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Jams

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Parent Issue
Day
5
Month
October
Year
1972
OCR Text

"Hot Licks, Cold Steel, & Truckers' Favorites"- Commander Cody & His Lost Planet Airmen (Paramount). The ace [country & western swing band f rom Berserkeley, California (by way of Ann Arbor) continúes its plot to drive the Iworld into the ozone with its second I smash album on Paramount Records. The I Commander has committed another I dozen of the band's millions of tunes to Iwax once again, according to the origiI nal plan, and the result is one of the Itastiest collections of American music you might want to take off. Cody and the Airmen cover' a whole spectrum of white rhythm music which they present as a coherent whole, moving from country to western-swing to Memphis rockabilly to truckers' favorites with the ease that is inherent in these killer indigenous cultural forms and their natural (organix) relation to each Gt'.idr. Black bules is part of the same spectrum too, dig Bil I y C's "Watch My .38" (and many people around here will remember hearing it in the parks years ago in its original Billy C. & the Sunshine version). The Ozone people's master plan for the nonce is obviously to win over millions of truck drivers and other country folks to the Zenta faith (all their trucks of course are packed with the sacrament instead of oil or livestock or whatever else you might think), and the release of "Mama Hatet Deisels (So Bad)" as a single from the album should help considerably. The rest of the tunes you'll be hearing anyway, as soon as you take a copy of this side home with you, and you can experience the Ozone Revae for yourselves over the Homecoming weekend later this month at Hill Auditorium in the pre -New Year's Zenta rites October 27th. Need we say more? ELEPHANT'S MEMORY (Apple) The closest thing you'll find to a DetroitAnn Arbor rock and roll band outside of Michigan is the legendary Elephant's Memory band, a group of crazed New YorkBrooklyn musical gangsters who sock 'em out as strong as can be. Their last album, "Take It To The Streets" (on Metromedia), was released two years ago, and the band has gone through some changes since then, but the current edition is right on time and rocks harder than ever before. Riek Frank (drums) and Stan Bronstein (Tenor sexophone & vocals) recruited Adam Ippolito (keyboards) and Gary Van Sycoc (bass) from the scraps of Pig Iron left on the set, and guitarist Wayne "Tex" Gabriel slid n from the Motor City scène af ter working with Detroit and Guardian Angel for a time. The existing Elephants band has come to attention lately as John Lennon's musical express, but their own album makes it clear just why t was that Lennon kooked up with them. The record rocks all the way through, starting with "Liberation Special" and never turning back. "Chuck and Bo" is a great contemporary history piece above and beyond the drive of the music- it runs the story of the band's gig with the two master rock and roll makers, Chuck Berry & Bo Diddley, and it epitomizes the Elephant esthetic in the most pleasant way possible. Rock and roll addicts- followers of the truth faith- can get what they need out of this particular jam, and that's just the way it should be. Fred McDowell was one of the few bluesmen who did not, within his Mfe "cop-out" on his live appearances. Never was the quality of his music sacrificed for anything. He was a musician that relied totally on the power of his music to move an audience, whether that audience was five people or five thousand. This album is one of few also; it too sacrif ices nothing in bringing Fred as he sounded live. No bizarre mix on this album, and no guest artists to promote sales. Just pure Fred McDowell blues; pure and simple, and slide guitar that makes any guitar player under fouty marvel. This album features Fred and a man named Torn Pomposello on bass and 2nd guitar on all cuts. The bass and 2nd guitar is tasteful throughout most of the tunes, only occasionally overriding Fred's subtleties. Having known Fred for tiiree years before his death, I had the cpportunity to see him many times within the past few tours he has done. When hi played the date in the f all of 1971 at the Alley in Ann Arbor, Steve Nardello and John Nicholas of the Boogie Brothers accompanied him. Thé blend betw'jn Fred on his usual slide guitar and voc.iL and the guitar and harp of St' ve and John made me truly believe that there is a bridge between what these older men have been saying all aloig, ónd the younger men's intrepretations cf the same thing. The recording of Fred and a second guitar player on this album says the same thing to me. Tve hen.d Fred McDowell many times, and live his music and his memory; this album Iws, I think, done a good thing in present! ; his music exactly the way he did. I can make no higher praise of "Live in New York" than to say that it sounds just like Fred did to me. -Jim Tate If you d idn't have the bread to bop down to Puerto Rico for the Mar Y Sol (Sea and Sun) International Pop Festival, here's your big chance to catch up on all the heavy haps for maybe a thirtieth of the price. Only problem is that not a whole lot happened, f this doublé lp can be taken as evidence. Twelve different artists and bands are represented here on thirteen cuts, with only a few of them tickling my eardrums more than just faintly. Side one is the strong side, with some pretty good stuff from J Geils, John McGlaughlin's Mahavishnu Orchestra, and Dr John. But this still leaves three more sides, most of which is filler, all of which you pay for f you buy the album. Side three is the worst offender, with the Allman Brothers; Emerson, Lake, Sí Palmer; and Nitzinger all sounding pretty tired. And why Jonathan Edwards got two cuts when everyone else got one is completely beyond me. I should also mention the liner notes, by one Jean-Charles Costa. Despite his assurances that this was not a "physical manifestaron of US colonialism," he "misses the point as usual." by putting his name on a doublé album that contains none of the local (native?) music and substitutes a boring 91% minutes of Herbie Mann's "unique brand of Latin-Jazz-Rock instead." I wonder what the difference in pay scale was between Herbie's band and Bando de Karajo, which was mentioned in Costa's notes but not heard on the album. All in all, if you could afford to fly to Peurto Rico to dig the sounds, sand, sun, and surf, you can afford to buy this album as a gee-whiz replica of what went down. Everyone else can save their money for this Jaza and Blues Festival lp. That's what l'm doing, anyway. -Jim Dulzo