LIVE

Rip It Up, Issue 57, 1 April 1982, Page 18

LIVE

Smokey Robinson's My Guy' is understandably the single - it's an oasis on Side One. The Sisters has its moments (rap on 'Super Bad Sisters'), but their D.I.Y. proves too bold a move. Next time maybe?

Were in New York, where Spinners recorded Cant Shake This Feeling, their best album since John Edwards replaced Phil Wynne. Edwards, a fine vocalist, is in top form on the smooth soul music written by producers Mtume & Lucas and the Delfonic's classic Didn't I Blow Your Mind'. The title track and Love Connect? ion' are more modern funk. Big budget soul ballads, step this way. But ’ why is a five man vocal group augmented by female vocali ists, and do 1 still want to Ibe j a Sister' Sledge roadie? Murray Cammick Smokey Robinson Yes It's You Lady (Motown) [RicklJamesßWMiMßMM Street Songs (Motown) Teena Marie It Must Be Magic (Motown) Smokey Robinson and Rick James encompass two decades of Motown, from its first great talent to its latest great success. There were a lot of us under Smokey's spell back in . the 60s, people who somehow found themselves with ,'i strong emotional commitment to. his words and music, whether via Robinson's own group, or the others.in Motown's stable. And while that commitment may have lain dormant for much of the 70s it was fully revived with his 1980 single 'Cruisin' ' and album Warm ' Thoughts. Consequently we . be-witched-ones regard last year's Being With You somewhat dewyeyed. But at least on Being With You his own songs completely outshone the others. This time it's difficult to pick out his originals. With Yes It's You Lady we're going to have; to realise that Smokey seems content with a career sweetening] intojMOR^BBMH A world apart from the self-pro-fessed punk-funk of Rick James, Motown's first superstar of the 80s. Street Songs, his fifth and best album was the label's top seller, last year, but in NZ James' garish persona tended!to put off all but the very brave. James' songs are about what interests him

which means himself, lots of sex, smoking dope and police harrassment. But his music has immense verve, a good sprinkling of hooks and a refreshing touch of humour. He's also got a supercharged band and, in Teena Marie, an excellent backing and co-vocalist.

So it is logical that James should feature on Marie's album. (She lauds him in the title song). At nineteen, Marie already sounds in possession of a prodigious talent. Although white, she has the vocal strength and range of a black. She wrote all the tracks, arranged much of them and plays keyboards throughout. Even some of her lyrics are pretty smart

witness 'Revolution', a reflection on Lennon's murder. The album's weaknesses are a result of her youth. Often her

writing, arranging and' singing lack identity. It's las if she isn't content with funk but hankers to try out as the new Minnie Ripperton or, worse, Barbra Streisand. Give her another couple of albums to absorb her influences, find her ■ own voice and maybe Motown will have another superstar. Peter Thomson Skyy Skyyline (Salsoul) ' - RafaeljGameronjWßyqPlßW Cameron's In Love (Salsoul) . Skyy and Rafael Cameron are Hj both'| produced |by Brass Construction member Randy Muller. What characterises Muller's work on these two albums is a willingness to try anything: no groove is too repetitive, no rip-off too blatant. This eclecticism almost sinks Cameron's album with so much diversity" there's no style and Cameron's clear, enthusiastic voice can't stamp a personality on Muller's poppy songs. Skyy fare a little better. This is their fourth album and ; on 'Let's Celebrate' they hit the perfect groove. There are other highspots here but much of the rest is enjoyable but unexceptional-funk or attractive but forgettable ballads. And of course Muller's not too • 'proud to slip in a deft Chic imitation at the end. Alastair Dougal Bobby Bland Try Me, I'm Real (MCA) Bland's a smooth blues singer who has always derived much of his vocal style from cool pop singers like Nat King Cole. But as the years go on, Bland has been - moving his musical approach ever closer to the Cole style as well. In fact Try Me, I'm Real is MORblues. It's an approach not.without. its possibilities; Bland sings with characteristic warmth . and control 1 but] few of the arrangements .are interesting enough , to provide a proper setting for his HvoicenflMMfedHHHMH^\Dj Carl Carlton 20th Century Fox Carl Carlton's a Detroit singer by origin, who achieved some success in the sixties in the wake of the rise of Little Stevie Wonder. : Today Wonder's B style is still present in Carlton's singing but, . without anyone to write material of the calibre of Wonder's for, him, Carlton can't provide much .>1 beyond: a decent groove. The result is that apart from the novelty 'She's A Bad Mama Jama', there's little of interest on offer here. AD Evelyn King I'm In Love (RCA)

It's five years now since 17 year old Evelyn King shot to prominence with her disco hit 'Shame'. I'm In Love finds her skills still intact: she(s singing more strongly than ever and happily one of the' two sets of producers/songwriters used here provide her with effective backdrop. Their synthesiserintense robotic dance tracks make for propulsive backing. Unhappily the alternate producer used, contributes only sappy ballads and derivative disco. There's a decent EP lurking here. AD APOLOGIES

In the March issue, Rip It Up incorrectly stated that the D.D. Smash album Cool Bananas was recorded at Mandrill Studios. In fact the entire album was recorded and mixed at HARLEQUIN STUDIOS..

Newmatics, Prime Movers, Mainstreet, April 27 Prime Movers played prior to the headliners. Nick is a very able and energetic singer/guitarist but is a mite indulgent. Their good songs were often lost, due to their fast paced delivery and lengthy sets. Tighten up. The Newmatics hit stage at lam, thirteen players in all. For those who fancy a twin guitar band, Mark Siam Bell was there. Also present were: original, sax man Simon Clark, Don Blam' Yoh Meemee, Jacquie Freud, John Bongo and others. First up were Five Miseries' and Judas'. Fortunately the mix favoured the basic band, Syd's Judas' rhythm clearly audible, his sparkling reggae solo being as usual, the song's highlight. Same with Broadcast O.R.', though Mark Clare overcame an apparent indifference to deliver a fine vocal.

Song six was Sam and Dave's Soul Man', a tasty arrangement with a very full [chorus Looking back: East of the UK', and Playing the Champion'. Riot Squad' follows with its laborious, birth of a bull horn intro - a great song but, horns,.if it has to be white, try trading your Dexys for an early Average White Band album. Next up: 'Crosswires' (Clare excelled), 'Five Minutes To Zero' (a neat single), Doobie Do Boy', Square One' (new single), 'IOOO Dances’ (Pickett'd love it). Health (a pro-weedy diatribe.effectively depicting health workshops as militaristic and . anti-tobacco) and finally their finest number. 'Silent Type'.

Whatever they started off looking like, whether sax looks like ska or not, despite the influences encountered, the Newmatics stumbled on their own sound and a dozen great songs. On . their final night 17 songs were their own. Record the best 12 well, mix and master them nicely and you'd get a better album than any debut I've heard in the last 12 months. .

Murray Cammick