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The Red and Black. October 3. It78
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FOR ALL Of YOUR NEWSSTAND f
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Normal News and Tobacco
Prince Avenue at Normaltown Next to Allen’s 543-3045
Georgetown News and Tobacco
Georgetown Square Shopping Center 549-8943
Route 66
Bobby B;
I had a rotten summer, thank you. I was
bored most of the time, and out of money all
the time But almost as disturbing as that
was the tripe that came out of the radio
every time I got in The Bomb.
You see. The Bomb is the car I drove all
summer, and it's only got an AM radio. For
those of us whose hearing works, that means
trouble There was nothing worth listening
to a frightening amount of the time.
What saddened me most was the
realization that the music I love—the stuff
I’ve always felt was important—no longer
matters half a damn on the Top 40 market.
The radio was largely void of rock and
roll Springsteen’s brilliant “Prove It All
Night" limped into the thirties and stayed
there for about a minute and a half, and the
Stones’ “Miss You" got airplay not because
it was great Bolling Stones, but because it
was disco (True, it is a fine record—the
best disco single, and one of only two or
three tolerable ones ever.) Still, the kids
buying "Viss You” by and large have never
heard "Sympathy For The Devil,” and
neither do they care.
There were a few other oases in the vast
desert Bob Seger is bigger than ever, and
nobody in rock and roll deserves it more.
And I even liked "Cheeseburger In
Paradise." as long as I didn't hear it once
every twelve minutes.
Gerry Rafferty bothers me. I can’t
understand the way apparently sane,
rational human beings actually claimed to
like "Baker Street." Not that there’s
anything terribly disturbing about it. except
for the fact that there’s nothing to it at ail
It has no melody, no meaning, and
absolutely no substance -and that may just
be more disturbing than any obscenely bad
disco.
W’hoever it is that listens to Top 40 these
days seems to have lost any sense of feeling
at all In the late fids. even Gary Puckett
(who can forget the Union Gap—"Lady
Willpower." “Young Girl," etc.) seemed,
even though his stuff was smooth and easy,
to at least mean what he was singing about
the girl.
1 don’t know anyone who can tell me what
“Baker Street" is about. It’s so totally
harmless (and remember, anything totally
harmless has to be totally weak) that it
doesn't affect its audience in any discerible
way. Gerry Rafferty is novocaine for the
mind In five years or so, doctors’ offices all
over America will be filled with “Baker
Street" and other gems, simply because it
makes background noise but couldn’t
possibly offend anybody
Well it offends me. A generation that has
lost the power to be affected by its music is
on the verge of losing the ability to be
affected by anything at all. and that’s why
the Who, the Stones and Bruce Springsteen
are so important, and bilge like Baker
Street" is so contemptible.
But it’s not just Gerry Rafferty Walter
Egan, an unknown who should have staved
that way were there any justice, scored big
with “Magnet And Steel," an identical piece
of Muzak for mental midgets "Boogie Oogie
Oogie’’ is an intentional effort at making a
record so offensively stupid, laid over a
disco beat, that the masses would eat it up
It worked. And I don't even want to talk
about Barry Manilow and “Copacabana."
The most heinous shame of the summer of
78, though, is the soundtrack to Sgt.
Pepper’s Lonely Hearts Club Band. In the
first place, the thing is comprised of
twenty-some-odd Beatle tunes that don’t
have a damn thing to do with each other
And in the second place, it’s a hack job.
Butchery There are lots of words for it. but
there’s only one more I can use in this
paper: Blasphemy
The Bee Gees should have known better
(After all, back when we were children, they
had a perfectly respectable career going
Little Peter Frampton should have known
better. Everyone involved in the whole
project should have been swept away by a
wave of conscience But they weren't.
What they came out with was blatant
butchery of some of the best music ever
written. Robert Stigwood. who is now a very
rich man after assaulting us with Saturday
Night Fever and Grease, lost any sense of
scruples he ever owned and put together an
abhorrent package that has ruined for good
any chance for the ten-year-olds of this
country to ever learn the truth about the
Beatles. And that's wrong.
So do this Any time you hear anything
from the Sgt. Pepper soundtrack, turn it off
Scream your lungs out. and then ask God to
smite Robert Stigwood and the Bee Gees
and Peter Frampton and all of them,
wherever they may be at the time
And then someday, when the world is
cleansed of such persons. Gary "U S."
Bonds will come back from his exile in
Holiday Inn Lounges all over America,
singing “Quarter To Three" and leading us
all to the promised land.
Whitewater
Raft Trip
Saturday, October 14
Photo by WINGATE DOWNS
Mac Frampton was well-received by the crowd
Frampton concert was
a delight for audience
formance of "Rhapsody in
Blue" was well received
After a short break the
triumvirate returned. Their
change of clothes from formal
to casual set the mood for the
second half of the show
Frampton focused on con
temporary movie themes,
opening with the theme song
from ••Shaft." Other selections
included "Evergreen” from A
Star is born and the theme song
from The Sting.
The last song of the set,
"Prelude in Rock," a rock
version of Rachmaninoff's
“Prelude in C Sharp Minor.
At the conclusion of "Pre
lude in Rock” Frampton said
goodnight and left the stage
But applause from the audi
ence drew him back. He
eagerly told the audience,
"Let’s do some ragtime!” and
began an encore medley of
ragtime songs
Frampton told the audience.
"It’s a lot of fun to work with a
group of people who are
responding." Judging from
Thursday night s show, there is
no doubt that both Frampton
and his audience had a lot of
fun.
By NIT A BIRMINGHAM
Assistant rity editor
Mac Frampton is proof that
there still exist performers
who really enjoy what they do
Frampton. a concert pianist,
appeared before a sparse
crown of roughly 50 people
Thursday night at the Fine
Arts Auditorium Bass player
Neal Starkey and percussionist
Brian Childers performed with
him.
The concert, which lasted for
two hours, was split into two
sets During the first hour
Frampton concentrated on
classical composers.
Shortly after the concert
began. Frampton told the
audience he believed that
Johann Sebastian Bach would
be one of the world’s greatest
jazz composers if he were alive
today Then Frampton presented
his version of a Bach choral
piece, played at triple speed,
combined with Mason Wil
liams' "Classical Gas.” The
audience responded with
hearty applause
The first half ended with a
selection from George Gersh
win. whom Frampton said he
idolizes. Frampton's solo per-
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