f
Walker tells nice stories about honest folks
Ah, yes.
Winter has given way to soring. March has given
way to Apnl. Sanity has given way to insanity.
So, too, the Daily Nebraskan must give way to
mini-record reviews, like it or not.
Ah, yes.
begins hopping. "Tribute to Elmore James" rears
back and blows long and hard while "She Once Lived
Here" is a pretty country ballad to end the album.
B.B.
Jerry Jeff Walker. Jerry Jeff Walker. MCA (DL
7-5384.)
Aaaaaahhhh. Jerry Jeff Walker can sure tell a nice
story. You might figure that the guy who wrote one
of the best songs (Mr. Bojanglesj would have some
other peop'e to sing about. No disappointments. This
album is full of them, stories about honest folks and
they're refreshing.
The album was receded in Austin, Texas and New
York. It was recorded "live" but not in performance.
Wa ke-- s:mp,y got together with some friends and put
the 0'vjs on tape. The result is a pleasant "sittm'
round th? k tchen table with a bottle of wine" sound
that does we!! by the lyrics of the songs.
For instance, "Charlie Dunn", a bootmaking
artisan "Charlie can tell that's wrong with your
feet 'just by feeling 'em with his hands, And he can
take a look at the boot you wear and know a whole
lot about the man.. .he never put a mark in the
boot; He just hopes that you can remember him the
same way that he does you. ..And it made Charlie real
pleased To see me walk in' with case."
He is tend.-!, honest and straightforward with the
subjects of his songs because that's the kind of people
the subjects are. It's a great record of the American
people-hobos, bootmakers and bar musicians.
One of my favorites is "Curly and Lil". Walker
sings: "Curly would drive that old pickup truck. Lily
would roll the cigarettes. ..Curly told me if you want
to be free. You got to be your own boss. Be fair with
those you like, do what you think is right; If they
still don't like it, pack it up and walk. "
Some of the songs are country stompers and
others are pretty ballads. All of them are good.
Bart Becker
Second Album. Roy Buchanan. Polydor
(PD-5046.)
Roy Buchanan had the reputation of "the World's
Gieatest Rock Guitarist" before his fust album was
released. I'm not familiar with it, but Second Album
isn't a good defense of that title.
J0 JL L
A! '
w 1 . J - ......a.,.-.- v-ffi-f
Guitarist Roy Buchanan. ..carries the
reputation' of being the world's greatest
picker.
Not that it's a bad record. In fact it's a good one
technically. This album is seven-eighths instrumental
and although Buchanan is indisputably a fine guitar
technician with plenty of versatility, his playing on
the lecord seems pretty emotionless.
Side one opens with a rocker called "Filthy
Teddy" which is mostly a showcase for Buchanan's
slick moves. "After Hours" and "Five String Blues"
are both slow blues songs. Naturally "the World's
Greatest" is the main man in each song but
occasionally some other musicians take short breaks.
They shouldn't.
The side ends with "Thank You Lord" on which
Buchanan exhibits some breathy singing. He
shouldn't. But watch out! Side two's just over the
edge of the record and Buchanan and friends have an
ambush planned.
It starts off with "Treat Her Right," featuring
Chuck Tilley on vocals. It's a good choice for this
album although it doesn't have the frenetic energy of
the Roy Head original. "I Won't Tell You No L ies" is
held together with a long, well-paced guitar line.
Buchanan bites off just enough so he can chew
comfortably in this one.
When it comes to the last two songs, the album
Faces. Shawn Phillips. A&M (SP4363).
Shawn Phillips is, from top to bottom, soft rock.
Because of this his album Faces is one-dimensional.
But it's a nice single dimension.
Phillips has a quiet, emotionally well-based voice
which slips easily into a pleasant listening pattern. He
can, at times, increase his pace and intensity, to his
credit. But it's still soft rock, plain as day.
Faces contains cuts from 1969 to 1972, spanning
quite a portion of Phillips' creative career. But the
album holds together surprisingly well. All the way
from a gorgeous instrumental "L'Ballade" to
veil-known versions of "Parisien Plight II", "We,"
'Hey Miss Lonely" and the almost over-popular "I
Took a Walk," the album is a corker.
Shawn Phillips deserves popularity in his own way.
Jim Gray
Hush 'N' Thunder. Yusef Lateef. Atlantic
(SD1635). Besides being a giant in appearance and
physical structure, Yusef Lateef is one of the most
under-rated giant reedmen in jazz.
On Hush 'N' Thunder, Lateef offers just that.
From quiet peaceful moods like "Come Sunday" and
"Opus Pt. I," Lateef moves on to gospelish "This Old
Building," "His Eye on the Sparrow" and finally to
hard driving jazz on "The Hump" "Opus Pt. II" and
"Prayer."
For the most part Lateef sticks to his flute and
tenor sax, but when he ventures out on "Prayer" he's
using a pneumatic flute and a shannai, producing
some strange but exciting sounds.
"Sunset" is deceiving. Opening with a mournful
"House of Usher" feeling, complete with moans and
groans, it then moves into a sterling piece, with some
nice work done by Kenny Barron on piano.
The hush and thunder parts of the album work,
but it's the middle part, the gospelish sounds, that
fail. They almost seem to have been included to
provide a rounded offering of tunes, rather than what
is good. But then charts like "The Hump," "Sunset"
and "Prayer" more than make up for this mistake.
Larry Kubert
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page G
thursday, april 5, 1973