Isley Brothers!

At Cobo Hall -
Although the violence at recent Cobo Hall concerts had no direct bearing on the Isley Brother's show two weeks ago, it has definitely spawned several negative after effects. For one, the concert began at 7:00 p.m. (earlier than most) and ended promptly at 10:00. For another, the overall production was nervous and shaky during the show's restricted timespan.
The opening act, Black Smoke, was enjoyable, though their lyrics were almost unintelligible due to Cobo's horrible acoustics. They work out of a Tower of Power bag, specializing in tight horn riffs and a rapid backbeat. Wild Cherry, an all-white aggregation (save two black horn men), are known mainly for the summer smash, "Play that Funky Music (White Boy)." For all their disco-funk, they're really another ''blue-eyed soul" farce. Their repertoire was basically up-tempo & funky, featuring selections such as "Get the Funk out of Here," Martha & the Vandellas' "Nowhere to Run," "Hold On," and of course, "Play that Funky Music" At one point during Cherry's stage onslaught, the house lights were abruptly and without explanation turned all the way up.
The Isley Bros., touring behind their newest album Harvest for the World, delivered engrossing versions of earlier and recent hits. The grotesque Cobo Hall acoustics contaminated "Fight the Power" as a fog machine smothered the band in clouds of steam. The rousing "Hope You Feel Better Love" followed, with lead guitarist Ernie Isley in the instrumental limelight, showing off his Jimi Hendrix guitar licks and his usual Jimi Hendrix stage outfit.
Subsequent Isley selections included Todd Rundgren's "Hello, it's Me," featuring soulful crooning by Ronald Isley; "For the Love of You," "Live it Up," "Harvest for the World," "Who Loves You Better?" and the melodic "Summer Breeze."
I must say the acoustics were just a little bit clearer toward the end of the Isleys.' performance, but the real bring-down occurred at the clock neared the 10:00 p.m. curfew hour.
As the Isleys played "Fight the Power" a second time, fans headed for the exits before the music ended, and the house lights were suddenly switched on again at full wattage.
Little does anyone know it, but this concert may end up spearheading one of two things - either the absolute death of Detroit's once-thriving concert scene, or the rebirth of intelligence and good taste on the part of both promoters and audience.
My suggestion s that the concert-goers who have helped to create the paranoid atmosphere at Cobo and other large concerts - hoodlums, mindless disco maniacs, et al.- pay closer attention to the sick complications they have created. Detroit is doomed to die a rock & roll suicide if the nitwits don't wise up.
Remember, we are spectators at concerts, not captives in the DMZ in Vietnam or refugees in war-torn Berlin. If jittery scenes like the one at Cobo become the order of the day, we can expect sensible people to avoid these events altogether in the future.

- Mick Murton