Hit Parader, October 1980 by Vinnie Rattolle

GENE IMMONS PLAINS THE NEW KISS

Publisher/ John San ta ngelo, Jr. Editor/ L isa Robinson 4

Alit. Editor/ Deane Zimmerman Art Director/ Daniel Snow

NO . 195 OC T . 1980

ROCK & ROLL HOTLINE Jonathan Richman. Peter Gabriel. Garland Jeffreys

Member

G RACE SLI CK Sllck's Parado x

23 TEO NUG ENT The Ted N ugen t Sto ry By Ted Nugen t

6 THE CLASH Clash In The COrridors Of Po wer 7 DAVID BOWIE Man Of Th e World Dept Bowie In Japan

8 ROCK & ROLL HOTLINE Yes . Allan Clarke . Bl ues Brothers . Wrec k less Eric

ELTON JO H N & B ERNIE TAUP I N Elton J And Be rn ie T Are Up To Th is. That . And T he O th er

25 THE RO LLI NG STO NE S The H it Parad er Interview : M lck Jagg er/ Keith Richards by lisa Rob inson

10 WE READ YOUR MA IL Clash, Eurobeat. Boston

28 THE BOOM T OWN RA T S Photo Session W i th The Boomto wn Rats Ph otos By Nei l Z lozowe r

12 PRETENDERS Pre t enders Conquer Gotham Photos by John Friedlander 13 SPINADD ICT : RECORD REVIEWS Pete TownShend . Allan Clar ke. Lou Reed. Ted N u gent. Philip Rambow . and more by Jam es Spina

TRIUMPH The Tn umph O f Tr iu mph by Dave Salmon

32 CENTERFO LD : VAN HA LE N 34

15 BLONDIE $6 .95 Bl ondie Sto ry DARYL HA LL Sacred Song Solo Success

ROA D IE Ro c k S tars Go Holly w ood For Roadie by Ri chard Robinso n

36 GENESIS GenesIs Turn It On Ag ain by Richa rd Robinson

16 JOURNEY Jou rney Says New York Kn oc ks T he Roc k by Deane Zimmerman

39 FIREFA LL Firefall's Despe rat e Fnvol ity by Deane Zimmerm an

17 ROBERT FR IPP Fr ipp St ili On Tnp To 81 18 THE ROMANTICS Rock Romance LED ZEPPELIN Led Zep Tou r Europe

KISS G ene Sim m ons Says Irs Hard Being Superman Eve ry Day

SONG IN DE X

57 ROCK & ROLL HO TLIN E Tommy TU l one. The To u r is ts , Will ie N ile. Pu re Prair ie League

19 KEVIN AYERS Where Does He Go From H ere And Is It Far? by Lisa Robinson

59 ROCK & ROL L H OT LINE Public Image LTD ., 38 Special, Spide r

GU ITARS & AMPS Steve Fo rbe rt Ji mmy C respo COLO" 'HOTO C"I DITI Cover - M rc k Jagger & Kertn Rrcnaros by AnnlC LClbovlll

Executive Edlto rlWilii am Anderson Executive Art Editor/ John Cofrancesco . J r .

AUd it Bureau 01 Circulations

20 H IT PARAD ER INSTAN T DISCOGRA PH Y Van Halen

5 ROCK & ROLL HOTLINE Ki nks, ZZ Top , Billy Joel . Linda Ronstadt

Business Manager/ Edward Kon ic k Asso ciate Editor/ Ma ry J ane Canelli

ROCK & ROL L HOTLI NE T he Cre to nes. Marsh all Tucke r , Ga ry Num an , Cheap Tri c k's Nu· Disks

PAUL McCART NEY One Good Idea Is Worth A Thousand Photos Dept. A dvertisi ng Produc tlo nl

Sue O 'Keefe

HIT PAR ADER (l SSN 0612-0266). IS publlsned mon thly by Char il on PublicatIons. Inc . Charlt on Blog Derby. C T 064 18 Enlere<! as Second Cl as s M aller Apn124. 194381 the Post Ottlce 81 Derby. CT. unOer the act 01 MarCh 3. 1879. Second Class Postage pelO al Derby . CT _C opyrighll980Charllon Publications. Inc. All r lghtsreserved. Printed in the USA Annual subscnptlon $10 00 24 Issues $18 00 Suc>scrlplrOfl Ma nag('r GIna Bl unCIII. Vol 39 N o 195. Ocl 1980 AutflOlllCd lOr sale ,n me u S,tS POSSCSSlons tern l orr es and Canada only Mem ber 01 Audit Bureau 0 1 Circulations N ot responSible lor unsolicil ed menuscripts. photos . canoons and songs. All co ntribut ions Should be addressed to Edi tor ial O " ,ce. Charllon Bldg . Derby. CT. 0641 8 and accompa nied by S1 amped sail- addressed envelope. NATIO NAL ADVERTI SI N G SALES DlRECTOR- D ilo. Inc . t t4 East 32nd. New Yo rk . N Y 10016 ( 212) 686-9050. WEST ANO SOUTHWE ST Al an lu betk ,n ASSOCIates. P 0 eOll; 44 1 or 22101-2 Burbank Blvd .• Woodl and H ills . CA 91367 (213)3467769 NASHVILLE: Ric k Bolsom . 20 1· 22nd Ave North Suite 2-B Na sny,lIe. TN 37203 (615 ) 320-18 10. POSimaSler. Please send 10rm 357910 Charlton Public ations. Inc. Ch arlton Bldg . Derby . CT 06418

ROC~ (;- R"-"" LL

II( >T I

RICHMAN RETURNS The brilliant. (' crcntri c and beloved J onathan Richman ret u rnt'd to ~ewYork City for the first tl llle In over two years with a o ne-n ight solo show at Irv i ng Plaza , Jonathan, o ne of t he truly origi nal so n.'!wnt crs a nd perfonners, called from Bost on days before the occa sion a nd said : "I 've been doing solo shows - justlllea nd rlectnc guitar - all a<.:ros5 the ("oun t l)' for the past IWO years, not working w1th a band , because It's m orc Inll m 3t{' this way. It's like si nging I n someo nc's Ih1ng room. wh ich Is where I feel mos t co mfo nable, I want It to be like real life," Jonathan, wh o has written such g reat songs as "Pablo Picasso". ''I' m In Love With The NC\\.' Ban k Teller" , " Road Runner", and "Astral Plane", si ngs songs from h i s last six albl lllls but Ill' doesn 't choose IhoS(" so ng s un ti l he's onstage. " I j ust ge l up Ihere and sing whatever comes to m i nd," h(' said . Jo nathan 's new a lbum, J onarholl Richman SIngs. Is be ing: rel eased on B ese rkt'ly, a nd he said that the new songs a re "real Simple, So me are like old rock a nd roll. some are fun ny .and so me aren' t." Although he did n ' t useaspeclfic band for th lsalbllm, he used dlffert'nt Illuslclan s o n different tra ck s. "Like the way Tom Jo nes has different m usic ia ns - d oll n isl s and stu ff, That's how I did II. Just like Tom ."

GABRIEL'S BORDER

GUARDS Just wh e n we wo nde r wh at Peter Gabricl\s up 10. he pops back intoview and pleases everyone wllh more mus ic

a nd live coneens that are never s hort of rem arkable. Pe ter 's latest reappea rance Is In th e form of a new s ingle. "Games Wit hout Fro n tiers" , which Isa song from h is upcomi ng aJbum . Peter

Gabric/. The si ngle has already been a lOp nve hit In Enp;land . In mak ing his reappearance. Peler has swit ched reco rd co mpani es to

Me rcu ry he re In the U.S. On e hopes that theiil app rec iate hi s uni que lalent morc tha n his las t r<.'Cord com pa nyd \d (even though hedid have a hit album for them. the y never quite seelll('d (Q ge t it . o r him). and that he'll be back to the U.S . for a lO ur soone r rather than later.

Peter's latest reappearance is in the fonn of a new single, "Games Without Fronders",

JEFFREYS'MATADOR "Fo r the first time In m y ca ree r I have a b ig hi t. a nd of co urse I think It's abo ut l ime," sa id Ga r la n d Jeffreys, ta lk ing a bout " M ata d o r" f r om hi s Am erican Boy And GIrl Ip, " I feel like it 's all going to happe n ." Ga r la n d was look i ng forward (Q his Europea n l our whe re Ihesong Ishuge. 'When I l ou red Europe In December. everythi ng happened as I'd h oped II w ould - although I wasn't prepa r ed for the success oCt he records:' he said . " We had four s ta n d ing ovatio n s at ('very sh ow. All of t hi s has bee n the renewal of m y life. " You 'w heard the expression 'saved by roc k a nd roll ' - I haven ', bee n thi s happy In te n years,"

"I feelilke it's all about to happen."

" 1 just get up th ere and sing whatever comes to mind."

ROC~&ROll

lie )TlINE: There may be a few surprises ...

BILLY JOEL: 10,000 FANS PER HOUR

The Kinks onstage. on record, on video ...

Btlly Jo('] ki cked off hi s major U.S. lour with a sold -o ut perfomla nce al Pro\'ldence's Civic Ce llter and then wenl o n to repeat same In Montreal befo re co ming to New York for three n ig ht s a l Madi so n Squa re Garden, Those daleS, announccdjust once ove r ~fY'S WNEW radio. sold out In r ecord ttlllf' : 10.000 IIr'kt'IS per hou r for six h ours. with a 411("ket IImll per person, As of thiS writing, the lour I s scheduled 10 r un through Septembe r and wilt hit all the largr' ve n ues In al l the major cities. And Ihe wo rd Is Ihat Iherr Illay bc some surprises. so stay tUllcd .

~NKSHAVEONEFORTHEROAD The Kinks new reco rd Is adouble IIve lp that waspul toget her !>y Ray Davies moslly from Trcordlngs made du r ing 19 79 and 1980 (coul d that be qIter they slgnt.'d with

the ir new record company) and [eaturlng the Kink s cu rrenl lin e-up of Rayand Dave Davies, drumme r Mt ck Avory. bass player Jim Rodfo rd . and keyboard player Ian Gibbons. The record versions of several Kinks classi cs such as "AJI Da\' And All Of The N ight", "20tt, Centu ry Man " , " Lola" "SlOp Your Sobbln~C. "C'('lh;J old '-Ieroes",

and "Supenna n " In kC('pln~ with the cu rrent trend by record ('omp.'mt cs 10 think v1deo (tn the old days they used IOjusI think. thinking video may no t be' the hnprove mc nl thcy think It Is - ed ,) there will be a 'One For The Road' "Ideo cas5el tc3va llable (p robably It will

cost m ore than thf' do uble disc Ip by a hundred bucksorso) t o be marketed byTlmeLife that Includes cllp~ from 'S hindig' all the way Ihrollj!h to their cu rrent stage antics,

ZZ TOPS EAGLES AND FLEETWOOD Despite rumours t o the cO lltrary, rock stars ha\'e egos just like us m ore no rmal people, And they have thei r prid e, too. So it came as no surprlsc to us Iha t 7.7. T op's press agent should se nd out a news r elease po i nting ou t Ihat 7.Z are doing better than Fleet w ood Mac or the Ea~les In seil in g !Ickets on Ihelr tour of the U.S. [n fae!. o n their 'LULIe 'Ole Band From Texas' 1979-80 tour. ZZ so ld eigh t hundred thousand tlcket swhlie Fketwood ha\'c only sold a ]jtllt' o\'e r three hund red t hi r teen thousand since last September and Ihe Eagles come In at four hundred slxly-four thousand -odd "E: tlx sold . But then again ZZ havea ways ..2 to go 10 mat ch their own reco rd set In "< 1976 wh en t hei r tour sold on(' point two milli on II c kels. Persona lly. we 'd still ra ther Slav h ome and li sten to the Clash album . -

"I'm happy to say it came back out in fine shape just in time for this tour."

LINDA RONSTADT TOUR SURPRISES

拢 ZZ Top - doing very well_

Aft('r a recent performancc at the M arkrt Sql lare Arena In Indianapolis. Linda Ho n stadt explalm:d why I he vCl)' popular "Silver Th read s And Golden Needles'路 had bN'n n' Introduced Into h('r se l. " ] had bef'1l doln~ Ihls o ne for about 13 yea rs and I decided to put 11 In moth balls fo r a couple of yca rs," slle said. 'T m happy to 5.."ly II came back OUI In fine shap(' JUSt In time for this tour."' Ltllda also talked about a new so ng she路s been singing called "Lles'-' " ]1"5 a SO I~ we heard lx'fon' we went ou t on tour." she said. "'t'll probably show lip on the Ilf'Xt alb um. That'sjusl a way of luring YOll back IrliO the record st ores,"

CLASH IN THE CORRIDORS -; OF POWER " Irs something th ai 's

Illo\'·

)wre, As for hiS a l t illldl' towa rd

Ing fo rward . growing:' says

tllt.'ir {"urn"1l1 r(' co relin~ . S l r UIlIITlt.' r sa\'s, " We\'t' been w o rkinl-! qUiI{: h i'm l . but we're jll st r("{"ordln,l.! (or Ih(' ht'll of ii , 'frlend s are dropping by. wt' n ' jusl lilJin.L!. a 101 of songs and h,wing: SOIll(' g oo d fUll." The SliCCi'S!; the band has

M Ic k Jones about I he music

h e. Joe S Irumlll t' T. P au l Simon on. and T oppe r I Il'adon

m a ke as The Clash . The I"SI few m o nth s ha\'l' 5(' t'11 Ihe band catch hold In Ih(' U.S .. through triumpha nt lin' ('on ('efts. and tiwir l ' UITl'llI Lon dort Cnllill[) alhulll . Hulin tht' b ac kgroun d tl1<' h a nd has b('('o qlll('lJyslu~lngo lit Iht'lr next album . T('('()rdlnl! somt' o f II In New York during Ih('lr

ex tended sl a\, in Anwrh'a . "( can 't Tt'allv COilllllellt bl'cau se I

don ', klH)\\' how It's go illg to turn 0 111 :' sa\'s , JOIH'S abollt the next Tt'('o rdillJ,!. " blll I l';l ll s ay th a i iI's a df'parltlTt' for LI S," He pau5('s for . 1 ~t:·C"otld. thell add s. laligh illJ.!. ·'Vhal · ('yer it is. il"s im'\'itablc,"

It's dirlkull (() n g llTl' what a lI yO I1f' ('.... p<'(· IS. or has t'xpt'{'t · ed. fmlll TIlt' Clas h . In a S{'n~l' . n o one l'x l )l"t'lt"d I 11 t ' 1"(' en'!" would lx' <I Clash , Hanl hill inl!, h o nesl rock b,md~ who Ill;)k(' Illllsic Ihal Illea n s sOI11(,lhi nl! 10 Ihelr 3udi(' IH'(' an' i n fn' <jU t' IH , And afl(' r IIII' Ho ll i lll! S IOIlt'S h it i ll llwGO ·~ . it didn' t s('cm Illal iI would happen a~"in . l Ull it h a~ , with Tht' Clash - a n d a s if to rt'iTlfo r c(' 111 (' pOint. 111 ('1"(' an ' n ' l ;IIlY o lher rock bands locta\' Illat l " '('11 co nw dose 10 T IH"Clash a nd wllal tl ll'v ·)"( · :1bout. Thc C la s h.' 110\\,('\'(' ''' d01l '1 ('o lllpl ctt'ly rcla lt' II ) II I{' a li i I l id es abmlt II wI11 ;i IHI I l lt'ir Illu s i c Ihal h'l\"(' groWTl lip a r ound I it ('III . il Wil\' i l St'rms illl"Orn'("l and d ot' s ll ' ! suit liS:' Si:l\·SJOII{'S. " Probabh' dollt' !>\. I h(' sam~' a 101 of i I sort of iel iut s \\'110 niak(' II I i Ill!s

"'n

Oil Ollr b('hall: Lik e lilt, pllnl se 't lw 1)111,· balHI I lwt lila I Ins' . CDS U s(;~ I his i n I Ilt'i r ads. a lid lltt'll I Ill'"lI' it Oil Iltt· I"dio Tilt, CI<1sh d<llll1 I ha l Iht'\··n ' IhC' o nl \' b 'lIld Ihal molllt' r s. This ont' o f Ill(' acl s In America. I I w Ollleln' t happt'll ill Enl! la nd . wt"d dit- 01 s hameIImh' r I h(, sofa . nlll wc h(';lrcl Ih ls 011 I ll(' rad io Ilt'rt,. I 1u"\'('J' said Ih at . hll ll hm· ... ' lw ... ort of Ihing I hat h a plwn :-- 10 .'"0 II , thill ma ll ipuiali o ll." JO(' Stnlllll llt'r i::. al-..u f ' njo., · illl! I Ill' billl (l'!-> !->I;l .\ · i ll I Ill' U .S .. and lik(' !\'l ick J OIIC!>, II<" Sl"l" ~ Ih( ' diff( 'rl ·!H..'l" bt'(w(,(" 11 lien' and Elll!l:1nd. II C' S.1 " S Ihal in iI \\'3\ ' th e who k- ("Cluill l'\' Is likC' Dis llC'yland i f you' re liot f r om

alrt'ad\' :1(' hl t"'('(! h as lI ' , phas{'(t"Strlll11l1H'l'. 1If' nott's, " If you wanl 10 carry on, you ('all' l rrall\' allow \'oHl"S("lf 'hC' luxury o froUIIl.L! a6ol!lln It. So If you r Ip is sl'ilillg well. ym(w l-!Ol to think \\'hal 's Illy IWX I so ng ~ollna bt' likt-? YOII ca n ' t think w ow . 0 11 wah. VtllI ("an', go arollnd Ih 'inkilig you're rollill,t! aro llild In t ilt' ft't'lill.L!o f SI!('('(,SS. YOI! ,,1\\,:I\'s h a\'(' to Ihink of wllat ynll ' n ' d oing IIl' XI.

" By th (' lim e' an Y lh l nl! ("olm's Ollt 1.(111 (/011 Calling mighl bt'CHlt ill tlu' shopsancl IIltl\'ing ar(lll n d pt'op lt'"s (urn· tablt,s. but \\'("I'l' 1101 thinking a b ou l thaI. w('n' Ihinkill.L! about whal \\'(,' 1'(' clo hll.! IInw." S l rumlUe r under s t a nds that it i~II ' t <llw<I\, s (' as\' 10 fo llow j u st \\"I ml T h~ ' ( ' bsll an ' doilll!. OI· It UW llin ··rl" do i nl..( il " "'t,' l l an ' a (Trt ~l i ll ... ! \,It- o f doilll! SOlllt"lhhll.! Ihal ;qjpt:ar:-rl,;tll\' cli "o rl..(all il.('d. ht'c·; ttl ...{· il i ~ ." ilt, 5; 1\':-". '\Vt· d o \\'hal WI.' han' In rI (l - W(' g(' 1 it (lnllt ' ill Illi s ~ t' mi · dboq.!alll z l" d way . bU I \\ 't ' 1!l'1 it tl t lll(' Wt,;ti'(lla/.,· ahon! 'il. \\' t· i ll:--I It · ! IIlill g~ happt' ll whil~ ' \\"( " 1"1 ' pll ~ hin ,1! I h t'lll aro und ," BUI SI rtlllHH t 'r ~ S(' t ':-., 1Ilt'lh od 1( 1 Wl"ll ol lu 'rs mil..(h ! eflll ~i{ lt-r Cla s h ili ad ~ II(""!". I It- add .... .o j I !link I!(' IH' I : 11 I." propk wh o work In w n rllu.; sung~ ; tllt! :-- i Ilgi l u! " I lei <III I h a l !Slu fr s h o uld wis(' li p a Jil tlt- . and Sll:--;~ il lip I>t"fo l'(' til l" ." m a kt , a 1110\'(' ."

'"We have a certain style of do ing something thatappean really disorganize d , because it is, We do what we have to do - we get itdone in this semi-dis organized way, but we get it done , We ain't lazy about it." The Cla s h an ' i n len l 0 11 maki n J.! tht'll' II HI"lie, T Ilt'\' an' n OI (',; \H'('I"IH'd " b o ll l b·d lll.! ro( 'k sIa l'S. I n f;I( ' \' IIH'y l alk abotl l s t't'in.t! rock sta rs. wllat

Iht,\, looked likt,. I ht' ('0101" of Ilw 'l r limos a nd t h t, It'nl.!l h or I lwir hair. as if t h e\' \\Tn'talk · ing abuu l Il1t't"ll lIg mt'n from Mars. T h ('y'r(' not hciug n asly

"This 1 love, this is music, I love it, this Is my Ufe."

Adlllil lillg t ll"l IIH' ba u d is ' d t"f ill it(' l y g ctlill g :,lwa (1" dot's ,, ' t 1"I1<11lg(' Sln llll llH"r's a tl itlll k ah olll h o \\' t l lt'v'n' 1II<1 11<l.L! ing il. " \\1(' d OIl ' t ('an' ,lb OIlI 1'0 111111011 :-.t ' lI ~t ' o r logic". \\It,' r(' JUSI a s sing ar u llnd r eally . I:ikt, LUlldo/l Col/in rl. Wt' i"si did it. II lOok ... lIl o llth , 's lr;dl!llI mO ll lh. 10 n't'on l a ll 111(' backi II I..( I rac k.... ~ ' 1 Ih l nk Ill(' kt ,\, h I h ett ~ yo u ' \'(' l!,OI 10 kt,(,p making ;_0 II H I:-'il'. T OII !"i llg b q uilt' fUll . \\T' lon ' to d n i t. il'" n"all\' t.!1'('Clr "We don't care about co mmon sense o r logic, We're just lUll . ami i t"~ probdIJly t fl(: b('S I asslng aroWld really, Like 'Londo n Calling", wejust did IL It lillW or all . bill \·Oll"·!.' t!ot I II took a month. s traIght month , to rec ord all the bac klng kt't· p I!laklng II His le: ' ' tracks."

i think the key Is that you've got to keep maklng music, Touring is quite fun , we love to do 1t,It's really great fun, and It's probably the best time of all, but you've got to keep making music."

Man

or m ean abou t It. It'S Jus t th at th ey a n d th ei r m us i c have not hi ng whalsoe\'er to dowllh Iht: sUp{'rSl ar business that is known as 'rock' here and reall\' Is jusl a bunch of yest(' rd",~<.... C'uitu r{' herol'S posing. The IlIl1sk is Ihe thillg for t hem . As Mick Jones pu ts it : "This I 10vt:, this is music, Ilo\'{' il. Ih is is IlW life." And hccal ls(' the mus\(' 'is it. becausc IIl1'\' cart: about II with un Lismi l passion, Tht' C lash 's music is so I1llldllllorc than a bllTlC'h of would IX' !TK'k stars Iryin,l! to write a hit Ih::11 will b\l\' thclIl IJ(,t tt'r d o t lies a nd g:CI i IWII1 a 111110, In <1 w:t\'. t he bask C la sh a ll it Ildes g:in' hope for I he futll n '. 011('(' IIpon a !llllt', b t'inj.! <1 rock ami roll hand m('all t thaI VOIL h:1c1 SOlllct hi IIJ,! tos< \V ,mel rock was I IlC wa\' 10 Sc'\' i'\ l oud. ang r y, with 'pas <; i o ll ,

Si n ce t h at (abicd ti m e (and II did exist. h o n es tly) r oc k h as tx'come hateful In m a ny ways, pandering 10 so ft ear,drums and adult exploita I lone;, r e spomli n[.! to bi~ 1ll0 1lt."y deals alld the pr i ce o f IH' tro ch t'lIlic'a l s that art' pn'sst' d illlO rer-oreis . The C lash a rc IIOtl('oft his. They are t heglory o f fOr-k and roll. bn'ausc tilci r m I i I tldcs arc 1liose of people who hin'C sOlllc lilin,r! 10 say bCCaLLSt' Iht.'\' care aiJOIl t sa\'in,!.! it. not ucmuS(' Ih('y Ihilik thcy can make a quick million bucks writinl! litlk iIL~ill('crl' dillie's, It's .,holll liUH' tlwn: WII:-.; I banelli kt' T i lt, CI;Jsll, and C\'t' 11 more about tilllt' thrrt"' was an aucii l 'lH't' who \lnch-r s t ooci what TIlt' C l ~I S h art' about . T he ('(lIllhin<H io l l holds Ilop(' for liS all the ('orriclors of pO\\'t 'r ht.'inJ! w l ltlt theyan', ..D

Dept.

N Now that he's finished his ne w album, which will be re leased this September. David Bowie has gone globe trotting in betwee n reading mOLli.e s c ripts f or h is next role on the silve r screen , Among the stops he 's made recently was Japan where he visited the city of Kyoto and photog Kim Turne r snapped these pix.

David relaxes at a local club with a cup of coffee and a chat with local fans who are delighted to have him enjoying the pleasures of their fair

ne a t and speedy s ubway. David does a little s trap and chats with fans who rec ognize him though most meet him in their loc al subway,

BOWIE PHOTOS BY KIM TURNER

ROC~&ROll

II( )TlINE: ANDERSON,WAKEMAN QUIT YES, BAND CONTINUES WITH TECHNO-ROCK Longtime Brtllsh super~ r o up Yes has a new line -up foll owing the departure of Jon Anders o n and Ri c k Wakeman from the band . BOlh Anderson and \Vakeman will T'UrsU('

solo c an:ers. whil e the rem<1lnln,l.! members of Yes (.l!ultarisl SI('ve f-Iowc . bassist C hris Sq uire. and drummer Alan \'Vhlle) w ill fOfm an all -n ew Yes

Ihal will Include v()(:a1ls l Trevor Horn to replacc Anderson and keyboard lSI Geoffr ey Downs to replan Wakema n . Bot h Horn and Downt's wer e in a band called (he BU.'!J,!les who h ad a big hit earli er Ih \s yea r with a so ng call ed "Vld('o Killed The Radio S t ar',

"We're a r{'vitalized and regenerated band. wo rking logc lhe ronce mOTC asa siron g. unified group," said C hri s

Squ ire about the new line -up during recording sessi ons In London for lhe band's nex! Ip, "We are playing more pOS\1 Ive ly and po werfu lly than rver. and we feel that now Is the {lme to re · I n\'cnl th e Yes Idea: ' Yes' schedul ed lours la tc r Ihls \'ear of Nonh America and f:u r ope won"( b{' afff>Ct ed by thr perso nnf'l c hanges I n the band , The Yes 1980 s h ow will include Yf'S class i cs. th e entire n ew album, and 'a few su rvrlscs' according 10 th e b and 's m an ager Brian Lane , Lane says, "The new Yes have m owel bac k Inl o Ih(' powe r ful. prnlse a nd colorful mu sic they plonc('rt.'d In the J 970's - with an amazingly modem and compatible tec hno-rock cd,(!c in· sp ired by the addition o f 110m and Downes,'"

erated band. working tOlleibe. once more •• a etrong. ,",up.-

DOING IT THE ALLAN CLARKE WAY E ve n before he qUIl The H oll ies, AJ lan Clarke was h avi ng Ideas about hi s own music, a kind of musi c th at w?S different enough nol to fit In t he quccessful sound formula The Hollies had ('fraled . At first he stayed in The Hollies only taking what he called 'rxplora tory steps', Along these steps he found a musical collaooralor, Gary Ek-n sc n . and the r esult was a d('clslon to leave The lio\1lesand go on hi s own. with Benson ('o- wr1tln~ , '" I went around to Benson's house one day and we just Ignited:' says Clarke. "We wrote so m et hln~ like six songs In fou r days, With Gary, I can wrlle anything, r oc k and roll, baJ lads. and 11 's great. Wit h each song. you can tell ad lffer en l slory every time. Voucan always tell a love story differently. Irs endless whal you ('an wrlle abou t." Clarke's seco nd solo album Is dol ng well. Titled L ege ndary H er oes h e rCl.:orded Illn LA. wl l h Spefl('crProffcr as producer , The Ip has nine original so ngs , seve n C l arke · Benso n, on e C la rk e· Pro ffer. Says Cl a rk e o f th e album and his current success. "Thi s Is the n :al beginning of I! for m('. Now 1 can put more into a song because It's part o f m e: It's com ing from Ihe 11can Ihls time:'

FEELING WRECKLESS In New York Clty.a t the beglnnlngof h is U,S, tour, Wrec kless Eric (Goulden I sa id that th is cou ntry perfectly reflects his se nse o f humor. '"It's the strangest place I've eve r been 10:' says Eric. "and I feci that they're more ready than ever for me. '" I like the city . because people are rude to you In ca fes, bars and h otels. It's a refreShing change from the nice people wc've been meeti ng across the count!)', New York puts yo u on edge a bit, and that's good, The on ly problem Is. I can', breathe her e."

"It's the strangest place I've ever been to and I feel that theY're more ready than ever for me ."

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NAME ADDRESS . STATE

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W€ R€AD

Dear F'mnk. Genesis f'i BrltL..h

Dear li lt l'a rad er. 1 th ought your May Iss ue wa.. r("a lly great wtth those fa ntasti c Eurobea t a rtl · d es. PIt"3se do It again somellme. I cspe· clally loved the In te rvfewwHh Bob Geldof. The Boomt own Rats are my favo t1 te band. One quest lon:Wherecan I write to them to tell the m so?

YOUR CLASH Dear Hit Parader. On th e a lbum b y th e C lash (Lo n d on Ca lli ng). the song ''Train In Vai n " Is not

writte n on the back o f the cover as being one of the songs. Old they forget towrtte lt ordld t heythlnkofpultlngll o n a t the last moment ? Thank you. Ltsa. Brown New Yo rk C lly DearUso . It was a

la ~r

mi n ute deetslon (Ed)

EUROBEAT Dear Hit Parader. I am 15. 1havea 26 ycar o ld b m thl' rwith over 3.000 r ecord s. Do y ou know h ow many people my age havt: never heard one

(Ed )

my chesL To Paul. undying gratitude for Jelling me hear so much s tuff that! can tell wha t a bum deaJ radio provtdes. 1 dare my peers to open their ears. George Woods Boone, NC

Pam Cav·.:lOHugh Qllebec-. ('a AAd a Dear Pam. You can w rfl r c l o lilt Pa ra de r an d we'lI make .. li re It (IPts to !lw group. (Ed.)

BOSTON Dear Hit Parader. !t hl nk your magazine Is really grea l b ut I wasn' t too wild about you r Eu robeat Issue and I bel o t her people wtll agree.As a matter of fac t. ! bet everyone will agree that they'd rather read abollt great Ame r lean g roups like Boston. C heap Tri c k. Kiss. Alice Cooper, and Genes is than some of the people who were In the May Issue. Bt1t1sh groups are okay, but they don't compare to thegreatness o n these shores! Best Wishes. Frank Slate C hicago. IU.

Dea r Hit Paradf'r. I am wri l lng 10 YOll 10 Sf'C If you c-a n 1('11 me wh a t 13ost o n·s been up 10 la te ly. I mea n. Ir s been two years s lnC'e fh ~ lr last aJbum was madf' - theyca n't have a tou r for two years st ra ight. right ? ,Just what are t hey tryi ng to prO\'e? Bos ton Is stili " I 13na n Van Hom Ham pt o n. Iowa Dea r Brlan.

Nothing. (Ed )O

song by the Ronnctl es. Beau Brummel. Bre nd a Lee , Jack ie Wil son or The

Searchers? Ca n you guess how many g uys I know that wou ld lake a c h a nc e on buying sturr by great groups like Yachts, The Records, The SlXlrts. The Unden ones

or even ElvtsCostello? l ge llo llsl c n 10lhis sluff and It's Incredible!! Your May 'SO Issue was l ong overdue but th a f sJusI what my brother fold me to say. Peop le have t o be l ol d th ere are rockJng groups Oll l there. Vou surearen '(

going to hear any o n the radio YOLI could crusade (or new music. One way to do that Is to treal fake creeps like Borelgner. Led Bedpan like they don', exist. Let's read more about Rachel S weet than Ted Nugat. Llslen - do YOll need La put Ro be-:-t Plant o n the cover In orde rto seil ll?Radlo has to play the Beagles or people won't liste n? I've never ever hea rd a Dave Clark5 song o n the radi o. I don't th ink we're really as stoopld as all the hit ret'oro s s how we are. What's really funny Is someone who wears a "D isco Sucks" t·sh lrt and buys Styx . Kan sas, Queen . Aerosmlth. and . Bore lgn e r rec-ord s . This guy think s th e S ex Pistols were a ll q uee r and think s Jlmbo Page plays be ll er gu ita r than ". but who cares about the Schlep Zep anywho? Whe n tha t ~ of wind start s dropping like a ll Woodstoc k leftove rs g o tta. It's On.stage at NYC'. Palladium going to loo k like a dinosaur burial during The Pretenden ahow ground. . Cbrls Spedcllng (left) otepped I'll bet If yOll pt1 n t this you'lI get some into the opoWgllt for 0 guitar great m all In response. Don't you wa nt to duo with Pretend.".' guitarist hear good music on the radiO? Mybrother James Honeyman Scott taught me that when a song Is great It (rtgbt) on "Stop Your Sobbing", d on 't age: that's eSPf'Clally Intended for the Pretenden' big English FM / AOR and " the a lbum s tatlon "drlvel bit o lngle wbleb Speddlng that's messing up the air worse than produced. radi atio n. You ('a n have Cris py. Stalls a nd Ma sh a nd I'll take Costello. Lowe and Edmund s. Keep doing stories on ~roups lik e Ja n Com m . It re a lly was a great magazine though. a nd thanks fo r makJng me respond enou~h to gel this gripe off . L.._ _ _ _ _ _ _ _ _ _ _ _....:::=;;;::;=;.;;;;;;.._ _-.;:;;;.;..:.;=;;;:;;;.;;~;;;;;=;;.;.;;...j

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own home at o ur risk . Subjec t i t to any te st yo u li ke . Weig h yourself before you start. Weigh yourselliater. II you have n', started to see subs tanlial weight gain within 7 days, and if you d on'tfeel belle r and look better as a result , or, il you are nol completely satisfied for any reason, PAY NOTHt NG! II 's just as Simple as that. II you are in doubt ... even if you think noth ing ca n possibly help yo u, lo r the sake 0 1 your appearance , and your happiness, at leas t try it ! If the GAIN Plan wo rks the way we know it will. yo u'lI agree it is wor th the few dollars it cost. On the other hand , if i t doesn 't wo rk the way yo u expected , it costs you nothing , and a lea st you have had the sali slaction o r tryi ng il at o ur ex pe nse . What could be fai rer than that? The next move is up to you. Once and for all, de termine to do so mething about your un derwe ig ht ! We know yo u'll be hap py you di d .

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Please send my package 01 GAIN Plan im· med iately With Ihe understanding that jf I am nol sat isf ied . I may have my money back, no Questions asked. I enclose 0 cash, 0 check or 0 money order for 59.98. CHARGE MY: 0 Master Charge 0 Visa Acc!. No . Exp. Date NAME please print ADDRESS

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PRETENDERS CONQUER GOTHAM It was ODe of thoee partie. when one didn't kDo.. where to look ftnt. Everyone . . . there. aDd DO one wanted to leave. It was at H11ll'8U. following the Preteudera'lIOld out.muIl show at the Palladium the nigbtbefore, aDd marked . the end of the band'. ovenrbe1miDgty auccesafuJ three month U.S. tour. It Ia quite poulble that no onc who . . . there wtU ever be quite the Mme ....

What a threesome~ Lisa Robinson. Anita Pallcnberg. and Chrlsale Hynde. Following this photograph. the three ladles swapped etoriell. Oh. to have been a fly aD the wall.

Ayen and Lis. startled by the cameras.

CharI.. Shaar Murray pretenda not to notice .. Chrlsale and LiM . .t Into the party spirit.

PHOTOS BY JOHN FRIEDLANDER

~ADD/,

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by JAMES

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D SO ': .$ /<7av ~

Illooks Itk{' th is has tu m«l Olll tobea mon th fo r the old guard . A good n umber of discs this lime around bCi:if some dusty old n ames from r ock and rolrs

middle yea rs " Is vel)' Interesting to

added at t raction thaI Pdf' 'iOunds liked mod a nd n o t so mt" be<'r brawler from ,J('rsey, If I h avt' a ny complain t:. a l)('li ll th is reco rd II h aslllo rt' todowHh Iht:dlvcrt in~ synlhl'sl/.('r c1nndllng:. and ::.Iud l o tOllch up... than tht' fr eshn ess a nd will IlIgness to play Ill(' rock a nd roll game long <lfle r all the duc:s h a\'(' bef'n paid and mosl o f yOllr cOl1 lc'mporari es are l oun~ lng around bt'C'omlng can tempt lult':' Congr<Jlll lal i Oll s Pt:lt: ('orne h e re a nd let mf' fill lip thai glass, YOI I cteSt'rv(' a toaSI

when Paul W e ll er drops Pet e T own sh end "s nalOt' In a n I n lemew? I

d oubt thai t hey wtl l be disappointed with any o f IhOSt' old Who reco rds . The amazing twist to all of It Is t h at som eon e like Pete Townshend Is mak i ng modem music that stands rtgtl1 u p there with any of those old classics.

PE'I1!: TOWNSHEND Townshen d has o ne of those wi n ning English vo ices so commo n to n e,,:' Brit g r ou p s such as The Buzzcocks , The Police and The C u re, He also seems lobe con nec ted 10 t h e lyric s In a spirit Ihat DaJt rey will n eve r master, Need I men tlon the fact I h a t Pete n early I n vt: ntcd the pow er chord riffing so common to today's n ew upstarts, "Empty G lass" tou che s all so rt s o f ground from qUirky Innocence to braz , en buliiness: spiritu al seeking to punk, Ish cynic ism , Hi s bl as~ at r ock writers, "Jools AndJlm" , Is u ndoubtedly t h e best s tance ever taken o n t hat now well worn front. " Rough Boys" ca n compliment anything from " Quadrophenla" wllh Ih e

ago

ALLAN C LARKE " LEGENDA!<\' HEROES" tELEKT I ~ J Sure , I W;,iS a big fan o f T he S t ones, T h e Who and The Kink s bUI The H ollies a l wa ys had a spec ial pia('(' In m y heart , Perh aps It h ad som et hing to d o w it h Illy ewn earlier obsessio n fo r t h e Everly Brothers When II c ame to fou r -parI harmoniC's a nd Instant pop classics, Tht, H o lIl ('s a lways de li vered In thelrlnl miti:.lblebllt fanless s tyle, But t hey weren ' t fareless 10 me, Where Is that tattered pl(,tu re o f Tony

compare Ihem sldf> hy side and separa te the su rv ivor s from Ihe s ink ers. Years ago I got I nl o Ih(' mllslcofa C huck Berry or a Soloman Burke via the cover songs on Rolling Slon('s albums. I wonder If there will come a ltmt' wh en a foUower o f The Jam slans looking for Wh o albums

PETE TOWNSHEND " EMPTY GLASS" fATeO) Regular r eader s o f Sp l naddlct probably know th at I h aven' t b ee n ove rly thnlled by Who music these last co uple o f years, The power Just was n ' tlhereand I eve n read a recent T o v.rns h end Intervie w In whi c h h e co mpl aine d abou t Daltr ey ' s kn ack for Singing In an Amencan accent aJa Bob Seger, WhaT be ller way to gel around I hal p o mpous growl t h an to r eco r d a solo a l bum ,

per:,ona 111 The Stlf\'jvor AlI.HI C lark e tn prove Ihal Itl(' nl llSh In his heart I~ a!> fn'sh and won hwhllt' as Ihe sparks Ihat Slartt'c\ him on a p r oft'S ~I()ndl rock ('an--er III' arl\' IWt'lIt\" vt'a rs (' onli n uc~

ALLAN CLARKE Hi cks I o nCe carried wi I h Illf' e\ t'n I 11 lit' I wen t o ff for a h ai r ('ul? And do yo" remember thoSf: coUarle::.::. shlrt~ Alla n Clar ke w o rC' 011 ShlndiE.! ? Wt'll \'0 11 probably do n ', evt:'11 r('I1U'lIlber Shindig and I wouldn' t really blame yOIl if yoll've a l r ea d y fo r gol t cn The I/ol lk!> Tht"ir Oll t put in tht'St' la~1 few V{'ars 1M!'> bt.~'11 as aIlJ<l(' th"l' as mid -I ff h\ll~t, No \\ 011 der Allan Clarke sec::. Iii 10 go iJhei:td dlld rt'lease such beaullfull y Cfaftt'd .. nlo efforl s, C lark(' is tl'll: lead Singer frolll The Ii ol ites a n d his \'111('(' (,olll hll lC'~ lilt' see m ing ly opposltt' qllalitlt,~ ofbt"lll'£! piercing )'t'l plei:.l~lng , I ::'lI n ' wish I t'(J llld say' he 5a nlt" aoollt Ill O:--t of I he llleclloC'rf' ly r ics 011 Thb diSC' II Is \(l {'\Mke':-. (' I"I'I l il I h at VOl I d o n ' l t'wn 11011C'(' 11l0~ t Of ll los(' po ncfe roll~ (,(lIIpit-ls and pn'3{' h y poinl t:f'S. \la rkl" s SC n S(' o f lIIt"!odv a n d tllOOel has lost nOI1(' o f thc edge Ih ~l t prop('lled St ich heartstoppt'ni <IS "Sto p SlopStnp" , " The Ai r T hat I B rnilhe" I n1\' all lime favorlt t' roc k b a llad ) an d "I)-l i S SlOP" , 'WaJls" o n Ihls n ew rc'('ord ca n s tand r ight up there with those dassics and d amn It If ('Iark(' d oem' l ofl en ~Illlld jllst a::. gnod as b ot h Evcrlys , Fans of " Lo ng Cool Woman " ('an n ow rC'll re Iha t c hestnut In favor of " Brandt' li bu r g Pl aza" with Its C r eede ncc -c' lInl T Hex r hyth m rifrs and C lark {"s jel -propelled vocal 1111(' , But the ocst spot on "lieroes" ('ornes al a poi nt Ihat C larke h as aJways spt"clalized I n , T h e Hollies were a1ways great at finding s tro ng m ale ria l from othe r writers, Clarke has dont' tht' sa nl(' with Badflnger"s " Baby Blue ", a Ihrlll i ng la m ent to love lost but s till gro wl ng from the pen o f the late Pet e Ham, Like th e

LO U ~EE \) ~,HnWIN{j til' 11"\ 1'1 1l:iU C" I AHISTt\ 11 w\:-.h I Muld:-.<tv aJllhr sa m t' 1I1{'c' titi ng:-. aholll 1.011 I~l'l'd bllt Ihl s n'cnrd IS sllch OJ hopt'Jt,~" a n d b lou ted IllC'S~ Ih ':II It Illclkt'S Il H' ~h ' k. Tht' llIan is llolhll1~ bill d ::.Iillt'd !:>t"!f parody tll s l\'fi{' ~ snund Itkl' ollllakt,:, from a TV sllcom cO Ill't'rlling lifl ' nil Lonl-( Island_ LOll dOt's bOlIlIl'I' back t'w'r\' o n('(' In a wilil(' with <III alblllll Ih.11 partially qlldlillt'!'> hl ~ \'1'I\'c'l l in dng rolll1d daze bill Iht, n '('(l\'t' n from thb mt'SS Is a ~ialll h>' I)) lilill ~t1.:'rn~ <llmo!:>1 Impossible t'~p l'd 311\" III lI~hl or \\" .I ~lt' like "T he I'tlwt'r O f l 'nSIII\'l ' f)nnkill/,( " Sn Alone" alld " M v Old Man " ALieF: COO PEH " FLl l SIl THE F;\S II ION " iWAKNEH, Th o llgh I 11ave 1H" \'('r rt'CJII\' 1l1'I'1l H big fall of AIi('e Co opt'r _ TllI~ rt"('llrd a in iosl hi:.ld me fuolt'fl Ma\"lw II w:t!'> Iht' hrill iant idea 10 l 'tl\"t'r Th t '- !\1I1~lt M ach illl' ~' "Talk Talk" liI •.11 Inili,Jlh t ('lIlu~'d lilt', bill after a {ouph' 01 !:>pin~ J \\'<15> all rt'ad\' 10 cred it ( 'oopl'r \l"lth .1111'.1:-.1 Illaklllg311 e ffn rt 10 {'oPt' wi ll i pn'!'>t '1l1 1II 11!:>]!'•• 11 ft'nds I I rkd I ILl' dbt ' ()lll 011 ~Ollll'() nt ' \dHI had i ndl 'c:d OIl l t' htT ll .t ( oe)l)t'r f;lll dlld !'>I 1ft' t'!lough !'>il(' !:>I'I IIIl' ~lral.1!ht Tilt, <tllt"lIlplS a l bt 't 111111111-( (, lIrrenl art' 111 fa(,1 nothing lIl()ft' Ihall (h'~ pt 'rd l(> bandwagon leap~ and !'>Illdin Iri('k:-- I.ike' a ll \, St't 'on<l rail" a( ' l or Alin' I~ gi\'illg you IIie 1l11'dia \'('r:. ioll dlld Illh~illg Iht' Ifllt' mania \'1:--1011 ( 'oop!'>' \ '011"(" , .. limp I 11:-. Iyrl('sart' 10.1 lilt" and hb (kll\'I'I" I~ FOIlI like Takf' <l good look al liL al h oI( k t"(I\'('r I dOn '1e\'CI1 Ihink lit' n 'aHv ti ll hb hall', II looks likt' Ib III('ked illin I hi' bd('k 01 his {'ollar. AliI'(' i~ probahly III~I t n>ading \\'<tlt'f and h oping thdl Illdl IW<t\'Y 1II('l al rt' Mlr, .ct'IWC' ht'ad~ Illr Ihr-5.(' sh o n's so he C'a ll PIlIl OUI hi:-. wl1 ips a n d dunn' w i I It I llbes or IOOlhpd!'>l t' OIlI 't ' again I d Oli -I think Ihdl will t'wr happe n , U\,(' \'illn', PHlL LYNOTT " SOLO I 50 11 0 " (WA llNE I< S ) Whilt' Phil d oes n ' t rC!ally Cjlli:.llify as a co ntemp o r ary of To wl1she n d, ( ' la rk e, Reed and Coope r his leadership of Th i n Lizzy does place him slightly outside Ihe r ea lm o f 11l0dt:rn mu sic, Strangely e n ougl1 the l emper on many o f Ih ese songs aJJ\es Phil with n('w n ames, "Talk In 79" Is a

TON IO K. " AMERIKK (ARISTA) This

vtrtual catalog of music and m usicians that have seen the ligh t of day In lhelast three years. He name drops The Clash.

The Pistols, Public Image. The Poli ce and Sham 69 almost as easily as he does Jlml Hendri x . Stevie Wonder. Bob

Ma rley a nd Robert Johnson . Wh ew! That must make him the Eric Burdon of rock c irca 1980. Luckily Phil pulls enough musical c h ops to quaJlfy with

most of those names. ThiS disc Is far superior to recent Lizzy o utput and varied en ough In Idioms to sustain

PHILIP RAMBOW

quite a high degree of rn uslt;a!l lIleTeSl. ''The King's Call"" Is a great tribute to ElviS and Phil . He has an a rrogan ce thaI

seems more sweet than s incere. Even the syntheti c attack of 'Yellow Pearr' could teach Gary Numa n a thing o r two about making eJectron lcssou nd huma n and Inhuman at th e same time . Finally. II mu st be said that Lynott has a swagge r to his vocals a nd bass playing

that just doesn't exist In most oftoday's music. He Is a black man playing dirty rock and roll In a basi cally white ooys market and the fact that he ca n Slare most of those puny posers down bo th mu s ically and physically bears c redit ing. If he can translate some of this charm a nd diversit y 10 the musi c of Thin Lizzy there will be due reason for re-evalua ti ng thei r position. If Ihat falls a t least his solo stab will go down as a success of sorts.

BILLY SQUIER "T en: TALE OF THE

TAPE" (CAPITOL) Billy once led a great group caJled Plpcr.l'hey recorded a great song called "Who's Your Boyfri e nd ?". Billy has seen fit to n-reco rd thatdlltyon this new solo ('ffort. Times c h a nge. Tastes c hange . Ext' use me w hi le I change this disc Into a frisbee. I guess It was the band tha t keep a ll those Robert Plant isms under co ntrol. Without Piper Squier sounds con~lIpa t ed by his own

TONIO It.

BILLY SQUIER BRAM TCHAIKOVSKY " PRESSURE"

(POLYDOR) When I was In England back In 77 . 1 had the good fortune to seeThe Mot orsa t The Marque. Bramwas In t hat band a t the time and the musical pace they set live was blistering. T hey fol lowed that up with a great flrsl album but then Bram was booted out a nd The MOlOrs ran 011 1 (II real rock a nd roll steam. They turned Into a half-backed IOc(' a nd Bram ha s turned Into the logica l nCXt step oflhat great firsl aJbum and IIv(' show. Hi s band runs on the same electr\(' Jangle of nerves and enthus iasm that marked ea rly Moby Grape music. Tile vocals bear a doubleedged slash Ihat Sidesteps harmo ny In favor of frenzy. Gu llar so unds buzz a nd twlsl aU over the place a nd the so ngs fling out c l a~y rock Images with Just enough hooks 10 keep you humming. I have a feeltng that given the right exposure Bram ('ould become at least as popular as The Police. He shares thai same commercial. yet crazy. knack.

record. PHIL RAMBOW "SHOOTING GALLERY"'

T HE: G RE G KIHN BAND "C LASS H OUS E ROC K" IBESERKLEY) How "N tght After Night" both sung by bass

NEVER HIDE" (POLYDORI ". and never

(SIRE) Sometimes 1 really think there should bea law requlrtng bands to do at least one cover song per album. It always gives you such a good Idea of where they are coming from and Just how o rtglnal thei r sou nd Is. "Under The Boardwalk" does just that for The Undertones. This boardwalk Is not that far down the beach In Rockaway just one blanket away fr om The Ramones . The Unde rtones are truly England's answer to The Ramones. They work at the same speed. Their songs have the same gobs of fun a nd o ne or them eve n looks a bit like Dee Dee. It seems like on ly last month I was revlewtng "Jimmy Jimmy" from their Orst great album and already T he Undertones are progressl n~ beyond tha t with "My Perfect Co usin ', "More So ngs Abou t C h oco late And Girls". "There Goes No rma n" and just about every ot h e r song o n this s tupe nd ous record . In th e old days of WPIX (New York's great departed radlostatlon) thiS di SC would have bee n receiving Io ns of airplay. These young lads (Ihey s till live at home with their pare nts) are almost a ge neration younger than The Clash but musically they are right up there and, In fact . s hare none of t he jaded pretensions that sometimes slip Inlo Clash sounds. BeSides. a ny record that sends m e back to myoid Drtfters a nd Ben E. Klog albums deserves a good cheer. embarrassing. The best thing o n lhls record Is a cover of "Fo r Your Love" and

BENNY MA RDONES "N EVER RUN

...

do n't oother IIslenlng.

T H E UNDERTONES " HYPNOTISED"

TED NUGENT

(CAPITOL) This guy has almost gained legendary Slatus In the English press as being one of Amerlca's great un -recorded brtght hopes. T his disc recllfies the 'u nrecorded' stalus and destroys the 'great hopes' accolades. This music Is lame and IU-concocled. 14

dlny delight o f Rock. I Oee "LOOK HEART (WARNERS) ". but

Ima~e .

TED NUGENT " SCREAM DREAM "

(EPIC) These next few words could well guarantee the condition of my mati box ror the nex t few months. I have more le tters from Irate Ted Nu~(' nt fansdue to past reviews th an all of the leit ers 10 Splnaddlct combined over the lasl fi ve years. This man has a trllly lInbeilevahk loyal fo ll owing. That doesn 't mean he makes grea t rock and roll I wHl admit that the man has put a great deal of effo rt a nd sweat Into shaping his O\l/ n slardom. His music Is flllt:d with heaps of high energy and crazed gu itar work. But just ltke all of his prevlotls solo effort s this record blows. Go a head feed his ego. Waste your money. Waste your time a nd ruin you r stereo Don't bother wasting nfteen cents to tell me what I should do to myself. And If you d o decide to wrtte. at least try to make It legible a nd literate Instead of reconfirming my op ini on aoout the Nug fans.

guy looks like one of the Grass Roots. He sounds lik e a c ross between The Ramones and John Kay of Steppenwolf. It Is qu ite fitling that two of the songs contain the word 'crazy' ln the title. This guy Is t rul y demented . Strangely enough. It works. The record came wtth a self-penned blo that revealed absolutely no thlngaboul the man. Music such as this bears up under that forced element of myste ry. Most times whe n someone Is referred to as living In a vacuum . It means that thei r existence seems totally unaffected. In Tonlo K.'s Instance. the vacu um Is a Hoover and the rug Is that

BRAM TCHAIKOVSKY

p laye r Steve Wright. Klhn comes off sound ing too much IIkea poplfied Bruce Springsteen glortfying roadside dreams. m ovie themes ("T he Man Who Shot Llbety Valan ce" ) and nurd erotic isms (''The Only Dance There Is"). Klhn can but this record doesn't and a group reeval uati o n Is certainly In order. What once sounded so fresh can no longer stand up to the tough new competl tlon .O JAMES SPINA

SACREDSONG SOLO SUCCESS Three vears

'ht'n II ' s a l m os t like main new music," In 19 77 , "R ich Girl" was a hit. there was a grea l deal of IlS lime. A 101 has J!onc down leased . " Lots of j:)("Oph' W"",I,' In mllSi(' ally In Iht' pas t Ihrc-c di SCO , and, added Daryl, " Th e (f'rm ' O('w wave' hadn' t even RCA " salrl O ~ rvl .. nr! Ih a l years. and it ~.,,::, mort' ('on helpt"C1 hr1n~ It (11 ,I (' I \~'l l !t It'mporary nnw th a n It did bt"t'n r oln("d vel II was s liU p un k r ock musi c, and some p(.'op le Ih o u~ hl I sou nded like David Bowie on Ihls aJbum which I do n ' l see at all b.-"('3t1S" Ih('r(" was no thing 10 C'Cllnparc II 10 , Ih a t was the on ly C3 11.'g0J)' they oou ld put" In, II SN'ms like a sil ly com parison btlt t h a t 's ac tua ll y whal somt'" I>f'ople said" SllllnQ In NYC ' s S IR Stllt'ilu, whe r e Hall & Da l es w('re rrh('ars ln,g for an uJX'Om · Ing tour Darvl !"aId w ork i ng with Fripp W ciS " rea l easy" bc('all ~ h e was a friend " I t was vt'"1) spo nt a n eo us a nd In l ult lve," he added, '" have an Inl"II'v(' 1ll11slrnl relationship with , John (Oa l es!. bUI things tend 10 bt- m ore stru c lUred, Wllh Robt'-rt. I'd have the songs wrll len, bill 1he arrangf"mcnts would jll~ t happen, And since Il1I'n i'vt' b('t' nt'io lnglh31m ore ..,.. Uh John, so It preced ed a I new way of working wtlh him, " It also gave me a gr ea l c r !'>('n~ o ffrt"Cdo m and I re mem ... 1 .remembered jwn how cuy it t. to record without hen-'d IIISI h ow easy II Is 10 certaio expectations put on you. Nobody was upecdng r('(' on1 wit h out c f'rl a ln cx thia album .rod I had nothing to Uve up to do It 1IU1de 1>(,('lall ons p lll on YO ll, Nobody thJ.nga a lot e uter." WftS expccll ng Ih ls album and I had nothi ng to li ve up 1050 It mad(' 1h' ngs a 101 easier :' l-: Vf'11 I hough he r eco r ded Iht' a lbum I hrt' e y ears ago, 0<,.,,1 :0;. 1111 feels com fortable willi It 'I hart tht' rare oppor afl t"r

W3 ~ rl'

corded Wilh p rocillt.¥r t<oN-rt Fripp. oaryt Hair., snlo album Sacred Son9s. ha':J Of'f>11 r (>

I gllt"SS om ' o flhe rt'a~m ~ It.~ , we had tro llhlt· relt-aslng II beforT. was lha !l! wasa.,cad of

,h.·

51 rram

$6.95I3LONDIE

tu nlty of bei ng able to forgt't aboul II for a year and a haJf and n ot even li ste n to It." h e said , "so when' came back to It I h ad a c ert ain kInd o f obJt'ct lvlty that' didn ' t have b efo r e, It's lik e li ste ning to somebcxtyelse, " MusI ca lly I forgot about It but II b Olh ered m e Iha t It wasn 't released, Roben and I never 1('1 II slid e - It was really us agal ns l Ihe co mpany and we con sta nt ly kepI pus hing people 10 li sten to II : ' As for the obvious compari son s bt'lw{'('n hi s solo album and Hall & Oa tes proje c t s , Daryl sa id, '" ass umed th a t people wou ld say It's different. but I fllsrt'ga rd comparisons - good or bad, Just the faci lhal It is d lfferen1. you can't compare I t." Daryl said he's always been Inl cresled In New York groups, such as the now defunc t. Television, " I think Ih e longer I've bee n away from Ph iladelph ia tht' more I ge l away from my tcenage roolS, whi ch was the H&B soul thing, and Ihat's nne because I never wanted 10 be ca tegortzed as JIIS t that. We'r e no l a pop , R&B band, and I dldn ' l lik e \I whe n p eo ple Ihough t of li S as only fhat." Daryl think s Ihcch anges In the musi c business over the pa $1 fC"w yca r s h ave for ced evcryo ne to be mo r e flexib le, "ThoS(' who weren 't able to be flex ible jus t had to stop." h e said ' Wt" wen' very fl exIbl e we wt'n l from playi ng h uge hal ls to doing a club l ou r,-O

STORY

Now II ca n bf' told . Ih(' rlNatis we've a ll wa l lt-d fo r: how Deborah Ha rry, a lo",('r mlddlf'·dHss girl from a III l it' town In Nf"W .)t'rsey (How li ttle, u "su'r? Three Indlcs? A fonl high? ) becamr lead si nger a nd {'clllcrpleef' of Blonc1lf' lis that like tx-Ing a ('cn lerspread l .es'? Is S l cven Tykr also a cenlerpl t"("e of N'm~mlth , for Inslan('('?). ami all for only 86,95 In Blnnt'ile thl" bonk wri llen by IRSIl'r BaI1.'!:-. and gOll en 10 th e b oo kst or('s by Fires id e Book s fSl lJ1on & Sc h u ster, l ilt' samf' I)("opl(' who d lS<'overed Ihat rOC"k fans could read (""e n If we havl' 10 m ove ou r lips a Illth" hy seiling us all t h at book on RmN' Spr1ngs tt'f' n, Anyway , we ca n ' ! fault Lf'sl('r f('lr the prpso<:. release se nt ou l to annou nc'" Blonrl le Ihp hook, a fl er all. Pf'Ople wh o prllli book s a !Tn 'I Ihe saml" pt'ople who b11Y Rlond If' I he rN'OMs Bu! Flreslde, l hl' b(l('l k rompany, lta sgotl en a 1lI l lecarrtf'o away with I I al l. with IInpsllkr " B!ondlt' Ilhebooklt'xplorf's lhe rise to Intt'"mallnnaJ famt' of Iht' group who skyr()('kt'l ed from th,.. OO~mf'''''lo<:.l)fQII(¥'no<:.ln I hI" lOp ofthp r harts Tht" ba-,emf'nl s of Q'lf"Pn ? ( omC" on, men and womt'n 01 the publlsh l n!! Indllo<:.lrv, glw tiS a b rf'ak .. nd E!t'l I.~h'r his royal tlC"o<:. on Ilnlf' ~,...rl we pITlln lS(' no tl fl wallu lltll RI('\ nt'ih' the book gt'"l ,\ 1(" P\lbllo<:.h('~ n (,:l rt n.(! 11 ('01 · ....... l:x' foll" h l lyl",!.! ou r It' n coptt'"o<:. Tht'V also rlrr.. m of h o lt~ In ro nr1("t 1\('lIt wllhln romm u llne dl,\ta,,('f' o f New Yf)rk wh('o on Iv ... !UP and pand(' r II') Ihe j)f\(lr rt" 'k fan BlI l <ll Ipa<;1 In Ih l'\( :, ..... th e~ Ul horlo<:.lt'gll and ! ~f' ln""'s , .... (. pa pc:'r I" m ade fmm a r-e legit. so what (~ n wt" ft'II vou 10c1('o hUI '\C'\vt' l l p~ "(' n buckS and help out a worthy cause,D

~B[;)LJO®~

We've beftl'd of potheads. but we've

never RCtu tily seeo one! Wfttt . minute, let's start th1a caption

again Ttt18 pboto of Devo a rrived rather a nonymously on our df:8k eo we don't know if tbf' boys he,", a ) gotten newbaircute, bl thlsls the real cbylOOL cJ borTO.-Ilheoe cowboybat.ofrom KraftwerIL d) none of the a bove,

.JOURNEY SAYS NEWYORK KNOCKS THE ROCK By Deane Zimmerman

, .j

â&#x20AC;˘ lot individually responaibWty and a lot of fut moving. and and as. group, we couldn't survive ... :~~~~::'C.:':l~o~t~o~r.::::::;:;atrong, Whe n Journey Is on the road . a normal nlghfs sleep [or bassist Ross VaIOT)' Is usually about four or five h ou rs. Since

this Interview took place aner one of their rare days off. Ross - th e man many consider to be the funniest member of the band. had had a whopplngelghl hoursof shutÂˇeye which m eant he was reaJly In top fonn.

Ca lli ng from Uti ca. New Yo rk . one month Into their m ajor U.S. tou r which Is breaking It wid e op en for the g roup.

VaJory talked about the fabulous response

they've rece ived. 'We're stro ng In every city except for New York:' sa id Ross. "And

that's their problem. The way I see It Is. New York has seen It all. they dare you to

entertaln them, lodosomethlngd lfferent. It's a harde r a udie nce, which Is understandable. because New York Is a center of culture. We've bee n In there severaJ limes and done some good shows, but It's not really worth going In there again until they really wan t us." Journey's biographical mat e rial describes Valory as a native Californian whose Introduc tion to mUSi c was clas sical plano and guitar. He also has a background In Jazz. Dixieland , barber shop quarter and sland -up comedy, He got Into rock and roll when a fMend In school who knew of Ross' membership In a symphoniC band suggested that he go out and rent a bass guitar and Join the local high school group, So he did, His c redrts Includ e San Francisco's Frumlous Bandersnatch and The S ieve

MiUer Band before formlngJourneywllh Neal Schon and manager Herbie Herbert . for many years Journey suffered an Identity problem, but with their Increased popularity, they're no longer gelling lost In the shuffie. "Everyone knew the musi c and everyone knew the name:' said Ross. "but they had no con nectio n between the name Journey and Ihe mUSi c they were hcaring on the radiO for years. Now people have put lhe things toget he r and recognize nOI only thaI wc've been around fora long time but thatlhere's something 10 II , Somethi ng to see and hear. "One of lhe problems we faced In the begi nning was the fact that we were ahead of our lime muslcalJy," he co ntinued , "and the radio was not ready for our malerfal. Now, on Departure (their 7lh Ipl, we're doing rock ballads like we were seven years ago, but all of a sudden It's become acceptable," The r e lease of Departure. and th e subsequen t lour, waS a real tumlngpol nt In Journey's ca ree r. "Thi S Is our year:' said Ross, "Even before we began our tou r the record renected that. not only In basic economics, but In the way II 's been received as mus ic_Then, once we hit the road, things have been coo king right along. We've gone In to places where we've never been before and have done really well. gone to places wh ere we've been before and done even better, We've been setting attendance records , T-shirt records .. , So It docs renec I a c hange another step up the ladder, lfnot a couple or thrCf' ,

"One of the problema we faced in the begi.nn.iDg wu the fact that we were ahead of our time muaically and the radio .... not ready for our material."

Afte r a few weeks rehearsal and a mon lh on lhe road, th e band has gotte n used to thetr new multi-level stage designed for thiS tour, ''The new stage Is great." says Valory, ''There's lOIS of room everywhere and fh e lighting system which wC'vcJust built for Ihe show really accenf uales the stage and brings out the best of everyone. There's also a different oonfigurallon of people - now Neal is stage left and I'm stage right and of course Steve Peny Is sti li stage center b u t the rear stage, which Is raised anothr.r two feN , h old s the drums and keyboards Irs also a different set up of eqUipment because there are

''I'm the nrst person to rum JourneyInside and out, upside down and sideways:' h e continued. "That Includes group's first). which Is set fora Christmas documentation of the group's wOrkings on tour but also gets Into a new creative release. It wtU be. said Ross. "Live. llve wtth as little tamperi ng as is necessary." area of humor a nd cataJogue ofJokes and A!! for hiS hopes. dreams, and aspira- schUck that we've been accumulating for tions, Ross ha d th is to say: "As a group we seven years, I've attempted to recreate tt have reach ed the m a nd have only to on tape as weU as to tape such things as continue to hold together and not drop comedy of commercials, 1V and movie the ball. ThiS me-dOS personally, business- parodies, orig inal story lines, special wise, musically and c reallvely. We have Interviews, a nd true life adventures." So nothing to complain about and nothing to far Ifs a home movie but we might see tt flashing across the 1V screen someday, do but get on wllh It." Journey is a band comprised of musi- The emp haSI S Is on might: VaJory says cians who have. among other attributes, that he has no definite plans for tt at the the right a moun t of ego. '"There's a lot of moment and Is quite happy to keep It that pressure, a lot of responslbUlty a nd a lot of way so as to keep It untainted and unrefast moving:' said Ross , "a nd without s tri cted by a future aUdience, "It's for me everybody be ing strong, Individually a nd and us:' h e said, "t he people who particias a group, we couldn't survive. Those of pated In It until I'm done wtth It:' Some sixtee n years after he formed us who had too s trongsn ego are not wtth us, Those of us who didn 't h ave enough of Journey, Ross says "Look at me now," and an ego are not with us either. I think one of admits he feels IIkea rock and roll veteran the main reasons we'vc been able to hold "A veteran of the '60's, a surv1vor of the together Is that we put friendship nrslln 70's, because It was a difficult Ume- not the e nd , whatever the c onflict may be, only for the Industry, but for most people musical or personal. we surrender to the In many ways. It was the beginning of aU sorts of recessions, I t reflected the Viet whole, " It's hard having all chiefs and no Nam war and th e sh ift of money and braves. I volunteered to be a brave a long Investments. It was the beginning of the time ago and l1Owl 'ma c hle fagaJn. J took a vi nyl shortage. the 011 s hortage. the results back seat voluntarily but now there's the of everything that happened In the 1960's. opportunity for everything to be straight To make llthrough the 1970路s. for a band across - In fact. It demands that every- t haCs been together for seven years, and thing be strai ght a cross In order for us to held together a nd to be arriving at Its heyday In t980 - I think that's really survive as a group, as a unit. "As an Individual I' ve made ce rta in saying something, 'We started the group In 1973, (( was.a sac rifices musi cally . r ve waited and comprised for the whole, as we all have, to ridiCulous time In tenns of economIcs, or get It to work. And now I have the oppor- even the music business alone, to start a tunlty a nd privi lege to do the things I've busl ness - let alone to last as long as we have, and we've been running on our own waited to do:' steam. We've been out on the road for One such thing Is the video movie Ross seven years. I took my nrst vacation this has been taping for the past year. "I was last August and s tayed home, doing sitting In Denny's In Okla homa City with things I don't normally do, J stayed home a fri end of mine a nd' said 'Let's make a wtth my wtfe and my cat and went on movie' a nd we've been making a movie hikes, watched lV. and went to movies ever since:' said Vale?ry. .. , hope to be done and just relaxed, with It, or at least with my nrst edition, In "It was the nrst time I'd been able to do that In nve or six years."O a month or so. F~s of Journey's top-notch energetic show wlU be happy to hear that the tour Is being recorded for a live album ( the

Neal Schon (left) and Steve bacbtage before the abow. pmctlcaUy no speakers on the stage. Most

of them are underneath. At first It was a little difficult but once we got into It we found It to be really good." Talking aboul the album. Ross saJd. "It reflects more of who we are on stage In a ltve setting. Departure has more real Ume recordings on It . meaning the bass.

drums. plano. lead and rhythm guitars. and In some cases the work vocal from the ortglnaJ recording are all sUll there which means that almost everyone Is doing It at the same time. That Is the difference: we're able to retaJn what we did from the top - there's less productton. less overdubs. Ifs more live and Is a better representation of our feeling. our musical Image and OllT sound,"

FRIPP STILL ON TRIP TO '81 Robert FrIpp continues his drive to 1981 which began last year with the

release of an album and the announcement of Frlppertronlcs. Now Fripp has another album in the stores, described as 't he nrst double album to be recorded on one disc' and called God SaueThe Queen! Under Heavy Manners.

The

Lea&Ue or Gentlemen'

JoIu1ny Too-Bad, Robert FrIpp,

san. Lee and Barry

Along for the marathon drive to 81 these days are not only Frtpp htmselfbut a new b1u1d he's lust formed called The League Of Gent ernen. a name used by Fripp for theveryflrstband he was ever In. back In t he early 1960's. The League Of Gentlemen Includes ex-XTC keyboardlst Barry Andrews, Sara Lee on bass, and Johnny Too-Bad on drums , The LOG makes Its d eb ut at Nlmegen. Holland, then wtll tour the u.K. and Europe before co mIng to the U.S. (by plane. one presumes, s ince it Is a long drive) for dates that wiU Include NYC and points south and west

LED ZEP TOUR EUROPE In their flrIt eerles of concert. alDce

they made their 'come-back' Jut AzICuot before 200.000 fan. at KDebworth in

England lut Auguet. Led Zeppe11D haft eet out acrou Europe to do • eerie. of obOWll. 'lbe band ......'t played In Europe in .even yean Uut Eurotour wu the spring of 1973}. 1'11» tour taIteo them to clatce In Austria, Germany, swttzerlaDd. Holland, and BelgIum with ~or coooem In cities lII<e BruaaeIa, Rotterdam. VIenna, &I1d Berlin. ,.. yet there la 00 wordofwben tbeband wW have afoUowup to lut Auguae. In Through The OUt Door Ip. or when. U.S. tour wW be .et.

Back out OD tour...

ROCK ROMANCE "After the hlgh·energy thing fizzled oul tn 1971. Detroit wasn 't really happening as far as rock and roll." sai d the Romantics' Jimmy M arinos . "and I guess the rockers felt

pretty much In the minority. But we s tuck wtth It. 'We've been playing since we were about 12. but not to· gether. Mike {Skill} and I were

always starting bands that would break up for one reason or another. and Wally (Palmer) and Rich {Cole} had pretty much the same hiStory. "A lot of new groups think what we're dOing looks pretty easy. but man. there are so many II W e thl ngs that you can'l even begin to translate It's just 51uff thai you pick up along the way, We're s lillicarn· Ing a h~U of a 101." 1'alklng about th e success the group Is having with their first Nemporer Ip and major U.S, tour, Jimmy saJd: '" didn't reaJlyenvislon It this way, You have a dream: when I was 13 the British Invasion was really hitting and rd look at those guys and think tha t by the time I waS 18 I'd be up there. But II didn't happen when 1 WclS 18, It did n't happen when I was 21 , 1 guess Irs different now than It used to be, It's more competlCtve. but If you're good and you 're de l erm ined you'U succeed . ~ O

"A 10tofDewgroups thInItwtuotwe're dolDgloobprettyeuy, butmu, there are BO many Uttle thlDg. that you can't even begin to tranalate - It'. Jstuff that you pick up aloog the way."

CSffi[})TIO@~

A dres8 ing r oom lomewhere In Queen., N.Y., finds David Johansen and Dee: Dee Ramone reluiDg after Dee Dee joiDed David and h1a band onsta&e for a we11-de.ervedencore. OJ. by the way. iabardatwol'koDBOn&!I for h1a upcoming thlrd 0010 Ip and bas dIobaDdcd h1a group In anticipation of putting. new powerhouse band together once the lp Is Iinlsheel.

ThiS winter Kevin Ayers came to New York City from the tiny vtUage o[ Deya. Mallarm. where h e claims to have b<= hIdIng [o r the past few years. Kevtn. who has always been one of the more Interest· log musi cal personaliti es. stands six feet tall. Is

devastatingly charming. and has a reputation first as a rake - then as an ecce ntri c decadent who would rather lie around and dIink white wine In the South of France than make records. !Who wouldn't? l. Widely regarded as one of

re co rd deal here. but the

" event that combIned the hIghly original. talents of some of Indu s try r ea lly are more ! the English rock scene's most eccen Lrtc personalities: Ayers, cutthroat than In Europe." John Cale, Nlco. Bnan Eno, (In Europe. Kevtn Is on EMI MIke Old rteld and Robert Records. but he's ava1lable for Wyatt. 'Td like to be Involved In the U.S .• and someone should snap him up any minute) anothe r one here:' said Kevin. Kevtn hadn't performed live "EspecIally In New Yori<, whIch In the U.s. since he was wtth seem s to me to be the most lively and receptive place for the Soft Machine thirteen such an event nght now." years ago, and played In New (Among th e musicians York wtth the rhythm section Kevin approached about this of VHF (Rich Teete r. Donnie while In New York were John Nassovand Bruce Brody), and caJe. David Johansen. and the Ollie HalsaJI - the gultanst who's played on nearly all. of : Talking Heads - all that's

machinations of the record

WHERE DOES HE GO FROM and

II Far? By Lisa Robinson

., lIDaIly had to get 011 my butt and do oomethlDg,ll».da bad nlgbtatpoJr.er, ooljampecl ona plane and just came bere." the more avant garde, eclecttc rock and roUers, Kevin's music combines the very best of melody and drama He wrt tes and Sings songs wtth a k.1nd of Ray Davies wtt, and a style t hat has strongly Influenced Brian Eno. It was about time he got here. .. , finally had to get ofT my butt and do something:' Kevin said as he prepared for a series Of New York shows that would bring him the attention h e deserves here. "I had a bad night at poker. so I Jumped on a plane and Just came here. I'm optimistic about ge tting a

Kevtn's albums. ''I'm doing preltymuch what I've a1ways done," Kevin said. "tak1ng the best stuff off each I albu m, and I have eleven to c hoose from. I really h ad no Idea whether the kids h ere know m e o r not. and It 's frightening a nd tntr1gulng at the same lime:' One of the ways that audi e n ces In the U.S. d o know ' Kevin Is rrom the lege ndary Jun e 1. 1974 album: the o ne recorded tal London's Ratn'bow Theater on June 1. 1974) by. Island Records. Tha t concert (and record) wasa magical

needed now Is for someone to organize It. With all of the recent co mme rcial Involvement In rock and roll - HaD an d Oates / Carefree gum : DebbIe Harry/ Muljanl jeans - this would be a good opportunl ty for some company to . s upp o rt a prestigious rock eventl. While In NewYork, Kevlndtd manage to see a lot of the local bands, but admitted, "Of course, I'm probably a bit out of d a le, but I'm not madly Impressed , I don't like being shouted at - I'm still old school melodlc."O

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UP1f)iSCOGRAPHY Singles J amie's Cryln' b/w I'm The One, (WBS 8631). 5/1 6/ 78 Ai n't Talkin' 'Bout Love b/ w Feel Your Love Tonight, (WBS 87071, 10/ 25/ 78 Danoe T he Night Away b/ w Outla Love Again, (WBS 86231, 4/ 2179 And T he Cradle WIll Rock b/ w Could This Be Magic, (WBS 4950 11,5/ 7/ 800

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JIMMy CRESPO Aerosm llh 's new g u ita ri st. Jimmy Crespo, Is. In h is own words. Ma lInkerer of gultars. "I could have a billion guitars." h e said . "Rig ht now I have about 12 here. and I keep a whole batch in differe nt plat..'Cs. "I love Sira tocastcrs," he contin ued. "and I tinker the s hIt out of them. When I lour I dOn'llake too many, I keep most of my heavy Vintage ones in a home base some plac!e safe. I took abou t 10gultars on the las t tou r: a few Stra locaslers - a couple that Neal. my guitar-man. made up for me tha t are really nice and a B.C. 81ch tha t B.C. Rich sent me which Is beautiful. It's white and I put a couple of pickups on It . I al so too k somc DcMarzlos which I use as my mal n gu II af's. Wit h the amps tha t we're us ing, the St ratocasters s queal too much so I use them mostly for sou nd. It's more like a syn thesizer to me ons tage. I also use Lcs Pauls - It d epend s. I go through moods. Talking ab ou t special effecls. Jimmy said, "I like effects, I love effects. but just echo. I like tha t In the s tudio, natural tape echo. and sometimes flanging but not too m uc h becau se everything gets mus hy after awhU e and then I don 't gel off on it. "Raw energy - that's th e way I look alit. If a song needs some kind of enhancement effect then you do It. bUl tryou get camed away where II becomes noti ceable. lh en It's a d rag - It's not mus ic." As for amps. Crespo said. "I used Muslcman amps on tour thal our crew ch ief H

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break down and they sound really good, ln

the s tud io I use whatever sounds good for the track. It could be Fenders - preferably an old Fender amp and my oid Marshall that I've always used. Bu t It could b e a nything: Mesa Boogies, anything. It cou ld even be a Magna lon e. S ilve rtone. anything that sounds good,"o

rebulll and they're great. They Just don't

STEVE FORBERT Guitars "Right now I'm playtng a 1963

red Stratocaster which I bough t from Steve Burgh , He has a nloe guitar collec-

lion and every now and then he'U let one go. I got a terrlnc old Gibson that'$ on the back of the nrst recordJackel - lt's a 1949 Gibson Southern Jumbo and It's my prtze possession. I've got a little Martin, It's a

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don 't like to tak e It around on tour because It's old and fragile and I really 10'"' Il" Amps: ''I'm using a Fender Super Reverb

- Irs an a,.mp I got In 1968 wht:n. I was a kid. I bought It In Mertdlan. Miss and It's still wtth me. Irs doing the Job."o

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SLICK'S PARADOX "Starshtp ts a loose opera-' tlon," satd Grace Slick, "It's constdered a famlly In the San Francisco hippie sense. and no one gets fired. I should have been Ored for my behavtor: tf I ' worked tn a bank'l would have been Ored, but tn rock and roll tf you act like a sap, so wha~ tt's good publlctty, " It was hard for me to work.· wtthln that loose framework." sheconttnued."1 have to know what time the plane leaves.. I

have to know a couple of months In advance what traJn I'm going to be on." Grace was In New York City, enthusiastically promoting her biography ("Grace Slick, The Biography." written by Barbara RawesJ. and nrst solo album. Dreams, which not

surprisingly entered the charts with a bullet and leapl , Into the top thirty, The album was produced by Ron

Franglpane and took three months to record Since Grace recorded In New York where .

studio costs are a lot higher. Dreams cost more to make than It would have had she recorded on the West coast. but money Isn't everything. "California studios have Saunas In them and girls waitIng for the sessions to beaver." laughed Crace "In New York. the studlosarejust that: there are microphones and a recordIng studio. You're lucky If you can get a cup of coffee out of the machine, You go In there . and you make music. and I llke that." After fronting a band for fifteen years, Grace enloyed working with some of New York's top studiO musicians, Includtng Scott Zito (who asSisted Franglpane In selecting musicians), Netl Jason. Allen Schwartzberg. Jim Malin, Sal Dltrola, Ed Walsh, Geor~e Wldenlus, and Joe D'EIIa, ' It was really fun because you've got the whole roster of N,Y, studiO musicians to choose from ," she said, ''There's a cliquish, fraternity thing about a band - If It's not a band It stinks - but I thought working with· studiO must· clans was neat because every. one contributes and you get new Input on every song. And It was so organized," No newcomer to reoordlng. nevertheless Grace admitted to being nervous when she began making the album she humorously says, "Takes the same warped personality . you've known before and puts colors on It. ''ThIs Is a little different," said Grace. "the Onger Is all In one place rather than spread

out It's a paradox; I wanteci It but I was scared of It" Grace calls her musical style "aggressive and loud ." ''There's more self·assurance there than anything else, If you're talJdng about live per· formance. aD I do Is asswne I belong there and that's mainly what getting on a stage Is. Spencer Tracy once said 'Study your Hnes and don't bump Into the furniture', and that's about what It Is. 1 prac· tlce the songs and 1don't have any furniture., "I don't think of myself nec· essartly as a singer," s he con· tlnued . "I think Barbra Stretsand and Linda Rondstadt are singers, 1 have a limited range and I can't sing high softly, 1can only sing high loud - the machinery doesn't do It, so I have to work my way around It. 1 can't do certain things, I never could, Per· former? I don't know what to Call myself. I'm definitely a songwrtter, there areOveofmy songs on that album so I know I'm a songwrtter," Despite her commit ment to a solo career, Grace had sec· and thoughts about leaving the Starshlp before slie heard the practice sessions for their FreedDm At Potnt Zero Ip, "I went to hear what they were doing with Mickey Thomas," she said, "I went to Kantner's house to the practice room and forasoltd weeki sat on the stairs listening to how great they sounded, I didn't think they needed another personthere wasn't any point In my going back. " I t really had become a mess: s he continued, "On the

"I obould_beeD_rormy~IfI _ _ loa _ I woald _ been IIre4, _10 rocIt ao4zoU If,.,u act \IIIe a up. 00 ..mat, leo p1lb\lcltJ-.

.004

way to LoreleI. Ge rmany we were In a private ra Uroad car and I was watching everybody for abou t three hours. The sound guy thought the light guy was a nut and thellghtguy thought the lead guitari st was crazy, the lead &uttarlsl didn't like the way the sound system worked.. , It went on and on. "It had been bul1dlng up to that but the fact that you get In a compac t situation, like a train , where you' re all together In three cars a nd everyone's moving from car to car made It obv ious what every b ody thought about each other.

Things wereJustgetttng out of hand and 1 Just couldn't see a ny other way beside removtng myself because you can't change nfty people. you can only change yourselr. "I think they needed something like that: for Marty and me to gel out, or for some s hift - Uke an earthquake - that wakes everybody up, And I think that shin helped evel)'one. "As far as being # 1 on the charts, none of us are. but at least evel)'body Is feeling a good deal better than they did In 1977,"0

~~:..';;,,.....

CSL'j[;>'U'OCffil I( Debby Harry and Chrl. Stein

are .lyID' Joe Strummer dJrec·

tIo.... _bo<IJ'o 10 trouble. Or_y-

be they're Jut polDtiD' out the ' pltlaUo of beI"lI a lOCk otar, Or, _ybe they're polDtlq the way to the p~" WU1llD o~ 60m 1be41 1 . _ 1 Whalenr they're dolo•• It loob to

u. like a certain

Mr_ B_ Bob '" takIDI It oil 10 60m the~.

~HE

TED NUGENT STORY

By TED NUGENT There I was just a young white boy In DetroIt. I started playtng guItar when I was about 6 or 7 years old. I got some acoustic guitar from my aunt. lwas h ighly Impressed by Ri c ky Nel son a nd ElviS

Presley (seen him on 1V)' J ames Brown songs on the radio.

)1 look a hold of the boy. started develop Ing his brain. , took about two years of g~.ltar lessons In Detroit at the Royal

School of MusiC. Learned the basics and {unaamentals and got Into the booglewooglc and honky toruc Old my first professional perfonnance

at the age of 10 at the Detroit Slate FaJr

Grounds for the PoUsh Arts Festival. r was

great Impac t on the boy. I was getting less platinum. Recorded and released State OJ white all the time. Shock. In 1980 we are recording Scream I had the Lourds throughout Detroit Dream albwn . preparing to release upon Was preparing to s ign a record contract the world the "AlmIghty Wango Tango: whe n my parents moved to Chicago, and I I'm becoming Involved with {our-wheel reluctantly went along. Started theAmboy drive races. The 1980 tour Is the most Dukes In 1965. By the lime I graduated Intense slm.'c 1974-1975. . (INTERRUPTION, Ted Nuge nt's IItlie from high school In 1967. we had taken over the entire Chicago rock & roll club boy asks . "Daddy, what are you .talking scene. Upon graduallng In 1967. I ~e onT Ted Nugent answers his little son's. turned to Detroit. and after correspond- question. 'WeD. I'm trying to teU the world ing wJth certain managers from the about a modem phenomenon known as Detroit area, we recorded In late '67 and Daddy. Okayl You want to help meTI released on the MaJnstream Label. the Amboy Dukes. with the song "Baby. ~ Don't Co" on It. We had basically taken over the Detroit scene like we had the Chicago scene. We played constantly. At this point we were already booked by DMA Booking Agency out ofDetrott with Dave Leone and Nick Carts. I had no home to speak of. The band lived In a Uttle place together, and we played 300 plus nights a year. In 1968 we recorded "Journey To The Center Of The Mind"": It became a top ten Single - Internationally. Not bad. Started expanding our tours throughout the midwest In the south. In the near southwest, In the near northeast In 1969 we recorded Migration and continued the road cruise. By thi s time 1 was upset enough wtth Mainstream Records to back out of that contract (having very little artistic control). We hooked up with Breakout Management In Long Island with Phil Saclle. who handled the Vanilla Fudge. Signed a contract with Polydor Records and released Marriage On The Rocks/ Rock Bottom after recording It for about a three or fou r mon th period with Eddie Kramer. In 1971 we recorded a live concert In Detroit. Released the album Survival OJ Th e F'iuest. By this time, I was nauseated with Polydor and backed out of that deal not gracefully. In 19721 was' approached by Lou Futterman . He saw the potential. We s igned with Discreet Records In 1972and released Ca ll OJ The Wile/. In 1973 recorded and released Tooth. Fang & Claw. a t which time Mainstream Records began re-releaslng compllat ions of old product. an a lbum called Doctor

Sling Shol And The Best OJThe Ortglnal Amboy Dukes featuring the "Nuge.""

pl ••ying an aver.ge of 20 In June. July and September. And I do believe I'm approaching my prime. a sensation. I had my first band that year

called the Royal HIgh Boys. We played In and around Detroit and Wind sor. Canada And by the time I was twelve J started a band called the Lourds. We swept the Detroit scene In the Inception of the Intensities which DetroH maintains today. By the lime I was fourteen years old. we played at the brand new facUlty called Cobo HaJl: opened up the concert for the Supremes a nd the Beau Brum mels . A

In Europe they began releasing a compJlation called Journeys 'and Migrations All this lime we continued touring between 200 and 300 nights a year to the point where I became upset with the Job that Discreet Records was doing. at which lime Lou Futterman had Tom Werman from Epic Records come up and li s ten to us. a t liT lit Chicago. Tom We mlan was a real rock & roller . He a nd I talked at length. Signed with Ep'ic Records In 1975. Released the Ted Nugent album. SIgned with Leber & Krebs Man· age me nt Agen cy in New York. Began touring aU throughout the Unlted States. 'Went to Europe In 1976 recorded Free For All; 1977 recorded and released cat Scratch Fever, at which time all three went platinum. 1978 recorded Double Liue Gonzo; It we n t p la llTlu m . 1979 reco rd e d Week end Warri o rs; It we nt

"Did my flnt profeuloDal perform.aDce at the age of 10 at the Detroit State Fair GroUD~ for the PolJah Art FestivaL I wu a eenaadOD,"

Okay! So any how. th e 1980 tour Is phenome non of modern times. We are doi ng In exces s of 150 qales. We are 'playlng 26 cities In April alone. We are playing an average of 20 dates per month' In June. July and September ..And 1 do believe fm approaching my prime. And there's plenty more where that came from I crave It. BACKGR UND

80m: Henry Ford Hospi tal. Detroi t., 19ao. DCt.'e rnber 13. 1948. Lived In DelroH - 1948-1965. ChIcago suburbs - 1965- 1967. Back to Detroit - 1967-presenL

M ic h~

GROUPS

Royal Highboys - 1960· 1961. The Lourels - 1962-1964. The Amboy Dukes - 1964-1970. Ted Nugent and the Amboy Dukes 1970 · 1975. Ted Nugent - 1975-lnfinlty ...... . ... 0 ?,

11.1'1 DIWI.' FOl Old D.pl.

ELTON J. AND BERNIE T. ARE UP TO THIS,THAT, AND THE OTHER Not only have Elton John (he writes the music) and Bernie Taupln (he wntes the words) been reunited after their split three years ago. but they've wrttten a song about It for Elton's new album. The album Is UUed 21 At 33. the song Is called "Two Rooms At The End Of The World" which has been termed '3 moving account of their reunion as a songwrt Hog team after three years apart' and contains verses Uke 'Through a mutua1 agreement. we got that aching feeltng rro look up one another

one more time. 'When we decided to temporarily go our separate ways:' says Taupln. "It wasn 't a bitter parting. as many people thought. It was meant as a breather and gave us the opportunl ty to collaborate wtth other artists whose work we admired," Elton and Taupln have co-wrttten eight songs together. They did this tn a songwriting session In the South of France. All eight of the songs have been recorded by Elton, but only three of them ("Chasing The Crown", 'White Lady White Powder", and "Two Rooms") wtll be Included on Elton's new album , The rest will be In· eluded on the next Eltor album to foDow 21 AI 33.

Besides his reunion wtth Elton, Taupln has been busy on several other fronts. As a

lyriCist he's also WT1tten a song wtth Mike Chapman (Knack, Blondle producer) which Chapman will have Cher s ing, "Chapman WT1tes In only a few chords and we wrote this one In Ove minutes. What a rellen" comments Taupln. As a Singer· songwt1ter he's recorded his own album. He Who Rides The Tiger: For this album he worked wtth Dennis Tufano (fonner lead Singer of The Bucklnghams) who he met In a bar In Hollywood, Says Taupln of this alliance, 'Worklng with Elton Is different. beSides working In a more commercial fonnat. ! write tile lyrics and pass them a long to him. Dennis and I work together - I contrtbute a lot melodlcallyand rhythmically - and it's much more challenging." In other areas of show biz. Taupln Is also busy. He and screenwriter Ian La Frenals have written two sc reenplays based on his past work wtth Elton. One Is for an animated OImand Is called 'Captain Fantastic And The Brown Dirt Cowboy: This cartoon has been purchased by Dick Clark and Includes Elton and Taupln as anima ted characters on a voyage to Poptropolls, a multi -tiered city of pitfalls and promises which Is symboUc of the music Industry. The other project with La Frenals Is the screenplay for 'Goodbye

YeDow Brtck Road' which borrows Its title from the multi -platinum album Which Elton and Bernie did In 1973. elOlie to twenty EJ & BT songs wtll be featured In the mm. Says Taupln. 'What we haven't done Is build the story around the songs. but rather. we wrote the story and made the songs Ot 1l."0

CSffi[;)LJD@~ Hey Jonathan. yoU ,ot the poeIt10D

rlCbt. but It to much_wltha_

boanI. Or maybe ... mIoIDterpret the pboto? Anyway. obte or Nmba. IhIa to Joaathan R1chmaDwbo retumedto NYC to bIa 1Int _ _ 1n Gotham In the 1980.. at InIDII PIa&a.

"WheD we decided to temporar\ly '0 our _ t e waya. It ......'t a bitter parting. .. many people th0"llhL It .... meant u • breather aDd pve ... the oppommlty to collaborate with "Worldng with EItoD to .wre"'DL .. "

other artiet. who.e work we aclmlrecl. "

Joaathan will aIao haft a DeW album out BOOD. titled Jonathan RIchman Sings. If you haveD't .mned whUe \Io~DiDII to muolc """""tIy. _ a tip from uo and lIaleD to 1hIa!p. JoDathan fan. will be mtereatecl to Dote the foUowlDJ comment from the boy hlawelf. -:It HelM to me DOW tbat I can put 00"," acrooe better alone. 80 rn. ",tamed to beIDIIa 0010 performer. It feela Uke a new beII an' " , to

-."

MICK ~AGGER/ KEITH RICHARDS How many ___ people in iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiO;=~=;;;;;;;;;;o__;;;;;o;;;;;;;;;;;;;;;;;;;;;;;;;==;;;;iii~

rock and roll need no introduction?

by LISA ROBINSON

Ml ck: Howlongd ld you Slay last night ? (DISC US Si n g The Se -

lee ter at Hurrahs.) Lisa: Too long. It was roo hot. Mi ck: It wassohol t here. I mean

I didn't have the righ t clo thes

on. YOLI h ave to have noclo thes on al all. Lisa : Well. you have to wear layers. And you /,a ke them q{f one at Q lime and lie th em around your waiSt... Mick: Well. d on 't they haw a

co atcheck there fo r young ladles li ke you ? LisQ : I wouldn't c heck any rh lng In anyojrhoseclubs. U's bad enoug h ha lJlng 10 use rh e ba th rooms. M tck: The bathrooms. [ went into the gi rls' b at hroo m a n d

they sa id 'uh -uh', and then anot her one of t hem said' okay', Lisa : We would start la/king about clothes. What did you Ihinkaoou l tha r $oh o Wee k ly News arUcle about herOin ? Dldn'l you Ihink rhey made If look terribly gla morous? II seemed qulfe irresponsible, Mi ck: Yeah , Well, one of the

t hings I was po in ti ng OUI In a recent Inl e rview was Ih'a l people think of heroin as a glamoro us drug whcreas really It 's vcry expens ive and nol very good, Ye l, it getsalaugh nowo n the J o hnny Carso n s how, Well, I don't know If It's th ere yet. I don't really watch the Johnny Carso n s how, but do you know wha l I mean? Cocai ne , I'm Sllre I've seen it on th eJoh nnv Carso n s how, .. o kay? They talk about It, So Itho ug ht th erewas this g lamorizing of It by the magaZines a nd TV. and that was what thedangerwasgoing to be with heroi n. I made are' mark that High Times s hould publish hero in prices, because I hey publi sh the p rices o f all th ese other drugs th at you neve r see pi ll s but not hero in , which appare nt lyq ulte a 10 1of people take. And I said it was hypoc rit ical, and al l that bit. And th en I cou ldn't believe that cover of the Soho whe n It came o ut - with that beautiful bl o nd girl. and the h eroin,

'"What would you like? Would you like a eompUcated show? Or would you Uke It simple? With a black le athe r jacket? Okay? White light? Lots of noise?'

beca use It's not like that at aJl. want t o r un Ollt a nd Iry it And eve n the insldep lcce, was because It' s c heaper , .. a n d all about t hese people who be ll er . I think It's really co uld so n of handle It o n t he Irrespo ns ible. And that g irl on wee kend , you know wh at I the cover certain ly didn't look mean ? And It Isn't like that at as If she was OU I' qI If or anyall It is n o t a rec reational thing, Now o nce one magazlnr drug, I don't think t here lssuch does It , It'll probably now pop a thing as a rec rea ti onal drug, up In TimeMagazlne, or somebut a ny'\vay, heroin certain ly th ing. Isn't It. And , In o r de r to promote this glamoro us story U sa: So, now w ha t are you about this drug that's now doIng, now t h a I you've happening In New York, wha t jlnls hed rh ls record? they h a n g It o n Is, that It's Ml ck: Wel l. now that we've cheaper th an ever, It' s better fi nished th is reco rd ... I dunno, than ever, and It 's cheaper really, l keep thinking about It. tha n coke, and It's better than It's a pity I can't tell yo u. 1 ca n coke, It's Insane, It's Iikea d ver- m a k e It a ll up , No, we' r e tl s lng that It 's c h eaper than probably going to do a short coke, so someone Is going to tou r o f Eu ro pe. In the lat e

summer '" followed bya tourof Australia. Usa : Wh y? Mlck: Because tha t 's whe re

we've got to go next. And then we' ll co me back Ameri ca

Usa : But why AuslraHa? Ml ck: Well. got to, really. Be-

cause we've got to make some money, We can ma ke, In three weeks In Australia, quite a lot of money. Usa : What aboul Japan? Mick: We can' t go to Japan . Usa : What abou t McCat1n ey? M!ck: He dld n', help, e ithe r, Usa : What abou,l Ihat? Ml ck : Wel l. he'd been banned

from Japan a lready,

Usa: So what makes somebody go tn Ihereand do that ?

PHOTOS BY ANNIE LEmOVlTZ

Mlck , I JUST DON'T KNOW. I JUST CAN'T TELL VA. IT'S THE THING THATWEWORRY ABOUT IN THE MUDD CLUB. OR THE UK CWB. OR THE OTHER NIGHT. REMEMBER. WHEN WE WERE SITTING AROUND IN DANCETERIA? AND WE SAID. "W HAT MAKES. YOU KNOW. A GUY LIKE THAT DO SOMETH ING SO S1UprD?' LIsa: All r1.ghl. next Now te ll me. do you really want to tour? 1 mean. do you want to get back up on that stage again ? Do you miss It? Ml ck : Y~s. Desperately. No. I do. yes . I really wa nt to gel up

teU you later, We can do. Or maybe not Usa : How do you enulsion your next show? Miele: I don 't know. I might blow up In a cloud of smoke ,., What would you like? Would you like a complicated show? Or would you like It simple? With a black leather Jacket? Okay? White IIghl? Lot. o f noise? I don't know, we can do anything we want. That 's show busl ness. Lisa: What's kept youJrom being bored. though? Miek: That's a good one. Urn. I take heroin. I'd better buy It now while Ifs cheap. (Laughs.l

I wasn't bored on the last tour at all. so I'm quite happy not to be bored on th'_ one. ~

Lisa: What do you mean you 've Just got out oj the studio, youjfnfshedrecordlng awhile back _,00, you'uebeen

To be conttnued.lnjorthcomIng tssues. Mfck talks about hfsJuture plans (nJUms. "emotIonal rescue", the state oj the world, and new waue

mlxlng...

muotc.

....

LIsa: No thanks, I don 't wanta drink. I've been drunk jor twenty seuen days straight Keith: Ah. I've been drunk for twenty seven years straight

Kelth:Yes . we've been mixing H' Because we did so much stuff, I mean. we've got enough stuff

for two albums and then some more left ove r. I'd rather have too much stuff than not enough , ThIs time It was comparable to Exile On Main Street. It was 80 much stuff, Thai one we Just made a double album. It relt right. But It's nol double album lime again . And you end up spendIngjust as much time n~urlng

there . Whether 6111 can get up

there or not Is another matter. He said he was going to reUre. d idn 't he? In two years. He named the date. We've. got two years to find anot h er bass player. Li s a : Do youJeel rhat U 's where you belong ... where you "live?" {Everyone coUapses Into laughter.) Mlck: No. I dowant todo It. and 1 want to start with so me

smaller places. to get Into It a bit. Then move on to the big ones. I don't really want to Slart right out In the deep end, the stadiu m s. It would drive me nuts. Like last time, we saId we were going to play In some small places , great. and we star1ed out tn goddam hockey arenas, as our opening g ig, Usa: Dldn'r yo u once tell me you dldn'r want to play in sma ll p laces, that you were too big". Mfek: Well. you've got to do It. If there 's a demand . And the business has changed since I said that It's not that I don't think people would turn up, It 's that people have gotten bored with that. and there's a lot more music gOing around then at the time when I said that. Whenever It was, Quite a lo ng while ago. Probably sort of eight years ago. I bet It was. "Uh-uh ", she said, nicki ng the ashes on the carpet. It's not my apartment man. It belo ngs to the Stlgwood o rgani zatio n , Sligwood pays for this nat. SUgwood o wns this apart ment and he gives It to me, for nOlhlng. Usa : He does not I know how much rent you pay, Ml ck: Please say It. though. Put It In, About touring I'd like to go a round the world and do a few mad things." Usa: What about China ? Mlck: Yeah, I'd like to do that. I m ean The Police Just p layed India ". We cou ld get really down th e re, yo u know. we could gel George over ". ha-haha. Usa: Well , In America. when would you go out tn thejall? Miek: Yeah ." Usa : You wouldn't dojor!y Keltb........... _ eWes Miek:...No. I don't think so. I'U _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

out wha t you 're not going to u se, It's al most as difficult as not having enough stuff - as saying. write another song,lt's g reat to have too mu c h, be , cause you ca n always usc it. There's another good album In

used to. In the last few years, and th ey feel th e pinch of It. I th ink t h ey just go t compla· cent They got complacent and got stuck in the hole, so to speak, when they got used t.o bei ng able to put outlh ls. and the can. do this amount. and the y Usa: Why did you d ecide not could project It Into this, and It to do (l double album? Is it was easy for th e m and then because of fh e s lat e of the times changed. Other cIrcum · Induslry ?' , slanceschanged and suddenJy Keith: I know nothing about they're running a round like th e state of the Industry: 'o h my god, they're gO ing to they're all just squealing like send me back to the A&P a nd stuffed pigs as far as I'm con· I'm going to be the manager of cerned . Because they' re not a supermarket', making as mu ch as they've Lisa: H ow have you respond· to. or they've been ed CO Ihe various economic __ _ _ _ _expected __________________________

road and play wtlh other people. as part of another band Just to keep your hand In. That playing smaller places - we was one reason, the other was came Into New York and did I'd do anything to help Ronnie only one show at the PaUadl· out. It gave me some more urn . BUI we didn't do that InSight. It wasn't Just part of because o f any co nslderallon th e same unit going out .. , other than we did not want to variety Is the spice of life, do a tour that wasjustal l huge Usa: Do you think there was places, because II doesn't help undue pressure on you In that the band any, It doesn't give It slluatlon? How did you react any variety. It doesn't give you to th e c riti cis m that Woody any c hance to do anything but cou ldn 'tJro nt a band, and o ne thing , the same show (hat people ca me to see YOLL .. ? every night. Whe reas In small Keith: I was aware of th at. but I places It's more atmospherlc, tried to back peddle It as much a nd there'sa chanceoflt being as possible. As far as I'm con· a very good gig. because It 's cem ed . I was just the guitar moreJun to play small places. playe r,a nd that 'S how I wanted It keeps everybody on the tour to do It , and still give Woody as from getting complacent. You mu ch support as possible on· know, every day and another stage be c ause he'd never twenty thousand seater, an· fr onted a band before. But other ball park ... Everyone Is there aga in, n o r have Lit was a kept on thei r toes this way, It 's delica te situation, n ot tocome more Interesting for them, for on too strong. I was there to us. for the audience. That was back Woody up . a nd that's what Itrted to d o. • why we did that.

c ha nges ? Playing sma tier places.jor example... Keith: WelL we s tarted In 1978

Usa: Do you chInk U's possible Jor you ever ro really be In that si tuation, and just go olll and - well, you could never bean anonymous rhythm gu itarist - buljusr to ba ck someone up coming. a nd n o t going? The in a low k eyed way?Tonotbe o nly thing I can think ofts that KEITH RICHARDS. ROLLING I'm st ill Interested in d oing It . I STONE? Keith : Not totally no, I kn ow

Usa: Well, you've been do ing this Jor a long lime , and you've seen a lot oj tflings come and go. what's kept you Jrom getrlng compla cent ? Keith: What's stopped me from

e nj oy I t. If it was boring, I probably co uldn't do It. If something's boring, I just put It off and no t do It , and not do it , and so I don 't do II. It's Interesting for me to do It , I s tili feel that we - as a band are doing Lhlngs that are 1m· proving, amongst ourselves. and everyo ne else In the band Is stl llinte resled.l t'scollective Interest tha t keeps II gOing. Lisa : Do yOlt think eve ry ,

what yo u mean. I s uppose not. No o n e in the Stones co u ld , unless you wan! to go o ut there sort of disguised as the Hun c hba c k o f Not r e Dame, h eavy beard. an d I n n atablc hunch ... You'vcgO! to be aware of ll.a nd If what yo u want to do Is go u p there and play, keep your ha nd In a nd help out. It 's a matter of how you do It. If yo u come o n upStaging everybody, t hen there's no bloody point In body's as Interested. Say.jor bel ng th e r e. b ec au se you exa mple, BlII? might as well go out on the Keith: J can'l answer for Bill ... I road o n yo ur own. And I have don't know ... lt·s ... he's a great no Int eres t In doi ng that at all. guy, he's a great bass player, Usa : You do n 't. Not ever? and he 's pari o f the best Kellh : W ell, ever, how ca n I say rhythm sec tion - bass a nd ever. I aln't got a c rys tal ball. drums rhythm secllon I've But not right n ow. It doesn't ever heard. As far as rock and en ter my mind, because wha t I roll Is conce rn ed . one of the do Is what I do. and apart from best ... I don't know what he It bei ng qu ite e n o ug h . It 's a wants todo, l don't know what matte r of time. I d o n't ha ve his Inner desires are . . I think time to think about dOlng s tuff he should keep hi s trap shut on my own. I neve r wa n ted to a nd play the bass. PUI myself In that poSition o f Lisa : Wltat about tfl e sp ll tlln g mys e lf d ow n the Barbarians tollr. did you en , middle a nd say in g ' thi s Is mine. rtI keep this to myself, joy Iflat ? Keith: I enjoyed it very muc h. and I'll give this to the Stones' yes. It was doing thesame sort .., Il"s a s tupid position to put of thing that I always do. but you rself In. wh e n I turned around It Usa : There's n o mllsic that wasn't Ch a rlie and Bill there you wou ld want to make tha t but Zigaboo. Stanley ... and you can', make w ithin Ihls aJso having two or three other context ? guys I've worked with a lot .. Keith: I ca n ma ke a ny mus ic I Bobby (Keys), Macand Ro nnie. wan t within thi s context. I'm That was good for me, because conscious of the fac t that I do the thing about being tn the nOI want to split myself down "I can make any music 1 want within this conten, I'm Stones. and baby. when you're t h e middle. Of making the conscious of the fact that 1 do not want to split myself down In the Sto n es. you' re In th e Ston es 'h ere. a nd me here, In the mJddle, Of making the Stones there, and me here.. ,.. u don't getonthat _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ Stones. m uch c hayo nce to go out the (Con llnued on page 60)

During their recent cross-country concert tour The Boomtown Rats stopped offin Los Angelesfor afew days that included a photo session with photographer Neil Zlozower. The results. in mauve. are here to be seen. and the band never looked better if we do say so ourselvesl

PHOTO SESSION WITH THE BOOMTOWN RATS

Simon Crowe

Johnnie Fingers

PHOTOS BY NEIL ZLOZOWER

Bob Geldof

'"Heavy metal eeema to be a very good medium for rock and roll musicians that are intere.tcd in playing music bywbich they show off bow well they can play...

T. . . _ riumph Of Triumph by Dave Salmon

I'm sort of cons umed by everyth.l.ng related to guitar. rm not a maniac about it or anything - I don't sleep with itbut my life tends to be very centered around It. ....

Sure. It never went away, but h ere In San Francisco 's pa c k ed War fi eld Theatre, who's to say It 's not back? Call It heavy metal, call It harder ro c k, ca ll It the sound of annageddon and thunder and nas h pots, but it's appare nt that what once was will always be. and the re will always be a band like Tr1umph (ka-ooom! goes another pyrotechnic) to rw the maniacal bill The a fternoo n before t h e show, a little tired from a late fli gh t from th e previous night's gig, Rlk Emmettslts on hiS,bed In another hotel room like aU the other ho tel rooms, watc h ing a socce r game o n televi s ion a nd thinking about what Triumph means to him, Primari ly, we begin to tal k of heavy rock as a player's genre, an offshoot of rock t hat celebrates technical prowess and superflash, a compone nt tha t Is often mi ssed In the Do It Yourself/ Everybody as Musi c ian approach that has corne to light In the past few years, "Heavy metal:' he says, "seems to be a very good medium for rock and roll musicians that are Inter ested In p l ayi n g music. by which they show orr how well they can play, l think It'll always have a future. because people In the end are always going to want to pay their money to see a good

playe'r and good mUSi c ia n s, like Eddie Van Halen. or hopefull y:' he adds wit h a winning smile that emp has izes h is boyishness. "Rlk Emmett." Rik has been a gu itarist for most of hi s life, and admits to being In love with the Instrument. 'Tm son of consumed by everything related to gullar. I'm not a man iac about It o r a nything - I do n'(sleepwtth It but my life te nds to be very centered a round It , whethe r rm practi cing a t home or playIng out on the road, 'When I was around [ourteen and I started playing. It was more or less a th lngwhere I wanted to write a few songs or somethi ng. I was always the c rea tive artis ti c kid , a nd the g uit a r was goo d for m e be cause It comb ined a lot of dlfferenllhlngs. Therewas the physi cal dexte rity - I sketch and I d raw. plus It gave me an ou tJe t to co mpose. When I first started to play, I wasn't Into rock and roll that much . I was mainly Into claSSical guitar, Spanish. All I had was nylon strings a nd I u sed to p lay coffeehouses, and a round the hig h school. I didn't gel real ser iolls about guitar unti l I was e ighteen. "Th e thing that was good abou t the gUitar as qpposed to anything elscwas the portabilIty of it. and the fact that It had

PHOTOS BY BOB GRUEN 29

a lot more connotations to it than Just playing an Instru ~ ment. because it was such a socla1 thing. From a certain point of view. It wassexuaJ.you could use It to attract females. you could gel up on stage and wall your ass off. play some hot stufr. It has that kind of ego thing to It: It's not really the

same If you're a plano player. who tend to be very humble

people."

StilI. even allracted to the

spotlight of rock. It took Rlk a

while to settle Into his chosen field . ' When I rtrsl started pl~yln g I used to IiSlen to people like C harlie Byrd. There's thiS bar in Toronto called the Colo nial. and I used to go down there and watch al l the Jazz guys - Kenny Burrell, Barney Kessel. people like that. And when I started to gctlnto

rock and roll. I used to lis ten to Ritchi e Blackmore a lot. Jimmy Page. Hendrix and Clapton. or cou rse . Disraeli Gears and Are You Experi enced." He doesn't conce ntrate on a lot of Instruments, but stays pretty well within the bounds of guitar. "I played violin In high school forabout flveyears, whi ch Is not qulle like the guitar. A guUar Is very easy to learn a nd very difficult to m as ter , I m ean, all Ins tru ments are dlfflcult In that way, but a violin Is very dlfricult to even start on, You don't so und good on It until you've been at It about eight years, So my violin just ga thers dust. and my wife Is always aski ng me 'why don't you play tha t thing I bought you!' I also have a ban , jo, but I mostly concentrate on the guitar, and I playa lot of different kinds. I have a nylon strln~, and I'll ge t very Involved with II for a couple of weeks. and then 1"11 p lay el ectric, o r twelve-string. It 's just phases. I've got about thirty-five guitars a t home, and I like to play them all:' Being left -h anded, but playIng rlghty. I wonder whether Rlk ever wished he flopped the gullar the o ther way, lIkeJlml or famed C hi cago bluesma n Left -Hand Prank. "No, actually I thin k now that I play th e normal way, I have an advan tage over most other guitar players because I have a lot more tensile strength In my left hand, so especially for rock and roll, things like legato and hammer-ons, It easily gives me a coup le of years' technique advantage over rlg~t - hand ed players. Allhough my right hand picking tends lO b e a littl e more m a ndolin -style than guitar purists would have It:' But Rlk is only one-third o f Triumph. and with their third a lb um (Progressions OJ Power) n ewl y rel eased {not counting their debut import -

only Ca nad ian releasel, something lik e g roup c h em i s try must be discussed, In a power trto, there are no supe rfluous parts, and in Trtumph, bassist Mike levine and drummer Gil "The Bird" Moore play eq ually important roles. 'When we're In record ing:' muses Rik. "It tends to break dow n Into our co mp o n ent parts. Mike tends to think very much like a producer, how things are gonna sound when they're Onally mixed, the best arrangement. h ow It might feel on the radio. Gil Is very much the hard - rock, let's -bust everybody's-balls philosophy, So he's looking togeta very live so und, and a lot of energy. a nd he writes his tunes like that. He brings 'em down to re hearsal and he's ready to go, pound It out. My role is more reOecllve, l et's think about so m e sort of harmonies, or chord changes here. and like that. "I n a three-piece band, the bass is a very steady pulse that you h ave to rely o n 10 keep eve r yt hin g together. The drums sh ou ld be l oud and driving, and the guitar has the mos t freedom . I t's the only thing that plays h armony and melody:' Bu t why a three piece? Doesn't Rik ever feel the need for more musicians on stage. Heshrugs. "Personality wise, It seem s to work the best. In the beginning. It was the l eas t ways you'd h ave 10 split the loot. But reaUy, th at was what we wanted. Sometimes 1"11 admit that' miss h avi n g a rhythm gullar part thai I double-track on a record, or would like to play somet hing more Intricate (nstead of havIng to compensate for the fact th at I'm the o nly g uit a r on stage. But In the long run. I mu ch prefer to be the o nl)' guit ar player in a band. lt'snol egQtl.搂U~ ~:! , ~l!ch as I think It's tFie best way for Triumph to work. My experience h as proved that out ". In almost every band I've been In I' ve been the onJy guitar player:' We turn nex t towhysoma ny hard rock bands seem to come o ut of Cana d a. I mention Bachman Turner Ove rdri ve. Rush, Trooper, and a veritable metallic h orde that seems to cross the border waving their amp stacks a nd light shows, '" do have my theories co ncern ing this m atte r :' gri n s Rlk. "The musi c scene up nort h Isa you ng, growing Indu stry, and as su ch, what has establi shed itself before as bei ng su(..-cess' ful Is hard r oc k . As far as co n cert promoters and bar ow n ers are con ce rned. that's what sells their beer the best ". and as far as musicians go, the only real big time that exists is In h a rd roc k . There hasn't really been a progreSSive band ,

"'The thing that was good about the guitar as opposed to anything else was the portabWty olit. and the fact that ithad a lot more connotations to it than just playing an instrument. because it was such a social thing," or aja..:..: thing out of Ca nada. So It's had the most exposure to th e people as wcll. That's what they wa n t to hea r:' Obviously. the same Is true for Texas, where an unknown Triumph Orst journeyed down from Canada and scored ... well, a Triumph . Standing ovati ons, severa l encores, and a hint of success that prompted RCA to Sign them to a record deaJ. On their cur rent tour,

they're spendingas much lime In the Lonestar state as they practlcaJly spend on the cntlre west coast. Why? "I don't know and I don't care, 'Ju st know that those people appreciate what we're doing and we appreciate them

right back.路路 Could It be the effects, the m i rror bal l, t he explosions and the strobe lights? "I think the show Is Important:' admits

RUt. "but I shy away from the word rellanpe. because I would kind ofhat'e for people to think that we're that shallow. What you see coincides with the music. In fact. last night we played In Portland. and Oregon has laws about not using pyrotechnics. so we had to play without our 'pots. and It didn't seem to makeanydlfferenceat all. We don't need them. but we like It. and they're a hell of a lot of fun,"

I ask If they miss the bars. the one-on-one contact and the simple life of a struggling local band. "Not too much. We'll play In large halls some-

times. but more often small halls. SO we get a good healthy cross-section of experiences. crowd-wise. I like to run around with the kids. and this tour we have a plexlglass riser in front qfthestage with lights in It. and with my wireless gUitar. I have a lot of freedom to get as close to the audience as I want. And I'd have toadmlt f'd much rather work for people who are paying their money to see me as opposed to those paying their money to drtnk beer and pick Oghts."

Finally. we touc h on t h e albUms. Does Rlk see anevolution between each record. a document of a band growing and changing? "When we made the nrst album. we had only been together nine months. and I think that arrangeme nt-wise and playingwise. you can hear that on the record. A young band getti ng to know each other. and we were a IItUe stiff and extremely cautious. By the Game album. everyone was comfortable. so we weren't afraid to have floatIng sections that we could use for Interesting overdubs later. With the ProgressYons OJ Power album. we made a conscious attempt to go back to what Triumph InltlaJlyset out to do. which was to be a very high ene rgy rock experience. and try a nd tap the fac t that we had been together four years. The band is really In control of its own sound." Looking around the ruins of the Warfield. as Triumph ex its to cheers amtd the flame a nd n as h of World War III. Hit Parader nods and agrees . heading out Into the s uddcnly silent San Francisco nl ghl.O

~. dIree pIeoe? .... ODIU*,~"", tt . . . . toworktbebeat. .. .uct1Uk. '1D tile bellnnh"ttwutbeleaat"yayou'd ..... 10 opIIt !be 10M. _ 1'MIIr. dlat . . . what . . . . . .ted."

ROCK STARS GO HOLLYWOOD FOR ROADIE Director Alan Rudolph Takes Us -.,..........- Behind The Scenes

j'm juat • regular guy from the Valley who

arew up to make movie.."

ROCK STAR A LICE COOPER GETS WHITE HOUSE UNIFORMS FOR HIS OWN ROADIES Claiming that tee .b.iJU are puee. Allee Cooper t. ,etting bla bacD..,e road crew a brand new anIIonn he .. acquired a !let of the famo_ Nbon AdmiDktratlon White Houae guardI unJforma for b.Ia roadie.. The pully Ruritanian white J a - with black leather ca.,. made only ODe appearance ID 1970 .. the WhIte House offlclal uniform before beln& launched into cold .toraae. Iowa'. Federal Swplu. Dtvt.ioD obtained a Rock of them and Allee - who is an aclm.owIectced. If oddball. Nixon buff - II ,ettln& hli lupply from the DivWlon. The offlclal UDveUing of Allee.. Palace Guard wrlform. took place at the Greek Theaae In Loo AnCeleo darln& Allee" concert there. Sayo AlIce: "I've been wantln& to do oomethln& opecIal for mrroadleofor alon&tIme. 'I'beyarereally_tIalto rock n ' roll. rm ltarrln& In a new rock comedy called 'Roadie' which II a kind of tribute to their ute.tyleo. and jut ltarting • new tour ... .0 thI8 aeem.ed Uke the riCht time.

--wIth all thia competition, I want my roadie. to _timet out.' addt AlIce. "I think tee ohIrto and leather jaeketo _ the UI1W baeDtage anIIonn - are _ th_ doyo. "My &uyo In the old Nixon anIIonn will add a lot of pomp to the drum.taDcea."

''There'll be a brief period when It comes out that people wUljusthave to adjust to what It Is, because It's not a concert movie by any means, It's not a rock and roll movie predominanUy in terms of music, but It's rock and roll In spirit. ..

Th e sou nds bouncing ofT the walls in the post·p roduction studiO approximate bed lam: volcc;;s ta lking fast a nd s low, footsteps rumbling. music culling In and out. th e munnur of engineers and producers ... all part of the beh ind the scenes reality that wi ll produce t he c inematic illUSion when Roadie comes to your local theate r. In the cente r of this maelstrom of sound sits Ala n Rudolph. t h e ta lented director of the Roadie movie who t hi s partl cuJar morning Is worrying out t he \'3rlous audio elements of the film In a Hollywood mixing room. The Intervtew Is set for 9 am" b ut Rudolph Is quite literally up to his ears In (he mix. and It Is n't until a half hour later that he can sneak out o f the chaos for a calm chat about what It was like to be the gu idi ng force beh ind the rock and roll tour de force that Roadie promiSes to be. Now that the footage has been shot a nd the editing Is underway. h ow does Rudolph think hi s rock star actors com pared to regular Hollywood actors? "Rock stars are Irregular actors. I guess." he says with a pleasant ou tl ook on the whole thing. "Most of them play themselves whi ch Is dIfficult to do for a nybody. And I think they al l found a sense of humor In thal. which Is what I think makes the picture work. "But this Is a strange experience, when most of the cast, musicians or olheI'\vlse, was brand new - or at least had only been In a few films. When your sta r Is p re domlnanlly known as a rock star - Meat Loaf - but he's playlnga totally non-rock star person. the whole approach to makIng the film was different than If It had been very established veteran actors. "I don't really notice the difference. if you want to know the truth , Othe r th an I guess I made the adjustment. I think It was probably more spontaneous, From

ALICE IS ALICE IN ROADIE • AlIce plays blmoelf In 'Roadie', of course," M)'II Allce Cooper about hie appearance In the ftlm. whlch 18 Juat one of the recent movee he'. mad.e, including his I.tat album - • blt called Flush TIu! Fashion.

"One day I hope to do IM)me more actina." he adela. " I'm much more comfortable .. the vt11&In, though. I want to be the Bun Rathbone or my ,eneratioD ...

'"I'm much more comfortable .. the v\l1aIn•..• my experi ence on thl sone. llh lnk that the stars that played actors - Meat. Debb ie Harry. and Ali ce Cooper - were really good. because they were funny. I mean. Meat turns In what I consider a major dramall c performa nce, I th ink when the picture co mes out t here' U be mo re discuss ion about Meat Loaf as an eme rg ing acto r - where has he been a1lthese years - more than almost anythi ng ," When a movie is made that. as faras the fans are concerned Is a rock and roll movie. there's no quesllon that In so me ci rcles It will be co ns idered a 'rock a nd roll drive-In movie'. But the work that's gone into Roadie suggests that the producers were trying to make something more than a 'rocksploltation' film, "Actually, ou r picture Is very unique." says Rudolph. "There'll be a brief period when II comes o ut that people wUl Just have to adjust to what II Is, Because It's not a concert movie by any means, It's not a rock and roll movie predom ina ntly In terms of music. bUI It's rock and roll In spi rit , "!l's really about a guy from Texas who's never even hea rd or rack and roll who gels swept up inl o the whole world of rock. We've got a few filters 10 pass through before that makes sense to the aud lem.' e because that guy Is played bya rock star in real life. He's not playing the Meat Loaf that people know. he's playlngachardcter named Travts W, RedOsh who theywtllget to know.

Alan Rudolph on the !let of -Roadie"

(Continued on page 58)

, â&#x20AC;˘

Ge n esis are o n l o ur In Amer ica aga i n . Ihls firs t lime

In al most two years. Al t hough their reco rd compa ny and the p ress tal k about Ge nesis h av-

ing bee n away from th e acti on for those two years. t hat's not q uite the case as Genes is k eyb oa rd ls ! a n d voca li s t T on y Ba n ks point s ou t during an

in tervi ew i n hi s h otel r oo m In

Los A ngeles. The b and hasn't played in the U.S. fo r a cou p le oryears. b ut th clr last co ncert s

we re In the Ori ent less than a year ago. and s in ce th e n t hey've bee n In th e s tu d i o reco rd ing their la tcst Ip. Duke. The Duke Ip lTJay be !heone t hat ge l s Genes is the k i nd of altenlion Ihey need In t he U.S. to become as success ful a b and he r e as th ey a r c In

Eng land a n d Ell r opc. For despilc ag rcat deal of success

he re. lhey haveyell ob rea k the U.S. chan s wide ope n. Th e r easo n Du k e h a s a c h a n ce of d oi ng thi s I s be cause IL Is a d i rect, easily unÂˇ d er s t ood a l b um . th a t d oes

TURN

IT ON AGAIN

away with th e m y th t h a t Ge n es i s m a k e co mpli ca ted ob scure mus ic. T on y agrees, 'W e feel this album is a m or e direct album," h e says. "'think we've had a couple of albums In th e pa s t th a t h a ve b ee n faJ rly accessible, which would be th e la st o ne. Th e n Th ere Were Three. and aJso A Tri ck OJ Th e Tall . But we' re ve ry p leased with this album. A 101 of people have commented on the fac i tha t It's easier to ge t InlO the first time. Whi c h I don 't think Isa b ad Ihing,you

know?" I(s not that Duke is In any way a simple-minded album, Ih e o r c h es t ra t io n s a nd mUSical complex ities Iha t are Gen esi s are s LllIlher e, l( 'sJust that th e listen er gets moreoflt on the first listen . " We do quite a 101 of th e Duke aJbum In the li ve show. We do abouL haJf an hour o fll. But the sh ow d oes draw on earlier materlaJ as well ." says Tony. " So It'sa balance o f SOm e of th e Slight ly more complex

material with some of the mo re direct s tuff.We do qultea lo t of n e w s tuff In th e old material a s well. "For th e t o ur we dec ided what we were goi ng todo from the new aJbum. t he n we tl')' to create a bala nced show playIng wha t we want from the ea rlier s tuff - dependi ng on wha t the new s tuff has tooffer. The nrst few g igs we sort of chop a nd change a bit. Once we've go t t he s how se ttled how we like it we keep It li ke tha t fo r the rest of the tour -possibly ma king c ha nges for Individual co un lrl es. "I["s a lways more difficult In the S ta tes to gel across the soft s lu ff. so we kind of do a little bit less soft m us ic over here Iha n we d o In Eng la nd." Before t he U.S. tour. Ge nesis did a n ex t e n s iv e t o ur o f Eng la nd. se ili ng out c oncert aft e r co nce rt o n a g rue ling sche dule tha i loo k them to over fo rty different halls. "We played sma lle r towns as well a s the big cities. We decided togo to t own s th at mos t g ro ups te nd to a vo id these days because the popula tion Is much s mal ler. We did a bout fortyfo rty-fi ve g igs In Eng la nd . Tha l"s qu lle a lot to do In a countl')' of that s ize. This tour is just Eng la nd a nd No rth America. The Orst thing that's ga l ng t o h a pp e n w h e n we fini s h thi s to ur Is th a t Phil Collins (Genesis vocaJl s t a nd drumme r) wants to ma ke a solo album . during which t ime Mike (Rutherford I and I will be writing fo r th e nex t Ge nesis

"The abow ia .Uttle blt,lmpler than In previous years. We don't have .. much hardware with us. But I don't tb.I.n.Ir. It', any Ie.. effective."

a lbum . Ho pe fully we' lI gel round to reco rding tha t towa rd s th e end of this year, for release so me t! me a t th e begi nni ng of nex t year." The c urre nt Genesis show Is mo re direct. no t o nly In tenns of the mu s ic. but In the actual ma nne r of prese ntation. "The s how Isa little bit s impler tha n In previo us yea rs : ' expl a in s To ny. '\Ve d o n't have as muc h hardware with us. But I don't think It's a ny less effective. We m a k e s lig htl y more u se o f li g ht s and li g hting e ffec ts . Beyo n d th a t I t' s s o rt o f a typ ical Ge nesis s how. really. It has Its ups and downs."

Th e b a nd ' s s how h as n ' t bee n ton ed d own beca use of th e eco n o mi c c r u n c h th at ma kes It mo re expe n s ive 10 put a big show on the road. " It Isn 't rea lly ju s t th a t. " says Ton y. "Becau se In fac!. fo r Ge nesi s, th e a c tu a l so-ca ll ed r eces si o n In th e mu sic Indust ry hasn't really a ffected us ve ry muc h. We've been on a s te ady up s in ce we bega n . Maybe t h e up wou ld h a ve been bigge r thi s yea r had II nOI been fo r th e econo mic s itua ti o n . But fin a n cia ll y w e' r e pretty s ou nd . It's just Iha t Ih e pro bl e m with so m e o f t h e hard wa re we've had In the past

Is jus l lack ofrelia bilil y. It gets ve ry fru s tr a lln g w h e n yo u k now you're do lnga show a nd th e h a rdwa re is n ' t a t full s tre ngth. It's be tte r to have t he most reli a ble show you can get toge ther."' Pa rt of the c harm of Genes is Is th eir visual se nse of fa ntasy t hat goes wllh I he l r m usic. From t he earli es t days. whe n Pe ler Gab riel was In the band. they have Indulged In a h ll of whim sy bOlh onstage a nd o n th eir a lbum. Thecurre nl Du ke al bu m Is noexcepLi on. "' In Ihl s pa rticu la r case we were look ing for a possible artist and we saw Lio nel Koechlln's work In a gra phiC book In Engla nd . We got In to uch with him a nd gOI him to se nd so me mo re s tuff o ul. o n e o f whi c h was a ch ildren's ABC wh ich Ind ud t:d this picture wh ich we used o n the fro nt cover. Actually It was the lelle rQ In Ih ls ABC , we c ha nged II s li g htly. but II 'S much th e sa me as it wa s. The o th e r little Illu s tra tio n s we re o nes he ca rne up with In rela t io n t o the va r io u s so n gs . We've aJways t ri ed to have a n c le m e n t of h u m o r In t h e g roup, some of ou r lyri cs a nd thin gs. So m e times !l 's no l always tha t obvious - so me people think we' re being deadly serious whe n wc' re tl')'i ng to be very to ng ue In c heek." Tony's mUSical career goes bac k to th e days of the la le 196 0 '5 w h e n h e a nd Pe l e r Gabriel we re In a band cal led Ga rd e n Wa ll . a nd th e n . In Ja n ua ry o f 1967 fo rm ed Ge nesis with Ih e orig inal li neu p of Ban ks. Gabriel. Antho ny Phillips, Mic hael Rutherfo rd , a nd Chri s Stewa rt. As times cha nged, so did Ge nes is. not only In the ir line-up. but a lso in terms of how they rela ted to their a udi ence. Asked how he a nd the curren t ba nd rela te to today's music fa ns, Tony says, "O u r a ud ie n ce h as sort o f

changed - every year I'd say we lose about a third and gain a third a nd a btl. There are some people who stay with us for a long, long time, but I th ink most - In ge ne raJ rock and ro ll audie n ces are very fi ckle. They stick wit h you for an albu m or two a nd that 's really It. " I think , nowadays, there's slightly less competit ion In the field In which we're writing. In many ways, Because so many of the new groups concentrate on a rather s ort of simpl e r kind of music, Much of w hich Is very, very go o d , But It doesn't necessa rily compe te with what we're do ing. I th ink there will a lways be a n audie nce for slightly more complex musi c, that requires a little morc listening to," Part of the s u cc ess of Genesis the first lime around was that during the ear ly 1970's they we re o ne of the bands who d e ve l oped th e musi cal complexities of rock and roll, Does Tony think tha t some of the curre nt new bands will someday develop th e ir straight a head rock bashl ngs Into mo re sophisticated. compl ex sound s? "A lot of It is down to what the media kind of ge ts hold of a nd allows to expand, There are group s around al t he mo me nt that are trying to do slight ly more amb iti ous music but It's very difficult for th e m to ge t a n ai ring. Because there is a tend ency - alleast In England -

for the musi c papers to con centrate on ba nds that play a certain kind of musi c In whic h Simplicity ls a fa irly Important ele ment. Gro ups that try to be a Ii ttl e mo re a mbitio us have ye t to get a n a iring. But I don't think It will be very long before th e pe ndulu m s wings a ga in a nd the re will be that kind of music as well ." As for Ge nesis today, To ny sees It a s a band who ' ve

The band, from the point of view of Ita career, Is 01111 very much nfa &rowlll&band. '!bere'8 a lot more we could do In tel1D8 of the number of reconh we Kll and tb.inC8 Uke that."

PIlI! Collin.

TODyBanb

d evelo ped continuously fro m the early days. "T he band:' he says. "from the point ofvlew o f Ilsca ree r,i s stlll very much ofa g rowing ba nd. Th e re's a lot more we could d o in te rms o f th e num be r of reco rds we sell a nd things like that. I'm s ure you're awa re tha t we've never had a sort o f to p te n album In the S tates or a nyt hing, I don't pa rti cularly so rt of yearn fo r tha t o r a nything, b u t it 's quite

fu n . you know wha t I mea n? We' re quile s uccessful enoug h to m a ke a ve l)' . ve ry healthy li ving o ut o f th is. pa rticula rly In Europ e wh ere we a re a muc h bi g~e r gro up , But It would also beq ult efu n to have a n a lbum th a t d id vel)' well In t he S tat es. So fo r us It 's a continuously g rowing k ind o f th ing, Audi e nces are s UIi getting bigger In a lo t of areas In the wo rld . a nd we' re s tili tryi ng to so rt of a tt ack o ne o r two new pl aces , we we nt t o Japan in th e las t bat c h of tou ring, And we'd like to co ntinu e to con Sid e r brea king int o ne w areas, That' s th e t hi ng - to try to keep H Inte res ti ng, t o kee p th e c ha llenges going," Duke see m s to have th at po te ntlaJ here, Was there any 3 lt e mpt to record an album like thi s fo r ma rkets where If t he ba nd ma kes It easier fo r the a udie nce t hey would ge l it fas ter'? " It j us t t u rn ed ou t tha t way:' says To ny. "We're hope路 less a l pla nn ing a nyt hi ng. We jus t make a n a lbu m to please o urselves, Wc' rc int e rested in s imp.le r m ate ri a l as we ll as mo re co mplex. we like bot h a reas, we ' ve always d o n e s i mp ler t racks. but I h ey haven't bee n q uit e so s trong. It's when a Simpl e so n g Is s trong as well as be ing Simpl e th a t you ge t an In te reS ti ng ba la nce, It' s so me thi ng we haven't do ne muc h of in the pas t. It j ust hasn't happened. The act ua l s uccess, thoug h, of 'a n a lbum In a place li ke t he U,S. does depe nd a n a wful lo t o n wh e th e r you ha ve a hit s ing le, w h e t h e r a n y of t he songs on Duke w ill act uaJ ly be a h it Single, I have no idea, So we' ll see w h at h appe n s," O Richard Robi nson

FIREFALL'S DESPERATE FRIVOLITY By Deane Zimmerman

Flrefall Is Mark Andes, Jock Bartley.

Larry Burnett. Mic hael Clarke. David Muse and RIck Roberts. After two solid gold albums and one platinum (wtth their fourth. Undertow. about to go goldl, a strtng of hit singles ("Just Remember I Love You," "Strange Way," and the latest

- "Headed For A Fall"). and numerous tours 8S an opening act, founder and spokesman Rick Roberts says: 'We want to headline," "When you're opening. your job Is to go out and rock 'em and sock 'em. and leave them gasping for breath," he said. 'When you're headllntng.yourresponstbUlty Is to take them on more of a journey. To explore morc of the aspects DC what you do. And It's more fun to take them on thatJoumey than to rock 'em and sock 'em:' Rick fonned the group as "bastcaJly a

plan to get our act together," he said. "and hopefully make enough money to s upport ourselves In the style to which we would like to become accustomed." Since he's FlrefaJl's main songwr1ter. a nd owns the publishing of most of the group's hits. he's achieved thai goal and has bought his house In Boulder. Colorado. "But one of the things our new manager said. and I dennttely agr-ee." said Rick. "Is that there was not a proper relationship between the amount of success we've had with our records and the amount of money we'd generated for ourselves. or the amount of business that we did as a concert act. AJI

""When you're opeDiDt. your job" to to out and rock 'em and aoek 'em. and leaft them ,uplDfforbreath. When you're be_dl'nln,. your reapoIWlbWty ia to take them on more of.journey, To uplon:: more of the upecta of what you do,the albums are gold. the third (Luna SeaJ Is platinum and yet we'reoruy headlining part of the time. "Everyone works toward headlining a show but a lot of that Is Just based on maintaining yourself In the business," he continued. "If you don't do some sort of bUSiness you don't stay around very long, and everyo n e wants to pursue their career, I feel lucky 'cause I get to make a IIvtng doing something that I would be doing anyway, There's a certain Inherent relationship between the more success you have a nd maintaining your career. HIf you're a good lawyer starting out. or you're a good plumber, you'll be able to

find work because for al l Intents and purposes there are an Infinite number of employers. Whereas on the other hand, If you're a good musician. there are maybe fifteen. twenty. or thirty e mployers In any one field of music that a re likely to book or sign a certain kind of act. And for whatever reason there are quite poSSibly many situations where a very worthy talent Is bypassed, Essentially you're Inasltuation where they can tell you no, you cannot pursue the career that you have chosen for yourself. sorry - you can't do It. Of course nobody can teU you that you can't play music. but If you want to be In the music bustness_.

"I'", tIWty yeua-014

"'00_ we., out uulplq

"r~.

wIio are 8lateen, bat It'. _ _ prob1em. I eaD't

a,.ue-

..toy It _'to bat It.. BOt..

"I don't know that we ever sat down and said 'Look. we want to headline'," he laughed. "but we all knew It. Irs a given that we want to headline. It never needed to be discussed - weaH knew that was the goal."

Calling from Los Angeles. where he was furthering hi s publishing career. Roberts talked about Flrefall's cua;tenl plans. They had been sched uled to open for Marshall Tucker Band but si n ce that tour was cancelled after the death ofMTB's bassist.

Tommy Caldwe ll. they were getting an路 other IOUf together. And even though their fourth aJbum had been released just

two months before this conversation took place. ruck said they were also planning to go back Into the studiO to begin working on their flfth. '1'hal way we could do It In little seg-

me nts rather than trying to do the whole th ing at one time:' said Roberts. "In the past we've gone Into the studio expecting to make the whole album, thought we had made the whole album. left the studio. and then had to go back in and do things over because we felt there were a few weak spots that should be shored up. So thiS time. rather than try and unde rtake the whole thing and perhaps lose focus on our vtslon and then feel In retrospect that we aren't totally pleased with It, we decided to do about four tunes at a time, One of the advantages of that would be to keep a fresh viewpoint throughout the making of the album ," Going out on the road between albums has given many bands a chance to test out the new material and regain some of the freshness lost In the countless hours spent In the studio, And while Ric k Is sure t hat Flrefall's tours have had that effect. whether t hey've been aware of It o r not. he feels that they haven'! always used tourIng lime to Its best advantage. 'We haven't a lways added In our new material until after we've recorded II." he said. 'We do try the new songsoul. but It's usually at the last momenl. before we go Into the studio. It's no t something that happens during the course of the natural progression or lime between albums. I think th ere's more of a growt h when you keep st retching out. At one point we were doing nothi ng that wasn't recorded -j ust the songs from the first album, As late as 1978 - with two albums out and a t hird o ne about to come out there was a period where we sunk Into that morass of stagnation," Although the group has a lways been Involved In the produc tion of their albums It's o nly on Undertow that they've give n themselves credit. "I write the songs so it's very dlrrtcult for me to stay out of the arrangement and production," said Rick, "and the same Is true for everyo ne." There's no particular reaso n why they were never listed before but according to Rick. "As you build tenure, they tend to give you a little more latitude, And Jock. who's been our liaison man with the art people since we didn't have management until recently, took It upon himself to add It In, He also added two words - desperate frivo lity' - on the back of the Inner sleeve a t the very bottom of the lyrics, That was what J wanted to cal l the album, Desperate Frivolity, but our producer didn't know what frivolity meant." he laughed, Prior 10 fonnlng F'lrefaJl. Rabens played wUh the F1ytng Burrito Brothers, Bartley was with Zephyr and then the Cram Parsons' band. Cla rke was an original member of The Byrds. and Andes was the

i don'tlmow that we ever aat down and said 'look, we want to headline', butwe all knew it, It'. a given that we want to headline. It never needed to be d1acuued. .... founding member of Jo Jo Cunne. Burnett a nd Muse were equal ly strong mUSicians. Surprisingly. they never had a problem working out a group sound. "Bu t there's definitely been a growth process. a melding of styJes as time has gone by." said Rick, "whlch I'm sure counts for part of the broadening (hat's taken place. When we started out maybe It was more InsuJarbut we weren't aware of It, We liked the way It sounded tlien and we like the way It sounds now. ''T he first ad that Atlanti c put out was 'Don't callus a supergroup', but we never said that. The concept of a supergroup never occurred to us. We knew that we sat In astrongerposltlo n forgettlngstgned to a contract by virtue of the fact that three or four of us had, as they say In the biz, a 'track record', but It was just a springboard to what we wanted todo, which was make record albums," There have been times in the band's history when everyone didn't ~et along, but now Rick says, "Everyth ing s peachykeen," "After 5 lh years we get along pretty weU, It's all the same guys that It was at the start and that must say something. What caused a lot of the turmoil as tI me went by wasn't ego, It was that we came to the band with matured mUSical Ideas, We weren't a bunch of kids who came off the

street with a consiste nt vision of o ne another. and s tarved together - we came from separate places, And a numberofus had bee n through It and, by benefit of our experience. felt th at we had a certa in educated guess as to the way to approach something, We all thought we were doing It the right \vayand we all had the best Interests of the band at heart but sometimes our methods were not the same," ruck defines rock & roll as "being a kid forever and having a good time" - but adds. "It's a lmost as Irt here's somebody there. some nebulous force. saying 路Now. looklt. If you' II be a kid. If you'll keep so me relationship with your youth going and If you can translate that, not only will we let )UU hang out and party - although rock & roll Is certainly not all fun and games. I('sa very hard way to make a ltv1ng -If you' I! do that. not only can you cruise around. but we'll give you a whole bunch of money.' The alternative Is If you stop being a kid comp letely. not only wlll they not give you all the money. but they'lI kick you out of the club, If you lose that co nnectio n to your youth some of the magiCseems to go out of It , 'Tm thirty years-Old and sometimes we go out and play for people who are sl.xteen. but It'S not a problem, I can't figure out why It Isn't. but It'S not. I sometimes ask myself what do I have to say to those kJds, but whatever It Is. there's an audlence."O

GENE SIMMONS SAYS IT'S HARD BEING SUPERMAN EVERY DAY The departure of Peter Crtss from the Kiss line-up was taken by Gene Simmons and the rest of KIss with a philosophical attitude that Indi cates how strongly Kiss feel about what they're doing. and how optimistic they are about the future of KIss.

"You create something togotherand at a certain point In

you,r life you grow. and you

make a decision to continue tn

a different direction," said Gene In discussing Peter's announcement that he wouki leave the band to pur.Jue a solo career. . "Peter Just got marrted, and they're happy, he wants kids, and he wants to change his

Itfemode. We're going on a work! tour In September. and Peter didn't want to do that But whatever he decides to do. he1J remain In the partnership of Kiss. which means he'll share In the money. we have control over what he does In his solo career. and. M a member of the corporatJon. he has control over what we do," For Gene. Paul, and Al%, the future of Kiss Is something

that they look forward to, He explained by saying. "The three of us bave a differen t vision of what's going on. I fed that ultimately we can make a dent - culturally and soctally - In mUSical history. Years from now if they talk about what happened In mUSic In the 1950's, 60's, 70's, andOO's, I think they'll talk about Elvis, the B<atles, and KIss, Oh look. you know how I feel. I think

'"You ereat;e M)methiDCtoaetber and ata certalnpolnt in your life you grow. andyou make. declalon to continue in • dJff'erent d.lrectlOD. ..

of those faces without seeing us In court. We're going to find the next guy who Will make this exciting, and originally he'll come I n as a paid drummer, and then after he proves hlmselfheiI bea pari of the partnership. U's an In credible opportunity for someone," Kiss. Gene reported, have

Just resigned with their record hang up our make -up and company for what has been platform shoes anytl me we calJed "the biggest deal In the wanted to. I like to do what I'm history of the recording In - doing. I'm great onstage, and dustry" . But the Importan t offstage I'm anonymous. and I thing to Gene Is the excite- love It. It's a much saner outlet. ment and e nergy he still gets It's hard to be supennan every from being In KISS, "Boredom day', That's why Ilhlnk 111 keep doesn 't sel In with me, " he my sanity longer. Imagine gocommented. "Because It's a Ing to s leep with the same face matter of choice, We cou ld that you've got onstage ..,~o

we're it "As for Peter, he's had some success by himself, His Single. 'Beth', was the biggest single we ever had. and now he wants to see If he can make It by hImself, It was hard at nrsL he told us about thlsdectslonata bUSiness meeting, and It was painfuL an age old Slol)'. Yes. we did tIy 10 talk him out of It But when someone's made that kJnd of deciSiOn. there's really nothing you can do: Gene has denntl<! Ideas as to who the fourth Kiss will be, although at press time, the · actual person had yet to be found. "Now we're lookJng for a guywho's~olng to canyon the tradition: he said. "An uno. known who will create his own character. No. It won't be the same make-up, because Peter created that character, that's his own make-up. and we're the only live human beings who have copyrighted our faces. You can't put out masks

'Teuw from DOW II !bey t.Ik about wbat bappened In maale In the 19110'., 60'., 70'., IUld 60'., IIhIDk they'll t.Ik about Elm, !be Beatl.., ...d KIN,·

PHOTOS BY BOB GRUEN

SONG INDEX .,

,. •

•

ring Machine

••

?lDon't Push It Don 't Force It Let It Happen Naturally)

2/ Everything Works If You Let It ky Town

IF YOU LET IT

56/ Gimme Some Lovin'

44/ Mo re Love

46/ Happy Together

54/ 0 Id-Fashion' Love

50 / 1 Can 't Let Go 52 / 1'm Alive 43/ 1' m Dancing For Your Love

Ey'rylhlng works" you leI It " you leI It In your heart Ey'rylhlng works" you leI It " you leI il In your heart, She is the girl of his dreams He wanls her, he Ihinks " target It" He's gal a pain In his hearl He teels like cryln' low so below he tee Is like dyln' But don't stop the dream He can fl. It I know he can the world's, world 's greatest at Ihe work Ihal he does

56/ SIip Stre am

47/ Keep Smil in' 43/ King Of The Hill

42/ Take A Little Rhythm 44/ Take Yo u Tonighl 46/ Tulsa Time

44/ Love The World Away

50IVery Last Time, The

can I know he can He', good , he's great AI Ihe work Ihal he does And there's magic In the air.

She Is Ihe glt! ot his dreams He wanl. her, he thinks " forget It" He'd 10Ye 10 look Inside her heart And see If she agrees Bul don'l Ihe dream

...

(As rec orded by All Thom son) ALI THOMSON

Ey'rylhlng'lI Ey'rylhlng'lI Ey'rylhlng'lI LeI It

work oul " you leI It work Oul " you leI It work oul II you leI It In your heart,

Good times, bad times Don't know what to do Ha" Ihe time and all Ihe time Don't know if It's true Some day, some where He'll know If It's Irue She'll look Inside her heart And Ihen decide It's really you. Oh eY'rylhlng'lI work oul " you leI It Ey'rylhlng'lI work oul If you leI It EY'rylhlng'lI work oul " you leI It LeI It In your heart.

Take a little rhylhm Take a little of Ihal sweel, music

You galla lake a little rhylhm And pul It In your heart, If you ' ,e t i red and life se unce rtain And you don 't know which way to 000 your dream Is over Confusion starts to show Jusl sit back and leI Ihe music I

000 yeah lake a little rhylhm Take a little rhylhm And pul II In your heart 000,

If It seems like madness

When he mOves on down the line.

Ey'rylhll1 g works" you let It Ey'rylhlng work. " you leI It Ey'rything works If you leI It LeI It In your heart.

56/ Rock Lobster

52/ 1n Ameri ca 46/ 1t's Still Rock And Roll To Me

(As recorded by Cheap Trick) RICK NIELSEN

46/ Play The Game

Ey'rylhlng works" you leI It " you leI it In your heart Ey'rylhlng works if you leI It " you leI It In your heart Ey'rythlng work. If you leI It " you let It In your heart Ey'rylhlng works If you leI It If you leI It In your heart.

everywhere

Only noise and onayhem fill Ihe 000 your body 's hurtln' And your mind is sore Jusl sll back and leI Ihe music

KING OF THE HILL (A. recorded by Rick Pine tie and Oak) R. PINETTE There you are al the lop You drive your big lancy car And you .hlne your diamond rlngl On everybody. nOle And everybody knows who you are. You're the king 01 the hili And as you walk Ihe world It standI ItIII You've got everylhlng a man could ever want High on ego mounlaln Long live Ihe king 01 Ihe hili.

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I'M DANCING FOR YOUR LOVE (A. recorded by Rufus and Chake) DAVID WOLINSKI PATTI AUSTIN JOHN ROBINSON PEGGY JONES I .ee Ihe guy that you 're standing with I know you think that he's line He get. you high with hi. dancing gig But you ain't had none of mine Move, I like the way you move I like to leel your groove You got the groove, you'll like me I got the stutl you need. I .aw you looking like you wanted

lome And you're looking at me " you want to party and have .ome lun I'm the guy you should .ee I, I've got the move I like the way you move You got the power to be Ev'rythlng that I need. Dancing lor your love 08nclng for your love Tonight. Copyright <CJ 1980 by O.erdue Mu.lclDrum Funk Mu.lc / rellow . Brick Road Mu.lc.

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Maybe Inside of heaven Under the lights Just like a movie when I take you tonight.

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MORE LOVE

Canada . M3H I C9

(As recorded by Kim Carnes ) WILLIAM ROBINSON Let It be soon don't hesitate Make it now don't walt Ope n your heart and let my love come In I want the moment to start Wh en I can till your heart with.

,vm"" ' m,'" I~.,' ",oJ ,n"n", b,,~ , n lnJ (lu ' I> .'rl" M(l .n oJ'A~I"" ,,,~. II> r'm~ pl. r,nK I ,,,I.,.,, ~" .. ,,, 1" " '" ~., , ,,. . ,, •• <1 ( hO/d\ . I)~f ChO'<I\. ,n~,~", , ~"'oJ, ,~."<I r""''''''J~ ' . "" wb,,",u l. <lIo.JI d, (,("." ' u ",~~ ~ n " '.'~ ,.n', 'un' "H,"

lUlU ' ~OU'

t."

. "d,nlt'. ,mp.o... '"jt co,,),n~

Chln~ •

rl".,,~.,

"., ~~ ""

... ~

More love and more joy Than age or tim e could ever destroy And my love will be so sound 11'11 take a hundred Ille times to live it down Wear it down, tea r It down ,

~"' ~

't,or d •• • nlf . ".,,~,n~ I"."n, " . "''''' .. , 'I" •• n~" .on, 1oO/I~ '" ' 0 . ", ' " "I,·.n, 11" .. " ,nl , ,,,,"

'v,,, ,... , ."I<.nd."

0" " 'u.... . "d h<e l , 0., 01"" louch 1\0 .. ' v dr,.I"r """.il I U' U', blu .... IU ''''_ ""'~ t".,_,

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.I'il. /:."., . • ""n"

lu' ~ , .". ' ~~" "fl" ) ~ ,h.,"'"

'n""" •• '

(As recorded by Kenny Ragen)

STEVE CASH JOHN DILLON LARRY LEE

los Angeles. Nashy i'-' Send $3.00 to: COUN· TRY LISTS, Dotot '!" f! '!' 2401 Gra nny White Pike, N,'h,ilie, TN 37204.

not..

LOVE THE WORLD AWAY

r II'

,",

p. dtd .. "II hund ,r," 0 ' ""II." .. ""h "I J'J/"., 01 phOIO\ , d ... ,,",• • nd I,n ~ .-· r'''''·~ .h.", ~ ,,, ;,1, .. " ( mu\l Im,,' O" 0< >0..' m.,....\ "" l )<'"<1"" ...."'., J",' '''''''' . nd ,d"'~~ ", """m," H <I~ rlu. (0 () p""'Kr O. ... n<l

H .." h o,de' .nd I p" ""',.C. .... " L 0 [) ou,.·J. U !o A

LPOd Mon Bo. 12167 H2 c, Pelenbu'9 flor,do ll7l3

Th is Is no tiction th is is no act This Is real , It's tact I'll always belong only to you Each day I'll be living to make sure I'm giving you.

BOB MORRISON JOHNNY WILSON Every now and then When the world step' In Stealing all our time away It soon takes so much We lorget to touch That's when I know It's time for me to say. Take my hand Let's walk through love', door And b e free from the world once more Here's my arms we can h ide today And love the world away ,

o nee

again we ' ll be where our hearts are free And the time Is ours to Ihare Loye will always stay Just a touch away Come with me All the magic's waiting there.

Take my hand Let's walk through love', door And be free from the world once more Here's my arms we can hide today And love the wortd away We can love the world away.

Copyright © 1980 by Southern Nights Music, 35 Music Square East, Nashville, TN 37203 . International copyright secured. All right. reserved, More love and more Joy Than age or time could ever deltroy Oh honey now my love will be so sound It'll take about a hundred lite times to live It down Wear It down, lear It down. As we grow older No need to fear When you need me I'll be here I'll be b esi de you every step ot the way A heart that's truthtul and keeping you youthtul With more love and more joy Than age or time could ever destroy Oh honey n ow my love will be so sound It'll take about a hundred lite times to live It down Wear It down, tear It down Gonna get It now.

DYNAMITE (As recorded by Sta cy Lall/sawl HARADA MICHAEL WALDEN BUNNY HULL The way you teel tunky music It's dynamite The way you use and you groove it It's dynamite Don't you know tha t

•

I love you madly

Like dynamite Won 'l cha keep on daneln' beside me It'. dynamlle. I've gal Ihls leelln' To ask you to dance Nol even Ihlnklng To lead to romance The IIghls are nashln' We're out on the floor My heart Is Ihumpln' Like crash!n ' thunder. 'Cause you move so sweet When you 're danein' Gollhe beal Gollhe heal Like dynamite It's dynamlle. The way you leel lunky music It's dynamlle The way you used and you groove It It's dynamlle Don'l you know Ihal I love you madly Like dynamite Won 't chi keep on dane In ' beside me It'. dynamlle. Oh baby baby You 've gal Ihe rhylhm You drive me crazy Wllh whal you 're doing. 'Cause you move so sweet When you' re daneln' Gollhe beal Gollhe heal Like dynamite It's dynamite. Oh dynamlle Oh dynamite Checkln' It oul can you dig II baby Can you dig II checkln ' II oul baby. 'Cause you move so sweet When you're daneln' GOllhe beal Gollhe heal Like dynamite It's dynamite.

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CUPID (A. recorded by The Spinners) a.

S'IIht SOU"" "",.1>0<1 oI\ow. V" .. 1>0 ... ' " p I. V.It ",viti. R oc\ fl •• ".. M " . : Pop Pf('V .... 81t... . PLUS

SAM COOKE

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Cupid draw back your bow And let your arrow go Straight to my lover's heart .or me Nobody but me.

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Cupid please hear my cry And let your arrow fly Straight to my lover's heart for me (Straight to my love(s heart).

FOR SONGS • TO

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Now I don 't mean to bother you But I'm In distress There's danger of me losing all of my happiness For I love a girl who doesn't know I exist And this you can fix oh . Cupid draw back your bow And let your arrow go

PLAY THE GAME

F. MERCURY Open up your mind and let me step Inside Res t your weary head and let your heart decide It's so easy when you know the rules It's so easy all you have to do Is fall In love Play the game Everybody play the game of love . When you 're feeling down and your resistance is low light another Cigarette and let yourself go This Is your life Don·t play hard to get It's a free world

(As recorded by Captain & Tennille) GARRY BONNER ALAN GORDON Imagine me and you I do I think about you day and night II's only right To think about the glrf you love And ho fd her tight So happ y together.

Now Cupid II your arrow makel her love strong for me I promfse I will love her until eternity I know between the two of UI her heart we can steal Help me II you will oh. Cupid draw back your bow And let your arrow go Straight to my lover'. heart for me. (Straight to my lover'. heart) Don't you hear me calling (Straight to my 10ver'l heart) My tears keep tailing (Straight to my lover'. heart) I've got to have a love now, now.

Copyright ©1961 by Kagl MUllc Corp., 1700 Broadway, New York, NY 10019. This arrangement Copyright © 1980 by K8g1 Music Corp. International copyright secured. All right. reserved. All you have to do II tall In love Play the game Everybody play the game of love.

(As recorded by Queen)

HAPPY TOGETHER

SPECIAL EDmON LIFT·HANO MODElS AVAlLABlf

Straight to my 10ver'1 heart tor Nobody but me.

It I should call you up Invest a dime And you say you belong to me And ease my mind

My game of love has jUlt begun Love runs from my head down to my toes My love II pumping through my veins Driving me Inlane Come, come , come Play the game Thl. I. your life Don 't play hard to get It's a free world All you have to do II tall In love Play the game.

Copyright © 1980 by Queen MUllc Ltd. All admlnlstratl.e right. lor the U. S . and Canada controlled by Beechwood Music Corp. U.ed By Perml.s/on. All Right. R.. erved. Imagine how the worfd would be So very line So happy together. I can 't see my loving nobody but you For all my life When you 're with me baby The sklel will be blue For all my life Me and you and you and me No matter how they toss the dice It ha. to be The only one for me II you and you for me So happy together.

DON'T PUSH IT DON'T FORCE IT (Let It Happen Naturally) (As recorded by Leon Haywood) LEON HAYWOOD

"m ready

KEEP SMILlN'

Don't pUlh It don't lorce II Let It happen naturally II will lurely happen If love was meant to b e.

(As recorded by Carrie Luca s) MALt.OLM AN l HONY

Partner can you spin PI.ase help me p relen d Ihal I don I see Wno just walked in the dCrvf 1' 1" wt:ak in Ih knct!~

My nature', high Inside I ' m burning about to lo se self control I can 't light this leellng My loye Is much too hoI 10 hold. (Repeal chorus)

But I gutta IIldke I

Hey La la la la I. la la I. I. Hey La la I. la la.

I'm ready now

I want you now. Don 'l push It don'llorce II Let It happen naturally II will surely happen 1111 was meant to be Don't push II don't lorce II Let II happen naturally II will surely happen If love was meant to be.

Patience Isn't my best virtue When "m In the mood tor loye I can 't conhol my pitsslon I wanna love you all over. Don 'l push II don'llorce II LeI II happen nalurally II will surely happen II It was meant to be

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If It was really meant to be Don'l push it It will happen naturally Don 't force it Whal will be will surely be Don 't push it If love wa s meant for you and me Don't force it. (Repeal c horu s)

I nhJSt liJ;.tell to tne bedt Music can you take me awolY Help me hide the pai n . (Repeal chorus)

You 're the spark that lights my tire You set me off to a full alarm I can't stand anticipation I'm In Ihe mood 10 gel II on . (Repeal chorus)

~==~==~~~==~~--.---.==

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(A . recorded by Billy Joel) BILLY JOEL What', the matter wllh the clothel I'm wearing " Can 't you tell that your lIe'a too wide" Maybe I should buy aome old tab collars " Welcome back to the age of live Where have you been hldln ' out lately honey You can 't dre .. traahy 1111 you 'pend a lot ot money" Ev'r y body'a talkin ' 'bout the new sound Funny, bu t II's atlll rock and roll to me. Whal'a the matter with the car I'm drtvlng " Can't you tell tha t It'a out 01 atyle" Should I get a aet 01 white wall tlrea " Are you gonna cruise the miracle mile Nowaday s you can ' t be too sentimental Your be at bet'a a true baby blue Continental" Hot funk, cool punk even II lI'a old lunk lI'a slill rock and roll to me, Oh It doean't matter what they lay In the papers 'Cause it's always been the same old scene There's a new band In town But you can 't get the sound from a

10,656 LEAD GUITAR RUNS r"" _

IT'S STILL ROCK AND ROLL TO ME

I)QoIo;

• ory n _ magaz ne Aimed a' your Iverage teen. How about a pair 01 pink Iidewinders And a bright orange pair of panta "Well you could really be a Beau Brummel baby II you IUlt g ive It hall a chance Don't wa.te your money on a new let of apeakers You get more mileage from a cheap pair ot aneakerl" Next pha.e, new wave, dance craze AnywaYI, It'a atlll rock and roll to me, Ooh what 's the matter with the crowd "m seeing " Don't you know that they 're out 01 touch" Should I try to be a atralght 'A ' student " II you are then you think too much Don ' t you know about the new fashion honey All you need are looka and a whole lotta money" It'a the next phase, new wave, dance craze Anyway. , U'. atlll rock and roll to me, Ev'rybody' a talkin ' 'bout the new sound Funny, but 11'. atlll rock and roll to me,

Copyright © 1980 by Impulsive MUl/c and April MU Sic Inc, All Right. Administered by April Music Inc" 1350 Avenue of the Americas, New York, NY 10019. International Copyright Secured. All Rights Reserved.

OftI'Ir U t!l S _ U U to

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TULSA TIME (A. recorded by Eric C/apton) CARD STYLES • ALL STATES 10 . STUDENT t • • • •

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So there I wa. In Hollywood Thlnkln' I was doln' good Talkin' on the telephone line They don't want me In the movies Ai n't nobody sing my aong Momma aays my baby's doln' line So then I started thlnkln ' And I got to weaken I really had a lIash this lime I had no bus 'ness leavln' Ain 't nobody would be grlevln' Seen "m on Tulsa time.

Well I lell Oklahoma Drlvln' In a Pontiac Just about to lose my mind I was goin' to Arizona Maybe on to Calilornia People all IIvln' so line My momma called me crazy My baby aald I'm lazy Gonna show 'em all thla lime 'Caule you know I ain 't no foolln' I don 't need no more damn school Wann a luat walk the line,

Llvln' on Tul.a time Llvln ' on Tulaa lime Gonna set my watch back to It 'Caule you know me I've been thru It Llvln ' on Tulsa time,

Uvln' on Tulsa lime Llvln ' on Tulsa lime Gonna set my watch back to II 'Caua. you know me I've been thru II Llvln' on Tulaa lime,

How to make others secretly DO YOUR BIDDING with the astonishing power of

AUTOMATIC MIND COMMAND! Here's how to get started in Just 3 minutes . ..

Dear Fn('nd.

I) ... hout 10 li.'.lp 1010 ~our life :a~lonl~hln ........ ~ !(> CO ntl .,1 lht thouj!.I'IIs

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o ne ... ho J...n o ... s " hJI'\ .. 0 1010 o n- Iou alo ne de · cide' IIol\en IhlnifS should SI.<r1 SlOp (h3 n£(' around

CONTROL YOUR fRIENDS DR STRANGERS! You can usc II 10 ("('nllo] }our friend s o r stranj:els, one :11 ,I time 0' In IJll!e numbels. al an ), Hme. ane! AS' \\AY 'O l.. LIKE. For e;\amp1c Y IJU j: 0 Into J ba n" for a I('an. T he ~' rtdll man ~mllcs htH 5a)5 " Sorr) Yo u d o n ' , qUJhl~ lor .. 10JIl rI~hl no v. : hov.t'el, II Ihe lt's .m}lhln~ t'lst I rJn d o for ~ou. I' d be: ~Iad 10 .. f ht'n In 3 Il.. ~h. hIS lune "h .. nge s v. hcn ~..,u leI 10,}'>C }OUI " Au tomatl" ~l md · Com· mand" 1-1.: ~,""lIInun. " In fa"t. v.c ·1\ be ~laoJ to gl,e )Q U SI.(A)() mOIC" IhJn )OU .. s"'cd lOr. AnoJ a n), tlmC" )OU v.ant mOle. J u~t!tleC m t pt r~o nall) ~ T hank }OU ~o mu .. h fo r ~'o m l n ~ b) , .. ImpoSSIb le" Yo u 'lI bo.' do mg Ihrnlls IIl..e thaI C"'el ) d .. , V. llhoU I e'fl1 th lnj,.ln ~ abo ut II . A S soo n as )OU need S0mt rlHnj: do ne. /I ' ) d IJII C" T he peoplc- v. ho d u thtsc thln~s 10 1 )O U v.ttl I.:mem · bc:t v. hal Ihc) dId. bUI nOI .. h) .'

fUN POWER-TOO! Yo u ,3 n ha'e a lot o f fun v. ltll IhlS po"'e r . tOO l ool.. ho1ll' E'e l} n C USI!d H .. I V. Otl.. One da} . "' h ilt' ,ortmg papers. r. el boh an!!l lly In· q uired v.h ) she had 10 m3 "e so mu.:h nOISC-3 noJ slold t d he r In front o f t' ct}bo(h E,d} n Slid nm h rnl! . but smIled to her§C'lf-l ol shC" ha d Ju st turncd on the " A UlOmJIIC :-'h nd ·C('mma nd .. Suddcnl} the bo.>s~ 3pol 0 ~lled fo r btln" 3 )c" un· dId. '" PIC'asc . . . I' m sorr).'" hc said, In fr"nt o f C' ct} bod)'. ' "I'd lI ... c to mJke II up 10 )O U'" And he told her ... hJI 3 ... o noJcriul pt'I)O n she ... as~ When E,tl)n l urncl.l t ile po",er o lt . Ihe bOh lu st ~t ood Ihe rt "'1Ih an 0 pcn moulh . ... o nderrn!; ", h .. 1 m3dc him s .. } .111 Ih OloC Ih ,ni!S T hink V. h31 Ihls p,,"'cr .: .. n mea n III )our life . You neC"d mo ne ) and u ' s Ih C"rC"' Yo u ... a nl somc atle cllon }ou 'lI be:' ~ m o r hC"lcd' Yo u \lJn l pt'ace and qU"'r Ihc v. o rld sland s sldl'

NO MORE SEC RETS WILL BE KEPT fROM YOU' Peoplt '" hn Ihl nk Ihe-~ '-311 hold back Ihe fa clS "'Ill m e- ct Ihell mJ\\er In 'ou' You IUSI fi l C" 3 ht· lie " Aul om,I" " ~l lIld·Comma nd " 31 th tm . 3nd tht )'11 Sin.: h ~C" m,· .. d" v. lar ks . 1"<'Ila J . IIo 3S 31 hC"r "' 115' end ... h(" n sh,' 'rlcd "'I find Iht mo ne" she'd put ,"Idt' '" p3} 111(" 1("11\ - 11 "' ..IS {::<lll (" A (ran II.: st31dl Ihrou~h Ihf Ih}\I~e l urn ... oJ u p nOl h. inK . T htH' ... .l ~ o n l) (' n... pO~~lhllrl) left .. . shC" aSkC"d 8 11i' A 100 ... of su rrllSe crossed his fa ce . N o-he h .. dn ·1 ~" en In, m"r.c'· BUI .... o n3 dldn ' l b " hcH' hlnl. and ~Iartcd U511l~ " A ut o m3l1C M ind· Conll1l3nd "' \(\ find nUl If h....... as rcl lr njl Ihe IrUl h S uddenh IJ dh Il·uhel.l tnl., h,~ p".. l..el .. nd too l.. OUI a roll of m0n,·~ ·\l I,·! ~I\ 1II~ 11", Ih(" mo nC" ,. he- .. nC"oJ J~ If noth lnjl had h .. ppt"n ... d ! . I hln l.. ho ... m3n) ~,'CI("h mU)1 Ix hidden al1 around )ou! T hmgs )OUf spous(" ... o n ·( lell

ABOUT THE AUTHOR Se-olt Nt-til " o m' o f rh,' n,lI"Ht"~ leadrnjo! mrn~I · l'o ... er ~' \ J""'IIS . P res,'l1\b "njla~C" d .I§ a 110 1I1 ,'r <) 11 d," ("Inp me nl) in III ~' t'Il'h:J\ 10 f a l ,~,,·n,e) . III' r.:,C"I .. rw n s aNuI Ih(" UIISCtll \I,Hld ('( III\' mrnd h3'\' ho:tn Ifad b~ mil· lions. A ~rJdu,,'e o f Ihe CII' ~..: n",·r s," of S(" ... y ur ... . hiS u ... n IIle I~ h"ng proof of " Aut om ,,'I. ~ l tnd ·CommanoJ ,. A " ,I"ltr Re st .. r.. her . 1\1 e l,ll"h' 5ICI.ln. and 1>"chlC Ad \J50r . h,' ha~ htlpcd c.'I unt· Ius men Jnd ", om,'n find HU t' h ;' Op lI\e5S. li t h,,, liI(" rare a bllll' of v.'rntnll c !C".:rl~ and ~Impl} ~o Ihal C",,'n lhe mo)t p lof<.lund T ru l h~ call Ix' plallll} u nde-nrood b) an~ · 0",

)our ne l~hbor) ... o n ·, SJ} . . ~OU f boss ~e- e-ps qUIe-1 abOul . ALL IJROLG HT 1:"01 0 T H E OPl;.:-' J eST FO R YOt; " T hc~ II tell ~o u all thclI seCleh. bUI IhC" ) ", u n ' , "' no" "' 11) H old o n no llo . be .au)o· 1 h .. '("n I lold )O U ) C"\ aboul Ihe- bC" )1 part of .. A UlOmall': ~h l1 ll ·C om· mand ." Yo u m .. } h .. 'e 10 bolt ) o ur duo r !O ~,·cp peo· pie from o, er ... hdmlllg }OU ", "h 10"'. ~III) . f3" o rs. tC"\lards' PC"tle ."1 SIl3n~ (" f~ "' Ill bo.' "J I"'lIlil up ,., }OU a nd J)"' ,n f!l. '" H o llo .. IC )OU ~ (',In I du a n }thln.,: for ,ou'"' f he) ... 111 ne'er SU)pe, I Ih .. 1 '" Aut o mJ : .. \h nd·CommJnd " I> Im pt lhr.~ Ihcm 10 h~C" 'ou. ple3SC }OU .. noJ "UtOIfl "",,, U) ", al1\ 10 hC"lp )"U .

INSTANTLY YOUR LIfE IS CHANGED! AI fir)l . I .:ouldn·1 btllt'c II. A nJ )el I "' no\l Ihl) 10 bt- tr UC" 110m Ill} o ", n pcr w nal ("\lx·rlC"n ..e .. I.me alt c f lime For c ... ample .

A ST MA:'Io'Ct: R H A :"OS HI .\ t

~§OO- I larr)'

G .. 3 10"" pald IJe tor} ", o rKcr. IIoJ nlo' J h) )t .. rr J bu~rnt)S <.II IllS 0 \11\ A ll he nc t ded \I ,.) ,' J) h to 1:e\ )tartciJ. bUI no o nc \l ould I1 I\ C hlll1 Ih e mone} . Frn3 U} ' Ome o ne col'; hrnl ho" hJ U)C " AutOmaIIC f-1 ,nl.!·Comllland ··- .. nd 11.ll r) J.. lIl!h· Intll} Ifle-oJ II A ~hort IImc 1.. 1("1 . .. perle.! ~Ir"r.· lIer h3noJell him S~Ot)...-s .. }rntl he ' J h (" .. roJ 3tx.)Ut H.ul) ·s plan . .. nd " "S C""CI h) hl'lp h Im ~("I

,,' nI.I.; rlllll hel h' k,I"1 IH pl". n..: !- r..,m I .. r J .... .I' he N: JI .. n u~ln~ · A UI,'m:llr.: ~t l n ,J ·C('m· I n IhJt rnSlanl . hiS illllflC"nd ~ 11("'" ", h .•t ~h e had woJo S he d ro pped ... hJI she IIo a) d Ol n.'. e\cu )Cd her)elf a nd h u rrreoJ 10 "1511 h im A rt"· mg III lC"."old IImC - )he hu ):~e ,j 3nd l.. i~,"oJ 111m. e, pla lnln!" thaI "wmtthl nll " lold he r he \la nt e J 3nd nce d e- d hc-r. and ... h31 .:ou ld ~he d " I.'r lu m ' S .., ... he-re '\ 3 mo)! la nl .. )lI c u.c "f '" AU IO· ma" ~ ~h n d ·C"m manJ " -o n(" l ' m su re ~O u ' lI allrC"c pro ,es lh31 he re IS 3 pO \lc r ... hlch SI3,,~el~ Ihe Ima!!lnal ",n' For e ... am ple . casc!> ('f he31lh·s' mpl o m 5 re · lie'eoJ IIo' lIh " Aut omall': MI I1,J ·C om m .. nd '" J ('h n C . I(po ,, ~ th .. , h i) h" .. r:ng no v. sccm ii no r n' JI 3!;alll! W3nl' n w:s h lurred t~"'~I~h l clcJ red . shJrpencd. 3 nd n~' ''' )o"CIII) 11,lImal' L)d1 3 E. ~ .. )S her arthlllIC )}mplOm, 01 "'H cne )~ "noJ Sll l'Inc U III IhC" fi n.,:e-f) V.t l e- rC"iIC"'cJ "hen nO!hl n ~ else §C'C" nlC" d I I) help, .. nd M rs . " S 1103 ) ~ u r plI:.c d whC"n her k~ p .. rn 0J,sappe3 r .. J 8c 1l3 S , ... ho complained o f "UkC" IJ Il\e- C('h IIS" \Io llh ~I " m ..ch c ra mps 3nd dlarfh t .. . o b'''l ne-d fJ SI relre l And "UI(:r5 Ie- POll le lld fr om .. o mp la lnl S " I hlllh blooll pres)u re, ht'3rt S)mpto mS, " mlgl3lne " hl'3 daches. "'e 3 kne §s. diu lnt ss, t "U1!u C", Jn d mo re . It ·S Si mple, (:'S), a nd 3uro mlliC 10 app ly! milnd ~'"

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HOW TO GET STARTED IN JUST 3 MINUTESI tlmUl t' = 1- 1- 111 01,1\ Ih(" J' ,)· R I~~ t ' ,lu",l n 3noJ mJ111I 10 1.1 ) II I/l UI;' =! - \~ h e n }Oll IC':C"I\e .1 " .. , ... .lllf m Ih(" m.1I 1 110m II). ,l p,' n II lliIlU/t' =.f _ l llI Ihc fr Ont .o,el. ~I\ J leI Ihe $.0.· .. ,("1 le,'d Il:.l'll Hl IIJ ,,,1,11 mrnd .1111<.11:1 .. 11,,1.11} . After IhJI. ,11 Id .. \ - .J.nJ )e(" ho ... IIlIS pov.c-r ,' In \I ", ... r ~' r I OU 11 ' , .. ) ~1I11J)le , J) Ih a l! It \l on'\ COS I }"U o n(" pornn) link), It ",,!J,,~' 1:-" THA I" I :"oS l .~"" I . 'l Ot \\111 A I Ki;AD' B E A DI E I U LSE '" Al 1 0~lA TI (' '11 1"0 · CO ~t~I A :"o' D fOR n lE FIRS1 11"!fo r m o ne ~. "He. hc .. hn~. pl..,le.:tlt'n ..Inl.! much mllre' I m3~rne th~' Ihl1l1- "1Ic r .. Illeunw "f '" ',·lImp· rn.: '" Jnd '"pe-nn' · rlll.:hl nll '"- I" lol'C ,I. 1IJ.J.1 \1 .1\( ,I I ll.:Jws rolllll l1 'Illl} '1IUI Ilt~· Ir"1ll ," ... 1' dlle-~ 1I0 n- pa ) lal)C). h,' n ll~'. tl lt l). k~","" .. rl~rng trl.le 0 1 j:ood It}lI unc'

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SOME OUTSTANOING FEATURES THAT CAN CHANGE YOUR LIFE ! • • • • • • • •

The amal lng powel you no ...· flOSSesS How 10 gel someth ing fOI nolMl ng WMy t hiS mt thod must wO lil for yo u You r '" Insla nt " fortu ne mak er You ca n ~tl IICh qUic kly and eas rly '" Instant ' money can be youls A magic spell t Mat .... ol ks lev m g miracles How In IS secre t can ti ling you Jnytn lnil you dUlle • Help fr om t he I n ~lslbl e wolld • Hollo' to " Tune In" on t he secre t thougM tS 01 othels • The gl Ultst lo~e spell 01 all • FOlmula 101 a haDPY marrldge • HON 10 dl$Solve all kIndS 01 eVil • How t o win the ful ure 01 your eMolce

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I CAN'T LET GO (Aa recorded by Linda Ron.tadt) CHIP TAYLOR AL GORGONI Oh I Irled and I Irled Bul I can 'l say goodbye Feel so bad baby oh It hurt. me When I Ihlnk of how you lo.e and desert me I'm the broken-hearted toy you play with . You got me gain' (I can'llel go) I need you baby (Oh I wanl you baby) I can 'l lei go (Help me please) . Th ough I'm Just one of your lovers And I know there are so many others You do something strange to me baby .

MUSICIANS!

.. . .

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Amplifiers at Factory-Direct Discounts " . CI1"NNet.S. ')USU.lN "fVfAeERATION GRAPHIC EO'J-'Lll'ERS ~OOTSW'T" ~ FOP BASS AND GUnA" FRH , .

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You gol me goln' (I can 'l lei go) I need you baby

THE VERY LAST TIME

AOlf1'QH 1>0 tIQ)(4ooI l '" OEt " ''' Cl.t1O,.

(Oh I wanl you baby) I can 'l lei go (Help me plea.e) And I wanl you baby I gotte have all your love I c8n 'I let go . Oh I tried and I tried But I c an 't say goodbye I kn o w that It's wrong And I should be so strong But th e thought ot you gone Makes me want to hold on . You got me goln' (I can 't let go) I need you baby (Oh I want you baby) I can 't lei go (Help me plea.e) And I wanl you baby I gotta have all your loye I can 't let go. (R epeat)

Copyrigh t '''' 1965 by Blackwood Music Inc .. 1350 A.enue ot the America., New York , NY 10019. Inlernallonal copyright secured. All Righi. Reserved. Used by Permis-

sion. You will step on my face It's the yery last tim e 'Cause I won 't be a fool no more .

(As recorded by Utopia)

NI'N

TODD RUNDGREN ROGER POWELL KASIM SULTON J OHN WILCOX

tA ONG-E LotiOllJ

for today's look of

lONGER. THICKER FUllER HAIR

So metim es I wonder if I'm stili alive How much abuse can someone stand and survive How long I've waited for the day to arrive When J won 't be a fool no more. Nobody knows how you pushed me around Nobody sees how you treat me like I'm your clown I ne ver made 8 sound.

15 t07

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It's th e very last time You will get on my case It's the .ery last time 'Cau se I won 't be a fool no more

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(A. recorded by Blondle)

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Nobody sees how you treat me like di rt Nobody knows lust how badly a man can hurt You 'ye got a lesson to learn . I can still feel the sting of your words But I won 't cry no matter how much it hurts My head may go crazy My heart it may burst But I won 't be a fool no more But I won 't be a fool no more.

Copyrlghl ~ 1979 by Unearthly Music Inc./Flctlon Music Inc.

1-- -- -- - -- --- - -- -- - - - - ----4 Oh your hair I. beautiful ATOMIC Oh tonight

' " IItS l 'l

I stili remember the look in your eyes Just a reflection of the things you despise But sooner or later rYe got to get wise And I won 't b e a fool no more.

DEBORAH HARRY JIMMY DESTRI Uh huh mike me tonight Tonight mIke It right Uh huh make me tonight, lonlght, tonight. Oh uh huh make It magnificent Tonight right

Atomic . Tonight mIke It mlgnt/lcent Tonight make me tonight Your hair I. belulilul Oh tonight Atomic , atomic oh.

MUl/e, Ine./Mon.'., ','.nd Mu.'e, 9255 Sun.et Blvd., Lo. Angele., CA fIOCHS9. All RighI. R....rv.d.

Is it true the amazing secret of TElECUlT POWER

AUTOMATICALLY BRINGS YOU ANYTHING YOU DESIRE ... And in 10 seconds starts to draw Riches. Love, Fine Possessions, Friend s, Power, Secret Knowledge, and much more into you r life? See for yourself! 'IS. I SUII.rin, ,.. iratl, fl •• hlPP'nlcf ; Abril· IIlftt pSJchic rlStlrch'r hu disco.... r.d I uer,tu powerful that it i, uid to brine your dIShes to yow, frOllt th, invlsibl' world, like I bllll"r .tr..k of IIlhtni.nl ! YC'.t. h ow wo u ld you W( t' 10 be' obit 10 Jit 1ft you , U't'ifl l room , th' ,. Iht comm and l o r fove' . and '""orlll,. hoI''' you r lovC'd o nC' appro, of yo ur l idC' .'

0, ,ivr Ihe' c ommand lor mOl'll' ) . o"d Judd". I" find Q bll, thick roll 0/ d ol/orJ in )'our 1I0Ild .' Now, an astonish in, book called TELECU LT P OWE R lays bare thI S magic secrel . a nd shows how it can brinK rOnUM , love, a n d happine ss. " An opinio ns stated here accura te ly refk:ct m y views,' says Reese P. Dubin , author. In his book h e makes this shocking claim .

"Grllt Wealtll And Power Can Be Yours'" A d m illedl y, t he concept this book p ro poses is co m p letely opposed and contrary to no rmal hu· man k n owledle and upe rience . " But a t Ihis ver y mo me nt," says M r. Dubin . " 1 have startling p roof Iha t I want yo u to se c wit h yo u r o wn eyes ! I wa nt to . h ow yo u . .. • "Ho,.- d iamo n ds a nd je1Vels ha ve appeared . see mi n, ly o ut o f noth in,ness, s ho rtl y afte r the usc o f th is ~ tr a n ,e secret!" • " H ow a man used this method fo r a pock etful o f m o ne y'" • " H ow a woman use:d il to fill a n empty purse:!" • " H o w a fa rme r rec ei ved a pot full o f l o ld !" • "How a not her user T ele pot1ed a gold jewel box to her, seemin gly o ut of t hin air !" • " H ow a woma n used t his met hod to regain her lost yo u l h !" • "Ho w a man , Irowina bald . c laims he ren e wed the a rowth o f h is h a ir with t his secret !" • " H ow a wo man used il lo b r inl her male to he r, wit ho u t aski n g!" • " H ow a nother ...·o man su mmo ned a man 10 her -out o f Ihin air!" • "Ho w a man hea rd Ihe u nspoken thoughts o f olhers. with this secret !" • " H o w a wo man saw behin d walls and over ,reat dil t a nces, w ith it !" • " H ow a ma n b roadcast s ilen t com mands thai o thers h ad to obcy!" l et us n ow c \early demo nst r a te to you the ""cient itlc basis behlnd t he ne w wo nde rwo r kinl , Miracle o f T ElECUl T P OWE R !

"How Telecult Power Brin,s Any Desire Easily And Automatically!" F o r man y YUrs. R eese: P. Dubin dreamed o f a way to call u pon the invisible fo rc es al wo rk all a rou nd us . H e s pent a lifetime di,ain, a nd surc h in a fo r t h e secret. These inveslillal10ns bro ug h t h im k nowledae that , o es bac k to the d im re ce sses o f t h e pa~1. On~ d ay. 10 hiJ oS lonisJ"rI~ " I . h~ diJco I'",d that ,,, could o ctlloll" b roadcast si/,nt c omman ds . wh k h othtrJ in Jtol1lh- o b~)'rd. U sinl the Jtcr, t h e tells you 0,",0141 in t h is book. he lr lrd it lim e oller tim , - ("omma..din/t 0I1r,,, to Jlr,p , /t,t lip a"d come to h im , , alk or n o t lalk - and o(" t acC"or dinl to h fJ JII"n t wlJhtJ. II ...·o , krd e~'''''' I l m~ .' W o r kln, rekntle§s ly fro m Ihis cVldcroce . Rcese P. D u bi n succco:derJ in perfec t,ro!/. a roe\ll kind o f Inslru me nt - called a Tc lc· Pho to Trans m itter _ th a t con ccntratcs yo ur thoujZ ht s. a nd se"ds Ihem like a streakinl/. bullet to thci r dest in atio n ! OTHF.RS Oll E Y S ILENT CO M M AN D S! Writin a o f thc succcss o f this mel ho d , o nc u ~e r report s the fo llowi n g experience : '" wlll~d htr 10 pick up a"d r at a biuuit Iro m

:!~~': 1~"Ji.:~;h;"1s t;f/;O:e,,:-,,~:'~::'dS~~· ,'u:;/;~

her mOlh rr al1d stro ked h r r h a"dJ . , , '" willed h er 10 "od She slood JliII o l1 d b~111 h'" h"ad, I ... ,iIIr d hrr to clap h", h an dJ . pla y a 1101' ml tht p lano. "", itt h"r name . all o ) ",'h k h s hr d id : · "No o ne can e scape t he POWtf o f th is melhod." says M r. Dubin . " Evtfybody - hi l/. h o r low . ijZ no ra nt or wise - a ll a rc subjee t to i' s spell ! And un · less the perso n is told wha t's bein, d o ne . he wi1l th in k th e th o ul/.hts a rc h is o .... n' .. HEARS THE THOUGHTS O F" OTIl IE RS! Ex· perimenti n a fu" her wit h the Tele· Pho to Trans· m iller. Ree se P D u bin soon fo u nd that he cou ld /0

"tunc in" a nd HEAR the unspoken tho ul/h tl o f others . He uys. "At first. these heari n, impres· sions start led me . a nd 1 look them for actual speech. unlil I rulized that peo ple do n ' t usually say su ch things aloud! And their lips remai ned c losed ." SEES BEYOND WALLS . A ND OVE R GR EAT D ISTANCES! The n he discovered he could pic k up a ctual sip:ht s. fr o m behi nd walls and over ,rut dista nces! And whcn he "t uned in " he c o uld sec aCl ual Ji vln[t scenes befo re him - as clear as t he pic ture o n a te levision screen ' MAKES WOMAN A P PEAR - SEIEMfNGLY O UT OF THIN AI R ! With moun t inp. cxcitement . Reese P. Dubin lau nchcd o ne o f the m o st exci tina c.x per i m e n t~ In the history of psyc hiC researc h . He waoted 10 sec 'f the Te1e- Pho to Trans m itter could b ring h,m an ac tual matuial Ob ject ! H e c hose:. fo r this experime nt , the seemi nlly Impos~ ih le : an aclual livi n, person ! H ~ sIn'ply }ocuJtd the T tI,, -Ph olo T,onsmlt/", . b y d ialin, /Ir~ obJtcl 01 hiJ d""e . I .. a jlash Ihe d oor bllrSI o ptn . ol1d th ue sta"dln r brlo '~ h'm . as ,ral a J iiI" - was his lont ·loll CUl., in ! He staled and r ubbed his eyes. and looked again ! There - smiling, with a rm~ outMret c hed in g reeting - Mood Jivin .. proof o f the m<" t aSlo u"d· inl/. d iscovery o f the C e n tur y!

Dial Any Treasure' Y o u' lI see h ow 10 usc th e Tele · Pho t o Trans· m itter . to summo n your desires. This spc ~ ial in· st rument _ you r menIal equ ipment - requ l re ~ no w ires. a n d no e lec tr ic it y. " Yel," sa)'s Mr. Du~in . "it ca n tele port desires . s wif t ly fro m the inviSIble world ." Wh,,, ,014 d ial J au' d,sire ...·h"tlr' r l o r riC"h o . 101". 0 ' 1tC"r" kn o ..,I"dKt - J·OU C"oplurr i / J j"vi J· ibl,. pho toplall ."c fo rm , 01 ..,h,clr point '·it J/ar lJ 10 mouriali: , '" Ja ys D, . Dubin . " Telec ull Po wer c an ...·o rk seemi n[t m,racles in your life ," s a ys M r. Dubin . "Wilh it. il is possible to dial any desi re - c alled a Photo · Fo r m - t h en sit bac k. relax . a nd watch Ih is powe rful sec re t 110 to work !"

"Instanlly Your Life Is Chan,ed!" With this secret . the miJE hticst fo rce in the U niverse is at your comma nd! ·'Simply a sk fo r an ythin!/. yo u want." says Mr. Dubin. "whet her it be r iches. love. tine possessio ns. power , fr iends, o r sec rel kn o wledge !·' SUPPOIt )Oll hod dia/"d Plr o lo· Fo,,.. 11 }or }r ..." /J. lor t xam plt. T hai's ..,hal ,""o" o , rl C . d id . in on ac tuaf txomp/~ ."'f r . Dubil1 IrllJ )'014 about . R ich. /t/jtt,r ;l1/: d wtllo ndl o"d i,.",,~/J Iit'ro lly o pp"artd 01 h e r /ttl .o a pair o} /told eo"in,s . ... ,hlC"h 3hr 10ll"d Ihol m o rn i" , . . . a s u, prilt /til l 0 1 a pt'arl n r ck la c~ , and matc h"'r sih ·", b ra r ,l,u . . . a bnwti/ul platil1um ,in/t Jtl .... i/h "m",a IdJ o"d dionlflndJ. dro pped 0 " hrr }ro" ' /o w n ! "Al m ost o ve r ni!/.ht ," says M, . DUbin. " It ca n start to multiply ric hes, brinll ro m a nce a nd love d r aw fa vo rs. lIifts . new friend s . or a nv_ th inl else asked f or~ It is n ' t nece ssa ry fo r you to undersland wh y. What is im port a nt is th a t it has ~lread y worked fo r man y o the rs . . . men and wome n In a ll walks o f life ... workcd e\'cry time and it will wo rk fo r you , t oo!"

Brin,s A Pocket full Of Money! Yo u' ll see ho w Jerry D . used thi s nle thod . H e was broke a week before payda y. All he d id, he says. was 10 di a l Photo- Fo rm :: I . Suddenly ht felt a bulge in hi s pocket Lo and behold ! He took out a ro ll o f m oney eas il)' e nough to tide him ove r What made him discover Ihis fo r· gOllen cash?

WIns Afortune Ar mand H . re portedly used th is power to ac· tuall y "break the bank" at M o nte Carlo USlnl Tek::c ult Po ...·er . he could forcca st the run o f Ihe bobbing ro ulette ball . . . a nd tell roulh!y nine limes OUI of len whcther the whcc:l wo uld comc up red o r black. and almos t every n,,,hl the exact winn in g num be r. After a week- A r mand H . h ad

ISLAND PARK BOOK CO., 55A Saratoga Blvd. , Island Park , N.Y. 11 558

a fo rtune in his bank a ccount- a nd spe nt the rest of his life helpina o thers !

Brin,s Mate Without Asklnl! M n. Conrad B. repo r ts t hat s he was ti red o f "pursum[t" her husban d. a s she cal1cd it. She wanled him to volu nlarily do the t h inp.s s he lo n l ed fo r. take her places. sh o w affecl ion . Bu t he had n' t looked al her in years . H e wo uld ' all as leep Immedialcly a ft er s upper. o r walc hed t he ba ll aa mes , o r read Ihc papers . Sec rc tl y Mrs. B . decided 10 try this met hod . She d ialcd PhOlo-Fotm #8 fo r Love ! Ins t antlY , her husband ·s ailitude c hanged fro m boredom to interest a nd enthusiasm. A nd fro m tha t day fo r wa rd . he s ho wcrcd her 1Vith Id nd ne u a nd a ffecti o n ! It was like a mirac lc come lrue !

The Power Of This Method! There arc 50 ma n y pe rsonal ellper iences 1Vhich I co u ld recoun!, stories o ( healin g. wealt h . a nd h a~ piness wllh th is sec re t, thai I fi nd myself wa n tin, to tell all o f them al o nce . H ere a rc Just a fe .... , .. • R EGA I NS H A IR G R O WTH ! You 'll sec ho w a man had tension headaches 50 severe the y we re squeczinl the h a ir ou t o f his head .' H e tried 'hi' method , a nd his headac hes vanished-and his hai r rcsumcd a IUlluriant gfo wth ! • R OLLS D I CE 50 TIM ES WITH OUT MISSlNG ONCE : As reported o n TV. you ' \I see h o w a ma n used th is power to roll t he d ice jO timcs, wllhou t missing o ncc. a nd- fo l the fiut. time in the histo ry o f las Vegn- walk away with SjOO.OOO! • DISSOLVES A LI! IEVIL! You ' U see ho" th l. amalin, secrel revu led to Lawrenc e M . Ihe ~ pie wh o ....ere t ryi na to m a ke him look sill), al wo r k - ac tuall y fevu led t heir se~ rCl tho uJhumade th em con fess a nd apololiu! It T E LECUl T PO W E R can do a ll thi. tor ot hers, what ric hes, wh a l re wa r O., wha l a mazJna results ca n it a lso brin, to yoLt?

r- - - MAIL NO RISK COUPON 19DAY ! - - -,

f ISLAND PARK BOOK CO .• Dept. TlB 7

55A Sarato,. Blvd., Island Park. N.Y. 11 558 f

(jen tle l1H.~ n . Pl ea ~ e lu~h lIle ... c\) py o f TELECU lT POWE R by Re n e P. D ub,n! I undusund the book IS mine fo r o nly StOoge complcte. I m a y u :unine It a full )0 d ays at you r fi sk or mo ney t"oack

I I I f

o Chec k

hue If yo u wish your urdcr sent C .O . D. E nc lose o nly SI I!tood· will de pos it no w. Pa y postman bala nce . plus C .O .D , posl age a nd handlinl/. c hargcs. Same mo ncyb .. c k gu a rantce, NAME

"~tult prln ,

ADDRESS

I f

C 'TY STAT E

ZIP

!: !;...r~ p.!!.~.~ ~~f!!!.~I~ ~ _

I J

TOO SKINNY ?

Amazing New Herr.lJplan

IN AMERICA

Guarantees

A NEW SH APE IN 30 DAYS or pay nothing!

Now ttlln "OUI sk In and DOnes into oo werful muscles HI),f. S"lIpl) lake one a (jay He,cllpl an la l)I('15 a,nny ..1I1h nUl 'H~!e('l t l h c allv pr/?SC f loed rlOOr eol.09 n ahl' ~ rob vou 0 1 a

lT1p~I') D~1I1' Ie'

m usruliU OOdy Stan addIng the weight yo u 11€fJ(! to g dln th oSe poweflul mu scles In 30 days. H Cf(lIplaf' r'oq r;:Hl' IS Qu<lIanlp.ed to w(lrk 10f you. In., ('IT SImpl y ' ew ,n Itle He r('llplan !a!){>1 lo r full/el uml Com plete 30 rlay HP.f CUpl ;ln Pf')glam I ~ now only $5 95 Special 60 day supply onl v $ IOY8 C;PIIO to Ru sh Indu slfies. Inc., DeotH U51 E 300 Pa rk Avenue Sou l h , New York , N.V lOU1U

NOTICE : RECORD LISTE NERS WANTED (No e ~ oe"enre reqwr ed) You Will fece'v" nalIon(lll.,. q,!leaseo albums to ,ate THERE IS NO EX rqA C HARGE II}I 1M! LP S yOIl receIve You pdy a .. mall membe."n,p tee wnlc n covers all COST S o llhe l P 5 We pa y OOSI"98 11'1 , el urfl 10 1 youl OPlfll()n 0.,·10 yOV' l P coUech otl FI'st,corne Da'> IS For ao pI.~allon •..r lte

EARS DEPT ho

Bo ~ 102;15 ~2 1 Cenler St

M lh~ a ukoe WI !lJ210

REWARD Is whll JOU ael when JOu Iud our Inlorm.t l¥f . Dookl et on records. SoOn as. publlsh'"a. recorOlnl Write to r FRH Inlormdl10 n

(As '6('C'rrJeri b y The Charl/R Daniels Band)

CHARLIE DAN IELS TOM C RAIN " TAZ" DIGREGORIO FRED EDWARDS CHARLIE HAYWARD J IM MARSHALL Well th e ea gle's b ee n lIyln' sl ow And the flag 's been tlyin ' low And a lot of people are sayi n ' that America 's fix in ' to tall But speaking just for me And some people Irom Tennessee We got a thing or two to tell you all Thi s lady may have stu mbled But she ain't never fell And If the Russians don't beli eve It They can all go straight to hell We're gonna put her feet back on the path 01 righteousness and then God bless America again.

'.du.1

MU5'C WORlD, 10, 101, SMton, MilS. 02067

THICKER, STRONGER LON GER

HAIR IN 5 TO 10 DAYS!. Sci.ntl" C ubQIIIOr, I" oof N.w P,ot. in lolloll is . Clu. II, .bsorbH illto Itle h. i, 10 ,"nf Oft. , sl rulttlen .nd Ih ld'II It lip to 136 % 01 orO,i ll" "1' . Aldu t " 'plillinl 'lid bl"h,. ; m.kl1 1'1. 1, mo" slfilth. bl• . Cro... , nl Gtory " • COntent fi led trul m.nl 101 Ihe hI " of ~pec lilly 10lmul.ted III 1ur, I pro le ill . d" ' Kned 10 be .bsol bed Inlo the h.,r The 1'\111 I~ sw,lIed . nd mlde ThIc ker by GrO " , n~ CIOry B.. I olll y It you try II '*111 you ue how wonderf ull y ", tif re nl ., .\ Gro ... ,ng CloIY · ~ .ct.ve Pfoteln IS .b ,o rbed n ghl ,n to Ihe shll t of the hi lI so d.y by d.y ~ our h. i, "",,1 wil ibl, Ih ich r, IUUII , molt comb· ~ bte mo't m.n.u.blt . more lJe"ble .nd siron it' <'111,1 t lld, hu l youl h.or IUlsa blu k,n, .. hell t·' mbfd 0' b,ulhed So.' I IOWS btller .nd longer "t !,)'dH ' !, Iu s.nt _ con " '11~ no . Icohol Of Ifuse fto, . " ... e ,I 10 Ihe buuty 01 yOUI h," to try Growln, lilolv 0 ... 1 mO""1 b.d IUII,nlu proTects you . r, ' ?.. ,n v r, Io!y muSI be bettel Ih, n .ny 1'1," product 'ou "If trOld - mu.t do ,,,,,,.th ill ' . . " id it woul d ~" lo r ,ou or .. e •.,It cheerf ully rel und every cen t you ~)'<1 S,no IUS! Sl 9~ fOI l , enerous two month sup· lI' y Plene enetou ~OC 101 !)OSIU' Ill d h,nd hnl .

",hi

Glory

DEPT. 52834 . N"", Yon.. N.Y. l oelD

And you never did think th at It e ver would happen again In America . did ya You never did think that we would ever get togeth er again Well we damn sure foo led you We' re walkln ' real proud and we're talkin ' real loud again In Am erica You never d i d think that i t eve r would happen again .

From the sound up in Long Island out to San Fra ncisco Bay Everything In between them is our home And we may have don e a little bit of lighting amongst ourselves But you outside people best lea ve us alone Cause we 'll all stick to gether and you can take that to the bank That's the c owboys and the hippies and the rebels and th e ya nks Oh just go and lay your hand on a Pittsburgh Steeler fa n And I think you ·re gonna finally understand. (Repeat c horus)

I'M ALIVE (From the Original Motion Picture Soundtrack "Xanadu") (As recorded by Electric Light Orche.tra) JEFF LYNNE I'm alive And the world changed for me today I'm alive Suddenly I am here today Seems like torever and a day Thought I could never feelthll way Is this really me I'm alive I'm alive.

I'm alive And the dawn breaks across the sky I'm alive And the lun riles up so high Lost In another world all the way Never another word till today But what can I say I'm alive I'm alive I'm alive.

Suddenly came the dawn Irom the night Suddenly I was born here tonight How can II be real I'm alive I'm alive I'm alive.

I'm alive And the world changed lor me today I'm alive Suddenly I am here today Seems like lorever and a day Thought I could never teelthl. way Is thll really me I'm alive I'm alive I'm alive. I'm I'm I'm I'm

alive alive alive alive.

Copyright © 1980 by United Artl.t. Music Ltd. and Jet Mu.'c Incorporated. All rights for the United Stats. of America and Canada administered by Unart Music Corporation, International copyright .scured. All righl. re.erved.

With REVERSE CALORIES in Speed Reducing Foods

& WOMEN SHED UP TO 20 POUNDS IN A WEEK50 POUNDS IN A MONTH! Simply mix them with your favorite fattening foods like French fries, ice cream, cookies, even beer - and you can lose more than you've eaten! -says Rex Adams How wou ld )'OU h ~ t 10 , hcd up 10 nl, O 1'01 ."I D~ a ll. M O RE A DA Y! ImpcH.l,blt' Ptd'llps II UI " ',,11 , he \ , a" hn~ d".covtry o f !l£VE II.SE C ALO)t IES - . hc mO,. )UU UI ,h. mOl ' )0<1 LOSE! ()vcr four d~.dt' me"',," 11 doclor mId, I hlllc · kno wn dlKo~c'y - , dIK Ov, ,)' 1hl1 In ( t rtl .n loo<,h RE VI:. RS E C AL ·

.,0.•

ORIES

KI~II, ''' ~r

-.." /,, 110m ,10.

Ixxl, '

Thnc food~ d U lrO) "". h. found. and ", ... u .. Ii;. lh. dl..cb

:~J:.tLRE~E~~·C~L~irlrs~e· f~'::~/~~~'; ~Z~~~' .~: ::::~;

K'rm lflll r for bIdden 100<11. Ind 1<». ""lh1 uffly'

. "' !ltl>cd h~1 1<> .Pt.d •• duc,n t lood •. ,he 1001 It Ih •• at ~ '" nu .ly T WO POUN DS A DAY '

GO AH EAD AND EAT FOODS YOU LOVE I SPted lI. ~du.'" . Foods wll h RE\'ER SE (' AI.O RI I:.S "''''Ot 1"1 Ind ",,,,,,,/,:. Ih•• If• • t ,,'la"" " "1 lood,' S,m ply b. m.. ,n, th.m wuh youl 11.0 "1~ lalle n,n l food •. I'h F. ench (" • •. oc e .. nm . «)"~ ,~, .•ve n bot., . ~O" ra" 10 ..... 0' , ,/'an )0" ' " , a" n'" " . tin enJOy h.tld . pota lOCI. o. a p,.n of chocol.t e cr um •• ke • II mod, 'f 1 so dewe ." u,d IhlS dOCIOf . who 10\1 )0

r~~.' ,:~h I~~' ~~~~.od"Jo'; 7:~~;n~,~~i f::l~d S::'·~~dR~~i'~:,~

REVERSE CALORIES BURN FAT I

~~~UIN'DS'3~"~oR'r~'rD~ :I!~ln'~~ ".~~!~n;"J,'!.~~,:~

of RE V ERSE CALORI ES ,n ,pecd , .d uCln . food , 100'" ihl

pumu you [0 EA T fATTEN ING t OODS 101. ,a er u m. n h . , w«t .nad.• 1.l o l~ . • nd n~" .. wo rry abQut .am"'t'

WEIGHT TUMBLES OFF IN RECORD SPEED I You mu.t nt 1" 1. Imounl , 01 . Pt. d I ~duc," . lO<l<h. to Io!.. w. i,Jht ql.lloCtly •• Id thu dOC lOI And "'hat (<><XI. lh.) Ir~' You tal 10 utilly )OUI IUle U well .. you l hu;:t:u' You . /II>( 1.1.lly. ~"jJ~t~u~~~olt~oeu' I,~ ','!~~ ~~~ ~ 01 I<><XI • d~y- tM THI S IS D UE TO RE\ I:.R~E CAI.O RII:.S ,n Spe«.1 II.td u(, n. f'O<l<;I>! TbeK food. h.... . MI NUS ... Iut c> lo llt.I~' Ihe y II.

~~,t'~~ ~~~E'~:'I~~~'.,~';" rO~Eb~l'O~E o;;~A~' ~O~~v~

EA TEN ! Tb_ 1...<I<h Illellll) bUln fat! Alld ,ltr y <10 II }IU' " 0,. rfJu", r iy 1/'41" "",,,.,,on' Wb.n thtl dcw;I O. pul I 240 pound wOm. n On ... t.... lIon d •• , ( 110 food) . I.bt loru only ' pound. ,n • w~e~ ' S UI "'h n h.

",,<I ...

10 my KO le . • h..·• • c,ua lly !I'mmed .ome " If " To Iho'" yo ... ho", Spe,d I(ed ... c,n l F<>od. CO n bot m".d "' 1111 fillen,nl (ood •. • nd ~I,II p,ud u'~ qu ... ~ ".'1111 los. on. m.n wu abl. 10 nl b'nd. po,.. o .nd ... ,n, ", "h SPted Rtdu''''1 Fo;>O.h. .nd Io!.( 10 po ... nd, ,n L1 d.y, ! R 0 \I ,d he'd '~Ih., ~13"' . tha n ,a, "d,.' · 10(K" .nd ht munl

]~:lr~d ~~J:.".~~' a~~n:·;n~.r:o~r::' 1I~;:lt~.dt~:~.'~,'n:e ~~n!~f

IIOnnI1l,. Bul the n I>c hUld ' hI! Spe.d R.d .... "'& Food~ de,I101 fi t ) Um" lULU tll.n ,,,,,,,I ,on! And ~om .....er. "LUlU)' " fo ,b,dd . n food, " h(' ' hou &h t "' ... fIUon ,nl ' li t ,mm.dll\<,ly tiled ,hem Rnuh }O pou nd. I on. '" 2\.02 ",'.eh!

YOU SEE IMMEDIATE RESULTSI Ind .n",un l ,n K '" ' .. )OU' ",,,,ht d,op I.p,dl) n ch d. ) Tha,,, tl>c n'tnUII f, r L ,n Ih,. ,e,·olm..,n." ,pc. d •• d ucrn~ d,el Yo... 10... pou nd, and ,nc h.. fA ST. f AST. f AS T' Th •• n.on n .... ," II mu,t .... o, ~ fo. )ou. 110 mauer ho w m.ny ',m~. )·ou fll !. d uLi nO" ,~\lmpl. You ~t ,mmt d" ,. ,"... h,' • SPU:1l MEIHJClNG H)()DS m :.5TR O \· H AMD·TO·.\ l EI.T ~' AT ! Il und, .d. rcr,,'I.d t il .. , ,h." . ,p.t< rut' Jnd e , '" ch,n, It,

,~mf),n a

p'.".", ..·...,...

h.d obh l ,n l1Jy ",,~ ppell .d' l ·ht.. food. ·.I.1t1 .~'" '00' .10 .... 1, lhat w,bbl. and .... obble. "'JIi ,1111 billow IIld .,,' •• 3t1dom.n, lha, undu l.,. IoOOn botCOmt finn _ .... tc h llId ,re ,·.,d 'h', doclo" In add' ioon. he ,.rd. }OWlou pOw"d. wi, lt_

~:::':I:~'~;:;: ;!;~Ia Ij3\· ~~h ff~.:·· hel~.:~m.~!S "o:..;;~ .c,:r.!~

Imagine the startling discovery of REVERSE CALORIES! The more you eat the more you lose . ..

311 ,h...... ) ,n mo., ,~< .. "0 "'''U. "" , ,,,. o. ix,,/r«! YOU u n U' "" ....."h 0".' 100 foods ' 0 c~ I.om - Ind 1Ilr.t Ih( rn(nu

REVERSE CALORIES BURN FAT! EATING LARGE AMOUNTS OF THEM MAKES YOU THIN! Whit .. ,

S~td

R.d uc,nl F()()<b' I Un onl y '.' tll Ih ..

::;c:u~~~:~~~ln i:"~;:o~ ..~~b~~;lh~~~'. t~~IU~f~i~!

nlof ,ully- tllty II ~ ...... y <lll>c, tllan .dd fal ! nr. f'''1 hin t lhlt IoO me lood s 'till) 00 II~' ..... 'ih. fr om th. bod) "'~ dlSCovtr.d by Ih.u doc .o, ,n obK,..,.,n , C.rtlln owe. we ,lht p. ".ntl. ThoJc who I I. food, .n/O),d • 'PtCl>t ... I" .. t iab' Io.-! S... II ho ... lUI ttlll h' PPtMd ""'cam. ci ca. "'I><:n lit 'eal "ed a 240 pound ,",'om"n. sr ... lfma h•• ""L/ On thew fooda . .... s losinl II • bf u lhllkrna !pc. d of nn,ly 2 lb. I day. II ..emed ,mpo..,blt Ih," • J>(IlQn n t,na 2\0') to 1 lb of food. Ind mor • . Pt. dly wu I"',nl II • III. 1 "me. I"' t l thin Sll,v .. ..,n! H. lI.d hI> ~ C l t t .. y 0 ... , the r« ol ds ::;~;f. w."h, lou .•11 . 1_ comb,ne . ""IOS ove' a pound

,lito.

l.1

Existiug Beliefs Sb a rtued ~ ...;;~

~:?'nl'~.;;:l:7,~!/;l~~· :~~d (.~~ugEbo~NSo:c/~l :~~~'-;,~ ~ ;2S:~ ...I:.~~~~a~~~·e.:;:,'I~,~~ °f~·lty~ ~:en~

Illn W. 'I/II fr om (llIna Ih.m . you I..... W" lh l!

CI~~r~!ItT~y·~:~".t.f,'~:'1 f~~uI·~.' ;:;:. ~~E~~~

burn liS o ...·n fat to d'ln, ,hem ' You I...., calo, ..,! You loot mo, . Ihln yo ... ·.. uten' Thll CIUIq I n IClual "'e' lth l lou!

You Can Lose 5. 6Ibs. Immediately!

!rs;~t~.d~~~~· I::,,~·:·~· I·~I'.:~~,':;I; I:~~e.~... :h'.; ~~ f~;·.n~~Kr'~d~~~;·~m~~.,:,~~UI~.!~'~~, ~~~~I~~~:e~~

lit!:

"III IhlS doclo, ' With Speed Red ... " na FoodJ. yo ... tin I.....

S·~

Ibs ,m·

,.I1,....

m.dl.ld ). ~nd ,I>cn , htd " .. ~II I at lhe ' " c of I I . '0 2 pounds 0 ' mOlt dl, ly' I m~.'n. I"',nl O VER A PO UND A DA Y - lo VE R Y DA Y - day air • • dl y. wh,le !luff ,n, )'''UI ' .. II with Im."''''I & Sp. ed R, ..... c,n. f oo.J\ '

~n:;I:r' .;·'!~c d:~~~ ~f 1~ • " 0 11 STA Y SU M

THO USANDS OF RADIO LISTENE RS KI::PO RT[l) SPEc r A<..: ULAR R I::SULTS!

70 ,.t~~~:/;;''t:,~'::'d:'~

P E RM ANE1'o'Tl . \' ~ _ You·1I

,I>cn Wd nf ' . ' hi ve 10

~h~"rO~~'~o~.:~~~~a W'I);;:'~~t," ':d f~~ ;~:d,~e~.I!; :~;'~~: man • • to ,htd ,h('m QI"dl ) _ often ,n 3S /1111 . lOS ONE DAY "" ,h 3m ... ,nlJ ~p • • d R.duc ,n. Fooch'

Ih . hanct . Ih", docto. h.d In oppo.lUn'ly 10 d, Ir ... , >om. d' et IIl b 0 ... Ihe rad'o Thou'~nd, 01 Ill tene " .. sponded. ,u n .. "nl Ihal ht ulU all y b,oad c;ut I c<>mplel. .Pted fed",cln. d,el . I,"n. II>c m. n.... dly by d~y The Ie· .ult ... n • b'l ,"d", ledu c", s pU ly' Eac h dly. hund,ed~ of Ptople who Wtn t on Ih.c d .. , phoned . Wf OI• . I nd ev.n

TRY IT FOR 30 DAYS AT OUR RISKI S,mpl) f'lI Ollt Ind m~,l ,h( No R ,,~ Coupon You hav( ab· ",1",. 1. ,~" h ,n ~ '0 tn,. R,"d ,I>c hoo~ f,om COHf 10 cOV", for 10 f... U d.), .1 <lu . ''' ~ F." .no"' ih~ Wh y nO' .. nd Ih. cou pon 10DA Y'

,cl.·

t~'f~'~~I::r~/:~r~~',: ~~;:~:: ~~.,~ r~·.~IC~~~t~~:kl>c~

I'OUND A DAY ' Th. nOlro n ,h.1 ,t ",n'l )d. 10 l.... o' e. • PO ... nd a d.) "' ~, III. AS rFD. uld I h,~ do.:.o •. Ind Ihc Spet d Red""na 0, •• PROVl:D melf. on n.e ~fr ., c ~",, ' • lI n. t II . w" .h,d 110 Lb,. ,rult.d of I>c, ,d.. l "'.'I hl o! 120. She ... nl.d 10 ,I, m dO"'n for he. d .u 'eun,on W,lh ,h.c~ S~ed Reduc,". food s. • ht 1",1 20 poundJ ,n • ",... ~ , • 0 R wu l 'O$,ly fll II 20~ lb . .. ,n>ttld o f h", 'dnl " 'e,. h, of In . H. c""ld n, '·.' 'ed uce and Sll~ leduted - ... nhl h.

r--- - MAIL I

NO R ISK. COU Pe,., TOOAV ' - - - - , PRoems BOOlS. l TO . O ~ pl RM 189 l,.,on 81.6 . Oc u n l '~ t . II' 115/2

I noo I A .~i~\'/:~';~".,pIW;< K; 'I;~,c'7(G~ I;rn ~~ M~Ard~~~ I !,~~~~;~.~,I,!I~~ , ..n 1~::U~Pr~I~'Y'o1 d~)~n:~:'~':1;3: h:~ ...lr ';'~,

~~d"'~?l; ; : :: ~~~~~~~,/H1~,ftd',~n~~~dl~(11y ;~~~: ,ht f .." wee~ . II pound. lh. ~co nd .... ee k 70 POUndl ,n 2 monills. Pt.M.nenlly' Aftu .. .,d he (ould , ... nllnuc nllnl rno,t of hil. f,vo.it. fau . ";nl I<><XI, w;thou l I.,n ,na l , Mn . J T "'( 'abed 1111bs . 'MI, "d of hef ,dul "" "Ih, of 12'. All oll><: r me, hods hid bot(n so ,lo w her ".. ,11 power

... I I ;: I . 1

S:f~frf~·nW.'I'lh ,~~::n!~!~~in!!~;~ s,~ ~.~~t;1(;:!~

I:w::: ,oo,h! Sh.c could w e It hlPPtn,nl, IS 'he lot, 1Y.r 10 2 poun ds. diY' R.sul l : '0 poundl 1(lSi ,n • monlh'

L-__________________________________________________________________________________

""d.'

• SO \l HIfING TO I.00K fORWARD TO UCH DAYI 1'0 .... mpl • . on con, .nl"'"31 dotl<. " li ke, 100 Io n.. lhe foods ......, hllnd . Inll 'h... ·' "ol h,n & '0 loo ~ fo,w ard 10 II m.. lt;....,. 10/ ,u,1I ~ lon~ lI m •. )OU or. ,oem .."L y d''':OU'II. d . 81.11 on ,be ~Pttd Rt,/ut,n a 0 "1. yo ... Ut I" .. mf y )OU, t3\!e II well II YOU' hunS. ' , 'uu d,n. rcl~l1y . and ••• n tho .... h )'tI....11 } pou nds of lood a d~, ' ht "e,sh, "'mbl" off you ,n .,co, d . p«,J! , \' OU CAN SEE IT HAI'Pl:NING _ You' l1 bot dtLi,hl(d and ""p,e,,.d h~· ,h. ,petd of th' d. c, dtd dfOp ,n you, .... hen )OU ,,.p on tht ",alt ."h m"'n,n l - ) " . , ,,( It m O""" I - II u n chan •• th., fa,,' E'CI) \,nll e dly )ou 'lI be SU.( YOll'!t .ed uc·

r>.

PROGRESS 8001(5 , LTD . • 3:200 L • .,lon 8 lvd .. Oc . .n, ld • • N.V. 11572

, iI

yl mon.y b3c\ 1 I I II., I, II ... ,I ,,,,, ",, · 11 """

,'nl) 'I ~,~"I "" II , I'J~ ""

(" I) . h."I"· ' '''''

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!.!, :!.,- - - - -- - - - -- - - -

~ T" C'

T J

L ____ .:.T~'~.~ ~~~~ '~'~~~.____ .J

OLD-FASHION' LOVE (A. recorded by Commodore.) MILAN WILLIAMS

Baby I know th.t you do It rlghl I w.nt 10m. lovin' tonight Some old-f.lhlon' lovin' Baby I know you do 00 do It right Do It to me baby I know you do It right.

I'm In love with a plein old-fa.hlon' glr1 I lu.t love the w.y . he mak•• love She'. Ihe mo. 1 beaullful peroon In She give. me all that ahe can I he world yeah As our feelln '. flow oh b.by Her smile I. 80 warm and her eyes Our love II plain .nd Ilmpl. burn so deep And thal'l all right with m. Softly In rhymel of love Ihe laid 10 Becau. e thll old-Iuhlon' girt me She makel me lee Love II for love only If 11'1 meanllo Love I. lor love and thl. love I. be. meant to be . I'm In love wllh a plain and Ilmple • I want lOme lovin' tonight girl Some old-Ia.hlon' love She lake. my healiand sendl me for Baby I know that you do It right I want lome lovin' tonight a whirl Some old· , •• hlon' lovin' I'm on Ihe wlng l of love And I don't care where I go Baby I know you do, do, do It, do It, Becaule when we reach that Itar do It right b.by We both will know I want you r lovin' tonight Some old-Iashlon' lovin' baby. Love II fo r love only If It'l meant to be. CopyrIght © 1980 by Jobata Mu.lc I want lOme lovin' tonight Co. Inc. & Commodore. En/. Pub, Some old-fal hlon' love Corp.

EASY

ANSWERING MACHINE

TO BE A MODEL Looks, age nof important . Learn how.

Rush $5.00 10 : Susan Rolyat . Box 23293 L'Elfanl Sialion , Wash ., DC 20024

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RUPERT HOLMES A little while ago I went and placed a call To tellth la gi rl I know thalahe could have It all The wedding , the ring , the whole dumb thing I wa. willing to lie the knot So I called her up And thll I. the an.wer I got.

"I'm

FREE UNISEX NECKLACE WITH

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r y and paraph ernalia cal'ai,,,,. Send $2.00 10 : _~m QU.CI. MI. 40456

(A. recorded by Rupert Holme.)

lorry

,You have IUlt reached myanawerlng machine I'm not In at present I'm .ure you know thl. whole routine Leave your name and number And I'll try to get back 10 you You have thirty .econdo to talk to me before you're through." And I said , " Baby , I.t '. go g.t married I need to know you 're mine I am hangln' on I am hang In' on I am hangln' on thl. line And If I c.n I .... one m ....g. before you go to bed I would ..y to you ..." (Beep) And th. phone _nt d••d.

So I I tepped out to buy some dog tood 'or the cat 0' couroe .he call.d about thr.e mlnut.1 after that Would Ihe be my wife and .hare my IHe Well o'course you can writ. the plot 'Cause Ihe called me up And thl. II the an.wer .he got. " I'm .0 .orry You have IUlt reached my anawertng machln. I'm not In al present I'm lure you know thl. whole roullne Leave your name and number And I'll try to get back to you You have thirty lecondo to talk to me be'or. you 're through." And Ih • • ald, " B.by I got your me..age I'm an.werlng your c.1I I have thought It out I have thought" out And I think that .U In aU If you a.k If we can m.rry And m.ke It 'or .11 lime Then my an.wer I. ..... (Beep) And the phone went, "I'm 10 sorry You have lu.t ..ached my.nawerlng machine I'm , not In at pr.sent I ' m lure you know thll whol. routine."

Copyrlght lC>1979, 1980 by WB Mu.1c Corp. & The Holme. LIne Of Mu.'c, Inc. All RIghI. Admlnl.lered by WB Mu.lc Corp. All RighI. R•• atWd,

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FUNKY TOWN (As recorded by Lipps Inc.) STEVE GREENBERG

about It, talk about II Talk about, talk about, talk about mavin' Gotta move on

Won't you take me down to funky town Won't you take me down to funky town

Gotta make a mOYe to a town that's right for me Town to get me mavin' Keep me graoyln' with some energy Weill talk about It, talk about II, talk

Gotta move on Gotta move on.

Won't you take me to funky town Won 't you take me to funky town.

Won't you take me to funky town Won '. you take me to funky town .

GIMME SOME LOVIN'

SLIP STREAM

ROCK LOBSTER

(As recorded by Allan Clarke)

(As recorded by The B-52's)

ALLAN CLARKE GARY BENSON

F. SCHNEIDER R. WILSON

(As recorded by Blues Brothers) STEVE WINWOOD MUFF WINWOOD SPENCER DAVIS Well my temperature's rising And my feet left the floor Crazy people knockln ' ' cause they're wanting some more Let me In baby I don't know what you 've got But you 'd better take It (, !1SY This place is hot.

And I'm so glad we made It So glad we made It I want you glmme some a-lovin ' Gimme some a-lovin' Glmme some a-lovin' every day. Well my head's exploding And I'm floating to sound Too much is happening 'cause you're around It's been a hard day And nothing went too good I 'm gonna relax like ev 'rybody should. And "m so glad we made it So glad we made It I want you gimme some a-lovin' Glmme some a-lovin' Glmme some a-lovin ' every day .

Well I feel so good Everything Is getting hot You 'd better take some time off 'Cause the place is on fire Better start baby 'Cause I have so much to do We made It baby And It happened to you . And I'm so glad we made It So glad we made it I want you glmme some a-lovin ' Glmme some a-lovin' Glmme some a-lovin ' every day . Copyrlghf ©1967 by Island Music LId., London, England. All Rights/or the U.S.A. & Canada controlled by Island Music . All Rights Reserved.

Caught In a slip stream Moved Into a bad dream I was ready for the let lag The worst trip I ever had. Two up two down On the wrong side of town Joe ' s neon flashing Ihrough the broken glass surround A baby cries from the tenement below We were together then But that was long ago Now listen to the wind as It cries to me In vain She's up to town now And movln' on her game.

Caught in a slip stream Moved Into a bad dream I was ready for the let lag The worst trip I ever had Slip stream Oh you know I'm fallin' apart at the seams And I'm caught In a slip stream tonight. We used to play the mission Down on 5th Street north of Vine We did It all lor peanuls Didn't pay us for our time Then we started chaSing rainbows That were way above my head I tried to fly there with ya But my wings were made of lead Now I listen to the wind As It cries to me In vain She's up town now And movln' on her game.

Copyrlghf © 1980 by InfersongUSA, Inc., Tlmfobe Music LId. and Classic Music Co . Publishing In fhe U.S.A. by Infersong-USA, Inc. and Mldsong Music , Inc. International copyright secured. All Rights Reserved. Used by permiSSion.

We were at a party His ear lobe fell In the deep Someone reached In and grabbed It It was a rock lobster.

We were at the beach Everybody had matching towels Somebody went under a dock And there they saw 8 rock It wasn't a rock II was a rock lobster. Motion In the ocean His air hose broke Lots of trouble Lots of bubble He was In a lam S'ln a giant clam. Down, down. Underneath the waves Mermaids wavln' Wavln' to mermen Wavln' sea fans Sea horses sailln' Dolphins wallin'.

Red snappe .. snappln' Clam shell. clapp In' Muscles flexln' Flippers flippin'. Down, down.

Let's rock. Boya In bikinis Girls In surfboards Everybody's rockln' Everybody's fruggln' Twlstin' 'round the fire havln' fun Bakln' potatoes Sakln' In the sun. Copyrlghf © 1979 by Boo-Fanf Tunes, Inc. All rights lor fhe U.S.A. and Canada confrolled by Island Music. All Rlghfs Reterved.

ROC~&ROll

l ie >TlINE: TUTONE ROCKERS Jim Keller Is a fonner New Yo r k City con structio n wo r k er w ho used 10 b r ing h is guitar to work sites and pJay d unng l unch breaks. Terry Nails Is theson o f one of t he Four Freshmen . M ick y Sh ine was the drummer o n ElvtsCostello's M 9A i l7l 1s Truel p. Tommy Heat h still performs cou n try & western mus ic In the bay ar ea cl ubs Hnder the pseud onym of "T he J oh nny Be ige Sh ow ".

Toget her. they make u p Tommy Tu tone: not a new s tyle o r Oxford s hoe. accord l n~ to the ir bi ograph ical m a te ri al. b ut a band . a nd th ey' re brcakl ngw ldeope n with their d ebut. self-titled Columbia Ip a nd single release, "Angel Say No."

Tommy Tutone. lett-to -rlght: Tommy Jim Keller.

REALI1Y EFFECTS The Tourists : Peet Combes, Da veS tcwa rt .An n Lenox.Jlm Too meya n d Edd ie Ch i n h ave bee n pl ayt ng Lond on clubs s ince 1978 , but It's o n ly rece ntly, with the rcleas(' of the ir de but American si ngle, a cover of Dus ty S pringfi eld 's 1964 class lc" l O nlyWa nl To Be Wllh You ," and a lb u m, Reallry E;Uecf, that the g roup has brou!!ht their 10p-

notch s how to these s ho res, Talki ng a bout their mUSiC. g uita riSt. vocal iSt a nd son gwriter Peet Combes sa id : "Do n 't cal l us new wave, do n'l cal l us power pop, ou r m US ic drn'sn '( fit inlO any om' category - It's J USI rock a nd roll ,"

WILLIE NILE ON TOP WUJle Nile Is na n cred w he n people say h e's th e 'next big thing', "Bu lldo n 't take It a ll tha I serl ollsly," he sa id , "Th e end result isj u Sll hclll uslc,1 wr llca nd p lay becausc I love II. Al l t he 01he r st uff does n 't h ave a nyth ing 10 d o with me," O rl!!lna Jly from Buffalo, NY, Will ie

now li ves In NYC's Gree n wich Vtllage, so It's on I\' na t u ral l ilat h e l i k es t o perfonn in 'th al arca'sc-ciebra lcdcl u bs - snc h as The BO l tom Li n e a n d Kenny's Castawavs. " It 's a good chance to show off my band to old frie nds who have on ly set' n m(' wll h Ill)' acou stt c g ull a r " Willie's band Is : Jay Dee Daugher ty on dILlIllS. Fred Sm it h on bass. Cia\' !)am es and Peter Hoffman on gull a,;'. Will ie plays rh\"t h m guitar. pla llo and Sings.

''The e nd r esult is just the mus ic, I writ e and pl a y because I love it. All th e o ther s tuff does n't h ave a ny 路 th ing to do with m e ,"

PURE PRAIRIE FIRED UP Hav1ng switc hed r('Cord compan ies to Casablanca Records, Pu r e Prairie League h ave record ed a n ew al bum , Fir/n' Up and h ave settled i nlo the ir ('u r re n t li ne-li p whl('h Includes vocalIs t and bass p layer Michael Rei ll y, d r um m er Di ll y H i n ds. k eyb oardlst Mi chacl Con no r, a nd newest m (, mbe r s gu it ari s t Vi nce G ill. and guit a r is t an d \'DcaUst Je ff Wll soll. Sez Michael R('illy abow PPL these days. " We've d eveioped a co mpl e t e

syne rg is m til at ap peals wavelcnAt h s: '

"Doo't call us new wave. don't call us power pop, ....

a \-arlety of

ROADIE

think It's very original In Us own right :' The sou nd of rock and r oll Is heard throughout the Olm. howeve r. As Rudolph

In II f( nc wa s 1St' s.a~ R ld4 ph, he's really pi ("< bt funny, Also because he sort o f represen ts a s ummary. I think, of all the twists and turns o f mu s ic . I think h e's In g reat contrast to Blondlc," Speak ing of contrasts. there are a wide range of them , Including the parts played by Don Cornelius and Art Carney. 'Well , you see, there a re twoseparatc films gol ng on h ere: ' explains Rudolph. "O ne Is the Texas film, the Redflsh manor. Art Carney Is Travis' father. we basically keep c utting back to him as Travis longs for home or wh atever. Co rn el iU S, Is a real surpr ise, he's a comedia n, really funny, very a n imated . He plays Mohamed John so n the g reatest rock and roll p ro m ot er In the world , We don't deal In any subtleties In this film - we have th e greatest road ie In the world , the greatest promoter, and the world 'S greatest g rou pi e, w ho gets n o respect beca use s h e's a virg in. Yet It's do ne In a very sweet way."

says with a smile, "You name It. we use It. We've used music In every form I've ever encountered In film. We use H as score, as source. as effects, there are live record ings with Blondle dOing 'Ring Of Fire', A1Ice Cooper does a coup le of songs, Hank Williams. Jr. does a couple of son gs, we have a punk act In lAoThe soundtrack of the movie is different from the soundtrack album because there's no way to put all that music In th e film. We use bits and pieces of songs, we use whole songs In some cases. Cheap Tr ic k d oes ou r title song which we use a cou ple of Urnes, '" think thai the sound of the plctu re which Is where I am rtght now, 50 I'm consc ious of It - I th ink It's real state of t he a rt sou nd , Not Just the mus ic. but the way we use e ffects. Fort u nately the studiO (Un ited Artists) understood that we needed to do this In Do lby Stereo so we get to use al1 th e advantages of that." Rudolph 's ea rli e r c redit s Inc ludin g wrlllngAllce Cooper's tvspeclaJ. W elcome To My Nig htmare'. Although he says that experie nce really didn 't have much to d o wtth what happened In making Roadie. ' he d oes feel It was i'a good Intro to Alice. who I think Is one o f the really true comedians In the rock a nd roll world. "I'm Just a regular guy from the Valley who grew up to make movies," he says. "I've been living with thi s as we all have. and the thing Is th at It becomes more special. I see mus ic as narrative, ' think It is for ou r whole culture now, because very few peopl e read, a nd yo u ca n ' t trust televisio n, so movies have become the only form of reality a nd musi c Is the o nly form of a narchy. I think. " . Dealing with rock stars on the set as actors was so mething Rudolph says ,he : dldn't have much trouble with. ''I'm pretty : com fortable with actors. To me they're the most Important eleme nt. whether they're new ac to rs o r s ta rs , With out th em ob v10usly you don't have much , and also 1 like to c reate so me sort o f an atmosphere where th ey really contribute to the material , Meat Is surprising. but I knew that before we started, I mean hewas prepared , he had his c haracter down. he plays a real hero. He knew this g uy pretty well , which Is a ll you really ask of any actor - to know tha t character, so that yo u get the scene," In making the film. Rudolph says he thinks It was more fun than anything else. "The pic ture Is, even more thana rock and roll m ovie, II 's like pop funnies," In picking the rock personaJ llIes that are In the 0101 , va rious concerns were kept

Meat. Debbie Harty, and Allee Cooper were really becauae they were funny. I mean, Meat turna in what I consider a ~or dramatic performance,路 In summing up the film before release. Roadie will be getti ng out to your local Rudolph observes. "1I's a swec t movie - I thea ters as you read thi s, Rudolph has use th a t term because bas ically underhigh hopes for the film , "My two previous neath It all It's a really nl cc little love s tory films (Welcome To LA' and 'Remembe r My Name') nobody saw, I mean they came which wo uld probably be co rny In a no ther film. but we cast Meat Loa fa s the leadinj! out on as small a release as you can get. they were I guess arthou5e films o r wha t- man and a gi rl who wel!!hs abo u t a hu n dred pounds (Kakl Hunl('rl a s the eve r. When we went Into the studio t o leadlnj! lady, so It' s always Int e r('s li nj!. negotiate o n thiS one. the guy said, What do you want ?'. And I sa id " want a picture Where most films s o rt o f st op and us(' th a t comes ou t for July 4th at 600 thea- their rock s lars as pe rfo nll(,rs, we did the ters a nd drtve-Ins everywhere: He said, oPPOSitt'. we sort of minimize the performanc'e and wenl rll!ht thro ugh that. to 'Well you don ' t want a Third Avenue hav(' S('(,l1es with them. soe\'e n t hOl lgh It's release?' And I said, Well you can Include a ll done In humor then' s a real good tha t. but I want to make a pict ure that Indica tion o f what It 's like to be a rock reaches th e guy In the ba c k o f th e s tar."OHlchard Robinso n t heater: "

(ContinuedJrom page 35J ''The movie Is about heroes. I think that rock and roll Is a very heroic m edium," says Rudolph . But despite the fact that Roadie Is not

meant 10 be a beach party or rock high school excuse for bands to make cameo appearances to play their hit. the movie does have a lot to do with what Rudolph refer s to as the ' rock se nsibility', "The

most vtslble part of capturi ng th e rock se n sibility, " he expl ains. "Is n ot n ecessarily In th e music wh ich has to be there

and can't be counlerfe ll ed . lsln thevtslblc part of II . To avoid a drive-In type movie. I know what you 're talki ng abo ut. to aVOid It '" weill think we've avOided It because I

think we have a very. very unlqueplctu re, l

,ood.

, th1DIr. the .tan that played acton -

'"You name it. we uae it. We've uaed mu.lc In any form I've ever encountered In fUm."

PUBLIC IMAGE BROADCASTING It was one of th ose great rock & roll m omen ts when Pub lic I m~e Ltd. made th eir Ame ri can television deb u t. Iipsynch lng their way t h rough mos t of "Poptoncs" a nd

"Caree ring" on Di ck C la rk's "Am eri can Ban dstand,"

For those of you who di dn't catch this h ilari ou s event..Joh n Lydon, Kei th Leven e,

Spi d er ia , l eft -to -right l Kei th ,

J a h Wobble and M a rti n Atk i ns r eally sh ook up the "Ban dsland" set w h en J ohn ny

Amanda, Anton. Ho lly and Jimmy.

ran In to the gallery a nd d ragged the kids o u t on the da nce fioordurlng "Poptones," th e n ran up to th e sca ffolding an d s t ruc k some !ovelydlsco poscs h lmselr. Before the second n u mbe r. Dick Clark came oul to Introduce the band (now aJmost totaJly obscured by t he d a ncers), a nd asked John ny Ifhe wanted t he kids to sit back dO\~rn . o r co u rse. he wa n ted morc of the m out there, and "Amerlcan Bandstand" may never be the sam e.

SPIDER GET THE KISS OF SUCCESS Spi d e r came out of th e New York n ig ht r ig ht onto the charts, but the story b eh ind their cl im b to fa me Is more com plicated th a n th at. Three of their m embers (vocali s t Amanda Blue, guita r ist Ke it h Len ll n , and drum mer Anton Fig) are from Cap tetown, Sou th Africa where Ih ey p layed In a local ba n d together befo re heading th e ir separate ways to America w he re th ey a ll wound u p back In the same band in NYC, T h e twa other m embcf1 of S pider. keyboardlst Holly Knig h t 3 1!ld bass is t Jim my Lowell , a re from the U.S , and we re in o ther New Yor k ba nds before teami ng u p in Spi der to complete the li ne -up . The ba nd d eve loped q u ite a following a t Trax In NYC. b u t It wasn' t until Kiss gul t..'lrlst Ace Frehley p icked Anton to dru m o n h is solo Kiss Ip that Spi d e r got (heir chan ce. eve n t u a lly sign in g with Ki ss m anage r B ill Aucoin's product ion compa ny,get ting a record d t'a1. and Sign ed by Nicky Chinn a n d Mike Chapman for th eir Dreamland Rf'ca rds. wou nd up on th e ch ar fs wit h their first hi t s ingle. "New Romance",

ALL NIGHT ROCK "By go in g a nd fi n d ing o u t whi c h so ngs wo rk best o n st age," sa id 38 S peclaf s lead guitari s t Jeff Carli s i. "we d iscovered our fa ns like ou r r ock and roll m ore th an a nyt hi ng else we do:' And th at's just fi ne wit h th is G-man coll ec ti on of sou th e rn rockers cause n ot h ing makes th e m h a ppi er t h an being onstage rock ln ' a nd roll in' Into th e n igh t. Ta lki ng a b ou t t h e ir la t es t A&M album , app r opri ately ti t led Roc k ln' Into T he Night, Carli si sa id . 'W e decId ed to ta ke m o re of a roc k a nd roll ap proac h a n d I t h ink It de fin ite ly s h o ws ou r au di e n ce whe r e we're coming from ," 38 S p ec ial (Lar ry J un strom, Jeff Ca rli s I. Don n ie Van Zant. Don Barnes. J ack Grondi n, a nd Steve Brook lns)a re cu r rently on lour. fil li ng h a ll s w ith music Ca rli si calls "stra lg ht-fonvard. kic k-ass roc k a nd roll ,"

''We decided to take more of a ~ock and roll approach and [ think It definJtely

shows our audience where we're coming from ."

JAGGER/RICHARDS (ConlfnuedJrom page 271

that way I'd Ju st be c utting myse lf off from the Ston es In one way. an d that's not going to help a nybody. I'm not in -

ter es ted . The basic thin g about th e Sto n es Is that there's the u n dersta ndi ng

that there are five guys In t he ba nd. and there might bea few oth ers I n volved i n th e maki ng of the record. but what comes ou l o f the speakers Is bas ica lly one so und. I rs lik e a wa t c h ,

th ere mi g ht be fifteen little Jewels In there. and al l klndsof

th ings ticking around. but tfll don't mak e th e h ands go ' ro und It's n o bloody good . righ t? U sa: Do you think it's the best band tn rock and ro ll ? Keith : I ai n 't a c r itic baby. I

ain't ajudge. Usa: Is it the music yO li like

'1etill feel tbatwe - ... band- are dolngthin&e thatare imerovtng, amongstouraelvee, and everyone in the bandla euninterested. " wd Keith. It'e collective intereet that Ite_ It golna."

th e best ? Ke ffh:Yeah. ICs th e musi c thaI I naturally make. you know? I

w ith any specifi c son gs that I'm gonna do, I just go In t h e time ago. Consclouslywrltlng, studio. Charlie's usually th ere, excep t for t he odd th i ngs. the and I'll just start playing, I'll exceptio n ." but It's been the Just start playing, and within longest time now tha t f'vc gone half an hour. rJI have a song In to make a Stones alb um together. To go I n and sort o f

gave up wrtflng songs a lo ng

pose. and say n ow we're goi ng to wrlle a song, you do this. I'll do thi S. that's not what the S t ones are about. I'll go In there, a nd pick up a slight germ. and then I Infect evel)'body else. I'm like a housefly.

In fu t u re iSSlles, Kelth talks about "Emollonal R escue". mor e about th e " St o n es sound". Chu ck B em). James Brown. Lenny BnlCe. and Ills oUJn personal. and legal hus sies. Slay wned.O

'1 don't really want to start right out in the deep end., the atadJUIIlI," wd MJck., me nuts. Like lut time. "" laid we wen ,o~ to play In .ome omaII placeo. pat. and we otarted out In ,oddamm hockey arenas, as our opening gig.

ROC~&ROll

II( )TlINE: DANCING TO THE CRETONE BEAT

In between playing their set. The Cretones have beenJudglng the dancers In their audiences at recent gigs. The couples who lheCretones think are the best footers get to come up on stage and ~ I ve their names. ages, and h igh school. T he Cretones also keep busy playing tunes (rom thei r debut Ip. Thin Red Line. and denying they're a punk band, but Just 'tonnented weirdos In states of emottonal extremity', Which sounds kind of LA. whIch It should since that's where the Cretones toned-up. Crelones leader Is Mark Goldenberg. on vocals and gUitar. and besides being the guiding light behind the band he must be doing okay In the royalty department these days having placed three of his songs on the new Linda Ronstadt Mad Love album. IncludIng the title track. He also played gUitar on her album .

'tormented welrdoe in state. of e motional eztremlty'

MARSHALL TUCKER PLANS NEW FUTURE

CHEAP TRICKS AND NU DISKS For decades now In England up-andcoming rock acts have worked their way from a fi r st Single to an ep (extended play 45 with three or four songs) to an Ip loften at a budget pt1ce until the band hits b ig, when the prtce goes up). But the U.S. music Industry has only fitfully attempted to make It less expensive for record buyers to get new mUSic. F'aithfully following an allor-nothing philosophy. there have been only sporatlc attempts at makJng It cheaper for buyers to take home a record by a new band In the hope that once they listen to it they'll be back for more at h igher pt1 ces. Recently Ep ic Records decided to try again, with 10" recoms they call 'N uDISks'. (Cynics might note that these new diSCS are the same size as disco singles, and now that disco Is dead the pressing mac hines have to be used for something). Each Nu-Dlsk has (our songs on It and sells for 84.98. WhIch tsn't much of a bargain, since each song costs 81.25 plus tax, where a regular 87.98 Itst price Ip with e ight songs costs the buyer 99垄 per song. But the hope Is that you, dear record buyer, wlll be more w1lling to take a chance on an unknown band at $4.98 than you would be at 87.98. The first four Nu -Dlsks released Include three by English bands: The Confldentlals. Propaganda. and New Muslk. and one by Cheap Tr1ck. How Cheap Trick got here takes a second t hough t. By making Cheap Trick one of the first Nu-Dlsk releases. It bt1n.gs attention to the whole concept (after all. they don't need the exposure) and also suggests the collector's J tern nature aT the Nu-Dlsk . The C h eap Trtck Nu-Dlsk has four songs , two fro m ea rly studio sessions and two from their 1977 live tour.

The untimely death of Tommy Caldwell from Injuries In a car accident saddened the rock world and dampened the spi ri ts of the surviving m em bers of the Marshall

Tucker Band of which Caldwell was a founding member. But a month after his passing, the band announced that they will continue to perform as a band wtth Franklin Wilkie. a long lime friend of the band. as a temporary replacement (or Caldwell . ''There's no way one person can replace a guy like Tommy:' said band spokesman Joe McConnell. "He was the heart and soul of the band. We know t hat Tommywould have wanted us to conti nue and everybody's real pleased with Franklin's playing,"

NUMANNEWS The New One FollOwing his first tour of the U.S .. Gary Numan returned to Europe for a

lour. got some offers for soundtrack projects. a nd then went on to the Far East for a tour. In the meantime, his US record company has decided to give his first album here, RepUcas. another try, and tn re-releaslng It they've also re-Issued Numan's bl~ English htt Single from that Ip, ' Are Friends ElectricT In September. the thi rd U.S. Numan album wtll be released. The title Is set to be T elekon, and Numan Is already at wor k co mposing songs for the Ip. Amo ng the tunes to be Included on the Ip a re 路'1 Dream Of Wires" and his new single in the U.K , 'We Are Class".

The Old One

One Good Ide. Is Worth A Thous.nd Photos Dept.

To promote hi. laleat ala,le. · ComiDCUp", Paul MeCartDeyUld LlndaweDtlnlDthevldeo_1n LondoD to make a 91deo tape .bere Paul pl.,.. len cUffercat characten (_rybody In the band OD .creeD. e.c:epl lor Llada It aeelD8) . 1bereaultawereehowuoD

network TV bere aDd did haft oomebumorlD It (eapec1a1Jylfyou eould IIpre outJ_ who Paul_ made up aa), althO\llPl tbIa .. Dot the nr.t dme th18 concept baa been worked •• Cbao Khao made a video tape ...t ,.,.. In wbIch aile played 8ve venlona 01 henelt at

HA ACTE...::~ IN EA CHOF A 'AUTH

the _me time. Tbe real P aul an d the real Linda pla,.,d by the _Iv...

PaaI pia,. Paulin the gad 01

cIaJII

Paul u Jethro TulI7

Walt till P'raDk Zappa bean about tbIa,

September 79

De cember. 1979

February. 1980

Kansas' Rock And Roll Desti ny

Robert Palmer's Secrets

Hit Parader Intervi ew Peter Frampton Pan II

On The Road With Kiss " Queen - live Killers On Tour The Cars Speak Up For Rock And Roll

Wings - New Album. New Band Aerosmith 80 The Cheap Trick Story

January, 1980 Kiss Rock Madison Square Garden led Zeppelin - On location In England

Hit Parader Interview Discovering ELO Charlie Daniels Talks About HIs Music March, 1980

Nick lowe's Opinion Of Rock Blue Oyster Cult SJep Through The looking Glass In Style With DaYid Johansen

Perry Ouils Aerosmilh Why 00 The Critics Hate The Knack' The Who And The Mod Moyement led Zep Remain Unchallenged Eagles - The long Run

April. 1980 Debbie Harry Dreams Fleetwood Mac Tell New York About Tusk

Cheap Trick - Rick Nielsen Gets Up Before Noon An Inside look AI Jourl'M!Y's New line ·Up Steve Forbul Explains Where He's At Now May 1980

Police Repon , Foreigner Bust The Sound Sa'rrier Ian Gomm Holds On New Aerosmith On The line BoomtolMl Aats - It's A Question 01 Honesty

, ,lIs~ .".II• .,le $1.25 PER~QPY ~~ARLTON BUI~~~t.~fRtY~~~N, 06418 $fP.QQ ANY SIX fnclostd is $ ............. , (Canada Add 25%' 50% Foreign) rush me the following back issues: $a.QQ ANY NINE Please Moke checks, M,O. poyoble 10 , Cho,lton Pub, Inc . ALL Name................................................................................. ....................... • $,.QQ TWELVE If you ore orclerong bock Issu es why no cons Icier 0 money ' soy In9 sub sc, Ipl I On~ See the SUbSCrlpllOn ocll" Ih.s IS\I,I.

Address., ............... ,............ ,....................... ,................ ,.... , ....................... City .......... ,.......... ,..... , .......... ,.... State .... ,........ Zip ................................ (Pl eose

P'in~

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Nov. 79 Oct. 79 Sept. 79 Aug. 79 July 79 June 79

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Dec. 79 Jan. 80 Feb. 80 March 80 Aprtl80 May 80