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November 12, 1975 - Image 5

Resource type:
Michigan Daily, 1975-11-12

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E N E music in review Wednesday, November 5, 1975 p

age Five

Reggae hero Jimmy Cif

Music in review . .
. ..features coverage of a wide spectrum of music from
classical to jazz to rock, although the, primary focus will he on

performs Jamaican


r o c class...al.to.jazz.to rok lto. teniarv foci7z1_VWill h.tUV, 4
contemporary albums and concert reviews. We welcome contri-
By STEPHEN HERSH back-up musicians quiet down- Brown's; and his duckwalks ( his film. Hays played conga butions from interested and qualified members of the community,
RHYTHM runs through a' as they did during "Many Riv- and splits are like Chuck drums and sang back-up vocalsdI
RHYTH run though ers to Cross. Berry's. when he wasn't in the spotlight. Anyone with some background in any kind of music and an
ly, like a guard-rail, with a beat CLIFF'S SINGING resounded The concert, sponsored by interest in writing is strongly urged to drop by our offices on the
ly, ikea gardrai, wth bet CIFFS SIGIN reouned UT E dhce sprinly.The Sun newspaper, was. part ofG
more insistent and ineluctable piercingly on that slow ballad, Although naturally the singer Cliff's first tour of the United second floor of the Student Publications Building at 420 Maynard
than that of probably any other which he wrote for his "under- tends to hold most of the audi-SSttad tlk
kind of music. ground" film, The Harder They ence's attention, Cliff doesn't States since 1964. He has played ree an a with us. Or call 764-0552 between noon and 6 p.m.
And Jimmy Cliff's show at the' Come. He sounded captivatingly try to keep all eyes riveted to- tensiverin Englndra Monday-Friday and ask for Jeff Sorensen.
Michigan Theater Friday night rich and authoritative, ward him at every moment as South America, and his record
was a quintessential reggae per- But his voice also throws its many of the big-name stars do. successful n the Americas, Eu
formance, transplanted r o o ts He even hands the microphone rope and Africa.V Y
wih efetvl duigtep rpanAfialf -J1and all from Jamaica. All that loud ensemble playing. And it's oe oapoeefrafwnm1~1
beetad ta n i ces ftrth ho ha "h Hrer nj y Y ourself -J i
was missing was the island's the rocking that's at the heart bers. Joe Hays, wearing a blue One concert - goer remarked
Red Stripe beer. ifrga beret and a star on his chest? after the show that "The Harder
Although he's not very well io reggae.I just like Cliff's, took the spot- They Come should be a require-,
knd Sipthe' r.S Cliffs musicians are the best s, kT he D aily Staff T oday!
of the world's premier rock per- exponents of reggae who hav Bad," a song Cliff recorded for English."
fomr.H' npet uhmade it out of Jamaica. TheirBaasogCifrcdefr Enlh"
ormes. H s n prtty uchplaying is more lively and more
the same position Bruce Spring- paigiIoelieyadmr
steen was last year; a rock expert than that of their fellow SYNCOPATED SOUNDS
artist with a small but dedicated islanders the Wailers and the
following. He's been performing Maytals.
for a long time-longer than AND THEIR playing squeezes SAM PECKINPAH'S 1962
Springsteen-but he still might rivers of energy from Cliff. k H O N R
Srnsenbthstlmihrveso enryfo Clf. S y I I e ibe around the corner from sud- Dressed in a long leather vest !R IDE T HE H IGH COUNTRY
den success. and a black shirt emblazoned
HIS WEST Indian rock 'n' with a white star, the singer By STEPHEN HERSH something to do wth political RANDOLPH SCOTT and JOEL McCREA star in
roll has the up-beats and down- jerked and sweated as he per- ILES D A V I S and Herbie power. One verse reads:
beats reversed in relation to formed a number of songs from what many c o n s i d e ,r to be Peckin
his film soundtrack and his new the Hancock long ago adopted A drug is a drag if you're film and certainly his best western. It's a well-
most American rock styles. Ththe syncopated style of the' imdragganlin'bstwser.Itsa el
effect is that the music has a album. Georgectd to
strngeff laor. uHesang an uptempo verson George Washington of f u n k y acted story of two old time lawmen who sign
stag lvo.H ag nutmo esnImusic, Sly Stone. Today, that A newi one Ike the old one on to escort a gold shipment.
The scratchy rhythm guitar of "The Harder They Come," "Thank You ForL ettin' Me Bebut it' neksg
strikes abrasively Ike syncopat- which is something of a theme Mysef"__d__m__sthe___ttestbut its new.
ed clockwork, propelling the!I song for him. That tune passed E Myself" idiom is the hottest
band anl endr ring extic son ofr th touh es' srol thing in the music business. The truth to the youth as a THURS.: Al Jolson as THE JAZZ SINGER
quality to the music. tests-it got people up in the And now Hancock and the matter of fact-i
Cliff's appeal centers on his aisles and dancing. others have electrified and syn- You just caught a MondaylT
voice. It's pure and powerful, As a dancer, Cliff's style is copated their sound to the point nav blue. CIEMA UL9 TONIGHT AT OLD ARCH AU .
and though it complements the very derivative. His moves with where it's nastier than what Sly n7:00 6 9:05 Admission $1.25
instrumental work, it has its ! the mike stand resemble Mick himself used to record. But the words don't matter.
most strking effect when the Jagger's; his steps echo James
________ ___ ~~~~But the new heights of funki- They're jive; they constitute a.- __-_________
ness have boomeranged back to new kind of scat singing which
their source. Sly has absorbed uses familiar words instead of I
the feedback from his disciples, nonsense syllables, words which 4thIncredible Week!
CO rCn e rt o w s and on High On You (Epic I don't quite add up to sensical i SHOWS TODAY at 1-3-5-
X698) sounds as dirty as they phrases. SHWSTDA a -35

_____ __Jimmy Cliff

fresh, dynamic side of

By KURT HARJU turing Danny Kootch (lead gui-1
AVID CROSBY and Graham tar), David Lindley (fiddle and!
Nash re b-steel guitar), Craig Doerge (key-;
Nahproved to be an out-, boards), Tim Drummond (bass),!i
standing rock duo in their own adss Tin drum s), (hs),
righ Sunay ight'at MU' and Russ Kinkel (drums), they
right Sunday night 'at EMU'S permanently put that myth to!
Bowen Field House - and not rest.
just the battered remains of a E-
popular old supergroup. THEIR OPENING set was'
In their Crosby, Stills, Nash, designed to showcase their new]
and Young days, the two were electric s t y I e. The group'
often dismissed as the soft- emerged on stage arrayed with!
spoken, folkie counterparts to ten different types of guitars,
the hard-rock guitars of Stills and swung into a high-powered!
g. version of Nash's classic "Pre-
But with their new band, fea- Road Downs." Gone was their!
------------------ - - - - -------- - I
Sshcottis Orchestra:
Pleasant surprises

IM. nTOr,.A nn r . -I

i a... W _ 4_ _. _. t .. i

By RICHARD JAMES times but searingly beautiful.
The name "Scottish National The warmth and fervor of
Orchestra" brings to mind the Davis's playing was particularly
painful concerts heard so often apparent here.
by "national orchestras." Such In the final movement the
performances are usually bur- soloist really sparkled in some
dened with several trite nation- fiendishly difficult passages, in-
alistic pieces by unheard of cluding one absolutely perfect
composers and reveal second or series of false harmonies. All in
even third rate musicianship. all, it was an effective perform-
Saturday evening's Hill Audi- ance of a difficult and unforgiv-
torium audience was, however, ng score.
pleasantly surprised as the Scot- Being a Clevelander, I shall
tish National, conducted by! forever find it hard to be com-
Alexander Gibson, presented a pletelytaken by a performance
program with only one slightly of Sibelius's powerful Second
trite piece while performing Symphony without George Szell
everything with vigorous accu- at the helm. Putting prejudice
racy. obehind me, however, I must
The program opened with an definitely complement the Scot-
overture by Hamish McCunn tish ensemble for its fine read-
entitled "Land of the Mountain ing of this perennial favorite.
and the Flood." Folk melodies Gibson's interpretation w a s
and simple folk rhythms of surprising at first, especially in
rural Scotland abounded in this its slow tempi, but quite suc-
rather typical sounding late cessful. While hardly subtle, he
nineteenth century nationalistic conceived the piece boldly with
piece. Yet despite some rather a sure sense of its dramatic
mundane sections, the work had flow. There was some disagree-
some very effective ones that ment as to tempo at the outset
could captivate even a non-Scot- and part way through the first
tish audience, and did. movement, but this seemed to
The orchestra seemed to be be caused by some rather vague
off to a rather slow start. While gestures on the conductor's part
they played with fervor in many which he remedied quickly.
places, they seemed generally! The string section was far and
restrained and a bit t i r e d away the highlight of this por-
throughout. This could easily be tion of the concert. Their play-
explained by their arrival, with ing was rich and accurate, al-
the help of U.S. Customs offi- most shaming the wind section!
cials and the Ann Arbor football in the comparison. The orches-
traffic, just before six from! tra as a whole showed none of
Toronto and having only five their earlier languor. The cli-
minutes of rehearsal time. maxes of the work were sub-
The second work in the pro- lime.
gram was, like the first, by a The evening was capped by a
Scottish composer-lain Hamil- colorful encore; Hector Berlioz's
ton. The similarity, however, Overture to Beatrice and Bene-
stopped with the composer's na- dict. In its changing moods and
tionality. This piece,, completed clever orchestration, it allowed
in 1952, was a Concerto for Vio- the orchestra to prove once
lin and Orchestra and featured again that the initial slow start
the orchestra's concertmaster in the McCunn was just that and
and solo violinist Michael Davis. no more.
Composed "in memorium" for The Scottish National Orches-
the composer's father, the con- tra fairly delighted its audience.
certo has a very somber elegaic 'Ann Arbor may feel fortunate
me. rnntn rt~n-- -utr~i- tohave hnsts'd this Lyrotnn nt


i a

usually mellow sound.
Crosby's "All Along The Lee
Shore," a lilting acoustic num-
ber on record, became a full-
fledged anthem in this fine
band's hands, and, their re-
working of a couple of Nash's
weaker efforts, like "Immigra-
tion Man" and "I Used To Be A
King" were absolutely first rate.
The sheer strength of the for-
mat carried into vocals which
resounded with confidence and,
Just b e f o r,e intermission
Crosby and Nash tried out some
of their songs from their latest
album Wind On The Water.
Daring the audience to guess
the identity of the protagonist
of "Mama Lion," C & N tossed
out clues like "down by the sea-
shore a banquet she gave" and
"over the border and down on
the land" that made the answer
(Joni Mitchell) obvious to any-
one acquainted with her work.
THEN, IN ONE of the high-
lights of the evening, Crosby
advised the assembled fans that!
when intellectual pursuits and
politics no longer hold our in-
terest, we should try to make
"Love Work Out." On this tune,
three guitars jammed and strug-
gled to come out on top of the
infectious and pulsating beat of,
that Nash masterpiece.
Nash went on to further en-
hance his new up-front image
by performing several of his
tunes a la Dylan-alone with a
harmonica and guitar - in the
acoustic set that followed inter-
As the two joined together
"Ladies and
The RollingS
Filmed and recorded li
1972 tour featuring the
the world including BR
6, 7:30, 9, and 10:

do. What's more important than,
THE ALBUM begins with a e words is that the singing is
drn bs r which makes spirited. It's studded with the
p the record's solid backbone a ad y Stone groans and
It's dance music, soul musicgasps, and it bubbles wth
veaved their delicate har- party music, and it's electric.
es, a relaxed, informal It's the most emotional stuff THE TITLE tune features
swept over the field house Sly has recorded since There's someone named "Little Moses"
me was able to catch the a Riot Goin' On. on organ-and, judging from his
est inflection in their cap- The lyrics leave something to ! sound, it seems that the name
ng vocals, be desired. Although Sly has is a pseudonym for Billy Pres-
never been celebrated as a ton.
s MOOD propite mCrosby poet, his words have generally And "Crosswork Puzzle," also
oe ofs rinfamous and atbeen pleasant. And he's even: a rocker, includes a horn burst
neous craziness, and at occasionally come up with some at the refrain which sounds
id of the serious "Triad," clever or pithy lines-like "You something like Bix Biederbecke.
urst out laughing and ex- don't have to come down," orThtscranyabstfo
led that he . could have it v ocmedwo That's certainly a blast from
d that he cosug ae "I've switched from coke to the past.
that he was being rained pe;now I'm a connoisseur."isyn
bile performing the song. This music is, as the sayig
Ided by the other group But the lyrics of High On You goes, for the feet and not the
>ers but undaunted, he and run from the vapid to the ane. head. Sly leaves the musical
Doerge improvised at Take the albums hardest rock- arobatics to the jazz musicians.
h with a new Crosby song er, "Organize," which you'd But nobody rocks steadier than
loneliness and isolation. think from its title would have he does.
haunting melody and ac-
animent were consistent;SO HS
the best of his earlier ef- UAC SOPH H resents
Their willingness to ex-,
ent with their music (what
)y termed "winging it") CE~LE BRKAION
ted that they were pre-
g a program that they words by TOM JONES
ed. u AFv crw A 1 nT


7-9:05. OPEN 12:45
Wed.-All Seats $1.00 til 5:00


__________s____ Second Big Week
ST A T ETODAY at 1-3-5-7-9
OPEN at 12:45
oeTheatre Pne662-66 oa-All seats $1.04
til 5:00
Diana Laughs! Diana Cries! Diana Sings!
Maha an-the woman eerty vnSn wantbb-
acid eery man wants to hmss


"DEJA VU," the group's en-
core number, was easily the
tightest tune of the night. A
complex and updated version
featuring errie solos on violin
and mouth organ, the new ar-
rangement conveyed the song's
theme more effectively than the
It's unfortunate that such a
fine act as this performed in a
cramped basketball court with
uneven acoustics. Yet even this
minor irritation could not damp-
en a memorable evening with
two of rock music's most talent-
ed and personable artists.
Y, NOV. 12
Stones" (1974
ve during the Stones'
e 15 songs that shook
1. A, Angell Hall
30 p.m. $1.25

p {

MuSic by rr IVIIJ I
November 13, 14, 15
Advanced tickets can be ourchased at the
UAC Ticket Central.


°'Braiitigan is good
1 0r youI."_National Observer
Now available


Motowsln b Cdtape
A PaW'amaunt PICWK
PG ?

aoAs mssans

A ,

1214_____________ STARTS TODAY
m11U S'lSHOWS TODAY at 1:00-2:40-
BCiPUS1 I4:20-6:00-7:30-9:15
OPEN at 12:45
Wed.-All seats $1.00 ti 5 00
"Superb...a beautifully done blend.
of music and drama."-DaliasTimes Herald
The shattering drama,
the haunting music,
the unforgettable love story.



John Roberts
Tony Barrand






............. .: aS .;,.::.:::.::. :::..

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