Mayfield for the soundtrack to Superfly. umpteenth repackaging (rf their big hits or to Neil Platier Chatter also gets a hand for her interpreta­ Young for an inferior mishmosh like Journey tions on Lady Sings The soundtrack. Im­ Through The Past. pressive. In the still thriving field of country rock, Loggins The “Bottom of the Barrel Award to a Record Award Time and Messina’s debut Ip, Sittin" In deserves an award Company in the Field of Exploitation of a Dead for topnotch material and spirited harmonizing. So Guitarist” goes to for thedr fourth “A time to be born, a time to die ...” A year of to Kenny and Jim goes the Griffin Pickin and a post-mortem of . And they may not be artistic stagnation and rejuvenation. That was the ‘Grinnin’ award, for the best “good time” music threw yet, folks, for there’s certain to be a sound­ year 1972 on record. Who is dying? The Airplane? of the year. track for the' Hendrix Memorial film due out Jethro Tull? The ? Paul McCartney The prize for best live rock album goes to the this spring. (finally)? Of course it depends on who you ask. band we’ve all come to expect such quality from, “The God-Really-Is-Everywhere Award” goes to Stagnation was a more frequently used term. Do all for their superior Rock of Ages. The boys Eric “God” Clapton or to whomever is responsible really sound the same? How from Big Pink aided by some classy horn charts for getting “Layla” on four different albums this many limes can Rod Stewart use the same tune? by Allen Toussaint pulled off a rarity with this live year. These were the burning questions of the past year. two record set, one of the few that doesn’t let down But let’s not paint it too black. There were bright somewhere in the middle of or bore your “The Most Overly Hyped Lp Award” goes to Ode new faces, to replace each of the casualties. A num­ ass off with endless jamming. Records for the Chorus and Symphony ber of artists “arrived” this year, finally receiving Most of the candidates for “best new artists” versus the Superstars version of Tommy. This the acclaim they deserve after years of paying dues. award hvae been around for some time but are only largely unsuccessful (musically, not financially) Lp Setal and Crofts, David Bromberg, Randy Newman beginning to hit their prime. Bluesy Bonnie Raitt set collapses under the weight of its own lofty and Bette Midler are only a few examples. gets the nod over the fast up and coming “Divine intentions. If you want good symphony cum rock, Well enough introductory garbage — lets get Miss M,” Bette Midler, but look out by this time try Procol Harum’s very fine Live With The Ed­ down to the business at hand, the 1st Annual (ta-da) next year! , Randy Newman and David monton Symphony Orchestra. Griffin Awards for the best and worst on record in Bromberg . . . are all also expanding beyond 'their “The Relevant Today Irrelevant Tomorrow 1972. The envelope, please . . . and the first award former cult followings, with excellent albums by Award” goes

Joni Mitchell’s new album no step forward

teenager in Canada. She Rock n’ Rolls to her par­ Stills and his encounter with a groupie. It has a ents’ annoyance, She becomes frustrated. You fall little Rock to it, and it’s enjoyable. “Woman of “S/ie remains peaceful” in love with her, the prairie girl, pigtails and all Heart and Mind” again shows Joni’s sensitivity to at 15. “” finishes off . She love. She seems lonely, confused. She doesn’t know relates the “business” of music. The heartbreak, where her heart lies. She comes through as sort hyprocricy and trivialities. The broken dreams lost of a motherhood image, which isn’t expected. She’s By Michael Pikus to the promoters,, the “natural” beauty of talent doing a lot of searching, and it hurts. She’s finding 1972 was a good year for American devoured by enterprise. out about herself, she’s growing and we’re exper­ and specifically folk-rock and its variants. The year So far Joni hasn’t gone commercial—not too iencing it. The last and longest song is “Judge­ started out with Paul Simon’s reappearance as a much! Side two starts with a personal stab at the ment of the Moon and Stars (Ludwig’s Tune)”. It polished folk-rock artist. , The past, exerting her freedom of being. She knows sound much like “My Old Man” from the “Blue” Eagles, John Denver, The Band, as well as many the past can’t be forgotten, but you have to spring album. Here she explores the solitary path of the lesser known groups and artists from the same label ahead from that boulder “Like a mama lion.” creative artist and how he (or she) can be misunder­ also came out in fine form. Among the “well- “Electricity” is a cultured commentary on the tech­ stood. She says to exert power: “Shake Your Fist knowns”. however, Joni Mitdiell again has come nology of relationships, w'hich this century has in­ at Lightning/Roar Like A Forest Fire.” Creativity to the forefront through her “For the Roses” effort. troduced. It's difficult to cope with. “You Turn is power, solitude is strength. Combined they are Ah—sometime, just too beautiful. Joni emerged Me On, I’m A Radio” is the commercialism we’ve beauty and fulfillment. Joni’s frustrated here, from the plains of Canada four years ago, and in been expecting—but it turns out to be beautiful, maybe even disappointed. She’s exerting her power. that time has never ceased to enrich the American not overly done. Musically it’s pleasantly country- Taken as a whole this album is realy no great music scene. Joni has become as American (in rock, a throwback to a few years ago. In it she step forward, but is a bit more commercial than her terms of her music) as duck, duck, goose, Orestes figures out her man, his problems, his hang-ups. previous efforts. Her lyrics stay complex and Brownson and all the other overly trite cliches She gives him free wheeling, she doesn’t want personal, Her music becomes a step more com­ which come to mind. Or has American music be­ “static” and boredom. She knows his tricks but plex, a bit more driving. She remains peaceful. come Joni-Mitchell-ized? That really doesn’t matter, loves him just the same. Sly old Joni! She’s She’s a pleasant bit of security in a sea of Grand however—Joni is so easy to love as an artist and a learned a lot. “Blonde in the Bleachers” is a fun Funks and Black Sabbaths. You still see hope in person, as revealed through her art. tune, which seems to be written about Stephen contemporary popular music in her. You . You pick up “For the Roses.” You know it’s a Joni Mitchell album. You know you love Joni. New counselor at Canisius You know you’re biased. The cover is beautiful. She sits there, draped in forest green velvet, and boots. She sits in a forest, at the edge of a cliff, overlooking a bay. Beautiful. Peaceful. You turn Carol Martin shares her thoughts it over. Hmn! Good people helping her out. , Steve Stills, , , By Kevin Gergencella to solve each others’ problems engineers. You feel it might be a little more com­ but places more re&pK)nsibility on mercial than her previous outings. You op>en it— Carol Martin is a new conselor at the Student Counseling the counselor, who would work Hmn! You pull the record out, turn on the old Center at Canisius. Her ideas about counseling correspond separately with each person^ in victorola. perk up the old ears! the group. The workshop then “Banquet” is the first tune. In it Joni drives well with an approach investigated in the book I'm O.K., piomotes more efficient problem­ at you with her haunting piano introductions, her You're O.K.y written by Thomas Harris. solving. Her opinion of group lyrics go soul-deep. In “Banquet” she slashes out therapy is that “Group Therapy” at the social problems confronting us. Perhaps you Ms. Martin said, “I believe that better realization of oneself. To has its applications, but I’m not feel that this is passe, don’t—Joni sees hope. She as a counselor I should cause a admit that one has a problem and trying to be mod or hip or any­ looks to the banquet of the American Dream and helpful growth in the individual to seek help is actually the first great step in changing what we thing . . .” What she is trying to sees people left out. “Who let the greedy in'Who who has a problem, to inter-relate do is help someone out. That is left the needy out.” “Cold Blue Steel and Sweet with the person, I would separate don’t like about ourselves. also why you’ll see Miss Martin Fire” is the second band. It relates a very personal my own personality and be aware Ms. Martin is sponsoring work­ at many of the school activities experience of Joni’s. Agan, a haunting melody and of it, so that I would allow the shops designed specifically with and functions. “I want to be lyric, truly Joni, In it we are hit with Joni’s side- pe'rsonality of the one I’m help­ her “fresh start” theme in the available and approachable,” she men in the form of very tasteful woodwind and ing to grow. I want the person format. These workshops, start­ said, “not just at my job at my reed background. The super hip. outasite, uptight, to be different than I am, I want ing February, would last for phoniness of certain elements of the bar scene are he or she to have complete man­ seven weeks with meetings every explored, criticized in “Barandgrill.” Joni doesn’t euverability •— in this way I can Friday, There will also be many Carol Martin is a native of condemn it, she lets it hang there as amusement, help them as much as possible.” other workshops on the way (for Buffalo and studied here at where cares can superficially be thrown away, but Her counseling then is ap­ which there is an ad in this pa­ SUNYAB with graduate work are instead only inflated through that superficiality. proached in a relaxed manner, per.) These free workshops are done there and at the University "Lesson in Survival” and “Let the Wind Carry Me” promoting an absence of tensions open to anyone. of Wisconsin at Madison. Contact are presented as a medley. “Survival” is basically and providing someone who has Miss Martin at the Student Coun­ simple musically, complex and personal lyrically. a problem with an easy means A workshop is where a group seling Center for more details on She’s lost a love through intimidation and mourns of discussing it. of individuals work collectively the Workshop, at her office or in that loss through beautiful images of water, and Ms. Martin also said that there towards rehabilitation. Contrast­ Doctor Hurley’s office on Thurs­ approaches at the surreal, but doesn’t reach it. It is actually nothing to fear about ed to group therapy, the work­ days in Frisch Hall nine to mid­ drifts into “Wind” which catches Joni as a little counseling unless one fears a shop does not let the group try night.

8—THE GRIFFIN—February 2, 1973