j ,
I 7S
,TC HER of
An B EER
^Dies f Rf ,
suv S 2 E
M
' IE Moms
Soul shaking music came down
Russells deliver
By KEITH TAYLOR the few moments * —
n and Mary Russell ~
lose
popularity on the record
charts, they can always hit the
evangelism trail, and probably make
more money.
The Russells managed to bring
one of the hottest shows to G. Rollie
White Coliseum in a long time Fri
day night.
Two of the most outstanding
wkvWts were old
iv v*-
a song later, the crowd rushed the
stage.
He and Mary made their exit dur
ing “Jumpin’ Jack Flash,” and left
the band to finish, but the yelling,
- stomping crowd soon brought them
back for more.
ducing the band. Leon finished the concert with a
Leon sang a number of his hits, hot rendition of “Roll over Beeth-
made famous either by him or other oven” that left the audience wanting
» me most outstanding artists. more
■ftUTOWswere old gospel songs svmg “This Masquerade,” was very I ’
by Mary. She belted out “Mighty smooth. It was nice --
Clouds of Joy,” and “Jezebel” — - r
she ins*
‘hot’ concert
•, the crowd rushed the production • •’
OlH;
..wLaDie e\c
• was his and Mary’s biggest hit
„ ^ noil over Beeth- together, “Listen to Your Heart
-- ^mer oven that left the audience wanting Beat.”
“This Masouerade ” , more. Considering the show they put
rinn^ of r ,e ” Delt j-T OUt , ^ ighty , smooth. It was nice and iazzv fnrl V, 1 had al T ways th , ou ght the fine on, though, I don’t think the songs
she . f J ° y ’ and J eze bel as if the saxophone solo made me foraj! hari £ on,es ^on and Mary managed were missed by anyone except di<l
ZdZ fr ° m 3 ^ ~ ViVa1 ' George Benson had eve r Teirded ^_^ er records to careful hard fans.
Leon’s shining moment, though
was Singing This So— -
ri-» ’
cxa 11
, v-tjnie trom a tent revival.
And she managed to rouse the near
capacity crowd while looking as if
she was bored to tears
If »u-
_ . ^vurcied
as it Leon’s shining moment, though,
..»a uored to tears. was “Singing This Song For You.”
If there was anything wrong with The band took a break during the
the concert, it was Mary's lack of song, leaving just Leon and his
interest. She got up from her piano piano. Despite his raspy, nasal
just four times. voice, his rendition put the Carpen-
I guess it is to her crerl.’* ' ters to shame.
hni At the beginning
ti ’ ‘
production, but they proved their
different singing styles blend well in
real life.
The only disappointment of the
entire evening was that Leon did
not sing “Youngblood,” or “Tight-
wire.” Another Russell notable exc^
lusion was his and Mary’s biggest hit
together, “Listen to Your Heart
Beat.”
Considering the show they put
i, though, I don’t think
one g<
just four times. ... ^«*ipen-
I guess it is to her credit, though, _ ^..a*ue.
that she can sing so well while look- At the beginning of the concert, I
ing so bored. thought he would have to contend
Leon seemed more interested. with the typical Aggie audience that
Wearing a pinstriped three-piece politely applauds after each song
suit and looking like a Satanic insur- and rarely stands. But when he
ance salesman, he played the started playing “Out in the Woods,”
boogie-woogie piano flawlessly. people started standing, and when
The band was fantastic. During he swung into “Jumpin’ Jack Flfl'k”
y-i I**
45-291
...v. woods,
_ started standing, and wher
_ he swung into “Jumpin’ Jack Flash’
[Folksinger-Griffith
evokes spirit of 60s
By DOUG GRAHAM
Battalion Staff
Folksinger Nanci Griffith evoked the spirit of the sixties Friday and
Saturday night in the Basement Coffeehouse.
The Houston-based musician, performed music that recalled the
quiet, creative sixties before antiwar violence, Charles Manson, and
economics soured the decade.
She, and her warm up act, Texas A&M University student, Lyle
Lovett, personified the relaxed, unpretentious nature of folk singing.
Both sang either their own compositions or those of others whose
work they respected.
And, except for one beautiful moment during Lovett's last song
when Griffith walked up on. axvd. Vum, "iViey sang
alone.
Review
M.ieview
Folk songs demand thought, unlike mass-produced pop rock. That
is the nature of good folk music that banishes it from the top 40s
charts.
People no loug,ev deswe \hougli\s and observations; they desire
entertainment.
| And that is too bad.
I Down in the Basement Coffeehouse, it is possible to leave the
madness of grades, and indulge in a little humanity. Sipping a coke
and talking to a friend and listening to Griffith’s strong, soulful voice,
proved a restoring tonic.
She had no costume, no fancy lights, just naked lyrics and a voice.
Griffith’s songs were of, about, and for people. She sang a Woodie
Guthrie song to start. She sang of bar singers, and again about fair-
weather friends. She briefly explained the song, as folk singers are
| wont to do, saying that sometimes everyone needs a “good times
| friend who never bothers you and is only around when all is well.
And that was a pertinent observation.
I She sang yet again, someone else’s song this time, of Kentucky and
[ the ravages of strip mining. The song was a young boy’s request to go
see a town devoured by the iron jaws of huge shovels.
I Griffith tried to get the audience to sing the refrain.
| Too bad.
One song had a viewpoint the Reviewer disagreed with — tha
William McKinley had been murdered so a pro-wealth Tedd;
Roosevelt became president.
Yet, the song was beautiful, besides provoking thought.
That thought is avoided in song is saa, for folk singing is
The common man, the workers, the miners -
ave had their trae r f‘rl io ‘'
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©Wal, Disney p, 0<Jucfions
'
%
s ...
ant as
t facts
10TC
ild like
)k into
, dedi-
i need
a fact:
io can
e and
cts. It
e ever
v..o servants, they all
_ —- ciu struggles ensconced in folk songs.
-.-•T wnen the songs of real life are woven in the rich fabric of
Griffith s voice, they develop a texture so compelling, that it is a
crime against one’s self to continue running the rat race to the disco
beat of radio tunes
It is time to give one’s ears and feet a break, and use the mind and
heart to listen to good, relaxed folk music.
It gets a person in tune with himself.
W*
Wm
4#^
• s-:
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