THE MICHIGAN DAILY rts & Enterta in m ent Friday, November 19, 1976 H NPage Seven .s.un.s.as.:..:ee. s::.....iun". ' k ocTar.a! " ".ne SL:.'6 Ifl ivli.oeT:..z*'y 77.. '1-F a ROCK 'N' ROLL, Elton John Over a million people have a id lyri: ist B rnie T'i pin is gig.i co-credit for two of the instrimnentals. In recent years, the remark- able m e l o d i e s and sensitive lyrics of Elton's first few al- bzims have been replaced by a' more rockified approach that decreased the emphasis on ly- rics and melody. Blue Moves is thus somewhat of a comeback. hend, ,Bit Your Lip (Get Up a ad ''MaeV is a seven minute :li he. ON OCCASION, Taupin dem- oistrates the ability to write gcod political satire. Although' the music to "If There's a God! .in Heaven (What's He Waiting For?)" is nothing special, the words succeed. SidE ONE RECORDS IN REVIEW sounds as if Reed simply didn't "okra" h tr ab uk ti get around to writing words for1 opera singer who learns to sing, one is. it. ~~~~rocka n'ril, thanriintmn is aske Tonasymis --Mike Taylor it. rock 'n' roll, is a brilliant blend "Ladies Pay" is a feminist of classical influences and hard song about women suffering rock. The song is essentially a from the frustrations of a male guitar oriented rocker, but op- world. It's a relatively lengthy eratic vocal passages are in- number, and Fonfara's piano is tegral to its structure. In the especially effective. "Vicious classic tradition, Lynne has used Circle" has Reed's vocal mixed rock as a metaphor for sex: right up front; emphasizing hisr' sense of horror as he finds his. Well we were 'reelin' and sese ororasrokin' all through the friends are his worst enemies night Unfortunately, the melody is; night dull. y Yea we were rockin' at the Two songs are satirical in a opera house until the break way Reed has rarely been be- of light, fore. "A Sheltered Life" is a# And the orchestra were playin' jazzy blues about Reed's "in- all Chuck Berry's greatest jazz blus abut Red s m-, tunes, experience in the world: te And the singers in the chorus i I ; K p{ 1 R . 1 3 already bought Elton' John's There is not a real rocker But it means to me / That He showy horn section featuring Bird" finds Skynyrd at their' new album, Blue Moves (MCA- among the eighteen songs: most leads his lambs The Breaker B others and Da- most revealing; singer Ronnie ROCKET2-11004). Most of them are . quite soft, with well-de- To the slaughter house / Not vid Sanborn, backs up lyrics VanZant wailing "I'm as free probably love it, and in that veloped melodies. Although they the promised land. concerning the rise and fall of as a bird . . . I can't change," respect the record is an unqual- say nothing new, Taunin's ly- Graham Nash and David a star. Whether Elvis, or Elton while the guitar army (a three ified success. Elton is a first- rics are also quite good. Crosby contribute eerie back- himself, or some nameless star, man attack) plays a blistering, class entertainer and Blue ground vocals to the haunting it's a moving song. sometimes sloppy, and furious Moves is one of his most palat- A JOLLY instrumental, "Your "Wide - Eyed a n d Laughing." , lead break. able entertainments. Starter For . opens the Featuring Davey Johnstone's si- But Not all is well with the re It's been said before about album brightly. Written by gui- tar, it's a song of lost love. they cant take him / To Nease ig Een with thre- other albums, but this two-rec- tarist Caleb Quaye, mandoline, "Someone's Final Song" has , guitarists, Skyn rd's version of ord set could have been an ex- glockenspiel, and Elton's piano sensitive lyrics and a rich mel- Cos they made him and "rss, Sknrd'y verin cellent single album had some- are highlighted. It's a nice be- ody reminiscent of "Someone : they' waste -him the same fervor that Eric Clap- one had the nerve to cut it down ginning. 1 Saved My Life Tonight," if not And I don t believe that I ton and Cream attained. Too, if to size. None of the lesser songs Three songs, "Tonight," "Sor- so dramatic. The effects of ag- ; ant to watch them. you're bold enough to play all are as bad as some of Elton's rv Seems to be the Hardest ing is its theme. Blue Moves will not make four sides at one sitting you're recent efforts have been, but' Word," and "Between Seven-; many critic's ten best lists, but likely to feel that someone's by being merely mediocre they teen and Twenty," are blue "OUT OF the Blue" and it's still quite an enjoyable al- been at work on your head with add nothing o the record. tales of rejection. "Tonight," "Theme from a Non-Existent bum. It's an uneven one, but a hydraulic drill. with its beautiful piano and or- TV Series" are both inventive the highlights number among Rock 'n roll, however, was IN A FEW ways, Blue Moves chestra introduction, would be instrumentals. The former is a Elton's best efforts. In addition, never meant to put you to sleep. is a positive step forward for right at home on Elton's six long piece with an eerie mel- the increased complexity of the -Jim Shahin Elton. On last year's disastrous year old Elton John album. For- ody; Quaye's superb electric instrumentation opens hope for Rock of the Westies his newly mer Beach Boy Bruce oJhnson guitar and Elton's jazzy piano better future work. extended band, which includes has arranged some imaginative dominate the track. The latter -Mike Taylor a second keyboardist and a sec- backing vocals for "Between! is an inspired ditty scarcely Lou Keed ond guitarist, was wasted on Seventeen and Twenty." longer than a minute. All sorts tepid songs and 'limp arrange- A few songs are fairly fast- of instruments, including elec- Earlier this year, Coney Island ments. This time, the band has paced, if not very loud. "One tric harpsichord, synthesizer, L fly U Baby re-established Lou Reed been used to create a great Horse Town" begins softly and and marimba have been used to as one of rock's more brilliant variety of moods and textures. then explodes with excellent create this all-purpose number.- talents. His new album, Rocki Three tracks are instrumentals, guitar and synthesizer playing. Perhaps a sequel to "I'm Go- and Roll Heart (Arista 4100) is and well - played instrumental It's a tune about being stranded ing to be a Teen-Age Idol," (rjta 4100, is passages abound. In addition,', in a small town, and the music, "Idol" is the album's finest mo- 'Had nothing better to do one a highly enjoyable record, al- most of the band members have if perhaps overly melodramatic, ment. Jazz-rooted music, featur- Friday night, so 1 decided to though not quite up to par with contributed to the songwriting, is quite satisfying. Oq the other ing Elton's tinkling piano and a check out the state of the art. its predecessor. < In addition to handling the ' t. k f Bill Wray For a first album, Bill Wray (MCA-2188) is surprisingly good. It's been some time in the mak- ing; three songs were recorded four years ago. But Wray has a lot' going for him-he can write strong melodies and in- telligent lyrics, and his voice is equally adept at crooning and shouting. Furthermore, his band is competent and creative. The songs from four years back are so weak that it's puz- zling that they're even included. "So Far From Home"' is a sad love song with decent lyrics but a dull melody. "Lover" has the dubious distinction of Randy Bachman on guitar, and that's the best thing about the song. In this case, neither the melody nor the lyrics work. "SAILIN'" is a cut above, It has a dense, almost wall-of- sound arrangement and some interesting percussion, as well as some compelling lyrics about the link between total freedon i i i Never been to England, Never been to France Never really learned how to dance I've never taken dope, and I've never taken drugs I've never danced on a bear skin rug I guess it's true what all those people say I'm going to have to lose my hometown ways I guess I've led a sheltered life all got off on singing blues.{ "So Fine" and "Livin' Thing" are each pop masterpieces. The former dreams up a utopia and features a delightful instrumen- tal bridge. The latter has an ab- solutely irresistible hook; it's about the power of love. i 3 THE RELATIONSHIP of oneI stranger to another is exploredI in "Tightrope."- Interestingly, enough, Lynne concludes that at times people can be very nice to each other. "Telephone Line" is more pessimistic; it refers to our dependance on the "ROCK AND Roll Heart" is a great song. The tune is as catchy as they come and the lyrics sum up a perfectly ac- ceptable view of rock, even if it isn't really Reed's.I I don't like messages or some- thing that they say And I wish people like that would just go away I guess I'm just dumb Cause I know I ain't smart But deep down inside I got a rock and roll heart Ever since his Velvet Under- ground days, Reed has been striving to capture critical suc- cess at the same time as com- mercial popularity. Thus far, only his live album, Rock 'n' Roll Animal, has achieved this. important blend. Rock and Roll Heart, with its general level of I a n d loneliness. the melody just markable. Unfortunately, isn't very re- I, first time in montns. A-l a-- u----t--*--* - L1116 Lots of pretty faces. KC and production himself, Reed the. Sunshine Band, Abba, and added saxophonist Marty F the Bay City Rollers. More and keyboardsman Michaell smiles than a Jimmy Carter fara to his band, thus repla photo book. Blown-dry and sty- the professionally crisp s lized, it was an adventure in and simple instrumentation wholesomeness. Coney Island' Baby with WHATEVER happened t o warmth and instrumental rock, let alone 'n roll? sity unheard since Berlin. Lynyrd Skynyrd probably nev- result is a rhythmic, oftenj er thought about it. If you en- tinged work. . joyed that In Concert or regret missing it, then you can stop SOME OF the songs have reading. Lynyrd Skynyrd prob- melodies, and a few have l ably wouldn't like you either. indicative of Reed's skill, Which is to say that daquiri's there is nothing in the clas and disco ain't their cup of tea. "Kicks" or "C o n e y,. Is They play music like they drink Baby." Most of the numbers whiskey-straight and hard. for less than three minutes Skynyrd's latest is a live two- lowing the rare pleasure record offering titled One More twelve songs on one alb From The Road. It's not pretty. Unfortunately, the shortnes It's rough and it's raw. And if due to a lack of proper dev you're not careful you might ment; the lyrics are o even like it. sparse and the melodies SEE, Lynyrd Skynyrd doesn't often weak. care much for taste. They're "I Believe in Love" is a fu blunt, gritty, simple, and basic- opener for the album. A sir ally too honest to be fashion- song with a catchy tune, it' able. They were proud of their about the value of "good- Southerness long before the! rock 'n' roll." As in muc "New South" came along to the material, Fogel's su validate that emotion. It's no saxophone playing almost d formula. They don't pose in neo- nates the proceedings. Allman ala Marshall Tucker, A rather hateful love st Wet Willie and. Charlie Daniels. "Temporary Thing" succ They make it on their own or because of a good beat an not at all intriguing melody. "Follow For a live recording, From. Leader" ismandextremely The Road generally succeeds. tempoed number about Re It's a fair representation of love in New York. The w skynyrd at their most natural. lessness of so many famous Without the inhibiting sterility ple is the theme of "Clain of a studio, "Sweet Home Ala- Fame," a song with one of bama" burns. It's not as defiant ter melodies on the album. as it used to be ('cause they know it doesn't have to be), now AN INSTRUMENTAL, "Cl it's more an enthusiastic state- er and the Chosen One," ment of fact. "Workin' for sax passages lifted straight MCA" (their record company) of Springsteen's "Spirit in is a good example of their in- Night." It's a pleasant tune telligence and style. "Free turing acoustic guitar, bu has 'ogel Fon-' cing ound m of h a den- The jazz- good! yrics but ss of- land run , al- e of bum. ss is elop- often are, unky mple s all time . h of1 perb omi- tory, eeds d an! v the fast eed's orth- peo- m to instrumental excitement, shoul4 succeed commercially; and it's far from a critical failure. Reed used to make better albums, and hopefully he will in the fu- ture, but although it has flaws, Rock and Roll Heart has a lot going for it. -Mike Taylor ELO It's not hard to fall in love] with the new Electric Light Or-' chestra album, A New World Record (United Artists UA- LA679). There are nine songs on this album, and each of them is superb. In addition, in terms of vocals and instrumentation, ELO is one of our finest bands. The seven members of ELO play with great skill a huge variety of instruments, and be- cause most of the group sings, backing vocals have been used as a particularly imaginative instrument. This is a very rich sounding album. telephone. This song uses back-' up vocals especially creatively. ,One of the best singles 1972 gave us was "Do Ya" by the Move, the British group then led by Lynne and Roy Wood. It took six albums, but this classic love story of sorts has finally been' re-recorded by the group the Move subsequently evolved into. The chunky "I Can't Explain" chords are still there, but the instrumentation is more com- plex and the vocals more sen- sitive than the first time around. Unfortunately, while this new "Do Ya" is a richer musical experience, it lacks the spon- taneity and raw power the orig- inal version had. The record's closer, "Shangri-' La," however is one of Lynne's finest achievements. From the synthesized beginning to the soft electric piano ending, it's a beautiful song. Its melody is breathtaking, and its sad lyrics are an excellent example of ef- fective poetic compression. My Shangrita has g o n e away / Faded like the Beatles on Hey Jude / She seemed to drift out on the rain/ That came in somewhere soft- ly from the blue JEFF LYNNE has demon- strated his love of ;he eBatles numerous times in his songwrit- ing. "The Minister," from the last Move album, Message From the Country, was a musical re- write of "Paperback Writer," and Eldorado's "Mr. Kingdom" was similarly d e r i v e d from' "Across the Universe." In ad- dition, "Day Tripper" used to be a staple in ELO's live per- formances. t With A New World Record, Lynne has come his closest yet to evoking the Beatles legend. This, is a dazzling album,.jam- med full with marvelous melo- dies and clever lyrics, just. like the Beatles used to do. In fact, if the "fabulous four" ever do. make another album, we will The rest of the record is all uphill. A fast-paced song filled with guitar reminiscent of mid- dle period Doobie Brothers, "Takin' My Time",is ironically about Wray's need for things to move slowly. He concludes that this allows him more time to enjoy life, hopefully making it seem longer. "I'm in Love" has a simple, almost irresistible melody. It's a soft song that fortunately nev- er becomes saccharine, thanks to sensible lyrics. This one is everything McCartney's "Silly Love Songs" should have been. TWO SONGS are powerful rock 'n' roll anthems. "River City (Rock 'n' Roll)" is an as- sertive number about Wray's roots. "Tonight's the Night" is a "Saturday Night's Alright for Fighting"-type rocker, complete with Elton John sound-alike vo- cals. Easily the best song on the album, however, is "(Can You Believe In) Magic?" Every bit as good as the Lovin' Spoon- ful's classic, "Do You Believe in Magic?," Wray uses a catchy melody, clever lyrics, imagins. tive playing, and excellent back- up singing to create a pop mas- terpiece. Slight bells, gongs, and synthesizer are used to great effect. Can you believe in the magic in the stars Care what sign you are Get scared when a cat runs in front of your car Believe you can see youi future in the cards? WRAY ISN'T sure he be- lieves, but he is sure that a little luck won't hurt. This is by no means a great, nor significant album, but it's an enjoyable one. "(Can You Believe In) Magic?" fully de- serves to be a hit, and the rest of the record's over-all com- petence indicates that major work may be forthcoming. In any case, Bill Wray is hopefully just the start of a successful career. -Mike Taylor bet LEADER Jeff Lynne's new, 1 sonsg are stunning. All are fill- ed with creative melodic ideas, 'hoos- and most are extremely catchy has as well. In addition, for an al- t out bum so clearly dominated by the the quality of the music, the fea- lyrics are unusually thought ut it provoking. Elton John JAZZ By LARRY FRISKE comes up with Peterson on cla-' 'Planet. (MR 5063). Amazingly vichord. While it's certainly dif-; V S , Jefferson's been singing for ferent it's .difficult to swallow. more than 30 years but with1 Peterson's unabashed and free What Muse Records may lack only five albums to his credit. style seems cramped by the in quantity is more than made He's enjoying another upswing m e 1 o d i c, attractively wistful lo Maria Giulii and the Phil- proves to be a very sensitive vein. The Quintet is Burton's harmonic Orchestra in a per- interpreter. regular working group - Bob formance of Johannes Brahms BUT, WHEN this approach is Moses, Steve Swallow, Mick .Piano Concerto No. 1 in D Mi- tried on the bubbling rondo-fi- Goodrick, and on electric 12- nor, op. 15. - nale, it fails utterly. Again the I _~~~iy ng:. is.. supero., t I t is 9..an~ tinny clavichord and the whole session sounds too strained for credibility. Dizzy Gillespie Porgy and Bess The resurgence of Porgy and Dizzy Gillespie and Machito Bess is now taking place in; certainly aren't cramped on many forms. In recordings RCA Afro-Cuban Jazz Moods (Pablor is leading the way with an ex-1 2310-771). It's a generally spon- travaganza featuring Ray Char- taneous affair with Machito's les and Cleo Laine. (RCA CPL Orchestra, Gillespie, and a few 2-1831). Producer Norman Granz of the latter's friends such as also worked on the 1956 versionI drummer Mickey Roker. The with Ella Fitzgerald and Louis music's mostly centered aroundj Armstrong, also now available the Cuban rhythms of composer, as a Verve Reissue. conductor, and arranger Chico Most numbers receive a O'Farrill. double treatment by orchestra, The main piece "Oroi, Incien- arranged and conducted by so y Mirra" is a sophisticated, Frank DeVol, and vocals by concoction of many different in-1 Laine and/or Charles. In addi- fluences including polytonality tion to singing their appropriate on top of its Cuban melodies. numbers, Laine and Charles The "Three Afro-Cuban Jazz sometimes do songs sung ori- Movements" have been a little ginally by the other lead. For more pjolished by Clark Terry &le, Cleo Laine's version and Gillespie since written by of Porgy's "They Pass By Sing- O'Farrill in 1970. It's more di- in' " is one of the most exhilar- rectly accessible with more La- ating from the opera. tin jazz and rock built in. IN ADDITION to his oWn sing- Also new this month from, ing, Ray Charles is all over the RCA and Pablo is the impec- nlace on the instrumental nieces ,,M -+*- up in the quality of its releases. in popularity now appearing re- string, Pat Metheny. ing, at Meheny.This beloved masterwork is Their producers allow the artist cently on a PBS special with' Metheny succeeds Larry Cory- among the composer's most a freedom rarely experienc :d in Leon Thomas, Jon Hendricks, i ell who doubled on six and 12- moving and deeply felt crea- today's highly manipulated Am- and Annie Ross, and at various string for the Burton group. Bur- tions. Beginning in the grip of We'll Be Together Again (MR clubs in Detroit. ton needed a guitarist to sup- an almost unbearable tragedy, erican studios. Now five more JEFFERSON'S scatting high- port him in an appearance at it climbs slowly and affectingly gems are out on the market tes- lights the classic "Ornithology" the Wichita Jazz Festival and into the chorale-like adagio, tifying to the solid Muse crafts- which also showcases some of Metheny caught on permanent- which then leads to the sunlit manship. the best solos from Mickey ly.bHe plays an old, full-bodied finale. Tucker, Richie Cole, and Way- Gibson and displays his talents 5090) finds Pat Martino in a tC well on the long piece "Wron THE RAPPORT of soloist and gentle and thoughtful mood with man Reed. Jefferson spans a; Key Donkey" The action getsconductor on this disc is truly. g ~~~wide range of pieces includin Keg Dnco".Tductorn et pianist' Gil Goldstein. From a; ie ancoc p"Chameleon." hot and heavy for "Donkey" amazing. Arrau is a past master Walton, Sam Jones, and Louis H and shows off the Burton group in this repertory, and his play-' live recording in Buffalo, Cedar Pianist Joe Bonner's music as the real cooking ensemble ing is sensitive, if continually Hayes can be called nothing but follows strongly in the footsteps they are. understated. Giulini and the! Firm Root (MR 5059). All five of Pharoah Sanders and McCoy Philhartnonians compliment this deserve special mention but the Tyner, Along with Juni Booth For his own album Bright with a warm and full-bodied ac- trio by Sonny Criss, Eddie Jef- and Linda Sharrock, Bonner Size Life (ECM-1-1073) Pat Me- companiment, producing a sub-. ferson, and Joe Bonner merit worked with Sanders over five theny is supported by Moses lime unity. In addition, although' extended comments. albums and are together again and Jaco Pastorius.. Metheny's this disc was recorded over ten 1 on Angel Ejes (MR 5114). "Love sound and approach are unique- years ago, the sound is magni- BEBOP at its best is what the Dance" and "Celebration" in ; ly fresh. As he relates, "I'm ficent. music of Sonny Criss is all particular exemplify. the sooth-! really interested in tunes that about. The exciting Out of No-npritul Sxersity s I have farms and lots 'of changes Unfortunately, the inte'rpreta- where (MR 5089) follows up on gsand harmony and that's not in tion is hardly in keeping with th° splendid Crisscraft MR 50- Otherwise Bonner as soloist! the jazz/rock vein at all." The the intensions of the composer. 68), Criss' first LP since 1968. dominates the first side as a tunes here were all composed As mentioned, each movement And unlike some other labels, bridge from his first recording, j by Metheny himself and the re- has its own distinct character, Muse and their producers, like also a fine solo effort called The sults are attractive and stimu- yet in this performance each isj Bob Porter here, let Criss swing Lifesaver ("Angel Eyes" is lating. As from its title, the ses- played in exactly the same! freely in all his glory. given a sensitively bluesy inter-; manner. Melody and not force- pretation by Bonner but side two siop is positive and upbeat, and ful drama is the focus in the1 Beginning with a short intro- opens up with more large-group can be heartily recommended. opening Maestoso. Beauty and ductory'Criss phrase on "All the soloing. Tenorist Billy Harper sunlight replace violent contrast. playing is superb, but it is also stiff and unfeeling. So don't let the names of the artists and the price of the disc fool you. There is much more to be found in this score than Arrau and Giulini are able to bring out. -Tom Godell r Berlioz It has become almost tradi- tional to regard the dullest and most colorless interpretations of the Symphonie Fantastique of Berlioz as the best - thus the tremendous critical acclaim giv- en to the recent Colin Davis disc. If this trend continues, the nwiv r£ .UdinU hu b.Pan' J Maan sensical. In many places where the melody should sing out clearly, it is simply lost in a jumble of inner voices. With emphasis continually placed In the wrong areas much is lost (my interest in particular). The second movement is merely more of the same. Dull colors, and a lack of inherent drama are emphasized by clumn- sy, lumbering waltz phrases. The "Country Scene" third movement might have been suc- cesful had my concentration not been destroyed by having to turn the record over in the mid- dle of a particularly lovely sec- tion. As to the brilliant and dar- ing final movements-the less I say about the sluggish march and the indifferent "Dream of the Witches Sabbath," the bet- ter. 1 Berlioz contemporary and ad- mirer Robert Schumann once commented, "Never play bad compositions and never listen to them when not absolutely forced to do so." He might have added something concerning bad per- formances of great master- piebes and saved me all this trouble. But where Martinon failed, other conductors have been very -successful, and there are many fine recordings of this work to choose from. Two are particu- larly notable: Bernstein's Co- lumbia recording with the New Vrk Philharmonic is filled with nwrcorai ngy JW il II and the ORTF Orchestra of Paris (Angel S-37138) will also no doubt be drowned in lofty' praise. Oh, the recording begins ma- jestically enough, Berlioz was a master orchestrator, and the ORTF players execute the notes perfectly, producing a very beautiful sound. But quickly something is felt to be missing. Berlioz's work is also known for its unexpected outbursts and strange harmonies. Martinon. c 1 Things You Are" the atmos- phere generates nothing but to-{ getherness. Criss' phrasing is concise and substantial, and es- 4 and violinist LeRoy Jenkins takej command with some biting and innovative shots on "The Little abnoltp e ,r ,,' But like the stopped clock that is right twice a day, this ap- proach can be quite effective! (1 At(If'A