The Cavalier daily :: Thursday, December 5, 1969 :: University of Virginia Library

You've heard, or have at least
heard of Janis Joplin. You've heard
her perhaps on a feebly recorded,
but incredibly powerful Mainstream
album, heard her triumph over a
medicore blues band to make
Cheap Thrills one of the important
and exciting records of last year.
Hopefully, you've also heard her
new album "I Got 'Dem 'Ol
Kozmic Blues Again, Mama," where
she's backed by a competent band,
where the production is excellent,
and the songs are suited to a singer
of her unquestioned ability: It is a
superb record.

The same band and most importantly
the same Miss Joplin you
heard on "Kozmic Blues" are
coming to University Hall Saturday
night. The prospect is tremendously
exciting, because no matter how
much you've heard, Miss Joplin on
records, you know nothing about
her until you have seen her. She's a
great deal more than Miss Joplin.
On Stage she's saltwater and good
soul, Southern Comfort and
warmth. She seems to be a
well-spring of what is basically
woman, fitting completely the
concept of Earth Mother. After
watching Miss Joplin, you know
that if you could have her and keep
her, you would be the most
satisfied man on earth for the rest
of your life. She is sex itself, which
isn't to say she's lewd, obscene or
even suggestive. Rather, by being
Janis, by funnelling her every fiber
into song, by grasping and communicating
the essence of blues, she
celebrates sexuality and basic vitality
as the blues must.

"The Young Rebel" would be
the title for her life. Born in a small
city, she left for the open world at
seventeen, realizing she could develop
no more at home. After batting
around the country for a while, she
began to sing. "If the blues
syndrome is true, I guess its true
about me. I began listening to blues
and folk music. I bought Bessie
Smith and Odetta records, and one
night, I was at this party and I did
an imitation of Odetta. I'd never
sung before, and I came out with
this huge voice."

After travelling around and
singing in bars, the still unrecorded
Miss Joplin began working with Big
Brother and found that her stock
still and simple delivery didn't work
in front of a rock crowd, and a rock
band, "You have to sing loud and
move wild with all that in back of
you. I don't know how to perform
any other way. I've tried cooling
myself and not screaming, and I've
walked off feeling like nothing."

This is the essence of the Joplin
style, she puts her guts on the line.
She's into her audience and they're
into her. A far from gentle, but
tremendously satisfying rapport
develops between her and her
audience.

Her fast rise to stardom is
recorded in her past shoes. Unknown
before Monterrey, she broke
big across the country following her
appearance there. At the Atlantic
City Pop Festival, she was highlighted
over such groups as The
Jefferson Airplane and Three Dog
Night. Woodstock was certainly
helped in being what it was by her.

Miss Joplin can sing, but she can
not exist outside the blues. As soon
as "Perry Como" aesthetics are
applied to her she vanishes. Her
vocals know no restraint. If you are
listening for soft, melodious music,
don't hold your breath. If you are
looking for an unforgettable show
this is it.

Also appearing Saturday night
are The Jam Factory. A fairly
recent phenomenon, having first
appeared in February, The Jam
Factory is a musician's band. Their
basic orientation is on the creation
of music rather then an audience
response. Still, they project a sense
of on stage unity derived from their
music. Many groups, such as
Steppenwolf, fall short of this in
their live performances. "Tight Knit
Group" is one of The Jam Factory's
original compositions, and is
part of what they are all about.

So it looks like this concert
could be a great show, if all goes
well.