Obert Gordon with Y Campi & His Ockabilly Rebels Rbin Williamson Horslips Hicago

E N T TALhave always focused on catchy, heavily ac- foremost high-energy rock. the finest tradition of rock'n'roll, Chicago obert Gordon With cented rock riffs, and his playing style is an The set's highpoint was a rendition of the keeps delivering it to them. Link Wray/ outgrowth of his compositions. side -long first movement from the group's ken terry Riffs were the core of Ferguson's offer- LP, y & His concept "The Book Of Invasions." Irish Campi ings on this vanguard date of a current tour, folk elements were certainly present here, ockabilly Rebels introducing his tight, hard -rocking new ranging from keyboard/flute player Jim band. His familiar style was evident in Lockhart's flowery embellishments to the title cut from his first solo album for Charles O'Connor's expert handling of a aryl Hall & WHISKY, L.A. - Robert Gordon made an Elektra/Asylum, "Thunder Island," from fast fiddle tune. Nevertheless, the impulse John Oates impressive debut in Los Angeles despite the "Sha la la's" of the opening verse. Varia- to rock out conquered all as lead guitarist problems with sound monitors which tions included the reggae -influenced John Fean (whose vocals recalled Jethro "Babylon" and the heavy shuffle of "Losing Tull's Ian Anderson) sounded an electrify- caused him to cut his set short. UCLA PAULEY PAVILION, L.A. - In a daz- Along with legendary 1950s guitarist Link Control," in which Ferguson left the piano ing transformation of the fiddle theme zling ninety -minute show, Daryl Wray, Gordon performed about 40 minutes bench to cajole a little participation out of which was then taken up by the rest of the Hall & John Oates thrilled a nearly full of material which demonstrated his keen the audience. One got the impression that, band. house with a wellpaced evening of quality understanding of rock and roll. on a larger stage, his animated figure would ken terry music, tasteful lighting and dramatic visual His live performance followed up on the have been moving in much wider circles. effects. Though the sound was sometimes promise of his debut Private Stock LP The outstanding soloist of the evening muddied by the architectural limitations of which showed that rock and roll need not was guitarist Bob Webb, who created a room usually reserved for Bruin basket- be relegated to performers who play it soley orchestral effects with the Leslie and ball, this particular concert was an in- for its nostalgia value. Gordon echoplex, and added electric melodies on teresting indication of the growth of this knows, and shows, that the earliest forms of bottleneck slide guitar. His input was es- dynamic duo. medley hicago today's pop music - rockabilly and rock pecially strong in an uproarious of Though Daryl Hall is still and probably and roll - can still be vital and exciting in Ferguson hits from the Spirit and Jo Jo always will be the featured vocalist of this the right hands. Gunne days, which will certainly be a stand- MADISON SQUARE GARDEN, NYC - team, his colleague John Oates continues Much of the credit must also go to Link out feature of his concerts at every stop Sounding much better -rehearsed and in to grow in both confidence and talent as a Wraÿ s dynamic guitar work. Wray, who around the nation. the groove than at their area benefit perfor- singer. At the end of one particularly shared billing on Gordon's album as well as phil dimauro mance last summer, Chicago took a jam- dramatic passage in one of his solos, John on this tour, adds even more character to packed Garden by storm. And oddly even added a bit of melodrama, pounding the show with his flashy, exaggerated enough, while recent hits like "Baby, What his singing stool to the stage for emphasis, moves. A Big Surprise" (from "Chicago XI") were a confident move that visually underlined He was featured on two solo numbers received enthusiastically, the audience also his sense of security with his singing which showcased his intense, stinging elec- got up and cheered for the earlier numbers abilities. tric guitar playing. He often exuded a Rbin Williamson that still form a substantial part of Chicago's To underscore their expansion into more charisma and personality which he has ac- repertoire. raucous rock material Hall & Oates gave quired in his 20 -plus years in rock, that Gor- Horslips For example, the standout of the Colum- this audience a look at their current road don, in his short time as a performer, has bia recording group's first set was a perfor- band, a potent force that includes Charles yet to develop fully. BOTTOM LINE, NYC - Somewhere back mance of the entire "Wake Up Sunshine" Dechant on saxophone, David Kent on Gordon's voice, on the other hand, in the patchouli -scented, organic -mystical suite from Chicago II, including the title cut, keyboards, Roger Pope on drums, Kenny already exhibits a great deal of maturity. It haze of the late '60s, a group calling itself "Make Me Smile," "So Much To Say; So Passerelli on bass and standout guitarist ranges from the grittiness of his "Red Hot" the Incredible String Band materialized on Much To Give," and "Colour My World." Caleb Quaye, whose playing was as single, to the deep smoothness of "I Sure the English folk scene and soon gathered a Guitarist/singer Terry Kath's mike was not superb as his one -foot dancing across the Miss You." large cult following on both sides of the giving his vocals sufficient power through stage. While Gordon's set dealt more with rock Atlantic. Its music, a blend of traditional this part of the set, but that deficiency did But perhaps the most noticeable addi- and roll, openers Ray Campi & His Scottish/Irish melodies, Oriental influences not detract from the terrific effect of the per- tion to this show over previous ones was the Rockabilly Rebels' one -hour segment con- and whimsical goofiness, appealed to fectly meshed horn section. Particularly new specially -designed lighting system centrated on rockabilly, the early hybrid of many listeners precisely because it sound- tasty here was Lee Loughnane's jazzy trum- that the band displayed on this evening. white country and black rhythm and blues ed almost amateurish, in contrast to the pet segue to "Colour My World." Suspended from roof cables were two styles that came before the bass guitar and prevailing studio slickness of the time. Following intermission, the band mined conically -tapered spheres wherein direc- drums took over to form rock and roll. The Incredible String Band is no more, more ore from their nostalgic vein with tional spotlights were placed, which were Playing a slap stand-up bass, Campi led but its spirit has been reincarnated in Robin "Beginnings." Both here and in a couple of backed up by banks of lights in a semi- his outfit through a rollicking set of 1950s Williamson and his Merry Band. William- more recent songs, Laudir de Oliveira con- circular enclosure with tasteful drapes ex- oldies as well as some originals written by son, of course, was ISB's lead vocalist and tributed outstanding conga solos, support- tending to the stage. Musicians were on members of the group. also wrote much of the group's material. His ed unobtrusively by drummer Danny three levels, and surrounding the players Rhythm guitarist Colin Winski's songs voice in recent shows at the Bottom Line Seraphine. was a semi -circular staircase, at the top of were especially well -received because of was as melismatic and quirky as ever, and A series of semi -dissonant solos by the which hung a huge kaleideoscopic star the strong sense of character he has when his clever, humorous lyrics similarly brass players, after a guitar solo by Terry which changed patterns repeatedly and singing. Dressed in black, his hair slicked recalled his earlier work. However, Robin - Kath which recalled "Free Form Guitar," finally served as the exit point for Daryl & back and wearing a white scarf and an son's music has undergone some major pointed toward more avant-garde John at the show's end. acoustic guitar around his neck, Winski renovations since the Incredible String possibilities for this commercially suc- There are many groups today who go in looked a lot like Elvis and sang with moves Band crumbled. cessful group. However, the jam never for elaborate lighting and staging effects and a spirit worthy of the King himself. For one thing, the arrangements of his really cohered, and a more likely future but the approach taken by Hall & Oates is The biggest surprise of the evening was songs are now tighter, and musicians who direction was represented by an up -tempo, one of the more effective simply because it lead guitarist Jerry Sikorsky. After remain- back him on Celtic harp, fiddle, flute and tin R&B-tinged number which pitted Kath draws attention to rather than away from ing in the background for the early portion whistle rarely play solos. Instead, their against the other vocalists. the musical content of the show. Even if the of the set, he literally jumped into the sound emphasizes carefully constructed As shown by its incandescent perfor- spectacle of John Oates wielding a giant spotlight singing in a Jerry Lee Lewis style counterpoint and interesting, frequent har- mances of "Just You And Me" and "25 Or 6 syringe as a love doctor who makes house topping it all off with a backflip on stage. monic changes. Also, Williamson no longer To 4," Chicago ultimately presents itself in calls is a bit corny, it is the kind of effect that randy lewls has a co -vocalist on the level of the ISB's the best light with AM -oriented, good-time shows that the band still retains a sense of Mike Heron, whose harmonies are sorely music.

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