The Morning News from Wilmington, Delaware • Page 70

d-2 Sunday Ntwi Journal, Wilmington, April 30, 1978 Hie Band waltzes aiway Its 1976 'last concert' is remembered in an album and a movie Johnny Cash rockabilly song "Big River" is a good example. The song becomes gritty and bluesy. On the other hand, he adds a bit of a country lilt to the blues chestnut "Spoonful." It's a good combination and worth a listen. who got the group started when he used them as his backup band on a mid-'60s tour. And it brought out Ronnie Hawkins, the southern rockabilly singer who gave The Band its first big job (as the Hawks), but whom The Band soon outgrew.

Winterland was opulently decked out for the concert, which was introduced by elegaic waltz music. Director Martin Scorcese Driver," "New York, New filmed the concert. The resulting movie, which also includes interviews with Band if V'l'p By GARY MULLINAX The Band has embodied the traditional American spirit in rock music form better than any other group. From its first album, "Music From big Pink" in 1968, to the brand new one, the three-record package "The Last Waltz," on Warner The Band has called to mind the wanderlust, the sentiment, the camaraderie, the integrity and the suffering that went into the making of this country. Their sound evokes the sound of pioneers or cowboys sitting around the open fire in a brief respite from the rigors of survival.

Oddly, except for drummer Levon Helm, the members of The Band are all from Canada. Maybe their insight into and feeling for Americana derived from their position as slight outsiders. Maybe they embraced their adopted land with the usual zeal of converts. "The Last Waltz" is a recording of what was considered to be the group's last concert at San Francisco's Winterland on Thanksgiving 1976. The announcement of the end wasn't a great surprise, since the group had in recent years failed to recapture the quality that made its first two albums (including 1969's.

"The among the best albums of the last decade. And the group never liked to tour much anyway. Since the Winterland concert, Rick Danko and Levon Helm of the group have made solo records. In the meantime, rumor has it that the group will get back together soon for an album. The Last Waltz concert brought together a number of the top musicians of the era of the classic Band recordings: Van Morrison, Eric Clapton, Joni Mitchell, Neil Young, Dr.

John, Ringo Starr and many others. Most are still hot. It also brought out Bob Dylan, The Band, whose "Last Waltz" concert has been movie and a three-record album. From left: Garth Hudson, Robbie Robertson, Rick Danko Manuel. 4' turned Into a Levon Helm, and Richard Steve Hackett left.

As might be expected, keyboards dominate instead of guitar, but it's the same dreamy wall-of-sound music with the same high-pitched vocals of drummer Phil Collins. The goal is majesty, and sometimes the goal is met. Sometimes, even, the group rocks. Too often, though, the songs don't go anywhere, blending into one another like some sort of hip musak. Buffett: whose fun? JIMMY BUFFETT.

"Son of a Son of a Sailor" (ABC AA 1046) There's a good-old boy spirit here that sometimes overcomes too much boring, innocuous music. Too often, Buffett seems to have more fun than his listeners. He sounds a bit like a guy who spontaneously starts singing in a park or on a beach. Nice idea, but would you pay money to hear it? Not that Buffett is incapable of making good music. He showed that on last year's "Margarita-ville." His best song on this album, "Manana," in fact, echoes that one.

"African Friend" is a fine ballad, while "Cheeseburger in Paradise" is fun. McCIinton: blue country DELBERT McCLINTON. "Second Wind" (Capricorn CPN-O201) McCIinton uses country music and blues without quite creating their synthesis, rock 'n roll. The two elements remain side by side but separate. The blues, of the two, dominates, keeping him free even of country's rocked-up cousin, rockabilly.

McClinton's version of the old PiPftH ran mSSL Wainwright: caught LOUDON WAINWRIGHT III. "Final Exam" (Arista AB4173) Wainwright, who went to prep school at St. Andrew's in Middle-town before becoming a semi-star, is sort of caught in the middle. He writes comic, insightful lyrics but his music hasn't quite caught the public's fancy in the way that of better musicians with similar vision (Randy Newman, Warren Zevon) has. On the other hand, he's not enough of a comedian to make it as a comedy act the way Martin Mull did (sort of) before his current success.

Wainwright's musac has been mostly folky in the past (his only real hit was the atypical "Dead Skunk" a few years He rocks a bit more than usual on this one, with an electric band he has put together, and his new approach is interesting. Some of the lyrics, however, lack wit and insight or at least they lack enough to make his approach to music work. Still, there are gems: his ironic title song in which he tells a student he "might as well be dead" if he doesn't pass his test, for instance. Or the very peculiar, laid-back, darkly jazzy "Golfin' Blues," which is about the Angst of the middle-class golfer. In concert: Art Garfunkel Art Garfunkel was near the end of a 50-date tour when he appeared at Philadelphia's Academy of Music last Sunday night his first tour since splitting from Paul Simon in 1970.

Before the tour he told reporters he was worried about bis ability to pull it off, but despite a bit of nervousness he had no trouble at all pleasing the packed house of mostly 30-ish fans last week, Garfunkel mixed new songs, mostly from his current album "Watermark," with old Simon and Garfunkel The crowd cheered at the first few notes of almost all of the songs, but especially the old ones. Garfunkel's pure, high voice is in some ways more expressive than it was a decade ago, although he can't quite hit all of the very high notes on a song like "Bridge Over Troubled Water. He is joined on most vocals by female singer Leah Kunkel, whose strong, sometimes throaty voice provides perfect ballast for Garfunkel's airy sounds. It was not a long set about an hour including two encores but it was a joy to see Garfunkel, his frizzy hair often lit to give a halo effect, in command and zipping through a crisp set. (RCA)" Y0U CB T0Oeh 13.

"Gaorala On My Mind" Willi Nation (Col urn- uiai 14. "Rod Win And Blua Manorial" Jo Stamp- Hy(Epk) 15. "No, No No" Rax Allan Jr. (Warnar Brod. H.

"WhlditY Trip" (Giry Stlwtrt (RCA) 17. "Thli It Tha Lova" Sonny Jamaa (Columbia) 11. "Gotta' Oult Lookln' At You Baby" Dava JytJJJf (RCA) In Ovartlma At Horn" Charlla Rich "I'm Gonna Lova You Anyway" Crlttv Lma ASY LISTINIftg Sm" Wlm" 9" Maiikfow (Arlitt) I. "Wa-ll Nvr Hava to Say Goodbv Again" England Dan i John Ford Cotay (Bit Traa) 3. tail So Good" Chuck Manalona (AtMl 4.

"Too Much. Too Lima, Too Lata" Johnny MarhtiliDanlac Wllllami (Columbia) 5. "Tha Ckaar I Gat To You" Robarta Fleck A Donny Hathaway (Atlantic) I. "Rtadv For Tha Tlmai To Gat Battar" CmtilGayla(UA) Th mnt" (klnhnarl t. "I'm On Mv Way" Captain Tamllla (AaVM) 10.

"You'ra Tha Ona" Satlt i Croft (Warnar Bret.) fc II. "You Balong To Ma" Carly Simon (Ekdrfra) 13. "Btforo My Haart Find! Out" Can Cilfttn (ArlolaAmarlca) 13. "Goodbv. Girl" OavldGatn(EWrrra) 14 "Two Ooort Down" Dolly Ptrton (RCA)y IS.

"Count On Ma" Jarfanan Stinhlp (RCAfr 14 "wt'll Sing In Tha Sunthlna" Mown Raddy (Cipttol) 17. "If I Can't Hava You" Yvonn Ellfman (RSO) 11. "Baby I'm Yourt" Dabby Boon (Wafnar-Cutb) 1 It. "Tht Clreta It Small" Gordon Llghtfoot (WimtrBrot.) X. "Taka A Chanc On Ma" Abba (Atlantic), i tOULSINOLIS J.

"Too Much, Too LlttH, Too Lata" JtJhnny Mirhlii Danlaca Wllllami (Columbia) i. "On Broadway" Gaorat Btnton (Warnar BroM 3. "Taka Ma To Tha Ntt Phatt" I Hay tVvmart (Columbia) 4. "Slav" RufuvChak Khan (ABC) 5. "ThaCtaaar I Gat To You" Robarta Flaek-wlth Dowv Hathawav (Atlantic I 4 "Dam With Ua" la 7.

"Tha Groove Ina" Haatwavt (Epic) My Girl" Tht CJay. (PMmW ahlilntamatlonal) 10. "Riding Hkah" FaiaO (Ska) 11. "Baotillla" Bootiyt Rubbar Band (Wamar Brot.) 11. "Gat On Up" Tyrant Davit (Columbia) 3.

"Flam Light" Parllamant (CataMarar? llRaacWng For Tha Iky" Paabo kron (Capitol) "Pnct Acroaa The Floor" Jimmy, Horn (SutgjjMnB) Sound) Chm'" loww a (Prlvatt Stock) "Ntvtr Gat Enough Of Your (AIM) II "It-i All In Your MM" Sldt Enact (FaW It. "Site Suearchlck" Kool 1 Tn Gang (Oaflta) 30. ''Oh what A NlgM For Danclnt" BarrVmtt (MthCintury) Mullinax on Music members, opened last Wednesday in New York. Newsweek magazine called it "the sweetest of all rock movies." The record album is plenty sweet, too. It gets off to a rollicking start as the group moves from the stately waltz to a rippling version of "Up on Cripple Creek." While The Band itself rarely hits a false note during the concert, some of the guests do have a bit of trouble here and there.

An early Neil Young-Joni Mitchell duet on Young's "Helpless" falls flat. But Ms. Mitchell redeems herself wonderfully a bit later, on Record 1, Side 2, with a throaty, rhythmic version of her "Coyote." A song by Neil Diamond, who doesn't really belong here, follows. Then, after The Band's "It Makes No Difference," Dr. John delights the crowd with "Such a Night." Side 1 of the second record is the blues side, including as it does songs led by Paul Butterfield, Muddy Waters and Eric Clapton.

It doesn't quite work as well as it should. Butterfield and Helm share vocals on a "Mystery Train" that lacks mystery, while Waters' version of "Mannish Boy" is a bit plodding. Clapton fares better on "Further on up the Road," on which he and The Band's Robbie Robertson two of the best guitarists in all of rock music share lead lines. Van Morrison highlights Record 2, Side 2, and possibly the entire album. He comes on to join The Band on "Tura Lura Lural," then follows with a wailing extended version of his "Caravan." He reminds us that few rock musicians can surpass him when he's hot.

The first side of Record 3 is mostly Dylan's. He comes on with a lilting version of Rev. Gary Davis' "Baby Let Me Follow You Down," then works through "I Don't Believe You" and the ballad "Forever Young" and concludes with a reprise of "Baby Dylan's set is powerful, and might be a bit of a surprise for those who think he's about washed up. disappeared from the national limelight, but I wasn't sure just HOW far she had disappeared. "Uh, Maria," I tried again, "why did you move to northern California?" She waved her hand it the car's window: "Just look at that sky.

I just love it here. At first I was happy in L.A. because it was better than being stuck in my driveway in Woodstock all winter. But L.A. was a really lonely place, not a healthy place to live.

Besides, I really feel the beauty up here and I get a nourishment from living with the redwoods. A few blocks further and we finally reached the Veterans Memorial Auditorium on High Street. Real, actual hippies stood around outside smoking reefers. Inside the hall, everyone was garbed in 1967: curtains, velvet, satin, feathers, leather. 1 Hell's Angels mingled with members of the Hog Farm.

Even Maria was taken aback for a minute: "This IS like Marin County 10 years ago." We settle down for an interview and I ask why she waited so long before doing another album. "I didn't choose to wait so long," she said. "It just took me forever to The Last logo. She finds a producer Records To end the "live" portion of the album, Dylan and The Band get together for "I Shall Be Released," a Dylan tune which The Band included on its first album. The harmonies are pretty rough here, but it's redeemed by a certain enthusiasm.

The last side of the album is a studio set by The Band. The group is joined by Emmylou Harris on "Evangeline" and by Mavis Staples on a gospelish version of 'The Weight" which is good but not as good as 1968's original. It concludes with a haunting vocal ballad called "The Last Waltz Refrain," and then the instrumental waltz music. Although it has some of the weaknesses of any concert album (focus a bit fuzzy, some vocal uncertainty) this is still a first-rate album. Perhaps more than any group, The Band deserves this kind of tribute from musician colleagues and this kind of showcase for a recapitulation of its career.

Carly meets Bee Gees CARLY SIMON. "The Boys in the Trees" (Elektra 6E-128) There might be a tendency to admire this record more than enjoy it, but I think in the end enjoyment will win out. Ms. Simon is backed by various crack musicians who can make this kind of pop music work crisply. But her biggest asset may be producer Arif Mardin, who helped the Bee Gees develop their current style.

There's more than a touch of the Bee Gees sound in songs like find the right producer. I thought I'd go back into the studio about a year after 'Sweet and then Lenny Waronker, who was my producer, announced he was in a terminal state of studioitis and didn't want to do it. "We also mutually felt a little new blood, a new direction was needed. So, I said o-k-a-y and figured, well, somebody will show up. But everybody I approached was tied up.

Just one thing and another and time just went by." Maria finally decided on Chris Bond to produce her new album, "Southern Winds," a stylistic departure from her other albums, especially due to the large number of Leon Russell songs. "I don't think it will surprise people," she said. "The Leon Russell tunes just seemed so much to fit that I couldn't NOT do them. I've always loved Leon's music and there's such REAL love in what he's writing now, Real love, "bordering on gospel. It's man-woman love, but it's got that spiritual outlook intertwined with it-' "I mean, there's no 'Don't You Feel My Leg' on this album but that's because long ago I said, 'Oh, oh, I didn't mean for this to I quit singing that song.

Gospel stuff is much more moving on a deeper level." "Tranquillo" and "You Belong to Me." The latter also is on the Doobie Brothers' current album. This is not as earthy as the Doobies' effort, but it's snappier. Ms. Simon's acoustic ballads don't work as well as the electric, midtempo stuff; they are a bit predictable. But they're pleasant nonetheless.

Heart album finally HEART. "Magazine" (Mushroom MRS-5008) Mushroom, Heart's label before the group got hot, had some of Heart's work in the can when the Wilson sisters and the boys left for a CBS label, Portrait. Mushroom wanted to release the material a year ago, Heart got a court order saying they couldn't. Now, after a settlement, some of the tracks have been redone and the whole album remixed. This is it.

Ho hum. One cut, does sound like a faint echo of fine rockers like "Little Queenie," but there are also some fairly humdrum acoustic pieces as well as remakes of "Without You" and "I've Got The Music in Me," both already recorded better by others. On several songs, including "You Shook Me," Ann Wilson tries to echo Janis Joplin instead of Grace Slick as usual, without as much success. Same old Genesis GENESIS. "And Then There Were Three" (Atlantic SD 19173) This doesn't sound much different than the group's preceding album, made before guitarist Maria Muldanr "Did you get to feel," I asked, "that you were really becoming a sex object with many audiences?" "Maybe so.

I am more serious now. The people who thought I was titillating have gone on to other femme favorites." I asked if she missed her huge success of several years ago. "I have nothing to show for it now, except I had a real good time," she said. "Money? Dinner on Maria, everybody. The one thing it did afford me was to be able to hire real good players and to have the best equipment.

That's all I regret. That's the only reason I want a certain amount of success now, to have money to put back into the music. "I could' ve milked it for all it was worth, but I would've had to leave my daughter, and I couldn't have done that. I have to take it slow. I've been a professional musician for IS years now, so I'm hoping I can do it at a slower pace and keep it going.

"All I would like to happen is to find a band that shares my vision of music and just make enough money to keep us all intact." Maria Muldaur emerges, hoping for a slower pace By Tht Aiaoclattd Prtu Tht following art Billboard1! hot word hltt tor tht wtak nfilno May I thtv tppur In ntxt watk'iluutof Bllfeoardmaoulna. HOTSINMJ! I. "Nigh Favar" Baa Gm RSO) i. "If I Can't Hava You" Yvonm Elllman (RSO) 3. "Cant Smllt Without You" Barry Manlkm (Arlitt) 4.

'Tht Cloatr I Gat To You" Robarta Fladt (Atlantic) 5. "With A Ltttla Luck" Wlnat (Cipttol) "Too Much. Too Lift, Too Lata" Johnny Mimii Danlaca Wllllami (Columbia) 7. "You-ra Tha Ona That I Want" John Travolta 1 0IM Nawton-John (RSO) Down Sally" Eric Clapton (RSO) f. "Out! In Tha Wind" Kanui (Klrahnar) 10.

"Count On Ma" JahVton Starthip (RCA) II. "Jack JIM" Ravdlo (Arlital It "Imaahwv Low" Atlanta Rhythm Sad Ion (Porrdor) 13. "Faatt So Good" Chuck Manalona 14. "ShadawnDandna" Andy Glob (RSO) 15. "Dltco imorno" Trammpi (Atlantic) 14 "Thlt Tlma I'm In For Lova" Plavar (RSO) 17.

"Swatt Talking Woman'' Elactrk Light Or-chKtrt(Jat) II. "FlaiMlaht" Parllamant (Caublanca) l. "On Broadway" Gaorat Banaon (Wamar Bret.) X. "Two Doon Down" Dolly Pirtgn RCA) TOR LP I. "Saturday Night Favar Soundtrack" (RSO) i.

"London Town" Wlnat (Capitol I 3. "Slowhand" Erie Clapton IRSO) 4. "Point Ot Know datum" Kwaai (Klnhnar) 5. "Jaffarton Starahlp Earth" Jerraraon Starahlp (Grunt) a. "Tht Stranger" Billy JoK (Columbia) 7.

"Waakand In L.A." Gaorat Btnton (Warnar Brw.) I. "Runmng on Empty" jacuon Browna (Aav- kim) t. "Ftali So Good" Chuck Manolone (AAA) 10. "Eicltabla Boy" Warrtn Ztvon (Atylum) II. "Evan Now" Barry Manllow (Arttta) 11.

"Champagna Jam" Atlanti Rhythm Sactlon (Polydor) 13. "Son Of A Son 01 A Sarlor" Jimmy Buftatt (ABC) 14. "Blut Light In Tht Inamtnt" Robarta Flack (Atlantic) 15. "Alt" Staary Dan (ABC) It. "Showdown" I Hay Brathari (T-Nack) 17.

"You Light Up My Lift" Johnny Mathlt (Columbia) 0. "Waiting For Columbui" Lima Fart (Wamar It. "Tha Grand lltuaton" Styx(AiM) 10. "Frtneh Ktaa" Bob watch (Capitol) COUMTRYIINBLIS "1ft AM Wrong, But It's Alright" Mly Ptrton(RCA) I. "Sht Can Put Mar Srox Undar My Bad Anytlma)" Johnny Duncan (Columbia) 3.

"Haarft On Flra" EdM Rabbttt (Elaktra) 4 "I'm Alwara On A Mount Hn Whan I Fair" Marti Haggard (MCA) S. "Evaryttrrw Twa PoMi CoUkkt" Kanrry Rods- tn Oottla Woat (Unftad Art Mi) 4 "Unchatnad Malody" Ehrli Prat lav RCA) 7. "Mayba Baby" Suakt Allanaon (Warnar-Curb) "Oo You Know You Art My lunahma" (Stat- Itr aJrotnf i (Mtrurv) "Tha Powgr Of PoUttvt Drinking" Mkkty Olllty (Playboy) 10. "Coma On In" Jarry Lot Laarli (Mgrcury II. "I'll Mayor Ba Frat" Jim Ed Brown HaMn Comal kn (RCA) By CHET FUPPO SEBASTOPOL, Calif.

Maria Muldaur pulled her new green Saab into Sebastopol's Chevron station, cranked down the window and asked the attendant, "Where's the show tonight?" He didn't recognize her, which is not surprising, since she has more or less dropped out of sight the past couple of years and has put on a pound or two since her "Midnight at the Oasis" days. "It's on High Street," he said. "Ya want gas?" High Street. How perfect for Maria to warm up her vocal chops on High Street with the Jerry Garcia Band before re-emerging on the national scene with a tour and an album. In a metaphysical sense, she's been on High Street the past two years since moving from Los Angeles to Marin County, becoming part of the Grateful Dead family, performing in local clubs with Ma-ryann Price and Ellen Kearney as the "Bezbo Sisters" and settling down with her kids and her "old man," bassist John Kahn of the Garcia Band.

"We're gonna save some underground paper," explained Maria1 of the concert. "It's benefit." What sort of time warp was this? "An underground paper?" "Oh, I don't know," she said. "The paper for Sonoma County, for the area." We drove along in silence for some minutes. I knew Maria had Ai441AAA4t4i4AAAAAititttiatttatfaAittMiAAAAt444AAiiJ.