Thin poet, razor wit

Press, 22 October 1981, Page 14

Thin poet, razor wit

John Cooper Clarke “Me And Mv Big Mouth” (Epic' ELPS 4220)

The general • consensus seems to be th a t today's musicians are rather mon depressed than those of ter years ago. Hold on, hen comes a tall, skinny, moptopped loony with‘a poetrj book and shades. It’s Johr Cooper Clarke, the light af the end of the bleak anc industrial tunnel! .ICC has me shouting “-genius!” when I'm tired ol albums of the more conventional kind. His rich Manchester accent and razor wit are. a great combination; especially on this .album, which is a sort of “best of." It includes several tracks previously un-released here, and others which appeared on the "Disguise In Love’ (great pun, that) and “Snap Crackle and Bop” discs Clarke is a self-styled punk poet who has toured and supported acts such as Elvis Costello throughout England and Europe. In between the laughs it is wise to remember that Clarke is making a Serious Statement here and there. “Beasley Street" is a good example, a classic tale of urban decay. The rats spit through broken teeth, on Beasley Street, “where it isn’t at." It reminds me of television scenes of- rows of grimy houses in English industrial cities. "Kung Fu International” must be the funniest thing he’s done. The lyrics — about attacks by martial arts masters on the poet’s rake-like body are brilliant. Other goodies include “Bronze Adonis," which, naturally, is about the weightlifting set, and “I Married A Monster From Outer Space." Four of the tracks on side two are live, therefore demanding a close listen to catch the gems. Clarke completes the poems at a speed which makes me think he senses imminent cardiac arrest.

Clarke is backed occasionally by the Invisible Girls, a loose combination of musicians including Pete Shelley

(ex-Buzzcocks), Bill Nelson, and producer Martin Hannett. This record is recom-

mended. Techtones “TT23” (Ripper RPROO3) The Techtones are (were?) a great pop band. Soaring harmonies and a nifty three guitar line-up, combined with strong original material, made their pub gigs something to remember. Now the band have almost split, they’re just doing a few dates to promote this album. An album is something that they had always wanted to do, apparently, but this is a disappointment. Someone should have given the band some cash and sent them into a studio for several weeks to make a real album. This is a collection of live and four-track studio efforts, and the volume has to be really turned up to appreciate it. “TT23” is good headphones material,' but through the stereo speakers, it sounds weedy. It’s a pity, because some of the material is excellent. Four songs were done at the Gladstone Hotel in June. I was there, and the nearmagic of the Techtones live definitely does not reappear on this record. The sound quality of the live recordings is almost of bootleg standard. There are really no winners on the album, with the possible exception of “Johnny.” a pop song of the Techtones’ highest standards. Try and find the band’s two good singles, “That Girl" and “Same Old Game,” instead. New Age Steppers “Action Battlefield” (Statik LP2, RTC) The New Age Steppers, on their first New Zealand release. show style, grace, and plenty of space. This is the second album by a band drawn from various leading reggae ■ outfits around the UK. The Stepper most familiar to us is Ari Up, who sings with the all-female

trio. The Slits (about time we had a new album from them too). “Action Battlefield"

features seven long, cleverly produced tracks. Reggae music, and a good producer, can combine to deliver a tremendous variety of sounds, and this album does just that. The variety of drum tones .on one track, “Problems,”, is ample proof that this, is a record that demands a good listen. The producer is Adrian Sherwood, who, according to the publicity sheet, “uses sounds discarded by 99 per cent of studio technicians.” Few forms of music are as conducive to experimentation at the mixing desk as reggae. .

The Steppers are a combination whose personnel changes, and they prefer to cover material written by others. One song, “Observe Life,” is by Michael Rose from Black Uhuru.

“My Love” was the natural choice for the single, it is a sprightly tune featuring the inevitably breathy vocals of Ari. It can stand on its own as a more commercial example of the New Age Steppers. To close followers of reggae, the rest are of interest value to compare with the originals. Step this way, folks. —David Swift. EDDY GRANT "Can’t Get Enough” (Ice ICE 21). Tw’O of Eddy Grant’s most popular songs, “Do You Feel My Love” and “Can’t Get Enough Of You,” open sides one and two respectively on this album.

In spite of the dreadlocks, Eddy Grant uses reggae only one-quarter of the time, as he pursues his solo career much in the same vain as when he was with the Equals. Grant's songs are pop without substance, as besides the two hits mentioned, his “California Style,” a calypso Beach Boys number, and the ballad “Kill ‘Em With Kindness,” the album has nowhere to go. However, the two single smashes means he will be laughing all the way to the bank, while serious musicians struggle. —Nevin Topp.