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WILLAMETTE TACO BELL SL
DENVER SYMPHONY ORCHESTRA
BRIAN'PRIESTMAN,- Music Director
and Conductor
First West Coast Tour
EUGENE, OREGON
McARTHUR COURT, UNIVERSITY OF OREGON
SATURDAY, OCTOBER 30, 1971
8:00 P.M.
"Denver Orchestra Attains Quintessential
Brilliance ... an orchestra ot togetherness.”
Salt Lake Tribune
Piano Soloist: JOAO-CARLOS MARTINS
“He has brilliance, drive, and force, and a
great deal of personality. Every cheer he got
was deserved.” .. . Harold G. Schonberg,
New York Times.
PROGRAM
DVORAK: Overture: "Carnival"
KHAfcHATURIAN: Concerto for Piano and
Orchestra
TCHAIKOVSKY: "Manfred” Symphony, Op. 58
POPULAR PRICES!
Adults $3.00, Students $1.00
Tickets are now on sale at:
School of Music Office, Erb Memorial Union,
Graves Music West, Wilson's Music House,
Citizens Bank (Springfield Branch)
Presents
Orson
Welles'
Touch of Evil (1959)
Sunday, October 24
7 & 9:15 p.m.
University Theatre
To See
"The most outlandish American picture"
All you have to do is join
The Film Society
Buy a season ticket at
the box office before the show.
Thoughts
BY
STEVEN D. SMITH
The movie of life; the motel
shot, the after-the-gig pickin’s
that often take off where a good
night left off, and end up better
than anything you could hear in
concert, or maybe even in the
studio.' Those natural little places
between friends who cross paths
while on the road.
Delaney & Bonnie have at
tempted to capture the motel shot
as honestly as possible in the
studio, and with old friends like
Dave Mason, Gram Parsons,
Carl Rale, Jim Keltner, and Leon
Russell—real friends, and not
just games, their efforts are
highly successful.
Take a listen, if you get a
chance, to the free and easy
music on “Motel Shot,”
(Atlantic; SD33358) or even
better, catch them in concert
tomorrow night at Mac Court
along with Barry Melton & the
Fish. Tickets cost $3.50 and the
doors open at 8. A Butterfly
Production with tickets available
at the Craftsmen Center, Sun
Shop, Crystalship, Sherwood
Forest, New Moon Imports, and
the EMU main desk.
4-4-4
Although it’s a drag that the
AM media monsters do their best
to desecrate anything of depth
which they chance to bump into,
it is a hopeful thought that all
those masses are doing their gigs
with music like Cat Stevens’
running through their heads. Who
knows . . . maybe they’ll even
stop to listen to the words.
+ + +
Aside from being nurtured in
jug band music, John Sebastian
had a healthy dose of 1950’s rock
’n roll bred into his system. His
new album, “The Four Of Us,”
(Reprise MS 2041) offers many of
the classic rock n’ roll gestures as
expressed after all the changes
which leave us in 1971. Then
there’s that streak of Sebastian
which reminds me of Jimmy
Webb. That way he has of making
you feel happy about the little
things that happen to him,
because they happen to you too.
That’s what makes him so real.
✓
“Happy Birthday, Ruthy
Baby,” (Capitol ST-794) the
second album by McGuinness
Flint, offers a lot of growth from
their first release, and a number
of good-time moments which
don’t take much to enjoy. The
title song is a funky down-home
number about the day-to-day
routine, and its direct approach
creates a spontaneity that gets
right in there where the smiles
are wide.
Nicky Hopkins plays on half of
the twelve cuts, with it all
produced by the reputable Glyn
Johns.
+ + +
If you work along the assump
tion that the world we live in has
developed into an illogical
system which can only be
regarded as insanity if you try to
handly it in a rational manner,
then Firesign Theatre has ex
panded the only healthy alter
native. That is, by reacting to and
operating in a manner considered
insane to those within the system.
That’s society’s double
negative for you: The illogical
system recognizes only that
which is illogical, hence logic and
reasoning are regarded as in
correct and not recognized. So
Firesign Theatre exaggerates the
system’s concept of insanity,
thereby laying down some of the
most logical, to-the-point com
ments about where man is at, and
just how many billions of miles
away the system is.
+ + +
If you believe in such a thing as
an intellectual songwriter in
rock, then Cat Stevens joins the
likes of Paul Simon and John
Lennon for that honor.
Gus Dudgeon, production mind
behind Elton John, has turned out
a fine collection of material by
the English quartet, Audience.
Although at first glance their
first album, “The House On The
Hill,” (Elektra EKS-74100) may
appear to be racuous, un
controlled eclecticism, con
centration brings out some well
produced, long-standing rock n’
roll riffs with quite a bit of
horizon-expanding, free-form
woodwind work from Keith
Gemmell.
The title song breaks midway
into a drum solo that might be the
entrance to the bewitched house,
and the stark sax work, including
single and double echo, could
easily be the expectant suspense
of going from room to room in a
dark, haunted house. The return
to the original melody and story
lines is forceful, descending on
the guilty intruder with the
condemnation of its warning.
No matter how imaginative
Dudgeon is with nearly all
material he elaborates on, he still
impresses me most with his
handling of songs with energy
and life—the essence of get-it-on
rock n’ roll. For graphic
example, “Nancy” from “House
On "Hie Hill,” and tunes like
“Ballad of A Well-Known Gun”
and “Son Of Your Father” from
“Tumbleweed Connection.”
Happily, undiluted by the sonic
drain of Grand Funk-Black
Sabbath-James Gang rock n’ roll
energy, (which was spawned
honorably by the Who and The
Yardbirds, and bastardized by
the likes of Steppenwolf, Led
Zeppelin, and Ten Years After)
Audience maintains an honestly
fresh handly on some of the best
know rock’n roll gestures. Check
“You’re Not Smilin’’ and the
more recent chart-successful
posture “Indian Summer” takes.
In Ralph McTell’s new album,
“Your Well-Meaning Brought Me
Here,” (Paramount PAS 6015)
we have another treat from
Dudgeon. Yet despite a valiant
effort on the part of Dudgeon’s
imagination, McTell’s songs
seem aborted, with the urgency
to tell the story often crowding
out many fine possibilities for the
melodies to roam.
McTell, a veteran busker of the
London streets, builds his folk
ballads to many solid choruses or
jumping off points for in
strumental experimentation,
only to return to another round of
melody and the next verse. As a
result, the listener is let down
abruptly after being built up for
the expected climax.
Bright spots on the album are
“Old Brown Dog,” and
“Claudia,” with Dudgeon’s pet
studio guitarist, Caleb Quaye,
turning in some fine lead licks.
+ + +
I speak of Quaye because of a
song on Elton John’s first album,
“Empty Sky,” (he has been with
Elton John on all four of his
studio records) which leads me to
believe that he is the third best
guitarist with a wah-wah in the
world. The song is called “Sails,”
and he makes that wah-wah talk.
Second best with a wah-wah
has to be Stills, who can make his
sing, as evidenced on “Think I’ll
Go Back Home,” from his first
solo album. Holding the crown, of
course, is Hendrix, who got three
part harmony out of his wah-wah
on many occasions.
+ + +
The truly great artist thrives on
originality and discovers those
magic moments of melody which
lie camoflagued before the eye of
the imitator.
Marvin, Welch & Farrar,
perhaps the grossest example of
under-promotion in the record
industry in recent months, is best
described as an English
equivalent to Bread. The reason
being that these dudes have paid
their dues and they’ve got the
studio production tricks which
come with making one com
mercial hit after another wired.
Their experience consists of
backing Cliff Richard, always
one of the Top Three male
vocalists in England for the past
ten years. And they’ve been with
him all along. But now they are
on their own as Marvin, Welch &
Farrar, with a debut record of the
same name (Capitol ST-760) out
since last June.
If Capitolever gets its corporate
ass in gear and pulls just one of
the three or four sure AM hits out
of this LP, these three will take
off, and it could be a pleasant
flight.
+ + +
Saw the James Gang at the
Salem Armory a couple of weeks
ago. I thought they were too loud,
too heavy, and the typical Salem
Armory crowd of “hip” high
schoolers just plain too much.
As for what the James Gang is
up to, Dale Peters, of the one-ton
bass, recouted: “We’ve been on
tour almost constantly for the
past two years. This Christmas
we’re going to take a vacation.”
Hopefully, the rest will mellow
some of their ideas for the next,
their fifth album. Joe Walsh, who
physically makes up for a third of
the group, but creatively ac
counts for about three-fourths of
their output, said last March that
he was working on a solo album,
and that should be out by
January, if not sooner.
He said at that time if he could
do anything he wanted, he would
like to play rhythm guitar for
Neil Young. Cat Stevens and
Elton John were also mentioned
as listening favorites. Perhaps
those influences will overshadow
the volume and weight ruts
Walsh seems to be getting stuck
in with the James Gang.
+++
For the first time in well over a
year, Creedence is going on tour.
They will be in Portland this
Friday, October 22, at the
Memorial Coliseum. Concert
starts at 8 with advance tickets
costing $4.50, up until Friday
when they go up to $5.50. Tickets
available at the usual Coliseum
outlets.