THE MICHIGAN DAILY
S ide O n e records in review Wednesday, October 8, 1975
Page Five
'MANCHILD'
Hancoc
By STEPHEN HERSH
THE FUNKY, chicken-scratch guitar
phrase which kicks off Manchild (Co-
lumbia TC 33812) - aside from being as
dirty and syncopated as any sides James
Brown or the Isleys have produced - re-
veals a subtle technical facility most soul
musicians just can't match.
The phrase epitomizes the strength of
this new Herbie Hancock album: when
the music cooks, it jumps as well as any
rhythm section anywhere. And when jazz
musicians such as Herbie Hancock
switch to playing funky, their technique
gives them an edge on their competitors
in the soul business who came of age at
R&B sessions.
BUT THE technical edge is probably
most valuable in that it allows for more
capable soloing, because it's the soloing
that u1Sually makes a funky track stand
I
1
'K: tOny
don't really lend focus to the tune.
"Hang Ups" sounds more like auther
tic soul music than anything on the tw
albums Hancock has recorded since hi,
move to electric musics It's more raucous
than "Palm Grease" or "Spank-a-Lee'
from Thrust, and the strings which com
in at the endsound like Motown, a wel
come change from the Henry Mancir
quality of the strings in Chameleon.
BUT THE absence of\prominent soloin
is underscored in contrast with those ear
tier numbers. They feature hot work b
Hancock and bass clarinetist Bennie
Mauupin, which make the songs some
thing more than exercises in chore
changes.
An exercise in changes is exactly wha
most of "Steppin' In It" sounds like. Thl
tune does include a harmonica solo bi
none other than Stevie Wonder, but thi
solo isn't anything special, and it take;
up just a small part of the sprawlin
I
-hy th m
two previous albums have pretty uniform-
ly been flops, as the mellow electrics
sounds resembled Muzak more than any-
thing else. But Hancock is more success-
ful with the quiet cuts on Manchild -
they sound more lively and have more
fire - but they ramble. Weather Report's
Wayne Shorter plays sax on "Bubbles,"
and throws in several soulful phrases, but
he would have added some needed sub-
stance to the track had he played longer
and with more direction.
From Maiden Voyage to Mwandishi to
Thrust, through all the variations in for- I
mat from acoustic jazz to African-electric!
and finally to funk, Hancock's solo work
has consistently floated to the top of his
band's sound and stood up extremely well.
There's no question that he's capable of.
making his group more than just rhythm!
section, and the way his band sounds
now, this would result in a formidable
product.
Introducing Side One .
"Side One" is a new weekly presentation of The Daily
that will appear every Wednesday morning and will fea-
ture reviews of contemporary rock, jazz, and blues artists.
We welcome contributions from interested and qualified
members of the community. Anyone with some background
in contemporary music and an interest in writing is urged
to drop by our offices on the second floor of the Student
Publications Building at 420 Maynard Street and talk with
us. Or call 764-0552 between noon and 6 p.m. and ask for
Jeff Sorensen.
as a total piece of music and not just a comnosition. Hancock's solos on Miles Davis's funky
dance tune. And the problem with Man- The foundation of thesong is the bass albums, as well as those by Davis himself
child is that the solo work stays in the work of Paul Jackson. He alternates be- and such luminaries as John McLaugh-
background. tween two funky lines, one of them an ex- ]in. demonstrate how effective a skilled
"Hang U Your Hang Ups," the first cerpt from the dominant bass riff of solo can be in the context of a good, elec-
cut, features guitarist Blackbird Mc- "Chameleon." It's perfect dancing music, tric rhythm section. His brief appearance
Daily Photo by STEVE KAGAN Knight, Hancock's rubbery synthesizer, it's fluid and very tight throughout, and on Davis's Jack Johnson is a case in
and a horn section which starts out sound- edited to about half its length, would pro- It: it's subtle, snarse, and perfect.
ing brassy and later becomes thick and bably make a perfect hit single. But as it Hancock seems to be circling in on
Hancock muted. Hancock plays some discreet is, it doesn't have focus. flawless funk. He's capable of getting
electric and accoustic piano, but his solos THE SLOW, QUIET tunes on Hancock's everyything right next time.
Because the going price for a
car in India runs about $30,000,
N eil '7~in6 s lcn~less than 5 per cent of the popu
gal Young's latonowgne
journey into 'Night
By KURT HARJU ,wee hours of the morning after other Number" are all songs
]NTEIL YOUNG has hit some many evenings of heavy drink- about Young's attempt to leave
pretty sad and low notes be- ing and smoking, and this shows. troubles behind. TODAY at 1-3-5-7-9
fore, but this time out, he's So he went on to put out On THE downright depressers like
really singing the blues. His lat- The Beach instead and had an- the title tune and "Tired Eyes"
est record Tonight's the Night, other record in the can, Home- are nevertheless set to lively
(Warner Bros. MS 2221) is a ca- grown, when he decided to stand rhythms and moving harmonies "FARE V /EL
tharsis of sorts that is, ironical- by his earlier efforts first. |so the tragic statements they're YLO L
ly, one of the high points of his THE GAMBLE has paid off. making don't end up as lost - TECH BcARE
long, up-and-down career. Young, with Crazy Horse, is incauses.
Like Bob Dylan and The his perfect element on this rec- Of these, "Albuquerque" faresRA S E
Band's Basement Tapes, this ord no matter what his state of the best with its wonderfully in a3< ;hstt
collaboration between Young mind is:. tricate keyboard work, captivat-
and his favorite backup band, But where The Band provides | ing vocals.
Crazy Horse, is an unpolished Dylan with subtle and complex Tonight's the Night closes a
collection of powerful but pes- instrumental effects, Crazy phase of Young's work that be-3Theatre Phone 62-6264
simistic songs recorded in the Horse and Nils Lofgren give gan with his live album, Time
past (in this case nearly three Young the necessary impact and Fades Away and included his - TODAY at 1-3-5-7-9
years ago) that were just too emphasis to support his song .last record, On The Beach - in 4ENAT324
good to hold back any longer. poetry. which he dealt with the aspects OPEN AT 1245
In a recent Rolling Stone in- These songs make no preten- of his life that threatened to
terview, Young explained his sions - they're simple, direct, drag him down.
reservations about releasing this and come straight from the BUTgYh UNGd w srt1
materia. Foremost in his mind heart. What is surprising, then, BUT YOUNG was right in fi-
when these recordings were is that even with hisp nally deciding that this work
made was the loss of two of his doubts and guilt, Young comes contains some of his best mo-
better friends - Danny Whitten, up with some very melodic ments. He's not even as serious
lead guitarist for Crazy Horse, tunes. about the whole topic of death
and Bruce Berry, a CSNY HE IS, as one of the titles as we might think - the slip"° THE ULTIMATE EXPERIENCE
roadie - who both died of drug suggests, "Speakin' Out" - but cover is a parody of the Beatles'g E F-R E E EC
overdoses, it is about something very per- Magical Mystery Tour featuring FORERYONE
THIS MOOD gave the sessions sonal indeed. Neil, arms spread wide, as the SNEYrS0RMtPI~fER1lNG WAFE
THSMO aetessin oa de.walrus with fishing boots hang- FRAN K CAPRA'S 1 93 1 THE SEASON'S NITREIWAWO-'....
their prevailing quality of ide- A sense of sadness pervades ANalrswithishiangoot gACreao murA .
spair, reflected in the LP's the lyrics, and Young's ap- ingfrom his piano. a r T E MIND CAN RUN RIOT!" N.BYum.
stark black and white packaging proach and attitude is one of es- Whether it is popular or not, --IAE II.S AU
and its dominant motif of losers cape from the past. Looking for great music will always find an "FAA fI E OF ISCMENETMwr OWN-VCu
and lovers down on their luck. a change of scene and feeling, audience to accept it. Young's "BEST FAMILY FLMI" i,.oU.,w. w
Because of this personal in- he loses hmself in the commo- good word is heard even if it is One of the Hollywood master's early sound ANDOL... MAKEFANTASIAAMUST
fluence, Young felt that, of all tion. spoken (or sung) in a coarse Ifilms. Cllrwomde h sderearltesouth AI.GAoUST
his albums, this, one would be "World On a String," "Look- shout, a scared whisper or "the films. Capra made this adventure of the South
his least accessible commercial- out Joe," "Come On Baby Let's shakey voice" that is as "real Pole and dirigibles into a big success-thereby
ly. Besides, it was made in the Go Downtown," and "Roll An- as the day is long." gaining footing to later do films like IT HAP- PLUS
PENED ONE NIGHT. With Jack Holt, Fy Wray "Mickey's Good Deed"
'E.C. as Here' r et urn~s and Ralph Graves.
~E.C. Was H_____e__r_
THURS.: Kurosaw 's THE MEN WHO TREAD 1214 s. universy
Clapton to the spotlight ON THE TIGER'S TRAHLEE WHOTREA
Ciem" TONIGHT AT OLD ARCH. AUD
Cinema Guild 7:00 &HH 9:45eAdmiPssion $1.425
the fine art of traditional ac- the fact that his real religion is STAR94 AdioAY.
., coustic blues guitar playing, the blues. SHAWSTAT
Ionly Clapton combines all of Best of all is "Farther on SHOWS AT 1-3-5-7-9+FiLF *
Sthese virtues. He can segue Downthe Road," in which Clap-n * TfF uIxIRSITY OF N1i('ui4AN The sister drank
from the calm, ethereal beauty ton's guitar work and vocals * T U E F CG much. The
~r Iof a delta blues song to the driv- feature even greater versatility PROFESSIONAL 1THAI RE PROGRAMo daughter divorced
ing power of a Chuck Berry than elsewhere on the LP. The *di
rhythm without batting an eye track is as powerful as most of too much. They're
;,or missing a beat. the material on his very best al- all there at the
HOWEVER, E.C. Was Here bum, Layla - and that is high a *y''-".
l ry * does, regrettably, contain two praise indeed. f t
E' mediocre numbers - "Presence A, n and te
of the Lord" and "Can't Find BOV g AL thisenew liea
By JEFF SORENSEN My Way Home," in which Eric's bum gives the lstener renewed *
guitar takes a back seat to a vo- once hatrn to will '
[ITH E.C. Was here (RSO cal duet between Clapton and ptonce again return to the rock'
4809) Eric Clapton shows vonne Elliman. They try to led such groups as the Yard-
that he's finally regained his give these songs a soulful, al birds, Cream, and Derek and
thsi brsCramrndDeekad *3~~.+ t.y. Y's ,f 9 .
sense of confidence and the con- most religious flavor, butithis the Dominos to fame, is still, * . , '{ >I
trlo i aet.D-live version is infinitely infer-'i
trol of his awesome talents. De-tfrom the evidence on E.C. Was -
spit Clpto's ontntin tator to Stevie Winwoods vocals ir
spite Clapton's contention that on the originals from the Blind Here, in possession of all his
he's "just another guitar play-, musical faculties.
er," he stands head and shoul- Faith album.
ders above any other white rock "Driftin's Blues" features Hopefully, Clapton will put his *
musiianin is npaallledsome of Clapton's best acoustic newly-discovered sense of con-*
mastery of the electric blues work to date. He approaches fidence to even more effective
this old blues number with met- use on his next album, which
guitar. iculons attention to detail. Clap- is expected out before Christ- ARTHUR MILLER'S
From beginning to end, the ton's almost reverent approach mas. Eric, the next move is up
to the tune serves to reaffirm to you! ETT5 ANOfI LTPRINT
mnated by Ciapton's beautiful, * 33T E, KATHARINE HEPBURN
stinging guitar and his more re-s3 THIS WEEKEND PAUL SCOFIELD
laxed, self-assured vocal style *LEE REMICK
CLAPTON'S backup band con- FR .-SAT. U KATE REID
sists of five competent musi- JOSEPH COTEN
cians - including Carl Radle R ALIE BETSY LAIR
on bass, Dick Sims on organ, "One king-hell 1* featuring
and George Terry on second R RELSn,*w WI L L AM LEACH * , EDWARDALBS
gutar - who, for the most part, songwriter.";,h
stay in the background wher' -HUNTER THOMPSON GUEST ARTIST-IN-RESIDENCE "A
iney hel bkrondwerI* WD.SN. "A 81
Clapton's superiority to other "Some of the finest songs *WED.-SUN., OCT. 812 DELICATE
WED.-SAT 8 P.M. SUN. 3 P.M. D A T A meGvn
PRESENTS
ROBERT ALTMAN'S (1947)
THIEVES LIKE US
Coke freaks and nostalgiabuffs alike will find
this Altman movie his most restrained and
subtle-as if he were marshalling his garish-
ness for a future NASHVILLE. Filmed through
a sensuous Mississippi haze like a Faulkner
set-piece Altman does to the Bonnie & Clyde
myth what he did 'to the private eye of THE
LONG GOODBYE.
TONIGHT at 7 & 9:15 in
Aud. A, Angell Hall-$1.25
Thurs.: IMAGES Fri.: WOODY ALLEN NIGHT
A NOSTALGIC RETROSPECTIVE
OF CLASSIC 1950'S TELEVISION
A 150 MINUTE ORGY!
featuring:
SUPERMAN
(1955)
Streak! Streak! Falling for the oldest trick in
the books, Lois is caught on the ropes. But
what's a little twine to the man of steel?
GROUCHO MARX in (1955)
YOU BET YOUR LIFE
Groucho's insane contestants tonite include a
zoo keeper from San Francisco who sleeps with
the animals! Don't miss the mad duck who pops
in when the secret word is said!
RICHARD NIXON'S
CHECKER SPEECH
(1953)
Accused of accepting bribes, the former presi-
dent responds with the m o s t transparently
fraudulent and hysterically funny speech in the
history of American politics. This one will bring
the house down !
ELVIS PRESLEY ON
ED SULLIVAN
(1955)
Pure magical nostalgia as Elvis pounds out
"Love Me Tender" & "Don't Be Cruel." And he
was censored from the waist down!
OZZIE AND HARRIETT
(1957)
Don't miss it. Called "Father's Night at the
Fraternity," this one features Ricky pounding
out some golden oldies. Also stars the absurd
Wally!
THE LONE RANGER
(1952)
The very first episode! In which we learn why
the Ranger dons his mask and how he meets
Tonto! A howl from start to finish!
PLUS: Burns & Allen, Ted Mack's Amateur
Hour, Liberace and special surprises!
St. Thomas High School Aud.
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