entertainment scene Our reviewers look back on the good and bad of ’75 Brian Timms—

Press, Volume CXVI, Issue 34045, 8 January 1976, Page 4

entertainment scene Our reviewers look back on the good and bad of ’75 Brian Timms —

For me. 1975 was characterised by steady trends from earlier veal’s rather than the ap,»earance of anything really original. The first of these trends is the use of more and more electronic alteration of music — towards a new psychedelic out-pouring, perhaps'.' But if this happens it will be softer and more intelligent than 1967. Notice in this context the slow rise of a psychedelic genius. Todd Rundgren. and the continued popularity of Pink Floyd. Two of my best records of the year are of this genre. Another major trend has been the increasing influence of the Philadelphia of "Philly" soul sound — even to Eagles and David Bowie. Local talent Mark Williams is a good exponent of this sort of music. Combinations of these

two trends are now common, good examples being Labelle and Rufus. The third major trend is also American, with the rising importance of the Deep South, the bands and the people. Perhaps the best example are Little Feat and famed producer ' ' . . mt — more English acts are going to New Orleans to record and the resulting combination of British flash and Deep South funk can be very heady — Robert Palmers

’Sneaking Sally Through the Alley” is a good example. The best albums of the year? First honours must g to British group Supertramp. whose “Crime of the Century” has everything — originality, intelligence, expert use of instruments, vocals, and recording techniques to laydown a rather gloomy but always honest view of the contemporary world. This is a heavy record in all senses of the word but is none the less instantly and widely accessible. Closely following in my list comes “The Young Americans.” David Bowie has always been obsessed by the United States and the first disc he recorded in Philadelphia is a brilliant portrait of America seen through the eyes of a gifted and discerning poet. “Philly Soul" in basic sound, “Young Americans” shows Bowie, vocally and lyrically, at his best since "Ziggy Stardust” — and that's some best. Third in the honours list is tied between Bob Dylan's “Blood on the Tracks” and Buffy Sainte Marie’s “Changing Woman." Both one-time folk and protest singers, both with long careers of experiment and change, these two have ended up almost at opposite ends of the musical spectrum but with equally brilliant results.

“Blood On The Tracks” is definitely Dylan's best since “Blonde on Blonde.” and reflects the mixture of

bitterness and resignation after the break-up of his marriage. Accompaniment and recording technique are deliberately kept to a minimum. focusing attention on the searingly brilliant lyrics and deceptively laconic singing. I knew Dylan still had what it takes but “Blood on the Tracks” is a wonderful surprise. With Buffy, in total contrast, al! the early bitterness has vanished, and “Changing Woman” is a collection of sparkling love poems, sung with a joyous intensity that is totally infectious. Buffy’s superb voice has been combined with outstanding use of studio techniques to produce a sound that borders on the psychedelic, and "Changing Woman” is by a long way the best disc by a lady since Joni Mitchell's “Court and Spark” of early 1974.

There were, of course, many other really good albums worthy of mention released last year — I also recommend Split Enz' “Mental Notes,” Joe Walsh’s “So What.” lOcc’s Original Soundtrack. Steely Dan’s “Katy Lied,” Elton John’s "Captain Fantastic” —write your own list.

I must admit I’m not a singles person but there were a couple of outstanding 45s this year — 10 cc’s “I’m Not In Love” and Steve Harleys “Come Up and See Me.” Tours in 1975: peaks for me were Rory Gallagher’s down-to-earth approach to electric blues, Wishbone Ash's musical brilliance, especially under difficult conditions (thanks for the memory, Sarah), Split Enz’ total weirdness (an act so strange that the music was totally over-shadowed),

Deep Purpie’s incredibly’ loud and heavy excitement, and Buffy Sainte-Marie's! sensual joy and intensity. Major disappointment is of course the failure of Roxy Music to come south — we can thank the greed; of promoters who won't; bring acts here because of! small audiences. Hopefully! the success of Deep Purple; at Q.E. II will change the pattern, although the grape vine tells me that the local; TV addicts are trying to! prevent any more live con-; certs because of the noise.; A rock freak’s life is a hard one. A number of interesting new people arrived on the scene — or rather became! noticed — last year. Joe; Walsh is perhaps the best known. Linda Ronstadt with “Heart Like a Wheel” and “Prison in Disguise,” Jamaican Rastafara reggae singer Bal Marley (“Natty Dread”) and finally exVinegar Joe vocalist Robert Palmer, whose joyous bubbling vocals make “Sneaking Sally Through the Alley" the best party 1 album of the year.

Clanger, ripoff, bumma of the year — Rick Wakeman, who should be one of| the decade’s major talents, | continues to produce! shoddy tasteless pretentious albums, and "King Arthur” is the worst yet. I know this sounds savage but Wakeman showed such brilliance while playing; with Yes that "King Arthur is unforgiveably sub standard.

Finally, some questions for you to ponder for 1976. Why are Frank Zappa, the; Eagles, Herbie Mann, and; Rod Stewart only appear- j ing in Auckland? And,! under the new Govern-j ment. how long before! albums cost $lO each?