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The Red and Black
Thursday, April £1, 1981
Entertainment
Nighthawks, 800 fans hold
rock and roll celebration
Byy CL'RT LANDRUM
Hfd and Black ( ontrlbuiing Writer
A crowd of over 800 people
left the B and L Warehouse
Tuesday night with a new
dimension added to their
concept of what rock and roll
music really is — thanks to
the Nighthawks.
The Nighthawks had no
light show, no dry-ice fog, no
pyrotechnics and no outlan
dish costumes They just
played three sets of absolute
ly thrilling rock and roll:
they needed no special ef
fects to keep the crowd stom
ping the floor and screaming
for more the entire show.
Bassist Jan Zukowski and
drummer Pete Ragusa pro
vided a tight, driving found-
tion of rhythm and back-up
vocals against which har
monica player Mark Wenner
and guitarist Jim Thackery
displayed their prodigious
talents
Wenner and Thackery
played separately and in
union, swapping sizzling
riffs, harmonizing and weav
ing contrapuntal melodic
lines.
All the songs had dance ap
peal, especially "Back to the
City" and "Upside Your
Head " But the real appeal
was found in the versatility
of Wenner and Thackery.
Wenner, in particular, prov
ed his competency by the
range of sounds he produced
with his large assortment of
harmonicas. He made
squeals, growls, squeaks,
whistles, screams, groans
and wails, interchanging
lyrical passages with stac
cato ones and lead work with
harmony, sometimes using
three harmonicas at one
time.
But it was guitarist Jim
Thackery who kept the au
dience in a state of spell
bound awe. Seemingly
without effort, he threw out
hot licks that drew gasps,
especially from novice
guitarists, and played
chords all over the neck of
his guitar. He couldn’t con
tain his energy on stage and
so made several trips around
the room, using a transmit
ter to relay signals from
guitar to amp.
On his first journey,
Thackery stood in a chair
and picked his guitar with
his teeth. On a later jaunt, he
climbed on top of the bar
itself and strolled down its
length
Without doubt, the
Nighthawks put on the best
show I've ever seen. It was a
true rock and roll celebra
tion. If you missed it, you
cheated yourself.
Photo — Liz Bigler
Nighthawks Guitarist Jim Thackery and bassist Jan Zukowski
Costello, the Who pale substitutes for reunited Beatles on ‘Kampuchea’
By WAYNE GARCIA
Red and Black ( omributing Writer
First there was
"Bangladesh " Then there
was "No Nukes." Now we’re
fortunate enough to have an
official United Nations
benefit for the people of
Kampuchea
I guess that I would have
to be a Kampuchean to get a
great feeling to hear that
Paul McCartney, the Who
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and a myriad of British rock
groups would be playing for
my benefit. Anyone else
would have to feel disap
pointed in this two-record
album.
Don’t get me wrong, the
people behind the benefit
were well-intentioned and
the money will go for a very
good cause. These shows
grew out of U.N Secretary-
General Kurt Waldheim’s
first contacts with McCart
ney to have a benefit for the
"Concerts /or the People of
Kampuchea" by Paul Mc
Cartney, the Who. the Clash
and others is an Atlantic
Records release.
boat people of Kam
puchea (formerly Cam
bodia. why does a nation
change its name as soon as
they get a rock concert?).
Originally, Waldheim
wanted McCartney to get the
Beatles back together for the
rnnonniio
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show. Instead, McCartney
assembled an array of
British rockers. And in
places, it’s a pretty poor
substitute.
The album starts out with
a most disappointing set by
the Who Taking up the first
side with four songs, they
give us two songs that we
already have live versions
of. “Baba O'Riley" and "See
Me, Feel Me” are both lame.
These same cuts on “The
Kids are Alright” are in
finitely better, with
Townshend pounding the
guitar and Moon doing
likewise on the drums. The
two new live cuts on “Kam
puchea" are not bad, but
listening to them you get a
certain feeling that Pete
Townshend is mellowing out.
On the better of the two cuts
“Behind Blue Eyes,"
Townshend makes a good try
at propelling the song, only
to have vocalist Roger
Daltry struggle to stay in
key.
Side two is by far the best
on the album The
Pretenders start it off with
three strong cuts. "The
Wait” and “Precious" are
both rockers that get your
blood moving, but the
Pretenders even top these
two with their last
number,"Tattooed Love
Boys." With a gritting guitar
and Chnssie Hyndes' only in
telligible vocal, this song
shows what the excitement
about the Pretenders is all
about.
Elvis Costello's "The Im
poster” is completely forget
table Rockpile is then
brought on for a stomping
version of "Crawling from
the Wreckage," from Dave
Edmunds’ "Repeat When
Necessary." This is followed
by “Little Sister,” with Led
Zeppelin's Robert Plant
helping Rockpile with the
vocals.
Side Three is almost a
total waste except for one
cut "Armagideon Time,” by
the world's premiere rock
and roll band, the Clash.
Side four is all McCartney,
starting with an interesting
version of "Got to Get You
into My Life," with a bona
fide McCartney vocal The
few songs like this that Paul
throws us every few years
proves that he still has it.
This is followed by another
oldie,"Every Night," from
his first solo album It is a
pretty ballad, with a good
guitar solo inserted McCart
ney then ends the Wings' set
with a harmless “Coming
Up"
The album is ended by Mc
Cartney’s Rockestra, a
gathering on stage of
everyone and his brother in
British rock. A good-rocking
“Lucille" is played, followed
by "Let it Be." The
Rockestra cuts are generally
good, with the only problem
being that 12 guitars on stage
at once sound an awful lot
like a Phil Spector record.
The album turns out to be
a funny contrast between the
new was (Pretenders,
Costello) and the "old
guard" rockers (the Who
and Paul McCartney). Un
fortunately, for those of us
who remember how good the
old rockers were, the new
boys in town are definitely in
control.
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