The grim ‘Repo’

Press, 10 April 1986, Page 18

The grim ‘Repo’

VARIOUS ARTISTS “Repo Man” soundtrack (San Andreas 5AR39019). QUANDO QUANGO “Pigs and Battleships” (Factory FAC110). A CERTAIN RATIO “The Double Twelve-Inch” (Factory 12-inch). Most recent film soundtrack albums are dodgy, to say the least. Hastilyassembled compilations of chart-toppers or golden' oldies are the norm, and the good ones (such as Tom Waits’ mighty “One From The Heart” or Stewart Copeland’s "Rumble Fish”) are the exception. Alex Cox’s “Repo Man” soundtrack is also one of these. The film, an ultrarealistic voyage around the punk fringes of Los Angeles (financed by the former Monkee, Michael Nesmith) has established itself as a cult favourite, both here and in the United States. The record marks a rare local release for United States "hardcore” music — even the stars of the genre, Husker Du, are still available on import only. The music is, typically, amphetamine - charged guitar rock ’n’ roll, a 78 rpm offspring of the U.S. punk mentors, The Ramones and The Dead Kennedys. But the real aging mentor is punk’s grandpappy, Iggy Pop, whose “Repo Man” theme takes “Peter Gunn” into the 80s with a swagger not heard since his “Lust For Life” LP. The remaining ten songs range from Black Flag’s hilarious “TV Party,” a neat summation of the film’s nihilistic atmosphere, to the Duane Eddy twang of the The Plugz “Reel Ten,” heard throughout the film as incidental music. In between are Such classics are Burning Sensations’ laconic cover of the Modern Lovers “Pablo

Picasso,” Suicidal Tendencies’ manic "Institutionalized,” and the hardcore croon of the Circle Jerks’ “When The Shit Hits The Fan.” A sharp retort to the cosy “soft-rock” L.A. tradition, “Repo Man” is both a good sampler of current West Coast “underground” music and a worthy complement to Cox’s striking movie. Across the Atlantic, something stirs in darkest Manchester. Factory Records, kept afloat by the massive success of Joy Division and New Order, has mellowed a little since their heyday in 1980-81, but they still form a valuable link in England’s independent label set-up. Recent releases from 52nd Street and ACR have paved the way for the airy Afro-funk of Quando Quango, and their new LP, “Pigs And Battleships.” A pity, then, that the music seldom rises above the level of your average 12-inch dance mix. The beefed-up drum sound and sharp, “edited” noise found on so much modern funk is there throughout the record, and the bonus 12-inch single, “Love Tempo.” So, in spite of the presence of people like Vinni

Reilly (of The Durutti Column) and Simon Topping (ex-ACR), most of the ten songs are perilously close to Sergio Mendes territory. A spirited cover of the War song “Low Rider,” and the dreamy “S.T.” are the best tunes on "Pigs And Battleships,” but more typical is “Rebel,” a rather uninspiring stomper. Funk is not new to the Factory label, of course. In 1978, A Certain Ratio formed, and after a shaky start, they released two of the finest U.K. singles of the late seventies in “Shack Up” and “Fight.” Now known simply as ACR, their output is pretty standard soul-funk these days, belying the brash mutant jazz of their early vinyl. These two singles were re-released as the “Double Twelve-Inch” recently, containing seven wild songs that make Quando Quango sound like the lightweights they are. Other tracks include the manic “The Fox” through to the beautiful "Blown Away,” all enlivened by the masterful drums of Donald Johnstone. Numbers are limited on this one, so buy soon! —TONY GREEN.