THE LANSING STAR, WEEK ENDING MA YJO, 1978 11

Mama told Papa, Hooker's style is highly personal and Let the boy boogie.. . different from other musicians like Let the boy boogie.. . Muddy Waters who came out of the It's in him and it's got to come out. Delta area. The smooth slide guitar John Lee Hooker. that has come to typify delta blues was "Boogie Chillun" not Hooker's choice: he chose instead a rough, rhythmic guitar style which By Jan Loveland complemented his deep percussive voice. Hooker assails the listener with American popular a flurry of notes, and a pounding energy music is a that just won't quit. An evening with strange con­ the "Crawlin' Kingsnake" should prove exhilarating, even for newsomers to his repertoire. A younger legend, Townes Van Zandt, opens for Hooker. Van Zandt glomer­ is known by folk music fans of the ation of early seventies for six promising albums many styles on now-defunct Poppy Records. Some styles as distantly of his songs have been recorded by related as traditional better-known artists (Emmylou English folksong and Harris' Luxury Liner features his classic Calypso. This weekend cowboy tune "Pancho and Lefty.") Mariah brings two such musi­ Van Zandt almost epitomizes the cal step-cousins to East Lansing singer-songwriter-drifter of his genera­ in the form of John Lee Hooker, tion of young middle-class whites: bluesman, and Townes Van Zandt, although his songs are deserving of at­ folksinger-songwriter. tention, he never seems to have col­ lected a wide audience for them. With To say that John Lee Hooker is a the reissue of his Poppy material on blues legend somehow implies that we Tomato Records, we again have the should expect an aged black man with chance to acquaint ourselves with his an acoustic guitar, painting tales of clever commentaries. woe that remind,us of dusty 78's. Strangely. Van Zandt seems to enjoy Hooker's music is, on the contrary, his isolation from success. His album very much alive. His newest recording The Late Great Townes Van Zandt by on Tomato Records, The Cream, is be­ title alone almost revels in his commer­ ing released simultaneously with this cial failure. I had a chance to see the tour. Hooker's music also remains alive elusive Mr. Van Z. at a small night­ in the music of the many white musi­ Boogie blues club in Nashville recently. I am pjeased cians he has influenced, the best exam­ young'record companies searched the tance, while earning large profits for to report that he is very much alive, de­ ple being Canned Heat. new colonies of black migrants for young record companies. Unsophisti­ spite the obscurity which surrounds his Migrating from Clarksdale, Missis­ stars who would appeal to a lucrative cated artists made this exploitation career. The promise heard on his re­ sippi to Detroit in 1943, Hookersought black record market. possible. Hooker avoided his "exclu­ cords was in fact fulfilled in two very the golden promise of work in Mr. 1978 marked Hooker's thirtieth year sive" recording contract (and the sure enjoyable sets. Van Zandt is a musical Ford's factory. Typical of the black of recording. His story is fascinating poverty that came with it) by record­ storyteller par excellence who can win experience of his generation, he also because as a younger man he found an ing for other labels under a variety of his audience despite a shy manner on found the squalor of the budding ingenious solution to a record business colorful pseudonyms. "John Lee stage. No doubt it will be most peo­ Northern ghettos, which added to the that treated black musicians oppres­ Cooke." and "Texas Slim" were two ple's first exposure to Van Zandt, but force of his music. At the same time. sively. Most were recorded for a pit­ favorites. should make them anxious for more. ple. That's when I became involved Casse Culver: with the women's community in D.C. and it was a fine experience, because I needed an audience and they needed going uncrazy my music." By Theresa Fleury At that time. Culver decided country western music was the medium for her. Casse Culver and the Belle Starr She began touring cross country in Band crowded their audience into a too- 1974. In January 1978 -small room at the Unitarian-universalist Diane Zimmer- man and Ellen Horton joined Church for a long, joyous protest/cele­ her as a full-time backup bration. Mellow Muse Productions band. "I realized I needed backup for brought it all together on April 24, two both economic and musical days after they produced the fine Willie survival." Culver said. "I also Tyson concert as part of Everywoman's wanted to see more women Weekend. get jobs in music, so I have two women sound engineers. It's great Casse Culver, who has been song- to see women actively working in writing for 15 years, said the message the technical aspects of music. I tried she would-like to spread to everyone working with men, arid I've found I not just feminists and women is work better musically and emotionally "Unclench your assholes, enjoy your­ with women." selves and let others enjoy themselves. It's the only way we're going to get out A major feature of the evening was The power of Tower: of this death culture and into a positive, Culver's two new songs, released on a supportive culture." 45 rpm, "Queen of the Nite," and funk and soul Songwriting began for Culver in the "What Are We Gonna Do (About early 60's when she was just out of Anita)?" The latter was especially mov­ By Tami McClaran since 1970, Tower of Power has under­ high school and living in the suburbs of ing with its driving*reggae beat, and X gone many changes in its structure and Washington, D.C. She began songwrit- protest spirit inspired by the defeat style. Jeffries joined the group in 1977 ing as a way of survival in a sexist, of gay rights in Dade County, Florida. Tower of Power will demonstrate com­ and is featured for the first time on, petitive society. The entire audience chanted the refrain. its blend of rhythm and blues and soul the new effort. "My songwriting hasn't changed "What are we gonna do?" at Dooley's on Tuesday, May 9. Synon­ Originally formed as the Motowns since then really." Culver said. "It's To continue their good work. ymous with West Coast funk, the ten- Mel­ in 1967, the group's ultimate goal was still basically about emotional survival low Muse will bring Baba Yaga, a member California-based group has es­ nine- to play the Bay area nightclub circuit. on desolation row. I could easily have women jazz band, into town tablished itself through successful con­ May 13 They incorporated stage uniforms and been a casualty of society after grow­ for a concert/dance promoting cert performances and best-selling al­ the es­ synchronized steps into their act. ing up in the 'burbs, but I wrote tablishment bums. to go of a women-owned and op­ In 1969 they changed their name to uncrazy, and I still do." erated restaurant in the Lansing area. Its current album on Columbia, Tower of Power, mothballed their uni­ Influenced by the 60's folk groups The band is a group of top-notch Came to Play, features both laid-back forms, dropped their steps and began and especially by Dylan. Culver began musicians with backgrounds ranging selections and high-energy funk. Com­ using more original tunes in their show. street singing about social problems from country to classical, playing elec­ bining a tight horn section (Greg Adams, Their club popularity soared, and they and personal feelings. tric guitars, trumpet, saxophone, drums, Emilio Castillo, Mic Gillette, Steve also gained recognition as a concert "After street singing and going jazz piano and flute. Their lyrics re­ Kupka and Lenny Pickett) and an intri­ band. They became a regular feature west with the hippie movement in the flect contemporary issues and subtly cate rhythm section (Ronnie Beck, at the legendary Fillmore. late 60's I we: one tough cookie. I inspire political awareness, while their Bruce Conte, Victor Conte, Chester In the,intimate atmosphere of hadn't learned how to be diplomatic instrumental music, roughly half their Thompson) with lead singer Michael Dooley's, Tower of Power is expected or nice yet," she said. "When I started repertoire, gets people on their feet. Jeffries produces a dynamic mix. to produce a hot show of dynamic working the bar scene in D.C. during For ticket information, see the Although the album is their ninth funk and soul. the early 70's. I shocked a lot of peo­ CALENDAR.