Soul-full of good music

Press, 4 March 1982, Page 14

Soul-full of good music

The Bureau “Only For Sheep” (WEA 600104) This album is soul-full of good music. Two listens will convince you of that. The Bureau, well, part of them, were in the original Dexys Midnight Runners. There was a split down the middle, and The Bureau have become a strident splinter, although not necessarily a thorn in Dexys’ side. They are .'pursuing different paths within the framework of the so-called new soul vision. Any doubts that this band could hope to match the often-quoted passion and fire of their relatives were dispelled, with the release of the single, “Only For Sheep.” It was almost as good as anything that Dexy’s had done, and even now, I’m not tired of it (having thrashed the single, and finding it on the album too). The best news is that-the quality, and urgency, continues on both sides of the A platter. The Bureau’s nearest reference points from the original soul sounds would be the Stax-Atlantic. product, which was invariably excellent too. The singer, Archie Brown, does not have a voice with the gut-wrenching emotion of Kevin Rowland, but he succeeds in a matter-of-fact sort of way. Occasionally he slips back into the groggy “Only For Sheep” style on a ballad, but that is not necessarily bad. Backing up the • strong vocals are a trombone, two saxophones and a trumpet. All are beautifully (powerfully?) in synchronisation. The intro to “Sentimental

Attachment” is a prime ex- - ample. 1 The emphasis in the mix is on the vocals, drums and horn section... Occasionally the guitar domes to prominence (“Sentimental Attachment”) and the keyboards work best on a Booker T. and The MG’s style' number, “Find .a Way.” The theme to the “Carpetbaggers” TV show is a bonus, with a dirty, stalking, opening courtesy of the trumpet. In between the stampers and the brooding songs, there’s a few oddities. Dive bombers can be heard whistling through the air on “Looking For Excitement.” That only .serves to distract. As a faster sweep, “Bigger Prize” works much better, with trumpet solo to jroot. It seems to be amazing what a horn section can do for a song which might, at the .hands of others, induce sleep. A big chorus and plenty of saxophone noise in “Got To Be Now” pleasantly obscure \ the fact that it might be too long. . This album was produced by the veteran Pete Wingfield (one-time Hollie). At the risk of hastiness, it is the best I've heard this year. The Stranglers “La Foile” (EMI LIBLP1014) This one has been (ahem) hanging around the stereo for a few weeks, because I wanted to make sure. But' now it can be confirmed. The Stranglers have made a good album again (gasp!). Going back through my critical thoughts, it would appear to be the first decent disc from these pre-punk ■ pensioners. (Jet Black is 44,

or thereabouts) since the excellent “Black And White,” in 1978. The live album was appalling, “The Raven” over-syn-thesised and mostly dull, and “Meninblack,” embarrassing. Welcome back, men. Tackle the hit single first. “Gold Brown” features the best, beautiful even, vocals that Hugh Cornwall is ever likely to produce. It was a bolt out of the blue when it made the English singles chart. A newspaper suggested last week that “Golden Brown” itself was heroin, and the naughty chaps were up to their tricks again. Big deal. Look at the' rest of the charts, “London Standard.” The song is very, very nice. The first track on side one, “Non Stop Nun” is sufficient to give a clue that good things are to come. It features a bouncy keyboards riff,- by the inevitable Dave Greenfield, that could have fitted onto any of The Stranglers’ best songs. “Everybody Loves You When You’re Dead” shows that their cynicism remains. It could be a stab at the current matyr of music, and you’re not going to read his name in print again. The title track (French for “madness”) is spoken in that language, so it is probably the native bass player, Jean Jacques Burnel, on the vocals. . • I wouldn’t go as far as to say drop everything, The Stranglers are back. But “La Foile” could be a necessary purchase for those who still consider themselves fans. The rest of us should scrape

“Reaches” off the turntable and have a quick listen too. The B-52’s “Mesopotamia” EP (WEA) I have one thing to thank the B-52’s for — their marvellous Christchurch concert in 1980. Beat music supreme! Apart from that, they’ve had some fine singles, especially “Private Idaho” and “Rock Lobster.” As an album band, however, I grew tired of the novelty. In 1982 the band are still on the same tack. Same sort of beat, same vocal style ; (I’m not asking Fred Schneider to change his voice), silly little subjects (“Cake”). Fun is fun, but even humourists need a new smile occasionally. They’ve done their best to really go up-market for this EP, bringing in Talking Head David Byrne' to produce (a very fashionable thing to do, come those “Rolling Stone” reviews). There’s also the inclusion of that curious American tradition, “guest . players.” The B-52’s have functioned very well as a five-piece previously. On “Mesopotamia” the list of guests, including Byrne who also plays, is seven. Why? Byrne seems to have introduced the . band to the possibilities of funk, and discomix, and that works. . » In their : wake, other good bands have sprung from , Athens, Georgia, my favourite being The Method Actors. The B-52’s are having to work hard. But I hold out hope for them. Come on, Kate, Fred, Ricky, Cindy, and Keith — ‘ get off the same old patioiDavid Swift.