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Creem – America’s Only Rock ‘n’ Roll Magazine, Reviewed Issue By Issue – June 1977 (Volume 9, Number 1) 

In the cover story of the June 1977 issue of Creem, Barbara Cherone caught the Rolling Stones at a few unpublicized club gigs in Canada. Keith Richards spoiled the party by getting busted with heroin and having a potential life sentence hanging over his head. Richards, “I can’t stand up and say ‘not guilty’ because it’s ludicrous.” Perhaps not surprisingly, Richards seemed more concerned about playing more club dates in the future (“It’s such a turn-on and does the band a world of good) than he was worried about his legal troubles.  

In “Rock ‘n’ Roll News” we learned that Bo Diddley did a charity gig at a prison and was held by guards for several hours, who assumed he was an inmate. Also, Chuck Berry had reached the impossibly old age of 51. Patrick Goldstein contributed an excellent piece on Muddy Waters in “The Beat Goes On.” 

Ted Nugent appeared in the “Creem’s Profiles.” His last accomplishment was “having a HUMAN child while strangling a bull moose with his bare hands.” 

Features: 

“Rush to Judgement,” by Darcy Diamond 

“Ian Hunter Fights Boredom,” by Simon Frith 

“No Disco for Derringer,” by Trixie A. Balm 

“If Anyone Can Lick Ronnie Van Zandt’s Ass, It’s the Atlanta Rhythm Section,” by Patrick Goldstein 

“Keith and the Cockroaches Rip This Joint,” by Barbara Cherone 

“Todd Rundgren: From the Cradle of Civilization,” by Kris Nicholson 

“Ian Anderson: Too Old to Rock ‘N’ Roll? Never!,” by Ian Anderson (recorded by Air-Wreck Genheimer 

The most interesting features are the pieces on Todd Rundgren and Ian Anderson, who both sounded like they were rapping after taking a near lethal psychedelics with speed combo. The piece on Keith Richards captured a particularly interesting time in history for the Rolling Stones. Also, the Atlanta Rhythm Section guys were much more boisterous than one would expect.  

Quotable Quotes:   

Robert Christgau on Kiss, “Those who dismiss them as unlistenable are evading the issue. They write tough, catchy songs, and if they had a sly, Jagger-style singer, they’d be a menace. But they aren’t a menace, my wife and my sister assure me; the kids get off on the burlesque.” 

Muddy Waters, “Now, Little Walter – he was a stone wild man! Nothin’ he didn’t do. He came out of Louisiana with that Creole-French blood – oohh, it was hot, cause he had a mean, terrible temper…It took me a long time to cross over that race barrier. Till the Rollin’ Stones came along, your daddy and your mommy didn’t want no race records in their house.” 

Geddy Lee, “I don’t believe anything I read in CREEM magazine. It and the writers just say what they want to.” 

Geddy Lee, “It has become OK to say that you’re only in rock ‘n’ roll for the money. We’ve tried to transcend that by having something for everyone. We don’t ask that everyone believe in what we do. Let them take our stuff any way they want.” 

Ian Hunter on the breakup of Mott the Hoople, “All my life I’d been poverty stricken and now I had some money and decided to take a couple of years off to spend it.” 

Robert Nix of the Atlanta Rhythm Section, “I’m fed up with the press talkin’ about us like we was old men who hobble up on stage. We can fight as bad as any motherfuckers. We’re a bunch of pissers.” 

Todd Rundgren, “I don’t really think that 50 years from now rock will exist…I never make (songs) for the radio. A lot of people are still radio conscious. There’s a whole scene for that…Rock criticism to me is really the most narcissistic, masturbatory art, as exemplified by ‘Christgau Consumer Guide.’ I don’t really think rock criticism makes any difference at all.” 

Ian Anderson, “All that codpiece business was very amusing, but when you’re on for two hours, you know, rapping yourself on your private parts with several layers of felt and nylon and cotton, it’s not exactly good for your virility.” 

Billy Altman on Bad Company, “Having a group like Bad Company around and doing well does a lot of good for this rock ‘n’ roll heart. Because in their own quiet way, they’re one of the very best bands we have.” 

Richard Riegel on Fleetwood Mac, “How come nobody else has noticed that Fleetwood Mac are the Mamas and the Papas of the 1970’s, form the multisexual, multinational rushes of their vocal harmonies, to their incredibly fortuitous fusion of folkrock trappings with MOR sentiments?” 

Summary: It’s only rock ‘n’ roll, but I like it. 

Grade: B+  

Latest price on eBay: $8.95to “Buy It Now.” 

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