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vocals (of Ayers' touring group 747) and the standard studio brass section used by many British groups: Howie Carey (tenor sax), Dave Caswell (trumpet) and Lyle Jenkins (baritone sax). / . ' The foremost cut is probably "Shouting in A Bucket Blues," a hymn to solitude and misanthropy featuring Steve Hillage playip.g a perfect fast, clean and tight guitar solo at the end. "Decadence" \ is a long hypnotic no with lyrics denouncing the current state of pop music and its' followers: "Watch her out there on display/ Dancing in her sleepy way/ While all her visions start to play/ On the icicles -of our decay." Is it ~ny wonder Ayers is bitter? "Oh Wot A Dream" is a catchy l'il tune with some intriguing makeshift percussion. "Don't Let It Get You Down" is a pure piece of rock didacticism. This is an album, though not always rock, will certainly appeal to rock fans of all types. Frankly, it's refreshingly good, and if you have a fiver to blow and you gotta buy an LP, pick it up. You'll be pleasingly .surprised. ' Andy Cutler

While not resembling the creative electric rock 'of the Move, the experimental ELO, or the worldly excesses of Wizzard (a problem with trying to be too much all at one' time), Boulders stands alone in its own sphere as a bonafide masterpiece. -Gary Sperrazza RS: I T he Move/E LO/Wizzard Appreci'c1tion Society is still going strong, changing its format to a fanzine published 6 times a year. Please address all inquiries to: Jack Springer, MELOW Society ·1422 Northland Ave., Lakewood, Ohio 44107 and if you mention that this reviewer sent you, it'll be appreciated. -G.S.

the volur,ne~level of Side I, the music suggestive of "When you wish upon a star..." a fantasy? A love affair that never existed? A condemnation of Caroline, even after her death, complete domination by the male. Some tasty guitar work is featured on this bizzare ending piece. · Withoutattempting toendanger my~elf with su'perlatives, Lou Reed has presented us with a masterpiece. It works on all levels, musically, lyrically, thematically. Another Sgt. Pepper's? Who knows. Another' Tommy? Not quite. But Berlin is definitely worth listening to. It just might be one of the most significant albums of the year. -Michael Sajecki

"Wake Up" is more in the older Move style, with. percussion being that of a hand slapping in water. Woody finally gets down to business in "Rock Down Low," a lusty locker with calculated breaks and solos.k~ "Nancy Sing \.Me A Song," another ' Move, flashback and "Dear Elaine," a sentimental ballad and current single doing just fine on the English charts, round out the side. Side two is without doubt the more exciting of the sides. Here, we find a lot concerning Roy's rools) Wizzard is predated and he even manages to get a little crazy, to boot. "All the Way Over the Hill/Irish Loafer" is a tight rockin' tune with a surprisingly accurate impersonation of the Beach Boys singing background vocals. "Miss Clarke and the Comptuer" is the sad story of a computer who falls in love with a secretary. The computer sings the song, pleading to the engineers not to take its' heart away. Roy's guitar, mandolin and sitar accompaniment gives the song a child-like fairytale -aura and as the computer slowly dies, so does the song; to be replaced by a touching reprise, giving mock tribute to the lost love. Roy struts his stuff in "When Grandma Plays the Banjo," a hi-energy country stomper, giving it a rodeo feel, with his story of Grandma, who shut down all the local cowpoys with her fine banjo playing. Short solos abound with thunderous applause after each (Imagine Wood, alone in the studio ~t 3 am, over-dubbing all this · applause and characterizations). The final segment is a rock medley, "Rockin' Shoes," "She's Too Good for Me" (a perfect Everly· Bros. impersonation here}' and "Locomotive," pre-dating Wizzard back to '71, without the characteristic intense, echo-y production that adorns Wizzard's Brew. "Locomotive" brings the whole album together, a finer rocker could not be found anywhere. . If rock 'n' roll is primarily a spirit, then Boulders is a rock 'n' roll album. Subtle teasers abound in each song (horn lines at the end of "Locomotive" match those in the middle of "Meet Me at the Jailhouse" in Wizzard's Brew, ELO references in "Rock Down Low" and "Irish Loafer," subtle background vocal impersonations), and Roy has used this awareness and grasp of the spirit as a lacing for all of the tunes on Boulders.

Whaddya doin' Nov. 3? Wanna find out what Led Zep and Muddy Waters have in common? UUAB proudly presents Muddy Waters and guest Hound Dog Taylor in Clark Gym at 8 pm. Tickets are $3-students, $4-nonstudents and night of concert. Purchase at Buff State and UB ticket offices. , Gerry Rafferty recorded his solo album after leaving the Humblebums, formed Stealer's Wheef, split, then returned to the group just in time to see Stealer's Wheel dissolve for good. Never fear Wheeler fans, as I have already mentioned, Rafferty was one of the main men of the group. The othe 1 r begin Joe Egan. They were the singer/songw,riters of the group, and for all practical purposes. these two were Stealer's Wheel. Both are on Rafferty's album. . Can I Have My Money Back? is a record which will appeal to·many tastes. ,The album is so well produced and arranged, that even though this album is far from being significant in the music 1 world, it will do well. Rafferty gives us a good deal of diversity in his efforts, and offers us shorter songs as not to offend or bore anyone. If there is a tune on the album you don't particularly care for, don't worry. It will be over in a couple of minutes. Slightly reminiscent of the battle plans of the Beatles. Aside from Rafferty and Egan, along ',~ with a token appearance by ex-Wheel Rab Noakes, there are no known musicians on the album. They are a competent bunch, however, and at times they 're pretty damn good. But the primary focus is on catchy melodies, rich harmonies and

Roy Wood: "Whaddya mean, you no like-a my rai-cords?" the Move had a two week holiday) to · 1972. Boulders is a showcase for Roy's amazingly numerous talents. On it, he not only played electric guitar, bass, piano, drums, french horn, acoustic guitar, lead and all background vocals, cello, clarinet, tenor and baritone saxophones, banjo, sitar, string bass, oboe, recorders and percussion, he composed, arranged and produced the whole thing, and even designed the sleeve and did the front cover painting. Boulders is, without a doubt, the SOLO-est solo album ever made. The songs are those that were not used, for lack of space, in the Move'~ already recorded works (The Move, Shazam, Looking On, Message from the Country and singles too numerous to mention here). So Roy thought he'd record them himself. 'I'Qe material ranges ' from country to rock, with a little jazz, rock 'n' roll, and blues sprinkled in, and offers insight to the workings of Roy's mind then in relation to his accomplishments now. Above being a collection of highly enjoyable tunes, Boulders is like lis_tening to a series of hit singles. Side one opens with a reflective slow guitar prelude and a contrasting smash as the first tune, ' "Song of Praise," blasts forth. "Praise" catches Vf ood in a quite different light as it is a happy folk-rock ·-a.ine not unlike those sung at folk sermons on Sund~y. The chorus is a joy, with Roy's over-dubbed falsetto background vocals adding to the happy feeling~ contained.

Kev•in Ayers BANA~AMOUR-KEVIN AYERS (Sire) Kevin Ayers is rather enigmatic; the great minds of psychiatry might find something definitely wrong with his preoccupation with bananas. The inside cover is a picture of two longhaired evening-jacketed men playing a game of chess in a posh club with· the chessmen being pieces of bananas. Ayers has said in recent interviews that his banana .fetish stems not only from the obvious sexual connotations but also from the absurdity of the fruit (ie. the world's oldest joke-the man slipping on a banana peel; banana smiles, etc.). '- Aside from Ayers' banana idolotry, there is his music. Having founded the Soft Machine, he left after two albums and S.M. progressed from ,pop-rock to straight ahead jazz. . Ayers recorded several solo albums, never released here, probably because the people upstairs don't feel he's hit material. His voice is deep and not terribly melodious but in context with the songs he sings it works out well. On Bananamour, he is aided by, among others, Archie Leggett on bass and

Roy Wood BOULDERS-ROY I WOOD (United Artists) "There are solo ,albums and there are solo albums..." -Melody Maker ad. Roy Wood, the driving force behind the Move, Electric Light Orchestra, and currently Wizzard, has been creating hit after hit for eight years without receiving the recognition he deservi:is as probably the most important individual ever to come out of the British music scene. His combination of taste, talent and creative feel for his highly distrinctive style of , music is at last given a spotlight in his first (and hopefully not the last) solo albl!!_ll., Boulders. ' Not that he's having problems with his current band, Wizzard: their 3 singles ("Ball Park Incident," "See My Baby Jive" and "Angel Fingers") stormed up the British charts to No. 3, No. 1, No. 1, respectively, and the , album Wizzard's . Brew was h~ghly acclai~ed by critics and "-- fans I alike. · Actually, the material , on Bo~s was recorded from 1970 (when

Rafferty CAN I HAVE MY MONEY BACK-GERRY RAF FERTY (Blue Thumb) Gerry Rafferty is not as 9bscure a name as you might imagine at first. If you recall Stealer's Wheel, the widely . acclaimed soft/hard rock band with somewhat popish appeal, then you've heard ofG-erry Rafferty. Stealer's Wheel, the group who have risen and fallen, risen and fallen etc. disbanded and regrouped, disbanded and regrouped etc. at least five times in the space of six months.

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STnAIT, 18 OCTOBER 1973

STRAIT , 18 OCTOBER 1973

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