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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'.

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