The Seguin Gazette-Enterprise from Seguin, Texas • Page 44

Section Page i July 1979 Own type DELBERT McCLINTON: "If it wasn't for a few people, the flame of this particular type of music might've died. I like to think I'm helping keep it alive." By J.J. Syrja CONSIDERING all the years he has survived in obscurity, Texan Delbert McClinton is currently enjoying previously unthinkable national popularity. The king of Ft. Worth roadhouse rock, blues and country has not only raked in royalty checks as a songwriter authoring "Two More Bottles of Wine" and Movie" but he's made a dent in Media City USA (New York), ripping it up at the Lone Star Cafe in concert and on the tube (Saturday Night Live).

That's a long way from the smoky southern bars Delbert has gigged for 20 years; supporting Bruce Channel on a 1962 English tour; or backing blues greats Jimmy Reed and Sonny Boy Williamson II. To his credit, these are dues McClinton never wants to forget; most of Delbert's new Keeper of the Flame (Capricorn Records) bursts with the same intensity of his regular Soap Creek Saloon performances in Austin. Although producer Johnny Sandlin is responsible for the most commercial settings McClinton has ever worked in (especially the opening "Plain Old Makin' he rarely intrudes upon the singer's grizzly emotion. The sound quality, a cut above even the mastery of last year's Second Wind, particularly enhances the no-fooling delivery of "Just a Little Bit" and "Mess of Blues." Tim Henson's "Shot From the Saddle" pairs an unusual chord structure with McClinton's expert vocal, while a rendition of Chuck Berry's "Talking About You" swings terrifically. Breaking off the hottest groove sessionmen Andy Newmark (drums) and McClinton, Murphey: Heoiw on the Home State Sauce Willie Weeks (bass) have ever combined on, Robert Harwell wails through a soaring saxophone chorus until McClinton takes charge once more.

Chuck Berry narratives seem to live forever, especially in a grasp this capable. As with Second Wind, Keeper of the Flame makes a few admirable miscues: the two Don Covay soul numbers. "Seesaw" was never exceptional even in Aretha Franklin's hands, while "Have Mercy" (a fine song notwithstanding) suffers from an indecisive run- through. Initially, McClinton singing Covay's pleading lyrics with the easygoing attitude he's known for is interesting; whether his baby leaves him or not is okay by him. But instead of an ironically calm twist to the lines about jumping in a river and not coming up, Delbert merely sounds disinterested.

Making up for these lapses are heartfelt versions of two tunes from the two LPs McClinton recorded with Glen Clark in 1972-73. Clark's "I Don't Want to Hear It Anymore" and McClinton's own "I Received a Letter" (a highlight of his latest "Austin City Limits" set) remind one of his versatility he's a first class marksman in country music, too. Keeper of the Flame continues Delbert McClinton's slew of satisfying albums: a hefty platter drenched with traditional Texas sauce you just can't get anywhere else. "I just believe I have a way of interpreting my songs and the old stuff that's different," he says. McClinton's former producer Major Bill Smith, who released Delbert's first singles on the LeCam label nearly two decades back, is at it again.

Smith has assembled Very Early Del- bert McClinton with the Ron- dels, 12 old cuts mostly for archivists but not without merit. Included are decent renditions of oldies "Matilda" and "Haunted House," with an amusing medley of Ain't Got Nobody" recorded at Jack's Place in Ft. Worth, where McClinton was a member of the house band. LeCam also has issued "Hey! Baby" (with Delbert on lead vocal and harmonica he played only harmonica on this '62 hit by Bruce Channel) as a single. Since "Hey! Baby" isn'ton the album, McClinton collectors might want to write LeCam Records at P.O.

Box 11152 in Ft. Worth, zip code 76110. Former Austinite Michael Murphey's eighth disc Peaks, Valleys, Honky-Tonks and Alleys (on Epic) is split among one live and one studio side. The live side in- cludes a reworked "Cosmic Cowboy" (with this month's favorite anti-disco aside), a bent-out-of-shape "Geronimo's Cadillac" (with an awfully cheezy ending) and one of Murphey's few successful rock 'n roll vocals Cheap "C'mon!" calls Murph, looking for audience singing help, "you sound like a bunch of Methodists." Someone remarked that the relaxed studio pieces on the album are getting airplay on Austin's KCSW. It could probably go over on KQXT in SA too, which means Sominexville.

Peaks, Valleys, Honky-Tonks and Alleys has its moments, although in general, the listening pleasures and lulls are typical of Murphey's patchiness. Of all his efforts, only Geronimo's Cadillac and Blue Thunder (Epic) rate highly cut after cut. Budgie's hard rock fails to vibrate Seguin Crowd unresponsive, lacking energy Photos by BiU Schroeder Story by Kate Mitchell English rock group Budgie visited Seguin's El Fiesta Club last week, June 27. What's a budgie? "It's a tiny parakeet," said the British group's bass guitarist and lead vocalist, Burke Shelley. "We were looking for a complete contrast (between name and music)," Shelley continued.

(The British are famous for understatement.) "And we were sort of making fun of ourselves," he said. Budgie plays hard rock reminiscent of the acid rock of the 1960's. People who saw them Wednesday night at the El Fiesta compared them to Led Zeppelin, Jimi Hendrix and the old Quicksilver Messenger Service. Lead guitarist Rob Kendrick added an extra dimension to the performance with electronic improvisation of the Close Encount- ers theme by Englishman John Williams. Kendrick demonstrated his versatility adding special electronic feedback effects, enhanced by his cool straight silhouette projected against the sound equip- ent with a blue spotlight.

Bad Vibes Burke Shelley, a small, wiry vegetarian-looking man with glasses and intelligent features, thought Wednesday night's performance one of their worst. Talking after the show in a black Heyoka T-shirt, he blamed the sound equipment provided by their Texas promotional outfit for the bad vibes. The audience was not totally responsive, either. The seats were about half-filled and quiet. Towards the end of the set, some listeners stood near the stage to clap and dance.

But Budgie turned in for the night around 11:30 p.m. The London-based group spent their most recent five months (since February) in Dallas, Shelley said. The group had just finished a British tour ending around Christmas, were tired and needed some time to sort out their record contracts. Originally a five-man group in the '60's, Budgie lost three members, last year. Left to carry on the name were Shelley and Steve Williams, drummer.

Rob Kendrick, formerly of Trapeze, "a well-known Texas band," said Shelley, joined Budgie thereafter. "Rob had friends in Dallas," Shelley said. "We were only going to stay there three months, but stayed six instead." The group planned to return to London early this week. Before leaving, they made a few appearances around Texas. Tuesday night (June 26) before their Seguin concert they played Lubbock.

"It's like someone dropped some ink on the map and called it Lubbock," said tour manager Mick Owen. "I like Texas, "said Shelley. "It's got a good rock and roll crowd." Remembering Budgie's last trip through the United States with Styx, Shelley commented about playing warmup to a bigger name group: "They whip you on and whip you off. You don't do anything." AN INTENSE PERFORMER, Burke Shelley served as spokesman for Budgie in The Gazette's post-performance interview. 'Budgie' Band Boys ECSTASY like this is hard to come by when the crowd lacks energy.

Kendrick however treated listeners to some fancy guitar work..