A-grade in the shade

Press, 15 December 1983, Page 14

A-grade in the shade

THE ROLLING STONES “Undercover” (Rolling Stones HMVNZ 20). Reviewers again face the question of being asked what the new Stones’ album is like. Time waits for noone, and the question becomes more and more crucial as these boys enter the naughty forties. And naughty on “Undercover” they are. The Stones have never disguised their liking for the physical (and mental) erogenous zones — a glance at the titles of “Undercover” show that. The negative side of “Undercover” is that the political side of the album represented by the first single (the title track), and “It Must Be Hell,” don’t come off. Politics is not the Stones’ strong point and it shows embarrassingly so in the lyrics of both songs. The weakness in the vocals of Ron Wood on “Wanna Hold You,” and Keith Richards

on “Pretty Beat Up,” are also a let-down, although “Wanna Hold You” is light relief among heavier songs. The positive side is that the group are still in great form, and no-one can match them at rhythm and blues. Jagger is in top shape on vocals, and only on “Too Much Blood” does he come on with some hip rap in that typical taunting, put-on voice. “Too Much Blood” opens side two, and it is that side which stands out with Richards, Wood, Wyman, and Watts finding effective R and B, before the anti-climatic end on “It Must Be Hell.” “Too Much Blood” also features a good horn section as Jagger attempts to live out the dark side of everyone’s psyche. “Too Tough” shows the Stones at the uncompromising best and demonstrates why they are, perhaps, still the greatest rock ’n’ roll band in the world. “All The

Way Down” follows in the same vein. All the softcore hints aside, “Undercover” shows the ability of the Stones to still actually come out on top with ease. Love ’em, or leave ’em, they’re still a landmark in rock music. DURAN DURAN “Seven And The Ragged Tiger” (EMI EMC2O9). Duran Duran have worked for sometime on the album. Originally recorded in Montserrat in June, the tapes were to be mixed in Sydney. But when the group arrived in Australia, they scrapped it and started again. The title track has now been split into two — “Tiger, Tiger,” and instrumental, and “The Seventh Stranger” — both of which are probably the weakest on the album. But if it has been a long time coming, “Seven And The Ragged Tiger” is not a disappointment. “The Reflex” and “Union Of The

Snake,” which open side one and two respectively, are very strong songs, the use of synthesisers and strong chorus lines summing up the album as a whole. “Of Crimes and Passion” and “Shadows On Your Side” are faster, dancing numbers carried along by drums and the bass guitar of John Taylor. But not all is aggression. There is some Oriental tinkering on “New Moon On Monday,” with a subtle disco influence and “I Take The Dice” is also more breezy in its approach. “Tiger, Tiger” has some tasteful sax from Andy Hamilton, but “The Seventh Stranger” tries too hard to tell a story. However, the album is generally sharp and interesting. Simon Le Bon is in great form on lead vocals, and he gets plenty of support. - NEVIN TOPP.