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Entertainm lilt n ? m b1 A ' Stones Kn When The! By MICHAEL all J ItOMATOWSKI th I fa [nlerijinmenl Editor ? Ja l^t one thint? ho said about lik the Rolling Stones: they "I know a hit when they hear si; one. ' Start Me Up," the pi single off their new album, ra Tattoo You. is up front and ki center ? the first song on the gi first side ? the first thing the sa Stones want you to hear. While that song starts the se album off on an energetic cl danceable note, the rest of Y< the record goes decidedly wl downhill. The entire second gh side, in fact, is something of a drag. Tatt You is very much in the mold of the two so previous Stones albums, 11 Some Girls and Emotional pi Rescue. It is not nearly as til good, however, there is "1 naf ittnO on\; r\f thn \1/ ii\/tiuii^ Willi UUJ KJk IUV *? lyrical bite of, say, "Shat- A tered," or the musical punch of "Miss You." ju It would not be at all SI surprising if many of the tc songs on this album were n< recorded at the same time as fc Emotional Rescue; "Start p; Me Up and "Neighbors ol especially have the same nr type of "feel" to the tc production. The only really (< interesting song on the s< lawigic! rrcTre ent it He res T ow A Hit P r neur i/nv bum is "Slave," a song at marks the return of the Isetto vocals that Mick igger has taken such a Ling to in recent years. Jon't wanna be your ave," he croons before unging into a biting street ip. All the instruments then rk in and iam in a muinely creative guitar- -< x interplay. [ \ Jagger uses the falsetto on veral other tunes, inuding "Worried About ju," and "Heaven," oil tiich he adds a wierd, kostly echo. s AS ALWAYS, there is one inc/ u/hiph oivoc l^iolh "fc> b?*v"J ichards an opportunity to ove he can't sing; this me around it's called Little T and A" (last time it as the hilariously bad "All bout You". j This album was probably ist an excuse to give the :ones some new material to >ur behind; it is certainly 3t one of their better efirk Thp Stnn<?? at hnliui). ar, however, are still a heck F a lot more interesting than lost other groups, and their >ur is a much-awaited event especially the Oct. 27 show :heduled for Atlanta). ndri) 1 mm ne iff pPl** ' mm ^ pmHRH 1 ^ J1BJ ) TsJ^f;^ , J (Vk ?k -v-~-; Beac AtT By VICK su Beach music in the Spur? 1 word that Shag Stik, a sev< Wednesday's main attractioi traditionally the campus hor reputation that band memb ficult to shake. Opening to a mere handfi patrons grew slowly but i capacity. Yet this was no displayed plenty of energy ai Beginning the show with " beach tune made popular b> shined at whatever shag se Minute Man," "Share Yoi Foolish, Be Happy" were couples demonstrated bv hit Hut considering the fact tt band, they played a wide vii of the show that would ne Delbert McClinton's hit "G prisingly was their second Eddie llabbitt's "I Love A Linda Konstadt material. THKitK WAS an excellen serving as a lead in for "Th Pharli/i I VitiuJe ) nrl on imt V lltllHV 1/U1IIVIO UIIV4 C 4 I 1 I 1 A | classics. Shag Stik's versal second set which opened wi Train" and later slowed the song. c Bioc ilfl&B V By MICHAEL ROMATOWSKI XC Entertainment EtRfor When Jimi Hendrix burst upon the rock 'n roll scene in 1967, he quickly skyrocketed to international fame, playing the guitar like no one else ever had. By 1970 he was dead, a victim of the insane lifestyle that comes with being a rock star. Con' sidered by many as not only the greatest guitarist in rock n roll history, but one of the most pivotal, influential performers and catalytic spirits of his time, the Hendrix legend had grown even greater during the decade since his death. In October, Bantam will publish *SCUSE ME WHILE I KISS THE SKY: THE LIFE OF JIMI HENDRIX by David Henderson. Newly revised and condensed from . Jimi Hendrix: Voodoo Child I of the Aquarian Age, a Doubleday hardcover, 'SCUSE ME WHILE I KISS THE SKY will have an initial printing of 75,000 copies. "The richness of detail Henderson brings to his work and his commitment to it, is unprecedented for a book about contemporary 1 a. n j / ? ? kpop culture, saia uren Marcus in Rolling Stone, hMus A GKOOMS H Writer ^hat was the common reaction to en piece beach band, would be i in the Golden Spur. The Spur is ne of rock and roll and carries a ers soon realized would be diflil of spectators, the number ol lever threatened to reach full reflection on the band which id enthusiasm along with talent. More Today Than Yesterday," a / the Spiral Staircase, Shag Stik lections they attempted. "Sixty ir Love," and "Be Young, Be a shagger's delight as a few ling trie dance floor. lat Shag Stik is billed as a beach iriety of songs during the course ver be heard on Ocean Drive, ivin' It up For Your Love" surI selection, followed closely be Rainy Night" and some slower t beach medley performed next, e South's Gonna Do It Again" by )ressive medley of Chuck Berry Li 1 itv was a^ain annaront in ihr th Sheena Kaston's hit "Morning pace wun an early van Morrison ?t jrapr M A I H V while Dave Marsh, author of Born To Run. said. "No one who wants to assemble a coherent version of Jimi's story can afford to be without this book ? it is not only the best version, it is the only complete one.'' In this comprehensively illustrated book, Henderson vividly reveals the genius onr) morli^ncl' I umo I i >n i cxi iu uiauiiLoo uicit vva^ u 11111 Hendrix. On the surface Hendrix's story might seem to be only about the drugs, sex, money, and cut-throat competition of the rock world, but it is also very mucii auoui me eneci 01 me unlivable demands a generation put on its heroes. Henderson's portrait of Hendrix, a black man who had to go to fc'ngland to make it before his own country would accept his music, is not one of just a pop star but of the proud inheritor of a complex musical iraaiuon, struggling and succeeding in forging his own brilliant synthesis of black music and white rock 'n roll. ALTHOUGH the book is fascinating it suffers somewhat form Henderson's overzealous writing style; at times he elevates Hendrix to near-goaiy status. His frequent descriptions of live Hendrix performances are ic Is I Uam C IUCII d Lead guitarist Ed l^angs Killian were memorable as si was lone female member Let herself as the group's strong* at whatever she happened t< player Paul ('raver, did mo with the audience. UNFORTUNATELY for SI i real partying si7.e, but tor )and certainly achieved its pi mmzmmmMmmmmmm ',. i- jfcl I I^bHP Hhi P *" i bmk^^3ESB|H I IB <4 'Bgj snag btik drew only a Spur for a show sponsore< ) IV ~ # iod 1 almost impenetrable unless the reader also happens to be a virtuoso guitarist with a Ill 4JI i' i Vy I jf WV tl V.UI111 IIIIUU feedback: 1 On "Love or Confusion" the setup hook chord delineates the entire song. The strange harmony between the long sustained sitar-like chord and the overdriving Fuzz-Face and Cry-Baby combination creates a tremolo that double-times against tne 4/4 time, thus belonging to both the rhythm and the harmony. Jimi makes his guitar do a Sagittarian bow thrust, like the sound heard in cartoons when the Roadrunner takes off. Mitch beats out a share-in-theround intro. The funky hambone bass lines are joined by Jimi's skipping rhythm work. One can learn much about Jimi Hendrix by reading Scuse Me While I Kiss The \ Sky. but what this book ^ mostly does is make one yt*ui ii iu nuiii in?) music. aviiir id llendrix' case, the music is truly the mark ol the man. I > >nur r WIon and band member Jerry ngers, but from the beginning it ; Ann Eubanks who established ist vocalist. She was impressive %>) ) sing, and along with trumpet st of the banter back and forth lag Stik, the audience was not of the people who were there, the jrpose. wsmmammmwrn Photo by KARIN MMPIR1 sm?ll crowd to the Golden i by Contemporary Sounds.