Records

Rip It Up, Issue 97, 1 August 1985, Page 28

Records

Womack & Womack Radio M.U.S.C. Man Elektra Be warned! This record ain't tough sounding but it's very modern. Womack & Womack have a peculiarly 80s sound, not unlike Luther Vandross, in that they construct their old-fashioned sweet soul melody/vocal on top of a mean machine, a tough and funky rhythm chassis. The master/inventor of sweet soul was the late Sam Cooke, father of one half of W&W, Linda Womack. Her partner/husband is Cecil Womack, brother of Bobby Womack (who was Sam Cooke’s guitarist). Another "name" in the Womack Congregation listed on the sleeve is Mary Wells (‘My Guy') Womack, wife of another Womack brother. After being initially sceptical, sustained exposure to the Womacks' debut album Love Wars prompted me to become an irrational fan. Turn it up, ‘Love Wars' is a dancefloor monster, play it soft and it's a lounge lizard's delight. Once again, Womack & Womack have produced a dauntingly melodic album with an enthrallingly funky bottom end ‘No Relief! Strange and Funny' and the title track are the fastest

funkies and the mid-tempo ‘Night Rider' is ominous more atmosphere than Francis Coppola with a dry ice machine. On 'Love’s Calling' a co-writing credit is given to Sam Cooke whether it is based on one of his songs or whether it is acknowledging his achievements, I don’t know, but somehow with this new album, the Cooke legacy lives on: Sweet Soul Music! Yeah! Yeah! Be warned! Just a little exposure and you too, like many a rock writer, will have Womack & Womack in your Top Five. Murray Cammick Everything But the Girl Love Not Money Blanco y Negro This is Everything But the Girl’s second album, the follow-up to Eden, which won a place in many people's 10 Great Riffs, despite its stiff and self-conscious stylism. Love Not Money is in a similar (albeit paler) vein; jazzy radio toons, the sort of music now deemed as new and progressive despite its blatantly MOR origins (that’s old MOR, as in hip, as opposed to new MOR, as in conformity, maybe we should save all our Nik Kershaw records) and chart aspirations. Love Not Money is above all, dutiful, It is simpler, more straightforward, less derivative. Songs such as ‘Are You Trying To Be Funny’ and ‘Sean’ are stripped to the point of

being bald, a furrowed brow of integrity shining for all the world to see. Songs are penned for a moral purpose; hunger, poverty and social injustice have brought weight to bear on the bossanova grin of Eden. The first album’s swirl peeks through on the opening track, When All's Well', reminding us why' they were so likeable and hinting at a richness which remains hidden at the end of the album, consigned forever to the ditch of "things not important in LIFE.” Tracey Thorne's church-girl may beg for alms, but I beg to differ. Everything But the Girl are now better off than ever yet have grown into sullen, moralising adolescents. I am reminded of a guide to travelling in foreign places: “Do not feel obliged to change your manner of speaking or your dress; people will not respect you for it." Chad Taylor Gil Scott-Heron The Best Of Gil Scott-Heron Arista Gil Scott Heron's first novel, The Vulture, was published when he was only 19. He followed that with Nigger Factory, one of the most incisive novels on black consciousness ever. His poetry and music carries the legacy of black radicalism, the writings of George Jackson, Eldridge Cleaver, Huey P. Newton and Frantz Famon. And the strug-

gle of civil rights workers, the Black Panthers and the burning glow of Watts, 1969. On this album we begin with the strident optimism of 1975’s ‘The Revolution Will Not Be Televised’ and ends with the cynicism of 1984's 'Re-Ron': "Will we take Jessie Jackson? / Hell, we'll take Michael Jackson!" To Scott-Heron, America lives in a perpetual BMovie’, with the icons of white Amerika waiting in the wings to 'Save The Day’. But, as his song 'Ain't No Such Thing As Superman' tells us, there is no sense in believing in imaginary securities. The closest thing to Scott Heron on vinyl is the very hard Last Poets both are essential listening for those of you interested in radical black perspectives. ScottHeron is the best place to start, with this collection of cutting social criticism your viewpoint may never be the same. (PS: Don't stop there. Check out the autobiographies of Malcolm X and Angela Davies, Huey P. Newton’s Revolutionary Suicide and George Jackson’s Soledad prison writings.) Kerry Buchanan Gwen Guthrie Just For You Island Ms Guthrie has one of those super fine voices, one that has been used on sessions for just about

everybody who’s anybody. On her first two albums she had some great songs and with the interesting rhythm production of Sly and Robbie things really hit the groove. On Just For You the groove is aimed directly at the mainstream, there’s nothing new or fresh on this vinyl. The production and arrangements by a slew of people have a flat, bland feel definitely something missing here. Only 'Love In Moderation’ and 'Feel It No More’ have a good sense of urgency and rhythmic intensity perhaps if someone other than Deodato was in control it would be a better album. This one is obviously intended to be Guthrie’s “big one" and it’s a shame that this means it has to be so mainstream-orientated. Rather than giving her the big break she so deserves, it comes on like a kiss of death for her artistic future. Kerry Buchanan 8.8. King Live At the Regal MCA Many of the most stimulating records released today are reissues. UK indies specialise in repackaging old USA soul music and even the majors are getting involved. Welcome local releases this year include Billie Holiday, Junior Walker, Little Richard, Fats Domino and Wilson Pickett. This album, recorded live at the

Regal Theatre, Chicago, in 1964, is the ideal 8.8. King album to reissue as King is at his best live and though he has released numerous live albums, Live At the Regal is still the crucial blues set. It has been a pleasure to hear 8.8. King embrace various soul and funk grooves in recent times but it’s good to go back to the coolness of his early 60s sound. King defined the big band blues sound the sophistication, the swing, the percussive qualities, the subtleties that are so rare in modern blues where the guitar is king. 8.8. King is capable of expressing infinite moods and feels with his playing, from anger to good humour. On Live At the Regal, King sings of providing for his wife’s wellbeing, then finishes with the line: I gave you seven children Now you want to give them back This album sounds like it was recorded yesterday it shows how 8.8. King is rightly termed King of the Blues, whether rappin’ playin’ or singin! The perfect blues record. Murray Cammick Paul Hardcastle/Universal Funk Zero One (Virgin) This comes before Hardcastle’s big success with ‘l9’ and shows the influence of the popular electro sound amongst English funk fans. Side two is the work of Universal Funk, featuring The mixing and scratching of Mastermind Herbie. Good minimalist beat box stuff, similar to the work of Aleem Productions, the people behind Captain Rock. The Hardcastle side features the American hit 'Rain Forest’, which "borrows" the rhythm track of ‘Planet Rock) with Hardcastle’s style of jazz-funk floating on top. Personally, I’m not too hot on his style for sure he is this year's big thing, his remixing of Third World and lan Dury I like, but his overall sound is nothing new. The drum sound is pure Arthur Baker (listen to 'Forest Fire) and the melody is similar to 'Jellybean’ Benitez, with the main ingredient being that English fascination with smooth jazz-funk, a la Level 42 and Shakatak. Zero One is an interesting dance album, but I think I prefer the selection of American Electro available on the Streetsounds collections (Volumes One to Eight and still no end in sight). KB

Weather Report Sportin’ Life (CBS) After 15 years as the leading unit in electric jazz, Weather Report is to have a sabbatical while various members pursue individual projects. This means that Sportin’ Life is to be the last group album for some time. As such it doesn't set out to make any grand statement or sum up past achievements. Instead it offers a bright, almost relaxed au revoir. For a band that’s long been characterised by an intense progress-at-all-costs approach, Weather Report's lightheartedness here is refreshing. On one hand there's a subdued interpretation of Marvin Gaye’s 'What's Going On; while another number is characterised by simple acoustic guitar. On the other hand five of the eight tracks have vocals (though only one in the usual sense of singing a melody with words and then they’re in Spanish, courtesy of this year’s resident percussionist). Most vocalising is led by Bobby McFerrin. the young lion of modern scat singing. McFerrin and cohorts bring exuberance and added cheer to an album that will ensure Weather Report a welcome return when they eventually reform. PT Jeffrey Osborne Don't Stop (A&M) Mr o's third release and unfortunately not a patch on his first two. He's one of the masters when it comes to the soft ballad, but only 'Crazy 'Bout Cha’ and 'Let Me Know' manage to hit the spot. Things begin to slide on The Power’, a noisy rocker, and Live For Today' an attempt at gospel, with those well-known gospel singers, Pat Benatar and Kenny Loggins! Jeffrey’s heading for disaster city if he stays on those rails. There are several tracks that could've been great R&B, like Don’t Stop' and 'The Borderline’, but pot with producer George Duke making everything sound like mainstream radio noise. Certainly a disappointment coming from one of soul’s best voices better check out his 'Stay With Me Tonight’ for essential Jeffrey. KB Marvin Gaye Dream Of A Lifetime (CBS) Scrapings from the barrel. According to the sleeve notes half the tracks here represent material Gaye was working on before his tragic death last death. The rest are tracks “that he had done over the years and entrusted to his mother for safe-keeping. 1 ' My guess is that it was because he was embarrassed by their mediocrity and occasionally blatant misogyny. None of the new work is worth much either and the title track is among the most embarrassing slop Marvin ever wallowed in. This album isn't an epitaph or even a half-decent collector’s item, just sorry exploitation of a great ta-

lent after he’s gone. PT Billie Holiday 16 Classic Tracks (MCA) All praise to WEA for their local release of the excellent MCA 'sos Classics compilation series. This Billie Holiday collection is every bit as welcome as the recent Louis Jordan set. Not that the two artists have much in common except their, heretofore, local unavailability on record. Previously seekers after the light from Lady Day had to buy high-priced imports and the problem then involved picking out the vintage among the widely varying quality of her albums. Here MCA have gathered together 16 tracks that all justify their title as “classic". And while it’s certainly not comprehensive nor does it pretend to be it makes a very fine introduction. And yes, That Old Devil Called Love' is included.

Snowy White (Towerbell) Guitarist White follows up his ‘Bird Of Paradise’ hit with more pretentious cosmos-mythos claptrap. This drivel is unpalatable in the hands of the metal people (my ears). That White and his studio musician mates (Kuma Harada, Richard Bailey) play politely well makes this no more digestible. White resembles a guitar gunfighter who misread the bus timetable and arrived at the corral after the smoke had cleared. Peabo Bryson KW Take No Prisoners (Elektra)

Another album from the master of svelte soul. A voice like a case of Moet & Chandon, the Frank Sinatra of soul. Peabo is better known for his ballads and this album has some great ones. The whole of Side Two finds Peabo in fine romantic style, with 'Love Always Finds A Way’ being particularly appealing. Side One opens with a bit of a rocker in Take No Prisoners (In the Game of Love)’ but things settle down into a funkier feel for my favourite track 'Let's Apologise’, with Marcus Miller on bass. This is

his best work to date, great singing and inventive playing from people like Steve Ferrone on drums and Robbie Buchanan on keyboards, arranged beautifully by Arif Mardin. It's a pleasure to still find albums with this much style and class. KB Rose Tattoo

Southern Stars (Alberts) Angry's back a dash of patriotism, a couple of protest songs (not as eloquent as Peter Garrett maybe, but the feeling's there) and an unabashed celebration of "pretty young girls, good smoking drugs and bourbon that's eight years old" make up another ace, essential Rose Tattoo album. There's at least two new Tatts classics herein: the title track with the trademark slide guitar and 'Freedom’s Flame', a memorable medium-pacer. Buy it. Oh, and don't forget to watch out for Angry in Mad Max 3. CC Various Artists Fuzz Dance (Sire) Giampiero and Giancarlo Bigazzi make you an offer you can’t refuse. Four slices of Italian dance music. In those horrible days of white disco (yes, I know it sill happens, I just pretend it doesn’t) there was this beast called “Eurobeat", sort of James Last meets the drum machine. Now with Fuzz Dance this lost art has been revitalised. The whole thing sounds like background music for Remuera fashion shows dumb to the max. KB The Church Of Skins and Heart (EMI) The Blurred Crusade (EMI) The first two Church albums, originally released here through the ill-fated Stunn Records and now reissued on EMI. Like most of the Church’s releases, consistency is not their strong point, <?ach distinguished by their best songs and let down by the mediocre ones. Of Skins and Heart is rockier in nature, with the neat single The Unguarded Moment’ and ‘ls This Where You Live' and ‘Don't Open the Door To Strangers! Steve Kilbey's lyric writing is typically dense and unconcise, but more obviously outward-looking. The Blurred Crusade on the other hand, is more yer soft acid dreams with lines like “Psychic angels spread on the top of her head," and a finer sense of melody; best is the encouraging 'Almost With You'. Both records, of course, feature those nice “intermeshing guitars" and Kilbey's remarkable lowregister singing. The Church have probably reached the stage where they could put together a damn good Greatest Hits, but with these two albums, the choice is less clear. Anyway, it's yours. . RB George Duke Thief In the Night (Elektra) Like so many jazzers “slumming” in the realms of pop, George Duke has all the skills but little of the instinct. In over a decade of attempts he's never found that holy grail of a Top 20 hit. Still, this album is by no means as offensive in its trend worship as some he's made. Maybe it’s because he's been working these electro-pop styles for long enough now to achieve a mark of originality. Nonetheless, despite the relative success of many tracks here, it's a new ballad by a real pop maestro, Stevie Wonder, that provides the album’s main highlight. PT Twisted Sister

Under the Blade (Atlantic) This is actually Twisted Sister's first album, slightly tarted up (new cover photo, extra track added). To these ears they still sound pretty lightweight, but there’s no denying their skill with a catchy teenmetal tune. If their other albums found a happy niche in your vinyl collection and you want more of the same, look no further. CC Saxon Strong Arm Metal (RCA)

Saxon were one of the better British metal bands to emerge during the late 70s. Due to various hiccups with the licensing of their label, Carrere, several of their midperiod (and best) albums failed to gain NZ release. Strong Arm Metal is a useful compilation, in that it contains the pick of the tracks from those albums and charts the band’s development from raw recruits to the more FM-orientated sound of their recent albums.CC Nightranger Seven Wishes (MCA) One’s enough: I wish I didn't have to review this awful album.CC Hazell Dean Heart First (Proto/EMI) So many songs, so little talent. Hi-Energy with less taste or sincerity than a Divine film. Hazell Dean gets as much soul onto this record as Miquel Brown gets good nights' sleep. Awful. But who cares? Certainly not the people who made this album, nor the people who dance to it. Save your energy. PG