Prince heralds ‘power generation’

Press, 17 June 1988, Page 26

Prince heralds ‘power generation’

ROCK

PRINCE “Lovesexy” (Paisley Park Records, 25720-1). The first impression you are likely to get from “Lovesexy” is one of titillation — that or offence — courtesy of the cover. In the first direct statement of the album, Prince lies resplendent in naked glory, surrounded by exotic flowers. A leg is carefully positioned to ensure dignity and discretion, a protruding phallic stamen from one of the flowers suggesting what we are missing. It is a wonderful cover and promises much for the listener ... Put on the record and the first words we get from Prince as the album opens, accompanied by the sound of Fire and Flames, are “Welcome to the new power generation. The reason my voice is so clear’s ’cos there’s no smack in my veins.” Forget the narcotics, the stimulants; Prince and his new power generation, all the boys and girls who can be the new kings of the world, run on pure love, with a special emphasis on the physical side of this power. Like the cover, the lyrics aim to arouse. Take these lines from “Glam Slam”: “Heavy feather, flicka nipple ... come a butterfly straight on your skin. You go for me I come again ...” Well, that is sort of the way it is for most of the album. In some cases Prince is putting forward his beliefs more explicitly than he has in the past. On “I No” he states, “Say no if you want a drug other than the God above ... Say yes if you want this feeling called love — yes, if you want it now raise your hand to the man above.” Then there is “Positivity”: “Don’t kiss the beast, we need love and honesty, peace and harmony.” “Dance On” meanwhile, presents the same sort of political ideas as in “Sign O’ the Times.”

In fact, throughout the whole record the same ideas recur — those of “Lovesexy,” “The feeling you get when you fall in love, not with a girl or boy, but with the heavens above” and “Spooky Electric,” “Things that’ll stop you and slow you down. Yes, love is the answer.” Then, there is the sound of fire at the beginning and water at the end — destructive and constructive forces, two of the elements. I think we’ve got a concept album here, and some of these concepts are a little dubious. Still, it is a distinctly Prince concept, meaning rhythm and funk for close on 45 minutes. The album flows together musically as well as lyrically; from the opening “I No” to the close of “Positivity,” the songs run into one another, repeating each

other in places, looking back to Prince’s past elsewhere. Musically "Lovesexy” is more “Parade” (or earlier) than “Sign O’ the Times.”

Like the cover, the music is perhaps too lush and exotic to be absorbed at one time — it is multilayered, energetic and full of voices and instruments weaving in and out of the sound, needing attention before the full value appears. The Revolution are back to help Prince out on all the songs, and the playing is, of course, impressive, from the superhard aggressive “Dance On” to the strung-out acidfunk of “Positivity.” Songs like “Alphabet Street” (the single of the year) “Lovesexy” and “I No” locate themselves in the distinct. Prince funk-pop-jazz — let’s just call it New Music — realm. “When Two. Are In Love” (originally from “Black,” the destined follow-up to “Sign O’ the Times,” canned at Prince’s command, and “Anna Stesia,” meanwhile, just drip sex, (he first with soul, the second with a funked-up provocative groove.

There are a couple of duds though; "Glam Slam” does not really fit, it is too difficult, like a step back to “Around the World In A Day.” The title of this track sums up its style. “I Wish Ya Heaven” similarly just fills in time; it is rather ordinary to be amidst the company it keeps, and causes the album to drag a little.

“Lovesexy” may not be the perfect Prince album; as with the others there are the dull songs and lyrics straying into risky territory — his preaching is admirable but I think we get the point. But, the perfect Prince album would be expecting too much. “Lovesexy” is as perfect as “Parade” and “Sign O’ the Times” and that is more than we should expect. - PAUL COLLETT

NEIL YOUNG AND THE BLUE NOTES “This Note’s For You” (Reprise, 25719-1). One does not approach a Neil Young review these

days so much with temerity as with trepidation. Last year’s “Life” album garnered for Young the worst reviews since the 1986 LP “Landing On Water,” which sank like a stone. A colleague of mine argues that you have to give the guy credit for keeping going, but having made superb music for years, the Canadian rock singer seems determined to use up all his markers. Amazingly, though, “This Note’s For You” is probably the best thing that Young has done since the 1980 LP, “Hawks And Doves.” As unpredictable as ever, Young springs on us a blues/soul album, complete with brass section just to complicate matters. "Ten Men Workin’” is Young’s equivalent of “10 Guitars,” the New Zealand standard, although the Canadian musician is slightly tongue in cheek. “Shakey” stakes out his ground with the Blue Notes. He makes it clear on the title track that he’s not about to compromise for Coke, Bud, or anyone else, unlike other musicians, while the acoustic “Coup de Ville,” with its sense of longing, is the best he has done since “Needle And The Damage Done.” “Twilight" is also moving, partly for its insistent, metronome beat, and jagged guitar chords, as Young reaches the upper end of his vocal range.

Young, of course, can get as overblown as the horn section. There is an extremely raucous “Life In The City," a call for conscience for the rich to

take notice of the down and out in Beverly Hills, and other United States cities. It’s a strident message, that needs to be addressed, but Young’s lyrics tend to get away on him these days, so that sometimes they don’t gel with the music. There are a couple of delightful blues tracks, including the humourous “Married Men,” with extra zing with the brass section, but the far more sombre “Can’t Believe You’re Lyin’ ” has the true blue notes from both guitar and trumpet. “The Dice” stands out for its slide guitar; it is a track that would really get the Blues Brothers going. Indeed, "This Note’s For You” is straight out of the same genre as the cult film starring Dan Akroyd and John Belushi, and goes a long way to restoring faith in the old campaigner. These days he’s as safe as houses in his personal life, and it is reflected in his music, but this album will bring in the necessary kudos and brass. -NEVIN TOPP THE WOODENTOPS “Wooden Foot Cops On The Highway” (Rough Trade, 460895-1). The Woodentops have been making themselves heard for some time now, becoming a rather established name within the British alternative independent music world. They are probably the biggest current hope for their label, Rough Trade. It is likely that they are best known in New Zealand for the fact that

the band’s drummer, Benny Stapler, comes from these shores. In fact, he is one of the dominating aspects of The Woodentops. They have a very fast, rhythmic sound, present ever since the first single. Of course, development has occurred since then — perhaps rather detrimental, as in “Wheels Turning” or this album, where squawking guitars abound. Mostly though, it’s speedy, frantic pop music, “Maybe It Won’t Last” and “Stop That Car” especially. While their earlier material was very English sounding, here we have a more international flavour. Examples: the sleeve has a photo of the band superimposed over the North American continent, some of the album was recorded in New York (the rest in England), various American funk musicians guest on the album, there is a rather heavy funk disco quotient here, and, finally, Lee Perry is credited with spiritual assistance. "Wooden Foot Cops On The Highway” is actually an album one can grow to like rather quickly. The previously mentioned pieces of fast pop have immediate appeal. There are songs like “They Can Say What They Want” which are a little tricky and intricate in structure but work well.

More variety comes with the light, sweet sounds of, “Tuesday Wednesday,” with its lovely, yet sad, violin/

slide guitar combination. It is also an indication of the strengths of Rolo, the main vocalist (and songwriter, and co-pro-ducer). Really, the Woodentops have one of the best albums we have heard here this year, so far. — PAUL COLLETT

WILLY DeVILLE “Miracle” (Polydor, 833 669-1). Ten years after signing his first record contract as part of Mink DeVille, Willy DeVille sings his way into contention on his first solo album. There is no “Cadillac Walk” here, but there are some songs that are strong enough to make it into the Top 20 — and what is more without the usual nonsensical lyrics associated with this area. The album opens on “(Due To) Gun Control,” a damning indictment of United States gun laws, although the song itself is not particularly strong. DeVille follows this up with Van Morrison’s “Could You Would You?” the only cover on the LP, adding a little Celtic flavour and a bit of the Irishman’s vocal effects as well. However, the business end of the album begins with “Assassin Of Love,” as good a song as “Cadillac Walk,” and showing off both the guitar and producer influence of Mark Knopfler, of Dire Straits. The song flows easily with the guitar adding just the right snatches, enough to have commercial FM programmers eating their hearts out. DeVille likes throwing in some Catholic imagery. Before “Assassin Of Love,” he uses a little on “Heart And Soul,” but religion comes to the front on the title track, which did not make much of an impression on “Radio With Pictures” a couple of weeks ago, but is now developing into a top song, helped by the repetitive backing chorus. The best of the remaining tracks are “Nightfalls,” with Knopfler again adding some chords, and a cliche-ridden “Southern Politician,” as DeVille sneers his way through the song. "Miracle” has plenty going for it, and serious Dire Straits fans should also consider buying it because of the amount of work Mark Knopfler does on the album. Certainly it raises Willy out of the shadow of Mink DeVille.. —NEVIN TOPP