SIN Entertainment
Fogerty — who was successful in
winning an injunction to keep his
former bandmates from using the
Creedence Clearwater Revisited
Name —launches a rare solo tour
to show who really made the mu-
sic. Fogerty date TBA. Cosmo's
Factory July 24 at Pine Knob.
ORGANIC: If electronic music re-
ally is the next big thing, this
should be the next big tour. Last
year's single date featured leading
techno lights such as The Prodigy,
Orbital and the Chemical Broth-
ers; this year you can also expect
upstarts such as The Egg, Gus Gus
and Spring Heel Jack. Local date
T.BA.
AEROSM1TH: The Bah-ston bad
boys return, and the rocking na
ture of their new album, Nine
Lives, indicates that this might be
the summer's real roar tour. Local
date TBA.
Also touring this summer. Smokin'
Groovies Tour (Fugees, Cypress
Hill and others), The Who, Boston,
Rush, Live, Bush, No Doubt,
Blondie, Marilyn Manson, Moby,
Santana and Rusted Root, Super-
tramp, John Mellencamp and
Amanda Marshall, Counting
Crows and the Wallflowers, Mot-
ley Crue, the Jayhawks, Wilco Son
Volt, Megadeth, Blues Traveler,
Chicago and the Beach Boys (sep
arately in Detroit).
Also, Grand Funk Railroad,
Luther Vandross and Vanessa
Williams, Queensryche, Tina Turn-
er and Cyndi Lauper, James Tay-
lor, Jimmy Buffett, the Dave
Matthews Band, the Doobie Broth-
ers, the Allman Brothers Band,
Lynyrd Skynyrd, Cheap Trick,
Phish, Barenaked Ladies, Indigo
Girls, Steve Miller Band, Boz
Scaggs, Los Lobos, Willie Nelson
and Jimmy Dale Gilmore, Hall &
Oaths, Steve Winwood, Matthew
Sweet, Kansas, REP Speedwagon,
the Moody Blues, Dan Fogelberg,
Weird Al Yankovic, the Summer
Daze Tour (Steppenwolf, Blue Oys-
ter Cult, Foghat, Pat Travers), the
Blues Music Festival Tour (B.B.
King, Robert Cray, Jimmy Vaugh
an, Bluestime), the Manhattan
Transfer, Harry Belafonte, Eddie
Money, Huey Lewis & the News.
Also, the G3 Tour (Joe Satriani,
Steve Vai, Kenny Wayne Shep-
herd, Robert Fripp), Three Dog
Night and America, Starship, Lit-
tle Texas, Tim McGraw, Kenny G.
and George Benson, 311, John
Michael Montgomery, the Coun-
try Comfort Tour (Hank Williams
Jr., Travis Tritt, the Charlie
Daniels Band, Jo Dee Messina,
Anne Murray), Air Supply, Gordon
Lightfoot, Aretha Franklin, Dar-
ryl Hall & John Oates, Kenny Log-
gins, INXS, Michael Hedges, the
Brian Setzer Orchestra, Ben Harp-
er. 0
,
Grateful Dead
Dick's Picks Volume Seven
(Grateful Dead)
Reviews of
recent albums
• Jimi Hendrix
First Rays of the New Rising Sun
(Experience Ifen-
drix/MCA)
The band is the secondary attraction on this
latest set from the Dead's archives. Record-
ed in London. during 1974, Volume Seven pre-
serves a performance with the group's
legendary "wall of sound" system, a 622-
speaker monstrosity (only in the '70s ...) so
cumbersome it was abandoned after just a
few weeks.
At this juncture, of course, the Dead was
at its rootsy best, its sound defined by twangy
guitar interplay and joyous chorale vocals.
But the group heads for outer space in
'Weather Report Suite," "Dark Star" and
"Spam Jam," and the 22-song repertoire of-
fers a good representation of what playir' ig in
the band was like at this point in its history.
Santana
Live at the Fillmore '68
(Columbia Legacy)
Q11-) 1/2
The highlight of the
vaunted new Jimi
Hendrix re-release
program which also
includes allegedly en-
: hanced reissues of the
three Experience al-
burns -- is this attempt to construct the al-
bum Hendrix was working on at the time
death. Of course, nobody knows what
• of
- First Rays would have become. Still, this 17-
.
• song presentation -- overseen by Hendn x
co-producer Eddie Kramer and historian
John McDermott — is the best assemblage
of the rest so far.
You know the tunes from previous
posthumous releases, including blazers such
as "Freedom," "Stepping Stone" and "Room-
ful of1VIirrors," and the pretty "Angel." And
the sound quality truly is striking, with a
crispness that accents not only liendrix's
playing and songwriting but also his en-
semble arranging prowess.
Allman Brothers Band
Fillrnore East Feb. 70
(Grateful Dead)
(1).
There's something
appropriate about
the Grateful Dead's
BROTHERS SAND
label branching out
to include bootleg-ish
releases from kin-
dred spirits such as
the Allman Brothers
Band. This seven-
song collection isn't
quite up to the stan-
dards of the seminal Live at the Fillmore
East (recorded a year later), but, taken from
an Allrnans set opening for the Dead, it
shows that the group isn't too far from that
mark.
"Whipping Post" is a compact and firey
8:12, but the half-hour glory of "Mountain
Jam" reminds us that any Duane Allman
performance we can get our hands on is usu-
ally worth hearing.
Allman
Ifyou were at this show, chances are you
would have gone to Woodstock the f'ol-
lowing yearjust to hear Santana Almost
30 years later, we can only imagine how
fresh Santana must have sounded at this
early performance, particularly amidst
the more turgid psychedelic explorations of
the time
The arrangements of "Jingo" and "Soul
Sacrifice" are just a touch funkier than the
version we'd become familiar with, and five
of the songs have never made it onto an al-
bum before, which makes this set even more
of a revelation.
Iggy and the Stooges
Raw Power
(Columbia Legacy)
Not many albums have been loved so much
for its songs and lambasted so much for its
mix — done by David Bowie, no less. After a
flurry of bootlegs of the pre-Bowie version,
Iggy Pop went back into the studio to come
up with his own treatment. It's about what
you'd expect from Iggy — live, loud and in
your face, with better definition on James
VVilliamson's shred guitar and more
oomph for the rhythm section.
The songs, particularly "Searrh and De-
stroy" and the title tiack, are still classic
pieces of purik metal, while the liner notes
NI interview with Iggy offers an illuminat-
ing look at the era.
7*- 1 .71
third album in as many years, is a poignant,
focused statement about harsh realities
drawn from his own experiences. An auto-
biographical thread unifies the album's 12
songs as Kramer sings about growing up in
Detroit, the counterculture, the MC5's Chica-
go performance during the 1968 Democrat-
ic National Convention and his prison stay
on a drug dealing conviction.
But within his memories are timeless mes-
sages — about the state of the working peo-
ple he sings about in "Back When Dogs Could
Talk" and "Shining Mr. Lincoln's Shoes," for
instance, or about the armchair insurgents
who are the subject of "Revolution in Apt.
29." It all sounds terrific, too, thanks to
Kramer's collaboration with co-producer
David Was on Citizen Wayne.
Was adds loops, samples and other studio
techniques to Kramer's tableau of blazing,
sometimes jazz-inflected guitar rock. His
singing has the power of conviction, and if
that doesn't make you believe, Kramer's facile
- guitar licks will remind you what it means
to kick out the jams.
The Pantookas
Saind
(Dogbtumy Records)
Close your eyes when you put on this De-
troit trio's album
and you'll think
you fell into the
middle of the
Merseybeat era,
or even the Bea-
ties' Revolver or
Rubber Soul ses-
sions. Devotees
of not only the
original British
Invasion but
also of all things power pop, the Pantookas'
strengths are sumptuous harmonies, shim
mering guitar work and Chris Richards'
tight, deftly crafted and instantly humma-
ble songs, which serve as reminders that a
good writer can accomplish quite a bit in
three minutes or so.
"You're All I Need," 'Tears at the Table" and
"Seagirl" are pop gems by any standard, and
make sure you keep the CD in the player
for the unlisted cover of George Harrison's
"Wah Wah."
- Gary Graff -
Bagel Barometer
Wayne Kramer
Citizen Wayne
(Epitaph)
Outstanding
®&'Ct
,
Some musicians have a voice. Wayne Kramer
has a conscience, and the former MC5 gui-
tarist gives voice to that in the most plain
and universal terms imaginable — which
makes him one of rock's most vital and im-
portant players. Citizen Wayne, Kramer's
Very Good
O
Good
O
Fair
No Bagels
Awful
97