Juke Box Jury

Juke Box Jury

BY

GREG SHAW

November 26

Still no stopping the deluge of great singles. My big problem lately is not finding things to listen to, but rather deciding among the many contenders for “best single of the last five years.” Right now it’s a tough choice between “I Wanna Be With You” by the Raspberries (Capitol 3473), a totally joyous and uplifting pop masterpiece, and “Natural Man” by the Marcus Hook Roll Band (RegalZonophone 3060 — Eng. only, out here soon on Capitol). That’s probably a new one on you. They used to be called the Easybeats, but this record sounds like Lou Reed singing with the Move in the most amazing hard rock protest song since “Get Off My Cloud,” only much better. Besides a thunderous instrumental track, it features lyrics that touch on all the concerns of today’s confused teenagers and sets them in perfect pop context.

Businessmen and politicians Union Bosses, statisticians, Well what do they do for you? Science fiction dereliction Not forgettin’ drug addiction What does it all mean? Matrimony’s all baloney, Wind up payin’ alimony But I didn’t make the rules I think I’ll go and take a look At my big brother’s dirty book But he won’t let me!

The record goes on to mention pollution, guys in drag, women’s lib, and a lot of other topics that must weigh heavy on young minds, then goes into a chorus of optimism, closing with “but don’t you worry ’bout me, I’m a natural man!” The flip, “Boogalooing is for Wooing,” is one of the new English dance records, of which we can expect many more. It’s a fast-paced thing very similar structurally to “So You Wanna Be a Rock & Roll Star,” and it makes reference to the Jerk, the Monkey, the Shimmy, Twist & Shout, and of course the boogaloo, the message being that disco dancing is a great way to pick up chicks. But of course!

Then there’s David Bowie. At this writing it’s not sure if “John I’m Only Dancing” will come out here, but meanwhile there’s “Jean Genie” (RCA 74-0839) which is on the charts but is almost certainly too raunchy to ever be more than a collector’s item. Bowie doesn’t have the greatest voice in the business but his lyrics are something else and Mick Ronson for my money is the sharpest guitarist around. If you start this record after “Oh Yeah” by the Shadows of Knight (Dunwich 122) you’ll fall over in astonishment, but even better is the way it develops into a dead ringer for “I’m a Man” by the Yardbirds (Epic 9857) down to the distant wailing harmonica and crashing guitar chord climax. How Ronson manages to sound like Clapton, Beck and Dreja all put together I don’t know, but there’s something going on here that even Mr. Jones should recognize.

It’s really a shame records like this, and “Do Ya” (the failure of which is, in my opinion, the pop crime of the decade), “All the Young Dudes” and the various Slade singles can’t hit the top of the charts like they ought, but at least they are starting to get played, and I don’t think the breakthrough can be far off.

One which might make it is “All Together” (Columbia 45728) by the Rowan Bros. Space-rock is another trend that’s just breaking, and this is the finest example yet. Puts Hawkwind on a thoroughly commercial level, throwing every sound effect imaginable into the pot and mixing it up with heavy phasing to create a dense, roaring thrust of a sound that suits the arrangement and the song, about all of us joining together in cosmic harmony to dance around the sun, to a T. Those who know me don’t need to be told how I feel about this kind of Marin County metaphysical claptrap, but when it’s taken away from the Rainbow Band level and done like something the Monkees might be into if they’d stayed together (and for the shocker of the year go back and check their “Porpoise Song”, Colgems 1031), then it approaches that Flash Gordon level I can relate to. Now I’m only waiting for some rock group to discover Richard Shaver.

“Dancing in the Moonlight” by King Harvest (Perception 515) has certainly gone higher than I thought it would. I much prefer Boffalongo’s original (UA 50699), but it’s a great simple song whoever does it. Bubblegum is gone but there are varying degrees of pop, from the Move’s brilliant creations to stuff like this and The Sweet’s “Little Willy” (Bell 45-251) which, with its patent Stones chords and early Ohio Express grit is equally satisfying, in some basic way.

Roxy Music is a group that takes some getting into, but is well worth it. I find Virgima Plain (Reprise 1124) growing on me inexorably. It sounds a bit like early Velvets, but even more like the (as yet unrecorded) Modern Lovers, especially around the lyrics and the slurred, vowel-heavy vocals. Also getting to me, despite my initial reluctance to enjoy anything from that quarter, is the latest release on Brown Bag Records 9001, “Show Me Your Badge” by Wild Cherry. A lot of Stones in this one too, and lyrics of generational protest and solidarity. Works nicely, and the maracas are a welcome touch.

Whaddaya know? A folkie made a decent record. Of course the added vocal talents of Mick Jagger didn’t hurt any, but even the parts she sings alone sound all right on Carly Simon’s “You’re So Vain” (Elektra 45824). Good show, Carly. Now see if you can instill some balls in James Taylor.

It appears I was mistaken in my assessment of Gary Glitter as a reggae artist. Yeah, I’m familiar with the Maytals and all that hard core Jamaican stuff, but ya know there are English offshoots that concentrate on the echo and sound very much like his stuff. But turns out Glitter is an oldtime British rocker nee Ben Hill, which makes him a little less unique musicologically but still a heap of fun. “I Didn’t Know I Loved You Till I Saw You Rock & Roll” (Bell 276) is even better than “Rock & Roll Pt. 2” and I can hardly wait til he tours. Also fun is “I Just Want to Make Love to You” by Foghat (Bearsville 0008). Blues purists would never agree, but the only way that stuff is gonna survive is by being turned into tasteless boogaloo music, and I think these guys have the right idea. Speaking of Blues I rather like “One Way Out” by the Allman Brothers, and if you agree try checking out “It’s a Man Down There” by G. L. Crockett (4 Brothers 445).

It’s Christmas time again, and you can see last year’s column for my thoughts on Christmas records. I just wanta mention that “White Christmas”/“The Bells of St. Mary’s” by the Drifters has been reissued on Atlantic 1048 (the original release number, but without the yellow label) and is one of the all-time greats.

When you turn on your radio looking for a country station, you can’t hardly find it to save your soul. I’ll bet it makes the Great Speckled Bird turn over in its grave, cause country’s done turned into rock & roll. That’s the message of Johnny Bond’s latest, “Put the Country Back in Country Music” (Starday 951), and what he’s railin’ against is the commercialization of country music at the hands of Nashville’s current crew. “A drum? That’s somethin’ we used to put oil in! And wah wah? Why, that’s somethin’ yuh drink!!” Gary Paxton’s best country production yet, except maybe “Hot Wheels” by Stan Farlowe.

All right, let’s go out rockin’. It’s great that John Fogerty is back on the bayou, but let’s hope he puts more originality in his subsequent records than is audible on “Jambalaya” (Fantasy 689). More to my taste is “Blue Moon of Kentucky” by Jimmy Ellis (Sun 1129), which I’ve heard several collectors swear must be an unreleased Elvis master. It ain’t, but the difference is merely clinical. It’s got that same classic rockabilly, slappedbass sound, and the vocal resemblance is nothing short of astonishing. Flip is “That’s All Right.” The wildest thing of all is that this record came from Sun. Bop you go-cats! Flash Cadillac is finally on record and while “Muleskinner Blues” (Epic 10930) doesn’t stand up-to the Fendermen, “Teenage Eyes”, their own composition, is an A-1 rocker. Get the album, too.

By the way, a misprint caused the wrong address for Lenny Goldberg’s Jive Records to appear. He’ll still sell ya 100 assorted 45s for $5, if you write to 5359 College Ave., Oakland, Calif. When I gave the address for Rockin’ Ronnie’s rock & roll club, they printed it wrong too. The correct address is 10735 Bluffside Dr., N. Hollywood, Calif. 91604, and I durino if he’s got any copies of that wild shakin’ 10” LP left, but now you can get the first release on Rollin* Rock Records, a legal reissue of 4 sides by Jimmy Patton, one of the craziest jive boppers, and including one never-released track. These sides are mainly for the collector but if you’re looking for wild ’50s sounds you’ll find it easy to get into. Also available is an album of Mac Curtis’ early rockabilly stuff, and plenty more which you’ll read about in Rollin’ Rock Magazine. Send some dollars and get ready to shake!