Dire Straits in camera

Press, 27 November 1980, Page 18

Dire Straits in camera

REVIEWS

Nevin Topp

DIRE STRAITS “Making Movies” (Vertigo 6359 034).

Since their second album, ' ' "Communique,” Dire Straits- have been on the quiet sfde< Only since the overseas release of "Making Movies” in late 1 October has the band been on tour, and with a new line-up as well. Mark Knopfldr’s brother, Dave, has left the band, for reasons of brotherly tension and the direction the group was taking, although nobody is spelling it out: as coldly as-that. Some critics have said that . this third album .-.is make or break for Dire Straits, but that seems a little unfair considering the band’s talents. "Making Movies” shows Dire Straits tobe a harder, aggressive band, particularly on the - opening track, “Tunnel of Love,” and on the side two opener, “Expresso Love.” . -•

I'Turinel of Love” has a magical. opening-! with a 1 Wurlitzer piece from Rodgers, and Hammersteiri’s "Carousel Waltz,” and it changes pace and shade throughout' its eight minutes in a song about the sights of a fairground to the young, but also about where Dire Straits are at the moment. Roy Bittan, the keyboards player-- from • Bruce Springsteen’s Street Band, takes a definite turn here, both op the ivories and helping : the production with Jimmy lovine, Stevie Nicks from Fleet-; wood Mac likes the quiet “Romeo and Juliet,” and the next track, “Skateawav,” sounds remarkably like a typical Graham Parker - song, although Knopfler’s vocals are flatter (perhaps -why he and

Dylan get on). "Solid Rock” shows what the tight rhythm section of John Illsley (hass) and Pick Withers (drums) can do, although Dire. Straits have now padded Alan Clark (keyboards) while oh tour. ’

Perhaps the latest record has not the commercial appeal that the debut album had, but the quality is definitely there! MADNESS ’ “Absolutely” (Stiff SEEZ 29). As they say, a lot of water has flowed under the. bridge - . since ‘.‘One I Sten ’ Beyond,’” and Madness have had a lot to live down to, especially ' from- the. fascist'fans who threatened;the band’s career. ’ -a . ’■ ‘ -

Madness were the most accessible ! df , the ska, 2-ton.e, nork; pie hat routine, and on. -“Absolutely” they have moved further away from these origins and into areas resembling early 1960 s pop. The album is really divided into two halves, A 1 i g h t-hearted opening, romp on side one, which culminates in Chas Smash’s “Solid Gone,” and a more serious Madness on side two. “Absolutely” opens on “Baggy Trousers,” the single release, which is a. song about boys at school, that only gives a taste of what Madness now do, It

takes Smash’s popular nonsense rockabilly song, “Solid Gone,” to make side one come alive with the humour that was the main quality of “One Step Beyond.”

Side two is more personal, and opens on “Take It Or Leave It,” a strange song with weird sounds and sneaky sax by Lee Thompson. “Disappear” steals a riff from the old Jackson Five and turns it into a teenyboppe.r sound. Mike Barson is more obvious on keyboards this time, and Suggsy’s vocals are better. Perhaps the album is. not as obivously humorous as tracks such as “Tarzan’s Nuts” and "One Step Beyond”, on the debut album, but Madness make it clear they owe less to the name adopted from ..Prince Buster than enjoying thejnselves.MARIANNE FAITHFULL“Broken English’? (Island L 36924). Unable , to find "Melody Maker” / review, of aboye album. Somebody has also burned ... the; ’ "Listener” with Gordon .Campbell’s review. Also- l’m wet and cold. '. ’•. . What' the hell. “Broken English” is a superb album. It is surprisingly full of inspiration and the sound quality makes _ it appear as if it is being made in your own sitting room (get that one on a commercial). What is worse is that "Broken English” does not deserve its sticker "this album contains language which may be considered offensive,” in. the sense that the music contained within deserves the attraction, not. necessarily the offending track. The title track, “Broken English,” sets the atmosphere for the entire, album. Marianne Faith-

full’s voice sounds constrained ,and harsh; it crackles as does the song.

The songs are realistic, “Broken English” itself asking questions of world peace, while "Guilt” is on a more personal level ("I’ve done nothing wrong, but I feel guilt”). The single release, “The Ballad of Lucy Jordan,” may not even be the best track, its jerky quality not suited for a commercial release. Nothing wrong with the song though, and Faithfull comes up too with a great version of Lennon’s “Working Class Hero,” much better than the one done by Marilyn Waring. The offending track, “Why D’Ya Do It,” again calls for realism without taking umbrage at consent. It is not meant to be /romantic.

“Broken English” is one of,' the best' albums to be released this year. Not necessarily available at your .corner dairy, but rush. ,out and; try a listen anyway.. ... .

GIRLSCHOOL “Demolition” (Bronze L 37423).

’Girlschool were among the top four groups named by. the 1980. Readers’ Poll from “Melody Maker” as top prospectsfor next year, along with Saxon, and Iron Maiden, two other heavy-metal bands. What makes the fourmember Girlschool group different is that they are all girls. But that is no great shakes, in itself, because “Demolition” has both the heights and lows of any group. “Demolition Boys,” “Breakdown,” and “Midnight Ride” show Kelly Johnson, the lead guitarist, able to mix it with the best axepersons, but the old Gun tune, “Race With The Devil,” was a terrible choice.