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| H I T I* A r i l f -L F I T h t W M ~ |

2 • I MAY 1 - J UNE 1

Vol. I No. I May l — June l, 1970
Editor and Publisher Phillip Frazer
Associate Editor: John Hawkes
Consultan t Editors: Ed Nimmervoll
Rob Smyth
Graphics: Ian McCausland
Geoff Pendlebury
Film Reviews: Al Finney
Robert Garlick
Record Reviews: Ed Nimmervoll
Rob Smyth
Bill Walker
Theatre: Graeme Blundell
Book Reviews: John Hawkes
Photography: Vera Kaas Jager
Advertising Department: Geoff Watson
Terry Cleary
LONDON. Richard Neville
c/o OZ,
38A Palace Gardens,
London W8
S Y D N E Y UNI: Warren Osmond
Mark Butler
MELBOURNE UNI: Terry Counihan
MON ASH UNI: Rob Smyth
FLINDERS UNI: Greig Pickhaver

and th at justified anything to the That radio-rock progresses, despite

radio and record industries o f America. the w hen-you’re-on-a-good-thing-stick
Chuck Berry led the chorus th at had to-it conservatism of the businessm an,
an incredibly simple message — “tell and th at the progression is always
the past, your oldfolks, y o u r school tow ard a more and more clear state­
and the whole dam n w orld to get m ent of rejection of the double-stand­
off - y o u ’ve nothing to lose b u t y our ards of the com m unity th at plays LPs.
Hail! Hail! R ock ‘n ’ roll That rock music is only one part o f the
Deliver me from the days o f old. revolution against the absurd society .
Harsh w ord, ‘R evolution!’ T hat is Political protests, hip movies, street
sure a heavy w ord for talking about As Circus magazine said C huck Berry
was putting over “joyous exhortations th eatre, free love, p ot and the u n d er­
rock music and a few related media- ground press are all extensions o f th e
happenings, like tough-line movies and to live and love, w ith o u t the guilt/
tragedy/retirbution m otifs th at run m ovem ent in areas affecting all our
street theatre and a bunch of radical senses and ultim ately our conscious­
foul-m outhed hippies w ho turned through all w hite p ro testan t music
from the psalms on up to Presley. ness.
Chicago upside dow n. So this is The Revolution. The Move­
But since rock music has becom e 200 That message, obvious as it m ay be to
us, was nothing less than revolutionary m ent. A to tal, m ulti-sensual, un co m ­
w atts loud it insinuates into everything prom ising rejection of the “absurd
around the place - insidiously - cultural in the grey flannel fog o f th e fifties.”
society” . I t ’s more than rejection b e­
guerilla warfare as it takes over the air­ These songs were protesting by their cause it is an affirm ation when you
waves (and w hat m odern coup d ’etat very existence - they dem anded by smoke p o t y o u ’re not ju st blowing
doesn’t begin w ith a takeover of simply proclaim ing a new scene (unlike smoke in your m o th er’s bewildered
radio HO?), and then the recording the m ore lim ited, m ore “p o litical” eyes (even though the psychiatrists
industry (means of p ro d u ctio n even?), protest like Tennessee F o rd ’s “ Six­ would tell you th a t’s the only reason)
and then H ollyw ood, and then, and teen T ons” ). - y o u ’re feeling som ething new, a
then the MIND, and then BEYOND. . Then came ban the bom b, th efo lk ie s, liberation, an experience th at simply
Has rock music done all th at? (if the ‘beat generation’ - now the young adds another good scene to a world so
only it had you m ight say.) had a com m on nam e and a com m on full of ugly ones (and if th a t’s
Not exactly m aybe, n o t y et at least. message - usually sung as a lam ent. “escapism ” so is art, food, and sex
But the upgrading o f rock music to Only when Dylan p u t dow n his pro- which by the way has lost its spot as
becom e the m ost vital, p o te n t, w ide­ test-anthem s, “The Times They Are “ace-problem ” amongst the young to
spread and influential cultural p h en o ­ A-Changin’ ” , “The Chimes of Free­ “ Drugs” ).
m enon of the tw entieth century is d o m ” , and “ B lowin’ In The W ind” - Whether this “youth-culture” is affirm ­
well advanced, and th at m eans things did the general message o f bucking ation or just destructive, as “liberals”
are happening th at deserve analysis. the whole Establishm ent get through claim, the question remains - why?
(“ Som ething is happening and you again, and when Dylan ‘w ent electric’
d o n ’t know w hat it is, do you Mr. and sang his oppressed-m inority lyrics We are born into a highly advanced
LETTER, AND OTHER Jo n e s” ). Analysis th a t m ust involve over a defiant rock backing his whole society, technologically. Because of
SUNDRY COMPLAINTS a little history. V scene becam e th at m uch m ore offens­ the com plexity of the whole m achine,
Of course even a casual glance at ive to the oldies, and thus m ore totally things have to be organised - it is a
This being the first issue of on-line for “u s” against “ th em ”
Negro blues from way back shows very simple process of cause and
REVOLUTION we have yet th at the music th a t gave b irth to (tw enty years of schoolin’ - they p u t effect. You invent cars so you m ust
to experience the delights rock ‘n ’ roll had rebellion and reject­ you on the day shift . . . lo o k o ut kid, have road-laws. You invent big nations
of being told we are wrong, ion inexorably lodged in its gut. T hat i t ’s som ethin’ you did, God knows and you m ust have armies therefore
obscene, tasteless, misguided, music came from a m inority oppressed when b u t y o u ’re d o in ’ it again” ). you m ust have taxes to pay for those
etc. etc. But w e’re hoping. m ore brutally and inhum anly than any And in England these lovable four armies (and for hospitals, schools and
Please address (lots of) letters m odern-day middle-class hippie or m op-tops were suddenly doing m ore parks). All of this is done inside a set
to our unsuspecting Editor, student. Why in hell should anyone than adding their catchy version o f the of (unw ritten) rules inherited from
c/o FEEDBACKBITE be surprised it blew up w hen it grew enjoy-yourself songs o f the Mersey the days when people had to work
27 DRUMMOND ST., up? Beat. They too were adding sting their guts out to grow enough food to
CARLTON 3053. 3 u t ironically, it was television, sup­ through the words. (The Stones had live. The whole thing is still a struggle
posedly the downfall of all good high always thum bed their noses w ith all by each one of us for survival. You
school students, th a t p u t ro ck ‘n ’ roll ten fingers). The Stones and Beatles m ight say all this organisation and all
on its path. (T.V. is least w atched by lyrics rendered the accepted rules on these rules are designed to make it a
REVOLUTION offices are at 27 teenagers, i t ’s a m um s’ and dads’ sex, drugs and working-for-the-m an cooperative effort by us all, and for
Drummond Street, Carlton 3053. tranquiliser). T.V. hacked mercilessly obsolete and irrelevant (Ed Sullivan us all, to survive very com fortably. But
'Phone: 34 8121. While REVOLU­ at rad io ’s dull hold on the masses and made Jagger sing “ L e t’s Spend the the entire process has been proceeding
TION welcomes articles from readers radio replied by clutching at a wild Night T ogether” as “ L e t’s Spend Some full-speed like a train with no brakes
we accept no responsibility for unsoli­ world h itherto underground. Time T ogether” - b u t no tru e Stone down a siding! Long, long ago the
cited material. In fact, as a general Black singers were copied to spark fan was fooled). goals of happiness and survival for as
rule, we accept as little responsibility life into pop music at the tim e The question is - w hat does all this m any people as possible ceased to be
as possible. ipooning under the featherw eight of
REVOLUTION is distributed make for revolution? serious goals - the m ethods we were
an incredible spate of slick and senti­ W ithout getting into a big definitions supposed to be using to reach those
throughout Australia by Southdown
Press, Melbourne. It is published m ental tunes ground o u t by Tin Pan game we can be p re tty sure o f a few goals to o k over. Now i t ’s n o t really a
monthly, and printed by Waverley Off­ Alley m usicians. A few ‘niggers’ were simple facts. virtue to make more food than you
set Printers at Glen Waverley, Victoria. even played on ’w h ite’radio. That rock has taken over radio and can eat so as to give it to someone
Then as now , the unknow n and in ­ that radio has becom e the m ost far- else w h o ’s hungry - now i t ’s a ‘virtue’
familiar was frightening, b u t it sold, reaching m edium in the Western world. simply to make m ore, to have a
MAY 1 - JUNE 1 3

■ 4 4 1 ?

surplus you sell for profit. Where you

sell it, how you sell it, and to whom
is a technicality no-one gives a dam n
ab out. America dum ps thousands of
tons o f w heat into the sea because it
w ould upset the econom y (i.e. profits)
to give it to starving Indians
On a smaller scale we experience the
same hypocrisy, the same inhum anity,
the same selfishness and indifference
o f adults in every sphere o f life. (As
Dylan puts it, you d o n ’t need a
w eather m an to tell which way the
w ind blows).
Does this m ake for R evolution - or is
the whole m ovem ent just a game?
I t ’s no game when literally millions of
educated, aware people betw een the
ages o f th irteen and th irty are joined
together in a global conspiracy of
noise, uninhibited, erotic rhythm s,
and the stark, challenging lyrics of
poet-com posers like Dylan, Jagger,
L ennon, Zappa, C ountry Jo e and the
Fish are less th an subtle in exposing
the hype all around,
Come on Wall Street, d o n ’t be slow
Why m an this is war a-go-go!
T here’s plenty of m oney to be made
With th e tools of its trade.
A nd w hether the m ovem ent is to be
“evolution” , the peaceful drug-induced
process o f turning the egoistic narrow ­
m inded population of the “civilised”
w orld into people who genuinely love
and let live - or the revolution of
violence and change through action . .
th at is a question only hypocrits
themselves can answer.
The Beatles sang o f evolution, Nina
Sim one replies,
Sing ab o u t revolution because
I ’m talking *bout a change.
I t ’s m ore than ju st evolution,
Well you know , you gotta clean
y our brain . . .
But if you agree w ith U nited States
Congressman Jam es Tustin that rock
‘n ’ roll, sex education and p o t are all
part o f the international com m unist
conspiracy . . . d o n ’t take our word
for it th at the rock-revolution is a
natural (and long-overdue) develop­
m en t, consider Plato —
Form s and rhythm s in music are
never changed w ithout producing
changes in the m ost im portant p o lit­
ical form s and ways . . . the new
style quietly insinuates itself into
m anners and custom s and from
there it issues a greater force . . .
and goes on to attack laws and
constitutions, displaying the utm ost
im pudence until it ends by over­
throw ing everything, b o th in public
and in private . . .

4 MAY 1 - JUNE 1


Judge H offm an

In August, 1968, several thousand Yippie movement was to embrace the he outlined the plans of the Yippies for with bazookas and tanks. And by this
people went along to Chicago Not ail body of young people who weren’t speci­ the Convention: time, Daley had realized (or someone
of them wanted to protest, but a signicant fically interested in New Left politics. “Well, we’ve got a bunch of Yippie had told him) that Abbie had been tak­
number were there because they wanted Rubin said: girls dressed up as whores, but young, ing the piss out of him. It's pretty cer­
somehow, to express their dissent. “Yippies are revolutionaries. We have you know, and nice, and they’re going tain that the name of Abbie Hoffman
They didn’t go along with the aim of merged New Left politics with a psyche­ to pick up convention delegates" and already appeared with the others on the
smashing up anyone's property or spilling delic life-style.” slip acid into their drinks . . . ” *to - be - arrested - and - charged - with -
anyone’s blood; God knows, they didn’t Abbie Hoffman had his own view: I can see Daley, in front of his tele­ everything’ list.
go along to riot. The same can not be “The Yippies are a myth. They are any­ vision, gripping his chair until his knuck­
said for Mayor Richard J. Daley’s police- thing you want them to be, man. Just do les turned white, while Hoffman con­ On August 23, a quiet and happy
force (hereinafter referred to as pigs). your thing. But do it in Chicago next tinued: Saturday, a crowd gathered in Lincoln
The San Francisco Express-Times inclu­ August. It’ll be a gas. Like, it’ll f*ck the “Yippie studs whose job is to seduce Park, north of the Hilton where the
ded this sentence in its editorial: system.” the delegates’ wives and daughters . . . ” delegates were doing whatever it was that
Some cops are policemen; others earn Abbie put out a rumor that the Yip­ they came to Chicago to do. The crowd
he right to be called pigs.” . Well, when the Chicago Convention pies were going to slip massive amounts sat around and chanted and played guit­
The press called everyone in Chicago began, there were a lot of reporters want­ of LSD into the water supply. Daley ars; no pigs, no violence. The gather­
who wore long hair or a short skirt a ing to know where the dissent was going responded with an around-the-clock ing broke up at twenty to eleven (Lin­
Yippie. Who were the Yippies? to come from. They went to the pigs to watch over it. In fact, Daley responded coln Park closes at eleven, Daley had
Well, originally they were three: Paul find out. And the pigs already had some to each of Abbie’s hints in the same way. said) and danced or drifted away.
Krassner, editor of The Realist, former of the names: Rennie Davis, Jerry Rubin, The guard at the Chicago Zoo was treb­ On Sunday, things began to happen.
civil rights worker Abbie Hoffman and Tom Hayden and Dave Dellinger — led when Abbie announced that the There was to be music in the park, but
former Berkeley movement-leader (in the “young, ugly, unwashed types known as next plan was to “liberate a lion”. By a pig pulled out the amplifier cord. Ab­
loosest sense) Jerry Rubin. They wanted Yippies” the day the convention opened, the Es­ bie Hoffman argued with him, but to
something tangible, something solid upon (Dave Dellinger! Aged 53 and looking tablishment had responded almost unbe­ no avail. Later in the day, someone
which to pin their struggle in 1968 — respectable: he is a pacifist, nothing more lievably: by this day, there were about yelled at a pig and was busted there and
“the election year in which the war in and nothing less. So, because of his age 2000 demonstrators-to-be. The num­ then. His neighbour protested and got
Vietnam, one way or another, had to be and appearance, he become the Sinister ber was to grow to 10,000, but only the same treatment (it’s happened here,
made The Issue” They decided upon Manipulator.) 2000 by the ltrst day. There were too, but I’m coming to that later). The
the Youth International Party, whose But Abbie Hoffman provided the best 12,000 pigs, 6000 National Guardsmen crowd chanted and more pigs appeared,
baftle-cray was to be “Yippie!” The copy, looked the freak the press needed: and 6000 regular Army troops, replete but things quietened down.
MAY 1 - JUNE 1 5

Tuesday night was much the same, contempt, reading each instance from
the main difference in tactics being that the transcript. He lied flagrantly before
the pigs broke into houses and dragged the court, before the nation. The Chicago
the occupants out. On Wednesday night Eight became the Chicago Seven. Just
the pigs charged the Hilton lobby, bash­ like that. (Oh, one thing: the prosecu­
ing anyone who looked like they might tion gets its transcripts of the trial for
be thinking a little too much. Girls nothing; the defence pays $300 to $400
were thrown through the glass front of a day for them.)
the Haymarket Bar, and blood soaked
into the carpets and floorboards of more The defence managed to get a num­
than one establishment. The McCarthy ber of pretty straight-looking people on­
supporters on the Hilton’s 15th floor had to the stand to testify to the police riot
to turn their rooms into a makeshift which occurred at the convention. Wher,
hospital. On Friday morning they got Allen Ginsberg took the stand, the nat­
their reward^ when the pigs swept the ure of Magoo’s ego was made apparent.
entire floor with clubs swinging, beating, At one point Ginsberg was reading from
as usual, indiscriminately. ‘Howl’. When he came to the parts:
Ramsey Clark, Attorney General of the
United States, had his own hands full. “Moloch the loveless! Moloch the heavy
Magoo’ to the defendants, as that’s who judger of men!” he turned on the judge
He was faced with two reports. His own he looks, like. Abbie Hoffman announ­
observers in Chicago had reported ex­ ano pointed accusingly. Genuinely
ced at a news conference that he was shocked, the wretched Magoo recoiled
actly what happened: that the ‘Chicago
m v m *urc>ut* riots’ had consisted of uncontrolled ram­ in his chair. But as Ginsberg continued
paging of crazed police: ‘a stampede of Julius’ illegitimate son. ‘Julius the Just’ “Moloch whose ear is a smoking tomb!
mad pigs”. But there was another to be was noted for his ability to put people Moloch whose blood is running money!”
Came Sunday night, though, and it considered. Two-thirds of the American away before this trial began: he once the seventy-four years old judge put his
happened for the first time: a police people, it seems, approved of the actions found a juror had read newspaper clip­ hands up to his face, in a theatrical ges­
riot. They swept into the crowd in the of the Chicago police. Ramsey Clark, pings of the trial on which he was serv­ ture designed to show that he, too, could
park at twelve-thirty, swinging their who had objected to the so-called “anti­ ing. The juror got two years. participate in this theatre of the absurd.
clubs first at the newsmen and then at riot bill” when it was passed, was now Little did the wizened fag realize that
beset by congressmen demanding the The judge disallowed the defence’s that’s exactly what he’d been doing any­
anyone. Ironically, Time and Newsweek
arrest of the ‘riot leaders’. And every­ questions to prospective jurors. A pros­ way, over the course of the ‘trial’, as
suffered most from that first onslaught. it’s been called.
one knew just who they were: Hoffman, pective juror who had just graduated
Rubin, Davis, Dellinger and Hayden. from college was disallowed. Judge Hoff-
Other things were going on, though, mas approved of a black lady on the There were no two ways about it: the
Their names had been in the papers, man sitting in the judge’s seat was sen­
on Sunday night: Tom Hayden and Ren­ their faces on the T.V. Even Lyndon panel who was a cook. “"Good cooks
nie Davis had been together in the park, are hard to find,” he said. ile. When Dick Gregory was about to
Baines Johnson, the grandest pig of them testify Magoo said: “I want this very
closely shadowed by two pigs assigned all, was on the ’phone to Clark. Clark’s
to tail Davis. Hayden and Davis sud­ The judge failed to remember the de­ nice witness to know that he has often
legal advisers, however, told him that made me laugh heartily.” Kunstler said,
denly split in the darkness. Davis got there was “no basis whatever for federal fendants’ names in court, but had no
away, and the enraged pigs dragged prosecution”. difficulty otuside the court. He once “White people have always laughed at
Hayden to their car, saying they’d “beat referred to Weinglass (for the defence) black people”.
the shit out of” him. Finding, wheit Clark acted first on the evidence avail- as “Misjfer Whateveifyour names-is”.
they got there, that somebody had let albe to him: his first act was to take Julius Hoffman (hereinafter ‘Magoo’, not The defence managed to call most of
the air out of their tyres, they arrested steps to arraign nine Chicago policemen out of any disrespect, mind, but just so its intended witnesses, who testified
Hayden for it. He shouted and a group known to have rioted. These pigs had I don’t confuse him with Abbie Hoff- either to the sheer inaccuracy of the
of people gathered round. The pigs let been so blatant about it that they simply prosecution’s ‘facts’ or to the real fact
him go, but they knew who he was. couldn’t be overlooked, even by the that this was a trial of a life-style, not a
maichinery that produced them. Good conspiracy.
On Monday, while Rubin afld Hoff­ for Clark: he showed some sanity in an
man conducted workshops (for marshals, insanse position. But Nixon’s new At- When Abbie Hoffman took the stand,
On the off-chance of a march being per­ tornel General, John Mitchell, wanted he was downright stunning:
mitted) in the park, four pigs marched the ‘leaders’ of the demonstration to bal­ Mr. Weinglass: Would you state your
through the crowd and arrested Hayden ance things out a little. Eight pigs were name?
for letting down those tyres. The crowd finally indicted by the Grand Jury, and The Witness: My name is Abbie. I’m
let them take him through their midst eight civilians: Rennie Davis, Dave Del­ an orphan of America.
without incident; a “Free Hayden’ linger, John Froines, Tom Hayden, Ab- Mr. Weinglass: Where do you reside?
march formed on the spot. The march bie Hoffman, Jerry Rubin, Bobby Seale The Witnesss Woodstock Nation.
ended at Grant Park. The people at the and Lee Weiner. Mr Weinglass: What state is that
head of the crowd ran up to a statue in?
that stands in the park (of Major Gen­ Ramsey Clark summed it up: “Poli­ The Witnesss The state of mind. It’s
eral Jonathan Logan), and draped flags tics, pure and simple. The eight-to-eight a nation of alienated young people which
on it. The pigs charged: the kids ran. balance makes that clear”.
All but one, that is: a sneakered, short-
haired McCarthy volunteer from Birm­ The charge against the Chicago Eight,
ingham, Alabama. He had his arm as they were immediately known, was
stuck in the statue somehow. As their fantatistic. Not just riot, but conspiracys
superiors attempted to call them off, the now, the law doesn’t even require them
pigs set upon him and beat him up. to know each other, let alone to have
They got his arm out by breaking it. conspired together. Still, that’s what
they were up for. It’s been explained x m RAW
The demonstrators returned to Lincoln in a remarkable way (in Rolling Stone’s
Park. That night, the pigs drove through article):
the park and drove the kids out with man) was clearly a prejudiced (literally)
“The law itself says they can’t cross and dangerous man.
tear gas. There was no getting away, a state line with intent to start or urge
because outside the park there were a riot. The conspiracy charge says they
more pigs. They were waiting down The defendants, in their turn, made
can’t intend to intend it”. their opinion of the judge, the court and
side-streets to club anyone who came by,
and that was just what they did. They the American machine pretty clear. They
clubbed Yippies, straight kids and local were hilarious when a prosecution wit­
old people alike; they didn’t arrest, they ness (an undercover pig, one of many)
just hit, again and again. They drag­ recalled the General Logan’s statue
ged people from bars and restaurants incident. He had Davis leading the
and threw them onto the street, where charge, shouting: “Don’t let the pigs
more pigs set upon them. People threw take the hill! Don’t let the pigs take the
rocks and anything else they could find high ground!”
we carry around with us m our minds
at the pigs in an attempt to slow them just as the Sioux Indians carried around
down, but the pigs were rioting. There The pattern of police lies was es­
tablished from the start. Their incon­ the Sioux nation in their minds.
is no other word for it. The Chicago
Eight were not inciting their followers sistencies were obvious, their imagina­
tions surprising. (Again, we’ve seen it The Court: One address will be suf­
to riot: the followers were having a ficient. Nothing about philosophy or
hard enough time gettings away from here, too, but I’m still coming to that.)
what was a complete riot on the part Bobby Seale’s birthday cake, a pres­
of the Chicago Police Force. Hayden A b b i e was comic, but truthful
ent from the other defendants, was seiz­ throughout. He explained that the Yip­
was out of gaol, and was walking to­ ed by a marshal. “Cake-napper!” shouted
wards the Hilton while all this went on. pies were a myth for the media. What
Abbie. Hennie cried: “Bobby! Bobby! they had taken with them to Chicago was
He was accompanied by a couple of Mc­ They’ve arrested your cake!”
Carthy staff members who had invited not a plan but simply their life-style.
him to their room. The hotel manager But Bobby Seale was in a bad posi­
barred him from the lobby, and he turn­ tion, as Magoo was obviously sick to Richard J. Daley was called by the
ed to walk away. He was jumped from death of this arrogant nigger who de­ defence — the prosecution certainly
behind by his plainclothes ‘tail’ and ano­ manded the right either to defend him­ wasn’t going to call him! He lied, smil­
ther pig in uniform. They pounded Nobody was being tried for what he self or to have a lawyer of his own ing all the while, for the duration of his
him until he was bleeding sufficiently, had done. They were each being tried choice. He continiually called the judge grunted testimony. Seventy successive
and threw him in a wagon. The charge for what they had intended. Christ!!! a fascist and a pig. objections by the prosecution were sus­
was “aggravated assault” : Hayden had tained as defence counsel Kunstler tried
allegedly spat upon a member of the Federal Judge Julius Hoffman was ap­ Magoo had his revenge. He sen­
force. pointed to the trial. He became ‘Mr. tenced Bobby Seale to four years for —continued on page 21.


the pop scene, the art scene the whole scene
GROUPS, KNOW-HOW, ENERGY. . . Contact . . . Ui
6 MAY 1 - JUNE 1
m m

Vienna is back in the pre-stoned age,
And here underground film-makers are
functioning as an alternate news service,
chronicalling the important events of our
giving them a vaguely ghost-like quality,
and the feeling that the subjects have
been caught in movement. His abstract
and its underground is older and less time. The works of Nitche and Muehl works, soft-edge overlays of lines cover
cool than in other parts of Europe. Rock are too strong to be adequately recorded the same territory of Australian artist
music — still called “Beat Music” by the TV, newsreel or newspaper photo­ Peter Wright.
here — is mainly imported, with the graphers. They only select sensational As well as these works there are mas­
appearance of Led Zeppelin and Fleet- aspects suitable to their preconceived sive mirror-constructions which reflect
wood Mac exciting only the very young. point-of-view. But like the political film- images in all directions and multiply
Local groups still play jazz inspired by making group NEWSREEL in the them to infinity, creating a feeling of
1950’s experiments, and electrification of United States, Austrian film-makers Kurt depth and construction simultaneously.
instruments is still not regarded as im­ Kren, Ernst Schmidt, and others record Creamcheese usually operates as a
portant. the illegal works of the Viennese De­ disco, with recorded music, and the
At one cafe I found “Shake, Rattle, structive Art Movement. sounds are the latest from U.S. and U.K.
and Roll” on the juke box, and it looked However, few of these films are known Occasionally, a group performs in the
like it had been there all those 15 years outside of Austria and Germany. The limited atmosphere of the clu b , and
since it topped the charts. The most Viennese Actions and their Expanded among the German groups Amon Duul
modern record in that cafe was “Cinder- Cinema are important works in the art is the most accomplished, with a strong
ella-Rockafella”, a nostalgic trip for me, of altered consciousness. Peter Wiebel’s electronic tribal sound, captured on their
but hardly a get-up-and-goer for the local expanded cinema works with multiple record PSYCHEDELIC UNDER­
teenyboppers — if there are any. projectors and skyrockets can only be GROUND (Metronome).
Underground activity in Vienna is performed with Wiebel present, and After 10 p.m., when German law de­
confined to films and happenings, with an therefore get limited performance. But mands that all under 16 be sent home,
active co-op finally making some impact the films can be copied, and should be Creemchese often shows films of the Ger­
with members-only screenings in order to spread around the world, smuggled into man underground, wild film-makers who
by-pass the rigid Austrian censorship. repressive countries like Australia, and are pushing the bounds of film, in both
Most Austrian film-makers work in EX­ shown in big cinemas in New York, subject matter and style. German film­
PANDED CINEMA, which includes the where people can see these horrific anti­ makers have achieved a sexual freedom
sort of multi-media work pioneered by dotes to the bullshit of Hollywood. which enables them to record the wild­
UBU in Australia, but also includes more est sex scenes in their films, and often
specialised experiments which come into DUSSELDORF UNDERGROUND — these are mixed with strong political sub­
the category of happenings — being CREAMCHEESE jects, expressing dissatisfaction with the
basically theatrical in their application. Suzy Suzy Creamcheese, Baby, what’s repression of women in the German
In one Hans Scheugl screens a porno­ got into ya? social system, or tthe neo-Fascist ten­
graphic films on a large cinema screen — That was way back in 1966, when dencies of the German Chancellor.
but he is so close to the screen that the Frank Zappa first queried the new life­ MARINETTI was shown at Creem-
image is tiny. If the audience wants to style of the long-haired turned-on, tuned- cheese, with sound-amplification that for
see it they must join him on stage — in youth of America. By 1967 his words the first time had some of the qualities
and this commitment will teach them applied to the youth of Britain, Europe of environmental sound that I had hoped
something about their own preferences. and Australia as well. Today, wherever for when conceiving it. In Creemcheese
VALIE EXPORT, one of Vienna’s you travel, you find that young people the sound is played through speakers in
few women film-makers, utilised audience. are the same, in a kind of United Nations walls around the room, and with the
participation in her expanded cinema — of Youth, which distinguishes them from image on a large screen which fills one
the “touch and taste cinema” — which their parents, whose characteristics dif­ wall, the effect of the film is quite over­
consisted of a curtained box strapped to fer from country to country. Young powering. German audiences have been
her chest. For the audience-members people wear the same clothes, listen to quick to praise the music of John Sangs-
who reach inside they will discover an the same music, smoke the same drugs, ter for the film, comparing it favorably
experience beyond normal cinema’s and talk about the same aspects of life, with the works of Albert Ayler and
range. which makes a traveller feel remarkably Cecil Taylor. The jazz-rock orientation
The most famous underground artist at home. of the music, not so acceptable in rock-
in Vienna is Otto Muehl, whose works In Dusseldorf, Germany, one can obsessed Australia, is right to the taste
have to be presented underground, for make a scene as good as anywhere in of German audiences, which have long
the only public manifestations in Austria the world, with shops, clubs, bars, and nourished a liking for the free-jazz of
have resulted in jail for Muehl. Muehl discos all tuned-in to the needs of young New York experimenters, as well as for
is the father of PORNO-ACTIONS, the people, and turned on to their style of the super rock groups, such as Led Zep-
ritaulistic acting out of anti-aesthetic and expression. Much of their culture is im­ pellin, which was playing in Dusseldorf
destructive processes. In Muehl’s hap­ ported, part of the international under­ on the same night as the film, and which,
penings people defecate, urinate, forni­ ground cultural exchange, but much is many had seen immediately before.
cate, and masturbate on stage — no local, with German artists being encour­ One phenomenon of German music
simulation as in HAIR — in hard, aged to contribute their work to make which I haven’t yet had the chance to
gorey multicolored pornographic demon­ the scene. In shops one can find copies see, is the orchestra of Little Young
strations of man’s animal nature. of Richard Neville’s PLAYPOWER, or Beethoven, a 64-piece new music group,
With the increased liberation in Ger­ Martin Sharp’s DYLAN poster, but the founded by a musician who won a phe­
many, Muehl has found it safer to cross artwork in the discos is by Dusseldorf nomenal sum in a Belgian Casino. The
the border to stage his actions, such as artists. prospect of orchestral rock is not a new
“SILENT NIGHT”, performed last By far the most exciting place in Dus­ one, but in the past it has been merely
Christmas, when a pig was butchered on seldorf is CREAMCHEESE, founded in to augment already established groups
stage and its entrails and blood poured 1967, and still going strong as the centre such as the Bee Gees, who wish to add
over Muehl’s naked wife by Muehl, who for “beat” music and underground hap­ extra dimension to their music. Little
then had intercourse with her among the penings. Creamcheese has a permanent Young Beethoven is launching into his
blood and guts. lightshow, little different from the career directly with the big line-up. It
For some the work of Hermann Nitche Cheetar in New York, or in Sydney, but would be a costly group to hire for a
is ultimate pornography, but Nitche is its other characteristics distinguish it dance, but with German audiences
now in exile from Vienna, living in Ber­ from these places. First, as you enter, trained to concert-going, it is quite likely1
lin, where his works are acceptable. The there are 24 TV screenings throwing pic­ that Little Young Beethoven and his
cathatic works from his ORGY MYS­ tures at you, from a wall that seems a “Underground Big Band” will get lots of
TERIES THEATRE are orgies of blood mass of screens. The pictures might gigs.
and sex, seen by Jonas Mekas (who pre­ come from the local TV station, or they
sented the works in New York), as puri­ might be fed directly from the dance­
fication for man’s bloody sins, such as floor inside. Straight away one is thrust
Vietnam. into a multi-media experience and given ABOUT THE AUTHOR:
Nitche uses animal carcasses filled an altered reality from the world out­
side. Albie Thcms achieved fame and no­
with red blood, which fills the theatre in toriety last year when he made Australians
pools several inches deep, flooding into Directly opposite the door is a work first full length underground movie
the audience and bloodying their clothes. by Guunter Uecker, one of Dusseldorf’s “Marinetti”. Its scenes of nudity' and love-
Nitche rips the carcasses to shreds, most obsessive artists, whose work is fix­ imaking and the famous blank-screen seg­
ated on the image of the “nail”, and ment made “Marinetti” the most talked
screws them, and splatters the entrails about, if not the most enjoyable, film for
over the stage and into the audience. manifests itself in the form of works like some time.
Finally there is an image of Christ on “beds of nails”, and also in pop art type After a sideshow-style screening schedule
the Cross, dying for our sins. Nitche, arrangements of nails, into enormous in Australia, keeping one step ahead of the
physical objects. He has had a major censor with his one-night stands, Albie
drenched in blood, is performing a simi­ decided to try his luck overseas. He has
lar ritual. Jonas Mekas rates Nitche the exhibition in New York, and his work is shown “Marinetti” in the USA, England,
greatest playwright of our age, but the now in galleries throughout the world. and is now showing it on the continent.
only cance most people will get to see Another artist whose work is in
his works is on film records of his hap­ Creamcheese is Gerhard Richter, whose
penings. images are always slightly out of focus,
• I MAY 1 - JUNE 1 7

relaxed kind of roll to it. Almost an

R & B sound. I play R & B-flavored
piano on the track while Neil plays his

by own rhythm.
“Sometimes the song gets into some
pretty groovy things. It’s interesting the
way it moves along in parallel fashion,

RITCHIE without ever coming together.

“Woodstock was written by Joni Mit­
chell. We played at Woodstock, and it

really blew our minds. On the plane
back, I was trying hard to think of some­
thing to write about the festival.
“We told Joni of our plans, and I
kept working out some ideas. Just as I
was on the verge of getting it together,
Joni came over and played us her song.
She got there first. I said that I couldn’t
top it, so here it is.
The stupifying after-effects of a full “Actually we’ve had some incredible
week’s all-night studio sessions were hassles with the producers of the Wood-
clinging to Stephen Stills when I located stock movie over our song. They want
h^m in London’s new Inn on the Park to use it as the title song, but they didn’t
Hotel at 6,30 one evening this week. like the tape 'reverb on the lead vocal.
“Hello,” he drawled in his typically slow They sent me over the tape and asked
manner of speaking. “How are you do­ me to re-do it, but I’ve got a terrible cold
ing?” and I don’t think I could do it better
anyway. So if the Woodstock people
Stills, former member of the Buffalo want to use it, fine; if not, screw it.
Springfield and one of Crosby, Stills,
Nash and Young, had been recording “Deja Vu is my second favorite song
all night, and the sun was well over the on the album. It’s really outstanding,
tall elm trees in Hyde Park when he’d because it took so bloody long to finish.
stumbled back to his room. It’s another of David’s songs.
“I’m working on a solo album, and “Graham wrote Our Home. We just
I’ve got 10 tracks down. It’s part of a left him to do it. I respect him im­
plan to keep the group together a little mensely and love working with him and
longer. Neil Young already has a solo I miss having him around. In the studio,
album, and I guess David and Graham he’s a great cheerleader and mixer. I’ve
will start theirs when they return from missed him on my new album.
sailing off the Mexican coast.” “He did all the backing tracks except
As with the Beatles, C S N & Y are for bass and drums. I ended up singing
running into the inherent problems of a harmony with him.
pop group with too many composers. “4 -f 20 is a song I wanted to keep
The long-playing record simply does not over for my solo album, but the guys in­
afford much opportunity for the indi­ sisted we use it in Deja Vu. It means a
vidual composer in a band with four first- lot to me.”
class writers. A slow and sensitive ballad, 4 + 20
So six weeks ago, Stills left his house rivals Stills’ Suite: “Judy Blue Eyes” in
in Los Angeles’ Laurel Canyon and flew its compassion. The lyrics, as rendered

to England to await the release of the so emotionally by Stills, could raise
keenly anticipated second C S N & Y goosebumps on a piece of stone, as they
album and, as fate would have it, to en­ poignantly tell of an 84-year-old poverty
list the aid of Jimi Hendrix and Ringo stricken man who started and finished
Starr in recording his own LP. with nothing.
Meanwhile, the royalties started to roll “Morning comes the sunrise,
And Pm driven to my bed,

in on the first C S & N album (which
has sold H million' copies) and Stills I see that it is -empty,
went out and bought Ringo’s Surrey And there’s devils in my head;
estate, which the Beatle drummer has I embrace the many-colored beast,
had on the market since August last I grow weary of the torment,
year. Can there be no peace?
*“I always wanted to spend some time And I find myself just wishing,
in England,” Stills said. “Ringo’s house That my life would simply cease.”
is a really good investment. It’s so beau­ “Country Girls is another of Neil’s
tiful. I’m going to spend many quiet songs. You’ll notice that all of Neil’s
summers there.” tracks sound as though they were mixed
The long-awaited C S N & Y album, differently. There’s some good vocal
entitled Deja Vu, will be released in work though, but I would have liked to
Australia soon. Already the LP has have sung better on it. After the first few
sold (in America) in excess of 800,000 verses I get into it, but it takes a while
copies, equal to not one but two gold to get there.
records. In a word, Deja Vu is a master­ “Everybody I Love You came from
piece. It is the second great pop album Neil and me. Neil had the riff and I had
of the ’Seventies (Aretha’s ‘This Girl’s a 7-minute track of another song we’d
In Love With You’ is the other). done at my house. We took bits and
Anything else is rhetoric. pieces and put them all together. But
From London, Stills talked about the it’s the voices which make the track
album, track by track. happen.”
Stills wrote both the opening and clos­
“Carry On was something I wrote in ing song of Deja Vu, and also suggested
the middle of a session. We needed an the idea for the simulated leather cover
opener for the album, so I went back and the costumed photography. He’s
to the motel and wrote a song about how already written the three songs he is
the group was then . . . our session “allowed” on the third CSN&Y album.
scene of 7 p.m. to 7 a.m. We stuck the When I asked him if he thought the
From L to R: NEIL YOUNG, STEVE STILLS, GRAHAM NASH and DAVE CROSBY song on the front of a little jam which second CSN&Y album was better than
our drummer, Dallas Frazier, and I had the first, he said: “It’s not really fair
cut three nights before. It worked out for me to say. That’s up to the public.
OK I think. What do you think?” I said I thought
“Teach Your Children is one of Gra­ I preferred Deja Vu, though I didn’t
ham Nash’s songs. It’s a very nice little know why.
thing with acoustic guitar. We wanted to “I thing the reason is that more of
do something with steel guitar, so we the tracks on Deja Vu were played live
asked Jerry Garcia of the Grateful Dead in the studio. It makes the album jump
to have a go at it. a little more. Everybody was really
“I think it's the best track on the working on it. Deja Vu seems a little
album. Head and shoulders above the soft to me, but I guess that’s alright.
rest. I’m really knocked out by it.” People are digging soft things now.”
“David Crosby .wrote Almost Cut My
Hair the night Bobby Kennedy was The band will start a month-long
killed.*’ (Not long ago, Crosby said: “It North American tour on April 28, and
was the night they got the second Ken­ then Stills will return to England and
nedy and I couldn't go to sleep and I was move into Ringo’s old house.
“Someone once asked Ringo what he’d
mad and a little frightened the same as
everybody else was. I also wrote ‘Long do if he had all the money in the world,”
Stills recalled, “and he said: ‘I’d buy
Time Gone’ for the first album that
night.") three houses, 11 cars and 170 cameras’.
“I think we would have played better “Then the guy asked him what he’s
on the track. I believe we were capable doing with it all, and he answered: “Sell­
of getting a better take. ing two of the houses, all of the cars and
“Helpless, which Neil Young wrote, is all of the cameras.’’
about a small town in North Ontario.
Neil plays rhythm guitar, and I’m play­
ing lead and also piano. It has a nice
8 MAY 1 -JUNE 1

ly III FINNEY act, and history books that record our Rider clearly shows what is involved — Rider in fact does not present its heroes
Most films that we see are not about
our world, in the sense of showing people past triumphs and disasters. not necessarily our physical existence as involved with their society. They not
in situations and facing conflicts which Not only are these films made about but certainly our hopes for a world only ride through America, but appear
we have to deal with. This is not to say our world and for our attention, but they which we want to see come about. to ride above it. We float along with
that we don’t either enjoy them or learn have another significance apart from But this is not to say that Easy Rider them, not on the same level as those
from them. In fact, films have for too their existence as a product for our con­ preaches only to the initiated. Actually, they meet but strangely separate from
long been considered “escapist”. We go sumption. it hesitates to make any direct state­ them. Captain America could never
not to be lulled into a dreamlike state They bring us together — so that the ments, and only verbalises its “message4* succeed in finding his country because
as passive observers with no mind of very act of viewing them, of meeting to­ or position through the character of the he’s not on the same path. He only
our own but in order to gain informa­ gether for the one purpose, becomes an lawyer who explains to Billy the state happens to be living in it. The two
tion and insight into our world that will event, a theatrical show even before we of war as it exists. The film is more trippers pass through the various situa­
aid us in coping with the various con­ enter the theatre. The feeling of co- content to allow the startling visual im­ tions as shadows, causing those they
frontations that we all must face. If mon thoughts and shared ideals give us, ages of Captain America’s and Billy’s come across to react, and allowing us,
this has always been true it seems par­ as an audience, an identity and a power. journy show for themselves the nature the audience to observe this — and
ticularly important now to remind our­ With Easy Rider, we face one task of their particular committment. Al­ then moving on.
selves of this aspect of our involvement that few other films set us. It’s reputa­ though made from the inside, “Easy The effect that they will have on
with cinema. tion and promotion have caused a basic
What we witness and are a part of is a distortion which has determined to a
strange compromise between reality and large extent our expectations. As we see
fantasy. No film ever reveals “the truth”, the film, we become aware of the mod­
but each uses different methods to pre­ esty of its aims and its scope. This is no
sent a particular version of it. Usually large-scale Hollywood epic on the hip­
we do not consider to what extent, and pie kingdom here on earth. The film­
how, a film distorts and disguises real­ makers do not pretend to show us all
ity. We know from long acquaintance aspects of their situations and events.
with the different kinds of films, West­ They neither analyse nor describe but
erns, Dramas, Musicals, etc., that each present a series of images of specific
has its own peculiar myths and tradi­ action and people, which to them, and to
tions. us, seem to reveal what things are about.
But what of those films that show Easy Rider relies heavily on our
our “life style” through its characters awareness of our character and our
and action? Not only do we identify group identity. It leaves a lot unsaid, and
with those we see, as we do in all films, is able to take short cuts in presenting
but we are deeply involved with them its view of the world because we already
because they are placed in a world simi­ know the language and the scene. We
lar to our own. They confront a world share a common jargon, not just verb­
which we recognise, and in a way, the ally or in terms of clothes, gestures or
same as we do, or as we would like to actions, but more importantly in the way
do. which we observe what occurs around us
Both Easy Rider and Alice’s Restaur­ and assimilate it into our experience.
ant deal with the real world which we The distortions and ommissions are deli­
must confront. Maybe we win, or drop­ berate because as people and creators,
out, or settle for an uneasy twilight zone Peter Fonda, Dennis Hopper and Terry
of accommodation. They are both simi­ Southern are committed to a particular
lar to instruction books that touch us vision. They are on one side; on the
about our world, influencing how we will other the enemy. The end of Easy
MAY 1 - JUNE 1


others is within our knowledge already. Arlo and his friends on a journey, we make themselves understood. Alice's Restuarant
We see not new interaction but already are present when they are faced with Like Easy Rider, Alice’s Restaurant
existing reactions reinforced. It is sig­ problems of where to go, what to do— gently flows along, in both films the
nificant that Easy Rider’s director, Den­ problems of choice. music serving not only to set a mood or
nis Hopper, is currently making a film Penn is an outsider looking into a contrast with the action, but also to give
in South America, which concerns the world and its inhabitants which he wants rise to a feeling of the progressive un­
effect of an American Film Company to understand and with whom he would folding of a series of events. Both
coming to a South American country to like to swing, but his past background present their world very matter-of-factly.
make a film. This approach of a film­ and training are always close to the sur­ These are here-and-now characters, al­
maker in not being satisfied in merely face. though Alice’s Restaurant occasionally
recording actions exterior to him but in A common theme in Penn’s films is uses theatrical or melodramatic charac­
fact creating the situation himself by his the interaction of an individual, a couple terisation and perormance-style to pres­
presence is a logical follow-up to Easy or a group with the world in which they ent its much broader view. Because of
Rider which recreated for the screen par­ must exist and the communication be­ this, we feel that Arlo and his friends
ticular parts of actual experience. Its tween members of the group. His are more realistically presented: we see
originality and power comes from the characters are involved in a search for them shrink from their responsibility and
quality and nature of the assumptions self-knowledge and their role in the reject involvement with others and cer­
that it feels confident enough to make world and Alice’s Restaurant once again tainly they involve us more in their life
about our attitude to what it shows. It reveals this preoccupation. than do Captain America and Billy.
neither forces us nor seduces us to be We observe the struggles of Alice and Whereas Easy Rider shows us where the
involved. The beauty of its images and Ray and those who collect around them, battle lines are drawn, Alice’s Restaur­
music guarantees that we ride with it to live a kind of life which tests emo­ ant reveals the still-raging conflict. Each
— very easily. tions and attitudes too firmly established in its own way demeands that we nomi­
and part of them to be ignored or over­ nate what role we are to play in the
Alice’s Restaurant is directed by Ar­ ridden. There is a gradually increas­ struggle.
thur Penn, a film-maker with very dif­ ing tension as we see their area of action
ferent aims and character to those re­ based on free and deliberate choice
sponsible for Easy Rider. Coming from grows more restricted. Arlo is a hero
the American theatre and after experi­ set apart from the world, but also with
ence in television, he filmed The Left- ties to an intricate social group — a
Handed Gun with Paul Newman, the band of outsiders. The members of this
Story of Billy the Kid. Whilst within group are torn between opposing forces;
the Hollywood tradition, he has revealed family obligations and ways of life, bad
a desire to be selective with his material, scenes from the past and indecision
and fortunately the success of Bonnie about the path they should travel in the
and Clyde put him in the position of future. Their responsibility for a friend’s
waiting for a subject to film with which lost struggle with heroin, Ray’s insensi­
he felt a sense of personal involvement. tivity to Alice and her confrontation with
His choice — an expanded account of the position of group centre-piece, give
the adventures of Arlo Guthrie and a rise to violent outbursts when each in­
group of friends centred around Alice’s dividual doubts his identity and place,
Restaurant. causing a denial of group solidarity and
This is a much more complex and common welfare. We share their rea­
ambitious film than Easy Rider in which lisation that, whilst their music and cele­
we saw two characters who had chosen brations bring them together as one, in
their path. Instead of accompanying many other ways they are failing to
10 MAY 1 -JUNE 1

A ntonioni has once again kept him ­ Mark Frechette and Daria Halprin as themselves in ZABRISKIE POINT.
self at a distance from the groups, the
m ovem ents, and set o ff into a w ander­
ing study o f an individual for whom
society does n o t have the answers.

As w ith A ntonioni’s five preceding

films, the background portrays those
m anners, morals and institutions of
society which have the contem porary
atten tio n o f radical politicians,
students and other artists. This time
it is student dem onstrators, the police,
and m anagem ent thinking in big com ­
panies. The students argue revolution
among themselves, m arch around with
placards, take over a campus; the
police arrest, bash and shoot the
students;com pany m anagem ent argues
the cost effectiveness of converting a
rem ote, beautiful landscape into a
plastics-ethic holiday resort.

A ntonioni’s m an is a young drop-out

who disengages from all of it. The
young “revolutionaries” have nothing
for him : they are n o t prepared to die,
so where is the revolution? He has long
since lost the potential for com pany
m anagem ent, because he w histled in
class. He is n o t on drugs. He is no t
even steam ed up about sex. A fter
shooting a policem an (?), he pinches
a light plane and flies off to the
desert. He does a few m ock straffing
runs at a girl in a car, lands, and
drives on w ith her to Zabriskie Point.
Desert idyll. He th en decides to return
the plane, which is daubed w ith incon-
ognaphical decoration and graffiti. On
arrival at the airport he is prom ptly
shot dead by the police.
The girl continues on her way to an
appointm ent w ith her com pany boss.
The b o y ’s death is announced on the
radio. Her boss is holed away in a
great b it o f West Coast architecture on
to p o f a rocky hill, involved in a m ono­
to n e o f in ter com pany negotiations.
She leaves him , and wishes, imagines —
causes a prodigious explosion: house
disintegrates; bits of plastic, cans of
food, and books float in space. She
disappears into the sunset.
Though all the trappings o f a “p ro test”

DISINTEREST’ IN ZABRISKIE POINT flow, which culm inates in a whole

Robert Garlick
film are present, Zabriskie Point is tribal prayer o f “ Let the sunshine in .” sweep at the m om ents which dem and
very m uch A ntonioni being A ntonioni. valley o f love-making couples. T hat som ething extra. It is to be hoped th a t
As w ith any great film director, the
The young m an rejects the protesters the loving is purely physical, and yet Fellini’s m agnificently lewd Satyricon
images are param ount. A ntonioni
as he rejects the establishm ent. the atm osphere chaste, shows the and V isconti’s m onum ental p o rtrait
films the scenes o f violence w ith a
“ R ejects” is perhaps too strong a astonishing touch o f A ntonioni. And o f decadence, The Dam ned, will have
cool objectivity and perhaps even
w ord: disinterest w ould be more th a t finally is the whole p o in t. The an early release.
w ith an air of detachm ent. The
appropriate. He is by no means neg­ dialogue and action are in no way
unthinking bru tality o f th e police
ative, b u t to describe the m an’s pos­ rem arkable, b u t the cam eraw ork is
thus com es across w ithout anger, b u t
itive character can too easily lead to m agnificent.
rather w ith the suggestion th a t they
inaccurate labels. He is looking around, Zabriskie P oint m ay n o t be a m aster­
b u t he is n o t “ searching for him self” . d o n ’t know any b e tte r and th a t this piece (some o f the desert scenes are a
He ju st hopes to find som ething, he is is “ju st the way things are.” b it long), b u t it confirm s again th at
warm and uncom plicated. But if a The garish clu tter o f images in Los A ntonioni is one o f th e m ost com ­
policem an shoots a student is is simply Angeles tells us m ore o f th e young pelling directors in th e history o f
correct to shoot the policem an. m an’s discontent than anything in cinem a.
the dialogue. Y et here to o A ntonioni As a fo o tn o te, it is now fascinating to
He is the same person as th e p h o to ­ remains cool. A part from a brief com pare the fortunes o f th e French
grapher in Blow Up, Lidia in La Notte. Sequence o f zoom shots, he avoids New Wave directors and th e great
The literary tradition, if relevant is grotesquerie and uses elegant, quiet Italian T ripytch, V isconti, Fellini and
Pavese, n o t Marcuse or Sartre. shots o f bits o f plastic, clashing colors A ntonioni. When French directors like
The dialogue does n o t help m uch, b u t and tasteless advertisem ents. T ruffaut and Chabrol first attracted
is simply there as the kind of things atten tio n , m ore th an a decade ago,
people say, w hether they m ean them But when up in the skies or o u t in the
desert the cam era is released and the heralds tru m p eted a new cinem a.
or n o t. When asked why he to o k the The three Italians were seen as deriv­
plane the young m an says “ to get m y roam s free in vast, sweeping pans and
zoom s. As a m eans o f expressing the atives o f existing trad itions. Since
feet o ff the ground.” P retty phoney, th en , T ruffaut and C habrol have be­
and m eant to be, because he did n o t tem porary freedom o f the young m an
the idea is a cliche, b u t survives by the com e less adventurous and at the
have th e kind of answer th a t could be same tim e less interesting.
p u t in to words. superb quality o f the images. Perhaps
A n to n io n i’s own ideas are no t clear it does go on a little to o long; m y The Italians have always been less
cu t. He m ay n o t like the life represent­ only adverse criticism o f the film. adventurous b u t have developed step
ed by the house on the rocks, b u t its by step, relying m ainly o n classical
destruction does n o t represent any The love idyll is a sequence of fairy form s to look at new ideas, new
definite hope on achievem ent: the tale b eauty. Intertw ining bodies subjects. The result has been a series
girl walks into sunset, n o t sunrise . virtually swim in the dust, the soft, o f big b u t highly personal film s, all o f
The situation is the opposite to the undulating images merging in a m usical which have a convincing operatic
MAY 1 - JUNE 1 11

RAVI SHANKAR, India’s internation­
ally acclaim ed m aster of the sitar, will
arrive in Australia on May 21 for a 10
day concert to u r covering three State
capitals . . . M elbourne, Sydney and
Since his last brief visit to Australia in
1965, Ravi Shankar has becom e one of
the m ost sought after and highly paid
stars on the international concert cir­
cuit, com pleting 17 tours of Europe
and 12 o f the U nited States.
At the W oodstock Festival in the U.S.
last August, Ravi Shankar played before
half a m illion people . . . the largest
audience to assembe anyw here to
listen to music.
Described as the ‘link-m an’ betw een
the tw o worlds o f classical and popular
music, Shankar draws his huge following
from b o th worlds, even though the
music he plays stems directly from the
Indian classical tradition. In addition to
finding this broad-based audience he
has, o f course, influenced musicians
from all areas o f music: Yehudi Menuhin,
Beatles, Brubeck, C oltrane, Bud Shank,
Yusef L ateef et al. Perhaps the greatest
stimulus for Indian music came from
Beatle George Harrison.

RAVI SHANKAR was bo m in Benares

in 1920, the youngest of four sons in
an o rth o d o x Hindu Brahmin family.
At the age o f nine he travelled to
Europe as a m em ber of the famous
com pany o f dancers and musicians
organised by his bro ther, Uday Shankar.
The troupe m ade Paris its headquarters
for several seasons and toured extens­
ively th ro u g h o u t Europe and the U.S.
During this period Ravi had the o p p o rt­
unity o f hearing and seeing the W est’s
great musical m asters, orchestras,
opera and ballet com panies. This
experience left him w ith a respect for
and understanding o f Western perform ­
ing arts.
He was well on his way to international in the U.S. best selling charts. Yehudi
fame as a dancer when at the age of 17 M enuhin has joined w ith Ravi Shankar
he decided to becom e a m usician and in m aking tw o album s for E.M.I. Of these
em barked on years of rigorous training West Meets East becam e No. 1 Classical
in sitar as a disciple of India’s greatest Album in m any countries in 1968/69
living m usician, Allaudin Khan. He began and received the Am erican N ational
his career anew in the earlyforties. In Academ y of R ecording Arts and
1949 he joined All India Radio where Sciences Award for 1968. (Records
he successfully founded, com posed for for E.M.I. and World Pacific Liberty
and conducted the National Orchestra. Records). Shankar even m ade Bill­
b o ard ’s Record A rtist o f the Year 1968!
He resigned as A IR ’s D irector of Music
in 1957 . . . after returning from a tour Last year Jo n a th a n Cape published
which included his first solo appear­ Shankar’s autobiography, My Music,
ances in the U.S. My Iif e, w ith an in tro d u ctio n by
Since 1957 Shankar has been constant­ Yehudi M enuhin.
ly engaged in touring, com posing, record­ Accom panying Ravi Shankar on this with ALLA R A K H A -ta b la
ing etc. In 1958 he was invited to the tour will be tabla player ALLA RAKHA, “ This music is at the heart of sensuality . . . in the
UNESCO Music Festival in Paris and whose m agnificent drum m ing com m ands hands o f Masters like Shankar . . ." VILLAGE VOICE,
appeared in the same concert as Yehudi the highest respect in the music centres Greenwich Village.
M enuhin and David Oistrakh.
The films for which he has w ritten ANNOUNCING . . . AUSTRALIAN TOUR 1970
music (including the famous Satyajit
Ray trilogy, Pather Panchali, Aparajito MELBOURNE: Dallas Brooks Hall. MAY 23, 28.
and The World of Apu) have won the Pref. Booking: MSD
highest international awards, and in SYDNEY: Town Hall. MAY 24, 31.
1968 he w rote the music for the Pref. Booking: M itchell's
H ollyw ood film, Charly.
Shankar is one of the m ost prolific ADELAIDE: Apollo Stadium. MAY 26.
of contem porary recording artists Pref. Booking: Allan's
and his album s have frequently been
ngn MAY 1 - JUNE 1 12

WHEN YOU FEEL a little low be­ that made you lift your head and close in; ‘Proud Mary’ did it first, a beautiful, scientifically.” It’s what Creedence does
cause the beloved Lovin’ Spoonful has your eyes. sweeping song with a chorus you could with the music that matters. So it is that
gone, the Byrds have become tired and Like the Spoonful’s John Sebastian, pick up after you’d heard it once. Dylan you can listen to ‘Tombstone Shadow’,
predictable and rock in general seems Creedence Clearwater Revival’s John (naming the song as the best thing he’d which employs the most common form
lifeless and decaying, go out and borrow Fogerty grew up listening to radio. John heard last year) called it ‘Rolling On The in blues, without being conscious of hav­
somebody’s copy of Willy and the Poor Sebastian’s first major song, ‘Good Time River’. This is .forgivable, as it’s the ing heard it all before. With John Fog­
Boys. Music,’ told the story pretty incisively: chorus that first becomes apparent erty’s guitar tearing down the breaks so
For while the Spoonful filled a great “I’ve been listenin’ to my radio for through the static on car radios (that’s he can get on with the words, and his
gap in the fabric of the new American two or three years, how I heard it first) or over a cheap set voice cutting and soaring, the roots of
music, it left a space just as large with And the music they’re playin’ is so in the living-room, with a lot of other the song’s structure seem irrelevant— it’s
its passing. The number of groups pro­ darned bad people in the room not listening at all. just great rock music.
ducing music as distinctively American That it’s offendin’ to my ears.” But the verses hold the substance of this The old forms that the band uses in
as this can still be counted on the fingers Confronted by the mulch of the top song, as well as the key to Creedence’s its songs are familiar as a part of its
of one hand. Still, there are some bands forty and all the crass indifference sur­ whole style. Concise, condensed and music, not as scattered elements thrown
contributing to what promised to be the rounding it, John Fogerty decided that honestly moving, they contain some of in to cover a basic lack of originality.
Great American Rock Revival, though it was better to change radio than to the finest things John Fogerty has written. Creedence’s bayou music is a hybrid, not
more than likely they’re not names you’ll ignore it. He thinks in terms of singles, of It’s his song, his joyous escape from the a parody or, worse still, a “faithful
find yourself hearing on radio: the self-contained songs, and because of his hassle of the city to the peace of green representation-.
Youngbloods, Mad River, the Dillards, river. With a rich musical heritage open to it,
Dillard and Clark, Neil Young and, of “Left a good job in the city, Creedence Clearwater has been able,
course, the Band. “A single means y o u ’ve over a period, to mine those elements it
Workin’ for The Man ev’ry night
got to get it across in a very and day, could incorporate into its music. Much
few m inutes. You d o n ’t And I never lost one minute of has been made of the fact that the band
“When I first started singing have tw enty m inutes on each steepin’, has been together for so many years; its
I really co u ld n’t im itate side of an LP . All it really Worryin’ ’bout the way things might recent success and its long-time obscur­
anyone, because I d id n ’t means is y o u ’ve got to think have been.” ity can be accounted for by the fact that
sound like anyone. The first a little harder about w hat Like its sister songs ‘Lodi’ and ‘Green it didn’t always sound like this. It’s
song I really sang a lot with y o u ’re doing. We learned River,’ ‘Proud Mary’ is personal, reflec­ obvious how far Creedence has come,
tive and unashamedly sentimental. It is even since the first L.P. ‘Proud Mary’
the band was ‘Hully-Gully’. from the singles m arket not is a long and unfaltering step away from
It happened to be in the to p u t a bunch o f padding on a song born out of John Fogerty’s expe­
riences, good and bad: ‘Suzie Q.’
right range for me and it your album . Each song’s got The image of the road is, I suppose,
sounded allright ... It was to go som eplace. “Cleaned a lot of plates in Memphis, as old as that of woman in the blues.
physically impossible for Pumped a lot of pain down in New Like Jamie Robertson, John Fogerty is
me to sound like a lot of “ Singles is w hat I dug when Orleans, more concerned with the country than
people I dug.” I was little, therefore I have But I never saw the good side of with woman, and his songs tell of the
to change now . I ’ve grow n up, the city, road, and the places it leads him to or
I d o n ’t like top-40 ... which Until I hitched a ride on a river take him from. ‘Lodi’ is really the second
So far Creedence is the only band get­ is dum b. Why n o t change boat queen. part of a cycle: ‘Proud Mary’ is optimis­
ting the air-play deserved equally by all top-40?” Big wheel keep on turnin’, tic and adventurous, but ‘Lodi’ is dis­
these others. And because of this, it Proud Mary keep on burnin’, illusioned and despairing:
seems, Creedence has suffered more un­ Rollin’, rollin’, rollin’ on the river.” “Just about a year ago I set out on
just criticism than most progressive rock ability to pare and refine his songs, what The guitar break that punctuates the the road,
bands. After all, they’re selling millions remains when they’re finished is only song after this verse underlines Johii Seekin’ my fame and fortune, look­
of records and taking up hours of radio what’s needed, no more, no less. It’s not Fogerty’s intent strongly. It’s flowing in’ for a pot of gold.
time each day: they must have sold out! hard to see why this is acceptable to the and lyrical and at the same time tight Things got bad, and things got
Well, it’s commercial, then. But it’s radio stations. There’s nothing in it to and spare, based upon striking chord worse, I guess you know the tune.
also the finest rock music in America, offend the average announcer— and God changes and John Fogerty’s superb sense Oh! Lord, stuck in Lodi again.”
simple and honest and charged with the knows, they’re all average! Nonetheless, of timing. And it’s significant to note It says a lot for John Fogerty’s ability
electricity that the Spoonful put into what has really got Creedence on to the that the chords are simply G, D and Em; to write this sort of song that he achieves
‘Do You Believe In Magic,’ ‘Six wires is the sheer attractiveness of the as the bass player, Stu Cook, said, it’s all in three verses what took Dylan several
O’Clock,’ and every other thing they did music. It stretches out and draws you been done before— there’s “nothing new in ‘Memphis Blues Again’. Dylan had
13 MAY 1 - JUNE 1

'*<- m-{* ; ' < v ^SflgbiI

to use the side-show, the tea-preacher Old Cody Junior took me over, much wrong with that!) and a lot like as technically brilliant as a Mike Clarke,
and the senator, to get his alienation Said, ‘You’re gonna find the world himself. If his playing can sound facile he is able to shift emphasis deftly behind
across, and he didn’t do so, finally, with is smould’rin’, or basic, it’s because he has refined his the guitars. While Stu Cook is hardly
anything like the pointedness and imme­ If you get lost come on home to style to such an extent that he just does a great bass player— he is the most ordin­
diacy of ‘Lodi’. Perhaps times weren’t Green River’.” not need the superfluous notes with ary of the band’s members— these two
so hard in Mobile. ‘Green River’, which also relates back which too many guitarists carry their are, as a rhythm section, supremely
Loss of communication is one of John to ‘Born On The Bayou’, leads to songs solos. He builds his songs (and, usually, suited to what John Fogerty is trying to
Fogerty’s most important themes. In like ‘Commotion’ (“Rushin’ to the tread- his solos) on riffs, and he generates more do. One more thing: the rest of the
‘Lodi’ he puts it in a personal context: m ill/rushin’ to get home”). There’s no power— as distinct from volume— than group can sing, in key and ‘with feeling’.
“The man from the magazine said I doubt that John Fogerty’s songs, while any of his contemporaries. His most On ‘Proud Mary’ they were a little rau­
was on my way. separate and self-contained, are forming complex and most exciting playing to cous, but it sounded fine— their attack
Somewhere I lost connections, ran an impressive and distinctly unified body date can be found in ‘Effigy,’ where he was unusual for a rock band. Lately
out of songs to play.” of work. From album to album it just layers sound to achieve an ascending they’re softer (‘Cotton Fields’), but their
But his first ‘political’ song gives it sin­ unfolds, with no hint (yet) of anything crescendo, a brilliant piece of climactic attack is just as sharp.
ister, far-reaching overtones: so trite as a ‘formula’. and always rigidly controlled playing. This band has been together now for
“Got myself arrested, wound me up The name Creedence Clearwater He is, as well, an exceptional mouth-harp however many years, and has put out
in jail. Revival implies truth, purity and depth player, as ‘Graveyard Train’ bears out; four albums in the last couple of years,
Richmond ’bout to blow up, com- —the ‘revival’ refers to the musical back­ even this is produced note-for-note on each a progression from the last. This
ground the band is reviving and carrying stage. is a considerable achievement in itself,
on. The commentary the band is pro­ but the broader achievement of Creed­
ducing about America and American life ence Clearwater Revival is that it has
has all of these elements; lyrically and succeeded in getting the root cause of
musically they are honest before all else. America’s divisiveness on to the indiffer­
John Fogerty’s songs are based on ent plastic surface of these records. This
truth; after the success of the first few is really John Fogerty’s achievement; his
singles, he said that he didn’t want all hand has written the untouched beauty
the money the band was suddenly earn­ and crowded pain of America into these
ing, as he feared that his new-found songs. He is rooted in the bayou, but he
wealth and fame would take him too far is literate and articulate. He's worldly,
from the roots of his music. If you’re and quite capable of irony, as ‘Fortunate
rich, how can you sing about being poor? Son’ shows. In this song, America’s for­
Take a look at the cover of Willy and the tunate sons are shown to be blindly
Poor Boys— Creedence’s fourth album— patriotic and the wealth-crazed rich. The
if you think he didn’t mean it. No, they last verse is a brilliant combination of
don’t play those instruments too often, both:
but that’s the way they dress. If you “Some folks inherit star-spangled
wanted to be cynical, I suppose you eyes,
could say that they can afford to dress Ooh, they send you down to war.
like that . . . And when you ask them, ‘How
much should we give?’
“We’re all so ethnic now , with They only answer, ‘More! more!
our long hair and shit. But, more!’
when it com es to doing the It ain’t me, it ain’t me; I ain’t no
real crap th at civilization military son.
needs to keep it going ... It ain’t me; it ain’t me; I ain’t no
w h o ’s going to be the fortunate one.”
John Fogerty’s vision of the city, and
garbage collector? N one of his vision of the greed and the clutching
us will. Most o f us will say, duplicity of its inhabitants, bears a not­
‘T h a t’s beneath m e, I ain ’t able resemblance to the writing of Nath­
munications fail.” gonna do th at jo b .” “No, basically we play in aniel West. As Nathaniel West did, he
This song, ‘Wrote A Song For Every­ the studio as we do in sees the insanity of urban pressure as
one’, pointed John Fogerty’s lyrics in The members of the band have been person — except, o f course, the corrupting force in American society.
a different direction, though it appeared criticised as musicians, while in fact they I d o n ‘t do the singing at the Like West, he is cynical and finally at a
at the same time as ‘Green River,’ the have consistently maintained a level of loss to understand why men allow them­
third and (apparently) final part of the same tim e as we do the
musicianship and taste in their playing m usic.” selves to be corrupted. John Fogerty’s
‘Proud Mary’ cycle. ‘Green River’ is which few bands could equal. On stage most confusing song, ‘Effigy’, ends with
the definitive bayou song, a sentimental they attempt to do nothing more than the question, “Why?” repeated. He gives
It has been said that John Fogerty is the refuge of the country, most naturally
journey back to the Bayou Country the play the music as it’s been written; they
Creedence Clearwater Revival, and it’s the bayou since it’s the most untouched,
band’s second album was named after. make no effort to impress their audiences
probably true, but the contribution of the to those who are open enough to litsen
The song, driven along by a compelling, with indefinitely prolonged ‘jams’, as
seems to be the vogue. The other band band’s other three members must be to him:
pulsing lead guitar, is more dramatic viewed in perspective.
than either ‘Proud Mary’ or ‘Lodi’ — who do this (and who have been criti­ “If you come down to the river,
ironically, because its lyrics are not as cised for it, of course) are Jamie Robert­ Tom Fogerty’s rhythm guitar is often Bet you gonna find the people who
sardonic, except for a second-last line son, Levon Heim, Richard Manuel, Rick obscured by the weight of the vocal and live.
which becomes ominous when one Danko and Garth Hudson; nobody's the lead guitar, blit his refinement of You don’t have to worry ’cause you
thinks of songs like the later ‘Effigy’: going to accuse them of being incom­ style can be compared with that of hh have no money,
“Up at Cody’s camp I spent my petent musicians. brother. His rhythmic patterns have People on the river are happy to
days John Fogerty is a fine guitarist— on subtly shaped a great deal of Creedence’s give.”
With flat car riders and cross-tie ‘Side O’ The Road’ he sounds a little material. Doug Clifford is a very fine
walkers. like Barry Melton (there can’t be too drummer; he is subtle, and without being C O N T IN U E D O V E R L E A F
14 • I MAY 1 -JUNE 1

Jody said, ‘It’s mine, but you can effigy is burning, but the flames spread

(g r ^ r ^ r ^ i i > T ^ p g r ^ have it for seventeen million’.”

Humorous as it is, ‘It Came Out Of
The Sky’ has to be taken a little more
uncontrollably, incessantly:
“Last night I saw the fire spreadin*
to the countryside;
seriously when you get around to think­ In the morning, few were left to
m m rn m m m by
ing about the realities of the system it
satirises. This is the most directly poli­
watch the ashes die.”
Like each previous record, this album
tical song John Fogerty has done, and it’s shows where Creedence is going as well
ROBSMYTH unlikely to be the last. It is apparent, as where it’s been. There’s much less on
though, that Creedence’s music is under­ it that immediately calls up images of the
verse reads like an up-dated version of going change in more respects than sim­ bayou country, but it’s no less traditional.
‘Wrote A Song For Everyone^ appears The ‘Poor Boy Shuffle’, played with the
to be the point at which John Fogerty the Dillards’ ‘The Biggest Whatever’: ply that of its growing political awareness.
“It came out of the sky, landed just instruments Willy and the Poor Boys are
decided to try to move people to action carrying on the cover, is as old as the
through his music. This is an incredible a little south of Moline; “I ’m n o t the sort o f person
Jody fell out of the tractor, couldn’t who can discipline m yself to oldest jug-band music. As well, there’s
song; it seems to have been wrenched the best version I’ve heard of Huddie
from his conscience, and its influence on believe what he’d seen. w rite so m uch each day and
He lay on the ground and shook, Ledbetter’s ‘Cotton Fields’.
his subsequent writing is evident. The i t ’s no good pushing m yself Creedence is a serious band, and John
last verse explains his own torment: a-fearin’ for his life, if I ’m uninspired. When things
Then he ran all the way to town Fogerty has a lot of things to say, but
“Saw the people standing thousand are going right som ething there is another way of listening to all of
years in chains; screamin’,
‘It came out of the sky’!” clicks in m y brain and I recog­ their music. It’s the way you might listen
Somebody said it’s different now, nise it n o w .”
It’s difficult not to laugh as Jody is to it if you hear it on radio. You don’t
but look, it’s just the same.
Pharoahs spin the message, round rapidly corrupted by the System. And if have to hear the words of ‘Proud Mary’
ever there was proof of John Fogerty’s or ‘Lodi’ to know that something fine
and round the truth; Willy and the Poor Boys is generally is going on in the music. There’s a phy­
Tliey could have saved a million genius for condensation (Bruce Miroff
called it “a fine sense of economy”), it a little quieter than Green River; the sical side to it that makes it attainable
people— how can I tell you? latter included three of the band’s more
Wrote a song for everyone, wrote a could be found in his outlining of the in this way; you can be touched by the
system, at breakneck speed, over just two evil songs, ‘Bad Moon Rising’, ‘Sinister music. This, I suspect, is where Creed­
song for truth; Purpose’ and the raging ‘Tombstone
Wrote a song for everyone, when I verses. ence Clearwater Revival’s commercial
He manages to fit in the White House, Shadow’, with death a few feet away, appeal lies. It doesn’t seem that they’ve
couldn’t even talk to you.” grasping:
and its agents Spiro and Ronnie the sold out, or necessarily that their audience
Popular (Reagan), the Vatican, the scien­ “Tombstone shadow, stretchin’ is missing the point. It means simply
“ Right now I ’m where I’ve
tists, Hollywood and the mass media. 'across my path; that the band’s music is so immediately
w anted to be since I was Every time I get some good news,
Jody emerges a little less wide-eyed from memorable that it grows into you as you
seven years old, but w e’ve there’s a shadow on my back.’* listen. Of course, it doesn’t affect every­
the last verse (the first is repeated at the
still ju st scratched the sur­ end, an inspired move by John Fogerty The fourth album contains only one in this way, but obviously a lot of
face. There is so m uch to remind us of where Jody came from): ‘Effigy’ as a warning that death stands people have been moved. And once you
untapped sound and so “The newspapers came and made around the next bend, an obsession of know the music, you won’t lose the feel
m any songs waiting to be Jody a national hero, John Fogerty’s from the time of ‘Walk of it by listening to the lyrics. There are
w ritten .” Walter and David said they’d put on the Water’ on the first album. ‘Feelin’ not many rock bands around who have
him on a network TV show; Blue’ is melancholic, though gently so, this magic, so I hope this one stays to­
Willy and the Poor Boys contains, as The White House said, put the thing and it is more resigned than ‘Effigy’, gether for a long time and keeps on
well as ‘Fortunate Son’, the rocking ‘It in the pool room; which writhes beneath the inevitability of giving us records that say and mean as
Came Out Of The Sky’, neatly con­ Vatican said, no, it belongs in destruction, crying out, “Who is burn­ much as the first four.
structed and bitterly funny. The first ______ Rome;___________ ing?” in fear. We are not told whose — ROB SMYTH.
MAY 1 - JUNE 1 15

ing pot.
REV: Do you really think that’s what
they want to do?

(W E N C T S C L U E S WENDY: Yeah. They’re really dy­

ing to do it all, but they can’t ‘cos
they’ve got this guilt thing. You know
they can’t or otherwise, you know,
“Bad girl. Bad, bad girl. Bad boy.”
REV: Can music help?
Australia’s undisputed Queen of Soul — but she’s so WENDY: Yeah, I have done that.
WENDY:Musicians can, by singing
hung-up with the audiences she’s had she hardly sings REV: If ninety percent of audiences songs that mean — do what you want
to do. And by saying so, letting people
more than once a week. are bad, and you accept any jobs at all,
and you’re not trying to communicate
know that they do.
In a characteristically honest interview Wendy anymore, what satisfacton is there?
REV: How did you get into singing?
WENDY: Through the ‘Love-In’ in
Saddington discusses her singing, past, present and WENDY: Well, being me, I haven’t Carlton. I made up my mind about a
future, with REVOLUTION Editor Phillip Frazer. sung for about a month so there’s just month before, I think I saw Inez
satisfaction in singing at all. For a little Amaya on TV and thought, “Yeah, I
while it works. want to be a singer.” But I’ve always,
REV: But if you agree with Nina as long as I can remember, got what I
Simone that an artist should reflect the wanted. You know, at school I’d say
society, how do you reconcile that with “I want to be the captain of that team”,
the fact that you’re not getting through. so I’d be the captain of that team.
Is this because you don’t know what’s REV: Why? Because you hussled?
going on around you or because the WENDY: No I didn’t hussle.
audience is incapable of any sort of REV: People must have wanted you
artistic appreciation? to be captain?
WENDY: A lot are incapable, but WENDY: Yeah.
when you get into a group you can start REV: So how come you sing the
to communicate. blues if you always got what you
REV: What sort of music would you wanted?
sing in a group? WENDY: No, no, now comes the
WENDY: I don’t know until I get difference. When you’ve got what you
into a group again. Entirely different want you don’t want it any more. I
from what I’ve been doing before, but threw away singing when I went to
because of my voice it would probably work at GO-SET, but now I want it
be categorised as ‘soul’, but not the soul again, because it’s something strong in
standards that’ve been done before. I’d me I think, more so than anything else.
like an entirely different band, all the REV: Did you get what you wanted
bands I’ve had I’ve never been on the at home?
same wavelength musically. I know in­ WENDY: Yeah. Spoilt brat. I was
side me what I want to do, but I don’t the only child.
know how to say it, to them. REV: You still live at home?
REV: If you’re singing soul or blues WENDY: Yes.
you’ve got to sing songs that are Ameri­ REV: In what you write you always
can don’t you? refer to your parents very respectfully.
WENDY: No, no, I always have but It seems strange that you rebel in every
if I got another band up I’d like to write way other than the conventional thing
my own stuff. of rebelling against your parents.
REV: Of the songs you do already WENDY: Why should I rebel against
are there any in particular that mean them, they haven’t rebelled against me.
more to you than any other? I look up to them and they i<Toa up tO
WENDY: There’s one, “Nobody me. I respect what they do and they
Knows You”, but that’s blues in C! respect what I do. I had a very happy
REV: How can that communicate with childhood. When I was at school I
an Australian, white, middleclass audi­ didn’t want to leave, but then the last
ence? An audience that hasn’t been down year I’d stay away a lot and didn’t
and out. study. I never studied when I was at
WENDY: It’ll communicate because they school, couldn’t be bothered. Then I
like my voice, and maybe because they said to my mother, “I want to leave
pity me. Because I’m drunk. I enjoy school, I hate school.” The usual thing,
myself better drunk. 1 sing with more but I didn’t really. My mother said
feeling when I’m drunk, I don’t sing “It’s up to you, make up your mind.”
better. It might have been a silly thing to say,
REV: It sounds pretty dishonest that anyway I thought allright I’ll leave
you have to work yourself into a blues- school but when I actually left I hated
mood. the thought of leaving. I got a job in
WENDY:You don’t have to work on some office and I hated that. Before
it, you’re already in a bad mood as I even started working I used to cry
soon as you hit the disco. You meet every night ‘cos I’d left school, because
the promoter at the door and he says school was the sort of security thing I
to you “You’re drunk again Wendy?”, suppose.
and he talks down to you. REV: What did you like about
REV: Well why the hell do you do school?
it at all? WENDY: I liked it because it was
what you want. How much satisfaction WENDY: I don’t know. Something the thing you do when you’re that age.
REV: What do you sing for Wendy? gets hold of you, it’s something you can
WENDY: Satisfaction. Artistic satis­ can you get singing in Australia? It was just a conventional way of think­
WENDY: Not much. I really don’t do well and you’re gonna do it. ing at that stage. I guess I had guilt
faction. REV: Well why did you take a job
REV: What about money? know what it’d be like overseas either. I feelings, but I don’t regret it, I don’t
get satisfaction just from singing, if I with GO-SET? want to know anything school could
WENDY: Oh well, you need money WENDY: Because I was sick of all
to live. But since I’ve just been singing know I’m singing well. have taught me.
REV:How do you know if you’re sing­ that, and GO-SET was where I could REV: What do you want to know,
solo, that’s just money. That’s all I dress how I wanted to and come and
want out of that. You haven’t got any­ ing well? what do you want to do?
WENDY: You hear yourself. go when I wanted to. WENDY: I don’t really have any
thing worked out that you’re going to REV: What did writing make you
do with the band, you just settle for REV:Are you conscious of the audi­ ambitions, I, think it all gets back to
ence? feel? the one thing, whether you’re happy or
anything you can do in five minutes or WENDY: Nothing. It was the same
whatever your rehearsal time is. WENDY: Yeah. You feel good vibra­ not. No matter how much money
tions and bad vibrations. Not by any as if I was typing up minutes or some­ you’ve got or how powerful you are, or
REV: Isn’t improvisation something thing. But there was the thing that I
particularly satisfying? sounds, I’ve done jobs where I know the how famous you are, you’re still only
people hate my guts but at the end felt I was helping a few groups that as happy as you are. You don’t get
WENDY: Not when you do the same deserved it, like the Chain.
thing over and over again, you can only they’ve clapped. It’s not my singing they that through money.
hate it’s me, I don’t know why. They REV: Is there any use building up REV: You were popular at school—
say “Play a blues in C”, and a blues in groups like yourself and the Chain
C is played exactly the same just about think I’m a freak. but you say people dislike you now.
REV: What percentage of audience when audiences are so unappreciative? WENDY: 1 think a lot of them don’t
every time. WENDY: I can’t help but feel that
REV:What hassles have you had with would you call bad? understand me but that’s possibly my
WENDY: Ninety percent. Because in some ways I underestimated audien­ fault, you know I don’t give them a
groups in the past? ces. When you’re there up front you
WENDY: Just personal things. Every­ they can’t appreciate what musicians are chance, I’m very aggressive.
trying to do here, not just me. They take feel half of them are wacks. But it’s REV: Do you care?
one else in a group seems to be satisfied, more the promoters who hold back
just going along with it all, it’s just that too much notice of publicity in the press WENDY: I care because it’s not only
and on TV — they’ve been brainwashed groups like the Chain. me they don’t like, they don’t like a
I can’t take what a lot of people can take.
Promoters dictating what you have to do, into not appreciating our music. REV: What should the promoters do? lot of other things that I like. They’re
when you have to do it. REV: But if you’re in a disco with a WENDY: They should pay more only interested in money and stuff.
REV; Are you talking about getting group you’ve got everyone’s attention money, they can afford it. The clubs in REV: But you care about money.
to a gig on time and doing a half hour because you’ve got the noise going, isn’t Sydney especially, they charge $1.25 WENDY: No they horde money and
spot, or^about being told what to sing? it possible you can get through to them for a huge bunch of R and R guys, and say “Oh well I’ve only got $1000 in
WENDY: Oh they try to tell you what what you’re doing? then you know the booking agency the bank what am I gonna do?”
to sing. They say “Look, you’re not com­ WENDY: Oh yeah, you do, but it’s tells you you’re getting $50 for this You know, I’ve got no money in the
mercial enough and this is why you’re still only a small percentage. spot and really the promoter’s paying bank. I want money to live just to have
not getting as much money’’. It’s mostly REV: Isn't it a vicious circle though. them $100. YVhen I was with groups a good time. Other people tend to
money, they’ve got it all you. Because ninety percent of your audience you’d get up in the morning and not idolise money.
REV: Coming back to the question is ‘bad', you get shitted off so you don’t have enough money to eat breakfast. REV: For a lot of people aren’t they
what you’re singing for, if you’re singing try? REV: What do you personally think just interested in getting enough to live
for satisfaction then you have to WENDY: I don't try to communicate about this society — Australia? — your life with a group will be defined
make certain compromises. You say anymore, but you’re still trying for your­ WENDY: It stinks. Especially for by how to get enough money won’t it?
you need to sing with a group so self, to sing well. young people, it restricts young people WENDY: Yes but if my life were
you can rehearse, and then you have REV: Would you accept any job at from doing the things they like doing built around money, I wouldn’t think
to take any jobs you can get rather than all. so long as it pays? most, which is sex and maybe smok­ about going back into a group. |

v j i iimjiwipi/v w w

18 MAY 1 -JUNE 1

'M 3 0

‘Ummagumma’- the PINK FLOYD

PINK F LO Y D are, or were, a Psychedelic group. known again.

formance approaches are different. On record, they could

That was early in their careers, though. make their words audible - on stage, the words were drowned
Psychedelia is a meaningless term. No-one ever really knew
They began as being 'psychedelics'. America had taken the in that 'sonic torture.' The approach was different, and Pink
what it was all about, but it seemed once to have had some
scene away from England again with it's West Coast sound, Floyd needed to work it out.
significance. Psychedelia, the word, was used as an attempt
labelled psychedelic. Not to be outdone, the English music They were worried that their stage performances were not
to catalogue a music style that seemed to warrant something
press looked around for something of their own that they all that they could be.
more than the run-of-the-mill "'pop music" label. Anything
could call psychedelic too. They were being booked into venues totally un-suited to
weird or experimental, all you did was color it psychedelic.
Explained Melody Maker at the time: their creations, and everything was made even more imposs­
I don't know who invented the word, but I'm sure that it "It's no longer any good to say: 'Well mate, we can play ible when they were sandwiched between groups doing 'In
was some organised brain who just KNEW that everything Wilson Pickett, James Brown and all that gear,' to anybody The Midnight Hour.'
could be wrapped up for storage in neat pidgeon-holes. contemplating booking a band. One has to explain whether "Maybe it's our fault because we're trying to hard. A fter all,
Anyway, the advertisers, always halfway between what's one is likely to set fire to the auditorium, or batter the aud­ the human voice can't compete with Fender Telecasters and
happening and the general public, liked the word. Grabbing iences senses with flame, light and fiendish noises. double drum kits. We're a very young group, not in age, but
it with one greedy (yet trendy) hand, they stuffed it in their "Once it is proven these capabilities are available, and in in experience. We're trying to solve problems that haven't
then moustache-less mouths, and began to chew on 'pysch- vast quantities, the road is open to success." existed before. Perhaps we should stop trying to do our sing­
edelia.' A nice word - another word to mess. Now they've les on stage. Even the Beatles, when they worked live, sound­
Simple, huh?
given us 'colorful Psychedelic prints', 'Psychedelic' light- ed like their records. But the sort of records we make today
shows', 'Psychedelic' all sorts of things. Elsewhere, they'd made a magic list of America's new trend- are impossible to reproduce on stage, so there is no point
The word that meant nothing about music, now meant noth­ ers; a list in fact that included any and every new chart group trying."
ing about a whole lot of other things. in America, including Count Five, Love and The Monkees. This problem was still more evident with the release of their
However, the mass media men were on the look-out for new That's how little psychedelic meant. first, very successful album.
pidgeon-holes. Psychedelia was only the first phase of their Anyway, the English looked around for anything that might "Trying to solve problems that haven't existed before" sounds
attempt to leech off the gradually evolving musical styles. suggest a taste of this elusive musical quality. A t the time, pretentious, doesn't it? Do they really imagine that they're
two English groups were creating havoc - The Move and Pink into a scene all by themselves? Actually, it's not imagination.
What was happening was that albums were selling by word Floyd. It's fact. There is no group in England, the US, or anywhere,
of mouth, rather than through the leeching media. They The Move were ideal. They were being outrageous in their that comes in sight of Pink Floyd's domain.
were underground items (with a very small 'u') - underground stage performances with smoke bombs, H-bombs, banjars, A lot of US groups were using light shows, but with Pink
just in that they were'nt spread over every page of the music riots and rebellions coming together in the chopping-up of Floyd there was a difference. In the US, the organisation
papers, underground in that they were secret, underground stages, wrecking cars, and assaulting television sets, some­ running the show provided the lights. In England, Pink Floyd
in that only a very few (compared to the millions following times providing a violent beat for strippers. Hell, that's got had to do it themselves. And though light shows went out of
the psychedelic fashion) were aware of their existence. to be psychedelic, don't it? fashion as an acid-rock (hello, another name) gimmick, it is
Underground meant nothing about the music except that it The other group they found was Pink Floyd; Pink Floyd, still a part of Pink Floyd because of the meaning it has w ith­
wasn't well known, it defined no style, it covered all those who seemed to be doing the same thing musically with their in Pink Floyd's music.
things that were happening that because of their diversity weird electronic-electric (say, that's another one - electron- 'Arnold Layne' and 'See Emerly Play' were like the material
couldn't be labelled. electric) music, heightened by the use of a light show con­ on the first album. 'Arnold Layne' was about a guy who
But alas, our P.R. friends, now slightly more hairy, discov­ sisting of slides. A light show and weird music. That's just liked to dress up in drag in front of a mirror.
ered the 'underground'. What had been a small 'u' adjective got to be psychedelic.
rapidly became a big 'U ' noun; what had been an unpreten­ Originally, Pink Floyd had been an R&B type group, and That material, and the first "The Piper A t The Gates O f
tious word aptly describing a hidden sub-culture became a first got themselves involved in electronic experimentation Dawn" album, (released 2% years late in Australia), were the
pretentious noun, pretending to be the name of a brand new when they did the music for a College O f A rt Light -Sound beginnings of their eerie, often frightening, futuristic sound.
exciting wave of musical things. session. This got them interested in the relationship between In these, vocals form an intricate patchwork with the instru­
So the advertisers had won again, the underground was born light and sound, and they continued small experiments after­ mentation. The numbers are very complex, with recorded
and we were stuck with it. But not content with that, the wards, never making quite enough money to get far beyond effects dodging in and out of what seems to be an ordinary
now Zappa-moustachioed (or had they followed Lennon in­ the footlight-flashing stage. rock line-up; lead, bass, organ, drums, but which gives each
to skinheadness) inhibitants of the glass and concrete pillars When Melody Maker went out looking for psychedelia that part a brand new dimension, certainly not the sort of num­
wanted a new label, a new compartment. January '67, Pink Floyd were still semi-pro. bers you could rattle o ff effortlessly, one after the other,
three times a night.
What better than progressive (with a rapidly growing 'P'), The lighting was important. It is a part of the 'completeness'
another completely meaningless word. The only hope in all they desired for their music, "a fusion of light, color and The second album, "Saucerful Of Secrets", (1968), is already
these definitions forced on us, is that they are becoming less music" consisting of projected images and weird luminous closer to solving their problem.
and less restrictive. One day, perhaps, we'll just have music, effects. Though there's really nothing like it, the first album sounds
not qualified in any direction, except, for the admen it will "The lighting man literally has to be one of the group. a little dated today, which shouldn't happen if the group was
have a big 'M '. "When we were in our early stages, we didn't play a lot of really into their own. They were feeling their way then, and
our 'intersteller' music and the slides were still rather amat­ a lot that other people have done since has corresponded
Because Pink Floyd's music defies all the accepted pop labels,
eurish. However this has developed now. Really, we have with this album, though it is still utterly Pink Floyd from
it has been their burden to have to pu up with all these tags,
only just started to scrape the surface of effects and ideas of start to finish.
psychedelic (of course, they're using lights), underground
(only cultist weirdo's dig them), and now progressive (they lights and music combined; we think that the music and the As part of their drive to solve their conflict, Pink Floyd add­
lights are part of the same scene, one enhances the other." ed another guitarist before that second album, an American,
David Gilmore. But also before that album, their lyricist and
It's strange that the more a group like Pink Floyd defy def­ That was in 1967, when they had their greatest problem to lead guitarist Syd Barrett left. Just recently, Syd has re-
inition, the more labels are held up to them to see how they overcome. emerged with a Pink Floydish album of his own, "The Mad­
measure up. They've also had 'interstellar', 'overground' (be­ cap Laughs", produced by Gilmore and Roger Waters, bassist
Melody Maker had said: "Are the Pink Floyd being quite
cause they sell a lot of records), and 'science fiction' music with the Floyd. Syd leaving might have made a difference.
honest when they make coy and attractive records like 'See
applied to what they do. After all, he wrote eight of the eleven tracks on the first al­
Emerly Play', then proceed to make the night hideous with
"We would like to think that we're part of the creative half bum. But the group were too deep into it now to let that set
a thunderous, incomprehensible, screaming sonic torture
in that we write our own material and don't just record them back. The very fact that they were able to carry on
that five American doctors agree could permanently damage
other people's material, or copy American demo discs". shows how involved they all are, and that it was not just the
the senses?"
And another part of being different is that nobody takes The confusion that they had to work out was the correlation product of one dominant member.
you seriously; that is, amongst the people who know (dj's, between their recorded material and the on-stage onslaught. Anyway, the second album was very much braver than the
record executives, and even the 'hip' audiences). Three years It wasn't that they'd compromised to get English hits with first. Their space-age patterns, ghostly in their complexity &
ago. Pink Floyd were given six months before they'd be un­ 'Arnold Layne' and 'See Emerly Play.' Recording and per­
•I MAY 1 - JUNE 1 19

freedom, are all the more adventurous now. Ideas are devel­
oped and built on much more. The long title track, "Saucer
Full O f Secrets" is like an astral march through space, objects
flying past by way of sharp flashes of guitar that instantly
shoot back behind you. There really is no other music like it
for onvolvement. You can be shocked, frightened, or very
often get a religious buzz.
Still beset by the difference between their onstage and on-
record performances, they decided to concentrate on form ­
ing a separate stage routine, still their own compositions of
course, but concentrating on special material and themes
from their recorded stuff which would lend to this approach
using prerecorded tapes and their electronic 'gadgetry'.
"Ummagumma', their latest double album, is the result of
this effort. The first two sides are Pink Floyd in concert,
showing how now they can perform these rippling sound patt­
erns. Thus you'll find the opening "Astonomy Domine" from
the first album also opening the first live side. You can hear
how they have developed the composition for stage presen­
tation, how they have bent it to make the vocals audible,
and what two years of development have done to the 'song'.

You can't call them songs, not strictly. Pink Floyd have come
as close as anybody to making electronic music a reality.
People like Cage, Stockhausen, Kagel, Berio and so on, have
for years been experimenting in Musique Concrete, the new
music. But in actuallity these works, clever as they may be,
have never really gone beyond the experimental stage.
That is to say, you don't listen, to their pieces fo r the
emotion the music brings, or for enjoyment. Rather, you
would go alongfar an academic appreciation of these men's
achievements, and every now and again you'd shout "Bravo"
at some particularly clever bit.
Electronic Music or Musique Concrete needs humanisation,
which Pink Floyd achieve. Pink Floyd's music is a synthesis
of this new approach to music (which is a result of new
technical innovations), and man's love of rhythm. Electron­
ic music lacks that rhythm, such a very human need. Pink
Floyd are able to add that element to electronic music, by
the very virtue of the fact that four humans are having to
become as one in order to produce it.
The fact that they are balancing electronics with man-played
instruments also helps to make what Pink Floyd do so much
more acceptable than the coldness of Electronic Music.
A fter all, they are a Rock group. They use drums, guitars,
piano, organ and things; instruments which are familiar to
us, even though they are most often used in combinations
and with techniques we've never heard before, and probably
w on't hear from anyone but Pink Floyd.

The album also contains two live numbers from the second
album, "Saucerful O f Secrets", is heard again in a new glory,
and another space odyssey "Set The Controls For The Heart
O f The Sun", is a much more hopeful trip; a lot more
gentle, being warmed by the closeness and fury o f the sun.

The only other live number remaining on "Ummagumma's

first tw o sides is'Gireful W ith That Axe, Eugene", a stage
A ll the tim e Pink Floyd had been looking fo r another way am plifier connected to the speakers." But in the meantim e there is "Um m agum m a" to contend
o f applying their music. W ith fam e it became more and W hat happens is th at the fo ur speakers are set up at w ith . The studio album is their most inventive ye t, w ith four
more obvious how inadequate most o f the music-houses various points in a hall and linked to a number o f boxes am bitious pieces from each o f the group members, displaying
were. The more experim entation they incorporated, the having a lever which operates something like a pilo t's jo y ­ both a diversity and a u nity in what's being done. Each has
more the need fo r a new environm ent became cirtical. stick. The fo u r members o f the group have a box beside divided his contribution into a number o f parts.
them on stage; w ith a roadie sometimes em ploying a Richard W right (organ, keyboards and vocals), a form er arch­
A t the tim e th eir stage-record problem had first become fifth . itecture student, contributes a wierd segment o f near orches­
serious Roger W ater had said: By pointing the "jo y -stick " in the direction o f one o f the tral works under the title "Sysyphus."
"W e can't go on doing clubs and ballrooms. We w ant a speakers the group's music w ill be directed to th a t corner;
w hile by w orking the lever in a circular m otion the sound Roger Waters (bass.guitar and vocals), form er architecture
brand new environm ent, and we've h it on the idea o f using
w ill spin around the hall from speaker to speaker. The rate student also, provides a tw o piece vocal w ork, one telling a
a big to p . W e ll have a huge ten t and go around like a
o f rotating the stick also has its effects and is used by the story in lyric, the other a collage o f strange sounds produced
travelling circus. W e'll have a huge screen 120 feet wide
group only on certain dram atic numbers. by the voice but distorted into wierdness by playing w ith the
and 4 0 feet high inside and project film s and slides.
tapes. His tw o works are connected w ith sounds o f bird cries
"W e'll play in the big cities, or anywhere and become an Sim ply, it is a 3 6 0 degree sound system. and flu tterin g o f wings. The first part is an extension o f the
occasion, just like a circus. It 'll be a beautiful scene. It "W hat's inside the box is a secret." IVIore' style.
could even be the salvation o f the circus. One o f the next projects is to play w ith an orchestra, On the fo urth side it is, strangely enough, David G ilm our,
placing them around the hall w ith the speakers. There
the Pink Floyd who entered after the first album , who pro­
"The thing is, I d o n 't th in k we can go on doing w hat we have already been prelim inary discussions w ith the Royal
vides the more typical Floyd gear, w hile N ick Mason enters
are doing now . If we do, w e'll all be on the dole." Philharm onic, who 'are keen' and they've also been in
into a pow erful chapter, introduced and ended w ith flu te ,
touch w ith the Boston Philharm onic.
b ut in which machine-gun drumming fights a titan ic battle
Finances squashed th at idea. But in the m eantim e the group has found a new direction
w ith electronic rumblings.
Something they H A V E been able to incorporate into to apply themselves • film soundtracks. Their th ird album
was the soundtrack from a film called "M o re", the music "Um m agum m a" says a lo t about Pink Floyd, the live sides as
their stage w ork is a machine they call the A zim uth Co-
showed was a quite d iffe ren t Pink Floyd because o f the an adventurous (progressive because they progress) rock
O rdinator.
shortness o f the numbers. Instead o f the interlacing o f group, the other album displaying their inventiveness and
ideas, these have had to be separated, giving th eir w ork here just how unique they are. No-one comes w ithin th eir sphere.
'T h e Machine takes an electronic signal either from a
a com pletely d iffe ren t aura, and suffering a little as a result. They seem to do it all themselves. And, Christ, they haven't
tape, guitars or vocal mikes. We've got fo ur units, but
resorted to the Moog ye t. Nor brass.
fo r exam ple, you can put three signals into one u n it and They have sim ilar film ventures in hand fo r the fu tu re, inc­
select any one w ith a switch. There is a joystick on the box luding the music fo r a Y ellow Submarine-ish cartoon series
and fo u r outputs, each going to a 100 w att line-source called 'R o llo '.
20 • ) MAY 1 - JUNE 1

u cently returned
from his American
tour with Jack
Bruce and Friends
and also brought
the eagerly awai­
ted news of his
latest venture with
American drum­
mer Tony W il­
Since his excellent
“ Songs For A
Tailor ” album which
was his first work to
be brought out since
the demise of Cream,
Jack has continued
to m ake people sit
up and listen in jazz
and pop on both
sides of the A tlan­
tic. Last week he
spoke enthusiastic­
ally about his re­
cording with W il­
liams, a drum m er
who becam e one of
the m ost highly re­
spected young m usic­
ians in America and
is well rem em bered
for his five years
w ith Miles Davis
whom he joined
when only seven­
Jack: " E ver since I
heard Tony’s *Em er­
gency ’ album, I
thought th a t’s the
band I’d like to play
with. Tony is like a
prophet of rhythm
w ho has been sent to
earth to change
everything and I
really believe him
and w hat he’s doing.
It was a trem endou'
honour to be asked
to appear on the
album. now that the American 4We went down
tour was over.
44Physically it wasn’t tiring
wel l
at all,” he announced, the San Fran­
44and I can’t wait to start cisco Fillmore,
playing again. There’s so
many things I want to do.
It seems to be my
trouble, I’ve so many
The last time I
things going at one time. played there was with played the best drum solo we’re writing and I really
I’d planned to go to the Cream in 1967 but things I’ve ever heard in my hope to get round to
island last week but my have changed so much. life. recording some of it.
wife, the baby and I took Three years ago they I was very pleased with
ill so we had to stay in 44I’d always wanted to the songs on 4Songs For
London.” were very open-minded work with Mike, Mitch
but now it’s just turned and Larry and as I’d A Tailor.’
I wondered precisely into the place to go.
what Jack got up to when never played for a year, I 44In America there have
been a couple of cover
he flew to the western 44At our two British dates I thought I’d try and get
versions of songs from
isles: was very pleased with them together.
the music but I was not “ Mitch has his own plans the album. Fats Domino
“ It’s an ideal place to work pleased with the critical was going to put out,
WILLIAMS but I’m a bit limited at for what he’s going to do 44Never Tell Your Mother
five years with Miles reception. They seemed in the future, Mike Man-
the moment because I more interested in the She's Out Of Tune.”
haven’t got time to get del is back at the Berklee
clothes we were wearing School of Music in Boston The conversation had now
“ One night we had just any instruments up there. than in the music. The swung a full circle and
For instance I could work and Larry is back working
finished a set and some­ critics should really think in Los Angeles. We’ll get Jack found himself again
one came up and said, with a guitar and piano where they’re a t They singing the praises of
4Hello, I’m Tony Wil­ and tape-recorder so that together again, though,
seem to be so far behind and take everyone by Tony Williams during
liams, would you like to I could get something the audiences. which he confirmed the
play on my album.’ I’m down quickly. It’s impor­ surprise.”
tant that you do record 441 think the British rumours that he would be
not playing on the whole I asked Jack if he had appearing with Lifetime
record and 1 haven’t heard as soon as possible be­ audiences expected lots heard anything of his
cause ideas get lost too of Cream numbers, in at Jazz Expo in the
it all yet, but what I former partners, Eric and Spring.
easily.” fact we did three Cream Ginger.
have heard has been songs out of a total of 441 don’t think people quite
really tremendous. I think During Jack’s absence in 44No, I haven’t heard much,
America with his Friends eighteen. Anyway the grasped what he was
altogether we recorded three we did do were from either of them,” doing on the Emergen­
enough material for the rumours that Cream Jack answered. 441
were to reform for the mine in the first place. cy * album because he’s
about four LP’s. It’s true, though, the thought Blind Faith were so far ahead of everyone
Isle of Wight Festival really great but they
“ I feel it’s done me a gradually gained momen­ audiences didn’t know else but it needs someone
tremendous amount of tum. what to expect really. I failed to a certain extent like Tony to put it over.
good playing with Tony. enjoyed the Lyceum, it because the audiences I'd realty like to see him
Everything with him and was a nice audience. expected another Cream. get a lot more accept­
the rest of the group just But, at the Fillmore in I suppose whatever Eric, ance.”
comes down to playing Were we ever to hear Ginger and myself do will At this juncture the pre­
Cream again? San Francisco there were be compared with Cream.
music.” Of Lifetime Eric Mercury, Mountain carious suggestion that
organist Larry Young, and Johnny Winter on It's very difficult really Jack put out a single was
Jack in full praise says, "Well for a start I've never before us and by that because people have got forwarded.
“ TheTe’s no one playing been asked if I would like time the people were their minds made up
organ like him ” and his about us. “ I’m not really interested
appreciation of guitarist to appear." he replied in beyond being able to in putting out a single,”
bored tones. "I haven't listen. I believe we got “ I’m sure if Blind Faith Jack said coolly. I mean
John McLaughlin similar­ good reviews, though.” had been another group
ly knows no bounds. thought about it at all and look at Lee Marvin, that’s
with different line-up where singles are a t Of
Obviously the question of I don't want to think After the bands' first two they would have been course I wouldn't mind a
forming a permanent about it. I'm too involved appearances at Lanches- very successful.” hit single but again I've
lineup does not figure in ter Arts Festival and the
in other things," which Lyceum great things Returning once more to his got many things going
Jack’s plans for a the just now.”
immediate future. curtly closed that partic­ were forecast for the own affairs Jack respond
“ I worked on an album ular talking point and at quartet once they had ed enthusiastically to my Keeping his tremendous
with Carla Bley which is been together a bit question of the Jack popularity in America in
the same time laid poor longer. Some predicted Bruce / Pete Brown mind, would Jack ever
intended to be an opera. odds for a return of Cream. consider giving up
Charlie Bladen is also something along the same partnership, the fruits of
involved and I sing and lines as Cream but to the which were reaped Britain and moving per­
pla;^ bass guitar and ever adventurous Scot it largely by Cream and manently to the land of
Following Jack Bruce and was an experiment with latterly the recognition Stars and Stripes?
Friends’ not entirely en­ musicians he greatly ad­ they achieved on 44Songs Jack: 441 don’t think so
Since the breakup of couraging receptions at mired and wanted to For A Tailor.”
Cream, Jack has had his the bands first two Brit­ because I couldn’t live in
finger in many pies, all of ish dates, Jack seems work with. Says Jack: 44Before I went the States except maybe
which have enhanced his more than pleased about 4The music got very good to die States I was in San Francisco. It has
reputation as a musician the way things had after a while in Ame­ supposed to record some got a lot better though.
and typically he doesn’t worked out for them on rica,” said Jack. Laity of Peters material but They don’t seafl f e mirfd
figure on leasing up. I the other side and Mike were incredible there wasn’t time. There’s so much about things like
asked him how he felt of the Atlantic. and on one gig Mitch such a unity about what long hair nowadays.”
•I MAY 1 - JUNE 1 21

MAGIC in music. Is it a big hype
or is there something in the anci­
“We get the audience involved in our
act and with all those minds, there’s so
ent art which a number of groups much power that something could mate­
rialise and Mr. Saunders has advised us
are utilising both on stage and what to do if Lady Astaroth did material­
on record? ise. Apparently she could possess the
Black Widow are a Leicester- girl who portrays her on stage.
based band formed last summer “I don’t really think there’s anything
from the remnants of five Mid­ to fear, but Mr. Saunders is making us
a talisman to offer us protection. We’ve
lands groups. They developed been a little bit worried recently, as there
their individual interest in witch­ have been one or two things that have
craft into a group stage act that been a little bit unusual.
involves sacrificial and demon “There are little things like all the
raising scenes. windows in the flat being open, and we
found two of the three bolts holding the
Fact or fiction, is there an element of steering box in the van were snapped
the unknown in what many think, not and yet the van is checked every month
surprisingly, is just another pop group with all the travelling we do, and they’re
gimmick? Clive Box, drummer with so robust. Can you imagine travelling
Black Widow, gave his views: hundreds of miles on the motorway with
“Personally, I’ve been interested in only one bolt holding the steering box?
witchcraft for about three years. When ‘On another occasion I was travelling
we started as Black Widow we were with my girl friend on a road I use two
looking around for a stage act, and I or three times a week near my home
suggested that witchcraft would be a and we went round a right-hand bend
basis of a tremendous act, which is what and the steering wheel suddenly locked
we have perfected today. and I ended up in the ditch. I called
“The act includes a seduction conjura­ the AA and asked them to check the
tion and sacrificial ceremony. Every­ steering and they could find nothing
thing is authentic, and we attempt to wrong. We’ve had a lot of threats to
raise Lady Astaroth, who is played by the office and it’s a little bit worrying.”
a young girl. Lady Astaroth is not a Musically the group — Zoot Taylor
demon, she’s a goddess with a lot of (organ), Clive Box (drums), Jim Gan­
demons under her control. non (Guitar), Kip Trevor (vocals), Geoff
“When we started doing this we had Griffiths (bass) and Clive Jones (sax and
quite a few phone calls from witches | flute) — listen to a lot of people and in­
who were against what we were doing, i corporate different feels into what they
There are two classes of witches — here- ; play, which is basically the work of Jim
ditary and gardenarian. It is the garde- | Gannon.
narian witches who have telephoned us j “The seduction scene is based on the
because they believe that the ceremonies j bossa nova, for instance, the conjuration
should not be held in public, as they feel scene is very happy, and the seduction is
you are giving away secrets. really a rock number,” continued Box.
“Since then we have had help from I Devils, demons, evil spirits and witch­
Alex Saunders, the leading authority in craft apart, it is on music that Black
Europe on witchcraft, and he has helped Widow have to be judged. It needs a lot
us. He is a hereditary witch, and was of “magic” to convince the cynical pub­
worried in case something did happen in lic . . . .

—continued from page 5.

to question him. He crept from a side “You’re a disgrace to the Jews, runt! The jury returned: all seven not guilty that the defendants had started the riot,
door when it was over. Magoo called You would have served Hitler better!” of crossing state lines with some kind came out with this statement (on the
him “a most friendly witness”. While the jury deliberated (what of intent. These were Davis, Dellinger, pig stampede at the Hilton):
could they have made of it?) Magoo Hayden, Hoffman and Rubin.
Imagine, if you can, the effect of this “For eighteen minutes the police mov­
handed out his contempt sentences: The maximum sentence is five years ed in and got even for what they had
upon the defendants and their lawyers; and a fine of $10,000. Magoo, inex­
not just of this stifled testimony, but of Lee Weiner: 2 months and 18 days been taking from the demonstrators for
(seven counts of contempt); plicably benevolent, gave each of them three days. After that the police felt
the whole case, and what was becoming five years in prison and a fine of $5000.
of it. The utter stupidity of the court, John Froines. 6 months and 15 days great. They were smiling and waving
All this is hard to believe; it’s im­ and you could see that it was a great
its unabashed prejudice towards the (ten counts);
Abbie Hoffman: 8 months (23 possible to understand. The five are psychological thing for them.” He con­
prosecution, must have been soul- already serving their sentences (and the
destroying for the men whose lives it counts); tinued by saying that “we’ve lost our
rest are doing their time for contempt). kids to the freaking fag revolution”. If
was playing with so casually. Ramsey Jerry Rubin: 13 months and 23 days
American justice, American society as only it were true.
Clark could not be called to the stand ( 15 counts); a whole, has been condemned once and
because the judge and the prosecution Tom Hayden: 14 months and 14 days Jerry Rubin said to Magoo: “You
for all time by the events of the trial radicalized more young people than we
didn’t want to see him there. He was (11 counts);
of the Chicago Eight. The same could did. You're America’s top Yippie.”
relevant; he was essential. Clark was Leonard Weinglass: 20 months and 5
days (14 counts); happen here — perhaps it will, sooner But Abbie Hoffman again has it bet­
apparantly as shocked and angry as than any of us realize. Think of the
Kunstler was. Kunstler's fury, his utter Rennie Davis: 2 years. 1 month and ter: “I began the trial feeling as though
people rotting in gaol while Magoo basks I were Alice in Wonderland. But now
frustration at Magoo’s tactics, eventually 18 days ( 23 counts );
Dave Dellinger: 2 years, 5 months and (probably) in the Florida sun, sweat I feel like Alice in 1984 . . . ”
landed him with a very severe contempt pouring from his shrivelled body.
sentence as well. Judge Julius Hoffman 16 days (32 counts ) ; — ROB S MY T H
committed one legal and moral atrocity and William Kunstler: 4 years and 13 One footnote ought to help to put it Primary sources of information were:
after another. Abbie Hoffman cried out, days (24 counts). in perspective; at least, it might show Rolling Stone No. 55; April 2, 1970.
at one point where Magoo had done all Kunstler’s was the longest prison sen­ which side the truth is on. United Seed vol. 4, No. 13.
he could to degrate both the defendants tence for contempt of court in American State Attorney Thomas Foran, having The New York Review of Books vol.
and the court: history spent five months arguing before the jury 14; No. 3; February 12, 1970.
ROCK (let’s always call it that) hails
many a good guitarist. In fact, there is
people were,” says B.B. “Every Wed­
nesday night they would have sing-ins
. . . ” Like so many other blues singers
by Ed Nimmervoll
The main difference was his musical
marriage of the Blues and the guitar
Like B. B. King, and so many others,
such a wealth of them you begin to won­ Freddie gained his early vocal training
der whether they’re actually that good, or this is where he gained his first singing styles of two jazzmen, in particular the from church choirs. And like B.B. again,
whether you’ve been tricked into thinking experience, but though it must have legendary Django Reinhardt. Reinhardt he combines showmanship with blues
so. Of course, they ARE good, but there played a great part in his upbringing, has been hailed as possibly the greatest feeling, a jazz beat and a natural drama,
do seem to be a hell of a lot of good there is no real evidence of the gospel of guitarists, noted for his phenomenal and he is one of the men whose blues
ones. ! ! influence in his recordings. imagination and technique. Why was the reflects the tensions and drive of the big
Consider Mike Bloomfield, Eric Clap­ Rather, it was the country blues of Belgian gypsy’s technique so remarkable? city life.
ton, Harry Vestine, Mick Taylor, Jeff elder cousin, Booker T. Washington He could use only two fingers on the left Freddie was born in Gilmer, Texas, on
Beck, Alvin Lee, Johnny Winter, Gary White, better known as Bukka White, hand after a fire left that hand partly September 30, 1934. He says that all
Duncan, Jimmy Page, Peter Green. and his contemporaries which held his paralysed. They say he produced his family was musically inclined. He
Looking at their devotion to the blues attention. But he never took up the miracles. took up the guitar at' seven ‘or so’, teach­
style, a list of their influences will again country blues. The other influential jazz guitarist in ing himself, with a little help from an
reveal B. B. King. It wasn’t as if the pre-war blues meant B.B.’s style is Charlie Christian, at his uncle. He moulded his guitar playing
Who is B. B. King? And who are nothing to him. Though it wasn’t made peak with Benny Goodman, then in the out of the same T-Bone Walker style
those other two Kings, whose names also easy for him, the young B.B. absorbed early forties with Thelonious Monk and as B.B., but also cites B.B. himself as
creep in— Albert and Freddie? as much as he could. His was a highly Kenny Clarke. “In four short years until one of his greatest influences.
B. B. KING religious upbringing, and gospel music he died in 1942, he made a greater im­ Freddie says he was about 15 before
B. B. (born Riley B. King) indis­ was Good, music of God — Blue was pact on guitar players than anyone else,” he could really play. Soon after that, in
putably must reign as the most influential Evil, music of women, loneliness, liquor. to quote an article on him. 1950, when he finished high school, the
blues man since the war years, having This then, was B.B.’s formation, which whole family moved to Chicago, where
influenced not just those rock guitarists, probably came together properly in the he encountered a lot of blues, Muddy
but most of the subsequent R. & B. play­ next stage of his career. Waters’ band with Little Walter in par­
ers— Buddy Guy and Freddie and Albert B.B. hadn’t yet been playing the blues ticular. He lived next door to the club
King. One of the few clear exceptions himself. Not at first. That happened where Muddy was playing. It was here
would be Chuck Berry. when he was in the army, and after a he joined his first band.
Twenty years of recording have, seen year he moved to Memphis, Tennessee, In 1956, Freddie made his first re­
as many albums from B.B., and close on and started singing and playing profes­ cording under his own name — he had
500 singles. sionally. It must have been hard at first, already done some session work, but
Those twenty post-war years are the because to earn extra money he did a then didn’t record again until 1960,
important factor, outside of the man’s ten-minute spot for a patent medicine “though I’d asked Leonard Chess and he
talent itself. After the war the old-style, firm on WDIA, the Negro radio station wouldn’t listen.” But Federal Records
simple blues went out of favor with in Memphis. Soon he was doing a daily listened and produced four vocals and
negro record buyers. There was need deejay program as well as a series which one instrumental number, “Hideaway”
for modification, and Riley B. was the lasted three years, a period that taught (you’ll find it on the Eric Clapton-Mayall
one to feel it, the one who was on the him much about blues styles and fash­ album), followed by a succession of other
spot at the right time and had the per­ B.B.King - " . . . hard at first" ions. Here all his influences must have guitar items.
sistence to find out what was needed. come together. The difference between Freddie and
Louder, brighter, more sophisticated Despite his upbringing, B.B. listened to At this time he was known as the B.B. is one of degrees and also technique.
music was demanded and many newer Bukka White, to Robert Lockwood Jr., Beale Street Blues Boy, and it’s from Freddie uses a steel pick on his first fin­
blues styles drew heavily on jazz and Sonny Boy Williamson No. 2, Elmore Blues Boy that he draws his B.B. initials. ger and a plastic one on his thumb. “It’s
gospel sources. James, Lonnie Johnson, and T-Bone In late ’49, B.B. began recording. He just the way I always play. At first I
A brief glance at B.B.’s history reveals Walker. had a major hit with “Three O’Clock used to play with my fingers, but when
just how suited he was, how he managed He was listening to this, his Blues Blues” in 1950. Subsequent releases I got to Chicago I changed.” He was
to look to just the right influences to heritage, but at that stage he wasn’t yet included “Every Day I Have The Blues” taught to use the two picks.
develop the style called for. playing. It is strange considering this, (of which he is reported to have sold “Elmore (James)— I used to go and
King was bom on a farm near Indian- and the fact of his blood relationship to about four million) and “Rock Me listen to him when I was about 18. Later
ola, Mississippi, on September 16, 1925. Bukka White, that B.B. knows little or Baby.” There was a lean period, but he I played a lot of gigs with him at the
His mother taught him gospel music nothing about bottleneck playing. It captured some reflected glory from the Zanzibar (that club at which he had en­
before he was six years old. “She was wasn’t that he was listening to technique, successes of his modern Rock admirers. countered the Muddy Waters Band)”.
very interested in church. All of her he was listening to the effect, to the Today he has a single hit in America. “It was after that I worked with Mem-
ma**<*-*■*•* jr mm* •*»

t) MAY 1 - JUNE 1 23

phis (Slim), a bit later on. I was in his

group on guitar for just a short while.
It wasn’t long before his band broke up.
I think Memphis could really sing blues,
and I reckon he was about the first to
use bass guitar regularly.”
“Then did you know how I recorded
with Howlin’ Wolf? . . . I played lead on
“Spoonful’ and ‘Howlin’ For My Darlin’.
That Wolf, he puts on a heek of a
All degrees of relationship have been
attributed to the various Kings at differ­
ent times. Freddie explains that Albert
is in the same family as B.B., and he is
not, though he adds somewhat obscurely:
“We go as cousins, but really we’re not.
We’re soul brothers, that’s all. But he
plays Gibson Stereo guitar, and I play
the same thing.”
Albert plays a Gibson “Flying V”, a
guitar he calls Lucy. B. B. calls his
Lucille. Lucy has been with Albert 12
years, the first of the peculiar triangle
shape made in the factory. He’d had it
specially made.
His own style is more in the true gut-
bucket style, relying mainly on complex,
yet economical, solos. His influnce? “No-
One in particular, except one. T-Bone
Walker” — Again.
A number of other coincidences occur
in the case of B. B. and Albert, apart
from their name, the similarity of their
guitars’ names, their similarity vocally
and the musical comparisons — the part
played by "band in each case. They were
born in the same Delta cotton land area,
Albert on April 25, 1923 (or ’24).
Describing him, one scribe has said,
“Three things about Albert King stand
out; he plays the guitar with his left hand;
he’s one of the few remaining bluesmen Albert King — " I do everything wrong" Inset: Freddie King - "Chess wouldn't listen."
with the gut-bucket sound; and he car­ day, and it wasn’t until he was 33 that “I’m glad if anyone can get anything ing a profitable revival, Freddie and
ries 245 pounds on a 6-foot 4-inch he turned professional and decided to from me because I picked up something Albert are doing good shows, for good
frame.” “go all the way with the blues”. from different ones who came before me. money.
He became interested in blues when He had arrived in Chicago in the That’s how tradition carries on.” How do they regard the new guitarists?
he was 18, but there was no-one to early Fifties, content to get on a few ses­ The young guitarists have learnt from Melody Maker said of B. B.: “When he
teach him, so, in his own words, he does sions, and it wasn’t until ’53 that he re­ Albert, Freddie and Blue Boy and they speaks of Eric Clapton his face and
“everything wrong”. He still plays with corded under his own name, but nothing have also paid them back for the les­ voice sort of glow with respect . . . .
the strings upside down, playing them happened. He moved back to Arkansas sons. Without their dedication to their And for Peter Green and others in Fleet-
with his left hand. As you listen to him and it wasn’t until ’59 before he made music and its founders these three fine wood Mac, his admiration is hardly less
you’ll pick up the effect this has — his his next recordings. In ’66 he signed musicians would be lost in the abyss marked . . . These ‘real fine guitar play­
sound dominated by the lower range. with Stax, a mutually successful pact which has swallowed so many greats ers’, says King (B.B.), make him quite
For a long time he left his playing for which has produced at least one blues (Bo Diddley). Because of the modern nervous when he hears them.”
weekends, driving a bulldozer during the standard, “Born Under A Bad Sign”. guitarists mention of him, B. B. is see-

my baby, and I hoped everybody would and they sounded really fine. The lead
suss it out and realise that was where guitarist was with me in the Band of Joy,
I want to go. But I never even heard it and I’m really longing for them to do
mentioned . . . I was very disappointed well.
about that.” “Terry Reid, too — he's fantastic.
Now he’s planning the third, one When I started with Zeppelin I was
which which will probably contain more really nervous, and I didn’t have it too
of the West Coast type of music that he together, but after a couple of weeks
loves so much. with him I realised what I should do.
“We haven’t prepared much material I went to hear him at Mothers in Birm­
yet, but we have got a few things down, ingham some time ago, and we sang to­
‘And It’s All Acoustic Folks’! You can gether on the stage. Man, that was fan­
just see it, can’t you: ‘Led Zeppelin Go tastic . . . after only half an hour I was
Soft on Their Fans’ or some crap like really whacked out.
that. “Wow, can you imagine it — Roden,
“No, seriously, Jimmy and I are go­ Reid and Plant? That would be fantas­
ing to rent a little cottage near the River tic. Maybe that’s the sort of way it’s go­
Dovey in Wales where we can lock our­ ing to go, because I really want to work
selves away for a few weeks just to see with people like that."
what we can come up with when there’^ Unlike a lot of other people, Robert
no one else around. The next album will is a very enthusiastic listener, and will
probably come out of that.” go out of his way to hear people whose
Led Zeppelin came up so fast that work he admires.
you couldn’t see them for the smoke, and • “Crosby, Stills, Nash and Young —
phenomena like that often don’t last too well, 1 spent all that concert wiping the
long. Robert obviously had his eyes set tears off my face. Every time Neil
on playing his own kind of music, but Young did something it was just all too
does he visualise playing it with Zeppe­ much for me. It’s very simple, but it
lin? pleases my ear a lot* more than some
INTERVIEW BY RICHARD WILLIAMS “For a start, I don't think we'll go people who can play five million notes a
into a decline. We’ve made people aware second. It’s real music.
ONE OF these days, Robert album was really excellent." of us, and what we’ve got' to do now is “Arthur Lee, too, is incredible, and
Does that mean that Robert is ill at to consolidate the position we’ve arrived when you hear bands like Love, or the
Plant is going to surprise a lot of ease when he's put on stage with the at, so that eventually we'll be able to say Youngbloods on stage at somewhere like
people — mainly those who see Zeppelin, raving away on something like what we really want to say, and people the Fillmore in SanFrancisco then you
him simply as the screammy “Whole Lotta Love"? will listen to it because it’s us. begin to realise where they're at, and
purveyor of ersatz eroticism to “Oh no . . . that's something I need, “That's why we're working so hard that the ‘vibration’ thing from the audi­
mindless teenybonners. that I have to have. It's like bottling it now, and I dig it because we can get ence isn’t just something that’s talked
all up, and when 1 go on stage I can let through to a lot of people. And I enjoy about at the Speakeasy.
In fact although Robert genui­ it all out. It's really very good for me. the raving bit, like on ‘Whole Lotta “When 1 heard the Youngbloods, I
nely enjoys working with Led “Jimmy’s path and my path seem to Love’ I really enjoy watching their faces realised that they were doing it just how
Zeppelin, and wouldn’t at this criss-cross, they meet at certain points when I start it” (imitates facial contor­ I’d always wanted to do it. Maureen and
moment want to play regularly along the way, and that's where we meet tions of young females when confronted I stood there smiling all the way through
with anyone else, his musical and play together. by Plant Rampant) “and sometimes I their set — we simply couldn’t stop smil­
“We're really into very different sing the most ridiculous words to it. ing. So beautiful.”
brain is altogether in a different things, and John Paul and Bonzo are “Then I look at their faces again to By this time we’d reached Heathrow
area. too." In fact 1 suppose if we all sat dowm see if they've sussed it out, and if they Airport, where Robert was catching a
Ask him what he really digs and names and talked about music, John Paul and haven't . . . then I laugh all the more. flight to Vancouver to begin their new
like Arthur Lee, Poco, the Youngbloods, Bonzo and I simplv wouldn't agree at “One band I hope really makes it is American tour.
and — especially — Neil Young pour all.'’ Bronco, because I've known Jess Roden “I have to get there a day early,” he
forth. The last time I saw Robert, back in for a long time. When we were about 15 explained, “because the long jet journey
“The only heavy band I really dig is the autumn, he was plotting and planning we were in competing groups, he was in always ruins my voice for a while.”
the Zeppelin," he says. “Apart from that the second album, which eventually top­ the Shakedown Sound and I was in the But all the dashing around isn’t for
I dig the mellower things — for instance ped the charts verv emphatically here Crawlin' King Snakes. I'm not kidding, nothing. It’s to get Robert Plant to the
I’d love to see Trader Horne make it. and in the States. That record contained his band could have blown the Who ten kind of position where he can reveal
cause they're doing beautiful things (and one track. ‘Ramble On’, which was a miles off stage . . . to say nothing of Led what he really wants to do, and when
Judy Dyble's very pretty), and also clue to Robert's real personal direction, Zeppelin. that happens I’m sure we’re in for some
people like the Fairport Convention. but it was neglected. -“I went down to hear them rehearsing. more good music. g
Even that Matthews Southern Comfort “Yeah . . . ‘Ramble On'. That was
24 MAY 1 - JUNE 1

Over all this McGuinn’s guitar hovers mind being taken over by machinery and ligent drummers are so rare. And here’s
like some great bird. The construction I was simply enjoying the picture. Tim­ a really heavy one into the bargain. I’ve
The Byrds of his multi-tracked solo on ‘Change Is othy Leary, God, all these things were never seen anybody hit the skins as hard
The Notorious Byrd Brothers Now’ still overshadows all subsequent being gassed on, yet the Moody Blues as he does, gritting his tssth with the
U.S. Columbia CS 9575 attempts at the same thing (and those in­ had cast around them all a speli of ex­ effort. He’s really economical with that
clude things like Mandel’s ‘Before Six’ treme optimism. Their optimism was force and lays down some harsh grounds
and Clapton’s ‘World of Pain’). The lyri­ just gliding over these things. with the pulsing bass.
cal escapism of the record creates a There was a basic confusion there. Barry’s coarse vocals match this power
subtle ambivalence. The music is tight, It wasn’t that I expected a profound scene, but he’s content to keep the vocals
rigidly formed and flowing, as are the solution, not even a message, but a down to a minimum so that the group can
words; their joyous escapism, though, is simple realization of the words, not al­ go into their complex breaks, bobbing
in contrast: ways this optimism they have. and weaving in and out in endless, ever-
Change is now, change is now; But where can their hopeful, magical changing progressions.
Things that seem to be solid are not. music lead you? The answer: way out The material really doesn’t come into
All is now, all is now; there in space, endless eternal space. it at all. The only real song they do is
Right or not we have to live. Where the primitive saw his God and “Who Is It That Shall Come,” by Doug
This escapism is sometimes expressed where the modern seeks to escape, to be­
in human terms, sometimes in terms of Ashdown, and perhaps “Lisa.” All the
gin again, to find the answers, to be rest, Junior Walker, the Beatles “You
unbounded, absolute freedom — ‘one­ humbled by the vastness. Out there the
ness’ with natural things. Chris Hill­ Can’t Do That” and “The Hunter” are
Moody Blues can afford to be senti­
man’s ‘Natural Harmony’ is about both mental, they can afford to be optimistic, just basic frameworks for reworking
kinds of freedom: they can afford to be reflective. instrumentation.
All moving on, almost gone; So “To Our Children’s Children’s I’d really rather not describe the
Merging with a grain of sand; Children” can be about hope, it’s about beautiful driving stuff, because, to tell
Never released in this country (though Try hard to catch us, if you can. an escape, it’s about travelling out and the truth, am finding it impossible to
God knows why not!), The Notorious Dancing through the streets side by away. describe. I keep getting lost in the music.
Byrd Brothers is, for me, the highest side, The opening “Higher And Higher” There’s no outlandish gymnastic (for­
point any band has reached in rock Head thrown back, arms open blasts us off. It unwinds as it progresses, tunately). When they go into wah wah
music. The Byrds were always a good wide . . . gravity is lessening, we are leaving with you feel as though they actually justify
rock band; Paul Nelson called them ‘Draft Morning’ and ‘Old John Robert­ a new burst of energy as the song un­ its use. There’s just no loose ends. Just
“America’s mythological rock group”, son’ are the only songs on which this winds again. Acceleration. tense, tight, magnificent Rock.
and by the time of the notorious Byrd escapism is subdued; both maintain a Now we look back “With The Eyes — ED NIMMERVOLL.
brothers (who numbered three, and were mood of weary, though graceful, resig­ Of A Child” at what we have escaped
never caught) they were probably the nation. from. We see the unity of the Earth just
most revered and ‘mythical’ of all Ameri­ The three faces looking out from the as every astronaut has been struck by it.
can bands. The two members of the cover of this record probably won’t be
Crosby, Stills, Nash and Young
‘Earth falls far away / new life awaits / with Dallas Taylor and
group who dropped out on the trail were seen together on record again. The time it has no day / new life awaits /
Gene Clark, whose contribution to rock Sweetheart of the Rodeo, the Byrds’ next here is your dream’. Greg Reeves
is worth much more praise than it’s been record, saw Mike Clarke gone, and the Now we are “Floating”. Give yourself Deja Vu
given, and David Crosby. Clark is now departure of Chris Hillman was only to the music and you can feel the weight­ U.S. imDort.
half of Dillard and Clark, and Crosby is weeks ^iway. Both can be heard as part lessness. Tumble. You can do it.
one-quarter of Crosby Stills, Nash and of the Flying Burrito Brothers (with yet “I never thought I’d live to be a hun­
Young. Neither seems to have gained by another former Byrd, Gram Parsons), but dred”. Out there eternity is yours.
leaving the Byrds, although perhaps they it’s nothing like The Notorious Byrd Further and further we travel. ‘Left
didn’t want to in the first place (Roger Brothers. This was, and is, the one truly without a hope of coming home’. Panic
McGuinn is supposed to have sacked perfect thing in rock music, and each sets in. Think. The Moody Blues offer
Clark because he hated air travel and person who has heard it has lamented the that lesson which our trip gives, for you
wouldn’t fly with the band, and Crosby breaking-up of its creators. Robert King to discover for yourself by blasting off
because he was too political for Mc- said it better than anyone else has: with them.
McGuinn). The three who remained to “In The Notorious Byrd Brothers, “I never thought I’d live to be a mil­
release The Notorious Byrd Brothers Crosby, McGuinn and Hillman ex­ lion”.
were Mike Clarke, Chris Hillman and hausted the themes that had possessed
McGuinn. them since the inception of the group.
Two years have passed since this By the next l.p. only Hillman and Levi Smith’s Clefs
record first amazed me with its inspira­ McGuinn remained of the original EMPTY MONKEY
tional vision and delicate artistry, yet Byrds and they had abandoned the
nothing on it is in any way dated: I can’t present for the comforting certainty Sweet Peach
see any band today recording anything so of the past.” Levi Smith’s Clefs Empty Monkey
advanced. The most sophisticated piece Write to CBS and ask them to release Who would have guessed how much
on the sound-track of the film Easy The Notorious Byrd Brothers here. Per­ different this second album would be?
Rider is ‘Wasn’t Born To Follow’ — haps they’ve forgotten about it; maybe And who would have known how much
from The Notorious Byrd Brothers. they’ve never heard of it. better it is?
The record marked the emergence of — ROB SMYTH Obviously the Crosby, Stills & Nash
Chris Hillman as a superb writer of album was just the coming together. We
songs (for a start, it’s melodic, and the were all impressed by that gentility. I
number of bands who can say that about Moody Blues think we even thought it was going to
their music is depressingly few). His TO OUR CHILDREN S be the start of some new melodic, acous­
‘Natural Harmony’ and ‘Get to You’ (the CHILDREN S CHILDREN tic quietness.
latter written in collaboration with No fear. You’re not going to believe
McGuinn, though I prefer to think that Threshold THS 1. how heavy this album is, how heavy the
Hillman’s was the guiding inspiration) addition of Neil Young and Tamla bass­
are obviously great songs, but they are ist Reeves has made the group. And
more than that. At a time when the when you ask Gerry Garcia of the Great­
Doors labored for eleven minutes over ful Dead in to guest on the odd break
‘When the Music’s Over’, and when most you’re just asking for trouble.
other bands were stretching their ideas With the release of this album, and The amazing thing is that their heavi­
over extended and usually incredibly dull Max Merritt’s, the Australian album has ness is so uncluttered. Those soaring
songs, these songs by the Byrds were finally arrived as something to be proud vocals are still there, fuller perhaps, but
condensed masterpieces. So it is that the of and not something you make sure to still there, sounding less like the Buffalo
shortness of this record just doesn’t mat­ tell the salesgirl that you’re buying for Springfield, less like the Hollies. Behind
ter; each thing on it is a brief jewel. your sister. that you’ll only find the minimum in­
And each track leads into the next per­ You can be proud to own this. You strumentation.
fectly, giving a total sense to the placing can even carry it down the main street There’ll always be bass and a simple
of each part of the record. The flow and without a hag. The cover is excellent drum beat as a ground and onto that the
unity of style is in no way disturbed by for a start. And then there’s all that fat super-stars might add just a single gui­
the fact that two of the songs, ‘Goin’ brutal Rock, the best Rock album Aus­ tar, or a guitar duet on Crosby’s “Al­
Back’ and ‘Wasn’t Born to Follow’, were tralia has seen. most Cut My Hair”, or Young on guitar
written by Goffm-King. (Interpretation Released overseas it couldn’t offer any with Stills on piano for “Helpless”. The
was the Byrds’ other cosummate tal­ Until this album the Moody Blues’ startling new group sound. But it can fact that they don’t overplay the backing
ent — Dylan’s ‘My Back Pages’ and music has had one basic irritating flaw. keeps the vocals clear, yet helps create
compete musicallv with the very best all this vitality instead of Buffalo Spring­
‘You Ain’t Going Nowhere’ are the other Their albums have been sparkling won­ they can offer. I hear quite a few and I
definitive examples.) derlands of production and musicianship. field’s sleepy laziness.
wouldn’t tell you any bullshit. And just to remind us there’s that one
The musicianship on every track is They were just so beautiful. Over and The group CAN compete.
faultless. Mike Clarke drums with a over I could play them and be lost pleas­ single beautifully-tragic Steve Still’s sons
“Relief From A Lighted Doorway” “4 + 20”.
technical refinement and control which antly in that world. More and more I
can be found nowhere else in rock. He immediately must impress you with the It just never ceases to amaze me how
played them, thought about their ecstacy.
is quieter, more subtle and more at ease sheer brilliance of the instrumentation. all these greats can be content to share
Suddenly there it was, that flaw. Here
on this record than on any of its pre­ were albums about “A Search for a lost It opens with the guitar sleepily over­ the limitations of just two sides. John
decessors; I can only marvel at his pro­ chord”, on being on the “threshold of a flowing with a gentle stream of long, clear Lennon’s impatience to record things
gression from Younger Than Yesterday dream”, but I thought I was already guitar lines. As you travel through the helped break up the Beatles. Here you
to this. Chris Hillman’s bass is fluent as there, I wasn’t searching. The music album, the guitarist goes through amaz­ get FOUR songwriters of that calibre
ever; he grew up (and seems to have wasn’t asking me to search. ing things, sometimes giving way to quite happy to stand aside. They even
ended up) playing mandolin, and his bass There they were talking about loneli­ wildly funky organ onslaughts. invite Joni Mitchell to write one song.
runs are just fine, melodic and heavy. ness and I wasn’t lonely. There was the And then there’s that drummer. Intel­ And I thought CS&N was a classic.
• I

The Doors Lyrically, though, this album is still on their ‘Dreamer’s Dream... What ginning to discover each other more and
not much. The themes of violence and. bands like this are doing is attempting to more. The beauty of the work is that
Morrison Hotel death, and sex inextricably associated change their reality through their dream. the group’s forceful guitarist doesn’t
Elektra EKS 75007 with both, are less convincing than ever. John Sebastian has broken his long need to compromise his playing to ac­
Only on the first album did it sound silence with two albums released simul­ commodate the orchestra. Nor the re­
really menacing and credible. ‘Indian taneously in America (one on Reprise, verse. During the guitar break, proudly
Summer’ would be beautiful were it not one through MGM). Tom Rush has also Rock, the orchestra limits to a contrast­
for the sheer banality of the lyrics. Still, recorded and released a new album (on ing string base, which works. That sort
this is a much better record than the Reprise), and Neil Young’s third is not of thinking holds the composition to­
last; time will tell whether or not it far off. The Youngbloods have moved gether.
stands up to repeated listening. to Warner Brothers-Reprise (“Where The third movement opens orchest-
— ROB SMYTH they belong”, says the ad.), so it rally, introducing drums and bass, then
shouldn’t be too long before the fourth the whole group, and the two, orchestra
album appears. In the meantime, do and group, DO join as one, but still it’s
The Youngbloods what you can to get the other three; a patchwork of orchestra-group-orch-
you won’t be disappointed. estra-group-dodging in and out of one
Earth Music (not released in — ROB SMYTH another. Orchestra and group. Together
Australia and Elephant Mountain but separate.
RCA SF 8026 The work le^ns towards orchestra,
Deep Purple and the Royal simply because it is a Rock musician’s
Philharmonic O rchestra composition, and given the opportunity
he’s not going to waste it by using the
Morrison Hotel just about sums up
Concerto for Group and orchestra as ornament. He has already
what has happened to the Doors since orchestra proved to himself what he can do in
their shattering first album in 1967. Harvest SHVL 767 Rock, now he’s given the chance to
When they released their fourth album, prove something else. Thus his leaning
The Soft Parade, last year, it was appar­
ent that they were standing completely
COMKtfSS 8Y JOK iX58».
towards orchestra, though the group con­
tributes a great deal and could never
still. And the main reason for this de­ The Royal Philharmonic Orchestra be dismissed as secondary.
cline appears to have rested with singer Conducted by Malcolm Arnold — ED. NIMMERVOLL
Jim Morrison.
In 1967 the Doors were truly an
underground group; they were virtually Leon Russell
unknown when their first album came U.S. import
out on Elektra, at that time an uncom­
promisingly progressive label. Morrison
stood out no more prominently than the
rest of the band. But Morrison quickly
became the focal point of the Doors The Youngbloods have ieen around,
until finally he dwarfed the other mem­ without too many people noticing, for
bers entirely. The title of the new quite a while. ‘Get Together’, which
album, Morrison Hotel, tells it all. How­ finally became a hit for them, was first
ever, on the record itself the other mem­ issued on the other side of an insane
bers of the band have re-emerged to song called ‘Euphoria’, which was played Rock likes to finger all the fruits it
some degree, with the result that it is a about twice on the radio. discovers in the Garden of Delights.
much better record. On the inside cover The band’s first album, which con­ You’ll see Rock musicians continuously
it’s Morrison who is somehow central, tains ‘Get Together’, is still available rushing this way and that, prodding In­
but the other three attract attention as here, as is its third, Elephant Mountain. dian music, prodding country music,
well. Drummer John Densmore, plac­ The second album is Earth Music, the prodding blues, feeling just anything
idly cowboyish, stares out blankly; gui­ last record on which Jerry Corbitt played within reach, then racing on to the next.
tarist Robby Krieger looks more than before leaving the group. I can only They were able to introduce sitar to new
ever like a nineteenth-century Jewish assume that this wasn’t released because dimensions, yet few of the musicians in­
intellectual (except for the sun-glasses!). the company, RCA, thought it wouldn’t volved would ever learn to use it prop­
But the most compelling figure is that sell out here. Elephant Mountain was erly. There’s no time. New sounds are Leon Russell? He’s been a session
of* pianist/organist Ray Manzarek, and only released in the end when ‘Get To­ waiting. musician for years in the States. Then
so he proves on record. gether’ looked like making it. The perfection of a particular art is he appeared in an intricate album in a
The first track, ‘Roadhouse Blues', is The Youngbloods are still, essentially, left to the handful of groups who come duo called “Asylum Choir’, an album
definitive hard rock, pounding along with a Good Time Music band. They can in the wake of one initial flurry and de­ which only took a year to make. Then
some flash harmonica playing from one laugh through the music without debas­ cide that tangent to be worth pursuing. he was a Friend of Bonnie & Delaney
G. Puglese, who'll be heard from again. ing its serious intent; like the Spoonful, One of the more recent of Rock’s for a little while, appears 'on “Let It
Morrison sings the lyrics with control they’ve learned something from jug band 'prodded’ fruit is orchestral arranging Bleed”, wrote “Delta Lady’ for Joe
and command: when he avoids the his­ music. Earth Music is rooted in the past: and a pretense at the classics. Cocker also playing on that gent’s second
trionics he is still a fine singer. when you hear it you’re hearing America Deep Purple have never really been a album.
Keep your eyes upon the road as it was, as it probably won’t be again. So while he’s in England he thinks he
startling Rock group. They first came might as well get an album together.
And your hand upon the wheel . . . Ironically, Earth Music’s ‘oldest’ track to be noticed with a re-arrangement
When Manzarek cuts loose in the may be heard on the soundtrack of An­ “Line up some musos,” he’d tell pro­
group-style of Joe South’s “ Hush”. The ducer Denny Cordell. So in dropped
middle it is the first time since ‘Light tonioni’s Zabriskie Point. This track, first album had good moments, the
My Fire' that the Doors have really ‘Sugarbabe’, is new in its context, but its George and a Mr. Starr from a group
second still more to remember, and the called the Beatles, two of the Stones,
got going like that: Manzarek’s piano roots are to be found in the original jug third spot-on, as far as they could go
solo sets something alieht, and the track band music. Not too many women these Eric Clapton, Stevie Winwood, Bonnie &
with a very restrictive vocalist.
is lifted a degree further. It’s great to days shoot dice in the sand (it’s what Yet throughout, Jon Lord’s organ was Delaney, Joe Cocker and a few other
listen to. The next cut is ‘Waiting For John Sebastian calls “kickin’ the gong”). a consistent source of wonder. Lord insignificant people.
The Sun' (the title of a previous album), ‘Euphoria’ is high and loose and con­ flows with musicianship. With all those amateurs around they’d
on which Krieger gets his chance, play­ tagious, as is ‘The Wine Song’. These Now Lord has mustered the courage like you to think that the production is
ing with that distinctive, peculiar distor­ things are old and new. It’s not as to write a concerto. His composition that too. They throw in a couple of
tion he first produced on ‘End of the though the band is reaching back to them isn’t going to shudder Classical music false starts to convince you, otherwise,
Night’. Morrison is double-tracked, and and up-dating them; it’s more as though from its cold tomb, but Lord has suc­ listening to the rest of it you might think
for the first time sings harmony against they're playing them to us from some­ ceeded in concreting within the music these people knew something about it.
his own voice, to great effect. where in the past. the contrast between the Rock group and Enough of this sarcasm.
‘Peace Frog’ (“Bloody red sun of fan­ It’s the sort of music that should be the orchestra. He fortunately hasn’t Actually those two false starts spoil a
tastic L.A.”) is the most unusual thing floating out of the kitchen while you’re been foolhardy enough to imagine any pretty professional album. A lot of the
on the record, both lyrically and in terms out in the back yard, or falling about fusion of these two musical cultures, time there’s the danger of a sameness,
of its musical structure. It is a moving “on somebody's new-mowed lawn”. content in placing the group and or­ probably because with that line-up you
testament to Morrison’s emotions in a Even Elephant Mountain, which is much chestra side by side to recognize each don’t rehearse too much in case they run
time of torment. The instrumental work more consciously contemporary, has ele­ other. away. Most of the time Russell’s vocal
is brilliant — if the Doors can play like ments from older music, from older life­ Any other approach would only be a rides the waves created by his piano and
that live' (and that’s the feel the record styles, creeping through. ‘Smug’ is one hugely augmented Rock group or an or­ behind that these Royal Personages ‘play
gives) they are something to see. This of those ‘it-don’t-matter-no-more’ songs chestral work with Rock musicians. their thing’.
track leads to ‘Blue Sunday’, with Man­ with a blunt way of putting it: The First Movement realizes the basic Leon’s in full control. The rest is just
zarek playing in an unusually sustained Time simply melts away: conflict. Orchestra and group swap roles mood-building enthusiasm by the Royals
manner on organ, and Krieger blazing Your face is lost, in yesterday . . . in a heated ‘argument’, one dealing in and -it’s not too often they really take
on guitar. Krieger’s solo on this track There are other American bands doing harsh electricity, the other in subtle gen­ over (one gospel type number). You
is as good as any he’s put together. the same thing. Mad River's Paradise tility; one seems ill-equipped, the other might pick up a Clapton guitar. Piano
The first side closes with ‘Ship of Bar and Grill (whose title-track should organized and controlled. Still, they're rules the roost otherwise. Because he im­
Fools’ — we’re the ship of fools, Morri­ become a classic) has two of the Young­ able to interrupt one another without you presses his style on everything the album
son says. This, too, is good. The second bloods playing on it; this is a healthy instantly realizing the transition. Their achieves a character. It remains a Leon
side is not quite as good, but ‘The Spy’ sign for American music. It’s not im­ ‘breaks’ become shorter, until the two Russell album, and everybody has one
is cool and mellow, playing Krieger and possible that one day we might find are in open battle, but the conflict is left good time, which must infect the inno­
Manzarek off against one another. All John Sebastian joining with Neil Young, unresolved. For the moment there’s no cent bvstanding listener.
the way through, Jim Densmore’s drum­ Jerry Corbitt and Tom Rush! That’s attempt to prove that the two can ever _ ED NIMMERVOLL
ming is concise and compelling. Ray just my daydream, but then daydream­ join in harmony. They deal each with
Neopolitan, the latest in the Doors’ suc­ ing is what much of this music is about. separate emotions, separate tonal areas.
cession of bass players, is perhaps the Perhaps it’s escapist, but it's better than The rest of the work goes on recog­ REVIEWS CONTINUED OVERLEAF
best they’ve found. what the* Youngbloods call ‘bitter reality’ nizing the conflict, though they are be­

moustachioed waiter brings bowls of fully, I can't help wishing the others had
The Byrds Simon and Garfunkel done more in this respect. The remain­
BaHad of Easy Rider tepid soup to desperately sophisticated
Bridge Over Troubled Water ing Fairports, Richard Thompson (gui­
CBS SBP 233762 CBS SBP 233794 “What is that, waiter?” tar), Simon Nicol (guitar), Dave Swar-
“That is ‘Frank Lloyd Wright’, madam, brick (violin), Dave Mattacks (drums)
concealed in the woodwork.” and recent addition Dave Pegg (bass —
“Ah. So that's what became of him.” from the Ian Campbell folk group) have
‘The Boxer', which opens the second decided not to replace Sandy Denny, so
side, stands far above anything else this my wish may be granted on their next
record. Dave Swarbrick’s singing in con­
pair have done. Beautifully constructed, cert has been highly praised, so although
it is indeed worth the detailed attention Sandy Denny is an outstanding singer
that appears to have been given to both (and an exceptional writer, as ‘Fother-
performance and production. The first ingay’, ‘Autopsy’ and ‘Who Knows
verse, into which Paul Simon has com­ Where The Time Goes’ all showed) she
pressed so much disillusionment and may not be missed too much.
resignation, is his best passage of writing Dave Swarbrick’s violin and viola have
to date: added greatly to the new album. His
I am just a poor boy. playing of a medley of traditional jigs
Though my story’s seldom told, and reels cannot be faulted; if your in­
1 have squandered my resistance terest in folk is limited, this may sound
For a pocketful of mumbles; off-putting, but this medley is very at­
Roger McGuinn’s new Byrds needed a ‘The Boxer’ was one of the most Such are promises: tractive. Much of the value of this re­
good album after the failure of Dr. Byrds hauntingly memorable singles put out last All lies and jest. cord lies in the fact that it does bridge
and Mr. Hyde, and Ballad of Easy Rider year. This extended song would have Still, a man hears what he wants to the gap between rock and folk; if you’re
added a dimension to the film Midnight hear on one side and can’t reach the other you
almost makes it. The group has its feet should hear it.
firmly back on the plotted plain after the Cowboy. And disregards the rest.
‘Baby Driver’ is bright, but inappro­ Swarbrick’s playing on ‘Crazy Man
airy vagueness of the last album. The Its “poor boy” whose “story’s seldom Michael’ is delicate and lyrical. Richard
new Byrds are obviously a country band; told” might as well be Joe Buck, and its priate— it stands out after ‘The Boxer’
Thompson’s guitar on this track is simi­
on Dr. Byrds they suffocated trying to vision of New York is in remarkable like an offensive custard on a hockey larly lovely: he is perhaps the only Eng­
humor McGuinn as he plunged into air­ accord with that of the film. While Fred field. ‘The Only Living Boy In New lish electric guitarist to attain so convinc­
less space. Only a couple of tracks (‘Bad Neil’s ‘Everybody’s Talkin’ ’ is a nice York’ begins nicely with acoustic guitar ingly lyrical a feel in his playing.
Night At The Whiskey,’ This Wheel’s song, however, it has nothing to do with and voice, and is interesting, though The Fairports lost a sensitive and un­
On Fire’) really came off. the film. Perhaps Paul Simon and Arthur somewhat self-indulgent. A friend noted usual drummer when Martin Lamble,
Significantly, the worst thing about Garfunkel thought, so ,too, for on the that Simon and Garfunkel seems to be aged just nineteen, was killed in a smash
Ballad of Easy Rider (apart from Peter cover (back and front) of Bridge Over attempting to sound like the notorious last year. Dave Mattacks, on the strength
Fonda’s cover notes) is a puerile ditty Troubled Water they stare out in Byrd brothers. Perhaps they are; on of this record, is his equal as a drummer.
called ‘Armstrong, Aldrin And Collins’, strangely familiar manner. tracks like ‘The Only Living Boy In New He plays intelligently, and seems very
prefaced by a Houston count-down. ‘The “Lo!” I thought, “it’s Ratso and Joe York’ they’ve tried to achieve the Byrd’s well suited to the Fairports’ sound; at
Ballad of Easy Rider’ itself is a nice Buck!” ethereal quality. They haven’t succeeded, times his playing bears a distinct resem­
song, although its arrangement and per­ But I knew that inside the sleeve the any more than Roger McGuinn’s new blance to that of Martin Lamble.
formance suggest that McGuinn had no pretence would be dropped and they’do Byrds have now that Gary Usher no The Fairports’ instrumental sound
interest in at all. Dylan is supposed to go back to being Simon and Garfunkel, longer produces the group. In any case, (like Sandy Denny’s singing) is obviously
have written the music, McGuinn the as inconsequential and pretentious as while The Notorious Byrd Brothers is a very stylized now. On Liege and Lief
words, but Dylan won’t be getting any ever. Well, I was wrong, partly. This is serious recording guided by a clear pur­ they are tight but free; that is, they don’t
royalties from it. McGuinn has, in fact, pose, Bridge Over Troubled Water is, in need to restrain their playing unduly in
their best album, and it contains some order to play crisply together. When
written nothing else on the album. It fine things as well as a number of tracks the end, immature and inconsistent. I’ll
certainly looks as though he’s been found listen to its finer moments, and disregard Richard Thompson and Dave Swarbrick
which are best forgotten. are highlighted together (as in‘Crazy Man
out: with Gene Clark, David Crosby and Side one opens with the title track, the rest.
— ROB SMYTH. Michael’) the result is breathtaking: the
Chris Millman gone, McGuinn has had to hesitant and gentle. Its sense of relief is, utter beauty of the instrumentation ren­
make it on his own as a writer. He has thankfully, maintained as it grows stead­ ders the lyrics almost needless. Though
had the good sense not to try again after ily towards its restrained crescendo after
Dr. Byrds, and most of the songs on this
F airport Convention I should point out that ‘Crazy Man
a tentative opening. The lyrics are ade­ Liege and Lief Michael’ is lyrically the most ingenious
album have come from outside the group. quate, and though they sound a little fam­ and unusual thing I’ve heard in a long
Gene Parsons’ ‘Gunga Din’ is the best of iliar, they’re sensitive and there’s nothing U.K. Island ILPS 9115 time!
the originals. As it’s about air travel it’s spuerfluous. Paul Simon sings as well as to be released through Festival This brings me to my original reserva­
a wonder McGuinn didn’t attempt to I’ve heard him sing on record. Listening tion about Liege and Lief. Although it
take some of the credit. Possibly lines to the controlled progression of this song, contains superlative versions of such
like “Flying backwards on this airplane I wonder whether Procol Harum’s ‘A songs as ‘Matty Groves’ and ‘Tam Lin’,
is bound to make me sick” put him off. Salty Dog’ had any influence in its com­ the two songs which more than anything
As an arranger, though, Roger Mc­ position. ‘Bridge Over Troubled Water’ else lift the record from the excellent to
Guinn is outstanding. His ‘It’s All Over is not a great song, but it’s a good one; the sublime are Richard Thompson’s
Now, Baby Blue, is Masterful, and the atmosphere of serenity it establishes ‘Crazy Man Michael’ and ‘Farewell,
Woody Guthrie’s ‘Deportee’ is simply, is maintained by the lilting, though Farewell’. These songs are exalted mo­
elegantly handled. ‘Jack Tarr The Sailor’ mournful, ‘El Condor Pasa.’ This song is ments (of which there are a number on
flickers and flares and sounds really evil: What We Did On Our Holidays). Liege
genuinely elevating; I hope Simon and and Liefs strengths are many and its
McGuinn sings like a tuberculous old Garfunkel don’t let their interest in Peru­
salt, his guitar dragged along in tow. weaknesses are few; it is a landmark in
vian music end here. the new English music, and will be a
‘Tulsa County Blue’ is my favorite At this point, though, a Beatlish ditty
cut: honest, straightforward and just a great influence. But I wonder how many
called ‘Cecilia’ puts an end to the re­ more people the group could influence
little weakly, it stands for everything straint. Paul Simon seems to have de­
Roger McGuinn is good at. It’s just were Richard Thompson to exploit his
cided to diversify his sound, but like the obviously immense composing talent
good to hear; it’s relieving that the Byrds Beatles, he has done so without any further than he has done. Buy Liege
still have it in them to play things like direction or taste. ‘El Condor Pasa’ is and Lief — the magnificent cover alone
this. Island’s full-page advertisement for
worth while, because it is an adaptation Liege and Lief in Melody Maker said, is worth the price; the record it contains
‘Jesus Is Just Alright’ (their spelling) rather than a parody, but ‘Cecilia’ does is priceless.
is reminiscent of ‘Renaissance Fair’. The “The first (literally) British folk rock LP
nothing to iustify its existence. It savs ever”. The sub-heading was, “Docu­ ____________________ — ROB SMYTH
harmonies are tight and high, and the
lyrical flow is unbroken throughout. It’s nothing. ‘Keep the Customer Satisfied’ menting a (very brief) era”. That about ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■
a pity that this sort of song can’t come is notable for a rather moving chorus: says it all. The Fairports, having leaned Charles Manson
from within the group. Nonetheless, the And Tin one step ahead of the shoe towards the traditional for some time, Lie
Byrds’ improvement on this album must shine, have finally put out a record largely com­
be recognized. Because its aims are Two steps away from the county posed of traditional songs.
fairly limited, it succeeds within their line . . . The record is a great success, but I
scope. The strident saxes which over-run this have certain reservations about it. Be­
Instrumentally the group remains solid, song do not quite succeed in overpower­ cause of the ground the group broke on
and Roger McGuinn’s voice seems ing its better moments. Again, there are its first Island LP, What We Did On Our
stronger now than it has been in the elements of parody in it, though parody Holidays, I have since thought tff it as a
past. There will always be an audience should have no place on any recording progressive rock (no-one’s yet thought of
ready to listen to the Byrds; I hope the a better word for it) group. Now, how­
which purports to be taken seriously.
group can maintain its progression on its ever, the Fairports seem content with
And while it could be argued that Paul arranging traditional folk: only three
next albums, assuming it stays intact Simon is trying to shift his stance in this
long enough to put them out. If Roger tracks on the new LP are original com­
respect, the better tracks on Bridge Over positions, and they’re very much in keep­
McGuinn could fix a course and stick Troubled Water show that he is still very
to it, the Byrds’ constant aeolotropy ing with the traditional material.
much concerned with producing serious Since Liege and Lief, singer Sandy
might be avoided. Unfortunately, it’s records.
hard to take their present recordings as Denny and bass player Ashley ‘Tyger’
‘Frank Lloyd Wright’ closes the first Hutchings have left the Fairports, so the
seriously as one would like to, with the
knowledge of what the Byrds have done side with a wave of trite cocktail music. period it documents is, in terms of the
in the past. I envisage this being piped softly through group’s history, brief indeed. On this
— ROB SMYTH velvet-covered speakers concealed in the recording, however, Sandy Denny is “Roll up. Roll jip”, this album is
woodwork of swank restaurants, while a dominant, and while she sings beauti­ silently crying. “Come and get your
MAY 1 - JUNE 1 27

souvenir of America’s latest nightmare”. SPECIAL REVOLUTION career. His previous folk albums and the But he couldn’t grow a money tree,
It is the selling of Poloroid color close- impressive CBS SOURCE album, all tree.
ups at the scene of human suffering to PREVIEW OF DOUG seem like rehearsals to this end. Rehear The other non-Doug hit item is fig’sfif
those who couldn’t get close enough. ASHDOWN’S “ MOUSE” sals because only now have we reached Some of the poetry is particularly
It’s part of one sad, terrifying night­ DOUBLE ALBUM the all-important pure DOUG ASH­ beautiful:
mare which doesn’t stop at just the It’s hard not to suspect oneself of bias DOWN. He’s finally thrown down his I remembered Alice
merciless, loathsome act which Manson when you review a record by someone guard and presents himself as himself. As an eighteen-year-old virgin
and his Family are accused of, nor did you know personally. Still, despite all On the odd occasion, producer Jimmy As we shyly named the children we
it start there. my caution to be true to myself, two Stewart comes on over-strong in the would make.
“I’m from Juvenile Hall. I’m from things convince me that my faith in things he does to Doug’s songs, but still, Or in a dedication to an acquaintance
the line of people nobody wants. I’m Doug as the most unique talent in Aus­ it’s the songs which matter and these who is a nun:
from the street. I’m from the alley. tralia is justified. Something he can offer At the vesper hour she’ll kneel
come across with force. Stewart provides
Mainly I’m from solitary confinement. the whole world. Towards the cross, towards the
You spend twenty years in institutions the dressing for Doug’s songs, and is cre­
What convinces me is parts of the last dited with co-authorship. wheel
and you forget what the free world is”, album and all 20 of these new songs.
the cover notes have Manson say. Only two songs aren’t Doug. One is In corridors of silent stone
And on top of that is the devotion of “Antique Annie’s Lantern Show,” a A world where women weep alone.
Until his recent three years, Manson’s people around him.
longest stay out of gaol in 22 years was Joni Mitchell-type song written for Mar­ She’ll touch the wound that mother
That devotion stems from seeing Doug left
eight months. Wouldn’t you like to think ian Henderson, but a song which gives
perform. To see Doug play and sing to This was the gift she had to give
that somewhere in those 22 years, some­ “Mouse” just a bit more variety (impor­
a small group of friends or to an appre­ The greatest gift a woman can.
one, some organization, had the chance tant if a double album is to be success-
ciative audience is something you never She did not give it to a man.
of preventing Manson finally running tant if a double album is to be success-
forget. The concentration, the feeling, Hail Gabby full of grace
completely amock? Is there really no one of the production highlights of the
hope for rehabilitation? the sincerity and the sheer excellence of Look into His shining face
We’re going to punish Manson in the it all is just so pure. It’s an immediate The other non-Doug item is “A Boy And suffer the little children to
end. Sharon Tate will seem avenged to insight into Doug, an insight his records Who Forgot How To Cry” (the titles come home.
the best of our ability. Manson will have can never capture, no matter how good. may be wrong, as I have no written Look upon the book you hold
been stopped. But surely the basic prob­ And it’s that, much more than his information), a pretty banal country With pages etched in black and
lem is with us still? Manson steps in and records, which makes his acquaintances gold
story, not like Doug at all.
out of legal institutions until finally he (personal and professional) such ardent Those foreign items are instantly evi­ Love letters all addressed to you
does something bad enough to stop him devotees.
dent, because Doug’s poetry is so very Like roses from a man you knew
getting out again. But sadly, none can convince Doug
personal. He sings about the very things So love the world a while for her
If those legal institutions have had no of that, even to get him to do one solo
concert every few months, which which touch him in life, his friends and And in your light His love won’t
effect at all on Manson it’s going to hap­
pen again. Or could happen again. Isn’t would do him and us so much good at his spirituality. dim
this stage of his career. I watched your cross become a They’ll keep shining for the world
that the major consideration above all —
to stop the madness ever happening crutch Through you.
He’s had that for year on year with
again? It should be. But no, Manson little gratification. And I heard you cry you are too
will be hustled away, we’ll feel better and much This is Doug Ashdown, his poetry
I wandered into George Town
sit back to once again shudder with hor­ Just me and my guitar And we haven’t travelled very far and his songs, often cloaked in vast
ror over the next episode of America’s To play some hotel there . . . Our feet are only marking time arrangements, sometimes backed by Levi
nightmare. I went in hopeless, Waiting to get hack to Galilee Smith’s Clefs. There’s so much there, so
The system has produced Manson. Came out feeling free. To see some friends of yours and many visions, so much really good music,
The system leaks. Please, let’s plug up mine. Doug more confident than ever before.
These lyrics express the drudgery of
the holes before they grow. the hotel-hop. Feel the sorrow of the I don’t believe that Doug means to The one thing they don’t let you hear is
And to make it even worse, Manson’s actually send you a message. He’s only his guitar work, mostly keeping him to a
trial is giving him everything he’s ever lines, then the joy of the last line, which
refers to the chance meeting with an old singing about a feeling deeply rooted in rhythmic strumming somewhere in all
wanted. His ego has never been satisfied. him, which he must express. The matter
Finally he collects a group of rejects who friend, and this is what the song is all the backing.
about. of a message is left to the listener. But the backing is very sensitive to the
submit to his ego. Still he’s thirsty. He’s Yet that fascination with biblical char­
got to find a cause to test his power, to No, apart from one regular stint, Doug songs, lifting many into epics so suited
is finished with appearances. acters and spirituality will appear again to the weight of the lyrics.
affirm his importance, which no-one and again—
would acknowledge except this small Sweet Peach have offered him a post Sweet Peach are possibly status-seek­
gathering of his. behind a desk, putting his magic down Who is it that shall come one day ing with this first Australian double
The trial over the Tate murder gives on paper. Doug’s now got the security And who is it that shall bring a song album, but Doug and the label have
Manson the platform he could never those often fruitless years past never to sing, proved that venture worth while. I can
have dreamed of. It allows the frus­ gave him. He’s now a married man and Who is it that shall make you want play the four sides on end without wan­
trated performer to record an album. security means a lot. to breathe again dering and that’s the test.
He’s able to expound his thoughts to But we need not despair over the And say the word I believe in Doug Ashdown. Get him
listening ears. He’s not going to be sorry demise of Doug the performer. We have I hear you’ve gone and got our­ before the world does.
for whatever he’s done. It’s given him selves a brand new martyr — ED NIMMERYOLL.
Doug the recording artist, “next to
everything he’s ever strived for. And we killed him only recently.
Dylan,” I’ve heard one friend say.
Not only is the trial a grandstand for He could have stopped the rain
Manson’s ego, it’s also one enormous MOUSE is the climax of Doug’s falling down,
The outcome is settled. Manson is
guilty. The newspapers, reporters, tele­
vision have all prodded, and scraped,
and dug up every scrap of relevant and
irrelevant material, all to satisfy your
curiosity. Even before the trial began,
the script had been written.
All the spectators have been handed
a copy of the script. Now it only remains
for the players to act it out, pretending
there is no script. Aware of all the at­
tention, they ham it up. Manson defends
himself. Lawyers hustle around him dis­
playing their wares to the nation and
the world. Manson records a souvenir.
Manson’s mind is messed. The words
to his mediocre songs are just words. He
talks about ‘love’, about a lot of the
things we all talk about. Yet substitute
‘hate’ where he sings ‘love’ and the lyrics
still make sense. He is obviously so
messed that he doesn’t know what the
words mean. Illusion becomes a game
we play in one song. His mind is crip­
There are too many bad overtones and
ugly vibrations to ever listen to the re­
cord as anything but sick, sick exploita­
tion which should never have been al­
lowed to occur. I cannot talk about his
competence at acoustic guitar or the
quality of his voice. That all seems so
Future volumes of this series might be
the growling of Biafran stomachs or the
carbon dioxide breathing of worried
I wish I’d never been handed the
• I
28 MAY 1 - JUNE 1

A parade, a procession, a demonstra­ ally, though not always, it is a sort of up most of today’s street theatre groups. roundings and the conditions in each par­
tion, a happening,— a street happening. freewheeling, spontaneous improvisa- They do not merely create outdoor enter­ ticular factory. A simple epic story line
A group of black-shrouded figures, their tional theatre, what has been called tainments, travelling theatrical sideshows. —how a group of downtrodden, patron­
faces mute behind strange, grotesque ROUGH THEATRE: the theatre that’s They want to create a theatre of per­ ised, manipulated, alienated people (each
masks, move in a procession down the not in a theatre, the theatre on carts, suasion, of political relevancy. Their representing particular social groups,
street: their rhythmical chanting is ac­ on wagons, on trestles, audiences chief aim is to propagandise, to inform, power workers, soldiers, teachers, work­
companied by the muffled thud of a bass standing, drinking, sitting round tables, to create debate. So we find they perform ers at Ford, etc.) rose up and took away
drum and the shrill, cheerful chorus of a joining in and answering back. The plays about Vietnam, conscription, pollu­ Mr. Bigg’s position and power, and des­
clarinet. Suddenly there is a crowd, noisy rough theatre doesn’t pick and choose— tion, economic imperialism, segregation, troyed his Yesmen and officials. Integ­
and sceptical, as the marching figures if the audiepce is restive then it is better rity and goodness against corruption and
stop at the Town Hall Steps. Then an educational inequality. They are per­
to holler at the troublemakers— or impro­ formed not only for random public audi­ evil. The goodies against the baddies.
odd quietness as this strangely-garbed
group of gypsy protesters act out a series vise a gag— than try to preserve any ences, but for strikers, demonstrators, on The archetypal image is at the base of
of sketches and images about the war in unity of style in a scene. This roughness hunger marches and at rallies. These any street theatre style, the weapons in
Vietnam, the plight of the pensioner, the fixes street theatre (whatever its politi­ plays are the work of groups which, the limitless arsenal of rough theatre.
exploitation of the workers and the size cal motivation or social orientation) in while anxious to entertain their audi­ Asides, placards, topical references,
of Mr. Gorton’s penal power. All this in a long tradition taking in the mounte­ ences, still have a message they want local jokes, exploiting of accidents, songs,
the middle of the street and in broad banks, the strolling players, the medicine their audiences to absorb. The APG late noise, the reliance on contrast, the short­
daylight — a street,happening — a con­ men, the minstrels, the jesters, the cir­ last year presented a short street play at hand of exaggeration, and particularly
frontation between the community and cuses and particularly the COMMEDIA a number of factories in Melbourne and the stock types.
some of its critics. DEL’ARTE. this perhaps well illustrates the combina­ After the play concluded, the actors
It’s theatre and a new and different The commedia del’Arte was a form of tion of entertainment and message. The talked with the unionists and the begin­
sort of personal and cultural expression theatre that grew out of the perform­ play was an adaptation of a play pre­ nings of a valuable dialogue was estab­
and it’s just beginning to become more ances of charlatans, acrobats and travel­ sented earlier in the year called MR. BIG. lished. We had tried to show them, per­
popular in Australia. It’s much more ling comedians who roamed the fairs MR. BIG had originally been presented haps for the first time, that theatre can
common overseas in Europe and in and carnivals of 16th century Italy. In as a piece of “total theatre” — using count in their lives, that it can be about
North and South America. There, groups the beginning their antics were a form of music, dance, mime, gymnastics, narra­ their wage packets, their working condi­
of theatricals have seen life as too big “hard sell”— a means of selling the usu­ tion signs, and other neo-Brechtian tions, their struggles with the manage­
to be confined within a traditional setting, ally useless elixirs, finery and potions devices of epic theatre. It was a cere­ ment. This is what we tried to achieve
and they have moved their theatre into that they peddled. Then they learned monial play, highly structured, rigidly and the interest and discussion it pro­
laundromats, churches, city streets, and how to sell themselves, and their perform­ thought out, and highly rehearsed. It voked, together with the swiftness with
on the march to such warmly enthusiastic ances became their product. The come­ was a celebration of both certain poli­ which scepticism and hostility vanished
institutions as the Pentagon. And now in dies they performed were wild, bawdy tical attitudes and certain theatrical theo­ were some measure of success.
Australia, too, “street theatre” or and incredibly filthy. The actors impro­ ries. We tried to show that young Street theatre is certainly a difficult
“guerrilla theatre” as it is also known, is theatre people did care about the quality form of theatre. Technically, the per­
vised material that was usually topical,
becoming a popular and effective way of life around them (this, contrary to the formers have to be skilled improvisers,
for groups of theatrical radicals to and satirical, and always earthy in its
exploration of man’s foolish pride and view held by many people outside the good mimes and capable of adjusting
Remonstrate, in their own way, their theatre, that actors are self-interested, their performance to any sort of terrain.
dissatisfaction with the accepted way of covetous desires. However, it is always
important to remember when thinking of commodity-oriented like the public they But more important, they must be vitally
life in Australia, and the accepted way serve), and were, in their own way trying aware of the political context of the per­
the commedia, that it originated in the
of theatre. to do something about it, and were trying formance. In this respect rehearsals can
There are now street theatre groups on market-place. It was life viewed from
below the stairs. Its heroes were the ser­ to abandon the idea of theatre as an be a strain. When the issues that are
several university campuses, a permanent elitist activity, divorced from the life of being developed include digging at the
group in Adelaide, and in Melbourne vants, practical people who judged
according to their values— money, food the community. nature of man in a society that is poli­
there is the Australian Performing This was the original MR. BIG. The tically evil, emotions tend to thin out and
Group from La Mama in Carltop. The and sex— in that order. They made in­
credible mistakes, but always won factories tour was something quite dif­ the strain for most actors is intensified
APG has presented street theatre and since they are expected to know and arti­
demonstrations and elections. One of the through in the end. The servants were ferent. There was not much time to pre­
always upheld and the figures who sym­ pare; we knew nothing of the terrain in culate the ills they must portray.
APG’s most recent street plays, WHAT­
EVER HAPPENED TO REALISM?, by bolised authority were always merci­ which we would perform. The produc­ It takes a different kind of actor, a
John Romeril — an anti-censorship play lessly derided. tion had to be enormously flexible. The different kind of person, to cope with,
— resulted in court action being taken Seen in this light, the commedia del’­ original rise and fall of MR. BIG was too both the political tensions and the theat­
against seven of the actors. Arte was a kind of working-class revo­ long, required elaborate preparation— so rical difficulties. But for the performers,
lution. Uneducated, excluded from the we worked out a shorter version. A the life-style that the art demands— the
It’s new, this street theatre, yet it’s as
Courts and the Universities, they created loose scenario form was worked out that trust in others and the constant exercise
old as the streets themselves, as old as
their own vulgar theatre. could be added to, or improvised of a socially creative imagination, is liv­
the processions and rituals that devel­ ing the revolution.
oped in the ancient Greek theatre. Usu­ It is a revolutionary quality, that links around, depending on the physical sur­

Suite One,
15 Drummond Street
Carlton, 3053
Telephone: 346141
MAY 1 - JUNE 1 29


This is one page set aside for publicity for any worthwhile
event.There’s no charge. Make sure, though, that your parti
cular event can be verified so that people don’t rush off to some­
thing that isn’t going to take place. Send all relevant details to:
“On The Horizon”
27 Drummond Street,
Carlton, 3053
REVOLUTION has representatives at Sydney Uni, Mac­
quarie, Melbourne, Monash, La Trobe, Adelaide and Flinders.
Contacts at all other Uni’s, Tech’s, etc. are needed, so write
(or visit) same address if you think you’re our man.

Billy T horpe ^

SOCIALIST SCHOLAR S while he is out here. “The Moratorium Campaign will pro­ In the Cathedral Hall, 20 Brunswick
Armidale is holding its combined vide the framework for expressions of St., Fitzroy: for six hours from 8 p.m.,
CONFERENCE Folk/Jazz (why in God’s name are the dissent designed to suit all sections of on Friday May 8, this strange group of
two always linked together at things like the community. Activities will include people intend to present their ‘Creation’.
At the University of Sydney from May this?) festival from May 19 to May 23.
21 to May 24: this promises to be the demonstrations, industrial actions, student With the ideologically dubious catch-cry
The festival committee has summed it strikes, street theatre, vigils, special of “Peace is the revolution!” they are
best conference for a long time. Present up in a peculiarly contradictory manner:
will be Marxists such as Britain’s Perry church services, a campaign of door- putting on what is purportedly a ‘multi-
“Leave the polluted atmosphere and knocking, and the distribution, in Vic­ media interaction’. Says the ad:
Anderson, editor of New Left Review, ugliness of the city and enjoy five days
and Belgium’s Ernest Mandel, author of toria, of one million broadsheets.” “Music/light/bands / films / poetry/
of fun in the natural, rural atmosphere In Melbourne there’s a massive de­ dance/magik/theatre all together”.
Marxist Economic Theory. of New England . . . it will be a GAS . .”
Topics to be covered include Marxist monstration in the city on Friday after­ Tickets are $2 from Myers or Allans,
Accommodation for interstate visitors noon. The rally will assemble in the Trea­ and all money will pay the rent. Enqui­
Theory, Counter-Culture, Australian has been arranged in the colleges, and is
Working-Class History, Anti-Psychiatry, sury Gardens at 2 p.m. to listen to songs ries should be directed to The Source,
only ten dollars for the whole five days. and speeches, and at about 3 p.m. will 63 8541._____________________________
Politics and Literature, and Power in Alex Innocenti, that intrepid purveyor
Australia. Paper include Dr. Ian Turner’s march down to the corner of Bourke and
‘Contemporary Socialist Strategies’.
of Blues music in sleepy Adelaide, is due Elizabeth Streets. The idea is to sit down RUMORS, ARRIVALS, ETC.
to strike again. He intends three concerts in the street for fifteen minutes to bring Ravi Shankar arrives in Australia on
The conference fee is two dollars for on consecutive nights to thoroughly zap
students. Further details are available things to a grinding halt, so that people May 21, and gives his first concert in
the populace. can think about bringing the war to an Melbourne on May 23 (Dallas Brookes
from the Socialist Scholar’s Conference,
P.O. Box A511, Sydney South, N.S.W. Stars of the shows will be Billy Thorpe end just as suddenly. Hall; this and all subsequent concerts
and the Aztecs. Perhaps you didn’t think of it, but this except the last are at 8 p.m.).
On Tuesday May 12, Billy and the means that you should go into the street He is in Sydney on May 24 (Sydney
MUSIC Aztecs will be joined by Heavy Piece, and hassle the Government on Friday. Town Hall), in Adelaide on May 26
W. G. Berg, Red Angel Panic, Hard The Government is sensitive to pressure: (Apollo Stadium) and back in Melburne
An Experimental Music Concert will Time Killing Floor and Left Hand Drive the more people sitting on it, the more
be held on May 6 (Wednesday), in the (some place) on May 28. The final con­
for the Elizabeth Blues Festival. The pressure it will feel. Take a photograph cert, at the Sydney Town Hall, is on the
Sir Dallas Brookes Hall (Sir Dallas rolls show starts at 8 p.m. and goes through of a Liberal Member of Parliament along,
over. . . ) . This begins at 8 p.m. “Not 30th of May, at 2.30 p.m. Go along and
to 3 a.m. and is at the Octagon Theatre. and sit on that. be Ravished.
loud but extremely penetrating/” say the Wednesday, May 13, Billy and Co. In Sydney a concert will be held to
organizers. Featured are a Sydney band It’s rumored that Creedence Clear­
are joined by all those unlikely groups assist the Moratorium’s effort. Called water Revival are coming to Australia.
whose name appears to be Extradition plus the Goblins and Brian Moore. The ‘Music For a Change’, this is to be
(the blurb is a little blurbled!). They’ve (Then again, it was rumored that the
show is called the Billy Thorpe Blues staged at the Roundhouse, University of Lennons were, and that Fleetwood Mac
played concerts in Sydney, and are now Revolution (no payola) it -starts at 2 p.m. New South Wales, on Sunday, May 3, at
into electrified acoustic music. To their were, and so on.) Still, Creedence would
and ends at midnight and is at the Gle- 7.30 p.m. Proceeds will aid the Cam­ be a huge draw out here as in England
lasting discredit, they are shortly doing nelg Town Hall. paign: all performers are giving their
a tour with Tully. But it sounds pretty on their recent tour.
Third part to the saga is to be at service free.
interesting, so if you have an involve­ Adelaide Uni. at lunchtime, Thursday, The pop music side of the concert is
ment with progressive music you should MUSOS’ ADVERTS
May 14, and will consist of Thorpie in covered by Tully, Heart ‘n’ Soul and
go to this concert. concert for one full hour. Jeannie Lewis. Both Tully and Jeannie REVOLUTION, being a medium for
Country music forms the other part Groove to Innocenti people. Lewis appeared on the ABC’s Prom the spreading of good words and good
of the program. Wait a moment — no, Concerts this year, with the Sydney things, will fill this page with free plugs
it doesn’t! Extradition are a country Symphony Orchestra. The idea for ‘Mu­ — so long as the cause seems just. One
music band! It appears that they write THE VIETNAM sic For a Change’ evolved from this just cause is that of musos in need, so if
their own material, and receive assist­ MORATORIUM association; its aim is to “appeal to a you’re a fair dinkum muso wanting a
ance on stage from Stephen Dunstan, contemporary audience”. job / guitar / amp / drum / joint /
who consuming passion is electronics. The Vietnam Moratorium Campaign The concert is also aiming to bring pad / quid / etc., or someone in that
Extradition is John Graham, Marny will be conducted throughout Australasia, classical music before its audience, scene with something else to flog —
Sheehan, Chris Duffy and Dave Redap­ and supported overseas, on the weekend through a number of classical perfor­ write to the ‘On The Horizon’ address
ple. of May 8, 9 and 10. Dr. Jim Cairns is mers. Most interesting in this respect above baby. As we said, if it’s nice it’s
Most of the music at the concert, with Victorian/Chairman of “the most massive could be the Renaissance Players, who free.
the exception of Spectrum, has not been expression of opposition to Australia’s play mediaeval dances on ancient instru­
heard before. The Wizard will be there participation in the Vietnam War since ments. (I once had a n ' aunt who could LOVERS OF THE WORLD
as well, so go along. Although the notes our involvement began in 1965”. play ‘The Frog’s Ballocks’ on bellows
at hand regarding this concert are less The Campaign’s aims are ambitious, and spoons.) The Renaissance Players While we have no intention of running
than legible, it is definitely on at the time but hardly unattainable: if all those who are apparently going to threaten their a lovers-advice bit (by Dorothy Dix or
and date above, and seems definitely do oppose the War get into the street and audience with such mediaeval instru­ Dame Zara Bait?), we do invite all
worth your patronage. show it, the Moratorium must have a ments of aural torture as shawns, rackets would-be revolutionaries with a hang-up
The appearance of A. L. Lloyd at the profound impact. The Campaign’s news­ and crumhorns. Lighting is by Ellis D. or a missing partner or some other im­
University of New England (Armidale) letter (April 2) listed its primary aims Fogg. Be there: this will be really some­ pediment, to tell the voyeurs of this
is of great importance to lovers of tradi­ as the “immediate and unconditional” thing. world by dropping a heart-rending line
tional British folk. ‘Bert’ Lloyd’s contri­ withdrawal of troops from Vietnam and (“Alf, I can’t live without your soft
bution to this music is immeasurable; he the “immediate repeal of the National
is today the “grand old man” of British
MELBOURNE ARTS stuffed poodle, Alice.”) — again, address
Service Act”. your thing to ‘On The Horizon’ c/o.
folk, and as such should not be missed This Newsletter stated: CO-OPERATIVE
etc. etc.
30 MAY 1 - JUNE 1

14 ( I S
DEVLIN, B ernadette — The Price Of of giving countries a few blankets has been to actively fight in the ning of a new type o f hum an being, o f
My Soul. Pan (while tons o f w heat are dum ped in ghettoes of Bogside in L ondonderry a ‘socialist m an ’. It was for this
Paperback. the sea to keep our farm ers rich) against the mass attacks o f the police. belief th at he fought and died, and it
— Venceremos! or the building o f huge factories and The position in Ireland is such th at no is on the strength o f th at belief th at
Panther paper mines in foreign countries so th at we am ount of w ork through th e ‘dem o­ his m em ory lives on.
can m ake big profits ou t of them cratic’ paths o f the establishm ent will
(this is happening to us too). It is get anyw here. Berrxadette’s message is
M AILER, Norm an — Armies Of because any successful atte m p t w ould fight for w hat you believe is right, she
The Night. be incredibly damaging to our econ­ sets an exam ple and in T he Price Of
Penguin paper om y (that is, to the rich people th at My Soul outlines the reasons for
back. run the w estern countries) th at the her beliefs.
establishm ent quickly p u t dow n any

effort by these underdeveloped
countries to free themselves of this
exploitation. Che helped to win in
Cuba, B ernadette is still fighting in

N orthern Ireland, here and in America
we have hardly started.

Three books by three fighters. Though

these books are all quite different
(B ernadette’s is an autobiography of
sorts, Venceremos! is the ‘collected
w orks’ o f Che and Armies is a report
Armies O f The Night is Norm an
on the protest m arch on Washington
in 1967). They have in com m on m any M ailer’s picture o f the anti-Vietnam
m arch on the Pentagon in O ctober
things. Mainly the charisma o f the
1967. It makes no claim to being
authors - probably more people hate
objective, in fact the boo k is as m uch
these three than love them - yet
about Mailer as about the events he
those th at love are of our generation.
is recording. N ot only does he describe
These books show why the hate and
the events o f th at h istory m aking
why the love.
p rotest b u t he delves deep into the
Re ading these books shows you how In Vencerem os! we are given the history of the American character and
people are radicalized by their own B ernadette Devlin, M.P. w rote The whole Guevara, n o t ju st th e haggard finds there a frightening picture o f
experience rather than by theory. Price Of My Soul, she says, to explain b u t beautiful m a rty r’s face o f the mindless violence. M ailer’s w ork is
In each there is the record of violent to people the reasons for her highly personality posters, and n o t the b ull­ com plex, too com plicated and subtle
clashes w ith established ‘au th o rity ’ publicized actions in the N orthern shit of the H ollyw ood films. to be reviewed in this short space s o
and the reasons for and effects of Irish riots and the reasons for the This book includes nearly everything all I can say is please read this book;
these battles. In each case it was riots themselves. She tells of her of value th at Che w rote and said from its relevance to Australia is great,
w hat was happening around them early childhood otresp ectab le p o v e rty , his diaries of the C uban revolution to especially so close to M oratorium week
th at lead them to attack, each in of the religious bigotry and racial his notes on sugar p ro d u ctio n and end, his vision o f America is pro fo u n d
his own w ay, the agencies they blam ed hatred th at surrounded her from birth, socialist econom ics. It closes w ith and provocative and his description of
for those happenings. and of her struggle to overcom e these farewell letter to Fidel Castro before the Pentagon protest is beautifully
R ather than using a theoretical view­ vile attitudes and to fight for the leaving for his ill-fated mission to w ritten and a joy to read.
p oint to justify particular actions, betterm ent of her countrym en. Bolivia. In conclusion, the ‘lesson’ these three
they attack in anger those who have She shows us, through relating her C he’s experiences are a long way from books have for us is perhaps th at
m istreated their fellows and they claim own life, the conditions under which ours b u t as an exam ple o f com plete reading is a drag - get o ut and live and
(rightly, I believe) to be fighting out the poor of Ireland live, the histor­ dedication to m ankind he stands u n sur­
o f a genuine love for m ankind. Each experience the problem s of life under
ical background to the conflict and passed. Yet he is so hum an - he suffered this system for yourself. Then y o u ’ll
found his way to this com m itted the political system of the country. terrible bouts of asthm a, he knew
stand - a to tal dismissal of the struct­ see why we fought and y o u ’ll fight to o .
This system is such th a t it has prevent­ anger and fear and love and hum our. They take for granted the rotteness of
ure and quality of to d a y ’s world - ed G reat Britain from signing the Perhaps it is this hum anity in him th at
through daily dealings w ith th at world. our society and all three talk about
United Nations Bill of H um an Rights. has made him so attractive to the w hat a new world m ight be like. The
In these three books we are shown The governm ent of N orthern Ireland revolutionaries of our society.
some o f these dealings. main value of these books are as guides
has such extraordinary powers th at Most o f us know little o f ‘C he’ except to action and th a t’s the best thing a
We read of experiences, which thank it makes S outh Africa look like heaven th at he was a hero. In the in tro d u ctio n book could be.
god, are p retty far from our own. on earth. People can be arrested, to Vencerem os! we are given a detailed
This is true especially of the first jailed and held for ever, quite legally, description of his life up to the
tw o, for in these we are in countries b u t on no charge - ju st the suspician beginning o f the Cuban revolution.
on the outskirts of western ‘civil­ of conduct prejudicial to the orderly We follow Che through school where JO N HAWKES.
isation’. There, poverty and violence running o f the co u n try . Laws th at he was a brilliant stu d en t b u t always
are everyday things and the rich make allow the authorities this sort of in trouble, through university where
no bones ab out their contem pt and pow er were a cause o f th e ‘6 8 /‘69 his medical studies and his co ntact
hatred o f th e peasants and workers riots, n o t a result o f them . The con­ w ith hum an suffering profoundly
who supply them with th a t richness. cept o f one m an one vote is unknow n affected him and th en th rough his
in N orthern Ireland. The electoral footloose travels across th e length
By the tim e you read this, w hat procedures are such th a t the richer one and bread th of Latin Am erica. During
happened in Washington nearly three is the m ore political pow er one wields. his grow th we can see why he becam e
years ago may have happened all as dedicated as he did for perhaps
over Australia on May 8th. However, It is these things th a t B ernadette now here else (except V ietnam ) is
apart from this, our experience of Devlin fights against. She has taken evidence o f the evils o f U.S. dom i­
mass dem onstrations, com pared to great pains to p o in t o u t th a t the roots nation so obvious as in South America.
the U.S.A. is very small. But, even so of the problem s in Ireland are eco­ He saw peasants starved and perse­
in Armies O f The Night we can nom ic n o t religious. She claims th at cuted, he saw m iners shot, he saw
identify w ith the spirit of those p ro ­ the Paisleyites (followers o f fascist dictatorships rise and fall, he saw the
testers m ore easily than with th e p ro testan t Ian Paisley) are being duped m ost terrible sickness and above it all
fighters o f th e first two books. into anti-Catholicism in order to div­ the big Am erican oil, fruit and mining
This is n o t to say th at the experiences ide the w orking class into religious com panies taking literally millions of
o f B ernadette and Che have no m ean­ blocks at odds w ith one another. In dollars o u t of the co u n try every day
ing to us, no lesson for us to absorb. this way the owners and profiteers w ithout pu ttin g anything back in.
F or it is in Latin America and N orth­ can go on holding pow er and m aking
ern Ireland (and all the other countries m oney while the w orking class bicker Finally he joined up w ith th e Cuban
in Africa and Asia) th at the true am ongst each other. She also claims exiles, fought and docto red his way
nature of our society is revealed. th at the Catholic church in Ireland through the involution and then to o k
U nder our (and Am erica’s) system of supports the pow erful ra th e r than the up the econom ic adm inistration o f the
governm ent it is only possible for us poor and is failing in its d u ty in th at country. But he was n o t an adm in­
to be reasonably well off and happy i t ’s playing pow er politics rath er than istrator. The whole tim e he was in
if the rest o f the world is kept poor C hristianity. Cuba he waged a co n stant war against
and dow ntrodden. Although a m em ber of Parliam ent the bureaucrats, the cold machine-like
Any real efforts to b etter the lot of B ernadette has found through exper­ m en who did everything by num bers.
those in ‘underdeveloped’ areas will ience th at ‘established channels’ are He regarded socialism n o t ju st as a
naturally affect us here. By real efforts impossible to w ork through. She has m ore equitable and efficient m ethod
I m ean fighting for the right of m an to tried in vain to b e tte r the conditions of running a cou n try b u t as the
be free, well fed and m aster of his of her countrym en through Parliam ent opening of a whole new realm of
own destiny - n o t the useless charity b u t ultim ately her greatest contribution hum an existence, in fact as the begin­
•I MAY 1 - JUNE 1 31

^ H E PHENOMENON of the “ Highway - 61,” “ One Too

Many Mornings,” “ Like A
bootleg album is not a new Rolling Stone,” “ Mighty
one. For years collectors have Quinn,” and “ Rainy Day
Women ” (which was the last
been privately taping rare records encore). Except as a souvenir,
this side is pretty well a
and having them dubbed onto write-off.
disc, but recent events have The quality of the second
side is even worse, but it’s far
brought the practice right into the more valuable because it’s
public eye. one of the very few reminders
of Bob’s tour of Britain in
It m u st be m ade clear at the ou t­ 1966. The four tracks are
set th a t practically everything about taken from the second half of
a concert (possibly the first in
bootlegging is illegal. The original Dublin, because someone can
tapes from w hich the copies are made be heard to speak with an
Irish accent), and feature Bob
usually belong to eith er record com ­ backed by the Hawks, as the
panies or the artist, and the songs are 'Band was then called.
I can’t identify the first
subject to royalties through th eir pub­ song, but the others are
lishing com panies. ‘‘ Baby Let Me Follow You
Down,” “ One Too Many
Mornings,” and what sounds
like a cataclysmic “ Like A
Power Rolling Stone.” If .these tracks
had been even slightly higher-
So, when a bootleg record is made and fidelity, they might have
qualified as the best-ever
sold, nO money goes to the artist, the song­ Dylan, because the tension
writers, or the musicians. It obviously and excitement is readily
can’t be condoned. apparent. There’s even a bit
Bur the music on some oi the bootleg of barracking, which Dylan
albums which have appeare d is so im- seems to sqifash quickly.
portant, and throws so much new light on
interesting subjects, that it can’t be
ignored and suppressed. Label
One can only hope that Tape are included: ‘‘ Mighty

the bootleggers and the Quinn,” “ This Wheel’s On The first side of the second
people who buy the albums Fire,” “ Open The Door Rich­ album has “ If You Gotta
have persuaded the com­ ard,” “ Too Much Of Noth­ Go ” from the first half of the
ing,” “ Nothing Was Deli­ concert, an acoustic “ Mr
panies who own the tapes Tambourine Man ” from the
that they should be made vered,” and the heartrending same time (it’s not the 1965
“ I Shall Be Released.”
legitimately available for tour, because the audience
all to hear. Other hits and bobs include recognise and applaud the
“ Mixed-Up Confusion,” a opening bars of the tune,
The Rolling Stones and Bob hard rocker released as a which was premiered in 1965)
Dylan have so far been the single on the Continent in and another unidentifiable
artists who have been sub­ 1965 (some copies were

jected to these tactics in Dylan-plus-Hawks track.
imported to Britain), but Part Two is padded out
Britain, although tapes and recorded in 1963, when Dylan

records by others, such as the was at the zenith of his with the duplicate tracks
Plastic Ono Band and the already mentioned, but the
acoustic stage. In view of the second side contains two old
Beatles, have turned up in fact that he was originally a
America. rock and roller, -this track duets which were released a
To deal first with the may be representative of what long time ago and are now
Stones: their album, “ LIVEr unavailable: “ Playboys And
he’d like to have done at the Playgirls ” with Pete Seeger,
Than You’ll Ever Be,” was time, given the resources.
recorded at concerts in Los recorded at the Newport Folk
Angeles and Oakland during There is also a very solid Festival in 1963 and issued on

their American tour late last “ Killing Me Alive,” from the Vanguard’s “ Newport Broad­
year. “ Highway 61 ” session with side;” and “ With God On Our
Let’s say to start with that Kooper and Bloomfield, the Side,” with Joan Baez, record­
this is simply the best album hilarious “ If You Gotta Go ” ed at Dylan’s 1964 Hallowe’en
the Stones have ever made from the same year, with concert in New York and, I
(albeit unwittingly), and very Bruce Langhome; the typical believe, released the following
probably the best “ live ” rock 1969 “ New D ylan” on year in Britain on a Baez EP.
LP ever. “ Living The Blues ” from the Lastly, there’s “ Stealin*,”
The sound quality is so Johnny Cash TV show; and a the only bootleg album with a
good that it’s almost unbeliev­ rather rough “ Only A Hobo ” label, which reads “ California
able, and everything that’s which he recorded for Broad­ Records — Los Angeles,” and
happening appears to have side in *63 under the name gives the titles. Duplicated
come -through on the tape. Blind Boy Grunt. here are “ Killing Me Alive,”
Tune-ups, Jagger’s comments But it’s »the 1961 tracks “ If You Gotta Go ” (the
and exhortations to switch on which are the most revealing. single version), and “ Bob
the house lights are all there, Taped informally in a Min­ Dylan’s New Orleans Rag.”
and the whole thing catches neapolis hotel room in De­
the uncontrolled power of the cember of that year, 20odd
* Stones at their best. tracks were recorded, of
which nine are reproduced
here. The quality of the
The title track, “ Hard
Rejected recording is often very rough
(although not as bad as some Times In New York,” “ Wade
In The Water,” and “ Cocaine
of the Band tracks), but the
As usual there’s nothing on emerging fire of young genius Blues ” come from the pre­
the sleeve or label, so where is very apparent. viously mentioned Minneapo­
the album starts is up to you. lis hotel session, while “ The
The only song which is not
available on one or other of
Gutty Cough Song,” a jokey instru­
mental full of great harp and
the Stones’ studio albums is guitar, was cut in late 1963
“ Little Queenie,” which by He lays it on pretty thick for the Broadside “ Blind Boy
comparison with the record’s vooally, as he was apt to do Grunt ” session (this and
other Chuck Berry song, in his early years, but these “ Only A Hobo ” from
“ Carol,” doesn’t really get off tracks are probably better, in “ GWW ” were released on
the ground rhythmically. The sum, than those released by Broadside BR-301).
latter has some fine idiomatic Columbia as the first LP.
Certainly they’re more re­ The rest is the best: three
Keith Richard guitar. out-takes from -the “ Bringing
“ Midnight Rambler ” is laxed. It Alii Back H om e” session,
probably the best track, far Possibly the best of with beautiful Langhome
superior to the “ Let It all is his version of Big Joe guitar lines, and the famous
B leed” cut,based on a Williams’ “ Baby Please Don’t first version of “ Can You
chunky rhythm and topped off Go,” far and away the best Please Crawl Out Your
with a brilliant stop-time coda white version of this I’ve Window,” with Mike Bloom­
which includes some really heard. His guitar work is fiery field on guitar.
superb guitar (Tayloi?). and gutty, and the pounding
** Honky Tonk Women ” is a rhythm makes this one a real This was originally put out
screaming gas, and “ Sympa­ charger. as a single in the States
thy For The Devil ” has some “ Ma n Of Constant under the title “ Positively
plangent guitar chording. Sorrow,” which was on his Fourth Street,” but was
In fact the main value of first album, is a lovely quickly recalled and replaced
this record is to demonstrate rendering — hear the way he by the right song. The second
the importance of the two- holds the high first note version of “ Window,” with
guitar set-up in the Stones. It before plunging into the tune Robertson on guitar, was later
comes over here better than — and “ Poor Lazarus ” released on a still-available
anywhere else — the way shows the first flowering of single and an EP. The
they riff together, separate, the social-conscience bit. Bloomfield version is better,
wheel round, and slice back and should have been re­
This also crops up on “ The leased.
into each other. Stunning. Death Of Emmett Till,” a fine
Apparently Jagger has song which is quite typical of
spent the last fortnight edit­ the period, recorded in Octo­
ing tapes of the American ber 1961 for the WBAI-FM
concert, which will be re­ non-profit radio station. Ex­
leased in the near future. The cerpts of discussions with Listening to these records
Stones’ London office says Pete Seeger from this pro­
that the official tapes are has brought home to me just
gramme are also included, how much we never knew
vastly superior in quality to and finally there are “ Bob about Dylan, even though I’ve
the bootleg album, so when it Dylan’s New Orleans Rag,” an
appears . . . watch out! always believed him to be
incomplete take from 1963 or this generation’s seer. I’m not
The saga of the pirate 64 with Bob blowing very going to tell you to buy them,
Dylan records grows more barrelhouse piano,. and the for the reasons outlined
complicated almost by the version of “ If You Gotta Go, above, but i-t’s time Columbia
hour. Really it all began a Go Now ” with Bruce Lang- got off its seat and started
couple of years ago, when the home, released as a single on reacting to the great desire
so-called Basement Tape the Continent in 1965. people have to hear more of
(made by Dylari and the Band On, now, to “ Live Parts Dylan.
at Woodstock) was circulated One and Two,” a really Anyone who reads Greil
to various groups, including mysterious double-album. This Marcus’s excellent survey in
the Byrds and -the Stones, as contains the same versions of Rolling Stone will know just
a kind of demo for Bob’s '* If You Gota Go,” “ Mixed- how much material there is in
newest songs. Up Confusion,” “ Killing Me the vaults (for instance, a
Cut shortly before “ John Alive,” and “ Living The complete live session from a
Wesley Harding,” -these cuts Blues.” 1964 Carnegie Hall concert
form the backbone of the Possibly the most enigmatic which was once planned for
notorious “ Great White side is the first, which comes release), and it’s positively
Wonder ” album, and are from the Isle Of Wight frustrating to know about it
duplicated on several others. concert. The recording is but never hear it.
No single bootleg album has terrible (probably from a After he’s dead it’ll come
them all, and in fact there cassette), which completely out in a set of 47 memorial
are in circulation in America blanks out the bass and gives albums, but why can’t we
several rejected takes of some prominence to Robbie Robert­ hear it now, when it’s needed'
of the songs. son’s guitar.

Single Tension BY
The “ Great White
Wonder ” double-album is the In fact Robbie’s playing is RICHARD
all-time mish-mash, but it’s probably the best part of
essential to a deeper under­ these tracks, as they race WILLIAMS
standing of Dylan. Seven through “ She Belongs To
songs from the Basement Me,” “ Maggie’s Farm,”
VO LU M E 1 / N U M BER 1 / M A Y 1 - JUNE 1

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