a ee ea i Pa et page six entertainment The Other Press Phil Collins Solo The three remaining members of Genesis have all now released solo al- bums. by Philip J. Staines Tony Banks was the first. The album, ‘A Curious Fee- ling’ was an extension of the Genesis sound. Full of beautiful keyboard orches- tration. Mike Rutherford was the next, producing the finest of the three. Rutherford knows the studio, and pro- ves with the power, com- plexity, and sound quality of ‘Smallcreaps Day.’ With Phil Collins, it’s a totally different scene. He’s a jazzman all the way, yet he seems to have missed the bus with his first solo album, ‘Face Value.’ The album consists of jazz, funk, pop tunes with a little too much.emphasis on the jazz-pop. Collins sings with emotion and feeling, but his musical arrange- ments are empty and soggy. Very traditional. in the modern scene. A man who plays with Brand X, Peter Gabriel, Robert Fripp, and Genesis could certainly have broken B Sides lose impact Vancouvers favorite dan- ce band the B Sides have had an E.P. out for awhile now, and if you haven’t got it yet, maybe you should. It doesn’t cost much, and you'll be supporting local talent. by Philip J. Staines The record doesn’t cap- ture their live impact. Unfortunately, they lose alot in the studio, but it’s still good fun. There are three cuts on the record. ‘underground Radio Stars’ which is the best of the three. Bobby Blue Herrons voice is great, and the words describe eve- ry Vancouver group that has managed to squeeze out a single. they may have cult popularity, but not a cent to show for it. ‘She’s a Raver’ is abit blahzay. The bass line makes the song. ‘Bedtime for Ronald’ is quite touching in its delicacy. It’s a shame that Dano 5-0, who wrote the Appearing at Bronco's, 315 Carrol St., until March 15th is ‘“‘The great Sneezy Waters and his excellant band’’. by Ian Hunter the great sneezy waters playing at Broncos until saturday. Sneezy's too good for Broncos As immodest as_ the band’s name is, it is also quite accurate. The country Swinging Sneezy and his group are legendary back east, and are also building a considerable local following. Sneezy Waters had huge success here last year, in “‘Hank Williams the show he never gave.’’ musical play in which Sneezy (play- ing Hank) portrays the final {downfall performance of the country music legend. Sneezy Waters was also a great success at the Van- couver folk festival two years ago as a solo artist. A motion picture, starring Sneezy, is in the final stages of production and is based on the play. Sneezy Waters will also be co-hosting the Genie (Canadian film) awards on C.B.C. I simply find it amazing that a performer such as he is, not playing the Com- madore instead. I mean this guy is great! away from tradition. Included on ‘Face Value’ is a funky bopp version of ‘Behind the lines’ from the Genesis album ‘Duke’. It doesn’t make it. The song should be built on power, not sissy jazz arrangement with horns as feeble as ‘Powder Blues’! Collins is different from the two founding members of Genesis. He doesn’t conceptualize in his lyrics. He sings about love, but maybe that’s what divorce does to you. in studio song, has to live in para- noia, worryting about whe- ther Reggan is going to press the button or not. He should shed his anxiety and have faith in the man. The | middle section of back- ground comments such as ‘God help us’, ‘It’s all over now’, or ‘Don’t press that button’, is silly and spoils the song. I’d rather listen to Herrons impression of Bonzo the chimp. Sweat. That’s what I like about George Thorogood, he sweats. And if you're sweating you know you are having a good time. by Rob Guzyk Last Tuesday and Wea- nesday, Thorogood played to packed audiences at the Commodore and sweat was shed. Thorogood, who hails from Delaware, doesn’t compromise when it comes to having a good time. No smoke bomb Coliseum concerts for this rocker. just straight-ahead rock and roll. A sign on the stage read, ““World’s Original Five-man Trio!!!’’, which is all part of Thorogood’s philosophy; if it isn’t fun, it ain’t worth doing. Audience appreciation was high even though it ‘did cost two dollars for a can of beer (Ouch). But that didn’t affect the audience as Thorogood gave them a show that almost made the price of beer bearable. , March 12, 198] Phil Collins disappoints Genisis fans Thorogood draws on tra- ditional r & b and hard rock tunes that have become standards on Thorogood’s albums. They include Hank William’s ‘Move it on Over’, Johnny Cash’s ‘Co- caine Blues’, Bo Diddley’s, “Who do you Love’. For the encore, Thorogood’ did Chuck Berry’s, ‘Reelin’ and Rockin’ and the crowd loved it. Backing the ex-baseball player were bassist Bill Blough, drummer Jeff Si- mon and newcomer Hank Carter on saxaphone. Whi- le not as visual as Thoro- good they provide a superb rhythm section. Thorogood’s show is as entertaining and as inspira- tional as a preacher’s' ser- mon. In fact, Thorogood often touched people’s heads with his guitar as if they were being baptized. Dressed in black shirt and pants, Thorogood proved what a showman he really Thorogood rocks is. Between duck-walking and knee-dropping, Thoro- good added a little extra to some of his songs. During ‘One bourbon, one scotch and one beer’ he made references to Molson’s and Brador, even though the audience were drinking Labatts Blue. The majority of Thoro- good’s material came from ‘Move it on Over’ and the newly released ‘More Ge- orge Thorogood’. Thorogood sticks to his guns by playing his music in small nightclubs, even though he could have done one concert in the Gardens instead of four at the Com- modore. Like fine wine, Thoro- good’s shows just keep get- ting better. Don’t be sur- prised if he has to do six shows at the Commodore the next time he plays Vancouver.