Tony Reay

WABX strikes again. The Phantoms of Underground Radio deliver yet another coup d’etat with their broadcasting of nine cuts from the new Beatles album.

I really don’t believe anybody would name an album “Sexy Sadie.” Now there’s several old ladies in Bloomfield Hills who are gonna have to buy this for somebody. And are they going to say the word “s-e-x-y” in a public record shop? No way!

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For anyone who wanted a late Christmas present, the Fleetwood Mac at the Grande Ballroom provided a good one. Score one against all the Blue Cheer fans who said the Mac were “another British blues group.”

But, for those of you who didn’t see them, go the next time. I always find it amazing when so many people in the hierarchy of the group world treat music as something which means something to them and nothing to others.

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Frank Zappa

Mothers of the American Revolution

Zappa, in England. must wield much power. Granada TV, a semi-national TV station, has asked Frank to produce an hour for their station to show.

Frank, when asked of the proposed idea for the show, said, “Visualize a huge aircraft hanger with at one end a huge form, 15 feet high, completely concealed by canvas and screened off with velvet ropes, with armed sentries pacing up and down in front of it.”

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The Pentangle’s new double album, although as yet unreleased in this country, proves my conviction that this (dare I say it?) “super group” is by far one of the best groups around. “Sweet Child” consists of two albums, one live and one studio, beautifully packaged.

The live album opens with “Market Song,” “No More My Lord” and “Turn Your Money Green,” three fine examples of the complex coagulation of musical facets which comprise the style of the Pentangle. Respectively, these first three cuts are pure folk, pure gospel and pure blues, but having been Pentangled they all emerge as beautifully delicate transpositions into the harmonies and guitar style of Renbourn and ‘the Mob.’

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Well, here we are at the advent of yet another season of goodwill and love to all men, etc. I wish you a very happy something. Did you ever think how many people, at Christmas, celebrate the birth of someone they don’t believe in?

Congratulations, firstly, must go to Audio Arts of Detroit for the fine way in which they turned Hendrix’s thing into a superfluous shamble of chaotic hostility. Special thanks to Phil Ober of Audio Arts who, having denied me an interview with Hendrix (an interview arranged with Hendrix’s manager over a month before the concert) on the grounds that there wasn’t time—which there wasn’t—and told myself and a photographer with me “But you can stand right at the front to get some good shots!”

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It would seem to me that the country, as a whole (you may eliminate the “w” from “whole” if you wish) is at last beginning to realize that you Cannot dictate from which area a certain style of music must come.

I realize that tradition dictates that blues should come from Chicago or the South, and that soul should come from Motown, but now at long last music is spreading. The MC-5 have spread into the bracket-of “national” groups, as did the SRC, but really that doesn’t mean much because all bands are local at some time.

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And here we have a new album! Recorded right here in the Motor City before your very eyes and with living audience reaction.

Teagarden and Van Winkle, as many of you may know, consists entirely of two people who play organ and drums and occasionally drawl and sometimes sing. They do all of these things simultaneously and very well, as this album ably demonstrates.

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a review of

Daughters of Albion, Fontana (SRF-67586)

In these troubled days of “super” musicians, I find myself turning more and more to the finer facets of newly released albums.

Whereas previously I could really get into many lengthy virtuoso instrumental solos, I now discover that second-best Claptons are myriad and that no one plays Clapton as well as he, so why bother?

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