Volume one, number eight

Where all the kid;, wanna do is arock'n'arole.....

On the corner Yeah, there's been troubles. First there was the usual process of working my way into the staff roster. Then presenting a magazine-like concept to an editor who was - thank God - sympathetic. And then there were space ha,sles - 6 pages to 10 to 8 to 10 to 9, et:::., etc. Then, in December, an editorial election, a shake-up in line-up, and · Shakin' St. was out on its ass. ·· A new semester: somehow working our way back into Strait on an on-again, off-again basis. A constant fight to prove there was an audience for a popular music journal that was entertaining and informative at the same time. We finally realized that this was gonna , have to stop. The delicate position of Shakin' St. was eating its way into the staff causing a lot of quitting, arguing and above all, speculating about the ·possibility of Shakin' St. as a separate entity. Aside from the political hassles up on the Union's infamous Third Floor, it became kind of obvious that for the type of magazine Shakin' St. was, it was going to take a lot more than 8 pages to cover the whole spectrum of contemporary music. And today (Tuesday) was the day: · Publications Board voted on the acceptance of Shakin' St. as a separate publication, partly funded by the activity tax that you're plunking down every year. And we won! Not because I had friends · up here (now that's funny) or because of political maneuvering or because the Shakin' St. staff are such mesmerizing speakers. It was because of you. You came in droves, the meeting room was completely packed! Packed with students who figured they knew a good thing when they saw it and showed to the Pub Board voters that they wanted Shakin' St. as a separate entity so that we may explore

So be patient. With this and maybe the next issue, we are wrdpping up our catching-up process and since the majority of our time was spent preparing to fight for our lives in the recent Pub Board meeting, we ·know you 11 understand and continue to come up to talk and write those beautiful letters (to: 35 Knox Ave., Buffalo, N.Y. 14216). Future issues may well contain : reviews of Humble Pie's Thunderbox by Humble Pie's Steve Marriott. Features on the new wave of "spaced-out" soul ; the evolution of heavy-metal; the evolution of what we term "cloud-rock ;" a study of British R&B centering around Coliseum; a feature to bring you up-to-date on the state of Teenage Music; a special on Todd Rundgren including his newest 2-record set; a report on concert promotion in Buffalo and the dirt that goes with it; a continued series on radio in Buffalo including a story on the only rock 'n' roll station in Buffalo (yes, we .do have one!) : a feature on Genesis (you 've requested it, you get it - to borrow an asshole phrase from an asshole source); a fiction special on Rock Concert vs. Midnight Special vs. In Concert; and yes, even our own tokenistic feature on German rock and sci-fi bands. Rather than close with any dramatics, let me be the first to spread the story about a Rock 'n' Roll writing symposium to take place in. April at UB. It's still tentative, but since Shakin' St. will be making a full-fledged effort to cultivate a pop ' music writing scene in Buffalo (how else do you expect a good Buffalo music scene?), this meeting of national writers and local writers ·will get full coverage in Shakin' St. and we'll keep you posted here and in my own "Caged Onstage" column in the Record. Now if l could just get the Buffalo New Times Concert Column guy to stop using my name...

fully those areas that we could only touch in the limited space of 8 pages. Thank you (sniff. .. )! Shakin' St. will now continue as 8 pages in Strait for the remainder of this semester. With the beginning of the new school ·year, Shakin' St. will be an independent bi-weekly publication. This is good for .us and you because we've got about five more issues under the wing of Strait to refine our styles, experiment, and most importantly, to plan. We've acknowledged your suppor! and in retu!'n, we plan to make Shakin' St. the best rock 'n' roll magazine that you'll ever see in or out of this city. Wait: . before you jump up. The magazine will be a rock 'n' roll magazine, yes, but we refer to an attitude . Yes, we'll continue to give you the best coverage of rock 'n' roll , the kind of music that's experiencing a degrading death because of the vinyl shortage and increasingly tight playlists. But rock 'n' roll is essentially an attitude, a lifestyle that glazes all the various types of pop mu_sic. And since rock 'n' roll has aiways been teenage music, we'll continue to keep tabs on any t~end in teenage music because it is there, we feel, that any real substantial influence and mania will surface. For this issue: well, since I'm my own worst critic, I realize that you've 'been pelted with a lot of record reviews lately. Shakin' St. No. 6 & 7 were completely reviews because with the long semester break, we were swamped with new releases. And since one of our functions is to keep you up-to-date with new releases, it took priority over any special features we had planned. It would be ideal if we could cover every single album released from each 2 week period that we publish, but it takes an awful lot of catching up. More important, I think they readasbeing more than reviews of the 2 oz. of plastic the music was stamped on. Thecontinuity and side-comments were the same and the subjects touched on in the reviews were so much more than the silly records.

Go down rockin' -Gary Sperrazza, Ed.





30THSTREET cool stalker, but his birds no longer fly, James Joyce was a mudslinger, Jesus Christ was a forgiver. Me I'm just a rock and roll singer." Mccafferty belts out the vocal,with maniac intent, and guitarists Pete Agnew and Manuel Charlton tease and thrust us with melodic voltage while drummer Darrel Sweet pounds away savagely, with blinding-speed intensity. "Tum On Your Receiver ~' is a bit more melodic than most of the tunes penned by Nazareth, but it's still an A-1 rocker, with a sound that could be best described as Slade meets the Beatles, as Mccafferty delivers a vocal sounding like Paul Mccartney with razorblades tickling his throat . ''Teenage Nervous Breakdown" is a tune Nazareth borrowed from Lowell George of Little Feat fame, another talented, underrated band of a somewhat different texture. Nazareth interpret this tune by pounding it, and fashioning it into their own image and likeness of blazing grease-lightning, and give us another anthem, a drinking tune in the fine tradition of "19th Nervous Breakdown" and "Eighteen." "Teenage Nervous Breakdown" is another number which has the potential to break the pdp-charts, and AM listeners will be quite fortunate if it does . The group round out the· album with another rocker·, "Freewheeler," a tune of Deep Purple "Fireball" thrust, "Child In The Sun," a folk-rock attempt which is really harmless and inoffensive, but only goes to prove that the band should stick to their forte. The remaining two cuts on the album are renditions of "This Flight Tonight" by Joni Mitchell and "The Ballad of Hollis Brown" by Bob Dylan. What Nazareth do to Mister Mitchell is a ' beautiful bastardization of lovely, lilting lyrics fused with their own special brand of "noyze." Turns out that the lady is quite a rocker when Nazareth finish with her' tune, or finish her, whatever your particular prejudice may be. And what they do to Ms. Dylan 's tune is to give it a tense,. Black Sabbath droning, electric back drop which, a~ it turns out, blend well with the mounting depression and tension of Dylan's lines. Nazareth are a band who promise you nothing else but, and you can sing along with me this time, hard driving rock and roll. They 're a fun bunch, who probably won't appeal to art music lovers (who needs those Yesoids anyways) but they're primarily concerned with entertaining you, and if this is what you're after pick up Loud N Proud as well as Razmana:i and rock on. (Sheesh!) - Michaelangelo ,Sajecki

the minds of the young. The animal is tagged a fag, making him a box-office frea:k attraction (hot on the heels of America's budding interest in Bowie and doubts of their own sexuality). The animal puts together a touring band of high-schoolers, dubbed the Tots. From Transformer to Berlin, back to the streets. This time, the downfall of the drug scene. With support by people like Jack Brtice, Aynsley Dunbar and Stevie Winwood, the animal traces his mistress through confused sexual relation; the adoption of speed, the loss of a family and inevitable suicide. Probably disgusted by the lack of recognition and/or praise of Berlin, the animal tosses aside any conceptual framework he had planned to present live and puts together what could be the best rock 'n' roll band in the land in terms of freshness, power and musical interplay. Two dubiously named musicians, Praskash John and Pentti Gian on bass and drums, respectively. Ray Colcord on organ. Two lead guitarists: Dick Wagner fresh from his sessions on Alice Cooper albums and the mainstay of what was reported to be the next big supergroup (not a dime-a-dozen phrase in those days), Ursa Major. Before that, he initially surfaced in Frost, a Detroit band. Speaking of that fabled city, the second guitarist, Steve Hunter, also played on Alice ·sessions and had a stint in Mitch _ Ryder's Detroit, who cut a mean version of Lou Reed's own "Rock and Roll." Now (whew!), to the album : With a finely toned sense of drama, the band plays the intro: Steve Hunter wrote this instrumental that dips and swirls with rock fanaticism. Wagner and Hunter trade off lead licks and the band chugs along with spunk. Suddenly, when the build-up becomes unbearable, the smoke clears and the opening riff to "Sweet Jane" begins. Out walks the animal amidst wild cheers. He slinks out cool and confident, surveys the crowd. He's dressed in solid black, haircut real short making his ears stick out like a chimp's. And the eyes: deep sunken ,pits with a decade of hangovers and the mark of a swollen, mean animal that spits out his lyrics one minute and declar~s them the next. Ah, sweet jane. A Velvet Underground classic. Mott's done it. Brownsville Station's done it. Even with Mott's stunning arrangement or Brownsville 's punkiness, none dare come close to the animal's original and_ the band here comes close to matching the subtle grace of the beat , supplying macho energy to

being hampered - by the supeMtar attitude. They dedicate themselves to a -formula of group-penned, heavy metal, retro-active - rockers, interspersed with renditions of other artists' material, performed in the same rock vein. On Loud N Proud, strangely enough, their voracious, electric appetites settle· upon the material of Joni Mitchell, Bob Dylan and Lowell George of Little Feat fame. As side one begins, and the group breaks into "Go Down Fighting," it occurs to the listener that much of what rock and roll is, at its essential best, is pure, unbridled electricity unleashed at the listener, rather than to him. Rock bands such as Slade and Nazareth play at their listener, rather than to or for him. But it is this pompous vulgarity , coupled with the electricity that these rockers channel and infuse into our systems, which makes rock and roll such a vibrant force in today's society. Nazareth happen to be amongst the chosen few who are capable of driving the energy into us, and with "Go Down Fighting," as guitars screech and wail, and - the bass line quickens the heart a few beats, and the drums centralize this whole effort , we hear Nazareth at their finest moment of maniac tempo and thrust. The number, lyrically and attitude wise, is one which does not propel our thoughts, but this is not what is intended. It's basically a fight song, a song which can quickly become the national anthem of working-class mentalities everywhere (including this scuzzy flea-bag himself). It is also capable of climbing the British pop charts, as the English kids, in all their fickleness, are much more apt to accept new bands dealing with the basic essentials of hard n heavy rock much quicker than their American counterparts. Consequently, Nazareth have yet to make a sizeable dent on our shores. The beat is never lost, the primal urgency of purpose is maintained, and on "Not Fakin It," the next tune, Nazareth give us another gutsy rock-a-thon with no wasted energy or boring, time consuming solos complete with riff repetitions. This particular tune, as is evidenced by some catchy , mad-cap lyrics, presents an extension of a rock mentality, a culture of space-in time being affected by the now generation. "Jack the Ripper was a J

Deep Purple anx iously awaiting critical reaction to their new LP, Burn? Deep Purple not caring too much now that~ they're loaded? Deep Purple at the Aud March 5 at 8 PM with Savoy Brown and~ Tucky Buzzard. This Concerts East; production costs $6. 50, $6.00 or $5.50 and tickets are available at all Sattler's· record stores.

Lou Reed ROCK 'N' ROLL ANIMAL Lou Reed (RCA) There's a rumor going around saying they've captured the animal. But how could this possibly be? What chains could hold this Transformer? What hands could pull him from underground? This latest album traps, at least for the moment, the animal whose savage grace i_s unmatched and whose progression of character with each album is astounding. The animal is Lou Reed, the cage is his natural habitat, the Academy of Music in New York. - Lou out of a New York upbringing: dirty, busy, street-hustling, heavy drug scene. Formation of the Velvet Underground with Johll ,caJe: a semi-avant garde gritty rock band amassing a wide N. Y. following.through their keen translation of the kinetic effects of drugs on the body and mind. The band's association with Andy Warhol (he designed their first 2 LP covers) and front-girl named Nico, made them THE band to see. The obvious hang-out readily identified with the band by Max's Kansas City, the kind of sleaze bar where you - take your life in your hands when you walk into the john. · The animal ends a semi=retirement through the growing affection by, and talent, of Mr. David Bowie. A solo album recorded with various English side-musicians follows. The animal opens various Bowie appearances in England. "The animal comes back to America. A second solo LP, Transformer, follows, produced by Bowie. Who would have thought that "Walk on The Wild Side," a vinyl vindictum about the decadent City combined with sexual confusion, would become a top 40 hit? Reassurance of the rock 'n' roll spirit in

Nazareth LOUDNPROUD Nazareth (A&M)

When the popular, hard-driving Deep Purple decided to _disband with reorganizational intent, their rough and tough bassist, Roger Glover, decided it was about time to try his hand at producing fresh - talent. It is no coincidence that when Glover turned his attentions towards a band of Welshmen known as Nazareth, they began to rock with blistering intensity, and they took England by storm with their hit single, "~roken Down Angel. " Nazareth are no new commod,ity. They had recorded two albums for Warner Bros. , without much said of them. It was not until their third _album, when they switched labels to A&M, and produced Razmanaz under the guidance of Roger Glover, that people began to take notice. Their latest album, Loud N Proud , while not as thrustful as Rai manaz, is still capable of kicking up some hard and heavy dust. The band, comprised of singer Dan McCafferty, bassist Peter Agnew, drummer Darrel Sweet and guitarist Manuel Charlton, are essentially a hard rocking unit ·who have the same working man's lDand appeal as do Slade. In accordance with this image, there is nothing artsy or ~retensious about their sound, or their rock and roll mentality. And as you may have already guessed, Nazareth equal, if ~ot surpass, the drive, volume and ~ eking intensity of Deep Pur,ple, without : j i

Hi, this is Alice. Just sitcin' around, Fat: and lazy after my Holiday Tour. Hope · you liked our show New Year's Eve. My manager, Shep Gordon asked me to remind you that he also manages Anne Murray, y 'know, the Snowbird, "House at Pooh Corner," "Love Song," etc. And ~ e'll be at Kleinhans March 10, courtesy Theatre Series. Tickets are on sale at all Hengerer's, Norton Union ticket offices ' and Festival tickets. As for me, well, I'm putting together a stage show, pushing my .new single ("Muscle of Love") and drinkin' Bud. What else is there to do?

SHAKIN' ST. GAZETTE substitute for the removed context of its initial appearance. A tender and relaxed guitar line signals the start ' of another Velvet's classic, "Heroin." The animal, reassured by applause, moves his way to the mike and snarls in his casual monotone: "I don't know just where I'Il,l going, .But I'm going to try for the Kingdom if I can 'Cause it makes me feel like I'm a man When I put a spike into my vein (spoken with a scary drawl that sends chills up the spine) Then, I tell ya', things aren't quite the same The song , is a series of barrage-like buildups that stop wqen you feel like tearing your hair out and return once again to the tender guitar line only to begin the roller-coaster-ride buildup again. Effective, a real body-scorcher, and the animal's periodic•. ,snickering teases and scares the listener: The band - well this band is quite probaoly the best rock and roll unit ever to back any performer. They're so good technically, instrumentally, emotionally - that the animal has a hard time keeping up. He no longer plays guitar .on stage and when he isn't in command of the audience through his vocal passages, the band runs rampant, a powerhouse of pent-up aggression, frustration, enthusiasm and energy. "White Light/White Heat" next. A slicing opening riff and the band sets into a hard-rockin' groove backdropping .the story of a speed rush, appropriately acted out by the animal. Not only in the lyrical content but in the animal's movements: quick, spastic jerks, a calloused hand quickly reaching up to spank the inside of the animal'.s elbow. "Lady Day" is excerpted from Lou Reed's Berlin and is given the extra punch live that the band can so adequately supply. The expected encore is · a national anthem of sorts: "Rock and Roll" from the Velvets Loaded album. The animal is lured and manipulated by the band into an inspired treatment of a set of lyrics that S

And she couldn't believe what she heard at all She started dancin' to that fine, fine music Y'know, her life was saved by rock and roll" "Hey, rock .and roll," he declares. The animal as .King uttering the words like a formal decree, an order from the pit deep inside the soul rising up and enveloping the body, forcing it to move, to respond with the primal instinct that rock and roll animals all over the world prey upon. "Despite all the amputations, You could listen to that rock and roll station And it was alright" The animal knows there's no one in the audience who can't relate to this, the constant oppression by the non-rockers, the shame and guilt resulting, the feeling of belonging and optifilism in knowing that you're one in a billion collective followers and converts. You're not alone.•

SHAKIN' ST. GAZETTE "It Ain't Their Fight" and "Neveir Say Nups to Nepalese" shows the precise interaction of guitarist Mickey Jones and Tweke Lewis (a former Man who recently replaced Clive John), Lewis forming the rhythmical outline

·Onstage is Humble Pie, who, by this time, have worked · their set into a feverish pitch. Jerry Shirley slammin' those skins. Greg Ridley pounding his bass so hard, straining the muscles ·of his tall frame. Then - new addition David Clempson, exhibiting his affection with the wa-wa slidin' those crisp licks out with style. And stage right, a little punk wailer drenched with sweat, Mr. Rock and Roll Fever himself: Steve Marriot, combining his gift ,of the most powerful rock voice this side of the soul shouters he love~ so much with his electric jolt half-faints everytime, he stabs out a chord on .his guitar. And they were loud, so loud that our party - right in front of Marriot and the P.A. - had sirens in our ears for days after. And we loved it. 1 , 1 Having reviewed the last four Pie albums for various publications around town, the Pie story is cemented in my mind. Without going into lengthy explanations . that accompanied those former reviews, a short round-up here , should suffice. The first five Pie albums were with Peter Frampton (from the Herd, a mid-60's British pop group). \ Pete contributed the delicate, finely-crafted ,melodies that balanced so well with Marriot's rockin' nature. Marriot himself wrote some beautiful ballads, proving the band as masters of both the hot and the soft. When Dee , Anthony took over . management.duties for the band (around Rock On), he encouraged the band to stick with the hard rockin' style. Frampton, who apparently relished the delicate balance, grew dissatisfied with the band's new direction and left to persue his predictably excellent solo career (two LP's: Wind of Change and Frampton's Camel). The Pi~ recruited a new lead guitarist, Dave Clempson from the disbanded Coliseum. Three albums later ('Smokin ',Eat It and this new one), Thunderbox lies · as their most basic album to date. Since Frampton left, the band's songwriting talent had grown a bit lazy. It's too bad because it's not as if Marriot, and Ridley couldn't • carry the original tunes themselves. They just seem to be happy knocking out covers and enjoying themselves., Ann Peeble's "I Can't Stand the Rain" and "99 Pounds," Arthur Alexander's "Anna" (covered by the early Beatles), Dobie Gray's "Drift Away," the Staple Singer's "Oh La-De-Da," Chuck Berry's "No Money Down," "Groovin' with Jesus;" all exhibit Marriot's strong love of soul and R&B and it '.s only his expressive vocal style that stops me from concluding that

Man BACK INTO THEFUTURE Man (United Artists)

What is rock .coming to? What a selection of answers to that question. the avid listener has coi:ning to him/her. On one hand there's the creepy '40's nostaigia regression of Bette Mitller (which is mislabeled in the first place cuz it isn't even rock to begin with, as much as the companies would like us to . ):)elieve). On another, you have Hawkwind. taking off for distant planets (it's too bad they're too stupid to carry it across completely even though they're, comparatively, the best of the genre). Then there's Slade, the Sweet, etc, glamming around that's a throwback to the days of grating 3 chord riffs in come guy's garage (the basis for this sound is the 1963-65 pop sound of the Who, Kinks, Beatles, etc.) Don't forget about them ole blooze ' 'n' booze crowd, crowding each . other from one end of Macon to the other. Slugging its way from the grimy world of coal comes the Welsh brand of rock and roll and it could be the best thing to hit these shores in a long time. Man is the premier band in this area and their second US release, Back into the Future, shows why. Man needs few gimmicks in order to rock through well, even four sides come off well which doesn't happen often. Two sides were recorded live in the pubs they sprang from' and two in the studio capturing the and from both views. Of the studio songs, "Just for You" is the most representative of Man's style, featuring the keyboard wizardry of Phil Ryan. The vocals •are well done also, not the harsh atypical screamings abundant lately, but melodious harmonies. "Don't Go Away" is an example of this as it explodes into a lush vocal laden ending.

-Finally, a rock and roll show. Although this picture is a year or two old, nothing has· changed the firepower of Humble Pie. They'll be here (without the Blackberries) March 13 at 8 PM in the Aud, courtesy Testival East. Also appearing are Spooky Tooth and Montrose. Spooky has lost Mike ,Harrison and his replacement is Mike Patto from the group Patto. Montrose is the group name and name of their lead guitarist, Ronnie Montrose (pictured on top) who has played with Van Morrison and Edgar Winter, is the ·· best new American guitarist to be thrust •into the spqtlight so f~r this year and the band is a powerhouse. Tickets are $6, $5 and $4.50 and are available at all Festival ,ticket offices. Thuncierbox is simply a re-hashing of the basic ideas set down in Smokin' and Eat It. . But it's close. · \ If you want a good _dancing album, then this is the logical choice. But to buy it otherwise : well, you've heiard it all before. Even the scarce OFiginals are simple and basic: if you ·like the riff, you'll like the song, which is why my particular favorites are "Don't Worry, Be Happy" (Peter Townshend's guru, Meher Baba, is the man for this phrase) and the title tune. Each of them are repeating riffs with Marriot wailing, the distinctive but aggravating organ and harp style is used m(?re frequently. The Blackberries, the black. female · threesome that supported vocally on past ·tours, have scattered appearances on the album, but they won't be with them on this current

-The animal makes his mark.

The band goes haywire here, building. a complete piledriver of sound. There's a break in the music, Wagner phases his guitar and sets up a quick rolling rhythm, the band slowly eases its way back in nd works up to a completely frantic pace knocking the brains and bodies of the audience. Then, the unforgivable: the band shucks the animal aside, strutting their stuff at an unbelievable pace. The animal moves aside for the band, makes a last attempt at control, realizes that he is not the only rock 'n' roll animal on stage that night, looks oµ~at the audience a last time, ·acknowledaes ·the crowd and stalks away. . Rock and Roll Animal. Still strong. -Gary Sperrazza and Ron Camacho

, lluinhle Pie THUNDERBOX Humble Pie (A&M) Friday, March 24, 1972: 10,000 people rockin' and reelin' with the feelin'.

34THSTREET Whizz Kid is to be detected within the lyrics, as he . sings of. being a rock supersta·r. The lyrics would be pretensious, .blatant has-beens, if it wasn't. for the . fact that Werner is me.rely twenty-one, . immature an,d not quite assured of his mimes. On "Whizz .Kid," the next number, · the rock beat is maintained, the guitars throb menan:cingly and Werner

SHAKIN' ST. GAZETTE tour (which will stop in Buffalo March 13, with Spooky Tooth and what promises to be the incredible Montrose). A small note: Where's Greg Ridley's contributions? Aside from a vocal spotlight ,.on "Drift Away," he's hardly there. If Ridley has a solo LP planned (as 1 reported months ago), then he must be saving his stuff for it. I've been advocating for years that he write and sing more; it's a refreshirtg balancer .from Marriot once in a while. I won't fall into the Critic's Trap by making a big thing out ·o( the very subtle st~ains that Marriot's voice may be losing its incredible grip. I don't want his voice to change, I'm sure he doesn't either, and it doesn't matter anyway. The Pie have always belted out their rock and .roll strkight and if you don't like it right aVJay, it probably won't grow on you. They're blatant and good timey and it's hard not to love their good ·nature. Marriot still remains the only rock ·and roll entertainer around and that does not refer to any pansy-assed guitar posturing. I speak of the incredible rapport he has with the crowd, the ·out and out wailing that seems te take every molecule of air from his hangs and he keeps coming back! His endurance is unbelievable and the energy gushing out of the band as a whole always feeds itself into the audience, turning their live shows into a rip-roarin' party. When you pick up Thunderbox, buy it with the knowledge that this is a clear celebration of their live performance and take it ,upon yourself to decide whether the lack of visual impact is strong enough to make Thµndrrbox a winner or a loser.

SHAKIN' ST. GAZETTE fashion to reaffirm his non-chalance at being a rocking horse winner. The first side ends wit,h another of Werner's ballads, ' 1 It's a Little Bit Sad" which is handled quite humorously, because it seems as if Werner· is quite apolqgetic, and a ·bit surprised at himself for having spat razor blades on the previous number, what with Trixes and cowboy's .and all, ,so he gives us another \ believable ballad. ' David Wemer, with Whizz Kid, has established himself as a rock star, but not • for the reasons that you will read ,of elsewhere. A good production. job, cc;1pable musicianship, numbers .that mal


attributed to David Werner will equal, if not surpass; that which was bestowed upon a similar Polydor artist, Elliot Murphy. Werner will b~, as was Murphy, a top-notch critrcs' choice. Some of these same critics have already cre.dited Werner with digesting the glitter rock (David Bowie, Lou Reed, Iggy Pop, etc.) scene as · well as the British pop scene, and having Americanized the above proceedings into a highly individual, stylized, unique, pot-pourri of musical sounds. As justifiable as David Werner's image may be, this type of hype is not. Actually, David Werner is a twenty-one year 'old baby doll from Pittsburgh, who tries his best fo look like, a British pop star, and to sound like the to~ghest little razor blade the glitter rock , genre has ever experienced. On his debut album, Whizz Kid, David Werner emulates such personalities as Roger Daltry, Da:vid Bowie, Ian\ Hunter and Lou Reed vocally and stylistically. But in essence, Werner's true compatriots ar.e David Es~ex aµd Rick Springfield. . . Yes, David Werner is a pop star whose real ~tyle and image is an unknown · commodity to himself. · It is this very naivete which makes David Werner a pleasant listening experience, and which lends a charm to t.he songs ori the album. 1 There is no assemblage of top-notch name musicians to lend a hand to the Whizi Kid.' What we have here 'are a group of unknowns, musicians whose talents stretch' as far as David Werner's musical mimes extend themselves. But what is there to appreciate about this idolatrous little imp 7 , ·, It is very true that Werner has digested the glitter rock circuit, and has studied all its attrtbutes. He breathes the essence of rock and roll with>every word he utters, and every ' vocal inflection he attempts. The item of most interest however, is the irony that Werner is a second generation representative of a glitter rock ~cene which is qucikly dying. What Werner is so desperately trying to emulate about ·the glitter genre, is what most listeners are so readily no longer taking notice of. Luckily, 'the good points surroundip.g Werner and his sound do not stem from his admiration of David Bowie. The album starts out with a one-riff guitar r,ocker, "One More Wild Guitar" and no matter whether this number is to emulate a Marc Bolan tune or not, it comes off as being a parody. We hear Werner sounding like Roger Daltrey at times, and like David Bowie at others. The musicianship ~s up to par, with crisp solid tom-toms and effective underplayed . gµitaring. The ,true · adolescence of the

-Before, . I . was eating Twinkies &nd reading Ms., now I'm a rock star. .· makes David Werner stand naked, the glitter stripped away from him, and his realessence yet to be discerned. ·Aside from the rockers, Werner presents us with soft,. rock-influen~ed ballads which are usually over,produced, seemingly schmaltzy, and once again, a bit naive. With the next number, "The Lady In Waiting," we hear Werner sing.ef '- his lady love in a squeaky; high pitched voice, deciding upon whether he will be a lover or a rock star in all likelihood. And although these lyrics aren't exactly Ian Hun.ter at his ·finest, the vocal presentation is not tarnished by years of rock and roll "sensibilities," and the wh.ole number, presented by Werner, is a bit more honest then "You're. sixtee,n, you're beautiful, and you're mine." , , The obvious highlight of the album, "The Ballad of Trixie Silver," is David Werner's attempt at constructing a rock .n roll classic; Wernen attempting to become a legend bgfore he becomes a star. And as Werner sings, "she rides a rocking horse, well and she rocks of course, she's a killer on the scene ... She sings hey, you look a lot like / cowboy..." he spills his pubescent blood and

Our mascot, Rpckm' Ron sez: "The fight's over'~

ynn Anderson, ·.Johnny Cash, Tanya T -ucke1 , COUNTRY CHART BUSTERS (Vols. II, III, IV; V) , (Columbia) Cblumbia ha; assembled five volumes of

Lynn Anderson comes through again with a fine version of a ,Joe South song, "Fool Me,'' and Charlie Rich's "Nice 'n' Easy" is nice 'n' ·easy. Some of the best guitar playing in the collection can be found on numbers by· David Houston and Freddy . Weller. The rest 1 of the cuts feature underrated Johnny Paycheck and some of the best female country vocalists; Tammy Wynette, Jody Miller, Connie Smith, ·and , Barbara Mandrell. You can . learn a lot from this collection. All of these were at one time or' another hit singles, which proves that people who buy country singles are sometimes as mindless as those who buy pop singles. ' Though the C\'.mntry· Chart Busters is at times a little spotty, it pro~ides a good look at what's happening today irt country music. It also proves ·once again something that a lot of people have been saying for years. Gujtars, especially steel · guitars, were made for country msuic; orchestras weren't. So get your bleeding strings off rny country records and give me guitars, guitars, guitars! -Dave Meinzer

some of the worst of the collection. Side one is almost a total wash out except for the opening cut "A Perfect Match" which . is a fine Lynn Anderson/Conway'Twitty duet (so how come · Conway's not credited on the jacket?). Th~ only other. decent cut is another good Tanya Tucker number, "Jamestown Ferry." Side two is great, once you get past Ray Price's slushy song, and into some fine songs from George Jones, Charley Rich, David · Houston, a:nd Tammy Wynette. 0 Volµme IV opens with another classic, Charlie McCoy's version of "Orange Blossom Special." You haven't heard the harmonica really played until you've heard Charlie do this familiar fiddle tune. : He's ·ligitimate virtuoso, and this is a great cut. Elsewhere cin the album; you'll find George Jones, and a duet with him and his wife, T~inmy Wynette, along with two fine numbers from Johnny Cash, and ' his brother Tommy. Stonewall Jackson even takes "You and Me and a Dog Names Boo" and makes a respectable song out of it. Volume V is the most solidly good of the bunch. Except for one cut (a Sonny James number which I hate) it's all good.

,-- "chart busters" by l(arious country artists on tb.eir label. They're a great sampler of contemporary country music (as found on TV's "Musib Country U.S.A.) and if , you look hard enough, you'll find one or two real classics in the collection. I I don't have Volume I, so we'll star( .with II. • Volume II opens with a real classic, Tam. m y Wynette ' singing "D-I-V-O-R-C-E.'' None of the · rest reaches the level of Tammy's tear-jerker, but it's great to hear Tanya Tucker belt ,out "Love's the Answer," · and Freddy Weller does a good job on "Roadrunner." I would have preferred , the original Loggins and Messina,recording of "Listen to a Country so'ng,» but Lynn Anderson's cove~will do, even though the ' somewhat · uninspired musicians almost kill the arrangement lifted directly ' from L&M's version. Johnny Cash and the Earl Scruggs Revue also provide some decent numbers. ' Volume III has some of the best, and

-Gary Sperrazza!

Wel!ner WHIZZ KID David Werner (RCA)

· The .Promotional hype that will be


Cold C·uts L.A. EXPRESS · Tom Scott (Ode/A&M) -,

ocean while his voice skims over the top like a two ton barge. Leo's vo:..ce is deep' and full and usually acts as~an antagonist to his protaginistic playing on guitar. Energy is the name of ·the game and Leo puts it out on the first level, unamplified. Ice Water is more of a group effort than his last two albums. The add;itional personnel intensify the rhythms that Leo sets 1,1p bn liis_six and twelve string guitars making this album very strong. If you're tired ' of weak-kneed romantics and spft . minded traditionalists, I Leo Kottke's brand of folk music may be for you. A&M records wants to take you on a little trip across the great Atlanti_c (or · ' Pacific, which ever you prefer, although the Atlantic is closer) to the 'dark continent with an African group called Lumumba. This group made up of 5 native brothers (4 from Ghana & l from Trinidad) tend to remind me of Osibisa. Also 3 American musicians .render their service,s. Our friend David T. Walker: guitar, George Bohanon: . various bass instruments and oddly ·enough a young lady who uses her hand very well, Bobby~ Hall: congas. There are two cuts on this album which caught my ear. One is "Love is 50/50!' and the other is,"Sing With the · Birds." Personally I wouldn't purchase this album for my enjoyment. But if it's something you're into . .-. well ... •git down. Later: In a duece: The Main Ingredient have another -hit _ album on the charts. It's entitled "Euphrates· River." The Main Ingredii!nt 1 is comprised of a group of 3 young men from the N.Y.C. area, who have received a gift of perfect ·harmony within themselves .' Each cut on the album is very nice, beautiful listening music. The standouts on· this album are a Brian Auger tune called "Happiness is Just Around the Be'nd," ' a Stevie Wonder piece, "Don't LUMUMBA L (A&M) EUPHRATES RIVER Main edient (RCA) ,

,Ode ·records has a definite winner-on its hands with horn and windwood artist Tom ·Scott & the L.A. Express. Scott utilizes very good talent on ·this album. For example, Joe · Sample (of Jazz . Cl\Usaders fame) on keyboar9-s, Larry Carlton: guitar, John Guerin: percussionist, and Max bennett on bass. There is -no one cut on this album to spotlight as the best,/ for they are all perfectly blended compositions. Anoth~r point - for Scott and the L.A. Exp~ess is that they use their own material: All ,compositions excluding one, "Dahomey Dance"(which was written by the master,- John Coltrane) were a combined effort if not totally composed by one member of the group. If you like smooth, light and easy -listening jazz, be sure you ~heck this one out. If only for the sake ·of showing your peers that you do have some class. Later. In a duece. Here it is, the third offering from Leo Kottke, that ever powerful guitarist that makes an acoustic guitar sound like a rainbow of never ending notes. Kott~e is a master of heavy metal acoustic guitar and contrasting styles between his f1ngers and his lips. Here is a man and an album that is strange to the ears . that are accustomed to sweet mouthed imiddle of . the road folk singers that utilize finger picking like beginners and sing like they think they should. What makes Leo _ Kottke and Ice Water interesting is its highly individual attack at acoustic music. Leo is both traditional in his approach and reyolutionary in his technique. As some of his promo material puts it, he may be the first acoustic hard rocker. Analogies are always good examples · department; so here's one for ya : Leo Kottke plays like Jimmy Page. Listen to Black Mountain Side or White Summer by Jimmy Pag~ and then listen to Leo Kottke's A Gdod Egg, and you will see the relationship. Yes, Leo Kottke is heavy. His guitar work· flows like an I ICEW~TER Leo Kottke (Capitol) ..1

,.. '

You Worry About a Thing," a_nd a Seals and Croft number entitled "Summer Breeze," made famous by none other thari the Isley Bros: Even though these ' are the standouts, the local radio stations · "tend to bend" towards 'the cut "Do~'t Wanna Be Lonely." The Main Ingredient has been dubbed as the smoothest group vocally on the scene: today. Yours truly did a performance at Fr~doriia State College as the warm up· group with the Main: Ingredient and I'm totally convinced this accusation is 100% true. They are the most -professional group around..To see' them live is to witness perfection. Th~ Main Ingredient, Tony, Lou a11d lead singer Cuba are at ,the top, and even though this , album is not as smokin' as their last "Aphrodisiac" it in itself is a hit. . " Later..In a duece.

Signing Out, , Dr. Corn M.D,S. (Masterfu.l Doctor of Soul)


Editor: Gary Spei-razza ! Coptributing Editors: Michael Sajecki -

Dave Meinzer Andy Culter ·.

/ Ad Manager: Dan Bender . Graphics: Dave Meinzer (Ed.) Melissa.Beckman Tom 'DonneUy Staff: · Corn Johnson Fred Eyre Ron Camacho Jerry Stabile Contributors : Joe Fernbache'r William Tallmadge,.Prof. Spiritual Guidance : Alan Harrington of Bryn Mawr 'u.


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