Show The Utah Statesman Friday February 6 1981 Page 11 Molly Hatchet rocks USU byKnuteRife Rife’s First Theorem: Molly Hatchet equals rock'n'roll If you don’t ieve me ask anyone who was at the concert Wednesday night Opening the concert was Steelin’ Back introduced as “the band from behind the Zion Curtain” a line lifted from this month’s Drsrret Rttftr Steelin’ Back is a local band which has been playing the bar circuit for the past few months and has developed quite a following Most of that following was at the concert getting rowdy and helping everybody get in the mood The lead singer could have taken a few lessons from Hatchet’s Jimmy Farrar on how to whip the crowd up but the band sounded good and made a good move in Z Z closing its set with a real crowd-pleaser lop’s “Thank You” had never been a Molly Hatchet fan and had never been to one of the band’s concerts so I didn't know what to expect I knew the band had to have some class because Frank Fraetta’s paintings graced the covers of all three of the band’s albums Then I saw I Animal hanging over the trap set Suddenly Aaron Copland’s “Fanfare for the Common Man” blazed forth over the sound system accompanied by a pyrotechnic light show behind the gauze screens The crowd erupted and some guys started waving a Confederate battle flag This concert was going to be hot Hatchet did not disappoint my expectations These guys are entertainers and they know how to rock too The band uses three guitarists who trade lead duties This gives a three-rin- g circus effect which is highlighted by the spotlights Unfortunately the spots screwed up on several occasions If lead singer Farrar had not acted as master of ceremonies things — could have gotten confusing The members of the band didn't let this bother them much They just kept rockin’ The band covered most of the songs from its three albums including “Let the Good Times Roll” “Jukin’ City” “Gator Country” the Hatchet version ofJD Fogarty’s “Penthouse Pauper” and “Flirtin’ with Disaster” They followed up with two full encore sets It was readily apparent that the band was having a good time and it rubbed off on the audience I hope Hatchet comes back t: P ! r r 1 t ‘ f I i t ! J If rr new lead vocalist for Molly Hatchet keeps the Wednesday night's concert in the Spect rum "d alive during Dallas Ann Howlett Several members of the USU music department presented a vocal chamber Jt and music concert last night that was both thought-provokin- g PWssionally pointed as well as yF'intfcl soprano Scharmal ltjjro ‘Hi btgan hc evening with -- was Lh doch i Dave Hlubek gets in some hot licks in Wednesday night's Molly Hatchet concert in the Spectrum Hlubek shared lead and slide guitar duties with Duane Poland and Steve Holland 3 music faculty delivers dramatic vocal concert JSU habe” and der sanften Floeten ‘WhbyJS Bach She was Wied by flautists Leslie Tim-ToH- and Chclle Chaf-Warre- n Burton and Gary Amano at the harpsichord completed the ensemble While Sthrock’s diction led the audience through the melodic pieces her tonal quality suffered slightly because of the exaggerated enunciation “Drei Deutsch Arien” by GF Handel followed Tenor Mar hall Hill delivered a strong performance He was accompanied by flautist Timmons cellist Burton and Amano on the harpsichord Hill’s sensitive interpretation and focus portrayed the range of the piece The first half of the program was closed with Schrock’s final selection of the evening “I Never Saw Another An undercurrent of a struggle for survival dominated the abstract phrases in the presentation It was sung consistently with the mood was accompanied on the first number by flautist Timmons and pianist Judy Morgan and accompanied on the last two numbers by Morgan and clarinetist Dean Madsen Being a dramatic soprano Hill located each of her choices at the point of peak potential She demonstrated her versatility and her appreciation for the pieces The closing number the duet from Act I of Puccini’s Midmmt E -was sung by Carol Ann HIS shall Hill and accompanied fey Carol Ann Hill sang Mozart’s “L’Amero saro cosante” Schubert’s “Der Hirt auf dem'Felsen” and She Cumming’s As Dew in April” V'- Morgan The two worked wu foe C-provided a solid ending ing Butterfly” by Ellwood Derr Derr used five poems from a collection of poetry written by Jewish children in the Terezin concentration camp The pieces are programmatic and make much use of tone painting Larry Smith accompanied Schrock with an alto saxophone Amano performed on piano cJ j ’ — t - t ¥ ti ! i a |