The gamecock. (Columbia, S.C.) 1908-2006, March 26, 1982, Page Page 5, Image 5
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4
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Hamlisch E
With His Av
By JOHSj VaIjgh
Entertainment Editor
"I thought this was a dress-up aff
quipped, peering down from the staj
glancing back at his own tuxedo.
Despite the tux, and the formalwc
the rows of the Atlanta Symphoi
mosphere in the Carolina Coliseum
not quite that of a dress-up occasion.
Carolina Concerts series, the fam
proved to be a charming, witty and ei
The Atlanta Symphony, under the
Scott, opened the program with four
intermission. Hamlisch arrived o
mediately introduced himself: "Hel
TJ?* ' 'pV* a /tWinti
llUiiilidV.il. a lie uuwu wuuvmcu, an
banter continued for the remainder c
Hamlisch opened with "Music am
Tony award-winning score for A Ch
it with the popular theme from
tertainer." Rounding out a trio c
Hamlisch's original composition fo;
- T. - -1 T?T : '~-l-~-"--s^ '"
Marvin Hamlisch talke
and his work in a press
nesday afternoon in the Ca
The Spy Who Loved Me, "Nobody ]
The performer, however, was n<
his music; between tunes he chatt
rproiintinc stories about each so
~ ~ U ?r ' ? -
very easy for him to move into his
asking the audience to call out a m
would construct a melody.
Easily the corniest invention w
Irmo," which elicited laughter an
partisan crowd. It was a while b
serious again, performing his si
Castles.
The orchestrated version of Pi
* ' ? * -- r it L
brought tne mooa aown iunner, i
again with an overture from A C
prised the crowd by introducing C
show's New York cast, who sang "
Hamlisch closed with one of his
Were." The composer has stated
Barbra Streisand sing the hauntini
his life, and in a press conference
laughingly said the experience wai
In that conference, Hamlisch wa
A nttacfini
receptive iu i cjwj ici o ijui/jviw
Streisand comment, he said it is ne
will get to hear his creation perl
wrote the song for.
"You know, you'll write a song
perfect for Sinatra,'but it won't ha
Were,' I wrote it with Streisand in r
Hamlisch said a big disappoint
Melissa Manchester's performanc
to reach any real popularity. "I
recalled.
"I think popular music goes in
opinion, I think right now we're in
back to the '50s instead of moving;
Feature
?dN (
TZ Blues
IAN By FLETCHER JOHNSON
Acting Editor-in-Chief
air, Marvin Hamlisch I The Blues- music in style
ge at the audience and I American Negro origin
? marKea oy recurrem iiuiiur
:ar behind him ^mong intervals *and melancholy
iy urcnestra, tne ai- lyrics
Wednesday night was >Thu uh the Merriam.
In the last show of the Webster Dictionary,
.ous composer/pianist published in 1OT4.
"gaging host. The Blues
baton of William j^re|l A style of music not
numbers before a brief ?y here in the
n the stage and im- ,and ' o{ Beach Musjc
i?8 Marvin Country and homogenized
idthiskindof informal Top m f.Rock Ro? .?
3 J[!e ?^IUIIK; Sometimes you get lucky,
d the Mirror'' from his and ^ crowcf that attended
JP-e an??i2, ^ the blues performances of
The Sting, The En- Drink Small, Koko Taylor
>f famous scores was and L(mnie Brooks [n\he
r the James Bond film Russell House Ballroom on
Tuesday night were the truly
k lucky people irf Columbia.
The audience ? which
::v consisted of aging hippie
<>J; holdovers from more radical
; v. v"?* ; days, young executives, a
nlntlinon n f nrannottoc
1 picuiui ci vi pi v|/pw>vu
v (female preppies), a scatJSBBHKm
' ' tering of young and middleMfc&H;
s aged blacks and a wide
Bfifl assortment of the basically
BWw&jK normal student types ? was
^ m mlMi, entertained by Drink Small,
: / , tf { j j a Columbia bluesman and
wf tffm his ancient Guild hollow
-HLflCfl body guitar he calls
HH9D Geraldine on such members
as "IIclv Woman Blues" anc
sun Photo by CHR6 mown ^ave )>een much more so i
id about himself he had been accompanied b;
conference Wed- his band instead of takinj
rolina Coliseum. MHHnmjHM
Does It Better." | ,
ot content to merely play I >2
ted with the large crowd, , .
ng. His rapport made it :fj
"Rent-A-Composer" bit:
laue-up uue, iui wuiui lie
as "I Left My Heart In
d loud applause from the |?:|
efore Hamlisch became
from the movie Ice
ichelbel's "Canon in D"
>ut Hamlisch grew lively |HBBH^99^HHIkS
horus Line. He then sur- j |
ynthia Onrubia, from the I '
Nothing." jjlB
favorites, "The Way We
many times that hearing I
g tune was a high point in ! f ;
Wednesday afternoon, he fl !
? "rather orgasmic."
s again very relaxed and ( 7
is. Elaborating on his HHHHHBI
ver sure that a composer ^^Gj|HH^H9|^HRfl
ormed by tne singer ne
and say, 'That would be '
ppen. With 'The Way We 1 WLJ
nind," he explained. , .
ment was the failure of I I - !
:e of his Ice Castles suite S died
when it died," he
waves, in cycles. In my ^?
a very bad cycle - going Lonnie Brooks had
ahead, he commented. ^jie Russe|| House Bj
Frida
ZOOL GMTGRT^ihr
; Suna W
the stage as a solo per- wammmmm
former. H
The undebatable sensation j
of the evening was Koko ! ,
Taylor and her Blues [ 7
Machine from the Windy ? - ,
I?r?l 1 /\nri n rt r*
V/Hjr \ji vyiu^agv;. v v;iivwiii5 a
three song set by the Blues H
Machine which featured \ - f some
excellent dual guitar \ 'V ;
work, Maestro, the lead * - J:
guitarist, stepped to the
microphone and announced J ^
the arrival of "the ear- ^
thshakin' Mrs. Koko WBg&Jm
Taylor." |
Earthshakin' was an [ f
understatement. j .
Clad in a purple pantsuit |
with a purple sequined top
draped off her left shoulder, 1|||H
this energetic grandmother ||l?
proceeded to belt out an ^
infectious version of "Let the
Good Times Roll" that ?*
moved the crowd to their Knlr
shoe soles. The crowd let all K
barriers down and became forma
one with the music when night.
Koko sang a beautiful slow young bi
number called "I'd Rather next to
Go Blind (Than to See You direction
i Walk Away From Me)." of Kok<
Koko uses her voice like Machine
; Itzhak Perlman uses a don't g(
, Stradivarius, and that this."
I became evident when she Heme
- sang "I'm a W-O-M-A-N," a blues up
> pounding tune that of his i
> threatened to jar loose my ? Koko s
i multitude of fillings. 'version
; Even though I've enjoyed Doodle,'
1 the blues for sometime now, Tycoon
- I desperately wanted to and was
3 maintain some semblance of drove oi
J objectivity. I was supposed stormed
f to be here on official ants aft<
y business, but I had to agree food on e
3 when the smartly attired Despit
crowd I
JU encore,
I "Sometl
On" tha
. on its f<
'a H applausi
j A litt
H black <
i white gi
^r.; ;i organ t
proceed
lljjllipl renditio
standar
J'V '-{' 8 the ne>
i I evening
."-v ' 'i Brook
V:'Av"S u~:i? i
H'.iaua i
records
label,
musculi
wore de
t-shirt
jacket,
guitar,
solid-bo
appear*
of night
Broot
the gui
skill w
. remark
utilized
Duane
powerf
Wher
stage
uiroom ltiesciay nigru. throug
y
Jhite Hot
y&mm -_ l A fdi'r^-'v-1'^-Ji.-i^^^'Aii' "-_i; -"r "l-il*7'
mmb "' *
r< vat sMMwimiwwa Mtt.'-vy-- : x-> ?. 1
SUH Photo by DAVID GRIMLEY
o Taylor gave an electrifying pernce
in the blues concert Tuesday
usiness-type sitting evening, needed to make
me yelled in my adjustments for his overover
the moaning powering vocals which
) and the Blues rattled me from head to toe.
, "You know, it Once I got accustomed to the
it no better than sheer power and volume of
Brooks' performance I was
ant it too. He felt the able to enjoy the versatility
and down the length with which he played his own
spinal cord. When brand of bayou-influenced
ihrieked , into her Chicago Blues.
of "Whang Dang In addition to being a
' Youne Business virtuoso blues guitarist.
was visibly moved Brooks put fear into the
i itching to join the fingers of Chuck Berry,
f dancers who had Jerry Lee Lewis and all the
the floor like army original rockers with a
jr the last morsel of rendition of "Whole Lotta
:arth. Shakin' Goin' On" that
:e the pleas of the threatened to bring the roof
Coko only sang one downv
a tune titled From solid rock 4n' roll to
ling Strange Goin' blackwater bayou chickoryt
stood the audience flavored funk, Brooks'
eet with thunderous guitar was overpowering
e. and at times sounded more
le auer 11 p.in. a ime me icuitduiduuii m
irummer and two Jimi Hendrix than the usual
jys playing bass and impression of a "Chicago
;ook the stage and Blues Man."
ed to perform their Overpowering, energetic
n of a few blues and truly happy with his
ds as a warmup for music ? yes. But there was
:t attraction of the no way I would have played
, Lonnie Brooks. after the stupendous per:s,
like Koko Taylor, formance put on by Koko
rom Chicago and Taylor. Brooks was very
on the Alligator good. Drink Small is a
He was a tall, talented performer, but
ar black guy who when Taylor reaches back
iamo o Kla^lr fnr o cnro;)m that uihrafpc
OlgUUI j^UHO, (4 M1MVIV 1 Vi U UV? VUtil vnuv r
and a blue jean your eye sockets and the
He also played a light flashes off her two gold
It was a cherry finish teeth, you know she means it
dy Gibson SG that when she says she has been
jd to have seen a lot on the road singing the blues
son the road. for 16 years and would go
cs' giant hands made crazy without it.
tar neck look like a At 12:15 Lonnie Brooks
depressor, and the struck the final devastating
ith which he moved note of "Voodoo Daddy" and
hands was the crowd reluctantly went
able. Even though he home. We went home
a flat pick style of knowing we would wake up
tho musical roots of students. businessoeoDle.
Allman and Dicky black folks and white folks,
shone through his But Tuesday night we were
jl music. together. We proved all the
i Brooks took the musicologists and dicthe
technical crew, tionaries wrong.
did a superb job Even white folks get the
hout the entire blues.