Records

Rip It Up, Issue 85, 1 August 1984, Page 20

Records

David Sylvian Brilliant Trees

Virgin

An adventure then, in which the obscenely elegant Mr Sylvian embraces and idol or two, wallows a little in nostalgia and ultimately sets out on a new, bold course. Sylvian has always been selfindulgent of nature, and if he gets a little too lush at times, it's forgivable, like the day you last gorged yourself on ice cream. For sheer pleasure. Because David Sylvian's solo debut is sheer pleasure, a tropical jungle of influences and infatuations, something to take you out of your everyday self for a short while. We all need an escape, and this has been a favourite since it arrived. Sylvian has not stinted himself for his first solo foray, teaming up with the likes of Holger Czukay (Can), Riuchi Sakamoto (Yellow Magic Orchestra) and Jon Hassell. The result is a very European album with occasional nods to the past (the Oriental synth on 'Pulling Punches') and leanings into the Middle East. Hassell dominates in the latter, being the major contributor (trumpet) on Weathered Wall' (very ECM) and the title track, a sensual abstract, recalling his Possible Musics work with Brian Eno. Sakamoto lays down a delicate synthesiser patchwork for 'Nostalgia', an evocative piece filled with vague memories of tunes. But the man upfront has tremendous presence in such exotic company, singing with less man nerisms and greater maturity. He's emphatic over the nervous funk of 'Pulling Punches’, and shows a more sensitive side on The Ink In The Well', a sultry semi-

acoustic piece that celebrates artistry and creativity in captivating fashion. 'Red Guitar', the single, with its oddly ear-catching chord progression, seems to nod at Bowie, who surely must be one of Sylvian's idols. The piano reeks of Aladdin Sane.' Backwaters' also hearkens back to Low, both vocally and instrumental^. Listening to Brilliant Trees, it’s plain why Japan had to split. There is so much more to David Sylvian than a pretty teen idol, which would surely have been his fate had the band carried to its logical conclusion. This man is on his way. Duncan Campbell Siouxsie and the Banshees Hyaena Wonderland It's hard to think of a Siouxsie

and the Banshees' rekkie as a separate entity. The weight of previous recordings kinda hangs over you; especially as I gave up really listening after the Hammersmith Odeon thing. Sheez. First impressions: the orchestration on Hyaena is a bit like a multi-layered cake it looks good, but hell, you only need one slice. Bad news (first): Siouxsie may have a great pair of lungs, but when you consider the subtleties of 'lsrael' to 'Blow the House Down', guess which comes out best? Much imagery of religion, sacrifice you know, the gothic stuff that made Bauhaus famous and caused many an imitator to get scared when s/he looked in

the mirror. Good news: Side One, "Belladonna’ and a nervous song 'We Hunger’ which has the Budgie stamp of approval, despite the death/sex lyrics. Side Two, 'Pointing Bone’ in which Robert Smith gets (p)hazy. Last impressions: God knows what the next one will be like. Fiona Rae

The Alarm Declaration

Illegal Records And they call it 'rebel rock', a term that seems to have originated from the khaki stand of the Clash’s bloated Sandanista'. and its wirier off-spring, Combat Rock. The Irish front of the late Stiff Little Fingers and the current darlings, U2, are in there somewhere and, although their music

lacks a certain intellectual/ emotional ah finesse, their persistent battle cries probably derive from honest hearts. Now we have the Alarm, four Englishmen who look like adverts for New Wave Gel, and they've slipped into the breach left by the absence of the Clash. And they've been cleaning up with music that's full of token postures of revolutionary chic. Declaration, their first album, is a vague manifesto that doesn't even identify its target(s) or enemy. Who are they fighting? Maggie Thatcher? Reagan? Racism? Fascism? The Smurfs? The song titles, ‘Marching On’, 'Where Were You Hiding When The Storm Broke', ‘Sixty Eight Guns' and ‘Blaze of Glory’, are all mass appeal catch-calls and they sound like Jim Steinman discovering politics with Clash choruses.

Forget about dynamics, these guys are about as exciting as a Phil Collins bootleg. And yet they’ve done us a favour because Declaration is an indication and a warning as to how bad ‘rebel rock’ could become if it becomes the next fad.

George Kay Dead or Alive Sophisticated Boom Boom Epic

A smart review would conclude with "more dead than alive." That would be unfair. Dead or Alive have a place in the discos of the UK, USA and New Zealand. Their music is a fashionable fusion of snappy synth lines, funk by numbers bass, cultured voices and the occasional Motown overtone. Custom made for chic to

chic dancing. Dead or Alive have succeeded as a fashion phenomenon. Frontman Pete Burns fits the androgynous image of Boy George and Marilyn and the rest of the band are a cultured club of foppish funksters. Their poster pop is unashamedly for the here and now. Songs like 'l'd Do Anything' and Misty Circles’ could sustain dancefloor testing. The cover of 'That's the Way (I Like It)' also comes off. Elsewhere Heaven 17, Human League, New Order and the Associates might be cited as influences. By virtue of these tasteful influences and harder product Dead or Alive soar above the likes of the Thompson Twins. Sophisticated Boom Boom is a good album for dedicated followers of (white) dancefloor action. Cum on feel the noiz and shake your booty

to the sound of the drums Sophisticated, yeah l David Taylor

The Mockers Caught In The Act

Reaction Andrew Fagan believes that for many people the Mockers really only started with the 'Cleopatra' single. Well since then the strange world of A.D. Fagan has been turned upside down by the less than surprising success that has come their way. I mean it was always on the cards with a tidy bunch of songs, an oddball singer and Dance Exponents in the land of Oz they couldn’t miss. But on their last tour the Mockers showed they had the ability to excel in the live situation. Which brings us to this disc, recorded live at Mainstreet.

(Really? Shit, that’s a novel idea!) It’s not quite vintage Mockers’ I think one has to see 'em in the flesh to appreciate their full grandeur. It would also be wise to discount their recent appearances on telly. For example, that Shazam thingy was a bloody shambles, yet on the night they were, and I quote, "the best band in the world.” The RWP special from which this record was taken was a little better and has its highlights. Like on 'Won't Stop Coming', where young Tim Wedde does a very passable rendition of Eddie Rayner on keyboards, or the other two newies, 'Friend of A Stranger' and 'Casualty'. There's also a magnificent version of Alvison Park’ and you should hear Steve Thorpe's drumming on 'Good Old Days’. The Mockers have got to get their heads together and come up

with a new batch of songs so they are properly prepared to take on the world in 1985. A last point: didn’t Sherbert call their live album Caught In the Act? Thought so. You messed about, I caught you out, HOWZAT!? Alister Cain

Bob Marley and the Wailers Legend

Island With this official Greatest Hits collection, the Bob Marley story has just about been told, chapter and verse. At the time of writing, the remixed 'One Love'/'People Get Ready’ is topping the singles charts, proof positive of Marley’s continued charisma, three years after his death. Legend contains few surprises in its track selection, has quite comprehensive sleeve notes and bio, and an inside cover packed with Marley memorabilia. If it does Marley a disservice, it is in its rather two-dimensional portrayal of him. The Lover and the man of Peace And Unity are well if not over-represented. But Marley was also a revolutionary, a rebel from his early teens, who flouted convention and offended both the upper-class Jamaicans and the political heavies. Somebody tried to kill the man, damn near succeeded, and only hours later he was standing on stage in front of thousands of people, laughing it off. That Marley is not on this album. 'Get Up Stand Up' and 'I Shot The Sheriff are classics in their own right, but they only draw veiled reference. Where is 'Them Belly Full’, Burning and Looting', 'Three O’Clock Road Block’, War’, Running Away’ or 'Duppy Conqueror'? Why is there not one track from Survival ? You have to look hard to find any reference to herb on the sleeve, and as for the music 9 Forget it. Marley was no saint in life, and his memory deserves a more honest depiction. Legend will sell by the truckloads, no question. But the proper Bob Marley story still hasn't been told in song. I hope someday it will. This album is largely faithful to Marley The Legend, but it only pays lip service to the man.

Duncan Campbell