Breezin’ Back

Rip It Up, Issue 9, 1 March 1978, Page 10

Breezin’ Back

George Benson Weekend in L.A. Warner Bros Any artist who had found a musical formula that increased his record sales by a virtual hundred-fold, and didn’t stick to it on subsequent albums, would have to be either a fool or Bob Dylan. George Benson is neither and his new, 'live' double-album Weekend in LA. follows the same pattern as his gigantic Breezin'.

First and foremost there’s the instrumentals: those briskly-paced, smoothly-flowing slices of funk that Benson and his group seem to play so effortlessly, (plus the obligatory slow piece for balance). The band is the same as on Breezin' and its successor In Flight, so there’s no new styles to disrupt the pattern. Yet this is a superb bunch of musicians and well worth rehearing, not just ensemble but as individuals. Benson, of course, is required listening for anyone interested in electric guitar, but so is Upchurch for his rhythm work. In fact the playing of all concerned is quite exemplary. Their sound is denigrated by some people as merely hip dinner music, and occasionally, maybe, it so descends as on Breezin's "Lady" but it is nearly always a great deal more than that, and rewards closer attention. There are ample opportunities for this on Weekend in LA. Then there are the vocal numbers. Benson's voice lacks the brilliance and originality of his guitar work, but his huge hit with “This Masquerade" provided much of the sales impetus for Breezin’ , and so, assured by popular success, he has here increased his vocal performances to almost half the album. All are in the same, tested, ballad mould and, again, all are shrewdly chosen from well-known but currently neglected material. There is even another Leon Russell composition. They are sung very competently, although "On Broadway” is too long for the song’s own good, and the Schifrin theme loses much of its original lilt. The vocal numbers are basically middle-of-the-road pop with funky backing owing much in conception to the Donny Hathaway Live L.P. Thankfully, Weekend in LA. has avoided nearly all the pitfalls of live albums: the sound is excellent, the music never falters, there are no spoken intros or crowd cajoling, and audience response, while enthusiastic, is never intrusive.

What you have then is an admirably executed continuation of the Breezin’ legacy, may be carefully tailored, almost easylistening at times, but it’s also very musical. George Benson has become to jazz what Fleetwood Mac is to rock, but is that bad? As a jazz guitarist friend of mine said after hearing Weekend in LA. “It’s nothing new but it’s bloody good.”

Peter Thomson.

Elvis Costello My Aim Is True Stiff He looks like Buddy Holly and he plays guitar like Hank Marvin. If you don’t know who Hank Marvin is, go ask your mother. From the cover to the tunes to the drum sound, this is a sixties album. And it’s all about guilt and revenge. That's what Elvis sayslanywaylHH^BHH| Well I used to be disgusted But now I try to be amused . . . It makes a peculiar sort'of J sense to have the antidote to seventies much couched in the musical vernacular of the early sixties. But Elvis is no reactionary. A current of anger runs through most of the record, but it is a personal anger, 1 not directed at any ■ scapegoat. "Less Than Zero", the single that resulted | from a TV documentary on Oswald Mosely, the British! Nazi, hides strong feelings beneath a smooth sixties beat feel. '' A pistol was still smoking , a man lay on. the floor Mr Oswald said he had an understanding with the law . . . And he follows that with a classic teenage song called "Mystery Dance”. But he is [ never far from | revenge and guilt, with songs like "Sneaky Feelings”, "Pay It ' Back”, and the brilliant "I’m Not Angry". This is a bloody good little record. At the moment it’s right up there with Mink de Ville at j the top of my personal playlist. It's L accessible and it grows on you, and like the Mink de Ville set, it’s got a stack of good songs. Elvis : has got something to say.

It is easy to see how so many record companies turned Mr Costellodown before he was signed by Stiff. He’s too different. He’s not safe. He might lose money. But I doubt it. Judging by the airplay and the press he's getting, he can’t go far wrong. And with nutters like Elvis around, there’s hope for the business yet.

John Malloy

Dolly Parton Here You Come Again R.CA. It doesn’t seem so long ago that I was reviewing the Dolly Parton record that was intended to launch the little lady into widespread popularity. Judging by the rapidity of this new release the campaign has been geared up a notch. Projected sales of the latest album seem to be based upon two things: the recent success of the catchy title single and the super glossy packaging which features our buxom: star luring customers with several poses, all of which include a red and white checked blouse filled by the renowned wonder-bust. The real question is does the record offer much more than a hit single and a flashy cover? Thankfully the answer has to be “yes’.', but we are forced to admit that less hasty : product might have proferred still more acceptable content. On the positive side of the ledger are a Bobby Goldsboro ballad called "The Cowgirl and the Dandy”, an excellent rendition of a number called "Baby Come out Tonight” and two good Parton originals "Two Doors Down’’ and “It’s All Wrong but.it’s■ All Right”. On the debit side is the sad fact that there are only four Dolly Parton songs actually on the album and of these one “Me and Little Andy" is a piece of twee rubbish. With all the good will in the world for Southern sentiment one" still has to call it mawkish nonsense.

Dolly Parton has never been one to spend much time on a record, but if pressure of output leaves her short on own material then she just might be working too fast. Parton’s talents are as evident here as they are anywhere the singing is in places magnificent, the backing proficient

and tasteful but with just a few months between releases she is obviously run a bit thin. Mind you, almost as if having one hand tied behind her back she still wallops Linda Ronstadt as a popular country performer.

Bruce Belsham

Phil Manzanera Listen Now

Polydor

The arrival of this album has been heralded for me personally by the almost unbridled enthusiasm of some friends who have had access to an advance copy. My own anticipation had been keen enough the 807 Live album from '76 includes many of the same musicans that are found on Listen Now, and that remains one of my favourite albums of recent years. A powerful, creative and well programmed live album of a sort quite rare in rock music. As a band 801 is a little like Steely Dan in concept. It comprises in this instance a single central figure, Manzanera, who at appropriate times for either live appearances or studio work, surrounds himself with a carefully chosen group of musicians. This time the roundup includes Simon Phillips, Dave Mattacks, Eno and Split Enz’s own Rayner and Finn. Listen Now has none of the blazing rock ‘n’ roll or inspired cover versions of the live LP but it does have considerable virtues of its own, and they lie in a seemingly unlikely

area for a musician like Manzanera. Unlikely that is until you look at the fine print of the well detailed album credits. There’s a very adept mainstream sophisto-pop element that infuses even its most complex arrangements and jazz fusion forays. I think the clue to the comparatively large commercial success this record might well enjoy lies under its progressive veneer where there lurks a glossy but very intelligent and attractive pop-ness. This is a catchy record. The influence of the unique and brilliant Eno is still there to be heard, but it’s balanced by the more conventional talents of ex-10ccs Godley and Creme, and it’s towards the better work of that once excellent band that the music on Listen Now tends to lean. The dispassionate vocals of Simon Ainsley together with the nylon tracheae of Messrs G. & C. give the singing an uninvolved coolness that may or may not be a barrier for some listeners. This is compensated for by some effective arranging and a sense of pop/rock dynamics, fashionably slowed and numbed, that again can be traced back to 10cc. Although not consistently to the fore, Manzanera's guitar sounds as bracing as ever and the songs, composed largely by Manzanera and bassist MacCormick are clever and interesting if not especially stimulating lyrically. Listen Now is another in a long list of fine albums that Manzanera has been associated with, and despite early doubts, due I’m sure to reasonably high expectations, I’m getting to like it more each time. I can’t honestly see it in the same league as 801 Live or Eno s Taking Tiger Mountain for example, but I unreservedly recommend it as worthy of investigation and effort. Terrence Hogan.

10cc Live and Let Live Mercury Mother and I were making chutney as I gave this latest, double live offering, a spin. We wept unashamedly as we sliced the onions to Eric Stewart’s bitter-sweet,, heart-wrenching vocals on ‘ People In Love.” "Ships Don’t Disappear In The Night (Do They?)” provided the necessary brisk background for the peeling and cutting of a

multitude of tomatoes. "I’m Mandy, Fly Me” added the sugary sweetness in cupsful, "Marriage Bureau Rendezvous” that essential salty taste, topped off with the acidy vinegar of "Art For Art’s Sake." While the mixture bubbled merrily for the necessary hour, we reflected on the changes that had taken place in 10cc. Gone now are Lol Creme and Kevin Godley, and with them half the creative talents of the often-infuriating, often-delightful Shepherd’s Pie that was 10cc. It has been replaced with the constant striving for a perfect musical souffle that has been the mark of Eric Stewart and Graham Gouldman. They've surrounded themselves with a mixed grill of highly competent musicians, to leave this effort sounding like an immaculate studio omelette with applause dubbed on at the end. 10cc Mark One was a dubious live entity, never quite reaching the dizzy heights they did in the studio. The new model has changed all this. The new recipe now looks set to conquer on the stage as well. We broke from our reflections to add a dash of funky mustard to "Wall Street Shuffle", but found the spicy curry powder of "Oh Effendi” sadly absent. Also missing was the thickening flour that "Don’t Hang Up” or "Rubber Bullets” might have provided. Leaving things to simmer, we reached the conclusion that the pungent sauce tartare of the old 10cc, poking a derisive finger at human sham and foibles, is gone from the table forever. In its place is a smooth mayonnaise of pop perfection that is bound to sell like hotcakes. The chutney was superb.

Duncan Campbell

Emmylou Harris Quarter Moon in a Ten Cent Town Warner Bros Emmylou Harris has already enjoyed a Top 20 hit the gorgeous "Boulder to Birmingham”. She has sung backup on albums for such established artists as Linda Ronstadt, Little Feat and Bob Dylan. She has had three highly-touted solo albums, yet with this, her fourth, she still hovers on the verge of major popular success. There seems to be two basic reasons. Firstly, she is essentially a country singer being promoted in a rock market and, as