Word: boing
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Dates: during 1970-1979
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...humor. Mills has the knack of clothing anger in fact, and he is one of the few writers today who understand police work and can make policemen both believable and human. The most interesting thing about his novel is the squaring off between the young cop, whose name is Bo Lockley, and the police establishment. Bo is an inept, unskeptical idealist, "hurt by animals he didn't know were in the jungle." Of course the foolhardy girl agent should not have been allowed to pursue her plan of seducing the pusher in order to get information...
...Allen made his debut as a performer at a dim Greenwich Village boîte called the Duplex. It was a fairly unusual première: few audiences, after all, have ever seen a man turn pale green every night. "It was the worst year of my life," admits Woody. "I'd feel this fear in my stomach every morning, the minute I woke up, and it would be there until I went on at 11 o'clock at night. I was trying to be cerebral. I was writing for dogs with high-pitched ears...
Side Three starts off with "Happy," a nice enough rock song that sounds just like all that stuff on Side One. "Turd on the Run" is an ineffective pastiche of the worst elements of Bo Diddley. It's the worst cut the Stones have done in quite some time and is followed by "Ventilator Blues," which is not a whole lot better and bears an uncomfortable resemblance to "Come Together." "Just Wanna See His Face" is an exceedingly weird quasi-spiritual and one of the most distinctive and memorable cuts on the album. The side closes with "Let It Loose...
...flashing a quick victory grin at his disappointed companions. Bush, so good as Jack Nicholson's hillbilly buddy in Five Easy Pieces, is even better here-prickly and sardonic. The other members of the Culpepper outfit are stolid and laconic, but most of them (especially Luke Askew and Bo Hopkins) manage to be interesting anyhow...
...undergone a hundred different changes it had always carried with it the birthmark of '50s rock and roll. Born in a burst of post-war energy, rock music periodically returns to its roots for reassurance and rejuventation. The greatly admired fathers of rock and roll--Chuck Berry, Elvis Presley, Bo Diddley, Bill Haley and the Comets--continue to live on in just about every live rock performance. It's as though every group feels a need to pay homage to the originators. The Stone's always include one or two Chuck Berry numbers in their concerts, Jimi Hendrix always liked...