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CONTENTS REPORTS FROM BACKSTAGE LHJMU IS ELTON JOHN OBSOLETE? 4 Elton John paces his living room and ponders the fate of his new LP, Honky Chateau. HOW FREE FELL APART . . . AND WHY THEY FELL TOGETHER AGAIN 22 Free’s Andy Fraser stomps through an explanation of why the group that shattered last year suddenly whirled together for a sixth album. WHAT YOU SEE IS WHAT YOU GET: ROBERTA FLACK 32 The strange views of a girl whose record with Donny Hathaway is giving her more gold on the charts than Neil Young and Emerson, Lake and Palmer combined. LOU REED: WILL HE CATCH FIRE BEFORE RCA DOES? 36 With the spirit of rock and roll burning in his belly, ex-Velvet Undergrounder Lou Reed is using a solo LP to singe away his ties to a peculiar past. THE MYSTERIOUS RISE OF URIAH HEEP 40 Even Marc Bolan took time out to knock them. Yet until Demons and Wizards, no one was buying their records but the Germans. CHUCK BERRY: THE KING OF ROCK COMES OUT OF THE CLOSET ...... 54 Berry’s London Sessions LP raises a question: can Jagger’s master beat the Stones at the game he taught them how to play? BEHIND ‘SCHOOL'S OUT’—THE ALICE COOPER NO ONE WANTS TO KNOW 58 You knock on the door of Alice’s mansion expecting to meet Dracula in Drag, only to end up in the kitchen with Archie and Veronica. What happened to Alice the Killer?
THE ALBUM REVIEW
RECORD REVIEWS 18 The Rolling Stones, Elton John, the Beach Boys and more. Ed Kelleher’s scrappy analyses of the super- stars’ new LP’s. ON THE HORIZON 26 Flash, Dr. Hook and the Medicine Show, Stories, Z.Z. Top and more. A personal visit with six newcomers. ’OT WAX ...... 39 The FM DJ’s give their ratings of the newest disks. IE RECORD LOVERS’ GUIDE 44 ^ite-sized reviews of the month’s 25 tastiest albums. E PICK OF THE MONTH 45 he hottest platter of the last 30 days.
MIND, BODY AND STARS
iRS ...... 10 GERALD ROTHBERG 'ing in Joe Cocker’s hotel room. Flashing Publisher and Editor-in-Ch Editor: Howard Bloom; Art Director: Norman Jacobs; Contributing s over Jethro Tull. Editors: Peter Buckley, Ed Naha, Janis Schacht; Advertising Di 14 rector: Norman Harris; Assistant to the Publisher: Art Ford; Re VAL SCENES gional Correspondents: London—Kenneth Howards; West Coast— 1 dates for The Allman Brothers, Yes, Three Jacoba Atlas; New York—Wall! Elmlark; Photo Editor: Jeff Mayer, ight, and a truckload of others. Over 200 FOA; Cover Design: Arnold Genkins; Research Assistant: Rob lances you shouldn’t miss. Norris. ?K PAGES ...... ;;..... 48 Readers' Advisory Bou>ard: . Jerry Be<•ck; Linda Gallucci; Bob Gross- s the partnership. Carole King says no weiner; Marcia Lankey; Howard ILynn; Randy Schwartz; David e real-life death of Jim Momson. Late Shafer; Linda Stapleton. “tins from the nerve centers of rock. CIRCUS Magazine is published 12 times a year by Circus Enter HARISMA ...... back of poster prises Corporation. 866 United Nations Plaza, New York, N. Y. 10017, 212 - 832-1626. Return postage must accompany all unsoli Alan Oken sneak-preivews your cited manuscripts, drawings and photographs. Entire contents Copy- nth. right © by Circus Enterprises Corporation 1972. All rights reserved. back of poster Reproduction or use without written permission of editorial or pic torial matter in any form is prohibited. Printed in U.S.A. tion rates: 12 issues for $9.00. Office of Publication- F' with terror. West Pittston. Pa. 18643. Second class entrv - M the READERS back of poster ngs bust the halter. Viet Nam The famous Elton be- gan as a gambit “to keep my ass from freezing off.”
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Is Elton John Obsolete? countryside is an impressive, rambl First they build you up as a superstar, ing 16th Century provincial-style castle, the Chateau D'Herouville. Be then they bury you, complains Elton John hind its gnarled chestnut trees and thick stone walls lies one of the most as he paces his living room and ponders modern and complete recording com plexes in the world, Strawberry Stu the fate of his new LP (‘Honky Chateau’). dios. With four separate 16 and 32 track studios, complete with self-con tained apartments and living quarters, MUSIC
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it’s a highly sophisticated recording style castle, the home of the honky commune, a sort of Camelot of the chat himself, Elton John. Behind the music buisiness, and, one would think, white birch trees and the circular the ideal place to cut an album. Elton driveway is one of the most comfort John’s latest was recorded at Straw able bachelor pads you can imagine. berry and it must have gone pretty High-ceilinged rooms of stone, wood well. Honky Chateau is dedicated to and glass, enormous guilded mirrors D'Herouville. straight out of some forgotten Ritz, About 45 minutes outside of Lon lots of buttoned leather furniture and don, hidden among the wooded Eng low, heavy tables, banks of sound, lish countryside, is an impressive, visual, and electronic equipment box rambling 20th Century Beverly Hills- ed in black perspex squatting on thickly carpeted floors, and taking up most of one wall, a monster grand piano. The critics carry daggers: A couple of gardeners are on the other side of a sliding glass sheet sweeping the leaves out of the swimming pool, and in the main room Elton John sits in front of a barricade of gold rec ords, sips his black coffee and talks about his career, his concerts, his music, and, well, Elton John. “I’ve probably had more shit thrown at me by the press over the last nine months than anyone else in the busi ness, but I suppose that’s their job. They love to do that—spend six building you up and then spend the next six knocking you down. It’s a kind of game with them. They’re starting in on it now with Carole King and Cat Stevens, and Rod Stew art’s next. It’s all part of the ‘super star-cycle’ they create, but I think they’ve pretty well finished kicking me around. It was the over-exposure, you see, and that almost finished me off as soon as I got started.” The LP disaster: Honky Chateau (on the Uni label) is Elton’s seventh album in less than three years, which doesn't seem all that much until you realize that four of these were released within the space of twelve months. As finished products, he’s not particu larly proud of two of them; Friends was a bit of a rush job put together immediately after he returned from an American tour, and at the time he didn’t have any control over their flooding of the market so that these, coupled with his scheduled release of two regular albums a year, plus singles, plus the radio-television-tour ing super-hype from twenty-seven dif ferent directions all added up to over- exposure. Ripped off or wrung dry? “People seemed to think that I was out to rip off as much bread as possible in the shortest amount of time, which is logical I suppose, but it just isn’t true.” With the release of Madman Across The Water he had four albums at once in almost everyone’s top thirty, and it was a bit too much all around. there is a trace of annoyance at his About a year and a half. I’ve been In spite of, or rather because of, four public manhandling. working as a musician all my life, gold albums and a platinum, Elton Money’s not everything: The press and that kept some clothes on my was the hottest thing in the business maulings, both good and bad, have back and fed me, but money never but he was also in trouble. “If Mad helped to make Elton John a very really came into it.” It does now. man had been a bust, then that would valuable property, and nobody knows “But it really doesn’t make all that have been it for Elton John. But as that better than the former Reg much difference what they say. I’m it was, it worked out okay, so I think Dwight who became the present Elton pretty happy with most of the stuff I’m back in favor again; at least it John. When I asked him how long I’ve done in the past, and I think Hon would be nice if I was.” he had been a professional musician, ky Chateau is the best thing yet. It’s His little cupie doll face scrunges he peered at me through those ever a complete change from all the other up into a thoughtful reflection and present yellow-tinted specs and took albums. Very simple and straight then bubbles over into a giggle. There less than 5/8’s of a second to answer. forward; no orchestra, no strings— is no bitterness in his references to the “You mean how long have I been well, one number does have four last year and a half—far from it—but making any money out of my job? brass—but the rest of it is just me 6 CIRCUS and the group. Inside the stone walls of a chateau that The group consists of Nigel Olsson at D’.Herouville. “I had vowed that would have astonished the Hunchback of Notre Dame, Elton and his new group (drums) and Dee Murray (bass) who I’d never work in France again. We were spewing out fresh songs faster have been with Elton right from the had three very bad experiences in a than a Motown hit factory. start, and a new addition, Davey row there, and that was enough. I Johnstone on guitar. Johnstone was mean they’re so bloody disorganized very much in evidence on Madman, and amateurish, just like Germany, but his first appearance as part of and I really don’t want to do any the group was at London’s Royal more public appearances in places Festival Hall on the fifth of February where nobody knows what the hell this year. thej*re doing. But when this recording Quick trip across the English deal dame up we thought we’d give it channel: They did that concert— a try. We’d heard a lot of good things which incidentally was a complete about the studios—I think the Grate knockout—right after they returned ful Dead were the first to use it, then CIRCUS 7 I M circular drl house Is one of the most Incredible bachelor pads you’ve ever seen.
Pink Floyd and T. Rex—and what Dame. And each studio had its own ing in Chateau than in anything we’ve did we have to lose?’’ staff and kitchen. There were about ever tried before. You can feel it Behind the scenes at the LP’s 20 of us—the group, engineers, wives, especially in ‘Amy’ and ‘Mellow’— birth: “We went over to D’Herouville kids and all—and we ate together at sort of a tribute to the great French with only two songs ready, but as this long refectory table in the center blues artists that few people know all soon as we got there it all started to hall eating fabulous French food. But that much about, like John Luc work like magic. Bernie (Taupin, El when we wanted to work, there was Ponty. In all. the album is a real ton’s partner and lyricist) was run enough room for everybody to dis change for us, a change for the better. ning up and down from his little appear. And each of the four studios “And the fact that it was done so office spieling out with the lyrics and is the same. The only time you needed quickly and turned out so well is I was picking melodies straight out to see anybody else was out at the another change. It's unusual for us on the piano and the group was right swimming pool. to do an album from the beginning, there putting everything together as The song spurt: “Anyway, it was the writing, to the finished product complete arrangements. The atmos so good, so productive, that we wrote in such a short time. Normally they phere was fantastic, sort of a luxury nine songs in three days. It was just take a great deal of time to perfect; camp-out where everything you could like a Motown hit factory. We were twelve or thirteen takes on the record think of was at our disposal. Not only reeling them out. We rehearsed and ing to put it all right; and it has to the technical apparatus, but the living polished for another eight to nine be as perfect as possible, doesn’t it.” accommodations. We had beautiful days, recorded in ten, and the whole He bounces up every now and then, apartments all done in antiques. In the thing was finished in three weeks. Un striding across the room to adjust the main hall there was this huge Four believable, but we’re really happy volume on the stereo (from loud to teenth Century wrought iron chande with it and as I keep saying, I think louder) or to answer the telephone lier hanging over our heads like some it’s the best thing we’ve ever done. or to pour more coffee, and then thing out of the Hunchback of o re “There’s a much more bluesy feel- slumps back into an almost horizontal MUSIC position. The orange Texas sweatshirt, “You know that's what throws so Shooting through the schlock: El the black velvet legs and the yellow many people—it is just myself. Every ton’s recent Stateside tour was his high heeled boots look right at home body’s always going on about ‘the sixth, and in addition to Great Britain across the button-backed sofa. When people behind Elton John,’ the ones and the Continent he’s also managed emphasizing a point, he tends to wave who stage that wild act, dream up to hit Japan, Australia and New Zea his hands and fingers about—not the those funny clothes, and create that land. (“I think they crammed every long, elegant kind that one normally, image that is ‘the other Elton John.’ body on the whole island into that if erroneously, associates with a mas Well, there just aren’t any ‘people one auditorium. They really know ter pianist, but short, thick, strong behind’.” how to appreciate a concert way down digits that are as capable of pounding How to keep your bum warm: “All there.”) And all in the last wizz-bang out a steady driving beat as they are that live business, the act and all, year and a half. of gently running up and down a started accidentally when I was play “The thing that really destroys me melodic keyboard. ing in Halifax at the Crumlin Festival about America, though, is the show Mush-man meets his match: “I’m —how’s that for a name—and it was business hype. All that schlock. I much more comfortable as a writer bitter cold and I had to do something really hate it. They think it’s so im than as a performer, and I think of • to keep from freezing my ass off. portant to play all sorts of games like myself primarily as a composer. Not Well, I’ve always been into Jerry Lee those idiot television shows. Yuck! lyrics; no, I just can’t do them. I know Lewis and Little Richard and all so Never again. I mean I really like what I want .to say, but when I try, I started jumping about not even Andy Williams, he’s a very hip guy, it all comes out as such—achh— really knowing what I was doing, and a real surprise, nice, but I couldn’t do mush. But Bernic, no matter how he the crowd really went bananas; so that kind of shit again. The Dick puts it down it manages to come out I've kept it all in ever since and built Cavett show was something else. I beautifully, and my music just takes on it. The audience gets a kick out really enjoyed that—he's intelligent, off from there. And as a writer one of of it and so do I, and that's what it's interested and he cares, not like old my greatest pleasures is to see people really all about. The fact that some David Frost who's too busy being like Andy Williams and Lena Horne stubby little guy like me can get up ‘fantastic' and reading his notes so make a whole new sound out of my on a piano and wiggle his ass off and that he never even listens to what music. But I couldn’t ever write speci people think that's sexy, well, / think you're trying to say. Show-biz. Who fically for anyone else. That’s too it’s a hoot. But as for ‘the people needs it. We do our own brand of computerized and it requires a special behind Elton John,’ well there's only show business. It's called music and skill that 1 don't have. I just write one thing behind me and I’m sitting it’s fun." And that's what it's really for myself. on it.” all about. • Plight of theRedman The Indian has been out there on the ghetto of the reservation for a long long time, We have existed without adequate food, clothing, shelter, or medicine, to name but a few, In their place we have been given malnu trition, poverty, disease, suicide, and bureau cratic promises of a better tomorrow, Your America has not been a land of your proclaimed equality and justice for all, May your God forgive you, The treatment of our people has been a national tragedy and disgrace. The time has come to put an end to that disgrace, Alcatraz, Fort Lawton, whatever necessary, We must now manage our own affairs and control our own lives, and through it all... remain to be .. . the true American! 4
R536L "PLIGHT OF THE REDMAN" By XIT on Rare Earth CHXUS 9 Illg Send letters to: Jimi Hendrix Letters to the Editor CIRCUS Magazine created a sound and named 866 United Nations Plaza it "The Lady " because this letters New York. N.Y 10017 silvery, liquid sustain sounds OUTWIT THE EDITOR______KNIVES OVER TULL______like a wailing woman. Circus wants your advice. I hope you print this letter because Now Black finger We want to get your feelings on it deals with a really important change which aspects of CIRCUS hit you the in the way music is seen today by a lets you use this sound in hardest. So while you’re reading this lot of people. Just recently I encoun your playing. copy of the magazine, mark the one tered a frightening reality while at Black Finger is an 80 db compres or two paragraphs that interest you tempting to purchase tickets for Jeth sor which gives a pure, completely the most—the ones you'd like to read ro Tull at the Nassau Coliseum. controlled sustain with no distortion. more of. Then send us a letter telling It was really sick—people were A well-known guitarist has called it which paragraphs you singled out— pushing each other three hours before “one of the most beautiful sounds you mention the page numbers and the the box office opened—kids had can get out of an electric guitar.” paragraphs’ opening lines. Finally, try knives and threatened to use them. Black Finger actually sustains to tell us why those paragraphs ap All this wasn’t as bad as what hap whole chords as well as single notes— pealed to you. pened when the windows opened at without any muddiness. To keep this from being a one-sided 11 A.M. The feeling I got from these A heavy-duty foot control lets you deal, we’ll send each of the ten peo people was that none of them were cut it in or out in the middle of a solo, ple who gave us the most helpful ex without having to make any other really into Jethro Tull. I had sat up planations a new stereo record. adjustments. all night and talked to a lot of them, And when you feel like adding a I’m looking forward to your letters. and most of them had the same atti little showbiz to your act, Black Howard Bloom tude to Tull. I’ve been into Tull since Finger’s extreme sensitivity makes fast Editor This Was and have seen them four one-handed playing easy. Your guitar times and the reason I keep going is will respond instantaneously to your JOE COCKER, DYNAMITE!!!______not to see Ian scratch his balls but touch. Several days ago, I had the most because their music really is meaning Different settings of the sustain and SPACED-OUT time of my life. After ful to me. I really get engrossed in the tone dials will let you alter a variety of being a Cocker freak since I could fine texture of their music, not just natural overtones—from opaque to remember, I finally found out why. the fast, beaty songs. But a lot of translucent. Plus, you can get exciting I've always figured any rock star to new effects by using Black Finger in these people just want to sit in the conjunction with your echo, wah or be a different breed of shit. But on first row, trip out, and look up Ian other pedals. this day, I made my way up to Cock Anderson’s ass. Most of them spend Black Finger also works beautifully er’s hotel room with my friends. Be their lives sleeping in front of box with electric violin, mandolin, banjo ing chicks it was easy to get through. offices and going to every concert so or any stringed instrument. A knock on the door and there He they can scalp the tickets they didn’t stood. What a rush! What else—he use. I found a lot of them think welcomed us in to party a while!!! Aqualung is the best album just be What a way to lose it!!! We sat and cause it’s loud at times with a couple talked about whatever, and then I of fast jump-up-and-down numbers came to realize that Joe Cocker was on it. Most of them didn’t think Thick what I thought him to be: a different as a Brick was half as good. (I, for breed of shit: a beautiful, together one, have seen a brilliancy behind person who took the time to talk about Thick as a Brick which would take whatever. A thing most people won’t another letter to talk about.) Also available at your retail music store. take the time out to do. Makes you So my friend and I left without get kinda think, huh? Where’s your head ting tickets rather than be a part of at? This made a revolution in my those people who go against the very electro-harmonixc\ »oi head. And after a concert that would thing I feel Ian Anderson is trying to 15 West 26th Street put your head where you thought it convey in his music and lyrics. They New York, N.Y. 10010 couldn’t reach, my brother and I just don't see that their “sperm’s in Money back guarantee. somehow found our way up to that Try Black Finger for two weeks the gutter” and their “love’s in the room. UP to that room where I left sink” and of course that they’re “Thick and see for yourself. my head earlier in the day. I only as a Brick.” Thanks for the words Please ship: ___ Black Fingcr(s) at $69.95 each. wish every Cocker Freak could have Ian. Enclosed is check for $_------been there, been there to get super Michael Guy Ship C.O.D. Enclosed is 10% blitzed, spaced, lose it, find it, and Sayville, New York deposit (U.S. only). very slowly walk out, living to tell Please place me on your new any freak and whoever that doesn’t GREAT GOD, IT’S GRAND product announcement mailing care for Cocker to EAT SHIT!!! FUNKITIS!______list at no charge. Cause Joe Cocker is what he is and The only layer of hurt Terry Knight he is DYNAMITE!!! is hiding is the one in his wallet. Name Peace and Love Brothers, Grand Funk have just proved to be Address._____ Sue—Spaced out still and forever the rip-offs I always knew they were. Bentleyville, Pennsylvania They hand out this “Brothers and City P.S. Maybe the song “I GET BY Sisters” shit while they demand phe WITH A LITTLE HELP FROM MY nomenal pay to play in halls big . State______Zip. FRIENDS” has some truth to it? enough to fit a real railroad in. If they are so “idealistic,” why don’t they kiddies. Furthermore CIRCUS doesn’t and want to keep do benefit concerts and donate their print articles on them, or people like then they should. earnings to the “revolution” or what them. Number 3—So you thought the Whenever I open a ever it is they believe in—the profits John & Yoko poster was, quote, “Arty- it will have somethi from their albums alone could keep trash-flash-crap,” unquote. Well may don’t like to read e those three clowns alive forever. I be somebody liked that poster. May don’t. Turn to a pan think this cat Steve Ditlea (author of be that somebody would think Paul I hat’s mature enoug “Grand Funk Railroad: The Fight McCarthy is arty-trash-flash crap. For that matter, if For The Throttle,” Circus, June, I think McCartney’s latest albums complaints about C 1972) should get his mind together. stink! If you think the quality of the it? Who’s asking yoc Grand Funk is PLASTIC, CORRUPT posters is bad, well I’d like to sec you something better! and a definite sign of the downfall of do better. What do you mean, why the “good rock” empire. With so many does CIRCUS print letters from the Marl groups terminated (Beatles, Cream, minds of two-year-olds? If people etc.) and with the loss of Joplin, liked Jim Morrison and his music, Morrison and Hendrix, and the ap pearance of Black Sabbath, rock hasn’t gotten better, or should I say the good has become better and the bad worse. Next to “rockers” like Humble Pie, the Stones and Led Zeppelin, Grand Funk Railroad is a mere “choo-choo” for the cellophane minded-boppers who can’t really get into Tull, Traffic, Hendrix, Santana, King Crimson, etc. “If you want to Their LP designed like a coin was all you got to i appropriate proof of their money-hun gry attitude. They should take out the let down your “N” in FUNK and replace it with a “C” . . . that’s what they’re giving us, and throw aw, the grand one! Believe it or not, “brothers and sisters,” rock and roll would be better ofT without Grand Funk. Chuck Krissman Skokie, Illinois
FUN AND GAMES FOR VIET NAM This has nothing to do with music, but it might amuse someone. I was reading my Hulk Magazine when I saw an advertisement that read like this: “Want to know what it’s like to fight in Vietnam? Want to know what it’s like to fight on both sides? Want to find out without getting shot at? Get Grunt! A complete war game.” It goes on to say that you get sol Wl diers, Viet Cong soldiers and Viet namese civilians. You can also order back issues of World War II (You OF can play with your old man). How ANe- about somebody chipping in and get I ting one for Tricky Dickie? V Music Freak Niagara Falls, New York
THE RIGHT TO BE FOURTEEN I’m writing this letter in reference to a letter in the June issue sent in by Allen, from Syracuse, N. Y. Allen, I think your letter was all wrong, and here’s why. Number 1—The articles in CIRCUS are not directed to four teen year olds. I happen to be four teen, but my brother in law who is a C.P.A. in his twenties reads CIRCUS. Besides even if CIRCUS was read mostly by fourteen year olds, so what? Number 2—I can’t stand David Cas sidy, or as you put it the Osmond I Andy Williams Ray Carole Sonny & Cher LOVE THEME FROM Conniff And The Singers King All I Ever Need Is You THE GODE&THER Music World To Sing featuring. An Old I j-dnnned Line Song □und Sumenne Without (>l M> (Un You I heme I r<«m It's Going to Take Some Time mnuzbin Carry Your Load |ODE 701
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Lily Just look at this great selection of recorded entertainment — Tomlin available on 12" Records OR 8-Track Cartridges OR Tape Cas I COLUMBIA HOUSE, Terre Haute, Indiana 47808 1 AND TWATS settes OR 7" Reel Tapes! So no matter which type of stereo I am enclosing□closing check or money order for $2.86, as payment for____ the I THE TRUTH playback equipment you now have — you can take advantage I 14 records>rds indicated below. Please acceptacc< my membership applies-applii | of one of these Introductory offers from Columbia Housel | tion for the(he Columbia Record Club. I agreea to buy ten recc:ords ' (at . j regular Club prices) in the coming tw
THE FLYING BURRITO BROTHERS: ANOTHER GREAT AMERICAN LAST Time really flies. It’s a "live" album, re After 4 short years, this corded during the final Bur album marks the end of The rito tour of Eastern colleges Flying Burrito Brothers. in 1971. Originally a 5-man group Listen to "Last of the Red featuring ex Byrds Gram Par Hot Burritos" and find out sons and Chris Hillman, this what Gram Parsons meant album consists of seven Bur when he said of the group.- ritos led by Hillman and Rick "...the idea will keep on Roberts. With Michael Clarke going.” In spite of the fact on drums, Al Perkins on pedal that The Flying Burrito ? steel guitar, Kenny Wertz on Brothers have flown. acoustic guitar and banjo, and spotlighting Byron Ber- line, three times National Fid dle Champion and Roger "Last of th* Red Hot Burritos" Bush, acoustic bass from the Produced by Jim Dickson Country Gazette. On AIM Records MISSISSIPPI JULY 20 Concert — BADFINGER (Oklahoma City) JULY 20 JULY 20 Concert — ALLMAN BROTHERS (Jackson) Concert — CACTUS (Oklahoma City) JULY 20 Concert —- DAIDAN HICKS AND HIS HOT MISSOURI LICKS (Oklahomaihoma City) AUGUST 24 AUGUST 11 Concert — RORY GALLAGHER (Oklahoma Kiel Auditorium THREE DOG NIGHT City) (St. Louis) OREGON NEVADA JULY 27 AUGUST 1-8 Coliseum — CHICAGO (Portland) Hilton Hotel — COASTERS (Las Vegas) AUGUST 25 AUGUST 1-16 Coliseum — JOHN KAY (Portland) Flamingo Hotel FATS DOMINO (Las Three Dog Night: Blitzing the biggest AUGUST 25 Vegas) ball parks in the land. Coliseum — THREE DOG NIGHT (Portland) AUGUST 22 Sahara Hotel CARPENTERS (Lake Tahoe) NOfcTH CAROLINA PENNSYLVANIA JULY 19 NEW JERSEY JULY 15 Concert — DEEP PURPLE (Greensboro) Main Point — DILLARDS (Bryn Mawr) JULY 20 JULY 20-21 JUIJLY 19 Concert — FACES (Charlotte) Spectrum ROLLING STONES (Phila- Concert — CHAMBERS BROTHERS (Cherry JULY 23 delphia) Hill) Coliseum THREE DOG NIGHT (Char- JULY 21 JULY 19 Arena — THREE DOG NIGHT (Harrisburg) Convention Hall — JERRY LA CROIX & lotte) JULY 22 WHITE TRASH (Wildwood) Civic Arena ROLLING STONES (Pitts- JULY 20 OHIO burgh) Concert — FLASH (Wildwood) JULY 30 JULY 21 JULY 18 Three Rivers Stadium THREE DOG JULYn2?rt — DEEP PURPLE (Jersey City) Concert ALLMAN BROTHERS (Cincin- NIGHT (Pittsburgh) JUCapitol Theatre — ALICE COOPER (Passa nati) AUGUST 1 JULY 28 Music Festival — BLOOD, SWEAT & ic) Concert — JOHN BALDRY (Canton) TEARS (Ambler) JULY 27 AUGUST 8 AUGUST 2 Concert — CACTUS (Wildwood) Concert DAVE*” BRUBECK" (Cuyahoga Concert — IDAVE BRUBECK (Ambler) JULY 29 Falls) AUGUST 4 Concert — CHEECH & CHONG (Asbury AUGUST 11 Merriweather Pavillion CARPENTERS Park) Rubber BowlE YES (Akron) (Allentown) AUGUST 8 AUGUST 12 AUGUST 23 Concert — RORY GALLAGHER (Jersey Concert ■ CHICKEN SHACK (Toledo) Concert — FLEETWOOD MAC (Philadel- City) phia) AUGUST 9 OKLAHOMA AUGUST 23 Convention Center — BLOOD. SWEAT & Concert — DEEP PURPLE (Philadelphia) TEARS (Asbury Park) JULY 16 AUGUST 25 AUGUST 12 Concert — DAN HICKS AND HIS HOT Concert — DEEP PURPLE (Pittsburgh) Convention Hall — YES (Asbury Park) LICKS (Tulsa) AUGUST 25 AUGUST 22 JULY 16 Concert — FLEETWOOD MAC (Pittsburgh) Concert — FLEETWOOD MAC (Jersey City) Concert — BADFINGER (Tulsa) AUGUST' 25 AUGUST 25 JULY 16 Folk Festival" .BONNIE...... RAITT (Phila- Concert — DOORS (Passaic) Concert — CACTUS (Tulsa) delphia)
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I i John^ 1 Mayall.
I “Jazz Blues Fusion" is one the jazz blues fusion^ I album people have been they’ve been waiting for. I expecting for a long time. I People who have yearned I to hear superlative blues mixed distinguished friends. Like blues master Selico on percussion, and the JOHN MAYALL Freddy Robinson on guitar, jazz great legendary Blue Mitchell on JAZZ BLUES FUSION I with superlative jazz. trumpet. Jazz Blues Fusion- Po'%7,“on and N^Yorfc*0 I But John Mayall didn't do it alone: Clifford Solomon on sax, Mayall stalwart Larry Taylor on bass, Ron Dig in. u*<»«»©«<«■ I he had a little help from a few RHODE ISLAND AUGUST 11 from Electro Harmonix, makers of Concert — CHICKEN SHACK (Providence) SOUTH CAROLINA the Mike Matthews freedom Amp. AUGUST 16 Concert - DEEP PURPLE (Columbia) floor Boosters TENNESSEE LPB-2 This is a new floor model of the LPB-1, enabling you to cut it in or out JULY 16 instantly with your foot. Since all ampli Concert — BROWNSVILLE STATION (Nashville) fiers arc overdesigned to more than handle JULY 28 the most powerful pick-ups, the LPB-2 State University — YES (Memphis) AUGUST 4 will let you derive optimum results from Concert — CHUBBY CHECKER (Chatta- your amp. nooga) AUGUST 6 Concert — KING BISCUIT BOY (Memphis) Screaming Tree Similar to the AUGUST 18 Screaming Bird but with a heavy-duty foot Mid-South Coliseum DONNY HATHA- » WAY (Memphis) control switch, this ultimate treble booster gives your rhythm or lead playing more TEXAS Plug-in Boosters balls than you thought possible—by em phasizing the BITE you get just when your JULY 15 This linear power booster is a Concert — CHI-LITES (Dallas) LPB-1 pick plucks the strings. JULY 15 compact solid state preamplifier that can Concert — JAMES GANG (Dallas) Little Muff n Like the Muff but in a JULY 16 up to quadruple the acoustic output of any Concert — CHI-LI-TES (San Antonio) amplifier. It will increase guitar sustain floor model that features a foot control JULY 30 switch. Memorial Coliseum YES (Dallas) and improve the performance of all wah- AUGUST 3 wah pedals and distortion units. HOgS Boot A bass booster for profes La Bastille RAHSAAN ROLAND KIRK (Houston) SCreaming BirdX treble booster that sionals who want the thick, heavy sound AUGUST 11 necessary for blues playing. Technically Concert — CHEECH AND CHONG (Dallas) will give your instrument the razor sharp AUGUST 13 cut of a screeching harpsichord whose similar to the Mole, but with foot switch. Concert — CHEECH AND CHONG (San Antonio) strings arc whipped instead of plucked. AUGUST 13 Use two Birds and turn your guitar into an Sam Houston Coliseum THREE DOG NIGHT (Houston) electric banjo. AUGUST 19 Concert — CACTUS (Dallas) Muff This funkiest distortion device AUGUST 19 Concert — FACES (Dallas) will give you that dirty sound reminiscent AUGUST 19 of the natural distortion of the tube amps Cotton Bowl — THREE DOG NIGHT (Dal las) used by the Rhythm 'n Blues bands of L AUGUST 25 yesteryear. 1 <7 ‘ Concert RORY GALLAGHER (San An- tonio) Mole The mole bass booster will ex UTAH tract the highs and amplify the subhar monics, giving your instrument the depth, JULY 29 ALso available at your retail music store. Salt Palace THREE DOG NIGHT (Salt resonance and heavy penetration of the Lake City) foot pedals of a church pipe organ. BgO This microphone booster is designed All Electro-Harmonix accessories are WASHINGTON guaranteed for ten years. They are com for the vocalist whose PA system isn’t JULY 26 patible and modular. Any combination of Coliseum — CHICAGO (Seattle) strong enough to cut through the noise more than one unit will give you an infinite AUGUST 8 generated by the other members of the Paramount Theatre YES (Seattle) variety of sounds. AUGUST 26 band. The Ego will match any microphone Enclose a check and Electro-Harmonix Sicks Stadium — JOHN KAY (Seattle) and up to quadruple the output of your AUGUST 26 will pay shipping. Or, if more convenient, Sicks Stadium — THREE DOG NIGHT PA system. \ order C.O.D. for cost plus shipping. En (Seattle) close a 10% deposit on C.O.D. orders. WISCONSIN (C.O.D. orders are limited to the con JULY 22 tinental United States.) JAMES GANG (Madison) State Fair Money back guarantee. Try any of our CANADA boosters out for two weeks. If you don't JULY 15 think they're the greatest, send them back Maple Leaf Gardens — ROLLING STONES for a complete refund. (Toronto) JULY 17 Forum — ROLLING STONES (Montreal) JULY 17 electro-harmonix is west 26th st., New York. n.y. 10010 Cl 802 O'Keefe Center — CARPENTERS (Toronto) JULY 18 Please ship: quantity quantity Concert KING BISCUIT BOY (Van- $14.95 LPB-1 (plug into amp) $19.95 Mole (plug into inst) couver) JULY 21 — 14.95 LPB-l (plug into inst) B 14.95 Ego (2 female jacks) Concert — KING BISCUIT BOY (Edmon 17.95 Bird (plug into amp) •ton) on JULYJUI 24 17.95 Bird (plug into inst) 23.95 LPB-2 Youth Pavillion — FIVE MAN ELECTRI- 18.95 Muff (plug into amp) 23.95 Tree CAL BAND (Edmonton) JULY 28 18.95 Muff (plug into inst) 23.95 Little Muff Coliseum — CHICAGO (Vancouver) 19.95 Mole (plug into amp) 23.95 Hogs Foot JULY 29 Colonial Tavern — WINTER CONSORT (Toronto) Enclosed is check for total amount s. AUGUST 1 Colonial Inn — ELVIN JONES (Toronto) Ship C.O.D. Enclosed is 10% deposit $ AUGUST 21 Please place me on your new product announcement mailing list at no charge. Concert — KING BISCUIT BOY (Ottawa) AUGUST 27 Concert — CHICKEN SHACK (Calgary) Name ______Address. City. State Zip. rard reviews Ed Kelleher
Beach Boys: Surging with peace and power. Elton John: Crisper than Chicken Delight! The Rolling Stones—Exile On Main be happy with “Happy,” on which he mentary on a superstar’s existence Street (Rolling Stones) does just that. The Stones most co than it is an abashed reminder that T n the unlikely event anyone had hesive and overpowering album since even the most unlikely candidate can 1 forgotten that the Stones are at "Beggars’ Banquet.” aspire to just that sort of isolation. the top of the rock heap, a gentle Occasionally he just draws a portrait reminder comes in the form of this of someone (“Old Man”) or some two record set. Well, perhaps “gen thing (“Dayton, Ohio”) from another tle” isn’t the proper adjective. This is Randy Newman—Sail Away time, and in these cases too the shad a non-stop, charging session. The ad (Reprise) ings are always precise and lovingly dition of former Mad Dogs Bobby Last fall when Randy Newman rendered. Randy accompanies himself Keys (sax) and Jim Price (trumpet wandered onstage for a solo concert throughout on piano, and the always and trombone) give the proceedings at New York’s Town Hall, he re dependable Ry Cooder and Gene Par a funky touch reminiscent of the all marked that it was the first place he’d sons of the Byrds are among the mu night blowing sessions that the city of played where they didn’t serve ice sicians lending a hand. Sail Away will Chicago became so renowned for, par cream. Though recognized for some definitely take you away ... if you’re ticularly in the early Fifties. The story time as an unusually gifted songwrit ready. that all of the rhythm tracks were laid er, Newman has been making his way down before Mick Jagger even got cautiously as a performer. Sail Away, around to writing the lyrics seems his fourth album, contains two songs hard to believe when you hear the previously available on his live LP Elton John—Honky Chateau (Uni) eighteen songs here. The words and and a couple more which received Though Elton John’s music has of the music seem to burst forth spontan some degree of exposure courtesy of ten been garnished by the fullness of eously. Exile On Main Street is a other artists. With those tracks as in Paul Buckmaster’s impeccably ar positive step for the Stones. They surance, Randy has added eight more ranged orchestrations, he has always have discarded a lot of the satanic and come up with as agreeable and had a penchant for playing in the kind bullshit, which never really fit them, provocative a listening experience as of funky no-holds-barred style often and opted for a good time instead. you are likely to encounter all year. exhibited by Delta rock and rollers. The Stones have always done incred Newman is an observer. In his log he In live performance, working with a ible B sides ("Play With Fire,” “Let’s jots down many of the absurdities and closely knit group, Elton has had am Spend The Night Together," “2,000 foibles of Twentieth Century existence. ple opportunity to pull out the stops, Light Years From Home,” “We Love But he goes even deeper than that, and he usually has done exactly that You” and “Who’s Driving Your cutting through levels of sham and —to his own delight almost as much Plane” are just a few) and one of excuse to root out the true elements, as to the audience’s. On this album, their greatest ever is “Black Angel,” all the while grinning with the inno recorded under the most informal con the flip of “Tumbling Dice.” “Black cence of an archangel. In songs like ditions in an actual chateau in France, Angel” proves to be the best track "Political Science” and "God’s Song he comes closer to the rocking bone on this album—listen to the accom (That’s why I Love Mankind),” he than ever before on record. Listening panying marimbas by Amyl Nitrate takes aim at preconceptions which to the ten tracks one can well imag (what?) and see if you don’t agree. some people refuse to question and ine the "Quiet Please, Recording” Another beauty is "Sweet Virginia,” which most refuse to admit are still light blinking off and Elton and on which Mick turns in one of his intact. With disarming aplomb, he is friends just getting it on together. But finest vocal performances and plays just as likely to turn the bow around this is no slipshod, anything-goes ses a sweet harmonica too. If you’ve been and let fly a shaft at his own incon sion. Elton, Davey Johnstone, Nigel waiting ever since "You Got The Sil sistencies and fears. “Lonely At The Olsson, Dee Murray and jazz great ver” for Keith Richards to have an Top,” delivered with the deadpan air Jean-Luc Ponty are just such consum other go at singing lead, you should of a confidential aside, is less a com- mate musicians and so adroit at an- I is CIKCUS I .
FREE1 You will receive a catalog with every one of your orders. * And now, as a special offer to you, we have available a BEATLE FREE! Poster from one of their last recording sessions for only S2.00. See below FREE! FREE!
100' Regular & Super 100' Regular & Super O Dance With Me O Elvis News Reel Fantastic Special O Attica State O Harrison & Shankar—Madison Square Garden O Sisters O'Sisters O John Loves Yoko — Mrs. Lennon O John Saint Clare O Ringo Starr — Sentimental Journey 95 O BANGLA DESH- O David Cassidy Madison Square Garden O 50' Color: Help (Regular only) BE THERE and Beatles at Hollywood Bowl O 200'(Regular only): + (3) color films O Beatles, O Rolling Stones 2nd Concert Tour O Rolling Stones O Live at Shea Stadium O Beatles Medal Story O New Look Beatles O Tell Me Why O Around the World with John & Yoko O She Loves You O I'm Down O O Beatles Before Becoming Famous O I Wanna Hold Your Hand "What I Say" O Twist and Shout O Let It Be O Ticket to Ride O Portrait of Paul O Hey Jude O Beatles News Conference O Yellow Submarine O Rolling Stones 2nd Concert Tour OO Beatles at Hollywood Bowl O Rolling Stones News Conference FILM OF O Beatles Meet Royalty O Close-Ups of Mick O O Arrival at the Palace O Rolling Stones Love In Vain O The Princess and the Beatles BEATLES O Rolling Stones Honky Tonk Woman O Best Scene in "Hard Day's Night" O Rolling Stones Cool It By the Pool O Behind Scenes in "Hard Day's Night" WITH PURCHASE! O Rolling Stones Riot in Fresno O Behind Scenes in "Help" O Rolling Stones Swing in San Diego O I Wanna Be Your Man FREE BEATLE FILM WITH £□ O Rolling Stones Lacerate in Long Beach O All My Loving ARGUS VIEWER!!!’!! O O Rolling Stones, Beatles & Byrds OO Can't Buy Me Love O Crosby, Stills, Nash & Young Use this great Argus Viewer to O Three Dog Night see Beatles or any other 8MM or BE SURE TO CHECK THE CORRECT BOX (8MM OR SUPER BMM O) BEATLE Poster only $2.00 SUPER 8MM Film any place you (Recording Settion) go! No electricity or attachments Movie Buy* Box 1604, Grand Central Station. New York. N.Y. 10017 needed. Carry it in your purse or PLEASE SEND ME THE FILM(S) I HAVE CHECKED IN THE COUPON. pocket. It goes where you go. ALL FILMS ARE S5.95 unless they are SUPER 8MM and then they areS6.95.
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ZIP NO. STATE ZIP------CITY S TA TE ticipating one another’s moves that one out of the marketplace. the album is imbued with the joy of Free: A dull death rattle? their comraderie. For the occasion Bernie Taupin has come through with some of his most telling lyrics, but several of the songs have an aura of Free—Free At Last (A&M) I playfulness about them which is en Ever since the dissolution of the tirely in keeping with the good time Beatles, each year has brought with it feeling generated by the band. Even several British bands who threaten to a song with the sombre title, “Think wrest the crown from the Rolling I’m Gonna Kill Myself,” turns into a Stones. Meanwhile, the Stones some ,5 send-up; and “Hercules,” a jealous times seem to keep their throne only man's lament, also manages to poke by virtue of default. During the sum fun at Elton’s newly attained middle mer of 1970 all England was buzzing name. As for John’s voice—it’s never about the new group Free, who (it sounded more at home. Like the was said by some) had the goods to chateau where it was laid down, this take it all. Well, they didn’t. But in album has a warm, lived-in quality. their first two albums and later in their live set they did prove them selves to be a strong and compact * L,, rock quartet. When they broke up, I was among the people who were The Beach Boys—Carl And The sad to see them go. But now, after F Passions—So Tough (Brother) hearing Free At Last, their first album Groups which vaulted into the pub since they reassembled, I wish they lic eye during the early Sixties but had left well enough alone. Save for a known create more interesting which lacked the creativity, adapta few decent high energy things, the sound variations just by tapping on bility and control of the Beach Boys songs here arc only hollow reminders the pipes. “Goodbye” and “Catch A soon fluttered into the oblivion of car of what Free once was. Sluggishness Train” offer fleeting glimpses of washes and all nite diners or found seems to have been the watchword for what the group was once capable of themselves relegated to the precari these lads as they trundled into the doing with frequency. But, taken as ous existences tossed their way by the studio for one last effort to recapture a whole, Free At Last is pretty much producers of rock revival circuses. former glories. What specifics? Listen a death rattle. Yes, that recent decade took its toll; to “Magic Ship,” five minutes plus of and it could have taken it on the plodding uncertainty. Fellows, the Beach Boys had not Brian Wilson led simple increase of speed does not them through a miasma of changes, make for the building of excitement. David Bowie—The Rise And Fall chucking their bleached-out surfer A good journeyman plumber has been Of Ziggy Stardust And The Spiders image for something more substan From Mars (RCA) tial—namely the finery of genuine Someday in the far future when talent and the embellishment of as armed guides arc leading interplane tounding production. This is their sec tary tourists through the ruins of West ond album for their own label, and it ern society, perhaps they’ll also be is every bit as multi-faceted and ul touting chrome statuettes of David timately rewarding as Surf’s Up and Bowie—the youne man from England possibly even a bit more enterprising. who. if it may not be said that he saw Like its immediate predecessor, it it coming, at least was heard to cry opens itself wider upon each listen; “Look out!” David’s latest exclama but whereas Surf’s Up was very defi tion comes in the form of this pwrtrait- nitely the sum of its parts (“Disney in-song of the ultimate rock and roll Girls” and “Student Demonstration” star. Ziggy is an otherworldly figure were cut from different pieces of who can reallv sing and “lick ’em by cloth, even though they hardly clash smiling.” With the lyrical expertise ed.) Carl And The Passions—So he has demonstrated in Hunky Dory Tough has the flow of something total and earlier albums. Bowie dispas ly intact. Still it’s not what is com sionately chronicles Ziggy’s upward monly termed “a concept album.” The course, his rei^n at the top, and his Beach Boys know better than that. inevitable decline. From start to finish More accurately, this LP can be con this is an LP of dazzling intensity and sidered a total expression of new- mad design. Bowie is achieving with found peace and assurance, with occa words the sort of effect which groups sional pauses for air or water or po like Pink Floyd are attempting with tato chips or beer or whatever you instruments and volume. At times one like to do when the needle’s in transit. is almost mesmerized by the tumble By the way: if you don’t like the of images and the sheer force of Bow place where the Beach Boys are cur ie’s performance. A stunning work of rently stationed (or even if you do), genius. Not your everyday sort of al you’ll probably be glad to know that bum. but an album for every day— the re-issue of Pet Sounds (not their at least until the End. latest, but still their greatest) is in- eluded as part of a two-record deal And Capitol thought theyd X-ed that David Bowie: Glittering men from Mars. 20 CIRCUS New music from Joan Baez IS a Legend in itself.
Prison Trilogy (Billy Rose) (Joan Bae:) Come From The Shadows Joan Bac-z Rainbow Road (Don Fritts Dan Penn) Love Song To A Stranger (Joan Bae:) Myths (Joan Bae:) In The Quiet Morning (For Janis Joplin) (Mimi Farina) Weary Mothers (People Union #1) (Joan Bae:) To Bobby (Joan Bae:) Song Of Bangladesh (Joan Bae:) A Stranger In My Place (Kenny Rogers —Kin Vnssy) Tumbleweed (Douglas Van Arsdale) The Partisan (Hy Zaret—Anna Marly) Imagine (John Lennon) “Come From The Shadows.” On A&M Records. USE THE POWER (18 VOTE Joan Bae:, producer; Norbert Putnam, associate producer the stuffed koala bears and toy aborigi- nies were the remains of what had once been one of the top bands in England.
by Michele Hush How Free Fell Apart
can’t remain aloof to the naughty boys who had leered their world, we can’t be in a vacuum way into the hearts of the multitudes as we have been in the past . . . now through the cocky suggestiveness of it’s just our own entity, and we take “All Right Now”—had called it quits it and plonk it wherever we go . . .” at the peak of their fame. Nobody Free, May, 1972 knew just where they were going, nobody really cared ... as long as it Good-bye was home. 1 hope we meet again The thorns that shredded the Good-bye group: One year later in May, 1972, Is this how it’s got to end? Andy Fraser sank into the depths of a gigantic bean-bag in the New York Midway through May, 1971, drift offices of Island Records. In the back ing along on a jet stream somewhere ground the sounds of Free’s latest al between Australia and London, a bum, Free At Last, oozed through a singularly untogether Andy Fraser let stereo; the flickering filament of a go of reality and melted into the nim huge blue bulb added an undulating, bus and cirrus which clouded his view. eery glow to an atmosphere already Drained by some form of post-partum tinged with the surrealistic aura of depression, he composed a swan song deja-vu. Andy, while not exactly at home for Free: in this setting, braced himself and ex plained the demise of Free with the We’ve come to the end of our clinical objectivity of an analyst. “We road together had been so busy working that we Made a stand that’s gonna last didn’t fully realize what had happened forever . . . to us,” he said, “but there came a Brother, won't you tell me what point where it was difficult for us to you're gonna do? function within the business and still {“Good-bye”— keep our essence together. We didn’t Lyrics by Andy Fraser) feel we were being honest enough, we didn’t feel we were being pure or Scattered around the plane amid realizing what we had started out the stuffed koala bears and toy abo to do.” rigines were the remains of what had The rush of stardom: Three years once been one of the top bands in ago, after several months of success Fncland. Andy Fraser, Paul Rodgers, in the underground milieu, Free burst tngian Kossoff—those Simon Kirx, into the public consciousness with all MUSIC
Photos: Chuck Pulin
J In May, 1971 the four exasperated men of Free kissed their band good bye. Then, suddenly, one year later they whirled back together again. (The story behind their new album. Free At Last). And Why They Fell Together Again
the fanfare which traditionally ac doxical when you consider that he was they had no time to be normal. They companies impending stardom. In thrown out of school at fifteen (for were booked solid for a year of con England, Europe, Australia and else refusing to cut his hair, no less). He certs; and when they weren’t on the where they rocketed straight to the laughingly referred to that experience road, they were in the studio record heights of pop-star glory (read: mon as one of the best things that ever ing. ey, headlines, record sales, groupies, happened to him . . . small wonder, Onstage they still sounded perfect. freaked-out and raving audiences, in since a short time later he was making But inside they felt like angry robots vaded privacy). When just beginning “a fabulous amount of money” play just going through the motions. A to taste success in America, they sud ing bass with John Mayall. leisure moment would find them sit denly gave up, disbanded and disap Simon Kirk was born in London ting silently, sulkily in the same room peared. The pressures of fame—the but raised in a tiny Welsh village. He hardly even looking at each other. demands to be-here-be-thcre and be-a- is very “country,” very sociable, and The tensions were building up like star at all times—had eliminated their very large (but—or so they say—as steam in a faulty boiler, but there was capacity to enjoy making music, leav “gentle as a baby”). Andy describes no safety valve to prevent an explo ing them confused, directionless and him as “never too up, never too down, sion. As Frazer said, “it would have very much in need of time to think. a good axis for the rest of us to work been better if we’d just learned how Four strong personalities: One of around.” to say ‘shit’ to each other.” Free’s major strengths, but also one Paul Rodgers, that violent looking A blow for freedom: Unable to lo of its weaknesses, was the fact that character with the vocal chords, is a cate a comfortable position, Andy they are four strong-willed individu “very basic, down to earth, instinctive, picked up a cigarette, lit it, and then alists. At best, this combination leads aggressive person” ... in other words, stared at it as if it were some alien to a wealth of ideas and enough guts in possession of all the qualities need creature. “I’ve been smoking millions to pull them through even the rough ed to get him out of the life of a coal of these things.” he commented with est situations, but at worst it pro miner and into the life of a rock’n’roll obvious distaste. “I don’t feel bad, duces a four-way collision of ideals star. but maybe I’ll stop for a while . . . and desires. Both the good and the Seeds of destruction: The mem just for the change.” Then, somewhat bad arc rooted in the varied back bers of Free were outlandishly young lost in a blue-tinted smoke screen, he grounds of the four characters in when success changed their lives. continued. “We needed this break to volved. Andy Fraser, for example, was a mere get away and grow up . . . and then London-born Paul Kossoff (a some fifteen. As he later implied, they grew come back.” Speaking very slowly, time Janis Joplin look-alike) is the up on the road, so they didn’t grow carefully considering each word be renegade son of a wealthy British up at all. Underneath the professional fore saying it aloud, Andy mused, actor; several years ago he “dropped exterior, they were still just kids. Then “I think we always knew that the out of school, dropped out of his came the triumph of “Allright Now,” combination was the magical thing, family . . . dropped out of everything bringing with it a fresh onslaught of but we were getting boosted up so except the group;” his friends see him unaccustomed pressures. Suddenly high, pushed here and there and as a comic, a master of the absurd they were stars, and they became there, that we had to start getting it with a wicked way of dealing out haunted by the feeling that the men together individually . . .” The final satire. destined to make money from their realization of this need crystallized Making it big at 15: Andy himself work demanded a fresh string of hits. “ right in the middle of an Australian is also a Londoner, but hails from But the hit-factory mentality grated tour. Totally exhausted and depressed, “the other side of town.” He is ex against their musicianly instincts. the boys packed their bags and went tremely articulate and intelligent, They felt their work was becoming home, believing that they'd find their characteristics which become para- “dishonest.” To make matters worse, “freedom” in groups of their own.
23 Paul Rodgers, vocals: The night of the first gig after their reunion was like an orgiastic revel in insanity. I final step was taken. image. Then, partially raising himself i The first gig after the reunion took to his feet, he tried to demonstrate place in Newcastle, amid the bizarre what a shaking universe might look glare created by a jubilant rock press. like. Judging from his performance, _ i The scene that night was Free at its it looks like a small, dark long-hair freest: Paul Rodgers, stalking, stamp grappling with an unwieldy rhinocer- ' ing. roaring around like a caged tiger, os. barbell-lifting the mike stand and then Birth of the new LP: Island Rec smashing it to the floor; head-shaking ords' London studios—a shabby black chord-bleeding KossofT and leap-frog box on the outside, a super-space par ging mini-Kong Fraser stomping away fait of sound and color within—have like manic book-ends at either side always been casual, but Free, flying of Kirk’s crashing cymbals and thun on the energy of rebirth, raised this dering drums. Need we add that the lack of restrictions to new heights. crowd went wild? If the group hadn’t Startled night watchmen observed the known it before the show, they cer four musicians alternately jamming tainly knew it now—Free’s second away madly and then storming out the coming had come. door with a “see you in about three Shaking the universe: Before long, weeks” tossed over a departing shoul KossofT, Kirk, Rodgers and Fraser der. Somehow, through long hours of were back in the studios to record a work, occasionally interrupted by con new album, Free At Last, in an at certs, they put it all together. The mosphere so highly charged that it result is a bigger, fuller Free than resembled that of a cyclotron. “It was we’ve heard before, a group with still very emotional for us—every grown-up dynamics. note seemed to shake the whole uni The group has recaptured1 a lot of verse,” Andy laughed, obviously its old values. “Catch a ""Train" and amused by the absurdity of that “Travellin’ Man,” for example, pre- I The blow up backfires: But freedom turned out to be worse than Free. After parting company, the four mu sicians tried their best to get new bands together. Paul Rodgers formed Peace, Andy formed Toby, while Kos- soff and Kirk joined forces with two individuals named Tetsu and Rabbit. Yet despite the new groups, the flow of music had stopped dead. Said Fra zer. “nobody could write anything . . . at least not anything they could use.” In every case the verdict was depress ingly clear: breaking up was not the answer to their problems. “It was just sort of isolated ex-members of Free, and there we remained on our own,” Andy recalled, shaking his head, rock ing slightly, apparently reliving the experience, “whatever I did didn’t seem to mean anything to me or any body else.” After a pause, he contin ued. “there was no point in me look ing for a singer when the only singer for me was Paul, and it was the same with everybody else.” Jubilant reunion: Last December the ghost of Free, just like that of Christmas past, came sneaking and scuffling into the minds of the four musicians. It was Andy who initiated the first move, hesitantly suggesting that perhaps the decision to split had been rash, that perhaps they should give Free a second chance. However, another two months of phone calls and “maybes” slipped by before the • '/jB
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Simon Kirke, drums: They recorded FREE AT LAST in an atmosphere so highly charged that “every note seemed to shake the universe.”
Paul Kossoff, lead guitar: “Dropped out of school, dropped out of his family, dropped out of everything except the group.”
sent Free in their original, raunchy, Last also contains a few elements alone with the stereo, the albums, the get-outa-my-face state. As Andy which old-time Free freaks might find bean-bag. the blue light. His obvious graphically illustrated by gesturing surprising. In addition to their usual need for privacy precluded any at with upraised finger, the songs repre outbursts of anger and frustration, tempt to discover just which song it sent the liberated attitude which made their uniquely haunting portraits of was that he wanted to hear. Free what it was before they started loneliness and alienation, are a few Fury can be fuel: The following “worrying about what the business much quieter, more peaceful observa evening Free gave their first New was about.” With obvious pleasure, tions. Paul Rodgers, for example, has York concert since their celebrated Andy declared, “The songs make us contributed a very gentle, very beauti reincarnation. Playing second on the feel the way we used to,” and then ful little lullaby-hymn called “Garden bill to Edgar Winter, they faced a stomped on the floor a couple of of the Universe,” which he wrote for crowd which just didn’t want to know times for emphasis. his newborn child. And even Andy, a about a band of young British up Tough times surface in the songs: die-hard ass-kicker if there ever was starts. Complicating things even fur Several of the tracks on the new al one, came up with a song called “A ther was an unruly P.A. which was bum arc directly attributable to Free’s Little Bit of Love, which contains given to loud, unannounced squawks problems during the past year. Paul such lyrics as— every so often. Two years ago at Rodgers' “Soldier Boy,” for example, Free’s first New York concert—at offset by grim, militaristic instrumen 7 believe if you give a little bit of Madison Square Garden with Blind tation, focuses on that time in be love to those you live with Faith (oh NO!)—they faced similar tween Frees when his emotions A little bit of love has got to come obstacles; their reaction was to leave strayed from “half-knowing he was your way . . . the stage in defeat almost immedi great” to “feeling quite useless, in ately. This time, however, things were ferior and embarrassed, not knowing These new aspects of Free reflect different. They played as if driven by what to do and say”— a few of the things they’ve learned in some indefatigable desire to win, and their recent confrontation with matur with each new frustration they grew I’m a soldier boy, standing on the ity. Andy seemed to encapsulate these a little tighter, worked a little harder. battlefield feelings earlier in the conversation As they pranced around the stage, All around me, people falling when he said, “We know that the most thrashing through the isolation of the down . . . important thing isn't music. It’s spotlight, each second seemed to in living.’’ tensify the atmosphere of the battle. Andy too has expressed his ups A moment of privacy: When the It was Free vs. the Universe, in the and downs, recording them in an easy, hour of departure arrived, Andy ultimate show-down. With the ap thoughtful song called “Magic Ship.’’ picked himself up from the floor, plause and cries for more still ringing With his face reflecting the visitation politely offered his “thank you’s,” and from the back cavity of the theater, of some unspoken, angry memory, he then gazed rather forlornly around the the band began to file off the stage. explained, “It’s the same type of little room. He reached for a Traffic Simon, rising for the first time from thing—having everything say ‘You’re album, stared at it for a few seconds, behind his drums, turned and stared useless,’ but somewhere deep inside and then mumbled, “I think I’ll just at the audience. The smile on his face fighting it and saying ‘NO’ . . .” stay here and listen to one of the seemed to say that he knew who had Unexpected gentleness: Free At songs . . .” So there he remained. won. •
CIRCUS 25 Flash —
■§ White Hot Son of Yes by Ed Naha
XX Then guitarist Peter Banks deject- larity of Yes, it’s Flash. The flavor I VV edly walked out on Yes some of their staeatto-like music epitomised twenty months ago, no one raised a magnificently on their first Capitol re fuss. Yes was then an unknown group lease (Flash) is given an added boost and Banks, ergo, was merely another by the presence of another former unknown guitarist? Now, with Yes’ Yes-man, organist Tony Kaye (whose emergence as THE top drawing band recent departure from Yes can char of Britain, founding father Banks (to itably be described as a minor mili gether with vocalist Colin Carter, tary skirmish). Flash’s arrangements bassist Ray Bennett and drummer arc exacting and exciting, and while Mike Hough) is bouncing back into similar at times to the overall sound of the swim of things with a new group Yes, are much more driving and rock called Flash. oriented. Dire threat: If anyone can pose a Onstage, Flash lives up to its name Flash: Dripping from the fickle finger of success. potential threat to the rising popu with Banks wildly pounding on his
attractive young musicians to entertain them, to command attention and to be different than the hundreds of new Tranquility Turns bands that scream for recognition. The members of Tranquility open their mouths to sing and it’s an open A Tin Ear To Gold and shut case: perfect harmony. Not Crosby, Stills, not America, not The by Janis Schacht Hollies or The Everly Brothers, but a harmony so breathtaking and so un like any other that even the tinnest of tin ears would have to realize that something special is happening. Tranquility is a band of people/ musicians. They are a closely knit family, and soon they may become an institution. Their album, Tranquility (Epic) shows only a part of their bril
■■ liance because the sound onstage is as good; and, though many bands claim to reproduce their sound onstage how many of them really do? Why is this harmony different? The secret is harmony from within:
Travelling high with a mind from the sky In your head you’ve been to all the different places Pretend you’re alive with what your money can buy But you’re dead without your seven different faces . . . So I’m telling you one time baby You’re not living you’re not giving You’re looking pretty fancy with your wealth Can you walk along the road and be yourself? “Walk Along The Road”
"Can you walk along the road Tranquility: The budding geologist with and be yourself?’’ Tony Lukyn (key the blue fingernails was the first to help I boards/vocals), Terry Shaddick (lead dig them up. vocals/guitar), Berkeley Wright (lead I he lights come up on another Eng one is sitting around challenging, real guitar/vocals) and Kevin McCarthy (guitar/vocals) are standing close to- lish group taking the stage. Every- ly daring, this band of extraordinarily
26 (H4I* horizon guitar and vocalist Colin Carter gy tion of having new numbers and no Abrahams, and I was trying to sound rating madly in a manner reminiscent lime to rehearse them. So, in fact, it like Yes. Obviously neither of the of Roger Daltry, Dagwood Bumstead, got to be like a daily routine. We’d ways worked because you just can’t and maybe even Jack the Ripper. Play go onstage knowing we’d go down combine the two.” ing live, the group comes across as well, and it got very predictable—be After two months with Pig, Banks being confident and strong, never be cause the numbers we'd play would once again was left by his lonesome. traying the fact that they have been be the same old stuff we’d been doing “The alternative was to form my own performing together for less than for the past year. band, which I didn’t want to do. I twelve months. Peter sums it up this “Consequently the feeling was ‘Oh didn’t want to be in the position of way: dear, here we go again.’ It was a bit having to lead a band, because I don’t “We’re all happy basically, but it’s like conning the audience. I was go think anyone should lead a band. But still pretty delicate. If somebody ing onstage virtually repeating my I was forced into the situation. It’s the sneezes onstage the whole arrange self. and got into a terrible rut, which old thing: if you want a good job ment falls to pieces.” obviously wasn't doing me good, or done, do it yourself.” Daddy of Flash: Banks, beaming the band. Musical story: Seeing an article on like a proud papa when dwelling on “It was time to make a move, and the then struggling Banks in a local f the subject of Flash, quickly lapses so we parted.” musical journal, singer Colin Carter into a dull monotone when the sub New gigging: Leaving his Yes-man traced him down and together with ject turns to his last days with Yes. days behind. Banks went on to bigger Peter, mapped out the groundwork of “When I left the band,” he recalls things by gigging with Bloodwyn Pig. Flash. Soon bass player Bennett and “we were going through a funny peiper Peter candidly says, “Musically it drummer Hough deposited themselves iod. The whole band was feeling was a crazy sort of marriage. I think in Banks’ growing account, and but pretty messed up. We had the frustra- they wanted me to play like Mick for the unfilled position of organist,
gether back stage before they go on also writes about 95% of Tranquility’s A red carnation and a violin case: singing “Walk Along Th^ Road" with material. Onstage he carries off orig Musically the group’s roots range from out accompaniment, so perfectly sure inal music hall type numbers with hu jazz to rock to blues. Berkeley Wright of their vocal blending are these young mor and finesse. “Blackcurrant Betty" who is a lead guitarist of much style Englishmen that they’ve been known and “Dear Oh Dear" never fail to get and grace moves around the stage . . . to sing to writers over the telephone. the audience on its feet and clapping. a vision in white. Most memorable With Bernard Hagley (bass guitar) Terry wanted to be a geologist, but when the group’s playing the amazing and Paul Francis (drums), who make there weren’t too many good job op “Saying Goodbye.” Berkeley’s own up the remainder of Tranquility, these portunities in England ... so as he’d musical roots are blues and jazz. six musicians havei beent the culmina—i : always been rather fond of music he While talking about Tranuqility he tion of one producer's dream. Do you switched from rocks to rock. But, back never puts down his guitar. Strumming remember Donovan the year he gave to the other members of Tranquility: a bit of the blues he explains: “It’s us Gift From A Flower To A Garden “Everyone was picked," Terry ex very difficult to find six people who (Epic)? No, Donovan’s real name is plains, “for more than their musician are interested in one thing, but if one not Terry Shaddick, but the executive ship. It was their attitude as well, be interest falls into Tranquility then we producer on that album was one Ash cause you have to be socially compat can take all the influences and take a ley Kozak and Ashley took the feeling ible as well as musically compatible. pinch out of each one and together of enthusiasm and purity and inno So, once we had everyone assembled, form Tranquility.” cence that brought Donovan to the a bizarre bunch as you can see, we cut Kevin McCarthy is nineteen years peak of his career and dreamed a new the album.” old. very little and blonde. He was group sound. He auditioned close to chosen because his voice blends per five hundred guitarists and vocalists, The bizarre bunch: No two mem fectly. Though he recorded two al and finally two years after he initially bers of Tranquility are alike. Looking bums with a group called Cressida, he met Terry Shaddick he had narrowed around the room at this incredibly in prefers to think his career began when it down to the six voices and person dividualistic band it’s hard to believe he joined Tranquility. Bernie Hagley alities suited to the feeling of inner the strength of the internal unity that dresses in the style of a 1940’s gang peace that was to be known as Tran exists between them. Tony Lukyn, an ster, wears a red carnation and carries quility. exceptionally attractive young man of a violin case which he refuses to open. How did it all begin? Terry, who 21 years, plays keyboards onstage and He claims he wouldn’t mind standing is also the spokesman, lifts one hand sings the odd tune (all his own com up front and having a go at harmoni with its carefully polished blue-glit positions). He believes that some of zing but scoffs: “I can’t get near the tered nails and begins: “I met Ashley the group’s strength comes from the front because the others hog it.” Paul and I stayed with him for some time stars: “Three Libras make an extraor Francis is the newest member of the in this fantastic place in the country dinarily strong triangle,” Tony ex band. He played in a band produced f which is an Eleventh Century house plains. As a Capricorn, he figures he by Bill Wyman of the Rolling Stones . . . afterwards, I came back to Lon supplies some of the group’s ambition called Tucky Buzzard before joining don and one by one we kind of met. and drive to get ahead. Tranquility. First, we met Berkeley Wright, then America has been the most im we met Tony Lukyn, and it went on See your star, portant stage of the band’s growth. like that. It was kind of a destiny thing Know who you are Terry explains, “The roots are in Eng because piece by piece over quite a My destination was very much in land but the key to bringing it out and long period of time all the pieces of doubt expanding was here in America and the puzzle fitted together." Your invitation was a way of we’re very grateful for that." “There are a lot of colors in one pic getting out . . . There’s a new high on the market I ture,” Terry continues. An English Where you arc (where I belong) ...... it’s legal and it doesn’t cost very man’s Englishman, he has grace, charm much, its secret is happiness and it’s and a mischievous glint in his eyes. He “Where You Are (Where I Belong)" called Tranquility. CIRCUS 27
j Flash was complete. pop styles conjuring up momentary Peter Banks is far from fully satis The dreams of a keyboard player glimpses—or flashes if you please— for the group were shattered as a near fied; “I’d still like to use keyboards in of every British group you’ve ever the band, perhaps in a few months I catastrophy came close to forcing * heard and have remembered with time when we can afford it. Possibly Flash into non-existence. Recalls fondness. The chord changes smack Tony will join us, but he has his own Peter with a sigh, “I like keyboards. of the Who. The vocals have a faint problems. If Tony could walk into the I think we all wanted an organ in the flavor of early Tyrannosaurus Rex. band tomorrow, it would be fine with band, because adding a good organist And the arrangements swirl with sub me. He knows the numbers already. is like adding a small orchestra; it is tle hints of pre-1970 King Crimson. But the alternative is to go through such a versatile instrument. Comments Peter proudly: “I’m a long string of boring auditions, “Tony Kaye, who is on our album, pleased with the album. It’s well which can be tedious. And I think it originally wasn’t going to join the played, although there are a few parts would be silly just when we start band. It was just that the organist we where I wince and say ‘why did we going on the road to suddenly stop had lined up realized after four weeks do that?' But that's always the danger working and go back to rehearsing that he couldn’t make it, so we parted when a band records an album in their again.” ways. And that was before we were early, formative days. Until the time when the fickle finger due in the studios to record the album. of success points its way towards So, in desperation I phoned Tony and “It was the same with Emerson, Flash, the group is doing their said, ‘Do you want to play?’ Lake and Palmer. Their first album damnedest to work towards musical “He did a great job. And he didn't has that same feel; it’s a bit clinical. perfection. Reveals picker Peter: “On really know the numbers at all. Half And I think our album is a bit clini the road, we record every gig we do of the time was spent with me cueing cal. But it does represent completely and on the way home we listen to it him when to come in and play and what the band is all about. The num and dissect it to find out what’s wrong. everything. Tony did all his stuff on bers are the same numbers we play on Then on the next gig we try to put it the album in four days.’’ stage; the arrangements are the same right. We’re not conning the audience All on record: The finished product as we play on stage.’’ at all. We work very hard.” is a stunning LP set of fine original Many predictions: Despite the ini Peter Bank’s Flash ... a sound compositions which literally leap from tial praise and predictions of greatness investment no matter how you look style to style and tempo to tempo. heaped upon the fledgling Flashers by at it. • The‘ I 'll o songs t-runivm < L.the z. gamut ofC IL?English — z. 1 ? L. the perceptive rock press of England,
lead vocalist Ray Sawyer is heard dead pannin in “Lady Godiva;” Doctor Hook Lady Godiva, you say you wanna be loved For what’s inside and the I don’t know much about horses but you Sure picked a funny place to hide Medicine Show: Cover up sounds: If the music of Doctor Hook isn’t strange enough for you (in one song, “Marie Lavaux,” Steve Stills the heroine is an ugly old crone who makes instant mashed potatoes out of Marries her beaus through voodoo), personal ity wise . . . look out! Raspy voiced Ray Sawyer, who lost his eye in an Froggy the auto mishap and wears an ominous Doctor Hook and the Medicine Show: black eyepatch to cover the wound From the sublime to the ridiculous. (he doesn’t care for glass eyes), often Gremlin surprises skeptical fans (who doubt \TL7 hat can you say about a group cals, George Cummings—steel guitar the authenticity of the patch) by W who suddenly appear out of no and lead guitar, Dennis Loccorriere ripping off the cloth covering and where with a hit single, an album of —lead vocal, rhythm guitar and bass, staring directly into their startled songs written by a humorist and a and Jay Davis—vocals and drums) faces. This usually results in hasty one-eyed lead singer who sounds like has got to be one of the weirdest apologies and near nausea on the part a cross between Steven Stills and groups to come along in a hell of a of the doubting Thomases and a shit Froggy the Gremlin? Nothing much. long time. Hailing (for the most part) eating grin on the face of Ray. Except that the group is called Doc from down South, this newly found When asked to recount some musi tor Hook and the Medicine Show quintet alternates between lilting bal cal anecdotes and biographical trivia and their single is called “Sylvia’s lads and ultra-raunchy rockers with for their album’s liner notes, drummer Mother” and somebody said that they an overall attitude of sheer fun. The Jay Davis ignored the usual home- were from San Francisco ... and songs themselves, all penned by wit spun humor and recalled, instead, a their debut album on Columbia (call (Uncle) Shel Siverstein, take the boys meeting he had with a girl who once ed oddly enough, Doctor Hook and from the sublime to the ridiculous in (he found out some two hours after The Medicine Show) is chock full of a matter of minutes. Sometimes the the relationship began) was a guy. eood old rock-folk-ballad music de transitions are shattering. Observed David wryly, “It was really livered in the finest of “What-the-hell- Singing tenderly at one moment weird.” during "Kiss It Away:” are-we-doing-here?” styles “Weird” is one way to describe Weirdo groupo: Doctor Hook (who And there’s a hurt down deep in Doctor Hook and the Medicine Show. are Ray Sawyer—lead vocals and gui side that 1 been hidin’ Sylvia’s mother might just have called Kiss it away. Kiss it away. tar. Bill Francis—keyboards and vo- them “insane.” by Ed Nah. ’ HOtUZON Bob Mosley: New Juice From Moby Grape by Ed Naha TDack in the magic summer of ’67 Yes, in 1971, Moby Grape attempt Say good bye to man and I'm gone -L) when the Beatles were unleashing ed to bring their old 1967 charisma gone, gone Sergeant Pepper on the world and back to the rock world. At their dis Gone fishin’ California was spawning such embry astrous Fillmore East debut, they Before you can say “San Francis onic super groups as The Doors, Buf proved it could not be done. And so, co,” Mosley turns the whole pastoral falo Springfield. The Jefferson Air after one more Grape album, Mosley scene into a barroom brawl. plane. and Love. Bob Mosley was belt decided to stop looking forward to I met this girl sitting at the bar ing the blues with one of the greatest the past and go it alone. Said “I'd like to take you for a and most unheralded rock bands in Boom power: On his new album, long ride in my car” America’s pop history . . . Moby Mosley has gone to great pains to She said “Sorry Joe, I’d rather Grape. start entirely from scratch. There are comb my hair” no superstars to be found in the So I hit her in the head, slapped Where’s that old Mr. Blues liner notes of this LP, not even any her brains with my chair. . . (!) I guess he’s got a new home, ex-Grapers. There are no elaborate There’s a close relationship between yeah . .. hypes proclaiming the greatness of the the senses of pain and joy in Mosley’s So come on in. let me tell you the music (and it is great). It’s just Bob music and he encourages the devel news Mosley and friends cranking out a host opment of a variety of feelings through I’m not afraid of you Mr. Blues of gut-pounding rock songs that high the use of diverse instrumentation. He (“Mr. Blues”—Mosley 1967) light Mosley's booming voice and addT Motown-ish horn lines in stamp powerful bass playing. ers like “Gypsy Wedding” and “Let Cleaning the blues: Now, some Bob’s feel for bluesy narratives The Music Play,” and then brings five years and endless disappointments comes through as loud and clear now things down to a quiet pedal steel later, singer-composer-bassist Bob as it did back in ’67. His “So Many hush in “Thanks.” Mosley is finally on his own . . . and Troubles” traces, in a slow textured The years between 1967 and 1972 still pounding out those rock and roll melody, the many letdowns he’s had. have brought a lot of changes into blues psalms. His first solo album (en the life of James Robert Mosley, but titled Bob Mosley) on Reprise rec So many times disappointment’s one aspect of Mose’s being has re ords presents a set of eleven Mosley come to me mained constant . . . his unflagging compositions that can only be de I’ve had my share of sorrows, ability to create. His first solo album scribed as a combination of the best my share of misery is sure to delight just about every of 1967 and 1972 rock. Someday. I’ll find what makes me body who loves foot-stomping rock Mosley’s participation in Moby feel so blue . . . and roll . . . and who doesn’t? • Grape is, like the group itself, almost Bob Mosley: Gut-pounding rock songs in legendary in the realm of pop myth On a more personal level, “Thanks” slow textured melody. ology. As one of the five Grape com- recalls a meeting between a now soli poser-musicians. Mosley came within tary man and a friend from his past. a hair of being a member of the first One can only surmise that the char Great American Super Group. The acters are Mosley and one of his old promise of greatness, for some unex musical cronies. plainable reason, never materialized Thanks for stopping past the house and so, in 1969, after three fine al last night bums and countless a\ye-inspiring con I was tired and I felt so alone . . . cert appearances Mosley left the stag Thanks for leaving your guitar my nating group to go out on his own. friend . . . From then on, according to the Thanks for everything you write burly bassist, things went downhill. with me . . I went back to college in 1969 I should have known I would al I and I was drafted in the Army, so I ways have these blues volunteered for the Marine Corps. I There is nothing to lose but blues was retired from the Marine Corps for me . . . in 1970, unfit for military duty. I Say hello, please stay . . . worked as a janitor for the San Diego Curved rock: Mosley has his light City Schools. Sometimes I played in moments too. In “Nothing To Do” San Diego (Bob’s home town) with he sings joyfully about just listening some friends for scale in night clubs.” to the sound of the falling rain. In The wrong pieces: After the Ma “Gone Fishin” Mosley throws a curve rine-janitorial stint Mosley was collar at his listeners as he begins this lilting, ed by Moby Grape producer David nature loving, rocker with: Rubinson and was asked to travel Everytime I start to feel the least back up north to try to help put the bit uptight Grape back together again. Sadly, the I drop what I’m doing, make pieces didn’t quite fit and Mosley myself right found himself in for another dose of Pick up my old boots, put my the blues. funky clothes on XXTashington, D.C. is noted for its great soul artist at work. W monuments rather than for its Roberta Flack was born in Ashe musicians. Georgetown is the most ville, North Carolina. Her mother colorful section of the city; with its played the church organ and her old colonial houses and its night life. father played piano in a style Roberta And Georgetown's Tivoli restaurant calls “a very primitive Art Tatum.” even offers an operatic aria for des At thirteen Roberta won second place sert. As numerous large Wagnerian in a segregated state-wide piano con ladies heaved they were accompanied test. When she was fifteen she received on the piano by the young Roberta a scholarship to Howard University Flack, moonlighting from her teach and graduated three years later with a ing job this talented figure would B.A. in music education. After a fur dream of future glories in the great ther six months graduate study at concert halls of the world. Three Howard, Roberta became a teacher. years later we find Roberta singing Among her Howard colleagues were and milking the ivories at “Mr. Hen Donny Hathaway, Marion Brown, ry’s downstairs.” Burt -Bacharach, Benny' Golson. While teaching, Ro Kim Stanley, Woody Allen and Bill berta was working at night in clubs in Cosby would drop in whenever they and around Washington and gaining were in the capitol city. Les McCann a rapid reputation as a fine performer. came often and soon furthered the Soon the moonlight became sunlight FWhat ■a You See I ■-I. Is What You Get: Roberta Flack. “Roberta can clean your soul out. God said that’s good. I say
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Flack career by bringing Roberta to as Roberta Flack became an art$t. Atlantic records. If you’re a musician, you’re a Mu Moonlighting teacher to ascend sician: The transition from classical ant Star: When First Take was re to popular music was not as sudden leased, Les McCann wrote sleeve as it sounds. “It happened naturally notes that said: "Roberta can take because I had always been involved you all the way inside and clean your in both. It was just that more of my soul out, and God said that's good, energy was applied in the classical and I say she can sing her ass off.” area. I wanted to be a concert pianist, Right he was. A second album fol as opposed to being just a pianist. So lowed entitled Chapter Two, it estab- I spent most of my .practice hours at the piano playing classical studies. recording artist. In’i 1971 came the However I always did play popular album,’ Quiet Fire, with the fa- music. I don’t feel there is really any third separation, particularly from a tech mous “Bridge Over Troubled Wa- backed by the Newark Boys nical standpoint. I feel that if you are ters,” musician, in big bold letters with Chorus. This track really showed a ’-a
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quotes around it, you are qualified Atlantic. The album brings together getting it together. The reason was to deal and discuss all areas of music. two great artists for a rare and ex that both Donny and I were very busy 1 My goal has always been to be a citing experience. “Be real Black for doing concerts and recording solo al complete musician.” me,” written by Ms. Flack and Hath bums as well. Rather than rush in away, is nothing short of beautiful. and do a great big commercial thing, A year of work, for an hour of The entire album is a joy, perhaps we both wanted to create something play: “Roberta Flack & Donny Hath because a lot of preparation went into that was'really indicative of a very away” is the latest Flack fallout for its creation. “We spent about a year high artistic level. For instance we
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34 CK€VS MUSIC had both studied voice. Most young somebody else to see if I can make I have produced two other artists for people listen to their musical heroes them understand what it is I’m under Atlantic, Marion Williams and Donal and imitate them. Young people some standing. There is always a message, Leace. Now I’m producing an album how have a way of understanding and therefore; it may not be the obvious of Wayne Davis. Donal and Wayne really getting it together. We deter message that people look for—love are former students of mine, which mined that if. they were going to listen, one another, war is wrong, or what makes me very proud. Donal is a we wanted them to listen to the cor ever. I learned the hard way, but it young Black man, a country & western rect way to sing. For instance, singing was a good learning situation.” singer, which is unique because he complete phrases without gasping for Bring it back, to give it away: is Black and most Americans don’t breath. Utilizing one’s voice with all “In order to reflect what you really associate that style of music with the building and crescendo without feel about things, you have to absorb Black experience. Wayne Davis ... at screeching and yelling. Making one’s everything. You cannot reject a prin the risk of sounding immodest, I point musically without depending on ciple until you know the principle would say that he is the closest to gimmicks. It was hard work.” does exist and you know what it is. being a male Roberta Flack. He’s a Cerebral power squeezes the There are two ways to give a song. man, it works, he’s just superior.” chords: “The area of musical per You can stand up and scoop out the Roberta Flack Day: It has been said formance is becoming very special words, almost literally regurgitate. often recently that Roberta Flack is ized, not just in recording but in live The motion that I make is to go all a rich mixture of Nina Simone, Nancy performance. If you have the car of the way down in my body. I move Wilson and Barbra Streisand. She’s another person you become a per my hand towards the audience and even been compared to Mahalia Jack- former as opposed to being able to scoop up this feeling. I bring it back, son. Roberta is all of these, for she is practice. If I’m practicing and another I have to give it away.” a highly intelligent musician who person comes in, I immediately begin “What makes a hit? uniqueness? takes and gives the best there is to to perform, because I don't want any originality? You cannot project a feel be given, she receives and she trans body to hear me make mistakes. The ing, what you have to project is mits beauty. level of musical performance I have reality. Two months ago, I was in Saturday, April 22nd, in New tried to reach involves the elements of New York. My favorite dog died. York City there was a rally for peace. understanding—not just the surface, I had to go on and do a show, no Thousands gathered. John and Yoko • not just the form of music, the fact thought of cancelling, ’cause music is led the crowd in singing, “Give Peace that you play a verse, then a bridge, life to me. I had to use the oppor A Chance.” A multitude of voices and then a verse and out, or a verse, tunity to express what I felt about joined them. On the same day in then a chorus, then vamp for sixteen my dog, so when I was singing ‘Do Washington, E.C., the city had de bars or whatever. It’s not that simple what you gotta do,’ instead of singing clared it “ROBERTA FLACK DAY” for me. I have to provide for myself, about a man and a woman loving each and the peop»es met at the Washing a very personal understanding of what other. I’m singing about my dog. I ton Monument. Ten thousand came is happening in that music. Tech reacted to what was happening within to enjoy and to sing, in both cities nically, emotionally, esthetically. So myself at the moment.” the theme was the same. my understanding is important. When What’s next: What of the future The opening words of Roberta’s I understand it, I understand it. My since the present is so full? “I’m doing song “Be Real Black For Me” are understanding could be dead wrong, the score for Maya Angelou’s film of “our times are getting precious.” She particularly when I’m performing her best-selling novel, / Know Why knows it, she shows it, best of all she someone else's material. The form to The Caned Bird Sing.v, which I am sings it. The last words are rightly them is the way they want it to be. very thrilled about. Maya is a Black those of Roberta Flack, a druid in a To me when I look at it, when I un woman and this will be her first effort strange land. “I would like for people derstand what it means to me, that’s in film direction. I'm doing some con to see the whole person. I want to be what I deliver. Therefore if there is certs with Donny Hathaway. Then I’ll good, not just as a musician. I mean any message in my work, it’s always be working with Quincey Jones again. really good.” • there when I do it.” The pitfalls on stage: “I may go on stage and hesitate, it’s not because I don't know what I’m going to do. [ PLAY COOL GUITAR It’s because I’m going inside of my self. It’s very difficult to do when you Learn to read and write music according to your own style — here’s are facing ten or ten thousand people. the instruction book that tells you how to read, understand, and write It’s very difficult to go inside yourself music for guitar. The basics of traditional music theory, the five line and be true with what you are doing. ledger and harmonic array, are presented in a fast, compressed style. The easiest thing to do is to be im Also there are fantastic new ideas: a new tablature, clock intervals, pressed with the lights, to be con the chromatic ledger and the melody figured system. And original cerned with how you look, if your compositions. eye-lashes are falling, is your girdle too tight. I mean that's the thing, SEND $1.50 TO: and it takes a lot of self control and discipline to go out there and deliver a song the way you really feel it. Most people are able to do it to a TOM SMALL degree, the way they feel it. Very few of us arc able to do it the way we 1 Westwood road really feel it. That's the thing that excites me about my work, the op portunity every time I get in front of Kankakee. ILL. 60001 Lou Reed: Will He Catch On Fire Before RCA Does? By Janis Schacht After years among the sultry six-foot “superstars” who slinked around Andy Warhol’s Velvet Underground, Lou Reed is using a solo album to T} CA Records is a nice place to fight his way to the surface. ,he Fiflics about love between1 man Jtv visit but not a particularly good 0 J andand stihwav. subway. I’ mI ’msure sure vou you’ll ’enicll enjoy it.” place to get caught in the elevators. time when a door man guarded the Applause. This is the last night The Floors and floors and floors of offices entrance to make sure that only the Velvet Underground ever played at tightly packed together like a mythical right people could get in. “Anyone Max’s Kansas City with Lou Reed. maze, taking up a square block of can get into Max’s now,’’ adds Lou The night was recorded on a cassette space in the heart of New York City. with regret. tape-recorder by a film-maker named Somewhere in this complex on a “Good evening, we’re called the Brigid Polk. humid evening, Lou Reed is supposed Velvet Underground. You’re allowed The crack up: Though physically to come up and bare his soul. to dance, in case you don’t know. This the magic scene that once filled the “I took the wrong elevator up,’’ is called ‘I’m Waiting For The Man,’ small upstairs club is gone, there will Lou confesses when he walks in sev a tender folk song from the era of be an album on Atlantic so that no eral minutes late. “I thought, ‘this would be exciting now if the elevators don’t work and they find me crawling and biting at the door of RCA’.” Who is Lou Reed? Lou Reed, a legend in the musical and artistic un derground elitist circles, was the lead singer (when Nico wasn’t)/lead gui tarist for Andy Warhol’s pop extrava ganza, The Velvet Underground. Now, he is a solo singer and has just released his debut album, Lou Reed (RCA), for all the world to judge.
Looking for another chance For someone else to be Looking for another place To ride into the sun "Ride Into The Sun" He is a very nervous young man and a compulsive talker, he’s also a and a compulsive talker; he’s also a chain smoker and a skeptic, but there’s stantly likeable: maybe it’s because he’s trying so hard to be cool and distant. Days before, dancing at Max’s Kansas City, one of those in-spots frequented by the jet set of rock, one might have seen Lou dancing to one of two bands, gyrating and waving his arms, screaming “I want to go home” across the room at 2:00 in the morning. The days of table-top striptease: Lou Reed was at Max’s bringing back a little of its past life: “Max’s is not what it once was,” he reflects with sadness, “it ’was fabulous, now it’s only great.”’ Reed flashes back thoughtfully on days gone by when people used to have a few drinks, jump on the ttables and take their clothes off. ‘“ A -Jot of people that used Lou Reed: If his 1967 album had come go "there just aren’t lher<: to out in the 70’s, Lou is convinced It would have made him famous. But all It did They’ve died, they. ’ve committed them- £ 1:1,^ That was a back then was get him banned from the selves, things like that. airwaves. 36 CMXX* MUSIC one can totally forget its past glories. Plastic Inevitable.” They made music he has nowhere to go, he seems to be Called The Velvet Underground Live to speed by: but Lou knew there was in a hurry. He starts to talk about his at Max’s Kansas City, it was indeed a huge audience outside the Warhol singing style. “I make strange at recorded on the fateful night of crowd who would have loved his tempts at singing,” he admits, “some Reed’s departure. “I departed rather music but would never hear it because body said I have a monotone voice, abruptly, I just picked my guitar up it was banned from the radio. I think my monotones have nuances.” and left and never went back,” Lou Top of the drug heap: “One of the Then he adds as an afterthought, “it’s remembers with some bitterness. It problems was that I was so seventies all acting.” took Lou a year to extricate himself five years ago.” Lou explains sitting It’s all an act: Lou Reed is acting from the legal problems that ensued in the publicity office at RCA, sur the part of a rock and roll singer so after he left the Velvet Underground. rounded by collages of pop photo well that many say he is the essence What were the Velvet Under graphs, talking in a stream of con of what a rock and roll singer should ground? That band of musicians that sciousness fashion. “Now things seem be. As the actor and the director on were nothing really until Warhol to be catching up in a way, which is the stage of his album, Lou has the latched on to them and made them kind of nice . . . they’re starting to prerogative to play any part he an art form. People who remember tune in ... if I could re-release my chooses. “It’s like writing a play and seeing them play in Boston at the first album now it would do some giving yourself the lead part.” Lou first Warhol happening remember the thing. Then all it did was get banned, explains, he is now acting disinter novelty of the light show and the and me along with it." At the time, the ested. “You write yourself the best loudness of the music, but, the audi major sign of appreciation he received lines that you could . . . the songs ence that time was more interested was the Best Drug Writer Of The are short plays, you know. You get in the artistic value of the show than Year Award for his song “Heroin.” to play all different kinds of char rhe music. The Velvets travelled as Lou lights another cigarette and acters.” a part of “Andy Warhol’s Exploding looks at his watch. Though he swears “I write through the eyes of some body else. I’m always checking out people I know and then I write songs about them, then I become them. That’s why when I’m not doing any thing I’m kind of empty.”
Life isn’t what it seems I’m forever drifting into dreams Such a sad affair To always be drifting into air But it’s not what you say or you do That makes me feel like I am falling It’s things that we’ve both been through That makes me feel like I am upside down . . . “Love Makes You Feel”
Is Lou Reed really empty or does he just put on an act? Lou, who is fabled to be one of the world’s most dynamic onstage personalities, is not projecting in the confines of this I rather tiny office at RCA. “I don’t have a personality of my own, I just pick up other people's personalities. If I’m with somebody who has a ges ture that’s typical of them, if I’m around them for more than an hour I’ll start doing it too. and if I really like it I'll keep it until I meet someone else with something better.” Lou’s LP goes to London: In Janu ary of 1972 Lou Reed, solo singer, got on a plane with his producer and his producer’s wife and went off to Ell? J" if London town to record his album at Morgan Studios. Living in the Porto bello Hotel off Hyde Park, Lou chose a situation very different from his very New York City soul to record. The album was put together with the aid of an incredibly impressive back up band. In London, in an excellent recording studio. Reed was making CIKCUS 37 s music with the likes of Caleb Quaye You were five feet ten inches tall Suddenly Lou gets sidetracked by (formerly with Elton John, now lead It was very nice the record “Amazing Grace” by the er of Hookfoot), Steve Howe and Candlelight and Dubonnet on ice Royal Scots Dragoon Guards Band. Rick Wakeman (from Yes) and more. We were in a small cafe All day long he’d been running Being in London also gave Lou the We could hear the guitar's play around trying to buy it in record chance to fly over to Paris and visit It was very nice, it was paradise . . . stores proclaiming that next to Jimi his old Velvet Underground cohorts '•Berlin" Hendrix’s “Star-Spangled Banner,” Nico and John Cale. In Paris, Lou which he rates as the greatest rock got to perform in a style that most “. . . and I said ‘it was paradise,’ it recording, it may just be one of the of us have never seen, but may in the was just heaven, it was really bliss. best records ever made. He listens in near future: “I always wanted to do But that was doing a kind of Billie ecstasy to the droning of the bag pipes a song like ‘Berlin.’ you know that’s Holliday kind of trip, like her phras and makes sure to put the record in like a Barbra Streisand thing, a real ing, that's singing ... I think I’m his pocket before he leaves. night club torch song. If you were acting.” The race to stay out front: But Frank Sinatra you’d loosen your tie Conquering “I Love You”: One • what of this closed-in room and the and light a cigarette. When I was in thing Lou always makes clear is that closed-in elevator? Someone in the Paris that’s how I performed it . . . he must be different at any cost. “The hall has called a guard because they you know, I didn’t play at all, I had album’s got a song called “I Love thought they smell fire. “I don’t want John Cale play piano and I sat on a You.” I always wanted to write a to perish on the eighth floor of RCA stool with my legs crossed. During song called “I Love You” and make in the middle of an interview. Imagine the instrumental break I lit a ciga it fresh. I figured if I could take a when I go to heaven and the fan rette . . .” phrase like that and turn it into some magazines, ‘how did he die? Was it thing it would be a real accomplish in a motor cycle accident?’ Actually, bi Berlin by the wall ment.” he was sitting doing an interview on the eighth floor of RCA and he just passed out from smoke inhalation.” Now Lou is shifting uneasily on the black leather couch, looking out the window onto a dusk-colored grey ing city. He is still trying to remain one step ahead of everyone else. As the times change so does he. Talking about how volume should be he ex plains: “I like it when the floor vi brates, you see I’m not into that trip at all. I’m into this acting thing. I used to be heavy into volume, then everybody else got heavy into volume so I figured it was time to get very quiet. Then everybody got very quiet, so I decided to move into the middle, which is where I am now.” Next stop Las Vegas: The man in the middle is chomping at the bit to get back on the road and will open his new rock phantasmagoria in Boston, where it all began so many years ago. “Compatible booking?” he muses. “Me and Woody Herman or Liza Minnelli, my goal is to play Vegas . . . be a lounge act . . . be like Eddie Fisher ... get divorced . . . have a scandal ... go bankrupt . . . end up in Mexico, marry Connie Stevens and read about myself in the National Enquirer." Smiling, Lou looks at the RCA press representative who is now working two hours overtime. “When arc you getting me an interview with the National Enquirer ... I love that magazine.” Outside, it’s raining, Reed takes the Royal Scots Dragoon Guards Band record and places it on his head as a make-shift umbrella. Now that he is no longer in the RCA Corporation complex and is safely out on the street again he can finally relax. He’s going to make it and as yet no one will have Lou Reed: The new ambitions of the man to write his epitaph. • once elected Best Drug Writer Of The 38 CIKCUS Year are very strange Indeed.______hot wax predictions Since music tastes and preferences Is there an FM ROCK STATION In vary, CIRCUS asks FM Programmers your area that you feel deserves a list to predict what five records will be ing in CIRCUS? Write Art Ford, Hot most likely to top the lists when we Wax, CIRCUS Magazine, 866 UN Plaza, appear on the newsstand. Here are our New York, N. Y. 10017 ... and we’ll predictions. check it out right , away! WLEs/ WNEW-FM (New York) WKTK-FM (Baltimore) £ 1. Ace — Bob Weir 1. Exile on Main Street — Rolling 2 Blues Project Stones 3. Buzzy Linhart 2. Rise and Fall of Ziggy Staroust — 4. Blue River — Eric Andersen David Bowie 5. Free for All — Bull Angus 3. The Eagles — Eagles 4. Amazing Grace — Aretha Franklin WMMR-FM (Philadelphia) 5. Come from the Shadows — Joan * 1. David Buskin Baez 2. Foghat 3. Honky Chateau — Elton John KADI-FM (St. Louis) 4. Pipe Dreams — Tim Davis 1. Bloodrock Live KSAN-FM (San Francisco) 2. Castles — Joy of Cooking 3. Honkey Chateau — Elton John 11 1. Ace — Bob Weir 4. Rest in Peace — Steppenwolf 2. Bump City — Tower of Power 5. Rise and Fall of Ziggy Staroust — 3. Castles — Joy of Cooking David Bowie 4. Gumbo — Dr. John 5. Sail Away — Randy Newman HOT WAX ON CAMPUS WNCR-FM (Cleveland) WVBR-FM (Cornell) Every Beatle fan. every rock-record 1. Castles — Joy of Cooking collector will want this super-spec 2. Honky Chateau — Elton John 1. Ace — Bob Weir tacular book. Dozens of stories and 3. Sail Away — Randy Newman 2. Exile on Main Street — Rolling photos of Paul. John. George and 4. The Snake — Harvey Mandel Stones 5. Larger than Life — Crowbar 3. Hobo’s Lullabye — Arlo Guthrie Ringo. Their climb to fame, their mov 4. JustI....* BillDill —BillOlli Withers ies. their marriages Why they broke WEBN-FM (Cincinnati) 5. Carl and The Passions — Beach up the group! Their lives today! Full 1. Blues Project— Capitol Boys color photos! 2. Castles — Joy of Cooking 3. Pink Moon — Nick Drake WFDU-FM (Fairlelght Dickinson 4. Queues — Vigrass & Osborne University) ***
WVOF (Fairfield University) 1. Blues Project — Capitol 1. A Lonely Man — Chi-Lites 2. Bright City — Miller Anderson Order today! Only 75c for this Collec- 3. IBS Album — IBS 2. Gumbo — Dr. John tor’s Treasure Include 25c for pos 3. Moonshot — Buffy Sainte-Marie 4. Jazz/Blues Fusion — John Mayall tage and handling 4. Road Goes Ever On — Mountain 5. Higher & Higher—Pat Upton Circus’ Top Twenty I Send to LAMPLIGHT PUBL. f To put you on top of what's happening in the musical cosmos, we’re 271 MADISON AVE about to unleash THE CIRCUS TOP TWENTY, a monthly chart NEW YORK, NY 10016 a of the LP’s that are winning the popularity race. To make sure that your favorite albums make it on the chart, fill out the ballot I below with the names of three NEW records, then send it to Circus’ J Send me copies of I Top Twenty, 866 United Nations Plaza, New York, New York 10017. I I THE BEATLES magazine, at I I j 75g! plus 25g! postage each. I 1 think the three best NEW albums are: I rar I ------I ! 1.) | NAME I I ______— I 2. ) I STREET I ! 3, ) I______I I CITY STATE ZIP I ■ i The Mysterious Rise Of Uriah Heep
by John Swenson
Uriah Heep: While the British critics were still snickering, Heep went off to the stages of Europe . . . and came back Germany’s largest selling band for 1971.
Ken Hensley, organ: Ken couldn't under* stand why the Americans had taken to them so readily. But one fan at a con- ' cert in Chicago explained enthusiastically ' i that "They’re different from anyone else." / MUSIC Where Uriah Heep’s popularity came from was a never-ending puzzle. Until Demons and Wizards they’d never sold many records and their music had scarcely made the radio. Yet when they stepped onstage, the house was always packed with fans.
A fter a drastic series of personnel k changes and a dismal three and g a half years weathering the disdain pf critics in Britain and America, Uriah Heep—the most melodic chal 1 lengers to threaten Black Sabbath’s heavyweight crown—have stormed the States for the very first time as headliners. Riding the crest of an in creasingly large wave of popularity that rose to fresh heights in the wake of their fourth LP, Demons and Wiz ards (on the Vertigo label), Uriah is thundering through 23 illustrious venues usually reserved for the high est rock nobility—halls like Howard Stein’s Academy of Music in New York, which has hosted luminaries like Jeff Beck. Humble Pie, Procol Harum and Traffic. But things have not always been so easy for Uriah Heep. In fact, just six short months ago Uriah’s fate seemed far, far dif ferent. Eighteen months on the road: On a cold late winter evening Uriah Heep sat in the modestly comfort able hotel room of their road man ager, enjoying a day off from the pressure cooker atmosphere of an English band’s first major American tour. This particular tour was of Olym pic proportions, a four month drive that crisscrossed the length of the continent half a dozen times, and this day of interviews and photo sessions in New York was a welcome holiday that they were obviously enjoying to 'ft the hilt. Lead guitarist Mick Box. portly and mustachioed with the air of a benevo lent buccaneer, scoffed at the sugges tion that their arduous tour had been ■ wearing nerves thin: “We’ve been on the road now virtually continuously for IS months.’’ he proclaimed stout ly. “Playin’ ain't a bad life. That’s all you want to do; when you’re on the road you want to play. The condi tions are just part of it. We like it, could do it for 18 more months if we had to.’’ Blowing Cactus off the stage: Al though the irony of that statement wasn’t apparent at the time, it was backed up by what had been heard about the group in advance. Uriah Heep's1 marathon tour had been go ing extremely well—reports had been coming back relating how Heep had CIRCUS 41 stunned audiences night after night was good timey. Ken Hensley sensi to sort out where we’re gonna finish during the first part of the tour, play tive and perceptive, and lead singer up. This was the first album where ing the bottom of the bill under Deep Dave Byron flashy and outspoken. it happened that all five people in Purple and Buddy Miles; but on the The three of them gave a sketchy volved in the making of it were second leg, while playing under Cac history of the group: In January of pleased and satisfied and convinced tus and using that group’s sound sys 1970 a band called Spice became that it was the best thing we could tem, Heep had reportedly stolen the Uriah Heep by virtue of the addition have put out at the time—I didn’t show every time, blowing the ex-Van- of Ken Hensley and his keyboard. feel that about the other two albums.’’ * illa Fudgies clear off the stage all Though very crude, they had the germ “And then there's the new single,’’ across the country. Another report of a really good band, so after a few came back relating how Heep had weeks of practice they wrote a bunch stolen the show from T-Rex in Chi of songs and set out to record album cago. where Jack Hafferkamp of The one without ever having played in Chicago Daily News wrote that “the front of an audience. Halfway through crowd stomped, yelled, booed and the album they realized that their frothed for more" when the group drummer. Alex Napier, couldn't keep wasn’t permitted to come back for a up with the rest of them; so they com second encore. These were good rea pleted the album with the help of sons for the raucous air of celebra Ollie Nelson and Keith Baker, who .. . tion that surrounded the group this stayed on to replace Napier. Hensley particular evening, but there was little said of the first album “it was a con indication of what would happen to glomeration of ideas." Mick Box the group the following night on a pointed out that “by the time we went trip to Waterbury, Connecticut, the on the road six months later, the ma site of their next gig. terial was already obsolete.’’ But By Killing the dumb-dumb myth: Up ron put it more pointedly: “We were until this time, general impressions of a nowhere band, a nothing group that Uriah Heep were mostly unfavorable just had to get an album out so that —reviewers hated their first album, we had a product.” didn't give much attention to the sec Exiles in Germany: The day the W: ond, and were vaguely impressed with album was released. Heep was play & the thought that the third sounded a ing a festival in Germany. They were whole lot better than the other two. the first act of the day, and destroyed The improvement raised suspicion that the crowd two days in a row. The al the judicious critic should see them bum hit Hamburg shops the follow live before passing final judgment. The ing week and sold out in a flash. group quickly revealed that they were “Gypsy.” a cut off the album, was less jaded and much brighter than the singled out and played to death on critics would have expected. Mick Box all the German stations. So in their crucial first months of existence they worked steadily to receptive audiences on the Rhine at a time when they couldn’t steal a gig in England. While in Germany they put together the ma terial for their second album, Salis bury, then returned to England, play ed a few gigs and went over big. "Salisbury was a kind of limbo al David Byron, vocals: David admits that bum.” explained Byron. “We didn’t when they first decided to become know what we wanted to do and we Uriah Heep, “We were a nowhere band, had it in mind to try this orchestra a nothing group that just had to get an thing. We were pleased we did it; but, album out.” once done we realized we didn’t want to do it again. At that particular time added Hensley. “We’ve just finished we wanted to prove to everybody that recording it. and I think the consensus we were not just a two-and-a-half- is that it’s the best thing we’ve done minute riff band, we could actually do yet. It’s called ‘The Wizard’ and it something else. At that time we were should be a good indication of where really gettin’ ribbed bad by the Eng we’re heading with the next album lish press and we knew that if we (Demons and Wizards').” put out an album similar to the first Invading Cadillac land: Once they the press probably wouldn’t even re became solidly entrenched in Eng view it—they were really down on land. the only thing left for Uriah heavy bands then. So we wanted to Heep was to do well in the States, do something that would strike them And for some strange reason, no as different. But we don’t do that stuff sooner did they set out to accomplish anymore.” this task than they succeeded. None The Wizard: “With Look At Your of the members of the group could self." Byron went on, “it’s beginning fully understand why the American audiences had taken to them so read ped while Heep took their places. ily, but they had some interesting con When the lights came on there were jectures. shouts. By the end of the first song “When we go on." Hensley offered, most of the crowd was on their feet, “the first thing on our minds is to standing on the seats and thundering have a really good time, and nine applause to a group that they some times out of ten we succeed. What how knew all about. There were lots we’re tryin’ to do without actually of specific requests from the audience, sayin’ so is to try to involve the audi and each title received a roar of ap ence. Unless we have major prob- proval. After that miserable ride, lems, wc all try to get to a gig at there was a certain kind of magic least an hour before we’re due to go riding this place, magic electric, some on to give everyone a chance to walk strangely overpowering sense of rock around. You can really get off on bits and roll seeping through the very and pieces like that. Sometimes you walls of the theater. Uriah Heep was can’t, though, due to the nature of good. what bein’ on the road is like . . Backstage after the show the band Badfinger’s unmagical bus: The suddenly looked a lot bigger and a next night’s brief hop to Connecticut good deal brighter. Ken Hensley was to show what being on the road elicited a warm glow of approval meant to a group like Uriah Heep. when he answered a question concern The trip was to be made by bus—the ing mellotrons and synthesizers with same bus. the manager had been as a plain statement of ‘‘there’s plenty sured. that Badfinger had used in their of sounds from the organ that haven’t tour, complete with topdecker beds been touched yet. and I’ll stick to and a bar. The bus was to leavtf at exploring for them.” So Uriah Heep 6:15 so the group could take a sound piled back on the “dustbin” with what check before the gig, but it didn’t amounted to joviality, and headed off even arrive until after seven. In the through the snow to Toronto, where interim it had started to snow, and they were to play the following night. by the time the bus appeared the snow Once again, a group that had was falling thickly. The bus itself was weathered the contempt of the critics nothing like the reputation that had had been saved by the magic of an preceded it; it was little more than audience's love. • a battered old Trailways job with stiff, uncomfortable seats and hardly any heat. The group took it good na- to sec Uriah Heep. It didn’t really tu redly at first, but as the snowstorm make any sense—none of their al increased and everyone realized that bums sold very well, and their only this bus was supposed to take them previous U.S. appearance was on a on to Canada the following day, the tour with Three Dog Night that didn't group began to grumble. come anywhere near Waterbury. Blizzard: Soon it became apparent Cut the disgust: Uriah Heep’s that there was no chance of making equipment had arrived earlier, and as the eight o’clock starting time of the the roadies took the final sound bal show. In fact by eight o’clock the bus ance the crowd buzzed excitedly, was still some thirty miles away from inching forward at the edge of their its destination and crawling along in seats in anticipation. Backstage in the the fast accumulating snow. A little dressing room, however, there was a bit of panic, a lot of cursing but a different story. The group by this general feeling of resignation ensued, time was bitter and disgusted. They and somebody lit up a pipe. Every were tired, hungry, and there wasn’t one sat back to listen to the cheap a drop of alcohol to be found. Due cassette player run through a Sly to a town curfew, they were given Stone tape for the twentieth time and half an hour to play. And after that, Mick Box was heard to complain with the snow piling on the ground all about “this goddamned dustbin of a the while, they had to get back on ride." It seemed that “roughing it” on the “dustbin" and head up to Canada. the road wasn't really as pleasurable Mick Box was nearly at the end of as it had been made out to be the day his tether with frustration as he before. stomped around the dressing room The bus finally reached Waterbury looking for a drink. a little after 10:30. Upon arrival at Triumph: So it was something less the theatre it was discovered that than exuberance that the group took Cactus had already played, and a with them when they walked onstage quick look out at the audience showed in the darkness and positioned them that not a soul had left—the place selves for the performance. But the was jammed tight on a weekday night, electricity of the crowd charged them and all these people were determined full as the audience whistled and clap the recordlover's guide by Ed Naha
and Joni Mitchell’s classic “Both Sides fact. Gumbo is the perfect panacea An A to Z listing Now.” All of the songs illustrate how for rock lovers. and why Judy blue eyes has retained for the ravenous her rule in the realm of acoustic record buyer. charm. A collector's item. The Best Of unites the past and the present with Flash (Capitol) musical links of love. WHIZZZZ! Faster than a speeding bullet. WHOOOSH! Ex-Yes men Peter Love it! Banks and Tony Kaye have joined forces to produce some of the zingiest Jim Croce—You Don’t Mess music to come out of England this Around With Jim (ABC) year. Yes-ish at times, Flash combines rock guitar, surging mellotron, and Folk singer Jim Croce has a face super British vocals, producing a hy that could stop a clock and a voice brid sound that spews forth chunks of Worth one listen Listen to it 'til the that could charm honey from a bee. Nice. The Who, The Move and thp at least. grooves grow old. His songs range in quality from raunchier side of Emerson, Lake and mediocrity to sheer poetry. With a Palmer. Fast moving and intense, style that could be passed off by some Flash music is haughty English rock Leave it! as pseudo James Taylor, big Jim at its show-ofliest best. (when he’s hot) weaves a number of fragile word pictures that are both touching and true. Sometimes joyous, Savory, but for sometimes melancholy, Croce music Roberta Flack special tastes. is the perfect musical companion on a and Donny hot summer night. Hathaway (Atlantic) The king and queen of supper club soul have come up with ten tepid w Joan Baez—Come From torchers which may blow your mind The Shadows (A&M) or lull your body into a state of coma, Z^\ut from the depths of despair rides Doctor Hook and the Medicine Show (Columbia) depending on your point of view. The V_y St. Joan, brandishing a dozen easygoing style of Flack and Hatha dirges devoted to every lamentable Ya say ya feel down in the dumps? way may be pleasant in small doses subject known to modern man: war, Hung up? Strung out? Tired of rock . . . but on a large scale it is some politics, war, prisons, war, weary music that makes ya wanna doze rath what lethal or at least lethargic. The mothers, war and Janis Joplin . . . er than dance? Well, my friend, why JANIS JOPLIN?! As usual, Joan’s not try a little of Doctor Hook’s rejuv hauntingly beautiful voice dominates enating good time mush-mouth music. v the proceedings, and her choice of ma It’ll put hair on your chest, a smile terial is flawless. Come From The on your face and will absotively, posi- Shadows is total Baez, with Joan writ lutely have your toes twitchin’ and a ing and producing most of the LP. tappin’ for the rest of the day. Would (Psssst, Joan, don'tcha know any hap I steer yer wrong? py stuff?)
oV \_ Doctor John—Gumbo (Atco) Judy Collins—Colors of This latest prescription from the the Day, The Best of sandpaper voiced physician of funk Judy Collins (Elektra) is guaranteed to cure the ills of any i From fingerpicks to fuzz boxes, one who walks, crawls, or flies. To from hootenannies to spine tingling the sweet herbs of rock, kindly Dr. Fillmore melees, Judy Collins has John has added healthy doses of New reigned ever-constant as the Queen of Orleans jazz. Dixieland, and 1950’s American folk music. This new Col R&B. The result is an elixir which, lins collection contains a bouquet of like the legendary fountain of youth, musical arrangements are technically fragrant folk classics which traces the takes you back to the “good old days” excellent and the vocals are as smooth I Collins charisma through the years. when rock music was straight, simple as ever but the overall tone is rather Included on the album are the melk)w and to the point, conjuring up images lackluster. Placid enough to be played sounds of Donovan’s “Sunny oo g„ of honky tonk pianos, throaty Cajun in Holiday Inn lobbies and dentist’s Street," Leonard Cohen’s ‘Suzanne, vocals and rim-shot rock rhythms. In offices. ♦» CKMXS Free— down home country pickers from David Peel—The Pope & Caleefornya. NR PS. here again to Free At Last (A&M) Dope (Apple) tickle our innards with some reel slick The hard-rocking zest which cata country and western ditties. I swear Saints preserve us! The unappeal pulted Free to surefire fame a few to the good Lord above, these boys ing Mr. Peel is here again on this lat years back with their mammoth single are gooder than any other damn est wormy Apple tart produced by “Alright Now” is strangely lacking country band I ever heerd ... an’ John and Yoko. Peel, who is a stellar on their new LP. This comeback that includes the Jefferson Airplane non-talent in the fields of voice, com attempt by the group whose plodding and them Grateful Deds too! Sheeet, position and social commentary, has rock sound has brought fortune to jus’ listen to all those sweet har put together a package of non musi Humble Pie (and many other imita monies. Don’t they jus’ sound the cal abortions which, if given the tors) is a bit muddled and appears to SAME on every' song? And how about chance, could make a martyr out of have caught the group during a period those tunes . . . ain’t it fine the way any record buyer. Bad enough to level of transition. Free seems to be having they all have the same beat and all? the Pieta, this sacrilege will incur the a rough time finding a musical direc Whooie! Anyway yew look at it, NR- wrath of any angry god ... or tasteful tion to follow, and Free At Last seems PS spells DULL. ' • record listener. a sharply divided between short, spunky rock songs and long, involved pieces. Perhaps this group’s next release will have fewer restrictions in style and a DON’T OVERLOOK lot more Freedom. THESE DISKS
Geronimo Black (Uni) Audience—Lunch (Elektra) the high voltage power of the early Rolling Stones sans hype and preten Ex-Mother of Invention Jimmy Carl This second helping of Audience’s tiousness. Combining the technical Black is on the warpath. With a party rollicking British rock is even tastier know-how of today with the sound of of five (including ex-Mother Bunk than their first course, served last falL the Sixties. Reed has reconstructed the Garner), Black is trying to muscle his Vocalist-guitarist Howard Werth has essence of flashy rock and roll, re way back into rock territory armed penned a sumptuous smorgasbord of plete with booming chick singers and with a batch of bizarre rock tunes. sounds featuring tasty rock and roll humorous lyrics. Reed rock is primi Geronimo Black music fuses hair- sax playing, delicious acoustic guitar tive. pulsating and great fun. raising rock (which sometimes smacks and the cream of English vocals. Au of vintage Zappa) and lush instrumen dience’s recipe (which borrows a few tation with some impressive results. ingredients from early Kinks and The combination proves very effective, Tull) is one that will satisfy anyone’s but wears thin during the more pro craving for inventive, witty and rau The Sidewinders (RCA) longed pieces (six-minute songs get cous rock. There are very few bands around a bit trying). Overall, Geronimo Black who can make the Osmond Brothers is a welcome addition to the rock tribe sound sophisticated. The Sidewinders and can be recommended without res can . . . and do. Wallowing in an in ervation. o Jack Bonus sipid pre-pubescent sound which high Dan Hicks and (Grunt) lights empty instrumentation and mor His Hot Licks— onic lyricism. The Sidewinders make There’s something to please every a lackluster attempt to recapture the Striking It body in the music of Jack Bonus. Rich (Blue Thumb) flavor of the Sixties, but wind up in Like a musical chameleon, gospel stead with foul tasting bubblegum Hey bopareebop! Dan Hicks and shoutin’ Jack slips in and out of songs stew. Slither away from this one. His Hot Licks are back for the ump with ease, assuming the various roles teenth time dishing, out the coolest, of bluesman. R&B bopper, folksinger, hippest music to come along since the rock swinger, jazzman and, shucks, Andrew Sisters first made the RKO even a down home country boy. No Stories (Kama Sutra) scene and Cab Calloway danced on matter what the style, Bonus lives up Resembling a beautiful novel with his first night club table. Hicks’ licks to his name and performs with gusto. musical pages borrowed from Mc are blasts from a past fraught with Cartney and the rubber-souled Beatles, world war, radio, movie serials and Stories’ first album presents some of big bands. Time traveler Dan brings the most joyous sounds to appear in it all back home with a horn of the 1970’s so far. Michael Brown plenty sound, mixing such diverse in Lou Reed (RCA) (who was the driving force behind gredients as banjos, electric and acous Return with us now to those thrill the much underrated Left Banke) has tic guitars, upright bass, and scat sing ing days of yesteryear when rock written ten very impressive tunes ing vocalists. So slap me five, ain’t singers were always a bit monotoned, . which showcase Ian Lloyd’s British- no jive. Hicks and His Hot Licks are guitarists were raunchy as hell, and sounding vocals quite well. Although solid, Jackson. the drummer of the group played a very young group, Stories’ first chap with all the grace of Mighty Joe ter proves to be a real treat, and one New Riders Of The Purple Young. Loii Reed has captured that that, hopefully, will merit many se Sage— Powerglide sound plus some. His music has all quels. Why lookee, Miss Kitty, it’s thaim “back-up band” for the Broadway corny as hell. His songs, lyrics, ar Pick of The musical Jesus Christ Superstar, Ran rangements and vocals are corny. But dall’s Island have released a rock al when this veteran soul man works out, Month bum which is sure to bring them for watch that corn sizzle and pop. Tex’s tune and fame . . . and increase their style is fast, funky and loads of fun. reputation of being “back-up band” So what if his songs aren’t the most for J.C. Superstar. The LP is largely impressive you’ve heard. And maybe a collection of rather mundane rock he does ham it up a little bit when he formations with semi-falsetto vocals grunts his vocals out. It’s all part of darting in and out of the foliage at toe’s infectious style . . . and when every musical clearing. It’s not that Tex gets you, you’re got. Uh-huuh! there aren't any high points in Rock and Roll City. It’s just that there are too many chasms between. For the most part, Randall’s Island sinks. Bill Withers—Still Bill (Sussex) Withering Bill proves he hasn’t Strawbs—Grave changed much since he first came into the public’s eye with his own slick, New World (A&M) sugary style of pseudo-soul ballads. British “Art-rock” at its best, The Withers’ compositions are bland Stawbs combine crisp acoustic guitar enough to please the whole family, work, impressive mellotron feats and even your pet canary. Aside from Jethro Tull—Thick As excellent vocals to form a sound that, ’’Lean On Me,” this collection of a Brick (Reprise) in total, rivals the peak albums of the Withers’ work is a disappointing exer Moody Blues and King Crimson. Building upon the foundations of cise in stereotyped sounds and banal Composer David Cousins impresses the musical mini-epic they construct lyricism. ed during Aqualung, Ian Anderson both musically and lyrically, shunning and crew have erected the definitive all traces of self-consciousness and (thus far) unified rock extravaganza. pretentiousness. The Stawbs have come «. ZZ Top—Rio Grande As usual, the new Tull edifice is Mud (London) brimming with all the rock subtleties Can a trio of Texas bluesboys fight and literate lyricism that have become through the muck and mire of ob the band’s trademarks. This time scurity and make it to the top of the I around, however, Tull has woven a rock pile? If ZZ Top is going to try, mass of sound around one continu they had better tighten up a wee bit. ous theme, the epic sized poem (?) Their gut rock sound is impressive (a “Thick As A Brick.” The results are two complete sides of maze-like mel I odies and ambiguous lyrics that never cease to amaze and delight.
Quicksilver Messenger Service- up with a refreshingly smooth album Cornin’ Thru (Capitol) which is never overbearing and is al ways electrifying. Gangway, boys! Here comes ol’ Quicksilver Messenger Service rockin’ and rollin’ with all the oomph of a ruptured carrier pigeon. Led by Dino Joe Tex—I Valenti, the master of rock egocen- Gotcha (Dial) tricity, this latest entry by the defunct “Uh-huuh. J gotcha!" Joe Tex is sounding band packs all the wallop of a case of terminal sleeping sick ness. Voices are buried in echo cham M bers. Guitars are distorted beyond be lief. and all sense of musical balance is lost to the ear. Good, huh? God knows where Quicksilver Messenger la early Cream and Stones), but at Service is cornin’ from; but maybe, times they get bogged down in their with a little luck, they’ll go back and own simplicity. While some of the stay there. lapses of excitement on the album could bridge the Grand Canyon, Rio Randall’s Island—Rock Grande Mud proves that the band has and Roll City (Polydor) planted the seeds of rock on fertile Attempting to escape the label of soil. • 46 CIKCUS BETTER THAN A RESERVED SEAT AT JAGGER’S BREAKFAST TABLE
...Peter Townshend lounged in a newsstand ten minutes after the swanky restaurant and rapped to last copy of Circus disappeared. us about how synthesizers and mov You could have been in bed sick ie cameras could put the adrenaline with no one to run out and pick up back in rock. Circus for you. You could have been ... Ringo settled himself by a swim standing by the magazine rack with ming pool in Spain to tell us about out a penny in your pocket while the days when Paul was hounding the last Circus walked away with him with a lawsuit. someone else. You could have been off in the woods or up in the mountains or just plain all-day spaced while that newsstand man blew his last copies. PALMEI Man, how high and dry you could have been. BUT if you’d been clever, you could have had it easy, safe, sure and secure. With that man who’s Yes Shake-Up Shapes 4th Disk never stopped by rain or sleet or slush or snow slipping a fresh and ■w shiny Circus through that slot in your door every month.
ROCK N ROLL INTRODUCTORY OFFER
n pvTaTlTo: 8 i ..Alvin Lee fiddled with his clogs ! CIRCUS MAGAZINE i i in a record company office and ask I P.O. Box 4552, Grand Central Station i ed us to point out that “I’m Going | New York, N.Y. 10017 i Home” is not where Ten Years After i } Enclosed is $...... i is at. i I Please rush my subscription. i ...Dr. John The Night Tripper sat I □$6 — 1 year nSIO—2 years i down to a telephone in LA. and told i i us how he got Mick Jagger and Eric ]Name . . Age i Clapton to play on his latest album. I Address I [ City I I And you could have missed it all. I State . . . Zip I You could have gotten to the £
by Janis Schacht end Neil Kaempfer-Stocker £ our back pages E
CSN&.Y: Stills Kills The Partnership
Tt’s a rainy night in New York album was rather erratic ... he 1 when Manassas makes its debut learned the hard way what the pub before the local press. A party is held lic will accept and what it won’t. at the Hotel Carlyle on the upper He also explains that he would rather East Side; not your average press play large halls than small ones, gathering, just a few selected rep and that, yes, he is a millionaire. resentatives from the trades (Cash box, Billboard, etc.), the rock news He declares violently that he will papers and the major radio stations. not be playing with messrs. Crosby, On the 27th floor, overlooking the Nash and Young anymore, and adds city, everyone is made to wait sev that his major aim in life is to be eral hours for the arrival of the able to get away to his mansion in Stills entourage. England and write a book and forget When the group finally arrives everything else. they are introduced and the press The next night Stills throws an- is told to please feel free to ask other party at the Carlyle, but this questions. Stills is small and pale time Mick Jagger shows up and and looks rather haggard as he steals the spotlight. It just goes to Steven Stills: Ditching Crosby, Nash & fences with the probing reporters. show that there are still different Young ... for good. He explains that his second solo levels, even in the superstar category.
One brief day after Roy Kenner ■was brought into the James Gang he found himself in Nashville hur ■c Did Walsh Shoot Down riedly recording an album—Straight £ shooter. The reason for the rush The James Gang? into the studios? The group had been suspended from their recording con The James Gang: At first the fans de tract with ABC/Dunhill, and there manded their money back, then they was no time to waste. gave a standing ovation. A while later the new James Gang, which includes original members Jim Fox and Dale Peters, went out on the road with new members Domenic Troiano (who will have a solo album out on Mercury records soon) and Roy Kenner using their first few grigs as rehearsals. ° In New York for their first Car negie Hall gig since the one that turned into a classic album last year, the James Gang are at the Hil ton Hotel on the 42nd floor. Dale Peters, who’s very close to falling out after a night of riding his motorcycle around Cleveland, starts to talk about the group changes: “We’ve changed, I think for the better ... we didn’t tell Roy to sing like Joe (Walsh) and Dom to rr.annnOL play like Joe ’cause that s kind of ..uanflouflc .laaanonnxi stupid • • ■ that defeats the purpose of playing if you just try to copy what you did before. We do half W” stuff and half James new For awhile after the new James Gang hit the road, people still out “Where’S Joe Walsn. 48 CIRCLE Restless Itch Stirs The Real-Life The Stones Death of While Mick Jagger flipped into a palatial office in London just before Jim Morrison his tour of the colonies to tell re porters facetiously that, “it’s horri Esquire Magazine seems an un ble to be the Grand Old Men; if all likely place to run an expose on the this talk gets any worse I’ll be get real Jim Morrison, but in the June ting into another band,” Mick Taylor issue there it w'as, telling many settled into a leather easy chair things about the mysterious Mr. across town, put his hand to his Morrison that had never been told hangover-ridden forehead, and re before. vealed some of the restlessness that One thing that author Bernard permeates the band’s private Wolfe wanted to make crystal clear mo- was that Morrison had been a thor ments. “I think everybody in the group has decided to exi ’ oughly devoted drunk, and that no cplore other one in the world could convince him areas and directions,” said the fair that Jimbo’s death was completely haired guitarist. “Possibly I could natural. In a brain-teasing quote, make a solo album writing my own Wolfe exclaimed, “My God, might as songs and participating with other well say Ernest Hemingway died of musicians.” But Taylor later ex extensive brain damage. If you want plained why this drive for inde to know the cause of Jim’s death pendence doesn’t threaten the unity not just the physiology of it, ask of the group. After reaffirming that what triggered his heart to stop and he entertained absolutely no regrets whose finger was on the trigger.” about having entered Jagger’s super This is not a sentimental piece, group, he made it clear that “Every and will probably send many Mor body has different ideas in the Stones rison devotees screaming with rage. and the freedom to express them.” It reveals, among other things, that But didn’t living with a sex idol the lizard king may have been a make his life in the Stones a bit sex symbol onstage, but that in bed difficult? “I don’t know,” parried he was frequently impotent and just Taylor, wincing slightly at his te as frequently brutal. Bernard Wolfe quila-born headache, “I’ve never does not paint a very pretty picture; lived with . him.” but if you ever had the inclination to know what the most controversial American pop-sex star of the Sixties fans even demanded their money Jim Morrison: ESQUIRE dredges up some was really like, his article might just back when they found out Joe was tell you. no longer with the band. But the new new leads. lead singer Roy Kenner is optimistic: “We’re hoping they’ll accept the next album even more and accept the new group for what it is.” Dale falls rambling into an unprintable memoir asleep when Roy finally tackles the When Joplin of Jeff Beck, Graham coughed up the critical question, “has the James story of the time Janis Joplin went Gang changed.” Roy’s answer some on a new decor kick. Explained Bill, how never comes to grips with the Jumped On Graham “Everything had to be maroon!” issue: “We added two people, which Graham asked Kip Cohen (now a makes us a completely different VP at Columbia Records) to have group; so the sound is similar in While singlehandedly fighting the the dressing room painted burgundy some ways but different in a lot of hulking might of the authorities who especially for Janis, had. the room others.” slapped an R rating on his Fillmore filled with flowers, and ordered a Onstage at Carnegie Hall all of movie (the rating would keep rock butler in coat and tails to serve her the band’s fears are washed away fans under 1’7 from getting any drinks. No sooner had Janis strolled as they’re greeted by a standing ova closer to the film than the billboards into her dressing room than she tion . . . and from the very first outside the theater), scrappy im came out yelling, “Where is that notes of “Funk #49” to the final presario Bill Graham sat down with Jew bastard?” Was she planning to strains of the second emotion-packed Circus to reminisce about the old toss him in the ovens, or merely encore when Roy takes a dramatic days. After tearing his way through have him flayed alive by a couple leap off the tallest amplifier, the au a tale of the night Mike Bloomfield of anti-Semitic cossacks? Neither. dience remains on its collective feet. ran into trouble x^'ith his mother in Instead she grabbed Graham in a Roy Kenner is stunned by the reac front of 5,000 fans who were waiting bear hug and crooned, “come here, tion . . . pleased beyond belief and to hear the Electric Flag, and after booby. I love ya.” wants to make it very clear at a T'X party after the concert that he is very grateful to the fans in New York for accepting the new lineup with so much warmth and enthusi asm. Where’s Joe Walsh? Just so you don’t ask the James Gang, he’s in Colorado playing with a small group for enough money to pay the rent and is recording a solo album. CIRCUS london by Kenneth Howards
Alexis Korner, the British blues (Corner Catches 71 master who helped get prom ising lads like Mick Jagger and Jack Crimson's Pieces Bruce on their feet in the early Sixties, has picked up the broken pieces of King Crimson and has used them to paste together a new band. Actually, Korner explains, it hap pened quite by accident. Humble Pie’s Steve Marriott invited Korner and his partner, Peter Thorup, to join Pie on their last American tour; and Korner, who’s never been State side in his life, eagerly snapped up the invitation. Korner and King Crimson found themselves thrown together on the same stage over and over again—first in Boston, then in Roanoke, Virginia, and finally in St. Petersburg, Florida. For Crimson, these were the last days of an uncomfortable life to gether. Ian Wallace (drums), Mel Collins (saxophone) and Boz (bass) had already rebelled against group- 4 Noel Redding: A rough trip back to cen founder Bob Fripp’s allegedly tyr- ter stage. ranical control over the band in De cember, when they stomped out of a group rehearsal swearing they would never return. Several months Hendrix Bassist later, Fripp retaliated by declaring that when the American tour was Sneaks over, he would dismember Crimson . . . for good. Little wonder, then, Toward Comeback that drummer Ian Wallace declared his independence by slipping behind Noel Redding, former Hendrix his drum kit on the Roanoke stage bassist, has had more than his share and sitting in while Korner played of thorny problems since the news the opening set of a Humble Pie went out that he wouldn’t be playing headliner. And even less wonder that on the Hendrix Experience’s final when Crimson’s tour came to an tour. His own group, Fat Mattress, end, Wallace went to Florida as an fell to pieces midway through its informal member of the. Korner con first tour of America; the British tingent. Several days later, when papers gave him the disheartening Humble Pie and Korner hit Louisi news that he was broke; his wife ana, Collins and Boz showed up on abandoned what looked like a sink stage at the Warehouse to help ing ship; and Noel had a rough bout Alexis open the show, and decided with alcoholism. But now Redding they wanted to join the tour. Before feels ready to fight his way back long the unofficial Korner fivesome to center stage. He’s put together found themselves in a San Francisco a new group (with drummer Les studio making a demo. As Alexis Sampson and ex-Rare-Earth guitar Steve Marriott: Godfather to Korner’s new Korner says, “then we knew we were ist Rod Richards), has won a re band. a band.” cording contract with a new Motown label, Natural Resources, and is building up steam to hammer out some rock and roll that he hopes will blend the best of Mountain and the Beatles. But despite his frantic Beck Bashes the Balloons spate of fresh activity, Redding can still find the time to give his opinions As the newest pastime at New on the rock scene that once left him TefT Beck’s return to Carnegie Hall behind. Ask him about T. Rex, for Id that though he’s been away York concerts is throwing balloons proved that tnoug playing around, Beck had a field day when example, and he’ll let you know for quite a while, nis g ,g several landed onstage. Without exactly what he thinks: “They’re hasn’t sufTel s h is but the audience wearing the clothes I was selling missing one note, he stomped on off four years ago.” not as good as ne is o them all. didn’t seem to mind '______soflUI' “I don’t want to get anywhere bands when I was fifteen. We had near where Janies is or any of those our own group and James quit after people, that’s scary . . .” Alex Tay about two years. When I was 23 I lor reports. He is sitting in the War signed to a little label called J.C.P. ner Brothers New York office looking Productions, but the cat died and I Death really spent. His latest album Din got out of the contract. I got signed nertime (Capricorn) has received to Capricorn while James was doing By Microphone many good ovations, but nothing Sweet Baby James (Warners).” near what it might have a year ago Alex, like his sister Kate, is a The British rock public had just at the height of Taylor-mania. rock and roller. In fact, he is not gone through a grim six weeks “People have been shooting at quite sure how James got into the watching the Parliament struggle to James right and left lately, but that folk bag. Alex claims James went pass a bill that would have made two happens when you get there for some to England a rocker and came back or three day festivals impossible, and reason. A year ago he was the big a folkie. Now he tells us James is folks were finally turning jubilant gest rage; and then whammo, they getting into a little record produc over the bill’s defeat when they were were saying Mud Slide Slim (War tion. He’s doing an album with Gail thrown back into gloom by the ter ners) is a terrible album. They didn’t Ilaness, the girl who sang lead with rifying onstage electrocution of expect that out of James Taylor.” Jo Mama. James is producing her Stone The Crows guitarist Les Har And, though life has been fairly album in an obscure studio in Nyack, vey. The seeds of Harvey’s death easy for James (despite his descent New Jersey. Alex explains: “it bet were sown by several unruly mem into some minor slump), things have ter be a good album too or he’s bers of a Swansea audience, who been terrible for Alex until just.re gonna catch hell.” ripped out the electrical cords lead cently. “Last summer was such a bad But the Taylor family goes on. ing to Stone The Crows’ equipment time that I almost quit ... I just “James’ got to do his, I’ve got to do just before the group was due to laid off for a while and got a job another one, Kate’s got to do an take the stage. Roadies hastily re in a fish market. I was the first other one, Livingston’s got to do paired the damage, but accidentally Taylor to get signed, but nobody another one . . . we’re off again,” left the wire that grounded one mic knows that. I started playing in Alex muses. rophone dangling. When Harvey came onstage to introduce the group, he stepped to the mike holding his metal guitar strings with one hand, grab bed the microphone and was suddenly paralyzed, his fingers helplessly grip ping the brutally electrified mike stand. Two roadies leapt to Harvey’s side, but were thrown across the stage when they tried to free him. By the time Colin Allen kicked Les lie’s guitar out of his hands it was too late. Wrote British reporter Roy Hollingworth a few days later, “People like Leslie should never have to meet with accidents."
Most young singers who haven't quite reached the top are more than anxious to tell the tale of their life story, but not Jackson (“Doctor My Eyes”) Browne. One Circus reporter sat with Jackson for five full hours in dark New York clubs without .... learning a thing about his past. But ; when the 23-year-old, doe-eyed sing- ’.’’JJJ er/songwriter reached England, he •••«• finally opened up. Before he was dis- ’.‘***J covered by Neil Young’s managers, ■■•••• Jackson admits he was so despondent about his musical future that “I was ->•••• thinking of being a chicken rancher in Bakersfield.” “Everyone had a cer- «•••• tain confidence in the songs, but I couldn’t sing ’em.” Browne isn’t kid- ;*•••• ding when he says, “I used to sing like I was choking to death.” He recalls one time when “my man- ager’s wife rushed into the room and said, ‘are you all right?’ and ...«•• I said, ‘yeah, it’s okay, I’m just try- ing to do a new song.’ ” J
James Taylor: Brother Alex retired to a fish market.
CIRCUS s’ Hot Tips On The Stones Tour by Jacoba Atlas west coast The Rolling Stones tour is going off with the precision of a major Carole King: Only McGovern can get battle maneuver. Those who are per manently on the tour and traveling Carole King Says No her out of hiding. with the band have photo identifica • James Taylor and Carole King tion badges (like the civil aeronautics have announced through their man people) with a warning from the agers Peter Asher and Lou Adler Stones office that anyone dosing his respectively that they will not per badge along the way will be subject form in public anymore this year to a 20 dollai’ fine. Mick has made a unless it is for Senator George Mc special request to have a bus drive .1 Govern. the band through the South so that • Alice Cooper has followed in the he can see for himself all the places Beatles’ footsteps and done a lay-out he usually misses when he’s flying. with famed photographer Richard It’s not an accident that the South is Avedon. Alice posed in the nude with the part of the country the Stones only a boa contrictor for modesty. particularly want to see: their Will he make the centerfold of strongest roots are in American Vogue? blues. While in Los Angeles prepar • Paul Williams is cutting his next ing for the tour, the Rolling Stones album of love songs and took out a rehearsed on a Warner Brothers Pic full page ad in the trades asking ture’s sound stage, not two minutes the powers that be to holdhojd off from away from the sound stage where blowing up the world until he’s fin Ross Hunger (Airport) and com ished with his work. pany filmed the musical adaptation • Roberta Flack has now recorded of the 1930’s movie Lost Horizon. Jackson Browne’s “Doctor My Eyes.” The Troubador Cafe L.A.’s hottest • Don McLean will be seen on rock showplace, is rubbing salt into television this fall in a syndicated already gaping wounds by asking a show called Country Air to be tele fee for all live recordings done vised at various times across the within the confines of the club. Fur country. Part of counter-culture tel thermore, owner Doug Weston is evision. asking for a percentage of royalties • Rolling Stones’ producer Jimmy from any albums cut during a Trou Miller is in the studio here in Los bador set. As a result of these con Angeles cutting Bobby Whitlock’s ditions, several record companies next album. have cancelled plans for taping their artists at the club. This move is just one more thorn in the sides of many music people, who have felt that Weston is over-stepping his bounds. Already alternative clubs are being sought out in the Los Angeles area, Jethro Tull’s now legendary Thick and it is rumored that a new club as a Brick album went straight opening in the Westwood (UCLA) to the top of the US charts in a rec area will open this fall with substan ord three weeks time. The English tial financial backing. band was the subject of a feature The Osmond Brothers have finally story in the self-consciously “chic” joined the ranks of luminaries like hard-back magazine Audience, but Glen Campbell and Bob Hope and Ian Anderson himself is joining the headlined a Royal Command Per ranks of the non-interviewing pop formance for Queen Elizabeth in stars. Anderson, who just a few London. Does this mean the queen months ago would speak with any is a teeny-bopper? The Osmonds, by reasonably intelligent journalist, has the way, have been cranking out now asked that he be spared that gold records faster than Little Italy side of the business. He explains that produces pizzas. In eight months he’s said everything he wants to say they’ve piled up more gilded platters at this time and besides the road is than the previous kings of solid simply too grueling to include inter gold—The Beatles and Elvis—man views between shows. aged to accumulate in a full year. I___ 52CW2CX* & Simon Gets Garfunkled For McGovern George McGovern planned to get hgk all1 the4k, old„i,i groups______i _____backu 4-together______again ‘fZjy for one last time in a fund raising 5* concert at New York’s Madison Square Garden. Again arranged by actor Warren Beatty, this concert featured Peter, Paul and Mary, Mike Nichols and Elaine May, and Simon and Garfunkle. Nichols and May haven’t worked together since the I middle Sixties and the other two & musical groups, as everyone knows, broke up late last year. A true col- lectors’ item. John Hammond, Jr., that fine white & blues man who was heard on the soundtrack of Little Big Man, is now calling himself John Paul Ham mond to avoid confusion with or ganist-jazzman Johnny Hammond. John Hammond, Jr.’s father was one I of the founding forces at Columbia & records and the first man to bring Miss Bessie Smith to the label way back in those old days. Paul Simon: McGovern bridged the Gar funkle gap.
Neil Young Hits The Road Joni Mitchell In The Mud
Neil Young is following in Steve The Bickershaw Festival—lashed Stills’ renegade path and striking by rain, chilled by cold, and bogged out with a back-up group of his down in mud—had more problems own this fall. November will see than just the weather. While Dono him hit the road with The Stray Ga- van, The New Riders Of The Purple tors—the band of studio musicians Sage, the Kinks, the Grateful Dead, he gathered together in Nashville Joni Mitchel] and Captain Beefheart when he was recording Harvest. held the stage, thousands of fans Young has planned an utterly ex invaded the grounds using forged hausting four months of concerts, tickets, tickets the guards had col including a staggering saunter lected then resold, or no tickets at through fifty North merican cities all. By four o’clock in the morning and a tortuous trip through six of the first Saturday, when Captain European countries plus Australia. Beefheart’s throaty growl roughened If Neil’s secretive habits have bother the air above the abandoned coal ed you, here’s your chance to look mine where the Festival was staged, him in the face. most of the 40,000 soaked music A few friends in the studio there lovers were either asleep or stoned to help another friend were Graham senseless. And there was still an Nash, David Crosby and Neil Young. other day of Festival to go. But The friend they were there to help despite the frigid and unfriendly was Joni Mitchell. Her album release weather, the hearts of many of date has now been pushed back till those in attendance glowed warmly the late summer or early fall. No with pride. After all, the mud made Joni Mitchell reason for the delay has been given. it just like Woodstock, didn’t it? Nicky Hopkins will form his own band as soon as the Rolling Stones tour grinds to a halt this month. No information is available at this time as to who will be in the new group, but there is a strong po:issibility that Hopkins will “borrow” rpermanently —- from one of England’s most well-re spected and established bands. (IIXI* 53 I Chuck Berry: The King Of Rock Comes Out Of The Closet In the 50’s Chuck Berry helped invent rock and roll. In the 70’s he’s using a ‘London \ Sessions’ LP to angle foi^ta-iiewnew generation of listeners. Can he beat the Stones and Faces by R. V."Pharaoh at the game he taught them how to play?
-E Hail, hail, rock ’n roll poets.” The Rolling Stones not only roll,” to Jo Jo Gunne, who took their g. Deliver me from the days of old. reckon Berry as “the Guv’nor who name from a Berry tune. Chuck Berry started it all,” but have also been dub Yet there is a deeply ironic twist {“School Days’’} bed “The Children Of Chuck Berry” to these endless acknowledgements of - O themselves for coming up with the Mr. Chuck Berry’s genius. While most A t the age of 43, Charles Edward definitive interpretations of such Ber second and third generation rock lis Anderson (“Chuck”) Berry ry greats as “Round and Around,” teners continue to nod their head in seems to be the most famous “un- “Little Queenie,” “Bye Bye Johnny,” hip approval at the mention of Berry’s ! known” in the history of rock and “Let It Rock,” “You Can’t Catch name, the sad truth of the matter is ' roll. In a pop world where superstars Me,” “Carol,” and of course their that the average enthusiast: 1.) Docs rise and fall with the rapidity of the first single release back in 1963— not own a single record by the man sun and moon, Chuck Berry has re “Come On.” In ’63 the Beach Boys himself; 2.) Couldn’t identify Chuck’s mained a living legend ever since the made their national reputation with music if it hit him in the teeth; day in April, 1955, when he first a note for note swipe of Berry’s 3.) Only relates Ho Berry through as “duck walked” into Chess Record “Sweet Little Sixteen” dressed up in sociations with modern day rock stars. Company president Leonard Chess’s a fresh set of lyrics and retitled “Surf The fact is that Chuck Berry, the man : office nervously clutching a demo tape in’ U.S.A.,” while nine years later the who started it all back in the 50’s, ' of his first immortal smash, “May- elfish Marc Bolan, of T. Rex, would remains the 1972 Closet King of bellene.” Since then, anyone who’s have been the first to admit that his Rockdom. : anybody in the rock world has revered two million seller “Bang A Gong Got Live If You Want It: This Chuck Berry as the monumental black (Get It On)” was nicked straight should change as soon as the fans figure who almost singlehandedly gave from a mixture of Berry riffs. sink their teeth into Chuck's latest birth to the white man’s rock and Too much monkey business: And record release, The London Chuck roll. John Lennon, who as a member so it goes on down the line: from Berry Sessions (Chess 60020). For of the Beatles launched his career with Johnnie Rivers’ antiquated ’60’s ver not only does the new LP contain several of Berry’s early hits (“Roll sion of Berry’s “Memphis” to the some updated live versions of the old Over Beethoven,” “Rock and Roll Faces ’72 rendition on A Nod Is As Berry war horses (“Johnny B. Music,” “You Can’t Catch Me,” etc.), Good As A Wink\ from Bob Dylan, Goode,” “Reelin’ & Rockin’,” etc.), has recently called Chuck his “hero” who feels that Berry is “the one man it also features as sidemen a couple and ‘‘one of the all time great rock most responsible for defining rock and of those “groovy” Anglo-Saxon music ^circus MUSIC
men who are usually overshadowing assorted English rockers doggedly Well, actually there was; because Berry by playing his own music. First chanting, “We want Chuck, we want for the very first time in his career, off, on the live side (recorded at the Chuck . . .” Chuck Berry had a bona fide pro Lanchester Arts Festival, Coventry, They all look the same to me: ducer sit in on the sessions. Super England—February 3, 1972) you Two days after the Coventry gig, vising matters on this historic record have the Roy Young Backing Band Berry walked into London’s Pye Stu ing was none other than famed jazz/ plus ex-Rare Bird pianist Dave Peter dios to record side one of the new gospel producer, current VP at Chess Kafinctti filling in and romping LP. Already seated by the micro Records, and the man responsible for through three Berry standbys, includ phones were two Faces—drummer The Muddy Waters London Sessions, ing the never before recorded, sexu Kenny Jones and keyboard man Ian Mr. Esmond Edwards. ally explosive musical cock-teaser “(I McLagan—plus bass player Rick Stop that cash: When asked why Want You To Play With) My Ding- Grech (formerly with Family and Chuck has never had a hankering for A-Ling.” “Ding-A-Ling” is a double Blind Faith) and guitarist Derek Grif musical overseers in the past, Edwards edged musical sword cascading with fiths from the Alan Bown Group. But explained: “Chuck is an economical triple entendres and flowing sexual Berry was strangely unaware of the man, and a smart man, and most of anecdotes. Introducing the tune, Ber fame of his back-up men. Three all he’s his own boss. So he would ry' slowly strides up to the bandstand months later, when he was quizzed on always do it himself. Like for in straddling his big, shiny red Gibson, the identity of the musicians he had stance his last record, San Francisco which now seems to be growing like been playing with, Berry looked out Dues. Off the books it was abomin a fungus from between fyis legs. Fond the window, dragged on his men able. He recorded it in a four track ly toying with his instrument in the tholated cigarette and burst out laugh studio somewhere in Michigan, and phallic fashion that its original in ing, “I swear to God, I don’t know to cut costs he finished it up in St. ventors had intended, Berry—sound one from the other. You know, I Louis. I was given it to round out ing like a cross between Phyllis Diller play with a new band every time I do some of the rough spots, and that’s and Little Richard—growls into the a gig, so it gets hard remembering when I started, hounding Chuck.” microphone: names.” How did Berry' like the mu Among other things, Edwards hound sical style of his imminent accom ed the lanky guitarist into an expen Well, now this . . . happens to be panists? “Listen, I liked the product, sive set of London sessions that the a SEXY song but it don’t register with me how I tight-fisted Berry at first seemed stub And there’s nothing wrong with liked them (the musicians), ’cause bornly determined to resist. But de SEX like I said, they could have been the spite the man’s reluctance, his foray Not a thing wrong with SEX guys from down the road. What I’m into the British studios went down Sex is a BEA UTIFUL THING saying is there really was no differ- rather well. Chuck and the lads got It’s honorable and it’s loveable. encc.’ into a “High Heel Sneakers’’ flavored And my father is a Baptist minister. He taught us, he told us, son, Chuck Berry: Half-way through THE LON THERE’S NOTHING WRONG DON SESSIONS Berry strode up to the WITH SEX bandstand straddling his big red Gibson and plunged into some startlingly sexual It’s just the way you handle it.. . lyrics. you seee Oh YEEEEEEEAAAAAAAH!
No time for the Pink Floyd: As the song progresses (on the LP), Berry has the audience eating out of his hands, with the girls warbling their part (“I want you to play with my”) around the boys’ part (“Ding-A- Ling”). Throughout the song, Berry adds his quick-witted comments about size and strength of assorted Ding-A- Lings throughout the crowd, and gen erally wreaks havoc among the hot and somewhat less-than-nasty throngs. Following “Ding - A - Ling,” the “Chucker” tears into a devastating rendition of what starts out to be “Bye Bye Johnny,” but soon turns into Chuck’s old favorite “Johnny B Goode.” At the conclusion of the high energy performance, Chuck promptly exits left into a fleeing red Cadillac as the promoter announces that everyone must “Please leave, be cause there are about 2,000 people outside waiting to get in to see the Pink Floyd.” Needless to say, these pleas for a quick evacuation simply fall on deaf ears, and as the record fades out all you hear is five thousand CIRCUS 55 i. jam called “Let's Boogie,” which then Richards (Stones) guitar half-tones, floated into the side's second cut— it’s the epitome of the paradoxical Walter Jacobs' bluesy, twelve bar sound which produced over 27 smash “Mean Old World.” Chuck, a raver hits during Berry's golden decade from the word go, fares pretty well (1955-65). In fact, the entire album, singing the blues as well, and this as well as the rest of the legend that 6 bitch ballad is no exception. Particu goes along with the man, turns out to larly interesting are the performances be one of the biggest paradoxes in the of Faces Jones and McLagan, who musical world. For once upon a time, play with the raw, amphetamined in the modern gods of rock rode to the tensity that once highlighted their top of the charts by imitating Chuck early Small Faces days circa 1964, Berry’s fabulously successful 50’s rock when they worked behind Steve Mar and roll; but now Chuck is using the riott (now of Humble Pie). same trick himself. His London Ses Berry apes the Beatles aping Ber sions spotlight the Chuck Berry of ry: The record reaches a peak with 1972 nostalgically imitating the Berry “I Love You,” the tune that guitarist hits of 1955, complete with “school Ron Wood of the Faces was supposed daze,” car lyrics, and chukka-chukka to have sat in on (Berry decided to rhythms, all washed down with plenty pull a solo stint at the last moment). of good old fashioned sex appeal. It’s “I Love You” is the definitive Berry the same Berry formula that scored i parody of Berry. Sounding like a take big for the Beatles, the Beach Boys off on T. Rex doing "Little Queenie,” and the Stones back in the ’60’s . . . shot through with Dennis Wilson (of now the question is, will it work in
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When Berry walked into Pye Studio, for mer Blind Faith guitarist Rick Grech and two Faces were already sitting by the microphones waiting for him. John Lennon called him his "hero." The Stones called him “the Guv'nor who started It all,” And Dylan dubbed him the man most responsible for defining the rock sound.”
Photo: Chuck Pulln
You enter Alice Cooper’s house expecting to spend the day with Jack the Ripper, only to find yourself sitting in the kitchen with Archie Andrews. by Howard Bloom Tt’s two o’clock on an exhilaratingly harness and torn tights, slides his and screw you,’ but not from that 1 sunny Thursday afternoon when hands over his bare thighs, moves space. From talking to them for five the sleek black Cadillac limousine menacingly toward the audience bran minutes you might get the impression turns off the main road, drives past dishing an axe while the mascara that they’re a bunch of guys that are a wrought iron gate that leans at a etches lines in his cheeks that make just into killing people, but if you dilapidated angle, and rolls up the him seem older and more depraved spend a day with them, you see that long, winding driveway through the than a fifty-five-year-old wife beater, that’s not really where they’re at.” trees until it finally comes to a rest then grabs a doll and hacks it to by the flank of a house fit for pieces amid a shower of blood. The a Spanish nobleman—white stucco man who has driven his image of evil walls, a red tile roof, and an enormous one step closer to hell with his latest carved wooden door. Inside, the house LP, School's Out (on Warner Bros.), is dark and quiet. In one room sit a hard rocking testament to rebellion, dozens, perhaps hundreds of trunks violence, slippery sexuality, and insan the size of refrigerators. Inside the ity: where Alice’s lyrics mix love trunks are amps, speakers and stage with death lights. Above them, dangling from the cathedral-like vaulted ceilings, a face Pm hurtin.9, I’m wantin’, I'm less dummy hangs by a rope around achin’ for another go. its neck. You’re squirmin’ wet, baby, cornin’ Out back is a terraced garden with very slow. an ornamental pool, a fountain, and And it’s burnin’ holes in me! a statuette of a cherub 30 feet down You're so very picturesque the corridor of lawn. Up on the third You’re so very cold floor a window swings open, then a It tastes like roses on your breath tall youth leans out to let the sun dry But graveyards on your soul. his freshly washed, extremely long “Blue Turk” blond hair. Madman Alice: Suddenly a thin fig where Alice is finally caged for life ure dashes out of the back door into in an insane asylum because he’s the sunlight and looks up past the spilled enough blood to fill a water trees to the blue sky. Tn each hand proof coffin: he swings a six pack of beer like a weapon. His clothes—a tight black They locked me up for good sequined leotard and high-riding, lip Pinned me against the wall stick-red bell bottoms—are suspicious ly feminine. A photographer waiting / stole a razor from the corner store Alice Cooper, vocals and lyrics: What peo by the pool moves toward him and 1 just couldn’t take it no more ple keep forgetting is that Alice Cooper asks to shoot a picture. “Shoot?” says I'm swimming in blood is an IMAGINARY character! black-haired Alice Cooper softly, Like a rat on a sewer flood. drawing back with a flirtatious look “Luncy Tune” The ‘Playboy’ dream: The scene of alarm meant to pull every implica back at the Cooper house this sunny tion of gore and bloodshed out of his The Alice mystery: But is this really words, “why would you want to do Alice Cooper? The first blunt sug day certainly fails to reek of whips a thing like that?” He poses obedient gestion that this may not be Alice at and torture. Shafts of sunlight probe ly for a few seconds, then someone all came from Shep Gordon, the the dark corners of the empty first floor, when outside Mike Bruce, calls to him from the limousine and group’s manager. rhythm guitarist and keyboard com he disappears around the corner, slips With School’s Out thundering from into the Caddy’s capacious seats, and the speakers on the wall across from mander ambles up the drive. rolls off through the thick trees to him, the 25ish Gordon had leaned Archie Andrews, at your service: New York City for an interview with across his broad desk several days Mike guides you back to the kitchen, England’s BBC radio DJ Rosko. earlier and with quiet intensity driven and as he settles down at the table A hot trip to Hell: You’ve only home the point that the press had to tell you about the band’s beginnings seen Alice for 90 >econds and already totally misunderstood what Alice in Suburban Phoenix, Arizona, the he’s raised the murky specter of mur Cooper the human being was all breakfast crowd begins to swarm hun der and mayhem./MiceCooper, labeled about. “Reporters don’t seem to un grily into the room. A slender, dark by one song ui. his latest album as derstand, the boys are living out a haired girl in a floor-length house “Public Animal No. 9." the 23-year- fantasy. As part of the fantasy they coat storms in looking for the peanut old who slithers onstage in his leather do shoot off guns and say, ‘love, peace butter. Cindy, the Piayooy girl, dives CBXUS69 into the messy refrigerator to hunt ing out as a missionary to the Apache playing for the greasy peoples, the for mushrooms. A young blond in a Indians on weekends. Glen's dad bee-hive hairdoes and the jocks, doin' white bikini comes down the lawn worked with Alice's on the production a place in Tucson that held 2.000 from a neighbor's pool and gets out of electronic systems, and even helped people. It was back in the days when some dogfood for Gretchen, the affec design the blimp the Beatles used in long hair was on women . . . and let tion-loving Saint Bernard. Help. Mike, who wasn't part of the me tell you, our hair was not short. And suddenly it hits you: it’s the group yet. had been raised in a neigh We went dancin' in there and the n. American comic-book dream come borhood still unspoiled enough to place was crawlin' with greasers, and true: it’s what Archy and Jughead have horse pastures. His father sold those guys were gonna kill us. There would do if they had long hair and Coca Cola during the week and took was about five guys lookin' at Alice had smoked a bit more - weed . . . his kids fishing and mountain climb goin’ “Ah'm gonna keel you, man;" they'd start a rock band, strike it ing on weekends. and there's five guys on the other side rich, buy a big house fit for a movie Rough stuff gets serious: The goin’ “Ah'm gonna gitchoo outside an’ star, then invite Betty and Veronica earliest embryo of Alice Cooper—a Ah'm gonna beat the sheeit outa yoo.” to come up and cook their breakfasts. group called the Spiders that played I was the first one onstage and I’m It’s five times as normal as mom’s to high school dances and Catholic practically shillin' in my pants cause apple pie. Youth Organizations—gave off their I have to get all the way over to the High school heavies: The “per first faint whiff of violent punkhood other side of the stage, and I’m scared verse" history of Alice Cooper started when they came on in Carnaby Street outa my mind, and they’re all buggin’ normally enough back in the sopho clothes and punctuated their sets of me, and there's this chick right in more year when Alice. Glen Buxton Yardbirds tunes with furious rave ups the middle.’’ and Dennis Dunnaway were on the that would frequently degenerate into Sizzling some nipples: “She’s like Cortez high school newspaper togeth phony fist fights. The fights were a this dirty, clap-ridden, pimply, braced > er. Their home lives could easily have goof—an exuberant tissue of make groupie idiot that everybody hated, won a Good Housekeeping Seal of believe- but the public seemed deter and I didn’t even know that, ya Approval. Alice's father was a missile mined to make the group take their know? And I go out feelin' like I’m engineer working on guidance sys punk image seriously. Glen tells of walkin' the gauntlet and the chick tems for the Apollo rockets by day, one typical evening when a hostile goes (Glen screws his face up and acting as a minister in the Church of audience stiff-armed them into over imitates an idotic nasal whine) ‘Play :< Jesus Christ in the evenings, and go- playing the tough-guy pose. “We were “Louie. Louie.” Play “Louie, Louie”.’ i.
An Inside Look At 'School's Out'
' I 'hough Alice Cooper insists there anthem from the Puerto Rican street A are a lot of romantic moments in gang in West Side Story. And sudden ¥ his new album, School’s Out, roman ly Alice Cooper is the ass-kickin’ gang ticism is not what strikes either your of juvenile delinquents singing, “Here eye or ear when you visit drummer come the Jets like a bat out of hell, Neal Smith’s room to give the record Someone gets in our way, someone the once over. Sluffed lizards, mon don’t feel so well." As the record keys and deer heads litter the walls rocks on, Mike leans over to point and dresser-tops, and Alice's pet boa out the other borrowed pieces in the constrictor is coiled like a wrist-thick LP—the TV overtones from Peter rope in a terrarium by the wall. It’s Gunne in “Blue Turk,” the line “Clat as if this one room is the repository too verata nicto” in “My Stars” (a of all the evil that Alice is supposed formula that once froze a giant robot to represent. Pianist Mike Bruce puts in his tracks in the film The Day the the needle down on “Looney Tune” Earth Stood Still), and finally the and a hard, throbbing rhythm over rain-like sound that opens “Alma laid with a crazily-wavering melody Mater”—courtesy of a fizzing tablet fills the room. Alice’s voice, at first of Bromo Seltzer. When the closing full, thins to a hiss as he sings of lyrics lurch to the fore about “the losing his mind and the men in white time we took that snake and we put it coats closing in. Then a guitar cuts down little Betsy's dress. Now I don't in with a razor-like sound as the think Mrs. Axelrod was much im words spew out, “I’m swimming in pressed,” Glenn Buxton comes charg blood! Like a rat on a sewer flood!” ing into the room muttering angry You notice a tarantula (mounted, of words. It seems Mrs. Axelrod took course) on the wall. A blond wrapped umbrage at Glen’s misuse of her in a yellow towel slippers in. Michael laboratory reptile back at Cortez High Bruce’s girl friend, sitting on the bed, School and tossed Buxton out of the 2 begins to tap her toe to the music. bio class. Little did she realize that Then, there it is, by God—the mean, one day the lad would get a loud and black leather and switch blade fighting final revenge ... in song! MUSIC
And I go, ‘Play “Louie, Louie,” huh.’ The 21-year-olds, future Cooper man taste of triumph, and after a yeary-"* All this shit goin’ on and I’m going to ager Shep Gordon and his partner, and a half it seemed finger lickin’ get killed and she’s going ‘Play Joe Greenberg, decided they had bet good, even if it did have the salty fla “Louie, Louie”.’ She had on this ter grab the group and run. After all. vor of a freshly slashed vein. blouse that exposed her breasticles, any kids who could turn the stomach The real birth of Alice Cooper: you know? So I looked down and of 7.000 people had power. As the real-life Alice worked on their there was this gaping hole between Shop had it all worked out: he fig her tits you know: and I says, ‘Louie, ured Elvis Presley had disgusted peo Louie.’ huh. and I stuck out my cig ple by swiveling his hips . . . and arette and flicked my ashes down her become a superstar. The Rolling blouse and burned her tits. I figured Stones had nauseated parents by piss I was dead anyway, right? And all ing on a gas station . . . and become of a sudden the greasers go. ‘Hey, dis superstars. Bob Dylan had infuriated kid’s alright!’ And I went ‘What?’ I adults and youngsters alike by as mean a few seconds ago they were saulting the airwaves with “the world’s going to rip our legs apart, and now worst voice” . . . and had become a they’re all running out to buy us an superstar. How could Alice Cooper ice cream cone.” miss! A ghost named Alice: But pe Living on spaghetti: But it wasn’t culiarly enough, while their audiences going to be that easy. Several days were leading them up the trail that later a record company president led to slaughtered baby dolls, the i came to see the same act, shouted out quiet, spiritual side of their natures— at the top of his lungs that it was the the side that led them to explore most disgusting thing he'd ever seen Yoga, Christ and consciousness ex in his life, smashed his glass on the pansion—was taking them down the floor, and stomped out in a rage. And path to lheir fate as feminine seduc a year and a half later, when the tresses, the path that would transform group had been traveling from one them from super - masculine Spiders end of the country to another playing to lasciviously trans-sexual Alice at the bottom of the bill, still so poor Coopers. Mike Bruce recalls, “One that they were carrying their own night Alice and his sister and our old spaghetti pot and hot plate to feed road manager and his mother were all & eleven people on $15.00 a week, it working a ouija board when they met was beginning to look as if Alice this spirit that said it was Alice Cooper's only superpower might well Cooper. The spirit said her sister had ! be that on a good night it could still been burned as a witch in England, clear a huge theater with a single and that she had taken poison and S song. died. Alice became infatuated with the whole idea, and once when he asked The final taste of blood: That’s I the board who Alice Cooper was, it when an audience in Michigan made j said. ‘Alice Cooper is . . . (Alice’s real it clear for the last time that it would name).” A ouija board had told Alice allow Alice Cooper a place in the that he was the 20th Century incar public's heart on only one condition— nation of a 16th Century teen-age that the group take a total plunge girl, and Alice had been intrigued! into violence. It happened at the out The most disgusting act since door Saginaw Festival, a rough-shod, Elvis: By the time they appeared cut-throat affair where a guy could with the Doors for a Lenny Bruce get killed if he didn’t cover his Memorial Night at LA’s Cheetah sneezes. A motorcycle gang had taken club, they were probably the most the Festival over, beaten up the pro bizarre group the West Coast had to moter, and dragged one girl through offer. They came out in chrome col the grounds by a chain around her ored suits with fringes while fog ma legs. Alice was the last act to go on. chines spilled dense clouds around He came out in his night-dress with them and black lights triggered the his pants underneath and aped a teen phosphorescent glow of spinning age girl singing “nobody loves me.” wheels at the back of the stage. Then Then eventually the band went into its they thoroughly antagonized a crowd grand finale—the fight scene where that had come for Jim-Morrison-style they beat the shit out of an inflatable rock by giving it a mixture of Dionne rubber rabbit. But things didn’t really first Warner Brothers album. Love It Warwick Junes and science fiction begin to cook until the bikies got into To Death, he and the others had a songs about computers taking over the act. Swarming onto the stage with brainstorm. Why not create one char the earth. By the time they got into their chains, their greasy levi jackets acter, one human being who would their fourth number, 7,000 Doors fans and their bulging biceps, they took tell his story in the songs and live had fled. Only Frank Zappa, the the act a step further and began to out his life on the stage? A character GTO's. a handful of dedicated drink beat the shit out of the band. Blood whose saga would unfold in one al ers. and two 21-year-olds wfio’d re flowed and the crowd loved it. They bum after another? A character cently driven their dilapidated Cadil screamed, they shouted, they clapped named Alice Cooper? “The Ballad Of lac out from the East Coast remained. for more. It was Alice Cooper’s first Dwight Fryesays lead singer and CIKCUS si Remember Them?
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Them, featuring Van Morrison singing lead. Songs like “Gloria," "Mystic Eyes,” “Here Comes The Night,” “How Long Baby.” Remember? If not, discover. Now the two Them albums have been packaged together. A Bonus Pak Two Record Set. c Cp\/)OX I AMPEX I STEREO TAPES
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