The Sunday Pocono Record Dec. 27, 1981 Part 1 by J.J. O'Malley PORT JEFFERSON, N.Y. - Playing in a rock and roll supergroup is no longer merely a dream for Erik Cartwright. It was a long road from the East Stroudsburg High School band to touring and recording with Foghat, but it has been a rewarding experience for the Minisink Hills native. Life as a professional musician can be a long series of living from gig to gig, continually paying one's dues while waiting for a big break, hoping that your act will somehow catch the attention of the national public and media. Cartwright paid his dues and was ready to answer when opportunity knocked. Finding regional success in Allentown, New Haven, Conn., and Washington D.C., Cartwright recorded with the group Tears and with Dan Hartman of the Edgar Winters Band. Moving to New York City, he joined a country and western group, The Danny Shea Band, and often jammed in the city with well-known musicians, including Johnny Winter. Cartwright's break came when Rod Price parted company with Foghat, an internationally-known group with 10 years repertoire that included two platinum and eight gold albums. The group also has the reputation of being one of the hottest touring bands in the nation. Hundreds of aspiring guitarists submitted tapes to Foghat; Cartwright was one of 200 who were invited to audition last winter. But Cartwright was no stranger to Foghat's manager, Tony Outeda, when he came in to audition, as he heard him jamming in the Ritz in New York City. In addition, Cartwright had the recommendatio of Hartman in his favor. "We heard his cassette and thought it was terrific," Foghat drummer and co-founder Roger Earl recalled. "Then we invited Erik to one of our sessions, and he played with us. He came back again, we had a drink, and said he could have the job if he wanted it." Suddenly, it was no longer a matter of living gig to gig for Cartwright; he was suddenly caught in the fast lane. Not only did he have to get to know the other personalities of Foghat, he was thrust into the recording studio to cut an album with the band. All the while, he also had to familiarize himself with the group's old material for a summer tour. But Cartwright found no problem working himself into the group. "There was absolutely no hassles," Cartwright said. "I love it. Obviously, it's the biggest thing that's happened to me. "Just joining the band, Cartwright didn't have any time to help write any new material, but he sang and played lead and slide guitar on the album, "Girls to Chat & Boys to Bounce." Then with the album selling well and earning good reviews, it was off to a summer tour, and Cartwright found himself at home singing and playing the old Foghat standards, including "Fool for the City," "Stone Blue" and "Slow Ride" in places such as the Astrodome, Superdome and Tangerine Bowl. "I had no problem picking them up," Cartwright said of the older songs. "I learned four of them in one afternoon." Earl agreed that Cartwright had no problems fitting in. "He's a really fine musician, an interesting, exciting player, and that's why we chose him," Earl said. "It's worked out very well for all of us. Erik's a new quarter of the band. He plays his solos as he feels them, but still retains the same basic, 'ah whatever' of the band." The tour was a long one, with 139 dates, ending a month ago. The band took a holiday break, but still keeps in touch. They recently entered the studio to cut a holiday message for their fans, and will play a one-night stand at the Nassau Colisium near their Long Island base on Dec. 30. Then, next January it will be back to their own recording facility to record a new album. Cartwright enjoys the band's relaxed approach to performing. "We jam all the time," he said, "there's no hard and fast rules on stage. We vary our basic sets, and just rock out and have a good time." Naturally, Cartwright was a little concerned about his reception by the fans, especially the hard-core Foghat followers, but his worries were groundless. "The fans have been very receptive,"' Cartwright said, "I've heard no negative comments, and I'm glad about that." One of the people impressed with the lead guitarist was his mother, Carol Cartwright, an accomplished actress. "I was very surprised to see Erik's progress," she said. "I felt when I heard him in Allentown early in the tour that he was bowing to the older members of the group, that he didn't go out as much as he could. "But a few months later, after playing in all the big cities, I heard him at Madison Square Garden and he was really one of the band. He really went all out," she added, "he was really cool, but he was really on top of it. Another Cartwright in the New York City music scene is Erik's brother, Brett, who is a member of the David Johansen Group. Brett is well known in local jazz circles for his bass guitar work, but made a fine transition to rock music in New York. Foghat was formed in 1970 when guitarist "Lonesome" Dave Peverett and Earl split from the successful British rock/blues band, Savoy Brown, and crossed the Atlantic to form their own group. Settling down into an old garbage truck depot, they rehearsed for a year and a half before starting out on a low-budget tour, setting the groundwork for many more tours and successful albums. Cartwright joins Earl, Peverett and bassist Craig MacGregor with a group that has recorded 11 albums and built an excellent reputation. Playing in a rock supergroup is a lot of fun, but it's also big business. "It's financially worthwhile," Cartwright said. "We do everything on integrity." On being a member of the group, Cartwright explained "I am (a member) in the sense in that I have an equal say in our music, but I can't say I'm an equal business partner this is a multi-million dollar corporation." The way Cartwright fit in with the album and tour, and the promise his musical background will bring to helping write future recordings, it will only be a matter of time before he's recognized as an equal business partner with Foghat. "Live Now, Pay Later' highlights latest effort By Jeff Widmer When I was in high school, I remember walking into a dance and hearing the band's lead guitarist, Erik Cartwright of Minisink Hills, for the first time. He was incredible. It seemed as if every rock musician at the time was trying to imitate the blues style of Eric Clapton. Cartwright had mastered the master flawlessly. We all knew if he found his own style he would go far. Well, he's arrived. Erik has made his debut in the world of rock superstardom by joining Foghat. And on his first album with the band, he performs well, relying mainly on tasteful slide guitar work - a far and better cry from the piercing riffs of the late '60s. Erik says he joined the band just in time to make "Girls to Chat" but didn't have a chance to write any of the songs. That will have to wait for the next album - it's something he's looking forward to, and should show how much he has grown as a musician. Back to the album. These boys sure do rock. The vocals aren't strained and the recording is clean. The songs are basic -without horns, strings or monstrous overdubbing. It's too bad most of them are not distinctive (all but two were written by Foghat guitarist/vocalist Lonesome Dave Peverett). The lyrics are nothing special, either - standard boy/girl stuff. But there are a few standout tunes that add to the rock repertoire. "Wide Boy" kicks off the album with some tough drumming. It follows the familiar 1-4-5 chord progression but, as the kids say on American Bandstand, it has a good beat. "Live Now, Pay Later" is the best track, with a Steve Miller sound in the low-riding vocals and octave spread on the harmonies. The lyrics are the most socially conscious on the album, even showng a sense of humor. They draw a mild analogy between living on financial credit and the hollow feeling of living only for appliances. "Love Zone" is another baby-I-want-to-make-it-with-you song. I guess rock musicians will never stop singing about the bedroom. But Erik saves the song with some sweet slide work. Much of the guitar work and vocal harmonies on the album seem appropriated from the mid '60s, especially that of the Beatles. It's good to hear bands recycle material from that time - products of the '50s nostalgia craze begin to wear thin after a while. "Sing About Love" starts with another drum break - an old-fashioned technique - but it's still valid and it works here. The song ends the album with cheers and whistles of the crowd and gives it a party-like feeling. All and all, "Girls to Chat" is a good effort, but I hope Erik's material will give the band the jolt of originality it needs. 'He's a really fine musician, an interesting, exciting player, and that's why we chose him. It's worked out very wall for all of us. - Roger Earl on Erik Cartwright

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