Shokin, Street . Free Gozette 1974 ·

. Sept : 1974

sweet, Black Sheep, Stones



. t,;.iciarg~Sf Variety .. (dVer 1()0) Of Hot .and Cold su:bs ;·a·rid ·Heros . . 159-4 .ELMWOOD AT ., AMHERST EAT IN OR TAKE OUT 876~1919 , CalLfor.Jlelivery .Information ' . .' . . . . «.,. 1/4 lb. MACARONI, POTATO OR COLE SLAW

,. C~ntents

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Staff Editor: Staff:

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Gary Sperrazza ! Andy Cutler· ·


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BLACK SHEEP: Outcasts no 'more ... ·by Ron Camacho 6 . TO1':ROCK ROLLS THE N~TION, Par{-,FTeens;moveover: .. -by--- - -- -- - / Joe Fernbacher ? 10 "'c-=-A-=-1.,-=-1-=F=o=R=-=-N""l""'A-c=-o=-:-:u=N=-=-r=;R~Y..,.1-=R,..,O==--=c=K,,..,...,P.,..a-rt-,-l -: ""i-l.,...ip-p~ie_s_e_n_r_e-ga~l~1a-.-.-..,..b-y----- ·~---- "-'. David Meinzer -· ' ; PU~'ZLE PAGES: Try for the entire David Bowie RCA catalogue ... by ,, Mr. Potatohead . FR(i),M THE COUNTRYSIDE: "But issit rock 'n' roll, Daddy?" ... by ' David Meinzer SWEET SP,ECTACULAR: The hottest power-pop band of the 70's ... by 11 17 20 ',; Gary Sperrazza, Bob K_~a_k an~_B_a_rr,.:..y_T_a_.~ . . l~o_r~ ______________2_1__ LONt3 Pt.AYERS: This' LP is goqd ..... Duh .....This is a good album....uh ........ by I '.(,:, The Staff , . . ' . COLD CUTS: 'Christ; dofi'(these Shakin' St:kids like anything?!? ... by 46 LETTERS: '"DeQr OccupQnt..." , i " ,- · BOFFO WITHOUT BOOGIE Gary,, subscription and for a fanzine that occasionally gets up to 90 pages, that's a' deal and a half-Ed.) REVIEWS OF OUR REVIEWS Re: King Crimson review . The Staff' , . " .. . - 38 44 ----------------------- SINGLES: The Stones _kill cruising ... by Andy Cutler COl\!CERTS.: The Big Boffa readies itself

Bob Kozak Lucy Perrone

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Joe Fernbacher · Lester Bangs Dave Meinzer (Ed.) Melissa Beckman ·. , Bonnie Morris, -Esq. · Mickael Gallo



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Business & Advertising:

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Charlie Kaplan Rick Little Steve Malowski' :),'_ \ ·-. ' Kim ~eFebvre_" _ .. l ,, Rockin' (We gotcha) · ' i ,


31 I Distribut1on:

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Ron Camacho ·

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Graphics, layout and ·art direction by· David Meinzer. Illustrations page 19, 44, and\ ¼5 • b11 ·Bonnie Morris; page 29, by Sharon Diorio·; ' 191 and 20, 31, and 36 by Dave Mein~ir-.·, Photos page 11 and 14 by Greg ·Merkl-e; ·page· 10 (right) by Anne Meinzer; and page 13, by Jan Czombel. ·Thanks to Melissa Beckmann tor\ album <;over photo5; j ( THE SHAKIN' STREET GAZETTE, the official pop music magazine of Buffalo State College, is published alternate Thursdays during · \he academic year and monthly during the sum.mer .vac_ation. Total press run is 12,000. THE SHAKIN' ST. GAZETTE is distributed free of charge to the college communities, and over_ 30 l_ocations d_ealing in aspects of \he · mus,c business, and 1s widely react by Buffalo fans, disc jockeys, critics and music business people across the ·country, many of wh~-P' ' contribute to the Gazette. THE SHAK 1 11 N' STREET GAZETT"E is made available outside the city at a cost of $l00 per semester or $5.50 per year. . The Shakin' Street Gazette is -published at the State University College at Buffalo, 1300 Elmwood Avenue, Buffalo, New York 14222. Located in Student Union Room 421. Editorial offices at 35 Knox Avenue, Buffalo, New York 14216. (716) 875-8475. . ,, Contributions for Shakin' · Stree_t are , , welcome, both from students and non-students, ·• i ·· tmwever, we accept no responsibility for their " ' return. !he Shakin' St. Gazette ..... .-. Vol. 1, No. 13 \ Now is the time for -, the ·p_orty: (Details next issue)

Just -gof Shakin' S'tr~et ·Gaiette's 11 & 12 ~nd enjoyed :readiM',.th'e '-spunky arid often times dClwnright ' na~ty record reviews. By the way / ~nclosed are ·issues · -of Boogie Nos. 4, 5 and 6. Hope you will enjoy 'em. No. 7 might be out in August or Sept. and l'lf make it a point to' send you a copy since right now I'm working on a spoof of the social activities that occu~_ed at the Rockwriter's Symposium at Buffi;llo May 11 (sponsored by , The Gazette-Ed.). Most "of it is based on Meltzerian heresay evidenpe. . ' , . · -John Bialas, Ed. ' Boogie (Boogie is a fine fanzine (they're proud of it, bub) crammed with 'news, reviews and overviews with a rock 'n' roll glaze. Lotsa good stuff on Southern and New Orleans rock 'n' roll. A measly buck,will get you a I 221 Venetian Ave. Gulfport, MS 39501

. Ed 'Bentley:. Mus_ic· . .,- '" ' . , .. ' .. ,,'.., •(., ' 3756 Harlem -Rd, . .. , Cheektowaga . 836-1380 ' ...

As : admirable as side one of Starless arid Bible · Black is, it's the second side that contai_ns the important, substantial innovations. Yet the reviewer hardly so much as hints the second side exists, without coming to grips with it. As far as Starless' "musical fusions one~ never would have thought possi~le upon listening to In the Court of The C_rimson King - is this guy joking? In preparing a review of ~tarless, I listen_ed to Court specially because Court (,,Moonchild") is the immediate predeces·sor to Starless' title song, with its pointi.tlism, harmonic interplay, etc. etc., while the sense of drama leading to "Fractured" (which is as if Fripp were unhappy with ·"Lark's" and,. wanted a second chance at the same melodic and constructi~e idea) is a case of (Letters continued on P. 4) .



:FJciusive: Lester Bangs tells all in "How to & A Rock Critic", and tolls bells in "Scott Ashton Destroys theWorld' . . ' , -Here it is: the colurm everyone is scared to write (ex~ept Joe Femhach~r, that is):"Pushing'Too Hard" -a rock 'n' roll fantasy colunn - . ' ' , . ' ·· -Whatever ha11pened lo the Wackers? .-\nd what was all that b.lllyhoo ·. aboul an emerging · \tonb-eal ,Np/rock ~~1e tl~t would shake and quake , tl,e ,ni·ld'.? Gm~;Spen·aiz.a ( l) wings it to Montreal ·

.-Guild, Gibson, :l'vfadiera P~ncri-· ' ·Guitars ·and Ai:cess~ries ·. '. , Lessons for pedal s_teel &'.5-stririg banjo

MSA Pedal Steel Guitars · .(Jerry Garcia Plays One)

SG Systems, Phaseshifters, Mies, MXR ElectronIC equipment . '' tessons on all ihstr~.m•~~ts:,:: ;· .

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\we accept trades&sell usetj·em..1i.Pment) ·- ·

for an ju-depth i:e t.

Letters: "Dear---OccupQnt.. ff (Letters continued fromP.3) direct development, with such sleep-provoking albums as Lizard and lslan'ds coming off as a now-denied loss of ' direction _standing in the way of natural progression. And as for Bruford proving himself as an 'imaginative drummer, this agaih ignores the fact that Bruford is trying to prove he is not a drummer, but a percussionist (the two terms being hardly synonomous), filling bnth his own ' role and taking Jamie . Muir's place simultaneously, as gap-sealer. (This brings a greater irony to the penultimate sentence in the review, which is the most perceptive statement in the re.view; wonder if the writer realizes why, tho.) Actually, I'm not being fair to Chris Sajecki, as the review is excellent for what he says; it's what he doesn't say that makes me wonder how closely he actually listened to the album... ·

original intentions, two we're always careful to avoid: · 1) Dealing in subjects beyond our audience's realm of experience: There are rock 'n' roll elements in other forms of, music. As we see them in pop, soul, country and blues, we report them. We have to report them, as there's not enough. of the real thing to fill a magazine these days. Through issl.Je.s 1-12, this magazine's series of progressing investigations into other forms of music have created a healthy, well-rounded look for the rock 'n' roll fan. If they're ready 'to leave, they're prepared for the next street they move onto. , 2) Speaking in language so strictly bound to the traditional discussion of music that we go over their heads: ' On Carnegie Hall, Lenny Bruce discussed one of the reason~ his humor isn't funny 'to certain people. When he uses ·colloquialisr;ns like 'dig,' 'bread,' ~cool,' or 'sh.muck,' he says that some people in the audience alternate bet~een giving blank stares and nudging their partner saying '.'What's 'dirf mean? what's 'shmuck' mean? What's..' ." And such musical terms as , 'pointillism,' 1 har,n~nic interplay' or 'syncopation' go over the heads of the average rock _'n' roll fan. Speaking in such terms is altogether absurtj, like jydging a porn film director's methods with -those of ,a first-rate direetor's. , I. But the worst porn film - the ·poorest quality (my concept of bad) and the sleaziest - has merit in itself: it satisfies a bas(;) urge. The common man gets o,ff far more ·on a T&C film than any X-rated extravaganza with distorted shots, bananas 'and furs to substitute for the real flesh. And the guy tha,t tells you otherwise could be either embarassed or full of shit. Shakin' ' •I'' .Street is neither. In an article on New J~~rnalism, Vic Bracht had some go_od thoughts on the subject of t:ock writing: "Besides, are th(;) readers of a publicatiorn devoted t0 rock music interested ii;i journal~se? How can anyone type under the influence of rock or attempt to write about it with~ut developing ~ubversiv·~ new techniques to match the high energy of the music?!?, Clearly the subject needs to be explored." ' ' So, the nagging question is: just because we are directing our thoughts to a specific audience, judging the pop/rock output by criteria specific to that form and that audience, we have to take shit from so-callrid 'intelligent' critics, scholars,' street philosphers, etc.? NO! Aside from the many rock 'n' roll fans who are enjoying seeing their music written about in the open, and in the manner it should be written abou·t, now we wait for the inevitable bands who are deriving encouragement to play good pop/rock 'n' roll from this Gazette. We'd like to see a productive rock 'n' roll scene in Buffalo and 1 when it c°'mes, we'll ba mighty honored to be a part of it, helping it any way ,we can. End of sermon. Write, via the Knox St. address.. Do it today. -Gary Sperrazza!

pop scene puts him in the Shakin' St. Rockwriters Hall of Fame. He also is the Editor of an excellent fan . .- . (whoops) magazine called Who Put The Bomp available Ol)IY by subscription. Send your $8 (per 12 issues) to WPTB; Box 7112; BurJ>ank; Calif. 91510; and srhile, you've just bought stock · in one of life's little pleasures.-Ed.) ' GARY GLITTERLOVE Dear Ron, I love you love, me love me you love, I love you love ,me!


sort of pop explosion, however, each month brings a greater and greater number of exciting new rel·eases, the music is getting better and gaining more acceptance all the time. It both·ers me that you sense phony optimism in my recent writing. I really am optimistic, I always expect the best and _do wh.atever ·I can to support trends that will result in more good music. That's whfre the tricky part comes in, whe_n you'~e trying to analyze something like the evolution of a pop phenomenon, as it's_happening, and give support where it will be most useful. Like, on the surface, I .was ~rong in predicting stardom for the Dolls, Elliot Murphy, 10cc, Roy Wood, etc., etc. But my viewpoint is, in talking about these people as if they're stars, talking about music as if it's a pop scene and downplaying all the Dylan-Beatles-Russell type stuff everybody else keeps talking about, I may be able to irJfluence a lot of a major rock magazine, also there's the chance to influence radio public directors and industry people. You'd be surprised how people in even the most influential positions hav_e no idea what's going on, they'll believe in any trend they're hyped on. Then there's the musicians who just may derive inspiration or at least encouragement from the fact that somebody is supporting pop music. The point is, it doesn't do any harm to , support what you believe in, even if it's not happening yet. · At least you didn't help kill it any by saying things like "Roy Wood doesn't have a chance" no matter how logical they may appear at the time. The other thing I wan.ted to respond to was your statement that you don't listen to · Slade or Stories anymore ... that's great! It's the nature of pop that things come and go, you get real excited about something . today and t6morrow it's something else. It's when you have to keep pic~ing over the old bones of months and years past that you know yqu're in a slow era .. .

On The Comer To·those who would desec"rate this virginal magazine: please read this good and hard. If again the fo,llowirig problems should arise, I shall refer to .this piece as an explanation. To allow for the best possible Shakin' St. Gazette, there are informal rt1les silently.understood between the staff members - one of which is to rock and roll on paper, iri the most efficient possible manner ... to look at our subject manner through the eyes of the only real rock 'n' roll audience: the teenagers. There are some oldsters who still look at music with teenage vision: those who we found, write for us. Someday. we hope rock 'n' roll is returned to the teenagers, via a music that if offensive enough as to cause others to run scared yet a music that continues in the rock 'n' roll tradition by giving their lives back to tliem on a vinyl plate. We're trying it on paper. ' · I ' I • There are those who would . defile our purpose and our results. One faction c'onsists I of those who have political/financial control over the many activities producing this magazine; their rule is 'If you don't understand it, oppose it'. Those who do understand, tolerate us and comply with our requests, thank God and them. Another faction contains those 'sidewalk' critics, who judge this paper without enough direct knowledge of our subject matter to base their evaluation upon. Their only answer is "Well, you've got your opinions and I've got mine." Sure, OK buddy... · A third, and most respected, faction are those who approach music, even rock 'n' roll, as an art form. Grand, except rock 'n' roll is not ART and hence must be judged on terms other than those used to describe and judge the existing music forms: The staff here acknowledges music as art and have their own loves in classical, jazz and prog-rock. But when they step onto the curb of Shakin' St., they leave them in the ,alley. Rock 'n' roll eoes not strive for perfection, it seeks ohly to thrive comfortably, to satisfy and reflect human adolescent emotions. To those who don't feel they belong in any of the three factions mentionecl, to those who live and breathe rock and roll and still are dissatisfied with _Shakin' St., we want to hear your thoughts. For God's sake, WRITE, for yours is· the most important voice to keep us in check. ffhe teenage philosophy is one of excess and you've almost a parental obligation to watch us young whippersnappers. OK? Write, via ·the Knox St. address. There are two _levels by which Shakin' St. can stray from its'


Gl'RL-GRILLING Re: Boi,y>ie .Catalogue Contest If the ghoul grilled my girl, I'd shoot Ziggy's shooting star to dust, I'd tie the spaced out oddity, I'd throw a lad in stole my world, (under my sole- design) I'd carbonize diamond .dogs But most of all, I'd pin-up the monster to be knifed

-Tom Bingham Dunkirk, N.Y.

the $eine, impressionable kids who might just . I'd sell the man who believe something because they read it in

(Sajecki is tone deaf ... actuall•y, he did not review it from a teenage perspectiv~ and the result is the holes which Mr. Bingham has just explored. This letter is an excerpt from a much longer letter with many helpful comments on Shakin' St. I thank Tom for his comments>and we'll watch our p's and q's.-Ed.) GARY'S GAZZEET? The first gazzeet Gary put out his great admierer WAs Todd. 11: was a shity artical because Gary didn't write it, Ha,Ha! His '/I.Fl.TS best (and everyones is Aerosmith. iT was a outstanding IMS arTl'CAL ,because Gary became edidor then. Andrew Marks Delh'am Ave. Buffalo, N.Y. 14216 (The Todd issue was issue number 10, not 1 one, little guy. Gary has been "edidor" since the very first issue of the "Gazeet". Also, because of your nice letter, I've sent you a copy of the new Dolls LP, OK?-Ed.) GREG SHAW ON POP was very pessimistic about the future of rock in 1971, and would never. have predicted it would get so much better, so fast. I think, Like most people,

-Harold Goldberg 808 Willet Rd. Lackawanna, N.Y. 14218

(Whaddya think, Rebel Rousers? Since we I announced the winner, I'm sending you the new Nazaretl:i LP to help the loss. NOTE: YOU CAN TRY ONCE AGAIN, FOR THE ~CA BOWIE CATALOGUE ON PAGE 19 ... CONTEST CLOSES SEPT. 20.-Ed.) J.M. STILL LIVES! What ho old chap: I think you've got a real nice magazine there, old chap. If I seem something less than transfixed by jts presence it's only I . . . .. .. . . ' cos I'm pretty'much fed 'up with rock 1 and roll magazines, how!Jver brilliant they may be. My only suggestion 1M:Juld be that

tycoon_· into allowing me to produce various of his fab pop-roek acts. And no one wanted my 'first novel, so 1 've quit working on it! Start saving up now, cuz Greg Shaw will shortly be auctioning off lotsa my precious momentos, like a letter from Dave Bowie, several letters from P. Townshend, and several pounds of letters from B. Bevan, not to mention one to B.

Patti (his partner in crime-Ed.) from B. Bevan's missus, Big Val Bevan! · · Don't be a'stran;:_~, Joh~ Mendelsohn (Address withheld from groupies by E~.) On the light of respect we held your writing, believe me, John, a letter from you is enough!-Ed.)

(Letters continued from P. 4)

Best, you try to reduce the incidence of Greg Shaw Meltzer emulation in your Gazette, as it Hollywood, Calif. , currently seems• how sha'II we put this? -

patronage of M. Cerf in my sa,ils., I am working on a monstro solo demo done in actual recording studios. Although it's on'ly me and my trusty synthesizer Lucille, I sound like Phil Spector, with worlds of reverb on everything! Also, I am attempting to talk a local would-be

overly high. How are Fl.ossie and Ivory, then? With the kind, if reluctant, if sporadic,

though ,' for reasons cited previously, that (_Greg Shaw is the Editor of the fabulous the '70s will 'not see a pop explosion Phonograph Record Magazine, available similar or even on the same scale as that . free at music outlets throughout the big we had in the mid-60s. More and more Boffo, and throughout the country. As I'm coming to believe there will be some · you know, Shaw's contribution to the 4 \

(Letters continued on P. 5) SHAKIN' ST. GAZETTE


September, 1974

would be like the Raspberries doi~g a Beatles thing. After our band proves it can make a hit single & a fine ,album, t~y · will bypass this type of talk." Shakin' St: What, then, is' Black "' Sheep's audience? JT: "I don't think that we will have the following of a Sabbath or Deep Purple essentially but rather one of a Free ,. or Led Zeppelin where there is I more ' going on than just the mystique of energy. .That is to say, there is more , musical depth in Sheep's music." Three years have passed since Blacl~ Sheep began playing local clubs and their , 1 policy of non-compliance has paid 'off. Among some of their accomplishments is, \, of course, the single, ,"Stick Around/ on Chrysalis. Black Sheep are the _ only .'• American act to be signed to'· ,this all-British label housing the likes of Alvin '.l . Lee (with whom the band just compl.eted 1 their first national tour), Jethro Tull, Proco! Harum and Robin Trower. ·, As authors of original material, Black 3 Sheep has shown that they can stand as a separate entity. On their forthcoming album, all tunes are their own, with the possible exception of one Fraser/Rodgers song, "Women." Seemingly a tribute to the group the Sheep highly admire, Taylor says, "Women" _is a song that has

r and heavy kind ·the :custorners liked. This "sleaze bar," as he referred to ·it, had booked Alice Cooper in their .fledgling days. As he told me his favorite regional band, Black Sheep, _was playing ,there tonight, it all connected and I was rarin' Already halfway out the door with one shoe on and one arm in my shirt sleeve, he brought his excited dissertation to ,a close. His last statement was to go.

joined), Brute Turgon (bass) and Rori Rocco (drums), pushing Lou up ·front ot specialize in lead vocals, the group In January of 71, the group began rehearsals. Their sound was ' not one that would enjoy immediate local success--:-- Rather than emulate the usual heavy metal Led Zep/Deep Purple sound or the , boogie Doobies/All mans sound, the band became Black Sheep.

chose the not-so-overtly hyped sound delil(ered · in a half-hearted whisper , adherent to the likes of Spooky Tooth soming from his turned head and said, and Free. "They sound like Free." "Christ, one of This past summer I had a chance to my all time favorite groups," I exclaimed. talk with Black Sheep's manager, Jim But he knew that. Taylor, about that sound. A native of Black Sheep ·are five stellar musicians Buffalo, Taylor was an A&M Records from the Rochester area. Their boundless promotion man working this area for spirit has lead them into a search for an three years. Duririg an interview ir] his identity to keep them from falling by the Franklin St. apartment, I asked him if wayside of countless local · bands. there was any uneasy feeling about Witnessing any one of their performances, sounding similar to a group like Free? you'll wonder, with such top-level energy Would this hurt the over-all appeal of the as they exude, how their bodies can stand group? such a transferral of power. JT: "No, I don't think so. I feel Free Black Sheep are a band that has seen never really caught on as a group from an name and personnel changes within the album standpoint. They wtire a really fine last' four years. Originally a seven-piece band that never got big because of a lot band called Poor Heart, there remains of reasons, the business for one. ' two members in the Sheep: Lou Gramm "I don't feel that people will walk (then lead singer and . drummer), and . around saying 'this' ' sounds like 'that' Larry Crozier (organ). With the addition- • after hearing Black Sheep. Everything of Don Mancuso (guitar, 17 when he comes from something previous and it

Black Sheep: The Power/to Heal lt'_s a ,typical Fr,iday night of Spring in the Big Botto (appropriately dubbed the _by Ron Camacho Armpit of . the E'ast) . 1 'm .sitting around sound . like left:over trilcks from their wondering what to db for excitement. eari'ier albums. .: Picking up ·-the paper, there's no concert l:he college scene was even worse, still t~ be· found ,' which is about par for . the mix~d (n the annals ofhipp iedoi:n. 'Losing Pit but it's just as well for the am_ount of the opportun ity to book Big Star ,(little . excitement ·gained from the ,double and kno'.v.yn star group with' ex-Boxtop Alex tirple bills this year. Such new and Chil_ton whose labe l, Ardent, has , a hard . qism~I. -The :_ point . is; where. d_oes a lock 'n' roller w ifh a -thirst for something n'ew and exciting _go? . . · Continuing to ·peruse the paper, I find amusement in the thought that I ,could always go th pof~' flick, 'but these past . few weeks Vve _almost become a regular )ttender. Searching ,. further, my eyes . glance over . th,e 'lo'ccjl disco ads, with. or' ' : ·""·. . .,.,

_:,-_ . . withouUive \.entertainment, knowing full 0ell a night ~t one of these places would mearl perpet:ration , of 'eith'er the Top,..30 or the hipp1e _bl~zrcx:k syndrome. . i SuddenlY~my eye~ come to a halt. An ad reads: "T,oni9ht'. at McVan's ... new Ghrysal is rec,ordi,ng 'ar'tjsts, Black Shee·p." Now, feeling this way., the word "new" .· h.ii: me' like a piledriver. All of a sudden, · (n walks ~y -'Very ~fose friend (and Editor 'of Buffalo's only ro~·k ·'n' roll magazin~. t,he .Shakin' St. ,Gazette), Gary ~perrazza(!),' wi-th 'a snide look hoveri~g over his greetings. Finding ~-ut I had nb plan~ for that njght, he began an in-depth description of a section in . Buffalo's upper west side c;lled Black rock. . There was, he continued, a'' dub .there . that catered to the bikers and frat kids inhabiting the area by booking rock 'n' roll acts, the hot · SHAKIN' ST. GAZETTE

exciting acts as Tucky Buzzard- nod- ,- time with distr,ibution and pron:iotion), ' Savoy Brown- nod- Deep Purple- nod: ·. the Un iversity of Buffalo brought Hot Bedlam- nod- Black Sabbath· nod- Dave · Tuna (up and coming act, ,huh?). Buffalo Mason ' nod' Strawbs- seminod- with the State '. answered the call by bringing Roy only saving grace in the 40 minutes of the ("Yes, he's ·the greatest guitarist "in the James; Gang, but even that wasn't 1 world and no, he doesn't know ,what the anything any hard-core rocker could get hell .' to do with . it") Buchanan to replace his ·rocks off to. With top promotion the ;;previously booked Blue Oy~ter Cult , agencies like Festival East, Harvy and With concert halls like Kleinhans \that Cork'y'· Productions, and Theatre Series shies away from r.ock 'n' roll .bands with a (booking basically MOR acts like Anne . · 50's purita~ical mentality equalled only Murray, / the Carpenters •_and Gladys by the sheer elirnance of the hall itself), Knightli;' they really can't be blamed for . the ' Aud (nickname<:! tpe ' 'B.arn, ''far their-· i methods which have been obvious · reasons), and the _ , Century successful: book top ' acts with a wide Theatre ("the ·Bijou of Buffalo"), the range of appeal hence not really satisfying scene even !ooks bleaker but, hell., if teenagers who are a bit harder to please . there's a good rock 'n' roll barid up:there So let\ face it: where are Savoy Brown, · onstage, you can almost ignore the Deep Purple or Black Sabbath doing that . uncomfortable surroundings. New halls they ,haven't already covered in the last for concerts (Niagara Falls Convention five albums? Each have new albums that Center and Rich Stadium) are cold ·and

Sheep's camp concerning what to do with a monster of a song they have written called·"Power to Heal." It seems there are two people: namely Todd Rundgren (producer for Grand Funk) and Jimmy . , lenner (producer for Three Dog Night), both expressing a great interest in th.e song. Taylor remarks, "We were thinking 1 of selling the tune to Grand Funk who 1 ' / . would pay , $30,000 for the rights and $30,000plus in royalities. It would be the kind of a deal Leo Sayer worked out with Three Dog Night, by giving up "The Show Must Go On .," A move like this could be advantageous for obvious reasons: money and exposure. Whether the Sheep decide to cut it themselves or not, it's assured that we'll be hearing this powerful tune in the near future. Says Taylor: "this. could be the 'Hold Your

' ·Bassist Bruce Turgon

· -Lou Gramm been sole.Iv consonated actually as our own. We · have done it so intently, rearrang!!d and resurrected it so that the only thing that keeps it from being our own ,i~ the. fact that Free wrote it. Like Nazareth doing "This Flight Tonight" on Loud N Proud." · As for -the single, "Stic~ Around," it was written by Lou Gramm and Bruce Turgpn who Taylor calls "our hot combination ." Maybei, although alJ the members have had a hand at writing. For example, Ron Rocco wrote a piledriver of a tune called "Frieght Train." Lou & Bruce wrote two very slinky ballads ("It Was Wrong," "Let Me Stay") and "Broken Promises,." a message song that says it all, which are slated for inclusion on their album. There is a bit of confusion in the

L.,ate Flash : Black Sheep have just signed with Capital Records and this is the label that will release their album and next single. The 45 is due for the week in October and the album to follow l1iter. Their manager Jim Taylor said the reason .for leaving Chrysalis was for a better deal and more promotion ·which the gr_oup needs if they're going to make it. '' Let's hope his forecast comes tru·e. We've never had a group this good that we can be proud of, coming from this area. Black Shee·p play a brand of rock 'n' roll that one can never get enough of. Ifs as hard, heavy and downright sleaze as rock could ever be. Their ballads are as sweet, moody and sensuous as any I have heard. Their power is one that does won'ders for a rock 'n' roll ·soul.

-The Sheep .~trutting their stuff

-Lou, reaching for the right ~ords. Head Up' for Black Sheep." But then again, the business may _well be the deciding factor in the end. For t.he future, Taylor has high hopes for the band's al bum which, as he puts it, "is like our second or third album as it has taken us that long to get it out." Well-planned concerts, " in a competitive situation in 4000 seat halls" is their first plan of mass exposure. He feels "with bookings in 30 or 40 stretches" behind the likes of Ten Years After, Grand Funk or the Raspberries (some probable link-ups; TVA are on Chrysalis and Jimmy lenner also produces the Raspberries) would be the way for the boys to "break in a year and a half." •Ron Rocco, in a classica snub-nose pose -Don Mancuso -



-Guitarist Don Mascus bends over backwards to please his fans.

September, 1974



~OUT WITH THE TRUCKERS ~- AND THE KlCKERS AND - •· THE CGWBO' ,6" . an historical look af Coura+ry Rod<.





The true fountainhead for the Rampage" "Smokin' in the Boys Room" burgeoning field of tot power lies in the "Teenage Love Affair," "I Was a Teenage .. triumphant wail of the minikin chi'ld as i fill-in-the-blank-" etc. All reveling in a slips outta its moth!!r's wqmb. ~n that one. false aesthetic - an aesthetic set up by instant of pure katzenjammer trilling the . cranky old rock writers and rock stars, tot begins its journey to adulthood. So if .. because they know that never again can one had to pin down the absolute they experience the thrill of their first 'beginnings of tot roGk they'd have to go fuck, their firs't chain-fight, their first all the way back to the womb. Now that bout with the great God Booze and his that's out of the way let's get d6wn to · fait.hful companion Vomit, and they brass Pampers! Why tot rock? Why tot resent it so much t.hat it's all th~y can power? think about. Continually lusting after First off, judgi_ng from the passing of teenage women, constantly reaching back the American teenager as an American ihto ari elusive teenhood they think they institution, there has to be something to can only remember what it was like. take its place, and the ones'that are acting When they were there, they were. too like essential teenagers are the tots. The busy experiencing it, they didn't h~ve the · "in" crowd now claims 9-12 as its mean time to stand back and say "krist, that's age-anything over that and you're neet... " - and then came the age of already over the hill. The teenager no awakenin.g. . The age of expanding longer functions as a cultural mode consciousness. The precursor to the age because he's been exploite 1 d to the point of apathy. of becoming a self-aggrandizing legend. As more and more un-teens looked , Example: just take a fleeeting glance at over their shoulders and sayv thanhe fun

It'~ not exactly what you'd expect a

Cody and the Airmen are probably one of the best of the California groups now performing the hybrid sound usually called Country Rock (and called not so affectionately "crock" "by a few) and are at or near the top of a list of similar groups from the San Francisco/Berkley area . The first San Francisco band _to make country music a part of their po.pular sound however were the Grateful Dead. The Dead came out of SF during the psychedelic period of the late 60's with the Jefferson' Airplane. They quickly picked up a small buy loyal following, and J impressed many with continued on page 14

rock 'n' roll star to be like .

The ~urly haired, bespectacled lead singer intro'duces him' "The twenty-nine year old perfect master is here!" And out trots George Frayne,· qtherwise known a·s Commander Cody, an oversight, beerbellied tough guy in jeans and ·a dirty T-shirt, to lead his band - the Lost Planet Airmen - in a fast and frantic account of how he drove his pappy to drinkin' in a hot rod Lincoln . It's not exactly what you'd expect unless you've seen Commander Cody and the Lost Planet Airmen, and found out just h~w much fun country music's sweet harmonies and steel guitar mixed with ~aunchy rock 'n' roll can be .


some of the -songs constantly flashing across the airwaves, the Sweet's 'Teenage I

continued on page 12



September, 1974



world's been waiting for, who can argue with Tony De Franco blasting out "Abbra Ca-Dabra" - can Bloodrock? No! Can Black Sabbath? Nol Nobody can, because like the old show biz addage goes you can't possibly go wrong with kids and dogs. (Which brings up an interesting digression on the future musical happenings of man's best' fr iend - what happens when things get to the point of Canine power, when they run Lassie for President of Columbia Records???) When a tot trots onto the stage in front of a group of oldsters he can do no wrong. Evidence:' remember I Art Linkletter's House Party, it was on so long because he used to interview kids and they'd floor the audience with their honesty - s0metimes to the point of cruelty, which is one of the m,ore refined beauties of kid consciousness. It was the kids that made, that show, not Art's daughter thinking she was a butterfly and jumping outta window ·- so what's good taste, it's all relative to your envirohment, right? Currently, there have been a rash of kiddie krusaders. Not too long ago _a little country girls named Tanya Tucker took the seedy world of C&W by storm. And then came the totlqueen of .'em all. She_'s got a name that drips olive oil, a brogue which sends shivers up your spine,"and a voice. that'd knock the knickers off a Judy Garland and Liza Minelli alike. Her name is ·Lena Zavaroni and her first vinylathon is entitled: _Ma, He's Making Eyes at Me (Stax/Columbia). Not since Mickey Dol,enz gave up being Circus Boy to become a bona-fide monkey has tot power been given such a boost in the )Gerbers. This here . lass is a gas and her singing is nothing less than a gutteral shriek capable of 'sending chills down your aural chann 1 1s in paroxyms of musical emollient. Quite the pleasant change from the tenebrous Orwellian dirges continuously being served up by strung out ectomorphic wild boys. It's about time they got some really classy PG consciousness into this thang called rnck 'n' roll. Judging from Lena's first outing and what happened to my sottish nervous system when this platter plopped onto the Edison machine it'l_l hardly be her last. Gasp. A star ,;is " born. The title toon is invas.ive - as in .Jeezus she ·can really sing. It's especially effective if you were lucky enough' . to catch Lena's performance 1 on the Tonight Show a few weeks back . . It _was the night Burt Reynolds gt.:est hosted. What a scene "that" was~here was L~na eating Ravioli September, 1974


i I I

. I









Orie of lthe most formidable films

say Max is f, tleked. He hops into his limo and careens about the countryside like Marlon Brando on his Triumph. Max comes upon a 'small lake. He looks at himself in the muddy water. He then notices a string, /attached to it- is a small crab. Max toys with it, finishing his act of confusion by wasting it with his b.oot. A small kid suddenly appears-is this Max's consciousness- arid complains. Max says, "Whatla ya gonna do about it, I'm bigger than you!" The kid gives him a real mean stare and says: "Boy, I can't wait till ten - year olds can vot'e ... " The beginnings of tot power are right there. The more advanced we get as a people the q~icker the kids grow-up and the quicker i:hey grow-up, the quicker teenage happe.ns. Of course, this is just one example of tot power. There are dozens more. But, let's get back to tot rock - the Age of Chill.un. There have been lotsa tyke -trillers. You can go as far back as Shirley Temple and Judy Garland - when she played Dorothy she played the first liberated tot whether she knew it or not - and get tot rock . 'Remember that group of blond Eloi-like boys called the Bantams? , How 'bout the _Cowsills? The Partridge Family? The J-5 before they grew up, and how about Donny Osmond? Lester Bangs thinks Donny's the real Lou Reed and he just might be right. And Maria, ummmmm Maria: The De Franco's are the heavy metal band of tot rockers that the

real teens were having they set up a about the rise of . tot power is an syste~atic destruction of .that purity of 'American International sleazo-cheapo essence. How? The major attack came in called "Wild in the Streets." The whole the form of the corporate structure. They crux of the movie concerns itself with the made teenagers marketable . They delved transition from teenpower to tot rock . into demographic computer ananlysis, Max Frost is the film's hero, he's an economic statistics, and a myriad of other angst laddened anti-hero who launches a prngramming ·possibilities. They campaign to get the voting age lowered to programmed the teenage conscieusness 14. His slogan is "14 or Fight." Through into a generation ,of teenagers not yet a series of political and social conceived. So a kind of cultural phasing manuverings Max and his band - one of took _ place whereby the whichhasahookforanarmalaMo,ulty twenty-year-old-consciousness became a from, the Barbarians - get congress to pass polyglot of confused frustrations which legislation providing for ' a 14-year old eventually led to attainment of status quo vote. Actually, what he does is drop two adulthood; and the teen consciousness or three gallons or acid - 'member that? - slipped into future shock and became the into the water supply of Washington, get twenty-year-old-consciousness; and the one of his older group members elected ·sub-teen a.k.a. tot consciousness became to the Senate - played quite convinciQgly the breeding grounds for a mutated strain by Diana Varsi - and then has the bill - actually a lot purer than the old one of passed whilst fill of Congress ·is stoned punknacity and teen-ness. out. Then Max runs for President and As far as all this being a phenomena, it wins. Immediately, he sets up old folks really isn't because tot power has been -... concentration camps, feeding all the surfacing at a slow but steady pace in ·oldsters daily doses of acid to keep 'em man:-t areas of art and entertainment for a quiet. long time. It's been in literatu Fe since ._, But, Max is bored. One day he walks time immemorium: mostfy in the form of into his seedy apartment and confronts latent pedophilia - perverse, perverse, his blond wife gently conversing 'with a perverse. It's been in celluloid for some small tot . Max enters. He fondles the time as well, take for example such child a bit. The ch ild gets into some noteworthy films as " Lord of the Flies" · conversation, finally asking Max how old "Children of the Damned" "The hk is, when he replies that he's twenty, Innocents" and any Godzilla film you'd the tot gives 'him ·an evil leer and quickly care to mention. pronounces: ,''That's old!!!" Needless to 12

, I

-Ttie tots trash the Shakin' St. office. Note befuddled staff members at left. with chopsticks - she's just returned from Japan so's she's supposed to be an expe'rt all the while fending off Burt's aggressive hand which kept seeking out her knee cap like some demented moth seeking out a .wayward flame . And when you first heard her b~ogue . . . hubba, hubba. 1

Turner's under a Spectorian noise _montage was always considered the best because you could just feel Tina reaching down into the depths of her soul seeking out that extra burst of energy that'd make it possible for her to leap over that "wall of sound;" we've heard that MOR heavy mental band Deep Purple attempt a white-noise version; and we've even heard Joan Baez belt out a respectable version on the fabled "T.N.T. Show." Be that as it was, Lena's tottering wailing makes all the rest sound like a street choir of garrulous wino-pervs tokin' 01.:Jtta their paper bags and coughing up their age, while singing "Nearer My,God To Thee." Yeah, she dat gud, s'matter a fact she's brilliant. If they ever do a remake of the Wizard of Oz h.ere's their Dorothy an' I wanna be /tier dog... (Next issue: Will the real Jay North, Luke Halpin, Jon Provost, Sally Field, aod Davy Jones pleeze stand up or _Tot rock when a teen was a teen . . . later.) · 13

Of all the songs she does on this record, the two that display .her crooning proclivities to best advantage are: "Take Me Home, Country Roads" which shows her uncanny ability to illicit countrified anxiety as good as, if not better than Tanya Tucker - already over the hill; she uses her voice in echo, like Annette Fur;iicello used to use double-tracking for her Beach Blanket ballads - somebody once told me that Annette and Frankie were the original John and YokQ - and that ain't no easy feat if you don't wanna sound too, too pretentious. However,Jhe best, as always, is saved for last. We've all heard "River Deep, Mountain High" a thousand times, Tina I I



\ Unfortunately The New Riders have ' been rather pisappointing since then. ~heir ,.fou rth album, The Adventures of Panama Red, was unspecial and typical (though it , was interesting to hear Jim Dawson harmonizing with Buffy Sainte-Marie) and the live album, Home, Home on the Road, was rather sloppy and .predictable. The most . recent news on \ the New Riders is that Dave Torbert has left and been replaced with ,Skip Battin who started out in a duo called Skip and .Flip, later joined a west coast band with Jim Ibbotson (later of the Nitty Gritty Dirt Band) called Evergreen Blue Shoes, and spent · 1970 , through '73 as a member of the final version of the Byrds. Though their appearances on the Midnight Special in the past few months .show them worse than ever, Jim Dawso~ has , been ,promising something new and different on their next album. , When the, f'-!ew Riders began touring on their own the act 'most. often billed with them was (you guessed it) Commander Cody and his Lost Planet Airmen. Truckers and kickers of the first degree, Cody .and the Airmen are a no-nonsense (though perhaps a little silliness) group of extremely talented mwsicians. They know· how to rock and they seldom waste time in doing it. The band's sets on stage and their albums are tightly constructed groups of trucker songs, cowboy tunes, C&W ballads and old rock 'n' roll numbers, each one less than four minutes long (no somnambulistic solos here!) and calculated to provide a good time with loose down-home swingin' music. No frills, just music. Though their first three albums are good examples of the band's music, , (they are Lost 'in the Ozone, Hot Licks, Cold Steel, and Trucker's Favorites, and Country Casanova), the ·band is at its rockin' best on the latest release Live From Deep In the Heart of Texas, recorded d!Jring four performances at what Cody calls "the world's biggest honky tonk," the Armadillo Worfd Headquarters in Austin, Texas. Here , they romp through 13 drunken numbers . ranging from live ly pounding vers ions of old rock songs like "Little Sally Walker" and "Riot in Cell Block No. 9" to sentimental C&W ballads like Buck Owen's "Cryin' Time" and their own "Down to Seeds and Stems Again Blues" (which is even better here than it was . on their first , album) . Through out Billy C. Farlow's vocals are fitt ing, Bill September, 1974 ,

Riders were in the beginning almost 'totally dependent on the Dead since not only was Garcia in both bands, but the bass and drums were filled in by the Dead's Phil · Lesh and Micky Hart. But being the lead off band for a Grateful Dead concert had · the advantage of putting t~em before a large sympathetic audience . · Bassist Dave Torbert and drummer Spencer Dryden (from , the Jefferson Airplane) .joined in time for the New Rider's first album in 1971. The -New Riders of the Purple Sage is still one of the best of the San Francisco country rock . albums. The songs, all written by Dawson, are· consistently good - with competent tunes and poignant, emotional lyrics. Each song tells a story, with the subject ranging from - ·love ("Portland Woman") to dope smuggling ("Henry") to train robbers ("Glendale Train") and ecology ("Last Lonely Eagle") . Dawson sings them in an emotionally expressive style learned, no doubt, from Gram Parsons. The band backs him with a smooth country sound based on Torbert's solid simple bass and Dryden's pounding rock backbeat, and deaturing Garcia's steel and banjo playing and the fitting but unimaginative leads of Nelson , , Shortly after the album came, out the New Riders made a complete split from . the Grateful Dead with Buddy Cage joining the band. Cage, a Canadian, had been a member of Ian & Sylvia's band the Great Speckled Bird when the New Riders met him during the Trans-Canadian Festival Express. When Garcia and the New Riders . split Cage replaced him bringing an aggress.ive, sc reechy and often imaginative pedal steel sound to the band. Since then the New ~iders have released four ,albums. Powerglide was the first to feature- the song writing -and vocal talents of Dave Torbert, along with songs from other sources: It is somewhat of a ;hodg~podge in fact and because of this doesn't hold together as well as th e first or;ie did. Never the ·less they showed they were willing . to experiment. · Their third album, Gypsy Cowboy, was a.gai n an excellent work coming th e smo oth sound of the first album with ·a more rocking sound. The album ha s a full ric h. sound which is somewhat unique among country rock albums and their version of the standard "Long Bl ack Ve il" is still one of the most haunting reco~dings of that song ever ma de .

Above, Jim Dawson and his b1,1ddies. At right, Jer~y Garcia at Monterey in '67 .

' '

( 'Kirchin's lead guitar is tough, Commander· Cody's piano boogie woogies, Andy Stein's fiddle and saxophone , thr ills and Bobby Black 's _pedal steel chills. But most importa.ntly ·• John Tichy (guitar), "Buffalo" Bruce Barlow (bass) and Lance Dickerson (drums) provide ·a solid rhythm that is the easies,t thing to dance to since swing was the rage . For that is their secret. As they proclaim in one . of their most danceable tunes "I ain't never had TOO MUCH FUN!" Back in 1966 when the Gratefu I D.e ad, Jefferson Airplane, and Big Brother and the Holding Company were growing up in San Francisco there was another young group that played w ith them often at p_laces like the Fillmore West, called the Charlatans . When a year late r the big three hit the big time the Charlatans missed and the ir d rummer quit. He was sick of the blaring, ove r powering single minded rock sound. His name was Dan Hicks. It took a couple of years, but he got a sol id worki ng band together and in the course of four years and ' as many albums they succeeded in do ing their kin d of music. Then , in the summer of

\ 1913, Dan Hicks a_nd h_is Hot Licks' split up. , · Dan Hicks and his Hot Lick$ 1 wer~ not a Country Rock band, buv more a fusion of styles and modes which· were as varied as they were numerous. However among the influences (both traditional and progressive jazz, show music, swing, etc.) were definite ·doses of country · and rock. And when they chose to let these styles ta ke '.the fore they were, a~ tasty a Country Rock band as San Francisco (or any one else) ever, heard. They were always acoustic, quiet, intricate and rhythmic. They also had a sort of postured silliness which made some people loyal fans who never really appreciated the intelligence with which they made the ir music and turned others off in spite of it. The sound was based around Dan Hicks hot rhythm guitar (he had a nice one with a fancy floral pattern and a microphone m-0unted ona goose neck ( coming from the side and curling back .- to point at the so~nd hole). To assist him be had J cfmie Leopold on string bass and , for the last album, a drummer Bob Scott . Fi nely crafted instrumental leads were handl~d by John Girton on guitar and dobro (who rep laced . an 15

Ca I if ornia_ Cou_ntr:t Roe k_,t~=~ t,) The next album, American Beaut;:-

their constantly changin g an d progressing sound, mixing rock 'n ' roll , traditional blues, and to a lesser extend folk rock with a physically overpowering vol_ume. They helped make free con c;e rts fashionable, and they performed with philharmonic orchestras before it was the "in" thing, (they once traded versions of the ' 1812 Overture'· with Lucas Foss and the Bu ff al·o Philharmonic). Though many of the mem be rs of the band had started out in folk and country bands (most notably lead guitarist Jerry Garcia who played ba njo in various west coast bluegrass ba nds ) country music didn't figure too heavil y in their sound until ' 1969 wh en they added steel guitar and began usi ng more a<;:oustic guitars and country harmon ies in their recordings. The fi rst of the De" 9 d's country albums, Wo rki ngmans Dead was one of the fin est albums of 1_970, with a light happy ton e ove r alI (in such tunes as ' Uncle J ohn 's Band" and ','Casey Jones' ). balanced by more serious and reflective numbers li ke "Bl·ack Peter ."

was more of the same. Whil e those fans of the Dead who picked up on them at this time loved the album, many of the old fans who ex pected -the band to keep moving and pro gr e ssing were disappointed . Si nce' then th e Grateful Dead have ··digressed into a jam band, perfo rming fou r hour sets of extended versions of 6 1d mater ial and record bre aking· (in length) in strumental solos . (I wonder if t he fan s wh o six years ago sa id "I could li ste n to Garci a fo r days!" ever thought they 'd be put to th e test?) , Nevertheless they now have legions of fans who eat up every note . Back in 1969 wh en t he Dead were turn ing to country ml'.lsi c an d Jerry .Garc ia. was learn ing to p lay the steel guitar , he met up .wit h a talented young singe r-so ~g writer named J im Dawson. They played small clu bs fo r a while but looking for a full er so un d and aiming for a more t raditi ona lly country sound than t he Dead, Dawson, Garcia , an d guitar ist Dav id Nelso n fo rmed the New Ride rs of t he Purp le Sage. Th e New

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