Slow Dancer:

by Boz Scaggs. Reviewed by Brian King.

Boz Scaggs is, next to Van Mormon, my favourite linger, and after Al Green he's my favourite soul artist. He's a white soul linger—i.e. soul without the simpering crack and falsetto that has come to characterise black soul music—who sounds black. It's the kind of music that white singers like the Righteous Brothers and bands like Electric Flag did so well, and if you remember Electric Flag's "Long Time Coming" album then you've got it.

Recently I imported two earlier Boz Scaggs albums—"Boz Scaggs" (with Duane Allman) and "Moments". This album, "Slow Dancer", differs from these earlier albums. The guitar that feature so prominently is gone, and Boz has made a smooth progression from blues to soul with the addition of strings and horns:

"I have had my eyes on you, oh since the da-ay/I learned to laugh at myself/caught you laughing too/You went your way, and I went mine/it's strange that in another place/that joke should hit me in my face...../But you, you make it so hard, to say-ay no."

"You Make it so Hard" is the single from the album which is due to be released about now. Listen for it. If you like this then you'll probably like the rest of the album too. "Slow Dancer" doesn't cook, it cruises comfortably; it doesn't jar, even when the arrangements start to remind one of Uncle Tom bands like Junior Walker and The All-Stars.

Ten out of ten, with a red bullet and a big shiny star.

Live in Europe:Creedance Clearwater Revival. (Fantasy Import)

Reviewed by David MacLennan.

Creedance Clearwater Revival were the greatest rock 'n' roll band America has, or will ever, produce. They kicked off 1969 with the unforgettable 'Proud Mary' (described by one Zimmerman, as the best song of that year, and since recorded by everyone from Ike and Tina Turner to Andy Williams) and followed this with a series of classic singles and albums, nearly all of which earned platinum discs for sales in excess of $5 million, before they split up in 1972.

CCR's distinctive sound was largely due to lead guitarist/vocalist and songwriter John Fogerty. His distinctive vocals and guitar style, and his flair for writing simple, yet highly effective songs, sustained them throughout their career. Straight toward pop/rock? Sure, but in the best traditions of pioneers like Chuck Berry and Little Richard. And it wasn't all just commercial pop either. Longer tracks such as "Graveyard Train", "Effigy" and others proved that there was more to CCR than catchy songs like "Bad Moon Rising" (still their best single). From blues, through country-rock, to straight down-the-line R & B—CCR did it equally well.

Which brings me to "Live in Europe". Looking at the track listings, any CCR freak (myself included) could be forgiven for thinking that this album (a double, incidentally) would be The Most. Just about every one of their best numbers are there, from "Susie Q" from their first LP. to "Sweet Hitch-Hiker" off the last. Taking in things like "Lodi", "Bad Moon Rising" and "Keep on Chooglin' " on the way.

Well I hate to disappoint you folks, but "Live in Europe" just doesn't live up to expectations. The fact that it was recorded after rhythm guitarist Tom Fogerty (John's brother) left them is bad enough; his rhythm playing was vital to CCR's overall sound: play the live versions of "Lodi", "Born on the Bayou" and "Keep on Chooglin' " then play the studio versions and you'll see what I mean—and his absence takes the wind out of the album in many ways.

Add to this the fact that the album is rather badly recorded and the fact that John Fogerty's lead work, instead of the pure, ringing sound of the original versions, sounds distorted and fuzzy, then what you are left with is an album that does not do CCR, in concert, full justice.

The concert they did at the Fillmore West that was shown on TV here last year was much more like it. If they had recorded a live album then (around 18 months prior to "Live in Europe") it would have been one of the best live LPs ever made.

Tracks like "Travellin' Band". "Sweet Hitch Hikerr" and "Commotion" come off quite well, but others, notably "Born on the Bayou". "Bad Moon Rising" and "Proud Mary" are very disappointing. This is, especially true of "Keep on Chooglin' " their finest number and the finale to their act, On the TV concert it was pure dynamite (and how!!) but here.,..well, sadly, its just not up to scratch.

However, despair not CCR fans of VUW this album aint a total bummer. Taken as a whole, in fact, it is quite good. It rocks along quite strongly through all four sides (especially side 3) and John Fogerty's raucous vocals and tight guitar work are as good as they have ever been. Once you get used to the idea of no rhythm guitar it doesn't sound too bad at all. (A good idea is to grab a guitar and add your own rhythm part while its playing) The fact that all the good numbers are on it means that it could hardly be a complete washout, and indeed, this it the case. In short I would recommend this album to any CCR fan, despite its inadequacies though if you are like me you will have to play it a few times to get used to it, On a 10-point scale I'd give it seven out of ten.

As a final postscript a quote from Roy Carr's NME Review of this LP says it all for CCR.

"On their own ground, Creedance could not be bettered, their music is timeless, their contribution to rock music securing them immortality. They haven't been surpassed."

Good gawd y'all, I do believe he's right! And anyway, CCR aren't dead yet! Lend an ear to the last two singles by John Fogerty on his own and you too will loudly proclaim: "Creedence lives!"

Pipedream:

by Alan Hull. Reviewed by Brian King.

Listening to this album made me think about its special qualities—what distinguishes it from the other records I have heard recently. I've realised that it all comes down to the voice. More specifically, it has to do with accent.

Alan Hull is, as you will know, a Geordie and when he says words like 'night' and 'moonlight' they sound like 'nate' and 'moonlate', and similarly 'mad' sounds like ' mud'—noo wha' a' meen laddie? Anyway it gives the songs—all of which are very good—an earthy quality that is, arguably, essential to folk music.

Hull is, of course, the force behind Lindisfarne and "Pipedream" his solo effort, is similar in quality to the band albums. Ray Jackson and Ray Laidlaw feature among the large number of supporting musicians and drinkers, but the songs are different to those heard on the Lindisfarne albums. Some are slow and delicate and wouldn't suit the free swinging style of Lindisfarne, while the traditional-sounding Country Gentleman's Wife' would. Two tracks are especially beautiful "Money Game";

"Oh, Anna, what does money mean anyway?/ I've got more than all that./I can smile when it's a rainy day/I can see what's behind the big/ money game they all must play.

And "United States of Mind" with the quavering voice we heard in "Lady Eleanor". If you would like to know where John Hanlon got the melody for "I Care", have a listen to the track entitled "STD 0632"—Hull does it better I think.

Alan Hull turn a nice tune, obviously having an eye for the ladies, and the album is full of vulgar (i.e. Scottish) humour, And if, like me, you tend to buy records for their covers then this album is doubly good. The imported English cover is fronted by the painting 'La Lampe Philosophie' by R. Magritte and includes four sheets of colour photographs of the musicians, plus all the lyrics. Blody 'ell........