Dolphin, Johnson show melodic talents

Press, 9 December 1988, Page 27

Dolphin, Johnson show melodic talents

DOLPHIN “Hold Touch” (Safe 009 cassette EP). Great! A new Christchurch band who know how to write a decent tune is rare, but “If Only I Could Hold You Once Again,” the first track on “Hold Touch,” reveals Dolphin as one of the gifted few. The mix of guitar, bass and drums is just right, and Kevin Stokes sounds a better singer here than the often loud Dolphin live mix allows him to be. “When I Touch You” is a more sinister track, with

a hint of The Doors in the guitar riff. It is effective, in spite of being maybe a bit too long. The flip side is made up of a different mix of “Hold You,” and an instrumental, rounding off a good introduction from the most impressive local band to emerge this year. JESSE JOHNSON “Every Shade Of Love” (Festival L 38933). Jesse Johnson may be an integral part of the Minneapolis funk mafia (along with Morris Day and Prince), but his new record, “Every Shade Of

Love,” is a valiant attempt at breaking out of that scene’s purple shadow into mainstream pop success. Johnson has already produced such artists as Vanity, Clarence Clemons and Ta Mara and The Scene and enjoyed a big club hit with the song “Crazy,” from his previous LP “Shockadelia.” With “Every Shade Of Love,” Johnson has cut back on the eccentric backing that both he and (especially) Prince have used, resulting in a very sparse, uncluttered sound

that suits his present chart aspirations. He is, I suppose, doomed to suffer comparisons with Prince — their singing voices are very similar — but there is more than a hint of “Thriller” — era Michael Jackson here also. “Lovestruck,” the first 45 from this disc, is pure Jacko, albeit better than most of the latter’s current output. Apart from “Lovestruck,” side one is only 0.K., with the guitardominated "So Misunderstood” the only other groove of note.

The four songs on side two, however, are all marvelous, Johnson wringing some very original sounds from his mainly electronic “musicians.” The bass-heavy title track contrasts neatly with the superior ballad, “I’m Just Wanting You,” and the rocking “Stop, Look, and Listen.” Johnson doesn’t have the lyrical personality of Prince, but his simple approach makes for a surprisingly good record — I’d take “Every Shade Of Love” over "Bad” any day. TONY GREEN