Thursday, February 15, 1973
THE MICHIGAN DAILY
NEW
Levis for Girls
at
5lary 'Dibble
ANN ARBOR
1121 South University
THURS.-SUN.
Feb. 15, 16, 17, & 18
L IG HTN I N
FEB. 19, 20,&21
ROCKETS
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4?'". y
By KEN ALTSHULER
and MIKE HARPER
CULTURE CALENDAR
FILM-Cinema Guild presents Vigo's Zero de Conduite at 7
and 9:05 in Arch. Aud. The AA Film Co-op screen
Hitchcock's Spellbound in Aud. A at 7 and 9. The Magic
Christian and End of a Revolution can be seen, courtesy
of the New World Film Co-op, at 7:30 and 9, respective-
ly, in MLB Aud. 3. South Quad Films shows Airport in D
R. 2 at 7 and 9:30.
POETRY-J. D. Reed can be heard in the UGLI Multi-pur-
pose room at 4:10.
DRAMA-The U players produce Rabe's The Basic Training
of Pavlo Hummel at 8 in Trueblood.
MUSIC-The Music School presents the U Concert Band,
conducted by Sydney Hodkinson, at 8 in Hill.
To appease our desire to never
let a good album pass unnoticed,
_ our first column will deal with
albums of 1972 that were not re-
viewed but should have been.
Living in the Past is an an-
thology of Jethro Tull's work
through the four years of their
t development. Aptly organized in-
to four sides encompassing 1968
. to 1971, we hear Tull's changes
from a hard-core, gut-rock based
band to a highly technical, so-
phisticated musical orchestra.
Tull's entourage has included
Ian Anderson, Clive Bunker,
Glenn Cornick, Mick Abrahams,
Martin Barre, John Evan, Jef-
frey Hammond - Hammond, and
Barriemore Barlow.
The initial four began Tull's
tradition with such classics as
"A Song for Jeffrey" and "My
Sunday Feeling," and this pat-
tern is introduced on Living in
the Past witht "Love Story" and
"Christmas Song." With the re-
placement of Mick Abrahams by
Martin Barre, Tull recorded their
best musical composition, "Sweet
Dream," found only on this al-
bum. Completing the disc's sec-
ond side are cuts from Benefit,
along with English released sin-
gles "Singing All Day" and
"Witches Promise." With the
final formation of the present
band, Jethro Tull records their
English single "Wond'ring
Again" (a variation is heard on
Aqualung as "Wond'ring Aloud")
Page Three
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Okie and Jen
..i/a th9int the Patl
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0
A.M.-2 A.M.
Two films by highly influential F r e n c h
director JEAN VIGO-famous for the com-
pelling poetic imagery, atmosphere and
milieu of his films. French with subtitles.
THURSDAY
ZERO FOR CONDUCT
1933. Nightmarish recollection of life
in a French boarding. school. With
famous slow-motion pillow fight se-
quence.
FRIDAY
L'ATA LANT E
1934. Nostalgically poetic story of a
river barge owner and his wife.
SAT./SUN.
FORMAN
Loves of a Blonde
Architecture Aud. 7 and 9 $1
toni ght
6:00 2 4 7 News
9 Courtship of Eddie's Father
50 Fiintstones
56 Operation Second Chance
6:30 2 CBS News
4 NBC News
7 ABC News
9 I Dream of Jeannie
50 I Love Lucy
56 Course of Our Times
7:30 2 What's My Line?
4 Circus!
7 Michigan Outdoors
9 Movie
"Tarzin's Secret Treasure" (41)
8:00 2 National Geographic
4 Flip Wilson
7 Mod Squad
50 Dragnet
56 A Thin Line
8:30 50 Merv Griffin
9:00 2 Movie
'Valley of the Dolls" (1967)
4 Ironside
7 King Fu
9 News-Don West
56 An American Family
9:30 9 Happy Through Married
10:00 4 Dean Martin
7 Streets of San Francisco
9 Adieu Alouette
50 Perry Mason
56 Masterpiece Theatre
10:30 9 Countrytime
11:00 4 7 News
9 CBC News
50 One step Beyond
11:20 2 9 News
11:30 4 Johnny Carson
7 And the Bones Came Together
50 Movie
"TheKeys of the Kingdom"
(44)
11:50 2 Movie
SPECIAL
CASTENADA'S
JOURNEY TO IXTLAN
List 6.95 SALE 5.88 c
Teachings of
Don Juan-1.25
cA Separate Reality-1.25
OBORDERS BOOK SHOP
316 S. STATE
10pm
9'
12
41
7
111
The Morning After
Progressive Rock
Folk
Justice William Douglas
Jazz
Progressive Rock
High-energy rock from
Elephant's Memory Bandl
"The Face of Fear" (1971)
12:00 9 Movie
"Lost Command" (1966)
1:00 4 7 News
f:20 2 Movie
"The Enforcer" (1951)'
2:50 2 It's Your Bet
3:20 2 News
wcbn
listings
By DAVID MORENS
Hearing Elephant's Memory
for the first time can be quite a
cultural shock, as lots of De-
troiters found out Sunday night
at Ford Auditorium.
The audience was pure creme
de la suburbs, and they'd paid
their money to hear Quicksilver
and yawn a lot, slouch down in
their plush green seats, hold
hands quietly . . .
On stage, a dangerous-looking
group of black leather maniacs
launch right into the most lethal
get-down rock and roll Detroit
has heard since the heyday of
the MC5. No doubt about it, Ele-
phant's Memory rides again!
The focal point of this brutal
herd is singer-saxist Stan Bron-
stein, whose coarse demonic
rasp alone is enough to incite a
convent to riot. His sax is in-
credible, and he blows it like a
man erupting half a month's
gas. Throughout the perform-
ance Bronstein sustained an
aura of vicious excitement -
screaming, pounding, gyrating,
stomping his way through a doz-
en high energy tunes.
Most of the songs are from
their recent Apple album, in-
cluding "Liberation Special,"
the lead-off, and "Chuck 'N Bo,"
a screecher that outdoes any-
thing its namesakes ever put up
for pure power. In fact, the Ele-
phant's live rendition of this
tune was so sped up it made the
album version sound like a fox-
trot. Adam Ippolito hunched ov-
poetry for
to Arts Editor
/o The Daily.
er his electric piano, oblivious to
the 130 decibel wall of noise he
was helping to create, fingers
flying over the keyboard at a
frenetic pace. You see them
move (well, almost), you hear
the piano, and you can't believe
all that electric gunfire is com-
ing from only ten fingers.
But there's more, After riding
over a low point when bassist
Gary Van Scyoc's pretty "Wind
Ridge" didn't quite come off,
Bronstein led the group back into
a brilliant extended version of
"Baddest of the Mean."
Tex Gabriel, formerly of the
group Detroit (remember Mitch
Ryder and the Wheels?) showed
some fine guitar work here, and
by the time the Elenhants cap-
ped off their set with a stomp-
ing Berry-Diddley medley, even
a junior executive type in the
front row center was begrudging-
ly budging, clapping his hands in
time to the seismographic thun-
der.
Backstage in Dressing Room
C we sit among the coats and
guitar cases. Undefined people
mill about, Scott Morgan shows
up, then Leni Sinclair. A cou-
ple of late-adolescent groupies
poke hesitantly around, wide-
eyed as Natalese lemurs, look-
ing like they're not sure they
really want to get laid, wonder-
ing why they came.
Bronstein a dwindling fifth of
cognac in his fist, looks like a
drunken sailor on a 24 hour
leave, impish and uproariously
inebriated. D r u m m e r Rick
Frank is the thoughtful, talkative
one, perched between his beau-
tiful blond lady and Bronstein,
alert, kind but somewhat sarcas-
tic - interested but a bit of a
put-on. A great guy.
We talk about the group's past,
the early days on Buddah re-
cordsthe soundtrack for Mid-
night Cowboy they helped write,
and then the revamping, the
close musical relationship with
John and Yoko who produced
and played on their latest album.
Frank is more interested in
the new music, however. The up-
coming single "Everglade Wo-
man (Go Down Low)," the next
album, the band's production
and recording techniques, the
songwriting.
Bronstein sums up the ap-
proach of the whole band - un-
sophistication, rocking good
times. Unlike the poor schlepps
in those dreary beer commer-
cials who only go round once in
life and have to grab for all the
gusto they can get, Elephant's
Memory is light-years beyond
the grabbing stage. They are
crude, raw, Philistine rockers
who live their music to the hilt.
They believe that incredible
things are going to happen, and
given their irrepressible talent
incredible things probably will.
What is Elephant's Memory
Band? Most of all an unbeliev-
ably high - energy band that
plays down-to-earth adrenal rock
and roll, stripped of the Grand
Funk tinsel, -the repetitious pre-
tention of Led Zeppelin. They
are also a whole lot of anti-cul-
ture, a bit of tongue-in-cheek, an
angry elephant gone berserk,
and a great goodtime band.
211ixed- n~edia
presentation
The Composition Department
of the School of Music will pre-
sent a Contemporary Directions
concert of mixed-media works
Friday evening at 8 in Hill Au-
ditorium. The first half of the
program will feature new works
by Jay Vosk, David Koblitz,
Thomas Clark and Thomas
Janson, using film, dance, and
combinations of live performers
with electronic tape.
The second half of the concert
will be devoted to a multi-media
effort by Sense II: "no time
ago . . ." based on a poem of
e. e. cummings. Sense II is a
contemporary arts collaborative,
exploring a unique form of cre-
ative interaction between sight
and sound. Founders Stephen
Kleinman and Edward Weiss,
both U-M graduate students, use
a small core of musicians, which
can vary from four to twenty.
Various media - lights, 'video-
tape, and dance are added as
needed for the numerous pieces
in the group's repertoire.
and other assorted 1971 produc-
tions.
Living in the Past is as fine an
anthology as can be found. In-
cluded are cuts from Tull's
American releases and English
singles not released in the
States. But more impressive is
the song-by-song arrangement
that describes its growth from
its early beginnings to its devel-
opment of musical expertise and
uniqueness. Through unsurpass-
ed professionalism and creativ-
ity, Tull has become one of the
greatest musical forces in the
world today. Living in the Past.
is proof.
Procol Harum Live with the
Edmonton Symphony Orchestra
is by far the group's best album.
Gary Brooker leads the group in
an array of live performances
capturing their individuality and
talent. "A Salty Dog" is per-
fectly produced, creating sounds
that musically stage the scene
prior to the words telling the
story. "Conquistador," which
was released nationally as a sin-
gle, introduces the album with
driving percussion and a tight
band presentation. Side two is
"In Held 'Twas In I," a 19 min-
ute collection of five composi-
tions. Excellently performed by
Brooker, B. J. Wilson, Alan Cart-
wright, Chris Copping, and Dave
Ball, this album is a truly fine
musical creation.
The now defunct Simon and
Garfunkel present their great-
est hits in a sporadic fashion-
in no particular order, they per-
form hits varying from "Sounds
of Silence" to "Bridge Over
Troubled Waters." Even to those
patrons who have all S and G's
albums, this collection is a must.
If for nothing else, their live
version of Kathy's Song is worth
the price of the disc. Paul Sim-
on's best competition is present-
ed in a one-man performance;
in an intense, melodramatic stag-
ing, Paul sings of a past love,
and plays of a past moment. Si-
mon and Garfunkel found their
fame through a pop generation
seeking trivia but finding poetry
and creativity. The combination
of Paul's incredible lyrics and
Art's magnificent vocal range
made these troubadors establish-
ed folk in their own right. The
story is found in these fourteel
songs.
Kenny Loggins and Jim Mes-
sina first entered the music
world as a team with Sittin In,
which went unnoticed for a year
until a cut from their second al-
bum hit the Top 40. But their
initial album is their best, due
to its simlicity, directness, and
fine musicianship. Those who
followed Messina through his
Buffalo .Springfield and Poco
Days will still find his guitar
work excellent. In addition, Mes-
sina proves his studio talent by
taking a primary role in song-.
writing and production. We hear
Loggins singing his "House At
Pooh Corner", and it is so sim-
ply done, so unpretentious in
meaning and presentation, it be-
comes one of the best songs on
the album. We also find Mes-
sina's "Nobody But You" and
"Same Old Wine" combining
with Loggins' "Rock 'n' Roll
Mood" to create one. Those who
like L and M's second album
will love this one . . . it's more
basic, less commercial, and
more designed for easy listening
than to sell a million.
A fellow Okie from upstate
Tulsa had one of the best al-
bums of last summer; Leon Rus-
sell's Carney was so low-keyed
it went almost unnoticed - but
if that's its fate, it's a musical
disaster. "Me and Baby Jane"
is the saddest, truest story of
life in a south-midwestern state.
Like "Home Sweet Oklahoma,"
to know this song is to know the
state . . . the conflicts between
expression and reression, in-
dividuality and conformity, and
love and hate. Excuse the iden-
tification, bt Russell sings it
honestlynand appropriately. Also
of superior quality is the album's
conclusion, "Magic Mirror;" an-
other hauntingly, beautiful com-
position of Russell's life as he
sees it. "If the Shoe Fits," "My
Cricket," 'Ihis Masquerade" -
any song on this album (with the
sole exception of "Acid Anna-
polis") can be compared to Rus-
sell's best. And as always, the
best feature of any of Leon's al-
bums is the perfect arrange-
ments which he demands. Rus-
sell is the master of the studio,
and he puts to incredible use the
simple support of past members
of Mad Dogs and Englishmen
and present Shelter people.
In Columbia's never-ending ef-
fort to exploit death for money,
we heard a new release from
Janis Joplin last year - In Con
cert. If we didn't like Janis so
much we would have never
bought this album since that sort
of exploitation is not the best
example of ignterity, but this
album is great. For those of you
who saw Janisrat the Grande
Ballroom March 2, 1968, you'll
recognize "Down On Me" and
"Piece of my Heart."
Anything that can be said of
Janis' style was said in each
note shesang - blues, painful
blues. She never sang a note in
her life if she wasn't crying at
the same time. Janis was the
greatest white blues singer in
history. She took "Summertime"
out of "Porgy and Bess" and
did amazing justice to it. Her
early "Bye, Bye Baby" is on
this album, sung so sweetly sim-
ple it's the best reproduction we
have ever heard. But the last
side is Janis in fact. "Try (Just
a little bit harder)" proved that
she tried too hard. "Get it While
You Can," she sang "'cause you
may not be here tomorrow". And
her classic that shot her to star-
dom, after the Monterey Pop Mu-
sic Festival, Ball and Chain: A
third of this cut is music, the
rest is her spoken words, telling
the story aptly and accurately.
Buy the album.
But another white blues singer
does live and makes that fact
known in her latest album, Give
It Up. Bonnie Raitt was one of
the few white performers at the
Ann Arbor Blues and Jazz Fes-
tival, and justly deserved the
distinction. Bonnie adequately
competes with Cold Blood's Ly-
dia Pense as the best living
white blues singer; with such
numbers as "Nothing Seems to
Matter" and "If You Gotta Make
a Fool of Somebody," Raitt com-
bines lyrical ballads with hard
jazz to present blues as a com-
plete effort. And when she
sings "Love Me Like a Man" her
clear, clean voice cuts through
the small musical support and
the blues belong to her. Bonnie
involves herself in the blues ---
throughout all the gut lines she
sings, it's still her individuality
telling the story. This album is
not a singer singing the blues;
it's a performer living them. In
this way, she reminds us of
Janis, but she's a professional
in her own right, and indepen-
dently as great as they come.
The last album worth mention-
ing is truly trash. Yes, we cn
only be talking aboutsone per-
son - the true pits of the pop
trade - - - the divine one, Miss
Bette Midler. We would have
paid triple the price of the disc
if it would have been live, but
even in the studio she captures
all the tackiness she exhibits in
public. "Chapel of Love"~ is
straight fromthe DixievCups,
and believe us, she sings it like
she's going there. "Leader of
the Pack" brings back gutter.
memories of the Shangri-Las.
And in her basic, earthy style,
Bette cries out for her lost love
in "Delta Dawn."
Without a doubt, Bette is one
of the greatest stage performers
in contemporary music; her
torch songs which are so ap-
propriately moving in person,
are equally effective on this al-
bum. L e o n "Russell-Bonnie"
Bramlett's "Superstar" is guar-
anteed to bring tears to your
eyes. "Hello In There," John
Prine's best, is done sadly,
touchingly, beautifully. Bette
begins and ends the second side
with her theme song, "Friends."
By her presentation, she con-
veys two feelings - the happi-
ness derived through friends,
and the loneliness felt when
there are none to be found. The
former is found in her lively
words, the latter in her breathy,
hollow voice; the contrast is as
refreshing as it is haunting.
A
SHOP TONIGHT AND FRIDAY UNTIL 9:00 P.M.
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Woody
Allen's farce
"BETTER THAN 'THE GODFATHER'!"
-NBC-TV, Chicago
"Infinitely more interesting than 'The Godfather'!"
--CBS-TV, Los Angeles
"In recent years the career
of Charles Bronson has sky-
rocketed. From being cast
as a heavy in Westerns,
prison films and detective
movies, Bronson emerges in
Europe as a star. He is an
accomplished a c t o r with
depth and great range to
his craft. In fact he is such
an accomplished actor and
so conscious of the subtle
nuances of the part he por-
trays, he helps make "The
Valachi Papers" one of the
Dumost accurate, no-nonsense
gangster films in years."
OE tAURENTUS p...... ioA A TERENCE YOUNG F Im effre yo s W PIX-V
g --Jeffrey Lyons, WPIX-TV,
New York City
It DINOt
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