Juke Box Jury

Juke Box Jury

BY

GREG SHAW

Weary With The Renaissance

Sept. 22

Certain records make me weary the first time I hear them, not because I hate ’em, more because I kinda like them but realize that the formula holding them up is so skeletal that after a couple of weeks it’s bound to start driving me crazy. They’re always monster hits, too. “Rocket Man” was such a record. So was “Maggie May.” All of Paul Simon’s stuff fits, and most of McCartney’s. This list is long. Latest addition to it has got to be “Angie” by the Stones (RSI9105). I still enjoy it, but force myself not to listen because it’s only two weeks old and the sooner I get sick of it the longer I’ll have to endure. It's really a shame the Stones had to put out this single; nobody ever minded waiting a year for their next 45, because what came was always a blessed relief from everything else. The fact that we don’t really need relief from anything lately is just another sign that the. times they are indeed a-changing, again.

Not to draw any obvious comparisons, but “Trash” by the New York Dolls (Mercury 73414) is exactly the sort of jolt the Stones once provided. It’s being played in parts of the country, and sounds just great on fiveinch speakers. Also, it's the first great pop 45 in some time to come in a picture sleeve. Remember when they all did? One guy who always insisted on picture sleeves was John Fogerty, and even though “You Don’t Owe Me” (Fantasy 710) doesn’t have one, it’s the closest to the old Creedence sound we’ve heard yet. Note also how it knocked his brother’s record right off the air.

These days, anybody who isn’t keeping an eye on Jonathan King just doesn’t understand where pop is headed. With “Rubber Bullets” by 10 CC (UK 49016), one of 1973*s masterpieces, still lingering on the verge of success, he has unleashed another killer. “California Revisited” by Simon Turner (UK 49017) is a medley of “Surf City,” “Fun Fun Fun” and“So You Wanna Be a Rock & Roll Star,” surrounded by the “every one I meet’s from California” riff out of the only good song America ever did. It adds up to a light, catchy homage to California mid-sixties rock, even truer to the spirit of the music than the Carpenters’ “Yesterday Once More.” (Also catch the B-side, the first thing of its type since “Moulty”.) And guess what? Jan & Dean’s “Dead Man’s Curve” has been reissued (UA 092). Meanwhile “Gonna Hustle You” by the Legendary Masked Surfers is on the air everywhere, even in the Top Five some places. So the next time you hear something about a surf revival, don’t laugh.

We were talking about how a reliance on formula hooks and an absence of real gut spirit can make the most hot-sounding record go flat after a few spins. A good example is Jackson Browne’s “Redneck Friend” (Asylum 11023). Fine sounding track, but on close inspection it all seems too pat, out of a textbook almost. Elton John bangs piano on this one, and that makes sense, since you could say the same of his “Saturday Night.” Too perfect, and too obviously insincere. And what’s with all these singer-songwriters making rock records, anyway? With all the rockers singing ballads, something is definitely awry.

It can all be tolerated, though, since there’s no dearth of real, convincing pop coming at us from all sides. More and more releases by unknown groups are beginning to sport the new pop style, a sure sign of better things ahead. A couple in particular have impressed me this month. “West Coast Woman” by Painter (Elektra 45862) almost makes it. A little less stiff, and it would be great. Even better is April Wine’s newest, “Just Like That” (Big Tree 16,010). It’s the B-side of a dog stiff, but don’t let that bother you. This group has always been good, and they’re rocking in earnest now, having assimilated the Montreal Sound, and soon they might even be ready to take on the Raspberries. Speaking of which, their record company speculates that Blue may be the next Beatles,and “Little Jody” (RSO 405, from their excellent album) is just the sort of song to inspire such statements, even if they are wrong. They seem more a combination of Creedence and the' “Brown Sugar” Stones, which would make them I' suppose the new Flamin’ Groovies, if the old Groovies weren’t still out. there waiting for some lucky record company to sign them and make a million bucks.

It makes sense that with pop styles returning, the pop wizards of the ’60s should be among the first to capitalize on their experience. Like Jonathan King, Mickie Most is in the forefront of hotshot British producers. Although I would have preferred to see his RAK label continue and become a pop sensation, I can hardly question his choice of Bell to release his future product. “48 Crash” by Suzi Quatro (Bell 401) is a slice of pure Slade/Glitter greatness, full of distortion and treble, even better than “Can the Can.” Suzi is of course a Detroit girl, though the English now claim her, and her heavy metal roots are cetainly showing. It doesn’t hurt that she’s produced by Chinn and Chapman of the Sweet, either. And as for the group, who can explain why Bell hasn’t been able to break them? Newest release is “Wig-Wam Bam” (408), which should’ve been the follow-up to “Little Willy” instead of “Blockbuster.” Could still make it now, though, and the group won’t get many more chances if it doesn’t. - .

They say Pete Townshend plays on, Yvonne Elliman’s version of “I Can’t Explain” (MCA 40121). I can’t hear him, but it is a nice record. Lotsa good girl singers around England it seems, odd that the girl group revival is being led by guys like Dave Edmunds and Larry Lurex.

Yes it’s true, there’s a new Ronettes record. But before you start frothing, be warned that hubby Phil had nothing to do with it. He’s been too busy producing Dion, it seems, so Hugh McCracken and Stan Vincent took over and did a predictably disappointing job. “Lover Lover” (Buddah 384) is still worth having, just for old times’ sake, and the song isn’t even that bad. So pick it up if you can.

Quick, without thinking, grab a dollar and put it in an envelope addressed to Mark Shipper, Box DH, Panorama City, CA 91402. Okay, now you can think. Think about a band whose career is dedicated to reviving the fuzzbox glory of the Seeds, Music Machine, Raiders, Standells, and Chocolate Watchband. Think about the Droogs, whose second single is way better than the first, which was fantastic to start with. “Set My Love On You” is an original that stands up to almost anything in the genre, which coming from me is quite a statement. But I mean it. The flip is an okay version of the Kinks’ “I’m Not Like Everybody Else.” Don’t forget, too, that Mark has reissued the best of the Sorties (the raunchiest group of 1966) and is selling the album for only $5. You can’t afford not to have it.

Would you believe MCA has reissued “Tequila” by the Champs (60135)? I’ll bet most Seals & "Crofts fans are stupid enough to buy it, too. From the same company, Sonny Bono’s “Laugh at Me” is on wax again, only this is a live version. Amazing. (MCA 40139.) More names from the past: Aaron Neville with “Hercules,” (Mercury 73387) one of the first things from Marshall Sehorn’s new studio in New Orleans. Produced by Allen Toussaint, a promising record. “Ain’t Gonna Be No Good Thing” (Hep’ Me 112) is Chris Kenner’s first disc in awhile, and though it has that old Instant sound, it’s not likely to be heard outside the Crescent City. Good to see him back, though./Wish I could say the same for Screamin’ Jay Hawkins, whose “Africa Gone Funky” (London 196) is only the latest of many dire mistakes. Also below par is John Fred with “I’m in Love Again/In the Mood” (Bell 382), his first in a long time. The Playboys have been replaced by the Creepers, and they are missed. Finally, Carl Perkins celebrates his move from Columbia to Mercury be recutting “Dixie! Fried,” one of his Sun classics, and proving that, like Jerry Lee, he can still rock with the best of ’em anytime he wants. If it hits, maybe he’ll record a rock album. That would be fantastic, as long as he does it in Nashville and stays clear of England!

One guy they should send to England, and not bring back until he makes a decent record, is Elvis Presley. “Raised on Rock” (RCA 0088) is pathetic, and believe me I tried hard to like it. But in the end it loses out to the DeFranco Family. “Heartbeat It’s a Lovebeat” (20th Centruy 2030) is one of thosegreat pop contrivances I always fall for. I do draw the line, though, at Rodney Allen Rippy, whose Jack in the Box commercial is now a single (“Take Life a Little Easier,” Bell 403). If I had a 4-year-old kid right now, I’d be cashing in, let me tell ya, just like Paul Vance of Vance & Pockriss, who; have made hay from every trend since itsy-bitsy bikinis. “Michael's Love Song” by Michael Vance (Epic 110441) is no better than any of the other preschool records, but at least it’s from a professional novelty outfit.

You should be aware that Hawkwirid has a new one xout, “Urban Guerrilla”/“Brainbox Pollution” (UA 314) that sounds just like their other stuff, as does “Ejection” by Capt. Lockheed & the Starfighters (UA 297), basically the same crew. Reggae fans, avoid Jimmy Cliffs “Bom to Win” (Reprise 1177) and his new LP, but pick up the recently-reissued A&M album. Reggae’s going down the drain since the groups started trying to sound American. Perfect example being the Wailers, whose newest ip “Get Up, Stand Up” (Island 1218). You know what it sounds like? War. That may be the road to success, but this column is nonetheless aghast.

Remember the surf music revival? Now, don’t laugh. “Girl On the Beach” (Epic 11036) by Rick Henn (formerly leader of the Sunrays) was co-authored by Kim Fowley (when he jumps on a trend, you know it’s for real!) and sounds like middle-period Beach Boys. Flip is a fair remake of “I Live For the Sun,” but check out the A-side. Continue to stifle those giggles as you hear “Snoopy vs. the Red Baron” by the Hotshots (Mercury 73409). A monster hit in England, this is the sort of reggae I was hoping could catch on here. Unfortunately, it has even less of a chance than “The Cockroach Stomp” by Jack Blanchard & Misty Morgan (Epic 11030), which to my surprise turns out to be a great record. It’s about this new dance, see, where you stomp your partner into the ground. No less dumb than “The Tennessee Birdwalk,” or “The Buzzard Lope” but what they’ve done here is give it a synthetic late-fifties rock arrangement ala “Crocodile Rock,” and it works. Which, when you think about it, is utterly ridiculops. But you know, if pop music wasn’t absurd, chances are we wouldn’t love it like we do. And that, my friends, is the last morsel of wisdom you’re gonna get from me this month.

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JUKC BOX JURY

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