University of New Orleans ScholarWorks@UNO

Wavelength Midlo Center for New Orleans Studies

8-1986

Wavelength (August 1986)

Connie Atkinson University of New Orleans

Follow this and additional works at: https://scholarworks.uno.edu/wavelength

Recommended Citation Wavelength (August 1986) 70 https://scholarworks.uno.edu/wavelength/61

This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. 1685 C0550 ' EARL K. LONG LIBRARY ACQUISITIONS DEPARTMENT UNIVERSITY OF NEW ORLEANS NEW ORLEANS LA 70148 -

1mB j~3;W MON-FRI 10AM - 6PM r AMiRtcAHi SAT 11 AM - SPM , EXPRESS j WARRANTY 4417 Bienville Ave. SAlES-SERVICE 488-2673 488-2674 ·------. BEN CHARGE New Orleans, lA 70119 ~------NOW YOU SEE IT .. ·. ----~-·

+------Also Available-on A&M------...... ______Disks & Cassette------.

PLEASANT AT MAGAZINE • NEW ORLEANS • 504/897-5015 ------~~:..-:..:--·--=-=-=...:=-~=~.:.-~-=~ :.: ---=-=-:.-__ The Kurzweil150 MIDI . . Expander Of course the Kurzweil1.50 offers full MIDI imple­ IIURZWEIL a a II II iJ ii Introducing the mentation. With OMNI, POLY and MULTI modes, the ~>o a a • • • a () ~ 1111 ••• KurzweillSO, a Kurzweil1.50 will be a leading component in your MIDI • -- maa •all ·- • great performance setup ... And for only $2, 995~ instrument that The Kurzweil MIDIBOARD• lets you bring the Kurzweil Piano and 21. other Kurzweil­ The Kurzweil MIDIBOARD is a powerful master quality sounds on the road or in the studio. It's a rack­ MIDI keyboard controller with unique features, making it mountable, multi-timbral sound source, designed to the best controller for any MIDI device. work with any MIDI controller. It's also a great companion for the KurzweillSO. The The Sounds MIDIBOARD's unique Polyphonic Pressure Sensitivity The Kurzweil1.50 employs Contoured Sound Modeling~ may be used to control the pitch, vibrato depth and chorus to offer sounds such as the Concert Grand Piano, Electric detune of the KurzweillSO, allowing a level of expression Piano, Harpsichord, Jazz and Rock Organs, Electric and previously not available in keyboard instruments. Acoustic Basses, Nylon and Steel-String Guitars. The 22 The MIDIBOARD's 88-key weighted wooden key­ resident sounds are arranged into 60 preset programs, all board has the feel and velocity sensitivity of a concert available at the touch of a button with 16-voice polyphony. grand piano. Dedicated sliders adjust the keyboard's And with more ROM expansion sockets, there's room touch, attack, release, pressure and retrigger sensitivity, to grow! enabling you to fine-tune the MIDIBOARD's feel to your Programmability own playing style. The extensive programmability of the Kurzweil1.50 The MIDIBOARD lets you set up and control up to allows you virtually limitless customization of each of the eight MIDI instruments with the touch of a button. And preset sounds. You can also program effects, controllers you can easily change any of the 42 operating parameters and global parameters. For example, you can split your which describe how the MIDIBOARD controls any given keyboard into three regions, with up to seven layers of instrument. YOU assign what controls what-so each of sound in each. And you can timbre shift,'" tune, trans­ the MIDIBOARD's controls is where you want it, when pose or balance each sound layer. you want it. And once your parameters are set, you can Programmable effects include vibrato, pitch bend, save up to 99 of your setups in the MIDIBOARD's non­ chorus and 8-band graphic equalization-applied to each volatile memory. program. Even Polyphonic Pressure Sensitivity. You can On the road or in the studio, the MIDIBOARD is the assign virtually any parameter to any slider, button or only MIDI controller you'll need. wheel. And you can choose global parameter changes, Get The Best. Get ThemTogether. such as note-by-note microtonal pitch adjustments within Visit your local Kurzweil dealer and play the Kurzweil an octave. And once your parameters are set, store them 150 and MIDIBOARD. They're a winning combination. permanently in the KurzweillSO's non-volatile memory. The possibilities are limitless! KURZWEIL~ The Best Gets Better. Kurzweil Music Systems, Inc. • 4ll Waverley Oaks Rd. • Waltham, MA 02154 • (617) 893-5900

Jacbon Music Guitar Shack WiMMusic Sound Productions Inc. ll121 Rodney Parham Road 3154 N. Oark Street U740 West Florissant 14650 Glenda Avenue Uttle Rock, AK 72212 Chicago, IL 60658 Florissant, MO 63033 Apple Valley, MN 55124 501-22-W606 312-327-5565 314-839·1900 612-432-4740 The Keyboard Shop Guitar Shack Wife Music West 5626 Southwest Freeway 3416 Chicago Road 759 Manchester Road Houston, TX 77057 Steger, lL 60475 Manchester, MO 630n 713-524-1577 312-~7625 314-394-1550 Modern Music Guitar Shack Norman Music Center 413 N. Parkerson Avenue 9 E. GoU Terrace 317 W. Gray Street Crowley, LA 70526 Arlington Heights, IL 60475 Norman, OK 73069 318-?"SJ.:l(,()l 312-43"9-7625 405-321-8300

Sp«Uoo;•t""'> sub,

Features Latin Music Lovers ...... 24 New Orleans For Sale ...... 28

Departments August News ...... 6 One Percent ...... 10 Rock ...... 12 Film ...... 14 Chomp ...... 16 R&B ...... 18 U.S. Indies ...... 20 Reviews ...... 22 Listings ...... 30 Classifieds ...... 33 Last Page ...... 34

A1tmlberof NeiWCSik

l'llbllbCaoaloouo. Rod Colemo~n. C•ml Gm Wurrlt'n~th '' rubll\hcd monthl)' m New Orlean,, Telephone: (~04) M9~-2142 Matl 'ub,utpllun,, t~ddre:'' change, 10 Wuo•l•n~rh, P 0 ll"' 15667. New Orlean,, LA 70175. Sub­ ~nptton rale ~12 per )Car burl

Now Available at all PHILIP GLASS " 100% cotton, b111Ck T-SHIRTS on white only •S, M, I., XL • Hand printed to Oldet ldnllrs· • $8.50 + $1.50 hendllng • Money tHick QUIJIIII/Hd stores SEND CHECK OR MONEY ORDER TO: ALL MAJOR BRANDS e COMPETITIVE PRICES STEVE BAYNES e COMPLETE TEACHING FACILITIES P.O. BOX 850573 NEW ORLEANS, LA 70185-0573 2013 WILLIAMS BLVD. 466-8484

AUGUST • Wtnrele•... 5 FUTURE OF CITY'S UNTAPPED MUSIC BUSINESS LOOKS BRIGHTER

ROCK Despite the standing of music in the when Duplantier brought in a Jason DRUMMERS ON New Orleans mystique and its Berry article from Gambit on the TOUR venerable place in the tourist triad, whys and wherefores of the plight "fun, food and music," the busi­ of the music industry in New Poor drummers. Except for Phil ness of music here remains small Orleans. Collins, of course. ThO!f arc gener­ business. "We were really excited," Ram· ally hidden by their own equipment "When people here think of the sey recalled, " I said ' really, why and the other members of the band music business," explained Jan V. isn't there a thriving industry here'!' while on stage. Not only are they Ramsey, president of the New But, I'm not a music business per­ camouflaged during rock shows and Orleans Music and Entertainment son, I'm a real estate consultant almost always lingering in the back­ Association, "they think of clubs, who's a music freak." So Ramsey ground whenever the band meets its Bourbon Street, and parties. and Duplantier went to "music public, but when was the last time "In Nashville they think of rec­ business people" and in a series of you saw Alex Van Halen or Vinnie ording, video production, publish­ meetings, began to understand the Appice on the cover of any music ing. even theme parks." needs of the industry in relation to magazine besides Modem Drum­ So why not Jazzworld or Basin­ those of the business community mer? Unarguably, drummers almost land in New Orleans? A major fac­ and the city. always get the short end of the tor is the conservative coterie of the "We sat do\\:n and talked to stick. New Orleans business community, some people in informal meetings," That's why it was so unusual which, coupled with a traditionally she said, "and these people could when Ludwig Industries sponsored unorganized and dissipated force of not believe that the Chamber, the a mini-tour featuring two of their artists, has left New Orleans' bastion of business in New Orleans, key endorsers, Yes's Alan White musical natural resource an un­ was taking an interest." That fact, and A.J. Pero of Twisted Sister. tapped one. in itself, outlined what was to be­ The headlining drummers spent a And, in a time when the city is come one of NOME's primary dut­ few weeks on the road promoting a fighting to keep its head up long ies: to establish a positive working product, encouraging young enough not to go the way of Cleve­ relationship between the communit­ drummers and above all proving land, it's hard to justify any un­ ies of business and entertainment their solo talents away from each's tumed stones. That was the thought art. commercially successful band. behind the creation of the New Through a series of other meet­ In Dallas recently, the guys drew Orleans Music and Entertainment ings and forums, new goals natural­ more than 200 interested musicians Association (NOME). ly found their way into NOME's and fans at the Redeux to hear the In what was considered by many roster of hopes: to raise the level of duo perform together and share artists as a unique move by memb- professionalism in the business end of music by enhancing the educa­ tional opportunities, to promote. cooperation and communication NEVI among the artists themselves, to gain the attention of legislators and to present them with scenarios for ORLEANS pOsitive change, to promote New Orleans' music/entertainment in­ dustry on a local, national, and in­ MUSIC ternational level and to use that pro­ motion as a means of increasing the It's the best In the world .•• tourist trade, to be a clearing house And WAVELENGTH is New for industry information, and to de­ Orleans' music magazine, with velop projects that create unity and news, reviews, interviews plus enhance the industry in New stories on the late greats and im­ Orleans. mortal moments. Sample issues $2. It all adds up to quite a list, but the organization's board members don't think it's more than they can chew. "I think it will work," said Send $12 ($20 foreip) for 12 Jay Gemsbacher of the New issues, a whole year of New What rock 'n' roll stars do on their day off (left to right): Billy Ludwig Orleans Booking Agency and a Orleans music, to: Ill, A.J. Pero of Twisted Sister and Yes ' Alan White after the Dallas long-time New Orleans musician, drum clinic. "but we're going to have to work WAVELENGTH on understanding each other." P.O. Box 15667 In fact, many of the preliminary New Orleans, LA 70175 stories about their own personal ers of the business community, real goals of the organization have climbs through the music charts. estate consultant Ramsey and already been accompliished and an Although Yes and Twisted Sister lawyer Michael A. Duplantier got understanding between the group's may not draw the same audiences the Chamber of Commerce involved two somewhat polarized factions, or seem comparable in many ways, in the project which eventually be­ artists and business people, is de­ the two musicians complement each came NOME. veloping through experience. A first other both on stage and off. As what she called "young turk" coup, in what's hoped to be a series So successful were the clinics, members of the Chamber's Eco­ of many, was the organization's the drummers are considering going nomic Development Committee (not responsibility for bringing MTV's back out together between tours. to be confused with the high Sunday nights series "The Cutting Both are scheduled to go on the powered-high profile Economic De­ Edge" to New Orleans. As the only road with their respective bands la­ velopment Council), Ramsey said city visited by the show in an entire ter this year. she and Duplantier were looking for season, New Orleans is a standout -Gina Guccione a project to spark their interest of the nationwide broadcast. The 6 WcnrelellfJih • AUGUST [OM I [~y

St-i()W(~.t\.S~

July 29 - Aug. 3: Scott Novotne with Stephanie Hodge and Bill Sacra Aug. 5- 10 Van Gunter with Mark Sweetman and Eric Tunny Aug. 12 - 17 Tim Cavanaugh with Tim Rowlands and Kyle Nape A CLOSER LOOK Upon being presented a proclamation by Mayor Sidney Aug. 19-24 Dennis Blair Barthelemy that made July 5 "Stevie Wonder Day" in the Aug. 26- 31 Mac King with City of New Orleans, Wonder removed his ever-present sunglasses to take a "closer look." The event took place at Dove Cusamano Lakefront Arena as Wonder began his nationwide tour. SHOW TIMES: TUES, WED, THURS 8r SUN, 8:30 PM FRIDAY 8r SATURDAY, 8:30 8r 11:30 PM city couldn't pay for that kind of businesspeople 'don't laugh people 1930-C West End Park - Above Augie's Delago publicity. It was a perfect fulfill­ [with music investment ideas) out ment of the organization's goal to of the bank,' and to music people Call: 283-3322 For Reservations be good for the music industry ' have it broken out into what it while being good to the city. means in dollars and cents, have the The Association also has an all­ documentation to spell out the re­ encompassing music and entertain­ turn."' ment industry handbook in produc­ Despite the energies of the board tion edited by Echo Olander of the members and the Association's Arts Council which will include in­ widening grassroots s upport, Ram­ fonnation on everything from legal sey has no delusions that it's going advice for individual musicians to to be an easy ride. "There's so contactsJor video production, much to be done and not enough according to board member and people to do it," she said. Wavelength editor Connie Atkinson. And, the Association has already Set up in a loose-leaf-easy-to-read­ had to weather some setbacks. fonnat, the book promises to be an When NOME held its first major ongoing and invaluable resource for press conference to introduce itself artists and businesspeople alike. to the city as a new force for eco­ On the political front, in mid-July nomic development, its purposes Ramsey and board member Cosimo were already misconstrued. Because Matassa faced City Council memb­ it seems the very mindset of the Dr. Stepben Danker's ers to ensure the inclusion of the city is unable to cope with the idea music industry in the councilmen's of music as an industry, local media ·•gh Tech High Touch Music Classes plans for a film and television pro­ sent their music reviewers instead H Music Education In moting committee. Ramsey has also of their business correspondents. a Relaxed Informal Manner already been in touch with the One TV news person asked " Is all Barthelemy administration's Jerome this going to mean more jazz on Dickhaus and has gotten a favorable Bourbon Street?'' NOME board Classes Covering: response and constructive advice, members were flustered. " It was as 1. Basic Musicianship she said. While it is certain that if when an oil company moved their 2. Intermediate Musicians~ip there will be no mon.ies coming headquarters to Poydras Street, Systems w/Computer Interfacing from the city's already tapped coff­ they'd ask what's the viscosity of 3 Midi ers, Ramsey said she finds the ci­ their oil. They should be asking 4. live So~nd Mixing & Recording Fundamentals ty's and the Chamber's attitudes what's the economic impact? How toward the organization encourag­ many jobs are we talking about?'' • Next ClasSeS Begin Sept. Don't Miss _0Ut1 classes Monday-Thursday. 2 ntghts ing. said Atkinson. The city's main­ . . Register Jllo'.N for o 6 week sesst~- tAl: ~~;'~rs 6 ~ of InstructiOn $75. Storts On the burner for the near future stream press is yet to get the point. o week. Select any topic foro o o o Sept. ath. Small ClasseS. Big Opportunity. are two sets of workshops, one to ' We want to be a force for eco­ help businessmen overcome their nomic development. If we could Register Now, call Allied 488-267_. 10AM til 6PM natural fear of music investments, help get a shirt factory into some and one for musicians to help them warehouse on Tchoupitoulas, we overcome their problems with the would, because that would mean demands of the business world. The employment and that would mean hope is that what for many has been that on Friday night those people a handshake-business will become would have the seven dollars in bigger business when it's all on their pockets to go to the French paper. "We want to say to Quarter or to Tip's or Jimmy's to

AUGUST•Wtnrele...... 7 see and hear their favorite music. one in that position who has a have to alleviate that frustration for And, that's good for the industry knowledge of fundraising, a steady people with money to spend.'' and for the city," said Atkinson. background in business, who is NOME is on the track to do just The Association is hoping to familiar with the arts and who can that. Memberships in NOME are break through the press barrier and handle politicians," said Ramsey, available at levels from student to to raise mvch needed operating who knows such a person doesn't patron ($ 10 to $1000 tax deductible funds with its biggest project to come free. dues with a $25 individual member­ date: The Crosstown Jam, three ''This would be a person at the ship). And, there will be member­ nights of prime New Orleans music end of the phone for all sorts of ship tables at all of the Crosstown at seven different clubs. Some par­ things," said Atkinson, "if an artist dates. ticipating groups: Laissez Faire, calls who's bee11 asked to sign on a Membership forms are also avail­ -Flint Rebels, Skin Sect, Songdogs, certain label, he could get informa­ able by writing The New Orleans Uncle Stan and Auntie Vera, a tion on that label from the NOME Music and Entertamment Associa­ reunion of the Rock-a-byes, Leigh office. If an out-of-town producer tion, P.O. Box 30120, New Orleans Harris and the R&B Deathsquad calls New Orleans about making a 70190-0120. Membership is open to Review, Ray Bonnevillle, Dash video here, he can be referred to all musicians, entertainers, Riprock, Astral Project and the NOME's executive director. Now if businesspeople and to everyone who New Orleans Stick Band. At this they call the Chamber, they're re­ wants to see the music business writing, negotiations are underway ferred to the Tourist Commission, work in New Orleans. with other artists. and when they call the Commis­ -Kate Cohen The across-the-board participation sion, they're referred to the Cham­ of artists and clubs like Jimmy's, ber." LA1AIDY Dream Palace, Carrollton Station, It's precisely that kind of confu­ Snug Harbor, Jed's, The Maple sion that costs this city money, said NlR. PRICE! Leaf and Tipitina's in what is strict­ Ramsey. " It's the same story as Continuing old home month, ly a benefit is a credit to the organ­ any other industry," she said, Lloyd Price made his first singing ization and its goals. Musicians, "they say 'why should I work to do appearance in his hometown in 26 who board members are quick to business in New Orleans, I can go years on Sunday, June 22 at the recognize play for their livelihoods, somewhere where they make it easy Black Heritage Festival, a two-day are sacrificing a weekend night's to do business, somewhere like Chi­ music and food festival in the wages to what they obviously be­ cago, Dallas or Atlanta." She envi­ Rivertown shopping area in Kenner. lieve is a good cause, while club sions the executive director of the The free festival was put on by the owners are giving up the take of Association- helping to make doing Lasalle Economic Development their doors, Business will listen music business in New Orleans less Corporation, which promotes small when you put your money where of a chore. businesses in the area. Un­ your mouth is, said Ramsey. " I've lived in the outside fortunately, the fest was promoted The lion's share of the money world," she said, "where there's a only on WBOK and WYLD radio generated from the benefit will go spirit of cooperation and concern stations, though the shopping area to hiring a full-time executive di­ and where people don't take their couldn't have held much more than rector for the Association, said music for granted. Sometimes that the I ,000 or so people who showed board members. .. We need some- makes it frustrating for me. We up for the nighttime portion of the fest. LED president Emmett Richardson promises mat tne Hen­ tage Festival will be an annual PUBLICATIC»NS event. It may expand to the nearby August levy area with two or more stages. Fri 1· Force of Habit, .,. DIDDV WAH DIDDV- "Ain't no town, ain't no Judging from the first Black Exit 209 city" - Insightful record and concert reviews, interviews and essays from Heritage Festival, it may be the best Jackson, Mississippi, featuring a column entitled "Ask Betty Fulton" where thing to happen to New Orleans Sat 2· JohnnyJ and you can address those queries concerning affairs of the heart, head, loins, music since the Jazz Festival. The the Hitmen manicures, gardening, child-rearing, etc. Address subscription queries or foed and music were the same as Wed 6· Ritual Blues questions for Betty to Diddy Wah Diddy, 3971 Council Circle, Jackson, the Jazz Fest. If you got hungry Thurs 7· Chapter Two Miss. 39206. you could go to cholesteral heaven Fri 8· Radiators .,. GLITCH NEWS - Though not really a magazine, this rec­ on crawfish Monica, though, in­ Sat 9· TBA ord label newsletter put out by Glitch records in Austin is so strange and stead of peppermint tea, one had to Thur 14· Uptights and often humorous, it's worth trying to get on their mailing list. Craziness such settle for the hometown Mr. Big as the "Guitar of the Month" column and two-sentence record reviews soda, red or purple. There were Keith Luis Blues make for some fascinating reading. Drawings of armadilloes and other gospel choirs, jazz bands, funk Gothics Texas wildlife abound. Glitch News, P.O. Box 4 429, Austin, Texas 78765- bands, and children doing African Fri 15- NOM&E's Cross- 4429. folk dances - a lot of people danc­ town Jam .,. CHICKEN .JIVE- "A Local View of New Orleans, A ing, for that matter. Talk about Featuring: City Guide to Fun, Fashion and Music" describes this new, semi­ 1952 deja vu, the grand marshall The Rock-A-Byes Reunlon underground fanzine from right here. Though the !ive is sometimes marred for the festival's opening parade Song Dogs by lackluster criticism ("l didn't like them cause they pissed me off," was Dave Bartholomew. Before Uncle Sta.n fJ Auntie Vera " They're popular now so I'm bored with them"), when they have some­ Price came on Tommy Ridgely Jollnny J fJ t.he Hlt.men thing good to say, it serves as an excellent guide to what's going on in and blew the crowd away with his ver­ Sat 16· The Petries outside New Orleans. Look out, Lagniappe, your days are numbered. sion of "Ooh Po<> Pah Do." Fri 22· Love Tractor (Chicken Jive, 40 Neron Pl., New Orleans, Louisiana 70118) The big diffc:ence between the Sat 23· Wa.ka. Waka .,. THE ROCKET - Seattle has forged a reputation as one of Jazz 1-'est and the Heritage Fest was Fri 29- TBA the country's most progressive cities, and the Rocket serves as a fairly accu­ the predominately black audience Sat 30· TBA rate guide to both local and international afairs of the music, art, and film - Lloyd Price later remarked that worlds. A great place to find reviews of concerts by bands who will never it was the most blacks he had see in come within. I ,000 miles of New Orleans. ($11 a year, The Rocket, 2322 his audience since the Fifties. If the 2nd A venue, Seattle Washington 98121) Black Heritage Festival can help 8200 Willow .,. NON-STOP BANTER - Music news fro111 the mend the chasm between blacks and 24 Hour Hotline: Windy City, or at least somewhere just outside of it. Informative interviews traditional forms of black music it not just with the stars but with the people behind the scenes as well (pro­ will have lived up to its name. 861-8200 ducers, fanzine authors, etc.) and skillful record reviews give a good look Price seemed genuinely touched into one of the country's heaviest music scenes. Not just local, but national by the reaction of his hometown of FOA PRIVATE PARTIES CALL 861-3117 in scope. ($5 for 6 issues, Non-Stop Banter, c/o Debbie Novak, 16700 S. Kenner. He had to shake hands and ...... , ..... 94th Ave., Orland Park, Illinois 60462) converse with dozens who seemed SUMMER HEAT--- 10 know him personally. Some of Fort Worth, Dallas, Oklahoma, them undoubtedly knew him from Wichita, Austin-places like this. the brash 19-year-old who helped We sold out every night. They were change the course of music history outside scalpin' tickets at $35. I in 1952 with "Lawdy .Miss Claw­ couldn't believe it. I said, 'This is JOHN EDDIE dy." They made him sing it twice. just like 1959. What is this?' and Most of the crowd hadn't been born people there were 30, 20, 15, and yet in 1952, but everybody could they all loved that music. I couldn't sing along with ''Personality,'' believe it.'' which has been in more com­ For someone who hasn't lived in mercials than John Houseman. New Orleans for over 30 years, you Though he was hoarse and he had wouldn't think Price's civic pride had only a short rehearsal with would be too strong. On the con­ Tommy Ridgely's band, Price could trary, Price is incensed by the re­ do no wrong for the crowd, which cent placement of the Rock 'n' Roll waited out a Louisiana afternoon Hall of Fame in Cleveland. shower under a tent to see him. " How can Ahmet Ertegun And Price showed himself as a con­ [founder of Atlantic Records and summate showman, grinning as he board member of the Hall of teased with the intro from "Stag­ Fame], who made his fortune off gerlee," and dancing like a kid. New Orleans talent, have the auda­ Afterwards, in Price's hotel room city to say that Philadelphia or he related to WWOZ's Duke-a­ Cleveland should be the headquart­ Paducah (Thanks, Duke) and myself ers for the Hall of Fame? New what he had been doing lately . It Orleans build rock 'n' roll. I mean,

including: Am I Forgiven/Building R ..A., •• --­ Speaking English Desperate Surrender (Amor Moriendo) Skin Trade 11111[' cit Uoyd Price shows his "Personality" at the Heritage Fair. 1 --~------~ke~gas seems Price has been Jiving primari­ there shouldn't be no question about ly in Africa for the last ten years it. I don' t think at all that the Hall and has been working as a building of Fame, if there is a Hall of Fame developer, after a stint promoting ti­ for rock 'n' roll and rhythm & tle fights with fight promoter Don blues, should be in Cleveland, King. "I had quit doil'lg music Ohio! That's like taking country altogether. I found out that I wasn't music and saying the Grand Ole giving 100% to the craft that J Jove, Opry should be in Brooklyn. It's which is my music. ridiculous. "The music goes around. It looks "It was exciting today, like now that this music is in a full tremendously exciting. J tell you, circle. For instance, Patti LaBelle, after being away from the business Tina Turner, Aretha Franklin, and as long as I have and away from Dionne Warwick just came off performing, especially in your number one hits. I think now it's hometown as I did today-the last more positive. I think now that if time 1 was in New Orleans (I've you are really dedicated and sin­ never performed in Kenner) I was cere, those of us who were young at the City Auditorium in 1960 with Also ava1lable on cassette back during that time and still have Dick Clark, Connie Francis, and youth in our lives today, I think we Fahian-1 was just elated. I've nev­ can do it again. er seen anything like it. Today the "A.s a matter of fact, I am work­ people were happy, and the music ing on some new material, and I sounded great, even though I only haven't thought about making a rec­ had a 20-minute rehearsal with the ord in a very long time. I think I'm band. The people Loved it. I tell you gonna do it again. I guess I can call it a highlight. It "Last month Chuck Berry, Chub­ was one of the highlights in my life by Checker, Little Anthony, and that the people accepted it and it PLEASANT AT MAGAZINE • NEW ORLEANS • 504/897-5015 myself, we did about six nights. went over so well. I loved it." We were in Texas-- San Antonio, -Rick Coleman

AUGUST • Wavele..... 9 E PERCENT owned the record companies. And You Like Good Music1 (Yeah, Yeah) when Dr. Martin Luther King was assassinated in Memphis, the busi­ ness of soul, the business of integrated ' Sweet Soul Music: Rhythm and Blues Southern music, was over. On the day ~ and the Southern Dream of Freedom King was slain, white soul brothers Steve Cropper and Duck Dunn had to by Peter Guralnick Harper & Row be escorted to their cars as they left the BUNNY NlATTHE1NS Stax recording studio, so as not to arouse "an ugly mob that had formed hen I was a teenager growing Our parents knew this, too. Those outside." The mob probably had no up in New Orleans (or, to be handbills one reads abo1,1t in solemn idea that these were the guys who precise, Metairie) during the English blues histories proclaiming played the music behind Otis Redd­ WSixties, I listened to music non-stop. I that savage black music would ul­ ing, Carla Thomas and Sam and listened to the two big AM stations­ timately lead to the destruction of the Dave. WNOE and WTIX. WNOE, with de­ white race were commonplace items What happened before the mob ejays such as C.C. Courtney (later to in New Orleans. My father brought­ formed is the meat of Guralnick's become a minor soap opera star) and one home to me and I put it on my book. The cast of characters is phe­ Lou Kirby, was somewhat hipper; bedroom wall and thought it was nomenal: Sam "Mr. Soul" Cooke, WTIX was more the station of choice pretty funny. I'm not sure what he blown away by the night manager of a for pits, as greasers of predominantly thought about it. He probably thought three-dollar-a-night motel after ripp­ Sicilian heritage were called (today, it was somewhat silly but then, at the ing the clothes off of "a young Eu­ they would be deemed yats although I time, he was the head of the Louisiana "A masterpiece." rasian model," who he had driven to must confess I never heard the term State Sovereignty Commission, the the place in his $14,000 Ferrari; Jerry until I had left home and moved to purpose of which was to maintain the Wexler, the hipster-Jew from New Rhode Island, of all places!). "sovereignty" of Louisiana against brother): "What made it work, the York ("Each company must do its WNOE and WTIX both played all the Peds. The White Empire was key to it all, was black and white best to fill the pulsating needs of the "revolutionary" Sixties music­ crumbling and our parents were only together, working as a team." mediocrity in order to maximize its the Beatles, the Rolling Stones, trying to save us. In New Orleans, in Without hesitation, I wish to de­ potential for success. We might as Wayne Fontana and the Mindbenders, 1986, the situation has totally re­ clare that Sweet Soul Music is a mas­ well be selling hubcaps."); King Freddie and the Dreamers, Donovan versed and now my kids cannot ride terpiece. Anyone who grew up in the Solomon Burke, mortician/hustler/ and everything in between. They also their bikes around the block un­ South will love it because it is so true. prophet/popcorn salesman entertain­ played lots of black music-the local escorted without eliciting threats from And anyone who grew up in the North ing 30,000 Ku Klux Klanners in Mis­ stuff (Professor Longhair's "Big their young black contemporaries. (as did one or two of our daily news­ sissippi; Jim Stewart and Estelle Ax­ Chief' was extremely popular with This curious intermingling of blacks paper's regular music writers) should ton, the improbable brother and sister the pits, who dug the rudimentary and whites is what makes New be required to read Sweet Soul Music team behind Stax Records; the sub­ aggressiveness of the song) and the Orleans tick. We live next-door to and then tested for comprehension. lime Otis Redding, s ucking lemons soul stuff from elsewhere in the na­ Why, I remember sitting next to one and eating honey to preserve a voice tion. I think it is important to note that of these fellows a couple of years ago ravaged by the pace set in his opening most young Orleanians (as well as at a James Brown concert at Municip­ act, Sam and Dave (''These mother­ most local musicians) assumed (and al Auditorium and it was the first time fuckers are killing me.") Rick assume, to this very day) that the local he had ever witnessed Soul Brother Hall and Dan Penn and Spooner Old­ hit records were national hit records Number One in action. And if that ham and numerous other soulful white and that Ernie K-Doe, Benny Spell­ wasn't shocking enough, he spent the boys; James Brown and Syd Nathan man, Clarence "Frogman" Henry, entire concert talking and asking my of King Records, a man so tightfisted Danny White and all the rest were big 'What made it work, the friend Hammond Scott (since I don't he once passed on an opportunity to national stars. We had no idea these usually converse with Yankees) ques­ buy the rights to "Tennessee Waltz" records were being made downtown key to it all, was black tions about James Brown and associ­ because no song was worth $50; AI at Cosimo's studio and ecumenical as ates. Hammond, ever the polite Green' ("jumps from topic to topic they were, WNOE and WTIX gave no and white together, Southern gentleman, obliged the fool, with the skittishness of a startled deer, clue as to the song's origins. You working as a team.' who went back to his typewriter and and generally does not seem to be of would hear the Strawberry Alarm composed the most pitiful essay on this world. "); the nameless Muscle Clock, followed by James and Bobby why James Brown wasn't up to par. If Shoals trumpet player who pinched Purify, followed by Manfred Mann, I was King, this writer would've been Aretha Franklin's butt the day she re­ followed by Lee Dorsey, followed by beheaded on Canal Street at high corded "I Never Loved a Man (The a commercial for Stridex Medicated noon. Way I Love You)"; New Orleans' Pads. It was as color-blind as radio Guralnick's finest achievement is own Marshall Sehorn, pistol-whipped would ever get. that he got Southerners to talk and and beaten-up in his shower at a black The music that really got the major­ more or less gained their confidence. radio convention in Miami in 1968. ity excited was black music. Blacks Southerners love to talk-that's easy There are no two ways about it: you were not respected (the first three to enough-and they also love to bull­ must read this book. And then you integrate my high school were beaten each other and we know each other shit Northerners. It's simple to run should get on your knees and pray to until they were unconscious and then very well. We have also learned to around the South and interview musi­ the Heavenly Father that Peter Gural­ pissed upon by my raunchier class­ ignore each other while sharing the cians and transcribe the tapes and call nick wiiJ write a similar book about mates). They were not romantic and/ same turf, much the same as zebras it a book. Guralnick has captured the New Orleans music. I would certainly or pitiful, as I suspect they were - and Cape buffalo on the Munyamadzi very essence of southern soul music­ lend my hand. viewed by Northern teens or English Flats. tile very essence of the South, for that My only criticism of Sweet Soul teens (perhaps I am being overly This same "curious intermingl­ matter. Music (a hair-splitting criticism) is romantic with my suspicions). They ing'' resulted in the beloved soul mus­ Likewise, the South captured that on at least three occasions, he were just black and if we thought ic of my youth. As Peter Guralnick Guralnick. He confesses that most of utilizes the word " bathetic." I doubt about their circumstances at all, we theorizes in his latest work, Sweet his expectations about soul were if this word is part of many readers' figured that it was their tough luck to Soul Music: Rhythm and Blues and turned topsy-turvy: "I came face to vocabularies, especially those be­ be born "colored." That was the the Southern Dream of Freedom: face with the disparity between theory neath the Mason-Dixon line, down breaks and the only positive thing "Southern soul music represented a and reality almost as soon as I started here "behind the sun." about them was that they seemed to temporary victory, a momentary my interviews for the book." If you have trouble locating this know how to have a good time-a cessation of hostilities in which the What is soul? As Guralnick soon landmark book at your favorite book­ really wild good time. We knew, for combatants hesitantly set aside their realized, it was music produced by store, it's available for $14.95 post­ instance, that they had sex almost as differences and for an instant, howev­ Southern blacks and whites-the paid (includes free shipping) from soon as they learned to walk, which er brief, joined arms in a sea of trou­ blacks usually did the singing, the Roundup Records, P.O. Box 154, was a lot better than any of our lustful bles, against a common foe." Or, as whites usually played the musical in­ N. ·cambridge, Massachusetts experiences. determined by Rodger Redding (Otis' struments, the whites almost always 02140. • The world's first music computer now has abroader repertoire. ' . When we introduced the CX5M™ Disk Drive can help to greatly increase the computer, it was the only computer dedicated storage capacity of your CX5M. to compose, record and play music. Now all you need is a printer and a Now, with TeleWord~M the CX5M can mouse. Which is why we've made the PN101 dot­ do words as well as music. This powerful word impact printer and the MUOl Mouse available. processing /telecommunications program has Yet with all this expanded capability such features as global search and change, cut- going for it, the basic CX5M computer doesn't - and -paste text transfer and on -screen page lay- go for any more than it did at its debut. out. As well as autodialer with re-dial function, For a complete performance, see your computerized "phone book'' with 50-entry ca- Yamaha Digital Musical Instrument dealer. pacity and complete adaptability to all300- and Or write: Yamaha International Corporation, 1200-baud operations. Digital Musical Instrument Division, P. 0. Box But back to the music with the new 6600, Buena Park, CA 90622. CX5M MIDI Recorder program. Its four banks, • VAMAH A® each containing four recor~~g track~, let you ..!.. 1 j It c.ompose and arrange mUSIC ill steJ?-time Or real- CXSM and TeleWord are registered trademarks of Yamaha International Corporation. time from any MIDI keyboard. Edit. Then syn- chronize playback through DX synthesizers or FM tone generators, such as the TX7. The new RX Editor program adds greater versatility and programming ease to your RXll, RX15 or RX21 digital rhythm machine. And these are just a few examples of the expanded software available for the CX5M. Examples of the new hardware for the CX5M include the SFG05. This module has an FM tone generator with 46 of its own preset voices, an 1800-note sequencer and room for 48 user-programmed voices. The new FD03 Micro Floppy

Allied Music, New Orleans Bud's Guitar and Drum, Lafayette bus from one stop to the other. They skeptical at first as to whether or not were recently featured at Farm Aid II, they would accept a true pure count!) July 4, in Texas, and from New band. And once we played for them I Orleans traveled to Nashville for realized they were truly sincere." Charlie Daniels' annual "Volunteer Yoakam has toured with Los Dwight Yoakum draws skinheads and Jam." On that particuJar day, Lobos, the Blasters and X' s offspring. Yoakam and band played with Merle the Knitters as the opening act and good old boys to his 'hillbilly as it gets' gigs. Haggard at one gig, then the Volun­ recorded a duet, "Bury Me" with teer Jam, and headlined their own Lone Justice's Maria McKee for his show that night. current release. GINA GUCCIONE But no _matter what the schedule Again clarifying his distinction of they always make time, like most of being "true country" with a cow ot actually rock but definitely greeted with reverence .by the emerg­ their country counterparts, to meet the punk following, the country star says: worth considering musically is ing cow punk set. fans. Following his Gretna perform­ ''We do hillbilly. We do honky tonk if a hot new recording artist But there is nothing cow punk ance, Yoakam greeted young and old, anything." But they don't do cow Nwho's forcing hardcores to explore about Yoakam's performance of ori­ country and punk fans waiting for him punk! the country & western stacks in music ginals from his debut album, Guitars, outside his tour bus. From signing "Honky Tonk was dance music in stores across the country. Cadil/acs, Etc., Etc., combined with autographs and album covers. posing joints," he says, again for clanty be­ Dwight Yoakam's satisfied playing country and western tunes by Earl for pictures with fans and even record­ tween conflicting musical styles. And a classic Hank Williams tune to a club Scruggs, Lester Flatt, Bill Monroe ing a message on tape for a young fan, who should know better than the per­ full of teenage punk rockers or to a and Hank Williams. For the New Yoakam and his band are accessible to former who began his musical career predominately country and western Orleans crowd he added "Jamba­ the people who have built their care­ in those joints? crowd like the one that showed up for laya'' to the set-dosed the two-hour ers. Prior to the evening performance, From there he went to Nashville in his New Orleans performance last show with a wonderful rendition of Yoakam visited the record department search of a record deal. But the "luke­ month at Bronco's in Gretna. Elvis' "Little Sister." at the new Wal-Mart store in Harvey warm" reception was .. very dts­ Yoakam's been in front of both. Just as strong as Yoakam's to promote his album. illusioning, very disheartenmg be­ And he really doesn't have a prefer­ songwriting abilities and voice are a Yoakam defies critics' attempts to cause it made me feel like there was ence as long as whoever's listening band that road manager Michael crown him King of Cow Punk. De­ no hope for the music anymore. But doesn't mind his uncompromised hill­ Dumas describes as "the best rock 'n' scribing his set as "as hillbilly and now we've overcome that hurdle." billy sound. roll musicians playing the best coun­ honky tonk as it gets," the guitar That's right, the hurdle's behind At Bronco's. the 29-year-old Pike­ try and western music." Touring with player, usually hidden behind a tall him. But it took the enthusiasm and ville, Kentucky native drew mostly same players who made the album, cowboy hat, applauds the attention help of a surprisingly interested bunch mtddle-aged cowboys dressed in the band is composed of guitarist Pete L.A.'s real cow punk bands have of musicians that were thought to st­ boots, hats and western shirts with a Anderson, bassist J.D. Foster, fiddler given his country roots. and firmly on the opposite end of the­ hint of the new wave invasion ex­ Brantley Keams and drummer Jeff ''Those kinds of acts were wanting musical spectrum from country and pected from the Reprise recording Donovan. to find out about country music," he western. artist who was "too country for Nash­ The five-member band, three crew says from the back of his tour bus after They draw skinheads, hard core ville" so went to Los Angeles to be members and a bus driver travel by the show. ''That was surprising. I was punkers and others you'd never tmag-

FOSTER'S Custom Fil1ishes & I{epairs

-SALE- 20% • 40% OFF ALL GUITARS IN STOCK NEW, USED, RECONDITIONED & CUSTOM MADE GUITARS

AUTHORIZED SERVICE FOR: GIBSON • EPIPHONE • MARTIN OVATION • FENDER • WASHBURN G&L • TAKMINE • ELEGRA • ALVAREZ TOKAI • TAYLOR • DEERING THE SMITHS ARIA PRO • WETONE • YAMAHA GUITARS & AMPS monday, september 8 tulane's mcalister auditorium WE SERVICE WHAT WE SELL 486-3673 4840 BANKS ST. • N.O., LA 70119

12 W~~Yale•... • AUGUST fluencing a new generation of sounds. " I hope we've had a positive in­ fluence. I don't know that I've had a major influence. You know we're traveling around from club to club and we're slowly seeing that there is obviously an impact. We had 700 people show up tonight, which for our first time in New Orleans is a fair turnout." Yoakam likes returning to play the honky tonks, like Bronco's, he says, I but thinks it's necessary to play both country and rock clubs. IDwight Yoakum. Starting out " I wanted to play any­ where people would come see me," he says, meaning honky tonk joints. But in the past three years, he's played ine getting mixed up with the sounds rock 'n' roll clubs almost exclusively. of Nashville. Yet that doesn't mean his audience ·'At first I was surprised,'' is almost exclusively rock 'n' rollers. Yoakam admits, "that' there was a In fact, his manager says it's a lot scene that came out of L.A. that was easier to get the country crowd to the punk rockers like X. and people like rock clubs than to get rockers to a the kids that formed Lone Justice. honky tonk. There is always a very Rank 'N' File, Jason and the Scorch­ broad mixture, Yoakam says. from ers" who were interested in his mus­ young kids to mainstream country APPEARING THIS ic. fans. Now, the country and western star "I think that what I'm trying to MONTH: adds cow punk bands like the So­ reach is the broadest audience possi­ Deans, True Believers and Lone Jus­ ble without compromising music. I'm August §·10 tice to his list of favorites. The list also not, in other words, going to patronize Larry Miller ·includes Ricky Skaggs, George anybody. I just want to come out and Trip Wingiield Strait, Randy Travis and the Judds. do my music and have as many people Tony Vee Like George Jones, Merle Hag­ as possible hear it and accept it. I will gard, Hank Williams, Stonewall never ignore the kids. And I think August 12·17 Jackson and early Elvis-influenced Nashville has been guilty of Amazing Jonathon Yoakam, so the young singer is in- that." e Jimmy McGee T.S. Hughes August 19·24 If You're Part of the Mack a Jamie Michele Beaudry Recording Industry ~ .. Earl Burkes August 2&·31 Lance Montalto You Should Be Part of the Paul Clay Recording Academy. Steve Harvey

The Memphis Chapter of the National Academy of Q·93 NITE SUN. WIDAN McKAY OF Recording Arts and Sciences salutes our Louisiana members: THE Q·KREWE

Cosimo Matassa John Berthelot Tom my Comeaux Ja1me Delgado Jim Gabour Michael White Jay Gernsbacher Bob Vernon Stephen Hughes 4704 Veterans Jim Bateman Steve Masakowski James Soileau Alton Aubin, Sr Marshall Sehorn Issac Bolden Hwy.,Metairie Sally Townes Scott Goudeau Michael Wolfe Jay Gallagher Kenneth Williams Joseph Briggs, Ill between Clearview & Terry Tullos Jan Ramsey Renard Poche Victor Sachse Zelda Rose Rockin' Sidney Simien Transcontinental

Next month we will be in New FM IOO NITE TUES. WJ'SCOOT IN Orleans to tell you more about how THE MORNING,' AUDITIONS U you can become part of the organi­ REGULAR SHOW zation that awards the Grammys. If you're part of the recording in­ dustry, you should be part of the Recording Academy. Look for an announcement in next month's Wavelength tor all the details.

AUGUST • Wavelength 13 lfjM ... Tri-Star Pictures Production: directed by Ed­ Quarter, offers custom video work - ward Zwick; produced by Jason Brett and Stuart demo tapes for band, video portfolios Oken; written by Tim Kazurinsky and Denise ' What Was Your Nam~Again? DeClue based on the 11:ay Sexual Perversity in for models, weddings. etc. Moorman ~ Chicago by David Mamet; director of photogra­ has produced live music videos as What happens after a one night stand phy, Andrew Dintenfass; edited by Harry Kera­ well, including one of Randy Hebert midas; executive producer, Arnold Stiefel; ori­ of 711 Club fame. Perspectives also isn't any more fun to watch on the ginal music score by Miles Goodman; starring Rob Lowe, Demi Moore, Jim Belushi , and Eli­ offers still photography services; con­ screen than it is in real life. zabeth Perkins . Chalmette, Kenilworth, Cinema tact David Moorman at 525-7631. City 8 Kenner, Village Aurora , Uptown ~ The deadline for entries in the Square. 'Cc'Cc V2 Red River Revel Arts Festival film DORRE STREET and video fest August 15, 1986. Held bout Last Night is about modem remmding her ofall those women who LOCAL PRODUCTION in Shreveport in October, the event relationships, and suffers from used to drop their girlfriends the mo­ offers cash awards and screenings of what nearly every movie in this ment some guy called. "Who di­ NOTES works selected by an independent genre inevitably does - the psy­ do 't?'' asks Debbie, innocently guil­ ~ Alan Parker's Angel Heart jury. All entries must be non­ chobabble of modem people using ty. "I didn't!" replies Joan. Touche wrapped in New Orleans in late June. commercial and completed after Jan­ modern language to express their for an angry movie character finally Most New Orleanians know the pic­ uary I, 1984. For details, contact Paul modem feelings. All these terms of defending loyal females everywhere. ture stars Mickey Rourke, Robert Frank, Red River Revel Arts Festival, commitment and communication in­ The only thing this movie really De Niro, Charlotte Rampling and 101 Milam, Suite 10, Shreveport, tend to illustrate a general sexual trend does well is show the awkwardness Lisa Bonet, but several local actors Louisiana 7110 I. 318-424-4000. in society, something all modems can between two people who sleep were featured in key roles as well. ~ Robert Redford introduced relate to. In other words, there is no together before knowing each other. These include Stocker Fontelieu, Legal Eagles at its New Orleans pre­ real story. Bernie, giving some free advice while former director of Le Petit Theatre, miere at the Orpheum Theatre in June. Focusing closely on Danny (Rob The benefit's proceeds went the the Lowe) and Debbie (Demi Moore), N.O. Symphony and Redford's Sund­ two young singles in Chicago who ance Institute in Utah. Redford, who attempt to be serious about one an­ spoke briefly about the latter, recalled other after a one night stand, About the last time he came to New Orleans. Last Night is not a love story. Re­ in 1965 to shoot This Property is Con­ miniscent of last year's Key Ex­ demned. Check your late show list­ change, which not too many people ings- this movie is a must-see, also saw for good reason, About Last Night starring Natalie Wood and directed examines a live-in relationship that by Sydney Pollack. cannot withstand the modern threats of sexual freedom and temptation that lurk in all comers of city life. These REVIEWS temptations consist mostly of drunken RUNNING SCARED's glances and flirtations occuring in a greatest success IS the teaming up of Billy Crys­ rambunctious singles bar, Mother tal and Gregory Hines. Playing a pair of Chicago cops going through a love-hate ordeal with their Mallone's, a lively but not very careers, the twosome play as if they really had appetizing alternative to cozy been working their fictional 16 years together. domesticity and regular sex. Hines is far superior in this comic role than in his What really happens between the recent dramatic appearances in White Nights and Cotton Club, and Crystal gives a glimpse of a two lovers is not clear. Why Debbie serious side to his character as well as his never­ fends off the passes of her boss at a fail comic voices and gags. Christmas party, declaring her undy­ The plot, concerning the pursuit of a drug ing love for Danny ("I want to have pushing, aspiring Hispanic godfather, is neither remarkable nor bad, but serves the purpose of ten children with this guy! Doesn't it Two yogurt makers, two sushi kits, two . . . after a few weeks of moving along the relationship between Hines show?'') and then very willingly de­ dating, Danny (Rob Lowe) and Debbie (Demi Moore) move in. and Crystal, and between the partners and their clares it all over after a New Year's boss, two rookie undercover cops, and the tiff is a mystery. We are not brought to women in their lives. There are some tense mo­ a tense, purse-lipped Danny bears It, ments that come with the usual police-fare; and this turning point realizing that any­ Elliott Keener, and 11-year old new­ a hair-raising car chase on a train tracks, but the thing that dramatic, good or bad, has nearly blows the ceiling off a commu­ comer Jerome "Red" Reddick. The humor and the actors' thinking-on-their-feet de­ been going on. In a movie dense with ter train when he finds out Danny Maple Leaf Bar played the role of a livery make Running Scared stand apart from the dialogue, we are never clued in to any called the new chick twice in one club called the Red Rooster, and New usual cop yarns. We know more about Tony's closeness between the two, but rather week. "Never call a broad more than Orleans musicians Deacon John, feelings for his ex-wife just from some brief scenes and comments than we know about Dan­ are shown music video-esque sex once a week!" he implores. Mean­ Richard Payne, Alonzo Stewart and ny and Debbie in About Last Night, a movie scenes - couple romping around while, Joan advises Debbie after Dan­ Lillian Boutte teamed up with Brow­ supposedly devoted to one relationship. town cut with couple romping around ny hasn't called for three days - "If nie McGhee, Pinetop Perkins and Running Scared is a successful combination bedroom- to equally unmemorable, they don't call for one day they're Sugar Blue for a performance scene. of two fine, funny actors and a good, tight script, a movie that paves its own path to a sequel. lukewarm love songs. busy, two days it's an oversight, three Audience extras were musical as well A Turman-Fosler Company Production; di­ Based on a play by David Mamet, days, they're sleeping with someone and included Charmaine Neville, J. rected by Peter Hyams; produced by David Fos­ Sexual Perversity in Chicago, Tim else- it's over." Not knowing how Monque'D and J.D. Hill. Angel ter and Lawrence Turman; story by Gary DeVore; Kazurinsky's and Denise DeClue's to behave, when to call, whether or Heart is now in post-production in screenplay by Gary DeVore and Jimmy Huston; not to stay overnight and all the music by Rod Temperton; starring Gregory screenplay is only mildly witty at Paris, but will likely not be at a theatre Hines, Billy Crystal. Belle Promenade, Chalmet­ best. The couple's best friends pro­ associated social fumblings are hand­ near you till 1987. te, Downtown Joy , Eastlake 8, Lakeside Cine­ vide the best chat and tension. Both led nicely, and are just about as in­ ~annon Film, the company that ma, Oakwood. ~'Cc'Cc Bernie (Jim Belushi) and Joan (Eli­ teresting as they are in real life. produced Nighthunter in New Orleans zabeth Perkins) hate each other and It seems the best stories about lov­ in May-June, shot part of another pic­ LEGAL EAGLES is a forgettable their friend's partners equally. The ers are those that occur without a ture, Undercover, in Slidell in July. A but entertaining film whose strengths are found in its occasionally witty repartee, and a fine boorish Bernie, is just the guy you magnifying glass held up to that 50- low budget picture ($1 . 5 mill), the comedic performance by Robert Redford as don't want to meet in a bar or any­ cent J 980s word "relationship." Car­ movie is about an undercover nar­ Tom Logan, assistant district attorney. Its weak­ where. The cheap sex junkie grows toonist Lynda Barry, pondering the cotics detective posing as a high nesses lie in its wretched excess: excepting the tiresome with his tall tales of sex­ origins of romantic· love, illustrates school student. Ironically, the high star headliners, you may wonder where the $33 ploitations, most of which he reports what might have happened in the Gar­ school where they filmed was recently million budget went-partly to not one, not two, ~ut three fires that send New York buildings up loudly in public places. Although den of Eden: the scene of a bust similar to the one tn smoke and the movie's credibility down in bitchy and unforgiving, Joan shines as Eve: Adam, what's a relationship? dramatized in the movie. Cannon will flames. Add to that a dense, convoluted plot the most reasonable of the four, and Adam: You gor me, why? be bringing another picture, Shy Peo­ about art fraud that leaves one cold, rather than the most loyal. She complains to De­ Eve: Serpent says if we ear this ple, to the Lafayette area in the fall. caring, about the outcome of the kooky Chelsea (Daryl Hannah), performance artist. liar, and bbie about standing her up in the early apple, we'll starr having them. ~ David Moorman's Per­ daughter of a late great painter whose works are days of her new romance with Danny, And movies like About Last Night. spectives. a new company in the being camouflaged and stolen by disreputable

14 Wavelength • AUGUST art dealers. Logan and his partner in the making, David Zucker, Jerry Zucker; produced by Laura Kelly (Debra Winger), are defending the Michael Peyser; written by Date Launer; execu­ suspected Chelsea. tive producers, Richard Wagner, Joana Lancas­ Legal Eagles is best in its smaller moments, ter, Walter Yetnikoff; director of photography, such as Redford and Winger simultaneously de­ Jan DeBopt; edited by Arthur Schmidt; starring a~ng w1th msomnia . she by eating, he by tap Danny DeVito, Bette Midler, Judge Reinhold , danc~ng m the bathroom, or Redford's scenes Helen Stater, Anita Morris, Bill Pullman, Art with his teenaged daughter (Jennie Dundas). Evans, William G. Schilling. Aurora, Belle Pro­ But when he strolls around a burning gallery as menade, Eastlake Cinema 8, Lakeside casually as an art patron on a Sunday afternoon, Theatre. -cc-cc-ctV2 rt is tust the icing on the cake of many unbeliev­ able twists in the life of this otherwise ordinary ROOM WITH A VIEW. assistant district attorney. Winger is fine as the Much Ado About Nothing .would be a more raspy voiced , ambitious lawyer, but com­ appropriate title for this dry, Victorian comedy of parisons of the duo to Tracy-Hepburn, or Nick manners. There is nothing wrong with the acting and Nora Charles of the Thin Man series is at best or photography, nothing amiss in the perfect wishful thinking. This uneven script works · beauty of Helena Bonham Carter as Lucy Hon­ aga~nst whatever charms or sparks they do have eychurch. It is pretty, yes , but the story is pain­ working in their favor. Directed by Ghostbust­ fully dull. Who needs two hours of pretty when ers' Ivan Reitman , Legal Eagles is over tong and one could be taking a nap? over the top. " lf'onty she lived as passionately as she play­ Produced and directed by Ivan Reitman; ed (the piano) ," remarked the observant Rever­ screenplay by Jim Cash & Jack Epps, Jr.; story end Beebe (Simon Callow) of Lucy. Is she really by Ivan Reitman , Jim Cash & Jack Epps, Jr.; so passionate, though? executive producers . Joe Medjuck, Michael C. Just as these people covered their bodies Gross; director of photography, Laszlo Kovacs , under layers and layers of clothing , even the A.S.C.; edited by Sheldon Kahn, Pam Herring , young heroine's passions seem as buried as her William Gordean; Music by Elmer Bernstein; Bette Midler stars as Barbara Stone, a spoiled heiress who is so older, cultivated companions. Lucy is no Sybilla starring Robert Redford, Debra Winger, Daryl Melvin, the heroine of My Brilliant Career, whose Hannah, Brian Dennehy, Terence Stamp, Jennie obnoxious her kidnappers are tempted to pay her husband to take her piss and vinegar spirit set against the proper Dundas. -cc :c 'h back. customs of a similar family created a lively story and interest in her character. Lucy, on the other RUTHLESS PEOPLE is a hand, spends years covering a kiss a young brilliant comedy that never sags, d~ags or loses most movies about "real" people, these the foreground. Bette Midter, who starred in tourist stole one summer holiday. I haven 't been its momentum from its first ruthless moments to characters have no conscience whatsoever, no both pictures, was just a boring, pathetic rich so bored by a movie since The Bostonians, an­ Hs last. Danny De Vito is Sam Stone, the "Span­ good to balance their evil natures. They are wife in Down and Out. She plays a much more other Merchant/Ivory spectacular of repressed dex Mini Skirt King," who is trying to add to his totally slimy throughout, whi<;h is the heart of sympathetic character in Ruthless People de­ passions. fashion fortune by killing his despised, wealthy why this picture works. spite being a loud, obnoxious witch. Merchant/Ivory Production; directed by wife Barbara (Bette Midler) . His efforts are Ruthless People succeeds as a commentary It is touching to see Barbara Stone's violent James Ivory; produced by lsmael Merchant; aided, he thinks, by ruthless people-in-training of L.A. lifestyles in the way Down and Out In temper subside when she hears those three little associate producers Paul Bradly, Peter Maran­ Ken and Sandy Kessler (Judge Reinhold and Beverly Hills attempted to, but failed. Down and words a woman like her craves most-"you've gon; Screenplay by Ruth Prawer Thabrala based Helen Slater), a young couple with abeef against Out used the tired, Beverly Hills cliches of the lost weight." on the novel by E.M. Forster; director of photog­ Stone who kidnap and threaten to kill his wife. indulgences and fads of the nouveau riche, their . Directed by Jim Abrahams, David Zucker and raphy: Tony Pierce-Roberts; music by Richard Add Anita Morris as Carol, Stone's ruthless mis­ maladjusted children and silly self-help com­ Jerry Zucker of Airplane tame, Ruthless People Robbins; starring Maggie Smith, Helena tress, who has her own plans for Sam·s money, pulsions as its major vehicle. Ruthless People delivers the highlight of the current summer Bonham Carter, Denholur Elliott, Julian Sands, and her dimwitted boyfriend (Bill Pullman) who uses a similar lifestyle as a background, and a comedies. Daniel Day Lewis, Simon Callow, Judi De­ is as stupid as the others are ruthless. Unlike much more interesting story and characters in Touchstone Films; directed by Jim Abrahams, nch. -ct-ct

• 0 • 0 • 0 • •o~~~~r,s~o 0 •0 • 0 • 0 • 0 • ALL YOUR FAVORITE MOVIES! Cuisine Francaise FREE MEMBERSHIP • GREAT SELECTION • ENTERTAINMENT, Light and Casual. FOR THE ENTIRE FAMILY • LOADS OF NEW SELECTIONS Open 7 Days a Week EVERY MONTH Lunch and Dinner • WEEKLY SPECIALS! Brunch on Weekends OPEN 7 DAYS 1 0-9 Mon-Sat Noon-6 Sun The French Experience at a Moderate Price. "La Guinguette de la Nouvelle Orleans."

312 7 Esplanade Avenue New Orleans, LA 70119 3129 Gentilly Blvd. 3627 S. Carrollton Ave. (504 )945~5635 282-3322 482-6431

AUGUST • Wavele1119111 15 classic tune "Big Chief." He in­ cluded it in all his sets by popular demand. Jolly actually was a "Big Chief." When four guys first got The first real meeting between "Big together in 1974 at the Pauo Bar to form a new tribe, Jolly. whose birth Chief Jolly" and "Big Chief" Professor name is George Landry, became ib longhair was a meal to remember. Big Chief. Before that he had run as Second Chief of both the White STEVE ARNlBRUSTER Eagles and the Black Eagles, Trail Chief of the Black Eagles, and Second orporate executives, U.S. Sena­ culled from the Brothers' backup Chief of the Wild Magnolias. As these tors, and other such mover-and­ band. Finally, it was time for Uncle two men got to be good buddies they shaker types have recently Jolly. The Wild Tchoupitoulas was often traded Indian stories. Cstarted a trend towards business the headline act, even though Jolly Indian tradition goes back a long breakfasts. The theory proclaims this was the only real tribe member way in New Orleans. Neither Fess nor meal ideal for getting you off to an present. Economics prevented anyone Jolly could remember when blacks organized, running start. Your mind else from making the trip. He came had not masked as Indians and para­ is supposed to be duly freshened by a out to sing a set of Indian songs, sup­ ded through the streets of the city. good night's rest and undisturbed by ported by his nephews. All were de­ Maybe it goes back to a time when details that will pile up during the day. cked in full Mardi Gras regalia, be­ real Indians had harbored runaway I was once present at a monumental aded satin and plumes. slaves deep in the swamps. There encounter over a breakfast table. It is a Their street music was irresistible. were lots of stories; fearsome and fortunate memory that I shall always The lucky ticketholders all exchanged funky names like "Golden Blades, " cherish. Understand. right from Jump their seats for their feets, responding "Creole Wild West," " Apache Street that this did not happen in New instantly to the beat. They went ber­ Hunters," the "Wild Squatoolas," Orleans. None of the principles would serk. They second-lined all over the and many more. Every neighborhood have been up at that time of the morn­ place. I was a seal.") First, however, we had had its own tribe or two. They were ing in their hometown. It happened in It was a great day for the home to find something to eat. not always fond of each other. Fess Santa Cruz, California, in September team. Uncle Jolly was a star. In fact, The place we found had lots of win­ recalled how it was like gang warfare. 1977. It was the first real meeting he was the real reason for the tour. dows and was very bright. I remember The tribes would go out to do battle. between "Big Chief Jolly" and "Big The Nevi lies were brand new; nobody that. The other customers looked Every Indian had knives, guns, and Chief" Professor Longhair. It was, as had as yet heard of them. Fess was ultra-healthy, young and tall and tan "tommyhawks" hidden up his they say, the start of a beautiful great but still not as widely known as and lovely. We sat as far away from sleeves, his boots, tucked in any­ friendship. he should have been. Also, it was them as possible. Fess and Jolly were where that would hide them. If two Both men had just flown in to play expensive to mount a tour with so both feeling frisky, acting like Heckle gangs met in the streets, especially if music. The had rendezvoused with many people. The bookings actually and Jeckle. They were checking each one was from uptown and the other Jolly's nephews: Art, Aaron, Cyril, came off the strength of the album other out. Even though they were from downtown, boom. If guys came and Charles-the Neville Brothers­ entitled The Wild Tchoupitoulas. It almost the same age, both played across another tribe after they got sep­ who had endured a three-days-and­ was a neighborhood collaboration. piano, both had been in New Orleans arated from their gang, they were in sleepless-nights roadcrossing in a Released by Island Records, it had most of their lives, their paths had trouble. They would have to bow crowded Winnebago "Allegro" and become an underground sensation on never really crossed until now. Where down on the ground before the other were back at the motel sleeping. They the West Coast. did you live, who did you know, what tribe; that's called "making hoom­ had accepted an offer to highlight the The big chief breakfast took place were your favorite dance steps, rib bah." If they refused they would get 20th Annual Monterey Jazz FestivaL two mornings later. I had no real busi­ joints; they covered basic stuff like beaten and cut. It was billed as " Mardi Gras in Mon­ ness being there, so this left me free that. There were Jots of questions. Songs like "Meet Me Boys on the terey." Seventy-five hundred tickets and available for any meal. I believe They were like two hip kids who had Battlefront" tell true stories. The Bat­ had been sold out for three weeks in the group's managers were afraid just transferred to a new school, com­ tlefield was a specific place back there advance of the show. Queen Ida and Fess might get neglected in the shuf­ paring notes. There was a lot of kidd­ near today's train station. 'Fess got to Gatemouth Brown started Qff the fle and invited me to be a companion ing. They each had a wonderful talking about it. "Every year a dozen afternoon with their respective to him during the ten or so days they laugh. Indians or so would go to Charity groups. A slightly nervous Neville would be in the area. My job was to The menu wasn't important. We Hospital all cut up. Every year. I Brothers Band, making their first big keep women from running up to Fess were in California. so there were no mean the same thing would happen. road appearance, held down the mid­ and sloppy-kissing him (he was afraid grits. I seem to recall we had big om­ We wouldn't cross Felicity !Street! dle slot. They had only been together they would bite him by mistake), to go elettes decorated with tufts of parsley lessn we were invited. Finally the four short months but were already with him to the Steinhardt Aquarium and slices of orange. It all seemed doctors refused to treat any more In­ New Orleans' premier performing in Golden Gate Park, and also to show quite fancy at the time. When we left dians. 'They're too crazy.· they said. group. Professor Longhair came next, him and Jolly some surfers. (Jolly de­ we were no longer hungry. 'We're just wasting our time.' So the with an impromptu rhythm section cided he' 'wouldn't mind doing that if Fess is the man who recorded the police stepped in around 1940 and be-

GUITAR SALE Ovation • Robin • Martin Sigma • Stinger • Takamine Mako • Tokai "~;;;;::;~AR" 1828 VETERANS BOULEVARD Four Free Picks! Bring This Ad. c---s ~:J- S. CARROLLTON & MAPLE Daily 2-8 CLINIC SCHEDULE $1 Draft Beer in frozen 12 oz. Mugs, $1.50 HiBalls Sunday All Day/AU Night Sound Reinforcement AKA I $1.00 Draft in 12 oz. mugs, $1.50 Bloody Marys (Your P.A. System) Performance Clinic Clinician - Tony Moscal Alternate Sundays, Music by John Rankin Synthesizers & Samplers Mad Monday from SLM Electronics Synthesist- Tim Tobias Madigan's T-Shirt Night. $1.00 Draft, $1.00 HiBalls Tuesday, Aug. 5, 7:00 PM Tuesday, Aug. 26, 7:00 PM $1.50 Juice Drinks for anyone wearing a Madigan's T-Shirt Wednesday Please Call 834-3088 for Reservations Ladies Night 9-12

16 Wavelengtla • AUGUST ------~- -~------gan arrcstmg anybody in an Indian 1 as lagniappe with one of their albums. suit they see " About all I can remember is this: ''As "Too much bullshit," Jolly l Stinky Finger said to Nappy Chin/If I agreed . I you keep on bettin', you're bound to After that the tnbes got together win.'' I would really like to remember and decided to regulate themselves. some more. They made the chief of each tribe I recall this much only by chance. I re~pons1ble for any violence com­ thumbed through a book recently that mitted by his tribe. Then the rivalry I had kept up on my shelf for a long was channeled into cc·:npctition over time. Inside it r found a blue funeral costume and song. Talk at the table pamphlet. George "Big Chief Jolly" then swung to the suits. In those days Landry, deceased: August 9, 1980. suits were made out of anything avail­ "A beautiful human being; a re­ able. "Guys would decorate buck­ spected musician; an extraordinary skins with turkey feathers.and strings Big Chief. We loved him deeply." ofbottlecaps," Fess recalled. "Those Six years ago this month he d1ed. guys were really artistic," Jolly r shall see him daily for the months would agree. of August and January. All year I have A week later in San Francisco they been using the Tiptina 14-month were visited by Mac Rebennack, calendar 1980-1981 . The cycle is a.k.a. Dr John. Mac remembered completed; the days line up correctly one chief who was really impressive. for 1986. Flipping to August, I notice "His headdress was eight feet tall and a picture of Jolly. He looks ultra-clean had coconut shells across the top, all in his spotless, three-piece white suit painted up. Stuffed alligators were with shoes, shirt, hat, and tie to cmwling up each arm. And at the very match. He is leaning against some­ top of his crown was a real panther's one's Puch motorscooter. By some head." 9 psychic design this picture was placed · "Hey Jolly," Fess called, "I got a , ...... •I' ,.,.... , ... almost squarely on the day he was to black cat by my house. You want me ... die. It was this coincidence that to save him for you?" 16 ~ caused me to dredge up all these Today's Indian suits are elaborate, .,":';'f•· r memories. Later in the calendar there r.t .. l'f, :-to~ I f1• expensive, and beautiful productions...... ~.... ~~- f is another classic photo: "Uncle Jolly Countless hours go into sewing tiny 2) I at the 88's, Aaron Neville (on Capt. beads into grand designs and complex Beefheart's drums)." I was there; it pictures. Literally thousands of dol­ . ~· was a performance worth remember­ lars might be spent on gorgeously col­ ing. It also helps give me an apprecia­ ored ostrich plumes and satin cloth. tion for a fine compliment paid Uncle Those were the kinds of suits Jolly Jolly by his nephew Aaron. Very sim­ was making. The man could really ply, and with the deepest respect and ~w. love, he commented, "He was a ratty I heard him questioning 'Fess much Remembering Jolly. dude." later. in the way of a reminder, "Hey Gone but not forgotten. Each time 'Fess! When you gonna bring me my the Neville Brothers Band performs, cat'>" He chuckled. recorded doing his Indian songs; but He always did Qfle song about a pool they cry out his name from the stage. It reminded me of a line that Jolly no record exists of Jolly playing his game hustle between some funky They always include a few Indian would sing: "I take the feathers from "secular" tunes. He used to sit down Br'er Bear characters. It was called songs in their repertoire. He was such the eagle, drink panther's blood." at the piano and just tickle out some of "Shave 'Em Dry." Whenever he'd an inspiration and joy to know that it Understand that when people put on the finest blues, ballads. and fables finish a verse about a monkey or must seem like he has never left. They their suits for Mardi Gras, they are you could imagine. Not breathtaking something hitting a three-rail bank sing the Indian songs as if still trying serious. Eagles and panthers best be­ in their change~. like 'Fess ·s stuff; but shot into the comer pocket to win big to please him. I think it is a necessary ware . full of humor. good timing, and soul­ bucks Jolly would be repeating the part of turning on their creative juices. While we were still sitting at that ful expression. At first he would just refrain, "Yeah, I'm gonna shave 'em That is why they loudly invoke "Big breakfast table, 'Fess looked up show up places and play on random dry.'' Verse after verse would follow, Chief Jolly,'' why they sing about his casually and said, "I like you, Jolly. occasions. He would wander by Tipi­ each one funnier than the next. I wish "golden crown." It is more than just You sing the old songs." tina's a lot when the piano was some­ that someone, perhaps one of his habit. They call out to him like a Both those guys are gone now. It's times in the front and just sit down. nephews, might have a tape of that guardian angel. It puts a real value on harder to hear those old songs. True, Gradually, he got requests to do song they could make into a record. their music and breathes life into ev­ 'Fess has a few albums and Jolly is scheduled appearances as a soloist. Perhaps the Nevilles could include it e_ry set. e

The Avenue a!Jts Best ~ From llAM .. . Delicious Dally ' -. - '\, Lunch Specials

Friday Seafood Bolt $1 Domestic Beer 4PM 'til -Looking for New and Sunday Champagne Brunch Fresh Talent lOAM· 2PM

Top 40, Rhythm & Blues, Duets, Singles, Exotic Dancers and Concert Performers ... call 522-3265

AUGUST • Wavelength 17 Nl & BLUES

to understand. Like the Dew Drop, was to last fifteen years. The name of Washin~on On His Own most clubs had a house band and tour­ the band would change and the per­ ing "stars" would usually have one sonnel would come and go, but Wash­ musician accompanying them, be it ington was to remain as Adams' main Known as Johnny Adams' band leader, guitarist or keyboard player, who man. knew the star's material and would Though Washington would always guitar player "Wolfman" Washington is have to teach each house band at each be on call for any gigs Adams would stepping into the spotlight this month. stop. Washington finally talked ~et, he was also drawn to having his Dorsey into going back to New own regular gig somewhere, some­ .JASON PATTERSON Orleans so he could get a road band times with a different band. He had - together. been getting a reputation for provid­ he air is smoky at midnight in enough where I could play three The stay was short, however. After ing strong, solid backup for a singer, Dorothy's Medallion on this changes, blues stuff." a couple of weeks of rehearsals, it was but all the while was developing his Saturday night. Between the Adams had known Washington back to the road. With "Ride Your own identity as a showman to be reck­ Tlow ceiling and the hundred or so lit since his days of singing with the Pony" taking off on the national oned with .• cigarettes, the neon Budweiser sign many early morning gospel groups charts, the band would go out for six­ B.B. King saw this and hired him projects like a beacon on a foggy that would frequent Washington's month periods, then have a week or as his opening act in the mid­ shoreline. The go-go dancer pokes her house on the weekend. Walter's god­ two back home before the next tour. Seventies. It was B.B who would be head out from between the rubber bars father would invite them all over .for After two years of this, Washington the greatest influence on the Walter of her cage and hits up the guy next to . dinner, which would always be fol­ called it quits .. Washington guitar style. "Me and her for a light. Tonight like every Sat­ lowed by hours of singing spirituals. Upon returning to the Dew Drop, him used to sit in the dressing room urday night, she has had to compete Adams had an apartment at the Washington ~as approached by Irma and just exchange ideas. When I told with the latest neighborhood gossip Dew Drop and was able to get Wash­ Thomas. " She was trying to get a · him I idolized him, that just did it to for the attention of the patrons. Except ington a place beside his in exchange band started and she wanted me to him. He just started showing me dif­ for the handful of white faces in the for playing in the house band. For the lead it, but I wasn't going to be the ferent little tricks and stuff. He said crowd, Dorothy's clientele lives with­ next few years, Washington was to band leader. I said 'Well, I don't mind it's not important how much you play in walking distance of the place. play behind and learn from the many being the guitar player and singing, as how you play it, you know. That's As the hands of the clock push us R&B greats that passed through that but I wasn't going to be no band lead­ a nice dude. l didn' t realize he was into the a.m., the anticipation builds club: Guitar Slim, B.B. King, Ike and er.' And when she got that band that nice. '' as the band sets up its equipment in a Tina Turner, Ray Charles, Earl Hind, together it was called the Tornadoes Record producer Senator Jones saw space the size of a walk-in closet. The Smiley Lewis and Little Willie )ohn and aawwoo, that was a tight band." it in Washington and used it in his own white kids have made the excursion to name a few. Washington had a talent for putting unique way, producing and pressing crosstown to Orleans A venue to hear Then Lee Dorsey did an engage­ tight bands together. After the Tor­ his first album, Leader ofth e Pack. " I the sounds that have been emanating ment at the Dew Drop and was taken nadoes broke up·, he got a band had never done an album before. He from this club for years, the sounds of by Washington's playing. "When together for a regular gig in Thi­ wanted to do sort of a demo album just Walter "Wolfman" Washington. Lee came through there, Lee was bodeaux only to have Joe Tex talk to have my name out there to see what Waiting for the late band member is looking for someone to record his tune them into going on the road with him. it could do. But then it had a big build­ all part of the foreplay involved in the 'Ride Your Pony' with because he Of course Washington wouldn' t go. up and everything and then the album · experieflce. As the music finally pro­ was recorded and with all that taken jects over the roar of the crowd care of, he really didn't do nothing through amplifiers that look like they else with it. Nothing, nothing, noth­ were used in World War II , you know ing and that just made me disgusted. this is the real thing. This is the blues. He paid me $150 and that was it. Though it has now come to an end, Nothing else.'' Washingon's seven-year stint at Lately, however, things have been Dorothy's has proven him a showman looking up for Washington's career as in his own right. As bandleader be­ a performer. Rounder Records' Scott hind many rhythm and blues stars Billington has seen the potential in over the last twenty years, he has per­ Walter since they first worked formed in much larger venues but not together on Johnny Adams' One on his own terms. " Dorothy took me From the Heart album. "About a into her family," Walter reflects as he month or two after Johnny's record sips his Crown-and-Coke at the Snug came out, we were playmg this gig in Harbor, where he holds down a reg­ Port Allen. Scott came over there and ular Monday night gig, "and I've al­ was looking at the gig and we took a ways tried to be fair with her. If I had break. He asked me 'did I want to another gig that paid more dust, I'd record.' I said yeah but I ain't got no call her at least a week ahead of time material. He said ' well how long and tell her ' look, I've got somewhere would it take you to get you some else to go,' and that's the way I'd material,' and I said well, it shouldn't work it with her." As the music finally take that long. So when I posed Tim­ But the Dorothy's gig had gone on projects over the roar of the crowd through amplifiers that look like mie [rhythm and blues singer too long for too little money. Wash­ they were used in World War II, you know this is the real Timothea] thing. This is the blues. about it, Timmie told me ington felt the need for a change. It she'd help me get it together. So we wasn't the first time he had turned sat down and started writing." away from security in the hopes of Timothea had just started singing bettering his music career. didn't have a band and the guitar play­ Then Johnny Adams approached with the show at this time and had not Many years earlier, when he told er he was normally using was out of him to put a band together that could done much composing herself, but his mother that he was leaving high town, so I told him I'd play it 'cause it do his material. More than any other when the two of them came together, school to play the guitar, she showed was nothing but a solo and a couple of person, Adams knew that Washington a songwriting team emerged. In a him the door. With guitar and suitcase changes so it really wasn't a difficult could understand his kind of sound. short time they had produced enough in hand, he headed for the now legen­ tune, you know. So I played it and it "At that time, Johnny didn't know material for an album. dary Dew Drop Inn. While eating a was about two months later he came iR how to explain to these cats the kind of The record, to be released this plate of beans and rice that had cost and asked me if I wanted to go on the music that he waotedand i?Y both of us month, is titled Wolftracks, a fitting him his last 75¢ Johnny Adams spot­ road.'' having damn near the same back­ serm for a man on the road to greater ted him. "Hey man, what you doing Washington had no idea what "on ground, I knew that he likes a spiritual recognition. Like other Rounder out here with your bag and a guitar?'' the road" really meant when he sort of feeling. '' So Washington artists, he has paid more than his share "I told him 'My momma put me out, agreed to do it. A couple of weeks formed the AFB ("All Fools Band of dues in smoky clubs in the wee Johnny, I'm looking for a job.' I did maybe? After four months straight 'cause everbody in·it was a fool") and hours of the n~t. Now the wolf is on know a little about playing guitar, without coming bac~ ~orne, he began began a professional relationship that the .pro"\Wl...... ,..aueusr FINAII.Y, A GREAT TO GREAI MUSIC!

Southlake offers you the winning combination of the finest equiprnent and the most professional staff, everything you need to proouce the sound that sells - from start to finish! But what we are most proud of is - David Farrell, our engineer, a man behind years of Grammy winning music. So when you're ready to make your music great, give us a call first.

• MCI JH-600 32 INPUT CONSOLE • STUDER 24-TRACK RECORDER • DIGITAL AND ANALOG MIXDOWN • LEXICON DIGITAL REVERBS • EVENTIDE 949 HAR­ MONIZER • UREI AND ADR LIMITERS AND COMPRESSORS

Call Cindy Johnson for availability-and rate information. (504) _833--79~6 ~ R E C 0 R D N G S T U 0 I' 0 S NEW ORLEANS, LOUISIANA .·· fl'P1::'i!iJeo qj)f;,5~ 3 2 2 9 8 T H., M E T A I R I E, L 0 U I S I A N A 7 0 0 0 2 SUES

with Dave Bartholomew's band - Consumer Guide to Reissues " Let the Four Winds Blow" and ROY BRO""N " Party Doll"/'Tm Stickin' with Volume 1: Roy Brown Good Rocking Tonight You." The latter two are interesting Route 66 Kix-6* for the interplay of bassist Frank bbbbl Fields and drummer extraordinaire Charlie Williams in a faintly rockabll­ Hard Luck Blues ly style, but surely the voice that laun­ King GD-5036X ched a thousand wails had better RICK COLENlAN ~bbl things to do than cover aspiring teen I Feel That Young Man's idols. Brown could have sung most of his column should clear up 1948 with his "Good Rockin' Rhythm his Imperial material here with his some of your confusion when it ing waili1,g blues voices in history. If Route 66 Kix-26)* mouth closed. comes to laying down your you've heard Jackie Wilson, you've ~bbl The latest Swedish release, I Feel hard-earnedT ten bucks for one of the heard the closest of Brown's many Boogie at Midnight That Young Man 's Rhythm, is a innumerable New Orleans R&B col­ imitators. Charly CRB 1093* fascinating look at Brown's rare early lections- mostly foreign imports­ Between his last hit in 1957 and his bbb6 recordings - only three songs are that have appeared in the last few death in 1981 Roy Brown was almost from after 1949! It includes both sides years. completely forgotten in this country, Laughing But Crying of his mysterious first 78; the original Many of these albums are available though, thanks largely to a Swedish Route 66 Kix-2* A-sides of " Good Rockin'," Lolly­ at import and oldie-carrying stores record company, Brown was beginn­ bbl pop Mama," and " Miss Fanny like Record Ron's, Metronome, ing to enjoy a revival shortly before he Saturday Nile Brown" (all three of which were Sound Warehouse, passed. The company, Acorn, and Gold­ Mr. R&B/ Mr. R&B R&B 104* " borrowed" by rival shouter Wyno­ mine record stores. If you live outside Route 66, has issued four superbly nie Harris for hits); "Rockin' at Mid­ of New Orleans, two of the best mail­ packaged reissues, with rare photos, bJ night," recently a hit by the Hon­ order outfits are Down Home Music, great sound quality, session details, Good Rockin' Tonight eydrippers; and an amazing four-song 10341 San Pablo, Ave., El Cerrito, and voluminous liner notes. Intennedia QS-5027 live set with Lucky Millinder's band California 94530; and Roundup Rec­ Tonight,'' the song that also put the in New Orleans which shows just how ords, P.O. Box 154, N. word "rock" at the top of the 6 staggering Brown's vaunted pipes Cambridge, R&B *imports Massachusetts 02140. (Last free plug vocabulary. You will not hear the must have been in person. in this column, guys.) The albums are "New Orleans sound" as such on ""Hard Luck Blues," the title song rated one to five saxophones, the best Brown's records. What you will hear of the King budget-priced two-lp set given five saxophones, under the is definitive jump blues, from aching Crying, actually made the Swedish (Made in the U.S.A.!), is probably assumption that only the best New blues ballads to raucous boogie, most charts when released in 1977. It is a the song (with "Good Rock in' ")that Orleans records have five saxes. with Brown's crack New Orleans fine cross-section of Brown's lesser­ everyone interested in blues and early Starting with Roy Brown is starting band led by trumpeter Teddy Riley known songs, but is most notable for rock 'n' roll should own. It is the kind at the beginning. Brown put New and all with perhaps the most astound- "Hurry Hurry Baby," an all-out voc­ of performance, slowly rising from a Orleans on the map, R&B wise, in The first of these, Laughing But al attack by Brown, which, like "Sat­ bang to a BIG BANG, that would urday Nite," closely resembles Little have made Caruso take note. It was Richard's world-cracking howls. The number one on the R&B charts in thing is, "Hurry Hurry Baby" pre­ 1950 and seems to have inspired a dates "Tutti Frutti" by three years. Mickey Mouse imitatiqn in 1956 - Good Rocking Tonight is all prime Elvis Presley's "Heartbreak Hotel." Roy Brown from 1947 to 1954, with The lntermedia LP is a rip-off live his earliest hits, including the legen­ set recorded (apparently) in California dary title song. Powerhouse ballads shortly before Brown's death with an and wickedly funny rockers - one abominable band. It is only of interest can almost hear the bobbysoxers to show that Brown's voice still had scream as Brown, then a handsome · that power. lady-killer with a string of Cadillacs, The recent rediscovery of Roy bewails: Brown is more than the discovery of I'm not handsome or romantic, the roots ofR&B and rock ' n' roll. It 1 don't have wavy hair. is, like the concurrent renaissance of Won't you girls please have mercy? Louis Jordan, the uncovering of a pil­ The way you treat me ain't fair! lar of American music. Or, as Brown ©Fort Knox, BMJ put it more succinctly in 1949: Saturday Nite, Mr. R&B's first "Good Rockin'," that's my name, posthumous release, has both of They'd better put my rock in the hall of Brown's 1957 pop hits on Imperial fame! e

Escape to a Caribbean Isle · LABOR DAY * ISLA MUJERES * Mexico-$61 4dl3ni "Delux" El Presidente ROLFING Hypnosis *AMBERGRIS CAYE * Hypnotherapy Belize· $132 ,,.... 4d'3ni beachfront, ale rooms ...... ~~ • COZUMEL * Mexico ED HACKERSON, M.A. $63 standard/$1 08 deluxe Certified Roljer 443ni full day boat snorkeling; Wlth lunch • ROATAN GUANAJA • BY APPOINTMENT Bay Islands ONLY FANTASIA TRAVEUUSA TRAVEL 866-3814 899·TOUR

20 Wavelength • AUGUST " ~INDIES l\t The Summer of '86 . More than groovy, more than awesome or radical, it's the best summer since the Ramones blew out our speakers almost ten years ago. .IANlES LIEN

ummer is once again upon us in Martin Bisi (at one time in Bill Laswell's Materi­ full brute force, leaving little al), and record in the same place, the notorious alternative for those of us in this Before Christ Studios. After only one listening, the message becomes clear; these are intense Ssouthern clime other than staying in­ people who make some intense music to brood doors and listening to records or may­ to . Cloud One puts you in the dentist's chair, be our favorite progressive radio sta­ grating your teeth with drill-like grinding guitar tion. Of course the record people and moaned, obscure vocals . The album feaches its rousing conclusion in "The Loved John Chlmples know this, and have glutted the mar­ One," a vague bit of a melody about driving a Live Skull. ket and bombarded the airwaves with stake into the heart of your beloved. Live Skull a staggering amount of new releases, mean serious business. Put on your best black All in all, in spite of its shortcomings, King's Dead Milkmen, " another one of those hardcore Among the more important coming clothes and brood away. March is an excellent album, but because of the novelty bands that keep cropping up from good- ~ lack of a clear label or origins, it may take a bit of our way this August are a compilation ness knows where. The Afflicted, fortunately, effort to track down a copy. Try your favorite are not nearly as dopey as the Milkmen, and they album put out bv the Atlanta-oased record store, and happy hunting. King's March do have a few things going for them; they're a 688 record label featuring, among is worth the extra effort. little more serious musically. with more edge on others, the Fleshtones and, more im­ the guitars, and no stupid monologues, and they · C portantly, at least one cut by New ~ng 's March do have better names. The best is lead singer Ill No label Dan Rancid's, along with Daryl Bach (no rela- Orleans' own Dash Rip Rock: On the First of all, it's not the Euro-techno dance King tion) on drums, and Frankie Lennon (also no Ill\ airwaves, in between hearing such you've heard of. What it actually is remains a relation) on bass and vocals . Guitarist Michael rJ summer mainstays as Run DMC's little obscure. As far as one can tell, King is (or The Afflicted Voss doesn't have a funny name, but he can Z version o("Walk this Way" and the rather appears to be) a somewhat loose col­ Good News About Mental Health grapple with the basic chords to a crazy drunken laboration of multi-talented, multi-dimensional Infrasonic ILP01 cover-of Led Zeppelin's "Rock and Roll"-one - new albums by the Smiths and musicians assembled in (of all places) "Young and white and tired of the disco/ of the album's high points. Other gems include I­ R.B.M. (both expected to play here Shreveport by the album's producer Toulmin Shave your head and come to San Francisco." "Schizoid Baby," "living on Beer" (which de­ this fall), you might hear some of Bro~n , Jr. The record itself is an enigma; it These are the opening words that lead off "Sum­ generates into a ridiculous parody of " You Real- Z these records as well: bears no name of a record label or place of mer of Love," the first song on Good News ly Got Me" halfway through) , " Dope Dreams," origin. The cover has no outward title except for About Mental Health, a demented look into the· and "Here Come the Cops" (sort of a suite one 0 the word "King" underneath a pencil drawing of wacky, wonderful world of the Afflicted. This would assume) . Most of the record, although a rather hideous and alien looking figure of ap­ unusual group receive the crown (they'll prob­ it's funny, doesn't make a whole lot of sense. U parent royalty. The only other hint is a message ably want to give it back, too) as "This year's Songs like "Sold Us To the Martians," "Jone- Live SkuU scrawled in the upper right corner recommend­ Cloud One ing " High Treble, High Volume. " Inside is a Homestead Records HMS56 typed page listing song titles and (often cryptic) For some serious sonic eating that sounds a musician credits (" 7UP" plays solo sax on one lot like Lydia Lunch, Live Skull offer organic cut). This scant information is all that can be music that often comes close to being freeform gleaned from the album's cover; the rest must Sam Leandro's expression, but never degenerates into mere come from the music itself. thrashing and wailing. Another in the recently On first listening, this enigmatic record could New Orleans' & resurgent gloom-and-black-clothing-self­ be the King Crimson album that never was . The abuse-one-of-these-days-1 ' m-going-to-hack­ ambience is there in the production, in the sound Louisiana you-into-tiny-pieces school of musical expres­ of the drums and the quality of the vocals. Only a sion, Live Skull are moving forward into new, marginal cover of David Bowie's " Fashion" re­ 1987 Calendar uncharted territory. Unlike their earlier efforts, veals that this in 1986, and not 1974. Though they are taming their sound, shaping it more, the musicianship may not always shine in driving it more, with less aural gore and mental originality and technical skill as the early Crim­ torture than on previous releases. Slightly less son, the songs here are well-crafted and well­ 350 Birthdays and over sonic than Sonic Youth, they mix melancholy, produced progressive rock with much of the dark, obsessive music with wonderful lyrics same jau and classical influences of early 125 photos of both such as "You know I'm coming to tear your face Seventies progressive rock. The good part is legendary and contempo­ off." Although not as eclectic or experimental as that King have managed to slough off much of the Youth (apparently these guys tune their the arty pretentiousness associated with Sevent­ rary Louisiana musicians guitars the way the rest of us do), live Skull are ies progressive bands such as Yes and Emer­ -jazz, cajun, Dixieland, still strong on the same points, namely combin­ son, Lake and Palmer. Only occasionally does ing eerie dissonance and dark imagery to pro­ their grip weaken, and allow them to lapse into zydeco, blues, rock & duce spooky mood music to mold the mind. such triteness as medieval imagery and such, roll, R&B, country, and Also the two bands share the same producer, and even then it's tastefully done. pop. PLUS hit records, music history, and scenes from the New Orleans Jazz & Heritage Festival.

To Order by Mail: $8.95 Postpaid to WAVELENGTH P.O. Box 15667 New Orleans, LA 70175

For Quantity Order or Wholesale Inquiries con­ tact The Distributors 702 S. Michigan South Bend, Indiana 46618

AUGUST • Wavelengtl1 21 The Feeties CONTINUED FROM 21 Tht Good Eanh Coyote TC8673 sin for your Love,' and "Punk for the FBI" (My Chiming in with their first real record (the1r leather jacket was a government issue I used to f1rst was apparently a weird kind of movie thrash for J. Edgar Hoover) are humorous in soundtrack) the Feelies turn in a fresh, upbeat their sheer idiocy and pointlessness. The whole set of those Sixties mfluenced American folk­ , mess is made even more confusmg by their pop melodies that are so prevalent today . closing the album w1th a fa1rly straightforward Hearkening back to their roots in the Beatles, (!?!) cover of ··sweet Jane," a song that was Byrds, CCR, and the lighter work of the Velvet . written when these guys were probably in diap­ Underground (the names that seem to appear ers "You were born in the Summer of Love/ again and again whenever one talks about music Mommy iind Daddy took too many drugs" Ran­ these days), the twin guitar/songwntmg duo of cid sings.lhe children of the Sixties are now the Glenn Mercer and Bill Million m1ngle well-crafted parents of the Eighties , and their kids are the vintage guitar hooks with literate, personal im­ Afflicted. agery to create an innovative breed of )angling two-guitar pop in the style of the Windbreakers, Love Tractor, Let's Active, Dumptruck, RE.M etc. The Feelies have a freshness and warmth that exceeds many other bands m the genre (a pretty hefty feat 1n a movement noted for its Hindu Love Gods sincenty and unpretentiousness). This feelmg is Gnnno Hart a Good Timt Toni~ht best displayed in the vocals; one singer (there's /1.11 Varrator · no way to tell who's Mercer and who's Million) IRS 52867 croons in a straightforward slightly-off-but-l'm­ If you're in one of the most successful, criti­ trying-as-hard-as-1-can Meat Puppets style, cally acclaimed bands in new mus1c today, mak­ while the other conjures up images of Lou Reed Ing lots of money and friends from records and in his more sincere moments. live concert appearances, winning all kinds of The secret of this record lies in 1ts ambience­ awards and such, what do you do on your day it has a rough, homemade, almost unfinished off? Well , 1f you're one of the guys m R.E.M. feel to it that captures 1ts simplicity and honesty Selected Items and (yeah, you remember them), you form a band perfectly (co-produced by the transcendental called the Hindu Love Gods, and put out a record hands of the god-like Peter Buck) in a time when Demonstrator Sale just for the fun of it. Athenian music de1ties Peter even guitar-sincerity bands like Let's Active are Buck, Mike Mills, and Bill Berry have of course going for slicker production with more polished ·lne ...... 1999 . done just that, teaming up with their apparent sounds. Meanwhile, the Feelies come across as E-MU SP-12 Drum M~c h ...... 1699. buddy Warren Zevon on keyboards and slightly­ dedicated people operating simple machinery to Linn Drum with Midi Upgrade. · · · · · · · · · · · · · · · · · : . less-than-stellar longtime Athens chum Bryan capture simple ideas that they really believe in. 1272 Cook filling in for J. Michael Stipe on vocals. The result is a warmth and ambience that is Ensoniq Mirage Keyboard · · · · · · · · · · · · · · · · · · · · 1047 This is all for fun, and unfortunately, this 45 similar in tone to the Velvet Underground's self­ Ensoniq Mirage Module ...... 350. single shows it. The music is unexceptional, titled third LP. Standouts on the Fee lies album consisting of a cover of the class1c "We're Gon­ are the Velvetish "Siippmg (Into Somethmg)" a JBL 4612-B pA Cabinets . · · · : · · · · · · · · · · · · · ...... 1399 . na Have a Good Time Tonight," and a particular­ jam taking simple chords and building them to * Oberheim Dmx Drum M?chme ...... 2099. ly lame R.E .M. throwaway " Narrator" as the feverish heights, and the album's high point B-side . Cultists, afficianados, and collectors "Tomorrow Today," possibly one of the best * Simmons SDS-7 Electronic Drums ...... 1899. take note, otherw1se 1t's not terribly crucial or psychedelic songs of recent years, complete Roland Super Jupiter & Programmer...... 1376. even memorable. The two tracks were recorded with cello and a fuzzy twelve-string Rickenback­ and produced by John Keane at the h1therto er guitar straight out of the Byrds' songbook. Roland MKS 20 .. · · · · · · · · · · · · · · · · · · ' ...... 999 unheard of John Keane Studios in Athens. which The remainder of the songs are upbeat mood 5-Piece Drum Set· · · · · · · · · · · · · · · · · · · · · · · :1099: should send hordes of hopeful, young, up-and­ pieces featuring Simple acoustiCielectnc gu1tar * Tama commg R.E. M. clones flocking to his doors hop­ hooks and clear vocals . The feeling is so close, * Sonor 5-Piece Drum set· · · · · · · · · · · · · · · · · · · · · · · 799 ing to catch some of their glint and glory. But so intimate, one almost begms to feel awkward, * Roland SDE 3000 Digit? I Delay ...... :1699: hey, they just did 11 for fun, and that's all it 1s; 1f as if one has been invited mto the1r livmg room to you were them, you'd do it took right? (Trivia watch them practice. The Feehes are a band that * Studiomaster 16/4/2 Mixer··· ···· ·· ······ ····· · 1599. Note: In ancient bygone t1mes, Hindu Love Gods couldn't be more aptly named; on The Good 40-4 with case · · · · · · · · · · · · · · · · · · · · · · · · .7 .. was originally a name used by R.E.M. for Earth, they offer not JUS I songs, but moods as * Tascam 99 surprisersneak attack appearances at small well, ones that are well worth investigating and * Roland SRV 2000 Reverb· · · · · · · · · · · · · · · · · · · ·so~lc off. clubs in the Athens areas as 1f you didn't know.) stepping ins1de. - ;:;:~~:;1 Paiste and Sabian Cymbals·: · · · · · · · · · · · · · · · o 474 ~=: Electro Voice S1503 PA Cabinet. · ·' · · · · · · · · · · · · ·499' * Roland MKS 10 Piano Module · · · · · · · · · · · · · · · · · · 599· ~::}::~,: * Roland MSQ 700 Se~~encer ...... :: .720·. Crown MT 600 Amphf!~r · · · · · · · · · · · · · · · · · · · · · · .. 956. Crown MT 1200 Amplifl.er · · · · · · · · · · · · · · · · · · · · · .1099. Tascam 246 PortaStud1o . · · · · · · · · · · · · · · · · · · · · ·. . 339. Alesis Midiverb · · · · · · · · · · · ·: · · · · · · · · · · · · · · · · · 227 :·:· Tascam 2X2D Noise Reduct1on . · · · · · · · · · · · · · · · · · 347· ·:·: 360 Systems Midi Bass w/4 Sounds · · · · · · · · · · · · · · · m· ::: -Rick Coleman Fostex 450 8X4 Mixer · · · · · · · · · · · · · · · · · · · · · · · · · · · · ::: JBL Perkins PA Cabinet w/ 399. ·:: Serious Clowoin' Thelonious Monster The History Of Huey Piano Smith & The Clowns Baby .. . You're Bummmg My Ute Out in a Su­ JBL E140 Speakers . · · · · · · · · · · · · · · · · · · · · · · · · · · · 'Rhino RNLP 70222 preme Fashion This is the first American reissue of the best of Epitaph Records Stock Items only No Special Orders, one of New Orleans most talented (and crazed) Fanfuckingtastic! Seven psychotic musicians sound *Single !tems only. Sol F'nol1 ~II warronly on all soles. pianists. The latter adjective may be the key attacking the listener with a big four guitar No Romcheeks, All es • word , as Rhino is the home of Dr. Demento and that comes on like a freight train. Their music is the album's liner notes are frivolous to the point an ear-pleasing mixture of power psychedelia, of libel. I guess it's hard to take serious a man psychotic blues and ,azz. This IS a Los Angeles CHECK OUT THE TIMES-PICAYUNE whose biggest hit had the chorus "gooba gooba septet a; .d shows it. Hille Slovak of What Is This ClASSIFIEDS FOR OUR WEEKLy SPECIALS gooba gooba!" but Smith should be recognized fame helps out on guitar and with production as a master of good t1me rock 'n' roll, the author chores. James White is there to lend a hand by of " Rockin' Pneumonia," " High Blood Pres­ saxophone and the lead singer used to be a •·*• j~3;W sure," " Don 't You Just Know It," " Roberta ," roadie with the Red Hot Chili Peppers. r-:7: ~ and " Sea Cruise," the last two of wh1ch were The band wastes no lime as they dive right m • AMERICAH I [ EXPRESs . sung by Frankie Ford over a backing track by the on side one with " Psychofuckingdelic." The Clowns and are happily included here There is, song comes off just as the title suggests, a WARRANTY 4417 Bienville Ave. however, no excuse for the mclusion of J1mmy powerful sojourn through screaming blues and Clanton's teen ballad "Just a Dream" and Joe & psychedelic interludes. The title is also a pun on SALES-SERVICE 488-2673 488-2674 Ann's " Gee Baby," which should have been the lyrical theme of the song, a sexually centered BEN CHARGE replaced by Ford's " Alimony" and Bobby Mar­ relationship that has turned sour. The second New Orleans, LA 70119 chan's "Ch1ckee Wah Wah ," both written by cut, "Yes Yes No," is just as musically powerful Smith. The sound quality on some tracks is but lyrically void . The song is one long chorus of depressing, with Junior Gordon's " Blow Wind " Yes yes , yes, yes no .. . , " not very inspirinQ.

22 Wt~Vel••.... • AUGUST As a nice change of pace there is the folk rockish rather than accepting the songwriter's word as "Positive Train" wherein Mr. v·· ite de­ gospel. Outstanding cuts include " I'm Awake monstrates his prowess with a sax. 1he song When I Should Be Asleep" a five-minute journey concerns itself with the direction in which the through funkdom that would put Prince to general populace should be headed , but may not shame; " For the ParameciUm" a tongue-in­ be. cheek look at animal's rights; and " Do You D1d I mention jazz? Well "Umon Street" is a Dream in Color (or Black and White)?" one of m1dtempo jazzy romp through the perils of the the best nee-psychedelic songs to come out of local drug sellers' wares, a local version of the south which cries: Electric Avenue . The band even snows that they They have an unreasonable can do comedy, by concocting something enti­ rationality tled "Happy #12 and#35, " an all-in-good-fun They're insane from too much -~HARPMAGICUS-- poke at the legendary Bob Dylan . sanity Overall this is an impressive br~ath of fresh air They're too careful to live. in a mus1c scene dominated by neo-psychedelia The federal government should declare the and funk freaks. Living Links an endangered species, allow them -Brian Wayson to make music unhindered by mundane exist­ ence and do all of us an enormous favor. -Brian Wayson Chuck Berry Rock 'n' Roll Ranties Chess CH2-92521 Pat Boone Chuck Berry is the greatest rock ·n· roll writeF Jivin' Pat of all t1me. And 1f you've forgotten what rock 'n' Bear Family BFX 15230 (German import) roll1s exactly. drop this magaz~ne now and run It can be argued that without Pat Boone rock out and buy Berry's The Great Twenty-Eight for a 'n' roll would have had a much rougher start­ delimlive refresher A few years ago MCA Rec­ his awful whitewash versions of " A1n 'I It a ords bought the Chess catalogue and began an Shame," " Tutti Frutti. " and "Long Tall Sally" aggress1ve campa1gn of re1ssues to stem the paved the way to the pop charts for Fats Domino flood of Chess imports, recently even getting a and Little Richard . Boone also recorded other court order to prevent some dealers from selling New Orleans classics-the only pop hit of them . The Great Twenty-Eight skimmed the "Good Rockin ' Tonight," "Honey Hush ," biggest hits from the now-deleted (except in "Blueberry Hill, .. and (I kid you not) "The Fat France) three Golden Decade two-LP. many of Man ... Most of these are ~ncluded here. Ju­ them available elsewhere. Many of Berry's finest diciously edited , this album could have been early performances that show the blues and Daniel Boone's Mtlksop Heir's Pre-History of boogie roots of his music haven't been reissued Rock 'n' Roll-{;ontnved cover versions of Louis -"No Money Down ," "Con fe ss~n' the Blues." Jordan, Roy Brown, Tennessee Erme Ford "Down the Road Ap1ece," "Jo Jo Gunne," ("Shotgun Boog1e"), Joe Turner. Fats Domino, "Don't You Lie to Me ,.. " Let It Rock, .. "Down­ Bill Haley, the Dntters, the Charms, and Little bound Tra~n, " and Berry·s last classic rocker, Richard . Jivin ' Pat is surpns~ngly listenable­ ··oear Dad ... Apparently by the eight less tracks betterthan 90% of Elvis' movie songs, say. Even on this LP, MCA is showing that they don't want if Boone had no soul. he was backed by some buyers to see too many l1tles on the jacket they good musicians and he at least had taste. If he aren't familiar with, but Berry's legacy is poorer had concentrated on tack ·n· roll, who knows? CBS RECORDS for 11. He might've been another R1cky Nelson -Rick Coleman - Rick Coleman

The Smiths The Queen is Dead The Dream Syndicate - Also from Andreas Vollenweider Warner Bros. 25426 Out of the Grey Th1s 1s the th1rd Umted States release from Big Time Records 1·10022 Morrissey and the boys. As I sit here and listen The third effort from the Dream Syndicate to this album, I ask myself if this is not the finds them stepping away from the nee­ second half of their 1984 release Meat Is Mur­ psychedelic scene they helped to found. The1r der? Musically there doesn't seem to be any music seems to be entering a guitar hero phase fresh blood 1n the orchestralions, and lyrically centering around Steve Wynn , characterized by Morrissey IS still whining about his self-misfitted Wynn's guitar virtuosity. Paul B. Cutler (the LP's society. producer and late of 45 Grave) stokes the guitar • Behind the Gardens . • • The Iitie cut, "The Queen IS Dead ," is an fires, and a solid rhythm section comprised of up·beat groover that relies on heavy rhythm Dennis Duck and Mark Walton keeps punching chord-chunks w1th hints of psychedelic back­ out the beat. Just as the music is centered wash . Morrissey describes BntaJn as a futile around the guitar, the lyrics are a product of • Caverna Magica country with the same dejeCtion as the Sex Pis­ Steve Wynn's v1ew of life and the people who live tols "God Save the Queen." This album runs it. through pretty much the same subjects as Meat The music on 1ts own would make the album Is Murder " A boy w1th a throne 1n his side" worthwhile and a joy to behold, but Wynn's • White Winds should have been " How Soon Is Now - Part writing ability allows him to take the listener to 2 .. the depths of despair ("You Can't Forget," As a whole, th1s album is enjoyable to listen "Dancing Blind") and when it seems too late to to. Most of these songs are well-produced and tum back he picks you up and returns your hope they groove. I just hope that the next album will (" Dying Embers"). The album is consistently have a few surprises in store. good , so much so that it is difficult to separate the superior from the above average. "Out of the -Selley Smith Grey' · is the perfect title track, a wonderful blend of thought-provoking lyrics and guitar virtuos­ ity. Cutler and Wynn take a good-time drinking song as their cue to lay down some awesome Living Links guitar solo tracks in "50 in a 25 Zone." The Gather in the Forces music takes a back seat in " Now I Ride Alone" Scratch Records wherein Wynne demonstrates his ability to So close to home and yet so far away. Living evoke emotion from his listeners: Links is a wife and husband team operating out Well there ain't no dark angel hangm round my of Baton Rouge , Lows1ana . This is their debut door LP. as their previous works were only available There am't no weepin willow that I've never seen on cassette or two seven-Jnch efforts. What a before shame because if those recordings approach Man , there's1ust one thing left that I never seem this one we are all missing out. Margie Vanbarc­ to take kle wntes Iynes that cut to society's bone. Mar­ It's the knocks on my door all night long that I gie and Hans write well-crafted music that can 't escape ranges from funky gloom rock to quirky B-52ish The Dream Syndicate has realized that 1!'s dance tunes to southern psychedelia . The duo's okay to step away from your roots as long as you accomplished musicianship IS more than com­ are going on to b1gger and better things . Here's plemented by their harmomes. to the band's continued progression and suc­ PLEASANT AT MAGAZINE • NEW ORLEANS • 504/897-5015 A third of the songs on this album are about cess e the military, but they ask you to think for yourself - Brian Wayson

AUGUST • Wavelength 23 What the heck is Latin music? Who plays it? Why do they play it? Where can I get some? Latin music

-that is, L~tin American-oriented music

-:- is alive and dancing right here in th.e Gateway to Latin America, New Orleans. In a myriad of styles, salsa, samba , rhumba, and Latin-jazz to name a few, it's played by musicians from Brazil, Mexico, Cuba, Central America, and the States. In an attempt to describe the diversity of sounds included under this umbrella of "Latin music," here are a handful of interviews with some of the New Orleans musicians who play it.

exican pianist Jorge Mabarak came to the States for a gig with an avant-garde band at the World's Fair in St. Louis. He stayed a while- and trained as a paramedic, "just for the fun of it," working the streets while continuing to play music. He toured the Midwest and Northeast with various bands for several years, and moved to New Orleans totally by accident: on a trip to Florida with his wife, Karla, he s topped here for something to eat, heard jazz guitarist Steve Masakowski and saxophonist B.ick Margitsa at the Sheraton Hotel, sat in, and has stayed for three years now. (Some people are seduced by Mardi Gras, and others by the music.) Whether broodingly serious or telling a joke, Mabarak's face is always animated, his expressions made dramatic by dark eyebrows and curly hair speckled with gray. An articulate and rapid speaker, his eyes flash as if he has a lot on his mind. Short and by Mark Kaufman energetic, he seems to feel confined at the Hotel Crowne Plaza solo gig with which he supports his photos by rico family. (Which now includes three month-old I Aisha). Although he has a drum machine to keep him "company," he really shines when playing with a

24 Wavelength • AUGUST .~ .. , group. The collective jam allows him to create '\1 • harmonic tension and play off the layers of rhythm that make Latin music so vital. His first gig was a three-year stint in a "solora," that is, a salsa band, in a Guadalejera whorehouse back in Mexico. He's still excited by salsa; in con­ trast with Ruben Gonzalez. Mabarak feels it includes more contemporary jazz influences. At the same time, it incorporates the syncopation and polyrhythms which are characteristic of Latin music. Mabarak thinks very little of merengue. "Merengue is like a Latin polka. Chunta-chunta, chunta-chunta. To play merengue, if you know three chords, you're overqualified. It's even danced like a polka." Like the egg-white pastry that shares its name, for him, this music is a hollow shell. Nevertheless, in New Orleans' clubs like Isabella's or El Rincon de Ia Guardia Vieja in Gretna and the Latin Quarter in Metairie, the bands play a lot of merengue a well as salsa in order to cater to the local Central American dancing public. Like other Latin musicians here, Mabarak is a fond traditionalist: "I have a soft spot for corny Mexican boleros, [ballads]." He's also working on an even more traditional project: a CRS Studio album combining jazz synthesizer and pre­ Colombian (Mayan/Aztec) music on indigenous acoustic instruments. Meanwhile, Mabarak will continue to jam here, soaking up influences like Sergio Mendez, Chick Corea, and New Orleans' David Torkanowsky, and putting out his own flashy blend of Latin jazz. At his next Snug Harbor gig, watch out for his synthesizer "whistles" during percussion solos, and quotes of "La Cucaracha"; the man plays with a sense of lot of people have heard of Mark humor. Sanders - the New York­ accented gringo who knows enough about Cuban percussion to teach it to South American musicians. He's the same guy who for the last six years has hosted a WWOZ radio show featur­ ing Latin-jazz and traditional/contemporary Cuban . music. Balding early, his face framed by dark side­ bums, beard and moustache, he often seems to brood behind his glasses. But when he smiles at a gtg, you know the band is cooking within the Latin tradition. and he similarly puts aside his customary gruffness when given a chance to talk about the mustc. He first got into performing when Santana's first album came out, and started playing Latm music in New Orleans in 1973 with a quartet and. later, Ruben Gonzalez' band. But his strong introduction to Latin music was from his father, a percussionist who spent a lot of time in the forties and fifties in Cuba. His father also makes West African-style in­ struments. In contrast with modem congas. which are tuned by adjusting the lugs along the rim of the skin, these are only tuned by heating the drum to change its shape. He also makes ''the best shekeres in the ~tales,'' large gourds covered with a net of beads. While Mark uses these at hi.and gigs, his father plays primarily folkloric, "non-secular" Latin music - such as that played at Afro-Cuban santerias, religious ceremonies performed by Cuban descendants of the enslaved Yoruba (a West African tribe). There are groups of these people in most razilian guitarist/vocalist Mauro sessions in his predominantly black neighborhood. major United States cities, including New Orleans, Saldanha grew up in Porto He also listened to "baiao," the European/Native and Sanders joins them out in Kenner when "certain Alegre, Brazil, a small city near American music of northern Brazil. spirits" are to be consecrated. the Argentinian . He looks much younger than Having moved to New Orleans two years ago, Sanders visited Cuba when he was a child, but his 35 years: tall and slim, he walks with a cat-like Saldanha was excited to notice the similarities be­ more importantly, he grew up in a house where Latin grace and confidence, and keeps his dark hair just tween baiao and and Cajun music: both use accor­ and Caribbean music was always played. His mother long enough to hint at a 'tail' at the back. His eyes are dian, triangle, and syncopated bass drums to drive performed with an Afro-Cuban, Afro-Haitian dance startlingly clear, and he often looks off into space for the dancing crowds. Mauro, who has only been company, and the group's drummers would hang out a moment before speaking, as if weighing a difficult playing professionally for five years now, empha­ at his house. In this way, Sanders learned the folklor­ translation. sizes traditional elements in his performances. ic tradition of drumming from the masters-a style He came to the States for a "day gig," a transfer Brazilian music is much simpler and less im­ he proudly differentiates from the uninformed play­ to the State-side advertising department of a big provisatory than the jazz-flavored music he plays ing of a drummer who is only (modem) band­ corporation: no less than the Coca-Cola Company. here with Sounds of Brazil - and he concedes that oriented. He does not, however, driiW a distinction With two degrees in business, music was secondary, the band has been criticized by the New Orleans' between traps ("drum set" drums) and, say, congas. until he got turned onto jazz in San Francisco and Brazilian community for this discrepancy-but his To Mark, they're all drums, regardless of the tech­ started taking his guitar more seriously. Despite his Portuguese vocals and strong, percussive rhythm nique or attitude used in playing them. lack of formal training, he was raised with the sam­ guitar give the band an added authenticity and a According to Sanders, Cuba is to Latin music ba, the "urban African" and Carnival music of genuine verve that gets people dancing, even the what New Orleans is to jazz: the place of roots. But Brazil, and even as a kid joined in percussion jam "serious listeners" at Snug Harbor. Cuba also influenced North American music, in-

AUGUST • Wt~Yelea .... 25 .. eluding jazz, R&B (note the distinctive sound of Bo Diddley and the "Spanish guitar" strumming), and even the second line shuffle, to which Sanders was turned on by drummers Johnny Vidacovich and James Black. The "shave and a hair cut, two bits" accent is exactly like the 3-and-2· beat pattern that pulses through Cuban music. This pattern, and its 2-and-3 beat inversion ("two bits, shave and a hair cut") are known as the clave, and are played by striking together two wooden blocks; the blocks themselves are also known as " the clave." The 2-and-3 clave is used for the rhumba, the Cuban black street music (as distinctive as the Brazilian black street music of samba with which Mauro Sal­ daha grew up). Sanders points out that drums are very spiritual, and very physical; to stay in shape for them he lifts weights daily at the Superdome YMCA. And while the ''talking drum'' refers to the Yoruba ''dun-dun'' pressure drum (which actually phonetically pro­ duces the syllable of the Yoruban language), it's a misnomer: all drums talk; just listen. Having returned from a gig with pianist Ahmad Jamal in New York, Sanders can be heard with his own band, Caliente, Sounds of Brazil, Banda Fiebre, and almost any Latin-jazz combo in the city.

o article about Latin music m New Orleans would be complete without something about " Mr. Salsa," Ruben Gonzalez. Although he's now a little overweight and puffy-eyed, recovering from five coronary_bypasses, he's been something of an in­ stitut.ion. Back in 1945, he sang in · Sacasa, one of first three Afro-Cuban bands in New York City;-his only predecessors were the world-famous groups of Miguelito Valdez and Machito, with whom he be­ came great friends. Sacasa's credits include several appearances with Desi Amaz on the I Love Lucy Show. They played in Miami during the fifties, and 1957 Gonzalez quit the band to perform in Las Vegas with The Havana Mardi Gras, a revue of production numbers. Gonzalez recorded exclusively with RCA Victor for eighteen years, putting out 50 or 60 albums, and appeared on The Tonight Show. In 1961, he came to New Orleans, where he per­ formed in Bourbon Street clubs - the now extinct Boom-Boom Room and Offshore Lounge, and Chris Owens' club. Later he co-invested in his own club, The Mocombo on Claiborne, "a high class place ­ everyone wore jackets," and The Granada Club. The most current " Ruben Gonzalez and His Salsa Band" was established eight years ago, and most local Latin musicians, particularly percussion and hom players, have played in it. " Salsa" is Spanish for sauce, implicitly hot sauce, because the music is spiced with a four-or five-piece hom section and jumping with three or four drummers. It used to be called "Afro-Cuban" music, and Gonzalez goes so far as to say, "Forget about 'salsa. ' " The only new thing about it, he insists, is the music's popularity and the name. Salsa is essentially the same stuff he's always sung: the fast guarachas, the slow boleros, and the medium­ tempo guanguancos and "Guantelamera" -type guajeras. aldanha's roommate, EduAlves, "American" music to make a living: jazz, rock, The last of these styles demands that the singer the leader of Sounds of Brazil, funk, even country, wearing an incongruous tuxedo improvise his lyrics - a sort of Cuban scatting - was born in San Paolo, Brazil. to his hotel gig. and this is Gonzalez's strong point. Although he He , but a car accident incapacitated With his own band, he hopes to let people hear wrote some improvised lyrics for his well-known him for a year. One night, a bandleader without a authentic Brazilian music, a music that has pro­ friend Tito Rodriguez, few singers, he contends, bass player knew Edu played guitar and asked him to gressed since golden oldies like Jobim's "Girl From care to compete. His band also plays some meren­ fill in, and he's played electric bass for eight years lpanema" and other bossa novas. Some listeners gue, Central American dance music. After all, ''you now. He seems quite the laid-back Brazilian: tall and think Edu still plays primarily bossa nova bass lines, play one (song) for yourself, ten for the people." broad-shouldered, his rat-tail reaching to the middle and though the bass player may be dissatisfied with Many older listeners and dancers ask him to play his of his back, he walks like a sleepy bear and talks with drummers who " don't know samba," drumming is classics, nostalgic for the days when they were first a thick, slurring Portuguese accent. not his strongest suit. Yet he sets a good groove for married. But he also keeps up with current Cuban In New Orleans, where he's lived for five years, the band, sings Portuguese with a suave flair, and music. Edu contends that there is little market for the tradi­ cites contemporary Brazilian influences, particular­ Since his operation in October, he's put the band tional music of Brazilian samb~ bars. Even in Brazil, ly Ivan Linns, Chico Buarque, and Dijavan. The last on hold. He sings at nightclubs occasionally with a "when you tum on the radio, you .think you're in of these singers has "changed the beat" of Brazilian band led by Peter Tomas, and works the night shift as [North] America.'' So he admits that he plays mostly music, and made it " more sophisticated." a New Orleans deputy sheriff.

26 Wavelength • AUGUST .,,

ulti-instrumental percussionist flavor is more pervasive in North American music elementary schools, high schools, and colleges, he Curtis Pierre is athletic­ several reasons: Spanish lyrics reach a larger audi­ holds seminars emphasizing the unity rather than the looking, articulate, and quietly ence than Portuguese lyrics;jazz absorbed the Cuban musical aspect of percussion: five, twelve, even 500 brimming respect for Latin, Brazilian, and elements as early as the thirties, while Brazilian people can cooperate to play good samba. e African music. While other musicians have special­ music didn't hit the scene until the sixties. Still, both ized, he seems well-schooled in each of these ethnic Brazilian and Afro-Cuban sambas originated from forms. He's also quite a showman on stage, rolling a the celebration of Carnival - just like second line, pandeiro (what we would call a tambourine) across which "speeded up to warp factor 5 is a samba." his chest and dancing as he plays. In Latin music, each percussionist forges a link in He's from New Orleans, but studied in Detroit a chain of rhythms built within the clave. "And with Skip Bundy, a Santiago (Cuba)-bom drummer there's no place to put an extra link." Two bon­ of the Yoruba religious tradition. From Bundy, he goceros (bongo players) is not "ethnical"- but two WHERE TO HEAR IT: learned that "all those Latin riffs are played in the or more tamboura players is fine, each on different­ spaces between the beats" of the two fundamental pitched drums such as the conga, the name many of Cafe Brasil, 21 00 Chartres, 94 7-9386. claves. He also studied Latin music with Bill Sum­ us misuse for all the long, conical tamboura. The samba jams. mers in Los Angeles, and Brazilian percussion with maracas; coconut-or gourd-shaped shakers, help to Snug Harbor, 626 Frenchmen, 949- his idol Airto Moreira, one of the world's finest regulate the speed and volume: "unless you're play­ 0696. Latin/Brazilian jazz occasionally. players. ing a solo, and you can't hear the maracas, you're Pierre appreciates the adaptability of Brazilian playing too loud." The casscitera or timbale player Tyler's, 5234 Magazine St., 891-4989. music: back in the hills of Bahia, the northeast region leads the band, holding down the time by playing on Latin jazz. of Brazil, cans, frying pans, and the like have been the sides of his snare-size drum, often playing the Rincon De La Vieja Guardia, 21 05 Han­ absorbed into the samba orchestra, but each of the clave in double-time, and building the collective cock St., Gretna, 367-6733. Latin big traditional instruments have a function. The ancient intensity. bands. Djembe drum from West Africa, for example, is Here in New Orleans, Pierre leads the Brazilian­ used as the repunique (repeating) drum for calls and oriented New Orleans Samba, plays with Percus­ Isabella's, Stumpf Blvd., Gretna, (di­ sustainment breaks - that is, this drummer keeps the sion, Inc., a drum corps covering African, Puerto rectly behind the Rincon De La Vieja beat going when the others are silent for a moment; Rican, Cuban and original material (mixing, for Guardia). Latin big bands. "the samba never stops." Other basic instruments example, vibraphones and African shekere), and the include the agogo, multi-pitched bells struck with a Kumbuka African Dance Collective. As far as he stick; the surdu bass drum, and the tamborin, a small knows, he is also one of only seven pandeiro drum, 5-8 inches in diameter. Before they were masters in the States, performing not only the in­ made with lugs to tighten the catskin heads, tambor­ tricate techniques of the jingled instrument but the ins were tuned by heating the skin with burning basketball!soccer-like acrobatics as well. He's also a tissue (like the drums of Mark Sanders' father). professional pen-and-ink artist, and depicts his Pierre contends that the latin and not the Brazilian encounters with the music an4 its history. At I

Lynn Hardy NEW" ORLEANS FOR -SALE We're living in the Golden Age ol reissue albums, and what the buyers want is New Orleans.

By VINCENT FUMAR

ften it is hindsight alone that Bounce. Clearly there was some hope, q.ut collectors be overlooked are anthologies of obscure B sides, designates a golden age of mus­ mostly clung to their pockmarked singles. singles appearing in LP form for the first time, di­ ic. Not the sway of nostalgia or The situation improved markedly once the Eu­ gitally re-mastered material and even reissues of the witless compartmentaliza­ ropean labels got into the act. United Artists' Eu­ reissues. tion of decades, but hindsight. ropean division unveiled the essential works of Fats .One native New Orleanian now in the thick of the So it is with a burgeoning num­ Domino and Smiley Lewis in a landmark series of reissue business is John Guarnieri. Once an employ­ ber of record consumers who albums. Soon thereafter, new labels such as Mr. ee of· Jim Russell's record shop, Guarnieri now now devote a substantial portion of their purchases to R&B and Route 66 compiled worthy issues on Bob­ works in Los Angeles for EMI, a company that has reissue albums, for we are living in a golden age of by Mitchell and Roy Brown. And bootleggers- no quite a few reissue plans of its own. reissues. strangers to New Orleans material - kept apace "Before I started working in records out here, I In a less reissue-blessed period--'-- the early 1970s with such items as a Smiley Lewis album offered in a always thought it would be nice if someday all the - New Orleans rhythm-and-blues collectors (and plain white jacket stamped ''PRESSED IN YUGO­ things on Imperial and Minit would resurface," collectors of any discarded style in a dark period) SLAVIA." Guarnieri said. "People were ~ways looking for were only infrequently offered the treasures of a Today, with all the talk of "roots music" (a con­ things like 'Trick Bag' by Earl King. One of the golden age. Atlantic's Blues Originals series yielded descending term that seeks to legitimize the present­ things I wanted to do was get an entire active catalog Professor Longhair's New Orleans Piano, Speeialty day derivatives of vaunted styles), the R&B col­ happening, and it's starting to come to fruition." tapped its Little Richard vaults .and United Artists' ' lector has a sea of material to choose from. Greatest­ Guarnieri found himself in the happy position of Legendary Masters: Series issued New .Orleans hits collections still dominate, of course, but not to being with a re_cord company that happened to own

28 WC1Yelet9h ~ AUGUST , the rights to much of the material he had sought to Russell helped compile. It'll be out sometime this job of compiling gems from the Imperial and Alad­ release. But the battle has been a long one. year. And I'm probably going to do an Aaron Neville din catalogs. Augustin thinks they're the best. "I've been here about a year," he said, "and I album from Minit. Also, two doo-wop sampler ''The whole series of Pathe Marconi is the best,'' knew that EMI owned the Imperial, Minit, Aladdin albums. One of the doo-wop albums is all New he said. "They started with Dave Bartholomew's and Sue catalogs. But those catalogs had been dor­ Orleans doo-wop from Imperial. We're going to Jump Children about two years ago, then they re­ mant for a long time. The last enthusiastic reissue release two volumes of 'Rare Dominoes' combined leased The Monkey But when Shrimp and Gumbo campaign was back in the Seventies, when United into one, and 'Fats Live in Europe.' " came out, so did the Tommy Ridgely and the double­ Artists owned the catalogs. EMI was around, but Uniform standards, especially of song selection, record set New Orleans Rarities which is a down­ Capitol didn't own UA at the time. There were about pressing quality, annotation and artwork, aren't al­ right hit. It has a lot of really obscure stuff on it, like four or five albums in UA 's Legendary Masters ways evident in the New Orleans reissues. Some the 17-year-old James Booker. It's just amazing­ series. They were well done- double albums with " premium vinyl" has been know to erode with the on one of the songs he sounds like the Violent lots of information. And that was it. Over the years, Femmes." EMI purchased UA and nobody had really been The flood of reissues isn't about to stop, so it's doing the catalog reissues in America. EMI England safe to say that even more catalogs will be tapped, has been pretty active in reissues, also in licensing to with the result of previously unobtainable material Charly and Demon." coming to light. Guarnieri said he will reinstitute the Legendary ''I just ordered Ace's New Orleans, Volume I,'' Masters series soon. he said. " It has Ernie K-Doe, Little Sonny and Big "It's not going to be a double-album set," he Bootleggers kept apace with such Boy Myles -apparently all things from Specialty said, " mostly because I don't think the marketplace from 1952-56. There's also a thing called 'Kissing can handle double-albums these days. They'll have items as a Smiley Lewis album Her and Crying for You' on Kent. It has a couple of 12-14 songs per album. They'll be full-priced. I've Willie Tee songs on it. There's also Charly, which gone back to the two-track analog masters and stamped "Pressed in Yugoslavia." did the Aaron Neville and the two Meters albums. started transferring to digital. Capitol is in the proc­ Sehorn's Soul Farm, Volume II will be out soon. ess of building their CD plant, so a lot of these things They're really hot, especially the British and French will be put out on CD." labels-really nice packaging and good pressings. '' But EMI won't stop there. Augustin said Metronome's best-selling reissue "We're going to do five label compilations," he is Allen Toussaint's Southern Nights. said. "There will be a Minit, an Imperial, a Sue, a "Since we opened the doors here," he said, Liberty and an Aladdin. They'll be sampler albums, "Southern Nights has sold as a cut-out and as a released quarterly. Between each quarter will be first tearing of shrink-wrap, some discographies rely )apanese import at $20 a pop. It sells practically compilation albums by different artists from those too much on broad guesswork, and occasionally the every day here now as a British reissued on Edsel. labels. I just did an Irma Thomas album from Im­ import-priced Japanese or European item is scarcely The first Spiders album on a Japanese reissue sells perial and Minit- with 'Breakaway' and 'Time Is worthy of being a domestic-label budget-line re­ well, too. We've sold more than 200 copies of New On My Side.' " lease. Orleans Rarities, and Aaron Neville's Make Me Bobby Marchan, Fats Domino, Earl King and Most reissues, however, are well-appointed. And Strong is a big seller." Benny Spellman are also due EMI releases. in New Orleans, the choices are getting wider. Augustin had comforting words for the reissue­ "Tad Jones helped me on the Earl King album," "Reissues are selling fabulously," according to minded. he said. "It will be the same as the French record that Jimmy Augustin of Metronome. "I can't keep them " New Orleans reissues are coming in hand over was released several years ago, but with two extra in stock, especially the Pathe Marcon is." fist," he said. " All I can say is I really don't know songs added. Then a Smiley Lewis album that Jim France's Pathe Marconi has done an exemplary when they're going to stop." e

ON TIME PRODUCTIONS is pleased to announce its entry into the music market with professional services that include management. representation. legal and technical support services targeted to the entire entertainment community. UNITED SOUND provides the entertainment industry with a superior source for equipment and personnel to faithfully support and reproduce the musica! E>xoerience. CAVEMAN CASES designs and manufactures protective enclosures customized to prevent damage to instruments and electronics regardless of size. 4440 Earhart Boulevard New Orleans, LA 70125 (504) 822-4440 tx.,: • ~ 1;•.•3! 1~ .... ! gq.wz.s'a !·';I r~;:·~~te."t~~:~f·~~· ·. !., ...•. r ,_ ... _. ~JJL _.),, Sunday, 10 " :.-~ __,, ·'rt~ .... ~August~ · SPORTS Deadline for proposal submission for the Festival of New Music program sponsored by the Contem­ ~ Regular Features Sunday, 3 Saturday, 2 porary Arts Center; forms and rules available at the CAC, 900 Camp, or call Lisa Levine at ~ Billy Ocean, at the UNO Lakefront Arena. World Class Wrestling, with whatever congeries 523-1216 for details. of Von Ericks are around at the moment, Bruiser Sundays Friday, 8 BrOdy, the Great Kabuki, the Missing Link, Friday, 15 . Gentleman Chris Adams Live Traditional Blue Grass Superfast with Maze and other groups; 7:30 , Ravishing Rick Rude, Jackson Brewery Reunion Gala, including Mondays p.m., Superdome . information at Lakefront Arena. fireworks at dusk and opening ceremonies for the Live Classical Brewery Millhouse (named after Richard Mill­ Music Thursday, 14-Saturday, 16 Saturday, 9 house Nixon? just kidding, folks) from 10 until Wednesdays Crosstown Jam, a city-wide Mid South Wrestling, with midnight. Info and tickets at 568-6980; the Mill· J. Monque'd Blues Band musical event; see listings everyone else you can think house itself opens officially at 10 a.m. on Sunday. for Jed's, Jimmy's, Tipi­ of-Diblase, Hacksaw Dug­ Thursdays Saturday, 16 Laissez-Faire Cajun Band tina's, Dream Palace, Snug gan, whoever else isn't in a Harbor and Maple Leaf. bOdy cast or on crutches A Teddy Bear Affair, at Audubon Zoo, with free Sponsored by the New at the moment; UNO Lakefront Arena; information admission for kids 5-12 who bring along their ~ This Month ~ Orleans Music and Entertain at 587-3663. own little cuddly dudleys, and prizes and games Fri 1 Nightimers (NOME). Saints v. Denver, in the Superdome, 8 p.m.; will as well, along with skits performed by Snuggle Sat 2 Fil~ Cajun Band Jim Mora make a difference? Ticket information and his creator, Kermit Love. Madame Zoo Zoo Tues 5 Regatta (Reggae­ Friday, 15 at 522-2600. will read the paws of Teddies and let everyone Progressive Jazz) Irma Thomas in a Rhythm on the River Concert, know what's going on on their Mounds of Venus Fri 8 W'!lter Washington and 6:30 p.m. Free. Saturday, 16 or whatever they call them. Information at The Road Masters Saint~ v. New England, Superdome, 7 p .m. 861-2537. Sat 9 Les Freres Michot (Cajun Saturday, 23 Ticket information as above. Band) Judas Priest, Biloxi Coast Coliseum. Tickets at all Wednesday, 27 Tues 12 The Youngbloods with Ticketmaster outlets. Saturday, 30 Rlverwalk Grand Opening, a preview party which Carsyn Tenant (R&B) Saints v. Kansas City, Superdome, 7 p.m. will benefit such worthy local organizations as the Fri 15 The Nightimers Sunday, 24 La. Nature & Science Center. the La. Children's Sat 16 TBA Smokey Robinson, Saenger Theatre. Museum, the New Orleans Aquarium, and the Tues 19 Bum's Rush Comedy CAC. Tickets are $75 a head; information at Show '- Wednesday, 27 522-1555. Fri 22 The Radiators Love Tractor, Jimmy's, 10 p.m. Thursday, 28-Monday, Sept.1 Sat 23 Dewey Balfa and Ses Amis Acadians Friday, 29-Sunday, 31 A Ave-Day Extravaganza again having to do with (tentative) the Riverwalk; riverboat parades (but alas no Labor Day WHkend Blues Bash, at Handy Park, Second Annual Brass Band Celebration in Arm­ races!), a parade downtown, movies on the river Fri 29 Watler Washington. and Memphis, TN. Information at 901-527:2583. The Road Masters strong Park , honoring Satchmo and the spirit of (?) and much more, all of II free, is promised. In­ Treme (St. Expedite? St. Junior? St. Veals?); 30 formation at 522-1555. Sat TBA free and the public is invited to bring family, 8316 Oak Street I i ti i ''l:j !/I friends, food and umbrellas. All performances are Friday, 29-Sunday, 31 866-9359 courtesy of Jean Lafitte National Historical Park, Final Round of the Outstanding Blues Amateur Friday, 1-Sunday, 3 New Orleans Folklife Socie- Talent of the Year contest in Memphis, sponsored ty, the New Orleans Jazz & [jl\ · . BuD Cluli Fair, 723 N.Bayou Drive, Golden by the Blues Foundation. In addition to cash and Heritage Foundation, and ~~ a record contract, winner will also receive the Meadow, La. WWOZ Radio, as well as the .<:O •• Bth Annual Mandeville Seafood Festival, Fontain­ B.B. King-Lucille Award. Winner will also be city of New Orleans. Perfor- featured in the 7th Annual National Blues Awards bleau State Park, with the Radiators, Irma mances are each Sunday in Thomas, etc. Tickets at the gate. Show on November 16 in Memphis to be hosted August. Sun.3: the Olympia Jr. Brass Band from by Mr. King and Stevie Ray Vaughn . For rules La Fete du Bons Amls , ~ 3 until 5; the Allstar Brass Band from 5 until 7. and information call 901 -527-2583. Kraemer, La. Information )J Sun.10: the Rebirth Brass Band from 3 until 5; from Father Malachy Me- ~ the Pinstripes Brass Band from 5 until?. Sun.17: Cool at 504-633-9431 . ~ the Majestic Brass Band from 3 until 5; the Doc louisiana Shakespeare .~ Paulin arass Band from 5 until 7. Sun.24: the Festival, at the Civic Cen- Dirty Dozen Brass Band from 3 until 5; the Olym­ I! '':4 :Wl!;\lf] C3 ter in Lake Charles, La. Information at pia Brass Band from 5 until 7. Sun.31: the Young 318-491-2431. Tuxedo Brass Band from 3 until 5; the Chosen Tangipahoa Black Festival, Hammond, La. Infor­ .... FRENCH Few Brass Band from 5 until 7. In conjunction QUARTER mation from George Perkins at 504-345-9134. with the above, there will be on Sun.Sept. 7, a Brass Band Competition for ''all upcomers' · from Friday, 8-Sunday, 10 4 until 8 p.m. at the Armstrong Statue, to be Artist Cafe, 608 lberville, 523-9358. Captain Soutll Lafourche S•food Festival, S. Lafourche broadcast live on WWOZ. Tam, heavy metal, most nights. H.S., La. Hwy 308, Galliano, La. Bayard's Jazz Alley, 701 Bourbon, 524-9200. La. Nature Center Jazz Unlimited every night. from 8. Wednesday, 13-Sunday, 17 Blue Room, in the Fairmont Hotel, 529-7111 . 11000 Lake Forest Blvd., 246-5672. Fri.l : TGIF Dtllc:lmbre Shrimp Dancing, dining, chic and eclat. Through Festival, Delacambre, La. In­ Summer Fun, special Friday morning programs formation from Jacqueline Toups at for kids. From 9 a.m.: Is There Gold In Your Gar­ Tues.12: the bluesey ~ 318-685-2653. hochsopran of Maria bage Can? ($4 members/$5 nonmembers). Muldaur. Wed.13 through Friday, 15, Sunday, 16, Saturday, 23, Sat.2 : a talk at 1 p.m. on Moon Rocks; 2 p.m. Tues.26: Johnny Otis and film, To Fly; Honey Island Star Gaze, a field trip Saturday, 30 & Sunday, 31 his big, big rock-n-roll for deep space gazing ($4/$2). Fri.8: TGIF, from show; this half-Greek Fete des Acadlens, In Acadian Village, Lafayette, 9 a.m. : What's Buzzing at the Nature Center? gentleman is one of the supremely civilizing in­ La . Information from A.J. Blanc at ($4/$5). Sat.9: Recycle New Orleans puppet fluences in the Big Beat, but don't let words like 318-981-2489. ' show at 1 p.m.; 2 p.m. film, Atchafalaya. that keep you away. Wed.27 through Sept.?: Sun .10: a 1 p.m. talk on Caring for Turtles. Irma Thomas. Reservations . lllllllllllllllllllllllllllllllllllllllllllllllf Friday, 15-Sunday, 17 Sat.16: a 1 p.m. talk on How To Primitive Camp; Brew House, Jackson Brewery, Decatur St., New Mount Zion Baptist Church Country Food · 2 p.m. film, Junk Dump; Summer Star Gazing, 525-9843. Call for August listings. · • 8:30 to 11 p.m. Sun .17: a 1 p.m. talk We will be closed August Festival, recreational park . on Hwy.308 in on hum­ Charley's Corner , In the Chateau LeMoyne Hotel, lOth - LaRose, La. mingbirds and 2 p.m. film, Junk Dump. Sat.23: a 301 Dauphine, 581 -1303. Fridays. 7 to 11 , the September 2nd, for 1 p.m: talk on Caring for Turtles; 2 p.m. film , Nile Kaps. Renovations. See you on the Friday, 22-Sunday, 24 Last Stronghold of the Eagle. Sun.24: a 1 p.m. Clarion Hotel, 1500 Canal, 522-4500. Brassy talk on snakes; 2 p.m. film, Last Stronghold of Janice Medlock on the Ter:ace Court (she's also 2nd with our exciting new Cajun Hunters Festival, Bayou Centroplex, Galli­ the Eagle. Sat.30: Nature Snoops, a program for ano, La. on Hwy.308. a veteran of night court, the People's Court and look. kids from 8:30, a hike Into the Honey Island the Court of Last Resort, the latter from having Saturday, 30-Sunday, 31 Swamp ($5/$6); a 1 p.m. talk on the Ozarks; 2 played Tahoe, from 6 Tuesdays through Thurs­ p.m. film, Alligator, Marsh and Man. Sun.31 : a 1 days and from 7 until 11 011 weekends: nothing Red River Arts & Crafts Festival, Rapides Col­ p.m. talk on snakes; 2 p .m. film, Alligator, Sundays and Mondays. iseum, 5600 Hwy.28 West. Marsh and Man. Coslmo's, 1201 Burgundy, 561-9018. Sundays at 9: Ray Bonneville . Saturday, 30-Monday, Sept.1 Saturday, 9 Creole OuHn, Poydras Street Wharf, 524-0814. Cajun Fun Festival, Raceland, La. Information Clyde VIdrine , whose name may be remembered Cruises nightly, 8 to 10 p.m., with Andrew Hall's from Elmo Broussard at 504-537-5140. with affection or not by those recalling our gover­ Society Jazz Band . • Fire Fighters Food Festival, Lacombe, La. Infor­ nor's first administration, will discuss his prose Dream Palace, 534 Frenchmen , 943-6860. Sat.9: mation from Eddie Deckwa at 504-882-5977 or works on state politics at the Calcasieu Parish · The Radiators. Fri.15 : NOME benefit including 504-882-7218. Central library in Lake Charles at 4 p.m. Free. the likes, and perhaps some of the pet peeves, of 30 Wavelength • AUGUST I I I I I I I I I I I I VHS Movies for li'l Queenie and Ray Bonneville. Sat.30: The Maison Bourbon, 641 Bourbon, 522-8818. tu San Francisco, Los Angeles, Houston ... ve Home Entertaimnent Radiators. Call for the balance (ahem) of the Tues.-Thurs., 2:20-7:15, Sat., 4-8:45: Lloyd trinh dien, Voi cac loai thus pham kho dac sac. month. Lambert. Wed.-Sun., 7:30-12:15 a.m., Sat., Co ban va cho muon bang nhac, video tape, Futon Room Flirmont Court, in the Fairmont Hotel, 529-7111. 9-1:45 a.m.: Lou Sino. Mon ., Tues., 7:30-t2:15 cassette. Oriental Bedding Every night save Sundays, Sam Adams at 9 p.m. a.m., Wed., 2:30-7:15, Sat., 11 a.m.-3:45: Dorothy's Medallion, 3232 Orleans Ave, Famous Door, 339 Bourbon , 522-7626. Music -Johnny Horn . 482-9239. R&B. Sundays, with the occasional For Your Comfort every day: Thomas Jefferson and His Creole Jazz Mahogany Hall, 309 Bourbon, 525-5595. The Friday and Saturday thrown in: Johnny Adams Tuxedo Junction Band from 7 p.m. till1 a.m., except on Wednes­ Dukes of Dixieland every night save for Sundays, with Walter Washington and the House Band, 11 days when the Famous Door Five occupies the when Banu Gibson occupies the spot. p.m. to 3 a.m. Formal Wear for premises until 4 a.m. Marie Laveau's, 329 Decatur, 525-9655. Nightly Parkvlew Tavern, 910 N. Carrollton, 482-2680. The Mardi Gras F"llngs, 2600 Chartres, 945-2222. Mondays, save Tuesdays and Wednesdays, Melissa at the Music at 10. Fri.1: Li'l Queenie. Sat.2: Continen­ Wednesdays, Thursdays, Saturdays, 7:30-10:30 piano from 7 p.m. tal Drifters. Sat.9: J Monque'D Blues Band. Season And p.m.: Kenny Butler. Tuesdays and Fridays, Maxwell's, 400 Burgundy, 522-0879. Call for Fri.15: The Renegades. Fr1.22: J Monque'D Year Round 7:30·10:30 p.m. : Kenny Ard. August lineup. Blues Band. Sat.23: Mighty Sam McClain. 544 Club, 544 Bourbon, 523-8611 . Gary Brown Old Absinthe House, 400 Bourbon . Nightly save Sat.30: Johnny J and the Hltmen. Photo Copies And and Feelings , Wednesday. Thursday and Sunday Tuesdays, from 9:30, Bryan Lee and the Jump All Other from 9 until 3, and Fridays and Saturdays from Street Five. Tuesdays: the J Monque'D Blues 10 until 4. Southern Cooking, Mondays and Band. ...,.. UPTOWN Printing Needs Tuesdays from 9 to 3, and Fridays, Saturdays Old Opera House, 601 Bourbon , 522-3265. Tues­ and Sundays from 3:15 to 9:15. day and Wednesday and Saturday: Hot Sauce. Benny's Bar, $38 Valence, 895-9405. Most Fortin House, 624 Bourbon. Brazilian music Thursdays, Fridays and Sundays: the Opera Mondays: J. Monque'd. Most Wednesdays and nightly from 7 to 11 p.m. House Band with the BT Connection. Sundays: JD and the Jammers. Schedule flexi­ Pete Fountain's, in the Hilton, 523-4374. Pete ble, but you might look for Cyril Neville's Up­ Fountain and his band nightly at 10; one show town All-Stars here on Tuesdays; other only, reservations. ...,.. LAKEFRONT regulars: Paula and the Pontlacs, Charmaine l..IGauloise, in the Hotel Meridien , 614 Canal, Neville, Blue Lunch. 525·6000. The Creole Rice Jazz Trio, 11 a.m. to Nexus, 6200 Elysian Fields, 288-3440. Fridays: Carrollton Station, 8140 Willow, 865-9190. 3 p.m. on Sundays. Torkanowsky and his trio accompany Lady BJ, Mostly blues or blues-related. Call for August Gazebo, 1018 Decatur, 522-0862. Alfresco per­ from 6 until 10 p.rr •. , followed a scant half hour lineup. formances according to the weather. Mondays, later by the Julian Garcia Trio with Philip Manuel. Glass House, 2519 South Saratoga, 895-9279. noon·4, Amasa Miller, followed by John Magnie Messrs. Garcia, Manuel, et. al. also play Satur­ Mondays: The Chosen Few with Tuba Fats or from 5:30 to 9:30. Tuesdays-Thursdays: Amasa days from 11 to 3 a.m. perhaps the Dirty Dozen. Call for certain. Miller, noon to 4 p.m., John Magnie, 4 to 8 p.m ., Stan's Hard Rock Cafe, 1928 West End Park, Jed's University Inn, 8301 Oak, 866-1051. and Nora Wixted from 8 until midnight and taking 288-0044. Thurs. 7 through Sun.10: Rough Cut. Thurs.16:· NOME benefit featuring Flint Revels Hindoors. Fridays : the same save for Nora Wixted Thurs.14 through Sun.17: Ebenezer, with an an­ (have attended a few flinty revels myself in my being joined by her group 2 Much Fun. Satur­ niversary party for the cafe on Fri.15. Fri.23 and time) and Skin Sect. days: the Pfister Sisters, just back from taking Sat.24: Razor White. Frl.29: Lillian Axe. Jimmy's, 8200 Willow, 866-9549. Frl.1: Force of Habit and Exit 209. Sat. 2: Johnny J and the H,itmen. Wed.6: Ritual Blues. Thurs.?: Chapter Two. Fri.8: The Radiators. Thurs.14: The Up­ 941 Royal Street tights. Fri.15: A NOME benefit featuring a Rock A Byes Reunion with those superfine Clements corner of St. Philip brothers, the Song Dogs and Uncle Stan & Aun­ tie Vera. Sat.16: the Petries. Frl.22: Love Trac­ 525-6945 tor (write 'em a John Deere letter if you like the show). Sat.23: Waka Waka, which back when men in pelts drew on cave walls was Bunny I I I 1•1 I I 1•1 I I I Matthews' favorite band name (for a local band, that is). Keswany's, Uptown Square, 200 Broadway. Fridays and Saturdays from 7:30, Sundays 12:30 to 3:30 p.m., composer/pianist Tim Davis. Madigan's, 800 S. Carrollton, 866-9455. John Rankin every other Saturcfay, which I guess means fortnightly; the rest of August negotiable by phone. Maple Leaf, 8316 Oak, 866-9359. Sundays: traditional bluegrass music; Mondays : live classical music; Wednesdays: J Manque' D Blues Band. Thursdays: the Lalssez-Faire Cajun Domestic Beer $1, 5 pm - 'til Band. Fri.1: The Nlghtlmers. Sat.2: File Cajun ~----TUESDAYS----~ Band. Tues.5: Regatta (a pousse-cate of reggae Draft Beer Night and progressive jazz). Fri.8: Walter Washington 50¢ Glass/$2.50 Pitcher I Love Tractor at Jimmy's Wednesday 27th. and the Road Masters. Sat.9: Les Freres Starts at 8 pm Michal. Tues.12: The Youngbloods with Carsyn Tenant. Fri.15: The Nightlmers. Sat.16: TBA. 1---WEDNESDAYS--~ Tues.19: Bum's Rush comedy show. Fri.22: Ladies Night ,, ______j The Radiators. Sat.23: Dewey Balta and Ses 1st Drink Free, Y2 Price Am is Acadiens (tent.) Fri. 29: Walter Mixed Drinks their Life On Donkey Island revue out of town for ...,.. METAIRIE Washington and the Road Masters. Sat.30: 8 pm · 12 am tryouts (to Tijuana, natch, the performing donkey TBA. Penny Post, 5110 Danneel. Sundays: Always ~---THURSDAYS----~ capital of the world) ; Chris Burke and his New Copeland's Cafe, 701 Veterans Blvd, 831-9449. Busch Night, 75¢ Busch Orleans Rhythm Band , 1: 15 to 6:15 ; Nora Wixted Sunday: the Jimmy Maxwell Trio, featuring Rene open mike. Check the board as you go In. and 2 Much Fun , 8:30 to 12:30. Sundays are Netto and Bob Tassin, from noon to 3. Pontchartraln Hotel, 2031 St. Charles Ave., Longnecks. 9 pm - 'til much! he same save for the nocturnal strains. Docks, 3624 Florida Ave., Kenner, 468-9964. 524-0581. Piano bar In the Bayou Lounge night­ ly from 5: Tom McDermott, Mondays-Fridays t----FRIDAYS--__,j Hilton Hotel, Poydras at the river. In Le Cafe Country music nightly; Wednesdays: male strip­ Free Oysters, 6 pm - 9 pm, 50¢ pers, tor until 8, and Mondays-Wednesdays 9 to mid­ Bromeliad: the Hilton Opera Singers, Saturdays ladies only, 8 to 10. Draft. 6 pm - 8 pm lrom 7 to 9 p.m.; Placide Adams' Jazz Band, Eddie & Lit's Bar, 2704 Metairie Rd., 833-9228. night. Carl Franklin, Thursdays-Saturdays, 8 to Sundays from 9:30 in the morning until 2:30 in Fridays and Saturdays at 10: The Eddie Wagner midnight. ~--SATURDAYS----~ the afternoon. In Kabby's : Vic Tooker and the Banjo Band. Tlpltlna's, 501 Napoleon, 897-3943. See ad Rotating Import Beer Specials Riverboat Ramblers Review, Friday and Saturday Godfather Lounge, 3012 N. Arnoult, 455-3232. this issue tor calendar. nights from 8 p.m. to midnight or Sunday from Call for weekends, but Breeze plays regularly on Tyler's, 5234 Magazine, 891-4989. Sundays: ~--SUNDAYS-----­ 10:30 a.m. to 2:30 p.m. In the English Bar: the Thursdays and Sundays. · latin jazz by Santiago. Tuesdays and $1.;50 Bloody Marys, 11 am - 5 pm Alan White Duo Tuesdays through Saturdays, 4 to .Landmark Hotel, 2601 Severn Ave., 888-9500. Thursdays, Lesley Smith and the Portolets . 7 p.m. and 9 to 11 p.m. ruesdays through Thursdays at 9, and Fridays Fridays and Saturdays: James Rivers Move­ Cafe Open Daily from 11 a.m. Lindmark Hotel, 541 Bourbon, 524-7611. Mon­ and Saturdays at 10, Tomato and the Creole ment. Lunch & Dinner Specials days~Terry Lee, 4 to 9 p.m.; Mike Bunis, 9 p.m. Cookin' Jazz Band. . Domestic & Imported Beers. to 2 a.m. Tuesdays: Bob Sloane, 4 to 9 p.m.; Around The Corner, 2242 Florida Ave., Kenner, Drink Specials, Tempting Bar Mike Bunis, 9 p.m. to 2 a.m. Wednesdays: Terry 464-7051 . Fridays and Saturdays at 10. Desire. ...,.. N.O. EAST lee, noon to 4 p.m.; Bob Sloane, 4 to 9 p.m. ; Dominick's, 3900 Williams Blvd ., Kenner, Snacks & Sandwiches Mine Bunis, 9 p.m. to 2 a.m. Thursdays: Terry 443-6112. Dominick's Band, Wednesday­ Beau Geste, 7011 Read Blvd., 242·9710. . NOW OPEN IN THE REAR! lee, 4 to 9 p.m.: Bob Sloane, 9 p.m. to 2 a.m. Saturday, 9 p.m.-1 a.m. Fri.-Sat. , 10-3, Rocking Jerry and the Spice of More Table Seating with Fridays: Terry Lee, noon to 5 p.m.; Bob Sloane, 5 Life. Covered Patio. Darts, Games. to 9 p.m.; Mike Bunis, 9 p.m. to 2 a.m. Satur­ ...,.. MID-CITY Chez Frank, 4630 Downman Road, 241-9761. Pool Tables and Still One days: Bob Sloane, noon to 4 p.m.; Terry Lee, 4 to Fridays and Saturdays from 10:30. Helluva ukebox 9 p.m. ; Mi]

AUGUST • Wavelengtl1 31 Old Post Otnce, 4000 Downman Rd., 242·9960. drugs and mother-love by Bartolucci has­ hi-tech Saturdays, 9 to 1 a.m., Versatile Sounds. because soap opera lacks cachet as a highbrow electronics genre-suffered; it is a lovely film despite the oc· casional stridency of the main performance by Jill ..... WEST BANK Clayburgh (as an opera singer'!) whose teenage electronic son (some pouting-putto brat whose name Bronco's, 1409 Romain, Gretna, 368·1000. Mon· escapes me) has an odd love·hate relationship musical days, Wednesdays, Fridays, Saturdays: Mlssls· with bOth his mother and hypodermic needles. sippi South. Gorgeous looking; with Alida Valli. Franco Citti as 1801 Club, 1801 Stumpf Blvd., 367·9670. the old chickenhawk. Renato Salvatori as lhe instrument Mahogany, Thursdays from 9:30 and Saturdays gentleman who tries to romance La Clayburgh, from 10. and Fred Gwynne as Clayburgh's husband repairs Elmo'S Back Door, 2240 Belle Chasse Highway, Mon .25: La Fiancee du P1rate, this 1967 comedy Gretna, 393·6881. Fridays at 10: Mr. Music. about a 'bad' girl in a provincial town, a French Saturdays at 9: lalssez·Falre Cajun Band. equivalent of a hillbilly spitfire, is very, if rudely, Fat Cats, 505 Gretna Blvd., 362·0598. Mondays, funny; it may be the only decent picture Nelly Tuesdays, Thursdays through Saturdays: the Kaplan ever directed, though Bernadette Lafont's Groove Band with Jimmy Simon. performance was a good warmup for her apotheo­ Frogglu, 403 West Bank Expressway, sis of the type in Truffaut's Une s1 belle fllle com­ 367·0227. The Dino Kruse Band every Thursday. me m01. Films are shown usually at 7 and 9 p.m .. Jo Jo's Lounge, 4332 4th Street, Marrero, though during the summer months there is bul 340·9129. Fridays and Saturdays at 20, Sundays one showing at 7:30, in Bobet Hall on the Loyola at 6: The Red Thorn Rock 'n' Roll Band. Campus. Admission is either by season subscrip­ amps * power amps * mixers * synthesizers tion or S1 . 50 at the door Prytanil, 5339 Prytania, 895·4513 . Fn.11hrough guitars * keyboards * effects * p.a. systems Thurs.21 My Beautiful Laundrette. Stephen c:c·'w' =J ·l' • Frears' film-a success lou-was originally made Comedy Showcase, 1930·C West End Park, for TV; it is abOut a young Pakistani man , who 283·3322. Performances Tues.· Thurs. and Sun . bankrolled by a capitalist uncle, opens a laun· at 8:30, Fridays and Saturdays, 8:30 and 11 drette In the slums of London, taking at the same Through Sun.3 Authorized WCIITCIDty Service Center for: : Scott Novotne and Stephame time a young while prole bOy as his lover; the Hodge. Tues.5 through Sun 10: Van Gunter and other proles are resentful ; the com plica· • Peavey • Korg • Roland • Marshall Mark Sweetmean; Tues.12 t1ons-even in Thatcherized Bntaln where, like Oberheim • Suzuki • Yq:maha • Fender through Sun.17: Tim Kav· vi.fi\ Reagainzed America, chOtces don't come easily Sunn • Crate • Audio Centron • Ibanez angh; Tues. through Sun . because they don't exist-are comic more than Tama Drums • Biamp • 24: Dennis Blair. Tues.26 anything else. With Gordon Warnecke, Daniel Oay through Sun.31 : Mac King. Lewis (last seen as the priss in A Room With A · Ernst Comedy Cabaret, 600 . View), Saeed Jaffrey, Shirley Anne Field, Roshan 4514 magazine st. new orleans. Ia. 70115 S. Peters, 525-8544. Wed . · Seth. Fri. 22 through Sept.4 Three Men and A mon-fri: 10am-6pm. sat: 10am-4pm at 8 p.m., local talent auditiOns; performances Cradle, a comedy directed by the unpredictable Friday and Saturday 9 and 11 :30. 8, 10:30 and 1 Coline Serreau (Porqu01 Pas! among others), a.m. Call for featured acts. Georgie Porgle's, abOut three wolfish bachelors left w1lh a foundling Hyatt Regency, Plaza level, Poydras Plaza, on their doorstep. It 's a girl! With Andre f"iMERiCANj 566·0000. Tuesdays-Sundays , 8 and 10 p.m. Dussolier, Roland Giraud, Michel Boujenah. , EXPRESS Call for acts. The Punchllne, 4704 Veterans Philippine Leroy· Beaulieu . Dominique Lavananl. Blvd , 454·7973. Performances at 8:30 mghtly save for weekends when there is an additional performance at 11 . Sunday nights hosted by Dan McKay of QUE. Through Sun.3: Ken Rogerson I i : I f;,1 i ;1 - and Charles Viracola; Tues.S through Sun.10: Bayou Larry Miller and Trip Wingfield ; Tues.12 through Dinner Theatre, 4040 Tulane Ave , Sun.17: Amazing Jonathan and Jimmy McGee . 486·7144 Through Aug.17: Cheaters. a comedy Tues.19 through Sun.24. Mac & Jam1e and by Michael Jacobs, about three couples, two of Michele Beaudry. Tues. 26 through Sun.31: them mamed. W1th Terry Whitney, Linda Aubert. Lance Montalto and Paul Clay. A.L. Alonzo. Michael Collier, Edd1e Utoff Jr., Lennie Maloney Ffl.22 through Sept.28: Hay Fever. lhe Noel Coward farce about the travails of a CINENlA group of weekend guests at the hands at the ultra· Loyola Film Buff's Institute, 895·3196. Tues.5: I theatncal Bliss fam1iy, - a Confess. Hitchcock's rather stolid 1953 film play which desp1te its abOut a priest who hears a murderer's confession failure on 1ts first appearance (Laura Hope Crews' and almost gets sent up since he can't violate the performance was widely blamed) has been rev1v· sanctity of the box; humorlessly foreboding and ed w1th ever-more success in recent years. Per· one can't say the premise is a startling one, the tormances Fridays and Saturdays at 8:30 and variously mannered styles Sundays at 2:30 w1th dinner served two hours of actmg clash somewhat • . prior to performance Reservahons. as well; with Montgomery · • • Rose Dinner Theatre, 201 Robert Street.' Gretna , Clift, Brian Aherne, Anne ·• 367·5400 . Through Sun.24. The Sound of Baxter. Karl Malden, dimp· : . Mus1c, the Rodgers and Hammerstein musical ly faced Dolly Haas (wife of 111,. which mixed up such normally disparate caricaturist AI Hirschfeld) and O.E. Hasse as the elements as kids, nuns and N.az1s to stupefymg killer. Wed .6: The Killmg, this D.T.·Iike 1956 commercial success; with Barbara Bernard. Bon· hangover from film notr represents a good exam­ nie Toups, Rob Cunningham, Mim Babin and ple of the sort of movie Stanley Kubrick used to Robert McDowell. Performances Thursday make before the burden of fame turned him into through Saturday at 8:15 and Sunday at 2:30 the Dalai Lama of the mov1es; it's a racetrack with supper served two hours prior to curtain caper, the Ironies are not the lightest, but the act· Toulouse Theatre, 615 Toulouse, 888·8181 or ing and milieu are entertaining: Sterling Hayden, 866·7974 . Through Aug.31 : Decadence, New Marie Windsor, Coleen Gray, Elisha Cook, Jr., Orleans Style, a triumvirate of htillation w1th Ted de Corsia, Timothy Carey as the mad marks· Becky Allen . a sex symbOl to generations of La·Z· man, Jay C. Flippen , Vince Edwards, Joe Boy Recliners, Ricky Graham and Fred Palmt­ sawyer -v1rtually a small anthology New Orleans Oldest Performing Ragtime Boogie Woogie of players of sano. Pianist the penod. Tues.19: The Elephant Man , David Tulane, Fri.1, Jack and the Beanstall<, at11 a.m. Lynch's phantasmagoria, derived as much from and 1 p.m.; through Aug .9: NOises Off, Michael Sweeney TOdd or Dora's engravings of the Lon· Frayn's comedy abOut a provincial company per· AL BROUSSARD don poor as from his own pulsating, liquescently forming .a farce, directed by Buzz Podewell with monochromatic, ominous nOises in the back· plummy Clare Moncrief, Audley Keck. Glenda NEW DIGITALLY RECORDED ALBUM ground style for Eraserhead; this 1980 film casts Byars, Ron Gural, Danny Bowen, Jan Jensen. NOW AVAILABLE AT METRONOME MUSIC its plea for tolerance in such depressingly creepy Stella Curtis and Grayson Capps In the Luptn stlmmung that the net result is still horror; with Theatre, DiXon Performing Arts Center. perfor· Mail Orders: Send check or money John Hurt In the grotesque, yam-headed makeup mances Tuesday through Sunday at 8 p.m.• w1th of the titular character, Wendy Hiller, Anthony matinees on the latter day at2 p.m. Fr1.1 through order for 8.95 + $2 handling to: Hopkins, Freddie Jones, John Glelgud and­ Sun .3: South Pacific, which Is abOut a nurse Rabadash Records miscast more grotesquely than the elephant named Nellie and a plantation owner, and Bloody man 's physiognomy, the producer's wife, Ann Mary and Bali Hal and all the rest of it; perfor· P.O. Box 19384 • New Orleans, LA 70179 Bancroft, as the great-lady actress. Wed.20: La mances at [I with Sunday matinee at 2 p.m. I Luna, this much-underrated 1979 soap opera of Reservations at865·5269 .• 32 W11Y1I1•... • AUGUST Cilr5SIFIED ~ TWOPIANOS MUSICIANS REFERRAL SERVICE BOOKING Walnut console $1000 . Baldwm Electnc Upright AGENCY 5300. Call Dave at 895-6130. Leave a message . Lookmg for that right performtng band or pro­ COMPOSERS RECORDING STUDIO fessional musictan? Call STAR POWER, New S35 an hour. A complete 16 Track recordmg York (607) 724-4304 studto run by musictans who care about your EX-RED ROCKER mus1c Now also featunng direct-to-digttal rec­ vocalist seeks good rock gUitanst and key boar­ 8 Track ordmg and quanttly cassette duplicatton. Let us dtsl. Will audtllon . Call John at 394-7053 or handle your band's cassette release. 486-4691 733-8438 and leave message. Digital Mix Downs or 834-3164 $20 per hour KEYBOARDIST SEEKS Top 40 g1g Working bands only Davtd 866- 5284, . II : = RELIABLE RON • A :1[ " II (Q(JI{II R :0. 1 HV ICI "Everything you wanl lo know aboul America'' mu ~ i c al legacy lo lhe world­ the blu e~. I have ~ub~c ribed and I hope Guaranteed, you do, loo. Tell 'em lucille ' ent you." Shepard H. Samuels Best Rates in town! 8 8 1\inK (504) 467·3655 S18.00 per year-o magOtine\ Attorney at Law including Bluh l etter\• 525-2502 Available for Consultation MATURE Send to: l iving Blu.- and Contract N egotiation pro guitanst vocalist seeks steadtly worktng Cenler for the Study of Southern Culture N.O. dance band (duo. trio, etc.), 6 years road DYNAMIC MASSAGES The Univef\it) of .\1i"i"ippi experience w top name tounng show dance Un iver,itv, !\1A 38677 pyrighting 24 Hours Servtce Reader Beeper 596-11438 at Telephon-e: &O J 232-5'193 • Co entertainment act. Berklee grad . readmg and sound sound of beep, punch 1n your phone • Publishing arrangmg skills. pro equtpment. reltable car, number on touch tone. hang up, ltmmedtately • lncorporolion strong lead and backup vocals, neat appear­ return your call. Or call 566-7674. • Trodenome ance. FT. PT. casuals. sess1ons. Pros only. Cur­ rent Top 40. 50s & 60s. Rock.IR&B. No drugs. COMIC BOOKS Registration country, punk or heavy'metal. 504-845-8305 250 .000 Com1cs. We buy ·sell com1cs. Maga­ I AM INTERESTED Mandeville. zine Street Bookshop , 4222 Magazme Street. m a song composed by the guitar player of the 899·6905 . Monday-Saturday 10am till 6pm former (ctrca early 1970's) Boston Cambndge Music & Massachusetts-based band " HARLOW." If you Entertainment Law 8 TRACK STUDIO FOR SALE PAPA AND THE SNAKE FARM bfw Miz Leah are that guitar player. please call Jane at (617) Otari 8 Track and '12 Track Mastering Machines, by James Cltnton Arthur 45 rpm $3. Allgood 890-3206 . 866-8755 16-8-2 Studtomaster Mtxing Console, Digital Music, P 0. Box 121512. Nashville. Tn 37221 . Effects, Delay and Reverb . Beyer and Sure Mics . I BUY COLLECTIONS Yamaha DX7 Synthesizer, LinnDrum, 2 JBL ,000 or , sell me Monitors, Fender 400 Wyatt AMP, $13 MINT CONDITION any amount, any category Disc JOckeys best offer. 522-6911 or 488-5658. Silver-Plated Transverse Flute Askmg $375 . the records you're not playmg . Pay cash-fatr HELP! WE NEED A BASS PLAYER 866-7581 prices . Record Ron makes house calls. 1129 Original mustc proJect by professionally mtnded Decatur Street, 524-9444 musictans-seeks ambttious bass player. Do COMEDIANS GIRL SINGER you know a friend of a fnend who plays bass? Do New Orleans Newest Club, COMEDY SHOW­ looktng for band with fresh sound. Nu-wave BAND SEEKING you know a friend who plays bass? Do you play CASE. Auditions every Sunday night at 8:30pm rock. Pop. Open to new mustcal ideas. Barbara to rent rehearsal space or loft. Call John at bass? Please call 947-2310 or 835-8323 to re­ Contact Bill Dwyer, 283-3322, 1930 West End B. at (504) 482-7990 . 394-7053 or 733-8438 and leave a message. port your hot lead or to turn yourself in. Park, above Augie's Delago . How much do you know about AIDS?

Call the AIDS Information Center 522-AIDS Seafood Restaurant Family Dining • Good Food Take Outs 7 ~~Old times here are not forgotten ~ i West Beach Blvd. Gulf Shores, Ala. 1 (205) 948-7693 P.O. BOX 2616 NEW ORLEANS LOUISIANA 70176-2616 .

AUGUST • Wavelenglla 33 AS,. AGE ~~ SWI7 SUE. England ($15 ,,, su.-fooe privately-circulated cassettes and we ~ mail: $20 if you want yours nown ain't ever letting our copy out of our \\\ over). greas} hands. The 2nd Annual Chunky Pam Gibbons. the Nevilles' mana­ Rhythm & Blues Festival. held in ger (if that's not a contradiction in n the market for a serious jazz per- mid-July in Chunky. M1ss1ssippi. was terms) for the past nine years. has iodical? Look no further than War- something to behold. according to our migrated to San Franc1sco. Clarence saw. Poland, comrades! Jazz informed Source. A large. mostly "Frogman" Henry has just returned IForum ("The maga11ne of the In- black audience. armed with lawn from France. Home of the Frogs. tcrnational Jan Federation") is a bi- chairs, bananas and barbecued ribs, Christina). four exiles from Roomful Wavelength's roving Caribbean monthly publication printed in Polish grooved to the sounds of Bobby Rush (Ronnie Earl, Greg Piccolo, Doug reporter. Gene Scaramuzzo. also andEnglisheditionswhichfocuseson (who spent most of his set-as James and John "Flip Your Wig" spent his summer vacation in France, the world of jaz1 "from Argentina to usual-discussing nis reproductive Rossi). former Bobby "Blue" Bland from whence he sent us a postcard Yugoslavia." The last time we check- organ). the rarely-seen Nappy Brown accompanist Wayne Bennett. sax­ with the explanation: "This guy on ed, that particular world included (in white tux). Otis Clay (the star of man Kaz Kazanoff and master bassist the card is 'Fairc-ing Chabrot. ·which New Orleans. the subject of a poem in the show). "Son" Thomas (giving Michael "Mudcat" Ward. The disc means he is washing out his soup bowl the latest issue (celebrating the the blues a bad name). an all-white comes packaged in a zcbraskin jacket with red wine. This could be a big hit appearances of Miles Davis, Betty group of hippie-types known as The designed by Bunny Matthews and in New Orleans with gumbo. I'm Carter, Chico Freeman, Ellis Mar- Ditch (giving the blues a worse inspired by the zcbraskin sheets de­ sure." We're sure. too and how did salis, Herman Jackson and others at name). the all-new Anson and the signed by the late Perry Ellis (look Genc-o get to Rcpublique Francaise the 1986 Jan & Heritage Festival) Rockets (the drummer got Best- for a set on Hammond Scott's bed. on a Wavelength salary? Must've and the former home of the a foremen- Dressed A ward for wearing Bermuda cowgirls) and ·or the zebraskin bra­ traded-in a truckload of rare ska tioncd Mr. Marsalis. Sr.. who is high- shorts and cowboy boots) and the eter- and-panties currently marked-down singles. lighted in an excellent interview. nally elegant Sam Myers. currently half-price at Victoria's Secret. Next Finally. it is our pleasure to an­ Among Marsafis' observations: "You negotiating a long-term contract as out on Black Top will be Gla:ed. an nounce that 5-foot 2-inch Michelle have to have some kind of philosophy spokesperson for Chris-Craft yachts. Earl King/Roomful of Blues col­ Anne Abadie. a 4.0 student at Loyola about whatever it is that you're doing. The emcee for the affair was the im- laboration with a cover photo shot at University. has been selected as Ms. 1 mean, Charlie Parker created mortal Rev. Gatemouth Moore. Earl's "headquartcrs"-the Tastee Park 1986. What park? City Park? fantastic music and was fu ll of dope Ron Le1•y' s Wild Kingdom is the Donuts outlet on Louisiana Avenue. Audubon Park? Bert Parks? Nuh half the time. And there arc those who latest release on Hammond Scott's Dancing Cat Records is planning uh-Tht Park. that swinging say. 'Man. just think what he could Black Top Records and it is a virtual a release of James Booker tapes and Metairie nightspot. According to a have done if he wasn't doing that!' Who's Who of the best and brightest claims to "have enough stuff for press release composed by G ia Rabi­ Who knows'? Maybe he couldn't have young blue-. players in America. seven albums." Of course. the finest to. formerly of" America ·s Shopping stood the pressures of life without it. featuring Mr Levy (Roomful of B(X)ker tape of all a hvc perform­ Channel'': "The new Ms. Park cap­ We don't really know." Sub- Blueskeyboard1standvcteranofthe ance heard over WNOE during the tured the attention of the judges and scnptions to Jazz For11,111 arc avail- B.B. King Orchestra). three summer of 1977 when BtX1ker was the crowd as \he donned a \Uede biki­ able from the International Jazz Fabulous Thunderbirds (Kim Wii- totally sma.,hed on alcohol (as op­ ni accentuatmg her 35-24-35 inch fig­ Fcdcration. 13 Foulser Rd .• London son, Jimmie Vaughan and Fran posed to heroin) 1s available only on ure." It figure<, . . e

Reel after Reel

•

of quality

34 WavelelltJih • AUGUST ~~----~----LIGHTEN UP------

-----Also Available on A&M------Disks & Cassette------

~· -

PLEASANT AT MAGAZINE • NEW ORLEANS • 504/897-5015 opo-dby NOM&E

17, FAIS DO-DO r!~ .._...... •·:i PIANO NIGHT BRUCE ;{.;;· w1111 DAIGREPONT ~~; GERALD TIUMAN CAJUN BAND ~~ No c- s.,,. 1;\";-' FREE RED BEANS A RICE ~~.....

wtth HARRY CONNICK JR. Noc-

Happy hour 2 p.m.-8p.m. 50t drafts, $llongnecks, $1.50 hiballs Tip's is available for private parties -Monday: 50¢ Draft. $1 Longnecks, $2 Pitchers- Lit Fat Taesdays: $1 Red Stripe, $1.50 Rum Boogie- Wednesday: 2 for 1 Shooters- Thursday: Longhair Coolers- Friday: 75¢ Hiballs 2-8 p.m. For Bookings 891-8477 • Business 895-8477 • Concert Line 897-3943