A fine madness

Press, 24 April 1980, Page 14

A fine madness

RECORD REVIEWS

by

Nevin Topp

MADNESS “One Step Beyond . . ” (SEEZ 17). Apparently completed in two manic weeks, “One Step Beyond” loses nothing in production, and the spontaneity that is evident on some of the tracks make for an enthusiastic, humorous, and enjoyable record.

Produced by Clive Langer, formerly of Deaf School (which gives one reason why the band are fun to listen to), Madness have been beefed up in sound, without losing the infectious music they put out live.

. The emcee, Chas Smash, Kosmo Vinyl of the Blockheads, introduces the band before they swirl into “One Step Beyond . . .” in what proves to be a musical adventure. Mike Barson, the keyboards player, and. main songwriter, wastes no time. On side two, for example, he shows his technique on piano in a three-minute version of "Swan Lake,” and the man who introduced the Wurlizter to the dance hall gets a bit

jazzy on “My Girl,” which has a quieter ska/rock rhythm td it — the sound with which Madness is associated.

Nowhere is the ska/rock sound, first put on the map by the Specials, made better or clearer than on “Night Boat To Cairo,” in which Lee “Kix” Thompson plays a baritone sax before closing with a gypsy-violin routine “My Girl” too is an interesting track, a plaintive song about not being understood, against the bouncy Madness beat.

Side one closes on, would you believe, "Tarzan’s Nuts.” In die old days bands playing live would have used this instrumental to indicate that they were going to take a break, not surprising, though, for it is a stage favourite when Madness play live.

The album closes on “Chipmunks Are Go,” which starts out as a boot-camp chant, as silly as the opening words by Chas Smash. Listed on the sleeve is John Hasler as “minder,” and Madness would need one, both for their sanity

and to keep the fans from pogoing on stage, considering the motto of the band is “Forget Art — and dance.” The approach to the ska/rock music by Madness is more accessible than the Specials, and the bonus is that it is a fun album. LENE LOVICH “Flex” (Stiff SEEZ 19). RACHEL SWEET “Protect The Innocent” (Stiff SEEZ 18). Stiff stablemates, Lene Lovich and Rachel Sweet, are at present trying to break the American market, seemingly with some initial success in New York where there was talk of “Lenemania.”

Unlike “Stateless,” Lovich’s vocal style, which at times sounds like a female Bryan Ferry, and a minor Kate Bush, is kept in line with additional vocals, usually male. The single, “Bird Song,” which opens the album sounds like something Roxy Music would do. The “art” approach, though, is slightly off-key in “What Will I Do Without You?”, but "Angels” has class in its sense of irony.

“Joan” is a bit more blatant in the lyrics de-

partment, but is neatly offset by keyboard breaks and dubbing. The backing and vocals are a plus for the album, giving it the juice it needs.

Rachel Sweet’s “Protect The Innocent” is not as accessible as “Flex.” Gone is the innocent schoolgirl, now more experienced, dressed in a leather jacket, a street tough.

Sweet has taken pen to record and come up with some interesting songs, including the assertive “Tonight” and the almost scat approach On “Tonight Ricky,” which has a quality about suggestive enough to indicate Rickie Lee Jones. “Protect The Innocent” also has covers of Graham Parker’s “Fool’s Gold,” and “New Age” by Lou Reed, but both lack the power of the originals. Over-all, the album is steady, but not startling.