~~~KC PITCtI~~ September1982 Issue21 CK..gnsas (itl's Music ani qJnttrtainmtnt ~wsfaftr ~\~ 1[)11~~I~Il2 l\\'lllrlti A\~I[)Il2I~ OO[1j]@OO~[I ~ ______--,Winfield ...... p.8

...... p. 7 Abbie Hoffman & Whatever Became of the Beat Generation?

directed Louis Malle. It plays at the Bijou August 27 - September 23. Don't Be a Sheep

To make this film it would almost appear After several missed phone calls from Donna Trussell Isn't it amazing how often a that Wally and Andre just went to a London and LA., I was finally able to con­ doctor will live up to our ex­ restaurant and proceeded to chat, but that nect with the Lords of the New Church in 1\10 spaceships, no blood, no sex, no one pectation of how a doctor was not the case. In an interview with The LA., just before the beginning of their first singing "Tomorrow" and no Texas chic­ should look. and when you Boston Globe, Andre said, "We worked for American tour. The Lords consist of former just Wallace Shawn, playwright, and Andre 18 months on the script and spent six Dead Boy member Stiv Bator (vocals), Gregory, theater dropout, sitting in a New see ·0 terrorist on television months in·rehearsal. Everyone thinks we just former member of The Damned, Brian York restaurant and talking about living their he. looks just. like a terrorist? I play ourselves but, if we just played James (guitar), Dave Tregunna (bass) and lives. mean, we live in a world in ourselves, no one would come, We play Nicky Turner (drums). The follOWing is a You start off in Wally's shoes. He's an ar­ characters ... characters who are inSightful which fathers or single peo- ' conversation I had with Turner, who was the tistic but realistic man riding the subway to and stupid and warm and cold." final addition to what promises to be one of meet a friend he hasn't seen in ten years. In a 'f:Attis~ are all trying to Despite the fact that My Dinner With An­ the driving forces of rock in the 1980's voice-over Wally says, "When I had known ~ne~fantasy dre is based on actual, taped conversations The Lords of the New Church. Leroi® Andre, he'd been at the height of his career 0/ ffllW a JlJth({ro,~.Qi$ingle between Wally and Andre, writing the screenplay was no easy task. In LA Weekly" as a theater director. But then ... person or an . artist should LEROI: How did you end up getting with something had happened to Andre. No one Wally said of reading the 4,000 pages of the band? It says here that they just found knew quite what. He had dropped out of the :fOoh and behave. And so transcripts, "It was just an incredibly dull you in a club. theater. . .. You would occasionally hear that efJ~rYone acts as if, they chaos to me! Which was actually meaning­ NICKY: I was running a psychedelic club he'd been seen following around at the heels know . exactly how they less and had no structure that just leapt to in London and I was playing in a band called of some Buddhist monk or else that some­ mind at all! ... So in one way I sort of spend ought tqconduct.thftmselves The Barracudas and they asked me if I one had seen him at a party, and he'd been a lot of time just cataloguing, sort of like would mind coming down to drum. There telling people that he'd talked to trees or at every single moment. and sentence by sentence, really - into cate­ was some gig in Paris. We used to play three something like that ... The whole idea of they' all seem totally self­ gories, because certain things are in eight dif­ numbers and fly first class to Paris - cham­ meeting him made me very nervous." confident. Of course, prE­ ferent subjects at the same time." pagne all the way. We said, ifthe Barracudas After the two hours of dialogue that As to how much of the film is true, Andre uately, people are very can do it, why can't we do it. We had to follow, one still doesn't know for sure if An­ is quoted in LA Weekly as saying, "There learn three numbers. So we went over there dre is a visionary or is just a little crazy. One mixed up about themselves, are only two fictions in the film: one is that and did it, and had a ball. minute he's making some bizarre statement you. know, and don't know we never had dinner together! We didn't LEROI: Well that's great. I think you guys about a flag that makes people throw up what they should be doing in have the money. We just had coffee and work together real well. because it has the devil in it, and the next doughnuts. The other fiction was that he NICKY: Yeah? Well, I'm quite surprised. It minute he says something so piercingly true, their. lives, and they're hadn't seen me in ten years. We saw each evolved quite nicely. it gives you chills. The viewer walks a fine reading. all these self·help other all the time." LEROI: It says here that you all produced line between skepticism and enchantment. &ookS~. The script of My Dinner With Andre found the record. Do you get pretty involved in In the end, no answers have been given, on­ its way into the hands of director Louis Malle that? ly questions raised. What Annie Hall and .... .~.6r~* Jf, Dinner with (Pretty Baby, Atlantic City) when a mutual by perm_lOft NICKY: Yes, of course. We had a good many other Woody Allen films did on the .~;~ friend sent Malle the script without Wally's or .. .' otGl'OVCi Pres$. ©1981 by engineer and he'd get the sounds, but we subject of romantic illUSion, My Dinner With Andre's knowledge. In LA Weekly Andre ·.,w..uac.~ and Andre had a few fights. All that tension opened our Andre does for artistic and spiritual pomposi­ . Gregory. said, "Louis called me up, and I think he was eyes, actually. That tension leads to ty. (continued on page 6) (continued on page 3) kC PlTcn September 1982 KC PITCtI 4128 Broadway The KC PITCH is not responsible for un­ Kansas City, Missouri 64111 solicited manuscripts, although they are 816-561-2744 welcomed. The KC PITCH is not liable in respect to any claims made as a result of er­ PUBLISHER . Hal Brody rors in advertiSing copy and do not EDITORS ...... Rev. DWight Frizzell necessarily endorse any of the enterprises Donna Trussell advertised in these pages. ADVERTISING ...... Michael Schmidt (Smitty) KC PITCH is published monthly by Brody Marc Olson Records, Inc. 4128 Broadway, Kansas City, ASSISTING LAYOUT . . Theodore Dibble Mo. 64111, 816-561-2744. Copyright INSPIRATION .... Abbie, Dr. No, LMB, ©1982 by Brody Records. All rights reserv­ People who want to build fountains ed. Subscription: $3.00 for one year or CONTRIBUTORS: $5.00 for 2 years Send Check or Money Order to: Barry Bernstein, Donna Trussell, Ted Dib­ KC PITCH, 4128 Broadway, Kansas City, ble, Abbie Hoffman, LeRoi, Bob McCon­ MO 64111. nell, Carolyn Bayreder, Ida McBeth, Jay Name ______Mandeville, John Redmond, Brian Colgan, Willi Irie, Scott O'Kelley, Dick Wright, Chris Address ______Hall, Vicki Atkins, Michael Schmidt, Richard City, State, Zip ______Hoefle, Rick W. Schmitz. $3 $5 enclosed I Mti ; ij Ait1 Here today, gone to Maui men t. Dear KC Pitch, In many philosophical, religious and ar­ tistic works the human situation is seen as the Hi guys. As you can see from my letter, I soul coming or falling into this world and moved to Hawaii. I'm nursing here, doing needing to find a way to get through this Community Health. I drive around to world so it may get "home" (heaven, nir­ houses of people that are homebound and vana, etc.). I saw the creature E.T. as being do all that nursey jazz to them. like this. His having telepathy with Elliot is as I have few worries here except that the first a soul occupying a human body. Monday of every month a test siren goes off. In psychology as in some religions, self It's the official tidal wave siren-you can hear realization is the main goal: to see your it all over the island. If you hear it any other potential divinity . To become aware of your - time than that first Monday, then you're sup­ feelings and emotions and to learn to express posed to drive up to the mountains. My only them clearly is psychology's main goal. E.T. concern is that a tidal wave will come on displayed his emotions directly (fear, anxie­ some first Monday. I asked one of the local ty, happiness) and were transmitted to Elliot people here about that. "What are we sup­ just as our feelings are transmitted from our posed to do if a tidal wave decides to come unconscious core to our superego + ego. some Monday?" He looked at me like I was Also in some works the key to making it really stupid or something and said, "Well, through life is to become aware of a higher then we would change the test siren to intelligence that can help you see and feel another day, like Thursday or Friday." clearly. Spielberg doesn't call them Jews or Yeah, I didn't really understand that ra­ Krishna nd so on-just the extra terrestrial. tionale much either. You'd think tidal waves That's \Jhat I thought E.T. raising his lit have their own little calendar on their walls, finger (the healing finger) to Elliot's face and with a recipe of the month and dates circled saying ''I'll be right here," near the end, in red. meant. Like Michelangelo's Sistine Chapel Love, painting. As for your comment that women Margaret were reduced to just reacting to males' ac­ tions I didn't see it that way. Elliot's sister Waitress smashed? taught E.T. how to talk all on her own. I think Spielberg made fun of how we live in Dear KC Pitch, silly strict male-female roles by having Elliot's sister dress up E.T. in girls' clothes. Elliot's Well, the first few songs of the Marshall disgusted reaction to this and how he im­ Crenshaw show were great. When my girl­ mediately decided E.T. was a "he" showed friend and I went downstairs for a better how role playing gets in us early i~ life. view, though there was no place to sit, due to overselling the floor. Consequently, we Thanks for your time, stood a rear wall only to be hasseled Steve Duff by a security goon complaining we were blocking the waitresses' move­ P.S. What makes you want to do movie ment. reviews? After a couple of incidents like this we left. I won't be back to the Uptown again if I can Dear Steve: help it. But with booking policies like theirs, that won't be much of a hardship. I like doing movie reviews because, Rick Hellman believe it or not, I love film. That may be hard to believe since I'm so harsh on movies, ET and Michangelo. but feared New York critic John Simon said the same thing about theater-he's very Dear Donna Trussell, critical of it because he loves it and he thinks there is a huge potential for greatness there. I read your review of E. T. in the Pitch and He's painfully aware when theater doesn't would like to respond to your review. You live up to that potential. I feel the same way Avail able at: seemed to say the film was lacking in about most films I see. substance. Nothing more than a Lassie Thanks for sharing your interpretation of Capers Come Home type of film. In your boxed-in E.T. with us. . quote in the middle of your article there was I printed together the two Spielberg quotes Peaches Spielberg's comment about how the movie about E.T. being "an exploration into my was also about the human condition. You suburban roots" and also being "about the Musicland didn't mention what you thought that was total human condition" because I felt the Record Bar and I wondered if you saw any at all in E. T. I statements were contradictory and that the think there was. While the film was on one latter one was somewhat pompous. Here's a Penny Lane level about the boy finding the spaceman 35-year-old man who's practically saying, and helping him back to the spaceship I "Move over, Shakespeare." Kiefs thought it also had a philosophical co~- - Donna Trussell September 1982 KC PITCH 3 must do that." It's something that just evolv­ ed. We'd all been reading various books and LORDS & LEROI, continued had ideas about songs and what we wanted (continued from page 1) to say with the band. A lot of thought did go something good in the end. into it. Yeah. LEROI: For a first time production for you LEROI: It must feel good to have a band guys, I was real impressed. A lot of times that falls together so well. To me, it sounds people want too much in there. You guys like you guys have been playing together seem to keep it with the guitars and your forever. You seem to know what each back beat and not try to put a lot of fancy other's going to do. NICKY: This is the best band I've ever things in. NICKY: We had only two weeks to do it, been in. It just feels so good and so right. We Sf! it was quite an intense two weeks with a just bounce ideas off each other all the time. lot of coming out of it. The rest of the guys in the band say that as LEROI: playing and Brian's is - I well. It just feels so right, this band. would hate to say raw, but it's almost LEROI: Do you like working for IRS? NICKY: No. They're a bunch of __ . unrehearsed enough that it sounds like the (Laughs) No, they're all right, they're good. first time you've played it and it's exciting to I'm quite impressed with them actually. you. NICKY: Good. We wanted the album to LEROI: I was glad you guys got on IRS sound fresh. Half of the album we wrote in because they're pushing a lot of acts that the studio anyway, so it was fresh. We didn't aren't getting a chance. If you were on a ma­ know what the hell we were going to do jor label like CBS, you might just get lost in when we went in there. It just evolved the shuffle, like a lot of good bands do. NICKY: They seem to be putting a lot of naturally, which was great. attention on us. It's really working out for the LEROI: The song "Open Your Eyes" band. You're in Kansas City, aren't you? Are don't know what it is about it, but to me it has The Lords of the New Church. Left to right: James (gUitar, backing vocals), we playing anywhere near there? a feeling of a Doors type of song. Bator (vocals), Turner (drums, backing vocals) and Tregunna (bass, backing LEROI: I don't know yet. They're still try­ NICKY: Funny you should say that. vocals). ing to figure it out. You were and then you LEROI: Was that on purpose? NICKY: No, no, no - of course it wasn't. LEROI: I think it's great though. I've used it weren't and now - I don't know exactly. I'm (Laughs) We really like the Doors. I really a couple of times already. working on this end to try and bring you. admire them. When we were in Paris, we NICKY: Good. Good. Keep them in line. How long is your tour going to be? went to Morrison's grave and all that. I think LEROI: Stiv seems to have matured in his NICKY: I thing we're going to be here our music just came out that way because singing. about two and a half months. LEROI: That's quite a long time. I've been getting into the Doors quite a lot NICKY: Yeah, I think he's matured in NICKY: QUite a long time, yes. Actually American Prayer and things like that. everything. I don't think he has that obnox­ say? That we were Marxists, som~thing like I'm feeling quite homesick already. I'm LEROI: He was quite a charismatic ious punk style he once had. He's been liv­ that. That was crazy. In England, we'd just phoning my girlfriend every half hour. NICKY: I just read Morrison's biography, ing in London a few years. He's had time to laugh at that. No, we're just saying you LEROI: You should have brought her with No One Gets Out of Here Alive. sit back a bit, away from all the press and all should be aware of all the things going on LEROI: On "Shut Up and Sit Down"["Eat the hangers-on and things. He's not coming around you. It's a conspiracy in this band. you. Your Heart Out"], to me, it doesn't express a back to America to live. He'll be living in NICKY: Well, it's very hard on tour really, because there's so much waiting around. It's real high opinion of women. Is that a general London for the rest of his life. He likes it very very difficult to have girls on tour. feeling or what? much. Somebody wrote somewhere, LEROI: Anyplace you'd like to see in par­ LEROI: That's hard on taxes, isn't it? we what did they say? That were ticular? NICKY: Well, we haven't really had to Marxists, something like that. Listen. A black ride on Rodeo Drive in worry about taxes yet. NICKY: I'd just like to have a chance to your [designer] jeans. You know it's nice LEROI: Well, lets hope you do, though. That was crazy. In England, we'd relax. I want to go to Nashville and Mem­ when it's like ice. When it's sucked so dry. phis. I want to shoot the rapids on the Col­ NICKY: It would be nice. just laugh at that. No, we're just Chelsea girl in romantic /rills. Make sure that orado River. I want to go surfing at Malibu - LEROI: Where did the name Lords of the you're seen. Freudian slips on suburban saying you should be aware of all do all the Beach Boy stuff, you know. Pre­ New Church come from? ·... _ ..~·~_\01''l1! •. §(mll(t .n1Qke y,ou cry. Your TV set the things going on around you. tend I'm Jan and Dean for the day. NICKY: Well, it's from various ideas. The away 'causa some kinda static like first idea is the way that rock and roll has It's a conspiracy in this band. me. Your Daddy ain't nowhere around. He replaced religious pursuits. If you ask anyone We're trying to make people ain't paying your bills. Skeletons are coming who they really admire and respect, they'll all down /rom the attic for tea. You doktor aware of how much their lives are probably say Sting or someone. Our whole ain't nowhere around. He ain't curing your Shake and Push: philosophy behind the band is that we're controlled. ills. Get your girl/riend to make it three. We anything corporations, ~iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiil gotta keep it clean. Play it safe in your The Morrells religion, anything like that. So it We're trying to make people aware of how private room. Outta magazines. You think was like creating an alternative, but without much their lives are controlled. A special Shake and Push Award is in you put the X in sex. ah honey. you're so preaching to and "Oh, LEROI: I noticed have a lot of digs at order for those who originated that now mean. You think you're slick you know just like in- TV and nuclear classic music For those 500 or so lucky you're so slick. You don't need vaseline. that they can up their NICKY: The media and the people who copy of "Don't Shut up and sit down. Rich bitch - eat about to gather as much don't tell you what your heart out. Blame the Symptoms. the first album by The information as and not to be led by you. They tell you Symptoms, the band that later became the anyone. Anyway, that's where the title came release to "Eat Your Heart Out" Morrells, it's been a four wait for from should be your own Lord, of LEROI: real impressed with the writing the of 12" Stiv Bator and your own Do it on your album. You said you wrote much of James finest. yourself. a sheep what it in the studio, but to me, a lot of thought date, but I did hear a tape of The Morrells' people went into it. It doesn't seem like something new record and I was very impressed. The NICKY: It's not directed at women in LEROI: a great That hits you just threw together. Morrells show a new maturity in the studio. general. It's for one woman, and well we me a lot deeper than what's on surface. NICKY: But there again, isn't it weird that There will be fourteen Morrell classics in- know her. She's a bit above herself. It's one NICKY: Well, we're a bunch of idealists. it did come together? I should say, "Yes, we cluding my favorite, Guitar." of Stiv's licks - his token punk. Somebody wrote somewhere, what did they must do this. When we get to the studio, we Get one quick sure to go fast.

'ltbe 1Lorbs of tbe j!etu

Ken Kesey Allen Ginsberg

Abbie Hoffman stood up and said, "The ties' artistic and cultural revolution, Abbie Hoffman's talk, "How the 50's, 60's course in contemporary liter­ country has been going through a nervous reverberating even through this decade. Also and 70's Led to the 80's." Hoffman said that ature. Of course there was Henry breakdown since 1945. The image for white, present were key figures from the 60's and he could be here till the 90's trying to explain James, among others, and bourgeois, middle class society has always 70's, such as Abbie Hoffman, Ken Babbs, it all. been to stay out of the street. There's blacks Anne Waldman and Ken Kesey. someone asked about the Beats. in the streets. There's bums in the streets. He said, "Oh my god, the Beats! When you're out of work you're in the street. David Amran, composer and ethnomusic­ They're foul mouthed and they So there is a great urge to keep everybody Some of the 300 to 1000 people that ologist who records on Flying Fish records, I indoors .... We're taught that the street is a don't have any relevance and gathered daily between July 23 and August gave a concert during which Ginsberg got up place where we harbor our anxieties and 1 at the Naropa Institute in Boulder, Col­ and sang poems. Always present was a man they don't take baths. All they fears." Hoffman smiled and added, "The orado came to study Kerouac's life and texts. reading from Kerouac's Mexico City Blues, talk about is filth and sex and street was where all the fun was. We were Others came to see how these key figures and down on the mall there was a continous dancin' in the streets in the sixties. My dope. " Of course we immediate­ from decades past are influencing the future. reading of On the Road. general message is: take it to the streets, to ly ran out and bought every little Some were there because they had come to the roads, to the valleys, to the burbs." see the Greateful Dead at Red Rocks, had City Lights book we could get our perhaps read On the Road or The Electric hands on. So lowe it all to that Kool Aid Acid Test and just wanted to check teacher whose course I probably Later Hoffman gave some advice to the it out. Journalists from The Washington kids at business college and apathetic souls flunked. Post, The Rolling Stone, National Public Abbie Hoffman on looking forward to economic security: "For Radio, several European newspapers, and the KC Pitch were on hand at this culturally Kerouac's Vision of - Abbie Hoffman "For all you people who are seIl­ historic meeting of the minds. the Road ing out, I've got news for you­ the sale is over." At the Jack Kerouac Conference there - Abbie Hoffman was something for everybody. There were His road was different from panel discussions such as "Censorship and what mainstream America. was all you people who are selling out, I've got the Beat Generation," "Kerouac and news for you-the sale is over." Women," "Recollections and Gossip" and talking about. You know when While attending the conference, I realized "Impact and Influence of Jack Kerouac on Dinah Shore sang "See the USA that there is an entire new generation who American Literature." There were writers' in a Chevrolet" she was talking never heard of Jack Kerouac, Allen Gins­ For some it was like a high school reunion. workshops with Corso, Burroughs, Holmes, berg or even Viet Nam. When I was hitch­ Ginsberg, Corso, Burroughs, Carolyn Waldman, Orlovsky, Ginsberg and others. about a different America. hiking to the conference one day, I was Cassady, Ferlinghetti, McClure, John. There were lectures such as "Jack and Jazz" The Beats hit me like a thun­ picked up by an 18-year-old who confidently Holmes, Orlovsky, Carl Solor:non and others and "Kerouac's Childhood." Presentations derbolt. Howl was my call to told me that the only big demonstration on a from the beat generation met to exchange ranged from the opening night panel discus­ arms. I remember my stuffy old college campus in the 60's was at Kent State views at a conference that marked the silver sion, "Political Fallout of the Beat Genera­ and it was for the right to do drugs. I was anniversary of the publication of Jack tion," which included Burroughs, Ginsberg, English teacher, who's still a stuf­ shocked. That stuff only happened 17 years Kerouac's On the Road, the novel of the fif- Hoffman, Tim Leary and Paul Krassner, to fy old English teacher, had a September 1982 KC PITCH Page 5

By conference participants and others on: Barry Bernstein and DWight Frizzell DAVID AMRAM performed jazz-poetry John Hammond Records. readings with Jack Kerouac in the 1950s. Composer, conductor, instrumentalist ABBIE HOFFMAN's latest book is Square known as a "renaissance man of America~ Dancing in the Ice An energetic music," he is equally at home in jazz clubs, sociologist, much by Beat concert halls and folk festivals. literature, he was active in early '60s southern civil rights campaigns and a major EAKDOWJ\rOUr figure in the anti-Vietnam War movement. the Potential f, KEN BABBS, Oregon author and lecturer problems Or workin pal of Neal Cassady, Merry Prankster of He is currently working with Veritas, a . g together Tom Wolfe's Electric Kool Aid Acid Test halfway house for problem kids and recently ago. How did it stay out of history books? to solve editor of Spit In The Ocean, graduate of completed a cross-country college lecture At a press conference Ginsberg said, Stanford Writing Program, marine'helicopter tour. "Found generation, lost generation, beat pilot. generation ... Who was lost? We are look­ JOHN CLELLON HOLMES is the author ing for the found generation-finding our­ All sessions at the conference were re­ TED BERRIGAN's major body of poems is of Go, The Horn, Nothing More to Dec/are, selves fo avoid a nuclear disaster." Above corded by Wind Over The Water Produc­ collected in So Going Around Cities. and many other books. His poems, stories, the gloom of our past 40 year history, the tions, 1135 Pearl St., Suite 7, Boulder, CO Founder of "C" Magazine, a central figure in and essays have appeared in numerous Kerouac conference established the hope for 80302. For information about Naropa, write the "New York School," he has taught and literary magazines. An early companion of a better future (or at least a future) -because to Naropa Institute, 1111 Pearl St., Boulder lectured at Yale, Michigan, Iowa Writer's Kerouac, he is at present Professor of of our awareness of the world's situation and CO 80302. ' Workshop, University of Essex, S.U.N.Y. at English at the UniverSity of Arkansas. Buffalo and Naropa Institute. He conducted KEN KESEY is the author of One Flew Kerouac's important Paris Review interview. fro~ EuwptiJ: The ST{fti!l4 IlO.1e Over the Cuckoo's Nest and Sometimes a trumpeter If/tllneYe'Prow.DtUJI gels sur· Great Notion. His wild antics with the Merry WILLIAM BURROUGHS, the internation­ pr~, puts.the trumpet to hi~lips and lets \Pranksters with whom Kerouac associated is ally respected author of Junkie, Naked thflf trumpet blown $kiw wet bturrrrrrr • .'. featured in Tom Wolfe's The Electric Kool­ Lunch, The Soft Machine, Nova Express, ''Heeeeehitifl.'' laugh$: Charlie Parker, Aid Acid Test. The Wild Boys and Cities of the Red Night, bendi.ng down to slap hls ankle, He puts his Bop began one a/terndOn out on the side· had taught at Naropa for many years. He is alta 10 his mouth and $(lVS, "{)fdn't 1 telf walk-maybe 1939,1940. Dluy, Charlleor completing Place of Dead Roads, the second TIMOTHY LEARY, the pioneer Harvard YOll,» with jagged notes, wmethlng eloquent Thelon/us was walkin' down the weet past a volume in a projected trilogy. An elder friend psychologist, is a 1960's LSD investigator flkegreat poets in foreign languages singing Maln$treet in of Kerouac, he is the eminence grise [one of (with whom Kerouac did psychedelic ex­ in. foreign countries with lyres, No one the steps in a flight of stairs] of the Beat periments), 1970's political prisoner and understands because the language isn't the Generation. 1980's space age theoretician. He is the language land yet. Like 12th century author of High Priest, The Politics of Ecstasy, CAROLYN CASSADY, author of the and, most recently, Changing My Mind autobiographical Heart Beat, hosted, with Among Others. husband Neal Cassady, Kerouac's West Coast visits in the early 1950's. MICHAEL McCLURE has published over sixteen volumes of poetry, plays, prose and the most recent of which are Anite-c:hQ/'YJb,?r and face. His prize-winning play, vived many attempts at censorship brought him to international He currently teaches at College of Arts.

PETER ORLOVSKY, an early member of the San Francisco Poetry Renaissance and Beat group, figures promimently in ,JK's Desolation Angels. Institute for many years. Clean Asshole Poems and table Songs was published by City 1978.

CARL SOLOMON, an early friend of Ginsberg and Kerouac, was responsible for the publication of Burrough's Junkie. His ALLEN GINSBERG, author of Howl, Kad­ books are Mishaps, Perhaps and More dish, The Fall of America, Planet News, Mishaps. Mind Breaths and Plutonian Ode: Poems, 1977-80, is co-founder of the Jack Kerouac ANNE WALDMAN, co-founder with Allen School of Disembodied Poetics and a Ginsberg of the Kerouac School at Naropa, meditation student of Chogyam Trungpa, is the author of Fast Speaking Woman and Rinpoche. A major participant in the 1950's Journals and Dreams, and the co-editor of San Francisco renaissance and Beat Genera­ the Naropa poetry annals, Talking Poetics. tion literary community, he has explored the Formerly the Director of the Poetry Project at poetics of pop music, sung with Bob Dylan St. Mark's Church-In-the-Bowery in New and The Clash and recorded Blake's Songs, York, she has given readings, workshops, as well as a new double-album First Blues for and performances across the U.S. and Europe. Page 6 KC PITCH September 1982 ~_it~.::':..:.i :Eo::~:;::~7~:,d!:~:'~~~: ~J::E~~[ Andre answered with, "Yeah. well I don't >. FLASHBACKS.' The next day we were feel that need for illusion today. The world is @' working together." too irrational. You don't need the Theater of 111 My Dinner With Andre is mythically Madness in a madhouse. We need to see rooted in Dante's 'Inferno,' according to something real now, to feel something real. K Andre in an interview with The Boston You don't need the Theater of Madness in a madhouse. We need to see something real now, to feel something real. - Andre Gregory, The New York Times

1.:iI.I.I.I...... days in which cheap and not-50-cheap thrills any doubt, that is a terrifying play, and ex- It's a wonderful thing now just to watch the iii;: ~~~~~~!~!~~(~~1l~~~supreme in Hollywood directors' minds tremely~~:~/~~ negative 07;~~:~~~T;.e~:~~:re and perverse but ~~~when I struggle of one human being to be a little bit at the box office. In The New York first saw that play, I walked out, into the better in the world, to act, to do something." Times Andre talked about seeing two Off street, and I didn't feel dead I was in an in- l.:.~,i>.l:: Andre's observations remind me of a time ~ Broadway plays, one in which "nobody got credible state. I was thinking about the play when the only movies I was seeing were highly Visual, abstract films in a course I was taking on experimental film. One evening I to kn~:~~~::~::n?ndili~n..; .. ~_~_~_~_~ ...~_:_~ ..~_n_,"_~~_~ ...;~_~_:h_~~_.;;;g~;"'"~_:_~iiii~_o_p .. le watched To Kill A Mockingbird on the tube, I and even though I'd seen it several times before, I was completely overwhelmed by its j;i~ ten years. My plays had been intense, ing my theater group, The Manhattan drama, its well drawn characters and the ac­ i:: extreme, even maniacal. That was Project, TwyJa Tharp' ~horeographed tors' faces. 11.:lll fine, but now 1 wanted to do some- • the group and me in a four.and-a.half0. If My Dinner With Andre had opened in . thing else. and J didn't know how. The minute piece which We performed in another decade, it might have been con­ world of my was bec.om- concert at Town HalL The piecf(4IGtI sidered an excellent "art" film and had some absolutely impossible.t~a~, There was minor success at the box office. But I doubt that a group 'Of non-dancers that it would have been the popular hit it has It was incredibfy foist. and so far proven to be in other cities. (It broke there must have been hundreds' of' house records in San Francisco and it. In it at Chicago.) In this market researched era, with you had every studio hoping for a blockbuster and so making sure that most films are as bland as a McDonald's hamburger, there's a void in the filmgoing experience. My Dinner goes a long way towards ftUmg that void.

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With the waitress yelling. "Ham san, no mayo, bowl of chili, and a side of browns!" over the sound of dishes being washed (or should I say broken) in the kitchen. the with the overall charm But

you won't see many truckers among the col· orful clientele, who range from coffee­ bumming street walkers to well dressed businessmen getting a home cooked meal at 3A.M. I think I may have found the last American diner. You remember Sanderson's Old Place, downtown, with those delicious plate­ covering omelettes you always loved? Well, now they have the same tasty dishes, 24 hours a day in a better midtown location. If the food doesn't remind you of the Old Place, the photos and yellowed newspaper decor will. deals are the Daily Specials which are served all day until they run out. A generous portion of home cooked meat and potatoes dinner, complete with salad, vegetable and bread will satisfy your appetite and send you on your way for around five dollars. including drink and tip. III.! My favorite dish is the traditional Elmer's Deluxe Cheeseburger topped with lettuce, tomato, onion and pickles with a mound of golden, greasy fries. The first few juicy bites m of it always send my memory back to Grand- :i:~: ma's kitchen. So it seems only fitting that the I I~! ~~:~e:~l ~::~I:n;~~~:I~,s~~~eb:l~r~~~ I,JI.M want some fresh pie, Sugar?" m~t::::?:~::::~~~~::::::~:::::f~~::$r-$:?:~fu~~-::~:!*'$";:!:::::::::::::~::;::::::~~~:~$";::::~~::~:::;:~~::~1§:::~::: ,.,.,.::.:.:.:.:.:.::.:..:::.,.:.:.,:' . ":·",'!B.. h:r,~,~.:.,L~,: ..;,.~:~.: ':iiiiiiiiiiiiiiiiiiiiiii;:ii:::~=iiiiiiiiiiiiiiiiiiiiiiiiiiiiii•••••••••••••••• September 1982 KC PITCH Page 7 Ida McBeth: ~aic

Q. When you take a song from somebody A· Yeah, even recently. The hard rock like Julia, how do you adapt it to your songs, they just don't say anything to me. own method, your own style? They aren't telling me anything. If it's a A· It has a lot to do with the lyrics-if the danceable song, they tell you to get up lyrics are saying something that I've felt or and shake your booty. Now what is that? have gone through, lived through. When That's not telling me anything. I'm not I'm singing the first thing I think about is saying I don't like the song and I'm not that these people are out there, listening putting it down. But the lyrics of the older to what I'm saying. I want them to under­ songs always had something to say. stand everything I'm saying as if I was sit­ We're getting a little more sophisticated ting there talking to them individually. It's now. If you listen to some rhythm and almost like telling a story. I'm a pretty blues, there are still some songs that are good storyteller. All my friends say, "You saying things, thank God. just get so into it, Ida." When I'm telling a Q. Women have always been allowed to be story to someone, the expressions, the the vocalist in the group, to sing, move facial expressions, the hand gestures­ around and shake their tambourines. Has everything is in that and the same thing is that image changed now? Are people in my music. more inclined to take you seriously Q. Do you ever get tired of doing the same because of your music rather than just songs over and over? looking at you as a showpiece for a band? A· Yes I.do. Once again, if I get sick of it, A· I hope so. I hope they look at a singer dif­ then I sing it as if I were telling a story all ferently. Let's face it-years ago singers over again to someone I just met. were not thought of as the greatest thing Q. What kind of encouragement did you get in music. I can tell by some of the things as a child for your singing, or did you get I've read about singers, like, "Well, she any? was just a singer," rather than,"She was A· After I left the church, I got very little en­ the singer." couragement. My family thought it was Q. When you stand in front of that audience kind of bad that I was singing in the night­ do you command their respect and atten­ clubs, being a part of the nighlife. My tion? mother wanted me to stay in the church A· I feel that if I believe what I'm saying, to sing gospel music. After I left the that's the most important thing. If I'm real church, it was like, "Ida's doomed." in what I'm doing, in what I'm singing, Q. Is it a lonely life? the audience can feel that. It's keeping A· Not really lonely. I look forward to it. It's my mind on what I'm dOing, what the almost like I'm ready to go out and pop song is saying-if it's a sad song, blues, or my toes. It's not like going to work. I'm if it's a real happy "up" tune. Letting the Ida McBeth is the featured singer of Rich Hill and the Riffs, who cur­ always so excited about it. audience know what I felt in a song is the most wonderful thing. Once .I get up rently play at Harlings. Here, she talks about her work, her influences, Q. In your travels with your music have you found that there's been changes in the there and sing that song, and I feel like her child and her love of rhythm and blues with UMKC Women's lyrics from ten or fifteen years ago to I've gotten across to that audience what I Center Director Carolyn Bayreder. now? felt in that song, and they feel it too­ that's the ultimate.

Q-lda, how would you describe your music? and I had to come back home and I A- A variety of music, a little jazz, a little haven't been back since. blues, a little rhythm and blues, some Q- Do you plan on recording at all? standards. A· I hope so. We did a live recording on a the blues was meant to ... Q- How do you get your material? Saturday night at Harlings recently, and A- The leader in my band, Rich Hill, in­ we hope that eventually it will turn into an troduced me to 9uite a few artists that I album. had no idea existed, like Alberta Hunter Q. Tell me about juggling your husband, and Julia Lee. My husband is a local jazz your child and your job in Kansas Citv. musician here in Kansas City who has Has it been a hardship for you? worked around town for about 30 years A· It has, e$pecially since this is my first and introduced me to quite a few dif­ child, which is always an experience for ferent artists. I sit back and listen to the every woman. On top of that-being in style and see what they're saying. If the entertainment field and working at they're not saying anything, I'm not in­ night is the hardest. Of course it's a lot terested. I want them to tell me a story in easier with my husband, since he's a their songs. musician too. We just work with each Q. What kind of stories do you look for? other on our life at home and our life out, A· A variety of things. It can be a love song, our nightlife. a sad Ibve song. It could be something Q. You said you've been singing profes­ really happy. I used to love all sad songs. sionally for eleven years and you started My mother used to say, "Why do you like when you were a child. Tell us about El-El El El El El that. A· I started in a church. My brother's a Bap­ My mother used to say, "Why do tist evangelist minister. I remember when you like that dying music?" When I was about ten or eleven years old we I was a teenager I had such a sad used to go around to different churches teenage life. The sad songs really and he would preach and they would take up an offering for us. After we'd appealed to me more. leave the church we'd divide it up. But El El El El El El that's how I started singing. that dying music?" When I was a teenager Then I was about sixteen or seventeen I had such a sad teenage life. The sad and I no longer wanted to sing gospel. I songs really appealed to me more. wanted to start singing rhythm and blues. Q. Do you ever think about writing your own Gladys Knight was my first influence. IIYlllllLIES IELIIE music? Even right now I think she's the greatest A· Oh yes, I've written four songs that I've Singer of all. had recorded and I have several other Q- Have you met her? Written to her? songs that I wrote when I was in high A· Never. I've never written to her and I school. I had an all-girls vocal group have all of her albums. I've only seen her opening their midwest tour in Kansas City which was called Ida McBeth and the Del in concert once. I've really gotten into a Shirees. lot of Julia Lee's music. Julia Lee is Q. You mentioned that you had been in Los originally from Kansas City. She was Angeles for a while and that you cut an known as the "empress of Kansas City." I album but you didn't finish it. like her music because of what she's say­ A· No, I didn't finish it. We finished half of ing. A lot of it is risque music. I like the 'lillY Illl SE"_ 17-18 an album and it took almost nine months things she's saying about her men, about to do that. In the meantime I was working the blues in her life and the sadness. 811 w.39th 531-5031 $3 there. I was unable to finish it due to an Again I'm back on the sadness of the illness at home. My mother was very ill thing. September 1982 Page 8 KC PITCH KING CRIMSON Chris Hall Beat Warner Brothers FRANK ZAPPA Ship Arriving Too Late to Save When "Discipline" came out I was on a a Drowning Witch sonic holiday, beside myself with glee. WINfl[LD CBS Rockets red glare, bombs bursting, etc., etc. ... But alas, the fifth of July does come and Swlinalin' Grass Music is like footwear. Put on a pair of the telltale remnants of 'spent confection let boots and you get a different feeling than you know that the party's over. you get with Gucci's or basketball shoes. Put If I were six years old I'd say, "What a on Van Halen and it not six, but nevertheless, WHAT A This LP of half-baked material is a and one feels an intimate association disappOintment, but there are three hit pics baby blue pastel ostrich skin golf shoes. Zap­ on this disc: "Neurotica," which howls and pa fans are as numerous as they are diverse. jerks like your first drive-in movie, to say

Adrian Belew Lone Rhino Some are more interested in the rhythm­ nothing of the refreshment stand, "Satori in ically-dense orchestrated stuff, while others Tangier," which is Egyptian Bop that ap­ enjoy "Dancing Fool" or "Lumpy Gravy." pears to be deciphering a series of Drowning Witch has something for hieroglyphics intended to instruct the everyone. I really don't know what to make pharoahs on the virtues of two free weeks at of Drowning Witch, or more precisely, its Arthur Murray's, and "Two Hands," a lilting, selling points. Some of it's trashy, but it cer­ etheral ballad that illustrates how versatile tainly isn't lacking in compositional chops. and subtly dynamiC a unit King Crimson can The first of the six pieces on this album, be. "No, Not Now," features three-part falsetto But this album is too contrived and harmony, over-dubbed by Roy Estrada, and regimental to bring on the nirvana of Matte If any of you expect a formal show. you'll Irish pop charts, entitled "My Irish Molly" a slap bass like you never heard. It has lots of Kudasi. A lot of it sounds like a bewildering be disappointed in a hurry. But if you're from their new LP on the Shanachie labeL dopey lyrics with oblique references, like and involuted reprise of itself. I mean, "Neal, looking for some pickin' and grinnin '. that's The group brought the house down at New "string beans to Utah" and "Hawaiian Jack and Me?" Come on you guys! Why not what we're here to do. York's prestigious rock emporium, The Bot­ lunch." "Abraham, Martin, John and Adrian?" Doc Watson on Winfield tom Line on August 17. They will play at "Valley Girls" spotlights Zappa's adoles­ There's also "The Howl(er)," presumably a Kansas City's Community Christian Church cent daughter Moon Unit, who improvises "hats off" to Allen Ginsberg. Hey, how about "21st Century Candy-Colored Streamlined The lIth National Walnut Valley Festival on September 15 before their engagement at over a regimental surf anthem dealing with Electric Kool Aid Schizoid Man" instead? will bring top bluegrass pickers and tradi­ Winfield. the shallow life of a mall-rat. Moon Unit is no tional music enthusiasts to Winfield, Kansas Not only will Bryan Bowers, master of Wanda Jackson, but she does pull off a com­ ADRIAN BELEW September 16 through 19. Scheduled per­ auto harp and storytelling. be performing on petent socio-economic profile of valley girls. The Lone Rhino formers include DeDannan, Doc Watson, his favorite instrument, he'll be inviting the "I Came From Nowhere," offers an atonal Island Bryan Bowers, The New Grass Revival, Hot audience to sing along with some great tradi­ melody. tailored for pinheads and garnished Rize, Kevin Roth, Red Knuckles and the tional songs, such as "I'll Fly Away" and with the ogligatory end-of-the-world guitar Belew's services have been well in de­ Trailblazers, Mike Cross and scores of "Goodnight Irene." Everyone is requested to solo. "Drowning Witch" is certainly the most mand the last couple of years because his is others. More than $19.000 in prize money bring their autoharps to a workshop that timeless piece on this album, with lots of the guitar that violates the heavenly palace. will be awarded to mandolin players. fid­ Bowers will host on Saturday, September 18 trademark polyrhythmic hi-tech. A live cut Face it-this boy makes more noise than a dlers. autoharpists, flat-pick guitarists, and at 5:30 P.M. that shows what can be done when the con­ tree full of young monkeys. Another reason just about every other instrumental per­ Hot Rize and their special guests Red ditions are right, it is intriguing and pro­ he's been so avaricely put to press is because former and craftsman imaginable. Knuckles and the Trailblazers will be per­ foundly stupid. of his unbridled, Midwestern, boyish en­ The New Grass Revival. America's forming again this year. Tim O'Brien, Pete "Envelopes" is an instrumental that shows thUSiasm, which anthropomorphically premiere progressive bluegrass band, will Wernick, Charles Sawtelle and Nick Forster off the band even more, especially the two parallels his guitar playing. It's all so present brand new material. Also featured have combined their unique bluegrass talents senior members, Tommy Mars on keyboards unassuming it makes me retch bricks. This is will be Kevin Roth, whose virtuoso dulcimer since early 1978 to form the Hot Rize sound. and Ed Mann on percussion. Last but not seriously silly stuff-lots of cartoon con­ playing and contemporary approach has Since then the group has gained an en­ least is "Teenage Prostitute." Perhaps it was figurations that evoke life in a Tom and Jerry yielded regional hits and the acclaim of thusiastic following at bluegrass festivals, written for teenage runaways in doughnut world. critics. Mike Cross, fiddler and guitarist, will concerts and clubs in 35 states, Europe and shops all across our fruited plain. It's campy, If I were to be stranded on a desert island present his homespun philosophy in his rich, Canada. They recently appeared on WSM but nevertheless a pretty slick arrangement. with a few choice albums, this one would not earthy voice with lyrics like, "Today's race Nashville's famed Grand Ole Opry. Their So listen already. It has head-banging riff­ be one of them. On the other hand, if I knew horse is tomorrow's glue." two albums for Flying Fish Records have ing for the metalists, percussion embellish­ for certain that this hypothetical island was to The traditional Irish group DeDannan helped establish them as one of the leading ment for the serious listener, electronics for be inhabited with headhunters, then I surely stole the show at Winfield last year and they bluegrass groups on the scene. those so inclined, and all of it is dolloped up would bring it along, to convince the in­ are scheduled to return on September 17 For ticket information contact the Walnut with a dose of good humor. As controversial habitants that I know what the neighbor­ and 18. DeDannan recently surpassed the Valley Association, Box 245, Winfield. Kan­ a figure as Zappa is, his music is not without hood's all about. Rolling Stones with a hit on the top of the . sas 67156 or call 316-221-3250. identity. The ideal casseUe

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Winfield Pickers September 1982 kC PITCH Page 9

John Redmond CHICAGO CITY SLICKERS 1947-53 Nitehawk Records ROBERT NIGHTHAWK Live on Maxwell Street Nitehawk Records, a St. Louis firm has Rounder been producing a dynamic collection ~f re­ issues. This record catches Chicago's blues I went down to Eli's to get my pistol band movement at its first flower. Robert out of pawn Nighthawk's early work is here, as is the When I got back, my woman had gone work of Earl Hooker, Johnny Shines and I'm gonna murder my baby if she don't Homesick James. Little Walter's early re­ stop cheatin' and Iyin' cordings show that his musical skills were I'd rather be in the penitentiary than be out more developed that his Chess sides here worried all the time. show. "I Want My Baby" was Walter's and Muddy Waters' first studio collaboration. Magic Sam Live Little Walter also backs Floyd Jones' sides. A great collection. From the first set of thousand pound lyrics to the last stinging note, this 1964 live re­ time. focused, direct and simple. The songs are cording captures an unrecognized genius at If you want more recommendations, Mike often love ballads, and surprisingly, John­ work. Of all the unsung musical heroes 1 rant Bloomfield copped much of his guitar style son's crooning sounds are more convincing and rave about, few compare with Night­ from Nighthawk. The album was nominated than corny. hawk. He had a small but devastating collec- for Memphis' Handy Award, and Nighthawk was one of B.B. King's favorite guitarists. Nuff said. MAGIC SAM LIVE Delmark III.. IJI~S LONNIE JOHNSON Magic Sam died at the age of 32, just as he Tomorrow Night began to receive national recognition. Out of BAR WARS Gusto the most modern of blues players, only Son Water House Records tion of guitar licks, both slide and single Seals or Albert Collins are more rock­ string. His street corner performances show Lonnie Johnson recorded over fifty years oriented. Sam played these live sides with a This anthology exposes a thriving blues how well developed his sense of drama and with many greats, Louis Armstrong, Eddie stinging fierceness. His live performances scene on the wrong end of the Mississippi­ timing was. There's also an undefinable Lang and Duke Ellington being just a few. were taped at a small club and at the Ann Ar­ in Minnesota. Lamont Cranston Band is the heaviness to this album that makes many He was an urban single string acoustic guitar bor Blues and Jazz Festival. While the sound best known group here. Willie and the Bees other people's work seem frothy. Maybe it's player, and one of the most sophisticated quality suffers slightly in these impromptu are a variant of the same group that backed the hard scuffle flea market atmosphere or ones around. This two record set features his recordings, Sam emerges as even more a Bonnie Raitt on her first album. The associa­ maybe it's Nighthawk's personality. What­ work for King Record during the 1950's. The virtuoso than his previous formula-ridden tion stayed in the family. Her brother Steve ever it is, it makes the album more exciting sessions' commerciality actually improved studio work for Cobra Records allowed. Ex­ produced and engineered the album. A nice than any other that I've listened to for a long his guitar work, demanding that he be more cellent work. album. PARODY BALL CALEIDAR We Th Fr Sa *********************** 4 21 31 :*c:=:J .. =...a;a c.o*: Fools Face :~ ;=,,! ;~: R n/R : ~ !!III.=" .: * @) e.- - * Brush 8 9 10 11 !~ ie:1 I ! Creek Jolly Rich Hill & The Riffs : ·~O'" '; ** * ~ 8~ ".. M * Review Brothers R&Band 00 *~ ~~**a* Jazz Revue **8~ ,._ ...... 0 .. ft Bluegrass KC * ~ ..:- III -III * * '\::2 ..... -III ... * 15 Boston 16 North Carolina 17 18 : §J ; e_·. ::!: *S2l ,,_ 0 .... .; !e~ * Arhooly * e e .. _II.. """r'" * Zion Initation *G--J* ~ -...... e.a '.** Reggae R n' B : ~ .. a a,:.. : *c:::::J * Texas 22 23 24 25 ************************ * Le Roi Movie Mid West Brothers Eyes Couch Rockabilly Da1cers Rockabilly Next month: Texas 29 Lincoln, NE 30 11 2 W;:Wfi@@~IP)lf@([l@ The To be Spitfire Excessives announced ill)@[P)IT@~~fi@IID R n'R R n'B (Q)~IID@~l1rr® Page 10 kC PITCH September 1982

by Brian Colgan sound like? Coney Hatch has just a shade more intensity and hard edge than the so­ called "rock bands" on Album Oriented BILLY SQUIRE Rock radio muzak. There is no way I can be Emotions In Motion objective about Faceless Radio Rock Band Capitol #147 as opposed to #32. Coney Hatch is as good as the rest, but if you listen to the radio Last year's Don't Say No was a great and actually buy this stuff, maybe you would album. It had bite to it-crunch, crash and be interested in investing in real estate in burn. I should've known it was too good to South America? C + last. Emotions In Motion is full of pseudo­ Led Zeppelin/Les Paul guitar work, Queen Shooting Star III Wishes FRANK MARINO pomp, fluff, prance and poise, whining, Juggernaut drone-like vocals securing Squire AOR radio CBS heavy rotation. The album cover by Andy Warhol is appropriate: a couple of con men Marino's latest album is an exhibition for posers putting the bucks away in seven figure his fluid guitar work, which is pretty powerful bank accounts. For the Journey and Lover­ throughout the LP. The songs, intended to boy herd, this is fresh feed in the trough. To make some hind of serious statement, fall others it's pizza, two six packs mixed with short and overall the effect is not a lot of fun. grain alcohol, a queasy stomach, spinning From now on I'll be leery of albums with a head tilted back in the car seat and finally the song called "Ditch Queen." C- big heavo-ho and hello to ralph out the car mixture of Heep's classic keyboard sound the Midwest, which is in itself quite an ac­ window. C+ with a Foreigner-like commercial sensibility. complishment. Shooting Star answers the CHEETAH It has an intensity characteristic of the heavy question, "Do we need another band on the Rock & Roll Women URIAH HEEP metal bands who have come out of England radio that sounds exactly like a million Atlantic Abominog during the last three years. Even for a band others?" The record labels are putting their Mercury that's been around this long, Abominog is a money on safe bets these days, so buy Lyndsay and Chrissie Hammond are pretty impressive LP. B Shooting Star instead of Survivor or Lover­ Cheetah and five guys make up the band. A pretty solid album from Uriah Heep, a boy and keep the money close to home. C All the songs were written by Vanda and band that has had numerous personnel SHOOTING STAR Young, who produced the early AC/DC changes since it's beginning in the early 70's. III Wishes CONEY HATCH albums. The title of this album is quite an These guys work hard to overcome the Epic Same overstatement. You can hardly hear the "dinosaur heavy metal band" label. The up­ Mercury band and the guitars are especially weak. If dated material includes the cover tunes Shooting Star's third LP is pretty much the these burn out babes can make an album, so "Prisoner" and "Hot Night In A Cold Town" same stuff we've come to expect from one of What've we got here? Coney Hatch, a can I. Today I'll go out and record my car ex­ among others. The real meat is in the band's the few local bands to make a dent outside of rock band from Canada. What do they haust. Vrooomm, Vrooomm. D • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • we're looking for the best in Rock n' Roll • • You could win $25,000 in pIus ... AII top local songS • • ~Sound Equipment and will be placed on an album • • an /AI Records release with an opportunity for you • • of the winning song. to collect royalties and be • • heard by music industry • • executives. • • Local· Regional· National • • Winners • Listen to • • 106.5 : «(,' I • • • • for complete • • entry details. • • &TDK® • The official recording tape • 01 the Rock to Riches • • Talent Search • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • Sel)fPlnh.>r 1982 Page 11

your waist and get you cranking the volume knob on your listening machine, thanks to the Radics, who provide a rock solid wall-of­ roots sound. Dis ah strong one. I-right. Willi [rie CRUCIAL BUNNY vs. SCIENTIST Dub Duel ERROL FLABBA HOLT Hawkeye Roots Radics Dub **** Tads More killer dub from two of this genera­ tion's greatest sound mixers. My copy has This Radics dub selection is first-rate the same label on both sides (a common rockers music with an emphasis on melody dilemma), so it's hard to say who's who. But and new rhythms. no matter-both sides are hot stuff. "Flabba" of course is the Radics' bassist Sly'n'Robbie with several Chan- and presumably (with his name and photo this dub confrontation is a on the cover) the featured artist in this set. I must for dub fans and anyone who enjoys know he's responsible for the me,;merizirlg great dance music with pulsating rhythms bass-lines. These guys can come up with amazing varia- are his as well. tions that, like classic blaze new trails. Sure, a lot of dub albums sound the same This LP attests to the that Jamaican dub but there is a continuity and freshness to thi~ music is as explosive and viable as any music one that separates it from the Roots in the world today. Radics are largely and responsible for most of the great ASWAD coming out of Jamaica today. Check prac­ Steel Pulse visits PennyLane's Westport location prior to their explosive reggae Not Satisfied tically any reggae record out in the last two show at the Uptown Theater. Pictured left to right: David Hinds (gUitar, CBS years-you're almost sure to see the Radics' **** vocals), Steve Nesbitt (drums) and Phonso Martin (percussion, vocals). names among the credits. Usually they are While British based reggae groups in helping to maximize an individual singer's or others. general offer a somewhat "softer" sound, vocal group's sound, but on this record it's The concept is unique. The results aren't. they still evoke a strong appeal to strictly the un-cut thing. Go for it. Who wants to hear the same rhythm over roots fans. Along with UB40, Aswad seems Many of the more recent yard-style and over? It's like being at a dance where the to be creating the most satisfying attempts at releases have been coming out on the Tads band plays the same song for a half an hour the real thing. Their New Chapter of Dub LP label. With bases in England and New York, while each player jumps in for his licks. Just stands out as one of the best ever dub excur­ it appears Tads and Greensleeves are cor­ a novelty, little else. sions. This new, vocally oriented set has nerIng the LP market. Although Tads has VARIOUS ARTISTS some of the best harmonies around. The put out a large catalog, it seems that only Shank I Sheck playing is what you'd hope to expect from a recently has the quality begun to catch up Tads * * 1/2 HUGH MUNDELL band that has played together for 7 or 8 with the quantity. Mundell Although mixed differently, this album Greensleeves uses the very same rhythm for each track. I believe "Shank I Sheck" is a rhythm created Mundell is produced by Jungo Lawes and by Tommy McCook and the Agrovators that backed by the Roots Radics band. This com­ has been used many times over the past year bo alone almost guarantees a sure hit. It's or so. What we have here is twelve different about time. Hugh Mundell has put out versions by twelve current hit makers, in­ several records in the last few years, but only cluding Dennis Brown, Sugar Minott, with Mundell does his writing and singing Triston Palma, Ranking Joe, Linval Thomp­ evolve beyond mediocrity. son, U Brown and Dean Frazer, among Naturally much of this is sure to wind up Page 12 kC PITCH September 1982

------keep your toes tapping and your fingers Electric Blood by Dick Wright... --snapping. Side one gives us three classics. "Doggin' ZOOT SIMS Around" and "Blue and Sentimental" are The Innocent Years both from the original Count Basie band Pablo book and the latter features some fine ] clarinet work by Tate. Jay's well-known In some ways, Zoot Sims and the late original, "Hootie's Ignorant Oil," offers his Sonny Stitt had much in common. Both unique vocal style and his superb piano. were great players, both recorded prolifical­ Side two contains four more goodies: ly, both liked the one horn/rhythm section Jay's "Hootie's in Hutchinson," Gene setting and both of them swung from note Ramey's "Say Forward, I'll March," "Four one. This latest release by Zoot holds true to Day Rider" (featuring more of Jay's vocal form. Zoot goes into the studio with a magic) and "Moten Swing." rhythm section and swinging his way mighti­ If you missed this the first time around on ly through five standards and one blues. the original label, don't miss it this time. Jay Backing Zoot in this session are Richard is one of the great piano stylists in jazz Wyands on piano, Frank Tate on bass and history. The only thing missing from this Akira Tana on drums. reissue is the brilliant cover art of the original, Side one opens with a fine version of the which showed Jay riding a bicycle under the 1940 standard "I Hear a Rhapsody." Next title of the album, Going to Kansas City. comes a down homes blues line by Zoot call­ Highly recommended. ed "Pomme au Four." After Tate walks and Wyands digs in, Zoot flexes his soprano sax and chops through some marvelous STAN GETZ choruses. Ending side one is Harold Arlen's Pure Getz well-known classic "Over the Rainbow." Concord Zoot breathes new life into the song by treating it as a medium-tempo bossa nova. Stan Getz is my idol. Even though I love At just over ten minutes, it is the longest cut Bill Evans, Charlie Parker, Art Pepper, Duke on the album and features excellent solos by Brownie, Basie, etc., Stan is the first jazz Zoot and Wyands. player I listened to. During the 70s I wasn't The second cut on side two is a very always happy with the albums he released, James Blood Ulmer seldom played standard by Matty Malneck but now he seems to be the Getz of old: by Scott O'Kelley and Johnny Mercer titled "If You Were master ballad player, great technician and San Francisco's Great Mine." This almost unknown brilliant improviser. His first Concord Hall was electrified on release, The Dolphin. was absolutely superb. Blood Ulmer's Now with this second Concord release, the James Blood Ulmer­ continues. The rhythm section is ex­ Guitarist in the Making and it compliments Stan's at every turn. It's composed Marc Johnson on bass and FEBRUARY 2, 1942 Born in St. Mat- or Billy Hart (each plays on thews, South Carolina. Tours the South the age of seven with the Southern youthful directed by Also Five Blind Boys and

music theory, in action. The meshing harmonies and rhythmic lines and the precision with which it ed gave a different definition to in Columbus, Ohio. Leads that an album could never convey. house band at the 502 Club, playing with The hour long set was largely made up of Hank Marr, and tenor saxophonist unrecorded songs. The only pieces they per­ Adams. Later tours U.S. and formed available on LP came from Free Europe. First recorded appearance on a rate Lancing, Ulmer's most recent and most com­ King LP entitled In the Market Place. mercially successful album. The group con­ 1967 - Moves to Detroit to play with pro­ sisted of James Blood Ulmer sweating and gressive musicians in the new jazz .. Begins playing guitar, Amin Ali, who has played "tearing my music down." Gigs with house electric bass on Ulmer's last three albums, bands at the 20 Grand Club with a group to and G. Calvin Weston, the most aggressive, become the Funkadelics. vigorous, up tempo drummer I have ever 1971 - Blood arrives in New York. Plays seen. Harmolodic playing is comprised of with Art Blakey's Jazz Messengers, a quintet Simultaneously accentuating the rhythm led by former Coltrane drummer Rashied Ali (father of Blood's current bassist Amin Ali), Jay McShann Going to Kansas City while also stating melody/harmony. This style of playing, which may sound at times organist Larry Young and saxophonist Joe like mindless fUSion, actually contains many Henderson. JAY McSHANN dards. Side one opens with an original by subtle elements that work together. The 1972 - Blood is introduced to saxophon­ Going to Kansas City Jim McNeely, "On the Up and Up," which main feeling that came across was one of ist/ composer Ornette Coleman through Swaggie gives ample solo room for all. Next comes a precise co-operation-no one player was drummer Billy Higgins. Ulmer joins very beautiful but seldom heard Billy featured above another. But Ulmer, as the arnette's band and lives in his lower Manhat­ This album was first recorded in March, Strayhorn work "Blood Count." This was leader, cemeted the group into one whole. tan loft. (arnette's band at the time included 1972 for Bill Weilbacher's independent Strayhorn's last composition before his The style of the songs would rock and trumpeter Don Cherry, saxophonist Dewey label, Master Jazz Recordings. The label death. The third cut is Stan's tribute to the throb with funk rhythms and then bop in a Redman, bassist Charlie Haden and drum­ went under during the 70s and I often late Bill Evans, "Very Early," one of Bill's more conventional jazz approach. The music mer Higgins.) wondered what happened to all the fine finest works and one of the highlights from occaSionally erupted into smooth, piercing 1978 - Blood Ulmer steps out on his own masters from those sessions. Well, the this album. The last track on side one is a lead breaks from Ulmer and then just as with groups featuring drummer Ronald release of this great McShann set on the wonderful Miles Davis tune, "Sippin' at abruptly submerged back into the stream of Shannon Jackson and alto sax player Arthur Australian Swaggie label gives hope that the Bells," again seldom played these days. sound, matching Ali's agile bass rhythms. Blythe (recordings of Ulmer with Blythe in­ masters may show up again. Side two opens with two gorgeous stan­ The pace was broken only a couple of times clude Lenox Avenue Breakdown and Illu­ The group, called Jay McShann and his dards: "I Wish I Knew" by Mack Gordon and when Ulmer and Ali's guitars had to be sions, both on Columbia and under Blythe's All Stars, reunited that famous rhythm sec­ Harry Warren, and Harold Arlen and retuned to harmolodic pitch. "Sorry about name). Blood Ulmer releases an album on tion from his swinging band of the latm 30s, Johnny Mercer's "Come Rain or Come the delays," Ulmer apologized to the crowd, Artist House label under his name featuring which also featured young Charlie Parker. Shine." Both tracks are around eight "but messing with these GIT -tars is so much Ornette Coleman entitled Tales of Captain The line-up included Jay, piano and vocals, minutes in length and give Stan the chance trouble." Black, which is largely unavailable. Gene Ramey on bass and Gus Johnson on to show off the sound and improvisation for After the set ended, the obligatory encore 1980 - Two records are released: Are You drums. Adding just the right touch for this which he is famous. The album closes with a was over and the electrified atmosphere had Glad to Be In America on Rough Trade, and session were two Kansas City-style tenor swinging treatment of the Bud Powell claSSiC, subSided, I found Ulmer recuperating in a No Wave on Moers Jazz. saxophonists, Buddy Tate and the late "Tempus Fugit." dark corner of the hall. My friend and I 1981 - Wins the praise of critics. "Most Julian Dash. At the time of the recording, all This is superb Stan Getz from start to finish. remarked how the energy was very high and original guitarist since Hendrix"-Robert five artists were on busy schedules and Bill The tunes are excellent, the rhythm section the music had overwhelmed us. "The Palmer of Rolling Stone. "A hydraulic Weilbacher's original liner notes explain how compliments Stan very well throughout and music's nothing," Ulmer said. "The incredi­ pumper" -George Clinton. "One of the best difficult it was to organize this session. The best of all, Stan Getz is back to his awesome ble part comes in an hour when we do it all guitarists I've ever heard"-Ry Cooder. An result is exceptional Kansas City- jazz that will and magnificent self. Highly recommended. over again." LP, Freelancing, is released on Columbia. September 1982 13 , LOlJE Crank up AM/FM in-dash cassette with --. Electronic Multi­ 5 band equalizer. Sensory Overload Which beeper is that? NEW Must have aCcidently mis-set my Chronograph watch. Audio command alarm barks message New 70mm sensurround movie theater 10RI( Prerecorded 61j2 hours earlier: with Quintrophonic Dolby sound. It's 8:30 and it's Saturday. Or video arcade? Preset timer on Digital Eazmatic Electric window down. Brewmaster "Where's the nearest video arcade?" Assures me of coffee waiting Bystander's response is as blank as Micro session with electric toothbrush, Shrink wrapped Maxell 2, 4 or 6 hour Electric razor, adjustable shower massage, tape. 1000 watt hair dryer. Miniature head phones and mini cord to check in with Data Base Running down to Sony Walkman Neuer

"Marc, it's a good you have 50-inch screen you'd never be able 4-track reel to reel to fit the Video Cassette Recorder and I have some ov(nOlJoomg and . Disc Player on top." Fast forward "Yeah, well, the VCR is great for .. with Electronic Technologies. recording, but for true stereophonic audio/ Your video camera is fixed. video fidelity, the Disc player is shouted, "Ole I" as it passed, flourishing her It seems the color white balance . . the only way to go. Sorry we can't use the Chris Coulson Later she told me, "We don't take these Ding! Breakfast is read y. system for tonight's FM satellite rock personally. These things happen concert simulcast-the kids have the screen After visiting New York City, one leaves every day." The mail. tied up with Missile Command. Why don't with either an unshakeable patriotism about The midwest could learn from this at­ Oh good, new cable TV schedule. we try to divert them with their laser mini the city or a hatred of everything about it. I titude. We in the midwest are known for our More satellite hookups and computer?" preface the follOWing with the warning that I independence, for our "prairie pluck." But New splinter station- "Marc, electronic multi-sensory overload. am of the former group and will try not to get "prairie pluck" in New York City could turn Weather in countries that I've got to go." too gushy. what is an amazingly homogeneous city into Don't have Eyewitness News. Having lived in Kansas City for over four­ the stereotype. we midwesterners have Possible program: Video Cassette Recorder I decided to spend the rest of the day teen years, I've become quite familiar with ascribed to New York-a mass of paranoid, recgtdball game. relaXing on the patio. the pat concerning the Big Apple disgruntled people. Nah, /,11 be in a mall today and the After all, I had recently installed waterproof and "the in general. The surly, ag- There exists in New York a feeling that just Ceiling speakers, outdoor entertainment playback system. gressive folks you're warned about-the surviving in the city is, in and of itself, a note­ Spewing a news/talk format, ones that supposedly leave you to bleed if worthy accomplishment. A local commercial Will ruin the effect with a score update. - Rick W. Schmitz you're hurt-really do exist. But what's con­ features a street scene of professional types fusing is that you never know who the New running hither and yonder for cabs, looking Press remote control garage door opener. Rick W. Schmitz and his wife Jennifer live Yorkers are and who the tourists are. I ever so dynamic with a voice-over telling us, Get in car. in Fairway, Kansas where they enjoy con­ suspect that some of the rudest people you'd "Sure it's tough making it in New York City. Program climate control at 78 degrees, tinual audio/video documentation of LiseIle, meet in New York would be one of the over But when you have made it in this city of Moderately pleasant. one-year-old daughter. 100,000 out of towners that enter the city cities, you know you're the best!" The com­ each day. A bagel dealer on Fifth Avenue in mercial urges people to buy this particular Manhattan told m~, "The way we can tell if brand of mattress, so as to be at their best you're a tourist here is not by your cameras next morning in this "city of cities." or your bermuda shorts and so forth, but by While New Yorkers are proud of their city, the look on your face. The tourists ar.e the they won't deny you your city. There are the ones that are trying to look and be as obnox­ usual cracks, like, "Isn't Kansas City where ious as we're supposed to be." It's all in self­ the cows relieve themselves on their way defense, one would assume. west?" (an actual remark), but most New According to a New York police officer, Yorkers are curious about Kansas City. They tourists can be the most vulnerable targets for know that we're big on jazz, barbeque­ an assailant. "These people come on the especially Bryant's-and steak. However, subway with one hand tight and white on people would press for more information, their purse or wallet, looking around like knowing that these were really caricatures. I they're constipated. They actually flinch if don't know that this same curiosity about someone brushes up against them. They're other places is as true of Kansas Citians. The so obvious. We try to Ilustle 'em along out attitude here seems to be: we've got our and upstairs to the street because they tend Kansas City Star, our ball teams, our Coun­ to drag and look around at everybody as try Club Plaza-why do we need to know potential muggers when they get off the about the rest of the country? The claim that train." snobbishness begins and ends on the east - The tone of these natives was not one of coast, that a culture-locked snootiness is condescension, but of: what kind of people peculiar to New York City is just plain false. I do they think we are? New Yorkers don't might even go so far as to say that the dismiss the crime, ugliness and hassle of their midwestern version of this snobbery is more city, but they do tell you to be alert and to extreme. stay out of dangerous places at night. There As for New Yorkers being indifferent and is a lot of give and take in this city. As one cold, I found the opposite to be true. I got a stockbroker put it, "We've got two ways to wallet full of business cards and phone go with this situation. Either we all become numbers from New Yorkers to use upon my alcoholics and develop heart conditions, or eventual return. Also, nobody is more galled we laugh at the chaos and congestion of by the high prices in New York than the what is a ridiculous situation, that is, all these natives, and they'll tell you all about the people in one spot. It's ridiculous but I guess cheaper stores, bars and about the tourist we all feel it's worthwhile to be here. It really traps to avoid. The day I visited the World is an exciting city, you know." Trade Center, a maintenance man took me That New York resilience and sense of up in a service elevator to an area under humor displayed itself one day in midtown construction on the 112th floor for a free Manhattan when a taxi, moving at probably view of Manhattan, rather than letting me 50 miles per hour, which is common in New pay three dollars and wait an hour for the York, approached an intersection blaring its view from the obvservation deck. horn at a crosswalk full of about 20 people. When one visits New York City, my ad­ They dived back to the sidewalk, laughing vice would be to leave your suspicions at - Richard Hoefle and gasping in mock peril-all but one bag home. Richard Hoefle is an artist living in Dallas. lady. Narrowly missed by the cab, she Page 14 kC PITCH September 1982

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The seminar will be conducted by Mark Leinwand, Los Angeles music attorney and author, and Jeffrey Sydney, attorney and West Total per insertion : Coast Director of Legal and Business Affairs for a major record Total )( __ insertions = company. Your questions will be answered. You cann,ot afford to miss this Carpet Cleaning Special·2 rooms & hall On­ vital program! Kittens, free. Ripe (7 weeks old) in late September. 474-1907 or 561-2744, ask for ly $32.95 complete. Commercial work costs Donna. only 1O¢ sq. ft. "Regency" 333-1480 Needed-5 cattle prods. 12V. Contact Commercial & Portrait Photography Ver­ "Brad", KANU FM. Wanted-Station Direc­ non Leat, photography and finishing. Est. tor. Apply Master Control, KANU FM. 1980. Call 753-4629. HELP WANTED! Ideal for students, part or full-time. Call Kathee 753-5030 MasterCard, Visa, cash, PO.M.O., checks with credit card guarantee. May be Tired of looking boring? For a new look with tax-deductible as a business expensEj for professional artists. hair call Sharon 381-0045 Located 1435 & 3830 Warwick, Entire third f1()'(')f,., 1 ACHIEVEMENT ENTERPRISES, INC. 4167 Bon Homme Rd" Woodland Hills, CA 91364 Metcalf. Sun Publications Bldg. bedroom, unfurnished apartment, parking, shopping, employed adults, no pets Where do to meet SINGLES in 931-2399 KC.? Call or 842-1348 4016 Forest large house formerly boarding Bassist, 25, experienced, good equipment. home. Ideal for share-a-home or rooming. Looking for no frills rock/blues part time. 5 baths, responsi­ 587-1015 after 5 I'-"=IU."." LAnnE adults 931-2399 Experienced Rock N' Blues Guitarists. Look­ AREnTJIOO ing for Bass Player and Drummer 561-2361 or 931-0763 Dennis or Dave WESTERn MISSOURI & Violinist, electric seeks working band blues­ Skateboarding is not dead in K For the HAnSAS country rock experienced player. c.' ultimate vertical thrill come session the 287-8412 1001 E. 47th St. Metro. 16' wide. Steve 763-1901 A Kansas City Rock N Roll band is now ardi­ Kansas City. Missouri Earn up to $10,000 in 40 days! Details tioning for male vocalist copy and original 756-2277 Send $2 and SASE to Leonard, 9803 E. 40 material. 262-0917 Mo. 64055 Suzuki 1979 TS250 street/dirt excellent reasonable. Stereo $150, mandolin $135, Comprehensive family planning ukelele $45, bike $35 523-1811 services for all ages, GUitarist/Vocalist, experienced, serious and versatile looking for band-Top 40 FM contemporary • BIRTH CONTROL SERVICES • PREGNANCY TESTS • early ABORTION • VASECTOMY COUNSELING/SERVICES • NATURAL FAMILY PLANNING CLASSES • COMMUNITY EDUCATION PROGRAMS Don't miss . .. The Last Picture Show (1971) SMITTY'SMP 10 DANCE Fine Arts, Sept. 8-9. This film is based on Larry McMurtry's powerful novel about peo­ FIVE LOCATIONS: ple and relationships in a claustrophobic 1. Love is in Control Donna Summers 47th Harrison & 756-2277 Texas town in the 1950's. Brilliantly 12"/LP North Kansas City 421-5063 directed, the entire cast gives uniformly ex­ Stormy Weather Viola Wills South Kansas City 763-2125 cellent performances. Cybill Shepherd, 12" Independence 254-5935 believe it or not, is terrific as a shallow, flir­ 3 Do You Wanna Funk P. Cowley-Sylvester Warrensburg 747-2773 tatious teenager and Ellen Burstyn shines as 12" Shepherd's sexy, down-to-earth single Flirts mother. Cloris Leachman and Ben Johnson Paul Parker CONFIDENTIAL. AFFORDABLE won Oscars for their performances. Original­ ly shot in color, director Peter Bogdanovich to black and white when he 6. Face to Face GinoSoccio LP I'm So Hot For You Bobby 0 good. 12" 8 Ask Me Carol Jani Don't bother . .. 12" Rich and Famous (1981) and Clean-up Woman Karen Sliver The Turning Point (1977) l=ine Arts. Mediocrity with Tonight (My Heart's Not In It) Brenda Jones plenty of into boredom trite- 12" ballet scenes in Point Page 15 September 1982 KC PITCI1 11['- lAD_OLAND Ill'- Lindsey Shannon Paul Fredrics The Many Phases of Electric Lunch The Blues It takes KY102's Paul Fredrics about 20 minutes to select the dozen of so '60s and Five years ago Lindsey Shannon decided '70s rock'n'roll classics and prepare for Elec­ there ought to be some blues on the radio in tric Lunch, the noon hour show. As host, Kansas City, so he went to KCUR-FM with Fredrics plays a secondary part of Electric some of his own records and tapes and Lunch-he's friendly, but he never overrides made a pitch. Three months later he was on the music. "I don't like to be stale, you know, the air with The Many Phases 0/ the Blues, a just read the one liners and shut up, because show that has aired at 4 PM every Saturday I don't believe in that." But because of the since. show's format, it's nearly impossible to resist Shannon does not get paid for his work, throwing in personal memories from when a -producing the show, "all for the love of the song was popular. "I think you're going to be blues." Ease seems to be the byword of the seeing more of that on Electric Lunch " show and Shannon makes his guests feel Fredrics said. "At this point I'm just too ne~ conversational and comfortable. He inter­ into it, but/'m looking into a little research on jects tidbits from his own life, discovers , some of the groups and that sort of thing. mutual acquaintances and discusses bands But the music's the important thing. I don't he's seen. think we'll turn it into a blab hour." Weekdays, Shannon is KJLA's sales There was no hesitation when Fredrics manager, a notoriously high pressure job cut was asked which group best the out only for hard chargers. Shannon ad­ '60s and '70s. "The Beatles. It to be- mitted that he had considered dropping The they started it all. I don't think rock'n'roll is Many Phases 0/ the Blues in favor of a pro­ Broadway and Hollywood), what it used to be. Sure there's some good ject that would make some money, but his stuff, but there's a lot of trash out, groups wife Jo said the show is a release for him. AM KCUR-FM 1 :00. . . Saturday Afternoon Opera, that won't be around tomorrow. Generally The only hint of the harried-radio-sales­ .610 the public must agree, because they're still persona was Shannon's request that, to WDAF. KANU .. 680 2:00 ...... Folk Waves (starts September buying the Doors and Beatles albums." make the most efficient use of time, I ask my KFEQ .710 4th), KCUR-FM One of the most memorable moments of questions in the midst of his record playing WHB ... . .1190 3:00.. . .. Ballads, Bards and Bagpipes Fredric's career was an exclusive interview and interviewing of Juke Jumper vocalist KJLA. (music of the British Isles and granted by President Reagan. Reagan and Jim Colgrove. Fredrics both started out at the same radio Reared in a classical music household (his Europe), KCUR-FM 4:00. . Many Phases of the Blues, station in Iowa, so they talked about father subscribed to Opera News and the FM Reagan's broadcasting days. The impression family listened to the Metropolitan Opera KCUR-FM KCUR-FM · .89.3 stuck with Fredrics, of the man who really each Sunday), it was in high school that 6:00. . Silver Eagle (country acts KANU · .91.5 made something of his career. "If ever I've Shannon to the blues late at recorded live in concert), KXTR .. · .96.5 felt intimidated by anyone, I think it was dur­ night on WDAF KTRO .. .98.9 6:00. . . Sixties at Six (oldies), WHB ing that time I spent with him," Fredrics said. Being a disc jockey is more than just play­ KYYS. · .102.1 6:00 ...... Cypress Avenue (contem­ KPRA ...... 103.3 porary music), KCUR-FM ing your favorite records a few hours a day. KBEQ. · .104.3 6: 30. . . Vintage Jazz Show, KANU "The people who've made it to a market of this size have paid their dues in the Daven­ KKCI · .106.5 7 :00. . . Silver Eagle (cross country music, moves to 10:30 if port, Iowas and they have to be very good at there's a Royals game), KFEQ their job." Fredrics holds a degree in com­ WEEKDAYS 7 :00. . Great American Songbook munications and he worked seven years in smaller markets. He said he's never had a 11:00AM . Adventures in Good Music, (popular composers and singers), KANU radio job he's hated. The stations he's KXTR worked at had family-like atmosphere, NOON. .. Lunch Break (requested 7 :30. . Country Close-up (interview and music, hosted by Glen which made it hard to move up to a better songs), KBEQ market. "Everybody's on a team. It's like NOON .... Fifties and Sixties Oldies, Campbell), WDAF 8:00. . . Boston Pops (live), KXTR playing pro ball. You work together, you WHB spend a lot of time with each other, and over NOON. . Electric Lunch (sixties and 8:00. . . Jazz in the Evening, KANU 9:00. . ... Rock Wars, KKCI a short period of time you become very at­ seventies oldies), KYYS tached." 1:00 PM ... Jazz This Afternoon, KANU 9:00. . .. Saturday Night with the Memories (country oldies and As if on cue, Fredrics answered a phone 5:30.. .. Music by Candlelight call from Randy Raley, a former KY disc (classical), KANU music history), WDAF 10:00. . Jazz Alive, KANU jockey who just left for a station in Denver. 6:00. .. Sixties at Six (oldies), WHB Raley asked about station happenings and 7:00. · TUESDAY - First Hearing told of adjusting to different station policies at (new releases), KXTR his new work place. Fredrics proVided words 8:00.. . .. TUESDAY Milwaukee Sym­ SUNDAYS of encouragement: you'll be a better jock for Lindsey Shannon phony Orchestra (live), KXTR it. 8:00 .. · THURSDAY - Baltimore Sym­ 9:00 AM . Spanish Music, KTRO "I wanted to be a disc jockey," played hours of Jimmy Reed music. Jimmy phony Orchestra (live), KXTR 9:00. . American Top 40 (Billboard's Fredrics He confessed his first desire Reed has remained a personal favorite of 9:00. · Rock Wars, KKCI top 40, from LA), KBEQ was to do sports announcing, play-by-play, Shannon's, along with Muddy Waters, Otis 9:00. . .. Kansas City's Most Requested 10:00. .. St. Paul Sunday Morning, but he never had the opportunity. "In this Spann and Sonny Boy Williamson. The har­ Songs, KBEQ KANU business you take what you can get." monica is Shannon's favorite blues instru­ 10:00.. . . THURSDAY Modern Times NOON. .. Fifties and Sixties Oldies, ment (he's a closet harmonica player him­ (20th century classical music), WHB self). Of the new music of "blue wave" KXTR 1:00 PM. . Boston Symphony Orchestra groups, he favors The Thunderbirds and 10: 10.. .. Jazz in the Night, KANU (live), KXTR The Juke Jumpers. 12:00. . Midnight Album Classic, KKCI 1:00. .In Recital, KANU During The Many Phases 0/ the Blues, 2:00. . .. First Hearing (new releases), Shannon tries to provide some history of the KANU artist and to show how much the blues. "one 3:00. . ... Polka Feast (international of the true American art forms," affects all SATURDAYS music), KTRO music played today. "Muddy Waters did a 6:00 AM .. Saturday Morning with the 5:00. . . Seventh Heaven Jazz, KPRS song called The Blues Had a Baby and They Memories (nostalgia and coun­ 6:00.. . . American Top 40 (9 AM show Named It Rock'N'Roll,' " Shannon said. try oldies), WDAF repeated), KBEQ Record distributors and other blues lovers 9:00 ..... German Hour, KTRO 6: 00 . . . Sixties at Six (oldies), WHB contribute music for the show, but almost all 10:00 ..... Polka Potpourri, KTRO 7:00. . Sunday Night Bluegrass, of it comes from Shannon's own 1,500 10:00.. . Bill's Big Band Bash, KCUR- KANU record collection. Some of the records may FM 8:00. . Cleveland Orchestra (live), be scratchy. but Shannon feels the music 10:00. · The Jazz Scene (hosted by our KXTR itself is more important than the record quali- "This is the kind of stuff I like," Fredrics own Dick Wright), KANU 8:40 ...... The Music Makers (interview), ty. the show a Juke Jumpers album said as he cued up a Bob Seger cut after 11:00. · Adventures in Good Music, KJLA skips. while we in the studio wince, Electric Lunch. People, especially dedicated KXTR 9:00. . Inner View (interview with Shannon just shrugs and smiles. "This is live fans, tend to amaze him. "How many people NOON .... Fifties and Sixties Oldies, rock personalities), KKCI There's no goin' back. But that's OK, just eat rock'n'roll?" he said. "I mean they WHB 10:00. . (SEPT. 5) On Stage Tonight this is the blues and the blues aren't get in their car in the morning and chew their NOON. .. Just Jazz,,,KCUR-FM Air Supply, KUDL clean." dashboard. " 1:00 PM ... Stern Brothers Opera, KXTR 10:30. . . ~~~~s, Bards and BagpiPFs, - Vicki Atkins - Vicki Atkins 1:00 PM. . Show Stoppers (music from Page 16 kC PlTCU September 1982 Barber of Seville at 7:30 PM. 1 September opens with SEPTEMBER Ail: Supply. the Wednesday mellow rock group from Australia. there 23 Go for folk with Beth will be of fresh air out in the open air Scalet at Lawrence's of Thursday Jazz Haus.

2 Buzz by the Foolkiller 24 and see Jim Ringer a Thursday and Mary McCaslin Friday a voice like hers. Go playing their unique see Olivia Newton­ style of traditional and folk John at Kemper with Tom Scott. Get out music. Or you can buzz by and If catch Fools Face. Both events start at 9:00 P M

By If you're into great jazz on some lllce 3 S~itty all the way to Lawrence's hormonies or contem- Friday jazz vocals, Jazz to see The Jerry Hahn Quartet a trip to the play some modern jazz. They play tomor­ and may find yourself in the row, also. tone Manhattan Transfer. If not your bag, get out your safety pins and catch Get Smart and Mortal Micro Dots at the Music Box. But if you don't want 25 Yo-duh-Iay-dee-hoo! to hurt yourself. try going over to 900lj2 How about a fun Westport Road at 7:30 P.M. to catch the Saturday evening of yodeling at of Contrast magazine's new Foolkiller with an Lawrence to Gary Kirkland. Bring your best and kazoos along for this vocal ex- jump band The Kats, who enjoy female jazz vocals, check out the new will be there tomorrow night as well. Levee. Now open it will feature artists playing in the old

Or lip by the Music Box and catch The 9-1 PM BCR will be back at 4 Langehr Band. Maybe you'lI want to fill up 26 Foolkiller at 2 PM for to the car with some gasola and drive to Saturday with the looks of a Sunday a musical/theater ex- Lawrence's Jazz Haus to see the blues duo It's time for the mys­ ~m"n~~n ....•• ·~n~.n'~ of Greek goddess and 17 Bill Lynch and Lee McBee, playing tical, magical music of the voice of an angel? Maybe something like, the Young Existerltialists. tomorrow night too Friday the magician "Could you change this light bulb for me?" Mr. Steve Susan Anton will be bringing her Las Vegas Miller. Steve will be showing us his magical act to Worlds of Fun tonight and tomorrow guitar work at Starlight, so get out your white night. Another Saturday 27 It's time to out 11 rabbits and your top hats. If you want a more the garbage-take and I ain't down-to·earth experience, try Kathy Saturday Well, Monday him to a movie or Buehler and Mata Had at the Foolkiller. so~mething. like to meet someone Or catch some rock and blues with Blue 5 Remember the new and exciting, try to KU in Plate Special at The Jazz Haus in Akiyoshi Tabackin Lawrence to Regaletto. Lawrence Sunday article splashed across that special might be there Or run over to the front cover of the Starlight and catch George Thorogood last KC PITCH? Well, they'll be at Brush and His Destroyers - maybe that dream­ When was the last Creek tonight in a free concert for you big boat of yours is a rock and roller. Or maybe 28 The Lyric celebrates time you took a long band followers. Wow' A lot is going on you could go by Foolkiller and catch Beth 18 its 25th anniversary tonight. B.B. King and Millie Jackson Scalet, singer and songwriter. Or maybe Tuesday hot bubble bath? Saturday and they'll be doing this tonight, will be together at Starlight. But don't bring your potential beau is very mainstream and La Boheme, which with a friend. the kids you know how Millie likes to say into T.G. Sheppard and will be at Worlds of the Lyric 25 Or how those nasty words. Fun. a little April in with April Wine and Eddie Money at Municipal, 8 PM 29 at one of straight For all you Cannes One of K.c.'s most 6 12 discos-Fanny's, of Film Festival buffs, outlandish experi­ Wednesday course. Yes, MTV will Monday Man of Iron won Sunday mental bands, BCR. Yes, once again it's be sponsoring a partystarting at 9 PM. Con­ Best Picture. It sounds will present a multi­ 19 BCR. What does media show, "Secrets of the Super Spies" at cert tickets and albums will be given away. like a real "steel" at the City Movie Center. BCR stand for or sit Foolkiller at 2:00 P.M. in the afternoon Sunday There will also be a special appearance by for or fall for? Is it Then want to settle down with some plain 01' one of New York's D.J.s, so bring your Black Crack Review or Basic Christian rock n' roll? Try Used Parts at the balloons-it's going to be fun! Rockers? No one will say. At 2 PM at the Haus in Lawrence. 7 One, two, three, kick! Foolkiller, they'll be doing "Secrets of the Yes, the all time Lost Books II." Tuesday favorite A Chorus Get ready to pay rent. Line is kicking off 30 again at the Midland now through the 12th, 13 Ready for a little Mardi Thursday but get your tickets early or you'll miss out Gras? Well, the Levee is Skip Hawkins Hot again. If you don't feel like something so honoring Skip 20 Monday 5 returns to The Hawkins Hot 5 with Broadway-ish, how about Brush Creek Monday Levee with their Review at Parody Hall. their special brand of Dixiel,md jazz from Dixieland Jazz. Stop 8-12:00 P.M. by The Levee-it's a great place to hear that Ida Update 9 Just what KC needs old K.c. Jazz. Ida McBeth will be headlining the Rich Hill a fashion show Review on September 10 and 11 at Parody Thursday called "What to 15 Irish folk group De Hall. On Friday night, she will welcome the Dannan's popularity wear to the Arts." reunion of the secretions which features Bob This show, commencing at 11:00 A.M. at Wednesday is growing by leaps 21 Go see Rich Hill John of the Blue Riddim Band and Ed Toler, Crown Center, will be a great plus for all you and bounds. They'll and the Riffs, fea­ fashion conscious people out there. Mime be appearing at Community Christian Tuesday turing that great voice area blues guitarist. Also appearing with Ida Wock will be hosting. After you find out what Church at 4061 Main. Tickets are $7. of Ida McBeth, at will be Benny Spellman, vocalist of the hit to wear, you can catch two of the hottest reg­ Blayney's through Saturday. This lady has a single, "Lipstick Traces on a Cigarette. gae acts around, Peter Tosh and Jimmy voice like I've never heard. Cliff in two shows at the Uptown. The 11th National 16 Rich Hill and the Riffs featuring Ida Walnut Valley For all you hair­ McBeth will appear at Blayney's September Find out who the hell Thursday Festival will start today 22 10 in Winfield, Kansas. benders out there, get Gary Morris is at the 21-25 and at O's September 29 and 30. Get out your Earth shoes and get ready for a Wednesday a group together and Friday Uptown tonight. If go to the Lyric to see you would rather great time. It's going to be one hell of a blast,