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Rock Around the World • October, 1976

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into the Bottom Line recently to a raving audience and completely blew the beanery apart

. . . easily the best reception this Krumpett has ever witnessed to an opening act at the Line within my short memory span. Parker's back-up band is one of the best

around—I mean some punters turned out merely to witness the triumphant return to Gotham of one Brinsley Schwarz (lead guitar) and Bob Andrews (keyboards). My mind flew back to the ill-fated UK journalist junket in '68 I believe wherein the Brinsleys did not fare so well! Graham, sporting shades, close-cropped hair, and a sport-coat which must have belonged at one time to Lee Brilleaux is a rare sight to see. His tunes, all of which are simply

knockouts, contain a heavy dose of Van Morrison, Springsteen, and Bobby the Zee himself. Highlighting his set were tunes

like—"Back to School Days," "Back Door Love," from the upcoming 2nd LP as was

"Fools Gold," "Gypsy Blood," and "Don't Ask Me Questions." Guitarists Schwarz and Martin Belmont traded short'n'sweet solos while Andrews was a mainstay on organ and piano.

Parker, who needs more vocal variations in pitch and tone and who sounds a little too much like Van Morrison in spots, is most definitely tipped for the top when he returns Stateside In October. Do not miss his show at any cost!

Prime country-rock powered its way in The Bottom Line on 18 August as the Eyepiece Flying Burrito Brothers provided an exceptional evening of laid-back pickin' music and were rewarded by a heavy reception by the packed house. The Gilbeau/Kleinow/Hill/ Parsons/Battin outfit could do no wrong as the rapturous audience roared out vociferous approvals for old faves such as "Close Up the Honky Tonks," "Truck Drivin Man," "8 Days on the Road," and "Take a Whiff on Me." Mainstays of the band, Gilbeau on fiddle and lead vocals and Sneaky Pete, the lone oldtimer remaining from the original days, turned in a-1 performances highlighted by their concise soloing. The FBB returned for two well-deserved encores as a perfect way to close an adrenalin-pulsing performance. Can't wait till that Freight Train brings 'em back to Gotham.

It was the battle of the potential guitar superstars as Derringer featuring Rick Derringer took on Nils Lofgren in Central Park. Derringer, schooled as a flashy, jumping guitarist, presented his new 4-piece in their Fun City debut with a solid programme of rock and roll. Rick's dual guitar workouts with second

lead Danny Johnson highlighted. Watch out for this Johnson kid—his lix are deeply immersed in Brit-rock, possibly why "Rebel, Rebel" and "You Really Got Me" turned up on the 4 encores demanded by the randy crowd. Top tunes were the Winter oldie "Still Alive and Well," performed with somewhat less zeal than the original. "Teenage Love Affair" and the well-known "Rock and Roll Hootchie Koo." A predictable and highly professional set exhibits a strong reason why this band will be big. however, it was the soulful, human showing by Lofgren and Co. that stole the honours of the eve. Nills came right out with "Cry Tough" featuring a spine-tingling slide solo. The band was extremely electric and tight, tho' plagued by balance problems, but scored heavily with the SRO crowd out for an evening of rock'n'roll. The 4-guitar lineup gives off a full wall of sound and the effect is earthshattering. Lofgren's amount of cheek pleased us to no end. He does what he does very well and he knows it too! Bro' Tom on guitar shines as well. And when they get it on during the Carole King classic "Goin' Back," the blood pumps in yer veins. A dynamite and thoughtful double-bill.

A true and festive celebration of America's Bicentennial would certainly have been incomplete without a local showing by Canada's top attraction—The Band. Your ace critic had last caught them in 1968 and now that the five-piece are celebrating ten years with their cur-

rent lineup, both packed house and the group were ready to really let loose. Mildly-received Livingston Taylor opened (this was a thoughtful pairing, promoters) with his folk-blues. However, it was The Band all the way! Opening with a rousing "Don't Do lt," no wrong could be done during 14 tunes highlighted by "Tears of Rage," "Chest Fever" with Hudson's stirring keyboard workout and "W.S. Walcott." The Band's output volume has increased considerably over the past decade, but all the original ingredients were in tact—tight harmonies and excellent vocalizing and rifling all around. Hudson especially shone on tenor and soprano sax solos and many times he went into dual keyboards simultaneously. Ten year's worth of Band music—an exhilirating and positive experience.

Polish-born multi-instrumentalist/composer/ bandleader Michal Urbaniak has assembled an exceptional cast of players in the latest edition of Fusion which offered its Gotham premiere recently at The Other End. Sixpiece Fusion is a most refreshing contingent whose roots lie sometimes in Polish folk melodies, experimental jazz, and fund and a powerful combination of these parts produces intelligent, virutoso music. Vocalist Ursula Dudziak shone on a vast array of gadgets and devices for which she is well-known. Her opening solo highlights the incredible opus "On Green Dolphin Street." Her sense of pitch beyond words. Fusion opened shakily with "Big Mountain" from the older "Super Constellation" LP but then reversed their trax and knocked a smallish audience repeatedly on the head. Urbaniak excelled on custom solid-body fiddle and lyrichord, which is like a space-clarinet. Urbaniak and wife have the uncanny knack of synching violin and voice in a frighteningly perfect battle. On percussives, newcomer and youngster Sunship must not be overlooked as one of the most excellent drummers on the scene stateside and his piece in the newer "Cuckoo's Nest" was immaculate. If you haven't been up to date, Clive Davis has signed Fusion and it remains to be seen if Arista can get this fine sound across to more people this time round. This new version of Fusion is worth catching as strong melody lines are again prominent, however, Urbaniak's music is somewhat less splintered than in days gone by. Highly recommended. Opener Jon Paris. New York City familiar face, was quite entertaining and did not face an easy task priming a jazz-oriented audience. Jon's strumming and harp blowing is A-1. His tunes are suitable for hit single material. This bloke is definitely worth watching. ■

"Cruisin and Bruisin" by Nia11 Krumpett

He's being tipped as the Springsteen of England; the successor to the throne of Dylan; and more—yes, it's the former petrol pumper turned rock star overnight. It's Graham Parker! Parker and his Eyepiece entourage stormed

LONDON

by Anne Nightingale

Hello there. First I think I should introduce myself. My name is Anne Nightingale and I have the distinction(?) of being the only lady/girl/female/woman disc jockey on national radio in England. My show is on the BBC pop/rock network, Radio One, and goes out on Sunday afternoons. It has an audience of around two million, stretching across the British Isles from the north of Scotland to Ireland, Wales and over into France, Belgium, Norway and Sweden, which is fairly mind-blowing! It's a very student and rockafficianado audience who like the Eagles, The Who, Steely Dan, Led Zep, Eric Clapton, Joni Mitchell ... et al. In fact et Al Stewart, Al Kooper, and Alice Cooper! This year, I was voted into the Top Ten British disc jockeys by the music press—the first time it's happened to a lady. May this be encouragement to hopeful female DJs everywhere!

I also host interview programmes and documentaries for the BBC (sometimes TV as well) and I write for magazines. Perhaps all this led me to Rock Around The World. Certainly, I'm happy to be bringing you some radio conversations from across the Atlantic.

It's been a pretty spectacular summer for rock events in England. We've seen The Stones (twice), David Bowie, The Who, Elton John and Eric Clapton. Several of the gigs have been out of doors—and it rained only for the Who. I blame Mick Jagger for this, 'cuz he said it would.

Before The Who left England for their U.S. mini-tour (Miami and Washington D.C.) Roger Daltry donated a silver cup to a pony club in Sussex. A serious-minded boy rideT, aged about nine years old asked if Roger was

terribly famous. When told. "Well, yes," the boy asked: "What for, three-day-eventing or show jumping?" It's a different world in the Princess Anne set.

Twiggy, the London cockney model who changed the shape of girls all over the world, is set to take on the music scene. And it must be remembered that Twiggy achieves most things she attempts! Dancing and acting in Ken Russell's "The Boyfriend" . . . an acclaimed London stage season . . . two top rated TV series . . . and now an album. Twiggy has a surprisingly strong country voice, to bo heard on her versions of songs by Country Joe, John Sebastian and Jackie de Shannon—among others. British rock critics couldn't wait to sneer at Twigs—and now have had to admit

how good she is. Twiggy is planning to launch an album in the U.S. soon. (Ed. note—it's out now.)

For Eric the C, the sun shone over him when he appeared at London's Crystal Palace Bowl, for his first live set of gigs for a year and a half. We've been calling him God for ages, and at

Crystal Palace it looked as though this had finally come true. There was Eric—WALKING ON WATER! Well, very nearly. The stage at Crystal Palace is located right in front of a lake. It was supposed to act as a barrier to prevent over enthusiastic fans getting onto the stage. The water proved no such thing. Avid Clapton followers merely swam to their leader and stayed chest-high and fully clad (well, most of them) in the lake, throughout the set. On

stage Eric was joined by Ronnie Wood and Larry Coryell, and the end climaxed with the large addition of Freddie King! Eric had embarked on the strangest tour of England for years. He deliberately sought out gigs in quaint English sea side resorts—and ended it all at Hayling Island Holiday Camp—a sort of real life "Tommy's Holiday Camp." The in-mates, who were expecting Bingo. were amazed, to say the least, at getting rock 'n' roll instead. Still, 75% of the predominantly middle-aged holiday makers stayed to bop with Clapton and Co. His new album "No Reasons To Cry" out in England now, is due for release in the U.S. in early October.

The Climax to the London summer rock season came at Knebworth. Aug. 20-21. In the grounds of this stately home, 20,000 people gathered to see the Rolling Stones. Those near enough to the front could see the 30 ft. high stage, specially designed like the Stones' logo, as a huge pair of red lips. Through the long/ scorching day, Hot Tuna, Lynyrd Skynyrd and Todd Rundgren had played and entertained—but somehow the time schedule kept slipping away. By seven pm when the Stones were due to appear, we hadn't even seen second on the bill, IOCC. Eventually Mick and the lads appeared near midnight. Mick seemed to sense that even his keenest fans were by now perhaps tired. "Y'all right?" he kept shouting into the night, obviously wanting a reassuring roar of reassurance. More a matter of concern to Stones fans, was the persistent rumour all day that this was to be the last Stones gig. But that has been said before . . .1

Bye from England for now. See you next time around.•

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