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Cat Stevens'
'Catch Bull At Four*
Alice For President?
The Unexpected
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reviews FROM
POETRY FROM the St
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TABLE OF CONTENTS
REPORTS FROM BACKSTAGE
“WHO CAME FIRST’’ — A QUIET TOWNSHEND
ROARS TO THE SURFACE 4
The four-year story behind the music Pete has been
concocting single-handedly in the privacy of his
home studio.
“ROCK OF AGES” — THE BAND BREAKS ITS
LEAFY SILENCE 20
The Band is mulling over a Dylan plan that could
trigger the biggest stage comeback since
Harrison’s Bangla Dcsh.
HEAD KINK UNBUTTONS HIS MIND 30
The new LP,-Everybody’s In Showbiz, is like a three
AM trip through the brooding amusement park of
Ray Davies’ private world.
THE NIGHT J. GEILS FRIED A “FULL HOUSE” . 34
What’s behind the live LP? Only the most frenzied
performances since Mick Jagger first flopped like
a baby bird onto the stages of London.
“PHOENIX” — GRAND FUNK ZOOMS AWAY
FROM ITS PAST 40
Grand Funk sped off on a risky course when they
made an album without super-producer Terry Knight.
Then they broke a two-and-a-half-year silence to
tell the tale of why.
WHY BILL COSBY COULDN’T QUIT
GRACEFULLY
He won’t be called a quitter . . . but his victorious
return trip to Hollywood still leaves Bill Cosby
in search of a career.
CAT STEVENS’ RETREAT FROM THE
STING OF APPLAUSE
Cat’s new record has only made the reasons for his
twelve months out of sight seem twice as
tantalizing, twice as enigmatic.
\LICE COOPER FOR PRESIDENT 58
Whatever possessed Alice to jokingly throw his boa
constrictor into the political ring?
-IILE TULL TOURS . . . THE RISE OF
IAN THE DEMON 60
iving In The Past lights up the murky transforma-
in that turned Ian Anderson from a sunny
mbador to a midnight monster.
THE ALBUM REVIEW
'RD REVIEWS .. . . . 16
ky Ed Kcleher dives head first into the latest
?rs by Rockdom’s mightiest monsters—
3and, T. Rex. the Jefferson Airplane, Gilbert
’ivan and more.
E HORIZON 24
i Beyond batters the cosmos, the Strawbs
ito David Bowie, and the Doobie Brothers
tring.
LOVER’S GUIDE 37
ive bite-sized reviews of the month’s
■ns.
OF THE MONTH 38
t LP of the last 30 days.
48
Top Twenty—the only record chart that
readers the chance to put their
ms on top. geralH
Publisher aH
BODY, MIND AND STARS
Editor: Howard' Bloi ------ “ Art Dir«
Bloom;
10 Editors: Peter FBuckley, Ed Natl
lasts Alice. And a Virginia gentleman Harris; .Assistarl
rector: Norman1 Hari._,
gional Correspondents: London-^ I
es for Jagger. Jacoba Atlas; New York-
'Who Came First'
-A Quiet Townshend
Roars To The Surface
by John Swenson
Ever since 1968. Who fans have
wanted to know what the music was like
singlehandedly in the privacy of his home studio.
Now for the first time Pete’s solo LP
gives them a chance to find out.
Il
MUSIC
J-
k^Jt back. Who fans, and close your band in order to convince the res't of
eyes for a second. Imagine your the group that his tunes are really
self at the doorway of Pete Town worth doing. And this is where the
shend's rural English mansion, sep just-released Pete Townshend solo al
arated only by a narrow road and a bum. Who Came First (on Decca), T' J
broad lawn from the placid river was recorded. • xJ
Thames. Enter through the large, Townshend’s music stash: The idea
wooden portals and stroll down the of a Townshend solo album has in
long, elegant hallway until you reach trigued Who followers ever since
Pete’s home-built studio. Study the 1968, when Pete first revealed in an
room carefully—note the maze of interview that behind The Who’s
instruments, electronic recording de highly publicized LP’s were a set of
vices and wires stretched here and recordings that few men but the mem
there, all presided over by the ever bers of the group had ever heard—
smiling face of mystic guru Meher recordings so impressively perfect that
Baba mounted prominently on the one of them, the homemade version
wall. This is the place where almost of “I Can See For Miles,” had even
all of what you eventually hear as scared Daltry, Moon and Entwistle
Who material is first planned out. This out of trying to re-record it as a four
is where Pete Townshend writes his some. The existence of those private
songs and records them as demos— demos promptly became legend, for
singing lead and playing bass, drums they were tapes whose nuances could
and guitar like a veritable one-man speak volumes about Townshend’s pri-
For years Pete has been going into his home studio, recording songs like a vir tual one-man band, and coming out with tapes so good that (according to Town shend) they sometimes scared his fellow Whos.
vate role behind the scenes and about
his character as a musical creator
when he’s not bashing his fingers
bloody in his violent antics onstage.
But until Who Came First arrived
in record stores a few brief weeks ago,
none but the privileged few were to
know exactly what those private
Townshend moments were like.
The brash Jeckyll and auiet
Hyde: Like the demo tapes, Who
Came First is a collection of songs
that are all Townshend—penned by
Townshend, played by Townshend
and sung by Townshend. And for the
first time this LP allows the percep
percep-
tive record-buyer to see for himself
that behind the savage, arrogant
whirlwind who appears onstage is a
soft and folkish musician who some
times has a desperate need to es
cape from the thundering noise and
crashing violence he creates beneath
the spotlights. The guitar work on
Who Came First is always under
stated, never up front as it is when
Townshend plays with The Who. In
stead Pete relies heavily on. piano, or
gan and synthesizer textures to color
his songs. And, instead of the usual
loud, brash guitar chords, Townshend
stresses the songs themselves. Even
the lyrics seem fuller and less hard-
edged when Townshend sings them
here. The words to the opening song
on side two, “Time Is Passing,” really
don't seem at first to be related to
anything you’ve ever heard from The
Who before; but they certainly em
body one of the most powerful and
beautiful lyrical statements Town
shend has ever made:
I’m playin’ my guitar while my
sister bangs a jar,
The glass sets up a sound like
people laughing.
It’s going to my brain and it’s
easing all my pain
I must hear this sound again ’cause
. time is passing . . .
There's something in the whisper
of the trees
Find it, I’ve got to hear it all again. Townshend once muttered that if he
Millions hear it, still they can’t made a solo album "It wouldn’t be
believe . My heart has heard the sound of very good." But no one who’s heard
There are echoes of it splashing harmony. WHO CAME FIRST agrees with him.
in the waves Climb to it, as my tears fall again,
As an empire of dead men leave But it’s only by the music I’ll be
their graves. free!
Don’t listen to people talk, or to The mad mask: The kind of private
them singing songs. Townshend tracks that have finally
Don’t listen to me or words from surfaced in Who Came First are by
men above. no means a recent Who phenomenon.
Don’t hear it in your needs and As early as 1965, Townshend demos
don’t hear it in your greeds, were already of paramount import
Just hear it in the sound of time ance. The hit singles that kept The
passing. Who alive in the early days of the
aCKCUS
MUSIC
group’s-existence were all penned by Peter Townshend: For years dedicated
the long-nosed wonder. In their forma Who followers have known Townshend as
tive years playing hard-assed clubs in a raging rebel who furiously kicks his faul
London the group acquired and cher ty amps over the edge of the stage. Now
WHO CAME FIRST is giving them their
ished the image of being violent, de first glimpse of a radically different side
praved maniacs, largely due to Town of his character.
shend’s penchant for showy destruc
tion and his subsequent rationalization
of the whole thing as “auto destruc
tive art.” Pete has a clever mind, and
much of what he told reporters was
calculated to give an outrageous im
pression; but all the while a calm, sen
sible. rational Townshend chafed un
derneath the madman image.
Sensitive rebellion: Somehow,
Townshend had to have an outlet for
his sensitive nature, and soon it be
came apparent that what Pete was
doing at home in his studio was rad
ically different from what he did as
lead guitarist for The Who. For three
years Townshend had gone onstage
raging like a psychopath, kicking his
left leg high in the air. swinging his
right arm over his head like a pro
peller. plunging his hand like a diving
hawk at his guitar strings, and finally
smashing his instrument onstage at
the end of “My Generation." But
when Pete dropped a bombshell on
the stage of the Fillmore West in 1968
by finally NOT breaking his guitar, he
took an all-important step in the di
rection he wanted rather than the
one he was required to take. Back
stage after the show, during a painfully
honest and soul-searching interview,
Townshend talked for the first time
of his work at home: “I like to play
simply and tastefully and when I make
records at home, I play simply and
tastefully and I don’t play big chords
and I don’t smash the guitar around.
. . . When I write a song, what I
usually do is work the lyric out first
from some basic idea that I had and
then I get an acoustic guitar and I ,v:
sit by the tape recorder and T try to
bang it out as it comes. ... If I dig
it, I want to add things to it, like I’ll
add bass or guitar or drums or an
other voice.”
Although Townshend downgraded
his homemade tapes in that same in influence of the other members of returned to his hotel room and com
terview (‘‘I think it’s of no importance the group. Last summer, at the end posed himself for awhile did he re
Q
—I don’t think it’s really got anything of a grueling tour covering the East vert back to a relaxed, friendly man 00
to do with what makes The Who The ern and Central United States, Town ner. When asked about the then re
Who”) no one who has heard them shend gave a most dramatic illustra cently released solo album by Who
has anything but praise for the music
Townshend was making on his own.
tion of the position his solo work has
within the framework of The Who.
bassist John Entwistle, he replied with
an answer that could well be applied
5
g
Flash flood of rage: Who Came Before the show at Chicago’s Audi to his own solo LP: “I see John’s al
First, the full-blooded son of those torium Theatre, Townshend was ap bum to be very much a Who album,,
demos, is the most intimate look at prehensive, during the show he would just like I feel Keith’s odd nights
Pete Townshend’s personality we are fly into a rage when a piece of equip with the Bonzo Dog to be very much
ever likely to see. Naturally Pete ex ment malfunctioned and smash it, and within the framework of The Who.
presses an essential part of himself after the show he was moody and ir We are becoming more individuals
through his work with The Who, but ritable backstage, cut off from all now; and so, in a way, whatever we
when we see him as a part of that those around him, while the rest of do, I think if it is positive it will make
band we see him filtered through the the group yukked it up. Only when he The Who more The Who.” *
CJKCUS 9
letters
ALICE IS DISGUSTING___________
Mental illness is no joke, and ap
tide, “Why Dylan Did George Jack-
son," with some hesitation, and this
Send letters to:
Letters to the Editor
C!RCUS Magazine
866 United Nations Plaza
New York. N.Y. I 00 I 7
constantly questioning, rejecting, and
reaffirming various aspects of reality.
parently Alice Cooper thinks it is. feeling was borne out in the article’s NASHVILLE SKYLINE is a power
I know damn well it's not! I was in actual contents. It falls apart on ful litany to the Jewish vision of love
an “institution" for a year, and be some crucial areas: “old-style reli (is this not “radical’'?): so, too, is
lieve me it’s nothing to sing about. gious beliefs"—since when is Judaism NEW MORNING. Wcbcrman—the
Recently my boy friend and I^wcnt an “old-style” religious belief? How most unreliable source of information
to sec him, and I almost flipped out much docs the author of the little concerning the Jewish Bob Dylan
again. He was the most disgusting piece (not credited) know of the around—fails to add an important
thing I ever saw, and I saw a lot since richness and fluidity of Jewish fact. As Tony Scaduto recently told
we had third row scats in the field. thought? Of Hasidism? Of Martin me (29 April), Dylan wrote “George
I understand he is completely differ Buber? Of Jewish mysticism? As an
Jackson’’ immediately after learning
ent offstage and I hope so! I’d really orthodox Jew (and “orthodoxy" docs
of Jackson’s death; ironically, the
like to tell him how it “REALLY" not mean what many non-Jcws may
news came to him just as he had fin
is to be insane; maybe he wouldn’t think it to mean), and I am sure there
ished the last page of Jackson’s Sole
take it so lightly. I know kids that arc others, angrily resent this subtle dad Brother.
adore him and that's their business. bit of literary anti-Semitism. Second:
But when I listen or watch a group, Dylan has never contributed to “right CIRCUS has always enjoyed a rep
I like to know who the singer really wing movements." Since when is the utation for non-ROLLING STONE
is! Your article about him in the Jewish Defense League “right wing"? honesty and objectivity (as well as
August issue was good, but I hope Has CIRCUS discussed or presented some of the excitement inherent in
his image change comes fast. the plight of Russian Jews (a prime our generation's music). Please don’t
Thank You, area of JDL’s concern), their con damage it with these collages of in
A Sane Person stant suppression and murder? formation that spring from the sick
Belmar, New Jersey The rest of the article is a com minds of those who wish to deny
P.S. I like your magazine! bination of half-truths. What does Dylan’s right to pray to his God!
CIRCUS mean by “radical politics”? Shalom b’Aratz
CONCERNING DYLAN____________ Dylan has always been a “radical”— Stephen Pickering
I approached your recent short ar- in the religious sense of the word— (Hofetz Chaim)
Putting a
good band
together isn’t
child’s play.
Putting a good band together is a lot of very
hard work. First it takes years to learn your
instrument. Then a lot of dues must be paid
along the way trying to get together with the
right combination of people to produce
"your” sound.
Ramatam’s people have been around long
enough to know what they want. Mitch
Mitchell was with the Jimi Hendrix Experience.
RAMATAM.
A significant
Mike Pinera was with Blues Image and Iron
Butterfly. Tommy Sullivan was with Brooklyn new band
Bridge, Russ Smith gained his expertise with a
rockgroup in Miami. April Lawton's guitar on Atlantic Records
playing has been likened to some of the
all-time rock greats. They wanted to be in
a band together.
and tapes, a Atlantic]
10 CIRCUSI would like to congratulate How letter. Because in the album Mick Jagger
ard Bloom on his superb article on CIRCUS is first and foremost a is singing a new kind of music. Sure
Alice Cooper. The group’s history musical magazine. It is published to he was great when he came out with
was written with exquisite taste. I let us know what’s happening on the “Satisfaction,” “Mother’s Little Help
just saw Alice in concert last week, music scene. It was never meant to er,” etc. But times have changed and
the whole act was a living nightmare. be a philosophical messenger. so has Mick. So he tries his luck at
Alice strutted onto the stage with his Second. I do not think that CIR de blooz. In mine and quite a few
pct boa constrictor in his right hand CUS is degenerating the nation’s others opinions he's done a great job.
and the other clenched as if to beat youth. Kids today have their own, Especially with one song “Sweet Vir
the hell out of some dumbshit, while individual ideas and I don't think that ginia.”
the stage filled with millions of multi this magazine will change them. There I admit if you’re the type that loves
colored bubbles. The finale was fit is nothing “dirty” about the way the the old Stones music and nothing
for only Alice himself. The whole people in this book dress. As a mat else, then Exile is not for you. The
group took Alice to the gallows and ter of fact they're probably cleaner Stones weren't deported, they’re see
hung him. It was so damn fantastic. than you, Mr. Braddock!!! ing a new start. Give them a chance!
It was by far the best concert I have Thirdly, if you want to read arti A Mick Jagger Lover
ever been to. And about the bastards cles about Laurence Welk, etc., there New Jersey
(to be literary) that call Alice a fag. are other magazines that deal with
Well all I can say is that they don’t that type of music. Who the hell is Ed Naha and
know their ass from their elbow, and Finally, if anyone has “courage,” where docs he get the idea that he is
they better find out from Mr. Bloom Mr. Braddock, it’s you for writing qualified to write “The Record Lov
before they decide to take a crap. that terrible letter! er's Guide?” To find this out, let's
Paul Bincr Love and Peace, look at his idiotic review of Exile On
San Diego, California Lisa Lantino Main Street. First he says the Stones
Address Withheld can't do songs with many chord
COUNTER ATTACK FOR CIRCUS___ changes. Obviously he hasn't been
P.S. Keep up the good work, CIR
This is a letter in rebuttal to Mr. listening to them for very long. Then
CUS!
Braddock, Jr. he insinuates that Mick can't sing
I have just finished reading his BREAKING BONES OVER STONES the blues. How about “Love In Vain,”
letter (“Circus Corrupts the Nation”) Ed? Or maybe songs like “Wild
in the September issue of CIRCUS. I am writing this letter in protest Horses” or “Sweet Virginia?”
In the letter he states that “CIR against the reviews that Ed Naha About the horns, Ed. In case you
CUS MAGAZINE is a waste of wrote on The Rolling Stones’ Exile didn’t know, that's Bobby Keyes on
money.” Well, in my opinion, it was on Main Street. saxophone and Jim Price on trumpet
a waste of time for him to write that He put it down, which was wrong, and trombone. Maybe those names
Hot blooded music.
The authentic folk and popular
music of Brazil. Sophisticated
melodies laced with primitive
rhythms. Songs that arc the
embodiment of Brazilian cultural
tradition, from bossa nova to
black magic.
Primal Roots is an Afro-Brazilian
revolution in popular music.
From Sergio Mendes & Brasil '77.
I Primal Roots
I On A&M Records
€MXUS 11LETTERS
national scenes
ring a bell, huh. Ed? Check the cred
its on the Mad Dogs And English
men album. About your reference to
the chick singers. According to my
information, the only people on the
album arc Jagger, Richard, Taylor,
Wyman. Watts, Keyes, Price, and
Nicky Hopkins. One last thing, Ed. NEW YORK NOVEMBER 1
Loew’s Theater — PROCUL HARUM (Syra
You say all the songs sound the same. OCTOBER 21 cuse)
Well, if you can’t tell “Sweet Vir Academy of Music MALO (NYC) NOVEMBIIER 2
OCTOBER 21 Palacei Theater PROCOL HARUM (Al-
ginia’’ from “Rip This Joint,” maybe Max's Kansas City STEFAN GROSS- bany)
it's about time you had your cars MAN (NYC) NOVEMBERI 3
OCTOBER 22 Town Halil^— LINDA RONSTADT (NYC)
checked. OCTOBEtRr25C°l,e8e — SEATRAIN (Clinton) NOVEMBER 3of Rochester — QUICK SILVER
University
From the sound of things, you’re Carnegie Hall — MERRY CLAYTON (NYC) (Rochester)
the one who should be deported. NOVEMBER 4
Kleinhan’s Auditorium PROCUL HAR-
M. N. Rambler UM (Buffalo)
NOVEMBER 5
Virginia Philharmonic Hall — HOLLYS (NYC)
Editor’s Note: Ed Naha’s heard
Best Bets NOVEMBER 6
Carnegie Hall — AMERICA (NYC)
NOVEMBER 6
quivered, his nose lit up, and his Of The Month Jabberwocky Club — TAJ MAHAL (Syra
cuse)
brain awoke from a twenty-one year NOVEMBER 6
Concert MIKE QUATRO/JAM BAND
sleep when he saw your letter and (NYC)
realized how filled it was with factual NOVEMBER T 6-8
irmonic Hall — CAT STEVENS (NYC)
Philhai
errors. So he promptly tucked his NOVEMB JeguT 8Hall — CLANCY BROTHERS
shirt into his jeans and sprinted off Carne,. CLANCY
(NYC)
to the swamps of New Jersey, where NOVEM2:mber____8
Academy
iderr of Music PROCUL HARUM
he keeps his Rolling Stones record NOVEMBER ER 110
collection in a box of bullfrogs under Union CollCollege TAJ MAHAL (Schenec-
his bed. and telephoned back the fol
lowing words to the CIRCUS office'.
I® tady)
NOVEMBER 10
Concert — CHI-LITES
NOVEMBER 11
“ (Jamaica)
“Mr. Rambler says there are no chick Concert SAVOY BROWN (NYC)
NOVEMBER :r 13
singers on Exile On Main Street. Well Madison1 Square Garden — JETHRO TULL
according to the liner notes, Clydie (NYC)
NOVEMBEf ER 14
King, Vanetta, Tammi Lynn and C. W. Post College PROCUL HARUM
(Long Island)
Shirley Goodman are featured in vari NOVEMBER 17-18
ous combinations on 'Let It Loose* Carnegie Hall — 5th DIMENSION (NYC)
NOVEMBER 19-20
‘Shine A Light,’ and ‘Just Wanna See Carnegie Hall — ELTON JOHN (NYC)
Jethro Tull: They’ll skulk onstage in white NOVEMBER 22-23
His Face.’ As for the horn work of trench coats to play a full forty-five mln- Academy of I Music
’ — NEW RIDERS OF
Bobby Keyes and Jim Price, the pro- * utes of uninterrupted THICK AS A BRICK. THE PURPLE S)>AGE (NYC)
NOVEMBER 24
duction on this LP was so bad that Concert — CHll-LITES (NYC)
even God could have been blowing NOVEMBER 24-25
Academy of Music — SAVOY BROWN
the brass and it would have sounded (NYC)
like a kazoo. Until you can come up CALIFORNIA
with a better Jagger defense, ya bet
OCTOBER 21
ter get yer ya yas out!” Thank you, Berkeley Comiimunity Center ELTON
young Ed! JOHN (Berkeley)
OCTOBER 21
Funky Quarters — TAJ MAHAL (San Di
ego)
SLIP’EM SOME SEX OCTOBER 22
Convention Center — ELTON JOHN (Ana
I think this book or magazine heim)
needs more articles for Groupies. For OCTOBER 22-23
Concert — QUICKSILVER (San Francisco)
example in the August issue, on page OCTOBER 23
Forum — ELTON JOHN (Inglewood)
59, in the paragraph “A hot trip to OCTOBER 24
Hell” you describe the 23 year old Music Center — ROBERTA FLACK (Los
Angeles)
who slithers onstage in his leather OCTOBER 25
Berkeley Community Theater ELTON
harness and torn tights, slides his JOHN (Berkeley)
hands over his bare thighs . . (Alice OCTOBER 27
McCafe’s Guitar Shop — STEFAN GROSS-
Cooper). Now all ya Groupies out Elton John: For the first time In Ffs ca- MAN (Los Angeles)
there can’t tell me that don’t get ya reer, Elton will embark on a major tour OCTOBER 29
with a lead guitarist—Davey Johnstone. Sports Arena — ELTON JOHN (San Diego)
horny. I would like to know some of NOVEMBER 1 , .
Forum — MOODY BLUES (Los Angeles)
the group’s opinions on Groupies al NOVEMBER 3
so. But the Groupies nowadays are Auditorium — MOODY BLUES (San Diego)
OCTOBER 25 NOVEMBER 3
a lot different than they used to be. University of Buffalo BONNIE RAITT Concert — CHEECH i CHONG (Fullerton)
(Buffalo) NOVEMBER 4
Do you remember the Groupie Black OCTOBER 27 Concert — MOODY BLUES (Long Beach)
Sabbath pissed on? We’re not like Philharmonic Hall — SEALS & CROFTS NOVEMBER 4 .
(NYC) Convention Hall — MERRY CLAYTON (San
them old Groupies are we? What we OCTOBER 27 Diego)
Memorial Auditorium GUESS WHO NOVEMBI IER 5
need is fun! (Buffalo) ium —
Paladiu - MERRY CLAYTON (Los An
s. c. c. ' OCTOBER 27-5
Academy g
of8Music — HOT TUNA (NYC) °^es)^ ~
geles)
NOVEMBER 11
(The Groupies) OCTOBER 28 Concert CHEECH & CHONG (Sacra-
far“Memorial — GUESS WHO (Rochester)
South Carolina Wi mento)
12 CIRCUSNOVEMBER 12 COLORADO Petersburg)
Community ty 'Theater — MERRY CLAYTON NOVEMBER 5
(Berkeley) OCTOBER 21 Coliseum — JETHRO TULL (Jacksonville)
NOVEMBER :r 17 The Gallerj
lery — JAMES COTTON BLUES NOVEMBER 12
Concert — SHA NA NA (Santa Monica) BAND (Aspp
OCTOBER 22
Concert — IKE & TINA TURNER (Indian ICTOBtK 24
apolis) Concert — CHEECH & CHONG (Tucson)
OCTOBER 24 NOVEMBER 3
Concert — WISHBONE ASH (Muncie) Concert — MIKE QUATRO/JAM BAND
OCTOBER 24 (Portales)
Concert — IKE & TINA TURNER (Muncie) NOVEMBER 3
OCTOBER 25 Concert — BOB SEGER (Portales)
Concert — WISHBONE ASH (Ft. Wayne) NOVEMBER 4
OCTOBER 25 Concert — MIKE QUATRO/JAM BAND
Concert — IKE & TINA TURNER (Ft. (Santa Fe)
NOVEMBER 4
Wayne)
OCTOBER 26 Concert — BOB SEGER (Santa Fe)
Concert — WISHBONE ASH (Indianapolis)
O(ICTOBER 26 Ct'
Concert — IKE & TINA TURNER (Indian NORTH CAROLINA
apolis)
OCTOBER 25
OCTOBERI 28
. western Universtiy — SHA NA NA
Northwe
(Evansville)
3 NOVEMBER 16
irsity — POCO (Chapel Hill)
State Univer.
NOVEMBER 5 Coliseum — ELTON JOHN (Charlotte)
Fairgrounds Coliseum — GRAND FUNK NOVEMBER 4
RAILROAD (Iniidianapolis) ‘ Concert — CHUBBY CHECKER (Greens-
NOVEMBER 6 boro)
Coliseum — JETHRO TULL (Ft. Wayne)
NOVEMBER 9 Moody Blues: The Moodys’ tour has got NEVADA
Concert — HARRY CHAPIN (Indianapolis) to be something special. Eleven hundred
NOVEMBER 9 NOVEMBER 18
Purdue Univnational scenes
OCTOBER 28 NOVEMBER 5 OCTOBER 27
Concert — BOB SEGER (Providence) Municipal
Mur Auditorium — ROBERTA FLACK Concert — TED NUGENT & THE AMBOY
OCTOBER 29 (Austin)
ustii DUKES (Richmond)
Concert — CHEECH & CHONG (Kingston) NOVEMBER 5 NOVEMBER 18
NOVEMBER 3 Memorial Auditorium ELTON JOHN Coliseum — ELTON JOHN (Hampton
Brown University PROCUL HARUM (Dallas) Roads)
(Providence) NOVEMBER 8 NOVEMBER 22
North Texas State University — ROBERTA Concert — MIKE QUATRO/JAM BAND
SOUTH CAROLINA FLACK (Denton) (Norfolk)
NOVEMBER 8
OCTOBER 21 : Texas A&M — ELTON JOHN (College WASHINGTON
Clemsoni University — FLASH CADILLAC Station)
(Clemson) NOVEMBER 9 NOVEMBER 11
NOVEMBER 10 Municipal Auditorium ELTON JOHN Arena — MERRY CLAYTON (Seattle)
Concert — MIKE QUATRO/JAM BAND (San Antonio) NOVEMBER 21
(Vermillion) NOVEMBER 10 Concert — SHA NA NA (Seattle)
Concert — Rrecord reviews by Ed Kelleher
Gilbert O’Sullivan: Gilbert’s insane. Long
live Gilbert!
T. Rex: Sounds as if the songs were dash
ed off on the back of a beer decal . . .
but they came out sparkling like wine.
Gilbert O’Sullivan—Himself (MAM) identifying with life’s losers. Listen to trie Warrior was one of the most curi
A bout a year ago a young Irishman his carefully restrained optimism as ously refreshing albums of last year,
named Gilbert O’Sullivan re he contemplates “Matrimony.” O’Sul and The Slider i.y cut from the same
leased a brilliant single, “Nothing livan is startlingly unique—obviously ctath. It includes the band’s two mon
Rhymed.” It was followed almost im not for everyone’s taste but imbued umental British chartbusters, “Tele
mediately by an equally brilliant al with an admirable sense of dignity gram Sam” and “Metal Guru,” both
bum, Himself. Both died unnatural and a pure love for humanity’s foibles. of which flopped on this side of the
deaths, and it seemed as if this un He is somewhat reminiscent of the water. The remainder of the songs
likely candidate for superstardom was British music hall performers of the fall into one of two categories—either
just a little bit too unlikely, even in early Twentieth Century and the full they are quick charging, unabashed
this age when the exception is more blown production work by Gordon rockers or strangely hypnotic, image
likely to become the rule than the Mills accentuates this feeling further. laden works. Bolan’s penchant for
rule itself. But Gilbert persevered and But in the end it is O’Sullivan himself, repetition and his tendency to opt for
“Alone Again Naturally” alerted the with his piercingly beautiful lyrics and the easy rhyme are as apparent as
public at large to his enormous talent. unorthodox vocal style, who carries it ever, but somehow they are forgivable,
Now “Himself” has been repackaged off like ai rookie running back the particularly when you take into ac
and dropped once again into the mar opening Ikick-off for ninety-eight count that he has had the good humor
ket place. It is an album which is as yards. to reprint his lyrics on the sleeve.
disturbing as it is diverting. In another Songs like “Main Man” and “Baby
century O'Sullivan might have been Strange” are so absurdly simple and
certified as mad and summarily dis direct that one can’t help thinking
missed; but then again in another cen T. Rex—The Slider (Reprise) they were originally dashed off on the
tury a person might not have exposed Andy Warhol once predicted that back of a beer decal. But that’s alright.
the machinations of his heart and mind the time would come when every per Bolan is out primarily for a good
as blatantly as this fellow has. O’Sulli son in the universe would be a celebri time, and in The Slider he has put
van is your man in the street, the ty, if only for ten minutes. That day, together as innocuous a masterpiece as
stranger who trudges by you in the of course, hasn’t arrived yet, so chaps has come along all year. Incidentally,
wintry night, the guy in the pub who like Marc Bolan will have a little bass player Steve Currie and drummer
has had a pint too much. Through_his extra time in the sun. Only joking, Bill Legend have been elevated to full
lyrics glow a foreboding of the future, folks. Actually, Bolan deserves the group status, thereby making T.Rex
a dissatisfaction with the present and success which has come his way. He a quartet. But make no mistake about
a regret for the missed chances of the has adroitly parlayed his minimal in it—this is Bolan’s show all the way,
past. He is bathed in sentimentality strumental prowess and a kind of and once again he has slid straight on
even as he attempts to affect a glare schoolboy poetic style into a winning through.
of cool detachment. Observe the al combination. His position is truly that
most relieved glee he derives from of the commoner as superstar. Elec-
16CWXU*Jefferson Airplane—Long John Sil
ver (Grunt)
As their records get worse their
OVU1QJ
covers get better. Who else but the
Jefferson Airplane? Stated simply, it’s ■SEEPS'
been a little too long since the last
great album by Grace and the gang.
But as an ceric ennui has tightened its
grip on the band, their packages have
grown more and more imaginative.
nrcri
This one is in the form of a humidor
pack—(otherwise known as a cigar
box) it can actually be assembled and
functions quite nicely. If only the Air
plane had put such care into the disk!
“Long John Silver” suffers from an
overbearing sameness of sound and—
far worse—a basic irrelevancy. Now
a lot of music can be dismissed as
irrelevant—after all, what is pertinent
about the lyrics in “School’s Out”?
Ah, but there is a difference: groups
like Alice Cooper don’t take up a
stance of relevancy. The Airplane rails
against once sacred cows with a pom
posity that far outdistances the ravings
of the targets themselves. Who really
cares to hoar Paul Kantncr preach
about Jesus? Does it matter that Grace
Slick disagrees with the pope? It’s all
done with such a domineering air—
here’s the latest statement of beliefs
from the San Francisco iconoclasts.
Once Jefferson Airplane was commit
ted to being the finest West Coast rock
band in existence, and perhaps they
could still regain that distinction. But
not with records which merely plod
endlessly on an old treadmill. With
riffs which are mere shadows of an
earlier greatness. And with lyrics
which presume a naivete on the part
of a listener matched only by his
resistance to new forms of artistic
expression. .... with the "Breadwinner."
Ovation's first solid body guitar is everything you would
expect it to be. It's the start of a whole new era
in electric guitars.
Commander Cody and His Lost
Planet Airmen—Hot Licks, Cold .... with I. C. One Hundred
Steel & Truckers Favorites six channel P.A. system.
(Paramount)
Commander Cody had a hit single Ovation's exclusive use of I.C.'s and hybrid modules
with “Hot Rod Lincoln,” so it comes offer the ultimate in sound, reliability and service ability.
as no real surprise that their next al
And with our famous acoustic
bum features a liberal assortment of
tunes about fast moving vehicles. But and acoustic electric roundback guitars.
what might have seemed like a good
idea in the studio emerges as a pretty
thin concept when spread over two
sides of a thirty-three-and-a-third.
What “Lost In The Ozone” lacked in
style and musical direction it more
than made up for in good humor and
swaggering irreverence; but Hot Licks
falls short of the mark because its
underlying mood is something ap (SEND 25rf FOR
proaching seriousness. Oh, there are TRUCKIN POSTER)
some laughs here, but the band seemsrecord reviews
track—representing the most effective
blending of rhythm section and brass
on the entire album. A beautiful con
cert captured with care, fidelity and
precision.
B.B. King—Guess Who (ABC)
B.B. King opens side one of his
umpteenth album with a surprisingly
uninspired treatment of John Sebas
tian's “Summer In The City,” but it
turns out that this is the only below
average cut on the record. Average
for B.B. has long been several notches
above that which most performers will
settle for, so what we're really saying
here is that the King of the Blues has
made another typically excellent LP.
Jefferson Airplane: Maybe the Plane is ready for mothballs. Interestingly, B.B. has turned to the
songbooks of some of the Sixties’
to have lost much of their tongue-in- If you have the Band s first four al most diversified composers—men like
cheek air. When they try their hands bums in your collection, then you Jerry Ragavoy and Hoyt Axion—and
at a Cajun standard like “Diggy Liggy are already well acquainted with the adapted their works to the blues
Lo,” they treat it as just that—a material. And if you agree that Music framework in which he has thrived
standard to be deferred to rather than From Big Pink and The Band repre for more years than most of today’s
a frame on which might be hung an sent their greatest achievements, then rock guitarists have been drawing
original and jovial performance. The you’ll be pleased to find that the live breath. The accent throughout is on a
same goes for “Rip It Up,” which has versions of “The Weight,” “Across cool, laid-back kind of guitar playing
never been more than something to The Great Divide,” “Rag Mama Rag” buttressed by a horn section which
get out and dance to, and “Tutti and “The Night They Drove Old stands ever at the ready to add just
Frutti,” which is a mere echo of the Dixie Down” arc every bit as delight the proper punctuation to each of the
versions which have gone before— ful as the originals. One of the bright phrases. B.B. is always fun when he’s
Elvis's, of course, not to mention Pat spots of many Band concerts has been putting someone down (as in “You
Boone’s. The one exception on the the portion set aside for Garth Hud Don’t Know Nothin’ About Love”)
album is “Mama Hated Diesels,” son to solo away. Here he truly comes or extolling the virtues of a woman
which was written by Kevin “Blackie” across in grand Phantom of the Opera (as in “Il Takes A Young Girl”).
Farrell. With lead guitarist Bill Kir . fashion as he creates a world of cas And when he really turns on the
chen handling the vocal, it is a lovely cading organ swirls under the general charm (as in Jesse Boivin’s “Guess
send-up of the truck song as Art title “The Genetic Method.” Midway Who”), he stops just this side of coy
Form. The group extracts every ounce through he tugs the New Year in to ness to give the song the honesty and
of humor from a tale of a love lost the strains of “Auld Lang Syne,” as restraint it deserves but doesn’t often
on the side of the highway. Still that’s the audience stomps and shouts. The receive. That B.B. is a fixed star,
only 5:17, hardly time to pull your encore of Chuck Willis’ “I Don’t whom other blues artists can measure
rig in, check your oil and have a ran Want To Hang Up My Rock And their worth by, is only reinforced by
cid cup of coffee with your favorite Roll Shoes” is another outstanding this close to perfect set.
waitress, Louise.
The Band—Rock Of Ages (Capitol)
Nothing is certain except death,
taxes and live albums. And the Band
has given in to the inevitable order of
things with this two-disk set recorded
last New Year's Eve at Manhattan's
Academy of Music. This is the now
famous concert at which Bob Dylan
made a surprise appearance, though
sad to say he does not do likewise on
the album. The Band tried something
new during that engagement—they
augmented their already strong ranks
with five of New York’s premier horn
men, and the result is a remarkably
round musical sound. The brass adds
just that much extra sinew to the pro
ceedings, and the Band members
themselves seem to play with extra
fervor. It’s all quite something to hear!
is CK€USGRANDFUNK
T'HBENIX”
GRAND FUNK
—PHOENIX” ?
Capitol.The Band: Traditionally a live concert of
previously recorded material is about as
adventurous as a good night’s sleep. But
when The Band came to New York, they
had a tradition-breaking experiment in
j
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rumor.MUSIC
They had shut themselves off in the
quiet, green world of Woodstock, rarely
doing concerts, making only occasional
LP’s and avoiding reporters like the
ew York’s Tirr
Year’s Eve i
place to be. Sinc<
One, tens of thou
have annually flo
Forty Second Sti
guzzle down spir
year’s evil vibes ar
Year via the blov
and jovial singin
Year’s Eve about
from New York’s
another type of lot
song-singing occun
which culminated <
of togetherness fo
sicians, The Band-
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backup group.” At
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o legendary songs fr
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£ pected six-piece bi
mind-awakening sui
by Patrick ("Willie Boy") Salvo Feathers of an Angel
Jg - ■ance by the fabled yet unpredictable thc ground anymore, because it was world tour. Subsequent Band tours
folk-rock poet—Bob Dylan. just a supreme feeling for us. I mean with Mr. D included dates across Can
Ten months later the tapes of that il it was just right for the occasion— ada (the birth place of four-fifths of
lustrious night’s events (minus Dylan's horns and New Year's Eve, right? And The Band), the U.S.A., the British
appearance) have finally emerged as it was incredible just to be able to Isles, France, Sweden, Denmark and
Rock Of Ages (on Capitol), an album cross that bridge.” Australia. Robbie has admitted that
that may whisk the cobwebs off a Crossing that bridge on seventeen those high-flying days with the master
group which has let itself slip just one tracks throughout the two-record doc left him more than a little awe-struck
step too deeply into the shadows. ument, the moonshine-mountain Band and dizzy. “At first we were confused
Crawling out of the bushes: In boys sparkled brightest on old-fash as to what we were doing. . . . There
1969, The Band was the best-publi ioned horny bandstand grease. From were things like running into limos
cized, most-written about group in all the screaming guitar solos in the tear and private planes, the time off be
of rockdom. They accompanied Dylan ful “King Harvest” to the uptempoed, tween jobs, which we'd never had
in his first British appearance in over updated born-for-horns rendition of before. Bob introduced us to the poets
four years, won a coveted appearance “Caledonia Mission,” The Band re- and to everybody from Marlon Bran-
on the Ed Sullivan Show, and became
what may well be the only rock group Back up In Woodstock, Dylan’s been talk
ing to The Band’s Robbie Robertson
in history to make the cover of Time about a scheme that could precipitate the
Magazine. Then Robbie Robertson and biggest shower of anticipation since
his four companions suddenly slipped George Harrison’s legendary Bangla Desh
off to their Woodstock homes and
spent two long years totally out of
sight. They refused all interviews,
made only a few rare sorties onto the
concert stage, and issued new LP’s
with frustrating infrequency. Now,
only ten months after the emergence
of their last album {Cahoots), The
Band has tossed Rock Of Ages into
the rock and roll race, and has al
lowed rumors to leak out about pos
sibly joining Dylan for the folk-rock
myth maker's first tour in well over
five years. What’s more, after two
years saying a bristly “no” to report
ers, Robbie Robertson has called Cir
cus Magazine for a long and amiable
chat, only to reveal that the trium
phant concert which led to Rock Of
Ages was more than just the easy-go
ing outburst of jovial celebration it
appeared to be on the surface.
Flirting with brass: Respite the ob
vious good vibes and musical spon
taneity, there was an air of tension and
anxiety surrounding the Band’s first
A •
public flirtation with brass. Speaking
from his quiet Woodstock home, Rob
ertson laid bare the underlying sig
nificance of the event to the men who mained nostalgically innovative, co- do to John Lee Hooker.”
were up onstage that New Year’s night. quettishly reminiscent. From some Then Bob broke his neck in a
“The horns were strictly experiment new melody changes and interwoven motorcycle accident, and they all
al!!!” he confided. “We honestly didn’t cross harmonies in the group’s classic moved to the country. As Dylan’s in
know if we were going to walk out “The Weight,” through the quivering jury healed, he began working on
with these hornmen and if the purists clarinet rhythms of “The Shape I’m “The Basement Tapes”—nearly forty
were going to be insulted. We thought In,” The Band continued to excel as demos that he and The Band per
we hadn’t got the thing down, and we the world’s finest latter day set of holy formed together, then sent off to ac
actually didn’t give it as much time rock and rollers. quaint groups like Manfred Mann
as we should have. You sec, we didn’t Dylan days: The Band’s holy rock with unrecorded Dylan songs like
want to come off sounding like those and rolling first began to attract wide “The Mighty Quinn.” And soon The
big cocktail lounge bands or those spread attention back in the mid-Six- Band started to write music on its
pretentious jazz-rock things. We really tics, when Bob Dylan heard the group own, composing the material that
didn’t think it was gonna happen!” at a local beer dive in Sommers Point, would ultimately become the guts of
But happen it did. The Band and New Jersey, hired Robbie and Levon their first album, Music From The
their horns had everyone, including Helm to accompany him on his revo Big Pink. The result? They felt forced
themselves, flying high. “When we lutionary Hollywood Bowl and Forest to retire to the seclusion and privacy
first heard the horns it was like sail Hills electric gigs, and later acquired of the fabled forests of Woodstock.
ing,” Robertson enthusiastically chim the rest of the Hawks (as they were But the retreat that has stretched on
ed. “I mean we weren’t standing on then known) to back him in his 1966 for many moons since then may beMUSIC
about to end in a far more dramatic proving yet curious smile on her
manner than anyone could have en cracked country lips and whispers into
visioned. the pines, “Nice fellows they arc, but
A Dylan tour? Gliding through the they don't talk much.”
sleepy hollows of Woodstock town, And the Grateful Dead? Knowledge
north on route 212 past the creaky able sources say the hermit-like musi
bell-lowered town hall, down along cians may soon join forces with Bob
w
the firry cove, around the harvesting Dylan for a tour that could be the
cornfields and sloping bends, up the biggest onstage event since George
wooden hills to Bearsvillc, you soon Harrison's Bangla Desh affair. But Gerald Rothberg presents
detect a small, shrub-covered sign when he telephones Circus, Robbie
which reads in big, black Gothic let Robertson is characteristically vague
ters: “Rena from Zena Antiques ’Z» about whether that historic tour will
Mile.” As Tim Hardin's sepia-colored ever materialize as a reality. “Dylan
station wagon passes you on the left. mentioned maybe touring with the
The American Funny Book
Number 1
IS
pg
you reach the celebrated Rena’s house Grateful Dead to me,” says Robbie
and antique museum. Suddenly you slowly, “We talked about both going
spot a black Lincoln Continental on the road again together, but I real
cruising past Rena’s humble fire-red ly don’t know. You know, we’re both THIS NEW LITERARY POKE AT THE
Volkswagen bus. The car suavely dis kind of vague people in that we sit ESTABLISHMENT IS ON NEWSSTANDS
appears amid a cloud of swirling dust around and make plans . . . but, you NOW! Full of sharp satiric wit, barbs 'bout
into the back yard of the freshly know, it’s really hard to get out of everything—politicians, TV heroes, super
painted adjoining two-family house, that rocking chair.” Yet if the record movies and cartoons like you never saw
and a vividly beautiful though preg the Band produced when they got out in the Sunday Edition of The Twin Oaks
nant willow of elegance and grace of their rocking chairs last New Year Gazette.
emerges from the car. Sliding out of becomes a warm-up exercise for a In this Special November issue of GRIN,
the driver’s seat on the other side, a tour with Bob Dylan, it could prove in keeping with the political atmosphere,
lanky Robby Robertson steps around once and for all that the reticent five- a big bonus—A Full Color Election Year
the hood and angles toward his preg some’s urge to rock and roll in public Poster!
nant wife. Looking like an English is a hell of a lot stronger than their SO, GET GRIN AT NEWSSTANDS EVERY
Mod record company executive rather compulsion to sit on a Woodstock WHERE. YOU CAN HAVE A GRIN-ING DAY.
than the country boy guitar virtuoso porch casually rocking the furniture
of old, he waves to Rena and is off while lethargic spiders cover them with
to visit fellow Band member Rick the silky strands of age and anony
Danko. Rena turns to us with an ap- mity. •ON THE HORIZON
' | ’‘he rock world has always father- ering to set the world on fire. Post
1 cd more than its share of myths. poning his holocaustal plans in fa
For instance, do you remember when vor of a jam, John soon found him
everyone was positive that Paul Mc
Cartney was dead and gone? (This
Doobie Brothers: self cookin’ in Tom’s blues stew and,
despite the protests of neighbors and
partitular theory was disproved to local law enforcement agents, the
some degree by the appearance of his
last three solo albums.) Or remember
The Folkies Who Doobie duo jammed the day away in
Tom's living room.
when everybody insisted that G[and
Funk Railroad was really a musical
group? (Some say this idea was dis
Punched Up A squirt of folk: Picking up a bass
ist the newly-expanded Doobie trio
began gigging around the San Jose
proved by the release of their last area. Bluegrass singer-writcr-guitarist
three albums.) Well, legend lovers, if
you've been getting bored of late due
the Ookies Pat Simmons found himself sharing a
bill with the strange blues-boys at the
to the shortage of mythmakers, you'll
Gaslighter one night: and much to his
just go crazy over the Doobie Bro by Ed Naha delight he found them to his liking.
thers, a five-man band that has given
Bluesy Tom introduced folkic Pat to
the most classic rock exemplum in The Doobie Brothers: It started with the the realm of electric rock and Pat, in
history—the rags to riches success gentle habit of busting guitars in half. turn, offered the unamplified sound
story—a timely shot in the arm.
to Tom. The birth of Doobies rock.
The Doobies, whose latest Warner
Enter Pat . . . exit one bassist. Down
LP Toulouse Street is selling like to three and wanting to be five, the
crazy, came out of left field about a Doobie Brothers enlisted the aid of
year ago with a homemade demon heavy-handed bass player Tiran Por
stration tape which they submitted ter and powerhouse drummer Michael
quietly to Warner Brothers Records. Hossack to complete their hard-rock
Before loo long, the Doobie boys were ing acoustic ensemble.
almost magically scrawling their John On Toulouse Street, the five Doobies
Hancocks on the doited line of a re offer a tasteful collection of both
cording contract, thus becoming one originals (penned by Pat and Tom)
of the first bands in Warner's history and semi-classic standards such as
to be signed for their sound and their Sonny Boy Williamson’s "Don’t Start
sound alone, no hype, no fast talking Me To Talkin’” and "Jesus Is Just
managers. Alright With Me.” a song popularized
Breaking stringy necks: The sound by the Byrds. Balanced precariously
which impressed the Warners execs on a musical high wire stretching be
so greatly is a rollicking hybrid of tween folk and delta blues funk, the
happy-go-lucky rock and foot-stomp Doobies manage to pay homage to
ing acoustic blues. The origin of the both genres and come out sounding
fast-paced music of the California fresh and novel.
based band can be traced back to one Aside from being technically accom
fateful >day in the dawn of the Sixties plished, the sound of the Doobie
when Tom Johnston (lead singer, Brothers is a bouncy, full-of-life ex
writer, guitarist, pianist, harp player perience. They all arc young and their
and all around nice guy) purchased music reflects all the joys and pleas
his first guitar for the monumental ures of a group of rockers who. in
sum of twelve dollars. Firmly into one short year, have gone from play
rhythm and blues, Tom went through ing sleezy bars and overcrowded cof
four guitars in a very short span of feehouses to creating polished record
time when he discovered that he could ings. No one could sum up the light
get even with his instruments for hearted musical philosophy of the zest
popping strings during frenzied solos ful bunch better than Tom Johnston
by breaking their necks in half. So who sings in "Listen To The Music:”
much for delicate musicianship.
Mastering the sounds of Jimmy What the people need
Reed and Little Richard, Tom went by punching out drunk, irate Oakies Js a way to make them smile . . .
on the road, performing in all black who were a bit pissed off because the Oh. listen to the music
blues clubs, where the evening floor dynamic Doobie didn’t play any Glen Oh. listen to the music
shows would usually end in a finale Campbell ditties. All the time
of fist fights or an occasional shotgun Somehow, Tom survived long
blast. For variety’s sake, Tom would enough to join forces with drummer The joyful noise of the Doobie Bro
also play white bars, where he would John Hartman, a new California resi thers ... a much-needed addition to
casually fill the gaps in between tunes dent straight out of Virginia and hank- the doom-laden sounds of ’72. •
24 CKOJSI
HORIZON
When David Bowie Blessed the Strawbs
by Janis Schacht
There’s blood in the dust ain’s LP charts than anyone else. He
Where the city’s heart beats members of Elmer Gantry’s Velvet was the one who made Dave Cousins
The children play games Opera (a 1969 theatrical outfit not rock. “The first time Blue Weaver
That they take from the streets unlike Alice Cooper) stomped out of played with us,” Dave exclaimed, “he
How can you teach when you’ve their old group and into the tranquil was terrified. He'd always been a bach
so much to learn? trio. Then the revitalized group was ing musician, and suddenly he was the
May you turn asked to play a rock and roll circus featured lead instrumentalist. He went
In your grave in Paris. “It was the first time we out onstage expecting a noisy audi
New world. played with Rick Wakeman,” recalls ence—he was used to people scream
•‘New World" the Strawbs’ leader and major creative ing while he was onstage. But sud
(Grave New World) spirit Dave Cousins while sprawling denly everybody was sort of listening
comfortably on the mocha bedspread intently, and he sat there frightened
ncc upon a time in the suburbs of an American hotel room. “Rick out of his skull. When he came off
Vy of London, a young mime artist had sheet music on top of his organ, afterwards, he said he'd actually felt
named David Bowie was asked to and he was learning to play it as he like ripping his shirt off . . . himself.”
conic to a television studio and silent went along, and people were saying Drumsticks in mid-air: Onstage you
ly act out the meaning of a song being ‘he’s a bit exceptional isn't he’ as he’d never know quite what you may ex
performed by a group called the be going off into these incredible pect from this group of highly poetic
Strawbs. David did the date, and in solos.” folk-rockers. “Onstage, we’re a mix
the end he liked what the group did Losing out to Yes: But as is often ture of the gentleness of our live al-
The Strawbs: They playing at a bum Antiques and Curios (A&M)
so much that he asked the band down Parisian rock circus when they gave fu
to the club he was managing called ture Yes-man Rick Wakeman his start. with the soft acoustic things and the
the Three Tuns. Then the Strawbs slightly more heavy things such as
played the Beckenham Free Festival the case, people change, and so do folk ‘Tomorrow’ from the Grave New
as David’s guests. In return he played bands. Rick Wakeman left to pursue World album (A&M). We do that
in Hounslow as their guest only a a rock and roll career with Yes, sur song with a long organ passage in
short while afterwards. But that was rounded by a fortress of pianos, or the middle. We’re a strange mixture
a long, long time ago. when David gans and synthesizers. And that’s when of two things, it starts off softly and
feared large crowds and The Strawbs the Strawb’s decibel level began to builds to the last thing we do in the
were a gentle little folk band. Since rival Mount Vesuvius on a symphonic act which is ‘New World.’ which
that time Bowie's became a monster binge. Rick was replaced by a lava somebody described recently as ‘bone
of sorts and The Strawbs have grown spewing. volcanic catalyst named Blue crushing’ ... at least it creates an
loud enough to win the occasional Weaver, formerly organist with the atmosphere.”
title of “Grand Strawb Railroad.” English scream band Amen Corner. “There’s a drum solo in the middle
The elves grow up: What turned a Blue, a gentle young Welshman who of ‘Tomorrow’ which is like no drum
quiet threesome of acoustic folk elves only sounds Welsh when he’s drunk, solo you’ve ever seen. It really isn’t
into roaring electric giants? First off, is more responsible for catapulting the like a drum solo.at all,” Dave con
Richard Hudson and John Ford, two band up to the Top Twenty on Brit- tinues. “When we did the song in Bos-
CMXUS 25You can also read
