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 .r 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 .....u"..«...... . .."." ta ":.******:", . :r. s",ty .. :A4. A:V a: r..: 14 r ..4,...,l. Okie and Jen ..i/a th9int the Patl ''} 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. ".4.ygyp 4 \ ; 4 ."' f 2 r q r4,. piercedearring $3 *.4. . handsme sving on ovel "wedingband piecedearing. te iporantyea-rond4ookfo a tul bauifu pofle Seec baied r.elcael etchd sylesin oldtne r siverone eta.. 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 , r