18 OCTOBER, 1973
rritroduci~- 1'-5hakin' Street Gazette
The Revival Of Teenage Music - .It's About Time Part I
draws from '3 closely related yet distinct mu·sic styles: rock 'n' roll, rock (not as basic) and -pop (not as electric/gritty). It was the music that was the thrust of these statements. Sometimes light and airy, at other times abrasive and rockin ', there . was a strongly energetic feeling in the music that helped to make light of the adolescent situation. · And what situations they were: Teenage music, on the other hand, draws from the trials, tribulations, joys, sorrows, frustrations, problems, and general feelings about being' teenage. Things like falling in love, falling in•sex, parent hassles, school hassles, timely complaints like getting grounded, losing a fight, fear of growing up and lots of others. It was the combination of the Gleason-ism (editorial comment) "unless a situation cries out ' for it. We'll inform, entertain and surprise you. Promise. This is essentially a Rock magazine, but bear with us should we ever step out of our boundaries. As' far as our policy: we respect determination, -drive and .honesty in rock music. Plain and simple. About writers: Andrew Cutler is a former Asst. Music E
music and · relevant teenage lyrics that made the 60's pop/rock consciousness so important in terms of commerical success and massivepopularity. The time is so right for a resurgence in Teenage music that it has thrown a bad light on the past rock generation. That · group, now well into college, has monopolized rock for so long that it had no choice than to become stagnant. As that generation grew into adulthood, so 0 did the music, until the preoccupation with teenage themes had all but disappeared. All that rock was involved with was religion, drugs, marriage and even philosophy. What novacaine. And µie music itself grew ·out of its concise form. Bigger is better! If you liked this . song for 3 minutes, of course you'll like it for 2½ hours! Hey, Jimi, what was your longest guitar solo? ·1 dunno, Jerry, I think it was 45 minutes. Ah, I got you beat, mine was 16 days, and some damn critic had the gall to say I only got good in tl'ie last five minutes. And on and on and on.and on. .. Rock reached new lows of boredom. And with rock trying to satisfy many age groups, it strained itself almost beyond repair. It's way past time for this music to return to the kids, as it did. when this college audience was young. Something Charlie Gillette wrote (in Sounds of the. City, still the finest book on rock 'n' roll ever written) about the late 50's ironically applies today: As rock ran its course, the industry, with typical sleight of hand, killed 9ft the music but kept the name, so that virtually all popular music was branded rock. This had its effect ·on cursed radio stations, who, in trying to appeal to the largest audience, stripped their charts of any ac;lolescent guts, thereby further destroying Teenage music. There's nothing wrong with groups trying to play I
"Yeah, you got that somethin' I think you'll understand, When I feel that somethin' I wanna hold your hand." -guess who!
The innocence and simplicity of the four lines above just about sums up the essence of Teenage music. Singers have been relating the joys, problems and frustrations of being teenage _way before the Beatles, but never before had that area been personalized on such a massive popula_rity scale as the_Liverpool 4. 1 John and Paul didn't just read lyrics, the listener felt more than once that they were -singing of their own problems. And ,;_,ho can't relate to the four lines above? Teenage music on the one hand, 1 ON THE CORNER It's hard to be original in . Buffalo. And that ain't sayin' much about the competition. It's just that no one will let you. Yeah, you know what I'm talkin' about. When you foll-ow , the crowd, you 're ignored as part of the crowd. When you attempt to be different, you're slapped down with a simple "No one'll understand h ." ' So until you help us in deciding what you want, we'll give you these: ·· We'll give you features. Wfll give you interviews. We'll give,YOU detailed reviews of albums by rockers with wide appeal, avoiding any needless praise or insults, unless they especially deserve it. We'll giv~ you sho~ter reviews of albums that, , while not always being world-shattering ' events, deserve a bit of attention. We'll . give you· singles reviews, because, even though this audience doesn't necessarily buy singles, it does listen to the radio and that seems reason eriough. We'll give you co1;1cert rnund-ups. We'll avoid any Ralph
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rock troubador. He relates his tale of a love affair, strikingly surreal, as suggested by the cover of the album strewn with bodies postured in orgy fashion, or war-dead. . · The booklet of lyrics also contains photographs of a love affair which never existed. Plastic roses, photographs, broken bottles, blood-stained sheets; Reed's world of unreal love. The rise and fall of the male protagonist is depicted by hard rock. The fall of the female is characterized by slower-paced, haunting accoustics. Berlin, a song of times gone by, a small cafe a depressing piano piece which , breaks into Lady Day, the triumphant entry of Caroline, a walker of the streets, a germanic queen who enters the bars to . ' the tune of a triumphant strutting piano melody. Men of Good Fortune, featuring the primal, necessary drum beats of Ansley Dunsbar coupled with Reed's message of life and death; "Men of poor beginnings want what they have and to get it they'll die ..." also very necessary. Caroline Says I is a: pleasant rock paced effort which places female I domination over male ... "Caroline says that I'm just a toy... " Lou Reed's answer, a visual, drug sugges~ive trip. How do You Think it Feels another hard rocker with Lou Reed .at his punkish finest. l'Come here baby... " Coupled with Oh Jim, faintly suggestive of the Lizard King's tragic departti.re, we have a reversal in domination, male over female, or the shape of things to come. · Lou Reed, in his off-key Jocals, often times Dylanesque type narrations, is suggesting that a love affair or involvement, is principally a question of l domination, no romanticism. ' 1 Side two, a slower pac~d quieter movement, epitomizes the departure of Caroline, if she ever really existed. Caroline Says II, a reversal of roles, Caroline being beaten by her "boyfriend." She is ready to die. The Kids, featuring some nice acoustic guitar by Lou Reed, and some tasty lead by Steve Hunter, is another downwa:rd plunge for Caroline as her child is taken from her because of her "evil ways." The ' song ends with a baby crying, children screamin.g - mommy - this is the most ' urgent message in the world. Frightened children grow up to be frightened adults. The Bed, a surrealistic death complete with images of sex. candles and slashing of wrists along with the haunting chorus of "Oh what a feeling . .. " The album's finale Sad Song, equals
by the rules, except many of them don't realize the rules have changed. I suggest you . pick up a copy of Billboard and notice how the MOR charts (easy listening for older radio listeners) almost match the Top 40 'irock" charts song for song. Interesting? So, to an extent, some are right in thinking . rock was dead; it committed suicide. The knife drawn by the old stand-bys predictably disappointing with sub-standard material. The knife stuck in by these now-n 'ddle aged musicians still · holding on to their waning popularity by living on past glories. The ~nife twisted in by self-indulgent, spoiled "rockers" living in their Beverly Hills home or French chat~aus, and driving their Lincolns to their sold-out concert to sing of the joys of "truckin' "down the road penniless or expressing frustration of "no satisfaction" when he can get more than his fill of sex with hardly no effort. I mean, who're you kidding? You '11 all be needing dentures and hairpieces soon. Feeding off past glories is unforgivable. Yoµ're not babies anymore. Well, slowly but surely, there has , been .a trend developing concerning a rekindling of interest in pop consciousness/Teenage music in the 70's. A whole new generation has been weaned on- the Beatles and the 60's, as the Beatles were with Berry and the 50's. These 'new bands have matured enough musically to land contracts with companies and their recent releases have showed a strong return to the happy feelings almost given up for lost in 70's popular music. There's hope. - GARY SPERRAZZA Next: the Groups
Reed (right) has' finally lived up to all the hype about him, with his fantabulous new album, Berlin. Note Lon Chaney Jr. 'background) gawking at his idol. I left their impression on Lou Reed. He has rechanneled his realities and ·unrealities, the grotesque has a message to deliver. There are no negatives att~ched to the fact that this is a ,concept q.lbum. It is not 'so rigid so as to strangle the listener. There is much room to breathej much room for individual interpretation..Each song exists by itself as well as an entity. Lou Reed has set up tremendous pinnacles for himself to !each on this album. The musicianship on the album is excellent as is to be expected with such gac~ up' people as Jack Bruce, Ansfey DU..I\_~barBob Ezrin, Steve ~unter, Blue Weaver, B.J. Wilson and Steve Winwood to name a few. One never forgets however, that this is Lou Reed's show. There are no boring solos,, no showing ' off. ,The musicians do what Lou R,eed tells them to do. The music weaves beautifully and intrinsically with Reed's lyrics w-hich are thought-provoking to say the least, and oftentimes p_oetic. Reed also employs his special effects to a tee. Crying babies, children crying, mommy, haunting voices. These all present another level of meaning to Berlin. The , · songs themselves are straight-paced ·rockers, or slower paced ace ou stic efforts with orchestration added. Lou Reed himself is a punk-huo, a
Remember last fall when no one would wanna meet these three in a dark alley? You'd get glam-cooties. We're still not too sure about the first two but Lou
East). Guesting will be Robin Trower, ex-Procol Harum guitarist with his new group. Tickets are $6, $5,· $4 sold at ali Festival ticket outlets, including Man II and Pantastick stores. Shakin' , Street Gazette recommends this as a fine rock concert. See you there!
"The James Gang is gone, I still play with my dong, Rocky Mountain Way-eee," da-DA-Da-da, "and it's getting fatter." the self-abusing Joe Walsh, currer,itly stroking his way to success with his exciting album, The Smoker You Drink, will be at Kleinhans with ½is group Barnstorm Oct. 21 (courtesy of Festival
Lou Reed Berlin (RCA)
· "I can't stand still 'cause you got me goin' Your slacks are low and your hips are showin' I dig you girl as you're standin' there, ' Your low-cut slacks and your long black hqir I want you goin' round wit}) no one else, Cause when I'm with you, I can't control myself" .-The Troggs Dick James Music, Inc. (BMI)
"They told you in school about freedom, But when you try to be free, they never let ya' They say it's easy, nothin' to it, And now the Army's out to getcha I'm sick and tired of payin' these dues And I'm finally getti~g hip to the American ruse" -The MC5 Motor City-Cotillion (BMI)
Ghastly Screams, disjointed piano bars, German beer drinking songs, laughter: this is Lou Reed's Berlin. Lou Reed is shocking us with these sounds, the first to be heard on the album. He dares us to continue llstening, and when we do, Lou Reed's baited trap has been snapped by his listeners. Berlin, the title tune of the albhm, sets the theme for Reed's most significant contribution to the music world to date. Gone are the surreal efforts of the Velvet Jnderground, along with the glitter of Transformer. However, these times have
STRAIT, 18 OCTOBER 1973
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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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I continuous electric lead guitar by Lake. Al though Sinfleld doesn't hc1ve the greatest voice in the world, his words and arrangements take care of his ina:dequacy as a lead singer. ! The album opens with "The Song of the Sea Goat," a flowing melodic ·song based loosely on a theme by Vivaldi. Here pianist Keith Tippet excels with a liquid tinkling sound that escapes all barriers of classification. "Will It Be You" is as country as Sinfield dares to go and he ends up sounding like Ringo Starr. "Wholefood Boogie" could well be the sister of Crimson's "Cat Food." With a rollicking sax section, it rocks and rolls but still remains fa Sinfield's musical vein.
town." Seems like have been smoking it or have caught the fever, because this album lacked a lot of the punch that made their past efforts so much fun. They've even hired the Memphis Horns to fill in some of the gaps. · Still, they've chosen some good material. There are a couple of P. Rowan. songs, including '' Lonesome L.A. Cowboy," a companion· piece ' to it (?-Ed.), a classical western tune (? 1 -Ed.) "L.A. Lady," and a song by Grateful Dead lyricist Robert Hunter (???-Ed.), which comes off sounding very Dead-like (!!!!-Ed.). Unfortunately, there are only two songs from the genius of the group, Jim Dawson, but his touch can be heard on several others, especially the little gem stuck in at the end, "Cement, Clay and Glass." Here his voice blend!i nicely with that of guest Buffy St. Marie, and with the softly wailing horns (The horns, a noble experiment don't always work, but . ' they're OK h"ere.). As a whole' the album lacks the rich ' I production that made their last one, Gypsy Cowboy, so atmospheric, but the New Riders have given us another pretty record jacket and most importantly, a worthwhile album. Next, please. ' · -Dave Meinzer
pm) in Clark Gym. Tickets are $3-students, $4-loafers like the one pictured above and $4-night of concert. Purchase them at Buff State and UB ticket offices. excepting Lieber and Stoller's "Trouble," most of the cuts bear obvious traces of influence. "Crazy 'bout A Blues Guitar" starts out sounding like Steve Stills meets Steppenwolf and features some very Jimmy Page-ish licks. Further along in their obsession with guitars and blues comes "Do I Love You (Does a Guitar Play the Blues?).c' ' Judging by the title, the uninitiated might dismiss the cut as just another stupid novelty cut, but on first listen, this image is destroyed as the song is a tight competent rocker that gets right to the point and stays there. "Edmonton Rain" is the obvious Top 40 cut and has some tasty piano that could make Elton John run for cover. "Trouble" is the album's gutsiest rocker, highlighted by Paul Dean_,' s Beck-influenced punk guitarwork. Producer David Kershenbaum has done a splendid job of recording the band, keeping the bass bottom-heavy, the drums snappy, the guitars forceful, and the vocals dominant. Scrubbaloe would do well to stay with him for their next album, as he contributes as much to their sound as any member. Scrubbaloe Caine are going to send a lot of the current rock 'n' rollers bac,k under their rocks cringing , in embarrassment in that, in one album, they've done more for Canadian rock than the whole lot of other bands combined. Physically speaking, Round One is a knockout. Rock 'n' rave. -Andy Cutler and Gary Sperrazza
David Bromberg, upon hearing the news that he'd be playing another concert: "Farr-out, but how come they keep putting me on the bill with blind guys?" Oct. 28, UUAB presents Doc Watson and David Bromberg for 2 shows (7 :30 & 10 still get the same amount of profundity. With Pete Sinfield we are concerned with, as with Dylan, primarily a poet and that's what this album is: a collection of poetry in the largest sense of the word. -Andy Cutler
"Hi, I'm Frank Zappa, an~this is my new band, the Mothers. This time they're real mothers, On Nov. 21, Festival East presents Me, Me, Me with the legendary Taj Mahal 8 pm at the Aud. Tickets ar~ Rafferty. Just imagine a voice that can sound "like Paul Simon at times, John Lennon, and McCartney at others. That's Rafferty. · His songs have a popish flavor, which means that they'd do well on A.M. That's all it means. Rafferty's rock songs are rock songs without the excesses of hype and roll rock groups. One .is constantly comparing Rafferty's soft rockers such as Half a Chance, Make You Break You or New Street Blues with Beatle's efforts before Sgt. Pepper such as Revolver. Nothing wrong with this. Rafferty also offers us a few country-rock tunes such as Didn't I, Can I Have My Money Back? and One Drink , Down. These songs are better than tolerable, if you like fiddles and that sort of thing. If you don't, well, they're all very short and well interspersed with the rest of Rafferty's tunes. Then there are highly sophisticated melodies, or outstanding cuts such as Mr. Universe with some clever lyrics, To Ei3ch And Everyone complete with Harmonium and harpsichord and Half a Chance employiilg two separate melodies woven together. ' Rafferty's lyrics are honest. They're 'not brilliant, but they're not pretentious. In Where I Belong Rafferty sings: "i hope that I'm winning the Race..." Whether
$6, $5, $4 and you can purchase them at all ·Festival ticket outlets, including Man II and Pantastik stores. So give yourself a thrill by coming, he 9 r?" Jerry Rafferty is winning is still to be determined, but one thing is certain, if you enjoyed Stealer's Wheel, you 'II enjoy Rafferty. , I must warn you however, that there are no clapping percussives on Rafferty's album, so if that's all you're into folks, forget it. -Michael Sajecki
"Now what the hell does 'I need to suck the breasts of time and freeze her milk in ink' mean, Peter? And I wish you'd stop wearing my shoes.". The title cut feature·s Greg Lake on joint lead vocals and it is where Sinfield's mediocre voice is most painfully pointed out. "Envelopes of Yesterday" sounds frighteningly like Roxy Music which is understandable in light of their discovery by Sinfield (he produced their first album). Again the lyrics are poetic and rambling: "I need to suck the breasts of time and freeze her milk in ink." ·The masterpiece of the album is "The Night People," another excursion into the 'real world' as seen through the eyes of a poet. Here the full traditional horn section is utilized in an interesting arrangement by Mel Collins. Although some many find fault with Sinfield's vocals, they're the least important part of the album, as almost anyone could sing or speak the lyrics and
Scrubbaloe ROUND ONE-SCRUBBALOE CAINE (RCA) From the friendly giant on our northern border comes Scrubbaloe Caine, one of the finest bands to emerge from Canada in awhile. It's probably not accidental that traces of the Guess Who pop up now and again because not only are the GW the deans of Canadian rock, Scrubbaloe contains Jim Kale, formerly the GW's bassist. Though all the material is original
Pete Sinf ield STILL-PETE SINFIELD (Manticore/Atlantic) Tbis album may sound a little Too King Cri~son-ish for some people's comfort, but in actuality is a Jriumph for Pet~ Sinfield. You may recall Sinfield as the author of the dreamy, escapist sometimes insane lyrics for King Crimson. This is his first venture as I a solo artist/vocalist and he's greatly aided by ex-Crimsonites Greg Lake a~d Mel Collins, Collins' flute and saxes taking care of the space left by the exclusion of
New Riders PANAMA RED-NEW RIDERS OF THE PURPLE SAGE (Columbia) Midway through the title cut of Panama Red, the electric cowboys of San Francisco sing: "Everybody's actin' lazy/ Fallin' out and hangin' 'round/ Nobody feels like workin'/ Panama Red is back in
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Cold Cuts CHRIS JAGGER (Asylum)
Pick Up the Pieces-Hudson and Ford (A&M) When the Strawbs split recently, Richard Hudson and John Ford struck out on their own and Cousins reformed the Strawbs. "Pieces" is a fine electric folk-rocker that is currently high on the British charts and should do well here. My Music-Loggins and Messina (Columbia) "God knows that I love my music, Ain't no one gonna change my tune," sing L&M. And the tune hasn't changed: sub in the words to "Your Mama Can't Dance" and what you get is a carbon copy follow-up to their preview hit. Smokin' in the Boys Room-Brownsville Station (Big Tree) "Sittin' in the classroom, thinking it's a drag, listening to the teacher just ain't my bag, Noon bells ring, you know that's my cue, I'm gonna meet the boys and head over to Smoking in the Boys Room." Brownsville Station have captured what is essentially a ritual of High School kids. Backed by a fine rockin' boogie rhythm, this band, very much involved with the punkier styles of · the new Teenage music, may finally get the hit they so well deserve with this rocker. Rock On-David Essex (Columbia) We played it at 33 and it sounded like War. We played it at 78 and it sounded like "Rock Steady." We played it at 45 and we can't understand what a white English kid is doing trying to sound like something out of Dakar Records' ' catalo~e, ·but if was number 3 on the British charts, and we're baffled at the way hits are made there, anyway.
BLUE SKY BARRY GREENFIELD (RCA)
. Otherwise titled, everyone's got to get mto the act, brother Chris offers us a selection of tunes, some showing ~emendous potential, others wallowing m a brassy lake of quicksand. Mick makes a cameo appearance on one track with Carly SiII1on, other than that, it's Chris' show. Whether Chris Jagger falls into the offensive, brassy pitfalls of the Rolling Stones, or he continues to write good tunes which he has already shown potential for, remains to be seen. One big negative insofar as Chris Jagger is concerned, he will be connected with his satanic counter-part for all his life although Chris' voice is much stronger ~d actually easier to listen to. Too bad he couldn't have had a name like Chris Lennon, or something obscure like that. PRETTY MUCH YOUR STANDARD RANCH STASH MICHAEL NESMITH (,RCA) . It's sad that, while receiving a lot of ·attention in the country world, Nesmith has yet to be accepted in the rock world. I guess his association with the Monkees did more to hurt him than if he surfaced from nowhere as a solo artist. This 'ishis sixth album since the Monkees (three with the First National Band) and it follows in the tracks of the first five as a fine, fine album of country rock. His humor is still infectious and the music will stand longer than most other sleazos now making record charts a farce. There is a certain uniformity of sound in all Billingsgate releases (the German band central label for the U.S.), which could lead one to fantasize that maybe all these records are being put out by the same individuals under different guises. Well, no matter.. .if Lucifer's Friend is Germany's Uriah Heep and Neu is Germany's King Crimson, then Frumpy is Germany's Grand Funk. Since all are good albums, plan your buying with the above comparisons in mind. Recommended. BYTHEWAY FRUMPY (Billingsgate)
Another in our series of gas-pumpers-turned-rockers. This guy is Barry Greenfield, one of the 1300 singer/songwriters who debut each month out of the Loggins and Messina school of folk and country/folk/rock. As usual, he needs session men. As usual, it's the CBS House Band (probably ousted the same time as Clive), y'know: Larry Carlton, Russ Kunkel, Joe Osborn, Milt Holland, Larry Knechtel, etc. The House Band is proficient, but not too inventive and hence end up backing all these jerks who can't do anything else but sing and beat around the bush. At one point, what's-his-name sings: "Suicide is so easy at times like these." With all the excitement generated on this album, who needs a bottle of sleeping pills? This is such a disappointment it hurts to talk about it. Aside from being an accomplished vocalist along with her stint with the Blackberries backing up Humble Pie, she is quite an attractive young lady, but here she's reduced to a poor man's Diana Ross doing dredged-up soul tunes hardly worthy of her and even her sexy voice can't save this album from the bargain bins in two months time. Blues purists beware. S-S Band has been around awhile and cut many records, but they've failed to attract much attention. This fact is painfully realized with 953 West. Utilizing different facets of De Blooz (country blues Chicago blues, Delta blues, etc.), S-S Band present an album that is fair background music for anything, but is too boring and noncommital for real enjoyment, and proves to be just another thorn in the side of any devoted Blues follower . BROWN SUGAR CLYDIE KING (Chelsea/RCA) 953 WEST SIEGAL-SCHWALL BAND (Wooden Nickel/RCA)
Li I'S p r O u t
• pro_vi~es the background for Brian's moog whmmg, snappy electric piano and organ, and strikingly pretty melody. I love it, and it could do Auger's long and productive career a world of good. Here Comes Sunshine-Grateful Dead (Grateful Dead Records) I'll (yawn) try one more time. This is the first from G.D. Records, their own label. Jerry discovers a far -out 5 second lick, so, in true Dead form, they lengthen it out to 4 min. 37 seconds (Be thankful, in the Dead's younger days, this song could've been the new dead album. "Sunshine!' would insult any music style if I attributed it to one, so to avoid stepping on anyone 's taste, I'll say that it's...typical Dead, and I've already devoted too much space to it. Flip is "Let Me Sing your Blues Away" with Lame Quote of the Week: "Only two things in the world I love, that's rock and roll and my turtledove." Yugh.
Wig Warn Barn-Sweet (Bell) While Bell continues to avoid the issue of releasing "Hellraiser" as the next Sweet single (I think you got the message in the Sweet review 2 issues ago), this Chapman/Chinn tune , taken from the Sweet album, will easily do. Closer to ~'.L'il Willy" than "Blockbuster," "Wig Warn Barn" is to the Sweet what "You Talk Sunshine I Breathe Fire" was to the Amboy Dukes. A fine hi-energy rocker with those luscious Sweet harmonies lyrics dealing with Hiawatha's sexual activities down by the silver stream. As I've said before, the Sweet are masters at the art of the 45 and the Sweet album is still the best thing I've heard in the 70's. What more· can I say? By the way Bell, don't keep us .waiting long for "Ballroom Blitz!" Here Comes Sunshine-Grateful Dead (Grateful Dead Records)
1017 Elmwood Ave Student Discount Musical /hstruments, Accessories - lessons - P,ano Gu,tar- Drums Hours M-Th 2-9 Fri 2-6 Sat IZ-5:30 886 -5122
Happiness is Just Around the Bend-Brian Auger's Oblivion Express (RCA) With a heavy push from Papa Record Co., I can safely predict that this could turn into a powerful quality hit in the Easy Listening charts. The "Rock" charts, well, maybe trouble but then again, Deodato made it the~e. A very relaxed rhythm, a la the ,aforementioned group and Steely Dan's "Do It Again ,"
STRAIT, 18 OCTOBER 1973
STRAIT, 18 OCTOBER 1973 f.'
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