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(from scrapbook 2, page 49)

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Quo, Snafu and Ace

A RAG week. if I remember rightly, is a charity week, where the students organise lots of events so that they can make donations to needy causes. Bristol University, however, devised last week an ingenious re-arrangement of the normal cash flow sequence of money taken from the rich to be given to the poor, charging £6.50 a double ticket from what we are led to believe are penniless students in order to hand it out at around £50 a minute to Status Quo.

Before I am accused of being uncharitable myself, especially to the four gentlemen of Status Quo, let me say that I don't begrudge them their money - a rich reward, but only for many years of strenuous efforts stripping their monolythic brand of music down to its bare essentials. Since the rag ball made a loss, however, perhaps next year the organisers will either not organise one, and donate the loss direct to charity, or may consider the attractive possibility of filling their entertainments with more iexpensive bands who offer musical satisfaction, value for money, and charitable profitability. This brings me nicely on to the two bands who, along with Quo, formed the main attractions at the event, Snafu and Ace.

Snafu had what is usually thought to be the tough job of starting the whole thing off, but the way in which they settled into a relaxed and yet interesting mood filled one with a rosy glow that lasted for hours and yet could not be attributed, so early in the evening, to any cause other than their music. If anyone has not yet heard Snafu, perhaps likening Bobby Harrison, their singer, to Chris Farlowe and their general rhythmic and compulsive style to that of the excellent Jess Roden band will put them into context. The balance of guitar and keyboards as the instrumental lead was particularly well done.

At the other end of the evening, Ace created the same warmly receptive ambience. I was a little critical of their combined expertise when I reviewed them several weeks ago, but I am delighted to report that what was previously a slightly casual outfit with good potential is now a much more harmonised and tight unit.

They kept their audience, who seemed to dance their weariness away, rocking gently to and from for what seemed like hours.

The astute reader will, by now, be beginning to wonder why the major attraction of the evening is not being accorded the prominence which might seem its due. A brief remark has already hinted at the sparseness of Status Quo's music, but perhaps first a word or two complimenting their professionalism. It would be difficult to fault their presentation, their energy, and their effectiveness in conveying the spirit of their music to the audience. They have learned over the years what is required to please the certain sizeable element of the populous, and without hesitation have projected themselves towards it.

The fact that many people enjoyed the masochistic depravation of inhabiting a musical desert cannot be blamed upon Status Quo. They see their function as fulfilling the need for a rhythmic monotony not unlike the arid landscape of a dreary wasteland, and their persistence of the same format to portray this featureless music may to some people be praiseworthy.

However, since I know them to be a bunch of pleasant, serious young men who have learned to shrug their shoulders at the remarks of critics, perhaps we may both exchange that gesture of indifference. After all, as I hope they might kindly say of me, someone has to do it.

HOWARD FIELDING