(KTAM)
The Oak Ridge Boys will appear in G. Rollie White Coliseum at 8 Friday
night, Nov. 16, so get ready for some foot-stomping hand-clapping music.
Originally known as a gospel singing group, the Oak Ridge Boys are one of the latest converts to the new
gospel of crossover. Their hair is longer and their clothes are flashy. But more important than their appearance,
the songs they sing and their style have produced a winning combination.
The Oaks’ first converted effort, “Y’All Come Back Saloon,” put them on the country charts in 1977 and was
followed by “Room Service” and their newly released third album “The Oak Ridge Boys Have Arrived.”
A number of single releases, “You’re the One,” “I’ll Be True To You,” “Cryin’ Again” and their latest “Come On
)n” have resulted in number one positions on the national music charts.
In fall 1978, the Country Music Association named the four singers “Vocal Group of the Year.” They have
received numerous industry tributes as the number one country vocal and music group from Billboard Magazine,
Record World, Cash Box Magazine and Radio & Records. Prior to their conversion to contemporary country
music the group was awarded four G | ' arT1 I[iy Awards and 15 Dove Awards.
Tickets are available at the MSC Box Office at $4.50, $5.25 and $5.75.
Singles
1. Still — Commodores
2. Half The Way— Crystal Gayle
3. Heartache Tonight — Eagles
4. You’re Only Lonely— J.D. Souther
5. Please Don’t Go— K.C. and the Sunshine Band
6. Enough Is Enough— Streisand, Summer
7. Babe — Styx
8. Ships — Barry Manilow
9. Please Don’t Leave — Lauren Wood
10. Escape— Rupert Holmes
11. Take The Long Way— Super Tramp
12. Get It Up — Ronnie Milsap
13. All My Love — Led Zeppelin
14. You Decorated My Life — Kenny Rogers
15. Lovin’, Touchin’, Squeezin’ — Journey
Albums
1. In Through the Out Door — Led Zeppelin
2. Boogie Motel — Foghat
3. Tusk — Fleetwood Mac
4. The Long Run — Eagles
5. Damn The Torpedoes— Tom Petty / Heartbreakers
6. Head Games — Foreigner
7. Hydra — Toto
8. Jackrabbit Slim — Steve Forbert
9. Keep The Fire — Kenny Loggins
10. Strikes — Blackfoot
11. Deguella — Z.Z. Top
12. Guitars and Women — Rick Derringer
13. Suzi and Other Four Letter Words— Suzi Quatro
14. Future Street — Pages
15. Present Tense — Shoes
Blondie’s new album is a carbon copy of their first
The problem with the new bands of 1978-79
was how to follow-up their successful albums.
With “Candy-O,” The Cars decided to go the
Linda Ronstadt route and copy their debut
album. They also had the problem of their new
album competing with their old one for a place
on the charts. “Candy-O” was successful in
sales, but failed in originality.
The Talking Heads and The Police had the
same problem and did the same thing as The
Cars.
Then there was Blondie with the single most
popular New Wave album from the United
States. Blondie had waited and waited to get
the recognition they deserved after earlier
efforts went unnoticed. They played their trump
card, “Parallel Lines,” and went to the top in
album and single sales.
So Blondie was faced with the same problem
as the other bands and they did the same thing.
Their new album, “Eat to the Beat,” is a carbon
copy of “Parallel Lines.”
Of course die-hard Blondie fans like me will
love it, but if you were looking for the band to
take some brave new direction you will be dis
appointed.
The one, and only, noticable difference be
tween this album and “Parallel Lines” is the
wall-of-sound production by Mike Chapman. It
Review
sounds as if it was produced by Phil Spector in
the early 60s.
Of course the production change was an
obvious route to take. “Parallel Lines” had the
sound of rock ’n roll during the bridging years of
the late 50s and early 60s. Basic rock riffs and
spartan production.
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Along about 1963 Spector introduced the
wall-of-sound production and “Eat to the Beat”
has the wall-of-sound production. It’s a parallel
chronological progression, so to speak. Blon
die should hit the Beatles era about 1985.
There are many strong cuts on the album
however and saying this album is a copy is not
actually saying it is bad.
“Dreaming” is straight ahead rock with voc
als sounding like the Supremes. It is a quick
and catchy song. The title track is primal rock in
the Led Zepplin-Van Halen tradition and female
chauvinist lyrics to satisfy any women’s libber.
“Victor” has a prehistoric drum beat with stone
age vocals doing Gregorian chants. Weird stuff
this, but good.
Otherwise, the album has the same old stuff.
Deborah Harry’s vocals are strong and crystal
clear as usual. The songs still have witty lyrics,
such as “The Hardest Part,” which is about an
armored car driver. The music itself is never
flawed and there is plenty of radio airplay mate
rial.
— Keith Taylor
Battalion Staff
DIXIE
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307 University Drive
College Station
• Beer on Crushed Ice
• Progressive Country Music
• Hangdown Sausage
• Cheddar Cheese on the Wheel
• Authentic Turn of the Century
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