Body and soul

Press, 30 August 1984, Page 18

Body and soul

TEDDY PENDERGRASS “Love Language” (Asylum 60317-1).

Normally, one dismisses the record sleeve credits saying how much the artist appreciated the help of those around them, particularly with the use of the word “love.” I’m not knocking the feeling, but the empty manner in which it is usually used, particularly in the United States. But for Teddy Pendergrass, the expressions of gratitude are genuine, because he was involved in a car crash in 1982 and has since been confined to a wheelchair.

The Philadelphia soul artist has a broken spine, and in a recent “New York Times” article, “Teddy Bear’s” manager, Daniel Marcus said that “we are optimistic that he will get his hands back and may be more.” It is this element of personal tragedy and the fact that many top soul musicians have gathered to help on “Love Language” that give it the extra edge.

There is none of the complacency here that was so

evident on Luther Vandross’ last album, “Busy Body,” and yet it is Vandross who writes, produces, and plays on “You’re My Choice Tonight (Choose Me),” one of the best tracks on Pendergrass’ album. Ray Parker, jun., helps write and play on another funky number, “Hot Love,” but it is not quite up to the standard that Yandross set.

The tracks that open side one and two are classy. “Hold Me,” a duet with Whitney Houston, puts similar moves, like the Julio Iglesias/Diana Ross one premiered on “Entertainment This Week” on Saturday evening, to shame. “In My Time” is a classic ballad that fits the description of Teddy’s voice by the “New York Times” critic John Rockwell, as projecting a husky sensuality, earnest moral fervour, and fin-ger-popping rhythmicality. The following track, “Stay With Me” is exceptional for the same reasons.

None of the songs on “Love Language” are Pendergrass originals, but he gives them life. Worthwhile

listening. STEVIE RAY VAUGHAN AND DOUBLE TROUBLE “Couldn’t Stand The Weather” (Epic ELPS443B). Since working with David Bowie in Australia on the Duke’s “Let’s Dance” album, and then releasing his own debut blues album, “Texas Flood,” Vaughan and his band have come in for a lot of attention. Certainly “Texas Flood” made the blues come alive, but “Couldn’t Stand The Weather” (with John Hammond again executive producer) merely shows the difference between an innovator and an imitator. “Texas Flood” had that spark of creativity, but album No. 2 in general lacks that same pace. The exception is Jimmy Reed’s song, “Tin Pan Alley,” which Vaughan brings to life with his guitar, and the two instrumentals, “Scuttle Buttin. ” and “Stang’s Swang.” It is a bitter disappointment to hear Hendrix’s “Voodoo Chile (Slight Return)” being played note for note.

NEVIN TOPP

The Doublehappys (above) { Dunedin’s bass-less three- ‘ piece, play at the Star and ! Garter Tavern tomorrow j and Saturday evenings to I coincide with the release of ? their debut “Double B Side” ' single.

The single was, recorded ; at Lab Studios, Auckland, in < March, and the track listing ' includes “The Other’s Way," ’ and “Anyone Else Would.” •

Supporting the Doub- J lehappys are Scorched i Earth Policy, and there is a : possibility of a Radio With j Pictures interview at the • tavern with the Dunedin > band. ’