Rock Around The World / April 1978 S
News.
by Rory O'Connor and Danny Schechter
White House to identify with the interests of the record industry. As you will remember, Phil Walden, president of Capricorn Records was an early Carter booster. Walden arranged benefits for Carter's primary campaigns by the Allman Brothers and other top pop acts. Walden himself denied that he had any political ambitions at the time, but he recently accepted a post with the Administration. Don't panic, though, since Carter has positioned him in such a way as to minimize his influence. Walden will not be a Commisar of Kultur. He is among 16 persons appointed to the Committee for the Preservation of the White House.
Walden put a good face on this embarassingly insignificant job. "I am interested in both preservation and American Art," he says, "and the opportunity to work in conjunction with America's most famous and historic homes excites me." There was no immediate reaction from Gregg Allman.
RESOURCES
There is a lively militant tradition of politically explicit labor songs, socialist ditties, and working class anthems. London's Pluto Press collected the words for such well known songs as "The Internationale," "The Red Flag," and "Union Maids" into a pocket sized Big Red Song Book. Its available for S 1.50 from Pluto Press, Spencer Court, Chalcot Road, London, N.W.1 ... Music of a more respectable and traditional kind is catalogued in two new handsomly packaged paperback "illustrated encyclopedias" published by Harmony Books. Nick Logan and Bob Woffindon of New Musical Express have produced a book on rock, admitting in their introduction that the ephemeral nature of the business makes it "an undertaking of extreme foolishness." Nevertheless, it's a pretty book, as is Fred Deller and Roy Thompson's companion volume on Country Music. Both are organized alphabetically by performers and feature selective discographies, 300 record sleeves in full color, and hundreds of photographs. Critic Nick Tosches looks at the under-life of country and western in a new book, Country, the Biggest Music in America, (Stein and Day, $10.95). His is a historical look that emphasizes the black influences on c&w as well as some of its seamier aspects.
IS ROCK BAD
FOR YOUR
HEALTH?
The latest study which `proves' rock n' roll is bad for you contends that the beat and rhythm of the music itself causes learning disabilities, affects perception, and disrupts worker productivity. Dr. John Diamond of the International Academy of Preventive Medicine finds two principal' problems with rock music. "One is stopped rhythm," he told Geoffrey Pre-court in the Boston Herald, "The music ends after every bar. There's a heavy emphasis on the stop. Then, it suddenly starts up again. The music has no real flow. The second characteristic is the beat itself . .. it is the exact opposite of your natural beat. My theory is: When your body reacts badly to the sound of rock, it sets off an alarm mechanism, suggesting that something has gone wrong with your heart. When the alarm goes off, your muscles weaken. Your energy level drops." Dr. Diamond claims that it is the backwards beat in rock which is responsible for this, a beat which characterizes about half of all rock music. He further claims that there are studies which show that when one factory turned rock off, there was more productivity.
COLLECTOR
OF THE YEAR
The heart-break record collector of the year award has to go to Clarence Browne of Roslyn Estates, Long Island, whose sad saga became news fit to print in the New York Times. It seems that the 51-year-old welfare recipient, who gave away most of his 5120,000 inheritance, has 750,000 records in his house—and he is facing eviction. "They are everywhere," reports The Times, "in piles on the floor, in the refrigerator, on tables, on the fireplace mantle, in cartons." Browne refuses to give them to a museum, saying that "They're the only things I have left in life." So the poor man has been reduced to sitting in the cold of his unheated, dilapidated home, playing his records on a battery operated record player. He was asked if the cold would not ruin his collection.
His response: "People say that records get brittle but they don't. They are inanimate until you put a phonograph needle on them, and then they come alive."
And that's news.
JAY
BOY
ADAMS.
If being a nice guy has anything at all to do with "the industry," then Jay Boy Adams might very well cash in on some of his chips. What reason for such flagrant display of simple goodness when all of earth and beyond is in such bewilderment? A simple answer, J.B. is holding heavy when it comes to something as basic and serious as honesty and self-respect. Just living and sharing the life of a gentle and caring human being is worth so much more than dollars and nonsense.
Coming into this life deep in the heart of Dallas almost three decades ago, Jay, at six months of age, unquestionably ventured on to Ansen, Texas, with Mom and Dad. In keeping with the Adam's Family lifestyle, the home they chose in Ansen just happened to be situated right next door to Jeanne C. Riley, who, shortly after their arrival, sat in, as what else? A babysitter for the Boy.
Jay, using all he was able to engulf at such early stages in his life, discovered
that he had not developed an
understanding of good ole patience. Using life as a worthy tool, Jay was able to overcome the desperate need to scramble against time. "Yes"admits Jay Boy, "it all does have to come together, but at the proper time and in a professional way
for all concerned ... Our country's drivin' a freeway these days. We're not ridin' on Colechi Road no more." And these changes Jay has experienced by performing 150200 gigs a year for the past seven years seem to have made way for a more worldly insight regarding his own group's understandable impatience, regarding the ole 'make it happen now' unproven theory. In keeping with past tried and truths, some mistakes and helpful insights. Jay Boy Adams appears to be making giant steps on the bumpy road to success, lending a more meaningful understanding of the realness involved with being more than just another country boy. —Sharon Ripmaster
Fresh is not a punk rock group that slaps women in the face, nor the Out of Borstal boys of the same name from several years back. Fresh evolved from a group called Fresh Start that achieved a fair modicum of success in '74-75 with their LP, What America Needs.
This year's Fresh is a seven-member Cal-Soul coalition playing clearly unpretenious goodtime rock that threatens
only to turn on your lovelight. No star syndrome, no message, just a seamless team concept dedicated to perpetuating Otis Redding to War soul-rock formations with what might well be called fresh-
ness. The rising soul band energy in Feelin'
Fresh springs from the "family" core of drummer Fred Allen, bass Milo Martin, rhythm guitar Elaine Mayo, lead
guitarist Paul Marshall, keyboardist Frank Savino, saxophonist George England and lead singer Bill Pratt, a former Motown backup singer. Fresh tightens its usually loose grip on strictly commercial structure to put out the singular "Whatever
Happened to Rock and Roll" behind Pratt's dynamite vocal work. Fresh is a tiger in harness, but their tiger hands cut deep with untainted, unjaded joy. Rate this Feelin' Fresh album: a warm rhythm glow. —Phobi Wallibar




