The most-asked question of the week is why Joe Perry always makes a puss when a picture of Aerosmith i$ taken. No matter, we're glad to )see "Dream On" climbing up the charts, and Aerosmith will prove, within the next six months, to be one of the more important bands of the 70's. ' ,,. ______ , __________ neighborhood and they're still alive, so what are you waiting for? ~ Amen. Moving on down the line, to bands whose spirit is clearly lodged in, and hence end up copying, the 60's are Badfinger, the Raspberries and Blue Ash. Badfinger (Apple Rec.), still not delivering their c9me-back album as promised for much too long, are best remembered for their incredible Beatle-takes a few years back. Singles like "Baby Blue,''. "Day After Day," "No Matter What,,,, while not getting too many originality points, served as a contrived reminder of the past, and injected a little excitement back into radio. Same goes for Raspberries . (Capitol) who are a little too clean and "- polished for my tastes. Yeesh, Eric Carmen could have come out' of any Buffalo high school. If the success of the previous two bands are hints to any companies, there's no reason·why Blue Ash (Mercury Rec.) shouldn't be right up there with them. Generating recall to the early Who, Beatles and Byrds, Blue Ash's first albu~ No More No Less is a fine link of the 60's to now; a blast from the past. Although I like them, the final ·jump from 'like' to 'WOW' is not there. I don't know, all · three bands are too "nice" and a bit too for.mulated in their approach to Teenage music: they take it too seriously. Take rock 'n' roll too seriously and it's not rock 'n' roll anymore , See?

Tee;nageMusicin the 70's: Part 2!! "Checkin' out the halls, makin' sure the coast is clear, Lookin' in the stalls, Nah, there /'t nobody here, Well, my buddy Fang and me and Paul, -GARY SPERRAZZA! To get caught would surely be the death of us all ·smokin' in the Boys Room , They put m:e to work in the school bookstore, 1 - Check-out counter and I got bored,

Hi there! .. , Nab, don't get excited, I'm still dead, but me and the boys figured this is a good enough way to attract your attention fo the fact that some friehds of mine the Marshall Tucker Band, will be with 1 Mike Bloomfield at the Century Theatre Nov. 15 at a· pm (sponsored by Buff State's SUB).

Ifthe guy on the right would've consulted an optometrist, hq,wouldn't have .to put arrows on his clothes to show us where it's at, as if we cared. As for the 9ther two, look at it this way, at least it keeps them off the streets. l them. 11 , Guess what's gonna happen? Brownsville Station are pure raunch 'n' roll. The music is hard, bloozy rock, each tune ,concise and to the point. They're punks, without much sense of where they are in the music 'scheme of things,' and put them on a stage and they don't leave without making you happy. And with the limitations of a 3-piece band being so restrictive, that's quite an accomplishment. · Their sole album recorded on ·the incredibly large Columbia complex, Aerosmith's problem is that they are literally ignored by most, because it's not too known that Aerosmith even exists. I'll let Dann DeWitt's review in CREEM Magazine speak for me, since it was that review that made me run out and get the aibum: ' "Not only do they have archetypal locker-room sneers and kid-next-door dimensionality; they ain't got moustaches . .. I like this band because they seem to be true to themselves; there's no imitation c6untry or superhip posturing or frosted hair, just a few pimples and a full LP of screaming, metallic, creative rock ,and roll. Their format is out of the • classic mold: two guitars, bass, drums, a vocalist ... but what they do out of this structure is a fucking pleasure . .. Make some trouble for yourself and. get this album. They've played in ,, my

The teacher was lookin' for me all a~ound, Two hours later, you know where I was found Smokin' in the Boys Room



Smokin' in the Boys Room Now teacher, don't you fill me up with your rule~, Cause everybody knows that smokin' ain't allowed in school" ·-Brownsville Station Big J-,eaf Music (ASCAP)

With the ending of one stage is always left a few pieces from which a new stage emerges. So it is with the new Teenage music: a return to the art of the single. Structurally, the attention is focused on its' tightness and conciseness, infec tious melody, crisp harmonies, and a sharp · eye on production. _Being a combination ,of a resurgence in pop. consciousness and the punk-rock of the 60's, Teenage music breaks up into·four styles or approaches : 1) Concentrate on the rocking aspects 9f the 60's, and fuse it with the 70's (Slade, Sweet, Aerosmith, Brownsvill'e Station, etc .) 2) Just out-and-out copy it (Bad.finger, Raspberries, Blµe Ash, etc.) 3) Poke 1 fun at it (Wackers, Big Star, etc .) 4) Concentrate on the ~ofter/pop aspects of the 60's and fuse it with the 70's (Blue, Curt Boetcher, David Beaver) · Note: Some of those listed do nnot always perform in just the style they're accredited, b,ut at times combine it with the other styles. These are general listings.

Talk about androgeny in rock. Above are . the fabulous Sweet, of dubious parentage, with four well-dressed gentlemen.

On one end, we have two British groups: The Sweet and Slade. It's hardly possible to ever say enough about the SweeJ: in terms of their effectiveness.

They've rnastered .the single, their 4-part over-dubbed clapping and chants. The harmonies are delightful, the music is as recent · Warners release, Sladest, is snappy and heavy as they come. They suggested: it's an up to date "best-of" don't even need albums, The Sweet collection hopefully introducing Slade simply have no use for them. They chum ' the right way to the States. ,out a fine string of singles and then when To · say that the aforementioned there's enough, Bell Records puts them groups are popular in England is an all together and releases it as an album. understatement (The Sweet's current That's class. 'Because the Sweet have been "Ballroom Blitz"; went from No. 15 to' discussed at length pr~viously, we'll move No. 1 within two weeks qf release, Slade'$ on. "Sqweeze Me Pleeze Me" debuted in the •• Slade have finally made the big m:ove British Top 30 as No. 1). In America, the by switching labels from Polydor to heavier teenage bands don't have it so Warners. Manager Chas Chandler easy. (ex-Animals) may not see the mass idol Consider Brownsville Station: their following in England recur here, beca)lse / flair for predicting styles before they Slade's policy of demanding the audience happen always result in BS being left out Up and moving follows too closely on the when the style becomes.popular. BS did heels of the "boogie"-rock era now fading an , album of 50's , revival .music on in America. Other than that, Slade's Warners, later the 50's revival .came in, BS singles formula seems to fol\ow this: were unmentioned. BS did a boogie Noddy Holder's incredible voice album. boogie became the rage, BS were bellowing out sonfe distinctively teenage , ignor('ld. Now with their lqtest release, lyrics, strong rhythm with heavy off-beat Yeah (Big Tree), they've brought out tHe drumming, piercing guitar, and teenage p1;1nk style they've always had in

Remember when you were in high school and four guys would come up to you and the one on the left would say: ','My friend says you called me a prick. " If you said "Yeah,. I did'' they'd kill you. If you said "No, I didn't," they'd say "What, y,ou . callin' me a liar?" and you'd get killed anyway. Note Dave Hill on the right who looks like he's ready tobiteyour ear off. And I don't know why, I just don't know why, So you think my singing's out of time, well it makes me money, And I don't know why, I just don't know why anymore So come on feel the noize, Girls grab the boys And get wild, wild, wild." -Slade Yellow Dog Music (ASCAP) .

"So you think I've got an evil mind, well I'll tell you, honey








relatively ambiguous. Even if we could interpret them, they still sound offensive. Side two ends rather anti-climatically in ' retrospect of side one. The music seems to float away; a ball of energy, of many moods, floating off · into the canyons, under the sea and into the obscurity of the overwhelming thrust of nature. A purposeless, little sailor jig, which I refuse to consider as a part of the piece, ends the record, perhaps Oldfield's little soft-shoe off of the scene. It is not important as to who Mick Oldfield is but what he has presented us with. Tub~lar Bells is an intense listening experience that you can't boogie to. If you don't want to concentrate or listen closely, don't buy this record. But if you give Oldfield a chance, you are giving yourself a chance to experience your imagination through that media known as Tubular Bells. -Michael Sajecki

But then a speed jolts us, destroys this initial mood, and creates a new direction for the piece. Oldfield is conscious of rock-electricity, it is employed most rastefully and methg_d.ically in his -presentation. Oldfield's lightning quick trc1nsiti6ns from piano to mandolin to electric guitar are all valid, each instrument adds c1 new dimension to the piece, a new dir)ction to be pursued. The instruments seem to plc1y themselves. The instruments are characters in Tubular Bells, they -c1re Oldfield's accompc1nying musicians. . Percussion is not used on this record to lay the base of the sound. Yet Tubular Bells is not pointless free form. This is one of thepc1rndoxes of the record. One which Oldfield convinces us not to dwell · in. 'Th_e initial pic1no melody is ever present; hc1unting us, introducing gentle mandolin, explosions, musical explosions/ of c1 triumphant, jolting nature. And then bass coupled with , fuzz guitar, Oldfield's only condescension to giving his piecEJ a stifling unity, becomes the central focus, the dominant theme which brings side one to a close. With the' bass· and fuzz · guitars humming, the Master of Ceremonies, Viv Stc1nshall intvoduces Oldfield's cast of chc1racters, his instruments, one by one. This is the closest ·thc1t Oldfield comes to self-indulgence. Side one flows to an end with a beautiful choral treatment of the bass-line coupled with a lilting acoustic ending. The instant in which we flip the record over, reinforces the transition from side one to side t'wo. For c1lthough Tubular Bells is designed as c1n entity; it is not rec1lized. There are·ceruin recurrences of style and mood, but side two is moving in a direction of its own. A gentle, mandolin-type guitar melody, with pic1no accompanying, sets the focus for side two, as the·serenity of gentle acoustics helps us to visualize gondolas floc1ting down the wc1ter streets of Venice; or a waterfall dripping slowly as ~classes into a gr~at river. The music is as imaginative as yo~ want to visualize it. A little Scottish flavor enters the scene, as butterscotch guitaring and tympani helps us to visualize the pride and strength of the old, scottish clans. Oldfield plays a bagpipe-sounding guitar (?) as the drums begin to pulsate. Perhaps the single flaw of the album is the grunts and howls heard at this point on side two. Whether these grunts reflect distaste, pain or condescension is all

Long Player,s

Has The Train Been Gone" and "My Soul · I~ A Witness" are in the gospel vein, the former a fifties nightclub crooner, the latter a traditional gospel footstomper in the style recently adopted by Leon Russell and Delaney and Bonnie. "Sunday Morning" is a strange combination of Beatles and bluegrass with banjo played by Dennis Coates. A reprise of the title song starts Side two rolling and "Space Race," the current single, immediately follows with its Arp buzzing alongside a clavinet, piano and organ, all played by Preston. Whew. (Whaddya mean, "Whew?" So what?-Ed.) And as if that isn't enough, he also plays bass throughout the album. Talk about your complete musician. ('(eah, let's talk about Roy Wood-Ed.) , Also on this side is Dylan's "It's Alright Ma, I'm Only. Bleeding" which is . not very impressive since the only one able to do justice to Dylan is Dylan himself. (Check out Manfred Mann's covers, they're good, too.-Ed.) On That's The Way, Preston covered another Dylan composition, "She Belongs to Me" which was ineffectual as well. It.seems he might h.ave learned something from the non-s 1 1ccess •of the LP as a whole but then again, now he's more established and we all know the ability of established artists to wax bad songs for sheer monetary gain. Closing the album is "Minuet for Me," Preston's attempt at the classics. The keyboard parts are done well but ·the strings just seem to mock tpe overall concept of it and if there's one thing a modern composer/ pianist just doesn't do, it's treat the classics lightly. The album might lack the significant material to become one of the most important albums of our time ,but it's inerely an exercise in self-indulgent expertise. Preston shows that he can play an~ play he does. He might even prove to be one of the masters of keyboards for the 70's, let's hope he's give the chance. -Andrew Cutler

Tubular Bells TUBULAR BELLS - Mick Oldfield (Virgin/Atlantic) It is most difficult to speak of an intense li~tening experience. How does one put sounds into words? The same problems one might find when trying to describe the type of ' music · that thEE Mahavishnu Orchestra plays, are again encountered when one speaks of Mick Oldfield's Tubular Bells. Oldfield presents us with a concept album here. The concept being that simplicity breeds complexity. Tubular Bells is designed to be a single piece, an instrumental portrayal of musical moods ' and experiences. Mick plays'· all the instruments himself ala Roy Wood; a total listing of · every instrument that appears on the album would only waste space: -guitars, keyboards, percussives and of course, the tubular bells themselves. There is no danger of self-indulgence or boring solos on this album. Oldfield doesn't play every instrument well, but well enough for his own purposes. It all begins with a simple piano melody , then the tinkling of a glockenspiel; bass and organ . round out this initial mood, a mood executed with the lightness of c1 tear drop, the musicc1l compression of an instc1nt's emotion. A guitc1r enters here with c1n c1lternate melody; a melody which moves simultaneously with the first. The listener can choose to )concentrate on whichever melody he prefers. Both c1re equally distinguishable. The piece has lulled us into a Siddarthian mood of meditation, we cc1n close our eyes and se~ stars, planets, and galaxies; we can hear the ocean funneling in our ears.

Like authentic rock 'n' roll? Like to have a good time? Like to get your ears blasted? Well then, go see Alice Cooper in the Aud on New Years Eve. But in the meantime, Festival East is presenting The Doobie Bros. with Billy Joel at Kleinh_ans Nov: 14 at 7 pm. Tickets are $6, $5, $4 at the same places we tell you all the time.

B'illy Preston EVERYBODY LIKES SOME KIND OF MUSIC BILLY PRESTON (A&M) Billy Preston rode to fame on the crest of the wave created by the Beatles. Toward the end of their career, the Beatles used Preston's keyboard talents, most notably on Get Back. Subsequently this led to his being known as the "fifth Beatie" and a solo album on Apple, That's the Way God Planned It, produced by George Harrison. Unfortunately this album never made it and Preston disappeared only to resurface a few years later with his debut album for A&M, I Wrote A Simple ;song . and then catapaulted into nationwide attention with the bizarre single "Outa Space" which was followed by "Will It Go Round In Circles." Now Billy Preston is recognized for his keyboard genius and it really is about time. With Everybody Likes Some Kind of Music, Preston displays the diversity of styles he can assume alongside with his virtuosity and some very slick horn and string arrangements by Paul Riser and Clarence McDonald. Side One open with the title cut, a short intro number which is followed by a strong keyboard rocker, "You're So Unique." The next two cuts, "How Long

Queen QUEEN (Elecktra)

In this day and age of rockdom, there are those groups which have attained that meas~re of excess, the jaded gold, and platinum record, /md these fat, 'cats wallow in their successes, producing records which are not only inferior to their own standards, but also offensive to the ears of the listening public. Then, there are those third generation rockers, who by permutations, cross-mutations and combinations, hope to capture enough of the best ele~ents of the legendary figures of the rock world, so as to sound as appealing as possible to the listener. Ideally, they will also come upon a style of their own, something to identify them. Enter Queen. Queen is a squad of newcomers to the rock world. Freddie Mercury - vocals and

Gordon Lightfoot (above) modeling the authentic K-Tel Canadian Folkie Outfit. Includes: blue workshirt, faded jeans, genuine suede cowboy boots, boxer shorts, a Martin D-28 guitar (with extra E strings), and instructions on developing your own scrufty beard. Those foterested in seeing the outfit modeled will be pleased to note that Festival East is presenting said folkie Nov. 11 at 8 pm in Kleinhans Music Hall (the best from the west and the most in the east, to say the ' least). Tickets are $6, $5, $4 at all Festival tipket outlets.






difference) one of the most tragic .political disasters in our history. Then there are those that are so topical, they are' already outdated. Senator Sam At Home will never be outdated and though it may not ever be as popular or sell as many copies as, for example David Frye's album, it will probably 'out last them all. Sam Ervin is of course the North Carolina Senator who gai~ed national fame when he began heading the Congtessional Committee investigating the Watergate Conspiracy. He displayed his southern-style wit and wisdom often while cross-examining (and lecturing) witnesses at the nationally televised hearings; and he uses the album to do the same, (and make a little money in the process). Ervin uses funny stories (some are parables, •others , Hee Haw rejects), personal comments on things like marriage and friendship. and recitations of poems, (the old stand by Rudyard Kipling's "If"), and song lyrics with simple background music added. The . songs chosen range from "Bridge Over Troubled Water" to the beautiful old hymn, "The Old Rugged Cross." All are delivered in Ervin's charming southem drawl. There is, however, nothing unusual or unexpected, and Ervin does not even go near any issue that might be in the least bit controversial; nothing on Watergate or any politics for that matter, nothing on racial problems or prejudice, just tried-and-true all-American timeless commentary. Is.Sam Ervin (or real?Yes, he probably is but he's also pretty dull. · ' -David Meinzer

H~'s accompanied most every one from Dylan's moaning tones, To the Byrds, ole Ario, .Bill Monroe, and the good ole Rolling Stones. They've got alittle help from some friends with lots of feel. Leland Sklar plays bass guitar and Al Perkins plays the steel. Dear departed Clarence White adds some fine guitar. (You'll always be 011e of the best, no matter where you are.) They'~e chosen some fine numbers, with lots of breaks and fills. ' 'Teach Your Children' by Grahm Nash, and one from Stephen Stills. 'Winterwood' from Don McLean,and E. J. 's 'Honky Cat'. (They must have taken lessons from Earl Scruggs and Lester Flatt.) Well there's guitars and fiddles, \ b . Al Munde and his anJo too, Kenny )singin' out them good ole 'Lonesome Blues'. Flatt and Scruggs number bout the pretty girl 'Down the Road'. One listen to their playin' and _I know that you'll be sold. •·David Meinzer

This tune, coupled with the next, "Doing All Right," marks the real talents and diversities of Queen. This second number starts out a bit slower, with piano . and acoustic guitar, ·a Jon Andersonish sounding vocal, and Hollies' harmony. The power ,of this tune lies in its ability to make the transition from slow to fast tastefully, from gentle acoustic to electric explosives. Moods and melodies are beautifully interwoven here. As the album continues however, one hears a collection of rockers which are competently executed and reasonably enjoyable. Except one begins to play the "guess who that sounds like" game from here on in. '"- The next number, "Great King Rat," is a definite Black Sabbath influenced rocker, except not as snail-paced as the above mentioned. The same type of Ozzie Osbourne echoing- vocals and a little Ritchie Blackmore wah-wah guitaring added just for good measure. "My Fairy King" is enjoyable insofar as the delicate piano work and well executed harmonies are concerned; but is rather mediocre when one hears the Lucifer's Friend (who aren't the most original grpup around either) screeches, and tendency towards over-amplification. We can go right down the line now., "Liar" is a refreshing beginning to side two, which shows . a good deal of potential but also a good deal of outside influences. Phase out drumming, glittering guitar work, light Yes-type vocals and harmonies, Santana-type percussives coupled with a little mambo vocal cha11t. This is all very nice but it is also a bit too excessive. There might be too much going on here. For all practical purposes, "Jesus,".the last cut on the album, once again reinforces Queen's potential for a style of their own which is not quite defined yet. There is an acoustic,guitar riff, handled in classical ~itar "breaks" fashion, coupled with excellent vocal harmonies, but in the middle of the tune, .we find a senseless, electric freak out, which almost destroys anything good intended here. Queen is a pleasant listening experience which should figure to play prominently on the charts with a little exposure, ·even in their embryonic stages. It is not quite certain whether Queen are individual enough to step out of the electric bedlam of many of today's noise rockers. They possess the electric brawn of Black Sabbath · and the delicate, tasteful brains of Yes. If Queen can fuse . these two influences into a sound of their

own, they will be a force to be reckoned with. All said and done, Queen is still a most impressive debut album. -Michael Sajecki

Here's Muddy Waters again. He's still crying and_ singing the blues. And you know why? Because you didn't buy a ticket for his concert yet. The night he's here is a very special one. And you know why? It's A Night of Genuine Chicago Blues, that's why. Shakin' St. will be there full-force, and Clapton, Beck and Page might sneak in to get a few more guitar tips. So when UUAB says they proudly present, they do mean they proudly present: Muddy Waters, Hound Dog Taylor, and the Houserockers on Nov. 3 in Clark Gym. Tickets are $3 - students, $4 - nonstudents and night of performance. You can get them at Buff State and UB ticket offices. What more do you want us to do, take you there ourselves? piano; Brian May - guitar, piano and vocals; Deacon John - Bass; Roger Meddows Taylor - percussion and vocals, these· musicians are young, fresh and naive, naive insofar as they show us their influences a bit too vividly. This is not to say that Queen are carbon-copies of anyone; one can detect moments of originality and spontaneity all through the record. Everyone is influenced by everyone else in rock and roll. The degree of success with which a group disguises their influences is what marks their appeal. In this respect, Queen's future is a little uncertain. Queen is basically a tight, competant outfit which can rock with the best of them, and can compare with the heavy metal circuses in degree of volume. The album starts out with a real foot stomper. "Keep Yourself Alive," a hard, driving rocker, a good time melody with some ecstatic guitar work, a pulsating drum beat, crisp, strong vocals and just to make things proper, prim and professional, a bit of phase out recording.

Gazette DON T GIVE UP YOUR DAY JOB- COUNTRY GAZETTE (United Artists) (Sung to the tune of 'The Grand Ole Opry .song,') Come all you music lovers, sit down and get all set. I'll tell you 'bout some fellers called the Country Gazette. Their number two edition is finally on the stand, . And you'll never hear a finer four man blue grass band. Well there's guitars and fiddles, Al Mund_e and his banjo too. Kenny Wertz singin' out them good ole 'Lo'nesome Blues'. Flatt andScruggs number 'bout the pretty girl 'Down the Road': One listen to their playin' and i know that you '11 be sold. First there's Kenny Wertz on guitar,he's really been around'. And he can play most NashvilleDarlin's right in to the ground. Alan Munde on banjo, his fingers they ... just prance. _ And when Roger Bush thumps the bass, you all just gotta dance. But best of all is Byron Berline, a fiddlin' away. · And where he gets those mandolin licks from I really cannot say.

We forget who said it, but Kinky Freidman is · to country music what Lenny Bruce was to comedy. We think that's sufficient enough to announce that UUAB is presenting Kinky and his Texas Jewboys in the Fillmore Rm. at 8 pm on Nov. 16. While we're on the subject, the night before (15) Steve Goodman will make · the stage warm for him. Now, here's the hard part: both shows ·are $1 . (hear that, only a dallah), but if you'd like to go to both you can purchase a ticket for both sh"ows for $1.75. Understand? Whew. If you still don't, argue it out with ·the people at the Buff State and Norton ticket offices. But don't bug us, OK? We're still recovering form our announcement that Bowie would be coming Dec. s; 1972.



(Columbia) There have been stacks of record albums, comic and otherwise, released as a result of Watergate hearings. Many have biting jabs thrown with righteous indignation at public figures. Others have sick, meaningless jokes which make fun of (instead of finding humor in, there is a

Alright everybody, get off my .back. They're here. They're here. And you can thank. the Buff State SUB for it. Dec. 1, GENESIS will do their best to amuse,

entertain and captivate you at 8 pm in the Gym and if you 're not there, Peter Gabriel will foxtrot all o,ver your face. ' \





. ' ( .old Cuts .

claim to fame, other than this malfuI).ctiqning saucer, is "It Ain't Easy" which I:ias been done by everyone else, only bet_ter than his anemic version. The ·9BS i:{ouse Band, which has been getting around (as usual-Ed.) helps poor old Ron make a bigger mess of this project than he originally intended. You name it, he does it bad. Monumental over-orchestration, offensive brass, a chorus with at times drowns out Ronnie boy (Thank God for small miracles), all help this record to become the totally forgetable listening experience. Ron Davies is an unidentified object, and he's better off that way. If it flies, use it as a Frisbee. CHRONICLES Booker T. and Priscilla Jones (A&M) This disc is enough to make any fan of the old MG's break down and cry. After more than a decade of hits, why Booker T. has to resort to this sappy lovey-dovey shit is a mystery to me. No rockers an_d that's a fact, I would even be glad to hear "Mo', Mo', and Still Mo ' Onions" rather . than this dreck. JONATHAN LIVINGSTON SEAGULL (Original Soundtrack) - Neil Diamond (Columbia) · ,A Christmas- rebipe : The Perfe~t Present. · Ingredients: '· 1 highly touted romantic bestseller (Johathan Livingston Seagull) 1 pop singer with fans of all ages and talent to boot. (Neil Diamond) 135 musicians and singers. 13 technicians (producers, engineers, etc.) · 7 top rate packaging designers and artists. , Singer writes .orchestra type music for motion picture sound track based 'on best . seller; mix with musicians, singers and technicians ; package in an elaborate jacket with lyrics, fancy typography, soft focus colori photos, and an embossed booklet cov:,er; release 8 to 10 weeks before Christmas and shortly before corresponding movie (if said movie ever gets out). Then sit back and watch the dough roll in. ONE YEAR Colin Blunstone (Epic) (re-released) Spawns one good cut - "She Loves '.I'he Way They Love The Way He Loves How You Love The Way I Love Hi~" (?!? !@&%$+t-Ed.) and that 's only

His Wes-Montgomery-influenced picking is quite nice, but who needs it when you can have the real thing? • These days, guitarists are a dime-a-dozen and Upchurch should keep that in mind next time he solos. THE LAST ILLUSION J.F. Murphy (Columbia) This ·ain't gonna be easy, but here goes. Have you ·ev~r heard anyone play jazz, rock, arid bar boogie on the same album? Well these guys do it, even though jazz is their strong point, but you don't find that out till the second side of the album. The first side is bull shit which is just indescribably Wierd. J.F. Murphy plays piano, melotron and lead vocals, while all the time being backed by a bass, a guitar, drums, a sax, and assorted horn arrangements. Ove_r all the album is just O.K., nothing outrageous really. As a matter of opinion, I'd rather wait to hear their next album, cuz it'll probably be much better. "Last Illusion" seems like it ' was just thrown together, except for side two. Gi¥e them time to collect t he feedback, . and then they'll have something. Guess who's com t09--r rn@(!)LI

"J w'1nna ki11; Iwann,~thrill I carry, 1 snod.,yreey_s~for, i:I pot of gold I'~e ~~'en bJt_ pritpe-t~me, I'm out of my mnd-:.,-· ,<--«·. ..., ' But _I k_e!f:p _r!3qqrd_ing for that disc of gold And I've got a· -cold " "I've been to Hoboken, I 've had my nose broken Spitin the ocean for that disc of gold I've been to Nashville, L snort with Steve Stills I think Dave Crosby is a son of a bitch But he's ge_tting rich" "I'm from Ontario, I've been to Buffalo I've found phrenario in a joint of gold I've had some lucky breaks, my gobddam back aches But I keep recording for that disc of gold And I've got a cold" -George Gerdes 1972 Old Void Music

because he's backed up by Argent. T•he rest of the album is pure poop including Tim Hardin's "Misty Roses" -and ·Mike D'Abo's "Warm My Bed." Listen' to thjs before your annual visit ' to the dent ist and you.'ll feel no pain. YAQUI (Playboy Records) Read Yueh. Over the past year, Playboy has released over 50 of the worst insults to music that I'm surprised they haven 't gotten around to releasing a Barbi Benton solo album. Now, everyone- is complaining about a vinyl shortage. Bitch, bitch, bitch. I propose there is a brain shortage in the Artist & Repertoire departments of many record companies, cuz if Playboy was concerned about e-col-o-gee, they would stop wasting what little vinyl is left or else steal Grand Funk from Capitol. Penthouse, Oui, Gallery, don't get no ideas, OK? LOVIN' FEELING This man is the studio musician's studio musician. His name can be found on .millions of R&B ,albums from Curtis Mayfield to B.B. King. Originally a bassist, Upchurch now makes the git-box his axe and does a-fine job of transition. Phil Upchurch (Blue Thumb)

NOW HEAR THIS Hanson.. (Manticore/Atlantic)

rock and roll band that shows many influences of the Faces, from Billy Steeles' Ron Wood-like slide to Charles Ray's Kenny Jones-like steady beat. The only trouble is singer Pete Maclan's inability to front - the band like Stewart. Nevertheless, "Angry Tiger," "Lovin' You" and "She's A Driver" prove to be Face-like and extremely likeable. FIVE AND DIME -David Ackles (Colm,nbia) If you have a tendency toward Leonard ·.Cohen and his stylistic individuality, perhaps you '11 enjoy David Ackles' album, Five & Dime. Actually if you can picture a cross betwixt 'To~ Paxton and Leonard Cohen, you '11 have Ackles down to a tee. The piano has · dominance throughout the album, (I wonder if it's because it's the instrument Dave plays?) which comes through crisply, honkey tonkly, thirty-ish and at times just plain mellow. D.T. Ackles Five and Dime is a day dreamy, listening album, one of those that you break out during a lethargic trance, strictly for listening pleasure. It's nice and will most likely wear well on. you if given a fair chance. So relax, have a daydream. Another album of unknowns, this time hyperkinetic rock, rock, rock, instead of the singer/songwriter sleeping pill syndrome. Obviously these guys don 't want the average consumer to know who they are, hence the clouds covering their faces on front and back cover. This is pure amphetamine music for those who just gotta move. Witness the up-tempo punkiness of "Zip-A-Dee-Doo-Dah" , which is enough to make Walt Disney rise f rom the grave feet jerking spasmodically and fingers snapping wildly. But who wants a half-rotted corpse dancing down the street? Wait until they get a good producer. U.F.O. Ron Davies (A&M) The deluxe musical experience with the masochist in mind. Ron Davies' only , BLOW~ AWAY Christoper Cloud {Chelsea/RCA)

A bunch of studio musicians trying to make it big. Hanson present us with a pseudo-soulful rock sound which is pleasant enough to listen to, but lacking the intensity to make a lasting ~pression. Junior Hansoq, a Billy Preston and Keef Hartl~y graduate, guitars with Hendrix in mind, but where ,, ·Hendrix's guitar weeps, Hanson's screeches. Jean Roussell, 21 year old keyboard wizard of Cat \Stevens fame, adds the same type of ineffectual moog-electric piano tokenism that is ruining the Cat's sound. Although Conrad Isadore on drums and Clive Chaman . (ex-Terry Reid and Jeff Beck Group, respectively) on bass give the group an excellent rhythm section, it's not enough to make Hanson a distinguishable element in rock. It seem~ one should expect more from the Manticore label, the new home of ELP. Well, the record moguls are at it again, releasing old tap~s•from the depths of their crypts in order to make a fast buck, but this particular album is considerably better than most of its' genre. The Allman Joys were, you . guessed it, Duane and Gregg, pre-Hourglass and pre-Allman Bros. Band, aided by some other guys who obviously never made it. Only one real standout here : "Gotta. Get Away" is a fine punk-rocker of mid 60's vintage that could've been big nation-wide. Produced by John D. Loudermilk (author of the ever-popular "Tobacco Road"), this album is for Allman fanatics only but don't pay more than $2.99-for it. HIGH ROLLERS AND OTHER FINE LADIES Jambalaya (A&M) Any band that chooses the title' of a Hank Williams song can't be all bad and this debut album illustrates the above statement. Jambalaya is a tight five piece EARLY ALLMAN Allman Joys , (Dial/Mercury)


Tt-lE'N SUDOENL.'f, _MY FEE'T SiARTEO WAL"-INC, 0'f n!EMSELVES ! rt1E1 TOOi(. ME IN "!"O 'SoA.\E wooos !



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