Records

Records

CAPT. BEEFHEART & HIS MAGIC BAND

Trout Mask Replica-Captain Beefheart and His Magic Band-Straight STS 1053 There are twenty-eight Selections on this 2-set record for your redoubtable delectation, all of them with equally crazed titles.

Zoot Horn Rollo, glass finger guitar, flute; Atennae Jimmy Semens, steel-appendage guitar; Captain Beefheart, bass clarinet tenor sax, vocal; The Mascara Snake, bass clarinet, vocal; Rockette Morton, bass, narration.

With this record Beefheart & Co. will hopefully rise from the underground cavern of complete oblivion to the more hospitable soil of relative obscurity. Thick with images, thick with rhythm innovations, the band lays a heavy batter on the curves of your consciousness turning the furthermost flexions of your widsom to goo (the record makes ya think that way).

Although at first blast the records, may sound a bit-well-strange, the sound for sound’s sake of acid reflections are identifiable at any level of perception, and the interplay and feeling for dramatics (i.e. changes of pitch, tempo) are the result of talent. Talent being a gift to the listener. The instrumental aspect is very accomplished and the extreme looseness seems to be the result of much rehearsal or just playin’ together for a long time.

The range of the record is raunchy-there are diddy bop teen thrill songs like “Ella Guru”, more surrealistic than Zappa’s Wayback trips but just as funny, solo Beefheart breath control backwater vocals like “Well” and “Orange Claw Hammer” that will turn your gourd a deep pink (if you’re lucky), down home wipe-outs (“China Pig”) and strange sound factors (“Hair Pie”). There are also more explicit references-“Neon Meate Dream Of a Octafish” sounds like a parody of Allen Ginsburg’s style of recitation, and Beefheart, like

Zappa, is aware of the fact that “bulbous” is a one word joke, just like “Dachau” is a word that begs to be mercilessly satirized.

Free association is the best backdrop for putting the words in a safe perspective. And why this doesn’t sound like your normal rock ’n’ roily band despite the normal instrumentation is even simpler-the bass and drums usually play an accompanying line with the lead guitar rather than a straight rhythm line that the lead guitar can play against. Also the lead instrument will change, instruments will drop out, tempos will shift at unforseen intervals.

This record may be hard to cope with for some people since taken in large doses (one listening) it’s bound to induce some feeling. The band’s totally mad, of course, insane teeth gibbering like jellied thimbles-but then, doesn’t every one?

Richard C. Walls

TYRANNOSAURUS REX

Tyrannosaurus Rex-Unicorn-Blue Thumb

Very rarely do lyrics to songs provide a poetic continuity when lacking musical accompaniment. In the case of “Unicorn”, the first American released album by Tyrannosaurus Rex, it isn’t rare at all.

This album creates the mood of a straight-forward, warm conversation between two people who love one another-love each other enough to be sincere. It is relaxed and leaves many things unsaid because they are felt or just taken for granted.

Their words and music blend and flow lil^e angel hair under a Christmas tree; while producing a bizarre anticipation similar to the feeling you get inside when the sky is all black before a storm.

The child-like terminology used to describe “Unicorn” is probably the most effective. It is a welcome relief from a pounding bass, a droning wah-wah pedal or a screaming lead singer.

Marc Boland, lead vocals, has a voice that affects the listener like a discreet seduction. This isn’t the kind of music you listen to before or while you are making love, rather it is for those quiet moments afterwards when cigarettes .are lit and both can smile. It is post-orgasmic and those who appreciate the sensuality of music, will know the gentleness of “Unicorn” as rare, and perhaps a bit precious.

Steve Peregrin’s exotic drum work, as well as vocals, lend a calypso-like flavor to some cuts on the album.

Both vocals together create an erratic effect when the album is viewed as a whole, that jumps from child-like innocence to the mysticism of sorcery.

As previously mentioned, “Unicorn” is their first American released album; in England it is their third. Their style is unique, a cross between the Incredible Spring Band ^nd Mimi and Richard Farina. It’s music that makes you feel good, feel relaxed in the uptight U S of A. An album such as this is a welcome diversion from the daily bullshit that we put up with.

Connie White

THE GROUPIES

“The Groupies”, both the record and the phenomenon, is supposed to be tragic. The Groupies (Earth—ELPS 1000) as an attempt to exploit that tragedy is a failure. Produced by Allan Larber, the disc serves only to reveal certain fundamentals of the youth culture as we near the 1970’s. (Now only months away the 1970’s being approached by the majority of the population with naivete of the revolutionary changes necessary to conquer and control the decade).

Groupies, as a phenomenon of the alternative culture, are reflective both of the social milieu from which they emerge and that new one of whose approach they are a key signal. Groupies are as inevitable an outgrowth of the resurgenct of youth in the sixties as “Jack the Rippers” were of the Victorian Era. Those best prepared emotionally, physically, and intellectually for a new morality anticipate it and practice it as though it was already the norm.

Groupies are suggestive of the problems we face in oyr adjustment to those changes on a mass scale. Those who can live the groupie life-style without the theoretically inevitable guilt (and there are those who can) drive one more nail into the already half sealed coffin of bourgeouis sexual dogma.

Unfortunately, all of the above is obvious and has been previously discussed. What is really more important, once one accepts the inevitability of groupies as a sub-culture within , the youth movement, is to consider the groupie qua groupie. In producing The Groupies, Lorber used only the most plastic chicks. The Groupies, is in no sense a true reflection of all groupiedom.

“I just go to the Scene and hang on the wall”, explains one of the chicks on the recording. The groupies from the East-West Coast axis reveal themselves as righteously representative specimens from a sterile, not-quite-dead-but-dying culture. These chicks are into the culture on only one level, the musical and secondarily, only to the shallowest extent, sexual. At one point a chick complaining “That’s all they want. They build up a conversation the whole night and all they want is a lay.” (“That’s all the girls want too” is the reply.) Balling is viewed solely as an extension of the music. Balling for its own sake, for the reason that he/she is a good lay would be bogue or declasse for these groupies. “Thats the hard part, deciding what to do with them the next day,” comments one groupie and that’s exactly the point. Balling a name, a “star” has nothing to do with the person who bears that name, bears that “star” image. Very little of these chicks is concered with humanity.

The girls interviewed reveal themselves as plastic as the sub-culture they come from. “You have to have a riff, a gimmick”, says one girl and that’s all this record is, a gimmick.

The groupies interviewed are vermin. Hardly reflective of any attitudes but those of the elitist, they don’t even represent other groupies well. There are groupies who are more than just groupies; these girls are leeches: “There’s always somebody around to give a girl money.”

Worse, they have no pride. The phrase “I don’t care” is the most used on the album. The tragedy of these girls is that groupies are creating something real-in many cases. They fulfill real needs. As Carol Fox, Kiss columnist says, “Rock music is crotch music” and even these groupies know it. But to know it and act upon it are two different things. Chicks like the Plaster Casters make the act of giving head a new art form; their casts are more cogent to rock history than Carl Perkins’ blue suede shoes.

The Groupies as a record is an unfair reflection of the groupies as a whole. Lorber has exploited chicks who should be doing a real thing. Due to their lack of integrity the groupies heard on this lp allow that exploitation. Groupies aren’t tragic; they’re performing a necessary function to the youth culture. But to present them as totally mindless as this record does, is to take advantage of public myth. The Groupies is another honky attempt to exploit what the youth has created. And the sad thing is, the chicks on the record co-operated. That’s the most tragic consequence of all.

If you want to have a good time, call David Marsh for a change.

JOHNNY ALMOND MUSIC MACHINE

Patent Pending-Johnny Almond Music Machine Deram/Des-l 8030

Johnny Almond is not just another musician who has played with Mayall. He is a musician that plays for himself before he plays for someone else. Almond is a young saxist, flautist, bass clarinetist, vibist, pianist, organist, composer. At 22, he recorded “PATENT PENDING” with a car-load of other young musicians including trumpeter Geoff Condon, who on “REVERSED FOR TWO HORNS” (which is just that) bouts with Almond in a stand-still checkmate. Condon, at the time of it's recording, was suffering with the tlu, which explains his fine tone and imaginative lines. Roland Kirk must be' Almond’s hero on the flute, and for this probable reason, he writes and performs “TO R. K.”. Almond, unlike lan Anderson of Jethro Tull and idol of many, does not use an electric flute. An electric flute can easily cover up bad tone and sloppy runs. Almond is not handicapped and has extraordinary tone with out any crutch. The composition is very well done and, very slightly, unique.

Organist Johnny Wiggins is a very fair musician, as is guitarist Jimmy Crawford. Neither of them add much to the groups total sound. Alan White seems to be an advanced drummer while Roger Sutton is a very knowledged bassist. Sutton plays some very interesting, but subtle, bass lines. Almond has played with such people as John Mayall, Paul Williams, Alan Price, Zoot Money, Chicken Shack, and Martha Velez. He is mainly a studio musician, but also comes across on his own. And who knows what guitarist Steve Hammond plays. Who cares? Almond, Condor, Sutton, & White are fine music makers but Almond and Condon are the evident stand-outs. They are superb.

There’s one catch, however. And that is that PATENT PENDING is supposed to be a jazz album! But it isn’t. It is a cross between semi-jazz and Booker T. As a jazz album, it fails miserably. It is next to nothing. As a rock album, it is more than fair. It could be a three star plus by my ratings, but more like a minus two star for DOWNBEAT. PATENT PENDING is just a pleasant album to listen to once in a while which makes it worth the money to a few of you.

PHAROAH SANDERS KARMA

K a rma-Pharoah Sanders-Impulse AS-9181

The Creator Has a Master Plan; Colors

Pharoah Sanders, tenor sax; Leon Thomas, vocal and percussion; Richard Davis, Reggie Workman, and Ron Carter, basses; Julius Watkins, french horn; James Spaulding, flute; Lonnie L. Smith Jr., piano; William Hart or Frederick Waits, drums; Nathaniel Bettis, percussion.

Recorded February 14, 19, 1969

This is one of the most beautiful records ever released.

It isn’t perfect and the second song, “Colors” which, despite'liner confusion, is only-a few minutes long is definitely anti-climatic. But the main joy here is “The Creator Has .A Master Plan”, a long work that spills over on to most of the second side. It. is not an extended composition in the traditional sense for it is really quite simple, melodic, explosive.

Pharoah Sanders first became known on the scene (a vague concept) around '64 when Leroi Jones and other enlightened music lovers began dropping his name in the pages of Downbeat-where it was inevitably mispelled as Fanel Sanders. Soon a lotta people were rapping in outrage or admiration about this young monster tenor man from Little Rock, Arkansas. His first record as a leader was on E.S.P. disks, a small record company which, despite recording quality that ranged from good to unforgivable, an inclination toward ungodly (if any), and cover art that often gave no key to who or what was on the album, played host to some impressive far-out artists who were to become well known on more persuasive labels, most natably Sanders, Albert Ayler and the Fugs (remember The Fugs?). The record was mostly a drag. It was O.K., inventive and all, he could play, but he sounded much too much like Coltrane to justify the polemical praise that preceeded him.

It was no surprise when he got together with the late John Coltrane but the changes he went through, the changes he played were-whew! Heaviest. “Live at the Village Vanguard Again”, “Meditation”, and Ascension” (all on Impulse) come immediately to mind. Coltrane, as was his way, was going through changes too. His playing at this time caused on critic to suggest that perhaps Trane was the “prisoner of a band of hypnotists” (Downbeat--April 7, 1966—this same perceptive critis is now editor of DB).

After Trane died Pharoah’s first date as a leader on the label that had given him so much sweet exposure was released. This was Tauhid (Impulse 9138). It contained the memorable “Upper Egypt and Lower Egypt”; a version of which’ is supposed to be on the MC5’s new Atlantic record, with lyrics by John Sinclair. The whole record was strong and lovely, but it was “Upper and Lower Egypt” that pointed to the direction which, when followed, led to the Karma masterpiece.

The lyrics of the Karma album on the printed page seem almost banal in their simplicity and optimism-but in the context of the music and Thomas’ singing the happiness is truly felt. Sander’s tone on the slow sections is husky and growling like some ecstatic old R 'n’ B tenor sound and you just know, feel that he could play anything on his horn, which he does. Here are all the facets of his playing that his detractors would deny he doth posess-strong, rhythmic sense, strong lyrical feeling, ability to build to a screaming release, contrast, continuity, yessness.

There’s nothing difficult on this record, nothing cold--in fact the whole record exudes a relevant warmth. Spauldings flute line (to call it a riff would be too harsh) is perfectly sensual. All the players are sympathetic and right on. Leon’s singing has the right subdued feeling and his vocal effects during the up passages are nifty. Sometimes he falls into something that sounds like he’s trying to yodel with his mouth closed. It works.

The only thing wrong here is “Colors”. It's too similar to the lower levels of “The Creator” to draw me in. But it’s brief.

Richard C. Walls

JOHN CAGE LEJAREN HILLER HPSCHD

JOHN CAGE and LEJAREN HILLER: HPSCHD NONESUCH: H-71224 (Stereo only)

HPSCHD, a new work by John Cage and Lejaren Hiller for computer-generated tapes and harpsichords, in a version specially prepared by the composers for the record company.

A legend in avant-garde circles even before its completion, HPSCHD was created through an unprecedented use of computer tapes 51, to be exact in collage with recorded harpsichords (3 in the record version, played by Antoinette Vischer, Neely Bruce, and David Tudor).

A specially devised computer program called KNOBS — a printout sheet giving instructions for playback control - is enclosed in each album, making possible the alteration of the composite by increasing, decreasing, or eliminating parts of the whole. The odds of any two sheets being identical are extren\ely minute, so that it may be said that each record owner will possess a potentially unique version of the work.

An album that could not have come into existance without a dynamic collaboration of distinguished minds, it is presented as an experience not to be missed by all who have an interest in new directions in the arts.

RIMSKY-KORSAKOV SYMPHONY NO. 1

RIMSKY KORSAKOV: Symphony No. I in E minor; Song of Oleg the Wise

Boris Khaikin conducting the Moscow Radio Symphony Orchestra (in the Symphony): Mark Reshetin (bass, Vladimir Petrov (tenor), Chrous and Rochestra of the Bolshoi Theatre (in the Song) MELODIYA/ANC.EL SR40094 (Stereo only)

Nikolai Rimsky-Korsakov's Op. I is this First Symphony, in which the young naval officer and musician foreshadows the melodious imagination that later bloomed in "Scheherazade”. With it, Boris Khaikin has also recorded the vivacious “Song of Oleg the Wise”, based on early Russian history. Both are premieres, and the only available recordings of these fascinating and rare works, AND, the composer's celebrated orchestral colors benefit from excellent Soviet sound engineering.

Woodward Exp. Ready to Roll

Pre-production work is underway on a feature-length film documenting the Detroit area music scene ... by Detroit director Robin Eichele.

The first thing people-especially musicians and investors—want to know is, what kind of flick is this going to be and how much is it going to cost? “What kind” is going to be, as always, a consequence of “how much,” but the direction is going to be toward an episodic narrative; or, a thread through what’s happening and how the music grows out of it, along with it, or against it. The film can’t help but be heavy in covering what’s going down: This is Detroit, and it is 1969. The areas to be explored run from street action—bikes and wheels, bells and beads, dashikis and berets—through the newspapers, the radio and TV studios, the visiting groups and musicians, the agents, the promoters, the clubs, the audiences, &c. &c.

Final numbers on production -costs will very easily hit six figures, which should give some perspective to the undertaking, not that money in any way equals anything, but to say in front that this is going to be a professional production in every respect.

With such numbers being mentioned, a big question is, OK who puts up and who gets the bread? The Who is a combination of traditional “producer” money and the co-operative energy/financing on the part of Detroit musicians and folk. Groups will receive shares for their participation, and if they want they can buy enough shares to cover their sequences, which are then their’s for use on TV promos or whatever. The groups are, in effect, co-producers of the film. As such, they have a say in what happens to them on the screen. The idea is that this is a version of the Detroit trip, about and for Detroit area music and, musiciana. Profits will be paid out on the basis of shares owned with open books digited by a CPA.

The answer to “when?” comes down to the critieals of final funding and distribution agreements. Within the next three weeks the unknowns should be known, and production underway. Target date for a finished print is January 1st.

Immediately: I would like to get in touch with interested bands or their agents/managers to start filling in the script and scheduling shooting. This also applies to DJ’s, music scene personalities, groupies, freeks and other warm bodies who would like to make their knowledges and talents available.

I would like to discuss investment opportunities with local promot-ors or other money interested in buying in 1.

Anyone interested in more specific information of any kind can get in touch with me through Creem, by calling 883-6518 6pm to midnight, or Kramer-Day Associates 341-8581.

End of ABX Free Concerts

The WABX free concert series offered much more than free admission. To the hot sticky city dweller, it was a healthy outlet for the high energy that can accumulate inside one who lives in the polluted atmosphere of Uncle Henry’s paradise.

All three concerts were held in the center gear of the Motor City, the macabre downtown area near Wayne University; the first two at Tartar Field and the final one on the steps of the main library.

Undoubtedly the primary contributing factor to the success of all three concerts was the people whoattended. Straight people, freaks, children, blacks, dogs, the crowds were together. Wine, dope and food were freely shared.

The concert series, co-ordinated by Dan Carlisle, recently departed WABX dj, actually began in August of last year when a free concert was held in Rouge Park. Headlined by the infamous MC5, that concert electrified the minds and bodies of so many youths that demand was great for a repeat performance. This year’s concerts were held with the city’s aid and approval. This resulted in some of the bands getting paid and aided in a general absence of police hassles. The only real bummer of the series was the postponement of the second concert due to a baseball game in Palmer Park where it was originally scheduled.

The free concert serifes is one of the first incidents in which a radio station made an all-out attempt to bring theif listeners and the entire community together, for the people themselves and in a non-profit manner. It was an adequate “Thank You” from WABX to its supporters.

The first concert was not only a first for Detroit but an awakening for many observers to the high energy capabilities of the SRC. 4000 lovers of the bizarre made the trip into Tartar Field July fifteenth ignoring the low energy spectacle of men parading about the lunar surface. It was one of the truly incredible gatherings in Michigan rock history.

Freaked by the killer response to the first concert, the city hemmed and hawed forcing the postponement of the second in the series of gatherings. But on August 10, a further rock milestone in the area was reached when Terry Reid and Savoy Brown came to the park to conclude a six hour jam session. Six thousand had the opportunity to see these bands and local acts such as the Gold Brothers, giving both types of acts exposure they need and deserve.

The steps of Detroit’s Main Library was the site of the final concert. Mitch Ryder and the Amboy Dukes were featured along with the Third Power and the Rush. The Dukes, led by guitarist Ted Nugent, went absolutely insane filling the audience with electric anticipation that Nugent might shed the rest of his clothing. Mitch Ryder’s band, although not yet completely together, did a solid job behind all of Ryder’s old hits.

The free concert series, concieved by a community-oriented radio station, stands as a high point of the summer. The low hassle atmosphere was certainly a major factor in keeping things reasonably cool on the area’s music scene this summer. All the people involved on any level from that of spectator all the way up to WABX’s co-ordination deserve to be commended.

Connie White

HEAD LUCAS Ted

in California

Some-times, some of the best things happen by accident. Like, every time I see Ted I ask him when we’re going to go through his massive tape library so I can get some of his music on the air. Spikedrivers live, Teddy jamming* with everybody except Django, but nothing usually ever comes of it. So one night a week or so ago he shows up with a piece of tape in his hand. “Don t ’cha say I didn’t warn ya, ’bout your head in California. . .” I had heard the song in performance, with just an acoustic guitar and liked it, but this was certainly something else.

Historically, Ted wrote the song several months ago. The actual recording we have on the air was begun about two months ago. Ted went to C.L.B. Studios in Monroe and laid down the initial tracks, which included drums and percussion by Steve Booker, who was in the original Spikedrivers

with Ted and is now. touring with the Paul Winter Consort. The limitations of working in four channels caused Ted to take these tapes to another studio. At P.A.C. Ill he and engineer Dick Becker dubbed the original tracks to 8 track equipment and were able to salvage 2 rhythm guitar lines, bass and drums. To these, Ted then added three voices and a lead guitar line. For the final mix, Ted went to Pioneer and ran the board himself. The result, “Head in California”, can be heard on ABX.

To comment on the finished product, it captures quite a different Lucas than we have been getting used to. After following Ted’s amazing odyssey from the original solo folk thing he was doing five years ago, through the Spikedrivers and various levels of rock, and then to the Misty Wizards (a sort of Simon and Garfunkel bag) to what he’s been into for the last year is worth a book in itself. After pursuing the very personal kind of expression that is part of what he has been doing as a soloist, he has achieved the depth and perception that is needed for a sensible approach to perhaps finally achieve the kind of success he deserves.

“Head” is a bit raggedy in spots. A remix, or maybe even a whole new session would certainly make it a viable product. The vocals are the best part of the current tape. The rhythm lines are very together, but the bass line disappeared somewhere between mixings and leaves it rather bottomless. The lead line shows a lot of balls for someone who hasn’t played a lot of rock lead lines. One of my favorite personal theories about Ted’s potential as a rock/blues lead man is confirmed here. Steve’s drumming is enthusiastic, but shows that Steve isn’t into rock drumming, another pet theory exploded.

Ted has expressed to me the kind of album he would like to do. Each track different, rock, folk, classical, jazz, and Indian influences each having their own way in Ted’s personal synthesis of all these influences in his own unique music. It’s certainly something to look forward to. “Head” is a good start. It’s getting a lot ot play on ABX, and not just on my show. Most of the record hustlers that come up have been asking about it. So finally, justice may be done. The public may finally get to hear the “Lucas” thing on record. And Ted may finally collect on the dues he’s paid.

Larry Miller