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For all you renegade rockers out there, here's cse to
help get the ya-yas out. On this recording the Winter
brothers, hacked by Rick Derringer, Chuck Ruff and
Dan Hartnun from Edrs tand, ret era to their roots.
. No new material here. This is stuff that every buddies
guitarist learns to play-when he first dreams of
becoming a rock star.
The album has its obvious weaknesses. But at those
moments when everything's together, the music is a
free-wheels! testament to the power (and longevity)
of rock'n'roll. The album was .recorded lire, which
presents its own obvious problems. . .mike feedback,
buried instrumental parts (Dan Ilartman's keyboards
are often practically nonexistent.)
But the live recording works for the most part. The
general sound is raw, powerful and exciting.. '
The most glaring of the muff-ups is "You've Lost
That Lovin' Feeling," which begins with out-of-tune
guitar playing. The Winters never seem to regain their
composure. They sound totally uncomfortable with
the music and it defeats them.
MThe Harlem Shuffle" suffers in comparison to the
version that the original Fabulous Flippers used to play
in Midwestern clubs in the late 60's.
Side One closes with a nine-song medley of
rock'n'roll classics. .The first portion of the medley is
rather spastic. There's minimal snatches of tunes, held
together by some abrupt transitions.
But by Edgar's baritone sax solo on Tci Ready,"
thinp are really cooking. (Since the back-up band has
recorded with Edar for several years cow and are
more accustomed to his playing, they give him the
most inspired support.) The end of the medley is sheer
blockbusters Jcnny Take a Ride" and. "Good GoZy
Kias L'cHy." "
So much for Side One. Side Two begins with "Let
The Good Times Rc3," followed by a rather blase
tlercy, Mercy." (Not to be confused with Mercy,
Mercy, Mercy, which the Buckisghams made famous.)
The fault here is not so much the performance as it is
the weakness of the song. The last cut is well worth the
wait, and I recommend this album on its strength.
The Winter brothers go back to the Texas blues
tradition from which, they began, recording Eaby,"
Whatcha Want Me To Do." It's the kind of stuff we
haven't heard from them since Tobacco Road" of the
Roadwork" LP. Edgar's vocals are at their wrenching,
aching best; Johnny's solos are inspired; the band is
really together. There is some of that cadenza,
Edgar-and-Johnny-trading4icks stuff; which is quickly
becoming an overused, ploy from these guys. But 'it's
still an amazing performance of noholds-barred blues.
The Guess Who, The Way They Were; RCA
Recod companies can be the most bloodthirsty of
purse snatchers, and here's another example where the
raongols of capitalistic lechery rape their artists.
RCA, which only recently put out a series of albums
that contained botched-up Elvis Presley recording
sessions, is the culprit. Now, several months after the
Guess Who have disbanded, we have the same sort of
thing, , .seven cuts, recorded in 1970, from the tame
Guess Who lineup that became a virtual hit factory:
These Eyes," TJadun," ughm'," "No Time."
If material has cot been released before, it's
probably for a very good reasonthe artists concerned
have some sense of pride, or common sense, or both.
This is no exception. There are a couple of good things'
here, but cot enough to make the album of interest to
'anyone but the diehard Guess Who fan. -v
Vocalistkeyboard playerflutist Burton Cummtngs
is responsible for anything of merit here. Ills vocal on
"Take the Long Way Ilome" rescues a banal tune from
complete boredom; he even generates some
excitement. On the bsSad "Rccnm' Down the Street,"
he has never sounded better, his voice at its crooning,
" senuous best. ..'
Other cuts include two other ballads, "Silver Bird,"
which has a couple of nice hokey cadences that make
you almost hate yourself for being hooked by them,
and The Answer.!
A much more inspired version of the rocker "Miss .
Frizzy" exists on the group's Rockin' " album.
The other two rockers "Species Hawk" and
" "Palmyra" are destroyed by Randy Eachman's
presence. Bachman uses the same techniques that he
later employed while assaulting our ears as the leader
of Bachman-Turner Overdrive.
-The emphasis is heavy on the bass lines, with
endlessly repetitive, doubled guitar parts. On
"Palmyra" we hear from Bachman a guitar solo that
should convince rock dreamers tint you don't
necessarily have to have a whit of sensitivity or
musicianship to be a star.
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