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The 'Gam to full he By Terosa Weaver Qanwcock Staff Writer A crowd of more than 12,000 at V/i?uuna ^uiiseuiu was nu iimicn for the gambler Sunday night, and Kenny Rogers walked away with all the hearts. THE SILVER-HAIRED singer, along with Dottie West, appeared before a sell-out, foot-stomping group Sunday, with his own brand of country rock that has made him a top attraction in both fields of music. The country trio of Dave and Sugar opened up the evening with " The two opening more enthusiasm an generally afforded to was apparent that th( see the man who trat musical classification. some enthusiastically-received hits off the country charts. The best songs of their set, however, included an upbeat, unreleased single called "New York Wine, Tennessee Shine," and a song dedicated to the country giants, Waylon and Willie, that made a hit out of "Good-hearted Woman In Love With A Two-Timing Man." DOTTIE WEST has only rwpntlv pnmp tn tho widpcnrnaH attention of the music world as Kenny Rogers' duet partner, but she has been a top-selling artist in country music for a number of years. Dressed in black satin and sequins, West appealed to every musical interest in the audience beginning with an earnest if somewhat ill-fated rendition of Chicago's "Alive Again." She followed with a song she wrote herself that was more suited to her smooth southern voice, "Raised Hn ^Aimirir Cnnchina " vyu vvuiivi j uunoiiiitv. Mods at By David Baker Gam?cock Film Critic Franc Roddam's Quadrophenia, produced by and featuring the music of the Who, comes on like gangbusters. Its first hour or so is fresh, witty, insightful and full of brilliantly conceived scenes, all of which are acted to the hilt by a dazzling array of talented young 3 * X' < VK The Ace (Sting, of The Po mods. ff? V 'Si- frxsv.itJO#, -tarn*!* RWIgaajl i | yy bier' deals >use at Col West's Tennessee roots were apparent in several of her other songs, including a rousing number 11 1 l(Dn/>l... ?*n.,n?n{n ' ' trtuai I\WR^ muuiiwiii music, which gave the crowd an opportunity to clap for a few minutes without having to think about any serious lyrics. WEST PERFORMED several songs from her new album, Special Delivery, but her shining hour came with an emotional medley she learned from the King, Elvis Presley. Much of the audience stood in silent tribute as she sang her acts generated much tona the crowd than warm up artists, but it 9 people were there to nscended nearly every n version of "Dixie" and "Glory Hallelujah," and some even cried along with her as she ended in a crescendo of southern pride. The two opening acts generated much more enthusiasm among the crowd than generally afforded to. warmup artists,i t was apparent that1 the people were there to see the' ? ?,Un V * 1,1 1. . man wuu iictb uciiiscciiucu neai ly every musical classification. KENNY ROGERS got his start in music playing with several locally popular groups in the Texas area. He was hired as a replacement member of the touring New Christy Minstrels, but stayed only long enough to meet people with whom he formed The First Edition in 1967. From that time until 1976, Kenny anchored the group that had a string of commercial successes, including the monster hit "Ruby Don't Take Your Love To Town." Rogers settled into his country ctulo oftop thn cfrnun flirV\nn/-) Ar) OVJ IV u&vvft VIIV gl vup UlOMOilUtU, nd Rocke Englishmen. It's a veritable British American Graffiti, with dozens of golden oldies (by groups like the Chiffons and the Crystals, in addition to the Who) pulsating in and out of the soundtrack. UNFORTUNATELY, the movie changes from beine a li0hth#?nrt#?H look at the problems encountered *" w..;; tr )Nce) arrives with his group of , r VA : iV.. . ? ? '1? ?V J* ***& V." ' A**'.* ?* ** ? ^ his cards liseum but has since welded two forms of music into a unique blend of sophisticated country rock. That style has earned Rogers awards as Entertainer of the Year, Top Male Vocalist and has won his records honors as best country albums and song of the year. On the closing night of a sellout two-week tour, Rogers seemed to live up to all expectations the crowd may have had. ' HE OPENED the set with a couple of numbers from his latest album, Kenny, called "You Turned The Light On," and "She's Still A Mystery To Me." The easygoing entertainer spent nearly fifteen * minutes chatting casually with fans, accepting flowers and underwear from adoring women before going through a fast-paced series of songs taken from various stages in his career. "I,ove or Something ! .ikp It" was a modest hit for Rogers two years ago and "You Decorated My Life" was a phenomenal hit off the most recent album. Ending the set with an early First Edition rocker, "Reuben James," Rogers performed all the songs with his characteristic closeness to his fans. THE STAGE was a specially constructed one set up in the middle of the Coliseum floor to allow Rogers to walk around near his audience. Dottie West reentered the picture in white spangles to join Rogers on several numbers, and the two demonstrated the chemistry that made them one of the top-selling country duos in the business. The team began with a version of an old Sonny and Cher tune, "All I Ever Need Is You," that made everyone forget who the Bonos were. The duo ended with two of their blockbusting country hits, "Till I Can Make It On My Own," TQ rJnch f f g/ ?. ^ ^ j nby English youth circa 1964 to being a document about the violent confrontations between the Mods and the Rockers (youth gangs to which most of the teenagers belonged). At that point, fun flies out the theatre exits and is replaced only by a sinking feeling in the viewer's stomach. This is orougni about by tne realization that, at its heart, Quadrophenia is closer to a movie about Hell's Angels trashing a diner than a movie about Steve, Laurie, Curt and Terry in their quests to find the eternal sock hop and the invincible street machine. No matter how disappointed one is with the picture's second half, however, he can't deny Roddam's virtuosity behind the camera. The scene in which Roddam shows us two young men in a bath house (neither cognizant of the fact that the person on the other side of th< partition is an old friend), getting into an argument over what kind oi music ? hard rock or bubblegurr ? is the most popular in England is exceptionally well staged am photographed and it's one of tfo funniest and most telling scenes ii the picture. TUAT TUP Turn U.?1 Ann t*. mmmrmm inn I TfV i^vjfO v,an 51 from hatred to adoration in th< space of a few minutes, all because one of them likes to sing "Do-wop* in the bathtub,, shows the!) inherent good-naturedness am their frightening volatility in a wa; that is both fascinating and per vers? rJsm '??s?/kaa Kenny Rogers performs his i rock at the Carolina Coliseum Si and suggestive crowd-pleaser, "I Feel Sorry For Anyone Who Isn't Me Tonight." Rogers had the stage to himself again to perform the best songs of the evening in what amounted to a mass sing along, including the obvious favorite "Lucille." At one point during the song, Rogers stopped singing but the surprised crowd continued and he had to remind the fans, "This is my song." Rogers rounded out the concert with a collection of his recent singles, "The Gambler," "She Believes In Me," his most recent riQuadro fascination witn customized scooters (many with eight pairs of lights and 16 rear-view mirrors ? motorscooter as theatre) are equally effective and one scene, very near the end of the picture, is an unforgettable example of Roddam's ability to match action precisely to the words and beat of a song (the Who's5:J5). THE ENTIRE PICTURE reverberates with a spirit not unlike the one nrespnt in oqH? J- - WW.IV VUH ?J * WI\ music. Revolt against England's i social forces is what the picture seems to be crying out for, but the i script, by Dave Humphries, , Martin Stellman and Roddam, \ never bothers to explain what \ makes the kids so dissatisfied with ; the ways in which they live. Thus, the movie's lengthy riot scenes t have an unfocused quality that t detracts from the sense of having; fun-while-surviving that Roddam f injects into the opening sequences. 1 Quadrophenia'B other major i setback also comes in the riot l -- a scenes. uniiKe in tne recent spate ; of American gang movies, these British kids don't fight in selfdefense. They're simply bloodlusting, and their savagery is I totally off-putting. B ? ? . i I'd like to be able to recommend 1 Quadrophenla on that basis alone, r but I'm afraid most people would 1 come back from the theatre saying / that the picture's debits far out - weigh its credits. The movie Just isn't a pleasant enough experience J, U&wfr raapisWudiwow,, < ^m&Smk^- ^ s>. ^^joSQ|^^CTHM|K8BjB^Bj ^ V^ ".^l?k^^ ^:>* vi'.^y <*&*S - - ^ "'_ liPF Y^a^^BHB|H|HRjX} RuimVK. Paco - GAMECOCK inique mixture of country and unday night. "Coward of the County," and an old hit "Something's Burning." The singer introduced an unreleased single to the crowd and thev roared their unauestionable approval, but the fans probably would have approved anything the entertainer did at that point. For an encore, Rogers performed "Ruby, Don't Take Your Love To Town" to an indiscriminately adoring crowd. The fans had come to see the new superstar of country music and he could do no wrong. That was the ace up his sleeve. >phenia hbi x K- $1881 "* , yv- *. | iMi^lMPHt ikbbmuu []': i glHUfll^^S: '*:^^E^-;.^:' ;%jj EBb HB: I fig |gj j ' W^M ||!| ' , ^ Daniots as Jimmy in Quadrophenfa' , ' ' Vj'.fri'iA