Westbury Music Fair

This past weekends stab at biker-rock brought all the black leather boys and those lovely ladies in their leather and lace out, full compliment at the Westbury Music Fair. Headlining was Steppenwolf, whose tangentially identified late-sixties West Coast psychadelia was Hard Rock and who popularized the term "Heavy Metal."

Seldom seen without his dark sunglasses, founder, singer, songwriter, John Kay opened with one off his debut album, the pounding and effective "Sookie Sookie." He continued with "Rock and Roll Rebel" and his self-penned "Rock Me" done with bad-boy zest and toughness.

With influences from Edgar Varese's electronic/symphonic sounds combined with Chuck Berry's Rock and Roll and Muddy Waters Blues, Steppenwolf gets its uniquely electronic white-soul sound. As evidenced with "Give Me Some News, I Been Used" to the hard drivin' yet sedate "Hoochie Koochie Man."

Rough vocals, outrageous lyrics, and grinding music epitomized the political atmosphere of tanks in the streets and the worldwide call to break free - this was their hook. "Magic Carpet Ride" enhanced the image of the bold and creative forces at large. Their last selection was, of course, "Born To Be Wild," the anthem of the sixties biker revolution.

Not played and surely missed was "Monster." The try for a revisionist look at the history of America from the slaughter of the.Indians to Vietnam and the effective anti-drug song, "The Pusher," that suggested that Kay knew the perils in which he spoke.

Opening up the night's event was one of the most underrated guitarists on the scene, Pat Travers. He never really got the break that he most certainly deserves. Travers got the adrenaline flowin' and blood pressure pumpin' with "Halfway to Somewhere." He then took off with "Just Enough Money to Buy a Case of the Blues" and his wall-shakin' "Snortin' Whiskey Drinkin' Cocaine."

Up next, Foghat, the off shoot of the Savoy Brown Blues Band presented their brand of Bloozebased boogie. Opening with the Willie Dixon staple, "I Just Wanna Make Love to You" onto to some heavy lead lines and good slide work with "Drivin' Wheel." The Robert Johnson classic "Sweet Home Chicago" was well received as was the brontosaurus stomping "Slow Ride." Qut of nowhere comes a thumping, finger-popping, funk bass line, cutting through those sinewy power chords like a butcher knife.

Second billed was the third-string psychedelic rock of Blue Oyster Cult AKA Soft White Underbelly. What saves the Cult from becoming a complacent parody of early metal was lead guitarist, Donald "Buck Dharma" Roeser. Buck is able to couple his understanding of power chords with melody and restraint. His stinging solos lift to above the ordinary.

The bizarre but interesting sci-fi concept on "Godzilla" was entertaining while the fluke hit "Don't Fear the Reaper contained ringing and bittersweet lead lines. At this point, probably the best thing about BOC is being able to witness one of the best all-time drummers in the business perform his magic, Bobby "Wildman" Rondinelli.

Some people ask when are these old bastards gonna call it quits? I say never, even if they're sportin' wheel chairs and IV's on stage.