The Philadelphia Inquirer from Philadelphia, Pennsylvania • Page 162

81 Sunday, Sept. 21, 1980 Philadelphia Inquirer This week in poprock New albums During her first tour, Carlene Carter was awkward and insecure. But her new album shows a chip off the old block. From the big Cash-Carter clan, the latest talent is promising jj 'f if? it i I l' i fa 'SI I i 4 rJ I was the late, legendary Mother May-belle Carter has been driving hard toward stardom for the last three, years. 1 Miss Carter's third album for Warner Bros.

Records, "Musical Shapes," has just been released, and it appears that she has finally gained a firm hold on the positive direction that was missing on her first two releases. The LP, recorded in England, was produced by Lowe, who has previously produced albums for Elvis Costello and the Pretenders and performs with Rockpile, the group that he shares with Dave Edmunds. Miss Carter is supported on the album by Edmunds and other members of Rockpile. But there is a vast difference between this release and Miss Carter's debut LP, which was also recorded in England, but with Graham Parker's band, the Rumour. Despite its appealing moments, Miss Carter was basically a vocalist singing with an established group.

And this was even more evident on her first tour, which brought Miss Carter into the Bijou Cafe. On stuj, she was awkward and insecure. And she was overwhelmed by the high energy level of the Rumour. However, there are reports that Miss Carter has developed a far greater degree of stage presence since then. But getting back to Miss Carter's albums, the second one was recorded By Jack Lloyd Inquirer Entertainment Writer The First Family of country music keeps growing.

And in the process, diversification has brought about a fascinating marriage literally and figuratively of traditional country and fundamental rock. It's quite a family, really. There's Johnny Cash and his wife, June Carter, and their respective daughters by previous marriages, Rosanne Cash and Carlene Carter not to mention the daughters' husbands. Miss Cash is married to gifted country-rock singer-songwriter Rodney Crowell; Miss Carter's husband is British rocker Nick Lowe. And both Miss Cash and Miss Carter have recorded albums that establish them as two of the most promising young performers on the country-rock scene today.

Rosanne Cash's progress is the most tentative of the two to date. She came out last year with a stunning debut album that made more than a few "10 best" lists, but she was unable to promote the release through touring because of her pregnancy. The LP, incidentally, was produced by Crowell. who also comnbuted several excellent songs. A second album from MissjCash is undoubtedly in the works, and last year's promise may yet be fulfilled.

On the other hand, Miss Carter whose father is country music singer Carl Smith and whose grandmother in the States, sporting more of a hard rock edge while miscasting Miss Carter in the process. "Musical Shapes," though, is right on the money. In shaping the sessions, Lowe remains true to his self-proclaimed "pure pop" doctrine without turning his back on Miss Carter's pure country heritage. And the results are generally delightful. And the LP also nicely showcases Miss Carter's development as a songwriter.

Most of the material is her own, and this contribution includes several excellent songs, structured loosely in the country-rock vein. In addition to her own songs, Miss Carter acknowledges her roots with an impressive rendition of "Ring of a song co-written by her mother and turned into a hit by Johnny Cash a couple of decades ago, and with a respectful version of "Foggy Mountain Top," a vintage country classic written by Mother Maybelle's brother-in-law, A.P. Carter. And there is also a slick pure country duet with Edmunds on "Baby Ride Easy," and one of Miss Carter's own tunes, "Appal.ichian Eyts," that dig deep into that country heritage. But these touches are superbly balanced by the remainder of Miss Carter's songs strong material such as "Cry," "Madness," "Bandit of Love," "Too Bad About Sandy" and "Too Proud." From country roots, Carlene Carter 1 has come into full bloom.

STEVE HACKETT Defector (Charisma): Hackett, formerly a guitarist with Genesis, is unable to come up with much in the way of originality on this solo effort solo meaning that he gets top billing after surrounding himself with a delegation of support musicians. Mostly, his approach is in the grandiose style that British progressive-rock groups have been repeating since the late 1960s. With this in mind, the album has its appealing moments, featuring instrumental work that is first-rate. Such numbers as "Time to Get Out," "Two Vamps as Guests," "Hammer in the Sand" and "The Toast" are decent enough. But, really, it is just more of the same old stuff.

JETHRO TULL A (Chrysalis): Ian Anderson revamped his group for this recording, discharging most of his longtime personnel, but it remains fundamental Jethro Tull, a patented sound that's built around Anderson's distinctive vocals and flute playing. In addition, Anderson's material falls into the stock mold, with Anderson viewing various aspects of daily life from a rather pompous point of view. In "Uniform," for instance, he sticks his pins into everyone from the T-shirt set to the three-piece-suited businessman crowd. While Anderson frequently strives for a tongue-in-cheek quality, the skill to pull it off is missing. GEORGE JONES I Am What 1 Am (Epic): Jones is' country pure country.

And this has to be kept in mind. There are no crossover pretensions. And this has to be kept in mind. But for those who like their country fresh from the vine, Jones is a master singer of the sad country ballad. The voice is crystal clear and the pain rings true on such numbers as "He Stopped Loving Her Today," "I've Aged Twenty Years in Five," "Brother to the Blues" and "I'm the One She Missed Him With Today." Cornball by some standards, to be sure, but country laments at their best.

AMY HOLLAND Amy Holland (Capitol): While Miss Holland is not blessed with one of the more dynamic voices around, her debut album has the benefit of an appealing collection of songs and some interesting production work, with Michael McDonald (of Doobie Brothers fame) sharing the latter responsibility and contributing a couple of the numbers. These are factors that compensate to a great degree for a voice that is a trifle thin but strong enough on technique. Miss Holland is especially effective on such ballads as "Stars," "Looking for Love" and "Holding on to You." Muc)i of the material, such as "Show Me the Way Home," has a nicely handled feel. Rating: 1 star, average; 4 stars, top Carlene Carter hits her stride on 'Musical Shapes' Best-selling records Reviews ninin enrnin ci Distinctly progressive jazz PHILIPS WORLD FAMOUS AM-FM RECEIVERS 7841 36 WATT RMS LIST 229.00 $139oo 7851 60 WATTS RMS LIST 289.00 s16goo Billboard Magazine's hit records for last week. HOT SINGLES 1.

"Upside Down," Diana Ross (Motown) 2. "All Out of Love," Air Supply (Arista) 3. "Another One Bites the Dust," Queen (Elektra) 4. "Fame," Irene Cara (RSO) TOP LP's 1. "The Game," Queen (Elektra) 2.

"Hold Out," Jackson Browne (Asylum) 3. "Diana," Diana Ross (Motown) 4. "Emotional Rescue," Rolling Stones (Rolling Stones) COUNTRY SINGLES 1. "Lookin' for Love," Johnny Lee (Asylum) 2. "Old Flames Can't Hold a Candle to You," Dolly 3.

"Do You Wanna Go to Heaven?" T.G. Sheppard (Warner -Curb) 4. "Heart of Mine," Oak Ridge Boys (MCA) ADULT CONTEMPORARY 1. "No Night So Long," Dionne Warwick (Arista) 2. "Don't Ask Me Why," Billy Joel (Columbia) 3.

"Drivin' My Life Away," Eddie Rabbitt (Elektra) 4. "Xanadu," Olivia Newton-John Eletric Light Orchestra (MCA) 5. "You're the Only Woman," Ambrosia (Warner Bros.) SOUL SINGLES 1. "Give Me the Night," George Benson (Warner West 2. "Upside Down," Diana Ross (Motown) 3.

"Girl, Don't Let It Get You (TSOP) 4. "Funkin' for Jamaica," Tom Browne (Arista-GRP) rates intelligent exploration from cacophonous anarchy. Giordano plays amplified guitar, accompanied by pianist-synthesizer player Dave Postmontier, electric bassist Steve Beskrone and drummer Tom Cohen. The group shies away from the punchy, ringing, highly arranged approach, offering instead a frequently rather impressionistic, laid-back, subtle blend in the ensemble portions, with most of the fury reserved for the frequently thrilling solos. All of the players are highly proficient technically, but the playing never seems flashy.

It is clear that Giordano and his cohorts are one of the few truly trail-blazing electric jazz units in the area. Edgar Koshatka The Steve Giordano Quartet, which appeared Tuesday at the Main Point in Bryn Mawr, is perhaps the most innovative and distinctively progressive unit yet in the local jazz series that the club has been featuring weekly for most of the year. Guitarist Giordano and his band, unlike most of groups that have appeared, present little from the standard jazz repertoire, preferring mostly originals with very exploratory harmonic makeup and occasionally oddly metered rhythms. The pieces have simple names "Opening," "Love of Life," "Gravity," "Existence," "One for Stevie" but all of the works give the band a thorough workout', stretching the tonal options to the limit, but always keeping to just this side of the fine line that sepa 7861 90 WATTS RMS LIST 419.00 $22000 7871 120 WATTS RMS LIST 469.00 $27900 SCANNERS ffir $2000 SAVE UP TO IN ADDITION TO OUR LOW DISCOUNT PRICES! POLICE FIRE AIRCRAFT HAM I 300 250 1 LIST 519.95 LIST 419.95 NOW ONLY NOW ONLY 368 $2S500 WITH '20. REBATE WITH '20.

REBATE 1 I 220 160 i LIST 419.95 LIST 279.93, I NOW ONLY NOW ONLY $29500 $9gooI WITH '20. REBATE WITH '10. REBATE ai vf I it V-i i I 2-4-6 HOUR VIDEO RECORDER 24 HR. TIMER REMOTE MUSE FROM VISA A MASTIC CUADRi IN STOCK: PANASONIC SVC QUASAR MAGNAV0X now RflUfPAII I DOUBLE THE SIZE Or YOUR TV PICTURE! Knrnsco Chicago, minus most recent additions Grebb and Pinnick Chicago's welcome comeback It was only a few years ago, of course, that the seven-piece band Chicago could fill the Spectrum without much ado; and a few years before that it had little trouble packing the place for two evenings. But that was during the band's heyday in the early 70s and in those days, it was still innovative to have instruments like trombone and saxophone in a rock band, to say nothing of jazzy interludes between the vocal choruses.

The new Chicago now up to nine performed at the Tower Theater for a packed house last weekend and, unlike most "comeback" groups, sounded better than ever. Certainly, the richly textured big-band (by rock standards) sound is hardly revolutionary at this point; indeed, one reason the band might win reacceptance is that it is almost nostalgic. Another reason is the fact that, unlike other recent attempts at band comebacks, including one by Blood, Sweat and Tears, the current Chicago is composed predominantly of the original personnel; two-thirds are from the band that performed at the Electric Factory in 1968. A heavy portion of the vocal load is still handled by keyboardist Robert Lamm who sang his 1969 hit "Does Anybody Know What Time It Is?" to the appreciative audience along with bassist-vocalist Peter Cetera. New singer Marty Grebb fits in well, even on old tunes like "Saturday in the Park." With trumpeter Lee Loughnane, trombonist James Pankow, saxophonist Walter Parazaider and drummer Danny Seraphine, the old Chicago is well represented; it is augmented by percussionist Laudir De Oliveira and guitarist Chris Pinnick.

Drawing from a 14-album repertoire, the band has no trouble delivering an evening of good music. Edgar Koshatka ri.fi I 3 1 19 Ml SIZES i't i 12" to 23" 153 lVVu moil IHST1US IN MiNvres ao toois NO POWER SOURCE COLOR or BUCK WHITE 1 HR. FREE PARKINS WITH S15.0C PUR. 10th LUDLOW (BET. MARKET I CHESTNUT) i ir himimi -1 11 1 rii.iin -it 1 hi iiini-Tiii I'Himimnwiii Miiii-Hif i 1 1.