RECORDS

Rip It Up, Issue 36, 1 July 1980, Page 17

RECORDS

THE ROLLING STONES EMOTIONAL RESCUE ROLLING STONES RECORDS Heads down for the first Rolling Stones album of the eighties. It is two years since Some Girls, the album which proved the old team was still striking sparks. A highpoint for the Stones, Some Girls is a hard one to follow, and while Emotional Rescue has some stunning moments it cannot match the brilliance and ferocious attack of its predecessor. Emotional Rescue was recorded in Paris and the Bahamas. As with Some Girls, production is by The Glimmer Twins with assistance from engineer Chris Kimsey. According to Jagger, Kimsey was chosen originally because he got a good drum sound. And much more besides.

Musical assistance is from those veterans of Stones' tours and sessions lan Stewart, Bobby Keys, Nicky Hopkins and Sugar Blue, the brilliant harmonica man who between times plays for commuters on the Paris Metro. The album gets off to a good start. As with the last two studio albums the opening track is a dance song. Appropriately, it is called “Dance", and Ron Wood shares the writing credit with Mick Jagger and Keith Richards (the 's’ is there this time). All other songs are by Jagger and Richards. Against a wall of chattering, stuttering guitars, a tugging bassline and Charlie Watts’ mountainous drumming, Jagger sets in motion an inexorable chorus "...get up, get out, into something new...” Of course, it’s really something not at all new. The Stones, hot and heavy. The reggae singer Max Romeo, best-known for his album War in a Babylon, guests on backing vocals. The track is also notable for a percussion interlude featuring "jungle parrot" noises. "Dance" gives due warning that this is a guitar album, with the Wood-Richards fraternity trading killer licks. Richards has said that to him the importance of guitarists in a rock band is in their interplay and the possibilities this creates. Throughout the album Keith and Ronnie play like one man with four hands. The next track, "Summer Romance”, is something of a letdown after this great start. Aside from some back-and-forth guitar warfare the song is undistinguished.- It could easily have been an out-take from Some Girls. "Send It To Me" is the album’s reggae song. Jagger’s tongue sounds so deep in cheek it’s a wonder he can sing at all. / can take the mule train I can take the aeroplane Send it to me..." And " She could be Romanian She could be Bavarian

She could be Albanian She could be Hungarian She might be Ukrainian She might be Australian . She could be the Alien..." The rhythm is irresistible. “Let Me Go" is unmemorable, a sort of mixture of New Wave-ish rhythm and a languid vocal delivery harking back to something like “Connection" from Between the Buttons. The song is lifted by a lyrical guitar solo. I guess it is Wood; it could be Keith. The closing track on Side One, "Indian Girl," is definitely a qualified success. Richards sets up a mesmerising wash of acoustic guitar that has echoes of "You Can’t Always Get What You Want,” the other instruments evoke a mood of mock-South American tranquility, and Jagger opens his mouth and makes the whole thing seem ludicrous. Political-social commentary has never been convincing from the Stones, and Jagger’s attempt at Spanish dialect is particularly witless. Can he really be serious? ...little Indian girl, where is your father? Indian girl, where is your mama? They are fighting for Mr Castro In the streets of Angola" Side Two kicks off to a jump start. In the wake of the New Wave, Jagger, like Pete Townshend, is using a more consciously ‘English' voice (on this track anyway). The guitars are menace itself and Jagger and company chant a relentless chorus of "Where the

Boys Go (Saturday Night)". This track is like an avalanche. Great stuff. Compare with Townshend’s ‘‘Rough Boys" from Empty Glass. Wailing harp from Sugar Blue opens "Down in the Hole”, the closest the Stones get to Da Blooze on Emotional Rescue. Charlie shows once again how right he is for the Stones. The song is in the Jagger tradition of woman putdown. He spits out a stream of_curses on a woman whose money won’t save her from her fate to be ...down in the gutter, grubbing for cigarettes Bumming for nylons, in the American Zone You ’ll be down in the hole The song is an unrelieved image of degradation, but the tension set up by the band and the singer brings it off. Stunning. The title song, "Emotional Rescue", is another bass-driven dance song with Jagger singing most of.it falsetto. Who said anything about the Bee Gees? The song moves on the balls of its feet, and the falsetto really works. In fact, it is only when Jagger reverts to something approaching his normal pitch for a bridge section that the pace slackens. An absurdly tongue-in-cheek talkie bit on the long fade-out. Good honking sax from the golden horn of Bobby Keys. Dare I say it, but "She's So Cold" puts me in mind of the Knack, both in sound and content. Only the guitar machine of Wood-Ricliards props up this one-liner (“I’m so hot for her and she’s so cold").

Keith sings "All About You", a sort of countrified anti-love song. I 'm so sick and tired Hanging around with dogs like you You 're the first to get blamed Always the last bitch to get pain" Is this a lament for Anita Pallenberg? Keith’s husky, fragile tones summon up the weariness of "Memory Motel” from Black and Blue. Maybe this is the Stones’ "Just Like A Woman”. This didn't register too much on first listenings, but I'm inclined to think it is the album's sleeper. The hurt of Richards’ voice and Bobby Keys’ simmering sax make this a remarkable end piece. So what does it add up to, this first Stones’ album of a new decade? A couple of nonevents, a couple of near-misses, and half a dozen songs to do the Stones proud. There are holes here and there, but overall Emotional Rescue must be counted a success.

Ken Williams

STREET TALK BATTLEGROUND OF FUN WEA Street Talk's debut album last year was almost overshadowed by the prestige of Kim Fowley behind the controls; after all, it's not everyday that a world-renowned producer lends'his hand in these parts. Nevertheless, despite three truly great tracks and an excellent production, the result was, really, nothing more than Fowley’s vision of Street Talk and not that of the unit which had been thrilling Aucklanders since 1974 This, then, is Street Talk presenting a selection of their choice. Producer Bruce Lynch and engineer Dave Hurley may not have actually improved on the first album but they've certainly been more successful in capturing the band in all their live glory. Anyone familiar with recent Street Talk performances will know the bulk of Battleground Of Fun; the album kicks off with "Whatever Happened To Lucy?" and one thing becomes instantly apparent; Hammond Gamble is totally comfortable in front of the mike this time around, his gruff vocals having faced up to their limitations. Yup, ole Humming Grumble has developed into one hell of a singer, confident and in control. Other stage faves include "Lonely At The Top", "China Girl" (one of three tracks where Gamble is relieved of vocal duties by Mike Caen’s contrasting chords), "Blood Out Of A Stone", "Feminine Minds” (the current single, written by bassist Andy MacDonald), "Queen Of The Party Line” and a fresh version of "Leaving The Country" superior to the Chris Hillmanproduced debut single of 1978. Not so familiar, perhaps, are Andy's "The Lonely One", Mike's "Girl About Town" and from the pen of Hammond: "Catching Up On You” (a lovely little number concerned with the aging process with simple albeit effective lyrics), "Goodbye Good Fortune", the jaunty Beatlish "Without You" and the title track. Thirteen tracks in all, ranging from the good to the

bloody great. Naturally, there's some great guitar contained herein from both Caen and Gamble (the former somewhat under-rated due to the presence of the latter), backed by eloquent tinkling by Stuart Pearce and the super-tight rhythm machine of MacDonald and Jim Lawrie. Street Talk could see the year out with singles culled from Battleground but, if I may be so bold, the next one should be the title track perfect radio fodder and one of the album’s highlights. Last year, Street Talk took the RIANZ’s Album Of the Year award and, quite simply, unless the rest of the field manages to cut this album in the next four months, Street Talk are home and hosed to make it two in a row.

John Dix

MCW7»Ma HEARD THE NEWZ mirages ansm

Speaking as a dedicated North Islander, I find these Mainlanders disturbingly stimulating. Christchurch’s favourite sons, formerly Bon Marche, have assembled an album that's sure to show their patronising cousins across the pond a thing or two. The Newz make very contemporary, witty and stylish pop music, incorporating many influences, from a dash of Clash in ''Europe" to a good 10cc's of XTC, if you know what I mean, on several tracks. The album was recorded over a six-week period at Christchurch’s Tandem Studios. Eric Johns, ex-Heatwave, has worked production wonders, with only eight tracks to play around with. Just goes to show what a little ingenuity will do, since there's nothing thin about the sound. Heard The Newz contains a tremendous wealth of original material, credits shared by now-departed Lance Parkyn, along with Bryan Colechin, Simon Darke, Phil Jones and Brad Coates. Coates contributes much of the XTC influence with his quirky Barry Andrews-style keyboards, supported by the choppy guitars of Jones and Anton Razbetteaux. Darke's versatility as a vocalist enables him to play the aristocrat on "I (Still) Wanna Be An Arab" or a snarling goose-stepper on the superlative "Stuttgart Turnabout". Lyrically, The Newz have a knack for cutting everyone down to size with their clever, biting couplets. Take this sample from "Never”: I've been into boys, I've been into men, I've been into zap, I've been into zen, I've been into coke, I’ve been into fanta, I've been into pixies, I've been into Santa... Or again, from "Books”: You come on strong Like eau de Cologne, You ’re all suggestions On the end of the phone, A Mills and Boons On the end of the line.... No more patronising from the North, because I've got Newz for you, and it's all good. Next project: a live EP featuring "Feel Like Makin’ Scones....?” Duncan Campbell

THE KINKS ONE FOR THE ROAD ARISTA "Rock bands have come and rock bands have gone but rock’n’roll will go on forever" yells Ray Davies as the band smash into "All Day and All of the Night" and straight off you know that the new re-energised Kinks are for real coz there they are, Dave Davies spitting

fire, the unstoppable Mick Avory laying down a truly dangerous backbeat and Ray, well, he's eighteen again and knocking spots off kids fool enough to try and compete on the same rock'n'roll stage. It's been fourteen years or so since the historic audience frenzy of Live at the Kelvin Hall but with the new double to hand that’s all but forgotten and so too is the camp-flawed ponce of the live album that accompanied Everybody's In Show Biz. One For the Road is the Kinks in concert and it shows why they’ve survived close on twenty years of changing fashions as Ray leads the band, steaming, through a flawless track listing that includes the pride of Muswell Hillbillies, "20th Century Man", the classic from Kontroversy "Where Have All the Good Times Gone” (and Dave has learned from Mick Ronson), the only version of "Stop Your Sobbing” that counts (but credit to the Pretenders for recognizing it) and handpicked aces from Low Budget. But it’s Side Four that's the pay-off coz there's " 'Till the End of The Day", sorta ska treated, "Celluloid Heroes" which is real heartfelt nostalgia then into a Dave Davies teasing intro and wham "You Really Got Me", the kiss itself, followed by “Victoria" and the tears are rolling down your cheeks but you're still dancing coz here comes "David Watts" and you forget about the Jam coz compared to the Kinks they're only upstarts. And you remember to thank Ray Davies for not selling out to high society (Stones) or for indulging in endless self-analysis (Townshend) and then you reach for One For the Road to put it on again. Ta Ray. George Kay

ERIC CLAPTON JUST ONE NIGHT RSO

Whether this double live album represents the fruits of "just one night" is immaterial. For Eric Clapton it is a return to a form seldom seen since the formidable heights of the Layla album. The last couple of years have seen Clapton slowing to a standstill. The promise of the lowkeyed but intensely rhythmic 461 Ocean Boulevard had faded to the bland silliness of "Wonderful Tonight”, surely one of the dopiest songs ever. To be fair, the rush of approval from Clapton’s Japanese audience (the album was recorded last December at Tokyo's Budokan Theatre) proves that while I can't love "Wonderful Tonight" somebody out there, does. Of course, they may not understand the words. That snide comment aside, let me hasten to say how much I do love Just One

Night.

As has been remarked elsewhere, there is a chameleon-like quality about Clapton. The musical company he keeps is reflected, with varying results, in his recorded work. Driven by another guitar master, as in Duane Allman on Layla, Clapton rises to extraordinary heights. Increasingly, he has taken the course of least effort. After the sleepwalk of Slowhand and Backless, Just One Night more than restores Clapton's reputation. He has dropped his American band, signing on a line-up of Britishers, including Chris Stainton, whose keyboards helped Joe Cocker to his early success, and "living legend" guitarist Albert Lee, who also contributes tasty electric piano and vocals which are effective enough to make one not miss the support of Yvonne, Elliman and, latterly, Marcy Levy. The playing on the album is very hot, Lee being one of the few guitarists to provide a spur for Clapton. Slowhand himself is in top form, especially on the blues, which has always been his forte. For some time-stopping guitar check out "Worried Life Blues", "Double Trouble”, "Rambling On My Mind/Have You Ever Loved a Woman" or "Further On Up The Road", overrecorded but never better. The non-blues stuff is just fine, too, especially the chugging rhythmic interplay of "After Midnight". Just One Night far surpasses previous examples of Eric Clapton in concert For that matter, it beats hollow most of his studio work as well. Despite the sappiness of "Wonderful Tonight”, this is the one some of us have hoped he would make since Layla, and certainly since Ocean Boulevard, his other high point as a leader. Ken Williams

CHEAP TRICK FOUND ALL THE PARTS CBS

A four-tracker tying up a few loose ends live cuts of “Day Tripper” (America) and "Can't Hold On” (Japan 1978) and two old studio cuts from the out-take can "Such A Good Girl” (1976) and "Take Me I’m Yours” (1977). “Day Tripper" is exuberant with a flash of Yardbirds at the outset of the break, while "Can't Hold On” nibbles at the heavier bluesrock side of Nielsen which, for me anyway, bogged down the middle of their essentially nosurprises New Zealand concerts. "Such A Good Girl" could just as easily be a new song as something left over from 1976, but the peak is "Take Me I’m Yours”, an elegant slow strolling rocker which would make a whole lot more sense for Bryan Ferry to plunder than "Eight Miles High” (to name only one). And talking of only one(s), CBS should really re-invest the profits from this record in Christmas boxes for all those who had to put up with the appaling sibilance-sodden pressings of the latest Only Ones album. Every time Perrett hits an S it sounds like someone forging initials in glass with a carpet cutter. Roy Colbert

ORCHESTRAL MANOEUVRES IN THE DARK DINDISC The new generation of English synthesiserbased ensembles can be pinpointed as beginning with Leeds’ Human League “Being Boiled’VCircus of Death” single on Fast. They dallied before finally following it up with their Dignity of Labour EP and a patchy album, Reproduction. But too late as Gary Numan stepped in with a ready image and a turgid repetoire of Bowie/Foxx impersonations and cleaned up. Now we have Orchestral Manoeuvres in the Dark, a Liverpool duo, who have raised the standards of the genre to the level, at least, of early Human League endeavours. Andy McCluskey (the well dressed gent that sings) and Paul Humphreys have already scored with “Electricity'' and “Messages”, two delightful singles on the album which show their gift for writing natural little gems. Of course they have a bleaker side best represented by the strong melodies of “Almost" and “The Messerschmitt Twins”,"but it’s “Julia’s Song” and “Pretending To See the Future”, two masterpieces of mounting tension that clinch the album's undeniable quality. Orchestral Manoeuvres are conclusive proof that a synthesiser band don’t have to sound as •if they’re caged victims of the hackneyed themes of alienation and de-personalisation. The music can be warm, witty and optimistic, it doesn't have to be the cold stare of Numan or Foxx. Orchestral Manoeuvres offer you the best of both worlds. George Kay

DEVO FREEDOM OF CHOICE WARNER BROS It must interest some people at least that Devo, who surfaced protesting and studiously different in Akron, now live in Los Angeles and are managed by the same people who managed the same people Devo reckoned were strangling rock to death back in 1976. Or is that merely ultimate Devo? The Devo concept/persona interests me about as much as a Jon Anderson lyric I only listen to da songs and da woirds. And sticking with just that, I’d have to conclude this third Devo album is real good. They’re closer now to the mainstream than ever, which is what you might expect when your creative environment changes from rubber to dollars, and in "It’s Not Right", "Freedom Of Choice" and "Mr B’s Ballroom", Devo have three dead-centre mass-appeal rock gems that ideally should dominate the airwaves for the rest of 1980. "It’s Not Right" has a lovely careering but controlled melody above the neo-drum-machine bottom that runs remorselessly through both sides, "Ballroom" peaks on an outrageous pop chorus, and the title song is arguably their strongest thrust at the Wallets of middle rock America yet. Singer Mark Mothersbaugh, hitherto the master of the staccato mono-syllable, almost bends notes almost phrases even above a snarling guitar riff and a beat that would make some people hide in caves. To paraphrase Kurtz, the drum sound, the drum sound. Jerry Casale, who seems to be about as fulfilling an interviewee as Lou Reed and Robert Muldoon, said around this time last year that by album three Devo could even be singing about women. Devo are still undeniably, well, Devo, but they are no longer, as Neil Young said while signing them up for his movie, the absolute opposite of everything he is trying to achieve in music. By album five, the move from being a quirky alternative to just another (top) American rock'n’roll band could well be complete. Roy Colbert