- I Sh'okin'' Str.eet -'. Goiette .· , · Vol. 1, .No. ,12 June, 1974 I



'If r ~ ·, ;The. Sh~ki.n~ ·st,eet'tJCU'ette < .. .. ~ . • • , ! ,. \I , i ·Stoff Content·s Editor : Gary Spenazza! Bowie's. Canine Crusade ........... . .. . . ........... . ...... . ...... . . . . . . .4 Coach and Ref: Michael V. Sajecki Staff : Joe Fernbacher / Genesis Sees Stars . . . ...... .... ... .. .. . .. .. . . .. .. ... . ·-· . .... . . .. . .... .6 Derringer's Sleaze .. .. . .... . . ......... . .. . .. . . ... . . . . : . . ..... . ..... .. .9 I ' " .. ·,>. oj, <\o '·

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The Move Ain't Poofs .. .. . . .. . ... . .. .. . ... ... . . .. ·. ... . ... .. . . . . . ..... 10 .From the Countryside . .. .. . .. . . ... . ... . ... ... . .. ...... .. . ...... . .. . . .11 Long Players . . ... . , . .. ..... . . . . . .... . . ... . ... ... . . ... , . . .. . .. ... . ., .1 2 Cold Cuts ... ........ . . . .. . . ....... . . . . .... ..... . . . .... . . .. .. . .... : .19 Blue Oyster Cult Return!! .. . .... . .... : ... . . . . . . ... .. ... . . . ... . ...... .. 22 Concerts in the Big Boffa . ........... ... .. .. . . ·, . . ...... . ...... . .. ..... 23 The Shakin' Street Gazette is published by the students of the State University Co llege at Buffalo, 1300. Elmwood Avenue, Buffalo, New York 14222. Located in Student Union Room 421, telephone (716) 862-4533. Editorial off\ces at 35 Knox Avenue , Buffalo, New York 14216. (716) 875-8475. .Contributions for Shakin' Street are welcome, both . from studen ts and . non-students,.h·owever, we accept no responsibility for their return .

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OK, you 've been heard to cry out. "What 's Shakin ' Street ever:, done for me, huh?" OK', here 's your chance to scoop up all the Bowie albums on RCA. This includes Space Oddity, Man Who Sold the World, Hunky Dory, Ziggy Stardust, Alladin Sane, Pin-ups and his newest , Diamond Dogs (OK, so the first one 'isn 't included but who wants to hear David Bbwie Sings Anthony Newley, anyhoo?). · How to win , simple' Nobody likes a lover who cheats (except at cards and Blind ·Man's Bluff), right? What we 'd like to know is: WHAT WOULD YOU DO~IF YOU FOUND OUT THAT YOUR GIRLFRIEND/ BOYFRIEND WERE CHEATING ON YOU .. . WITH DAVID BOWIE? Your answer can be of any length 1md will be judged, by the Shakin' St. Rebel Rousers, on the basis ·of originality , penmanship. lucidity and , most of all, wit (Ha, Ha). Contest closes August 31 and the winner will be announc~d in our first Sep- tember issue. Mail all hot reactions to: . The Shakin' Street Gazette 35 Knox Avenue Buffalo , N.Y. •14216 P.S. Offer void to occupants of Shakin ' Street , disc jockeys and all other jerks who get free albums. Remember, the difference between free albums and store- bought albums is tha't , in the latter, you TRY to like them . P.P.S. Roy Wood is the King of Rock 'n' Roll!




,Bt>wie Bowie BoWie Bowie ,Bowie Bowie Bowie Bowie II U 1111111 I •••••••••••• hands to ears and pooh-p'ooh David's Orson Wellian proclivities, st'ill others, like myself, couldn't care less because they were never too ensorcelled with Ronson 's particularly endemic sense of sonic dishelvelement. In the long run it doesn,'t make any difference if Ronson's geetar lighter fluid isn't on the Ip. S'matter a fact the 'Ip works better without all those annoying, boring, generally hebetudinous ax -ramblings . It really wouldn't bode well if any "real" music got in the way of Bowie's conceptual lyricism - th'is time anyhow _ Diamond Dogs is Bowie walking up to the ensanquined fire hydrants of the future and taking a nice doggie pee-pee. It's a song about stumps, dog science, and just what the Brave New World may be all about. As a song it _toys with bordering

,Bowie BoWie Bowie Bowie ' . ' .Bowie BOWie 'Bowie Bowie I I I_I I l ,I I I_I I I • ••••••••••• on sheer' brummagen gimmicry and out-and-out 'sterile bri!liance. Again, it's all . a matter of self-contained textures brought · to the peak of decibilic incoherence, but molded and shaped by fleeting lyrical glances which say one one tirme and another, another time. Contradiction and confusion make a nice framework for Bow-wow Bowie's fractioiusly I · hed' on ic heebie-jeebie madness. Next time it might be nice if David Dog tosses some rock'.on vastitude to accompany i1is visine-caked images of doom and destruction . , T~e only two songs to really keep an eye on are "Rebel, Rebel" and a- fashionably r,edone "1984." Why? Well, fi rst off, "Rebel, Rebel" is the single-the LP version .being the same as the limy version and the, limy ' version b~ing

considerably different than the American version which starts out ignobly enough with the bleat : "HOT TRAMP" . .. now that's a little hard to take even for the commercial o r iented encephalitis lethargica genuinely associated with AM radio in the blunderbus USA-and it's just fine-for what it's suppos~d to accomplish : soundness of generic establishment eclecticism, an all dat do-wah . Secondly, "1984" is gonna be the next ~IG BIG BIG Bowie hit . Why? Because it's got dat ole' syncopated redimm and lots 'n lots of Big Bro. paranoia, but it ain't re\j lly ' paranoia because Big Bro . ,and 1984 happened in 1954 and nobody noticed, or even carried, because they was much too , bizee "Do-wahhing" down da street waiting on the nuclear a-Bomb to cause that ultimo-fulguration of vvakeless nod .,.

Bowie (the prefix David being dropped to coincide -with the bow-wow imagery) in this latest bit of vinyl do-da, proves once again that despite his irksome, if not occasionally fugacious, g I it t er - encrusted - carrot-topped- ,ectomorphic-sonic-hebephrenia, he's still got a few tinges of gepuine epicene edacity hanging about inside his skull jus' waiting to loose itself on the suspecting pubic public. And dat he do. Jus' loose an enravish.ed earlobe onto Diamond Dogs, Bow-wow-Bowie's best effort to date . Despite his cu rrent abulic tendencies Bowie _has leaped outta feigned retirement and not only gone back out on tour-I wonder if his chronic demophobia has eased any-but has also decided to. let loose his talent juice ,and show all the skeptics that he truely is the g~nius, he

obviously thinks he is, a genius whose inner artist confusion has taken him from the · frontrunner position of the glam-movement to the Eblis of a rapidly developing Dorian Grey Max Factor five 'n dime counterculture . .. wuzza . Diamond Dogs is complex, no doubt about that. It's got an incredible amount of inbred texture. Bowie also manages to drege up a goodly amount of lyri'cal razamatazz, which makes it all the more delicious to suck on. He e,ven goes so far as to actually read-yup READ-some of his poetic ·teriyaki, and that's the pause that refreshes. His opening statement a.bout "glazed mutant eyes" and "peoploids" is laced with an aplomb seldom seen in his earlier work. · Mick Ronson's_not on the Ip. Some might say that's good, some may ~lap

"1984" is a song to bf? reckoned with. It's pivotal. And dat's all l's gonna tell's ya .. . Diamond Dogs--1 still like the title .a whole bunch and the cover of the record is the single most inspiration~! piece of artwork of the decade and that includes any of the Da'i doodling-is a good album despite it's many inconsistencies (and what woukl life be if it weren't full of all those de:ieious inconsistencies?) and it . does bolste r, my ever w~ning faith that the new Messiah ain't already OD'ed on life, and is jus' a little on the collective nod waitin' on us to make the fuurst 1 move. Bishop to Bowie's rock 4. ,check-: -Joe Fernbache,

7 ~ollins and Hackett both experienced '\ composers. The new Genesis came to light in ) . \ September of 1971, with, the releas,e of . l\lursery Cryme. • More changes became apparent, ' with the mood of impending ·doom that enswathed Trespass long' gone, reJ?laced with wry humor and Oldy En'glish class. Two more Genesls classics came from Nursery Cryme. "The Musical Box" was the ten-mi~ute tale ·of a little boy's bearded spirit returning to haunt 'his murdering sister, '{\!,ho chopped off his head with a croquet mallet. And the roari'ng "Return of the ~iant .Hogweed" told of giant plants devouring peoplEl and shouting "heracle'um mantegazziani !" as .they avenge their mistreatment (sounds like something Gary Sperrazza would close a letter with).


an American university, 'Picked up b~ Charisma Recorqs, the band, with new man John Mayhew, developed"some new m~terial which they 'tried out in their first public appearance at Brunel Un,iversity in Uxbridge in November of. 1969. Their acceptance proved faintly comforting, ar;id the new material went into their next album, Trespas~. Released in September of 1970, Trespass was 'Genesis' first big step toward th~ir ~usic today. Instead- of short· pieces running into each other, the albumlcontained six songs, but the overall / ' balance of Trespass was remarkable. The schmaltz orchestrc:1 arrangements vxern replaced by Tony Banks' mellotron, the songs' lyrics were more down-to-earth, and for • the first ' time Gabriel's vocals began to match the texture of the rnusic.


music can surround-the listener in dreamy ;· haze, build ' up to ;!') •excruciating p~ak, I and then ab'r~ptly dr~p, c~tching him on hi; way dow~ with another soft interlude ' . \ ,.,. ( j ' . , t ,~ ls ., of flute and acoustic guitar. And now, as Genesis have pegul') their ' • F·; ·.i ' . ,\ new Americ(ln tour in the mid-1/)iest, they bririg "'with them more credits than ever befote: t~o previous American tours, both successful; · a 'short but excellent ' \ coast-to-coast appearance on \ NBC's Midnight Special last ,January; an also short but detailed article in Rolli~g Stone last month; and their first U.S. ' ehart-hitting album, Selling Englal),d By The Pound (reviewed in Shakin' St. No. --7':-) , ; ' , b. 1 The birth of Ge~esis is like right out of the storybooks: four young Charterhouse school chums got together in 1966 to write songs. Soon a demo tape was made and ~ent off to the local hotshots, The four, Gabr.iel and Banks, who were off-and-on musicians, and Rutherford and Tony Phillips, both late of a .band cal\ed Anon, were _finally · noticed by Jonathon King, who listened 1 to 1 their tape and 'became · "mildly ,excited," and; after the "' traditional . ra.unds, signed them to a' contract with Decca. A fifth friend, Chris Stewart, who had 1 played drums for the songwriting fmlrsome, quickly withdrew his interest, and was just ~ ..,.quicly replaced by John Silver as tMe band headed for the recording studio. The resu It was three . / singles, "The Silent Sun," released in late 1967, and "Winte.r's Tale" and "Where . The Sour Turns To Sweet," both released in 1968. All three received little notice, mainly because they ~.sounded too much like the Moody Blues. Nevertheless, the newly christened Genesis (by King, who came up with the r name supp~sedly through "ari' inspiration) finished their,first album, which came out in late '68, entitled From Genesis ,to Revelation, _ An incohere.nt' collage of thirteen short songs, the ; album did , nothing to boost the m.orals of both Genesis and Decca, who promptly ousted the, boys after a couple of painful months. '. Genesis then began shopping for an0ther · record company, as well as another drummer to replace John Silver, · who decide"d to continue his schooling at

It's odd (and fortunate) that Genesis hav.en't falieri into' the void of gimmickry 1 that has ''erigulf'~d bthe; rock bands wh~ ha\te tried to combine a visual presenCf;l with I; ~musical . presence onstage. BLi"t instead, Genesis have put ' together th~ most awes~~e; stage act ever,' produced, a_ sophistic'ated blend of theatre with, " ·' ..... overpowering rock. And with that, they , have become orle of the · leaders of., Seventies ro-ck, which might well take a, , I swift turn under their direction. Onstage the members of Genesi,s 1 themselves display the many moods thei'},_




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-Bassist Mike Rutherford lip-synchs on . .. acoustic guitar? , 7 II • / ./ 1 And from Trespass came Genesis' first - '. genuine classic, "The Knife." Made into a ~ingle a year later, "The Knife" escaped · altogether the' flowing sound that Genesis had bound thems~lves to, but instead pounded and smashed with only an occassional flute ;/organ interlude.,

Nursery Cryme ·served as the. band's · camng card in England, where rave reviews spread their, popularity f~to Belgium and France. Genesis continl)ed ',their now increasingly success-tu I concert stops ,throughout the U.K., bui: talk of / any touring in the States was all but ' nonexistant, _with their music-Still leveled in obscurity in the U.S. \ October of 1972 came and yvith it the band's next album, Foxtrot. Still believed by many to be Genesis' best .album; Foxtrot carried o 1 n the richness ''so ' - ' ' / ~pparent in Mursery Cryme, with ' ,the twenty-minute long "Supper's Ready •," a seven part extravaganza overshadowed by ahother Foxtrot piece, "Get 'Em Out by ' Telling " f the future in store, and'- Genetic Control's proclamation that " .._.people will . be shorter in height, so F;iday." 1

But despite the virtuoso performing ' and clear magnitude of the album., it still failed t0 bring Genesis an~ strong ·recognition . It was this fact that perhaps star~d ,he unsettling that followed the band. 'f'ony Phillips left in a storm, followed by John Mayhew, leaving , -Genesis minus a guitar player and yet another drummer. For t-Hree months they . \ .,.,. ' ;,,:-. 1 remained a four-piece band, followihg the acquisition .of· Phil Col,lins, ex-Flaming Youth. Then, after seeing his ad in Melody Maker , Gabriel phoned up Steve Hackett, and once again .,Genesis were intact. But more importantly, they now

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they .can fit twice an amny in the ~ame became a five-man songwriting team, with -. building site ," the song wielded more

============,::: And the 'pattern continues: to rock music cu ltists, the-- real excitement and spotlights do not .a/ways Iie with the finish'ed product, the hi.t single. It is what goes on behind the sc;nes that provides much of the fascination. Witness some past hotshot hitmakers. Two years' ago, David Bowie was the Ace Supreme, producing and encouraging the likes of Lou Reed, Mott the Hoople and The Stooges. Then th~re was, and still is, -· Todd Rundgren, producing and encouraging bands like Sparks, the Dolls and Grand Funk. In England, there's Mik~ Chapman and Nicky Chinn, giving · their lift to .the Sweet, ~uzi Quatro and Mud. In sou l, there's Thom Bel l ·for the Spinners and Stylistics; Gamble/Huff for , the O'Jays, Billy Paul and MFSB; Barry White for Love Unl imited, Brock and Gloria Scott. Examples of those whose contr.ibutions to pop is irreplacable. .These are the boys who comprise the backbone of what your. car radio spews out year round. For recent contr ibutions to Amer ican pqp/rock on the rad io, no : one accon\pl ishes l ike Rick Derringer. Derringer (whose rea l name is Zehr inger) struck up a close relat ionship wi~h Johnny and Edgar Winter, jamming with them in a New York club ca ll ed the Sc~ne, owned by the Winter Brothers' manager Steve Paul. Com ing from the McCoys, Derringer had always had a keen understanding of tee nage rock. It is my theory that it was Derringer who conv inced both of the Winters to consider rock 'n' ro ll as the perfect means for flashing the ir wares. From there, Derr inger moved like a tornado , gu itaring on and producing · Johnny Winter And, Live, Still Alive and Well, Saints and Sinners, Edgar Winter's White Trash, Roadwork, They · Only Come Out at Night and Shock Treatment. Besides lead i ng the McCoys and producing their last two albums (recently repackaged by Mercury in a two-record set ca lled Outside Stuff, a f ine set worth buying), Derringer has produced the Osmond's "Flower Music" and guitared on Steely Dan's "Do It Aga in" and "Ree li n' in the Years," Richie Havens', 1984, Todd Rundgren's Something/Anything and Alice 'Cooper's Killer, School's Out and Muscle of Love. Quite . surprising, and an amazing trac~ record. He's been responsible for the sale , of,tenmillionrecords!!! . _ October 29, 1973 was the release date for Rick's f irst, long-awaited solo album.

probably more deserving of hit status, although· it doesn't look like it's ' being,as wel/-received . God knows why not; it's a fast, bciuricy •rocker with all the elements of a hit-concise11ess, a superb hook, quic~y mouth synthesizer solo and lyrics 1 about an ex-teenager who discovers "an instant cosmic need for a teenage love affair." ' There's also "Uncomplicated" and "Slide On Over, Slinky" which should by all means be the next single. It's the missing link follow-up to the McCoys' "Hang on · Sloopy." With a supreme riff that sends shivers up the spine, its melodramatic weeping background guitar underlines R'ick's sexy humor: "A Ii.ttle bit 'a' sleaze is what I need." Two creative instrumentals are here, just sizzljng with nervous energy. "Joy Ride" and "Time Warp." As a balancer, there's Rick's version of his own "Cheap Tequ il a," a Rascals-flavored "It's Ra ining," and fot.,Jr drenching ballads. It's with these ballads that Rick shows any weakness, with those goddam . vio li ns butting in. Look, everybody: violins and rock 'n' roi'I sound so unnatural t'ogether that . it takes a tremendous amount of , discretion to know when to use them . When in doubt, for Chrissakes, stop using them as fi ll er, leave the damn orchestra to Mancini, please? ' Aside from th i s, co-producers · Derringer and Bill Szymczyk (who also works with J. Geils and Jo Jo Gunne) have done a near-flawless job of giv ing the / ' I . sheer sound of All American Boy a crystal-cle<;Jr sparkl.e. Guitars are multi-tracked for a solid wal l effect, songs segue into each other with perfect precision, instruments are slipped in so subtly yol:J hardly n,otice and it still sounds good and raw. No phasing or tape loops or rigamorale, just good solid rock 'n' roll. r Derringer is the person ification of the Ul t imate Teenager . Without compromise, he's retained his unique d irection, striking successfully on his own. Add to it the fact that he's the pivq,t for Johnny and Edgar Winter, setting up his own kingdom in New York. Rick Derringer ha~ had more. rock 'n' roll experience in the past . ·ten years than most musicians have in a · lifetime . All American Boy is destined to ' become one of those great undiscovered classic albums, ·watch as the time slips away . And, for future poJential . . . he's a .slender twenty six-teen. All this is to say that Rick Derringer is a · true of American rock? Sure . . ., ___________________ 9

8 GENESIS DISCOGRAPHY; Singles: "The Silent Sun" "Winter's 1 Tale"

Rick·Derringer ,;,,, . A 'I Litties·,t ·A, Sleoze

Alehouse" Charisma CB-224 From Genesis To Revelation, Decca ~KL-4990 Trespass, ABC Impulse AS-9205 (US,), Charisma CAS-1020 (UK), reissue . ABG Impulse ABCX-816 (US) Nursery CAS-1052 Buddah) Cryme, Charisma (distribute<;l by

Foxtrot, Charisma CAS-1058 \ Gen e_sis ' Live, Charisma CLASS-1 (UK) ' Selling England By The P~ond, Chari~ma CAS-1074 (Charisma is now · distributed ?Y Atlantic) ' Excerpts from Nursery Cryme, with picture sleeve and liner notes (Charisma/Buddah)


'\Where' The Sour Turns To Sweet'' "The Knife, Parts Charisma CB'- 152 \ & 2" "Happy The Man/Seven Stones" Charisma CB-181 / "I Know What I Like/Twilight


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-Gory Sperrozzo!

-Pete Gabriel still finds time 1 to read the . •Big Boffo's only-rock 'n' roll gazette!

-When he's not arguing the virtues of · progressivism with staffoid Michael Sajecki ...

subtle 'strength than its social commentary predecessor, "The Knife,"' and it has become the grandest of tre. Genesis classics. That December Genesis arrived in tl:ie U.S. along ;with their support group, fellow Charisma act String Driven Thing, f?r their first American tour. The newly create!'.] theatre-rock act went over wel I, - the music .,even better, but exhausted ' from airline mixups and sound problems, Genesis flew back to Englind at the end of ~he tour ' hoping 1 for better ludk next tin,e. Next time was four months· later, in April of 1973. Accompanied by veteran singer Sandy Denny as opening act, Genesis brough much the same repeto ire to the ~xpanded U.S. tour. Boosted by growing r¾cord sales ,and word-of-mouth promotion, the tour went spectacularly, including a sellout at New York's Philharmonic l,lall. " , While the l band worked on new things · in the studio, Charisma released Genesis Live in July in the U.K., but surprisingly · not in America. Topping Foxtrot on the ·British charts, Live represented Ii_ttle of:a Genesis concert, but did include fine versions of "Get 'Em Out By Frida~," "The Knife." and "The Return Of The Giant Hogweed."

getting more excited about the visual aspect." It's·the opposing forces of each man in . the band that fit together ,to create the spectrum Genesis performs in. Steve Hackett remains more down-to-earth than the othe~s, while Mike Rutherford is outgoing. "Actually, I wanted to be a pro golfer. I take clubs with me wherever we go," he says. And as Phil Collins is more intent on studying other drummers' techniques, Tony may spend hours at the piano improvising:- The only ,real problem with th js com~s wheh writing is involved. "There are two

Then October marked the release of Selling England By 1 The Pound, which I ' surptisingly (or~hell, no.t so surprisingly) is' still on Billboi;ird's Top LP's chart above the 1 100 mark. The · released coincided with a big tour of England, . highlighted by seliouts in Ox'ford, Southampton, Portsmouth, and two su,ccessive nights at the Rainbow Theatre in London. Now all we can do is wait for what comes next, good or bad. Even in a band of such sophistication there exists egos and di.fferences in opinion. '.'We go ,on stage and do a bad gig," says Gabriel,

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-Derringer trying to trip Edgar Winter, who's still wondering lvhere the love-ins are. As far back as three years ago, there were articles in magazines like Circus announcing its · impending release, showing Rick in leopard-skin jump suits looking older than h~ qoes now. But it took until last fall for All American Boy, the first re lease from Steve Paul's Columbia-distributed Blue Sky label. ·The album is a tour de force through the life of an ex-teenager, with a happy, hea lthy undercu_rrent of teenage lust. Its strong point is,. of course, the ro,ckers, of . which there are. many. "Rock and Rolll Hoochie Koo !" although being the umpteenth recorded version, sta'nds as the best v~rsion (well, he did write it) and was a 'smash hit this spring. The second single release, "Teenage Love Affair," is


"and everyone says it is the most brilliant main ways we get material together," says thing t~ey have ever seen in their life. The Banks. "One of us might write a complete time comes when you believe they are offering and. the group .arranges it. 1 This right. We should be cautious about that." doesn't ofter happen. Otherwise we all 1 The main thing keeping Genesis above work together on a ten-s~cond idea and a loss of drive, amazingly, is the then develop it. Each member takes a difference between each member of the part in the writing." band. While Gabriel may want to become So now, as· they work their way east on Fellini and overhaul their · act into ·, this, their third U.S. tour, Genesis brings \ 1 something glammy, Tony Banks would with them much more than their theatre-ro,ck, but the



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curb this by his part in the show. "We've . ' tried never to comprifT)ise and ,we're no1; going to now.t i take music seriously and we- want more peop·le to listen to us," Banks has said . "I was irritated by the _fox's head that Peter used, and didn't think it was justifiable. But now I'm

re kn owned combined forces of five different men, resulting in the most incredible, fanciful work to hit rock music yet. And they've only jus~ begµn (la la). -Jim Bunnell

' I FrOft\ the Countr,y,1$ide'. . . ' ' : . y ~\ • J ; Yes, Kris .Krist9ffe~son con,tinues "in spi~e of anything excep' riflef,ire.' 1-:lis Ki-is Kristoffet~on 1i-hythmic .arrangement ~f "Bl_ing Blang" ·'. , . . ' •..,· ' ,,.-· match,es. the song's feel11:ig mcely, Ario·


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-,Carl Wayne and Rick Price meet their match in a double-page spread· from RAVES, an old ~ritish pop magazine. • I

Ar,lo Guthqe,, ·



misses with "Deportee" and adds. strings ,to what should be a quiet, stark, and 'very ' sad song. The Same thing hapi;>ens to "Go Down Moses," · Biblical spiritual, which with th~ 01;chestra and . the _ "•Southern .California Community Choir, is .' spmewhat . overblown, consi'dering thJ other material on the album. . . Some old recordi~gs (about a year•alnd a half old) by a batch of California , Country Rod: musicians was released recently by Warner Br0thers, ,tit'ied . Muleskinner - a Potpuurri of Bluegras.s · Jam. The album features a five man band led by Peter Rowan who plays guitar and does most of the vocals. Rowan of course is from· the late 60's band Earth. Opera, , and ' a later . Jazz-Rock-Count:ry fu11ion bii'.nd Seatrain. David Grisman, also from E~rth Opera, plays · mandqlin, and Richard Green, who has played· with everyone from Bill Monroe · to ' the Bluesproject and Seatrain, i;>lays fiddle. Banjo is handled liy Bill Keith. Clarence White, the e~-Byrd who ·waS-killed by a drunk driver last summer (the 'album rs dedicated to hini) p)ay~ le~d and sings a nasa,l harrhony thafis positively bluegr;i,ss. The mate.rial ranges frqma rocking "Bh1e and Lonesome" to fairly standard versions of "Roanoke" and · '-'Solcliers Joy" with -a few origionals like Rowan's "Blue Mule" thrown i!1, It's not a ,great album, but it is ent,ertaining and has ''historical significance" because it brings these talef!ted people together and is one of the Tast things Clarence White did. It's ·a must for collectors. · · Also for c~llectors, but of a slightly different ··nature, is a thing callecl -.Lester "Road Hog" Morgan and ihe Cadillac • Cowboys, 1 Live at the ' Johnny Mack Brown High School. Lester -and -the boys have , .u,nusual talent. Somehow they -manage to do everything wrong. Side one .is the concei;t, in which they destroy such classics as "Hey Joe," "Sixteen ToHs " and "Wildwood Flower," 'while Lest~~ exhibits unusual rapport with hi; audience uttering such lin~s as "Can you hear me? TEST! TEST!" ,Things pick up momentarily whe.n lead , guitarist "Wichita" leaves the stage for some ·unspecified business, but p.e doesn't stay too long. Side _Two is a Radio program , (courtesy of WEAK-, Radio) and · an audition tape •Lester ,did for Mercury Records, who are responsible: for this m~ss. · r ' . , Lester and the Cowboys .are of course the Sta tier Brothers, and it's all in fun, and in the -liner notes the Brothers offer some interesting uses for the album,· including (as a last resort) listening to it once. But they w·arn: "'If you fin,d yourself enjoying this, take two ,aspirin and go to 1 bed." -Dave Meinzer 11

latest album Spooky )Lady's Sides/:!o'w (Co lumbiaj , 'demonstrates / that Kris's. · marriage 'to Rita Coolidge hasn't blocked . hJs. unique -v:ie.w of life.· or sugarcoated his presentation as , mucl:~ as 'some people thought aftet µearing ·Kri~ & Rita's Full "Moon. ·" ·· /,_ · :Spooky Lad;;; 's Sideshow's h;;mgs · together by the loose theine of the seedy' side of showbiz and the sideshow/carnivaJ idea adds · .to the texture. The opening tune "Same Old Song" is about ma.kin' it to the top with a little b,and, and wondering ,.if it was really 'worth it. "B~oken Freeµom Song" is an anthem of sorts, and "Shandy (The Perfect Disguise)'" has bne of the best Kristofferson choruses since the "walk-in' contradiction, ' partly . tri'ith · and partly fiction". . . . ' Y "Cause nightmares are somebody·'s daydreams Daydreams are somebody's lies Dies ain't no harder ·tr,a1;1 telling the , truth . 1 . i Truth i's the perfect disguise" , -. • . f ' . ,\ "I ,May •· Smoke Tpo Much," a· seven year old song, is )ncl,uded with a hot little horn arrangement, , but the unusual cuts come on side tw,;o where w~ find two songs 1 co'.written ' ,by Kris ·and Bob Newwirth (one of Dylan's roadies back in the '':f3iowin' in the Wind'; days) and Rog'er McGuinn. ,. One of these, "Rock and Roi-I Time," shows a lot . of Kristofferson, but the .. other, "Rescue Mission," is a - bit of a parado1<:. Here we find Kris Kristofferson, , th,e rea'list, sa)·what-you-mean, tell-it-like-it-is song vv.riter singing a group . of word · tricks, anacronisms, and ·1 if erary,/historical refe.rences, all tied together in a sort , of Ancient Mariner narrative. H's all " just a little too Dylanesque for Kristofferson, but he gets away ' wi-th it (and iH a sense s·ays "it ain't really ·my song") by letting Nevwirth.sing , half the verses. Bu.t altogether Spooky Lady's Sideshow is in'telligent, entertaining, and. a lot more of what most people consider fo be •"the real Kris Kristofferson "than we've heard in a long timlj. Protiably the wor,st revi-ews of this a_lbum yqu'll , read are the gag reviews on the back of' the jacket. · Ario Guthrie, who has slowed ; . down to qne ·albu!ll a year (I wish a fe~ other artists would follow -his example) ha& released , his 1974 Repdse album, , Ario Guthrie. ( one of , the pre-release working titles was I'll Have rr'hat Pickle Now; is Ario getting old?). While it's not as cohesive as last year's Last of the Brooklyn Co(.Uboys, Ario Guthrie is a typica,l Guthrie mixture of .original .songs and tures from ."traditional" sources (like _Jimmie Rogers arid I Pappa Woody

Bluegrass and. . Lester "Road Hog " :Motan · and the Cadillac Cowboys . '

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"{'ll have that pick\e now." Guthrie) presented with . the help' of the usual group 9f Ca.lifornia'studio musicians (Ry\ Cooder, : Jesse Ed Davis, Byron Berline; etc). ' " The new stuff (seven new Ario songs) ,are generally ·good. "WoH ;t Be Long'" is a great "be ,home soon" song and the cut is beautifully arranged with Buddy Emmons, the )dng of the steel guitar,· adding to and crystalizing the outdoorsy atmosphere. "Presidential Rag" ·is more or less what you'd expect ··a Watergate song · but appreaches things a little,more seriously than 'we 're used to hearing Guthrie. ' 1 Hard Times" is m·ore topical, a foot stomping bluegrass "got no money - got no care" song. (Yes even Ario feels inflation). ' "Me and My Goose," a fine and· very funny concert tune,. comes across a 'litt~e stilted here, with a chai:,nber music sound. In the same respect there is a .liberal use of orchestral : accompani,rn.ent on several of the cuts which tends to pr~ss their feeling._Th~ ,steel guitar a}'.ld harmonica on "Won't Be ' Long" , are , much more effective than any of the orche'stral "\ arrangements. \ The odde~t of the new songs is "Children of Abraham" a sort of rnode'rn day spiritual; drawing its style· from 1 nearly every song ever sung by a Christianized Negro slave, 'but aimed at a few ·things that have_.happened in the "'.' since th~n . (Gµthrie, like Bob , _Dylan Zimmerman · and' Jack .' Elliot Adnopoz, is Jewish.) The ' non-originals .include a great off-beat · happy version o ri' Jimmie Rogers "When the Cactus Is in Bloom" complete with fiddles and acc.ordion and Sons of the Pioneers harmonies. Ario does two of ' his father's songs, "Bling Blimg'' whfch 1 b'rings b-ac;k memories of Captain Kangaroo (he used to play a recording of thrs song while he and Mr. -Green Jeans built a · cardb'oar-d h \:>Use), aHd · ''Deportee." . Unfortunately, w9ere his

I ,· ' I

Roy V/,/oo.d is the King of Rock 'n' Roll.


(il!.&M) Lastly, there was Split Ends (UA). Surro~nding t\;iis .missive are photos Before that;- Message from the Country from the period The Best of the .Move (Capitol). Before th~t, Looking On captures s,o well. E_njoy. . (Capitol). Before that, Shazam. Before Listen to. your gumbadi. These that, is now. Initially to be called Some rai-cords ah for evedybody ... of the ·Move's Real Good Stuff (if ace -Louis Preema promo rrian Richard Pachter had anything P.S. Write the Mbve/ELO/Wizzard to do with it), this two-set brings together Society c/o Jack Springer; 1422 the Mo11.e's first real album (never released Northland Ave.; Lakewood, Ohio 44107 here) and a superb collection of singles for a happier life. , from,,the Move's debut single, "Night of - The Mov:7t t':;e~t;;:- r-;;-ngllie~wTVilio;;. - Fear to the drenching heaviness of ··

"Brontosaurus." With all these albums mentioned above, ·you'll have the complete Move history, not counting the · live Move LP which is selling for $50 in some places! Act now for this amazing offer and you'll. get ... the odor of "Flowers in the Rain," the relief of "Fire Brigade," the colcrs of "Yellow Rainbow," the godliness of "Walk Upon the Water," the rumblings of "I Can Hear the Grass Grow," the ? of "Something," the ride of "Omnibus," the . satisfaction of "Wild Tiger Woman," the will of "Blackberry '· Way," the direction of "Curly," the prediction of "This Time Tomorrow," the jolt of ·"Lightning Never Strikes , Twice," the ulcers of "Disturbance," the genius of _Roy Wood, the loss of "$5.4 7 from , your wallet" and even me, Luigi Prima . We know that critics' bands never make it, but they do, wheri's the last time you·got laid? All it takes is one listen.




I g1oytime for the Dolls, Son of ffioho , Kinks,.· ·Edgor Winter., , Sutherlond Bros. 61 Quiver 1 ':

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pod-twirler for the u'ltimo-girl group, the man who produced Mary Weiss screaming out "MAMA" on "Can't Go Home An'v, More" is now producing the frontrunning glitter-glam katzenjammer kids. Yuk; , yuk, yuk. Too bad it.doesn't work . _ Why? ~li:'s a·11 a matter of textured densities. That first LP with the Wizard, a Trus Star's 1 sense of proper sonic-wai( was just a master piece of pudendeum paipitating, homoconcupiscence, and jus '. plain kick-in-the-tel 7 vision rock 'n' roll , Horray fer Philadelphia . That Ip had X - . . e 1 nough "textur'ed density' to ~ice yow .orbs in two. But ole' Shadow, well, his production is mu'"h to sensitive. It lacks :a noble sense of concrete. It's frilly. You can actually "hear ~' Jo Hansen's yoice "ugh," you can hear the Ii m its on the two Johnny GU1tars, you can hear "Killer" Kane's unconciousness, it's all too vast, there's too much room for the Dolls to get lost in, and that's the trouble witli this LP. Another factor which is prevelant in the yawn of this record is the ,lack ot material. On that ,first record you had ,,What' just might've been the most original ' songs of this rock 'n e_ra. A modus operunda amongst · certaill critical circles: mainly R. Meltzer, is to judge _a record's worth by the second'cut. Scoff, tee 0 hee, arid otherwise be sceptical., BUT IT WORKS!!! Eg. Second cut on the first Dollie thang was "looking For A Kiss '.' - it sets the mood for the rest. of . the songs that f9llow . It is a cornpendium of licks, production moves, and lyricaJ \ · attitudes, and it's good. It carries the required 'weight. To ·extend the idea a bit farther ... the second cut on side-two of the first Dolls Ip was also pivotal; therefore the Ip hadda be a -,little. 1 out-a-da-ordinary. Now, on Too Much, Too Soon th~ second cut is "Stranded in the ; ungle"-the si ngle, which went nowhere fast-and the song is nothing more than;, the Dolls.,o:iocking c:i group doing exactly what . the- Qol,ls are' doing. It's much to sca,tered to make any kind of real sense · So it can't possi bl/ carry the weight of: the Ip. It doesn't. A simple experiment :· play "Stranded in the Jungle" ,?S the last cut on side-one and have '] There's Gonnq Be A Showdown" as the lead-off ciut; 13_

D2llies(N.Y.) TOO MUCH TOO SOON , NewYork Dolls . (Mercury) • The dolls burst on the scene in a blaze of protomorphic transsexual aplomb which was so slick, so vaseline fast, that it left everyone slackjawed, awed. That first LP was good. Real teen~ge rectal-mucous _ stuff . , . it kinda left you in the throes of impending formication horripilation . . . it was male dysmenorrhea . . . it was achromic sonic devolution ... i,t was so rock hard that it went nova, and si'i pped on into anaphrbdisia ... moolah gay ... coin-operated hiney-rimmers . . . they were that and much more. That was until Arthur "Killer' Kane had his 'finger chopped off by an irate girlfriend, that's when the group became legend and when yo~ become legend you lose a/I kinds of rock 'n' roll efficiency. You become cu'lturally inutile, fractious for the sake of public image, irvasive on pure hype, not on pure punknacity, which was how they ·started out. But now, they're just as rock-on sterile as Ronnie Howard . Like the record says, "Too Much, Too Soon" .. : am't it the truth~ First off, the New Yawk punk eclectic couldn't survive the smart-ass punk eclectic of Philly, so's they dump the Wizard, the True Star, to go off in other directions,. So they pick up George "Shadow" Mor~on ... another legend, / jeez, if you'd produced the Shangri-La's 'and the Vanillq Fudge, you'd be legen,c!ary too. Ahaha, what irony. What o·i·•ltradiction. The master





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with "Babylon" as the second, and · otal cut. The rest cif the LP works a lot . '· , I ~tter , wh~ this . is_ done. , BuJ it sti.1I , , - ~mes nowhere near 'the first. ' ,. 1- • There's also a lot of difference '' ·J:i e t w een ex to 11 i n g t he j o y s of ~ onster-humping as they did _in A~Frankenstein" ar\d the kinds of messages ji "Human Being." "Bad ' Detective" is ~ute,' but comes nowhere · near ~ Vietnamese Bc;1by ;" "Personality Crisis" .I totally unequalled; and so is "Trash." , h~ lyrical material on Too Much', Too ioon . is just as scattered as the l roduction, hence. . . .--.. Yet, the thing which makes·it all seem futile is the fact that we 've lost what ight've ' been. the best of the ·;'New ave" bar:ids; and there just might not be ;anything to take their place. The Dolls i " ere the cyclical ·li ~k betweeA _the sixties d the eighties, and ~hey blew it-what unks. . What makes it even more futile is the . ~ct that this LP is accessible to more .'tleople, more potential Frankensteins, • -¢an the first, LP, and because of that will

An J:)utogrop~ea Beer Cort Dear Ratj, <:t::: Just --f1n:sned lis+enin<:, to YO.I~ 11ew ~6Dm I Pres-ervai-hrn Ad Jr, ~net TmLJs+ ·s&ljI ~1\'.1 Ilk~ .it. , T Wi,S 5vrprise& when r to dfE o..e.r. ( chick is B!?,N_;TtfDLl ! ! )

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rrw.sic ·1s reaH":l c:ovl . .t::+s r~flj~ -tt1(c0oy Cjou vse -+i~t \\s~lv~tlOY\ ~01.,) 11 riff +o ~iY) ... t\ of ¼e nov(lc.e--YYleY\.-fs-.(ihe a,iricvt'\::€m0\~ l\re.. S:m1e-frwies lt!je..&t5fr~c.:hi¼, dnct I: dov{+ -J-hink 'f>" ~II~ rie.edet:L+hel"Y), r,v+- r~ ~s'3 -h-ie.-e, c,k.· \::.ause fh:~ h€Jp tell --tt\e s-br1;1.) ' '~l\e>:f T~lks ' 1 i5 a ~I nxl a.,-.,d '5he.phe.rd5 of 1t1et-Jation" is ~l'1 s+~~! 7+s all'l')Dst ;) Greprt~V\ Ch&ri../-! (Poov-G~or"j~ . ":SC()yl') -fhe.. Earl-ti II is 9re.?.+, QSpe.ce.ll~ when -the. crorvs comes Im. D ~*6 -:1=-0.-- "5econ::I-H~n&_ c~r Spi l 1 (,..)h1ch is ,3 r-12<\l 1,JOrk~9 dass E\n+hetll. ~He'.s Lvi\ 11 (s veil:~ spbOk l.ov<:'. /I would. k 9oocl S'.:;f)~ +o +r~ ~n::lpvll-¥aM" &V""lc.l in-kr-- ,ore~ a hlll'l4re..d c{,ffen:Mt- ~js • R~,'f'u·&re o ha.rn,and d-sne~. 1-.T s no+ W ef\O04 t\ -+h~+ ih~ whole. · -h-);"'1 see,m-s it> i,.;vc.. s~he.s of- --O~vicl Eo-Wte. 1.-. Lt 1 btrl:- 'fou~ ~d; ol-her- -wtx:.l,es of Bri-tish t')op p,.;-c-4'-{5. "No hod ".l GtifLJ "-s~c.~s of f:(edri"c L.1~r.+ Ort"'esfr"' -Ptclcl(es, V 1~ ard Oh. Oh \,,/here. is Love. erds lik-e a who SO"h'j • And --l+'ld+ Wdh -,,.;ah. 9vi+av- Ol'1 ' 1 Fi;).51-\S C.Onf<":95KJ\•i'' soVtY" like d pok;z_ a+ i=hc. "Cream" Cta.p-ion. '' fldst"1:; l)re.a1Y1(tl-\e. Fi~I e:lhow)" t:'i p~I:,[~ ihe fvMies+ f1--,1r1 1 ~'vt: neerct i~ mOY\fJ,i S, fa[k scarre_d of McLaughlin-'s .tunes (and I use the term loosely). There is no more interaction between guitar, violin and keyboards; very little between McLaughlin and Ponty. And with the mainstay of the pieces being the London , Symphony, the Mahavishnu himself must, for the first time in years, take a back seat to the proceedings. Apocalypse contains five. pieces, all of which c·ould have easily run together had they forgotten to add empty . track between them. "Power of Love," the opener on Side One, is the shortest piece, running about 5 minutes long. This is head music, a fantastically beautiful melody, showing that McLaughlin's prowess lies in writing rather than

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r Y)o\JGY\4- ~at FYI vch mo.-e +o sa:1 excep +- p vp +he. goo& work, and- 1 ' • oh yea.- -H-1~ CD,,€r was nee+ (espec~1 1 . +h~1chtc.k i~ +he.qreensweat-er).Mso . +el Mar~An~ (Ger·h-e?) :C-sa,d~," I . and (a.lmo.s./- "1'"9ot) AnPl(S 1-\es -k-,,e • ~irl "11:.h·1 the. p1"c.tur-es) S~l.[S "r lov-e.



Skl-e. Four (these se+s are.. qon'ha break me., R.a.:t, :t:m _jrJs+ 9tacl uYl l'\.o+ a Chic~o fafl) ,·s m~ f"""1it, <;,ide• \'No 1hinci l.astS -Forever" wi+h 'jov ~d Ma.r~ l\n~, +h€1YJ 'Arhf'ic.i~ Mdl1''-- hol1;1 or~es- .-ftia-+=- spook'j ! The,1 ClM'\e s N\ol'"ljltn~ 1 son~ ~'Scrd~e~p c+~ '' wi+~ it5 cs reef rtck~--hc.k sovncl. ,+ (iu+ wi-+1' the ¼ €, rY\'e. SOV"\'3 '""$ ~l vatCOYl F1nall

saw ~ov f"2~ 6t thQ. Cer,for'1 . +heatre herein "Bvff'~to :;e,ver61 weeks :.go, beCdvSe ...,ou hoel ~th. in the ba,nd. Buf- when r :saw 1.,yho one of +h~m was, bo-i LvoS l' h;;irP'j· Evexsir:ic-e 1: tx,uj/-i +- l'Y\lj -rlrs+ D~n f-tick & his I-tot licks a lbym a.l")d heard he I sin:,".I?m ,3of1 olcl G,~dncl ", ~ve b2m -f-;fl of' M?ry A n11 n--1 c e. • The son~ :she solos or') in . rreserv~+tOYI Ac.+ IF ts jvs-l- ~if'u \. Tk~ OYle, afld th~ clue..+ "\'!Yofri 1ri9 L°''.,+, for-eve.,.'' ar-c. -two of m~ fevo.,..i+-.e Bll-1im-e lv ~v 1 s (es~ci~ll~ - '1ou 1 i(a~ J · have, c,l~ol!JS Mel~ lot cf- ~ppeal -to 3irls. l:n -Fact when r IJ.JoS devdcp- irlC:J the phcrh:'>.s I --f>ook a+ -th~ co-,.cer+, on.e-of 'f'.ur fov\.S L have. sor-tie"fh1n9 The new 1'1-piece Mahavishnu Orchestra is a -m 1 ere ,exp~nsibn of _the original, though the music - all· McLaughlin's - remains much the_s'ame . Jan Hammer's Qianiacal keyboards h 9ve been replaced by the more passive fingers of Gayle Moran; Jerry ~~odman's spot is augmented by two violinists (Stephen Kinker; who bo~s out on 'the album to Zappa refugee Jean-1..tuc Ponty, and Carol Shive on second, a viola (Marsha., Westbr~ok), and a CE)llo (another white-clad Chim.noy disciple, Phil Hirschi). Also new is a horn section, . effort as a five-man band, Between Nothingness and ' Eternity, their 'worst, Apocalypse floats in limbo, somewhere in between. '

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1::-'ve _alwd~.$ impr0:,s)e~ by 1.fOV.,.. ~J1+,1 to ~ke_ Vc}rlj ,Ac, i'l'\~ic~I elV'l\ei\+.s and '.ffie«J, ·f=,+ '10\/f' s+'1/e., ~f\& 4our SO\'l,'};, w'he.ri D~ve. plc!~s slid"... i+ f'i+s. OIT-he::,+ras? St,v-e! E,t..4 when you use. s--!+1~cis itl~y . -str-0n9i-hef\ -/-he. .':bn~s ~rr-a~erit 1n s+e;J of cl.i'~pa.+1V\~ 1+ LV\t·o e+he ..-eal ncrth1nq he:,s; r'm cl)<::t -+(~ ,• ,see._ ':JOV' CoY)+1t1~11-)q this M~- '::'.:~-½on J\cflL ), ,... r-c'.dlly nea+·. r + ~lso S32ms _ V<""Jfl.J ~li~I,. S or:\:- of iri same -th~t Tht> r. Jc,ckL.vork (r~ ovxl The. 'PriSclY)ef' ~y"e C "";J /(-5h • . "The. rl\oit') c.-harac+er, 1 Fl.;.shi w~ wha.+ d cad! Bu+ Mr: Brdl'.-k i""s sc~re.Cj. absent from the album, consisting · of Ste~e Frankovitch and Bob Knapp on flute, piccolo, trumpet, and flugelhorn. , Rick Laird, who turned out to be the spokesman during the band's rows I last January, is replaced by 17-year-old Ralphe Armstrong on_ bass, who looks mor 7 like · an NFL fullback. And, in , ,perhaps the most major sound change of al·I, hot-and-heavy· drummer Billy Cobham's spot was ta"ken by mello~ Chimnoy follower Michael Walden, whose percussion is all but lost tf'lroughout the album. The aforementioned lack of similarity between this and previous MahaG.rchestra albums is subtle, for there still remai_ns the long improvisational passages that so T~e s-br:5 \ ,s

~';I. and the Symphony interchange, with . ~- lead gu itar above the violins. '•-~ , -~ In what could be calle.d the secorl4. movement of "Vision Is A · Nak~<:iJ Sword," the band and orchestra swit{I), off, with Armstrong's bass the on(y" prevailing lead until McLaughlin takes oH' on his first improvisation - a soft, fun~t passage flanked by Ponty's echoing violi'n.' , After the first couple of minutes the improvising loses its clarity, bJt"" . . . --~ McLaughlin nevertheless resumes for ove'r five minutes. At last the Symphony ent~V' again w ith the same thrust, salvaging tHe'"' piece from total annihilation. , - ·,:;--: .,, "Smile Of The Beyond" again flows a's ' "Power Of Love," this tim~ supplemented by Gayle Moran's lead

improvising. "Power_ Of Love" is a relatively simple piece, with violins flowing aQ1id the Mqhavishnu's acoustic guitar. A moment of silence follows, and then rises the long ringing of cymbals, the characteri.stic Cobham beginning. Immediately the London Symphony's string basses develop the rhythm, a syncopated progression a la "Hope" from Birds of Fire . Th,is is the Symphony's spotlight, the beginning of "Vision Is A Naked Sword." The brasses rise atop the string basses, producing a much more full sound than the M.O. could have then or even now. · Soon (much too soon), McLaughlin enters with his twelve-string, axe, the same blanketed strumming. He'

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