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About Oregon daily emerald. (Eugene, Or.) 1920-2012 | View Entire Issue (April 26, 1973)
^Emerald THE BEST OF "BOTH WORLI 8S7J3A Franklin Blvd. 746-4144 BELLY DANCING FRIDAY & SATURDAY NIGHTS 9:30 - 10:30 75c COVER C APPETIZERS, DESERTS & BEVERAGES AVAILABLE ' DINNER 5-9 pm TUES.-SUNDAY A Different Entree Nightly - Lamb, Chicken, Beef Call for Reservations V For more than 2,000 years the Bible has prophesied that the final events of history and the return of Jesus Christ would center on Israel. Right now the U.N. is debating the chronic state of crisis in the Mid- - East. Is the world evolving toward a better, higher plane or is it ap proaching the "End Times" the Bible talks about? Dr. Raymond Cox, expert in Bible prophesy, will present a slide illustrated answer to this question in Room 150 Science, Friday afternoon at 5:30. One Way Ministries • TONIGHT IS April 26th Vin Rose Rhine & Burgundy 25* LADIES ’ (When Ordered By A Lady) 4:30 to 10:00 at 13th and Alder DUFFY'S tecvuU The Captain and Me The Doable Brothers Warner Brothers This third Doobie Brothers slbun is down aways from their first two. It sounds much more mellow, yet ac complished in an increasingly elaborate fashion. If you compare it to “Toulouse Street,” the difference is striking. The arrangements of “Captain” are fuller, and you get the impression that this album was thought about for a longer time than “Toulouse.” Still, “Toulouse Street” is a better album. At least it has a few high spots which blot oik the low points. “The Captain and Me” is much more con sistent in quality. Each song on the album has something to merit a good word or two. Only one of the songs on the albixn was not a product of the Doobie Brothers writers, Tom Johnston and Patrick Sim mons. In addition to writing the group’s songs either in dividually or together, Johnston and Simmons provide some interesting interaction on their lead guitars. One of Johnston’s songs deserves mention. The music for “Dark-Eyed Cajun Woman” is illustrative of the complex arrangement used by the group. Horns, ARP Syn thesizer, strings, pianos, phis the group’s instruments Mend into a sweet and easy melody. “Cajun” manages to stay just a little on this side of good. That’s for die arrangement. The song itself I think is ex cellent. Since listening to this album for review purposes, I have acquainted myself with a few “Doobie” fans who say, “Yes, yes!” And of course a few who go “No, no!" The people who don’t like the Doobie Brothers complain that their music is too commercial and so on. I suppose one can look at it that way and agree that there does seem to be lacking the daring of a Peter Townsend or a Duane Allman, perhaps, but I think that if there is any •‘popularizing” going on, it isn’t intentional. For “Doobie” fans, however, this is all rot anyway. G««rge Baddy Fumy “Mother’s Pride” MS2137 Warner Bros. Copyright If73 Nearly everyone with ears aware of Fanny. The popular success of their previous albums, and the singles drawn from them has made it highly unlikely that anyone owning a radio hasn’t heard them at least once. They woe a breath of fresh rock and roll air in the rather stuffy atmosphere that has characterized popular music lately. 1 played “Mother’s Pride” expecting the hard driving rockers that I’ve come to crave more and more these days. The record seemed to say “sorry, maybe next time.’’ Luckily, I’m a sucker for vocal harmonies and pensive love songs so the record wasn’t a total loss, but I can only plead with Fan ny,“Please, please, don’t forsake rockers.’’ Oh, I heard flashes. But they only tantalized me. “Summer Song" could rank with the best of Brian Wilson as one of those joyous shouts of summer vacation remembered. I heard some of that energy in “I Need You Need Me’’ and “I’m Satisfied” — the raw, sexual energy that makes the best Bock and Roll so exciting, and distasteful to so many. Hie Randy Newman tune “Last Night I Had A Dream” has some of that, and I guess so did “Solid Gold” to some degree. Counting up the tunes I’ve listed, I find that they account for some 37.5 percent of the record. Perhaps they heard my plea. While making no attempt to compare the records, the tone of “Mother’s Pride” really reminds me of “Rubber Soul.” They both were recorded after the artists had become famous for something less than tender ballads. Perhaps I am being too cautious — “The Long Road Home” could be a new “Michelle.” Perhaps I am caught in the coils of my own analogy. There are some very nice love songs, some very reasonable love songs. For example: “Oh when you’re looking for someone to love It isn’t easy to live without love And when you’re lonely it’s harder to laugh But you’ve made it easy, that’s all in the past” “All Mine” Jean and Jane Millington, copyright 1973 Braintree-Tinkle Tones Solid lyrics. I like all the songs, more or less. I’ve already mentioned most of the songs Mike more, so in the interest of fairness I’ll mention the songs I like less. “Old Hat,” “Is It Really You,” and “Polecat Blues.” Songs I haven’t mentioned but like more are “All Mine,” and “Regular Guy.” That takes care of the tunes. Musically, the record breaks no new ground. All the instrumental and vocal work is done by Fanny. They are proficient on their respective “axes” as musicians are wont to call their instruments. They have good voices, sing well, and use harmonies. That in and of itself has me from the start. The production is clean, crisp, and professional. Exactly what we have come to expect of Todd Rundgren and Glyn Johns. All in all it is a good, not great record. I can only give it a 73, however, since it’s kinda hard to dance to some of the tunes. (Disclaimer: I have scrupulously avoided noting the fact that Fanny is an all girl band (I am an all-boy reviewer). I hope the disclosure enlightens those who were ignorant of the fact, and does not offend those who feel gender has no place in human intercourse). Rolf Huge
