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By MARK FOWLERwrong to compare this Coliseum popular tunes ' Hamblin’ ManftAm use meats Staffperformance to their concerts of “Blue Sky” and ‘‘Midnight RiderftThe Allman Brothers Band had the early seventies. Their earlier significantly aroused mostonly their fine blend of country sound leaned more toward theblues and rock to offer Houston high energy music, while latelysrist Dickey Betts* songHigh Falls” provided thelast Saturday, Jan, 10. A lack of their melodies have slowed in highlight of the first part with hissurprises or elaborate gimmicks pace and captured a more relaxed occasional flashes of brilliantmay have disappointed some, but mood, laid back if you please, musicianship within the in-the well-polished songs spoke for The cross section of material they strumentalthemselves. They played a broad offered blended the old and new,GreggAllman left hisspectrum of their musical but the crowd reacted mainly to keyboards to take up a guitarachievements; however, the the more familiar songsgroup was slow to generate the‘‘Sweet Mama,” “a song written For the most part, the first half by a friend from Waco,” ac-enthusiasm needed to deeply lulled the listeners into respectful cording to Allman. Tight versionsinvolve the audience.silence with‘‘It’s Not My Cross to' of “Statesboro Blues” andThe Allman Brothers Band isBear” and the title cut off theirStormy Monday” allowed theone of the founders of the Southern latest album, Win, Lose or Draw, bandrock sound from which many imitators have followed. It isfinally begin enjoyingThat is not to say anyone became themselves and led to a climacticTHE ALLMAN BROTHERS BANDunattentive, on the contrary, the marathon version of ‘‘Mountain pearance of perfect contentment progressive Southern performers.Jamt»was communicated in his smooth“Hot on the Trail” and “CountryThis flowing instrumental playing. Each movement within Blues” were good foot-stompers.allowed each band memberthe jam built on the preceding while “How the West Was Won»come forth and display his talentwave so that no part came across was of equal mettle.There were at times threeas forced or boring.The Allman set got off to a slowdrummers on various sets layngOpening act Grinderswitch put start, but by the end of thedown the foundationforth a good effort but the musicnot detracting from eachlacked a characteristic individualevening, their building momentum had carried all along for aPianist Chuck Lea veilap-sound to set it apart from the other rocking Southern jamboree.introduces seem to fall flat while very weak.more or less standard comic‘The Adventures of SherlockBy JOHN DAVENPORTroutines are highlights. There is Holmes’ Smarter Brother»»isAmusements Editorone exception—a scene from an Gene Wilder’s initial directorialopera in which stolen documents effort, so he shouldn’t be faultedUpon seeing “The Adventures of are to be exchanged on stage—but too much. But the film might beSherlock Holmes’ Smarter theii» »orBrotherftat the WoodlakeCinema, it is almost inevitableaction,“movement,” surrounding it israther subtitled, “The Adventures of MelBrooks’ Promising Apprentice.”that it be compared to the films ofMel Brooks. After all, GenePtKrto* By KENNETH WALKERWilder, who wrote and directedGREGG ALLMANthis comedy, starred in three ofBrooks’ four films and wrotei“Young Frankenstein” withiIIk lI A IBrooks. “Holmes’ Smartern1 A
Newspaper Details
Houston Daily Cougar
Houston, Texas, US
Tue, Jan 20, 1976
Page 13
Full Page
Clipped by
Denton P.
TX, USA 31 Jan 2019
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