HIGHACRES COLLEGIAN, MAY 8, 1973- PAGE FOUR
sound
by Jack Yatsko
First of all, I would like to
say it's great to be back after not
publishing last term. I would
now like to highlight a few brief
moments that occured last term.
I might as well start out with
the good ones and work my way
down. In my estimation, the
best thing anyone could have
seen all term, as far as concerts
went, was the Bruce Vanderpool
concert at Li'! of Highacres.
This concert was fantastic.
Bruce's guitar playing was
superb. He was so good that I
felt like giving up playing
myself. Bruce did some really
fine vocals, and he had an
excellent song selection. He did
original material for a portion of
the night. I understand that
Bruce may be here for the
Spring Carnival; if he is, it is one
event you won't want to miss. I
think Bruce has got real talent,
and unless something drastic
happens, he should go far.
Next on the agenda we have
the J. GEIL'S BAND's concert
at the Wilkes-Barre, C.Y.C. The
concert, from a musical
standpoint, was rather mediocre.
I don't remember the name of
the warm-up band. All I know is
that they were from Allentown,
and they were definitely good.
After their stirring performance,
J. GEILS came on. All I can say
is, "Ah me, another over rated
group." Previous to this, poeple
kept telling me how good J.
GEILS was. Let it just be said
that the J. GEILS BAND is a
nice band to get for your nice
Junior High School dances.
Now, what you've been
waiting for! My mean streak is
going to come out! Last and, I'm
sure, least is BADFINGER. The
BADFINGER concert has got to
be the worst concert I've ever
seen. It was both a wast of time
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and money. It's a good thing
AMAZING BLONDEL didn't
show up, because they would
have made BADFINGER look
sick. BADFINGER sounded like
another band trying very 000rly
I might add, to doBADFINGER's
material. For supposed
professionals, these guys were
terrible. The warm-up group,
was just as good. if not better,
than they. Paul McCartney
signed BADFINGER to a
recording contract as soon as he
heard them. I wonder what has
happened to Paul's ears. Of
course, then again, have you
heard the stuff McCartney has
turned out lately? Mayve he did
get killed; maybe it is someone
else who has a tin ear. If they
have many more concerts like
BADFINGER, everybody is
going to stop going to concerts. I
wouldn't even disgrace a junior
high school with these guys.
fabulous
freaksl
Nftwodir Art,
THE MOBY GRAPE, another
lost "super-group," to those who
listen to music beyond the Top
40 singles, reformed to make the
album "20 Granite Creek."
While it wasn't a total loss, it
certainly wasn't outstanding.
Both these groups broke up
again soon after thses releases.
.
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CHASE
by Wayne Funk
A while back, a 'limpet
player by the name of Bill Chase
and eight other musicians started
a group called CHASE. Soon
after thier first album, they
made a song that soared up on
the charts. The song was "Get it
on." Again Chase can do it, with
his latest, ENNEA. CHASE still
uses the same four trumpet
section, sounding the biting high
notes clear and concise, and a
rhythm section, still pounding
the bass line.
Chase devotes the second side
of ENNEA to a suite written in
memory of the Greek Gods. The
lyrics are written by Erin Adair
and the music by Bill Chase
himself. His now famous
G.G.Shinn has the lead vocals in
this mythological adventure.
First Cornus, the father of all
the gods, is introduced. His
successor, Zeus,is brought into
the picture. Poseidon, Ruler of
the Seven Seas, makes his entry.
Then everyone's favorite,
Aphroditie, Maiden of Love,
soars into two parts. And the
last is the immortal Lord of
Darkness, Pluto in Hades.
Why is CHASE popular? It
could be because of thier biting
trumpet section, or thier
pounding rhythm section. It
could be the piercing voice of
G.G.Shinn or the lyrics-writer
Erin Adair. Or maybe it's Bill
Chase alone that makes the
group. However, if you put all
the above together as why
CHASE is popular, you come up
with the reasons for thier success
as one of the best Jazz-Rock
groups in the country today.
THE BYRDS
The new BYRDS' albun - .
presents the same problems as
previous albums by other
re-formed "super-groups." Two
toher examples come to mild:
The Mamas and Papas re-formed
about a year ago, long enough to
go to the studio and cut "People
Like Us." It was pretty poor
compared to their earlier great
records. They were unable to
recapture the old or create
anything new and vital.
So the new BYRDS album
puts the listener in a similar
dilemma: You hope to hear the
BYRDS as of old, or baring that,
at least something new of some
quality. This album falls short
on -either score. This record
certainly falls far short of the
great first four albums, and, I
dare say,of any of the seven
albums since the first GREAT
HITS- collection. The Roger
McGuinn-led-BYRDS of the last
four or five years may not have
been great, but they were
consistent, and they always
came up with at least two or
three good cuts per album.
Not that I am not glad to
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have this new and interesting
album, but the listener has the
right to ask how these people
have progressed, improved, and
changed since 1968. None of the
original BYRDS, except
McGuinn, have done anything
consistently interesting in the
last five years. On this album,
it's obvious McGuinn is no
longer in control. Nothing jells
here. Except for one or two
cuts, everything is secon-rate.
They sound disorganized. It
certainly doesn't help when they
try to do Neil Young songs.
They should let him interpret his
own material, after all, he wrote
it to fit his own vocal style. The
BYRDS' imitation sounds gross.
"Borrowing Time" and "Sweet
Mary" were the only really good
cuts I could find.
It certainly is a pleasure to
see the BYRDS back together
again, but they can so better
than this, but the disappoinment
is so much greater because of the
high expectations. I'm eagerly
awaiting their new album, if
they ever make one. Knowing
the track record of other groups,
I'm peisimistic.