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Show Pile B4 Thursday, December 30, 1982 Park City News The spark of the '60s glows in music of David LaFlamme 311 ffff The federal tax package includes a rarely publicized section giving corporations a 3 1 write-off on any new Mercedes-Benz purchased in 1982. The write-off is actually a 6 tax investment credit on the purchase price of a car. And a 25 depreciation deprecia-tion allowance on your 1 982 tax return if you purchase before December 3 1 , 1 982 . Your accountant can explain what the 3 1 tax write-off means to your company. In the meantime, let us show you our sensational line of 1983 Mercedes-Benz Mercedes-Benz models. (X) Ken Garff Imports 525 South State Salt Lake City 521-6604 You've earned it. Experience Unique Dining Join us in the Patio Greenhouse for Breakfast, Lunch or Dinner. Featuring Park City's Most Original Menu. Enjoy homemade soups, sandwich creations and our famous breakfast specialties, as well as reasonably priced steak, chicken and seafood entrees that include our fresh salad bar. Open every day 8:00 a.m. -10:00 p.m. Dinner Entrees available 5:00 p.m. -10:00 p.m. THE ESTABLIS HMENT V 317 MAIN STREET PARK CITY K 317 MAIN STREET PARK CITY VISA &MASTER CHARGE 649-8284 by Jeff Howrey The '60s refuse to die. David LaFlamme, an old musical warrior from the halycon days of hippiedom, is living proof. He and his hard-rocking band now in the midst of an extended engagement at the Black Pearl are testimony to the fact that many of the best musicians of today are still drawing strength, inspiration inspira-tion and power from the bygone glory days of rock. Not that LaFlamme and his band are old fashioned or some kind of oldies act. Hardly. The LaFlamme band could hold its own, both musically and visually, with the best that mainstream New Wave (Blondie, Pat Benatar, the Police, et al ) has to offer. But LaFlamme has something some-thing extra. He was active during the renaissance era of rock. That exciting, gloriously-creative gloriously-creative era forever entrenched en-trenched in our cultural psyche as the '60s. Like no other era in 20th century popular music, the '60s continue to provide widespread inspiration as well as an alluring reference point against which to measure mea-sure all that has come since. The '60s may never happen again. (Although, as wise men have observed for eons, history does have a way of repeating itself.) The '60s were a very special time. The classic rock music of the era (Beatles, Cream, Doors, et. al.) didn't develop in a vacuum or under isolated circumstances. The times created the music as much as men did. The political, cultural and social unrest of the '60s provided the spark of inspirationthe inspir-ationthe impetus for musical musi-cal explosion which ignited the most prolific and perceptive percep-tive generation of rock performers the world might ever see. David LaFlamme was a small, but noteworthy, part of that explosion. LaFlamme is best remembered remem-bered as the driving force behind It's a Beautiful Day. The group released several well-known albums in the late 1960s and scored a big hit with its anthemic, "White Bird," an extended pop-rock piece that was a very progressive work in its day. LaFlamme and It's a Beautiful Day were an integral part of the blossoming blossom-ing flower power scene in the days when Vietnam protests were just picking up steam and LSD was being touted as a direct line of communication communica-tion with God. During those hazy, crazy days of peace and love when terms like "groovy" and "outasite" entered common parlance, LaFlamme's It's a Beautiful Day were foot-soldiers foot-soldiers at the front of the ongoing cultural revolution. The band frequently shared the bill at such legendary San Francisco venues as the Avalon Ballroom and the Fillmore West with contemporaries contem-poraries like the Jefferson Airplane (forerunners of the Starship), Grateful Dead and the Steve Miller Band. LaFlamme himself was somewhat of a musical revolutionary. His groundbreaking electric elec-tric violin work was the David LaFlamme has paid some dues. He's got the sort of credibility only those who were paving the way in the '60s can claim. (It's the same sort of credibility that makes the Who's ongoing breakup a front-page story while '70s superstar acts like the Eagles call it quits and hardly anybody notices. ) There's still an allure, a mystique, a magic about those musicians who made their names in the '60s. David LaFlamme is a rightful possessor of some of that '60s charm. His name is The LaFlamme band could hold its own, both musically and visually, with the best that mainstream New Wave has to offer. msA v YA i Factory Authorized Repair Freeze Protection Spas Saunas . Hot Tubs Steam Rooms Solar Spa Heating . Baths Accessories Chemicals CONDOS RESORTS HOSPITALS OUT OF TOWN JOBS WELCOME Full Design and Installation Service AGA & CIL Listed Equipment State Licensed Installation 1ST! Member 363-7733 218 East 900 South, Salt Lake City, Utah ty Bank, City's past, tore Jrirst becim Part of Park part of its fa Our predecessor bank was founded in Park City almost one hundred years ago by mining magnates, Thomas Kearns and David Keith. Park City has grown a long A 1 A i 1 T-?i ITT . .' I ' . . way since mat urne anu nrsi security s grown ; j, with it. We've grown and prospered with g jl A A I you because we recognize that as times change, financial needs change, too. We're a full-service bank offering savings, checking, and credit services . 1 1 tnat make aoing Dusmess in fark y City possible. When you need bank- ing services, turn to the bank that's grown up in Park City & t-: i o li.. nrsi oecurny. FirsE Sscoiioilty GBainiE of Utah, N.A. 1514 Park Avenue Jeffrey L. Thompson, Vice President, Manager Member FDIC & f ttnt W LYYn.. 1 1 V i US' .-j. .. .... , . mw nrj b. m. . ,:a - . m -r: - backbone of the band. Along with the Flock, a Chicago-based Chicago-based group, It's a Beautiful Day was one of the first rock acts to adapt a violin as a prime melodic tool. LaFlamme's La-Flamme's pioneering work was a prime influence on later rock-oriented violinists as Papa John Creach (Star-ship, (Star-ship, Hot Tuna, etc.), Scarlet Rivera (who has worked extensively with Bob Dylan), Robbie Steinhardt (Kansas) and jazz fusion master Jean Luc-Pontv. still widely enough associated asso-ciated with that era to guarantee years of bookings at such establishments as the Pearl. Fortunately, LaFlamme and his very capable current crop of musical sidekicks have much more to offer than just a name from the past. His current repetoire is ballsy, powerful and hook-laden. hook-laden. Top quality journeyman journey-man rock 'n' roll. Hot stuff. There's a lot of new compositions whose only shortcoming might be some rather nondescript lyrical passages. LaFlamme does a few (but not too many) tunes from the late '60s. But his choices-like choices-like the long forgotten Fleetwood Fleet-wood Mac chestnut "Tell Me All the Things You Do" are remarkably offbeat and pleasantly unexpected. Most work real well. Some like the inappropriately inap-propriately disco-ish version of J.J. Cale's "After Mid-night" Mid-night" fall flat. But you only make mistakes mis-takes by taking chances, right? And taking chances was what the '60s were all about. David LaFlamme still playing a mean electric violin (not to mention some sizzling Stratocaster riffs) after all these years should be commended. He could live off his connection with the '60s and never have to worry about a thing. But he'd rather grit his teeth and try to push his music a little bit further. Explore new horizons hori-zons with each passing year. David LaFlamme still takes chances. As such, he's a walking piece of musical history. A living representation representa-tion of a bygone day when taking chances was synono-mous synono-mous with making music. Guys like Jimi Hendrix, Jim Morrison, Jamis Joplin and Brian Jones wouldn't have had it any other way. They're probably proud of David LaFlamme. (KrreeitMigs ffirownni Pit. EBop Due to overwhelming reader response precious little character left to assassinate, the Post Office's usual Christmas rush was Wow, you must be thinking, Dr. Bop's gone 1: i ii 1 I... mi. . - ... .. re uuinpm;dieu ueyonu uenei oy me millions oi too tar this time. letters sent to Dr. Bod in the nast few days Dr. Bop would like to continue his discussion of the state of punk and New Wave music in Utah. Of the literal ton of letters we've received here at the Park City Newspaper, most readers seem to be strongly in favor of the points Dr. Bop put forward in last week's column. In fact, by Dr. Bop's estimate, exactly 100 percent of those countless letters and post cards that have poured in are in favor of everything Dr. Bop had to say about the subject. It seems that Dr. Bop's innumerable supporters think Dr. Bop is exactly right. Yep, every one. But then again, Dr. Bop must admit that he throws away all negative letters and forgets about them immediately. In fact, Dr. Bop shuns criticism of any kind. So watch it Maybe so. But Dr. Bop has proof to back up his charges that the whole punk movement in Utah is a worthless sham. What proof? To which Dr. Bop tartly replies, don't get in such a hurry. Before Dr. Bop puts his irrefutable proof on the line, let's take time to put some historical perspective on the germination of punk. To put it bluntly, folks, punk music came out of some of the most vicious, hopeless hellholes this world has ever produced. Places like grimy East Village lofts in the Bowery area of New York and the squalid ghettoes of London. Punk originators like the Sex Pistols, Clash and Ramones actually lived in these God-forsaken no-man's lands. The raw, crude and obnoxiously loud rock 'n' roll they Dr. Bop knows he's right and doesn't need played resulted from the lives they had to f r toll him Qntrttllltrr Alffyrxni- Ar) 1! J you to tell him anything different, die? So remember, if you don't agree with Dr. Bop, you're wrong. Dr. Bop is always right. The sooner you Park City knuckleheads learn that, the more we'll get accomplished here. Ah, but Dr. Bop digresses. To return to the issue at hand namely, the live. The Sex Pistols screamed, "No future!" and they meant it. For dirty, uncouth youth with no marketable job skills, dismal inner city surroundings do indeed present a bleak, totally hopeless prospect of life as an adult. Under such circumstances, it was entirely appropriate maybe even laudable that those snnt-nnpH nimtorc in tko;. c..a state of punk and New Wave music in jeans and dirty leather jackets attacked the Utah-for those unfortunate few of you who world they hated with a music that was more might not have read Dr. Bop's insightful (not vicious (and brutally honest) than anything to mention expertly written) examination of before or since the subject in last week's column, herein are Anyway, Dr. Bop's point here is that to be a some selected Bop-isms which should get the punker you've got to live like a Dunker gist of the matter across quite nicely. (Unless you're stupid or something. But if you're stupid, that's your problem, not Dr. Bop's. All Dr. Bop can say is that stupid people shouldn't try to read a column written by such a massive intellect as that possessed Dyur. Bop.) Utah's punks don't live like Dunks So they're not really punks at all. Just pale, totally irrelevant imitations. Which leads Dr. Bop to his irrefutable proof of his charges. Without naming names (Dr. Bop still has a bit of compassion left in his rock 'n' roll o r ii vvujoivw iwi m ma iihjk n roil bo anyway, for all vou smart nnnlp whn wrn d..,u : i , . arestillkeePingup,D;.Bop offersthis recap n NewlrISn"1Umn " Ut3h S PUnk and lheir N- .Y!ar's E- Adolph'sThe New Wave scenes. "For better or worse (probably worse), the New Wave and punk movements have finally caught up with Utah. Surf music can't be too far behind. Dr. Bop shouldn't be so cynical. But what's going on here? Punk and New Wave had its shot way back in the '70s. Punk was too nihilistic for mass acceptance. Hard-core New Wave too eclectic. Punk is dead. So why are all these young turks in the Beehive State doing feeble imitations nf famous Park City uppercrust restaurant on tne eage ot the golf course. Admittedly, to go to Adolph's this Friday evening will set you back a pretty penny $80 per couple to be exact. But that financial outlay will get you such noteworthy dishes as consomme madrilene, vol-au-vent a la Reine, saumon pochee, and filet de boeuf au faucon du chef. After dinner, you can ring in the New Year with Park City's very own punk band (see Park City Live for more details). Yes, for just $80 per couple, folks, you can dine in Johnny Ren. Wendy O. Wllams . tte ls ,SM Z.'iS'Z Wh; .don'ttheyjustcrank their amps back VTS up and start playing the same old Aerosmith leopard body suits and a nunk kh lr SEl and Deep Purple tunes they were hacking JJffSSSSi their way through a few months ago? 0f the Pretenders and Bow W0W Wow Why do Utah mus.cians have to always And then you can go home and sUin vo..r jump on rends so long after they're passe hot tub and think abolt howmuch SLtottte that it just fuels he fire of those-such as Dr. to be a Park City punk (somSg akl to an Bop-who .maintain that the average urban cowboy) instead Ku!S musician in Utah is so out of touch he There's nothing in Park f i v ? hi deserves to be stuck in a band in Utah. against y rebel Dr. Bop maintains that all these punkers- When there's nothing to rebel aeainst come-lately with their sp.ked orange and red there can be no punk rock no mair iSw Mohawk haircuts and newly-perfected loud your clothesor aip ar Tor Tow weird sneers of social intolerance are not sincere in your haircut rd their efforts as punkers... Dr. Bop believes I'm sorry if you don't likp it h,. fhotv that virtually all the so-called New Wave and way the Dr Feels about it punk musicians in Utah are insincere trend Sue me if I'm wrong sCuccSeTsS'"l00king fr aVCnUe t0 Either way- sure and listen to the Dr. n " ,. , Bopradioshowfrom3to5pm evervFridav charBesP rea"ZeS Sme t0Ugh "KPCW,9,.9on t- , K you don't, you're an idiot it it weren t all true, it would be awfully Dr. Bop means it c ose to character assassination. But Dr. Bop And remember what Dr Bod alwavs sheets that these spineless, pseudo- says-rock 'n' roll is for the yoZs Or punkers eagerly jumping on the punk least the young at heart T bandwagon five years after the fact have So don't get too erownuo. t0k ii 1.4.1 i m m 0nkmm |