24 Rock Around the World • October, 1976
BOSTON
I was reading an article recently about record companies which maintained that the first rule in the record industry is that there are no rules, a statement that would get no argument from the members of Boston, Epic's newest discovery. In the 'traditional' manner, groups are supposed to "pay their dues" on the road for an unspecified length of time before getting That Big Break; groups who follow a different path and just explode on the public suddenly (Boxy Music is a good example) are sniffed at suspiciously by the media and the industry at large.
Boston's a band that, if categories must be made, would fall into that 'explosion' group. However, rest assured that these guys are no slouches when it comes to chops; remember, a oand with no live appearances is a band that'll have trouble attracting label attention. What Boston did have was a superb demo tape, concocted in a basement by Tom Scholz, Boston's resident tall person (also guitarist, keyboard player, songwriter, and producer). Combining a mixture of influences ranging from Argent to Foghat to Queen, Boston had emerged from the depths of their homemade studio with an identifiable sound. but without any strong individual personalities. Again, the 'rules' for rock 'n' roll almost demand that at least one member of a band stand out from the others, if for no other reason than to serve as a living representation of the band in the public's mind.
Alas, no such luck with Boston; the best they could muster was Tom Scholz's height. and that can't even begin to touch the charisma of Steve Tyler's teeth. In lieu of shining individually, Boston has become a group that operates
very much $.% ith a group consciousness in the forefront. not unlike Genesis or The Moody Blues. Their sound leans toward hard rock 'n' roll, but their sense of both dynamics and harmonies prevents any of their numbers from becoming tedious.
As a direct result of the band's internal cohesiveness, their first single, "More Than A Feeling," has had to sell solely on the basis of what was contained in the grooves—nothing else. What a shocking notion for the record industry! Radio stations were puzzled. but it didn't stop them from jumping on the record when they got it. "More Than A Feeling" has become a national breakout, and the band's debut album and tour will capitalize on the musical popularity they've achieved.
Working in isolation has been beneficial for Boston. as they've been able to concentrate on the music exclusively; the result is an assurance that yes, we can play this stuff very well, and a confidence in being able to play it live that will stand them in good stead on the road.
I've seen Boston in a live situation twice: the first time was a Friday night rehearsal in a warehouse, the second at an outdoor concert, only their second time in front of an audience. On each occasion, there was an air of self-confidence about the music that transcended any difficulties on stage (the live gig was plagued by voltage-happy gremlins in the P.A.).
Boston's "dues-paying" days are now behind them, and they face a bright future, secure in the knowledge that people are into them because of their musicianship. It's a comfortable bit of knowledge to possess.
—JIM KOZLOWSKI-
STARZ
This year's discovery from Capitol Records is a raucous little band called Starz, who have been opening shows around the U.S. this summer for the likes of Aerosmith and ZZ Top. Processed and packaged by the same folks who brought you Kiss, and complete with logo strongly reminiscent of Aerosmith's flying A, Starz have the potential to knock over audiences on sheer volume alone. They're unquestionably in the same category as Kiss, with a bit more subtlety.
Starz was formed in New York City not long ago when musicians Joe Dube, Richie Ranno. Brenden Harkin and Peter Sweval met up with singer Michael Lee Smith of Birmingham. Alabama, a refugee from the southern boogie band scene. Their sound coalesced under the aegis of Jack Douglas, Aerosmith's producer, at the Record Plant, and their debut LP, Starz, offers no pretense as to what this band is about. A straightforward rockpile, 9 of its 10 songs are headache material if heard at the wrong time (early or sober). "She's Just A Fallen Angel," their bid for a hit single. is easier on the ears
and stands out as the only really melodic track on the album. Except for "Monkey Business," a funky little number, the rest is familiar-sounding hard rock, the kind of tunes that are unmemorable after their last note dies down regardless of their repetitious hammering. However, Starz' material is at least their own—no umpteenth cover version of a Chuck Berry biggie, no rehashed blues, no stellar guest musicians, and no synthesizers.
Musically Starz offers nothing new; they are simply a luckier hard-working band than you might find in any steamy rock'n'roll joint on either side of the Atlantic. Drummer Dube's primitive backbeat coupled with Peter Sweval's stark baselines set up a solid foundation for dancing. Guitarists Richie Ranno and Brendan Harkin are average in their command of patented rock licks, and thankfully restrained on record. Michael Lee Smith's singing is right in the screamer tradition; he's not an original by any means, but he can sound hot doing certain tricks within his range.
Live appearances are Starz' forte, judging by
the excited teenage reaction to their shows with Frampton. Charlie Daniels, Roxy Music, Ted Nugent, Blue Oyster Cult, Outlaws, & Styx. Starz generate enough energy to earn them standing ovations, encores and lit matches. Their success on the Aerosmith dates prompted both. a compliment from Steve Tyler and a mysterious incident which ironically capitalized on one of the group's song titles, "Pull the Plug."
Performing for the first part of their tour without benefit of a released album, Starz managed to build a word-of-mouth reputation that has followed them from their opening in Charleston, West Virginia to the Cape Cod Coliseum and beyond. New York's Alison (The "Nightbird") Steele broke their album on WNEW-FM, and it remains to be seen what the boys behind the scenes will do to make Starz stars. As for the boys in the band, well, they've certainly got the right attitude for the job. Starz'll kill ya!
—KRIS DILORENZO-
WIDOWMAKER
Ever since Britain started exporting rock bands, it's been a truism that most of those bands have been possessed of a flair that borders on arrogance. The Stones, Humble Pie (cheeky name, that), Led Zeppelin, Bad Co., Queen, etc.—and now Widowmaker. Bursting from the electric volcano of Luther 'Arid Bender' Grosvenor (Spooky Tooth, Stealer's Wheel, Mott The Hoople) and Steve Ellis (Love Affair, Ellis), Widowmaker has the credentials, the looks and the talent to become one of rock's brighter stars this year. In actual fact, Widow-maker has been on the boards for almost two years, and when their debut album was released a while back, it demonstrated the fact that taking one's time in organizing the music pays off handsomely come release time. That album, depicting the five musicians in sundry superior postures, told it all. Everyone knew that Ariel Bender had claimed a unique 'sound' on guitar when he was with Spooky Tooth, a sound that was dark and foreboding but strongly compelling. That sound got lost in. Mott The Hoople; being a founder of a band rather than a hired member freed Luther to reclaim his trademark.
As for Steve Ellis, the voice was the vocal (sorry, gang) point; with Love Affair, Steve spat out the words with more power than the rest of the band could manage. When he formed his
own band. Ellis, he picked sidemen who could stay with him, and he corralled Roger Daltrey for a producer. The ultimate Ellis band didn't jell chemically and eventually dissolved.
Widowmaker is the culmination of Steve Ellis' and Ariel Bender's search for the proper band. Steve and Ariel, together with the other three members (Paul Nichols-drums, Bob Daisley-bass and vocals, and Huy.' Lloyd Langton-guitar), felt the energy immediately when rehearsals commenced. Steve Ellis was the last member to join, turning up at a practice on the urging of Roger Chapman of The Streetwalkers; each member of the band had had any number of offers from other bands, but the entity that was Widowmaker emerged eventually as the best bet.
When the album was released, it was quite apparent that it was one of a handful of quality albums that has reared its vinyl head in 1976; however, as with any new band, the question of whether or not Widowmaker could cut the mustard on stage hung unanswered in the air. In England, they latched onto tours supporting Boxer, Nazareth, and The Who (Daltrey's association with Ellis no doubt played a major role in getting Widowmaker on that tour); in America, they played a month of dates with the Electric Light Orcfiestra. This scribe was lucky enough to witness their New York show, and I
came away most impressed. Luther/Ariel is a veritable ball of energy on stage, never staying in one place for too long, while Steve Ellis assumes control of the pacing of the set with ease.
In many ways, Widowmaker is a 'typical' hard rock act, but that don't upset them; as
Steve Ellis puts it, "Musically, there's a whole generation that missed out on rock and roll .. . getting up and enjoying yourself. We're filling that void." Rock on, to be sure.
—JIM KOZLOWSKI-



