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ROCK DOCUMENTARYfBy DALE ADAMSON Amusemenls WriterJust a little over a year ago,rock Dromoter Bill Grahampromoter“retired” and closedout hislegendary rock palaces, the Fillmores East and West.But legends never die-- they become movies.“Fillmore,” at the River Oaks, is a musical documentary of the last week of the Fillmore West, the place where it all began forGraham.But the film does more thannight sold out swan song concertUnlike any of the several rock concert films before it (most notably “Woodstock,” of course), “Fillmore” goes behind the scenes and gets into a subject heretofore overlooked by the other rock films—that is, what makes a good r ock show tick?In the case of “Fillmore,” it isBill Graham.Very few' people familiar with Graham are indifferent to him. They te»id to either love him or hate him.To different people Graham issimply present a colossal four- the patron saint of San Franciscorock or a capitalist pig. only in it for the money. In truth he is probably neither... or, perhaps, both.Bill Graham is the man most responsible for giving the Jefferson Airplane, Grateful Dead and Santana a home and, thereby, providing the foundation for what became the “San Francisco sound.”But his violent temper and hisstraight-talking, business-likeapproach to rock are offensive to more than a few folks.In “Fillmore” we set* both sides of Graham.On the one hand, he is laughing and joking with members of the Grateful Dead, playing basketball with the Fillmore staff or feeding ducks in the park with his two-year-old son On the* other, he is swearing at his secretary interrupting a phone call, tossing a disrespectful performer out of his office or scheming over the phone aboutwho gets top billing.We also see (and, more importantly, hear) the end result ofhis split personality—the music.Interspliced with the w heelings and dealings, the autobiography and the quick sketch Graham Philosophy Primer, is some of the best music available from any sou rce.The film opens with I«imb, a G raha m-produced group featuring a singer literally spillingout of her dress. Then Cold Bloodwith some excellent overlapping split-screen work and Boz Scaggs,who looks like he should be working in a garage, but who, fortunately, sings much better.But those are just the lightweights, the Johnny-come-lateliesof San Francisco rock, so to speak. As good as they are. they don’tbegin to compare with the originators.To begin with, there’s Hot Tuna, a wing of the Jefferson Airplane, rumbling onto the screen to the tune of Jack Casady’s bass solo in “Candyman.” Then, there’s Quicksilver Messenger Service with Dino Valente singing “Have Another Hit.”It’s a Beautiful Day (who will be at the Coliseum August 17) sings their ethereal “White Bird,” ElvinBishop squeezes out a guitar solo,Santana... it’s all great music!But to top it all, “Fillmore” has achieved the impossible. With just two songs it has captured the Grateful Dead on film.“Drivin’ that train high on cocaine—Casey Jones you’d better watch your speed .” “Papa Bear” Jerry Garcia sings lead, Bill Kreutzmann and Phil Lesh thrash out that locomotive beat and Bob Weir plays rhythm and strains to sing the high harmonies. The Dead perform the teasion-filled climax of “Casey Jones.”Then, “the one it’s all about” Chuck Berry’s “Johnny B. Goode.” It has to be the mostelectrifying musical performance ever captured on film!That alone is reason enough to see “Fillmore.GRAHAM
Newspaper Details
Houston Summer Cougar
Houston, Texas, US
Thu, Aug 10, 1972
Page 4
Full Page
Clipped by
David P.
USA 19 Jun 2022
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