The gamecock. (Columbia, S.C.) 1908-2006, September 18, 1981, Page Page 6, Image 6
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)
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ne iff
pPl** ' mm
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1 ^
J1BJ ) TsJ^f;^ ,
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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.