ROCK-A-RAMA

ROCK-A-RAMA

NEW ORLEANS PIANO — PROFESSOR LONGHAIR (ATLANTIC):: Oh why didn’t I learn to play piano when I was young? If God would only give me back my youth, I’d practice every day until I could walk into any room, slide behind the 88’s and rip off a chorus or two of “Tipitina.” Professor Longhair, where were you at my crucial moment? Why “Chopsticks”? Why not “Willie Mae,” or for that matter, “Professor Longhair Blues”? By the time I heard Fats Domino do a spruced up version of Fess’ “Marti Gras in New Orleans” it was too late.

Now 22 years later, it is revealed to me that the mysterious R. Byrd who wrote “Marti Gras” is none other than Professor Longhair himself, the legendary master who influenced all those New Orleans heavies from Domino and Bartholomew to Allen Toussaint and Clarence Henry (The Frogman). Atlantic records, who really are sports about this sort of thing, have put together as complete a collection of the Professor’s songs as possible considering his movements from company to company. I have grown quite fond of “Longhair’s Blues Rhumba” and “Boogie Woogie” but my real favorite is his original “Marti Gras.” Chicka-boom, chicka-boom, chickaboom!

PILOT (RCA):: Dead as a dustrag from point go. A shame, too, because it’s made up of Leigh Stephens and Bruce Stephens (no relation) of Blue Cheer playing with Rod Stewart’s rhythm section. Anybody who remembers Leigh Stephens’ pulverizing atonal solos with the first grossly beautiful Blue Cheer should know that this is a must to avoid, because it’s not gross at all. It’s not sensitive, either. It’s competent, all --the -notes - in - the - right - place mainstream British style rock circa now and then.

EARTH OMEN - FRIJID PINK (Lion):: Frijid Pink made one of the best boogie albums of 1970, and this is their third. Mostly good stomping workout with a heavy Grand Funk influence that sets just fine. Older punk strains creep in too, as in “Mr. Blood,” which sounds like a cross between the Stooges and Faces instrumental styles overlain with pure 1967 West Coast acid mysterioso vocal. Only original member left is the drummer but they rock on.

URSA MAJOR (RCA):: New band fron Dick Wagner of the Frost. Good production, long songs that find them now stomping down hard and slow, then breaking for equally draggy ballads-made palatable by Wagner’s clear, feelingful singing and his penchant for lyricism. You might love this record. It doesn’t move, but it feels.

JERRY WILLIAMS (SPINDIZZY):: He sings like a zoo-made cross between Mark Famer and Johnny Winter, but the record is at least interesting. It’s got some good songs (“Just Like A Woman,” “On Broadway”) and Grin-meister Nils Lofgren’s piano and guitar. As with the Roy Buchanan TV special, Nils steals the show.

ANOTHER MONTY PYTHON RECORD (CHARISMA/BUDDAH):: The most incredible British comedy group since the old Goon Show gang (which included Peter Sellers) has the misfortune to come out at a time when American comedy records (Nat’l Lampoon, Sandy Baron) are recovering their spirit. Still, if you ever have had to deal with “Spam,” or have any appreciation for British humor, you’ll like this one.

TWICE UPON A RHYME - Paul Levinson with Ed Fox & Pete Rosenthal (Happysad):: “Don’t envy the plumber, be one!”—I.C. Lotz has been known to say. And it seems that these three guys from the Bronx took her very seriously. They decided to stop confining their musical talents to their living rooms and garages, and make a run for the big time. So they went and got all their friends together and not only made a record, but a record company to match. Pretty good, eh? So what if the production isn’t very professional and the lyrics are kinda bland? The musicians are capable, the arrangements are quite good and these guys did it! If you’re interested in buying it, write Happysad Records, 2685 Grand Concourse, Bronx, N.Y. 10468.

AMBUSH — Marc Benno (A&M):: Don’t these studio musicians have any discretion at all? Most of the personnel on this album (i.e., Radle, Keyes, Keltner, Davis, etc.) are well-known to all of us as contributors to many fine records. But every now and then they turn around and do a session with a guy

like Benno, who shot his wad five years ago. So this album gets a professional edge and a credibility it wouldn’t have otherwise. Underneath the funky pickin’, there’s Benno, trying to be Leon Russell trying to be Joe Cocker trying to be Ray Charles. Very trying.

THE SHIP ALBUM - THE SOUTHERN CONTEMPORARY ROCK ASSEMBLY (Atlantic):: They come from Australia and the album cover has a huge SCRA emblazoned across it, which is a great word to describe this album. It’s pure sera. Really scrawny. Stinks all to sera. They sound like a lame Chicago, which ain’t no easy trick at all.

THREE FRIENDS - GENTLE GIANT (Columbia):: Has a mindblowing cover which should not be tacked up in front of you while making love, masturbating or what have you because it has two very horrid eyes. The album is one of those mystic concept things with no discemable melody that kind of rambles and rambles. But it does make pretty soothing background noise.

PRAISE THE LORD - WANDA JACKSON (Capitol):: Wanda stuffs both boobs back inside her dress and makes her decision for the Lord. I’ll be proud to stand beside her as she gives her testimony.

FREAKOUT USA (Sidewalk):: Nine stars. This is one of the ultimo psyche-punk rock sets. What it is is a bunch of non-hit singles by psychedelic LA bands, circa 66. They’re all great even if some of ’em sound closer to surf music, but then that’s where the psy. sound came from. You ain’t lived till you’ve heard the International Theatre Foundation do “Poisons in my Body,” or “Yellow Pill” by Mom’s Boys which is almost as Yardbirdsian as Count Five or the capper of ’em all: “It started on the Sunset Strip/Where all the freakies’ rehip/Now it’s spreadin’ everywheah/ Freakout, USA!/ (Sorta reminds you of an old Beach Boys’ hit, doesn’t it? To continue . ..) We dooo/What wewant!/We wearrrr/What we want! We look exactly the way we want to, baby!” Produced by Mike Curb. This is an absolute must.