Woodwind was “an arts paper,” as it stated on the cover, some of whose staff and contributors remain on the D.C. scene 36 years after the April 4 issue we are currently perusing. Michael Schreibman now heads WAMA. (Note: the WAMMIES are this Sunday at the State Theater.) Contributor “William Holland” leads jazz-pop band Bill Holland and Rent’s Due and was D.C. Bureau chief for Billboard magazine; and Richard Harrington is still writing about music for the Post‘s Weekend section.

In a column titled “workin” (no cap, no apostrophe), someone named Mike Hogan let forth this review, dated “Stardate 26 – 3 – 72,” of Humble Pie, Alexis Koerner, and King Crimson at the, uh, Alexandria Roller Rink. Excerpted for clarity and charity:

Having previously traded in our skates for more than a few tokes of what we affectionately referred to as ‘really good shit,’ we sat waiting for Humble Pie’s first set after missing the first two acts. Then, as the lights dimmed, out shot Stevie Pie, accompanied by Greg Pie, Jerry Pie and the newcomer Clem Pie. Stevie shouted a promise of Rock ‘n’ Roll and they did just that. Have no doubts about it, Pie plays gut music.

Hogan apparently regretted missing the opening acts, returning for the second show to see King Crimson, “because there’s not another band in England or America that can touch them within their musical concept.”

Despite our back-of-the-Rink seats, the perfection of K. Crimson easily obliterated all the acoustic handicaps indigenous to that place. But after a couple of mind sweepingly beautiful tunes, Robert Fripp stepped up to the mike and reeled a spiel toward the audience. It seemed to be a low key, but not so well disguised, insult concerning the audience’s intelligence, and if the people up front were socializing like the ones in the back were, then it was indeed an insult and one justly deserved.

So, D.C.’s rep as a tough audience town has been long in the making.

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