Circus Magazine - July 31, 1982

READERS SP'':AK OU

Where They've Gone And What They're Up To Now ZEPPELIN AC/DC STONES VAN HALEN

JOURNEY ELP

OZZY & MORE

SET SAIL FOR THE MUSICAL ADVENTURE OF THE SUMMER!

31 , 1982

Decade of stars

8

A look at the biggest rock acts of the past 10 years as you, the readers . picked them . What did they do and where are they now: Zep . AC DC. Rod Stewart and more - (The edi tors)

Letters Feedback from our readers

Listings The most complete guide to rock on the road. plus: radio and TV listi ngs, video news. Top 20. bestselling LPs from five years ago. airplay charts and more

Blondie Five years ago Blondie were playing small clubs like NYC 's CBGS's.

Today they're part of the rock establishment. Debbie Harry and the group discuss th eir history -( Philip Bashe)

Circus Word Find Puzz ling game for fans - (Steven Dean Paslis)

Front Pages News from the rock & roll scene - (Usa Robinson)

28

J8

Cream

Asia- Stage Pass

" Dateline: Rock & Roll, " a flash路 back 01 rock history. Thi s mon th.

July 1968: Cream go sour - (Phi lip Bashe)

Rock'S newest supergroup takes to the stage -(Steve Weitzman )

Longplayers

Led Zeppelin Poster

Reviews of the new LPs by Queen.

Dave Edmunds and more - (John Swenson, George Arthur)

Billy Squier With the release of Emotions in Motion. Billy Squier may well become the rock face of the year

Stars' InstrumentsBob Weir

- (Richard Hogan)

51

Tommy Tutone There's no Tommy TUlane in Tom-

The Gra teful Dead"s rhythm gui, tarist shows off his customized Ibanez guitar

my Tulone. but there is a rea l "Jenny" - (Philip Bashe)

52 56

Judas Priest

Consumer Reports

Rob Ha lford and Glenn Tipton ta lk about th e future of heavy metal : can it grow old gracefully?

-( Philip Bashe)

The Fender Bu llet and Yamaha SBG 2000 gui tars

Ronnie Montrose The Gamma gUitarist talks about guitar accE?ssories -(John Stix. Barry Lipman )

Movie Eye In-focus looks at Dead Men Don'( We ar Plaid, Cat People and Under Suspicion - (Richa rd Hogan)

72

Tech Trek New products from the music factory

Back Pages In side information on the rock scene - (Lou O' Neili Jr.) Circus (ISSN 0009-7365) IS published monthly by Ci rcus Enterprises Corporati on . 419 Park Avenue South . New York . N.Y. (2 12) 685-5050. Return postage must accompany all unsolicited manu sc r i pts , draWin gs and p hotographs. Entire contents Copyright ~ 1982 by Ci rcus Enterpri ses Corp oration . All rights reserved . Reproduc tion or use without permiss ion o f editorial or pictorial matter in any form IS prohibited . Printed in U.S.A. Subscr iption rates $16 l or 12 ISsues; if mailed outSide the U.S .. add an additional $6.00. Second class postage paid at New York, N.Y. and at add itional ma iling ollices. POST MASTER : PLEASE SEND FORM 3579 TO CI RCUS MAGAZINE , P.O. BOX 265. MT . MORRI S. IL L. 61054 .

CIRCUS 5

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radio and TV statio ns . Yo u 'll also find EV products in churches , schools, businesses, sPOrtS arenas , even aboard Skylab . In short , nearl ), anywhere there 's sOllnd in action , EV is in action .

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tears in my eyes-from laughing!

Stacy Jackson Albion, MI

The editors of Circus Magazine want Letters to be an open forum for you r thoughts , opinions and questions. Please send them to Leiters cl o Circus Magazine , 419 Park Avenue South , New York , NY 10016.

Ozzy again (Again?)

I want to thank and compliment Richard Hogan for his excellent article on Ozzy Osbourne [April 30, 19821. I've seen Ozzy insul1ed 100 many times. At last I've read an interesting and informative article on him and his band.

Barb Herman Golden, CO

It's a shame that somewhere in his sick head Mr. Osbourne has

decided that the only way he can get attention is by killing animals.

As an active member of some animal groups I participated in having Osbourne's Michigan shows "screened"-not stopped. No one wanted to stop him from periorming, only to make sure there would be no animals used in his show. To be sure , harming or killing an animal is never a form of entertainment.

Meanwhile, after reading you r story about all the pain and discomfort poor Ozzy went Ihrough from his rabies treatments, I had

I'm writing to express a few thoughts on Ozzy Osbourne's behavior before his gig in San Antonio in February. For a publicity stunt. he "couldn't resist" taking a leak al Ihe Alamo, Texas 's well-known battleground for freedom .

I really don 't give a damn what people do for publicity, but only a pussy like Ozzy would do what he did.

K.B. Austin , TX It"s ironic that most musicians spend half their lives trying to establish credibility, and then along comes Ozzy Osbourne, a talented singer who throws it all out the window with his absurd actions.

Nonconformity IS fine , but wou ld we ever see Springsteen. Seger or Squier bite off the head of a dove or a bat? No. I don't think so. When they 're gone, we'lI remember them for their musical contributions; with Ozzy, we 'lI just remember his antics.

And that's a shame.

Debra Freeman Greece, NY

Journey come as a relief I read your slory on Ozzy Osbourne. It made me sick in the pit of my stomach. After I read it I turned the pages and saw Ihe article on Journey [April 30, 19821, Now there's a story worth reading. They don't need any gimmicks, because if you have lalent and good looks, as do Journey, who needs 'em? Thanks.

Someone who's a Wonder thinks AD-X is extraordinary_ Wonder think s AD-X is extraordinary because it' s compalible with any cassette player, making it the ideal cassette for all-round personal entertainment.

A D-X is also extraordinary in its ability to deliver a wider dynamic range with far less distorlion, and it handles strong signals without over-saturation.

AD-X. Extraordinary.

BW Trenton, OH

Loverboy lover Your story on Loverboy [April 30 , 1982J was critical yet at times shocking and funn y. I for one don't think Loverboy are as calculated as people say ; I ca n see why Paul Dean would get upset by such remarks. They worked too long and hard to get where they are today,

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1. Asia/Asia (Geffen) 2. Van Halen/Diver Down (Warn er Bros.)

3 . Scorpions/Blackoul (Mercury) 4. Loverboy/Get Lucky (Columbia) 5. Aldo Nova/Aldo Nova (Portrail) 6. John Cougar/American Fool (Riva) 7. Paul McCartneyrrug 01 War (Columbia) 8 . Rainbow/Slraight Belween Ihe Eyes (PolyGram) g . Totorrolo IV (Columbia) 10. Foreigner/4 (At lantic) Compiled'rom research by Circus Magazine's staff based on lis tings 'rom KLOL · FM . Houston; WPLRFM. New Haven; WA8X·FM, Detroit: WOFM ·FM, Milwaukee: KZAP-FM. Sacramento; WKLS-FM, At· lanta; WNEW-FM. New York.

ENTERTAINMENT. MUSIC AND NEWS Publisher Edltor-in -Chief

Gerald Rothberg Senior Editor An Director Associate Editor

Associate An Director Correspondents

THE SUM TOTO!

Richard Hogan Jeffrey Salzer Phlhp Bashe

Richard Randall Lou O'Neill Jr, Usa Robinson John Swenson George Arthur SIeve Weitzman Den is McNamara

Special Projects

Design Special Effects Contributing

Rosie Pisano Renee Ford Milton Glaser Fred Chance

Photographers

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Photo Reserve Jeff Mayer Rainbow Neil Zlozower Michael Put land

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Europe Instruments Editor Office Manage r Publishing Projects

Associate Siaff Associa te Publisher Circulation Advertising Director Advertising Manager Advertising Coordinator

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Publicity

V.P. Advertising Editorial and Advertising Offices Covel Pho!os Debbie Harry by A Gallo Reina ltd David Lee ROIn by Nell Zlolower Nell Schon by Mark We's ~ Angus '1I:lung by Mark Weiss Rober1 Plan! by Jellrey Mayer Rambow

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Mark Weiss Laurie Paladino Bob Leafe Peter Mazel John Slix Roslyn McKofke Debbie Babitt lisa Salzano Mark Bosch Art Ford Gerald Levine Steve Rosenfield Gary Victor Lani Zarief Mitch Herskowitz Rick Edman The Pattis Group 1800 North Highland HOllywood. CA 90028 (213) 462路2700 Michael O. Beinner Morton C . Hillman Circus Magazine 419 Park Ave. South New York, NY 10016 (212) 685路5050

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3 Send to Dept. QR9 C irc u s Magazine, 419 ParkAve ,So" New York, NY 100 16.

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MARTIN STRINGS

PIG BAG (SliH) 7 I O-New York . NY' The Rill QUARTERFLA $ H (Gellen) 710.7 ll -Chlcago. IL ' Poplar Creek 7 13-Cuyahoga Falls.

OH : Blossom MUSIC Center 7 15.7 t 7-0etrOlt. MI: Pme Knob MUSIC PaVIlion 7 I a-lndlanapohs. IN : Spons Center 72D-Atlanta , GA- The Omnl 722·Columbla. MO: Merriweather Post PaVIlion 723·Hartford.CT CIVIC Center 724·Porlland. ME : Portland CIVIC Center 725-Saratoga. NY' Saraloga Performing Arts Center 727·Phlladelphla. PA: Mann MUSIC Theatre 729·ToronIO. CAN .

Mapleleal Garden 7 30·0uawa. CAN : Ottawa CIVIC Cenler 73 1-0uebec. CAN : Coltsee Ou Ouebec a 2- Monlreat. CAN ' Forum a 4-Worcester. MACIVIC Center 85-86-New York. NY: Madison Square Garden QUEEN {Elektra) 7 2 1-Montrea t. CAN 723·BOSIon. MA

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t- On Jive Records (Distributed by Arista)

724·Washlngton, DC 725-Phltadelphla. PA 727.7 28- New York.

NY: Madison Square Garden 731-Syracuse, NY 8 ' -Cleveland . OH 812·Kalamazoo . MI 8/4-Toronlo. C AN 8f6-Detroit. MI 8'9 .8 lO-East Rutherford. NJ : Meadowlands Arena

RARE ROCK IMPORl ALBUMS I. Black Sabbath.

Sabba th Live-10.98 Live t racks include Paranoid , Wa r Pigs, Snowblind, Children of the Grave, Sweet Leaf.

REO SPEEDWAGDN (EpiC) 729-Roanoke. VA 7'31-Greensboro. NC 8 I ·Charleston. WV 83.8i4-Pittsburgh. PA 87-8uffalo. NY: Rich Stadium 89 .8 II-Cleveland .

OH

2. The Story of the Who14.98 This 2-rc<:Qrd set includes Magic Bus,

Substitute. selections

from 1bmmy. Squeeze Box . Saba O'Riley, Slip Kid a nd a lso

RAINBOW (PolyG ram) 7 10·Fayetteville. NC: Cumberland County Arena 7 II -Greensboro. NC: The Coliseum 7 14,Charlotte. NC : The Coliseum 7 I S·Knoxville. TN: CIVIC Coliseum 7 16-Johnson City.

TN : Freedom Hall 7 17-Atlanta. GA: The Omnl 7 18-Savannah. GA: CIVIC Center 7 22-Ft. Myers. FL: Lee County 7 23-Miaml, FL: Sportaronum 724-Jacksonville. FL: The Coliseum 72S·Lakeland. FL: CIVIC Center 727-West Palm Beach. FL: The Auditorium 729-00than. AL 730· Nashvllle . TN 731-Memph is, TN 8,2·Llltle Rock. AR 8 3-Lake Charles. LA 84 -Monroe. LA 8'7-Norman. OK 818-Tulsa . OK 8 to-Amanllo. TX

incl:..tdes a gia nt

OOoklct!

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3. ACfDC Box Sct 2!J.95 German pn:s.-;lnJ.,:"; of I-ilgh Volt;lgl', Dirt ....

D('I.'<i:; Dom' Dirt

Chcap and Powerag~· . plus T 1:: 1> and

/,/ /

l)Qslcr.

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4. Ax Altllc k . Volume 2 1O.!m This album lIlcludcs (·ut .... bv "udl hClIdbangcr.:; <I~ Ramhuw, ~ i htorhc;ld.

Black &1.bbalh. Salll!'o(ln. ~ lJ cll<lcl ShenkN.

Rush, Scorp1Ons. Pnc"l . lWO. BOe. Gillan . Nugent. Def I.('ppnrd. Iron Maidell and Whilc:<nukl'

It's here! The hottest release of '821 5. Live & Heavy 7.98 This live LP contains one track each from Gillan. Rainbow, l)cep Purple, Ocf Le ppa rd .

Black Sabbath.

Great pricc~

These Import LPs also AvaDable 6. ACIDC--T NT

I J.98

Ncver released in America.

7. AC/OC, Let There Be Hock10.98 Different cover. olle d ifferent song.

8. Judas Priest--Hcro/Uero 14.98 This two-record set includes remi xed versions or Rocka-Rolla and Sad Wings or Desti ny. Gaterold s lccvc, nice package.

9. lIu llI h h' Pit, B l'~ l or hllle »l ldl' 11\'e. <lilt' :<Ide "t UdlO l

10, n amone~ I L... :l rt.'C()n:1 SI.:t

BONNIE RAin (Warner Bros .)

7 10· Phlladelphla. PA ' Robin Hood Dell 7 1 2-N~w York. NY: The Pier LEON RED BONE (Atlanlic) 7 17·Boulder. CO 7 24-Sutler Creek. CA

K !JH

Ali\'t.~

I ------------ I YES. P'ease seod me the albums em:1ed below. I've

ndicated quantity ordered next to the album number:

I __ I

__ 2

__ 3

__ 4

__ 5

__ 6

I

I - - , __ 6 - - , __ 10 - _ II I t am lidding St.50 album. Sr.OO lor each I IIddD:ln.!II "bum. (N.V. resodent.s please 825'\ Sales I Ton. US. I is my check or ordel made out to I Enc:Iosed Gcus Magazine lor $____ _____ I "'~ _________________ I II ~ I "" Coy '""'-----4> I R ,- - - - I I '" Cku. _ South I "'" '01<. NY 100 16 J I sh~ per

add

Dollars only.)

I'l"IOf'lty

"'pC 41 9 PiWk Avenue

-------------16 CIRCUS

RIOT (Elektra) 7 10·Fayetteville_ NC : Cumberland County Arena 7 I I -Greensboro. NC : The Coliseum 7 14·Charlot1e. NC. The Coliseum 7 IS· Knoxvllie. TN: CIVIC Coliseum 7 16-Johnson City. n~ : Freedom Hall 7 17-Allanta, GA: The Omnl 7 la·Savannah. GA : Civic Center 722-FI. Myers. FL 723- Miami. FL: SportatOrlum 724-Jacksonvllle. FL: The Coliseum

7,2S-Lakeland. FL : Civic Center 7,27·West Palm Beach. FL: The Audi tOrium SANTANA (Columbia) 7 10- Minneapolls. MN : Met Center 7 12-Cleveland. OH : Blossom MUSIC Festival SCORPIONS (PolyGram) 7, lO-Kansas City. MO 7 I I -Des MOines. IA 7 14·Sall Lake Clly.

UT: Expo Hall 7I16-SeaUle_ WA: Hec Edmundson PaVIlion 7120-Vancouver. BC : The Coliseum 712 1·Victona. BC : The Arena 7123-Edmondton. CAN 7/24 .7 2S· Calgary.

CAN

7/27·Winnepeg . CAN' The Arena 728-Fargo. NO: Fairground PaVIlion 7 30-Minneapolls.

MN : Met Center 731-Spnngfleld. IL: Praine Convention Center 8.3-Cleveland. OH: Richfield Coliseum 8,4·Columbus . OH : Veteran MemOrial Auditorium a S· Louisville.KY: The Gardens RIC K SPRINGFiElD (RCA) 7 I S-Peoria. WI 7 16-Seymour. WI 7 23·Mudd. TN 724-Knoxville. TN 7 3 1-JaneSvltie. WI 8 I-Chippewa FaHs.

Coliseum 727-Nashvllle. TN: MemOrial AuditOrium 7 29-Daylon. OH: Hara Arena 730·LoUlsvllie. KY: Freedom Hall 7 31-Ft Wayne. IN: Coliseum 8 3-Rockford. IL ' Metro 8 4 -Des MOines. lA' Veterans MemOrial 8 6-St LOUIS. MO: Checkerdome 8 7 -Kansas City. MO:

Kemper Arena 8 8-0maha. NE: C,VIC Center 8 10-SI. Paul. MN: CIVIC Center

WISHBONE A SH (MCA) 720- Thibodau x. LA : The Iron Horse 72 1-Kenner. LA: R,cky'S 3·0 7 22-Boffler City. LA: South Paw's

ROCK ON RADIO A guide 10 rock on yo ur FM dial NBC·THE SOURCE 7 16-Crosby. Stills & Nash Concert 7/23-Journey Concert Encore 7 30-0uarlerllash Special 86·Bltry Joel Concen Encore

RKO RADIO NETWORK 7 12·Muslc Special: "HOI Ones"-JUIce Newton 7 16-Muslc Special: "Hot Ones"-ToIO 8 9- MUSIC SpeCIal : "Hot Ones"· REO Speedwagon

WI

8S·West All iS. WI : WisconSIll State Fair 86-tlona . MI: Ilona Michigan Fair BillY SQUIER (Capitol) 7 1O.Washlllgton. DC 7 II-Roanoke . VA 7 2 1-Monlreal. CAN 7 23·Boston. MA 724-Washlngton. DC 725-Phlladelphla. PA 727.7 28-New York .

NY: Madison Square Garden 7 31-Syracuse. NY 8 ' ·Cleveland . OH 8 4-Toronto. CAN 86-DetrOIt. MI 89.8 lO-East Rutherford . NJ : The Meadowlands VAN HALEN (Warner Bros.)

7 14·Augusla. GA : CIVIC Center 7 16-Greensboro. NC : Coliseum 7 17·Charlotte. NC ' Coliseum 7 18-Columbla. SC ' Carolina Coliseum 720- Knoxvltle. TN Coliseum 722-Blrmlllgham. AL. JeHerson CIVIC Arena 7 23-Jackson. MS. Coliseum 724·B,loxl . MS:

ROCK ON TV This month's rock on the tube MTV 7 1O- 19pm : Profiles In Rock· Billy Squier 7 11 -ll pm : Profiles in Rock-Billy SQuier (Inlerview) 7 17-11 pm: The Ooors·"The Doors Are Open"

7 17-mldnlght: Garland Jeffreys Concert 7/ 18-l l pm : Tribute to Jim MOrrison 7 2S-Llner Notes (intervie w program)-guesl to be announced 7 31-The Oullaws In Concert

UP & COMING REO SPEEDWAGON- How do you follow up o ne the b igge st· selling LPs of all time? REO talk to C ircu s Mag azine a bout their Succe ssor to the rem ark ab ly succ essful Hi In Fidelity.

HEART- The Wi lson s ister s come up with the ir fir st new LP in ove r two years.

What's been goi ng o n ?

CHARLIE DANIELS-One 01 the re asons D aniels IS on e ot the South's fa VOrite son s is hIS cando r H IS new est hll smgle . " S I II1 In S aigon ," examines the phghl of ,he Vietnam veler an s. and furl her proves that he isn ', alt aid to lack Ie Importa n t issues .

BEST路SELLING ALBUMS

Paul McCartney

Asia

1. (-) Paul McCartneylTug of War (Columbia) 2. ( 3) Asi a/Asia (Geffen) . 3. ( 9) Human League/Dare (A&M) 4. (- ) Van Halen/Diver Down (Warner Bros.)

5.

1) The Go路Go'slBeauly and Ihe Seat (I.R.S.) 6. ( 2) Joan Jett and the Biackheartsil Love Rock 'N' Roll (Boardwalk) 7. (- ) Stevie Wonder/Original Musiquarium I (Motown)

8. (13) Loverboy/Get Lucky (Columbia) 9. ( 6) The Police/Ghost in the Machine (A&M) 10. ( 4) Rick Springfield! Success Hasn't Spoiled Me Yet (RCA) 11. (-) Scorplons/Slackout (Mercury) 12. (- ) Aldo Nova/Aldo Nova (Portrait) 13. (17) Graham Parker/Another Grey Area (Arista) 14. (-) The Motels/Ali Four One (Capitol) 15. ( 8) Soft Cell/Non-Stop Erotic Cabaret (Sire) 16. ( 5) J. Geils Band/ Freeze-Frame (EM I America)

17. (10) Journey/Escape (Columbia) 18. (-) TotolToto IV (Columbia) 19. (12) The Waitresses/ Wasn't Tomorrow Wonderful? (Polydor)

20. (- ) Tommy TutonelTutone II (Columbia)

Compiled from research by Circus Magazine 's staff based on national record store reports. The chart refl9Cts initial and consequent sales impact and is

compifed from monthly data. Numbers in par路 entheses indicate last month's position.

CIRCUSl17

You can't ignore the continuing efforts of " HBO. " " Showtime " and ·'MTV. " " MTV, " whose approach is based very much on rock radio's, oHers a variety of favorite artists in video clips . In addition. it presen ts concert specials (some live), artist interviews and films . all hosted by a regu lar cast of VJs or Video DJ s. Though sitting through the same video clips several times can get boring, keep in mind that MTV is the only 24-hour. seven-day-a-week video music service .

Another positive note about MTV is the concern about the sound quality. (It broadcasts in stereo.) What's wrong with MTV is that the host VJs often don 't seem to relate 10 the music with a great deal of feeling or comfort. It seems that a looser, more musically knowledgeable approach is called lor.

Among the best rock video clips these days are those produced for the J. Geils Band . particularly "Centerfold ."

Surprisingly. it's very much a family production. produced by Paul Justman, brother of the band's keyboard and stud io wi z, Seth Ju stman. Paul's role is hardly the result of nepotism. His credits include videos with the Cars and Ric k Springf ield in addition to film credi ts Iha t include work with the Rolling Stones .

Two new programs to keep an eye out lor are a half·hour music magazine. " Backstage Pass " and the interview series ··Rock·On-TV. " whose guests

VIDEO·ACTIVE What's new in music video

J . Geils Sand

Frank Zappa

RoCk music is exploding all over the video screen these days primarily because of a growing number of cable television out leiS. One of the best mUSIC series bei ng offered is "Night Flight:' which features a variety of music-related subjects offered in an atmosphere of real appreciation lor rock music and the people who make it. Recent features and films have included Neil Young . the Doors. John Lennon and Jimi Hendrix.

Also. regular features "Take Off " and " New Wave Theatre" are well worth checking out. Dan ', be surprised to find " Night Flight"' include an occasional taste of jazz , blues and more esoteric musical form s.

include Fran k Zappa , Ozzy Osbourne and the Police ..... As local record stores fast become video oullets as well , a question : Why do most rock videos cost so much? Do companies expect fans to rush out to buy their artists' videos when they cost $70 or S80? The answer in most cases is no. and these companies had better start realizing thai given the choice between 10 new album s or one video . odds are the records will win out every time.

- Oems McNamara, coordmated by Rosie Pisano

QUESTIONNAIRE Send to : Denis McNamara c 0 Circus Magazine 419 Park Avenue South New York . NY 10016 Favorite video clips. concerts and artists: 1. _ _ _ _ _ _ _ _ _ __

2. _ _ _ _ _ _ _ _ __

3. _ _ _ _ _ _ _ _ _ __ I see most of my rock video on : a) Television _ _ _ _ _ _ (name show) b) Clubs (name club) c) Olher _ _ _ _ _ _ _ _ _ _ __ Name _ _ _ _ _ _ _ _ _ _ __ Address _ _ _ _ _ _ _ _ _ _ __

~~f,t!s~u~!!'!! ~!'!!/'I~rn~~~! g'ir~~~ r {r ""J teaches you the exact licks of today's most popular guitarists.

The Star licks· lead gUllar serIes currently fC>rllures Ihf' top names In contem porary rOCk. JdlZ and co~ntry gUl trlr N ames like Eddie Van

H a len, Jimmy Page, Jim; H endrix and Angus Young . Each qUltarlst comes completc wl [h hIS own Star lICk.;;· casseue and accompanyIng gUliar manual Each casselle package contaIns 20 of the artist's honest. {as!Jesl. most versa(llc licks. compIled from a scle([Jon o f licks spannIng the af{Jst's [0 da te W e carefully lake you step by step thro ugh each lICk Evcry lick IS p layed tWice, once regularly ancl once slowly

entJre career

Yo ur accom panying Star licks I' gUitar manual comes complete with easy to follow diagrams which cOffespond exaclly [0 your Star lIC ks'" casselte. Each diagram prOVides you wl(h [he preose fInger. fr et and sUing location o f every note In Ihe lick W e Include and diagram ctny bends or speoal lechnlQue when usecl dUTIng the lick We also Include the melodIc f1otdlJon dlreCily above each correspondIng diagram.

Choose one. two. or any comf)lna lJon o f gUJlafJSts you deCIde on (he package (ha t fJ\ s your needs and desIres

-::

Why was(e your (Ime on boring lessons and exeroses when. for less {han the cost of a Single gUllar lesson. you can learn 20 o f your favorne a([Jsl's las!Jesl. most versaUle licks

h

v

The Star lICks · lead GUilar Series currenlly Includes (he gUHarlsls hSled below Please check [he box nexi to the gUlro:lnst{s) you want to receIve. (hen carefully fill o ut amI mall Ihe accompanying order form l)

D D

o D D

Slill licks ' lee Ritenour Sial lICks' George Benson

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licks ' licks ' licks ' licks ·

h ROCK Jeff Beck ~ D Eric Clapton D Eddie Van H alen J 0 Edd ie Van H alen 1/ 0

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COUNTRY

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Sherman Oaks, CA 91413 (Canadian reSidents add S200 per casselle I

Please send the Slar lICks· cassette/sl r h<'lve h che<ked al S9 95 per afllSllO ~

t}

licks' Albert lee

Y" Buy any 3 gUitansl s and gel a fourth one of you r chOICe Just check a fOUrlh box {only Include payment for 31 Y" Total amount enclosed S

Send coupon Wllh full payment In form of check 01 money order 10 ~ Star Llcks ~ P.O. 80x 551.

1).

Jimmy Page Jimi H endrix Angus Young Michael SChenker Randy Rhoads

{No of orders

x

City Siale _ _ _ _ _ _ _ _ _ Z,p _ _ _ __

CIRCUS 19

archetypical lean, t'ithe rock star II la Bowie or Jagger, "Bu t sometimes I lake people through my house and ask them if they want 10 see the costumes-t've still got them all-and some of them I cannot believe that I wore, I looked like Diana Ross in Mahogany' And the shoes! I could build a national park with the trees that have been chopped down to provide heels for my shoes," Ellon is in Ihe midsl of his big U,S, tour, which began in Denver on June 10,

Push comes to shove for Jett !

Freddie Mercury getting worked on. Th e sleeve to Queen 's "Body Language has som e record retailers upset.

Queen wipes out Bowie t Once again, English supergroup Qu een has a problem with its record sleeve, In 1978, when Ihe band released its Jazz album, included in Ihe album package was a posler of nude women riding bicycles for the single, "Bicycle Race ," Some record dealers complained , so another album was released withoul Ihe posler, and dealers had their choice, Now, Queen's single, "Body Language," from the Hot Space album, has some retailers up in arms about the sleeve, which shows an undressed couple about to make love. Once again, another sleeve has been made available : This time , it's just plain white, As lor those rumors that David Bowie removed his song from the Hot Space album , here's the story: When Bowie went into the studio with Queen to record "Under Pressure," he also did vocals for another song, "Cool Cat. " But when he heard Ihe way it sounded, he decided that he didn 'l like it, so he asked Queen 10 remove the song from Hot Space, Instead, Queen erased Bowie's voice.

20 CIRCUS

R

Who on borrowed time In London recently, Who lead guitarist Peter Townshend said that even though the group is in the studio and faces Ihe next 18 months of hard work , "I think there is now a forseeable limit to the amount of lime that the Who will continue in the shape Ihat we're in at the moment. We haven't made any conscious decision on thai score. but we have definitely decided that Ihis year wil l be a long , concentraled period of work , "But despite all Ihe very positive th ings," Townshend continued , "I do gel the feeling that it is a last wallz in a sense, We won 't be able to put in eighteen months of solid work on the band all Ihat often, And it won 't work with any less,"

Despite her recenl huge #1 hit, "I Love Rock 'N' Roll," Joan Jell says Ihat "Now's Ihe time I have to start working, I thoughl it was going to get easier, but I guess it doesn't.

You 're always doing something every day, But I like to work, If I have more Ihan a week off, I go crazy, I have to get back on Ihe road , "I never knew if I was a weirdo , wanting 10 play electric guitar," she continues. "No girls played electric guitar, Joni Mitchell played acoustic guitar, bul it wasn 't the same, Then I heard Suzi Quatro , and when she came over from England in the early seventies , I went to see her in concert. She was racing around the stage with an electric bass, and I thought Ihal Ihis was what I had envisioned myself doing," Joan adds thai she's been noticing lately Ihal "there are a lot of girls who come to my shows and push guys out of Ihe way to get to the fronl of the stage, They're real ly inlo it, very aggressive, and that was somelhing I hadn'l seen before, I don't know, while I was off touring and playing Bad Reputation , it seemed as Ihough the whole world changed," Even though she's had a #-1 hit, life ;s

no easier (or Joan Jeff. In , fact, she says. RNow 's the time I have to start working.

R

Elton: Clothes make the man Elton John was in New York City recently for an appearance on "Saturday Nighl Live, " and he said this about his flam boyan I onstage image: ''I've always tried to be a little humorous with my clolhes on stage, because I wasn 'l the

â&#x20AC;˘

â&#x20AC;˘

Discover Heart allover again.

"Private Audition:' Heart the way you like it.

An all-new album of everything that Heart does better than anyone else.

HEART. "PRIViITE AUDITION:' INCLUDING THE SMASH HIT, "THIS MAN IS MINE' THIS ONE'S FOR YOU. ON EPIC RECORDS AND TAPES .

Produced by Connie and Howie. Management : Ken Kinnear. "Epic" is a t rademarit 01 CBS loc.

• ,-.~ •

by Steven Dean Pastis WORD FIND RULES

The words or names corresponding to the numbered clues have been hidden in the jumbled letters given. The words are vertical , horizon tal or diago nal. and are sometimes even backward .

CLUES 1_ Did Get Lucky

2 _

Hatchet

L N B 0 M 0

ANSWERS FROM LAST ISSUE

V H A P

L L Y E B E

8 CHIPMUNK (e IRS-CSR 1) 9 PINUPS (C6R6-C6R 1) 10 APPLE (C6A7-C2R3) 11. TEENS (C3 R l-C7R S) 12 SHAKE (Ct R7-GSR?) 13 WALSH

1. - 5 PERRY

(C5A2-C 1R2)

SCHON

E S V L X N A A

(C 1R7-C 1R 3) VALQRY (C3R8 -CBRS) SMITH

L E E E F R C R

CAIN (C2R8-C5R5)

(C6Rl-C2Rl )

(C8R6·C8R2 )

6. SQUEEZE

A F 0 W R Y A T

S S A B B Y

N

14 CHEC KER (C2 R8-C2R2)

(C8R3-C 2A3) 7 JEEP (C3R5-C6R2)

(Note: To use thi s answer key. the leiter C" refers to the numbers on vertical columns. " R" refers to the horizontal rows.)

c

L E Y M 0 0 N R

E B L M E R R Y

3_ Dear_ 4. Talking Heads ' David 5 _ Freeze-_

6_ _ Christmas 7_ Genesis Album 8_ Obsolete Ford Car 9_ Four-string Guitar 10_

o

12.

Rush Members 13_ Clark or Rogers

14 _ King _ VI 15 _ Neato 16_ Burton Cummings Movie or a -60s

singer

See Next Issue for Answers

C

C

V

A

L

0

R

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• Under 15 pounds • Twin osci llator lead voice • Full synthesizer modulations and effects • Complete polyphonic capability • Remote synthesizer interfacing

VoI\\~ ~ ®, If;:,U~ ~~. \b ~ ~ ~\\e s~n\heS\Ze\' ,he ,.. ,0 -T"'-"'V"'~~JY'Y1"""""® r ~

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2500 Wa I::t:::., Buffal o, NY 14225 Moog c/o Waa ltla. en Z Z 48 . 3088 H J ROllerdam . TM Nettle.lanas

The Destroyer, the Iceman, the Rocket Roll. th eir sparkling finishes and bold beauty beat hearts of true beasts, They growl with the awesome power of V-2 pickups. They stand solid wi th stability of gibraltar hardware. They flash with the speed of slim maple necks. Play an Ibanez Destroyer, Iceman or Rocket Roll-they're made for the beast in you.

ToIIIOIliOW'S

Name In &uItan.

F ..... ... 11 colo, c .. ,.I09"'''<! $ :;>.00 ' 0 18AN ÂŁZ 0.1>' e M P.O. 80. 4 6 9 S- ... Ie," . PA . 19020 3:>1 B,o.d", .. v . ..... 110 F ..Us, 10. 1134 01 In C ......... a 635:. P .. ,1o. A~" Mo<>" .... " , 0 R2 V 4H 5

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(Above) Steve Howe, Geoff Downes and John WeNon brought the Asia show to a climax with ,,;Heat of the Moment. ~

album plus two new ones to a very receptive crowd.

Dressed in all-white outfits right down to their shoes, they were flanked by a stage setup designed for maximum workability. At center stage with an elaborate drum kit sat Palmer. his initials emblazoned on hiS bass drums and a fi ery drRnon

by Steve Weitzman on each of two gongs. Elghl leet above him and slightly behind. supported by a huge cross-stage platform. was an immense array of keyboard equipment and synthesizers arranged in a semi-circle for Downes. With five banks of instruments featuring more than thirteen manuals. it resembled the inside 01 a spaceship. Completing the stage arrangement. on Palmers left and right respectively. stood Wetton and Howe. both with footboards al Ihe base 01 Iheir mike stands . The band 's onstaqe lights- 1S mu lti-colored spots on each I side-were built Into the high rigging.

Kicking off the show with "Time Again ." a straight ahead rocker featuring a charged-up Steve Howe guitar break and Palmers familiar chugging drums. Ihey followed with "One Slep Closer. " After another song from the album. "Without You ," the band gave Howe the stage for a solo acoustic guitar segment in which he played Ihe old Yes lava rile "The Clap " as well as snalches of a ro ugh but high -powered set, "Starship Trooper ' and other pieces.

(L. 路r,) Ho we . Do wn es. Palmer, Wetto n . " Midnight Sun." as yet unrecorded . saw the entire band joining Downes on his platform , as the major part of AS THE FOUR MEN OF Asia instrumental hooks . the song was an interesting were about to take the stage at New To the quickly swelling ranks of syn thesizer quartet. After "Only Time York's Palladium for what guitarist Asia fans , it doesn 't seem to matter Wi ll Tell.路路 Asia performed their Steve Howe would tell the sold- out that the band's vision is not a second unrecorded track. a ballad house was only their ninth show strikingly original one. In some called "The Smile Has Left Your ever, respected radio consultant respects . Asia are to the early 'SOs Eyes." On "Cutting It Fine." Ihe Danny Somach gushed , "This band what Yes and ELP were to the early band. belying its virtuosity, played is going to be one of the big ones.

70s. and a generation of record sparingly whi le taped synthesizers.

You wa tch ," buyers has come and gone in the horn parts and drum box pounded And why not? The latest in a long meantime . line of "supergroups," Asia boast two Irom Ihe PA. Carl Palmer didn't When Asia succeed artistically on ex-members of Yes (Howe and seem to know what to do with songs like "Only Ti me Will Tell. " keyboard is! Geoffrey Downes ). one himself during the taped drum part; "Here Comes the Feeling " and "Heat from Emerson Lake & Palmer during part of it he sat motionless at of the Moment. " it is due to their (drummer Carl Palmer) and John his kit. ability to come up wilh a melody thai Wetton, former bassist and vocalist But Palmer got his showcase on sounds both fam iliar and original at of King Crimson. They play the powerful "Here Comes the the same tim e. And it goes without progressive rock in the mold of Yes Feeling" with a spectacular drum saying th ai they can play their and ELP. but do it in a more solo in which he re-created the instruments. But when the band tails pared-down way. Asia songs are song 's melody line on percussion, in its attempt at a new rock perfecl fodder for both AM and FM : synthesis, it is primarily due to the not an easy endeavor. The audience four-Io five-minute bursts of virtuosity however. showered him with the fact that. while Asia are unarguably a heavily laden with vocal and biggest ovation when he ripped off supergroup in personnel. nune of the members was really the spirit of the hiS shirt and smashed his gongs as his drum platform began revolving on band he was previously in.

Asia 's Carl Palmer has stripped down its axis. "Sole Survivor' closed the At their New York showcase, Asia his drum kit since ELP days , but not regular se t. Howe tossing in a biting played all nine songs on their debul his energy quotient.

On maiden tour, Asia t fire at other

CIRCUS 25

guitar soto-with the otd wah-wah pedal!-just before the final verse .

For all his interest in electronics.

Steve Howe does not use a guitar synthesizer. The prohibitive cost (many thousands of dollars) of a synthesizer th at wou td be compatibte with his array of Gibson guitars IS the reason .

"The fantasy continues about the wealth 01 musicians."' the fair-hai red guitarist said , "but rea lly. it's all a fall acy. Well , it's not all a fallacy," he laughed , "but it's out of proportion, The only thing we've spent thai much money for is scenery."

Asia encored with an extended version of the Wetton Downespenned "Heat of the Moment. " their biggest hit and possibly their most representative song. At its conclusion , Wetton strode to the mike and told the cro wd , "'Th ank you. That's it." The others joined him in their matching white s and took a bow. Asia concert #9 was history.

â&#x20AC;˘ THE POLICE CONCLUDED their extensive '81- '82 Ghost in the M achine tou r with four major shows in the New York area and a party honoring the band at Studio 54 . On the evening before the first of three Meadowlands Arena dates , Sting , Summers and Copeland look In a Toots and the Maytals perform ance at the Ritz , and with the rest 01 the crowd witnessed a surprise guest appearan ce by Ro lling Stones guitari st Ronnie Wood during a long sIx- song encore.

The Police hung around for a bit. socializing in the upstairs area .

Someone mentioned to Sting that "Woody will play with anybody," and ever the troublemaker, the Police bassist humorously jibed, "And he doesn't play fuck-all , either!"

Andy Summers talked about his plans following Ihe end of the tour.

"Robert Fripp and I still have about two weeks of recording to finish up on an album we 're doing together.

We started it just before the tour and now we'll be able to lin ish It. I'd like to play some small gigs with him In clubs when the record comes out. too ," he added . At the lasl Meadowlands date, Sting , Andy and Stewart Copeland brought opener Black Uhuru 's three vocalists on stage for an exhilarating Jam on "So Lonely." "That was really a Ihrill lor us," Sting said la ter.

And for the audience . too .

Proouced by Frankie Suil lyan and Jim Peter ik ' ''Rocky I"" :f MCMLXXX II United Art ists Corporation. ()stn ooted CBS Rec ords 10 1982 CBS Inc .

26 CIRCUS

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Cream were among the most importanl musical entities of the late '60s, They expanded the traditional boundaries of the pop group into a powerful triumvirate where the bass and drums joined the guitar as solo instruments.

BUI Iheir adventurousness inadvertently resulted in problems. Like the branches of a tree. Ihe three members-Eric Clapton, Jack Bruce and Ginger Baker-either got entangled (ego) or branched out too far, particularly on stage. where each virtuoso often wandered off in to his own universe entirely, Yet in the hands of such masters, when the power trio worked, it worked like magic, Sometimes they'd stumble in to trouble and flail madly for several bars, making you think they'd never get out alive.

Then one of them would kick into a remarkable passage and the other two would rush back to greet him. Like the old joke about the perverse pleasures of banging your head against a wall- it feels so good when you stop-i t could be exhilarating.

Cream introduced the supergroup to rock & roll. since then a long-dead concept recently revived by the band Asia , When they formed in 1966, though . only Clapton had a reputation , built upon his years as guitarist for the Yard birds and John Mayall. Bassist Bruce had played with Manfred Mann and the Graham Bond Organization, as did drummer Baker.

Although undeHecognized in their native U.K., Cream achieved instan t fame In the U.S, with their first two albums.

Fresh Cream featured several good originals but mostly impassioned renditions of blues treasures like Skip James's ''I'm So Glad" and Muddy Waters's "Rollin ' and Tumblin'," Capping the LP was "Toad ," Baker's revolutionary drum solo tha t booted the Surfaris' "Wipeout " into a permanent backseat and became the prototype for drummers 01 that decade, Late '67's Disraell Gears was more poppy and aCId-Infused. and mUSIcally less successful. but did eventually produce Cream 'S first Top 10 hit. "Sunshrne of Your Love ."

Their acclaim grew. and word wa s that the next album- a two-record set. a rarity In those days-would be the creme de la Cream. Out in July. Wheels of Fife hit 111 lor all of August. and "Sunshine. "

Cream : Rock 's supergroup didn 't last very long: they broke up at the height of their fame in 1968. which had inilially floundered upon ils release. was revived and wenl 10 #5, For its concerts the band couldn 't sell tickets fast enough. Cream were going to be the monster act of the year, But Eric Claplon was unhappy. espeCIally with his mandatory lead role . which on drawn-out selections like "Spoonful" would force him to solo contInuously for 15 minutes while Bruce and Baker- running taps on his two bass drum pedals- set up a din behind him.

The freedom was proving suffocating, and amid mounting tensions Clapton decided Cream had gone as far as they could .

The inevitable breakup was announced

by Clapton (who told the press the trio had "lost direction" and had undergone "a change in altitudes among oursetves") just as Wheels was climbing the charts , They remained together temporarily, enjoying two posthumous hits. "White Room " and "Badge," and made a farewell tour of the States in the fall . On November 26. 1968. at London 's Royal Albert Hall. they gave their final performance. as fans shouted out. "God save the Cream'" Of the three. Clapton by far has had the most successful solo career. although. ironically. it's come tess from his abilities as a gui tarist than from his much-improved ta lents as a singer and composer. As he must have learned in Cream , what you play is often more important than how you play it.

-Philip Bashe

Recommended LPs : Fresh Cream (1967) /Atco Disraell Gears (1967)/Atco Wheels of Fire (1968) /Atco Goodbye (1 969) /A1CO Live Cream (1970)/Atco

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;-'

A decade of rock's biggest stars

by George Arthur, Phil Bashe & Richard Hogan

he on ly co nstan ts in the world of roc k & roll are cha nge a nd th e fans who fu el its fi res.

Some pe rfor m ers are consumed by t heir own names; others, li ke the ever-durable Rolling Stones, a re a con ti nu in g sou rce of energy. Hits come a nd go, styles go in an d out of fash ion, but t he mu s ic and you , t he fa ns, rema in .

Every mon th t housands of you wri te to find out about favo rite ba nds and a rtists, to ask fo r fu rther coverage of particu la r roc k & ro ll ers. Th is time it's you r tu r n. Based on you r q uestionna ires and t he lo ng history of the Ci rcus Magaz ine Reade rs' Po il , we've a ssembled a spec ia l ed ition covering rock's most endu ri ng performers.

In going ove r poll s-a nd lists, some t hings we've all known were confi rmed, but there were s urprises, too, including a broad inte rest in grou ps that have sat out pa rts of the past decade. acts t hat ra rely tour or that have shown a wi ll ful (or occasiona lly, trag iC> absence from th e cha r t wars. Along wit h the current cha mpi ons of t he a ren a circui t , t hese are t he bands who've made a s pec ia l impact.

T

â&#x20AC;˘ Journey's Escape to stardom ~ For Journ ey, the n ine-year rock odyssey t hat's taken t he ba nd to th e top of t he charts has been a trip worth taking. From its debut on the stage of Sa n Francisco's legendary Winterl and Ball room to its lo ng lease on t he # I a lbu m s lot with Escape <Co lu mbia ) duri ng mu ch of last yea r, J ourney has hel ped write "'fi n is" to the 1970s' li ngering love a ffai r with '60s-sty le I'Ock, a nd has bee n instrumc nta l in s hapi ng th is decade's vers ion of mus ica l supcrstardom.

The qui ntet, fronted by s inger Steve Perry, has proven the very mode l of t he contempora ry roc k mach inc--practica l, efficien t and hard-wor ki ng. "' Faceless" a nd "'calcu lating," say the group's cri ti cs.

But t hose a re jibes diflic ult to hear above t he roa r of a pprova l generated by cight a lbu ms <i ncluding pla tin um discs Infin it)' and E volution } and in countless mi les of conti nent-hoppi ng tou rs.

30 CIRCUS

J ourney h it Iht! /( 1) 1(1.';[ yt>(Jr willi ' /':.<;t¡ape: whkh became Iheir fir.; / # 1 1.1>'

(;" ilar;:)1 Set" Sch Oll was (l YOllng phCIlO11l wli cll lit! juilled SCllltCllla II dccade ago, H e W(/.~ OtH'e offer ed CI gi.q hy f .:r ic: ClClpwn .

READERS' CHOICE 1972-1982

Ex-Baby Jonathall Cain ( r. ) joined S teve Perry and Journey last year, giVirlg the group yet allother sOllgwritillg talcllt.

CIRCU$I31

) J

I ~

Fronted by lJavid /loth and Eddie l'tm lIalen. Vall Hale"

Van Halenizing the rock world I With its new version of Roy Orbison's "(Oh) Pretty Woman ," Va n Ha len has returned to the recording st rategy whic h fi rst la unched these sout her n California metal路meisters.

It was t he band's super-charged rema ke of t he Kink s' classic "You Rea ll y Got Me" t hat tagged it as the big new noise on t he a rena ci rcuit.

Va n Halen. t he n as now gu ita rist Edd ie Van Ha len, drummer Al ex Va n Hale n, bassist Michael Anthony

32 CIRCUS

" a.~

revived its old recording strategy on 'J); ver

a nd voca list David Lee Roth, had been raising the roof without benefit of a record ing contract for some t ime. With its signing by Wa rner Bros., t he group began a worldwide ca mpaign for the revi talization of high-energy America n rock & roll.

It's a crusade the quartet's ceaselessly pursued ever since. "Van Halen is not a n act; we a re the way we look. Playi ng rock & roll is our license to li ve out our wi ldest fa ntasies," Rot h emphatically main tai ns. And in the four years since the ba nd 's emergence, Va n

READERS' CHOICE 1972-1982

J)OlOlI ' ,

Halen has li ved out its fa ntasies on thousa nds of a rena stages, surrounded by thousa nds of Va n Halenized fa ns.

Their previous LP, Fair Warning , suffered a nemi c sales, but for thei r followers t he current Diver Down is a return to na mboyant form. In between LPs, Eddi e Va n Halen was proclaimed th e "best gu itarist" in this yea r 's Circus MagazinelShure Readers' Poll . He a lso took time out to get married, wedding Valerie Bertinell i, sta r of TV's "One Day a t a TIme."

AC/DC won't short out ~ In th e course of its six-year climb to international stardom, ACfDC has been nobody's favorite child . obody, that is, except for the millions who've snapped up albums like 1980's Back in Black or the current For Those About to R ock We Salute You (Atla ntic). Or the high-spirited crowds who have vibrated arenas around the world as they roar th eir approval of the high-decibel heavy- metal assau lt that is ACIDC's most powc r-ful weapon in the fight

for recogn itio n.

Ridiculed by critics, once ignored

by rock radio, sha ken by the tragic death of vocali st Bon Scott in February 1980 , t he ba nd 's road to stardom has at ti mes seemed- as the title of their 1979 LP had it-a "highway to hell." Originall y Austral ian-based, ACIDC 's ini tial U.S. exposure came in 1976 with the Atco release of H igh Voltage.

Thei r fi rst Am erican tour came the next yeal; a nd Angus Young's brilliant stage persona sent the fans home raving about the "schoolboy" guitari st of uns urpassed energy a nd power. The student un iform-shorts, satchel, blazel; tie and cap-was "originally a one路off thing," Angu s reca lled. "The idea was to become a nine路year路old virtuoso who'd play one g ig, knock everyone out and disappear." Now, the hi gh-voltage guitarist sometimes comp la ins, "I'm stuck with it."

Angus a nd older broth er Ma lcolm , the second ACIDC guitar, with bassist ClifT Wi llia ms, drumm er Phil Rudd and the band's new voice Brian Johnson, have continued doing what comes natura lly-ta king the Anglo blues t radition in to the '80s harder, louder and more emphatica ll y than any prev ious ex ponents have dared to.

J.t( ACIDC a Hham or a bold leap ill to hea vier lIIe tal? (F roll t) .4119 /1x }(UW9: (rear) BOil Scott . who died ill 1980.

READERS' CHOICE 1972-1 982

CIRCU $J33

I

recordings has served as a school at which most co ntemporary rockers have studied. And their sty le a nd character has transformed popul a r culture a nd the worl d's perception of rock & ro ll and of the people who create a nd listen to it.

Most of the 1960s, and no less the '70s, would be impossible to imagine 3 without the looming presence of the ~ group. 1b know the history of Mick <r J agger, Keith Richards, Bill Wyman , Ron Wood a nd Charlie Watts is to ... know the history of much more. In an extraordinary way, the Stones through the decades have reflected the experiences of their fans and of f~' U) pili fi reu}()rks iI/to coltcert rock the music they love. durillg 1I /011,9 10ur;lIg tel/li re . (/j, -r,) (.'reg As the '80s got under way, their l.Alke: Carl Palmer. II0U; (dill ,'\.芦;0: n eilh E'l1ll'rsOIl . massive U.S. tour of last year brought the compl ex story up to date. The Stones have ma tured No end yet to ELP without growing stale; still story 1 delighting, still surprising despite a When Keith Emerson of the Nice familiarity built upon two decades and Greg Lake of King Crimson of superstardom. They've encored banded together in 1970, they lured this year with a European tour, drummer Carl Palmer from Atomic beginning with a June 26 London Rooster and formed what would concert, and with a live Rolli ng become the biggest progressive rock Stones Records album , Still Life, gro up of the next half-decade. Along culled from the North American with Deep Purple, ELP blazed a performances of last yea r. As trail a ll other a rena acts had to always, the Rolling Stones wi ll measure up to, [01' their so und a nd write the next chapter of their saga elaborate visuals made th em t he in their own words. The rest of us Ringli ng Brothers of classical rock. can onl y marvel a nd enjoy.

Emerso n Lake & Palmer split quietly in 1979. leaving a wake of scarred pianos and em pty Courvoisier bottles. Even apart, members of the trio continue to score in the annual Ci rcus Magazine Readers' Poll. Soundtrack composer Emerson recently joined Pat 'Itavers for a one-off concert. Greg La ke has a new band, while Carl Palmer is one-fou rth of Asia. "Shame that ELP broke up, but that happens." says Carl. "And I really don 't want to live on my credits." Nevertheless, a n ELP videocassette is in the works; it contains hi storic concert footage compl ete with knife-tossing, a revolving airborne piano, and the 70- piece orchestra whose sala ri es drove ELP into the red in 1977.

j

Rolling Stones mirror a decade It's nea rl y impossible to exaggerate the impact of the Rolling Stones. Like a mere ha ndful of performers-i n rock. only' the names Presley a nd the Beatles come to mind"":"-this band ha s put its stamp on and given shape to an entire era. The Stones' catalogue of 34 CIRCUS

The Siunes' .Uick Jagger: # / .llale l 'Q('a li.~ t with Circus Jl!aga: ine readers.

READERS' CHOICE 1972-1982

.llears ur vapid bill sm 路ce.'I,.'I,rul ret路twd.'I,. Rod S lt'u'urt m ade artistic ('omeback Leith / .981'.'1, ''1blligM I'm H.IIInI.路

tit/

Rod Stewart comes back at full speed 1

,

A yea r ago, ma ny were ready to write ofT Rod Stewart, who for years had been one of rock's most gifted voca lists. Beginning with the album A Night 011 the ThwII ([976), the cover of which portrayed him as a sort of pop Maurice Chevalier-a prophetic image-Stewart produced a string of vapid but commercially successful records. By the time of the di sco vamp "Da Ya Thi nk I'm Sexy?," he seemed self-absorbed in his jet-set, playboy lifestyle. and squandered his finest a rtistic trait: his abili ty to make you ca re about the people in his songs, like the young pup in his classic "Maggie May." But with last year's 7bllig ht I'm Yours (Wa rner Bros.), Stewart. recaptured t he quality of t he LPs he made during the earl y '70s as both a solo altist and as lead singer for t he Faces. (He dropped his dual caree r in '76, at th e same time curta iling his so ngwriting partnership with RDn Wood , The rockers rocked, the ballads were se nsitive a nd, as in the old days, his choi ces of outside material became h is own.

Stewart himself acknowledges that he veered off course during the latter part of t he '70s, the influence, he clai ms, of his ex-companion, Britt Ekland. Whatever the reason, it's nice to have him back.

Ozzy's Blizzard keeps blowing As Blac k Sabbath's front ma n till

1979, Osbourne was one of the first roc k singe rs to link a n image of Satanic power with t he gutwrenching kick of the music he perform ed. Ozzy sa ng on Sabbath's seve n gold LPs. creati ng s uch standa rds as "Pa rano id" a nd "'War Pigs," but na rcoti cs a nd liqu or too k their toll upon I-lis Ozzness. He quit the Sabs, a nd after a s hort layoff started Blizza rd of 07.Z with Bob Dai sley. Lee Kers la kc a nd the la te Randy Rhoads.

Althoug h plagued by problems including la ryngitis a nd a n April di vorce from hi s wi fe Thelma,

Osbourne's shown an a lmost vaudevi ll ca n zea l as a trouper. The Ozz took his Diary of a Ma dman tour spectacle through Am erica fo r six months in '82, making up lost da tes in May a nd June with temp guita ri st Brad Gilli s. Now, J et Records is m;wkl'ling a picture di sc EP, M,: Crowley Live, th e only record tha t Ozzy's 198 1 touring band (fea tur ing Rh oad s. Rudy Sa rzo, 1bmmy Aldrid 'e a nd Lindsay Bridgewater) ever made. "Th at was the first rea l road show I pu t together myself," notes Osbourne, who a t press ti me wa s still see king a full-time replacement fo r Rh oads to join Aldridge, Sarzo a nd keyboardi st Don Airey in hi s current lineup. They hope to reco rd two new studio LPs in the fall.

John .lfichael Osbollrtle: "Just your gardelf l.:ariety ",admol/ ." says m:q(lIIist DmlUld Airey .

READERS' CHOICE 1972-1982

CIRCUS 35

Blondie continues the hunt !

Since the 1976 release of Blondie's debut LP on the now-defunct Private lock label. there's been one aspect of the band that's never been in doubt; its collective smarts. From ea rl y days as part of New York 's mid -'70s unde rgrou nd rock scene, it seemed clear t hat if Blondie we re to get t hat shot at success the group wouldn 't blow it. Stardom eve ntua ll y ca me-along with perso nn el and musical cha nges, a contract with Chrysa lis a nd b1'f udging accepta nce by t he same Manhattan critics who'd once brushed the band ofT. Ch ri s Stein and DebOl'ah Harry have used the leverage of s uccess to purs ue interests a nd activities as di verse as film . video production, photography and book pu bl ishi ng.

Occasionally, as with this year's The ~ H unter. they and the rest of the Th e death of Joh" !louham put fut ll r e lip band eve n take some time out to recorded 'Death U1.~/t /I ': !lobert Plallt (/.) ha~ j u~ t takell th e SQ/o LI') route, make mu sic. Now the big question is whethe r Blondie (no fan s of road Led Zeppelin: Does the fans were undaunted, and Zep's work ) will to ur the States for the past hold promise? 1 first time in three years. The odds popularity increased even as t heir seem good t hat the tour will A decade ago, Lcd Ze ppelin outpu t decreased.

In fa ll 1980, rumors new that the ha ppen. openly bega n to t hreaten t he gro up was about to plan its first Rollin g Stoncs' clai m to the title of massive tou r since 1977 (cut short World 's Greatest Rock & Roll Band. beca use of th e death of Robert They'd just re leased their fourth Plant's young son, Ka rac), But on al bum (whic h has since become Septembe r 25, drummer J ohn known as the MZOSo" LP), a nd with Bonham was found dead at Jimmy it forced the press-whi ch had Page's Windsor home after a night disparaged them si nce the very of heavy drinking. He was 32. beginning- to ack nowl edge their Since t hen there has been much stature, if not their achievements. speculation as to what Page, Plant In 1973 they put out the hi ghl y a nd John Paul Jones will do. A eclectic HOllses of the Holy.

Although it was considered a press release issued a t the end of 1980 a mbiguously stated that they disappointment at the time could not cont inue as they were. (probably because it didn't contain a Did that mea n they'd reform under track as mome ntous as the previous di sc's ;,Stairway to Heaven," one of anot.her name? Disband compl etely? the classic songs of th e '70s), Houses Page a nd Plant did go into the sta nd s as one of their most st.udio with Chris Squire a nd Ala n White of Yes, the four ma king up interest ing effort s, al terna ting betwee n ha rd rock (" Da ncing Days") a n outfit called XYZ (which , tran slated, means ex- YeS/Zeppelin ), a nd more mcllinuous tracks like "The Rai n So ng. bu t then Page lost in terest.

Zep toured throughout most However, Robert Pla nt has recorded of '73, and ea rned a n incredi ble $30 a solo project in Wa les with hel p mi llion th at yea r from record a nd from Phil Colli ns of Genesis, a nd concert. sales.

Page wrolc a nd recorded the The last great Zeppe lin a lbum, marginally successful soundtrack to the two-record PhYS;(.'ll l Gmffiti <t.he the film Death Wish II. first on their own Swan Song labe)), Whatever banner they continue came out in '75, its centerpiece t.he under, Zeppelin fans are ready a nd hypnot.ic, ni ne-mi nutc-long waiting for the next step. ;' Kashmir." The ba nd recorded two (See Zeppelin poster); Robert Plallt studio LPs, Presence (1976 ), (<:t r. ), John. Bonham by R ichard other /Jebbie /lan'Y a"d IlItll/die " elped ItwJ>'{, and , after a th ree and a ha lf-year Kwasniewski (lower t. ) , J ohn Paul ' WI{} wa ve ('o/ll men:iaily ac('eptable. They J Olles by J effn'y Mayer (top l.), wait, 111 Through th e Out Door. broke i" 1.9i9 I('il" tlu' dance cut " /lead of (; I(t,~,.. , " Both were letdow ns mu sically, but J immy Page by Jeffrey Mayer (top r).

â&#x20AC;˘

J

36 CIRCUS

READERS' CHOICE 1972-1982

!

If Chris S /e;" (aoove) ;s I1lottdic's creative head. Debbie lIarry (/.) ;s the group's face.

BIoI/die (Debbie lIarry ami Ni,qe/ lIar,.;so fl above) will this year for th e first time ,";lIce Ja"uary 1980.

[011,-

Blondie make back tracks

by Philip Bashe

U

nclef norm a l circumstances, you'd have to call the Bowery club e8G8's a di ve. Dark a nd nan'ow, it's located in one of New York City's sea mi er sections.

Next door is the timeworn Palace Hotel, whose wi nos路 in-residence regularly cover the sidewalk.

But under the aegis of rock & roll CBGB's becomes as ha llowed. as Liverpool, England's Cavern clu b, long-time home of the Beatles in the early 1960s. Whi le it sti ll showcases original bands seven nights a week, CB's is an historical landmark of New York 's mid-'70s rock explosion.

Wa lk past the stage, down the hallway and past the cubicles that pass for dressing rooms, tU rn left, go down the stairs and you come to the famou s graffiti-covered rest room walls.

It would take an archaeologist years to locate the nam es of the groups from that era , since covered over by the names of the hundreds, probably thou sa nd s, of fled gling bands that have played there si nce. There were the Marbles, the Heartbreakers, Thlevision, the Ramones, Patti Smith , l lt lking Heads and Blondie. Some have disbanded; others sti ll kick around the circuit. The latter four made it; none, however, as big as Blondie.

In the half decade since they played steadil y at the club, Blondie have a massed four # 1 U.S. si ngles, a nd gold and platinum LPs throughout the world. At the time, though, of a ll the city's local ba nd s, they seemed the least likely to make it. "People wou ld la ugh at us," recalls Debora h Harry.

"They'd tell us to give it up."

As has become a pattern throughout thei r career, Blondie

a re havi ng the last laugh .

The group has reached a very comfortable plateau; you ng enough still to be considered fresh, old enough to have a sense of history. With its sixth album, The H unter (Ch rysalis), just out, as well as Making 'nnchs-The Rise of Blondie, a fascinating 192-page chronicle of the band's past, with text by Harry and photos by fellow founding member Chris Stein , it's defini te ly a ti me for refl ection. eborah Harry wa lks into her publicist's office dressed in black from her boots to her hat, which she takes ofT to reveal her hair, no longer blonde bu t brown . That she has a llowed it to return to its natura l color is but one symbol of her fame: It's something she probably would never have done in the earl y days of Blondie, whe n her trashqueen gla mour was the group's biggest calli ng card. It's also symbolic of Blondie's penchant for the unexpected: What could be more iconoclastic than to turn "Blondic" into a brownie? On a more practical level, it permits Ha rry to walk about New York with a minimum of hassles. That's a big consideration when you're as big a star as the Florida-born singer, who laughs out loud when she's referred to as roc k's answer to Jackie Onassis; a natura l target for the paparazzi.

Does she ever refl ect on how big it's gotten? "Yeah, sure."

And he r reaction? "Holy shit!"

Harry is by herself. Stein, her long-time roommate and lover, is secl uded in the studio. While you a lways hear that he's her Svengali and that she's helpless without him ,

D

CIRCUSl41

Deborah Harry is very much her own

person, although she does refer to Chris frequently while discussing Blondie's early days, which can seem more like five centuries ago than five years.

Blondie's first performance was at CBGB's in November 1974, the group consisting of Harry, Stein, bassist Fred Smith and drummer Clem Burke, a

fresh-faced 18-year-old who played with the flair of Keith Moon, dressed accordingly (a major factor in hi s selec-

tion) and who Harry credits as being extremely supportive during tough ~ times. "I was very young ,"

Burke

recalls while puffing on a cigarette, "and I was very keen on the whole

thing."

Burke's optimism was needed when

ie.g

!

Smith abandoned Blondie for rival band Thlevision. His replacement was

Gary Valentine. By the summer of '75 Ne w York boasted a mus ic "scene" that revolved around ca's. "There was this

nucleus of about one hundred people," explai ns Burke. "And so, when Blondie played, the audience would consist of Thlevision and the Ramones, and when

Blondie minus Nigel Harrison are (I.-r.) Clem Burke. Chris Stein. Debbie Harry, Fronk Infante and Jimmy Deslri.

laughs drily, "the whole 'Blondie is a

"The TIde Is High" and the rap cut,

group' identity crisis."

Their European popularity contributed to a further identity problem. "For a long time," says Burke, "everybody

"Rapture," came ofT their most adventurous LP to date, AutoA merican, an a lbum that was damned upon release.

Though the group did at times overex-

they played, we'd be in the audience."

After Patti Smith signed a dea l, record labels became aware of the music being played just a few blocks

thought we were British." The hits

tend itself, using orchestration and

were just barely covering expenses; whil e "Denis Denis" was topping the U.K . charts, the members were draw-

playing some decidedly non-rock styles, yo u had to admire its daring.

downtown from the ir offices, and Blon-

ing a meager $125 a week salary. "'

di e, now with a fifth member, key-

remember stay ing at the 1\-opicana Hotel in L.A .," says Burke, "where the

boardist Jimmy Destri , signed with Private Stock re<!ord s. Their music-

pop songs embellished by Destri's fu turistic instrumentation- was unlike anything on th e radio a t the time, and so it was to no one's surprise that the

first album went nowhere. "Frankly," admits Clem Burke, "' expected every Blondie record to wind up in the Woolworth's cut..()ut bins. I figured , 'Who's gonna buy this?' "

'n England they did . "Denis Denis," an oldie picked by Harry, who figured , "Ah ha! Here's a way to get onto U.S. radio," went to # I there. The States thought Blondie was a punk group and

group Angel were staying. Their lead singer would pull up in a new Corvette, and wp'd be sleeping two to a room even though we had these hits in Europe.'"

Even so, says Harry, it was "definitely a n 'up' period ," an op ini on shared by Harri son. "The spirit was incredible, because we knew it was just a matter of time."

That time ca me in spring 1979

thanks to "Heart of Glass," a last-ditch efTort to cull a si ngle from their third album , Pamllel Lines, after two previous 45 releases flopped. 'iYpical of

didn't want to know, a fact that makes Har ry laugh, because "The punks didn't want to have anything to do with us. That whole thing just astounded me ."

With Englishman Nigel Harrison in the lineup to replace Valentine, who

Blondie's records since, it was branded di sco at the time and went to # 1 amid cries of "sellout" from the group's fans.

"The backl ash we experienced from 'Heart of Glass' was just incredible,"

quit in July 1977, Blondie took ofT on a

oriented mu sic thing. Sometimes," he philosophi zes, "you have to be uncool to

four-month world tour. Europe was

particularly taken by Harry's look, a combination of Marilyn Monroe hair, pouty sullenness and anti-fashion fashion . Harry was becoming The Face,

says Burke, adjusting his dark glasses.

"It was the start of the whole dancebe cool."

Adds Harrison: "Blondie has a history of doing the ri ght thing at the wrong time."

and Private Stock seemed to go out of its way to rende r the other four facel ess, marketing a poster of Debbie in see-through blouse. Hence, Harrison 421CIRCUS

C

ertai nly that's been proven since. The ba nd's two #1 hi ts from last year, the reggae路 ish

Blondie could have put out another Pa rallel Lines; Perpendicular Lines, perhaps.

A utoA merican's new approach was the result of the band's decision to take itself ofT the road. Without havi ng to reproduce the music on stage, '"We decided to just go nuts in the studio," Harry explains. For the year and a half between that LP and The H un /er the band was fragme nted, and several members questioned th eir future, for Blondie seemed less like a group than a collective.

"But that's what it always was," insists Harry. "That was the idea."

There was validity to rumors of friction within the band caused by the notour policy. Burk e and Harriso n wanted to go out; Harry and Stein did not. In fact, wh en it's mentioned how they last performed in J anuary 1980 at London's Ha mmersmith Odeon, Harry frowns and asks if it was rea lly that long ago. "' hope not," she says.

But Blondie seem sure to tour thi s summer, and that, says Harrison, "can be taken as a sign that we'll be around for some time to come." "Good," cracks Clem. "' need the money."

All the members feel that the time ofT for solo LPs (from Harry and Destril and production work (Burke, Harri son and Stein) helped Blondie regai n their identity. And during the lull came Continued on page 45

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Continued (rom page 42 groups and records patterned after styles origina ted by Blondie, which, says Harrison, "helped OUT confidence, because it was like a seal of approval: We were right.

Des pite s uppo sed grumblings against the Harry-Stein power base, Burke and Harrison maintain all is calm within Blondie. and that each member accepts his role.

"Let's face it," says Burke. "When you have as strong a n image as Debbie Harry, and such strong so ngwriters as her and Chris, the way thi ngs are going to be delegated is just obvious."

"It's always going to be that way," agrees Harrison , who has two songs on The Hunter. "But when Debbie and Chris write a song, OUT personalities and styles are in their minds. It's not like, 'O.K., here's what we're doing.'''

"I think everybody in Blondie feels his input is esse ntia l," stresses Harry, "because it is. But you can't have a total democracy in a band, because then nothing ever gets done. Somebody has to accept responsibility," It

ha t somebody is usually Chris.

Jimmy Destri once laughed a t the fact that ma ny of the criticisms Stein took for AutoAmerican "were my ideas." And Debbie, whether her hair is blond, brown or purple, is always going to be the image of the group. Coping with her celebrity status is gradually becoming easier, although the articles in the papers and magazines can be maddening. One headlined its story: "5'3" ex-Playboy bunny Debbie Harry kicks drugs to lead rock's hottest new act."

"It's incredible, isn't it," she says ruefully. "At first it can be really upsetting. After a while you just don't care what they say about you ."

Harry a nd Blondie are now part of the mainstrea m, but things a re hardly sedate. "Certa inly there was more anxiety back then ," she says about the days when she earned more as a barmaid than as a lead singer. "But the problem now is to keep our ethics. And to keep inspired is a real challenge."

The way she deals with what she semi -jokingly calls her "twenty-fourhour-a-day job," knowing that in rock & roll five years is a long time in the spotlight , is to put everything in perspective.

"Success can give you freedom or it ca n tie you down. It depe nds upon how tightly you want to hold onto it. "if you can always say fuck it," she concludes while tugging a t her nonBlondie hair, which seems to declare just tha t, "you're better ofT." 0

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CIACUSl45

Pressure strikes Billy Squier

by Richard Hogan illy Squier stepped into the elevator as Rolling Stones Ron Wood and Charli e Watts stepped out. One fli ght down in the Power Station, Mic k J agge r was making his exit from t he plain·fronted Manh atta n building t hat houses the recording stud io.

With Watts and Wood on hand, the scene inside could have been one from the '60s. Squier, with his pu llover shirt, curl y brown ma ne and scrufly Clint Eastwood beard , fit the setti ng as well as the veteran British musicians did.

Although Billy Squier 's na me became a rock & roll household word less than a year ago, he's been plugging away at his trade since 1965. The similariti es between the songs he was crafting here in th e studi o and some of t he middle· period Beatles and Stones tunes he played for fun in hi gh school were unmistakable as his roughl y-mixed bac kin g trac ks howl ed from t he moni tors of Studio C. "The whole British music scene of the mid-sixties had a pretty profound effect on me," Squier admi ts. "It started with the Stones, the Who, th e Kinks and th e Beatles. British rock & roll became th e gospel for American kid s like me," Now, Billy Squier is taking t he gospel to Ameri ca and Europe, preaching his own rock sermons in sold-out con· certs from Reading, England to Read· ing, Pennsylvania. Squi er 's gone from guest-star billing on Alice Cooper's 1980 a udi to rium tout' to headline shows in San Francisco, Santa Monica and Detroit in a lit tl e over a year. He's a lso opened for such presti gious acts as J ourn ey, Foreigner and Pat Benatar on the big· league stadium circuit, A sum· mer· long tour with Queen in support of

B

lJilly Sq llier sltares lite .fJll ilar work witlt J eff roO/li b (insel . 1:)

46 CIRCUS

CIRCUSl 47

Though Squier has

110

live-in lady, I,;s liaisoll

Billy's new Capitol album , Emot.ions in Motion, promises to lift Squier over

t hat last obstacle to his own tour: In his words, "I've got to get some more exposure." He hopes to go to Australia and Japan with Queen this fall: "After that should be the time for me to headline." quier, best known for a brace of hits, "'I'he Stroke" and "In the Dark," hasn't always had such rosy prospects. Born May 12, 1950 to William and Pattie Squier of Wellesley HiHs, Massachusetts, Billy was one of seven children, and learned to fend for himself in hi gh school games of football and basketbal1. "I was always regarded as being better than ninety percent of the kids in ~90I ," Squier remembers, "but I was also something of a loner.

"Wellesley Hills was a very conservative town," he continues, "but there w~ s a strong liberal faction there." In a fit of teen rebellion, Billy fell in with "people a little older than me who knew the revo luti on was com in g."

Scandalizi ng his parents with his weekend disappearances, Billy began to ex plore the drugged-out subculture of radical Harvard Square.

S

48fCIRCUS

Wit/I

Fleur Thiemeyer 's getting serious. /Jere, he warms lip

Graduatin g from high school in 1967, Squier entered college only to quit after a couple of weeks and take off for New York City. There he played guitar with Magic 'Ibn)' and the Universe in and around the Max's Kan sas City axis. Among those he met there was artist Andy Warhol; Squier recently called on him to design the sleeve portraits for Emotions in Motion . "We'd bumped into each other," says Squiel; "and we'd worked in the same circles for years, but I'd never really known him. I still think he's brilliant."

By 1972, Magic 'Ierry a nd the Universe had failed to verify the big-band theory of rock stardom. Squier sidled back to Massachusetts to play with the Sidew inders, the first group he'd joined that had actua lly made an a lbum. "'rhings did go wrong more in those days," Billy adm its. "My early years in the business were a coll ection of unmemorable experiences. Who wants to tal k about getti ng beat by clubowners or axed by headline acts? " Squier did a brief turn at Berklee School of Music, then ventured aga in to New York and formed Piper. A hardrock outfit in the Kiss/Stan mold,

(I

crowd.

Piper cut two LPs for A&M and gave lead si nger Billy his fi rst professional studio experience. "Piper was supposed to be the gang I never had," he contends. But poor sales, ego conflicts and a disastrous '77 tour supporting the Babys silenced Piper.

Determined to go it alone, Squier sold Capitol Records on The Thle of the Thpe, an 1980 LP of more melodic, less abrasive rock & roll ("Calley Oh ") than the relentlessly heavy music Squier has done since. But it wasn't until a mutual friend , Queen's Brian May, hooked Billy up with Mu s icland (Munich ) Studios' chief producer Reinhold Mack t hat Squier struck the motherlode with Don't Say No in the spring of 1981. At year's end Don't Say No had sold 1.6 million copies, and had indirectly helped find Billy Squier the woman he'd been looking for.

"we

met at a party after a show I did in Los Angeles," says Squier, nod.ding at Fleur Thiemeyer, the bicoastal blonde designer he's been dating ever since. "It's gotten better since then."

Squier, Fleur and the tall, bespec-

Al ways the quiet laskmastel; Squiel' le(l(i~ gui tarist J eff Golu b th rollflh his IHlces.

Squier: "If 'Emot iolls i " Motioll ' comes out ,-i,qhl. I Clm write t he book 011 th e formula rock siar.路路

tacled Mack are positioned behind t he computerized console of lhe Power Station contro l booth. Keyboardist Alan St. J on jabs at a piano across the long, hard wood-floored room, work ing out an overdub to suit his boss's requirements while Billy reminisces about his liaison with Fleur.

"She's a costum e designer for Rod Stewart, Van Ha len, Rick Springfield, Olivia Newlon-John- the stars. She told Capitol she wanted to meet me because she had some ideas for costumes. She said she liked my music, which was probably a line!

"So she came to the party," Squier confides, "and no one introd uced us; 1 just saw her from across the room. She smiled, and I made a menta l note.

Later on I bumped into her, started ta lking to her. She said , 'A re yo u leaving?' 1 said, 'Not without you.'"

Fleur emigrated to Ameri ca from Australia seven years ago, a nd now lives in L.A. "We're doing one of t he modern couple skits," grins SquiCl; "where you ny back and forth for the weekend. It's romantic, but it's also very tiring." Fleur and Billy manage to grab occasional holidays together in

Europe and Acapulco between gigs.

"But I'm more exhausted after t he weekend," moans Squier, "than after a week's recording."

Miss Thiemeyer seems more intent upon getting Billy fed a nd catchi ng a jet back to L.A. t ha n with the in-studio progress of Emotions in Motion. "Wide bodies are the ones I like best," she giggles ambi guously. Squier, however, quiet taskm aster that he is, makes young New York keyboardist St. Jon account for every note he dubs over.

"The walls are closing in a little bit," admits BiHy, won-ied that he must now equal or surpass the success of Don't Say No to mainta in his foothold. "The closer the album gets to being fini shed, the more pressure I feel. But I don 't thi nk that Emotions . .. is repetiti ve of Don't Say No; if anythi ng, this a lbum is probably heavier t ha n the last one.

We're not into metal yet, bu t almost; it's defini tely not a pop album."

That Musiciand metal sound which Queen used on "Another One Bites the Dust," and which Squier incorpora ted in "The Stroke," will be taken to stadium stages as Billy pools his ta lents with t hose of Britain's most regal ba nd starting July 21. The to ur spa ns two month s a nd str etc hes fro m Montreal to Los Angeles, where a fournight stand at the Forum concludes the American jaun t September 18.

"Queen are fittin g me into their staging," beams Squier, who's know n Brian May since 1973. "I'm part of the plan a nd I'm pleased, because t here are certain simi lari ties in what we do."

Queen seems to agree: Freddi e Mercu ry and Roger 'nlylor le nd backup vocals to the title song of Squier 's new LP, and their band is giving Squi er over an hour for his set. '''I'hel:e isn't much more I ca n ask for," notes t he stubbl y-cheeked singerguitarist. "Sure, you can come in and see me working at night, an d I'll be tearing my hair oul. But basically it seems li ke 1 know what I'm doing. If t his album comes out a ll right, I'll be ready to write the book on the fo rmu la rock star.

"Over New Year 's, I was dreading having to start this project," Squier says softly as t he studio clock ticks away the minutes that cost Billy and Capitol three dollars a piece. "But when I got down to it, I managed to write the whole a lbum, words and music, in twenty-two days. It didn't seem t hat hard, so I feel like I'm doing things right. But," he murmurs, "I've work ed a long time for it."

0

Please seM me informotion on Guild Strings. CR182 Nome' _ _ _ _ _ _ _ _ _ _ _ __ Age _ _ Address' _ _ _ _ _ _ __ _ _ _ _ _ _ Stote _ _ _ Zip _ __ Deoler/ City _ _ _ _ _ _ _ _ _ __

CIRCUS/49

STILLS

DAVID CROSBY, STEPHEN STILLS AND GRAHAM NASH HAVE JOST RELEASED THEIR LONG-AWAITED NEW ALBOM, DAYLIGHT AGAiN. A SHORT TIME AGO ALL THREE OF THESE LEGENDARY ARTISTS SAT DOWN WITH INNER·VlEW'S HOST JIM LADD FOR TWO DAY'S CONVERSATIONS. WHAT CAME om OF THESE MEETINGS IS WITHOm QOESTION THE MOST IMPORTANT ROCK RADIO EVENT OF 1982.

JOIN OS FOR AN EXCLOSNE THREE-PART SPECIAL INNER-VIEW OF CROSBY, STILLS & NASH ••.

Tutone's famous phone number

T

hey told us it was gonn a be a slow builder," says 1bmmy 'IU tone's 'lbmmy I-Ieath of "867-5309/J enny," the song that conta ins t he Illost fa mous phone number sin ce "'Beechwood 4-5789" a nd wh ich has become one of thi s yea r 's biggest hits .

"Of course," Heath add s wryl y, "we assumed t hat was double-ta lk for 'goi ng nowhere.'''

When Heath a nd soll b'writing palt ner Jim Ke ller released their second album, 71110ne II (CBS), last Novembe r, t ha t's exactly where t he LP and "Jenny" seemed to be headed; for four months nothin g happe ned. But this spring t he song took off- as a nyone who kn ows good rock & roll could have told you it would have hal f a yea r ago.

Heath a nd Ke lle r a re the core of t he five-man band; th ere is no actua l member na med Thmmy Th to ne. The two songwri ters embody East a nd West coasts: K elle l~ a former construction worker li'om New J ersey, is grega ri ous whi le Heath , a n Army brat who's lived in the Bay Area since 1967. is reserved路 borderi ng路on路shyness. The two met in a San Fra ncisco ba r, "'and I re member thinking," says Keller as Heath cri nges, "Yech, this guy's really psycho."

Obviously their rela t ionship has improved ; ditto t heir ability to ble nd the ir diverse styles: Heath mostl y writes cheery love songs that ma ke good use of updated '50s and '60s rhythms, wh ile Ke ller infuses his tunes with a blac k sense of humor. "J enny," t he sto ry of a guy infa tuated with a girl whose nu mber he got ofT a wall. has ca used a co mmotion in several cities, wh ere curi ous listenel's have dial ed t he num ber to hear wh o'll a nswer.

No matter where you di a l it, assures Keller, J enny won 't be on t he other end of t he line, ~Thcrc is a rea l J enny," he confides, "but she doesn't live at that number a nymore."

And , he adds, t.he vict im of fa me. "She does n't ta lk to me a nymore. either.

- Philip Bashe

.lim Kelle,. (/.) tlwl 10mmy I/enlh ill (t 11m: l/il5 ;I/;Iiol r f!ol'l;oll : "}(' ch, this gflY 'S renlly psycho." ,Vow th ey 're SO"f/UTW/I,q l)(Irill('n ;,

C1RCUS 51

Jm/n., Priest :;; .')oll.Qwriters are (I.-r.) KK /)owIlill.Q. /lob 1I11lfo rd ami (;Iell" Upton .

Judas Priest's new metal

by Philip Bashe ometimes refen 'ed to as t he "grandfathers" of heavy metal , Judas Priest are a study in perseverance. Formed a mid th e grimy industrial envi ronment pf Birmingha m, England, t he ba nd 's climb to th e top has bee n a slow bu t deliberate one. The mid-'70s weren't very kind to them, but ever since the pace-setting album British Steel two years ago, t hey've been recognized as purveyors of a modern brand of heavy metal: music that's as strong melodically as it is on hellish imagery.

Nineteen eighty-two should be t he year Priest receive all the accolades due them , so mething the group is mindful of. Certai nly it must have been vexing to watch novices like Def Leppard score with their very fi rst album while Priest were still sloggi ng it out on the concert ci rcuit, trying to get their music heard. So you'll forgive them their moments of cockiness.

When you p.lay heavy metal, though, brashness is a vi rtue, a nd their ninth Lp, Screaming With a Vengeance <Columbia>, benefits from it, sounding as if it were cast in the mold of Steel. Last year they tried their hand at progressive metal on Point of Entl)" an LP whi ch guitarist Glenn TIpton feels was "misunderstood by people. I thought it was the most origi nal heavy metal a lbum ever ; it was an attempt at somethin g different."

S

!)2ICIRCUS

"We wanted to get a way from t he archaic hea vy metal approach we'd been tagged with ," says voca list Rob Halford, who, with TIpton and the rest of t he band , is in Florida to fini sh mixing the new record wi th producer 'Ibm Allom.

Soft-spoken a nd high ly articul ate, in civilian life Ha lford and TIpton contrast sharply with their onstage image.

While Priest's music has ta ken a few turns throughout their eight.year recording history, the visual focus of the group hasn't cha nged a jot since the beginning. They've always gone in for biker gear like leather jackets, studded wristbands a nd Ha lford 's perso na l signature: a black riding crop. On the past few tours the singer 's made his stage entra nce perched on top of a motorcycle. It ma kes for a very effecti ve show, especia ll y whcn you consider the nature of the music. But is it a n image that needs to be protccted off stage, a cumbersome overcoat to be worn 24 hours a day? "\Veil , in actua l fact, our image off stage isn't too dissimilar from our on¡ stage image," contends TIpton. "We don't dress drasticall y different; we don't li ve two different worlds."

Halford , who as frontman best personifies the Priest image, agrees, but adds, "There is the whole magic of show business, too. Tha t's a big attraction to this profession." Born to work-

ing class pa rents, Halford would probably be an actor today had he not hooked up with the band a decade ago.

While he's not acting up there, it is his job to create a fantasy for t he a udi ence.

Whether or not t hey're able to differentiate between what's real a nd what's a n illusion is a question that hasn't been full y a nswered.

"I think people a re co ntent to see the show a nd listen to the records," Hal ford contends. "I don't th ink they're reall y keen on knowing what goes on afterward, because then some of t he mystique is lost."

The group's fa ns-as rabid a bunch as you 'll find anywhere-thrive on that mystique, a nd in co njunction with Priest's authoritaria n dress, endow the grollp with a power that's unusual even for 1'Ock & roll , a medium which sports plenty of shaman-like figures.

"It's not a case of wielding authority," says TIpton when asked if being a ble to hold that power over a n a udience like a whip is a soberi ng thought. "You see, we feel so strong on stage that people just natura lly follow."

So it's more a power of suggestion?

"Exactly," says Halford . "I don't think people wa nt to be told what to do.

Rob lIalford: " /J cavy me/ai's /l eve,. beell fash ionable. but iI's 90",w be aroulld for fl lOllY time."

â&#x20AC;˘ N

1','rfiwlI/ill!J

fill ... IW/f'

i.... ('"IIWl'lil',' " .. \110111(:1' ut/ll'l d." is lum: 'liptoll ( /:) (/t!....cl'iiJt!.'i if. " If'.... a Irt!IIIt!JI(/oll.'i n4l'tt.'il' ," add.'j I/a[fol'd.

Because I've got the ability to convey messages Ihe is the band's Iyrici stl. I suppose the onus is on me. But I don 't pontificote or lay down the ru les. In fact . probably Olle of' th e greatc5. t thin gs we've had guillg lor us is that our a udi ence is a ble to rl!la te to us.

They sec us pretty much a~ th emselves."

What they also see is a group th at pu ts out an enormou s a mount of energy : it's rare that a Priest show ends without the band drenched in sweat, hail' matted but spi r it.'"> hi gh. If their

music is cathartic for the fan s, and that's a large a ppeal of heavy metal , it's doubly so for the group.

"Oh God , yea h!" exclai ms Halfo rd .

"It's a tremendous release."

-You step into a nother world as soon as you strap on that gu itar," says 'ripton. ~ Wh<:lt happe ns in t hl! dressing roo m or however bad you may Iccl, a ll of a sudde n it dues n't matter.

-Besides,'" he adds with a la ugh, Mw hen yuu play our sort of music, you don 't exactl y go on stage thinking about mortgage problems."

ot that Priest have many financial troubl es these days. Beginning with 1979's Hell Bent {or L eo/h e r , the y've become one of Europe's biggest acts. They g.-adually built a following in the States, and on thi s summer 's U.S. to ur t hey'll be h ead li n ing New York '!; Madi son Squa re Garde n for the first time. But the incomi ng revenue, stresses Halrord , is returned to the fan s via the stage show, which has only taken on such Pellini-esque proportions in the last couple of yea rs. "It wasn't too long

N

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s.: C:RCUS

ago that we were playin g clubs where we couldn 't. get. the floorshow in," recalls TIpt.on , "and we we re qui t.e happy t.o go on with just t he lights. Or, in some cases, eve n without the li ghts."

The stage effects a ren't used for subterfuge, he emphasizes. "We believe the kids out there have pa id a lot of money, a nd they've co me to see a show."

Of course, t here's a lways the danger t hat once you present a big show, t he next year the a ud ience expect more, a nd it spi rals a nd spira ls until the act's forced to bring on the Ma rines a nd a cast of t housa nds.

"Yeah , I suppose there is that. danger," muses Ha lford, whose acce nt causes his sent.ences to curve upward into questions. <; It's like a Pandora 's Box : If you open the lid it all comes out a nd is done with." And there's a lso t.he danger, he co ncedes, of the show ma king audi ence responses a bit too a utomatic too much like pushing buttons.

"I've experienced t hat. Performers c~ n become a bit blase a nd think , 'Oh well , another night on the road,' or 'I'm go ing to save myse lf for a bigger gig.'

"I don't think we've ever felt. t hat way; I think we give just as much now as we have in the past . In fact, it's harder now, because our a udiences a re consta ntly getti ng bigger, and there's a lways a pe rce ntage out there who've never seen us before. So we've got to prove ourselves to them." he gt'owing crowds, notes TIpton, a re made up of yo unger fans.

While it pleases him, he admi ts it's a puzz ling sta ti sti c. \Vhy is it that

T

heavy metal groups onl y seem to attract predo mi nant ly teenage fa ns?

Why don't th ose in the ir late 205 or 305 come out to a Judas Priest co ncert?

"It never works like that," he says, shrugging. "\Ve've always found that our audi ence stays within the sa me age limi ts."

"I'd really like to play to t hirty-yearolds," says Ha lford , who just rece ntly became one. He theorizes that "' n this type of music t he energy is directed at a nd ca n be fe lt mOl"e by a yo un ger audie nce. But it ca n cut across a wide spectrum of ages. I think th at's one of t he unique qua lities of heavy meta l, unlike new wave, which is esse nti a ll y a very youth-oriented commodity: once you get past twenty, you feel like a geriatric.

"Our audience may sta rt at fifteen , six teen , but. it a lso incl ud es peo ple in t heir t.hirties. T hey may not be sitting down in front; t.hey're probably bac k in the shadows."

With its fl edgling a udience. t hough.

Priest, a nd heavy metal, whi ch has e njoyed a surge of popularity t he past few years, are assu red to be spa red from mortality. unlike di sco a nd t.he other temporarily fa shionable mu sical a nd cultura l t rends. \Vhateve r direction the form t..:'l kes, you can bet t hat Jud as Priest will be instrum enta l in sha ping it. <; Heavy metal's never been a fas hi onable type of mu sic, but," Halfo rd declares with a sense of justice in his vo ice, "it's gonna be a round for a long 0 time."

-SymPTom:

Frustration Scratched Re cords Fing"rnail Goug"s On Th" C"iling

CAU-SE:

Taking Guitar Solos Off R"cords

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1982

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U!!l! __ l!2 _=_ ~~~~~~~ ll'2.1 CIRCUS 55

Dead Men Don't Wear Plaid (Universal)

S('//lwider plays (I t reach erouiS la(/y i" bftwi.: i" 'Ct/dcr SII.'lpidoll .' /(UUI.lI

Under Suspicion (Fred Baker Films) This taut but low-key detective thriller is evel路ything that the busy "Hi ll Street Blues" ought to be. Set in and a round a police statio n, Under Su spicio" follows th e thl'eads of a pai r of crime investigations on a somber New Yea r 's Eve. One of them focuses on the rape a nd murder of two cight-year-old girls; the other appears at first to be a routine ca r theft. As the threads of the two cases intertwine, Under Suspicion creates a morbid . unnervin g mood reminiscent of'the mysteries in which Alain Delon starred in the 1960s and '70s, where action was played down but the suspect's lifestyle was s potlighted. 'frue to its genre, Under Suspicion features a dimly lit lady in blac k (Ro my Schne ider); she's a treacherous creature who a ppears at midnight with mysteriou sly urgent information for the ears of th e murder investigators only. The film's strongest sce nes pit Sch neider against the dogged Inspector Gal lien (Lino Ventura ), who's determined to break h is case before the sun rises on the new year. The shots of Miss Schneider silhouetted agai nst the station hou se doorway, take n as Ventura peers at her from the parking lot in silent pursuit of a solution to the murders, are amo ng the most haunting ever filmed for a psyc hological thriller.

- Richa rd Hogan 56 CIRCUS

A plot to destroy Thrre Haute, a cruise ship bound for Peru and a girl who suc ks bullets from arm wounds all figure in the disjointed sto ry of thi s take-off on 19405 crime thrillers. Steve Martin sta rs as detective Rigby Reardon; he brews a mean cup of java and likes to dress in women 's clothes. Rachel Ward plays a Lauren Bacall-li ke client who can't resist Reardon even when he's di sguised as a dowager. With few exceptions, the rest of th e cast consists of people who didn 't really act in the movie, for the new footage is intercut wit h cl ips f!'Om films like The Big Sleep and Dark Passage. The result is a jumble of slightly mismatched sce nes that see m to show Martin a lways on t he phone with Humphrey Bog3li . or dodging the deviltry of Vincent Price.

Dead Men Don't Wear Plaid at least ends up being funnier tha n The J erk, for Martin wears the guise of a hard-boiled gumshoe better than he did that of a black sharecropper. But the picture suffers from the Martin penchant for taking one comic idea and driving it into the ground. The gimmick of intercut films works for a n hour and dies; Dead Men would have fared better as a TV special t han as a fu ll-le ngth feature film .

- RH

Steve Martill ..dars ws /{igby NealY/Oil ill 'f)ead .lI en /JOIl 't mmr /.Jlaid.路

II m.l/.'li eriolls pa.'ll l orm CIlI.'l cally .Va.'l i a.'l.'lia Kilt.'lki ill 'Cat l .Jcop / c .'

Cat People (Universal-RKO) The heroine of Cal People, Irena (Nastassia Kin sk i), beli eves she descends from a desert tribe t hat offered up its m3lTiageabie women to the appetites of the panthers it worshipped. As a result of interbreeding that took place through these sin ister rites, she and her brother (Malcolm McDowell) can change into la rge killer cats wh enever they get sexually aroused.

Cat People derives th is premise from a subtle 1942 shocker, The Ca t People, and e mbell ishes it with the gory special-effects style of A n American Werewolf in London . The combi nation produces a middling horror movie that fails to carry either the sensational or the atmosp heric possi bilities of the sto ry as far as a better-focused film would have.

Cal People's main strength lies in the acting of Malcol m McDowell , whose burning eyes and evil prese nce make him truly resemble a pa nt her. In the film's scariest scene, McDowell stalks the bedroom of costar John Heard. whose inte rest in Irena has aroused her brother 's wrath. Kinski fares less successfull y; the filmmakers prese nt her as if she were a model doing a perfume commercial instead of the tortured cat-woman she's s upposed to be playi ng. The Cat People original may not have had a theme song by David Bowie, yet even now its understated performances and stark , black-and-white photograp hy a re more entertaini ng than anything but the music in this loose-ended production.

- RH

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CtRCUS 57

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58 CIRCUS

rock newsleHer In America!

By Circus Magazine's lou O'Neill Jr. E)(clusive inside Inlo & news on STONES, McCARTNEY. JOURNEY. FOREIGNER and LEO ZEP, too ! (Plus hundreds more,) 26 issues a year via first class mail Annual subscriphon : SI5.00.

SatisfactIOn guaranteed or your money backl Please send money order or certified check 10 : THE ROCK WIRE REPORT, 80)( 56, Rego Park, NY 11 374 .

"For Those Who Must Knowr

Catalogue of rock gold The checklist below is designed to help rock LP buyers fill holes in growing collections . Each catalogue appears according to record label. and includes in-print albums only. Catalogue numbers are included. Circus Magazine plans to publish checklists like this one several times each year.

AClOe (Atlantic) For Those About [0 Rock .

Back in Black Dirty Oeeds Done Din Cheap Powerage If You Want Blood Highway 10 Hell High Voltage

-5 0-11111 -So-I6018 -50-16033 -50-19180 - 50- 19212 -50-19244 - 50-36142 - 50-36157

let There Be Rock Black Sabbath (WS.) Black Sabbath Master of Reality Volume IV Bloody Sabbath Sabotage We Sold Our Soul lor Rock 'n' Roll Technical Ecstasy Paranoid Never Say Die Heaven and Hell Mob Rules Blond ie (Chrysalis) Blondie Plastic Letters Parallel Lines Eat to the Beat AuloAmerican The Hunter

- WS 187 1 - BS 2562 - BS 2602

-BS 2695 - BS 2822 - 2BS 2923

-

- BS BSK BSK BSK BSK

2969 3104 3186 3372 3605

- CHR 1165 - CHR 1166 -CHE 1192 - CHE 1225 - CHE 1290 - Current release

Blue Oyster Cult (Columbia) Blue Oyster Cult Tyranny & Mutation Secret Treaties On Your Feet or on Your Knees Agents 01 Fonune Spectres Some Enchanted Evening Mirrors CuHosaurus Erectus Fire of Unknown Origin Extraterrestrial live

- JC 36550 - FC 37389 -KG 37946

David Bowie (RCA) Pinups David Bowie live Young Americans Station to Station Changes One Bowie Scary Monsters Rise and Fall of liggy Stardust Hunky Dory Low Heroes Diamond Dogs Aladdin Sane Changes Two Bowie LOdger Space Oddity The Man Who Sold the World

- A0l1-0291 -CPL2-0771 -A0l1 -0998 - AOLI- 1327 - AOL- 1732 - A0l1 -3647 - AYLI-3843 - AYL 1-3844 - AYl1 ·3856 - AYL 1-3857 - AYLI-3889 - AYl1-3890 - AFLI-4202 - AYL 1-4234 -AYL 1·4813 - AFL 1-4816

Cars (Elektra) Candy-O Panorama Shake It Up The Cars Cheap Trick (Epic) Cheap Trick In Color Heaven Tonight

- PC - PC - PC - PG - PC - JC - PC

31063 32017 32858 33371 34164 36019 35563

-JC 36009

-

5E-507 5E-514 5E-567 6E-135

-PE 34400 -PE 34884 - JE 35312

Dream Police Live at Budokan Found All the Pans (10") All Shook Up One on One

- FE 35773 - FE 35795 - 4E 36453 - FE 36498 -Current release

Doable Brothers (W,B.) Ooobie Brothers Toulouse Street The Captain and Me What Were Once Vices Are Now Habits Stampede Takin' It to the Streets livin ' on the Fault line Best of the ooobie Brothers Minute by Minute One Step Closer Best 01 - Vol. II

- WS - BS - BS - WS

1919 2634 2694 2750

- BS 2835

- BS 2899 - BSK - BSK - BSK - HS - BSK

Dan Fogelberg (Epic) Home Free Souvenirs Captured Angel Netherlands Twin Sons of Different Mothers Phoenix The Innocent Age

3045 3 112 3193 3452 3612

- PC 31751 - PE 33137 - PE 33499 - PE 34185 -J E 35339 - FE 35634 - KE2-37393

Foreigner (Atlantic) - 50-16999 -SO 19109 - 50-19999 - SO-29999

4

Foreigner Double Vision Head Games J . Gells Band (EM I America) Sanctuary Love Stinks Freeze·Frame Iron Ma lden (Capitol) Iron Maiden Killers Maiden-Japan The Number 01 the Beast

-so 17006 - 500-17016 -500- 17062 -5T-12094 - 5T-1214 1 - MLP-I5000 - Current release

Jethro Tull (Chrysalis) Thick as a Brick living in the Past A Passion Play This Was Stand Up Benefit Aqualung War Child M.U.- Best of Jethro Tull Minstrel in the Gallery Too Old to Rock 'n' Roll: Too Young to Die Songs from the Wood Repeat: The Best of Jelhro Tull Vol. II Heavy Horses Bursting Out Stormwatch Broadsword & the Beast

- CHR 1003 -CH2 1035 -CHR 1040 -CHA 1041 - CHA 1042 - CHR 1043 - CHR 1044 - CHR 1067 - CHA 1078 - CHR 1082 - CHA 1111 - CHA 1132 - CHR 1135 -CHR - CH2 - CHA - CHR

1175 1201 1238 1380

- PC - PC - PC - HC -FC - CZ - HC - KCZ - HC

33388 33904 3431 1 449 12 35797 36324 46339 37016 47408

Judas Priest (Columbia) Sin Alter Sin Stained Glass Hell Bent for Leather Unteashed in the East British Steel Point of Entry

- PC - JC - JC -JC -JC - FC

34787 35296 35706 36179 36443 37052

Led Zeppelin (Swan SongfAtlantic) Physical Graffiti

- 55-2-200

Journey (Columbia) Journey Look into the Future Next Infinity Evolution In the Beginning Departure Captured Escape

- SS-2-201 - SS-8416 - 55-16002 -50-19126 - SO-19 122 - 50-19128 - 50-19129 - SO-1913O

The Song Remains the Same Presence In Through the Out Door Led leppelin Led Zeppel in II Led Zeppelin III Led Zeppelin Houses of the Holy Outlaws (Aris ta) Playin' to Win In the Eye of the 5torm Outlaws Lady in Waiting Hurry 5undown Bring It Back Alive Ghost Riders Los Hombres Malo

- ABM 4205 - A8M 9507 - AB 4042 - A8 4070 -A84135 - AL 8300 - AL 9542 - AL 9584

Queen (Elektra) Queen Queen II Sheer Hean Anack A Night at the Opera A Day at the Races News 01 the World

- EKS-75064 - EKS-75082 - 7E-l026 - 7E-1053 - 6E·IOI -6E· 112 - 6E-I66 -5E-513 -B8·702 - El ·60128

Jazz The Game live Killers Hot Space Ra inbow (Polydor : Mercury) Rainbow Rising On Stage Blackmore's Rainbow Long live Rock & Roll Down to Eanh Oifficull to Cure Straight Between the Eyes

- OYI 1601 - OY2 1801 - PO 6049 - PO 1 6143 - PO I 6221 -PO 1 6316 -Current release

REO Speedwagon (Epic) AEO Speedwagon REOfTwo Ridin ' the Storm Out Lost in a Dream This lime We Mean It REO LivelYou Get Whal You Play

- PE -PE - PE - PE - PE - PE - PEG

31089 31745 32378 32948 33338 34143 34494

For - JE 35082 - FE 35988 - KE2 36444

You Can Tune a Piano .

Nine Lives A Decade of Rock & Roll 1970-1980 Hi InFidelity

- FE 36844

Rush (Mercury) Rush Fly by Night Caress of Steel 2112 A Farewell to Kings Hemispheres Permanent Waves Moving Pictures Ex it Stage Left All the World's a Stage Archives

- SAM 1 lOll -SRM I 1023 - 5RM I 1046 - 5RM 1 1079 - SRM 1 1184 - SAM I 3743 - SRM 1 4001 - SRM 1 4013 - SAM 2 7001 -SAM 2 7508 -SRM 3 9200

Bruce Springsteen (Columbia) Greetings From Asbury Park, N.J. The Wild, lhe Innocent & the E Street Shuffle Born to Run Oarkness on the Edge of Town The River

- JC 31903 - JC 32432 - JC 33795 - JC 35318 - PCZ 36854

Billy Squier (Capitol) The Tale of the Tape Don', Say No Emotions in MOlion

- ST 12062 -ST-12146 - Current release

Van Halen (W.B.) Van Halen Van Haten II Women and Children First Fair Warning Diver Down

- BSK 3075 - HS 3312 - H53415 - H53540 - Currenl release

CIRCU $J59

lower existence.

The real Lennon tribute on the album comes from guitarist Brian

May, whose layered. multi-guilar solos on "Dancer' use the highly dramatic call路and路response guitar

solo technique first used by the Beatles on Side Two of Abbey Road . an exchange between Lennon, Paul McCartney and George

by John Swenson

Harrison that Lennon was always

Queen's blues-based rock & roll Edmunds's new arrangement

proud of.

Turning to the blues is a

remarkable move for a band that prided 1\ sel f as the champion 0 1 a heavy melal anti-r&b rhythmic

philosophy. It's refreshing to find oul after all Ihese years thai Queen can play and maintain human rhythms throughout a whole song.

Dave Edmunds- D.E.?

(Columbia) Dave Edmunds's latest album closes the door on the Rockpile story. That slellar group, co- led lor four years by Edmunds and Nick Lowe . broke up mysteriously after

releasing its "debut" album, and DE 7 finds Edmunds using completely different musicians.

Edmunds's change in instrumental context offers a fresh sound for him

to work with , though it's not inconsistent with his brilliant work of

~j ,\ \ -

'

I

\

On 'Hot Space, ' Queen move away from heavy rock and into a more r&binfluenced sound. For the most part, it works.

the past. He covers Ihe NRBQ tune "Me and the Boys" definitively, transposing Terry Adams's original fractured keyboard structure into

powerlul blasts of rhythm guitar .

Edmunds's biggest strenglh is his tremendous production intelligence.

dating back to his days as house producer at Rockfield studios in the

Queen-Hot Space (Elektra) The biggest problem faced by a band like Queen is liguring out what to do for an encore. Every time it seems there's nowhere to go but down , Queen come up with a new formula more successful than the last.

Hot Space , their 12th album, counting compilations and sQundtracks, present s yet another

new tack : Queen have produced virtually an entire album of bluesbased material. On "Staying Power" a punchy horn arrangement and a

greal rhythm track combine to produce an effect closer 10 the Brecker Brothers than anything previously associated with Queen.

Freddie Mercury may not exactly be in his element here as a vocalist ,

but he grunls and groans as if he means it , and the harmony vocal tracks are extremely well recorded.

'Body Language," "Put out the Fire" and "Calling All Girls" offer a more supple approach to white disco than that of previous Queen

numbers like "Another One Bites the Dust," while "Back Chal," virtually identical to the Stones' "Miss You ," is done in a style that's certainly a departure for Ihis band .

The album has ils puzzles. For some reason "Under Pressure ," the

collaboration with Bowie Ihat's already been around as a single and on the Greatest Hits album, is included . And Mercury contributes "life Is Real (Song for Lennon)," which while it's billed as a Bealles tribute, comes off here as a catty, posthumous slap at Lennon's ivory

early 70s. His treatment of vocal sounds and layered guitars is. as

usual , spectacular. In "Deep in Ihe Heart of Texas," a parody of Britain's most sensational fantasies of American life , Edmunds's characteristic hard -rock blues singing is used to good effect. "Louisiana

Man" and "Bail You Out" allow him to indulge his love for Cajun rock .

On "Paula Meet Jeanne" Edmunds and Albert Lee hook up in a fierce guitar duel. Since Edmunds is one of Chuck Berry's foremost interprete rs, the inclusion of a

little-known Berry side, "Dear Dad ," is a delight. Dave Slicks with the '50s revival style for the beautifully merry rocker, "Other Guys' Girls."

The best track on the album is Bruce Springsteen's "From Small Things (Big Things One Day CIRCUS 61

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Come)"· Edmunds is one of the few people who can cover Springsteen without sounding anything like him ; the tune comes closer to a big-band Berry production than to the Spector-esque wa ll of Springsteen 's sound. Edmundss guitar solo on the tune is sublime, and the final choruses, in which the horn section pushes the band to dancing frenzy, could give Springsteen something to think about next time he's doing some arranging. Edmunds is a master, and D. E. 7 proves there 's a bright future for him beyond Rockpile.

Th e Name of This Band Is Talking Heads (Sire)

write to SOUND CONCEPTS 125 Bu rgess Ave. Toronto, Ont. Canada M4E 1X3 Telephone (416) 690-0430

In 1977 Talking Heads spearheaded the U.S. new music scene thai rose from the remains of glitter rock and fusion . Talking Heads '77 was a landmark album characterized by stark, mutant r&b rhythms and leader David Byrne's psychotic lyrics and vocals.

As the band developed, Ta lking Heads came more and more under the in fluence of producer Brian Eno's electronic music concepts, until by the time of 1980's Remain in Ugh! their character had changed almost entirely.

Thi s two-record live set presents the band in a before-and-after context. Record One consists of performances of early material recorded in 1977 and 1979; the second disc presents the new sound in concert with a group augmented by a number of session musicians .

The '77 tracks are the most interesting in that they are even cruder and more fractured than the album versions. Fans of Byrne favorites like "New Feeling," ··Pulled Up" and "Psycho Kil ler'· will undoubtedly find his nervousbreakdown vocals fascinating here.

The '79 material-·· Artists Only," Stay Hungry," ·'Air," ·Building on Fire' and "Memories (Can·t Wait)"shows the band becoming a slicker and more assured live outfit. When Talking Heads added virt uoso players like Adri an Belew, Bernie Worrell and Busta Jones to the old lineup, they had the makings of a great funk band .

The slick, undulating "Houses in Motion" allows Talking Heads to take on Parliament/Funkadelic as kings of funk rock , which may not be what their long-time fan s are looking for but is certainly worth hearing.

BACK ISSUES!

# 257: Van Halen. REO. AC OC . 38 Special. Pat Travers. Santana. Aclam and the Ants #258: Tom Peny and the Heanbfeakers. Joe Perry. Jim Steinman and Meat loal.

Bruce Spnngsteen .259 : Moody Blues. Pat Benatar. The Knack, Van Halen'S David lee Roth. Del leppard. Kun Russell 11260: Anmversary EdrtlO(l-The best 01 12 Superband RoundUp. New Iud led Z &p.

Albums (Pari 2). Rock Nielsen years. tIlC rng #233 : SIeve Maron, Foghat. Bea tles. BowlO. Blondi8 Blockbuster Bands. New #261 : Stones on lour. RICk. Albums (Part 3). Foghat Springfield. Pretenders. poster. Motels PolICe #234 : Cheap Tflck. AC DC. #262 : Year·end EditIOn: Rock & Roll Women. Talking RlIsh REO AC DC Slevle HeadS, Tim Curry & The " , 'Rocky Horror" Fad. AC DC's NICks. Billy Squier. Stones Angus Young poster 11263 : Genesos. Queen.

11235 : Styx. Molly Halchet.

Forel9ner. Who. Adam Ant Debbie Harry posler, Tom .264 Readers Poll Petty. Rotting Stones.

Results . Pat Benatal. MlCk 'Ouadr~ma : Talking Heads Jagger. Billy SqUier. ~; C:~:;;~~In~s?ees. J Gells Band Police, Mock Jagger poster. #2fi5 AC DC. KISS. Black Important Albums 01 the "70s. Sabbath. Joan Jen. RUSh. Bonme Rain Allman Brothers. GenesIs #238 : Readers Polt Winners. 11266 : OllY. Molly Hatchel.

OF CIRCUS MAGAZINE AVAILABLE AT $4.00 EACH (PRICE INCLUDES POSTAGE & HANDLING) "'28 : Best New Ta!enl1976, Bow'S. Grand Funk.

Jon Bridges. Who Tour Stales #129 : lou Reed, lOee, Tommy Bolin & Deep Purple

#' 65 : KOlth RIChard InleMew, Se. Survey Results. JII'ru Hendrix Final

m Japan # 133: Stones.

(16 Page Memollal). Rush KISS.

Paul

Tapes: Neil Peart

Rodgers (Bad

Co.,.

Drug

:..' 167: Linda RonStad! Rush

Laws. FonzlO

# 13-4 : Aerosmllh. Ian Hunler, McCartney & IMngs Beatle Bootleg Catalogue ,, '35: Elton Jorln. KISS. Queen: Brian May Intervi8w.

America " '38: Jell Beck, Stones European Tour. KISS: Ace Flehley Intel'Vl8w. AbortIOn Pari 1 # '37: King Kong, SIeve

~::'e~~::'t~ ~':~ 2

Tubule

#166: eruce Jenner, ElVIS

Tapes, Gaddy Lee. Richard PtyOf. Yes #168: Logan's Run ... s. Slar Wars. A,ta Coolidge. Aush Tapes: Alex lIleson # 169: Hearl & Canadian Sound. AOd Slewart. IOcc. AudIO EqUipmenl lor a Basement StudIO "'70: Elton John, ElO. Fleetwood Mac. Steely Dan #171 : KISS Inslde·StudlO

~,e~~~Er~odDU;~:dI

J:,e Dolly Panon. Rush.

GenesIs. KISS Pan II :. Sell.

Pistols, Beatie lovesongs 76 #173 : Queen RICk Wakeman. # '40: Chevy Chase. KISS Eanh, Wind & Fire. Nazareth Tour, Halt & Dales. ChiCago X ,,'75 : Aonsladl & Plant: Man # 142: Ted Nugent. Denrus and Woman 01 the Yeal.

Wilson InteMeW. Aerosmlth: MusIC Poll Winners Tales 01 Earty Days #'76: Jackson Browne & #,43 : Captain & TenniDe. Jonl Mitchell. SteVIe Wonder.

Kiss. Tommy Bolin Interview. Queen. KISS l inda Aonstadl, Star Trek .,n: Ted Nugent live. Sex ConventIOn P,ltols. The Ramones. # '44 : Runaways. Aerosmith: AelOsml\h Poster Joey K,amet Interview. Rush, .'79: KISS: Peter Cnss BaHY Eric Clapton Manllow. Angel Poster .. , 45: John Travolta. Black 11 ' 80 : Starsfllp. MahoQany Oak, Frampton. Stevie Rush. Andlew Gold. Klss: Ace Frehley Interview Wonder, Binh Control Pt. I #146: 12 Top. led Zeppelin. # 181 : Will Heavy Metal Ted Nugent Interview. Farrah Survive? (KISS, Queen.

Fawcen-Majofs. Birth ContrOl Aerosml\h. Nugent. led Zep) Pt. 2 11 '82 : Paul & linda ""47: Breakouts 77, ElO. McCartney WingS. GenesIs. Kiss, Elton John. laverne & Van Halen. KISS Shirley 11183: Carty Simon. KISS # ,48 : Kfls KflStollerson. Bee Conquers Japan. REO Gees. Queen , Hall & Oates Speedwa~. Heart Interview. Guide to Drum # 184 : The Band's lasl Equipment Waltl, BlacklTlOfe. Rundgren, #149: Blomc Woman. Rush. Angel Annual MusIC Makers 11,85: Spnngsteen Poster.

Awards, Science Examines Summer Tours: Ae rosmlth.

Pot Stones, Nugent ""SO: BowIe. Rod Stewart. # 186: Foghat. KISS Photo Queen: Brian May IntervIew. HiStOry, HaJl & Oats. Tom Sabbalh & Nugent Concert Peny # 15' : Paul Rodgers (Bad #1 88 : Andy GlbO. Kinks.

Co.). Queen: Freddie Stones. Frank Manno Poster Mercury, Foghat & Rush TOur. #186: Teuas Jam, Forergner.

V.D.: America's lastest Moody Blues spreading disease ""90 : Sgl. Pepper ; # '52: Fleetwood Mac. Anget. Frampton. Bee Gees.

Beglnner's Guide to MUSICal Aerosmrth , Bob Dylan. The EqUipment. Starsl<y Cars #153: Jethro Tull. Klnl(s.

11 191 : Rocto. Aristocracy: Bee Boston. Fleetwood Mac. Gees. Jagger. KISS. RonStadl. '!bung AlcoholicS led Zap. Roiling Stones #154 : ElP. Pink Floyd. K,ss ' M'193 : Shaun Cassidy. lynyrd Gene Simmons on Art 01 Skynyrd. Btack Sabbath Fire· Breathing 111 94 : KISS: Slanley & 11155 : Alice Cooper. KISS: Simmons. Spllngsteen. Yes. Stanley & Simmons. Cocaine. RICk. Wall.eman poster RUSh. Deep Purple 11 196: l inda Ronstadl.

11156: Teenagers & Sex. iggy Beatles. Boston. Cheap Tncto.

Pop. ElP. Kiss Int&fVI8W' ChICago Criss & Frehiey. BillIOn Dollar 11197 : Jethro Tull. HaM & Babies Oate s. DaVid Bowl8 DOSter 11157: led Zeppehn. Klkl Boslon. Mealloat Dee. Rock Wive s. Boston. # 199 : ElIon John. Black Muhammad All SaObatn. Pat Travers 6159 : linda Blall, KISS In #200 : Ted Nugent, Van Japan Part 2. Wome n In MOllison. Instrument Special: ROCk. Van MOffison. Stevie On,Slage EqUipment 01 Nell Winwood Young. Chicago. Bob Seger. # 160: SIssy Spacek.

Bob Seqer poster Blackmore's Rainbow #203 : AlICe Cooper. Bob Heart·l ,nle Queen.

Dylan. ErIC Clapton posler Rock WIVes. Olvorce ..,204: Steve Marlin . Steve #1 62 : Frampton. ElP Tapes MIller. Meat loal Greg lake, SIeve Martin #205: Top Rock Stars 01 78. # '63 : ~$. Dooboes. AlICe. F.eddl8 Mercury Poster ElP Tapes: Keith Emerson 11208 : Mork & Mindy, Steve Nugent Poster Mllter. Ooobres. Cars poster #164: Henry Winkler 11210: AbortIOn. ElVIS Exposed, Roger Dallrey Solo. Costello. ElviS on TV. Rod Punk ROCk. B,nh Controt Stewart poster

#139: Caroline Ke nnedy.

Blian Wilson. KISS: Gene Simmons Inlervlew. Yes Tour

l"bee.

#~2 :

#211 : Blues erothers, Rock Break0U15 of 79, Meal Loaf poster #212: Animal House Fever.

Stevie NICks, Behlnd·the·

Scenes with Rush, Blonelle postor, Sid VICIOUS' death

11.',',', '...

Edd,"GM " .,".'Y'h,U"FO C

Squire. ElVIS Costello poste r, Pelor Frampton, 110 # 215: McCat1ney. Starshlp.

MuppelS. MISS P'99Y poster #216 : Elvis. lynda Carler poster. AudIO EqUipment.

Manluana and Health # 2'7: BIondIft. DIre S\f8l1s.

Slereo Equlpmenl of Execs #218 : Bucky Dent, Ted Nugent. Aelosmith. Ted

~~;~tJ~t~~:. ~~~::" ::e~=~~IJoe~~~~~~ry.

& DIll9 Deaths. Boomtown Rals. Cheap Tllck. George Hamson, Cheap Tnck posler. #221 : Halt, Rick James' & Steve FOfbert's Debut Albums, The Babys, Summel Travel lOt 75% orr. Growing Pol: al Home #222: BoO Welch. "The PolICe, Desmond Child & Rouge. Pot laws, laraine Newman poster. Installing Cat Slereos. Stones Canadian Concen #223 : Ron Wood. Ron lKeith poster, Summer Jobs. Rock love. Buying Your FlrSI GUitar #224 : Disco Special (Village People, Cher & more).

Tycoon and The Rockets.

WKHP Dee·tay Howard Hesseman. Scr·Fi Films 11225: Summer MoVie Roundup f AllOn' & more).

Rock Summer Tour Guide.

Joe Jackson & Frank Mills *226: Cullure Heroes ('v\Ioody Allen Mick Jagger John Belushl: Robin .

Williams). The Who In 'The Kids Are Altlght: Van Haten.

Schools & Drugs 11227 : Special : 10 Years 01 Rock & Roll Irom Cucus (Bolan. Bowie, Cooper.

Doors. KISS. led Zap. Queen.

Stones & mole) "'228: WoodSIOCk 10 Years Alter ($peerat Sec1ron). Bad Co., lee Maulili. Potsmokers "'229: Gilda Radner & Saturday Nl9ht LJve, The Cars. Upgrading Your GUitar.

Peter Frampton 11230: led Zep. Antidlscomama. REO Speedw8gon. Draft & You #23 ' : New Rock Groups.

New Albums (Part I ), KISS. Blorxl<e. NO' Nuke Concerts 11232 : Fleetwood Mac.

KISS Posler 11239 : Steve Tyler Inlervlew.

Pink Floyd. New Wave ExplosIOn. Tom Petty #240: Rush. ZZ Top. Steve FOIberl, Slyx Posler " 241 : Pink Floyd, Heart, The BIondle Boys. Heavy Metal FOI" The 80s. The Babys #242: Van Halen. J . Gells Bane:!. Journey. Robin Zander Interview & Poster 11243: Bob Seger. Joe Perry.

The PIetendels. Ted Nugent.

Van Halen poster # 244 : Summer Rock Tours.

Marshall Tucke! Band.

GenesIs. linda RonSladt. Pat Travers. Journey Poster #2 45: Journey. Gratelul Dead, Judas Plrest poster.

GenesIS "'247: Queen. Rosslngton Collins Banet. Stones. Keith RIChard poster. Townshend & the Who #25' : Doors Tapes. John lennon. PolICe. Dlle SUaiis Interview. 'Papeye: Blondle poster 11252 : Readers Poll Winners.

Zep Memonal. Blondle.

Rockplle. 'Altered States: Queen live' pos tel # 253 : People's Rock- AC DC. RUSh. Black Sabbath, Styx. REO Speedwagon # 254: Ritchie Blackmore. the Who. Steve Winwood. Elvis Costello, CasUe Donlnglon Festival #255 : Blilish Inva5lOrl-:-the PolICe. the Clash. Judas Priest !Speclal SectIOn).

Jellerson SlarShlp #256 : O zzy Osbourne.

Journey. Marshall Tuckel Band. Summer AOCk '81 , Jellerson Starshlp poster

Journey. AlICe Cooper. loverboy. Abba. Del Shannon " 267 Ritchie Blackmore s RaInbow. Sammy Hagar.

Ouar1erflash. NICk. lowe.

J Gells. Cars ;;268 Summer Rock 1982 preView. Van Halen. ASia .

Joan Jen. Rock & rol l travelogue. Olly Randy Rhoad S commemorahve poster

.-------------------------1 I I I I I

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SHORT CUTS

by George Arthur Moon Martin-Mystery Ticket(Capitol)-Thi s is an unwieldy blend of Marlin's solid rock & roll instincts with a production style that seems to have been heavily influenced by Ihe Euro· pean disco movement of the past lew years. an odd choice of vehicles for this very American rocker. Even stranger, its production cred its are divided among six different knob twisters. including Martin himself.

Mystery Ticket sounds as if it's been worried over, remixed and reworked to exhaustion. The end product obscures the emotional directness of Martin's songs without really adding much to their appeal. Regardless, underneath the stylistic confusion there are some excellent tunes. "She's in Love With My Car," a collaboration with Jude Cole (formerly of the Records ), is a typically impressive Martin blend of irony. humor and pathos. " Paid the Price " is as fine a traditional rock ballad as anyone's rec· orded in the past two decades. "Don't You Double (Cross Me Baby)" is a

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Moon Martin 's lates t blends talent, pathos and irony with an unwieldy pro duc tion sound.

triumph for Martin both as a writer and vocalist. Th is is one cut on Mystery Ticket on which all the elements come together.

The Records-Music on Both Sides-(Virgin Intern.tion.I)-lf the Records get their membership stabi· lized and work out a deal with an American label with some muscle, the band may find itself as commercially successlul here as Squeeze. Like that other U.K. band , the Records write distinctive, well·crafted pop rock, espe· cially strong in the lyrics department.

Music on Both Sides , the Records' third LP, if not as brilliant as their 1979 debut, leans less on mid·'60s stylings, a plus in giving the band 's identity a sharper focus. Not that the Records are above a little tasteful mimicry. " Imitation Jewelery," which begins the LP, sounds like Roxy Music during that band's zenith. "Selfish Love" is the same kind of angry mid-tempo rocker as the Records ' earlier "Starry Eyes. " But themes here are as surprising as Iheir Ireatment. Besides perennial Rec· ords ' obsessions like music business dirty work and romantic longing and disapPointment, there's the sarcastic " Keeping up With Jones," and a couple of personality profiles that would have done the early Kinks proud.

The lineup here seems a good one.

Chris Gent. on saxophone and vocals , makes his strongest contribution as a songwriter (he's written for Dave Ed· munds), and his joint efforts with drummer Will Birch are as fine as Birch's collaborations with gui t arist John Wicks. Lead guitarist Dave Whe lan fits in well , although he's lelt the band since Music on Both Sides was recorded .

Finally, under "additiona l musicians·· there 's an intriguing entry: Paul Car· rack , lormerly 01 Squeeze.

J ,J , Cale - Grasshopper-(Mercury)-Oklahoma blues picker J,J , Cale flourishes doing what comes naturally, Ten years ago, his Naturally LP won the sort of universal acceptance

thai supposedly allows a recording artist to write his own ticket.

Instead , Cale continued doing things his own low-keyed way, shunning the limelight and releasing records at his

own speed , Part mystique and part selfprotection, the strategy allowed Cale an artistic privacy denied some of his

counterparts. A music scene favorite (J ,J.'s first breakthrough came with Eric Clapton's 1970 recording of his "After Midnight"), Cale's never had to put up with the restrictions that often accompany cult status.

All of which is intended to explain that Grasshopper continues the laid-back lucidity and modesty of his earlier work, "One Step Ahead of the Blues," played in the bluesy vein he's established for himself, is probably the standout cut.

But he's left himself room to explore styles as diverse as Carribean (in "Does Your Mama Like to Regg ae") and straightforward pop ballads, And "Nobody but You " would seem a natural song to cover for any middle-of- theroader looking for a hit single,

Roy Loney- Rock & Roll Dance Party-(War Bride)- The Big Beat basics are loud and clear on this LP from one-lime Flamin ' Groovie Roy Loney.

Although he and that San Francisco band made their reputation in the psychedelic '60s (a sound and movement the Groovies lit in with only barely), on Rock & Roll Dance Party the vocafist! guitarist reaches back to rock 's begin-

ings, Tracks include songs by Leiber and Stoller, Roy Orbison's "Oh Pretty Woman " and lunes associated with

rhythm & blues stars of the past like Wynonie Harris.

Unlortunately, the LP isn't as exciting as it promises to be, The performances seem 100 self-conscious, too aware of the greatness they pay tribute to. Loney is a fine old-time rock & roll vocalist.

Here . however, his renditions are sometimes too close to imitation to carry much conviction.

Still, most of the first side is a real blast, rough -edged rock & roll that nevertheless boasts razor-sharp instrumentation. The songs themselves are first-rate. including Loney's own

"Slip, Slide, and Stomp" and "Doctor Boogie," The band behind him has the sound and rhythms of '50s rock down pat. It's just that their grasp of the sound is maybe a little too pat.

0

CIRCUS 65

Pg, 67, Stars ' instruments : Bob Weir 's custom Ibanez guitar.

Pg. 69 , Consumer reports on Ihe Fender Bullet and Yamaha SBG 2000 guilars.

Pg. n , Guitarist Ronnie Montrose's guide to accessories.

by John Stix

Pg . 72 , New producls.

Stars' instruments: Grateful Dead's Bob Weir ONE OF AMERICA'S premier live bands, Ihe Gralelul Dead are underslandably one of Ihe most sound-conscious . So it's no surprise Ihal Iheir rhythm guilarist, Bob Weir, is just as exacting when it comes to designing his own signature model

guitar for Ibanez.

His cu rre nt instrument has the metric equivalent of a Fender siring scale. The neck is a combination of

mahogany, ash and maple . Th e body is made of ash.

The Ibanez pickups in the fronl and middle position are si ngle -coils.

The back pickup can be either double- or single-coil. He currently uses a brass bridge a nd nut, but plans to add ivory insets into the

latter.

The guitar uses active electronics, which are a bass, midrange and Ireble cut or boost. Each knob has a cut or boost direction with a detented center position . "We have

also exlended the peg head ," he explains. "We found thai putting Ihe weight of the tuning pegs fa1her out on the peg head causes Ihem 10 weigh more in terms of how the

string 'sees' things. The string is fighting that much more weighl, and what you get is more sustain.

"The Dead are atypically co nce rned with intonation on stage. " Weir continues. "Thi s guitar is

designed to stay in tune, period . I once did a whole night of playing with the guitar hooked up to a strobe, and without louching Ihe tuning al Ihe end of the night one string was out one cent!

"Th e way you wi nd your slrings also has something to do with it. I like to run Ihe siring straight Ihrough, pull it straight up, crease it , crimp it under ilself and pUI Iwo winds on it.

If you put too many or 100 few winds on , or don't cri mp the string

"Designing a guitar to stay tuned, ~ says axester Bob Weir of his custom-made in strument, ~was a primary consideration. ~

CIRCU S/67

under itself, you 'll have intonation

problems."

.

.

Because of its devotion to quality,

the Bob Weir Ibanez guitar, wh ich is mostly sold in Japan , may one day be as coveted as a '57 Les Paul.

-John Stix

Fender Bullet a beginner's axe ***** AMERICAN COMPANIES WERE a little slow in responding to the Japanese challenge for the beginners guitar market. With the Bullet, Fender is out to

Win

Its fair

share of the trade.

T he basic features include a

Single-cutaway body, bolt-on neck, and two single-coil pickups. Oddly enough, the bridge pickup is straight wh ile the rhythm pickup is slanted.

The cosmetic approach is the exact

opposite of a Strat. The most interesting idea is the use of an enameled metal pick guard with

interfacing bridge.

The neck is among the best we 've seen. The frets are in great shape ,

and the nut adjustment is almost perlectly on the mark. The action is set just a little high for a neck straight enough to take it . considerably lower. One other nice surprise is that you get a real fretboard , not just a veneer.

Other specs include basic Kluson-type tuning pegs, non-tracking , fully-adjustable bridge, and a full-scale neck. The pickups give out that familiar Fender sound,

and can be called on by a three路 position switch .

At a list price of $249 with a case included, the Bullet should put a healthy sting into the Japanese beginners market. Good show, and five stars to the Fender Bullet.

- John Stix and Barry Lipman

Th e Buller is Fender 's winning entry in the Jow- cost beginner 's guitar sweepstakes.

Carlos Santana helped develop Yam aha 's pro路quality SSG 2000 guitar.

Yamaha SBG 2000: pro guitar * ** **

THE YAMAHA SBG 2000 seems destined to join the Gibson Les Paul and the Fender Stratocaster as being one of the coveted rock guitars to own.

The overall craftsmanship is very good . The neck carving of . . mahogany/ maple laminations IS In fine shape , while clean lines surround the binding borders. A Les

Paul-like arched , carved top gives the guitar extra thickness for sustain .

Borrowing a good idea from the Strat, the SBG 2000 is contoured for the rib cage. It also features a one-piece neck-through-the-body construction and an attractive double

cutaway for easy access to all 22 frets .

Push路in tone pots act as separate

coil cutters for each of the two humbucking pickups. While the single路coil sound is not particul.arly

Fender-like, the overall sound IS fat and fu ll with the type of sustain popularized by Carlos Santana. And why not? He helped develop it.

The Yamaha SBG 2000 is a simple guitar that simply does what it's supposed to. We award It five stars, our highest rating. Listing at $950, we rate it among the best professional guitars on the market.

-John Stix, Barry Lipman

* * * * * Exceptional

* * * * Above standard *** Good * ** Fair Poor (AVOid prod uct)

All products are rated within the context of thei r price range.

In our May 31, 1982 issue 's " Tech Trek," the photos of the Ovation and Sigma acoustic electric guitars were

inadvertently swapped.

" As a rock drummer I need the power to cut through the other instruments in the

band. My cymbals have to deliver when I want that power cras h or cutt in g ping.

My sticks have to be extensions of my hands , strong , but also absorbent for

the punishment that th ey' re about .to take. Drums are a key part of our musIc. If I can ' t be heard, there's no point in be-

ing there. That's why I use Camber."

~~~E~OOP::N~ I

For further information and our I FREE bookl e t "How To Choo se A

I Cymbal", pl ease fill out thi s I coup on.

I Name

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CI RCUS/69

Ronnie Montrose's guide to guitar accessories GUITAR ACCESSORIES USED to be a simple matter. For the surf

guitar sound of the early 路60s. all you needed was reverb . A few years

later the Stones hit # 1 with the fuzz -lone sound of "Satisfaction, " Today, a straight guitar路to路amp sound is a rarity, but no one is

complaining. Companies like MXR, Charvel and Floyd Rose have opened their doors to the guitarist's imagination .

Today there are many companies with their ears to the players.

DiM arz io. Seymour Duncan . Bill

Lawrence, EMG , Schecter and Bartolini are among the many

musically sensitive manufacturers who serve the technical and musical demands 01 today 's guitarists.

One 01 the most technologically knowledgeable of those guitarists is

Ronnie Montrose. Ronnie has developed several ways of enhancing the sound of his guitar, all of which he shows off on his latest Elektra group album, Gamma 3.

Known for having played with Boz Scaggs, Van Morrison and Edgar Winter before fronting Montrose and Gamma. Ronnie 's first memory of

guilar accessories goes back to Jimmy Page wilh Ihe Yardbirds.

Page influenced Montrose ." saw him use a wah-wah ." he

recalls . '"But my first box was an Ampeg Scrambler. II was in the days when sustain , compression and all

the things we now take for granted were in the experimental stages.

This box just added a lot of noise

and tell you how much I love Bill Lawrence pickups ; I do think they're the greatest. But somebody else can say you 've got to get DiMarzios or Duncans. What all of these different

from Moog taking an orchestra and analyzing the waves of the string

"The most exciting thing that's

section. They built this into separate lilters. The idea was good, but they never completed the design. It was very noisy and didn 't resonate properly. You couldn 't control the range of the filter. I tore it apart, put in DBX cards to quiet it down , and used a blend pot on the ranges rather than onloff switches , I'm now able to dial in a very sweet tone. ''1'11 always continue to experiment

happened to me in a while is the invention of the Gillis Wireless

with new things. But after all is said and done, the fail -sale I utilize is my

Switcher. I was talking to [inventor[ Greg Gillis, saying it would be great if there was a switching system the size of a deck 01 cards that you could attach to your guitar

talent as a guitar player. When all else fails , I plug directly into the amp and do what I do best , which is play the guitar. Everything else is embellishment. " -John Slix

choices have given us is a fiercely competitive market. This competitive

striving for excellence is great for all guitarists ."

A customized switching system

strap-something with a calculator

and messed up the harmonics. I

keypad that wou ld transmit to all the switches on your rack . That way you

later used it with a Big Muff

would never have to have any foot

distortion box. I put the Scrambler in

pedals on stage. A week later he

KEY POINTS

front of the Big Muff and turned it wide open. I adjusted the Big Muff and got a second note a pertect

called me up and said , 'Come and

1. Within the last 10 years,

octave higher. You ca n hear this on

'Make It Last' from the first Montrose album."

Fascinated with the whole process

of amplification and signal processing, Ronnie started to build amps from scratch , later experimenting with guitar

replacement parts. "The whole subject of replacement parts is so subjective ," he notes. ''I'll sit here

70 CIRCUS

get it. ' I hit the ceiling . It was a

guitar accessories have

dream come true , He took a nebulous idea of mine and I saw it realized in a week! It looks like a

permanently changed the

badge on my guitar strap with an antenna coming out of it. I have eight switches in there and a master clear button ," Among Ronnie 's

effects are a modified Moog string filter, a Moog Phaser, two Lexicon PCM 41's, a Dyna路Mite Limiter Gauge and a Vocoder.

"The Moog String Filter resulted

way we hear music,

2. The pickup replacement market grew out of ' guitarists' desires to get more from their instruments.

3, Guitar replacement parts are subjective according to

personal taste.

4. No accessory can replace playing ability.

The noise canceller.

Wh en you playa Stratocaster* guitar in the recording studi o. you can either li ve with th e noise from th e single路coil pi ckup. or carve a bigger hole in th e guit ar and put in a humbuckcr.

I never liked carving up vintage guitars. So I' ve developed a noise'cancelling

pickup that fits ri ght into the existi ng picku p hole in your guitar. I ca ll it the S t ac k .~

路St ratocaster. Strat.

The Stack dup lica tes th e

hannonics of the Stratocaster. without th e noise, because it preser ves the narrow, sharpl y-focused magnetic fi eld of th e single coil.

Those harmon ics disappear when yo u change to a

By stacking two coils around one row of staggered magnets. I' ve cancelled th e noise but kept the pure harmonics. Now I can take my strat into th e studio without engineers getting on my back.

I make a Stack for th e

regular hu mbucker, because

Jazz Bass guita r, too. You'll

the wid e double magnetic field results in th e typical waTm smooth hum bucker sound instead of the Strat sound .

get grea t tone, presence and response- without noise-

complex and distincti ve

when you play on either neck or bridge pickup.

My classic Stack models

for Te lecasters, Strats, and Jazz Ba ss路 , reprodu ce all the most desirable characteristics of the vintage sound ; my

Hot Stack models are for stage work wh ere y Oll want higher output.

To get my color cata log abuu t pickups, send two

dolla rs to Box 4746, Santa Barba ra, CA 93103.

Seymour DUllcan

Pickups

IBANEZ

CAMBER

Microphones Tech II Lin e Li st Price: $120-$ 175

Bell Block Set The Quintet List Price: $139.95

Five new microphones are now offered

by Ibanez . The IM60 is a low-impedance. cardioid dynamic microphone designed specifically for vocals and rniking instrument amplifiers . The IM6G offers the same features but adds the versatility of switchable impedance. The IM70's 14-16,000 Hz frequency response and uni·direclional pattern make it an excellent choice for miking drums. particularly snare and mounted toms . The IM76 is suited for low-frequency drums (bass and floor toms) while the IMaO is ideal for overhead cymbals, hi-hal. acoustic gui tar and piano .

The Quintet comprises five maximum-tone chambers that increase the votume and multiple tonality that today's music demands. It allows the musician a greater combination of volume and tonal ranges. Each block is precision-made of hand-finished mahogany, oak or maple. The Quintet fits any conventional accessory or cymbal stand.

Hashino. U.S.A. Inc .. 1716 Winchester Rd .. PO. Box 469, Bensalem. PA 19020, (215) 638-8670.

B.C. RICH

Ambico, Inc .. 101 Horton Avenue.

Lynbrook. NY 11563. (516) 887·3434.

Electric and Bass Guitars RM G-2 (shown) Li st Price: $499·$599 A new line of electric guitars and basses is now being offered by B.C. Rich. Each instrument features two humbucking pickups, separate volume controls and master tone control. They are available in Seagull. Eagle. Mockingbird and Wave

body styles.

B.e. Rich Guitar Co., PO. Box 60119.

Los Angeles. CA 90069. (2 13) 222-8167. (.~

/"

C.F. MARTIN

\'

\

•

Products from the Music Factory MOOG

Acoustic Guitar Model: MC-28 Li st Price: $1422

Synthesizer Model: Opus 3 Li st Price: $995

C.F. Martin has introduced a new grand

Including strings. organ and brass as well as a variable polyphonic synthesizer, the Opus 3 can combine voices that prod uce lush. layered tone colors. An articulation mode even allows independent attack and decay contours for strings and brass.

Stereo outputs permit placement of the voices .

auditorium-size guitar. the MC-28 cu taway. The MC-28 is the newest member of the "28" style of Martin instruments. and features rosewood back and sides. ebony fingerboard and bridge, and a solid spruce top. An oval soundhole accommodates the top bracing pattern presently found on Martin grand audi torium-size instruments. With a Venetian cu taway, 20 of the 22 frets are readily accessible.

MATTEL

The C.F. Martin Organisation, 510 Sycamore Street. Nazareth. PA 18064.

(215) 759-2837.

Electronic Drums Synsonics ™ List Price: $150 Synsonics drums enable you to create professional sounding drum beats almost instantly with the help of a built-in advanced micro -compu ter. Synsonics drums feature four drum pads (snare.

10m-tom one, tom-tom two and cymbal) with bass, accent and tempo con trol.

Other features include automatic drum roll at varying speeds, record and playback capabilities. LEO drum indicators, pitch control and stereo hi-Ii connectors. System plugs in to home stereo.

Mattei, Inc. , 5150 Rosecrans Avenue.

Hawthorne. CA 90205. (213) 978-5 150.

Moog Music. Inc .. 2500 Walden Avenue, Buffalo. NY 14225. (716) 681-7200.

0

Unless otherwise in dica ted. all prOducts' specifications are manufacturers ' data and not results of Circus Magazine tests or measurements. All lis ted prices are manufacturers ' suggested retail.

Availability of products vaoes accordmg to supply and locality.

•

by Lou O'Neill Jr.

Palmer's Zeppelin alert McCartney scores with 'Tug' CARL PALMER, LATE OF Emerson Lake & Palmer and now drumming for the hottest new rock band of t 982, Asia , cleared his throat as he pondered the question. "Back Pages" had asked him to talk about his old friends Jimmy Page, Robert Plant and John Paut Jones. What Palmer revealed was as shocking as it was unexpected.

Although many believe Cozy Powell will be doing the drumming if Messrs.

Page, Plant and Jones ever decide to make music again, Palmer doesn't thi nk it will work out that way.

"Don't be the least bit surprised if Jason Bonham [th e late John Bonham's son] should become th e drummer in that outfit," the 32-year-old Englishman said . "I know Jimmy Page wou ld never play the Zeppelin numbers with another drummer sitting behind him. Jason is comi ng up on sixteen now, and has been a musician since he was ten ." Carl's saying that recalled a quote Page had given rock journalist Dave Green conce rning the fu ture of Zeppelin. Jimmy felt it would be a "total insult" to play the LZ tunes with anyone other than John Bonham holding the sticks.

Nonetheless, Circus Magazine must now believe that yes, there is still a chance Page, Plant, Jones and Bonham will come together once more to create music. Fearless prediction: If Zeppelin ever sets foot on a stage dgain, the drummer will be J .

Bonham , only th e "J" will stand for Jason.

As far as Asia is co ncerned, this is the new group of 1982. Live, Steve Howe, Geoff Downes, John Wetton and Carl Palmer display consummate musicianship mixed with a selfassurance that is overwhelming!

SECRET STUFF: He's the kid brother of the partners in one of the world 's most famous groups. But even his close pals are terribly co ncerned about his recent behavior. Since being ditched by a famous tube star, he

741CIRCUS

" â&#x20AC;˘

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~ ~ i ~

Aldo Nova in New York : His album's approaching platinum .

j i

~ ~

,

~

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(

Lou O'Neill with Carl Palmer: consummate musicianship.

l ..~~__ Neil Bogart dead at 39: a battle lost to cancer.

claims his life isn't worth living. His "bender" has been non-stop. The man is totally inconsolable , and the funny thing is that it's usually he who is the dropper and not the droppee.

ROCK CONFtDENTtAL: Judy Blue Eyes says yes, there will be a Crosby, Stilts & Nash tour this summer starting Saturday, July 31 at the Hartford Civic Center. The campaign run s through September 9 , when it winds up at the Irvine Meadows Amphitheater in Irvine , Cali fornia .

I've got nothing against Sammy Hagar, but I wouldn't be telli ng it like it is if I didn't inform you Aldo Nova blew Sammy off the stage when they appeared together recently in New York. Shortly after that concert, all of the remaining dates Aldo was supposed to do with Sammy were suddenly cancelled. You figure it out ... Mark and Carol Lapidos are bringing Beattefest back to Los Angeles and the Bonaventure Hotel July 9, 10 and 11 . Naturally, we'll be on hand representing Circus Magazine. For more information about this year's Beatlefest call (213) 559-8775. See you in EI Lay ... The Rossington Collins Band has broken up because of continuing medical problems...

Phil Collins of Genesis flashes that his band will headline gigantic JFK Stadium in Philadelphia on Saturday, August 21. It'll be the second stadium spectacular at JFK this summer , coming on the heels of the June 19 blockbuster starring Foreigner, the Kinks, Joan Jet! and the Blackhearts , Loverboy and Huey Lewis and the News ...

Red Alert : The Doobie Brothers reunite for a "farewell " tour this summer .. We 're sad to report the passing of rock journalist Lester Bangs who left us in May far too young at the age of 33. Lester, who reviewed LPs for Circus Magazine in the late 70s, will be sorely missed . . . Okay, ca ll me a maniac, but t' li state flatly that Paul McCartney has come up with the album of his lifetime, Tug of War is a masterpiece!

It is without a doubt the finest music Paul has created since he and John Lennon parted ways.

WtTH LOVE AND RESPECT: The reco rd industry lost a gi~nt in early May when Neil Bogart, chairman of Boardwalk Records, succumbed to cancer at the age of 39. Neil and wife Joyce built a multi-million dollar company but always remained "regu lar people ". We at Circus Magazine mourn the passing of Neil C) Bogart.

f

Every year yo ung people from all over (he world come Greek Islands.

CO

the romantic

Michael and Cathy came fro m America fo r one uncomplicated summer before facing the future. Lina came from France to .enjoy the freedom of being a lone ... together they find an unexpected experience far beyond (heir fantasies. .1

Ra nda l Kleiser, the directOr of GREASE a nd THE BLUE LAGOON, now brings yo u his most provocative film , SUMMER LOVERS.

It's ohe summer you'll neyer forget. , < A RANDAL KLEISER Production "SUMMER LOVERS" Starring PETER GALLAGHER. DARYL HANNAH, VALERIE QUENNESSEN. Music Score by BASIL POLEDOURIS. Film Editor RO BERT GORDON. Executive Producer JOEL DEAN. Produced by MIKE MODER. Written and Directed by RANDAL KLEISER. Color by TechnicolorJ® A Filmways Picture.

IlUnI'C'nD ..

I SouodttackAlbum Available on WARNER &ROS. RECORDS AND TAPES. I O(l!oourt' STfAEOI' ~ © Filmways Pictures.l~c. 1982 .,:.:.~r:=.~

R

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IH$EU CI(O

I~"'II£$

All Rights Reserved. il

....

COMING THIS SUMMER TO A THEATRE

YOU.