This one is a hit

Press, 28 May 1981, Page 14

This one is a hit

“HITS AND MYTHS” (XSF Records LP001).

There are 14 tracks on this New Zealand compilation album, culled from between 1976 and 1980. Five of them could be regarded as essential listening, and six others are top choices of only slightly lesser merit, a good average for any album these days, and good value' for money, as this one is at a special price. This could be your last chance to get the Suburban Reptiles’ “Saturday Night, Stay At Home.” which, says the Archives Editor, was our very first punk rock disc (gosh!). Keep scouring those second-hand shops, but the original single is as scarce as hen’s teeth and twice as valuable. “Saturday Night . .

.’’ would be forgettable if it wasn't so damn good. Which means that it is not a great record, but there's something about it. Split Enz's contribution is a valuable one. Thankfully the compilers of the album have stuck mostly to deleted singles, and so we don’t get an Enz record that we haven’t had a chance to forget yet. The choice — I ‘'Another Great Divide.” A j Tim Finn/Judd/Rayner com- ' position from 1976, I don’t < think it’s available on any of ' their New Zealand albums. A ' second reason to get this one. r The third, fourth, and fifth : reasons are Hello Sailor | (“Gutter Black”), Whizz Kids ; (“Occupational Hazard”), and I Spelling Mistakes (“Feels So ' Good"). A trio of winners, but I where's the Marching Girls’ i “True Love”? That could > have been included at the expense of Schlung, whose < “They Sleep Early In ColI ogne” is a bit of a yawn. ! “Graffiti Crimes” is one of < Mi-Sex’s most pretentious ef- ! forts, and could have been ' replaced by “What Do You r Want” ar, better still, a song from another group; how about a second Toy Love >track?

The Toy Love choice,

“Squeeze,” is a disappointment, because it’s a version from a demo tape, not the superic single. And a slap on the hand for not including ia better Crocodiles’ sample, rather than “New Girl On The Beat.” What's left? Th’ Dudes’ finest moment, "Be Mine Tonight,” Citizen Band's cover of the old Larry's

Rebels epic, “I Feel Good,” a poor mix of Dragon's “April Sun In Cuba,” The Swingers’ “One G rod Reason” remixed, and Pop Mechanix, with “Radio Song.” "Hits and Myths” could be subtitled “The Phil Judd E.P.,” because he plays on three tracks, co-wrote two of them, and produced one. If you haven't got at least six of these on singles, excluding the three relatively duff ones, don't myth this album! PADLINE MURRAY AND THE INVISIBLE GIRLS “Pauline Murray And The Invisible Girls” (RSO 2394

277). Well, the cover says, simply "Pauline Murray.” and the label, "Pauline Murray And Tie Invisible Girls.” I prefer the latter, especially as I'm sure that the beautiful design on the cover actually spells Invisible Girls, although I haven't worked it out yet This is in the running for Album Cover Of The Year, and the contents aren’t that bad, ei her. A bit of background. Pauline was the singer for Penetration, the first punk band in north-east England. She was then very influenced by the other early starters, and dressed accordingly. See how she's changed! Penetration

recorded two mixed albums and a couple of great singles (remember "Don’t Dictate”?), but split because of internal problems. Pauline still has one of the best voices in England. The Invisible Girls were the backing band for poet John Cooper Clarke, and include ace producer, Martin Hannett, and my favourite drummer. John Maher (from the no v-defunct Buzzcocks).' The Invisible Girls — with Hannett probably holding the biggest stick — produced this album. It's nothing like Penetration (be warned), but I like it very much. Trot out all the old cliches — eerie, moody, subtle textures, etc. They all apply. The best tracks are the first two singles, "Dream Sequence One” and . “Mr X.” If you bought those, and liked them, then definitely investigate this. You may notice that it's on the same label as those brothers, you know the ones, er, Glibb? Pauline, and Invisible Girl Robert. Blamire, a partner in Penetration, found it rather amusing to be signed to RSO. But, it seems, that was the only label that promised them the freedom they wanted!

STIFF LITTLE FINGERS “Hanx!” (Chrysalis). This was not an essential

album in Britain, because, naturally, this Irish group’s two studio albums were released there. But for many local record buyers, it will be the first chance to hear faithfully reproduced versions of the songs from the first album "Inflammable Material,” which was only occasionally available, through special imports. Those with "Inflammable Material” need not bother, because this adds nothing. The Fingers are the boys from the emerald land who put life back into tired old punk rock with such singles as "Suspect Device” and “Alternative Ulster.” They have a fondness for reggae too, and the highlight of this platter is a 10-minute version of Bob Marley's “Johnny Was,” which appeared on the debut. I'd say wait for the new studio album, titled “Go For It.” w’hich is now No. 11 in the British charts. While we're on the subject of Ireland, how about the new Undertones single and album, EMI? — David Swift.