Roadrunner 1(5) August 1978

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SOAPBOX ORCHESTRA Mi\HAGE THEMSELVES ; PHON,: S\LLY ON ^332 3 3 2 3

EvansGudiiiski presents

GRAHAM PARKER

and THE RUMOUR TICKETS O N SALE N O W !

APOLLO STADIUM SEPT 15 tickets Allans $8.90

WatchoutforthePARKERILLA HCADRUNNER AUGUST ]978

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Dear Ed, In reference to the "Malicious Gossip" section in the current issue of Roadrunner.

If Jillian Burt tries to dedicate a whole issue to Mike Rudd and his band - please let her.'

It would show amazingly good taste on your part and would make myself and many other Adelaide folks extremely happy.

Yours ANDE (a Mike Rudd devotee) Dear Roadrunner, Regarding the "Heart of Saturday Night - Top 5 Big Ones" published in Vol. 1 Issue 4 of Road­ Runner, July 1978, we wish to highlight a discrepancy, or mistake in fact a blunder.

To us a Top 5 is five seperate distinct items, but to Road­ runner a Top 5 is in fact 3. Does that mean

(ROADRUNNER) TO BOOK ABVJitTIJIj G SFAGiil iriiUl'-:Jj u'xliirLH.i Ol'i 2671871 OR 3526868

L E TIE R Z y

a Top 20 would be a 12?

As only 3 of our paid for in advance chart items appeared in your up until this moment highly esteemed publication does that mean that: a) No's 4 and 5 will appear in a glossy lift out supplement of their own?

OR b) Will the next issue contain a Top 7, which in fact - work­ ing by your numerology will be what was intended initially, a Top 5?

While we're here we wish to inform Road­ runner that Vv?e have cast subtlety to the winds and changed the title of our Top 5 to the "Cash Only - No Cheques Top 5". fondly Yours TONI MC CARTHY JILLIAN BURT TO WHOM IT MAY CONCERN At.the last Bloor House gig my friends and I had an indifferent night to say the least.'.' Two distressing things happened that night.

Firstly, we were confronted by a LEK (my friend especially).

She has a hole in the heart and I had to carry her down two flights of stairs and drag her to the car.

As it is she has not recovered and we have discovered she now has two holes in her weak heart.

This incident really shitted us off.

And as if this wasn't bad enough, our two bottles of cheap sparkly wines and two

5UV "Cash Only - No Cheques Top ^ Big Ones" •4’ 1) Hit Single BLEEDING HEARTS 2) Window - THE WARM JETS 3) She's Got The Money - YOUNG MODERN 4) Airport - THE MOTORS

bottles of beer were abducted from the bin which was in the middle of the room.

We went on a vicious hunt throughout the ware house but in all our efforts didn't find them.

(We were to find later on, however that our bottles had been used for some BODIES enjoyment - not drinking either).

The U-Bombers played great but being as we know the Accountants we cannot say they were piss!

But don't get us wrong we raged all evening and loved all of them.

I feel a sign should be put at the entrance of Bloor House saying "ENTER AT OWN RISK BEWARE OF LEKS!!!"

BONDAGE! PS (Please publish as we are readers of your magazine).

EDITORS ALLAN COOP STUART COUPE ALEX EHLERT BRUCE MILNE DONALD ROBERTSON MELBOURNE EDITOR CEE WALKER CONTRIBUTERS DENNIS ATKINS JILLIAN BURT ANNIE BURTON LARRY BUTTROSE BAIN DENNIS AUBREY CASS SUE DENIM MELANIE GOSS ANDREW MCHUGH FESTERING MICK ANITA KILLMIER ADRIAN RAWLINS ROSS STAPLETON HEATHER VENN SINGLES EDITOR MARK BURFORD

PHOTOGRAPHY ROBERT HARTMAN SALLY THOMAS ERIC ALGRA JOE MURRAY ALLAN COOP JAW ARTWORK ASSISTANT JOHN ALTREE-WILLIAMS ADVERTISING MANAGERS GERRY SCHUMANN DEBBIE WADE ADVERTISING LAYOUT ALEX EHLERT TYPING JILLIAN BURT GIG GUIDE COMPILATION TRINA JANE HANLEY ( PHONE 3325915 )

CARTOONS MELVIN

ROADRUNNER H.g.

P.O.BOX 156 NORWOOD SA 5067 PHONE:- 352 6868

GRAPHICS BAIN

DEADLINES FOR NEXT ISSUE ADS & ARTICLES-AUGUST 17

ROADRUNNER AUGUST 1978

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otirrings in the parks Newspaper blows down the giey morning streets, cahbe^qe leaves crushed by early workers cars in Grenieil St. as Adelaide's thousand vjossip ]urikies walk into their newsagents search­ ing lor their "nonthly hit - here it is

Lmme‘tt Grooan is dead.

All mourn.

Grogan died in BrookIvn in April. ciogaii died in the environment into which he w'as boir>.

All mourn.

Grocran v;as a pi votal figure of Phe sixties.

H e 'is sadly missed.

The world is that much worse oft now.

Ait hm.riett. Grogan grew up on the streets or tear in New York.

He ran w'lth the street gangs. ti<' fomiht and hurt people-. He , played the game ot life that's played tor keeps It's called RinacMeviO. He wrvite a hook vvallea that.

It*s a text-oft he S iX r.ie s .

Now he 'S d€’a d . '/V•: see that Pylae *s Gt re<,,'t-]jeua 1 is dedicated to his memory.

Dylarr mourns. r;"'me11 G ro a arj d ie<i of a lu'roin over done.

He was t.tavclling tVie subway. was dead, i*'.ey say, lor tour oays E,’t*iors> he was noticed.

Tragedy -upon tragedy. fn New '‘''‘■'k Gr'jgor: pliiye'i

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-d

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ha>'''J. He to d c u o s .

He came f'lr-re to ooot.g.

Avjain r-j;<3 .1 ja ir. h»• pi.v/fa out thr’ final Chaptf-r . Tnis time he ■di dn 'T. come back to ,read the scorecard.

E'-mip^tt Grogan gained the greater'cpart of I'is repu tat, Jon in ; an Francisco dh th.e dapB of f i''.w‘'-r pr-;wf r . He y.r'tvj t'*'.rough it c->li.

His view was Hia t of dear'. Didion's in her classic essay.

Slouching Towards Beth'lehem. The horror and sof'row. This wciS not t.he summer of love.

That was just ,;thc F^OADRUNPKR AUGUST "1978

'p p ^ y ^

what you've beer, waiting fo r . .. roster ing iMick delivf^rs th.e goods.'.'

A bevy of new bands struggled ordo the scer;e lasr rrionth ar;d about t.imo too! It. almost seems thaf there arc rnore ver.ues around than i)ands at the moment .... The Warm Set s are

*?xcuse t o r a Time c o v e r .

T h i s w a s t h e s u mmer o t l o s t c o n t u s i o n . Grogan t r i e r i t o h e l p . Ho s e t u p , w i l l ; sortto m a t e s , thr> D i g g e r s . T h e D i g g e r s g a v e away f r e e f o o d .

They t'olpod w itli th e t r e e m edical c l i n i c . .

Gror^ar. s w e a t e d a n d b l e d . He a l s o r a n '0^3 cc;o t o t h e l i m i t .

H i s e g o v.'as g r o a t .

Hi S e u o wa.s t h e s i z e o f / y n o r i c a . Tf i^ h a d n o t b c f ’S, h o w o u l d h a v e r>eon d e a d a Ion.', t i m e a n o . K i d ’/ o u r s t - ’ f n o t , f r i s n d . In Kh w Y o r k , l i k e a l l c’ i g c i t . i e s , yr^ur e o o makt'S y o u r u n . The* i m p o r t a n t t h i n g i s t h a t you run f a s t e r e a c li d a y and f i n d y o u r s e l i none f r i e n d s who w i l i r u n t'iat t« s t alo n g sid e, G r o g a n c o u K : rjc-va^r f 1 rui -atiyone t o whom he c o u l u commit h i m s e l f s t r o n g l y o n o n g h . Hti d i e d a 1 on e . He d i oui lorit.ly. B ad n ess p r e v a i l s .

We l o o k h a c k now a n d ctro G r o g a n a s o n e o i the g r e a t s of th e s i x t i e r Thf» o t h e - r s 1 j in f - a t t o r s . A b h i e Hof fman i s s t i l l •in t l . e r u n , Ivut l i e . s t o p p e d w o r k i r u j h a r d . Me w u o t o t . r a v o l f o r Crawdaod'. o e rry

Rublir sold for psych.ol: Vog,'.' .Dylan playt ays L Fatti 1ith, the on]V •■’S or O’ t , Gr< in rtu'o( sure ^^3-' ri "t.omor r o^v. there waS'a h e l o o k e d i t in C ’e '^ye aruj spat foac.k..

Grogan's lit t 3ceci t-hr ievio '-/QU c a n r e a d ar.-out ■i.S a d v e n t u r e s Lm m a k i n g i n with Italy Y^ou c a r r e a d about '3 F s c r a p e w i t th I r i s h EeDublican

PAGE 4

perhaps the most inter­ esting a<idj Lion to the scor.e. They have a solid rock'n'roll Dase but liave the c.apacity to develop along the £no / Roxy Music axis as they include synthesizer in their line up. They've been playing the lord Mernonrne on .Scaturday

Army. Back to -ian Francisco, After t.he. period covered hy Ringolevio, he drifted uway. The book lost him a lot ot iriends.

They didn't like the truth, however distort­ ed by exagejeration.

T h e y ‘didn't like Gronan*' ego movement. He took many drugs. Grouan began writ,!ng agairi. He- wrote 6 detective novel. The 1 irst ot many, he said.

It was the last ot one.

He wrote, songs with Pick Danko. He beiriendea fi-’uiko in r.he old days whf-n 'lung out with Bop Dylan. Dots ot luck. Hick, 'ihe songs, to which t;e cont r ib’Jted 1yr jcs, ■were succinct., lively tales ot bar Itte.

Talk arouna tV-.e luke fjox. Manic- dr iv ir.g through, the pourirg rain. Lots of luck A^mer 1 c a . You nec’d 1 1 Orotian had a luture.

He a 1so su f f rr>d, He suffered trom that p«rticular sixiies ha!:gove r d isea .se. He suttered from a kind or depression out ot which! tht^rf* IS only s t.nr o.';e way, T! te breaks k.io. or { ( i r^

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a t t e r n o o n s anrl a l s o p l a y e d a t t h e o p e n i ntj G i a r’ ur.k i a s h i o n s h u n ,

■ Y a Ya ' wj th t he Account.ants... . TheAccountants gig at the Green Hoorn i''ith the?

U - B o mb s w a s b l o w n o u t a f t e r tcj o muon a d v a n c e p u b l i c i t y . /*nd t h e G r e e n Hoorn i s n o t a ' P u r e P’ l n k ' r e-'hear s a 1 r 00m a s r e p o r t ed l a s t i s h . Nc?ither i s i t an MLG P r o i e c t - i t ' s b e in g lun as a c o - o p e r ­ a t i v e v e n t u r e by t h e m e m b e r s oL i h e b a n d s wh o p r a c t i s e t h e r e ( tl->e U - B o m b s , t h e A c c o u n t a n t s , and tfi e D ag oe s) . . . . Tomli n a r c a l s o b a c k on t h e c i r c u i t a f t e r a t.wn month l a y o f f t o d e v e l o p ' a new d i r«-;r;i,ion ' . The? i r r e p e r t o i r e include^s numbers by t h e B C f i t i e s , t h e Y a r ( t h i r d s , I t i e . Ki nks a nd t h e A r u m a l s , a s w e l l a s a w h o l e s w a g o f new n . a t o r i a l w r i t t e n by A.l e c Toriii i n . T h e y ' 1 1 o n l y b e i n towi? f o r a month h - e fo r e t f ' a d i n g t o r Mydric'/ w t i e r e H a r r y V a n d a a n d C co r ge? Y o u n g a r c i n t e r e s t e d i n thf? h a n d . . . . A n o t h e r n a n d n i libi i r u ] a t t h e Vortdi.-. / Y o u ­ ng C'jriiplex, M i c k e y F i n n , t'.ave l o s t t t i e i r i - a s s p l a y e r . B i l l McMahon, a n a r umour h a s i t t . h a t B r u c e Howe, t r o m Gome Dr e a m w i l l i c j i n t h e b a n d .

(Fraternity fans will b.' pifvsc'dl) Muiybe thsy will gf-t b(.,n Gejutt to h.oip -mi ttiC.-ir album? . . . . fJJean C’u t b r o k e up l a s t m o n t h . Tr'C’v ' u ti ad .? goocj riir? t o r a n o n or i g i rra I t)ar?o but. c o u l d n ' t Sf'C^rn t o b r e a k o u t o t t h a t r u t . r'ru'imr-r T o n y T h o r n t ' j n ’’?as l oi nt ' c t T o n y Ncjyl''-r anc^ A d r i a n G.iit'pbe I i i n r ro. ut P^gr. . . . f-reori H(-ar t --r t* al l ot fic-t bar.d 'who ' . ' a i l e d i t a tJay l a s t •'I'li.jnth,

They ware a viftlin of t'iC> ' ver i UOS VaCJ'. 37 i' S'/'Kir cmi

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rr’anv gdus ,,tOiU'd at t h e moment t h a t v i r t u a - ^ i l y >'iny. ;ric cav. 5 o r in a rj.iriri a n o le-t -worK i m m e d i a t e l y g wi t h o u t t h e .s . X ir.(.njt ' 3 pr ,.,0 _ i s e t h a t bands u s u a l l y [? !t i n b f o r rc t k . no

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SNI PPETS

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vi.' K. I Ki^ry, Richard and Alan from jj-.ind have qot t:ogether with Ian Stehlec (ox-I.enf Kanjors) I'eti! Aiiffi ( [.o, ••(.it t>ie *I Go To Rio* man) to form -the Notorious Lo'uec Rr (.jthr-r .'j aanoThey played some gigs down in Millicent, replacing' Neon Heart Middle Class^ 'the ocher r.Lj-w brtr.fi on t ‘ scene will be playing the Tiv this taonth.,*.

As was hall reported last month, Keith ShadwicK ( who has gone to Italy) and Martin Armiucr hrtVt. lore iVur Hi.jli Rise Bombers. The band is continuing as a live piece.... there were scurrilous rumours going round Adelaide and Melbourne last month that Martin, Steve Cummings and Andrew Pendlebury fron The Sports, plus the drummer from Parach­ ute were getting together in a Carlton SupergrouQ, However, JoVm Lever, The Sports* manager, denied all rumours oi a split.

With Virgin Recoz'ds sniffing round the band they would be sx)ly to throw it all away..,.

Finch, who w i 11 be supporting Status Quo at the headbangers Melbourne and Sydney concerts, are going to America soon with the possibility ot support­ ing Aerosmith over there. i,( rt..i s ;[.gfi o'wc :‘ i rr^vr, the band want to do v^eli in the states because that will increase their prestige locally. Finches *Nothing to Hide* album iin ,1 I .r ciol (■ :r,E-ritif'ri

in Billboard so things are Lootir.g goocj tor the: oarui. Owe.'U also saic: he liked Elvis Costello's songs.... John Martyn's concert last month was one Oi the most entertairjir.i^ si.ows so tar this yc-ar - Hr? ca:':e out with a bowl of fruit, pieces of^which he distributed pc r 1 o.i1 ca i Iy into tire a JO :cut'c, ar.fi a ca.n oi bOwl fiwar k, Ai tei co'r:piaining about the beer's orio trtStf ( hear, .

‘■.ear, 1 j-:.g Live- Coorrer's Ale) someone in the audience offered him a joint. He put down his guitar, went to the edge of the stage and accepted the gift gratefully. After a couple of hefty tokes he continued his perfor­ mance wearing that famou; illegal smile. Musically the concert was brilli­ ant with Martyn coaxing amaEing sounds out ot his guitar with his arra’/ ol :';(,tp.ftio is devices. 'Electronic folk? I don't know but it sounded great....

Apart from Status Quo, Taj Mahal is in town this month so all you oLu., quicat irortks neat Cl Pat!'; t.O ttu: Fast. LVdi Theatre on the :Cdh....

■;h{^ one 'r,,3t cvervono has been waiting for, Graham iv-irKer arvi tt-.e Rumour, will oc. rU r.t.e Apollo fir. Septc’ruer iSth. Don't miss it as this guy is dynamite live. Bruce Springsteen said not long ago that Parker was the only guy around that he*d pay money to see so it my recommenation ain't enough say Brucie

Gor.t you.... Mc-Jb..,urne street rockers will be in town early this month to play, among other things , at a R.-)f’-; Ajrtinst Pe.presui on concert { venue and date 31 i 1 1 to ar ranged) suppor ted .by Fore ig:i Body, an all-female Adelaide band..... your.g Moor-rr: oiscippecirrr.g to .Meitjoerne :or a wc.'t.k to chcf.-k thinyr, (.jUU ovfir there....

KJK looking at buying t.'.cMi owri hotel. Gniin Ko'jh reckons prenotrers and bands are getting a raw clea 1 from htitel inanagers and feels it would be better for everyone if hotel manage^s promoted tbeir ' own gigs. 'KJK are dropping Tuesday and Thursday nights at "the Lord Meibourne and •will foe going from 2pm to .di,;. there on oa'”.rdrt'v’s .... A'lC’iai'je roc'k band Red Gum are soon to bring out an album of politically orienta­ ted songs on Warren Fahey's Larrikin label.

The band features two guitars, flute and fiddle and the album will undo-^ifotedly go straight t.O ttic top ot the Lett's 'Jdr o Ic.j jc:<ii ly Scanfi' Hit Par .roc.... L ,ok out tor the second aio.ir i ro.m the Missing L !n K 1r:cr i, by Mt■1nou rne's ifigeiuiary and -f-uch lamented Bleeding Hearts .... Well, untiI the merrio month oi ocpfe;mi-jor this is F.M* saying kO€?p those, letters an.i cards rolling in and KEEP FESTERING*1

WHAT WE'VE ALL BEEN LISTENLNG TO.......

PATTI SMITH - Easter, God Speed L-On REED - Street Hassle DRAGON - St. Leonard's FLAM'lN* GROOVIES - How So You Wanrsa Be A Rock *n'F<oll Star - Vol 2 Oz rock *67-70 TOM ROBINSON BAND Power In The Darkness MONKHES - Stoppin' Stone GRAHAM PARKER AND THE RUMOUR - The Parkeriila ' BUZZCOCKS - Another

Music From A Different Kitchen Monday Nights at the Creole Room WEATHER REPORT - Live In Japan TOWNES VAN ZANDT Flyin* Shoes JOE ELY - Honky Tonk r-'.rtsq'.sor T'i<' GERRY RAFFERTY - City To City WRECKLESS ERIC EASYBEATS - Best Of

TWO WAY GARDEN V YOUNG m o d e r n - Tivoli .■'/V.'Tr a :. uen BOWIF - Young Americans ENO - Bel ore and Arthr MINK DK VTU.E - Return Tri Magenta BRUCE GPR TNG STE EN Born To Rur. GREG KIHN - Aoaln

ISSUES

)-

On June ?7th the iour Adelaide street musicians, Chris Aronston, Mick Parker, eeiemy and I, appeared in court on the charge or singing illegally in the Randle Mall, on April 11th. It is impossible to sing legally because the council refuses to issue permits. So we all pleaded not guilty, Ihe case has been adjourned to October 11, six months after the Meanwhile, busking c(...ntinues and the council inspector, the intrepid Mr. Young, f’ontinues tciking names, it used to be a very formal process: e.g.

"Excuse me Mr Aubrey, ao you have a permit?" or, "Are you aware that for ea'"h time you are reported, you are liable for a S40 fine?"

Hfc- has taken my narfte about 50 times ( $2000 or 7 months in jail).

The situation has iiecorne a joke. Even .Mr. Young has been forced to laugh about the stupidity of it all, though he still takes my name. It is his job.

1 asked him once what he though of the law.

He replied it wasn't his job to think.

At present the Street Orchestra is doing a few shows around town like trie Saturday Afternoon gig at the Lord Melbourne, and Zygon in Sturt St. On October 11th, the day of the court case, we are doing a concert in the Mall trom 12-2p.m. follbw'ed i’v a march to the c'-'iirthouse. Everyone Ls invited to come along. Fancy Dress We1come. Brino an instrument too.

DEN.MIS AUBREY

ROADRUNNER AUGUST 1978

PAGE 5

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PAGE 6

CASTLE

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LU N T R O C K

cunning stunt Adelaide was first intro­ duced to Cunning Stunt at a Lone Star gig with Cold Chisel.

Little enthusiasm was shown for this band by the audience who had obviously just come to see Cold Chisel anyway. (Just:ified too).

That, was four months ago.

In that time C^S. have gained a great; deal of respect from audiences, due to their constant drive to improvement'.

Cunning Stunt (ex-Eve) v/as little more than just another local band with a line-up change and a new name, until Dave Keegan, experienced in rock and roll for over a decade took hold of the reigns and redi reacted the energy of the band.

Their repertoire is in constant change progressing through the many phases of rock and roll, with numbers such as "FfPeze", "Wild Thing", "Tumbling Dice", "River Deep Mountain High", and the more laid back numbers like "Black Honey" ana the old standard "I Can't Stop Loving You", are punctuate;d by original c,S. material, the most outstanding number being "Regular Lay", "Living On Borrowed Rhyme", and the much requested "Jodi Sweet Sympathy".

The songwriters of tne band are vTon and Dave who write the music and the Ivrics

The Warm Jei.s are a band who are relatively new on the Adelaide scene - their debut was at the Adelaide Uni. Gaysoc Dance and they've played at the Lord Melbourne'on Saturday afternoons since then. They are a five piece band made up of Chris Coleman - guitar and vocals; Michael Bahlij synthesizers and vocals; Coz oaSi ■f it:i r-<'/\'nan - j»"ums iett '■-‘11' \f rj* voc<-d .

0 .ar'd occasional guitat. The music L' .'M ir tr rest : 1 t.ixt r» •' rw '-Uj' w'f-' C'r.'isg Fno and I Tie Bowir^ influences.

J ' V ni i'-jv ui-jinut si>ngs w it som-'-' non-or ia iria 1 m a t r i a l

respecti vely.

Dave's voice has a strong demanding quality.

It's' rasping tone (a bit like a male version of Rod Stewart) is unfortunately lost at times by the lack of sustaining the long notes that some of the ballads call for. Jon has been play­ ing guitar for five years and handles the inscrument with definite professionalism, although the riffs become at

throv/n in, the most memorable being "In The Science", "Get Off My Cloud" and "Sweet Jane".

They describe their music as Cryptic Rock ( Does that mean it's real dead boys? - Ed) Their influences range from Jethro Tull ( particularly Tan Anderson), through Bowie, Eno, Manzanera, early Roxy, Lou Reed, Igyy Pop, Jaco F-astorius, Heri ie Hancock, Claude Debussv, Keith Moon, Rat. Scabies, The Boach r-r, s, Creedence, and Loudon Wainwright i:ii. 1 llg| iilil r'hrifa Coleman explained tuat whnt all these pecjolo have in common is that; i:hey are interes­

times too repetitious and self indulgent.

Bronte is a good stylish guitarist and has an above average knowledge of the instrument and its power.

His solid guitarwork makes a rigid platform for Jon's explosive lead. . Bronte also supplies the harmonies, but unfortunately he seems a little scared of the microphones and often turns his head away in the middle of a chorus line.

Peter's bass play ing is basic, but he occasionally surprises the audience with clever riffs.Ronnie sits behind his drums almost hidden from view, but the strong aggressive beat lets you know that he's well and truly there. Unfortunately, Adelaide has few venues available for a band of this style (Disco Ducks just couldn't cope).

C.S., like most bands on a small circuit, could easily become stagnant within the Adelaide scene.

Many groups disband because of this.

There are so many clinically perfect musos around, that band together and produce clinically pure sound.

Cunning Stunt do not produce that perfection.

Cunning Stunt have that one important ingredient which the "clinics" are so sadly lacking in, and that is CHARISMA. CASS

ting - they extend their instru­ ments arid their style.

Chris - "I'm not content to copy a style ( And play that style perfectly) but to expand through different areas."

Keith - " That's important. The trouble with a lot of Adelaide bands is that a lot of them, espec 1 1 1'v t.hf" new ont's, is that <-Hey tall into catf'yot ies <■ 00 r-asi ly. CJc-an Cut sounded like Graham Parker and Young Modern sound like the early Btfines. T *rn not bitching or anything but they're labelled too easily and we hope we're CONTINUED ON PAGE 9

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ROADRUNNER AUGUST 1978

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7

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LI VE

VIBES

Report Friday the 7th. of July was Josef Zawinul's forty sixth birthday and the day Weather . Report arrived in Adelaide on their first Australian tour. ’'^'Blowing up a storm of pure exhilaration" said the press release and virtually anyone * ^ else in the Know who was asKed ; about WeatheriReporto t .

"It®s a-very emotional music' music of the hearto It"s dramatic and very sincere music The band sticks to its guns ' with its musico It*s a very heartfelt personal music and that*s why the,..band sounds so o. • unique, because its a personal statement from musicians like Wayne Shorter and Jo.e Zawinul and Jaco Pas tori us" comment ed.«»' new drummer Peter Erskine, the 24 year old powerhouse replace­ ment for Acuna and Badrena# on the music of his new colleagues* In concert Weather Report are aqgressive,, the gentle ethereal melodies of their alfewms stiffened and driven onstage by Erskine's taut dizzying druinmingo "BirdIrnd", a great piece anyway positively roared with his fast constant rhythm worko On Friday the word spread quickly that Weather Report were celebrating Zawinul's birthday at La Provencale Restaurant and the general assumption was that ®the boys' would 'have a blow'p in the adjoining Creole Room, it was more hope than expectation but Jaco Pastorius obliged# weilding . <acoustic bass with Erskine' drumming for a vigorous rendit­ ion of Zawinul's "Mercy.Mercy" The jovial sparky Erskine drummed relentlessly througf the concert and closed It with a strong solo, complete with train noises.

-!- " ' "I don®t think the term jasz rock has any value or non value" stated Wayne Shorter.

"It's just a name. l relegate value not to names but to people* So when people go behind a name and see who the people are there's the value." When anyone goes behind jazz rock Weather Report'are"invariably t h e f t r s t people seized upjon. and Shorter oid sense tliat rrit .i ;irasic would be archetypal and revol­ utionary.

"Yes, we knew it was going co be a door opener.

We knew that it would take this length of 'time to cover from our part,, just the music part aioftez' "covec™^ our fellow human beings.

And from

ROADRUNNER AUGUST ]9'

-PAGE A

someone elsps part, the record company's part r to help us ' carry the message.

We don't write music with messages in it' but the message is that the door is open - wide open."

In concert Shorter, at least svisually, gave the appearance of th# old schpol man,. conser.vati.ve 1y att,ired in -buttoned to nCck'long sleeved shirt - his rigid lack of move ment highlighted by Pastorius' spirited bouncing and prancing;, like,a lithe,sparring boxer.

Yet Shorter pulled off a coll* c tion of solo's and improvis­ ations on old standards, unaccompanied for the most, except briefly by JSawinul, that, were compelling and’'-'pew". ,c "Most people when they play the saxoppone stop at the -point where they play the Saxopbone the .way the saxophone was built and even i f they want to do something more exciting or new, that creates excitement they're still kind of locked into the way the saxophone was built. If ft's something difficult to do ■syou've got to ...,stranscend the “physical limitations of the instrument and let yourself do it." playing at the concert was drenched in warmth as though he -was sculpturing and stretching his saxophone notes to touch every member of the audience.

The fact that he's regarded as not just another good sax player, but the best, does mean a lot to Shorter.

"In a very large sense yes, because if you are going to play the saxophone-in terms that it is not a Saxophone butan instrument, a tool to be mastered so that you can express limitless aspects of Irle, and there imparting and sharing as much beauty of life or ugliness, or whatever thats needed to decorate the world exterior decoration I call music - you've get to master the instrument so that you can create, give people more than their money's worth for it, for the material that they buy, their decoration.".......

The other major facet of i '/.aalbcu k'.'poi L is koybo.uuist Joe Zawinul.

He balances Shorter's BEST saxophonist tag, with that of BEST synthesiser exponent.

There are even those who regard ...Weather Report ,.a.s-*- ■ Zawinul*s band, he produced/ ' orchestrated their last album "Heavy Weather", composed the

hit single from that album "Birdland",was responsible for the hiring of whi^zo bassist Jaco Pastorius, and in concert appeared to call all of the shots.

Interviews in the pages of Contemporary Keyboard and Downbeat credit Zawinul wr^th^.^ , being a 'cheerful,and energetic man, willing to impart vast slabs of wisdom on music and all things musical to any interview­ er who'd-scared to do the back ground work.

True enough I suppose, but w'hat Downbeat and Contemporary Keyboard DIDN'T ::mention,,»was his chauvinistic attitude toward female inter­ viewers, the attitude that she can't possibly be more than fleetingly interested in the music.

This attitude ensured that Eawlnul was arrogant, .condescending and lecherous (mostly lecherous)despite the fact that t M s female interviewer had ,a) spent three weeks working on inter­ view preparation; b) studied piano for several years and would have had some basis for comprehension of his answers had he not been so painfully ' patronising; and c) pre­ interview regarded him as her favourite piano player.

Jaco Pastorius-shone as a highlight of the Weather : ’ Report concert, his lively "Tfien Town" from "Heavy Weather briefly teasing the audience with a display that would enthrall the hoards later in tlie bass solo.

Post concert Pastorius was ' being discussed.™as-,;.the "Hendrix of Bass".

He did everything,, including stretching and sliding his fingers arotabd classical , chords, aided and abetted by electronics and harmonics, and in explosive style completed his solo by dropping his bass face forward onstage and appear ing to jump on top of it during the cacophony of feedoack. GaspI Apparently Pastorius has written a punk/jazz composition for the ne'xt Weather Ro,::ort album which will be a continuation of the feel of their 1974 "Mysterious Traveller" album, and features Pastorius, Zawinul, Shorter and Erskine as well as Steve Gadd and Tony Williams.

There was even a rumour circulating at the Creole Room that Friday ni.ght that the cover wifi ,.,be a photo of the Sex Pistols with the faces substituted for Weather ■Re*port members, can.... you believe that?

JILETAN““'B

LIVE

VIBES

John M artyn John Martyn has just finished his second tour of Australia. He says he'd like to do many more. In fact he'd like to tour more often and give up recoLdinOo He"s back in England now, finishing off an album with British jazz-man Neil Ardley, and beginning work on his new set. The Ardley album, "The Harmony of the Spheres", is, says Martyn, "very jazzing...maybe a little bit straighter than 'Kaleido­ scope and Rainbows.' Not much straighter„ In fact it might even be further out - it depends what you're into."

Martyn is a bit of a larrikin, befitting his Glasgow background.

He enjoys fast, hard living.

He enjoys a joke.

Life's a bit of a laugh.

But not always.

When he gets down, like he did when his good friend, Nick Drake, died, he writes songs.

In that case it was "Solid Air".

About this writing process, he says: "What you do is try and exorcise something, especially with the down ones.

You are exorcising something that's going on in your head.

I always feel a whole lot better afterwards.

It's a cathartic thing.

The whole reason for singing that down shit is to get rid of it.

In fact, the whole business of singing is very selfish, if you're doing it seriously.

If it's pop music, it ain't selfish because it just doesn't mean anything.

It's disposable.

Singles are like a box of Kleenex.

You pick one up, wipe your face with it and go for another one" Before Martyn came to Aust­ ralia for his series of concerts, he had toured the United States, first with Eric Clapton and then by himself.

He found both tours very, very different.

"I thought the people who would come and see Clapton would have been into him for a long time. However, it turned out that they were 17-year-olds who were turned on by 'Lay Down Sally' (Clapton's top 10 UoS. single), so it was a kind of Status Quo avadience.

It was really hard because they insisted on me going on at 8 o'clock all the time, when the place is about one eighth full with just guys selling bad grass and lousy speed.

Canada was very good and the southern States were terrific."

Not so the eastern seaboard.

His most negative response was had in New York.

"I died a complete death and ended up giving them the finger.

It was one of the most exciting things that happened all week."

Martyn says he doesn't really appreciate what he calls "white punks" coming to his show.

"The average 17-year-old white punk doesn't know what the fuck's going on.

I mean he doesn't know a solo from a kick in the arse.

I got frustrated with a lot of the crowds.

They wouldn't know good music if it bit them.

As long as there's a back beat there.

They're just into rock'n'roll."

He reflects back to when he was a 17-year-old white punk and agrees that he was doing the same thing.

"I'd groove to Chuck Berry and Howlin' Wolf and pull chicks at Cream concerts.

I mean, it's great.

It's better than them hanging out on the streets getting screwed up." The audiences he does enjoy at his shows are black audiences.

They don't sit and listen.

They get up and dance.

"Given the right mood, I'd dance to the clock."

Before he flits off, he's dragged back to talk about his music and how's it's progressed.

He's not keen. He doesn't like to analyse such things.

"It's moment to moment.

It's really instinct­ ive.

I mean, I try and live my life that way.

I do try and live it as much as possible

off the top.

So any musical changes that come about are a result of whatever changes are going down in my life."

Martyn has recorded two Or his 10 albums with his wife, Beverley.

He says that she is working on her own album at the moment and it should be released by Christmas.

She is also writing a number of songs for other British singers.

"She writes infinitely more commercial stuff than I do.

I I'm quite sure she's going to have a hit single one day.

She has a more cogent grasp of pop than I do.

She has an affect­ ion for it, which I don't."

On tne Ardley album Martyn has been suggesting some out­ lines, singing some parts and writing some sections of the pieces, as well as playing guitar.

He has also been writing songs for his new solo album, "Grace and Danger." He says that he has been exploring those two words as much as possible.

He quotes from one of the songs: "Like an old man says to his dying son/ Boy y o u 're going to be all right/ I'm a man of my word/ But I sometimes have to lie."

"That's grace and danger," says Martyn.

JOHN MARTYN

WARM JETS - FROM PAGE 7 As they all, nearly, write songs, they draw on and try to say different things. Chris is interested in political situat­ ions and wants to try to get people to think about themselves and their own situations. Keith is into warnings. Nostra Damus and the years 1997 - 2001 and the National Front; Peter about the garbage that people chew up and spit out and Michael "I write about my own life."

The band are planning to go into hiding in August or September to write new material and consolidate their existing stuff, but at the moment are looking for any work that they can get. They are not only looking at pubs but at high schools as well. They want to be, in Peter's words, "A force to be reckoned with on many levels."

Or, as Keith puts it - "The Warm Jets is music for the teeth and tha feet. " HEATHER VENN

ROADRUNNER AUGUST 1978

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Hotels Discotheques Functions etc.

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RADIO

FM Adelaide has produc­ ed a lot of musical talent in the last fifteen years.

The Twilights, The Masters Apprentices, The Vibrants, The Zoot, Cold Chisel - the list is endless.

One of the things that all .these bands had in common was that tbey had to go interstate to make it nationally.

There has never been an Adelaide scene solid or coherent enough to hold a band who want to make it nationally.

And you have to make it nationally if you want to make a bit of money out of wliat you are doing.

Two recent developm.ents in town may go a long way towards changing that situation - which is with us now as much as it eve,r has been.

The first of these is the applicat:ion by the Progressive Music Broadcasting Association for a licence to operate an FM radio stai-ion.

The ramifications of this are huge.

For the first time in Adt:?laide there wouJd be a media outlet totally ss’mpathetic to local trends and aware of their needs.

Of course both 5UV and ABC-FM's "Rocturna1" have done valuable pioneering work in this area, but 5UV' onlv^- has a limited musical out­ put and "Rc'.ctu rna 1" , as all FM tuner owners can testify, got; the chop v'he p t '1 f c Q ramm in g b e c am e to o a natch ic a.n d free.

Apart .from the boost ti'e stati-ui'! v.’Oijld give to 1oca1 t a lent, there would be exposed ori r ad io a ve r 11:a f• '1e hr-rd e o t re cro rd i'io a r t i.s t s w 1ose wor'k itever, or v'^;ry rarr ly, fgets any aircime 'UT' trw c' rcm a 1 s <-a f ioris • SKA nnci FAD, the tov/ns “pc,p ' 31a t ion s, are both neurotic about rat Lngs and rcaduce th e ir a ir t.im e tc tne

lowest common denom.inator - Top 4C and Chart albums in a bid to catch listeners.

And the playlist is by and large what the music director thinks will sell. For 'sell* is the operative process in commercial radio.

Air time is 'sold’ for commercials, to air products and services that people will buy after listening.

The more people who listen (as measured by the ratings surveys) the more the station can charge for its air time The quality of the procjrammes is NOT so scrupulously measured, e.g. by a survey of the number of people who might listen to radio if there was music that would perhaps be new or challenging to them.

I'm sure there are an awiul lot of people out there who would really get off on an FM station playing •progressive'/nonrnainstream music.

A whole section of society who don't listen to radio at all would be drawn to the medium.

And FM is stereo radio, almost as good as records them selves, so there is not the^ depreciation in quality that exists at

present between Hi F i 's and AM radio.

A non commercial FM music station would be a boost for the music consciousness of Adelaide by an inject­ ion of diversity and variety into what has become a very samey Adelaide music radio scene (apart from SUV's rather delightful "Heart of Saturday Night" show).

If you are at all interested in helping the P.M.B.A. you can do this by contacting Ian Chance or Paul Brady via the Media Resource Centre, Union St, Adelaide.

Phone 223 1600.

The Austral­ ian Broadcasting ; Tribunal hearings at which the licences will be granted will be Happening some time in late August and there is still groundwork to be done . At this stage mainly getting support fcr the project both financial and written, but technical, secretarial and programming help will be important later this year.

If vou wouId like to joi n the association you can do so by picking up a form from the Media Resource Ce.ntre or vour local

record bar.

Membership is $5 and its a cause worth supporting.

Its YOUR radio if you're interested enough in getting it off the ground.

The other recent development that bodes well for Adelaide music is the coming up to national production standard of Slater Sound, ‘The White House' of Adelaide music.

Local singer Christie Allen recently recorded 5 of ex-Twilight Terry Britten's songs at the studio.

I had a listen to the tapes the other day with Rick Kent (exVibrants) who is one of the studio managers and the quality is superb.

What Rick hopes to do is break the monopoly that the Eastern States studios hold at present over Australian recording.

Future plans for the studio, include rehears al rooms, production of film clips and event­ ually the studio's own label - in fact every thing involved in the recording and product­ ion of a record under one roof.

Apart from the inter est in Adelaide music shown by the proposed radio station and the stiadio there is another connection between the two.

The FM station will possibly be leas­ ing Slater's old mobile studio, which used to be Life Propuctions mobile studio, for recording concerts and other outdoor events, With the pub rock circuits breaking new talent all the time these developments could provide the next step up the ladder for local bands, steps that can perhaps now be taken without having to go through the traumatising ritual of the long haul to Melbourne. It can only be good tor the town. It's been a long time coming but things are starting to stir...

DONALD ROBERTSON

ROADRUNNER AUGUST 1978

PAGE 11

C o c 0) < (I)

QJ D M K ft) h (D Cl K W cn rt O

SCRAWLING

Right to Live....

A rock writer is acknowleciged as the lowest form of journalistic life.

Go to another newspaper, magazine, ad agency or whatever for a job an and admit that your experience has been in even a euphemism C ro like 'the music field', and m r+ they'll crack up with laughter.

H- You may have spent five years O D U) of your life following bands around, analysing situations, coping with the responsibility of a magazine with a circulation around the 50,000 mark, editing, writing three page pieces positively bursting with wit and intelligence, but you're still not a REAL writer.

A D grade cadet on a country newspaper who occasionally gets to cover the local flower show is considered a far higher breed of beast than you are.

Still, that's only the real bad part.

It's not all broken glass and insults, you do have some fine old times as well.

They average out about 50/50; half chops at your jawbone and trying to interview those glorious types who only answer •yes' or 'no' however cunningly you word the question, and half sitting in great scats watching a fantastic band, and beir.g blessed with the wonderful o interviewees who are full of cqnfidence, fascinating r+ 3“ anecdotes and marvellous wit CD that transfers unspoiled to P ►< paper.

Ah yes, as I lie here « O C soaking up the sun beside the OJ private pool belonging to my very good personal friend {I < fD can't name him here, out you'd D know him in a flash it I did) i O in California, it's sobering to n D* think about all the tough times cu I had to go through to get D where I am today.

All those O 0) expense account lunches with DJ eager managers begging me to ft listen to their bands, tiresotie cocktail parties with iccord company executives pressing all that dull caviar and champagne (CHAMPAGNEl 1 ask you I) on me, endless dinners with trantic pop stars (they tried to be cool, but I could always tell when their latest album wasn't doing so well), dropping jewelled baubles in my br^ndied peaches, pleading fcr c. covet story.

Oh yes, life was hard.

Some weeks I had to have three manicures, my nails would be so worn down with all the typing.

And my ears.' Can you believe these very ears -ijerc forced to

So, you think you want to be a rock writer.

Try this quick quiz.

1.

Do you consider eight hours sleep a night essential?

2.

Do you like to get up in the mornings?

3.

Are you offended by men swearing in your presence?

4.

Would you mind being called a groupie?

5.

Do you know what a groupie IS? 6.

Are you shocked by drug taking, random promiscuity or other strange sexual activities?

7.

Can you cope with abuse, physical, verbal, or any other kind?

8.

Are you prepared to be bashed for expressing an opinion?

9.

Do you know what a Les Paul Junior with wah-wah and reverb is?

10. Do you know everything there is to know about every band, solo artist, rock sub­ form, dance and record of the last ten years?

11. Do you like to eat, especially in the form of regular meals?

12. Are you mad?

ANSWERS SOMEWHERE THIS PAGE

listen to people NOT EVEN IN THE TOP TEN; before that, there was an unbelievably hideous fortnight when 1 had to w i t h ­ stand several bands who'd never even made an album.' Yes, I'm not ashamed to admit it, there was a time when records were released and I wasn't consulted Every artist must go through this early suffering, but as 1 lie here surrounded by The Eagles (whoops.' It just slipped out), I'm glad I did it.

It's given me a broader appreciation of la condition humain, as it were.

I used to be unsure of my own wonderfulness; now I know I'm just as well-dressed, witty, brilliant and all-round fabulous as the next genius.

(Hi Joel) My last three books are at this very moment being made into all star cast movies - "Friday Evening Tea Dance Madness", "California Poppy" and of course "Rock Beyond Verius".

(Although personally, I preferred my own title tor the last one; "Close Encounters With Stratocaster Leads".

Still, if Warner's wanted to pey me such a fabul­ ous unnamed sum, who am I to quibble about Art?)

Go and learn cooking or something.

ROADRUNNER AUGUST 1978 PAGE 12

Well, no, it doesn't happen like that.

Perhaps it can;Nik Cohn was no doubt handsomely paid for the use of his short story, "The Tribal Rituals Of Saturday Night", as the basis for the plot (slender though it is) of "Saturday Night Fever".

Jann Wenner, the man who started Rolling Stone and lived to brand poor Bruce Springsteen for life with his infamous "I have seen the future of rock 'n'roll"remark, has achieved a kind of minor celebrity.

Annie Liebovitz has a well-deserved reputation as an excellent, possibly the best, rock photographer around, with several books and many features to support her.

But if you're thinking of taking up rock Photography rather than writing don't.

Especially if you're female.

There's already more Nikon's operating in the field than you can shake a forked stick at, and they get treated even worse than writers.

To quote a much experienced stage manager^ "These chicks with cameras, they're a pain in the arse.

Most of 'em, it's just an excuse to get backstage and get at the guys."

Sad but true; the same can be said of females waving notepads and cassette recorders. iThe real ones do things properly,through managers and PR agents; the fake ones try to crash in out of the blue, usually using the name of some innocent writer who's at home, blissfully staring at TV soap operas having a night off.

God knows how many heinous crimes have been committed in my name, minor though it is; numberless stage managers, ticket takers, even bands, have asked "If that wasn't you clutching at Freddie Mercury/L'aryl Brai thwaite/anybody else you can mention, then who the hell was it?" Damned if I know.

Nor do I know v;ho all these bright sparks who get into concerts, parties, gigs etc. for free also using my name are.

But at least they don't usually proceed to commit gross groupieisms.

I've been asked to explain the most amazing behaviour.

At least I'd like to disgrace myself MYSELF, thank you.

1 The questions posed at the beginning of this aren't really farcical you know; they're all based in fact.

Sleep does become a longed for absentee from your life, along with

If you answered no to questions 1-6, and 11, and YES to questions

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SCRAWLING

a t w h at p rice ? regular.feeding,a process. scientifically proven beyond 'the shadow of a doubt_to send you;*\mo,fe than slightly stir crazy.:- More often than 'not you have to keep the hours musicians keep and that rheaxis doing interviews at three in the"morning>, .if you can't get them, any other ..way. Musicians are also notoriously foulmouthed.

Some of them may re ta in th e vest iges o f gentility,: in that they wouldn't curse constantly in front of a 'lady', but the women they come in contact with most often are fay from ladies, being mainly of the.groUpie persuasion.

In order to function without the assumption that ypu'll put aside that sill silly cassette recorder and give ‘head at the .si 1.Elitest indi cation, .you have to assume a ‘one of the boys' manner; it's virtually ’essential, some pop stars suffering, from the delusion that any woman, no mattef who, is powered by the obseSs'ion of. dragging them into sexual encounters.

They're not .all that wrong.

1 1 'S::, surprising just ;how ..many unlikely, females :bo want just thati .But it's, your .job/' and you're definitely nbt''T interested; you. can't afford to be, or your credibility goes outvof the window, along with that, wonderfully antiquated notion,- your 'reputation'.

(Rock musicians:are absolutely dreadful gossips, even worse than most men). Y o u '11 get called a groupie anyway, and have to be able to;handle it« Until your reputation is established, you'll have to make it clear within the first five minutes of an interview that you wouldn't touch its subject with a ten foot pole, even if you have to say it as clearly as that.

And you probably will.

Then you get called a lesbian, which is better than being hassled to put out all the time.

Whatever, your sexual proclivities will be scrutinised.

They are, of course, entirely your own business.

THAT doesn't mean a thing.

If you d o n 't have a permanent fixture in your life, invent one; a great big aggressive JEALOUS one.

Unless of course, you couldn't give two hoots about your 'reputation', in which case go for your life.

But you'll find

it very difficult to get your self taken seriously.

It can be done, but it takes a very strong personality indeed.

Rock musicians, in case you h-3 ven't already understood are astoundingly sexist.

As one of the boys, you won't get any female privileges like censored language, putting the groupie down when you appear and so on.

Drug taking is also up to you, but remember that anything you do will be exaggerated enormously; totter a little and you'll hear stories about how ycu were so stoned you fell down every two feet and couldn't speak.

THEN you get a repuation for being unreliable.

Drinking with the boys is good form, if you can hold your liquor.

I can't drink, and don't, so on the very rare occasions when I do (like when a record company's laid on irresistible French champagne with strawberries in it) , I become very drunk' on practically nothing.

Dangerous.

On one dreadful occasion, tongue loosened by said champ­ agne and strawberri.cs, we assembled media had to sit in the dark and watch videos of a number of acts.

Among them was Jethro Tull, featuring Ian Anderson and ten years of his tights and codpiece wearing.

There were several shots from the back of the stage, the drummers viewpoint; "Christ, that drummer must be sick of staring at Ian Anderson's arse" says I, ladylike as ever.

When the lights came up, sure enough Ian Anderson was two seats away Now there's a man who'll never give me an interview.

Record reviews, those simple two hundred word pieces so easy to soak with venom and perverse­

ly, so difficult to express convincing admiration in, are fraught with danger.

Occasion­ ally, a member of a band you've canned may be angry enough to confront you himself.

Fair enough, as long as he's not all that much bigger than you and there's only one of him.

But the band's followers. Partic­ ularly its er, close female affiliates, have long finger­ nails and a much lower rage threshold.

Be prepared - run like hell.

They are not to be reasoned with, and are just dying to belt you in the chops.

Your knowledge of electric music equipment has to extend beyond knowing the funny guitar with only four strings is a bass.

You can get away with a fairly dodgey set of terms, but you must know what the people on the stage are using.

Say the lead guitarist was using a wah wah when he was in fact playing slide, and you'll look a dill, with a stack of letters correcting you.

Your readers expect you to know everything there is to know about any and every band; if you make a mistake, they correct you vehemently.

They don't under stand the band in question may have been their one obsession for the last eight years, and reference works are practically nil (now there IS a book thatneeds writing - Australian rock world rock, with mini histories and discographies, all as current as possible.)

You're still supposed to KNOW. Still wanna be a rock writer?

Oh, you wanna know why I'm still doing it? How would I know? How about you can't teach an old dog new tricks?

ANNIE BURTON

•(

CAB;

D ada King becor In 1966, having climbed the Stairway to the Stars and stolen a staggering proliferation of cosmic imagery. Bob Dylan, an unbelievably well dressed raga­ muffin, flew through Australia scattering concerts like nuggets on the grey slag heap of the Australian music scene but they were real funny concerts.

The mix was shouse and every thing was too loud.

Despite rumours which persist to this day, neither Michael Bloomfield nor Al Cooper appeared.

The touring band was, in fact. The Band, miniis Levon Helm who wouldn't fly. His, place on the tour was taken by Micky Jones who had played with the Hawks nine years previously, in’1957.

Unfortunately his drumming had not exactly kept pace with Dylan's giant leaps forward into future rock.

Neither had the audience's expectations.

Most of us by April 1966 were just getting into "Bringing it All Back Home" and "Highway 61 Revisited" Dylan had presented much of the material from "Blonde on Blonde" (as yet unreleased) and for most people it's all a little more than they can grasp, but Dylan's performances were SO magic, it is unbelievable.

this remarkable young man."

Bobby spat out the opening "You KNOW something's happenin', but you don't know what it is, do you, Mr. Jones?" with venom as hard as steel, as jagged as lightning The spirit that surged through those years seemed to me to be the perfect classic and enduring utterance for this age.

Hearing his records for the first time was like discovering the novels and poetry of D. H. Lawrence.

Each song seemed filled with truths one had always known but never quite been able to articulate to oneself.

I spent some time with Bob after his first Melbourne concert.

We sat around rapping and I lent him some money to send a cab out for the morning papers.

He was really keen to see the reviews.

The one in the Age contained no joy but Howard Palmer, in The Sun, said some thing like "Bob Dylan has some thingto do with modern art... there may be something here."

Bob picked up something from that.

Each image had a vocal inflection, a body stance and a dance step to fully project Dylan's poetic intention - he was the dancing boy with the magic flute , and the perform­ ance of the music, overblown and echoing, sounded like Wagner rising and falling through a catatonic thunderstorm.

Incredible.' He was both philosopher and punk, "The Dada King" (as- Joan Baez called him) and the Poisoned Popper.

He was in turn, wise, witty, cheeky, outrageous and furious.

We continued talking completely at random.

A guy who was there has said it was so intense that nobody else could follow.

In his unauthorised biography, Anthony Scaduto makes a comment about Bob's mind that is not only true but ontological; he said Bob's aiind was like the Knight in a game of chess.

And that's how we talked; jumping from one subject to another always sensing "the correspondences" which Baudelaire described in an epochal poem.

We would slide off one subject because a stumbling, fumbling word of mine caught Bob's interest and set off a different chain of thought.

I can't believe that Johnny Rotten or Sid Vicious ever expressed as much genuine fury as did Bob Dylan singing •Ballad of a Thin Man" in 1966.

Ancj I remember the American novellist John Clellon Holmes, who had written a delicious novel about the New York Jazz scene, rem.arking with wonder at the passion of Dylan's delivery and asserting that future generations could not hope to understand this century "with out reference to the work of

Sometimes we would slide off a subject mid way and an hour or two later, having followed three or four different trackswe could come to the point that line of thought was heading toward and Bob would say some thing like "and thats why (other subject) ...." and I'd say, and mean it, "yeah, I'm with you."

He told me many personal things which I have never divulged, and never will, because they are too personal.

Each point of accord reached

ROADRUNNER AUGUST 1978

PAGE 14

^RET y

nes King O f Punk was like an enlightenment, a liberation from some knot of impressions, some bind.

Finally, after eight hours there were no obstructions.

The moment had become absolute; timeless; egoless.

I am still living that moment.

It can never cease.

I had known that moment before and sometimes since.

But never so completely.

Usually with other artists, sometimes with a girl I would meet on the street or at a concert.

I remember a girl I bumped into in the Cross.

We went to a grassy place and I read her a very sacred mantra.

She was just about to hitch to Darwin and had misgivings.

Apparently the time we spent together told her,the things she needed to know to make that journey.

Another girl, in Adelaide, during a Yes concert, shared such a moment with me.

We communicated and she said -*'I can understand what you say.

I can't understand what my teachers say." Actually about 3 hours before I left Bob, who seemed to be concentrated entirely into the area of the third eye, he seemed to pass into a Place of Safety, and he said "Yeah, it was like this with a girl in New York once."

Later on, after reading Scaduto, I entertained the thought that it might have been Susie Rotolo he meant.

The Bob Dylan I met in Sydney two days before his Showground concert was the same man.

He courteously invited me into his room and we took off where we had left off twelve years previously.

We shared a wonderful two or three hours with Helena Spring, Bob occas­ ionally explaining to her who Allen was or who so-and-so was.

We talked a bit about music, a bit about the *65 tour and some of the people on it. He was warm, open, lucid and 100% in control.

A pure joy to be with.

The concerts this time - I saw two in Melbourne and one in Sydney - were very much more controlled than they had been in '66.

Bob described the new arrangements as being'closer to the songs ultimate form'.

"I haven't quite got there yet." he said with that amazing and very genuine humility which endears him to those who really

get to know him.

Perhaps in his really vast audiences would agree.

From the listeners viewpoint the concerts were completely together.

Though Bob was extremely cool, what came across was hot.

It was also rivettingly contemporary.

Soul new, disco, rhytnm and blues and reggae influences were all noticeable in a music which has the down home funkiness of southern rock (from Texas, Louisiana or Florida) and at the same time -a sort of symphonic granduer, of like a contemporary Mahler or Beethoven.

Much of this has to do with the actual composition of the band.

Bill Cross is a sizzling guitarist and an effervescent performer, who looks ravishingly good onstage, Steve Soles, Rob Stoner and Ian Wallace make a really tight rhythm section.

David Mansfield, mandolin, violin, pedal steel guitar, Alan Pasqua, keyboards, and particularly, Steve Douglas on a great variety of horns give the music a colour and dimension that can only be called magic.

But it is still the SONGS them selves that shine and dominate.

The lyrics are at once quirky and personal and so UNDENIABLY universal.

As I have said for years; the insides of an experience which each and every listener can put his own out sides to. And the music now makes them as contemporary as anything - supra - mental, cocking their snoot at my or anyone's attempt to define them.

Radiant.

Resplendent and obviously great classics of twentieth century culture; "pure art" as the Age calls them on March 24.

In 1966 I felt that in meeting Bob Dylan, I was meeting an artist as great as Jean Cocteau.

In 1978 I felt that thousands and thousands of people were meeting an artist whom they must now recognise as equally great as Chuck Berry or Elvis Preslev but, qualitatively infinitely superior.

"The best concert presented in Sydney" as one writer to the Sydney Morning Herald put it. As far as I'm concerned this concert tour establishes Bob Dylan as King: He bestrides the world of rock like a Colossus.

His songs will live forever.

ADRIAN RAWLINS

ROADRUNNER AUGUST 1978

PAGE 15

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PAGES

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ROADRUNNER GIG-GUIDE TUESDAY 1ST AUGUST THE ANGELS DANIEL WEDNESDAY 2ND AUGUST THE AJSiGELS BREAKAWAY DELUXE ROCK'N'ROLL NIGHT DANIEL EAST END STREET BAND THURSDAY 3RD AUGUST YAHOO TUB BAND SOUL H.Q. RENDEZVOUS DISCO QUICKSILVER BREAKAWAY DANIEL FRIDAY 4TH AUGUST INDIGO SUPERNOVA RUM JUNGLE EAST END STREET BAND HOT CHICKEN THE ANGELS RENDEZVOUS DISCO REFLECTIONS RUSSELL MORRIS RAIDERS BEN breakaway

DANIEL

SATURDAY 5TH AUGUST THE ANGELS COUNTRY CONNECTION NEW BANDS SOLO ARTISTS 2p.m.-6p.,m.

BANK OF FRANCE / MIDDLE CLASS EAST END STREET BAND 3p.m. -6p.m.

T JET RUSSELL MORRIS DICE BREAKAWAY MUSKET COUNTY FAIR SKY

Arkaba Hotel, Top room Tivoli Hotel Arkaba Top Room.

Old Lion Disco Findon Hotel Legtrap Hotel St. Leonard's Inn Wellington Hotel Royal Hotel Arkaba Top Room Legtrap Hotel Peter Jackson's Old Lion Disco Lord Melbourne Hotel Waverley Hotel Lawns, Adelaide Uni. Lord Melbourne Cremorne Hotel Royal Hotel Arkaba Top Room Legtrap Hotel Brighton Hotel Countdown, Old Mariner Highlander Hotel Fiesta Villa Old Lion Disco Marryatville Hotel

DANIEL

Arkaba Top Room Waverley Hotel Lord Melbourne Lord Melbourne Cremorne Hotel Brighton Hotel Countdown, Old Mariner Peter Jackson's Old Lion Disco Highlander Hotel Old Spot Fiesta Villa Marryatville Hotel

SUNDAY 6TH AUGUST RUSSELL MORRIS SOAPBOX ORCHESTRA STATUS QUO DANIEL

Elizabeth Rugby Club Aldgate Pump Apollo Stadium Tivoli Hotel

TUESDAY RTH AUGUST TEXAS !RONT PAGE d a n HILL WEDNESDAY 9TH AUGUST EAST END STREET BAND TEXAS COLLISION SHAI'^ROCK ROCK•N 'ROLL PPONT PAGE

Wellington Hotel Arkaba Top Room Old Lion Disco Fiesta Villa Legtrap Hotel St. Leonard's Inn

THURSDAY lOTH AUGUST NEW WAVE / PUNK NIGHT (ALL NIGHT) SOUL H.Q. RENDEZVOUS. DISCO FOUR REASONS 1 I'AC.^E TAJ MAHAL

Little Theatre Adel Uni Arkaoa Top Room Legtrap Peter Jackson's Lord Melbourne FESTIVAL Theatre

Arkaba Top Room Tivoli Hotel Festival Theatre

GIG GUIDE COMPILED BY CENTRAL BOOKING AGENCY WITH HELP FROM JANE HANLEY. FOR FREE LISTING IN GIG GUIDE PLEASE CONTACT JANE HANLEY ON 332 5915 DEADLINE FOR NEXT ISSUE - AUGUST I7TH

FRIDAY IITH AUGUST AURORA RUM JUNGLE EAST END STREET BAND TEXAS HOT CHICKEN RENDEZVOUS DISCO GEMINI HARVEST RAIDERS BEN .FRONT PAGE

Waverley Hotel Lord Melbourne Cremorne Hotel Arkaba Top Room Royal Hotel Legtrap Hotel Brighton Hotel Highlander Hotel Fiesta Villa Old Spot Marryatville Hotel

SATURDAY 12TH AUGUST COMPANY BLUE Waverley Hotel NEW BANDS AND SOLO ARTISTS 2p.m.- 6p.m.Lord Melbourne BANK OF FRANCE / MIDDLE CLASS Lord Melbourne EAST END STREET BAND 3p.m. - 6p.m, Cremorne Hotel OBSESSION Brighton Hotel GAMBLE Highlander Hotel FRONT PACE Marryatville Hotel TEXAS Arkaba Top Room SUNDAY 13TH AUGUST SOAPBOX ORCHESTRA Aldgate Pump TEXAS Arkaba Top Room IkONT PAG!C Tivoli Hotel TUESDAY 15TH AUGUST BLUE GRASS NIGHT MIDNIGHT OIL LONE STAR ROCK'N'ROLL ROADSHOW

Waverley Hotel Arkaba Top Room Tivoli Hotel

WEDNESDAY 16TH AUGUST EAST END STREET BAND ROCK'NROLL COLLISION MIDNIGHT OIL MUSKAT *,ONE STAR ROCK'N'ROLL ROADSHOW

Wellington Hotel Legtrap Hotel Old Lion Disco Arkaba Top Room Fiesta Villa St. Leonard's Inn

THURSDAY 17TH AUGUST SOUL H„Q. RENDEZVOUS DISCO

Arkaba Top Room Legtrap Hotel ROAJDRUNNER GIG GUIDE PAGE A

c YELLOW

TOMLIN LONE STAK ROCK*N*ROLL ROADSHOW COLLISION

Peter Jackson Lord Melbourne Old Lion Disco

FRIDAY 18TH AUGUST INDIGO RUM JUNGLE EAST END STREET BAND RENDEZVOUS DISCO RHAPSODIES BEN SPOTLIGHT MUSKAT MIDNIGHT OIL LONE STAR ROCK*N*ROLL ROADSHOW COLLISION

Waverley Hotel Lord Melbourne Cremorne Hotel Legtrap Hotel Brighton Hotel Highlander Hotel Fiesta Villa Old Spot Arkaba Top Room Marryatville Hotel Old Lion Disco

SATURDAY 19TH AUGUST COUNTRY CONNECTION Waverley Hotel NEW BANDS AND SOLO ARTISTS 3p.m. ■6p.m. Lord Melbourne BANK OF FRANCE / MIDDLE CLASS Lord Melbourne EAST END STREET BAND 3p.m.-6p.m.

Cremorne Hotel Brighton Hotel TREMELOES JET Peter Jackson's SONS OF FRED Highlander Hotel YOUNG HARMONY Old Spot SHAMROCK Fiesta Villa Arkaba Top Room MIDNIGHT OIL Old Lion Disco COLLISION Marryatville Hotel LONE STAR ROCK'N’ROLL ROADSHOW SUNDAY 2QTH AUGUST Aldgate Pump SOAPBOX ORCHESTRA Tivoli Hotel LONE STAR ROCK'N'ROLL ROADSHOW

PAGES

>

THURSDAY 24TH AUGUST SOUL HaQ. RENDEZVOUS DISCO LINDY SUMMERS MOVEMENT MOBIUS JEFF STc JOHN LONE STAR ROCK'N'ROLL ROADSHOW

Arkaba Top Room Legtrap Hotel Old Lion Disco Peter Jackson's St. Leonard's Inn Lord Melbourne

FRIDAY 25TH AUGUST AURORA RUM JUNGLE EAST END STREET RAND RENDEZVOUS DISCO SHAMROCK FOUR REASONS BEN LINDY SUMMERS MOVEMENT JEFF ST. JOHN LONE STAR ROCK'N'ROLL ROilDSHOW

Waverley Hotel Lord Melbourne Cremorne Hotel Legtrap Hotel Highlander Hotel Fiesta Villa Old Spot.

Old Lion Disco Arkaba Top Room Marryatville

SATURDAY 26TH AUGUST COMPANY BLUE NEW BANDS AND SOLO ARTISTS 2p.m.-6p.m.

BANK OF FRANCE / MIDDLE CLASS EAST END STREET BAND 3p.m.-6p.m.

DICE CUTTERBROS JEFF ST„ JOHN LINDY SUMMERS MOVEMENT LONE STAR ROCK'N'ROLL ROilDSHOW

Waverley Hotel Lord Melbourne Lord Melbourne Cremorne Hotel Highlander Hotel Brighton Hotel Arkaba Top Room Old Lion Disco Ma.rr'''atville Hotel

SUNDAY 27TH AUGUST SOAPBOX O.RCHESTRA JEFF ST. JOHN LONE STAR ROCK'N'ROLp ROADSHCW

Aldgate Pump Arkaba Top Room Tivoli Hotel

TUESDAY 22ND AUGUST JEFF ST. JOHN LONE STAR ROCK"N'ROLL ROADSHOW

Arkaba Top Room Tivoli Hotel

TUESDAY 29TH AUGUST JIMMY AND THE BOYS LONE STAR ROCK'N'ROLL ROilDSHOW

Arkaba Top Room Tivoli Hotel

WEDNESDAY 23RD AUGUST EAST END STREET BAND ROCK•N •ROLL LINDY SUMMERS MOVEMENT WALL STREET LONE STAR ROCK'N'ROLL ROADSHOW JEFF ST. JOHN

Wellington Hotel Legtrap Hotel Old Lion Disco FIESTA Villa St. Leonard's Inn Arkaba Top Room

WEDNESDAY 30TH AUGUST JIMMY AND THE BOYS ROCK 'N 'ROLJi GAMBLE LINDY SUMMERS MOVEMENT EAST END STREET BAND L O M STAR ROCK'N'ROLL ROilDSHOW

Arkaba Top Room Legtrap Hotel Fiesta Villa Old Lion Hotel Wellington Hotel St Leonard's Inn

THURSDAY 31ST AUGUST SOUL H.Q. RENDEZVOUS DISCO LINDY SUMMERS MOVEMENT LONE STAR ROCK'N'ROLL ROADSHOW

Arkaba Top Room Legtrap Hotel Old Lion Disco Lord Melbourne

ARKABA ROCK

Tuesday to Sunday Australian Rock at its Best

ph.79 3614

TUESDAY 1ST - SUNDAY 6TH ...

THE ANGELS

TUESDAY 8TH - SUNDAY 13TH ..

TEXAS

TUESDAY 15TH - SUNDAY 20TH .

MIDNIGHT OIL

TUESDAY 22ND - SUNDAY 27TH .

JEFF ST. JOHN

TUESDAY 29TH - SUNDAY 3RD SEPT.

JIM>!Y & THE BOYS

EVERY THURSDAY - SOUT. H.Q,.

ROADRUNNER GIG GUIDE PAGE B

7 8's

So seemingly after some months of fluctuating mouth flapping by the various very concerned parties, the Pistols will carry on - but most import­ antly Johnny Rotten or John Lydon will be missing.

As I write this morbid piece as a paen to the collective genius of the Sex Pistols, it would seem Malcolm M. hasn’t given up on the corpse that had become the Pistols after their fateful tour of America.

According to the ever accurate NoMoE. Steve Jones and Paul Cook have some­ how been talked into retaininq ol' Sid and they are now looking for a new Rotten (of which the mathematical possib­ ilities do appear somewhat infinite one should think).

Thus for all intents and purposes the Pistols are not dead and as Mark Twain might have said....the reports of the Sex Pistols death is greatly exaggerated.

Well I for one find it increasingly difficult to take any new combination as Sex Pistols Mark II. The Pistols without Steve Jones or John Lydon is unthinkable.

Fatty no doubt under Malcolm M's influence (very amiable geezer is Steve and easily persuaded to be in anything if you want to know the truth) in prepared to carry on.

But lets face facts, f:otten is out and therefore any other combination is another band entirely.

To put it another way what Rolling Stones fan would be prepared to Accept the Stones as the Stones if Mick or Keith (a rcai possibility too isn't jt .") should suddenly be off elsewhere .The trutii is tiiat the Sex Pistols who were at the vanguard of t.he British punk origacc had only one way to go virtcaily since they made their first assault on the charts with "Anarchy In The U.K.", anu that was to self destruct, and with their typical flair for genius - it was done in riveting fashion in a foreign land.

None of your ''musical differ­ ences" bullshit for this mob when it comes time to call it quits - ho way.

Instead its Rotten and Vicious trading verbal blows through half the rock publications in the English speaking world, and what blows they were, real truth stuff and if poor Sid had the suss I've always thought he had he would have ditched the

HOADPUNNER AUGUST 1978

PAGE ]6

rock rags and gone straight to NEWS OF THE SCREWS or some other godawful publication and spilled the venom and been paid £20,000 for doing it.

But regardless of whether their real or imagined gripes end up in Murdochland or the Memory Wanker, the fact is the band blew itself well and truly apart and no amount of plastic surgery or vocal transplants are gonna give us the Sex Pistols as we had come to know the loveable spiketopso So RoIoPo Sex Pistols, The new Sex Pistols might well end up giving us further contributions which will sneak into the sleazier side of the rock'n'roll hall of fame but I think not.

Nor do I think that whatever contribution Rotten or now Mr. Lydon as he would have it, will make, will give him a .similar entry.

Just as the BeatJej were great together so were the Pistols, and look what's iK'ippuned to the loveable fiioptops their own.

Ai.'i’t r.o way around it but to say yoO'JlLjye Sex Pistols.

It was swelL to know you and I won't never ever forget you, nor I hope wall anyone who ever bought any ol -.our rt;coids until now.

Becaur.f.- contair.td in their recorded output pr loi to bust up time, was soT.t' oi the most genuinely grc.uit moments in rock'n'roll in the 'Vu's and it we want to take the long view and give it some sort oi perspective in relation to the whole history oi rock'n' roil dating Irom that immortal year of ]9bS or 19bfc - depenaing on which school you went to, then by elitist this band still r,t ands tall in rock'n 'ro 11 immortality because as I said in the midale of last year before it was even iashlonable to rate the b-and inusicai 1y, .. . .

"J think in years to come critics and tarns alike will I o o k back and see the first three-’ Pistols singles as the greatest dotaut singles trilogy of ariy Britisl’ . barid and th.at i n d uces the L3eatlf;s, Jtf^nos, Wh.o arid anyone else you care tt; name."

L0UND3, July 30, 19/1. ano a.s 1ar as I'm coriCe.-rneg 1 w.juldn't change a word of trud ai:ric:.t d year later* I've spent as much time as anyoody tr ,;ri-j t.j ( up with the delinitive answer as to wfia- fiitijc the Pistols great becauso althouqh 1 iiuppose you ■ ...uld isolate the miusic and u.^t rate those

singles in their own right with out all the razzamatazz attached to the band, it's very import­ ant for once to take extra musical activities into aegouht when assessing the music. T.h-is to me is what makes the Pistols great - you simply can't separate the band ffpm -the,. music. ' : There is no doubt.(in my mind anyway) that the Sex , Pistols in little, more' tihan a year blazed a trail across the pages of rock 'n 'roll in a ' I. manner which no -ope certainly „ A ; before and probably no one ever will again. -.It is difficult for Australian, readers■to realise, just what.: a,.huge hot copy machine the Pistols were in England dating from December 1976 when they were, virtually cornered into swearing "on television.

(I've sat with the Pistols and other'people and watched the video of that particular performance more tuan a dozen times and the inter­ viewer Bill Grundy did every thing he possibly,could to set them up and Rotten told me h i m ­ self that he thought the' show was being pre-recorded and such swearing as there was would. eventually be wiped from the ta;>e ijeiore going to air) . But when the tour letter words hit the screen the shit really hit the fan and trurn that point on the Pistols, became prime nation­ al pr.e'as*''in the U,,.K., so much so that around the time df the r elease the Bollocks album in the U.K. I was to make a personal killing out of Fleet Street.'s insatiable appetite tor Pistols exclusives, in collusion with Virgin Records bo;.?: Richard Branson (but that's another story and a sufficient ly colorful one that I hope it surfaces in Fred and Judy Vermorel's second Pistols book which supposedly traces the baiid'c, I 1 se and rise since signing with Virgin.)

But enough of the teasing inside gjpe and let's get down to the n 1 uty gritry.. Most Australian rock fans including marjy or you reading this really couldr'i't :gi ve a flying fuck about thf.' Pistols or their contriouLiori to the evolution oi tock'ri'roll, but for those of yo j whfj ace (.>pen minded enough to think about-whether ruck coulo have done with or without them, the answer is only too obvious if you have read thus far.

What the Pistols did was

<

to take on everybody and every thing on their own terms and where others have tried and failed spectacularly, the Pistols succeeded even beyond their and McLaren's own wildest dreams.

Rotten-Lydon can say all he likes how he always knew they would be the most important band in- the universe for a time but the fact is no one could possibly forsee thev©y the media all down the line went completely apeshit about everything they did from the Bill Grundy episode to their final bloody demise and disintegration.

Any Hollywood script writer who tried to write a screenplay about a fictitious band who swears on television and become notorious overnight celebrities, get signed by two large record companies, release an anti-Queen song at the height of celeb­ rations to mark her 25th year as ruler, proceed to get bashed in the streets by seeming monarchist sympathisers, have their records banned, get taken to court because their album cover is considered indecent, get refused entry to America before the intervention of the President's staff, propose to shoot a movie with a top Holly­ wood skinflick producer, tour America, get followed by the FoBoIo, finally break up with two of the band flying out to join a great train robber in Brazil, while another overdoses while on a flight across America, while the remaining member live off the charity of friends in New York prior to returning to London where*,**®, you getting the picture? Sounds too bloody far fetched by half don't it? And it all happened and much much more* How about if I told you that God Save The Queen was rigged from being the number one single in Britain in Jubilee Week (that you know) but that a top record executive from a large American owned record company informed a top Virgin Records executive that he knew the Pistols single had really sold more copies than his own company's number one record that week (Rod Stewart's "You're In My Heart") and he was officially connected with the market research company that compiles the charts, so how much more inside inform­ ation do you need to have it confirmed that the Pistols were by conspiracy deprived of

78-s

>

number one spot* And I have more stories like that which have never seen print of ink* Basically what all this leads to is the point that the Pistols created an unprecedented series of reactions from just about every known quarter that has even a minimal involvement in rock music* This in turn created its own inter-reaction so that pretty quickly you had an uncontrollable monster* And of course riding at the head of it with arrogant disdain for the monster which they had only partly helped set in train but very quickly lost all semblance of control over, (not that they would have wanted it any other way) were the Pistols.

Anarchy in the UK to the point where towards the end of their career, the unmistakable signs were that America was about to undergo a similar catatonic experience* Certainly not in th degree of musical acceptance which the band had enjoyed in the UK but the phenomenon the Pistols represented as the protagonists in turning every previously held theory about musicians and their respective place in society, collectively on its head* When you come down to the Pistols one essential contrib ution (apart from the obvious musical one of three brilliant and one excellent single, and one mighty album) it was their ability whether we believe by design or accident, to complete ly alter the face of rock music through sheer confrontation.

They suddenly made rock music dangerous and exciting once more* They helped change a stale and decadent (boring is decadent and let's face it that's what rock had become prior to the Pistols arrival) rock scene into a revitalised

and energetic musical form once more.

Not only that but they suddenly, startlingly made rock music totally accessible to the masses once more* The inflated balloons of a Pink Floyd, the multi thousand dollar lasers of an E*L*0* were no longer necessary to get your music across, Extravegance was finally shown up for what it was - music as art had become so inflated with its own self importance that it no longer held any special relevance to the' vast majority of the people it purported to appeal to and represent.

Rock had lost its direction and its innocence, and that's one of the weirdest legacies of the Pistol's existence, that they helped restore innocenc# to rock'n'roll and make it credible to the punters no matter what their rank in life, that they too could pick up a guitar and play their music on their own terms and be accepted for it. The days of high powered management and multi national wheeling dealing in the world of finance and big business which was so alien to the very essence of rock'n’roll, was finally shown to be the degrading and ultimately anti-music facade it was.

The Pistols didn't single handedly provoke this revolution in approach but by god they were standard bearers and for being the leaders they naturally became the very targets of the very people whose glutunous position in rock'n'roll they threatened.

They fought the war and the Pistols won and anyone who sees their final disintegration as a victory for rock'n'roll fails to understand the full story.

If I could put all the previous scam into one neat metaphor then I couldn't possib 1 y hope to do any better than Patrick Goldstein writing in the April edition of CREEM which features a Pistols cover story as befits their importance right? Goldstein says it all for me when he wrote at the end of his Pistols feature* "The Pistols unfurled rock's true colours.

They broke down the red door and painted it black* Their demise may prompt reactionary critics to claim that the old door still stands* It doesn't.

The punks have left it in splinters*" ROSS STAPLETON

ROADRUNNER AUGUST 1978

PAGE 17

AUSTRALIA

Holidays in the Sun For Billy Connolly the transition from Scottish comedian was not so much an attempt at international acceptance as feeling he would be a more constructive comedian for going beyond his Scottishness.

He was also no longer finding his older material funny^ although when I told him my favourite Connolly routine was not his celebrated "the Crucifixion", but the much neglected'"Jobbie Wheecha" (wheech means to get rid of) he admitted he also regards that as his piece routineo A lengthy piece, it appears on his Solo Concert double album on Transatlantic released locally through Festivalc That album also contains"the Crucifixion", about the Last Supper as it took place in Glasgow rather than Gallileeo The "Jobbie Wheecha" has Connolly telling us that becav?se he's dead scared of flying he always plucks up dutch courage by drinking heavily before catching his flight, and that inevitably the time comes when he needs to go to the toilet on the planeo "You find toilets on aero­ planes never have windows in them, and I don't see why* I mean its not as if anyone can see ino So you do a wee wee or perchance a johbieo Some people jobbie all the time.

Personally I've never been known to jobbie.

People in showbusiness and royalty never do jobbieSo" Then later, "There's nothing worse in this •oild».v>if you've been travell­ ing on British Rail you'll ;< cv.'

There's nothing worse than going into a toilet and finding that there’s a wee jobbie - somebody elses.

British Rail is terrible for that, So you flush and flush and it won't go away.

You try and batter it to death with paper towels and it still won't go away, this wee beige jobbie.

This wee smiling thinci .\nd you don't want to bare your bum to ito I don't know why? It's not going tae bite you? But you don't want it and you can't leave, because if you go to leave and there's a guy outside you can hardly say:'Honest Jimmy its not mine,' Cause he's going to say: 'Oh its not yours How do you know? Has yours got its name on it or something?"

Connolly's humour; like Cook

hOATdJJYNEK A'T'-

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and Moore's Derek and Clive, evolves from ad-lib, "I just get on stage and rap for a while, I just start talking about whatever comes into my head, hoping that I get a hook.

Something that has a funny angle to it which appeals to me on something very straight.

Like in Australia I'll speak about something in each city hoping that something gets through.

The Sydney Opera House is a godsend to me.

You can talk for hours about that, and the bridge itself, and the Australian attitude and you just talk about it until some thing comes through."

He said the only new word he had encountered during his Australian travels was Vegemite and he has promised to do a song about it for inclusion on his next visit, "I didn't know it was such a way of life, I thought they out it in their hair, soaked their shoes in it or smoked it.

Australian football is very strange too," he added, "I like the way the wee men in their white coats stand behind the goals madly waving flags, 1 think that sums the game up," Another recollection of Australia that tickles his fancy was being asked at a Sydney press conference: "Mr. Connolly the pound has fallen in England today, what do you think of that?"

"Christ, what was I supposed to say? I said 'I am but a humble wee folkie'" He believes he wasn't particularly loved by the Aust­ ralian press, but for a man who has always been keen to make the point that the majority of the British press is ow^ned by supporters of the Conservative

Party, and who readily involved himself in a publicity campaign in Britain's last general election at the behest of the Labour Party, it should come as no surprise.

To a persistent heckler in Liverpool, while the Conservative Party conference was on in nearby Blackpool, he offered this advice; "You should be in Blackpool, pal.

They're talking shit there too." *** Connolly excels at challenges from hecklers who like to match their wit with his, and has a ^hole arsenal of one liners like ly to demolish even the most difficult heckler.

However, he is just as likely to pluck something out of the air on the spur of the moment with equally devestating effect.

When told how Gough Whitlam had once quietened a heckler during a campaign meeting some years ago when abortion was a key election issue by replying to his constant interuptions of "what about abortion" with "in your case I think they should make it retrospective", Connolly was full of praise for Whitlam, I've always liked Gough Whitlam.

There was hope for Australia when he was there.

There's so few politicians in the world with a sense of humour and who are erudite as well," He went on to say that he only wished he had written John Stonehouse Went Swimming a song off his new album "Raw Meat For The Balcony", for his previous Australian tour, "John Stone house went swimming cause his bank was a failure/Went in at Miami and turned up in Austral i a" "I was inspired to write that by the she^er absurdity of what he did.

Biggs was the same and I tried to write a song about him too but the trouble is that I like him, Mort Sahl had the same trouble when Kennedy became president.

Sahl stopped being funny because he liked the guy," The conversation continued on politics and Connolly showed he was fully conversant with Australian domestic politics.

"The sacking of the Labor Cover nment was a screaming bloody disgrace, Kerr had a terrible time all over Australia didn't he?" Then we switched to his own fishpond and he became cv^en gloomier in his political prognosis, I pointed out that in his autobiography he said

1

AUSTRALIA

Pt2 that support would grow for the reactionaryfascist National Front as Britain moved further to the righto "When you consider the time the book was written, people were saying I was talking a lot of shit, but i t ’s certainly building upo I think, and this is sincere, that the next five yearso.ooolf Labor lose the next election and they have a good chance of losing it» Britain will become an extreme right wing country and that's a facto I think a lot of people who are Tories right now aren't really® I think an awful lot of Tories are heaving a sigh of relief that there is a National Front beca\ise the Front are saying the sort of things they're too frightened'to sayo" On Conservative Party Leader Margaret Thatcher, he was even more adamant: "Jesus, she's evil Those cold eyes and that incisive way she speaks.

You know, she never listens to anybody whan interviewers talk to her» She talks right over the question without halting, for a secondo If she becomes Prime Minister you can expect me on your step when you open the dooro" "A plane crashes in the middle of a jungle in Brazil and the survivors after many days of travelling come to a Clearing and there they see this wee bloke with hair brushed across his face and the little moustache® 'Eh, excuse me pal, hop ye dinnae mind me asking - but are ye no' Ado2f Hitler?'

'Aye® What aboot it?'

'Well what are ye doin' oot here in the jungle.an' that?'

Hitler looks up from all these books and maps and papers he's been studying.

'I 'm planning the Fourth Reich®®® And this time it's goin* tae be: NO MORE MISTER NICE GUY!" Despite Connolly's strong political beliefs and his concern at the swing to the right in both Australia and Britain, it is not a dominant feature of his material at all.

In fact his material has predominantly featured ribald and lavatorial humour, although his last two albums have started to put some distance between his mention of'jobbies' and'willies'etCo "A retired toilet attendant in Glasgow is interviewed on TV after 50 years service® 'Well Mr® McGlumpher, 50 years service

in all that time you must have seen some changes.' 'Have I see seen changes? I can tell ye: nowadays, there's some punters come in here w i ' a bottle of that cheap wine and go intae the cubicles and drink it® There's others that come in here in twos andgo intae the cubicles and I don't know what they dae® And there's others come in here and look at each other's willies!

I'll tell ye somethin'® When someone comes in here for a shite - it's like a breath of fresh air®" ★* ★ "I think people find jokes about jobbies and willies amusing simply because its funny® I think there's a sense of relief because all their lives they haven't been able to talk about it® I think they reminisce about their personal experiences when you talk about certain things and they say to themselves 'yeah I remember that'.

The sort of thing where you are walking down the street and you suddenly get an uncont­ rollable itch in your bum but you don't want to scratch it because somebody might see you fingering your bum."

Thankfully Connolly was spared someone elses finger prodding when he passed through Australian Customs® "The Custo ms people are a bit heavy in Australia aren't they? This guy said to me 'have you got a any drugs on you' and I said 'no'® And he said, 'do you have any downers' and I was. shocked that he used an express ion like downers® They went a all through my baggage but they didn't get me to take my clothes off® They obviously think musicians are drug crazed luna­ tics which is a silly attitude because the people who carry drugs on them don't look like me® They wear silk shirts with short hair® They look like executives."

Despite the somewhat warm welcome from customs and the rantings of a bunch of zealots in Brisbane, he escaped Australia relatively unscathed.

This time, however, he may find the climate a little warmer if some of our more flighty feminists take exception to the following observations, which,I must add, is quite fashionable among overseas visitors to Australia, so take that as you will!

"Australia has the most

butch stewardesses in the world Actually Australian women in general are very big muscle bound types® Potatoes, milk and bread written all over them i suppose most people who went to Australia were having a hard time in Europe, so when they got to this land of milk and honey they lavished things on their children®" He also had some interesting observations on Canberra: "Canberra, when I did a concert there, seemed bloody wonderful, or maybe it was just that any­ thing would have seemed that way after Brisbane® But Canberra's a nothing kind of town® I left my hotel to go for a walk and couldn't because there were no side pavements® So I just stood there while I watched the cars go by® You know someone told me a really frightening thing about Canberra.

That if you lose your job nobody will talk to you anymore® The vast majority, are public servants so that if you blow it at your work, they're all frightened to talk to you so you become totally ostracized," While Connolly might have had trouble trying to walk on non existent pavements in Canberra, his predicament seemed somewhat less catastrophic than that facing John Wayne, as Connolly tells it® "He's drinking in this saloon bar, having six whiskies® Knocks them back one after the other and then goes out to get his horse and ride off® Some ones taken it® So Big John looks around all the people in the street and says: 'OK® I'm going back inside the saloon and I'm going to have one more whisky.

And when I come out again I want to see that horse back there waiting for me® Or else the same thing that happen ed in Denver when they took my horse is going to happen.'

So he goes back inside the saloon, has his whisky and strides out again® There's his horse, all neatly tethered to the rail® Hops on to it and starts to ride out of town.

And one of the local guys comes up to him and says: 'Hey John®.®what did happen in Denver?' 'I had to fuckin' walk home®'" *** *** indicates extracts caken from the Pan paperback Billy Connolly - The Authorized Version.

RRP $2.25.

ROSS STAPLETON

ROADRUNNER AUGUST 1978

PAGE 19

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45

SOFT BOYS (I Want To Be An) Anglepoise Lamp RADAR ADA 8 Instant success! I could see Stevie Wright and the Easybeats up on stage, covered in streamers, on the set of the "Go Show" playing this.

You might think that continual reference to sixties bands is hack­ neyed and unfair to those of the seventies.

I*m afraid you just can't escape it though, especially with the people associated with the Radar label.

They are committed to re-introducing the excitement & energy of the pop music of the sixties.

Tne Soft Boys succeed with clanging guitars, adolescent harmonies with thumping rhythms, adding a lot of seventy eight style punch in the bargain.

By the way, I have no idea what an Anglepoise lamp is supposed to be.

Should I know? ★★★ ★

VAN HALEN Running With The Devil W.B. WBS S556 Boy, are these guys stupid.

They are truly cretinous and macho fools. They make pretty dumb records too.

The principle of their records is centred around two parts of the body.

One is the feet you're supposed to lumber around (or dance ?) to the tired and tedious beat.

T>ie other is tne penis.

(We're only talking about the male body here. Van Halen's logic doesn't allow for a woman to be considered other than as something to be fucked after you' ve knocked back a couple of six packs and knocked over a few other punks). Van Helen play what is delicatelv described

as crotch rock.

They play it well.

I hate it. They should be struck from the record (<fv record cover too); things like this keep rock back in the bad o l ' sexist days.

I can't go on like this!

MAGGIE BELL Hazel1 SWANSONG SS 1859 Hazell is a fairly standard up tempo blues with one great asset & one real disappointment Its got some great sax playing on it.

With good sax you're halfway to a good record.

Pity though Ms. Bell's voice, one of the better recent white blues efforts, is lost way back some where in the mix. She was one of those brought up in the R. Stewart school (one who didn't fade away or make millions in South­ ern California) and a voice like this should be put way out front.

Don't bother with this, go back to her "Queen Of The Night" album of a couple of years ago.

Therein lies some quality sing— ing well presented.

MOTORS Airport / bw Cold I.ove VIRGIN K 7141 A very commercial sounding record this one.

You get constant­ ly hit with the refrain Airport in sweet, high voiced harmonies.

The lead vocals come out from behind the mass of strings and drums. i don't like it much really, a bit too flash for me, a bit too calculated.

The other side's great though westernised reggae with a real deep k dirty guitar break. ** (an extra* for the B-side)

RP

SHERBET another

night

on

the

ROAD Razzle K 7lyb We alj. knew it - sign a contract with Robert Stigwood and you've got to P-Lay disco. Sherbet couldn't escape the iron-clad rule. So magically transtormea they are into sweet white disco boys.

And like mosc disco bands, they sound horr­ ible! The whole thing is gutless, pure voiced putrid pop. Sherbet have had a talent for putting some heart into generally mundane melodies, e.g. 'Magazine Madonna'. Not so here.

They start out with bad material and a hackneyed theme ( the life of a band on the. road) and then make it worse. The Brothers Gibb, heavies in the RSO crowd, will not be pleased.

ELVIS COSTELLO BIG TEARS Radar ADA 10.

Now that the pop media has accepted Elvis you're sure to hear this one plenty of times so you'll easily find out how good it is.

I can't believe yet how great the intro is faint, thin guitar foll­ owed by pounding drums and a bass line that rumbles down your spine and that's all before the man starts singing: "Big tears mean nothin' When you're lying in your coffin...

Tell me, who's been taken in?" i_.itter, loud and twisted - al-L we've come to expect from Elvis. ★★* +

essful - it's probably the finest track on that L.P. The two tracks on side B are both new to vinyl.

It's definitely worth the extra coin to have them. They're both in the standard Sports vein, although a bit more rockabilly than most.

The Sports are hot right now - get all you can quick - it can't last forever. ★ ★★★ ★

STEELY DAN FM ( NO STATIC AT ALL) MCA From what I hear this single may be the only saving grace of a terrible movie and a barely mediocre sound­ track.

It is a wonderful record, technically perfect as we expect from Becker / Fagan a.k.a. Steely Dan. Now that they're managed by Irving Azoff ( Eagles, Joe Walsh, Boz Scaggs) the boys are in real cool California territ­ ory. Make no mistake about it, they make, superb records for the well-off laid back late twenties. Not something ROADRUNNER should touch. But if you like a rhythmic constant bass line, smart lyrics and sharp guitar with sax that oozes along like honey then you might like to sneak out and buy it to play when your friends aren't around. ★★★★

RAINBOW LONG LIVE ROCK'N'ROLL Polydor 2066 913

ROGER GLOVER RONNIE JAMES DIO

SPORTS WHEN YOU WALK IN THE ROOM/ TRUE STORIES / TAXI RANKo Mushroom K 7187.

LOVE IS ALL Safari K 7135

The fine A-side from the 'Reckless' album is being played solidly and will be deservedly succ­

Long Live Rock'n'Roll!

Hang up your guitar Richie Blackmore! Pack away your tonsils Ronnie James Dio!

ROADRUNNER AUGUST 1978

PAGE 21

c

LU N T R O C K

W reckless WRECKLESS ERIC Stiff through E,M.I. Wreckless gives most people the impression that he's a lunatic loveable, not dangerous even likeable but defi­ nitely a lunatic.

A song called "Semaphore Signals", the flip side of "Whole Wide World" first interested me in Wreck­ less.

It has not been released in Australia though "Whole Wide World" made it onto Wreckless' album.

Wreckless has a voice which cracks, howls, bays and slides around like a drunk on roller skates but I believe I have deciph­ ered the lyric to "Semaphore Signals"!

This is due in part to Nick Lowe's superb production.

The song deals with the love of a working class boy for a rich girl.

He sends "messages of love to the green belt from a semaphore lover on the hill" because "I live up here on this hill/ She lives down tnere on the green bclt/Her parents don't like me 'cos I camie from the hill/ Their little girl's future is in doubt".

Just .-s /.I f-c k leL;:: Eric's mfr.uor. Tan I u r / who is dt serveoly receiving critical acclaim, iakf-r. the ordinary and larriiJi-jr and show a.; its owri strange dignit.y- and beauty s'.^ /.reckinns takes ba.n Lcally hnoii.s^ teenage working class themes «:nd images and portr,-r'.s thfrn jr; sor.g.

Wreckli so Iric, how­ ever is more dt ter m ii.f-d to show us i.hf'i r cruelty a.na reality ana p.ost of ell their emotive Dower.

The fir;-' s-,r'.w' r-r. the albu.'. "f-e< onru- ' Cherie" (aria sf cori.J English single) evokes the first, pangs (.arid fumbles) ui teenagelove as so many ot her classic ' ‘ ( nac.,e on js

PAG!

have.

But its English working class teenage love, not American middle class kissin' k cuddlin' in the back row of the movies stuff Wreck less Eric has a very finely tuned intuitive understanding of dirt-under-thefingernaiis teenage existence. He sings "On a convenient seat by the lavatory/ in the sodium glove/ we used to wait for the bus in a passionate clutch/ and go as far as we dared," and asks "Do you remember all those nights in my Zodiac/ playing with your dress underneath your Packenham mac?".

"Rags Sc Tatters" follows, the vox organ conjuring up images ot the familiar teenage haunts; fair grounds, carnivals and pinball and billiards halls.

This atmosphere is enhanced by the screaming sax solo by Davey Payne.

This is British R J B as ic has been for fifteen years or more - fast, furious sweaty and dirty.

Davey Payne's sax sounds very English on this album and is generally the lead instrument, V/'reckless Eric's guitar playing not being beyond the first few lessons from Book 1 of "How To Play rhe*Guitar ...in Five Weeks Or Your Money Back".

By English I refer to the .sound of.laxophone players like Thris Mercer and Dick Heckstall Smith and .Johnny AlfRond from the parly John fteYai'l bands and the more recent playars like Mei Collins and Andy McKay from Roxy Music.

Enough digression, back to Wreckless Eric's debut album. y|pags J Tatters" is to11owed by "Waxwo r k s " a bizarre truism about 4j3X figures, with a manic ending.

"Wax can't walk, v/ax can't talk/ wax never says htlio/ hello, hello.

hello, hello, hello, hello".

Each hello is done in the best Monty Python tradition.

"Telephoning Home" is possibly the out­ standing song of this set., giving the lie, in any opinion, to Wreckless' seemin.j simple rnindeeJness.

It is an aching 1viment about a girl who v;ent to the big city.

"She left her home in easy street/ she thought that world would just fall at her feet".....

"She went up town to the big lights/ search­ ing for action and fun/ she thought that it would all be easy/ but thinking is easily done /And she's telephoning home.... " Given a different treatment by a differ­ ent singer those lines could be held up by critics as being very important.

The future of rock'n'roll Bruce Springsteen would be proud of those lines if ther/ found their way into one of his melo­ dramatic slices of the street punk meets the Amexican Dream.

All you Springsteen fans can save your vehement protests to that .statement because I enjoy list­ ening to his album.s its just that he's no .more the future of rock 'n 'rol 1 th.sn is Wreckless Eric.

In fact W’reckless Eric probably has more claim to the title than Springsteen, Anyway back to the girl telephoning ho.me.

She never makes it.

She is found dead in the phone box, strang­ led by the telephone cord she believed would save her life, her life line link with her parents and "Easy Street".

Siae ] ends with " "Grown L'ps" - "I'm very glad I met a grown up/ so I can avoid you in the future." whilst side 2 begins with the aforementioned single.

"Whole VJide World" in which Wreckless displays his working class (dare I say it?) roots for all the world to hear.

"WTien I was a young boy/ my Moma said to me/ There's only one girl in the world for you/ and she probably lives in Tahiti/ I'd go the whole wide world just, to find her". This track is produced by the seventies Phil Spector cunningly disguised as Nick Lowe.

An Ian Dury (from his Kilburn and the Highroads days) song follows called "Rough Kids".

Davey Payne,an ex-Kilburn and the Highroads member him­ self has a raucous sax wor kout as Wreck less invests Dury's song with his own inimitable style.

"Personal Hygiene" a very moving teenage ode to personal hygiene (as the title might suggest) shows off Wreckless Eric's ballad voice (its the same as his only voice) and Larry Wellis' sympath­ etic production.

"Brain Theives", those "no dimensional people" who steal your thoughts are the sub­ ject of the next song.

"Brain thieves don't know what they're doing when they're stealing facts/ Here they come compulsi-.e thinking kleptomaniacs."

Appropriately "There Isn't .Anything Else" concludes the album.

Buy it.

Steal it.

Obtain it so.mehow.

Its highly recommended.

Five and seven eight's stars o'ut of live.

As the advertisement for it in Melody Maker says "Wreckless Eric makes Va.1 Doonican sound like Val Doonican", and don't be fooled fty the Stiffs live advertis­ ement with Ian D'ury leading Freckless around on a string; many a dog has been better than its master.

A.M

missing iink Some time ago Ro3 Carnilleri, Peter Lillie and Johnny Topper among Gordon's debut albi others).On splitting, •Red Hot', was re in ]9?5, they gave way in Australia.

It ^ to the ReJa;:ed of course, totai^^' = ignored.

Which was a Mechanics and the pity, because apart Fabulous Nudes, wVio in from being not-bad, it turn together spawned was OUTSTANblhG in at the Autodrifters. least on respect * this Quite obviously, was an album of pure, this album doesn't unadulterated exist as a ’T^co.rd rockabilly! diversity of talent working concurrently; In 197B? Yeah!

And w h a t ‘s more, rather it traces the devaiopmeht of a ''styl^^..

Gordon wasn't alone. ’as determined by the On the In fact, the Atlantic, \ said handful. it might h.«e subtitled Britain, the teddy-boyS-, '-'HoR^vJohnny Topper and were manifesting their admiration for the SO's Peter./la 1lie. Plus a , Cast 'o'# Hundreds, music of Memphis Inverted Ockerbilly*. replete',-in drape coats Says Peter Lillie, and'with DA*s, they "It was dreary In thf^ were forming groups suburbs b.^ck in *72, like Whirlwind who were And all the angry young indeed 'blowing up a men had nothing to do. st(jrrr.*. Somebody Art school, drugs and touched Shakin' Stevens rock 't''roi L, they'd ail and he hit the'.chartsv been through the fray.

Just like Elvis.

But this 'rockabilly The railways, the puPlic service, It*s revival', as it was, transcended mere much the same today.-.. .

But there were a i-ew nostalgia.

It was, if intrepid' la^-iWho not the real thing, then as close to it as decided to ca-i'-l'-.it a the march of time day.

A kaftan or- a allows. shirt and tie, no way So, does this album, to earn your pay.....

'The Autodrifters and And bought some Japan­ the Relaxed Mechanics ese guitars............

Meet the Fabulous Nudes But living in the 70's and the Pelaco Brothers' v^as not their cup of constitute Australia's tea. So they played contribution to the the esoteric hits and 'rockabilly revival'? learnt their history."

In a fashion....

These'few intrepid It's not as if any lads'called themselves kind of 'revival' is the Pelaco Brothers and rife.

This album may started playing what well represent the work was considered to be of four bands, but it's rockabilly.

But that not so much four bands it wasn't.

The found- . as it is only a hand ations were similar, ful of hardcore fanat­ sure, but in essence it ics in various permu­ was quite unique.

About tations arid combin­ as close to rockabilly ations, augmented by as aborigines might get now-you-see-them-nowto reggae. you-don't sidemen. Over The Pelaco Brothers the past few years began by rejecting they've formed AT L,EAST Music as Art,and consciously pursued an four bands.

The Pelaco accordingly idiosyncra* Brothers was the iirst, tic path.

No, this in 19'/3, and they now band didn't simply enjoy semi-legendary mimmick Sun's Greatest status (which is undoub Hits.

Obviously, they tedly due to their v/ere very aware of the 'superstar' line-up inherent qualities of consisting of S?teve rockabilly, and aware Cumminos, Ed Bates, Poe

too of the fact they not part of the right were Australian.

This clique?)

However, awareness was the main there's certainly some spring of a kind of excellent work here, in affection-inspired particular that of the parody.

Autodrifters.

The Autodrifters To the unitiated it relaxed, warm style, might sound like some coupled with (in most thing from Reg cases) superior Lindsay's Country Hour; The genre was in material makes them a Its infancy with the more enjoyable Pelaco Brothers - only listenable propos­ thei'c "Truckdrivin ' ition, especially Guru" is suggestive of considering the rest it; and when set back of the album can easily to back, as it is here impress as little more with a traditional song than novelties and like "Truckdrivin' curio's .

Queen", it seems doubly Ultimately, this is absurd, liowever hard an album of competent, the performance might if not always exciting, ^e.

Of a more fully sometimes even overbear­ realised form, the ing, ockerbilly.

If I Wasn't at all impressed Fabulous Nudes con­ by (most of) it, then tribute Johnny Topper's "I'll Be A Dag For You, one single track, the Baby"' and "Harry's Cafe Autodrifters' "Locked de Wheels", and the Out Of Love", would Relaxed Mechanics' have made it almost worth buying.

"Gooseball Brown".

Adjectives normally I wonder just who's reserved for this sort going to buy this album of thing are those if anyone.

Missing 1 ike'amusing', 'divert­ Link have rather ing' or 'entertaining', courageously (?) compi­ and their application led and released it, here is probably fair and it looks like they enough. might have another But it's not with­ "Debutabtes" on their out reservations.

The hands. parody might sometimes Still, clever market be interpreted, by ing strategy (to use some, as condescension the vernacular) might and w h i 1e,,..:X„,.dc)n 't ,,,,tb in k improve sales figures that's necessarily so, somewhat.

In the wake I begin to isuspect the of an album- M k e approach is somewhat "Beginnings", which I.ike academic. traces the origins of intellectaoi1ly. But the Little River Bland again, that doesn't ^ perhaps Missing Link have to be so.

I ment-ycould utilise a similar ion it only because ^ attack; retitle the surely reasonable d o u ^ -s album "WHAT THE MEMBERS is grounds enough for OF SPORTS AND JO JO ZEP criticism - when the . • AND THEIR FRIENDS, DID Relaxed Mechanics sing BEFORE THEY WERE FAMOUS of 'truckin' down the This might arouse some Old Hume Highway', I v interest. wonder if they actually Alternately, they have 'trucked on down could aim at the the old Hume Highway*. truckle market. Simply And I'm still wondering. by putting it on (But if its authenticity cassettes and finding you want, ther; try a suitably suggestive the Rockabilly Rebels sleeve illustration. now THEY'RE the real Come to think of it, thing.) Whi'-h (Xves the old Pelaco Brothers rise to the question; motif - a sultry young why weren't they incl­ lady opening her shirt uded on this album?

- would do the job Was it because they're perfectly!

CEE WALKER

ROADRUNNER AUGUST 1978

PAGE 23

■{

PLATTER

B A T T E R }-

*MJt j»A11 im it

THE ROLLING STONES SOME GIRLS Through E„M.Io All of a sudden everybody’s talking about the Stones.

I heard the story of how, just a couple of weeks ago, the group played a secret concert in New York.

For the 2.000 seats available, 250.000 people applied by sending a card to a post-box number, which would, if elected, earn them the right to pay $10 to see the Stones.

On the occasion of the sh j w , what was reported to be 'chaob' ensued - thousands of fans blocked the streets, which were barricaded to traffic, and police were called in to maintain control.

Scalpers were asking and getting - $350 a ticket.

The Stones are probably more popular now than they've ever been.

It's beyond me, but well, after all, mine is not to reason why....

To be honest I haven't listened to a Rolling Stones album since "Exile On Main Street".

Then, I too was a fan.

I was one of those who queued tor hours in the rain out side Milton Tennis Courts, only to be disappointed by a performance that was undoubtedly hampered by the inclement conditions.

But "Exile On Main Street" stayed a great album; one of the Stones finest.

After it though, what?

That the Stones hit their lowest ebb was completely incidental, because my attitude to not only them but the entire music scene of the time was one of total apathy.

Remember this was a few years ago, and the only thing going was.... well, nothing was going, unless you counted

ROADRUNNER AUGTJST 19 78

Metal Machine Music.'

What jolted me out of my apathy was, of course, one Johnny Rotten, but that's another story, The Stones perservered - not that I cared I simply wasn't interested.

Without wishing to sound devoid of any kind of compassion, I didn't even care whether Keith Richard went to jail or not.

But perhaps the crucial point is that it would have made no difference to me had the Stones output of the time been good.'

So just what ami I supposed to say about "Some Girls"? That, well, the punks were right after all - the Stones ARE jaded super stars, boring old farts has-beens.

Or that. yes, all you've heard is true - the Stones are back - they have. as I read in a typically gushing review somewhere, 'jumped back into the boiling pot of earthy RKB and good o l ' Keith Richard riffing rock'n 'rol1'.

Are the Stones back?

Back from where?

If "Black and Blue" is used as a reference point, then certainly they must be.

"Black and Blue" v>/as just plain embarassing; "Some Girls" is at least an improvement on that.

The new single, "Miss You", is in a similar tone, but. surprisingly, rather good.

It's funk made enjoyable - warm and sort.

"Miss You", however is hardly typical of "Some Girls".

For the most part its in tiiat (for want oi a better term)'country-rock'n ' roll'vein that so cnaracteri.sed much of "Sticky Fingers" and "Exile On Main Street".

But only "Faraway Eyes" the B-Side to "Miss You" really measures up to its predecessors, mainly because it doesn't take itself at all

PAGE 24

seriously, and has such a great feel, having dared sound acoustic.

"Beast of Burden", "Before They Make Me Run" (with Keith Richard on vocals ana a riff which is a close cop of one on "Exile On Main Street"), and the title track, "Some GirIs", are more ordinary excursions into the territory.

Even "Imagination", an old Motown number and only non-original on the album, gets the treatmen t .

The faster numbers also taste of country air, probably due to Ron Vlood's oft present pedal steel guitar, but despite their beefy. raucous sound 1 get the feeling they're much ado over nothinq.

"Respectabla", how ever is interesting.

Though its directed, as usual at 'she' - "she's so respectable, she's so delectable" - surely it's Jagger addressing himself, exorcising his boring old farf-ness "Get outta my life dont come back".

With "Some Girls" the Stones have TRIED. Perhaps all the criticisrn levelled at them recently is beginning to hit too close to home.

Whatever, I think the Stones are trying to get back to basics.

Trying to GET BACK?!

The last time the Stones were great was "Exile On Main Street" and in an attempt to repe;at that success they've revealed their shoitcominqs. It is.

1 think, the omnipresent, 'hope-l-diebefore-1-get-old' syndrome.

Of course this is Rich Old Man Reck, it makes pretense tc nothing but.

And that in iuself, is not bad. but as rock'n'roll its lacking.

The Stones are old hands who can't seriously hope to recapture the energy of tne past.

Sure, "Som.e Girls" might be a good album, it might not even be something perfunctory, but what it lacks is what makes rock’n'roll truly great - vitality, inspiration, sting.

I could go o n ....

However dire, I'd rather listen to the Tomi Robinson Band, who at least have their finger on the pulse of 1978, than the Rolling Stones, who are so far removed from the real world that their only problemi seems to be choosing between "Puerto Rican Girls", "Black Girls", ‘.zynerican Girls" or "Italian Girls".

CEE WALKER

TELEVISION Adventure WoE.A. 6E - 133 This is the second, long awaited album from Television - are they capable of build­ ing on the marvellous "Marquee Moon", while retaining the biting, ripping menace so aptly expressed there on? Overall it seems they have.

"Adventure" is a much more conscious studio work than the first, it doesn't blast the senses quite so dramatically, in fact, it seems quite subdued.

This seems reasonable, since "Marquee Moon" was the best shot, taken from their collective years in New York, evolving from street poet consciousness, through The Neon Boys onto Television - quite a reservoir of emotive, creative energy unleash ed on that brilliant first release.

For the second, new ideas in composition and form must emerge, some already used should be discarded, the spirit oi the lirst m.ust continue, yet, a

-(

rehash would be artist ic suicide.

IJith this release, the compositions them selves are more thought out, as such, lyrically the seeming spontaneous depths reached previous ly seem a little stifled, Tom Verlaine's words can still cut it (he's still got plenty to say), but the conte­ nt at times is a little pale.

Vocally, Verlaine seems a little distant, but thats deceptive and on closer listening, his scyle has taken on a subtlety of expression that creeps up on, rather than assaults the senses.

Verlaine is an excellent singer, and this L.P. demonstrates his growth.

In the end, however, its the guitar playing that brings this album out totally of the woods.

Verlaine's mastery and Richard Lloyd's outstanding, though at times over­ shadowed work on those inimitable electriJ:_Led stringed Instruments gell the fragments and make this album a rriaster work.

On "The Fire" Verlaine's play­ ing is enough to bring tears to my eyes, its one of the most power ful, moving pieces around and takes me to places I haven't been in a good time,while Lioyd lays some excellent lead on "Ain't that Nothin'", in fact, throughout the clean soaring guitars, complimented by the consistently fine rhythm work of Smith and Ficca elevates the lower moments, while taking ^the best songs into the realm of true inspir­ ation .

As a first LoP. "The Moon" was quite a standard for any band to set themselves, and while its blistering creative drive is not as pronounced here, this is somewhat countered by a maturity

PLATTER

subtlety and growth tnis is a superb, some times breathtaking album and is more than enough to put me in line waiting for their next one.

BAIN

BILLY CONNOLLY RAW MEAT FOR THE BALCONY Polydor 2383 453

BARRY HUMPHRIES THE SOUND OF EDNA Charisma 9124 027 Comedy records are funny things (pun intended). Humour is an immediate thing even the best jokes wear thin after a while.

That's possibly why Billy & Edna have upped the musical content on their latest platters.

Edna has opced for the music hall approach on "The Sound Of Edna" but still gets stuck into her rime honoured obsessions - The Queen, cleanliness, niceness and the trying world of the superstar.

Her wit is as piercing and devestating as always as she croons her way through ditties about shunting her mother off to a home-"The Night We Burned My Mother's Things"; lesbianism "A Woman's Woman"; Elton John - "Every Motner Wants a Boy I.ike Elton", which broke up everyone on Countdown.

The best is saved for last though as she proves she can rock it out a la Sex Pistoleros with "S k M Lady" which is the best punk parody since Alberto's "Snuff Rcok".

It contains the immortal lines: "I'm an S & M Lady/ Slightly Marquis de Sadie/ Safety pins, razor bladey".

Like her last outing "Housewife Super star" this one is

BATTER

)-

going to get more than a few spins on my deck.

As with Dame Edna, Billy Connolly's greatest strength and also his greatest weakness is his nationality.

Scots, and I'm one myself, go crazy over him, but other people seem to have difficulty in understanding what he's saying.

Maybe with his exposure in RR more people will check him out.

The effort is worth it.

"Raw Meat For The Balcony" finds Conno­ lly in fine form at the Rainbow, London.

Connolly thrives on an audience, he gets stuck into hecklers with gusto, laughs at his own jokes, lays on the dramatics and generally has a good time.

This routines this time include a very funny hangover song, a story about football violence, perversions (a plug for the 'sellotap^e* perverts), police brutality and lots of funny patter in between.

Great for a laugh when you've had a few drinks.

DONALD ROBERTSON

COBBERS COBBERS Elektra 600033 This is the third album from the Cobbers.

The WEA bigoraohy tells me what cobber means, and also informs me of their worldwide record­ ing contract... so there's no prizes for guessing where Austral­ ian folk music, now folky & foxy, is due for here.... the big O.S. But no, I don't mean to be that bitter about them... I actually quite like the record, and on it and (even) in

their WEA biogs the members sound like a real bunch of cobbers.

It's just that the company is telling me and the world on their supaflash posters that the "Cobbers" are "Australia's best bush band", which they're not (how'bout the flamin' Bushwackers and for that matter any bunch of musos Eric Bogle could assemble).. and that "Cobbers" is a "mighty album" which means that Rockhypebucks are to (supposedly) flow from songs that once meant blood, rebellion, humour, people.

Now THAT does grate a bit.

As for the record... well its very well packaged, with a front cover depicting tree bark, and Arthur Streeton's "The Purple Noon's Transparent Might" reproduced on the inside sleeve.

But unfortunately the opulence of extends to the record production as well, and so a number of the greatest Oz folk songs get a little mussed up in .the process.

Their version of "The Overlander" and "Euabalong Ball" are much too weak vocally, without any of the earthy quality that makes the songs what they normally are.

They also do "The Limejuice Tub", "Lazy Harry's", "The Cockles of Bungaree" and "Stir The Wallaby Stew" with a little more success.

But their best pieces are rearrangements such as Chris Armstrong 's version of the poem "The Ballad of Jack Lefroy", far better in my opinion than their attempts at 'mainstreamAustralian folk.

Also, perhaps they're better live.

The album is very listenable, especially if you aren't very familiar with our rich folK music heritage, which most Australian's aren't, being more

ROADRUNNER AUGUST 1978

PAGE 25

1 P L A T T ER isyANAKseRsiiLseippoTs

familiar with our American heritage, or our English heritage.

Musically they are quite capable, far superior to those play­ ers on my cheapo $1.99 "Australia's Heritage" who are a group that will never get a WEA contract for the world, but who play Australian folk music as it was first conceived, by political prisoners in a harsh land of no limits.

LARRY BUTTROSE

TODD RUNDGREN HERMIT OF MINK HOLLOW Bearsville Records BRK 6981 His royal wizz kid is back, hitting us with another totally solo album.

This one is more along the melodic pop lines of the "Something/Anything" period, rather than his more recent solo and band work.

The songs are of relatively short duration with some very catchy little hooks, but with that lyrical bite that separates the artist Rundgren from the masses of factory pop writers.

Hermit Of Mink Hollow is divided into Side 1 - The Easy Side and wSide 2 - The Difficult Side.

The Easy Side comprises what may be loosely termed the radio fodder "Can We Still Be Friends?" his single is there, along side a little pot pourri of commercial sounding goodies, particularly "All The' Children Sing" a brilliantly irritating song thats been beating around in my skull for a bloody week - definite hit single material.

Side 2 The Difficult Side does not mean he's jumped into some over

ROADRUNNER AUGUST 1978

Qc a c

ripe, experimental, inaccessible void, in fact, the songs have t hat same bouncy feel as on Side 1 only his overdubs are a little more complex and his stories a little more human - "Bag Lady" in particular is quite a moving piece.

There are some insipid moments on this L.Po if you look for them, and through out most of the work he holds the interest, be it his amazing skill as a studio technician, his musical dexterity or a swift turn of phrase.

There's no, denying Todd Rundgren is a brilliant crafts­ man, and I wouldn't be surprised if "Hermit" brought him quite a dose of mass accept­ ance.

BAIN

BRIAN AUGER & JULIE TIPPET ENCORE W.EoA. Records I was sceptical of this album. v;hen it first arrived - not only because it was yet another 'reformed' album from a classic sixties band but also because I have admired Ms. Tippett's voice for the last decade and a little more.

Foitunately my admiration has not been dented.

This is a 'reformed' album that works, even allowing for my inbuilt bias tov/ard Julie Tippett (I expect I would enjoy her singing bus tickets with a Rundle Street Hare Krishna band accompani merit) .

The songs are an interesting selection of classic tracks and relatively unknov;n songs mixed with two Brian Auger originals.

PAGE 2i

BATTE P

Of the first category are "Don't Let Me Be misunderstood " and Jack Bruce's '’Rope Ladder To The Moon" and the second category include two Al Jarreau tracks, "Spirit" and "Lock All The Gates" which open and close the album respectively.

Brian Auger still plays his brand of jazz rock with the same verve he did in 1968 and Julie Tippett sings with as much soul (sorry its such a hack­ neyed word but its the only to me which seems even remotely adequate) as she did on Dylan's "This Wheel's On Fire" and David Ackles superb "Road To Cairo" - two standout singles from those heady days of psychedelia when the real punks were beginning to get it all togeuher (manJ) I realise I've said nothing concrete or rangible about the record.

I recommend you to give it a listen if you see it in the shops.

Ir won't sell a million.

It's not like listening to the Stones' "Black J Blue" when you really liked "12 X 5".

In other v/ords its as timeless and as real as "Open" or "Streetnoise" . As I said give it a listen.

A.Mo

RODERICK FALCONER

a new nation, a nation of people who have progressed beyone the mediocrity as a kind of hip degeneracy."

Publicity aside Falconer poses as a pseudo-inte1lect,but fails to make an impact as yet.

The overall impression one gets of the album is that it is too lush in its product ion and lacks guts. His often inane lyrics are sometimes inaccessible to all but himself, sometimes banal.

With lines like "Well I never knew how well I knew you Baby Doll till I knew how well I knew you Baby Doll." he is not going to achieve much credibility in the market he is aiming at.

Compared with Side 1 the second side is an improvement and gives us a glimpse that perhaps this man does have a talent which may become more evident with successive albums► "Mr. Radio" and "Born Too Late" along with "This Is Your Life" (more in the vein of New Wave than elitist Rock) are tracks which rise above the rest.

Most tracks have the distinct feel that they have been done before, some being very Bowieesque in their exec­ ution.

Even the spacey title track "New Nation" is reminiscent of "Ziggy Stardust".

In the words of Mr. Falconer, "Time Will Tell."

ANITA KILLMIER

NEW NATION Any deDut pe,u former who is billed as coming "...up with some of the most striking musical statements ever heard," makes me naturally suspicious.

Roderick Falconer's New Nation is no exception.

His publicity blurb goes on to say "It's music that is rock for

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AND THE DESTROYERS DEBUT ALBUM

Thorogood’s versions of John Lee Hooker (pound that foot) and Elmore James (growl that lyric) made his true Forebears — early Rolling Stones, Animals, Yardbirds, Them, Pretty Things — sound like Paul Oliver, who doesn’t play the blues but writes books about them.

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Fred Schruers, Performance, ROLLING STONE. George Thorogood has got it and on the strength of this album alone I’d mark him down as the best and heaviest white bluesman to emerge this decade — the hottest since Johnny Winters came stumbling cross-eyed out of Texas in ’69 ... rock your socks offl Charles Shaar Murray, NEW MUSICAL EXPRESS.

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