Not so silly

Stupidity Dr Feelgood

There seems to be something odd about a record like this by a band like this. I mean, it's 1977, and here's a band that sounds like something you might have heard playing at a teddy-boy dance in London in 1962. Not that this is a bad thing, by any means — Dr Feelgood manages to convey at least some of the energy and power that their forebears employed to rip up seats and smash tables. But something doesn't click, and I think its the fact that the 3-chord 12-bars on this record are as near technically perfect as any live recording I've heard.

Strange aspect to criticize, you might say. But listen to guys like Howlin Wolf, Chuck Berry and Bill Haley playing their most powerful Stuff, and you'll hear a muffled bass/drums rhythm section, with a trebly, manic guitar and e cracking vocal giving the listener the (often accurate) impression that these guys were putting all they had into the music. Not just their time, but their energy and spirit. When they were belting out 12-bars 15-20 years ago, they were playing what was then an original, innovative kind of music that was a genuine product of the times. It's odd, you must admit, for Dr Feelgood to be playing the same music to an audience that wasn't even born when a lot of their material was written. Zoot suits, brylcream and teddy-boys just don't seem to suit 1977.

Anyhow, credibility and associated topics aside, this is a damn good rock'n'roll record, with 7 of the 13 tracks written by Wilko Johnson who also spices up the proceedings with some mighty meaty guitar work.

The rest of the vinyl is filled up with material from such old-timers [unclear: es] Rufus Thomas, Sonny Boy Williamson, and the (mandatory) Chuck Berry. Tracks like "All Through the City" and "She Does It Right" give a pretty fair picture of what Dr Feelgood is about — tight, well played rock'n'roll.

—Marty Wood

Not so frantic

801 Live Manzanera's 801

"We are the 801

We are the central shaft"

From these lines in Eno's "The True Wheel", from Taking Tiger Mountain (By Strategy), Phil Manzanera's 801 took its name.

801 was a temporary band from last year that played only three concerts, one of which we now have on record. Personnel were: Phil Manzanera (guitar); Eno (vocals, synthesizers, guitar, tapes); ex-Quiet Sun member Bill MacCormick (bass, vocals); ex-Curved Air keyboardist Francis Monkman (Fender Rhodes, clavien!); Simon Phillips (drums, rhythm box), and Lloyd Watson (slide guitar, vocals).

It's a great loss to music that this could not have been a permanent band, because on the evidence of this record they would have been a force to be reckoned with.

The materiel on this album comes mostly from Phil Manzanera's and Eno's solo albums. "Lagrima" (from Diamond Head) opens the proceedings, and it is a bit of electronic trickery wherein Manzanera's guitar is treated by Eno's synthesizers. This leads into the Lennon/McCartney song, "T.N.K." (Tomorrow Never Know). This excellent version of the song is one of the album's high points. There is some excellent guitar from Manzanera: I have always found his work outside of Roxy Music to be superior to that with the group (and if you don't believe me, listen to Eno's albums).

"East of Asteroid" follows, which, as far as I can make out, is a collision between "East of Echo" (from Diamond Head) and "Daddy Was An Asteroid and Mummy Was a Small Non-Stick Kitchen Utensil" from Quiet Sun's Mainstream album. This cut features some tight, almost Cogham-ish drumming from Simon Phillips. The rhythms are fairly complex, with a number of changes and some fine treatments from Eno of the drums and bass. Some great bass work from Bill MacCormick leads into "Rongwrong", another (I think) Quiet Sun number. This one has a whimsical vocal from Eno (really quite a good singer in his own way), and the song as a whole reminds me a little of some of Syd Barrett's solo work, except that it is a bit more complex.

"Sombre Reptiles" closes side one, and it is given much the same treatment as on Eno's Another Green World album (and if you haven't got that yet you ought to be ashamed of yourself). The only real difference is some electric piano and clavinet embellishments from Francis Monkman.

Side two is undoubtedly Eno's side. "Baby's On Fire" is given a very different (but very good) treatment from that on Here Come The Warm Jets, with an almost funky clavinet intro. The only disappointment (and an inevitable one) is that I miss the dizz-buster guitar solo from Robert Fripp. Manzanera's good, but he's no Fripp.

Some treated applause leads into "Diamond Head". I never liked the original version of this, but this live one isn't too bad. Also from the Diamond Head album is Eno's "Miss Shapiro" given a very gutsy treatment here.

This track segues into a sleazy version of the Kinks' "You Really Got Me", complete with great power chords from Manzanera. It then returns to the opening riff of "Miss Shapiro"

Last up (and where else could it be?) is my favourite Eno track, "Third Uncle", wherein the Good Captain takes on the Velvet Underground at their own game and wins hands down. This track is a Killer! Manic rhythm guitar from Eno and Manzanera, not to mention the letter's hair raising solo. Play this one Loud!

801 Liva is one of the best live recordings I've ever heard. Forget Hard Rain, get this.

— David MacLennan

Not so sweet

Private Eyes Tommy Bolin

It seems that too many great musicians dispatch themselves to the Land of Nod just as they are 'peaking' in their careers e.g. Jimi Hendrix, Gram Parsons, Janis Joplin, Nick Drake. The list goes on. Included in this list is Tommy Bolin, and with his death last year from an heroin overdose, there passed from our ears a truly great guitarist and songwriter as I feel is witnessed by the release of Private Eyes late last year (to follow up his first album 'Teaser').

There are eight tracks on the album (produced by Bolin and Dennis Mackay, written by Bolin and Jeff Cook) all of which demonstrate Mr Bolin's unique guitar (lead and accoustic) playing style, and showcase the talents of his superb backing band. The saxophonist is a relative unknown in Godzone, as with the keyboards and bass, but the drumming position is filled jointly by Messrs. Berge and Appice (Bobby Berge having played with Buddy Miles and Carmen Appice with Jeff Bed: and KGB).

Perhaps the best number on the album is the last on side one, entitled rather strangely "Post Toastee" a nine minute classic exhibiting some burning guitar solos and soothing saxa phone breaks. It also encompasses some fine reggae riffs from Bolin's versatile guitar.

A sound album, (probably the last from one of America's best leads), Botin having started in a group called Zephyr, and progressed to have done session work on Billy Cobham's Spectrum album, and played lead with the James Gang and superstars Deep Purple, before they split midway through last year How sad to see Tommy Bolin depart this world.

A Flat

Not so

The Pretender Jackson Browne

Released in the dying days of '76, Jackson Browne with this album has come up with a real winner. With beautifully revealing (if sometimes a little depressing), lyrics, sweet guitar licks, moving piano pieces and orchestration Jackson has with this offering put out four albums all high respected by country [unclear: 1]-rock lovers. Many of his fans must have been disappointed to find his planned NZ tour cancelled, however he has recorded a 1½ hour radio show with one of Auckland's commerical stations.

On The Pretendar, Jackson has once again been assisted by many, rock celebrities such as Little Feat's Lowell George, Bonnie Raitt, Don Henley, J.D. Souther David Crosby, Graham Nash, and his regular support men David Lindiey on lead and slide guitars, and Leland Skar on bass.

Produced by Jon Landau, the LP is nothing short of brilliant. Consisting of 8 tracks, one of which ("Here Come Those Tears Again") was released as a single two weeks ago. One can only admire Jackson's ability to put good words and good music together. Take for instance "Sleep's Dark and Silent Gate". A touching song about his feelings after coming home and finding his wife dead on the kitchen floor

The whole album is an emotionally powerful gem, worth at least a dozen careful hearings for those into lyrics. If you're not into the words, leave this album well alone.

Selsanore Loggin