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Show The Summer Chronicle Thurlay,jLiIy 21. 1977 Vcr Fr amp ton TVorNotTV CONCCRT July 15, 1977 Salt Palace bylou borgenichl Sat. 2S July 8 00 The Heait it a Lonrly Huntrr: MiCullrr't uory. 2 lub-du- Sun. July 24 Qr son b 12 50 2 Satuiday Night: Repeat with 11:00 5 Life With Father Dadaist Hit. Wm. Powt-11F wrung at Pop: trie 1947 Kile Bodi.a . Mon. July 25 Tue. July 1 8 00 7 11 00 2 2 00 5 12 00 2 26 7 7 10.50 2 7 00 2 8 00 5 9 00 2 9 00 7 00 10 e Jean-Pierr- Slvia Scarlett. Hepburn. Tomorrow: Utah's Esther Peterson The Retirement Revolution: CBS News riumines whether it pays to get old. 5 8 00 9 00 Wed July 27 Thurs. July 28 Frt. July 29 00 7 Ram pal toots his own (lute. The Madwoman of Chaillot: Hepburn. V In Performance: Baryshnik.ov Jack A Flash Fantasy: Rotk Opera with Cilda Radner Johnny Carson: Steve Martin may be on L ' t Tut The Boy King: The treasures of TuunLhamun reveal thai the aru tent Pharoah had tomb much.. When The Legends Die: Hal Boi land talt of L'te Indian. Africa's Defiant White Tribe: Report on South Africa which will ruin your apartheid. Zalmen or the Madness of God I lie Wiesrl tale. 7 At 1 1 IV The Top: Farl Hinrs 900 For August Grads We're looking for seniors with bright ideas. And can you think of a brighter idea than joing VISTA or Peace Corp As a VISTA or Peace Corps volunteer you share your bnght ideas w.th people who need them What a great way to launch your career, do something meaningful and satisfying, gam experience and work for change VISTA-J- f a year of helping other Americans change the timelass patterns of poverty PEACE CORPS two years m another culture sharing your knowledge with others, learning a new language Before locking yourself into a career commitment, let us know what you have to offer and find out what we have to offer. Many assignments begin Aug Nov Clip coupon and mail to: VISTA'PEACE CORPS Suite 1620-212 N. St. Paul Dallas. Texas 75201 Frampton concert a rock crescendo II RATTLE Chronicle staff Flashcubes burst blindingly at his t"ry mm, rvrry nuance, unnoticeable to outsiders, was nu t by the sc warns of an overcome audience reveling in the curiously accessible mystique of rock's new surx'rnova, Peter Frampton, in the Salt Palace Friday night. Frampton is god to his audience, one whic h is begging to participate and be manipulated. The little man bounced on stage, looking pretty as his pictures, amid a swell of shrieks and a shower of roses from the crowd, one which immediately by BARBARA -- struck a bullseye on his forehead. Employing the orgasmic performance format. Frampton with gentle acoustic solo greeted the audience and numbers, ("By Your Side," "Baby I lxve Your Way," "Penny For Your 1 noughts") gtadually moved into lirav m Ion play by introducing his three-piec- e band, built the eneigy level U-ca- n .AME -- P.ES5 HOOL PH: AJOR PEACE CORPS, VISTA INFO. ON: with "Something's Happening'," "DoobieWah" and "Lines On My Face," and upped it a step further with "Show Me the Way" and "Tried to Love" from the new LP. From then on, it was heavy duty rave-u- p with "It's a Plain Shame" and "Do You Feel Like We Do," the latter is a plus revised version rivaling Led Zeppelin tunes as an te TWFi extended epic. Joint after joint bounced on stage as offerings of love, and many people brought along Fourth of July leftovers, varying from incessant firecracker explosions and rockets to a festival of flares set off in the balcony, throwing light and sparks sky high and drawing attention and laughter from the crowd and band alike. and diamond Frampton, in size zero jeans, striped wild sunstreaked beneath had complete hair, earring flashing control over his willingly captive disciples. A wave of the T-shi- 1"! k, rt uff comment, the omniscient ower fist, or the arena provoked frenetic repetition around mete glances and approval of his actions. Facial histrionics ranged from the famously boyish grin to the asphyxiated blankout expression captured on the cover of Frampton Comes Alive! At times, Frampton seems to parody himself, making faces at the crowd and altering the mood of several serious songs with facial and vocal subtleties that were humorous and even hand, an off-the-- c g. Young girls scaled the Matterhorns of shoulders and chairs their hearts pounding to get a c loser look at this super-beinas loud as John Siomos' bass drum. Frampton Spending a good 10 minutes on the talk-bohad the crowd howling with his accurate electronic vocal reproductions during "Do You Feel." Far from being a deciphering puzzle, Frampton's "talk" was clear ("I feel good! I love you, do you love me?") and wildly received, resulting in the insistence of three encores, first a Motown doubleheader tribute from the new LP, "(I'm a) Roadrunner" by Junior Walker and Stevie Wonder's old classic, "Signed, Sealed, Delivered, (I'm Yours)". With cheering noise past pain level, Frampton returned for the Stones' "Jumping Jack Flash," to sing balladeer style "I'm In You," full of emotion, gesturing widely, and accompanied only by the fine keyboardistguitaristvocalist Bob Mayo on piano. "I'm In You" is a genuine testimonial for Frampton's followers. The live LP that took him to the top features the audience as an integral part of the songs, not merely a temporary addition. Perhaps it is this connection and closeness that renders Frampton's audience emotionally committed to the man to whose success it is so tangibly related. g, x, Rock 'n Roll Music P vVV Jury 26, 7:30 p.m. - 'Ready for the Country': song variety University of Utah Special Events Center IRLD f 1 TEAM TENNIS THE SOVIETS .sist Featuring professional tennis stars v. THE Hie LOS ANGELES STRINGS Charles Pasarell Nastase Rosie Casals Dennis Ralston Diann Fromhoru John Andrews .! Metreveli Otaa Mororova Nastasha Chmyreva Teimurai Kakulia MAIL COUPON FOR TICKETS X Xt 10C$7' sV udentiG Children ! Half price j Good Mittavalbl Dtmtioffict. DWiFood.. F. 6. Ftrrt ft Son j M Emu CMO b.. NUJUlxt CW Special l March of trr Cmn a 1 otM mtl Lake CHy. Utah Mill Dimes Uictl Enclosed is my Chech lor the knowing reserved seat tickets: 3. 50 per seat, No. No. 10 per seat UMvtnny no. ' Ti flame per seat ui to 17 axtiofii by DAVID PROCTOR Even though Jennings has made two magnificent albums (and some more only slightly less so) he obviously considers long players merely collections of songs from which he will pick a couple to update his concert repertoire. The great albums were Honky Tonk Hews and This Time which, with Willie Nelson's Phases and Stages and Redheaded Stranger, marked the most important change in country music since Hank Williams. But Ready for the Country was not an album to shout about and Jennings went to producer Chips Moman instead of producing himself again and the result is a good album (not a great one) that sounds better than anything he's done in years. Like Johnny Cash, Jennings has fallen back on his band's rhythm section for that thud, thud, thud thud beat once too often. At times it sounded like every song Jennings did used the same bass and bass drum track and he just sang a different song over it. Moman keeps the steadiness but varies the sound by adding the Muscle Shoals Horns, a few session musicians and some backing singers (Jessi Colter among them). Jennings wrote only one of the songs here but he's got a hit with "Lucille" and "Luckenbach, Texas" is a good anthem song for the Austin outlaws. Neil Diamond's "Sweet Caroline" juxtaposed with the humorous "1 Think I'm Gonna Kill Myself" shows the range Jennings has as well as the chances he's willing to take. (What other country artist would try "McArthur Park," twice?) The story has been told before but it bears reiteration: Jennings started in the music business as bass player for Buddy Holly and it was his seat that J.P. Richardson, the Big Bopper, took on the flight that killed him, Holly and Richie Valens. With this background in mind the idea of Jennings doing a medley of Elvis' hits, both written by Arthur Cruel up, is not strange at all. "That's Alright" and "My Baby Left Me" are jwid projxT respect without Ix'ing imitative or overdone. |
