BRIEFS

Rip It Up, Issue 51, 1 October 1981, Page 17

BRIEFS

Bob Seger & the Silver Bullet Band Nine Tonight (Capitol) After the last Fleetwood, Mac and Eagles' releases, could it be that the double-live set is becoming the terminal gasp of seventies megastars? Bob Seger too? He's worth more than both the above outfits combined. Actually, this is Seger's second live-double. The other served as a red-hot clearinghouse for many of his great songs prior to international popularity. Nine Tonight's contents are nearly all well-known and these versions do nothing other than show how good the band is. In 1976 Live Bullet was an important album; in 1981, though better played and better recorded, Nine Tonight is not. PT Little Feat Hoy Hoy (Warner Brothers) As the last testament from a band that dominated so many turntables (including mine) for over half the 70s, Hoy Hoy is an oddly shapeless , collection. Spread over four sides, it is neither all previously unreleased three tracks are off the first two albums not really even all Feat's; there's a couple of Lowell's solo efforts and a new, definitely non-Feat number by Bill Payne. Many of the best cuts are live and generally superior to 1977's flatulent Waiting For Columbus live set. Via liner notes and a very worthwhile booklet, the compilation does achieve some focus as a momento to Lowell George. Featfreaks will want Hoy Hoy regardless: the unconverted are still advised to start with 73's Dixie Chicken. PT lan Hunter Short Back'N'Sides (Chrysalis) • The theme of this outing could be something like: old raincoats never let you down. Hunter has seen a few years and for his new

album he wisely employs the services of Mick Jones as coproducer and musician. The shades still exist but the haircut, like some of the songs, is new. Hunter has opted for balanced diversity. Old ideas ('Lisa Likes Rock'n'Roll') mix nicely with classy ballads like 'Rain' and the Sandinista-slyled social concern of Gun Control' and Theatre of the Absurd'. Hunter: growing up (old) gracefully. Respect him. GK Sol Reaching For The Sun Very attractive instrumental textures and arrangements, turn-of-the-70s lyrics, and over 50 minutes playing time on this indie cassette done at Harlequin by an aggregation of seemingly likeminded Coromandellians. Especially nice when the ladies are singing together. If Joy Division are standing at one end of the tunnel of love, then Sol and his friends are very definitely at* the other. Available for $9.50 from Reaching For The Sun, Coromandel Post Office. RC The Equators Hot (Stiff) Calling all ska freaks: If you loved the debut albums by the Specials and the Beat, but didn't think, much of the follow-ups, have a taste of this. The Equators (according to the blurb) are all under 21, all come from Birmingham, and have enlisted exRumour Bob Andrews as their producer. The music's not bad either, if about 18 months out of date. This band's mentors have passed on to other things. But listen to this album's 'Age Of 5' and 'Mr Copper', and you'd swear nothing had changed. The same cheesey organ, the same horns, the same melodica, toasting like Ranking Roger, and at least two songs directly stolen from 'Gangsters'. DC Nick Mason Nick Mason's Fictitious Sports (CBS) , The amazing thing is that the Pink Floyd drummer could turn out such an excellent album. The credit goes to Carla Bley, whose band provides the muscle on this album and who wrote every track. Kudos, too, to Robert Wyatt, whose keening vocals dominate. Chris Spedding, Gary Windo and Gary Valente also make sterling contributions. The

best tracks on this blend of rock and jazz are 'Siam', 'Hot River' and 'l'm a Mineralist'. . GD Any Trouble Wheels In Motion (Stiff) Despite a couple of very nifty singles (which should've been hits), Clive Gregson remains saddled with an Elvis Costello problem. Any Trouble's sound and style is still close enough to Costello's to evoke the comparison, yet, while continuing to pen smart ditties, Gregson stays a league or two below the master. Nor has he as much discretion or discipline. Costello would keep these songs tight and peppy at under three minutes. Gregson sometimes allows them to sag at over four. PT Foreigner 4 (Atlantic) Foreigner continue in the same bland, predictable way. If they ever did a Best 0f..., it'd be hard to tell a lot of tracks apart. Lou Gramm's vocals are still scratchy, Mick Jones' guitar is still paunchy, and the lyrics dire to say the least. It's currently number four in the States, they're making themselves and the record company megabucks, and everyone's happy. Not

me, mate. Do yourself a favour and buy ZZ Top instead. GC Angelic Upstarts 2 Million Voices (EMI) The AU's have inherited the crown of political concern that once belonged to Pursey's Sham 69. With the Geordie gab of Mensi, and the Upstarts' traditional punk-fury approach, they romp around like dinosaurs refusing to call it a day. There are one or two likeable bows in the direction of melody "You're Nicked" and a soppy "I Wish". A cut above the Subs, sure, (who isn't?) but well below what's needed. And yeah, it's now 3 million voices.GK Joe Jackson's Jumpin' Jive (A & M) Strictly speaking, there's no earthly reason why this should be reviewed in a rock mag. It's pure, unadulterated 1940's jump'n'jive'n' swing no pop or new wave messing about at all. (And thanks be to Joe for that.) One wonders about its market, but then if Billy Field can hit why can't this? Joe Jackson's a lot more gutsy. PT Brian Knight A Dark Horse (PVK Records) Brian Knight is a forgotten gent of the 60s, a man who used to play the blues with geezers like Charles Watts, lan Stewart and Brian Jones. Like fellow blues artist Peter Green, he's been brought out of retirement to replay old R&B and blues licks, and on A Dark Horse, with a galaxy of old stalwarts, he plays neat if overly polite and passionless work-outs. Lacks bite but selectively enjoyable. Y'shouldn't be too hard on these old fellers.GK The Laughing Clowns Throne Of Blood/ Reign Of Terror (Prince Melon) Ed Kuepper, guitarist for the marvellous and unlucky Saints, has extended the brass side of

The Saints' second and third albums still further in his new band. This 8-track compilation follows up last year's promising EP, and has saxophone and trumpet right up front in almost bagpipe-like discordancy ('Collapse Board' and 'Ghost Beat'). But harrowing as they can sound, the horns provide ideal colouring for Kuepper's discomforting songs. Not pretty, not easy, and definitely not, to be ignored. Write to Box 1014, Darlinghurst, Sydney, Australia. RC Eddie Grant Message Man (Ice) The 1977 debut album from the 1981 hitmaker who first struck gold in 1967 with the Equals. At least half the songs on this album are really strong, his voice is at worst distinctive, and at best gorgeous. The do-it-yourself approach to instrumentation makes for solidarity and inventiveness. Likeable. CK Champaign How 'Bout Us (Epic) The same clear, sweet funk that characterised the hit single carries through the rest of Champaign's album debut. Cool is the word, and while not all the songs reach the same high standard as the single, and nobody's about to break out of the restrained groove, there's enough to suggest we may not have heard the last from this band. AD