Rhythm kings

Press, 10 September 1987, Page 20

Rhythm kings

SLY AND ROBBIE “Rhythm Killers” (Island, L 38763). AOTEAROA “Revolution” (Jayrem, TC-JAY-736). The record company issued a booklet about Sly and Robble.\lt had all the people that the rhythm twins had not played with. However, just when you may have got to the point of considering that they were the over-rated, every men of session work, they produce “Rhythm Killers,” and album that knocks all previous concepts out the studio. Right from the hypnobeat of the almost unrecognisable "Fire,” the Ohio Players Song, Sly and Robbie show off all their influences. Listen to the songs and there are snatches of the classics ("Swan Lake”), Parliament, Led Zepplin, and more.

They have put the big P into funk. Not all that surprising, really, because Bootsy Collins is featured on the album, in “Yes We Can Can." The band also rap it up courtesy of Shinehead and Rammelleze on the hit “Boops (Here We Go),” which also owes much to P-funk. Other killers are “Let’s Rock,” which really shows off the bass and drum rhythms that Sly and Rob-

ble can conjure up. What makes this album so delightful is that Sly and Robbie along with producer, Bill Laswell, have pushed the limits- of Pfunk to something new just when it was on its last legs. Roll over Tchaikowsky, tell George Clinton the news! In a more homegrown vein Aotearoa have been releasing extremely good material it has been consistentedly ignored by commercial radio. Hopefully, with a N.Z. quota system now operating, a few commercial programmers might broaden their ears.

The singles from Aotearoa have been marvellous and “Revolution" is no exception. This song shows that the band have been prepared to move slightly for a more commercial acceptance, but you cannot take anything away, it is inspiring. Side one of this cassette features three songs in English, all previously released, but those on side two were specifically written for the Te Maori exhibition. “He Mihi Ki Nga Tipuna” catches the ear from the beginning, with its haunting wind and keyboards plus the noise of P olB ' — NEVIN TOPP.