Author: Geir Myklebust

ARTICLE ABOUT Frank Zappa FROM New Musical Express, January 16, 1971

Mr. Green was definitely on Zappa`s side for this one. If I was there, I wouldn`t have been on anybody`s side, as I was only 6 years old at the time and probably more interested in the nuts and the crisps. So there! 😉
Read on!


Establishment versus the underground

Frank Zappa walks out on film critics after 40 mins

By Richard Green

THE oversexed industrial vacuum cleaner, the voluptuous dance of the newts when they escape from the newt ranch and get into the concentration camp where the orchestra lives, the fake groupie house and the rancid, boutique. Plus songs with titles like “This Town Is A Sealed Tuna Sandwich” and a 90-piece orchestra thrown in for good measure.
All of which adds up (as if you hadn’t guessed) to some of the incredible goings-on involved in Frank Zappa’s movie “200 Motels.” Pinewood Studios, where shooting begins in early February, are never likely to recover from the onslaught of the eccentric genius and his cohorts in the world of unpredictability.
After many years of suggesting, planning, hinting, stating, but never quite revealing, Zappa at last decided to hold a Press conference on Monday to calm puzzled minds for once and all.
Some bright soul chose the elegant Nash House in Carlton House Terrace, Westminster. Without comment, I will point out that Nash House is extremely close to George Brown’s former official residence and just up the road from Clarence House, the Queen Mother’s home.
United Artists laid on a sumptuous spread of cashew nuts and crisps and a few bottles of alcohol for journalists, PR people, photographers and the inevitably freeloaders to consume before the conference began.
For a reason which was never explained, the proceedings began some twenty minutes late and soon turned into a series of embarrasing exchanges between Zappa and ageing national newspapermen.
Zappa, as cool and helpful as usual — this is his manner despite the popular image of the man who spends half his time posing on the lavatory — apologised to the assembled multitude for a feature which had appeared prematurely in a Sunday paper. He had, he explained, been duped into doing it.
“Why didn’t you check it with United Artists?” cried a stung national man. – “Because it was ten o’clock in the morning and at that time I didn’t even know their phone number.” Zappa replied reasonably – “Well, it’s a pity, you didn’t check,” came a pedantic cry from the back of the room.

There then followed a somewas acrimonious three-cornered discussion between Zappa and two national men as to whether or not he trusts his PR people, During this exchange, those of us who couldn’t have cared less whether a story had appeared in Pig Swill Weekly, the Sunday Mirror or Beano, but merely wanted to get on with the conference, began at first to listen with amusement, secondly to fidget and at last to groan at the pathetic “points” being raised by the self-appointed interrogators and protectors of personal fredom.
When the hubbub died down, Zappa clarified a couple of inaccuracies in the handout we’d been given. Donovan and Ginger Baker would not be appearing in the film, he said for starters.
“In one sequence, Jeff Simons is supposed to be under the influence of a mystic substance and is visited by his good conscience and his bad conscience. I supposed them to be Donovan and Ginger, but they were never called to appear.” he said.
He also pointed out that there were two directors, not just Tony Palmer. “I have the fascinating job of telling the people how to say the funny lines,” he laughed with a touch of cynicism.
There was another exchange when a national man called Zappa “love” and Zappa called back: “Don’t call me ‘love… Buddy Boy.’ Come down here and talk to me, don’t stand at the back like that.”
When we were kindly allowed to put some questions about the film and not other trifling matters, Zappa revealed that the film would include some of the footage he had in his basement at home, that he had been working on the plan for four years and that the idea had been offered to several companies before U-A accepted it.
Asked about censorship problems, Zappa replied: “At the beginning, there were all kinds of potential problems we thought we may face but they haven’t turned up yet.” After a time he added: “Censorship may be okay for other people but I don’t like it. I don’t like working under someone else’s watchful eye.”
He was asked about the storyline and detailed: “It’s more like a fantasy event than a plot line. It’s based on repeated images that keep recurring during the film. it’s devised from situations that occurred on the road. For example, in one sequence we go into a restaurant and encounter harrasment from rednecks.
“This is contrasted with fantasy events that are a by-product of being out on the road because the places you visit are all the same and any town could be any other town.”


From the back of the room A National Man (the “Sketch’s” Dougie Marlborough if we are going to fearlessly name names) asked: “Will there be nudity?” Zappa took that one, considered it and replied: “Nudes? Oh, nudity. Well, in one scene, Miss Lucy GTO’s costume will consist entirely of a pair of men’s boxer briefs. Does that get you hot?”
Unperturbed, A National Man wanted more details of the carnal pleasures in store and Zappa told him: “Well, I don’t know if you’ll be turned on by any of the actual hairs between the legs. I don’t know what you like.”
Laughter greeted that remark and, when it died down, Zappa returned to his earlier description with: “We’re working to a basic 180-page script. Improvisation will be limited basically because all the musical material and dialogue is going to be rehearsed in advance so that when the cameras are pointed at the artists, they are going to perform it just like it was a concert.
“At any moment during a concert you have an opportunity for improvisation and, in that respect it will be used in the movie but people will work to the script most of the time.”
A budget of 630,000 dollars has been allocated for the film which will be shot on videotape and then transferred to 35 mm film. The completed work will be ready by November at the latest, though only a week has been set aside for shooting.
“My first interest in making a movie was ‘Captain Beefheart and the Grunt People’ in 1964,” Zappa commented. “But that was never done and there are only forty minutes of ‘Uncle Meat’ shot.
“We’re shooting here because the technology to produce on videotape exists here. I saw Tony Palmer’s Juicy Lucy and Colloseum films and was very impressed. Also, production costs are less here than in the United States.”
Later, Zappa volunteered: “There is approximately one and a half hours of orchestra music that has never been unleashed on human ears before. We have three grand pianos, three classical guitars with John Williams playing lead classical guitar, an orchestra, bass guitar, seven percussionists, an accordion, eight French horns, four trumpets, four trombones, four clarinets, four flutes, four oboes, a piccolo and three saxes. There are 90 pieces in all.” No partridge in a pear tree?

The Royal Philharmonic Orchestra is to be used and this prompted another national man to ask: “Why didn’t you choose another orchestra, why did you choose them? “To which Zappa retorted: “We didn’t ask them, we just rung round and asked who was available.”
“Will you be perturbed if the film is a failure?” the same Fleet Street pundit asked somewhat ungraciously.
“I’m prepared for the film to flop just the same as I’m prepared to have an album flop, that’s the game,” Zappa told him.
“Who do you think is going to see the film? Who would go to see it?” prodded the insistent pest. “What type of person would go and see a film like that?”
By this time, most of us had had about enough of attacking questions from unseemingly antagonistic scribes and a representative of the underground press called out: “Hands up all those people here who will see the movie.”
Over two thirds of the people raised their hands, which proved a satisfactory response and pretty well silenced the critics who seemed to be under the impression that the whole shebang was a big joke anyway.
Zappa continued: “I’ve got a rough idea who buys the records and goes to the concerts but I have no idea who would go to the movie. There are a lot of people who may go and see the movie who don’t buy our records. I’ll take what I can get.”
“Is it going to be a ‘B’ film or an ‘A’ film?” demanded No. 2 national man. — “I don’t know what you mean. I don’t know. It’s going to be a movie, a real movie.”
Asked what kind of films he liked watching, Zappa said: “I don’t go to movies, I don’t watch TV either. I’ll go to see this movie because there are some things that are gonna happen on the screen that are pretty weird.”
Obviously a bit cheesed off with the continuous barrage from national men Nos. 1 and 2, Zappa leaned forward in his chair behind a desk and told us all: “There’s one sequence in the movie where a girl journalist in a stereotyped reporter’s outfit, I don’t know if I can say that, comes on to the stage and sits in a chair and begins asking me a series of really banal questions.
“At one point, I get up and from behind an amplifier place a rubber dummy of myself in the chair. Without looking up, she continues to interview the dummy. After a time, I pick up the dummy and cast it into the screaming mass of dancers who proceed to kick it to death until the stuffing comes out of its head. The reporter, jumps down off the stage and begins to play with the rubber hand, still asking questions.”
And with that, Zappa stood up, put down his drink and left the room. The conference was over. It’s a wonder he stuck it that long.


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ARTICLE ABOUT Elton John FROM New Musical Express, January 16, 1971

I guess Elton John had the time to chat for hours at the beginning of his career. When you become a superstar everyone wants a piece of you and the time you have available for others become very limited. Mr. John have had an amazing career, but at a cost of his personal freedom to do a lot of the things that you and I take for granted. So, he has not only given us a lot of great music, but in a way, he has also sacrificed a normal, anonymous life for us. That is one thing that you can`t buy with money… so treasure your mundane, non-celebrity life.
Read on!


Elton now `tight and funky` – Clapton

Just starting his first British tour, Elton John spoke to me about America, films, touring, audiences and a million other things… We talked for hours: you can do that with Elton because he is such a naturally exhuberant person – an interview becomes an animated chat.

By Gillian Saich

ELTON JOHN sat perched on the edge of a buff-coloured sofa in his new flat near Marble Arch. When he got excited about things he bounced up and down and flung his arms around like a rather outsize schoolboy. Huge rings adorned his fingers as usual and dressed in tight-fitting red trousers and a “stars and stripes” t-shirt he looked like any other rock-crazed 23-year-old native of Pinner!
Elton, his bass player Dee Murray and drummer Nigel Olsson went to America on their first tour at the beginning of October and returned just before Christmas with an estimated $25,000 in their pockets.

America made us tighter

“America did a lot of things to Elton John the band,” he revealed, “it made us play a whole lot better, we’re tighter. So tight I can’t believe it myself sometimes.
“I’m really pleased, so are Dee and Nigel. Eric Clapton came to see us at one of our gigs and he said he couldn’t believe we were a British act because we were so tight and funky.
“One thing that makes us play well is that we get on well together. There are only three of us, a more compact number, and we only had one small row in all the time we were there – and that was over in a few minutes.
“We’re happy knowing that we’re going to do a good gig. Don’t get me wrong. We have to fight a lot of the time to win the audience, especially in places like San Francisco.
“My favourite audience is the `eventually’ kind! The one that you win if you work really hard. This is a challenge and keeps you on your toes so that if you work hard and do a good set then the reward is the audience on your side.
“San Francisco audiences are considered ‘never’ audiences, they are so blase. They’ve seen everything before and are impressed by nothing, yet we managed to win them after a hard fight.”
While touring, Elton’s piano is provided by the promoter of each gig.

Out of tune upright

“I never came across a bad piano in the States, but in England it seems to be different. I’m prepared to put up with a baby grand, but at one gig we did the other day, all that was provided was an out-of-tune upright. What do you do?
“I’m not going to do a moody and refuse to go on because the kids have paid to see us, so I had to do my best. Some promoters haven’t the faintest idea who they’re cheating. Why should the kids suffer? They’ve paid to see a good show and they’re entitled to it.
“One of the most exciting things on the American tour was a ‘live’ radio show we did for ABC Radio in New York. They wanted us to do it the first time we were there but we didn’t have the necessary work permits.
“We got it together this trip and it really was fantastic. The sound was excellent. I don’t know whether you are already aware, but there is very little live radio in the States so when it happens it creates immediate interest.
“We had an audience of about 100 people and we got such a buzz we played for an hour and a half without interruption. They stopped the news, the commercials, everything, and just ran straight through.
“Our record company taped it on an eight-track machine and I brought the tapes back here where we intend to issue it as a live LP very soon. ‘Burn Down The Mission,’ with which we close our act, lasts 25 minutes, one complete side of the album. Also we did `Amoreena,’ `Honky Tonk Women’ and ‘Take Me To The Pilot.’


Issue it as live LP

“I’m looking forward to having a ‘live LP’ released because the atmosphere is so great it makes me feel that it is actually better than a studio version.”
The album “Elton John” is on the verge of becoming a gold album in America alone and “Your Song” which is in the U.S. Top Twenty has sold more than if it were No. 1 for weeks over here!
Even with all this happening the majority of the British public are dismally unaware of the multi-talents of Elton John — we must be mad to leave it to another nation to discover a native genius.
During a conversation I had with Elton John some time ago he mentioned that he was very much against singles being taken off albums, and yet “Your Song,” a track from his second album’s currently on release in Britain as a single.
“I don’t have much choice in the matter,” Elton commented. “It’s all up to the record company. I can voice my preference but that’s as far as it goes.
“In this case I don’t mind because it is obviously a very popular track. It’s often played on the radio and it has done extremely well for us in the States so it seems a logical step to take — besides — Tony Blackburn has promised to make it his Record Of The Week.”
We also discussed something we touched on many moons ago when Elton didn’t want to go on the road.
“I really didn’t want to do gigs then because I had done it all with Bluesology,” he explained. “All I wanted to do when the whole thing started about eight months ago was sit back and write songs.
“You know how lazy I am: I hated the idea of getting a band together and rehearsing, but when the last album was so well received I got the feeling that it would be good to go on the road and now — only six months later — I consider that Nigel reckons amongst the top five rock drummers in the world, he’s got so much more confidence. We all have. I think even he is surprised at his own improvement.”

Done it all before

The film score for “Friends” that Elton John and lyricist Bernie Taupin completed before they went to the States in October, is being released as an album on Paramount in March — this should prove a monster seller.
Unlike most film music, the songs stand on their own without the film. It’s like listening to another excellent album of completely new tracks. “Can I Put You On,” one of the tracks that Elton played me during the interview is already being included in their stage act and with its exciting funky ending is proving one of the highlights of his show. “Michelle’s Song” is one of the gentler tracks and Elton considers it a possible single.
Elton John is rich enough to retire tomorrow, but he wouldn’t. His first love is music although he admits that it’s nice not to have to worry about money any more. Just to prove it he has bought himself ‘a new machine’… a pale mauve Aston Martin, and given his year-old car to his flat-mate….


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ARTICLE ABOUT Hawkwind FROM New Musical Express, January 16, 1971

You have to give this band a LOT of credit for sticking to their guns. No – they never became a “trendy” band, but just for that reason alone you need to check them out! There are some good stuff among their huge musical output.
Read on!


Hawkwind – music more important than money

By James Johnson

WITH one LP to their credit and a steadily increasing number of bookings each week, Hawkwind would seem to be doing quite well. But their general disregard for any kind of financial reward and a determination to avoid the hussling of the record industry means that they are often short of cash. It is on these occasions that singer, guitarist and composer Dave Brock is likely to be found busking in London’s Portabello Road market.
But this breadline existence has not yet deflated their ideals or changed the groups direction. They play a continuous form of electronic music while socially they follow a life style similar to America’s Grateful Dead or the German community band Amon Duul.
Wherever they play they bring along large numbers of friends, charge minimal prices for gigs and have probably played for free more times than any group in Britain.
Recent ventures have included almost spontaneous sets in the camping sites at the Isle of Wight and Bath festivals.
Basically they want to give their audiences something extra, adding new dimensions to live performances.
“We’ve played with so many groups who get payed phenomenal amounts of money but just play six numbers and go home that we want to try and give the audiences something more, explained easy-going Dave Brock.
“If we had a little more money I would like to turn the whole act into a kind of circus with a complete light show where we could give away papers and fruit, things like that.
“For instance if a monotonous sound like chanting goes on long enough it can really dull people’s minds. It’s all very interesting,” he remarked.
“Originally we just wanted to freak people out but now we’re just interested in sound. Very few people seem to realise what can be done.
“As it is we try to create an environment where people can lose their inhibitions. Sometimes it works, sometimes it doesn’t.
“We also want to keep clear of the music business as much as possible. We want to just play for the people. It’s like a ship that has to steer round rocks, we have to steer round the industry.
“But I’d like the group to go on Top Of The Pops. I mean, it’s so ridiculous we could just go on and turn it into a party. Get everybody to join in and just never stop. They’d never be able to get us off.”


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ARTICLE ABOUT Marc Bolan (T. Rex) FROM New Musical Express, January 16, 1971

As the casual follower of this man`s career – this article learned me a lot that I didn`t know about what he did before be became the Bolan that “everyone” knew. Quite interesting! Bound to be a star?
Read on!


Beau Brummel, Bert Weedon, Bill Haley and Helen Shapiro… figures in the formative years of the T. Rex leader

By Nick Logan

EVEN with the wine Marc had put away beforehand, it must have required a good deal of precocious arrogance. A “dude” dresser from the age of 9, writer of his autobiography at 14, subject of glossy magazine features at 15 here he was at 19 making his first ever public appearance in front of six or seven million people. And he’d never sung before.
“I had no real idea how to sing,” remembers Marc of that “Ready Steady Go” promotion on his first solo single, “The Wizard” back in 1965. “I had only sung before in the studio when we made the record. I thought it would be easy. You just stood there and started singing and that was that.”
But for the child Bolan, who’d learnt all he knew about singing from watching Cliff Richard in “Summer Holiday,”
Elvis in “Loving You” and Eddie Cochran in “Untamed Youth,” that wasn’t that. The result, with the band starting late behind Marc and playing in a a different key, was a fiasco.


” I was so embarrassed,” recalls Marc, who made a silent pledge to himself as he left the set “to really work at being a musician from that moment on.”
One time sideman for Helen Shapiro (yes really), male model, child poet and first of the East End Mods before the breed had yet been given a name by the press, Marc’s has been a chequered life.
“The first time I heard music seriously,” he recalls, “was through my Dad who worked in Petticoat Lane and used to bring me home records. The first I had was Ballad Of Davey Crockett’ by Bill Hayes. Remember that?”
Just in case I didn’t, Marc was on hand with a half-remembered verse, “Da-aavy, Da-aavy Cro-ckett….”
“I played that all the time until my Dad came home one day and said: `I’ve got this new Bill Hayes record for you’ and I thought great. I looked at the cover and there was this guy jumping around with a guitar. I said ‘But Dad this isn’t Bill Hayes, this is Bill Haley.’ It was a real downer. But I played it…. Rock Around The Clock,’ ‘See You Later Alligator’…. and I thought ‘Wow … what’s this?’
“Bill Hayes got thrown right out of the window.”

Fave stars

Apart from serving as a kid at the famed 2 I’s coffee bar — where incidentally he can remember Cliff Richard being thrown out for jamming in the downstairs room — Bolan’s next brush with the temptingly attractive world of rock and roll occurred at the Hackney Empire where “Oh Boy” was being filmed weekly and where the “fave” rock stars of the day could be seen and idolised and later imitated in front of the mirror at home, guitar clutched to breast.
Marc as yet couldn’t actually play the thing, but he could pluck a nifty tea chest bass, his dexterity on which got him a placing with a local outfit — not so much church hall as street corner group — glorying under the name of Susie and the Hoolahoops. Lead singer was Helen Shapiro.
It was when the friends of that period grew apart, and Miss Shapiro went on to be a teenage star — “I couldn’t relate to that because it was outside my neighbourhood and that was all I knew” — that Marc got into the clothes scene.
“The Life Of Beau Brummel” being one of the first books he got deeply into, he’d been a “smart dresser” from as early as nine but at 13 fell in with an older crowd from Stamford Hill for whom clothes had become a way of life. These were the early days of what was to ignite the whole Mod cult and the Carnaby Street bonanza.
“Visually,” remembers Marc, “these cats were amazing. They were about 20 when I first knew them but I decided that that was where I wanted to be too and by the time I was 14 I had the same sort of respect they had in the neighbourhood.”
So strong became their reputation, spreading further afield than the immediate East End, that when the National Press realised not only that Mods existed but that they would make good copy Marc and his friends were the people they went to.
At 15, “Town” magazine was devoting an article to Marc’s wardrobe and his views. He got out, he says, when the media moved in but claims that if you went around certain parts of the East End and mentioned Marc Feld, his real name, there would still be people who would remember.
His obsession for clothes came to an end when the family moved to Wimbledon — “because nothing ever happened there.”


Leaving school, he “went into exile for two or three years, like Beau Brummel had done.”A living of about £4 a week was made knicking records from second-hand record shops and selling them back.
He also did a bit of male modelling, for John Temple, the tailors, among others, and then, having learnt by then how to play as well as pose with guitar — with assistance from the Bert Weedon “Play In A Day” instructor — he set about breaking into music.
He made demos for everyone and anyone, failed an EMI recording test singing Betty Everett’s “You’re No Good” and finally signed with Decca to cut “The Wizard,” a new extended version of which is on the current T. Rex album.
From that first abortive “RSG” he went again into a form of exile, cutting himself off from former friends and associates — as well as Decca — to learn the art of songwriting. His difficulty was a lack of anywhere to play. The Underground was non-existent and the choice for a solo performer singing his own songs with a guitar was either folk clubs or rag balls. “I knew that the kids were there though,” says Marc, “because they were buying Dylan records.”
It was with producer/manager Simon Napier Bell that Bolan made his second solo record, “Hippy Gumbo.” A press handout of the time was recording such illuminating facts as…. “Likes: £9,000 cars. Dislikes: £8,000 cars.” Again, through his friendship with what was then the elitist circle of the day he was able to do a further “RSG” promotion. “I wasn’t ashamed of that one,” comments Marc, who remembers it primarily as the first unforgettable television appearance of Jimi Hendrix. Despite it, the single sold about 200 copies.
Napier Bell also managed a group called John’s Children who had had a minor hit with their first single. They wanted a lead guitarist. “Actually they wanted Pete Townshend and I was the nearest equivalent thing he had under contract,” laughs Marc.

John’s Children are probably best remembered for publicity photographs posed in the nude (before Marc joined) and their single “Desdamonah” (after). The single was Marc’s song all the way through, and often looked back on as a source of encouragement when things looked black.
When he finally split from John’s Children because he didn’t like the way their music was going, Marc started Tyrannosaurus Rex. It isn’t commonly known that for a brief spell they were a five piece electric group.
Marc had modelled them on Tomorrow and they managed a few gigs at The Electric Garden, later Middle Earth. “We didn’t rehearse,” recalls Marc. “We didn’t know about rehearsing. We thought you just went on and said `Here are the songs’…..”
Big Rex had a short life, permanently stunted when Track Records re-possessed the band’s equipment. Marc, bereft of his Gibson, bought a £12 acoustic with money his mother had given him and with Steve Took, who’d played drums with the five piece, set up the bopping duo.
John Peel’s assistance through “Perfumed Garden” and the duo’s free gigs in Hyde Park aroused the initial interest and created the impetus.
Before long they were back at Middle Earth. “A fiver a night and a cab home to Wimbledon we got when we started. A cab home…. wow that was really living.”


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ARTICLE ABOUT Grand Funk FROM New Musical Express, January 2, 1971

Grand Funk had a very young audience at the time, but didn`t go over too well sonically in a large hall like the Garden.
Read on!


Concert review

By Wayne Stierle

GRAND FUNK RAILROAD sold out tickets for Madison Square Garden so fast that they immediately arranged another show at The Garden. The “bonus” performance was set for one week before the first one!!!
Ticket scalpers, obviously excited to over-action by the original sale, had gulped up a huge portion of tickets for this special show. So outside The Garden, there were scalpers running like crazy, trying to sell their wares. A friend of mine, who didn’t have a ticket, simply waited until eight o’clock, allowing time for the scalpers to get worried, and got a $6.50 ticket for $4.00! Panic had set in and the runners were taking it on the pocketbook.
There was a very large crowd, not a sell-out, but an impressive gathering to say the least. Grand Funk is constantly put down as being a tenny-bopper “bubblegum” group over here. Yet, there are some people, “heavy-music” people, who swear by them. The crowd for this show was mainly the 14-year-old set, and they didn’t seem to recognise the FM Radio personality who introduced the acts, so the “bubblegum” was there and accounted for.
Bloodrock opened the show. A good rock group, that too few people know very much about. Bloodrock is produced by Terry Knight, formerly of The Pack, and most notably Grand Funk’s producer. They performed mostly tracks from their newest LP, and a very good “Lucky In The Morning,” and they got an encore. (Getting an encore from a Grand Funk crowd unless you happen to be Grand Funk, is not that easy.)
Grand Funk came on to a big welcome and soon had won the people over with such favourites as “Are You Ready,” “Heartbreaker,” and their only popular single “Closer To Home.” The applause that “Closer To Home” got, showed that there was a young audience, because even though it is one of their best songs, it has a large “above ground” following. Grand Funk had made a name for themselves with close personal contact in the shows they did in and around the New York area.
The Garden is too big for that, and some of their “power” was lost in trying to reach the people in the rafters. They do basically the same movements at every show, so if you are seeing them for a second or third time, especially in the impersonal Garden, it could be less than you expected.
The Garden has another problem, in it’s own “natural” echo, due to its canyon size area. A group like Grand Funk comes on pretty strong, and the echo in the hall tends to break the sound up. (Distortion in reverse, a bouncing “delay” that did not help The Grand Funk sound).
Grand Funk got a solid reception, despite the sound, sameness, and whatever else that hurts rather than helps in a large area. They got a thunderous encore, and they did “Inside Lookin’ Out.”
Then, they got a second encore. They did “Lookin’ Into The Sun,” and left the stage. The crowd was satisfied, but I really wonder, even after seeing them, what all the fuss is about. There are many loud groups around. There are many more “original” groups around. But, apparently, there is only one Grand Funk. Maybe they are the very young boppers’ answer to the groups they can’t usually understand any other way.


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