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The Red end Black. Friday, September 2». 1978
THE MUSIC EVENT OF THE YEAR
THE
ATLANTA
CONCERT
-Keith
Jarrett
t
solo piano
ON SALE
IW» Sept 28
7
Be sure and watch the special 90 minute PBS
solo piano concert television broadcast on
WGTV-Channel 8 on Sunday. October 22nd at
4:00 p.m.—"The Vermont Concert:"
OCTOBER 24 - 8:00 P.M.
FABULOUS FOX THEATRE
ORCHESTRA 8.50 - 7.50 LOGE - 850
DRESS CIRCLES, GALLERY 750
TVkrfs AvatUhW FOX BOX Of FICt <404 H»l 11771 and all S E A T.S
kx'diKrtih »* ludirwj Pml her*, all R* h * Slot*"* Atlanta area Scar*
Se-ats in Korn* Athens and Gamewill* The Ox lord Shop in Grtlfai. and
Custom Sound in Athens t hurqe Inr Fox mtorutiun und 45* service
‘hun*. of uO S t A 7 S it* of am* ecepi FOX BOX OFFICE i
Spotlight
when occompenicd with
Play il smooth: just
pour Comfort' over
ice and have your own
n>cks concert. Neat! A
jtreat performer with
cola. 71 ip. tonic, orange
juice, milk. etc., too!
Nothing's so delicious as Southern Comfort on-the-rocks!
A S0U1HIRN (0MI0RT CORPORATION <00 "ROOF llQUtUR ST lOUtV M0 1)132 r
Radio this week
Here’s this week s schedule from WUOG.
the campus radio station <90 5 FM). By the
way. the new request number is 542-7500
Friday, September 29
6:00-9:00 a m —The Athens Yacht Club
(boating talk)
8:05 a m —Surprise Radio Drama
11: a m —Halftrack—Jimmy Rabbit and
Renegade < side I)
5:00 p m.—Halftrack—Bunny Wailer,
Protest (side 2)
9:00-11 p m —If It Rocks (Friday night
rock and roll)
c4irwaVe5
11:05 p.m.—Surprise Radio Drama
11:20 p.m —Tracking—(and entire new
release)
Midnight-1 00 a m —Owl Stretching Time
(comedy)
Saturday. September 30
11.00 a m —Halftrack—David Wingo.
Stages (side 2)
5:00 p.m —Halftrack—Rick Derringer, If
I Weren't So Romantic.I’d Shoot You (side
2)
Midnight-3:00 a.m.—State Of The Arts
(avant-gard Music)
Sunday. October 1
9:00 a m.-1:00 p.m.—Sunday Morning
Classical
5:00 p.m —Halftrack—Benny Carter and
Dizzy Gillespie. Carter, Gillespie Inc. (side
2)
6:00-6:30 p.m.—Consider The Alterna
tives (public forum on current events)
6:30-7:00 p.m.—Overseas Assignment
(news from the BBC)
8:00-9:00 p.m.—Earplay (original radio
drama)
9:00-11:00 p.m.—My Favorite Things
(mainstream jazz)
Monday. October 2
8:05 a.m.—The Lone Ranger
11:00 a.m.—Halftrack—Cole Younger
(side 1)
5:00 p.m.—Halftrack—Amazing Blondel,
Live In Tokyo (side 2)
8:00-9:00 p.m.—The Boston Symphony
Orchestra (simulcast with WGTV)
9:00-11:00 p.m.—Eurosounds (recent
European Imports)
11:05 p.m.—The Lone Ranger
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11:20 p.m.
releasei
-Tracking (an entire new
Tim Curry’s debut album
waste of his musical talent
Tuesday. October 3
8:05 a m —The Lone Ranger
11:00 a m —Halftrack—Toulouse Engle-
hard, Toulosions (Side 1)
5:00 p m —Halftrack—Seldom Scene. Old
Train (side 1)
6:00-7:00 p m.—Evening Exchange (call-
in talk show)
7:00-9:00 p.m.—New York Philharmonic
Radio Broadcast
9:00-11:00 p.m.—In The Folk Tradition
(running the gamut of folk and bluegrass
music)
11:05 p.m.—The Lone Ranger
11:20 p.m —Tracking (an entire new
release)
Wednesday. October 4
8:05 a.m.—The Best of Sherlock Holmes
11:00 a.m.—Halftrack—Nick Drake.
Bryter Lay ter (side 2)
5:00 p m —Halftrack—Joe Farrell. L’pon
This Hock (side 2)
6:00 p.m.—Studs Terkel’s Almanac (a
new feature—the original tapes of Terkel’s
historic music interviews)
7:00 p.m.—The Chicago Symphony-
Orchestra
9:00-11.00 p.m.—The Inward Eye (fusion
jazz)
11:05 p.m.—The Best of Sherlock Holmes
11:20 p.m.—Tracking (an entire new
release)
WUBG
Thursday. October 4
8:05 a.m.—The Best of Sherlock Holmes
11:00 a m —Halftrack—Stephen Whynott,
From Philly To Tablas (side 2)
5:00 p.m.—Halftrack—Spooky Tooth,
Witness (side 1)
6:00 p.m —Evening Exchange (Call-in
talk show)
' J: 00-8:00 p.m.—Earplay (repeated from
Sunday)
9:00-11:00 p.m.—Virgin Vinyl (cuts from
new releases)
11:05 p.m.—The Best of Sherlock Holmes
11:20 p.m.—Tracking (an entire new
release)
Midnight-3 a.m —Orfs Oldies (oldies and
craziness)
By BOBBY BYRD
Entertainment editor
At the beginning, it’s pretty
clear that a lot of you don’t
know who Tim Curry is. So,
before we start, some short
background.
The Rocky Horror Picture
Show is a British film from
1975 which has rapidly attained
cult status—a rock and roll
transvestite sendup of Frank
enstein in particular, and
horror flicks in general.
Rocky Horror’s hero is this
guy named Frank N. Furter.
He's a transvestite bisexual
mad scientist, armed with an
impressive wardrbbe from
Frederick’s of Hollywood and a
good strong rock voice. His
theme song. Sweet Transves
tite,” is one of the highlights of
the excellent score. Frank is
played by (you guessed it) Tim
Curry.
In addition to his role in
Rocky Horror, Curry has been
among other things a distin
guished Shakesperean actor.
Read My Lips is his first
attempt at becoming a popular
singing star.
Not a chance. When I saw
this record and heard it for the
first time, I said to myself
"this is strange.” However, the
more I listen to it, the more it
seems strange he would record
this, why A&M would release
it, and why anyone would even
consider buying it.
Purely and simply, Curry
doesn’t have the faintest idea
what he’s doing.
Read My Lips is a potpourri
of musical styles, from Ruby
Vallee nasal crooning to
Read My Lips
Tim Curry
A&M Records
torturous attempts at pro
gressive rock. Almost none of
it works.
Curry has tackled a string of
genres that have little if
anything in common, and
added nothing to hold them
together He is truly a jack of
many styles and a master of
none.
Curry has a lot of help with
this thing—Dick Wagner on
guitars, Nils Lofgren on
accordion (but why an ac
cordion?), Lee Michaels on
keyboards. Production is by
Bob Ezrin, who did the best of
the Alice Cooper LPs, so he
obviously has a way with
power rock.
Sounds
But it's all wasted. The
instrumentation is mixed into a
muddled mess that detracts
from the rare good moments
and further irritates during the
rest of it.
Read My Lips is beset with
problems from the start.
“Birds Of A Feather” is a
wimpishly bouncy piece of pop
drivel with stupid lyrics and a
redundant tune. “Wake Nico-
demus" begins with a bagpipe
solo (honest!) from The
Regimental Pipers and Drums
of the 48th Highlanders of
Canada that's as out of place as
a fish on a bicycle.
It grows (or plods, actually)
into a pitiful attempt at
progressive Scottish folk rock.
“Sloe Gin,” a Roy Wood
tune, is torturously slow and
tormentingly dull, with the
same lame chorus repealed
about 174 times. And “Harlem
On My Mind” is the Rudy
Vallee thing I warned you
about—actually an Irving Ber
lin ditty rendered through
Curry’s nose with a bad 40’s
musical piano backing. Why.
oh Lord, why?
But there are redeeming
moments here, two of them to
be exact. “All I Want" is a
straight-ahead rocker, show
casing Curry’s powerful voice
effectively enough. It’s not
great, but at least he's in his
idiom.
The highlight of the LP is
“Anyone Who Had A Heart "
the Bacharach-David song that
Dionne Warwicke took to the
charts a few years back. Curry
strips away the Motownish
fluff that marked the original,
and serves it up as a straining
plea of love.
For some reason, it’s the
only cut where it sounds like
he did more than go into the
studio and rip out a take It’s
got feeling to it (maybe it's as
much to the song's credit as
Curry's) and it works well
After all, he does have an
entertaining voice, even if he’s
often talking as much as
singing Why he wastes it on
dreck like this is beyond me.
Tim Curry is trying to make
a career out of this. He, I
suppose, wants to be taken
seriously as a contemporary
artist. But he doesn't write
songs, he doesn’t play an
instrument, and, for his debut,
he handles a ridiculous selec
tion of bad material badly
What he needs to realize is
that good interpretive sing
ers—from Judy Garland to
Elvis Presley to Linda Ron-
stadt—take good songs and
make them their own. Curry's
album falls so short of that
standard that it's almost like
shooting fish in a barrel to try
to review it.
(Album courtesy of Chapter
Three Records.)
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