songs like "Rhiannon" and "I'm So Afraid," Duke has his toys. He took the stage version of the '50s standard "Just One More the band was compelling and hypnotic. On wearing the ceremonial robes of a head of Look," continuing the Ronstadt tradition of the acoustic pieced -together "Never Going state. Instead of a scepter, Duke lifts his giving new interpretations to even the most Foleetwood Mac Back" and "Landslide," the group was "Dukey Stick," a magic wand reminiscent of established of songs. Ronstadt's precise and unblemished. One new song, the "light saber" of the Jedi Knight. The acknowledgement of the Eagles came in a reigner "Sisters Of The Moon," denoted a potential plexiglass toy illuminates by stages and touching version of the group's progressive approach we might expect breathes fire. Duke's keyboards are also "Desperado," which the band repeated from their next album. The second encore, housed in plexiglass. One strap -on key- later in its own set. RICH STADIUM, ORCHARD PARK, NEW "Songbird," sent us home relaxed, satiated board/synthesizer allows Duke to assume The Eagles show began with the title YORK - It could just as easily been a battle and in admiration. kirk lapolnte the upfront pose of the guitarist. With his track of "Hotel California," illustrated by of the bands confrontation. Instead, each of left hand controlling volume as his right huge painted panels of the hotel logo on the four acts - Fleetwood Mac, Foreigner, hand moves up to the note, Duke expands either side of the stage. Individual band Bob Welch and Pablo Cruise - made the the traditionally limited dramatic role of the members were introduced by including seven -hour show the quintessential sum- Boz Scaggs keyboard player. "Walk Away" from Joe Walsh's James mer rock concert, resplendent with plea- Southside The efforts of three talented singers ad- Gang days and "Keep On Trying" from sant pop and guitar -oriented rock that ded another strong theatrical element to newest member Timothy Schmidt's stint made the quadruple bill a smash success. Johnny the show. Napoleon Brock (who used to with Poco. Walsh was further showcased festivities Pablo Cruise opened the day's NASSAU COLISEUM, UNIONDALE, N.Y. sing with Zappa), Josie James and Gwen with the performance of his current hit -edged - with a boisterous set of Californian Contrasting approaches to white rhythm Evans provided a shifting visual focus and "Life's Been Good" and the popular "Rocky instantly a chord with the pop that struck and blues characterized the concert which strong lead and back-up vocals. "Ndugu" Mountain Way," in which the words were The 60,000 plus in attendance. group headlined Boz Scaggs and was supported Chanceler on drums and Sheila Escovedo changed to "Kansas City Way" to the through material from all four of its delved by Southside Johnny and the Asbury on congas supplied a bristling percussion delight of the audience. A&M albums, loosening the disc's grip Jukes. While the Jukes' R&B is the raunchy backdrop which took center stage for The seemingly endless string of Eagles enough to stretch renditions of "Watcha 1950s kind, Scaggs favors a modern pop "Movin' On" and spearheaded the riotous hits, from an energetic version of "Victim Of Gonna Do" and "Love Will Find A Way" into and disco -inflected soul sound. funk which culminated in the audience par- Love" to a rendition of "Witchy Woman" long, opuses. The crisp har- energetic Scaggs captured the evening with the ticipation for "Reach For It." Duke's most with an effective extended instrumental monies and treble -tinged sound of the The studio polish of his live sound. His rhythm recent album, "Don't Let Go," supplied opening, ran throughout the show. only band had the audience demanding more section, composed of two outstanding several songs which found the normally drawback was the exclusion of new than the one encore they gave. hornmen, two keyboards, and two female sedentary Roxy audience on its feet, rock- material. Bob Welch followed and established a The vocalists produced a distinctive sound. ing to the beat. appearance of Jackson Browne for rapport with the crowd playing almost all of Scaggs' stage presence was compelling yet Comic Marsha Warfield opened the "Take It Easy" only whetted the audience's his "French Kiss" album. Welch was able to subdued, buoyed by his much improved show with a stunning series of one-liners, appetite for more interaction between the effectively change the pace of his perfor- vocals. His once sappy singing has become impressions and musical take -offs which two sets of performers. But even in its mance without losing the crowd's interest. rich and controlled, as shown in the warmly left many wanting to know more about this brevity, the surprise visit provided the He, too, rendered long, impressive ver- romantic rendering of his self -penned talented black comic. Rumor has it she can audience with a fitting conclusion to their sions of songs like "Hypnotized" and ballad, "We're All Alone." be seen on and off at the Comedy Store on witnessing of a high -caliber cast not often "Outskirts," the most impressive song of began his set with "Lowdown," The Strip. peter hartz seen together on one stage. donna palates the set. Guitarist Todd Sharp was ab- Scaggs the huge hit that cut a swath across markets solutely masterful in his role with Welch's varied as MOR and disco. During much band, answering the call for extended as of the show he mined the sophisticated guitar solos by playing with precise material from his "Silk Degrees" album adeptness. Welch ended his generous set Linda Ronstadt (from which "Lowdown" was taken) and its with "Ebony Eyes" and had the crowd in the successor, his latest, "Down Two, Then Dan Fogelberg Dave Pell palm of his hand. In a few short months on Highlights were the thumping the road, Welch seems to have re- Left." melodic "Hard Times," and "Jump Street," L.A. Tenor saxophonist Dave established his star status. ARROWHEAD STADIUM, KANSAS CITY- DONTE'S, - which featured Scaggs on some tasteful, Pell ended his long absence from the club Foreigner could almost be said to be co - "The stage is set, the sun is sinking low," bluesy guitar. when he debuted his new band, headliners on the concert bill. A loyal con- sang the Eagles, in what turned out to be an scene Though Scaggs has been criticized for "Prez Conference," Aug. 6 at Donte's in tingent of Foreigner fans was in atten- accurate description for a show that went his formal rigidity, he proved that he has a dance, plus many curious listeners, hoping from sunset to midnight with performances North Hollywood. wellspring of emotionality which still can In a to Lester Young, Pell and his to discover a new superband. They were by Dan Fogelberg, Linda Ronstadt, and the tribute surprise and delight. Bob Cooper and Gordon not disappointed. If one band can claim to Eagles, plus a surprise guest appearance ensemble - Johnny and the Asbury Jukes Bill Hood, be the new "hard -rock hope," it is this Southside by Jackson Browne. Brisker, tenor saxophones; with the tight, punching music of Ross, Will group. They deliver an enthralling, em- opened Browne appeared only briefly on stage baritone sax; Arnie piano; horn -dominated band. Though lead Jr., and Frank De LaRosa, bellished set of power -punch rock. Vocalist their for the Eagles' second encore, a rendition Bradley, drums; Johnny Lyons has yet to Lou Gramm is the new Robert Plant, singer "Southside" of his own song "Take It Easy" that im- bass - played Willis "Bill" Holman charts the hall gestures of posturing and all. The band has effectively master broad concert mediately brought to mind the performers' based on transcriptions of Young's classic Bruce Springs - been able to rework its intricate album his Jersey home -buddy, intertwined friendship and influences on solos. is nonetheless mixes into raw concert rock. It's a show few teen, his live performance each other. What makes the band unique apart from He has nearly limitless energy, can provide, and a show few should miss. gratifying. Speculation abounded that the show the obvious comparison to Super Sax are The group fluidly moved through most of and whenever his voice can't contain it, his would break Kansas City concert atten- the number of outtake solos that were used the material from their two Atlantic albums. animated, excited demeanor brings the dance records, and while the count of 54,- by Holman for the ensembles. The use of Strong versions of "Cold As Ice" and "Feels message across. 000 people fell short of the record 57,000 these various Young lines that weren't on mostly familiar songs a Like The First Time" were part of a set that The band played set the previous summer at a Peter Framp- the final discs released to the public, adds for could never have been enough for the fren- from their two Epic albums. But, except ton/Steve Miller Band concert, the final freshness and broader scope to the group. zied Foreigner fans. Special attention Sam Cooke's "Having A Party," the group gross receipts set their own record. One of the most interesting charts should be paid to multi -instrumentalist Ian has shifted their emphasis from R&B stan- Arrowhead Productions' Russ Cline said featured the septet playing Slam Stewart's MacDonald and guitarist Mick Jones, but dards to original R&B-oriented material. A the show's gross receipts of $677,000 made bass solo on "Just You, Just Me," in addi- bassist Ed Gagliardi, keyboardist Al good example of the latter was the stirring it the largest grossing single -day entertain- tion to the Young solos. Baritone player Greenwood and drummer Dennis Elliot all "Love On The Wrong Side Of Town." The ment event in Kansas City history. Hood was most impressive anchoring were more than perfunctory in their own big ovation at the end of the set indicated The concert was notable for the rare Stewart's humorous statement. rights. that more than a few people were there to teaming of Linda Ronstadt and the Eagles All the players performed flawlessly. But the night still belonged to Fleetwood see Southside Johnny. aaron fuchs on one bill, in light of the group's history as Pell's light, airy solos were clearly in the Mac. To applaud their achievements is her former back-up band. But while both Young tradition and especially pleasing on almost a redundancy. In an era where Jackson Browne and Dan Fogelberg came "Just You" and "Symphony Sid." Cooper multi -platinum discs abound, Fleetwood onstage for the Eagles' encores, Ronstadt was the most exciting soloist with his hard, Mac is still at the top of the heap. The band never reappeared, surprising fans who had authoritative blowing and brilliant inter- is rich in talent, naturally, but it's surprising Borge Duke speculated she would take advantage of pretations. Brisker's technique was dazzl- to see them put out so much when they the rare opportunity for a reunion. ing, as he turned chords inside out. could settle for less. Dan Fogelberg opened the show, and Aside from Pell, Hood seemed to have Lindsey Buckingham seems never to hit THE ROXY, L.A. - George Duke and his while his solo set seemed incongruous to the most fun, playing with a fine sense of a wrong note. Christine McVie has retained seven -person musical entourage made the huge stadium atmosphere, he was humor and a lot of soul. The rhythm section the concise vocal delivery that is awesome one thing perfectly clear: they came to play enthusiastically received by the crowd. The cooked all night, behind the horns and in its understatement. Drummer Mick and have a good time. Duke, whose musical sound system proved extremely efficient in featured fine solos from Ross and Fleetwood plays with flourish and abandon. experience ranges from Cannonball Ad- carrying his one-man show, from his open- De LaRosa. Bassist John McVie subtly changes the derley to Frank Zappa, played an eclectic ing song "Nether Lands" to earlier hits such The "Prez Conference" is now in the tone of the music, shifting from slow to fast. set of songs from his recent albums, mixing as "Part Of The Plan" and "Next Time." studio recording an album for Gene Nor- And Stevie Nicks is still the demon smiling funk with melodic pop and jam ses- With the falling of dusk came Linda man's label with additional sideman Harry possessed onstage, the throaty critic silen- sion style jazz. Throughout, Duke's Ronstadt for an hour and a half perfor- "Sweets" Edison on trumpet and Al Hen- cer whose charm and grace remains un- enthusiastic barrage was tempered by mance of not only the expected hits but a drickson on acoustic guitar. After the paralleled. capable playing and an astute sense of short preview of her forthcoming album as album is completed the band will be playing In all, a magnificent presentation. On showmanship. well. Among the new songs was a rousing club dates around L.A. Stan montelro E ON'S www.americanradiohistory.comTAG