Dear CREEM:

On this warm San Francisco night, jobless and going down slow, I wandered into a late-night book shop. Going over countless racks of periodicals, I spied this big fat newspaper-print magazine titled CREEM.

“Hmmm ... ” thought I, "must be some awful teeny-bop scandal sheet.”

Feeling that I must know my enemy, I b e g a n t o s c a n the p-ages and --OOOOWWEEEE!

I ran to the cashier, plopped down 50 cents (quite a statement considering my. financial situation), and hurried home to. devour every tiny morsel in the privacy of my own bathroom.

If I may boldly presume to speak for all of we folks who are not getting much from Rolling Stone these days, but have been consistently disappointed by journalistic attempts made by neanderthal minds: We thank you.

And out of Detroit yet! I can hardly believe it.

Now if you can just maintain this high level... ?

Michael Cholewa

San Francisco, CA.

(also of Toronto)

Dear CREEM:

Eaph issue of CREEM that comes out . increases my respect for what you are doing. I have beein intensely involved in cultural revolution for some years, as well as media, and by my analysis, CREEM represents that which is good in hip culture, and Rolling Stone represents that which is utterly evil. In view of this, I suggest that it is the duty of all us to help CREEM out

Incidentally, f really dug Karpel’s article, x Das Hip Kapital. One thing he did not mention (perhaps to avoid bringing heat down, but it’s too late now) is the fact that the shakedowns and/or takeovers (that’s what they were*, unfortunately) of Woodstock, Winter’s End, Woodstock (The Movie), Randall’s Island, Mountaindale, and Caravan of Love-Great Medicine Ball were engineered in part or wholly by myself. Over that two-year heydey of rif>offs, I began to seriously question the validity of this means of relating to hip capitalism. In short, it was too negative. Caravan of Love-Caravan of Pirates, where’ we put .on counter-concerts, was an attempt to reach for a new way of relating hip. capitalism, but it was only partially successful. As a result l decided to let the (Celebration of Life slide. Now I’m sorry I did, because at least at the other events our presence and ultimate takeover in two eases prevented the people from being trhshed.

I know a lot of people in the rock and roll business;read Creem, so hereby be warned — no more “Celebrations of Life” or ELSE. If you want to know what “else” means, talk to the promoters, of the previously mentioned festivals, or look at the profit curve of Woodstock after the first three months.

(And while I’ve got your attention, how about contributing some money to freeing righteous brother John Sinclair, a man who helped to virtually invent modem rock — 1520 Hill St., Ann Arbor, Mich.) g ; Stay High and Keep Rockin’,

Thomas King Forcade

UPS White House Correspondent

Washington, D.C.

Dear CREEM:

Congratulations on the cover of CREEM Vol. 3, No. 4. Truly a step forward. One of the ibest covers of any rock mag ever!!! Wow!! (But I don’t see any credit given to the artist!?!)

The J-5 in neuvo-Walt Disney (check out the Aristocrats) and the color. The new logo is right, the contents ain’t so bad either. CREEM has become a joy to read,-to have — to look at. Thanks a lot,

John Dowd

Brooklyn NY

(Our Vol 3, No. 4 cover was an adaptation of a panel from the J-5’s new Saturday morning ABC cartoon show, which will start in the fall. The snake was removed from Marlon’s hand, the doorman changed to a cop and the cover overlays done by CREEM art director Bob Wilson, who also designed our new logo. Of all of which, we are righteously proud. Ed.)

Dear CREEM:

I’m really impressed. I have to admit that when I first picked up CREEM a few issues ago, I figured “another Rolling Stone imitation,” but I was certainly wrong about that. You’ve left them far, far behind to wade in their own ^popstar bullshit. It appears they’ve lost touch with their own original ideals, which is the sad but seemingly inevitable result of what happens when a good idea evolves into a corporate structure and the idea gets buried somewhere in the midst of that structure.

Rock‘n’roll is what counts and I’m glad to see that CREEM • recognizes it. Just in time too for rock is dying and the signs are all around. Turn on the radio, or even more useful, look at the record charts, for they determine what we can plan on hearing in the future. Who’s there? People like James Taylor, Elton Carole King, David Crosby, Cat Stevens, Joni Mitchell, Graham Nash, etc.

Not to imply (hat none of the above are any good. Most of it is quite good, for what it is, but what is it? It’s hard to say exactly but we can definitely establish that it isn’t rock’n’roll, if for no other reason than^.the fact that in all the cases above, the words take precedence over the sound. The minute that happens, you are no longer in rock territory, you’ve taken that final step backwards and fallen into some kind of 1962 Bobby Vee time warp.

I think that the problem lies, at least partially, in the fact that the audience that buys this new crop of LPs is composed of people in their 20s (our younger brothers want no part of it) who were exposed to the early sixties rock void and were somewhat conditioned to accept pablum when it was fed them. Look, we’re all suckers for a pretty melody, but that doesn’t mean we shouldn’t expect more. “Go Away Little Girl” was a pretty song, and so is “Your Song”. But what’s the difference? One’s 1960 and one’s 1970. We haven’t come so far to lose our way. Or have we?

I hate to be so pessimistic, but the day is rapidly approaching (or maybe it’s here) good ol’ rock music will become a private taste, much like blues and folk are now. The very fact that most of the best rock to be heard these days comes from lps that have been released long ago and ignored (like Black Pearl’s first album which Lester Bangs turned me onto in CREEM) is proof of it. Incidentally, before I forget, I’d like to say that I think Lester Bangs is the finest rock journalist we have. Keep it up, Lester.

What I’m thinking about lately is the fact tha,t there are lots of great albums like Black Pearl that have become obscured in the massive lp releases of the last five years. I have some that you don’t know about, and you have some that I don’t know about. To remedy this situation, I’m asking all CREEM readers to send me the names of their little known gems along with a brief review if you like. Also, send the catalogue number (found somewhere on the cover) since no doubt many of these albums will no longer be in the shops and will have to be ordered. When I get enough material I’ll publish a bulletin (hopefully periodically) and send it to everyone interested.

If this sounds good, send me your reviews, suggestions, etc. If you have nothing to contribute but would like a copy when it comes out, just send your name and address. The only thing I would ask is that you send a dime or a stamp to defray the postage costs. Until it becomes too big of a financial drain, I want to keep it free.

So let’s hear from you. 1962 is just a shot away, you know.

Mark Shipper

P.O. Box D. H.

Panorama City, CA. 91402

Dear CREEM:

Can you tell me where I can get hold of the five albums by Count Five? If they are still around. I’m pissed off at myself for giving away that first album - but CREEM sort of lit a fire under my ass to get up and search out those albums!

Please reply to

Sal D’Agostine

New York, N.Y.

(Lester Bangs replies: “The Psychotic Reaction album I saw the other day for 50c at Arlan’s department store in Detroit. Carburetor Dung is, alas, now all but impossible to attain. I don’t think they printed that many in the first place. Same for Cartesian Jetstream, although you might try Sam Goody’s or Village Oldies in New York. / have seen the two Columbia albums, Ancient Lace and Wrought Iron Railings and Snowflakes Falling On the International Dateline, in certain Thrifty drugstores on the West Coast for as little as 50c apiece. All are few and far between, but keep searching and ye shall find. Writing to Double Shot or Columbia might also help, but / seriously doubt it. ’’)

Dear CREEM:

I just want to make an informational point concerning John Morthland’s review of Boz Scaggs’ Moments in the June issue. When the record was printed, “Alone, Alone” was mistakenly credited to Boz Scaggs, while it was both written and sung by David Brown, the groups’ bassist. So the similarity to Neil Young is evidently something that David Brown possesses, not a conscious (or self-conscious, as John Morthland implied) effort on the part of Boz Scaggs.

MAIL continued on page 80.

MAIL

Continued from page 6.

In the same issue, Ed Ward, in reviewing Alex Taylor’s album, also manages to deny David Brown his due, even though he is correctly credited on the record. He refers to Alex’ version of Duane Allman’s “Southbound” which was in fact written by David Brown and Duane’s brother, Greg Allman.

Shelley S'. Wexner

San Francisco, CA.

(The following letter came in an envelope on the inner flap of which was written: “To the Post Master General who checks my mail. Fuck off you nosey puritan!!—Ed.) .

DearCREEM:

to and for the readers this is to Richard Cromelin who gave Alice Cooper a big build up for record promotions at the Doors expence. ? %

Fuck Off you narrow minded teenybopper. sorry you failed to relize cooper's sound is a ripoff of morrison’s. Maybe the Doors did break on through and . you were just to fuckin wrapped Up with yourself to relize.

you speak of pretension; that’s what Cooper’s built up on. “Sometimes it just takes people a long time to see what’s going on. that’s all.” a direct quote from the green horn himself. I think you can be categorized with the rest of the plastic freaks bom from woodstock and easy rider flicks and albums along with the superstar money making bullshit.

I dig Cooper’s spund but why the hell couldn’t it have been more original, groups like that only make it harder on the original artist. Billboard charts are a farce. On top of' that it only-puts rock through another one of those repressions where noone benefits anything but confusion and loss of taste..

if you’re going to rip off someone do their sonp not their style or sound, that’s my bit of philosiphy in this time of chaotic change,

get together one more timet

To the editors, I’d feel guilty if J let that artical go uncommented. It wasn’t even his opinion that he wrote but a lot of “far out,”' “right on” and “outasight” lingo which get’s people to talking like know it. alls without any comment. I think you should use a comment section for things like this instead of “putting down your rag.” I’ll admit you’ve got the most honest to goodness rag I’ve come across in a long time.

; Mike Hicks

of Wasted Warren

Dear CREEM:

Just scored your June issue. Impressive indeed. Quantity is not always the same as quality but most of the stuff looked o.k. However, a few direct complaints.

First, in Dave Marsh’s rush to jet the world know that Greil Marcus laid the Dylan In Albert Hall tape on him, he forgot to tell your readers that “Just Like Tom Thumb’s Blues” (recorded live in England^ is available on Columbia 45 4043683. Sometimes knownag the flip side of “I Want You.” That ain’t very good reporting for a magazine that talks a lot about finding jewels floating in bargain bins.

CREEM Magazine announces a Retail Display Contract Plan providing for the earning of a display allowance.

For details and a copy of the formal contract, write Miss LaMar, Curtis Circulation Company, 841 Chesnut Street, Philadelphia, Pennsylvania 19107. Under this plan, in consideration of your acceptance and fulfillment of the terms of the formal contract to be sent to you on request, you will receive a Display Allowance of 10% of the cover price per copy of the magazine sold by you. This plan will become effective for the current issue starting with the postmarked date of the envelope in which your signed contract is returned to us for acceptance.

Also, I think A1 Niester got it all, screwed up about Delaney and, Bonnie’s Motel Shot. The way I heered it, that album is one that Elektra’s-had in the can for years.. Even so, it’s got three good cuts: “Faded Love”, “Goin’ Down the Road Feelin’ Band” and “Long Way From Home’\, .

Last, if you see Ed Ward tell him “I Believe” has always been the same as “DustMy Broom” ever since St. Elmo recorded “I Believe” in Chicago in ’52 for Modem or Flair.

Keep up the good work.

The Mad Peck

Providence RI

Dear CREEM:

I just bought your magazine in San Francisco last week, and I’m really puzzled by it. I mean, you seem to be hung up on the “heavy” Detroit sounds (a la Blue Cheer 1968) that New York and. San Francisco gave up years ago.

Also, I don’t always agree with Roiling Stone, the L.A. Free Press and. others, but at least they’ve got their heads together when they bomb a certain Funky Railroad. I admit, you’ve got guts even though your taste is questionable.

Otherwise, it’s a fairly decent, if. immitative (sic) magazine. The Real Rock.and Roll Underground appeared under a different name with oply a few different words in the December 2., 1970 Rolling Stone, for example.

Oh well, keep on. Maybe.

Greg Burt »

Redding CA

(Well, we coulda told ya so. Dave Marsh wanted .to use the last line in the second paragraph in the subscription ad, and Greg Shaw probably isn’t even, mad at being accused of plagiarsing Ed Ward (he didn’t though Greg was a source 6f information for Ed’p article, we believe; no vice versa plagiarism either however): _ And right , about GFRR, too; Stone gave their last two albums favorable reviews. But who the hell could we be imitating 1-Ed.)

DearCREEM:

Argh! A. (for Asshole) Neister’s sink-hole puxe of-'an excuse for a record review. I bought Delany and Bonnie’s Motel Shot and I ain’t pissed. So this isn’t “your average-high-energy-absolute-killer-Delany and Bonnie-shake-your-ass Rock album.” Heaven forbid! Well, Neister, shake your ass ’till yottr fucking brains fall but. Detroit is high energy ’ like Frisco was acid. But things change. Guess Neister hasn’t been off the assembly line long enough to hear anything below 140 db. And apparently he hasn’t an iota of an idea what D&B are all about. Let someone else do the reveiwing, and let Neister sh^ke his ass. His •reviews sucks (sic).

(I don’t see any women writing reviews for your mag, either).

Muriel Palko > .

Kalamazoo, Mich.