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Uriah Heep concert rocks crowd into trance
By Val McPherson
Expecting to be suffocated by a horde of
persistent spare changers upon arriving at Pershing
Auditorium Monday night, I was amazed to meet
only one such street person.
His appeal to the disparity that would exist if I
got to see the concert and he didn't was preceded
almost apologetically with, "but I suppose you just
have enough to get yourself in." It was a relief to
enter the auditorium without having to invent any
lies.
Tucky Buzzard started the show precisely at 7 to
an assemblage which contained almost as many fire
marshals as it did music lovers. The crowd quickly
became a standing, hand-clapping, foot-tapping
tribute to this cautious, yet talented London-based
rock band.
Their set included original material from a soon to
be released album Alright on the Night and
interpretations of such standbys as Jumpin Jack
Flash. They have no place among the mediocrity that
has come to dominate the first band of a three-band
concert.
After Tucky Buzzard's set, I met Bob Cooksey,
their manager who introduced me to the five
members of the band. Covered with perspiration,
bath towels and surrounded by promoter-provided
heaps of cheese, relishes, sandwiches and cold beer,
they talked quietly of the small but receptive
audience in Lincoln and the warmth of American
audiences in general. This tour has been a much
needed victory in their struggle to emerge as more
than just another English rock band.
Earth, Wind and Fire for the next 45 minutes
guided onlookers through a maze of moods which
included furious boogie and the mellowist of blues.
This musical celebration on stage so infected the
audience that even the usually tranquil upper tiers of
Pershing joined the party.
The eight-man group turned in numerous superb
solos which were further enhanced by precision
lighting. The group warned that they were going to
present "a little evil for your soul" and when they
left the stage with a brilliant flash and puff of smoke,
the audience remained in their pyrotechnic trance.
While trying to get backstage to talk with Lenny
Smith, manager of Earth, Wind and Fire, one of Uriah
Heep's "roadies" asked me to guard the amps on
stage right during the set. From only a few feet away
I was able to watch Uriah Heep crudely immitate the
music of their studio album.
For an hour and a half they mixed theatrical
gimmicks (when a microphone stand was thrown
dramatically into the air, the microphone fell off and
hit the lead singer in the head) and distorted
rock'n'roll hoping to somehow justify the undying
enthusiasm' of the wave of shouting fans that
continually crashed against the stage.
After the concert I was finally able to interview
Lenny Smith at the airport Holiday Inn. As members
of Uriah Heep rollerskated up and down the carpeted
halls and beat up a lampshade, Lenny talked with
barely restrained optimism about the group's future.
This was their first tour that wasn't restricted to
black audiences and their promoters felt they were
pulling 40 of the house.
They will cut their fifth album in November
hoping to get the gold album that has eluded them.
They tour again in January with leather costumes,
new lighting and silk-screen covered amps. I left
Lenny and his set man Shorty rapping about low
budget blues and whether Shorty would get a
clothing allowance when they make it to replace his
new faded jersey t-shirt.
Top jazz
musicians
highlight
new album
By Diane Wanek
George Benson - Body Talk (CTI 6033)
CTI Records has been putting out some of the best-looking
record covers, and in addition they have been doing some of
the best recording of top jazz musicians around.
Body Talk, jazz guitarist George Benson's latest release, is
no exception. Benson is backed up by gi .at musicians
including bassist Ron Carter, drummer Jack DeJohnette and
pianist Harold Mabern.
Each gets his licks in on such tunes as "Dance" and
"Plum", two of the best cuts cn this album. I cared for the
title cut least of all, only because it didn't seem to fit in with
the others.
It's a fine recording altogether, arranged and conducted by
Pee Wee Ellis, and Benson shows us he can cook with the best
of them.
Diana Ross - Touch Me in the Morning (Motown M772L)
Diana Ross was reprimanded severely by critics when she
altered her vocal style to suit her role as Billie Holliday. I
rather liked the change it brought about, because I thought it
might bring out a sophisticated new jazz vocalist.
Alas, Ross has adopted a lackluster nightclub style which is
a disappointment.
The first side of this latest release opens with her hit single,
"Touch Me In the Morning". The remainder of side one runs
together and one cut is almost indistinguishable from the next.
The second side's redeeming factor is Tom Baird's "My
Baby", which Ross does beautifully in a low register that's
almost powerful. Side two also contains "Little Girl Blue", a
Rodgers-Hart tune, which she also does nicely
I don't know if Ross is modest or merely ignorant of her
own potential, but this album does not reflect the best abilities
of a vocalist who could be great.
India Assn. to offer film
The India Assn. is sponsoring a movie entitled "Do Raste"
Sunday, 1:30 p.m., at Honhk Hall. Ticket price for members
is $1.50 and S2.00 foi non-members. The movie has English
subtitles. Tickets will be available at the door.
GAY ACTION
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