spells $$$$$$$$$. · What sort of fellow is Alex Harvey? He's nuts. He comes bashing out of brick walls looking like some cheap hood or petter still, . ~n outcast from a grade B Brando movie~ In another scene, wit h ripped leather jacket and a stocking wound tightly about his face, he pounces on _the mike making all these faciar' contortions while screaming and bellowing at the top of his lungs : "I was fraaaaaaaaamed uh!". Meanwhile you're sitting in your seat wondering if that person on stage is delerious from ~ontracting rabies? Some of you may think this type of performance to be a DECEMBER 12, 1974

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bit wishy-washy, tuff because today when a band has to r~ly on elaborate light shows, sexy looking get-ups, instrumental equipment which is highly unnecessary, and guitar solos which trudge on for hours, Alex Harvey has found the key to acc0mplish the main objective ... to entertain the audience in a more obvious way. He's been playing in bands since 1956 and that deems him an experienced veteran that has gone thru numerous phases and histories of rock 'n' roll. Recently in DISC magaine Alex talked about his successful stage act: "We want to get more of the vaudeville element into it and we'll go as far without getting silly .. But to me theatrics have to be really cheap. I'm not one for lavish sets and costumes - whatever you can't do with an ordinary prop box isn't worth .doing." And of course as everybody knows, vaudeville wasthe first real down home type.of entertainment which lived and died in the States. The band i.ncidently has made the show a little more sensationalistic by adding a few chorus girls which accompany Alex while he twirls his cane looking like a circus ringmaster. ·. 1 The Impossible Dream is an extension! of SAHB's theatrical innovations and humor. The music tends to be a bit scanty and dry in spots, the fullness qf the band is ~acking but it does have its moments. For instance the single which is to be released over here, "Sergent Fury," is a perfect example of what the band means by entertainment. The honky-tonk soundings of the clarinetand toy saxes make you feel like·you 're in some sort of speakeasy in the heart of Chicago during the Depression. Alex sings these lyrics with a very convincing mock vocal (on stage he breaks into a cute two step charleston with Chris Glen and Zal Clemenson) while in the background visions of June Taylor Dancers surround Alex and accompany him with the vocals:

"I wanna be rich I wanna be famous I wanna be just the same as The stars that shine on a Christmas Tree SCOO-BEE-DOO SCOO-BEE-DOO SCOO-BEE-DOO" The song brings back memories. of stuff like "Winchester Cathedral" which was a big hit because it had that certain "something." . These guys show their overall hopes of success in the future by combining the album's title with "Money Honey," kind of like a hint or premonition of sorts. The band a~so cooks on a few numbers like "The Hot City Symphony" with "Vambo" as part 1 and picks up where the band left off on Next. Following "Vambo" is "Man In The Jar" which is part 2 of the sympho9y and starts off with a Shaft guitar opening as Alex growls "Ot Ciiity" and then the song just goes lame from there. Kinda disappointing but everything can't always be sunshine lollipops, etc. What I can't , understand is why "Anthem" the last song on the album will __ be released as a maxi-single in England. It doesn't seem like a · wise choice because the song lulls you to sleep while you anxiously await something heavy, crazy or unexpected to 1 happen. Oh yeah, Alex has some dude playing the bagpipes on tour (which comprises a certain amount of length in ''Anthem''); he says he'll help keep the bars open after closing. So~there I it is, a peek at a ·rather new sensation. The impeccable Alex Harvey Band will hopefully be deemed with nothing less than future success. They're sure to twist a few heads over here cause we're not used to this type of madness. Yeah, America is used to getting bored not entertained, and we don't wanna admit it. But Alex Harvey will prove his point and if success doesn't spoil 'em they'll storm this country just like "Vambo to the rescue!" -Mitch 'JD' Hejna

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·· Rock '11' roll: You betcha. With a band whose ·influences range from the Velvet Underground to the Beatles to Dylan to Creedence to the Stones, mixed with a very healthy dose of Chuck Berry and The Great Eddie Cochran, yo'u can expect a thin line between channeled eclecticism and tedious retreading. Ducks Deluxe ge~ closer to the former with each listening, because their approach fo classic rock 'n' roll is similar to the very bands they are reminiscent of. -Gary Sperrazza! (from Shakin' Street No. 12)

Ducks Deluxe (Cont. from page 6)

you listen hard enough. It's not too difficult to pick out the divergent styles: "Daddy Put The Bomp" smacks of Tony Joe ·Whi.te, with loads of that swall)p imagery I mentioned b~fore (and, as 1 on every track which Sean Tyla sings lead, . the hilarious -slurred vocals add immeasurably to, the overall craziness of the · .album.) "Please Please Please" abbu~ds with Liverpool Big ·seat; "Fireball" 'slots better (musically, at any rate) than anything poor old 'Lou Reed's done recently (poor Lou Reed); .and the oth!!r tracks are mostly holdovers from their live show, in-eluding the fabulous "Nervous Breakdown," sung with aplomb by bassist Nick Garvey (a nice lad). Come to think of· it, the Ducks might not be that much like you and me at all; none of my friends have been able to put together a band ttiat could transcend all those styles·yet (though we're trying). So where does all' of this leave Ducks SHAKIN' ST. GAZETTE

Deluxe? They haven't been able to break out on a mass scale in Britain yet, perhaps d_ue to the fact that they really do look like slobs; the image of Martin "Hot Rats" Belmont prancing around Top Of The Pops- in all of his scruffy six-three glory is 'almost more than the, human mind can bear. They don't do badly on the ,U.K. club slog; but at this point, it seems that America is the answer. Their album ' has done moderately well Sal.es-wise (so I've been told), with some nice radio airplay in spots. Moreover, at this moment, a new album is being readied for release, produced by the mighty Dave Edmunds at Rockfield Studios in Wales (as close to legendary as a recOFding studio can get - folks as div.erse as the Flamin' Groovies and Man have recorded · there). Speaking of the Groovies, the new Ducks Ip will feature a version of their "Teenage Head," a song that would seem to fit the Ducks' 10 r, J

lewdness well (Nick Garvey · roadied for the Groovies during their British stay - in fact, most of the Ducks started out as " . roadies, which might explain their appearance and attitude). I'm fairly confident that, given the proper push by RCA, the new Ip will , have 1 a good chance of cracking the fickie but affluent American market. A few Stateside appearances by the Ducks themselves couldn't hurt either (a tour has been in the cards for half a year now - whaddya waiting for,'kids?). Whatever the outcome, Ducks Deluxe have made a fine contribution to rock and roll culture (naturally encompassing booze. culture, baseball culture, Mexican vampire ,movie culture, etc.) during their short time on the boards, and one can only hope that 1974 music business politics will not stand in the way of future contributions. -Pete Tomlinsoh

New Raspberrie Scott. McCarl, looking, according to Eric, "like Todd Rundgren, only better...", stood off to the left, playing bass and staring out intb the crowd as he sang. The other new member, Michael McBride, was all but invisible behind his massive drum kit but he made his presence felt when he played. Wally Bryson, the first kid to get thrown ou 1 t of high school in Cleveland for long hair, stood on the right, playing like a man possessed; slamming his hand into the strings and then ripping"it back on the upswing .and generally acting like he would pass into an epileptic fit at any moment. ·In the middle, ,Eric Carmen_was in command, moving gently, and sexy to the music and ·smiling at the pretty girls out on the dance floor. '• The band was ·visually and musically exciting; tight and bud, mixing o_ld songs and n'ew songs well, and finally ending with a, long version of "All Through the Night" complete with electric piano and guitar solos. There were minor disappointments - Eric only played guitar on a f~w songs, and .the piano player, though h_e was excellent, just didn't seem necessary. But the Raspberries b_rand of good ol' Rock 'n' Roll made up for everything. We went home early - seems the . '-.

Uncle Sam's is a big ·place. Lots of high, round tables surrounding the dance floor with a' bar along the left side and a room full of pinball machines, · pool tables, and other amusements in back, separated by windows from the dance floor/bar. On this particular Thursday night the place is comfortably corwded - not packed, but most of the tables are full, with more people out on the dance floor bumping to the sound system. The lack of peop]e could. be forgiven, though; the Raspberries had just been signed a few days earlier and there had been no time for advertising. A lot of people just didn't know they were there. A local top forty jock is behind the stage, playing ·rec~rds over the sound system. The best response comes, naturally, when he plays "Go All The Way." But, close to ten, everyone is beginning to ge,t impatient, and a sigh of relief goes up when the stage lights dim and several shadowy figures come out and begin picking at random elect~ic pianos, guitars, and drums. A short announcement regarding Nixon's resignation only minutes earlier is greeted by cheers, and then·Wally Bryson revs up his Gibson flying V and dives into the opening riff of "I'm a Rocker." From there on out everything_'s alright.

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DECEMBER 12, 1974

1)

\ Again," it's still one,of the best rock songs in recent,memory. Scott's "Rose Colored .Glasses" is the first let-up of the record, both in intensity and quality. It's the other, cotton candy side of pop; pretty but not very substantial. However, flip the record over the the Berri~s start to dig in again. "All Through the Night," on which the band likes to stretch out live, is a Chuck Berry/Faces style rocker, with Eric's singing all breathy and raspy, a la Rod the Mod. And it gets better with each listening. The next single will probably come. from one of the ~ext two .songs. "Cruisin' Music" is a further elucidation of "Drivin' Around," but instead of that stupid "tape piayer blasting," they're pushing buttons a_nd listening for a "screaming jock," which seems to make a bit more sense. · "I Can Hardly Believe You're Mine" is classic Raspberries. Eric is singing, soft and gentle on the verses, but when the

. David Smalley's tunes were g~tting better (even if they sound_ like,he listens to Badfinger's No Dice album exclusively) and tl:,le str_ings and pi~no-bas~d tunes had been ditched in favor of snarl ing guitars. But Side 3 was the first and only Raspberries album with no collaboration in song writing. ,l\fter the album it was announced that there had been a deep split in the band. David Smalley and J im Bonfanti wanted to wear jeans on stage arid play more "mature " music. So they left and formed Dynamite with two ex-members of Cleveland 's band Freeport, and the Raspberries were down to the two writers of "Go All The Way"· Eri.c Carmen and Wally Bryson. Scott McC~rl had played in bands in Nebraska,and decided he might help his career if he sent demo tapes to Todd Rundgren and Eric Carmen. When David and ·Jim left, Eric remembered the tape and how Scott sounded like "a 1965 John _Le.nnon," and Scott was only too pl.eased to join when asked. :For a drummer, Eric and Wally went to Mike McBride, who had played with them in their Cyr'us Erie days. The new line-up leaves the band stronger than ever. The new album is by far the best Raspberries album yet. The Raspberries at their best do fulfill the ambition Eric told the Rolling Stone reporter about. And on Starting 1 O~er, they're at their best more often than they've ever been before. The album begins with "Overnight Sensation" with the band explaining the reasons their knocking themselves but to make these records in the first place. It's the first Raspberries song not about love or girls, a'nd precludes a whole side of songs not about those things the Berries usually hold to be fit subject material. When I first heard this on the radio, I thought it was Wally singing (it's Eric • remember when you couldn't tel l if it was John or Paul singing?), there's a great uncredited sax solo, and even a fake ending, with Mike McBride bashing the song back in. But it seems to have been a poor choice for a single; if the program directors won't spend 3½ mfnutes on "Tonite" they won 't spend 5½ minutes on this. "Play On" is next, with Scott McCarl makin~ his singing debut with the band. The music marks a bit of a departure for ' the group. Instead of the usual surging power chords, t.he song is propelled by an ascending riff played on the bass strings of the guitars. The lyrics are Scott's • finally in a major band and , playir;ig for keeps · trying to convince u,s' that he's already jaded and cynical ("It's a hard life but you play it for laughs"); shades of Mick Ralphs in "Rock and Roll Queen" recording for the_ first time and announcing "and I'm just a rock, and I . .•. roll star." Anyway, it 's a great rocker and even more importantly is the first song credited to th~ song writing team - of Cahr1en and McCarl; a collaboration which on the strength of the songs. on this album c~uld prove very valuable to the future of the band and pop music. We'll have to ret Wally get a few words in here. On "Party's Over," he really \ screams his guts out, something whictl'the Berries seem to do better than most bands around today. "Ain't it a shame the party's over?" But it's undoubtably the best rocker Wally's written, which makes it nice to hear him say he "ain't gonna quit." But enough of. this. The bell rings for round one and in this corner we have from England, the Who, while over in this co(ne,r we have ·the hometown favorites, featuring Mike McBride destr? ying his drum kit in just over 4 minut11s. ·,,1 don't know what I want, but I want it now!" Poor Eric is getting badgered and pressured by his teachers to decided his fate. It's possibly the best cut on the album • the power on this cuteis unbelievable - a.nd despite the fact that some people are gonna scream about the similarity to "Won't Get Fooled DECEMBER 12, 1974 I 13

his classical piano training. The lyric is pure summer love: "I can remember midsummer skies, the look in your eyes." The rest of the album wasn't so hot thpugh, and in amongst the few critical raves were many people calling them things ( like· "shallow and imitative." The next album, Fresh Raspberries, was, overall; a better album, sounding quite a bit \ like semi-acoustic .Beatles. "I Wanna Be With You," which started off with the riff from the Chiffon's "One Fine Day," was another hit, despite the fact that it's probably the ba~d's poorest single. "Let's Pretend," though, is a delicious sensuous ballad, based on the same subject matter as "Wouldn't It B·e Nice.'' "Baby, let's pretend we could always be together. If we close our eyes and believe, it might come true." i remember seeing them do this on Midnight Special in spring, '73, out of their matching su its and into "mid-sixties British pop-star" gear, with Eric looking like he was gonna fall apart if it didn't come true. I fell in love with the band that night; but wouldn't you know it, the song wasn't a hit. ' But still, the music was getting better. Fresh Raspberries .also contained the group's first tribute to mid si.xties California culture: "Drivin ' Around." The best was yet to come.. 19, late sum1T1er of '73 the pand .released the single "Tonight" of the Side 3 album. "Tonight" was the culmination of every single the Raspberries had till then. Some girl, probably at the local CYO dance, is giving Eric· these looks, see, so Eric decides to tease her a bit: "You look too young to know_about romance." But: "When you smiled I ' had to take a chance." Toward the end he pops the question: "Won't you let me sleep with you, Baby?" Hey, but it's okay, , cause' "I just wanj: to make you feel good inside, baby!" Another ex~mple of teenage love ·over one of the best arrangements amd productions (Jimmy lenner1again) of any pop single in the 70's. But, unbelievably, it was another flop. "Ecstacy" is practically as good. It's structured similarly to "Go All The Way" with a power .chord beginning and popis·h .verses. And Wally deserv.es praise for his guitar virtuosity; that shimmering guita·r section toward the end that sounds like about five guitars is played by Wally ~lone live. And Guess what? Another single that doesn't sell.

' unde~-age girls who had accompanied us had ended up havi ~g to sit the night out.in the car - but we went home satisfied that the new Raspberries were just as good, maybe even better, \ than the old band had ever been. "Well, it may sound funny,

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but I'm not in it for the money. I don't need no reputation, · and I'm not in it for the show. ·1 just war\t a hit record. Wanna hear it on the radio, Want a big hit record . One that everybody's got t~ know."

-Eric Carmen, "Overnight Sensation" The Raspberries started as a band with a purpose. They wore matching clothes and mod haircuts. Their music sounded almost uncomfortably like the early Beatles or Searchers or Hollies. What they probably wanted most was a hit record. To hear themselves on the radio. To have kids come up and say, "Hey, is that really you guys on that record?'~ "We play the kind of music we liked when we were kids," Eric once told a Rolling Stone [eporter, "you know - Beatles, Beach Boys, early Kinks. We tr{ to put more sunshine into our songs than the Beatles and more rock than the Beach Boys." Eric, Wally, David Smalley, and Jim Bonfanti had all been from veteran Cleveland bands like The Choir and Cyrus Erie when they decided to get together. Lighthouse producer Jimmy lenner discovered them and got them signed to Capitol records. Their first album, Raspberries, contains three ·excellent songs. '.'DQn't Want to Say Goodbye" was the band's first flop sii:,gle. It's a long, ~low painful song, and it's a credit to Jimmy lenner and the band's knowledge of pop that everything • Jimmy Haskell's syrupy string arrangement, Eric._and Wally's deliberate vocal, the impassioned coda • all work to make the song one of the group's most moving performances. And of 'course, there's "Go All the Way," the band's first gold record and a great Who-' style rocker. And the eight minute "I Can Remember," which closes the album, is the big production number, with several .changes in mood, and Eric showing off SHAKIN' ST. GAZETTE

choruse~ come all the emotion and pure power breaks. It was written by Scott and Eric, as was "Cry" which Scott sings and which features a killer,guitar break fro.m Wally. The band winds the album down slowly from here. "Hands on You," like "Down Time Blooze," on Stories' About Us, or the various filler on Let It Be, sounds like an intentional throw-away, meant basically for comic relief, but even this features nice harmonies from Scott . over Wally's perfect Liverpool accent. The title song is the llig production finale. Very Elton Johnlsh, but better than anything the .Bitph has done lately. It may be a classy way to end the album, but I daresay the roc~ers will stick in your head longer. 1 But the Raspberries are starting over. But it's ·hard when )'ou've lorl momentum and when the betteryourrecords get, the less people will play them . There seems to be some sort of backlash against punky pop played loud and exci,ting. Another great seventies band that might die because AM program directors don't understand them, and FM program directors think they do. Starting over underground is tough, especially if no one gives you a chance.

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12

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t With the Truck._ers and the Kickers ·and the Cowooy -Angels" · , \ Part 3,of a History of California Country Rock Gram Parsons and the L.A. Cowboys · by David Meinzer

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•••••••••••••••••••••••••••••••••••• Hollywood Trash Dance • t Tal!c ab:.it New Yawk decadence all

' My

favorite kin~, .of music, particularly for the past year, has been Country, and Country R_ock. I've been thrilled by the Byrds; fascinated by ,- Jackson Browne, moved to tears by Linda , Ronstadt, bored to same by the Gratefu.1 Dead, ~nd gotten drunk on Commander Cody's beer f~mes. Btrt -1 always corhe \ back to one man. Gram Parson.s. , H~ 'sa.id it all, and did it right. So even though this is supposed to be a history of Los Angeles country rock ,groups, it's really the stor~ of Gram Parsons. He's responsible. Directly or indi;ectly he influenced everyone in count!Y rock. Gram Parsons was born in Florida, raised in Georgia, and spent time in the n~rtheast (at Harvard) before moving to L.A. Wherever he went he carried the feeling for the south, the homeland, in his . music. His ·father was a co~ntry singer, Coon Dog Connor, and from him Gram learned the elements of country: love, won, love lost, sorrows drowned in cheap booze, memories of home, good times, , hard times, •and Christian , morals. ,, l:'le listened to Elvis, ana played in teenage rock bands. He also listened to gospel music on the radio, and carried one song, "You Don't Miss Your Water~• with him, to <;:alifornia and used it to help cortvi11ce Roger McGuinn and Chris Hillman of the Bytds to do an all-Country album. The , result, Sweetheart of the Rodeo, was the final step toward the creation at, Country-Rock, an ic,lea that , many had ' experimented with, as a distinct form; rh itself. , , Drugstore · Truckdrivin' Man · Gram joined the Byrds after his own ' country band, the International Submarine Band, failed from' lack of, public support. He displayed en'?ugh feeling for Byrds material to tit ' (his song "One , Hundred Years From Now" probably could have made it 9n any , previous Byrds album) but also ex~ted enough press.ure to move the band full into cou~try. "You Ain't Goin' Nowhere" and "Nothing \/\(as Delivered" from Dylan's basement tapes are given ·rolling country treatments with prominent pedal steel guitars and simple harmonies. "I Am A Pilgrim" and "Th,e Christian Life" display the Christianj,ty element, and "Blue Canadian Rockies" and "Hickory Wind" balance nostalgia and good times with the honky ;tonk ' \

• leather pants, tiger j:icket top;:ied by ·white hair and darke'led eyes. Moving like an Iguana on s;Jeed, jerking, • prancing, epileptic convulsions; a voice bot:, urgent and a;Jpealing, grabbing everyone and making them listen. They were still shouting for Iggy Pop after tile Dolls had s;Jlit . The H::illywood Stars we:it throug', t:ieir nice set. Nice cuz tl1ey're harmless and their music sounds fres'1 and s,Jirited with neat songs ab'111t radios a•1d !1abits. Fowley told me :,e got them together out of a musi::ia:1's handbook but you'd never guess; t!1eir manufactured sound is well disguised. They're cute too. The Dolls were a blast as always. They did some new numbers which sounded even better than past material. "3arbi Doll" hit t:1e spot and "DownTown" sounded like possible single material. The group was joined by a leather and sequin sa:: player who neiti1er got in t 1 1e way of the Dolls' prim1t1ve sou'ld nor exte:,ded any songs. Killer Kane gav'.! up his bass to David JoHanse'l for '1is Bobby Vee sang. Later on Sylv~i·1 Sylvain (who plaved pia:10 O'l all ti1e new material) and David jiv:!d at stage centre, enjoying ti1emselves and givi.ig everyone a good laug 1,. That's what the Dolls are, depending on which way you look at it, a good laugh or a fun time. I prefer the latter. -Jymn Parrett

outrageously and singing rock 'n' roll the likes of which Hollywood has not heard since t'.1e heyday of Sky Saxon. And his band 1 Ray Manzare 1 < on piano, James. Williamson on guitar, Noel Harrison (from the previous Elvis set by Silverhead who now has Soupy Sales' kid on guitar and t:ie GTOs for comic relief) on bass, as well as an u;1identified drummer and harpist. Ther2 was no "Search and Destroy" - i:,stead we got "Route 66," "Everyb'.ldy Needs Somebody," "I Just Wanna Make L•we T0 Y::,u" ("Blac:C rJegr'.) Music," as t:1e lg put it) and an ex'.1ilarating encore version of "Subterranean Homesick Blues." The band was of course a malces;,ift one, together three days but they sure sounded good. Williamson plays electricity as much as guitar, loud and crude, riffing and chording, looking like an American version of Keit:1 Richard, and playing with the same deceptive coolness, his guitar spitting out the rock 'n' roll sound. Ray Manzare!; was a suitable ci1oice for piano as :1e and Williamson meshed wit:1 ease. T:,e former's loose style complimented t'1e latter's hard & lean ravings. The respect between Pop and Manzarek is evidenced by Iggy's many gla:1ces to the pia:iist, and r111anzarek never took his eyes off tiie lg. Can't blame him, since Iggy was in tip top form. Wide, studded belt and

• you want, t:ie boys & girls of LA were • in their prime for this one. The real stars of the evening were the painted, sequined darlings, gay or trying, milling about in the audience. Not a smile to be seen - everyone so into digging themselves t '1at t'1e bands were left to perform for a small but energetic crowd in front of t:,e stage. F::H openers Kirn Fowley, as rJIC, came out in :,is new short coiffure, announcing the death of glitter. Actually he screamed it out - over a period of an hour and a half while Zolar X prepared. When the band finally appeared, they bit the dust. The music (guitar, bass, drums) was boring, and the costumes were just dumb. They're supposed to be tile band of the future, but they sounded more like a rehash of Bowie cum Hawkwind. Next up was new WB discovery, Peter Ivers, complete wit:1 dia,:,ers a:,d a phallus-gun. But :,e was O.K. and his band was purty fine. T:ie sax-guitarist duets were fon!cy and inventive not t::i mention the precise drumming of former Fanny member Alice deBuhr. Strictly ,10hum material t:10, compared to what followed. It w'asn't until the appearance of Iggy Pop, that things got cookin'. And did they ever. Looking healthy, Mr. Pop was all smiles, dancing

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DECEMBER 12, 1974

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