STARRY EYED AND LAUGHING        

100 CLUB, Tues. 11-12-74                  

One of the major CBS hopes for 1975 is Starry Eyed And Laughing, the one-time Byrds soundalike band, whose recent debut album showed they have already grown into their own identity. They have been active on the club scene all year, and last week’s performance in front of a home crown at the 100 Club in Oxford Street was full of the excitement and attack that characterise a new, enthusiastic group, with everything to play for.

Their stage appeal is considerable. Still at the level where they can ask for an audience’s indulgence, they project an informal, goodtime image of slight untogetherness only belied by the precision of their arrangements. Tony Poole in flowing white is the charismatic centrepiece, with a 12-string Rickenbacker a cross between Freddie Mercury and Roger McGuinn. Ross McGeeney is more subdued projecting brooding creativity, bassist Iain Whitmore exudes dependability and Michael Wackford has the traditional drummer’s loony good nature. This spread of personalities is important in allowing audiences to relate to the band, then enjoy them and finally of course to buy their records.

To make sure everyone was familiar with Starry Eyed And Laughing’s record, they played most of it, and generally with far greater gusto and life than is apparent on the studio album.

From a few feet away, the harmonies produced by the three singer line-up are genuinely thrilling, and the interplay of the two lead guitars gives a driving momentum to fast rocking numbers like Living In London. The dual leads at the climax of Everybody gave both Poole and McGeeney a chance to show off, and built an excitement and tension remarkable for a soft rock band.

The band was equally in control of slower, more reflective material, like a delicate In The Madness, and ended a successful and varied set with a funky Oh Susannah, played very much in party spirit.

Not everything Starry Eyed And Laughing write is entirely satisfying, but lyrics and melodies both have an appealing directness. If they can develop as musicians without sacrificing that simplicity to pointless intricacy and technical effects, then they will certainly be a group to watch.