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v:.v : "S:;; . ""4^^'j^rvM^ * f ' ^ 'C-jB xBB AmuJ c S|HbhBBBLw V MB ?$&>&* sgB^SH ? Pigi|Mra?r|M?;aBrr y jimIm ??w^ xtr ^ c? ? jHrafln ?9 ? l?y x JHT tj J| , . k nl AHL^JH a Bf - cJ B JSuBSflHfl ^HHDi II oHH * oHHB ^nHHHM 1111 - - --- - -1 Cars' By James Rokosny Assistant Entertainment Editor The Cars' concert in Coliseum Sunday night w? definate disappointment certainly not worth the $8.50 t price. The Cars are one of my fay new groups, and I've anxiously awaiting the opport to witness them live. After Su evening's performance, I'm convinced they are a great ro roll band and would surely them again, somewhere else, actual performance was pealing, but the over-all impa the concert set-up was disgusti Bram Tchaikovsky was bilh the opening act. I personally looking forward to seeing band, because they are new have an album out that received a fair amount of air I I was very disappointed to fine (as I entered the Coliseum), LJICLlll W Clou I aim been replaced by an unknown -5 John A.l >ikilV,.EfcJ ft 1 'vvVi rv' y$ji c. ftf u/'i?-U-2 . ' <*, t .. .' * ?pp concer called Arrogance. I was fur depressed when I heard Arrog; the Dlav. I don't know much a is a them, but I was glad wht and became thirsty and hac icket legitimate reason to exit Coliseum for a minute or two. orite The Cars are a Boston-b been rock band who broke into unity music scene in 1978 wit nday smashing debut album called < still simply,The Cars According to ck n' the Rolling Stone's Critics' see Readers' Poll, The Cars 1 The named Best New Artist of 197 ap- Nov. 1 issue of Rolling Stone ct of Top 100 Album Chart displ ng. The Cars at number 26 afte . weeks on the cliart with their d as album and number three aft< weeks with their second all and Candy0 has The Cars are: Ric Oc; time, vocals and guitar; Elliot Ea lout, guitar and backing vocals; that jamin Orr, vocals and bass; I I had Robinson, drums and < band Hawkes, keyboards, sax, ^fVsFt ny McLaughlin isjjfii HHHHBBk A t energt ther cussion and backing vocals. ance tout After Arrogance tortured the in I crowd, The Cars came out rocking 1 a with "Got a Lot On My Head" from the Candy-O. The Cars play at a very high volume, too high sometimes, but they obviously play great rock aocvi n ron. the h a The Cars proceeded to play three :juite songs from their hit debut album, both "Good Times Roll", "Bye Bye and Love", and the hit single, "My were Best Friends Girl." The vocals, 8. In shared by Ocasek and Orr, were , the fine, but the backing vocals were ayed too soft and out of key at times, !r 62 especially on "My Best Friends lebut Girl". The title track from the 5r 15 second album Candy-O was >um, outrageous. This song is one of the best rockers to come along in some asek time an(* was even more energetic ston, **veBen What the Cars played, they )avid played well. But approxiamately Grag one hour of music wasn't nearly per- enough. I expected a short concert 'Jazz Fusi k 2 j !UtK,JdZ?,l By Dale Smonk Gamecock Staff Writer First of two parti Loosely defined, fusion is a comt stated rock beat combined with provisation, utilising more sophis than usually found in traditional there are often elements of funk, I popular genres. Some of the prat are Miles Davis (since 1969), W< Herbie Hancock. Fusion should not be confused w Crossover rocks less than fusion, easier listening, and in some ct "muzak" sound. Chuck Mangi Washington. Jr. are Drobablv the titioners of crossover. With the increasing popularity inevitable that some characterisi I begin to blend with jazz. Back in the 40s, jazz began to sh music to a more listenable and p This lead to an alienation of mu< jazz had accumulated over the ye avant-garde also helped to advt Hock then began to attract the dan sales increased for rock artists ar quite seclusion. Already at this time, though, and jazz groups were beginning I fusion of the two styles. Some p m i S HI <<. ' :::-.,.;:<^lcHB--- ' x-' '--'-1 c-.-. :. r_-_^ ^ ^v-cy-r^Jv. ,^r. etic bu from a group with only tw albums, but most of the songs wer from the first album, with only fiv songs from Candy-O I figured the wouldn't have a lot of material, bi in the November '78 issue c 'Trouser Press', Ric Ocasek wa quoted as saying, "We have tons < stuff. When we started, we playe in bars and clubs that require foi sets a night; we did four sets of 01 own stuff." After the short set, the Car returned for two encores, "You All I've Got Tonight" followed b "Dangerous Type", during whic the house lights came on whe Ocasek sang 'Let me bring you ot i in the light, my curiosity's got m tonight'. The lights stayed on bt i The Cars didn't. The Cars are a great rock ban and will probably be around fc some time yet the Coliseum is not good place for rock concerts, if th show was in the Township, wit on' combi funk, andi lirA??A f y*. vvui c ucaiviiig ui such as Chicag s and Chase. An >ination of a strong moving in th< i a jazz type im- gradually was, ticated harmonies Miles was nol rock. In addition of the most inl free-jazz and other new direction !titioners of fusion Kilimanjaro, v* father Report and piano and Ron Way was the n< ith crossover jazz, textural variat , is more melodic. Davis' fusion. C tCOC KA??/1A??0 aw A avu uui uc? o <JII a CICVll If pidllUK ione and Grover The next albun best known prac- Davis' first ful set remains on< / of rock, it was Soloists were s tics of rock would often with the v and the drun ift from a dancer's tributions wen rogressive format, from his solo w< :h of the audience In addition ars; the rise of the Corea, Josef 2 mce this process. Chalies Alias ; cing crowd, record musicians bees id jazz slipped into in fusion in the on in their owi several musicians fusion until his 10 move towards a problems in 197 opular rock bands Jazzfus ?/ <mm am %; WL 9 fffll* ' . j JL : > ISBiSB t short o Bram Tchaikovsky, or a few e dollars less expensive, I would e have been more pleased. But as it y turns out. I feel like I've been it ripped-off. The sound had some >f distortion problems also, but is nothing serious. >f d The crowd was much too small ir for the Coliseum, which is typical ir for good bands here. I don't know why, but the security people persisted to control the 'criminals' s in the crowd. This has a lot to do ir with the flow of a concert, who y warns 10 piay a snow to a crowd h that is afraid to cut lose. n . There are more elements to a 1 great rock n' roll show than t playing songs just like they appear on the albums. A new group needs to grasp and hold fans, but I guess H The Cars don't reallv care. What they did was excellent, but the amount they did wasn't. Beach e Club's attempt to give the public it's money worth was more than h inadequate. nes best of mprovision n nnfiP0aKla ion iiifliiAMnnx rtw/inrvo ?? wvtvvuMiV' JQ/iL IllLAUCII\^Cd| uupo ;o, Blood, Sweat and Tears, Dreams, English group, Soft Machine, was also b direction of fusion. Miles Davis too. t the first to play fusion, but he was one fluential musicians in the genre. His was foreshadowed on Filles De rhich had Herbie Hancock on electric I Carter on electric bass. In a Silent sxt step. The side-long tracks featured ions that becamse characteristics of vhick Corea and Josef Zawinul were on and John McLaughlin played guitar, l, Bitches Brew, recorded in 1970, was ly fusion album, and this two-record 5 of the finest fusion albums available, ublimated to texture, which changed amD figures Thf? mucin #liH nnt cu/ina r - 0 . MWIV MIU IIVV u TV ??Ot iming began to stiffen. Solo con3 excellent, but Davis' differed little ork on earlier albums. to Davis, personnel included Chick lawinul, Larry Young; Lenny White, and Jack DeJohnette. Many of these ?me the major leaders and superstars seventies, drawing on Davis and going n directions. Davis continued to play i temporary retirement due to health '4. ion continues in Friday's paper