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February 18, 1978 - Image 5

Resource type:
Text
Publication:
Michigan Daily, 1978-02-18

Disclaimer: Computer generated plain text may have errors. Read more about this.

The Michigan Daily-Saturday, February 18; 1978-Page 5

Goodman,

ost light up.Power Center

By ANDY KURTZ
P OWER CENTER was
the gills on Thursday
only meant that some 300 p
out on Steve Goodman's e
excellent concert. Accomp
Post and local harmonica
Ruth, Goodman re-establ
as one of Ann Arbor's fav
mers.
The festivities commen
on his own: his all-too-b
'The audience

MAN often blistering rhythms, he improvised
no less than three fully rhymed blues
n't packed to numbers, ranging in topic from the
night, which neutron bomb to a chronically breaking
)eople missed guitar strap.
energetic and Goodman is a witty and sensitive
anied by Jim songwriter, with a fine ear for clever
whiz Madcat -lyrics. Even his more serious songs
ished himself rarely become maudlin - his perform-
vorite perfor- ance of the quietly affectionate "My
Old Man" was genuinely moving. In the
ced with Post face of such excellent work, it is even
)rief set was possible to forgive him for the soapy lit-
tle tearjerker "The Ballad of Pennv
Evans" which he has wisely pruned
from his act.
For all it's overexposure, "City of
was de- New Orleans" remains a great train
song, especially when accompanied by

the wailing harmonicas of Madcat
Ruth. In a time when lyrics seem par-
ticularly neglected, Steve Goodman
continues to write songs of wit and in-
sight.
AFTER COMPLETING his final
number, Goodman attempted to leave,
but was hauled unceremoniously back
by the cheers of all present. For two
additional encores he teamed up with
Post and Ruth for cracklingly good ver-
sions of songs by Sam Cook and John
Prine, including a rousing sing-a-long
on "Bye-bye, Love." There were beau-
tiful harmonies hammered out between
Post's rough croon and Goodman's
quavering baritone, besides a great
deal of hilarity, causing even the
usually stonefaced Madcat to break up.

The three formed a very creditable can-
can line during "The Twentieth Cen-
tury Is Almost Over," and regret was
unanimous when the concert finally en-
ded.
Steve Goodman enjoys playing Ann
Arbor, and hopefully will be returning
soon. Perhaps his next concert will sell
out the Power Center; if a wretched
production of Hamlet leaves no seat
unoccupied, a talented and exuberant
singer-songwriter should certainly be
able to do the same.
The victims in seven out of every fo
fatalities from falls are elderly persons.
Most of these accidents occur in the
home.

Daily Photo by JOHN KNOX

Jim Post

- Oqq

AV

lighted, and its rapport
with the performer com-
plete; but there are other
things besides gnomish
appeal that make Steve
Goodman an impeccable
concert artist.'
somewhat ragged but altogether en-
joyable. Mustache bristling, eyes swim-
ming vaguely back and forth, Post
howled and stomped his way through a
spiritual which described a day off for
the disciples, complete with Sony Por-
table TV and a cooler of beer. Swooping
down into the audience, Post crooned a
lovely version of his own "Dancing in
the Wind" in his classically roughened
folksinger's voice. A fine musician and
an engaging performer, he admirably
set the stage for the evening's, main
event.
Amidst tumultuous applause, Steve
Goodman came bouncing onto the
state, looking for all the world like a
hyperkinetic dwarf as he sailed into the
lively "It's a Sin to Tell a Lie." Without
a break he tapered off into the poignant,
witty "You Should Have Seen the One
That Got Away," a beautiful little song
about fish stories:
Hindsight makes the heart grow fonder,
That's about the cost,
When you go around saying "I love you"
With your fingers crossed.
THE AUDIENCE was delighted, and
its rapport with the performer com-
plete; but there are other things besides
gnomish appeal that make Steve Good-
man an impeccable concert artist. Fir-
st of all, he doesn't bother an audience
with endless, tedious anecdotes or beer-
and-dope small talk. He comes to sing,
and so obviously enjoys it that audien-
ces are immediately more comfortable
than those burdened with the usual
meaningless concert chatter. But
above all, Goodman is a fabulous
guitarist and a brilliantly intuitive
musician. Plucking and strumming at

I vA

V

1

I

31

I

Steve Goodman

Daily Photo by JOHN KNOX

ELP "slatest album,

'Works'

doesn't

By MIKE TAYLOR
AFTER SEVERAL YEARS of semi-
retirement, Emerson Lake &
Palmer returned last year with the pre-
tentiously titled Works Volume 1, a
double-record set, and more recently
Works Volume 2, a single record. If the
second edition of Works is any indica-
tion of the band's current output, then
they should have stayed in hiding.

Works Volume 2
Emerson Lake & Palmer
At/anticSD19147

There are twelve songs in all, but not
one of them is worth a second listen,
and most of them don't even deserve a
first listen. Never before have I heard
an album so consistently filled with
schlock posing as art. Ironically,
though the tunes are consistent in their
dreariness, they bear no relationship to
each other. Works Volume 2,sounds
more like a random pastiche of tunes
that should have gone in the trashcan
rather than an album; it makes records
like Brain Salad Surgery actually sound,
good.
Take songs like "Tiger in A Spot-
light" and "When The Apple Blossoms
Bloom in The Windmills Of Your Mind
I'll Be Your Valentine" (please).
"Tiger" is a chaotic collection of key-
boards, drums, and bass with no
melody but lots of mindless rhythms

and computer-like vocals. "Apple
Blossoms," like much of the material,
was first released years ago - in this
case it was the B-side of a 1973 British
single. This time we're spared Greg
Lake's annoyingly flat vocals, but elec-
tronic doddling with no beat just isn't
my bag - after all, it's got to have a
back-beat to be rock'n'roll, doesn't it?
Rock'n'roll this isn't, nor would I call it
music.
"Brain Salad Surgery," which never
made it to the album of the same name,
finally appears here. It's a nasty little
tune perfectly suited for Lake's evil
voice, but hardly anything to get ex-
cited about. "So Far to Fall" is filled
with schmaltzy orchestration, which
seems to be ELP's newest discovery.
Perhaps they think having an orchestra
playing along with you shows good
taste; unfortunately, the end result
doesn't taste good at all.
In the "Still ... You Turn Me On" and
"Take a Pebble" pretty ballad depar-
tment are Lake's "Watching Over
You" and Irving King's "Show Me The
Way to Go Home." They are indeed
pretty ballads. Lots of people do pretty
ballads.
And then there are the solo efforts,
those tunes designed to show E, L, and
P sound just as good all by themselves-
as combined into ELP. Lake's "I
Believe in Father Christmas" is the
cutest of the lot. A hummable ditty, it's
at least worth a few spins once a year at
your Christmas party.
Carl Palmer offers the album's most
interesting moments. "Bullfrog,"
recorded with a British jazz unit called
Back Door, explores some intriguing
rhythms; on rare tunes like this Pal-
mer's arsenal of percussion is quite an
asset. "Close But Not Touching" is an
ambitious foray into a big-band

jazz/rock'n'roll sound. Unfortunately,
though both tracks show more imagina-
tion than the rest of the record, they
aren't substantial enough to warrant
repeated listening.
Keith Emerson's tributes to honky-
tonk piano are only slightly more

listenable than the soundtrack to The
Sting. "Maple Leaf Rag" is incredibly
ordinary; the London Philharmonic
Orchestra makes it even more
amusing. "Honky Tonk Train Blues" is
stiff, and Emerson's own "Barrelhouse
Shake-Down" is prosaic enough to
make one laugh.
Except it really isn't very funny. I've
never been a great ELP fan, but I never
thought they'd make as junky an album
as Works Volume 2 is. Let's hope the
next time Emerson Lake & Palmer
decide to make an album, they sit down
and make a real one, together. It might
not be a great album, or even a very
good one, but it couldn't help but be bet-
ter than this one.
Although the common street pigeon is
generally considered a drab, dirty bird,
most of the 290 pigeon species are
tropical and are brightly colored.

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Located across from U of M stadium
Bus Service every 15 minutes from
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call 995-3955
visit resident manager at
apartment K-1

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