RECORDINGS

Rip It Up, Issue 184, 1 November 1992, Page 24

RECORDINGS

NEW ZEALAND SHONA LAING Thief To Silver (Sony 4-song CD) Joan Armatrading meets Leonard Cohen without the compelling melodies. Shona’s songs are the sound of encounter group therapy from the 70s, a touchy-feelie struggle to deflect life’s curved ball, to stare down the cards nature has dealt you. Her songs are about pitiable things and they bring you down, despite the way her voice rises and swells in the choruses as if in defiance of reality. Depressing. DONNA YUZWALK SPUD Recliner/Shitman/Hee Ha (Flying Nun) First I thought it was a joke. I had it on the wrong speed! ‘Hee Ha’ (Club Foot Mix) is a joke; uninspired, unintelligent. ‘Recliner* and ‘Shitman’ are a better, final revelation from SPUD. Nerd rock gods whether you think so or not. BARBIE SHAYNE CARTER AND PETER JEFFERIES Knocked Out or Thereabouts/Spark Off A Wire (Flying Nun) Seven Inch One minute 42 secs, of stuff getting knocked around semi-conclusively, you sorta have to play it three or four times in a row to get any kind of hit off it ... and even then, it ain’t no ‘ln A-Gadda-Da-Vida’. D.ZARAKOV JPS EXPERIENCE Breathe EP . * (Flying Nun) Title track ‘Breathe’ is a big turn on after the underwhelming blandishments of ‘Precious'. Here the JPSE comes on in a swooney, narco-haze like the Jesus And Mary Chain or Suicide for beginners. In fact, this side of JPSE is a good introduction for youngsters to droning stoner music,’ being a sweeter, more child-like version but pointing the way to the harder stuff out there. Other tracks ‘Up In The Sky*, ‘Block’ and ‘Kickback’ are ear candy with chew too, especially the latter with its Beatles-esque intro and an ending that disappears in a dramatic puff of white noise. Altogether, an.appealing sample of wares from the new album, Bleeding Star, due for release early next year. ■’ DONNA YUZWALK JAN HELLRIEGAL No Idea (Warners) ~ ' Jan sounds real as ever here in a gutsy, barroom ballad that swings by driven not so much by a hook as by her emphatic delivery. A song that grows on you. Also included on the cassette, ‘Burger Generation’ and another, stronger version of ‘No Idea’. DONNA YUZWALK ” .. . . THE MAGICK HEADS The Back of Her Hand/Don’t Worry Son/ Hear From You (Flying Nun) Seven Inch Robt. Scott from the Bats, the two guitarists from the 3Ds (one of 'em playing drums), woman singer who sounds enough like a female Robt. Scott for this , rT—ani'w at ~• itiiw —i ~ - i.jiummii ■ ~ ~“L" • jiunj to sound enough like the-Bats-with-a-female-singer for a lot of people to be real excited, I bet. Nothing really happens throughout and as usual with Bats-related things you feel like a real heel for so saying. Like they were doing it for charity of something. D.ZARAKOV THE MUTTONBIRDS Giant Friend (Bag Records) Don McGlashan comes on like a jolly Michael Stipe, complete with sprightly, strum-along REM-ish guitaring. The lyrics are completely meaningless - what do you make of “I want to play with your giant friend” repeated over and over? Kinky or what? B-side ‘She’s Like A City* is equally mystifying, but the accompanying guitar lick is intermittently haunting. Recorded live at the Gluepot. DONNA YUZWALK

PRINCE AND THE NEW POWER GENERATION Love Symbol (Warner Bros) Prince is the WHIZZ, here is why: 1) Every song is about sex, and I quote: "Pull me down on top of you and grind really fast" (Try that as a pick-up line!) (I have, it didn't work!) (Too subtle!) and mostly it's lot's of fun. 2) In this regard his only peers are AC/DC — except they always do it in the same position, whereas Prince's music spans the entire Karma Sutra. Including the stuff that Sir Isaac Newton's laws of motions would deem impossible. 3) The first single, 'Sexy M.F.', has a jazzy-jizz beat that one could possibly beat to (haven't tried) and maybe bone to also (again, research time is limited). Either way, it's jizz. 4) second single, 'My Name Is Prince' is eponymous ego-strut right up there with 'Hey! Bo Diddley', 'Jesus Loves The. Stooges' and 'Mommy, What's A Funkadelic?' for selfaffirmation manifesto jizz. ' 5) 'I Wanna Melt With U' is uncut jizz, 'Blue Light' is reggae jizz, whilst 'Three Chains O' Gold' is a virtual jizz opera — actually turning into 'Bohemian Rhapsody' before- the processed metal guitars quote 'Let's Go Crazy' (which was Prince's best selling jizz). 6) The album contains references to the movie Barbarella, which featured Jane Fonda in TJ.M.*(*TotalJizzMode). Prince is permanently in T.J.M. and

then some. Behold, for he is the King of Jizz. 7) This is the second N.P.G. recording, lasting a "mere" 75 minutes of basic booty busting funk-bomb jizz-blast. Verily, Prince is the WHIZZ. I rest my case. ANDREW PALMER RED HOT CHILI PEPPERS What Hits? (EMI) It's inevitable that with even the slightest success a hits compilation will appear for most every band. Hell, even Twisted Sister got one. The surprise with the Chili Peppers is actually that it took so damn long. With four albums and an EP to draw on, there’s plenty here but the disappointment is that somehow the person who put this together has avoided putting anything that wasn't on those previous releases onto the album. Surely there must be something like old B-sides or rare tracks floating around the EMI archives? The end result is still a great compilation, it's just one that most fans probaly won't touch as they have every damn track on it. For the newer fans, those who discovered the Chili Peppers' existence around Mother's Milk or Blood Sugar it's a nice sampler of what the band is about. The dopey punkfunk of the self-titled first . album evolves into the outright white boy funk of the George Clinton produced Freaky Styly (and a million horrible Bay Area thrashfunk bands are spawned). The change from tracks like

MUDHONEY Piece of Cake (Reprise) Vanguard band for a scene that might as well’ve never existed, you’d think they’d be sleeping under bridges or something by now but the dark surprise is, their third full-length album is the best shit I’ve heard 'em punt since I gave up listening half way thru the first one. Which means everyone else’ll probably hate it and it’ll be like the 90’s equiv. of the second Damned album ... which it actually sounds like some of the time . . . but y’know. Punk’s not dead! Also features — heavy-metal Booker T. pastiche, country-western song about solvent abuse (so maybe they are sleeping under bridges), four short untitled instrumental farts that beat fuck out of the similar bits on early Sabbath albums ... also while it was playing my flatmate hit himself on the nose with a crowbar... drew blood too! Punk snot dead! D.ZARAKOV

'Hollywood (Africa)' to ’the material. of 'Uplift Mofo Party Plan' is pretty dramatic, it's like the Peppers really found their groove. 'Backwoods', ■ 'Me and My Friends' and 'Behind the Sun' really point the way for the current sound, and love 'em or hate 'em,, you have to admit the Chili Peppers really have created their own niche. So if you re a long time fan, don't pay much > mind ;to. this, - save your, money for a ticket to see 'em live. Anyone else, who just wants a sampler to play in the car or to save dropping the cash for four albums is going to be happy with What Hits? but I'd still recommend buying Uplift Mofo and just working your way back. Oh yeah, they even toss 'Under The Bridge',in just for you hit fans. • - KIRK GEE 808 MARLEY Songs of Freedom ' (Tuff Gong) ; When Bob Marley shuffled off in 1981, he left a legacy of legal turmoil which has only just

been resolved after going all the way to the Privy Council. At issue was copyright on his catalogue of songs as well as distribution rights and Jamaican real estate. Biddings went as high as sl2 million (US) (from MCA) but Marley's family wanted to ensure that however the cake was finally cut, they got their fair share. The deal was finally resolved with the help of Island Records founder Chris Blackwell who established the Bob Marley Foundation which will manage the estate for the next ten years after which it reverts to the Marley family. This beautiful four CD set, published inside a full colour book, is the Foundation's first release. Compiled by Trevor Wyatt and Neville Garrick, two of the most faithful Marley archivists, these 78 tracks bubble and hiss with the joy, the sorrow, the anger and the exuberance of a career which spanned less than two decades (Marley the Superstar lived barely five years). Disc One opens in 1962 with a shy teenager proclaiming 'Judge

Not' for Leslie Kong, and covers the Studio One, Wail n'Soul and Lee Perry eras, finishing with the 1970 standard, 'Mr Brown'. The Wailers were hardest kinda rudies in these times, sexually knowing on 'Bend Down Low', challenging the oppressors on 'Small Axe' and 'Duppy Conqueror'. Recycling songs is a reggae tradition and those familiar only with the later versions of songs like 'Sun Is Shining' and 'Don't Rock the Boat' will be intrigued by the raw, less cluttered originals.

Disc Two runs from 197175, a period of turbulence and change. The Wailers were lured to the UK by Johnny Nash and manager Danny Sims to help record an album for Nash and with promises of bigger things to come. They were left high and dry, stone broke and miles from home. A chance meeting with Chris Blackwell brought them a deal with the fledgling Island records and the historic Catch A Fire sessions, when white musicians got their first real taste of reggae. Blackwell wanted Marley more upfront, which finally split the original trio and gave birth to a legend. Rare treats here include the sweetly sensual 'Lick Samba', a bit of rootsy finger-wagging in 'Craven Choke Puppy', a soulful ballad called 'High Tide Or Low Tide' which may have been destined for Catch A Fire, and especially an acoustic medley of seven songs recorded in a bedroom when Bob was apparently trying to teach some of his songs to Johnny Nash. Just as the solo version of 'Redemption Song' never fails to move me, this is equally affecting. Magic.

Disc Three, 1976-78, covers a busy time for reggae as a whole. Marley's Natty Dread album had seduced rock audiences and Britain's punks helped popularise other Jamaican artists like Burning Spear, Culture and the

Mighty Diamonds. The tracks here are from the Rastaman Vibration, Exodus and Kaya LPs, although we get alternate mixes, 12 inch versions and another live version of 'No Woman No Cry' as bonuses. Very welcome is the "tourist song" Marley wrote at the request of the Jamaican PM Michael Manley, 'Smile Jamaica'. Disc Four incorporates tracks from Survival, Uprising and the posthumous Confrontation. By now Marley had established himself as a musical innovator, a red-hot live drawcard and a cultural ambassador. Occasionally there seems to be a weariness creeping into songs like 'So Much Trouble' and 'Bad Card'. He'd been to Africa, been hailed by the crowds, snubbed Prince Charles in Zimbabwe and discovered that many Ethiopians no longer revered Haile Selassie. Realising his mortal time was limited, his songs became more universal in their sentiments as he tried to convey the impressions he'd gained of the world from his lofty position. As the liner notes say here, he made one concession to commercial reality with 'Could You Be Loved' but although the Wailers sound as tough as ever, there's a contemplative air to these songs. Coupled with the effects of long tours and illness on his voice, Bob often sounds much older than the 35 he was when he made some of these last recordings. The disc closes with 'Redemption Song', recorded at his last-ever concert, with African

drumming. The single, 'lron Lion Zion', is interesting for the fact that it exists, rather than for its quality. The song really isn't that great, considering that it comes from around the period that Marley was putting his own Wailers together and writing songs for Natty Dread. I'd guess

all that remains from the original recording is Bob's voice. The beat is US dancefloor (and it's charted well), while listeners seem more impressed with Courtney Pine's sax solo than with the rest of the recording. With copious photos comes a succinct biography from Rob Partridge, former Island Records press officer, an essay from Timothy White, author of the biography Catch A Fire, on Marley's place in music, and some wonderful anecdotes from people who knew him. Derrick Morgan recalls Marley's first gig, Eric Clapton explains why he recorded 'I Shot The Sheriff', the single that helped reggae cross over to rock audiences, and best of all, keyboard player "Rabbit" Bundrick tells the hilarious story of the 1971 summer in Stockholm when the

Johnny Nash project fell to pieces, a gambler took all the money and the foundations were laid for Catch A Fire. With the way cleared for more Marley back-catalogue releases, we can doubtless expect further quality product over the next decade. There are oodles of rare singles that deserve another airing. If they can give us the dub version of 'One Drop', then another JA-only product must be at the fingertips. Timothy White's book lists more than 20 unreleased tracks but there are so many sessions, so many obscure labels, that the Bob Marley Foundation should have plenty to occupy itself. The sun is shining, the weather is sweet. Jah knows we've waited long enough for it this year. This collection will

cost you a bundle, but you won't regret it. You'll sing, you'll dance and at times your eyes will glaze over as you remember how much you miss the Tuff Gong. S. DUNCAN CAMPBELL MIKEY DREAD Obsession ■ (Rykodisc) Michael Campbell, aka Mikey Dread, made his name internationally with his toasting of the Clash's 'Bank Robber'- after breaking new ground in Jamaica with his 'Dread At the Controls' radio programme which spawned his record label of the same name. Roots fans treasure his World War Three LP while ÜB4O aided his fame by releasing his Pave The Way album. He's drifted a little since then, with a series of forgettable releases on assorted labels. His trademark is a wheezy voice which sounds like three weeks of Asian flu.

It would be nice to report that Obsessions is a welcome return to form, but while on first listening it certainly skips along pleasantly, the sound starts to pale, especially when spread over 18 tracks. It could be cut in half and still make all the necessary points. The sound is late 80s—present day digital, the songs built on basic twochord progressions, either in major key for lover's rock or minor key for songs with a message. The best shot is the opening track, 'Modern Africa', produced by Jah Shaka with a biting rhythm recalling his Dub Symphony. The rest is competent enough but has nothing new to say and I wish I could say more about such a long recording. Unfortunately I can't. DUNCAN CAMPBELL SUGAR Copper Blue (Creation) As part of the legendary Minneapolis power trio Husker Du, Bob Mould helped litter the mid-eighties with a succession of molten guitar masterpieces. The band's split was less than amicable and the two songwriting Husker dudes, Mould and Grant Hart, involved themselves in introspective musical psycho-therapy, Hart on his solo album Intolerance and Mould through the gentle open-wound catharsis of Workbook. By the time of Mould's

follow up album, Black Sheets of Rain, it had turned into an intense exercise in picking at scabs. Back as part of a power trio again, Bob's still pissed off but now he's enjoying being pissed off. Opening track 'The Act We Act' sets the exuberant tone for the rest of the album. 'A Good Idea' is pure Pixies pastiche with a great sinewy guitar line. 'Changes' rattles along in fine fashion, containing a very Husker Du-like skip-tempo break. Yet another rough pop diamond is up next, 'Helpless', before Bob gets a little weird on 'Hoover Dam', swapping electric guitar for a dubious 1970's synthesizer solo. 'The Slim' is a far darker and more menacing affair — a telling howl of rage about the death of a loved one. 'lf I Can't Change Your Mind' washes through on a cleansing wave of acoustic guitars, recalling the hit that wasn't from Workbook, 'See A Little Light'. Mould displays his ability for writing the most gloriously simple throwaway guitar lines on 'Fortune Teller', whilst 'Slick' is probably Copper Blue's weakest moment but is still strong enough to be a first single for most other debutant bands. 'Man On The Moon' closes the album in cosmic (almost glam) style. Through a new label, new attitude and new musical soulmates, Mould has uncovered a new aspect to his own brand of imploding guitar pop. Every song rates a mention in a list of Copper Blue's highlights and I defy anyone to skip a track when playing this album. Yep — it's that good. MARTIN BELL NEIL YOUNG Harvest Moon (Reprise) Didn't he already do one called that? Was it, or was it not, that album I used to hate so much back in high school way-the-bejeezus back when? No OK, that one was just Harvest and retrospectively considered it wasn't entirely so awful, no On The Beach or Tonight's The Night but no James Taylor either . . . same I could say for the obj. in hand, tho' more specifically morphically similar to say Old Ways (1985) than Harvest, the same general feeling of a mellow number-for-the-road after a couple-3 platters of wrangling crazy horses on the bleak pla-

teaux of the 50u1... no way to imply "complacent" or anything tho' (Neil Young always sounds too bummed out to be complacent) and positive aspects of this alb. are quite a few ... like 1) the mere FACT of Neil Young is always sorta reassuring and I get a peaceful easy feeling etc (and if this seems to your directly contradictory to what I said before about complacency, you oughta listen to more Neil Young records). 2) actual good songs are in the majority and 3) many songs are thematically and/ or melodically reminiscent of many of his earlier ones (see point #1), 4) the fine line 'twixt poignancy and sappiness is soft-shoe shuffled all over and around like Mr Goddam Bojangles . . . etc etc. Another Neil Young album ain't gonna kill you and this partic. one'll probably be useful psychic preparation for his rap opera with Ice-T (I hope). DUANE ZARAKOV

ABLE TASMANS Somebody Ate My Planet (Flyins Nun) There's something scholarly about the Able Tasmans, a kind of classicality. Take the fact that 'Fault In The Frog' is about frogs' short sightedness which means they may not observe small changes in their environment that lead to big changes. That's something not many people will know in their lifetime and it's the kind of quirky fact that is grist to the Able Tasmans' musical mill.

Somebody Ate My Planet is a complex record, requiring some unravelling. It has a multi-lay-ered, filmic quality, as in miniepics like 'School Is No Good For You' (which has one of those big trademark organ riffs that we know and love from the ATs), 'Sweet State' and 'Conversation With Mark Byrami'. SAMP does lack the jaunty presence of its predecessor Hey Spinner! and rollicks along in a seamless sort of way. The vocals could have been a bit stronger in the mix and the country romp of 'Napoleon's Last Letter To France' is a bit too low-key for its own good, but that aside; if you turn it up loud and check out all the nice touches like violins, cornet, clarinet and — amazingly — bagpipes that actually work in a modern song (on 'Fault In The Frog'), SAMP is an accomplished, mature album, the product of an intelli-

gent collective of individuals. The Able Tasmans have always been a bloody great live band and these songs are no doubt similarly exciting live — especially stunners like 'Weight Of Our Love', 'School Is No Good For You' and 'Big Fat'. From a little band that used to play TV-theme inspired organ music, the Able Tasmans have come a long way. FIONA RAE SUZANNE VEGA 99.9 F (Polydor) Listeners who had Suzanne Vega pegged as the white hope of a folk revival must be shaking their heads. Her career has been moving progressively away from the acoustic purity of that 1985 debut album. On Solitude Standing she introduced a rock band, she recorded with Philip Glass, then she went decidedly arty with Days of Open Hand. To cap it off she enthusiastically endorsed DNA's remix of'Tom's Diner'.

Now (as Karyn Hay put it) she seems to be entering her industiral phase. 99.9 has Mitchell Froom producing and playing keyboards along with a crew that includes Los Lobos' David Midalgo., ex-Attraction Bruce Thomas and ace percussionistjerry Marotta. The combination of Froom's often de-

cidedly odd arrangements, Vega's deadpan, delivery and lyrics which seem to have been frequently inspired by a medical textbook makes for intrigu-' ing, even fascinating listening. • There's a few numbers which . hark back to her fbikie origins but on . the whole this album shows Vega at her most adventurous yet. Even when writing on a conventional song subject her approach is unconventional. For instance in 'lf You Were In My Movie' she proposes some kinky role-play to spice up seduction. ' " As Vega admits in the album's title track, "99.9 Fahrenheit ... it could be normal but it isn't quite." Indeed, but it's also probably her best album since her debut. PETER THOMSON J.t . .. • * ; THROWING MUSES Red Heaven . (4AD) A'-.'..;.:; . Almost soul mates, Throwing ■' Muses' Kirsten Hersh has Bob Mould singing on 'Dio' in this sparse guitar driven drum heavy follow-up to The Real Ramona, a comfortable ride on pop's rollercoaster compared to the harrowing if accessible echoes of Red Heaven. Stripped now to a duo of Hersh and drummer David Narzico with usual bassist Leslie Langston filling in, Red Heaven

SBNCLES Last month Smashing Pumpkins leapt off vinyl and CD to grab a few throats. This month Throwing Muses take the singles by storm with two four track CD packages of Firepile (4AD). Part One features the album version in all its lurching guitar glory and is backed up by a version of Hendrix’s 'Manic Depression’, its disturbed edge ideally suited to Hersh’s tormented lifestyle, and a couple of reasonable originals. Part Two has a spacier re-mix of ‘Firepile’, a neat cover of the Velvet’s ‘Ride Into The Sun’ and another couple of Muses songs. Decisions, decisions — opt for Part One. No dilemmas over G.W. McLennan’s ‘Surround Me’ (White) which is almost too calculated and catchy with its stutter chorus but its charm can’t be avoided. Of the other four songs on offer "What Went Wrong’ is a fine acoustic ballad and he makes a sensitive treatment out of Springsteen’s recent ‘lf I Should Fall Behind’. The EP ends with ‘Moon River’, of course. ’ Going English for a couple or three introduces the New Fast Automatic Daffodils, who stretch out somewhere between the Fall and Kitchens of Distinction in the words of wisdom of‘lt’s Not What You Know’, (Play It Again Sam Records) and ‘Head On’ sounds like the Wedding Present with just bass guitars. This grows, insidiously. Inspiral Carpets return with Generations (Mute) which is in itself a return to their keyboard garage sound and it sports the necessary, hook and energy. To another generation and Peter Gabriel lures the consumer with a sumptious CD in a box package complete with unfolding lyric sheet. ‘Digging In The Dirt’ (Virgin) is custom-made Gabriel funk, not bad if predictable and certainly not preferable to ‘Quiet Steam’ and Buzouk’ which mix restraint and mysticism. The last of this month’s top achievers is Yothu Yindi with the title track from the Tribal Voice (Mushroom) album. Starting with a classic Byrds flourish the song hits and sustains momentum through a rousing chorus and great playing. Great stuff. In the OK bin, it’s Australia day. Chris Wilson lifts the opening track, ‘Almighty Blues’ (Mushroom) from his solid first album but it’s his haunting covers of ‘Born Under A Bad Sign’ and , ‘Thank You’ (For Lettinme Be Mice Elf Agin) that take the biscuits. And in the outback techno category Severed Heads ‘Twister’ (Volition) do the robot quite quaint but Boxcar’s New Orderish ‘Hit and Run’ (Volition) just edges ahead in the land of electronics. GEORGE KAY

is populated by distraught snapshots, insights into Hersh's personal turmoil. 'The miracle is how she shapes these traumas into digestible and charismatic chunks of great rockn'roll. With vocal vulnerabilities out front but reinforced by her own terse guitar playing, she's got little to hide behind. 'Furious' is anger constrained with 'Firepile' lurching up next, but it's 'Pearl' and its childlike intro moving aside for less innocent noises and the closing cry of pain 'Carnival Wig' that define the extensive parameters of Hersh's hell's acre. She continues to confound, and amaze. GEORGE KAY JOE HENRY Short Man’s Room (Mammoth) This guy's whole approach is so low key he even writes his own press releases. It goes in part: "He drinks a lot of coffee and watches too much television. All his clothes look the same once they are on. Short Man's Room was recorded after hours in an office building in Minnesota . . . It's full of songs about well-meaning, misguided, lovesick, minor-league ball players. There's one about dying happy and one that takes place in a bar." Appropriately the one about dying happy is placed last on

the album and it's terrific. The one that takes place in a bar is called 'Last One Out' because the narrator realises, "Somehow I wound up with the keys" . Joe Henry is one fine wordsmith, the sort who can open a lyric confidently ordering, "Bring me the head of John the Baptist" yet close it with the rueful recognition that, "Everytime I catch a good song wouldn't you know — the station starts to fade."

Henry's sharply wrought observations of everyday crises and compromises are set to tunes which are serviceable at least, maggingly haunting at best. His plaintive vocals are accompanied by a small group featuring violin, acoustic guitar or mandolin as lead instrument. It all has the casual warmth of a live performance. (Apparently the tracks were originally intended only as demos but everyone liked their feel too much to mess with them).

Short Man's Room is basically unpretentious folk-rock yet it's also one of those albums which are so refreshing to bump into and so rewarding to explore that you end .up wanting to meet the guy who made it. Just like the remarkable cover painting it's an art that resonates well beyond its outward simplicity. Joe Henry finishes his press release by saying that "he is survived daily by a wife and child". I'd just like to add that his album is one of the most endearing new releases I've heard this year. PETER THOMSON JENNY MORRIS The Best of Jenny Morris (Warner Music) , The best kind of Best Of is the one which, by astute selection of all the necessary tracks from the artist's catalogue, renders the prior albums obsolete. This one does that. . . arid more!

Jennry Morris has always been a skilled, if erratic, song-

writer. Along with, say, the terrific title track from 87's Body and Soul, came a fair whack of forgettable filler. Many of her best songs were co-written with such illustrious names as Andrew Farris, Paul Kelly and Tim Finn. Occasionally her partners would even contribute one of their own songs and it is to Morris's credit that she includes several fine examples here (for instance Farris's 'You're Gonna Get Hurt', Finn's 'You I Know' and Kelly's 'Street of Love'). But not only does this compilation scoop up everything you really need from Morris's three solo releases, it also includes some extra tracks which, for once, really are a bonus. 'Fear' has a similarly cool, percolating groove to her 89 hit 'Saved Me' (which here receives the addition of a very nifty brass section) and is as equally impressive a number. Furthermore, Morris has fun with a joyful cover of Nancy Sinatra's 'Jackson' (answering male vocal courtesy of Michael Hutchence) and relieves 'Piece of My Heart' of Janis Joplin's histrionics. So trade in your old Jenny Morris albums for this definitive Best Of. The Story So Far

makes captivating listening. PETER THOMSON SIMPLE MINDS Glittering Prize (Virgin) TALKING HEADS The Best of—Once In A Lifetime (EMI) ' • WAS NOT WAS Hello, Dad ... I’m In Jail (Fontana) HOODOO GURUS Electric Soup and Gorilla Biscuit (BMG) With yuletide creeping closer Santa's little helpers in record land have been compiling greatest hits to fill your stocking. First up is Simple Minds' retrospective 16 track Glittering Prize, a fairly thorough singles collection that. traces their rise and fall. Ignoring their first three albums, this overview starts chronologically with the still sturdy 'Love Song' from Sons and Fascination, chronicles their peak New Gold Dreamsperiod with three songs including 'Promised You A Miracle', Once Upon A Time’s 'Alive and Kicking' amongst others and Street Fighting Years 'Belfast Child' before closing in on last year's pretty forgetful Real Life inclusions. A credible

and dignified collection. On a lower level is Talking Heads' Once In A Lifetime which again focuses on a singles/greatest hits angle meaning that the emphasis is in the post-Remain In Light phase of the band's career. It starts off with Byrne's legendary twitching 'Psycho Killer', then it's 'Take Me To The River' but by track four we're on album five with 'Burning Down The House', the remaining predictable tracks coming from Stop Making Sense, Little Creatures and Naked. This leaves 'Sax and Violins' from the Until The End of the World soundtrack and the catchy unreleased 'Lifetime Piling Up' to drag in Head's fanatics. Once In A Lifetime is an unbalanced and superficial survey of a band who helped keep funk and innovation alive in the 80s. They deserve much better.

Staying with funk and with people left-of-centre and we're in the world of the Was Bros who've dished up a selection of what their ads have called "four convicted hits and eight other prime suspects". This isn't a Christmas cash-in but a release that came out in May everywhere else to coincide with their tour with Dire Straits.

Starting with their funkenstein treatment of INXS's 'Listen Like Thieves' they run through their back catalogue using demos and re-mixes. New song 'Shake Your Head' is instantly danceable with sample treatments of Kim Basinger and Ozzy Osbourne's vocals arid the dance record of last decade 'Spy In The House of Love' gets a nose job and is still stupendous as is their mammoth signature stomp, 'WalkingThe Dinosaur'. Freaks and crazies f'sure but underneath the humour, 'Somewhere In America' and their cover of 'Papa Was A Rolling Stone' show that there's plenty of perceptions in this madness. Join this club. Leaving the worst till last leads us to the Hoodoo Gurus double CD — their singles col-

lection Electric Soup and a rarities and B-sides compilation Gorilla Biscuits which features three covers in 'Who Do You Love', the Flaming Groovies' 'Teenage Head' and Glitter's 'Rock n'Roll Part Two', a mixture of trash and rock n'roll roots, indications as to the source of the Guru's comic strip exuberance. - The band is five albums and nearly 20 singles old and in that body of work they've never hit a seam of consistency. Earlier singles like 'What's My Name', 'Come Anytime' and 'I Want You Back' are irresistable power pop fodder but their later pastiches like 'Miss Freelove' and 'Castles In The Air' show they haven't sustained their funtime lunacy. Like their albums, this compilation is frustratingly patchy. ’ GEORGE KAY TOM WAITS Bone Machine (Island) NILS LOFGREN Crooked Line (Rykodisc)

TIN MACHINE Live Oy Vey Baby (Victory) THE RAMONES Mondo Bizarro r . (Chrysalis) Four sets of old-timers still clutching at the tinsel. In Tom Waits' case for tinsel substitute crinkled brown bourbon paper bags. A man who peaked with the Beefheartian splendour of Swordfishtrombones, Waits is now struggling to shake off his affected, shredded Muddy Waters larynx long enough to evoke anything above his own mutant formula. - On Bone Machine he predictably rattles, clanks and rasps his way through a netherworld of blues ('Earth Died Screaming'), gospel ('Jesus Gonna Be Here') and maudlin piano ballads like 'A Little Rain'. But it's only in the frontier ghosts of 'Black Wings' and the collaboration with Keith Richards on 'That Feel' that he shows any hope of breaking out of his selfimposed stylistic straitjacket. Nils Lofgren, by contrast, is on the rise after last year's stiff

and conservative Silver Lining. Playing safe meant playing dull but Crooked Line, probably his best since 1976's Cry Tough, is a major return to form albeit at a time when Lofgren's dividends aren't worth that much. But the goods, for the most part, are here. 'Misery' is a big lurching power chord dozer a la _ Neil Young, who appears on three other tracks but not this one. 'Drunken Driver' is the other heavyweight but it's too literal and laboured to work but don't fret, amends are made on charmers like 'You' and 'New Kind of Freedom', songs indicative of someone ageing with grace. Grace isn't a word used too often around Tin Machine. In fact, they've always sounded like Bowie's over-reaction to his last bland movements as our favourite martian. OK, Tin Machine's second album was an improvement on their debut but this promised limited edition live auf wiedersehen heaves like an early 70s behemoth across the horizon.

The scene is set when they brutalize the style out of Roxy Music's 'lf There Is Something' and guitarist Reeves Gabrels hacks at the blues on 'Stateside'. And doubling the length of 'Heaven's In Here' to twelve minutes, admittedly one of the better songs from Tin Machine mark one, is dicing with human rights. Adios, gringos. For Bowie obsessives only. From the humourless to the Ramones who're still clinging to their cartoon formula feeding their faithful fans another dose of predictable but dependable popsicles. Their blending of high school pop with power chords and deviant lyricism deserves a place in rock n'roll's immortal hall of pinheads, er . . . fame. Their B-grade movie sense of incongruity and humour helps obscure the fact that they've been beating the same brat for over 15 years. Now there's slight shifts like Joey making serious social comment on 'Censorshit' or autobiographical revelations exaggerated over tough riffs like

'Strength,To Endure'. But it's the humour bizarro like 'Heidi Is A Headcase' that still makes them sorta fun after all these years. Just don't expect the buzzsaw edge of early years. GEORGE KAY

BOBBY MACK/ NIGHT TRAIN Red Hot and Humid

(Metro)

Live albums are usually characterised by (as M. Rubin notes in Motorbooty #4) the overall feeling that "you had to be there" — and the biggest problem is that you do have to be there. But if you weren't "there" (at Mack's recent NZ shows) then this live album may be of use. Despite protests to the contrary, Mr Mack comes off like Stevie Rayjr (similar Strat tone, can't sing a note) and manifests his finger prowess as a stylist — ie. merging his own stringspeak with the technique of the musicians he covers (here, Freddie King, John Lee etc) and letting it all come together on his originals. The listening imperative for such an album is to focus on

the guitar and ignore everything else. Thusly, the Excite Button gets pushed when Mack gets down, or gets down and wahs (as on Freddie King's 'ln The Open' and Willie Dixon's 'All Night Long'). However, in the main on this recording the E.B. seems only half-pushed, and neither here not "there". A "genre piece" anyhow. A. PALMER LUCINDA WILLIAMS Sweet Old World (Chameleon) Four years have passed since Lucinda Williams was released. It was a timeless gem of a coun-try-folk album, packed with wise and emotional songs given life by a fragile and expressive voice. When you have been madly in love with Lucinda Williams for so long, the prospect of disappointment with the follow-up is very high. But Sweet Old World is everything real music should be: inspiring, uplifting, thought provoking, informative and you can sing along as well. And best of all it is unpretentious. This is not a marketing product, it is music without attitude. In style Sweet Old World encompasses folk, country rock and blues. Williams switches from one style to the next effortlessly with guitarist Gurf Morlix providing vivid colour. The lyrics take in love fulfilled and love denied; child , abuse and suicide — people searching for meaning, , sometimes succeeding, sometimes failing. Sounds depressing doesn't it? Well it's not. Neither is Sweet Old World a let down for those who loved Lucinda Williams. If you haven't heard either album, then buy both. Your life will be better for it. KEVIN NORQUAY THE SUNDAYS Blind EMI The Sundays have a rare factor on their side. I'm not too sure

what it is, but it allows them to sound delicate without sounding weak, and passionate without seeming unrealistic. There's probably a French word for it — 'poignant' just doesn't say enough. The production on Blind finally does them justice — it's so warm and close it makes Reading Writing and Arithmetic sound like a demo tape you'd left in the sun. Harriet Wheeler's lavish larynx floats and ebbs over David Gavurin's uplifting guitar melodies, while the rest of the band add to the mood in their support roles (in a similar way to a certain Manchester four-piece). But as charming as it may sound, the Sundays are not about happiness. Beneath their enticing pop tunes lie bleeding tragedies. Have a listen to'Medicine' smashing one of those 'soothing' myths with "Don't go imagining that time is medicine". Even the glorious 'Love' has lines like "If you don't have a clue about life, then I'm happy to say, neither do I". They are definitely from the bewildered and sad school of British indie

pop, but then, no great art ever came from unproblematic joy. You'll be disappointed if you expect much of a change from their debut — but that's like expecting next ’ season's roses to be multi-coloured. Blind confirms that the Sundays are as smooth and gorgeous as they ever were, and that's not a bad thing at all. . -' JOHN TAITE SHABBA RANKS X-Tra Naked . , (Epic) ' * •_ Part' two of 1 the Americanisation of Shabba started with Roughaßeady: Volume One. Here we find Shabba even further enveloped in the stars and stripes but his heart remains in the Kingston Yards. Like this is a tough SOB despite the attempts to soften Shabba's ardour, opening with the currently po.pular : Ting-A-Ling rhythm (also done in fine fashion by Ninjamon) with a sort of Kriss Kross/ House of Pain jump thing in the background, anyhow it's a riot of sorts. Next up is a real killer diller, a combo swingbeat come • dancehall

grindalong, helped by the very smooth Mejohnny Gill on the aptly named 'Slow and Sexy', this is the sort of track that makes traditional reggae fans worry about the state of the world but to me this is the future, the here and now. But of course we all need a bit of historical background as in the old time rhythm of 'Will Power', the sort of perfect beast that V. Roy would have ridden or in the boisterous fervour of 'Rude Boy', aside from the hip hop references, this is pure dancehall.

Talking about hip hop, Shabba links up with two big names (and I mean big) in Chubb Rock and Queen Latifah for a quick work out, the Latifah track is the most interesting using the rhythm arrangement from Fela Kuti's 'No Agreement'. Naturally for Shabba, sex rears its head on many tracks, most notably on '5-F Man', 'Bedroom Bully' and 'Cocky Rim' and what would a dancehall album be without such songs. Perhaps his most consistent work to date, apart from the hits compilation. Anyhow, it's

got a flow to it, despite the mixture of producers who include Steely and Clevie, Bobby Digital, Lakim Shabazz and surprisingly Jimmy Jam and Terry Lewis. KERRY BUCHANAN

JAN HELLRIEGAL It's My Sin (Warners) OK, so Jan's got a new "sexy" image to go with her debut album. Big deal. Anyone who thinks sex and rock n'roll don't go hand in hand needs a large bite of a reality sandwich. So enough of the fatuous comment on the new look, soft focus Jan Hellriegal and on to more important matters — namely the music. • Bigger and badder than anything ; she's done previously with former band Cassandra's Ears, It's My Sin is a showcase for a hewfound confidence and maturity. You can hear it in her • voice—when she hits a note it stays hit and the conviction in her singing cuts a swathe through the mix. That's not to say the album finds Jan Hellriegal finding her own voice

completely as she's occasionally guilty of wearing her influences on her sleeve. She has managed, however, to weld those influences into a cohesive sound of her own. Bookended by the marvellous Straitjackets-like lilt of 'The Way I . Feel' and the bluesy ' Westy Gals', Hellriegal displays real control over musical style and an ability to evolve a strong sense of place. While there are no dud tracks, some are no more than solid, tripping over themselves in overly clever arrangements and fills. The most fully realised .tracks are the ones which have a little breathing space. The title track and 'No Idea' being prime examples. It's My Sin is by no means a definitive statement but it's still a forceful step forward for an ex-Westy gal;, . MARTIN BELL TH' FAITH HEALERS Lido (Flying In) The difference between th'Faith Healers and, say, Silverfish, fel-• low Camdenites to whom they're often erroneously com-

pared, proves popular favourites Joe Carducci and Ned Hayden (Action Swingers) to be wrong in their touching belief that TO ROCK IS ALL. Th'Faith Healers definitely do rock in the Carducci sense: they've got that elasticity, that ability to vibrate on a rhythm and their longer, slower songs have a certain physical resonance, they feelgood. But is that really all we can expect of music? Isn't Silverfish's grotesquely expanded, inhuman lack of suppleness, their catastrophic bad feeling, a million times more powerful? It's time to sort out your priorities. MATTHEW HYLAND

MOOSE XYZ (Hut) DROP NINETEENS Delaware - (Hut) Oh yeah, Moose,,their monosyllabic name conjures up images of another bunch of wannabe indie-rock noiseniks. Not even close. The gentle, pastoral sounds of their debut album XYZ are far removed from the My Bloody Valentine gui-tar-as-tidal-wave approach. What they do share with the current crop of bright young indie things is a dreamy, hypnotic quality — it's just that Moose prefer to mesmerise by sleight of hand rather than a six-string tsunamai.

The breathy dead-pan vocals of singer/ guitarist Russell fit snugly into the lush soundscape created by the band and producer Mitch Easter. The only problem with all the tasteful restraint is that much of the material has trouble rising above pleasant. 'Soon Is Never Soon Enough' and 'Screaming' reach a level that hints at Moose being more than just another flash in the pan. But if that is what they are destined to be then XYZ will remain as a dreamy sunny Sunday morning soundtrack. It might not shake the earth but it's perfect

to pack in a hamper and take on a picnic.

Shaking the earth is something on the mind of labelmates Drop Nineteen. With their guitar amps up way past ten, these young Bostonians have recorded a debut album which owes much to the ground breaking Sonic Youth. Unfortunately what this album ends up sounding like is Sonic Youth without the good bits. Guitars flail away in choatic style to no avail. A pity as the opening tracks 'Delaware, 'Ease Halen' and single 'Winona' promise much. As a whole the album fails to de-

liver, a cover of Madonna's 'Angel' being the only-other high point. Drop Nineteen make a big noise on Delaware but bereft of decent tunes, it ends up being much ado about nothing. P MARTIN BELL SANDRA BELL Dreams of Fallins (Xpressway/ Turbu lance) Sandra Bell is a Dunedin poet and musician who has received glowing reviews from international quarters for this, her first full length album. Released on Port Chalmers' avant

Xpressway label, distributed by Belgium's Turbulance records, this album is an entrancing exercise in sound and word collage. Sandra's cool voice (shades of Nico) sings/ intones impressionistic verses to music that veers from warped rock noise to fragile, skeletal acoustic accompaniments. Sandra Bell's own multi-instrumentality (she plays acoustic and electric guitar and piano, recorder, chimes and didgeridoo!) is augmented by a stellar cast of guest musicians. Peter Gutteridge explodes 'Subway Nilhilism' with his patented distorted keyboards, the 3Ds' David Mitchell creates guitar dimen on the opening track 'lndustrial Night'. The album is co-produced and engineered by Peter Jefferies (who adds his unique percussive style and guitar to certain tracks). Recorded on eight and four track in living rooms and garages, the result is intimate and edgy, a seductive noise-fest swarming with ideas. DONNA YUZWALK LOOSEENDS Tighten Up Vol 1 (Ten) ' I remember that feeling in the early eighties when the British desire to make truly classic soulfunk was all pervading. That is, classic in the American sense. It's a purely American genre, so it should sound like it. ,‘ ,• Loose Ends with Carl Mclntosh and Nick Martinelli as the two major figures created throughout the eighties a body of classic work. Certainly what they created was important in establishing a post-disco sound for dance music, that sense of style and sophistication without losing the funk. I would have been happy with just a hits collection but this is even better with top remixes from Eon Irving, Andrew Komis, Frankie Knuckles, David Morales, PM Dawn and Gang Starr. Best place to start is the original mix of 'Hangin' On A String' with that perfect Martinelli Philly production working up to a Benson style guitar , break. You can't build on perfection but Mr Frankie Knuckles gives it a go with a "garage" mix which might work for some. What works for me is the Eon Irving mix of 'Choose Me' and 'Magic Touch', excellent reworks without tampering with the original quality. Surprisingly, for me anyhow, is a super smooth remix of 1986's 'Oooh You Make Me Feel'. Very nice. Interestingly enough they left 'Don't Be A Fool' in its pristine 1990 form, for this I was thankful. Like most re-mix collections they throw in a new song. Here we have a collaboration with Young Disciples on 'Don't Worry' which flows just right in this company. Most interesting re-work is Gang Starr pouring on the jazz funk with 'A Little Spice'. Anyhow, if you are at all interested in soul music, par-

ticularly that modern hybrid of dance-funk-jazz-hip-hop that is contemporary soul, don't go past this sublime collection. KERRY BUCHANAN MAXI PRIEST Fe Real •. ... (Ten Records) Lovers is that particular genre beloved by some, myself included. It's that sweet vocalising over a groove that ,is so attractive. Historically it's always been a part of reggae, like during the Rock Steady period where Duke Reid's pioneering label Treasure Isle produced such classic lovers as Dobby Dobson's 'Loving Pauper', the Techniques' 'How I Wish It Would Rain', Phyllis Dillon's 'Don't Stay Away' and more. Honed to perfection in the 'Bos by people like Gregory Isaacs, Dennis Brown, Barry Brown and right up to today with the new guns like Beres Hammond and Jack Radies. Maxi Priest has been around in that scene since 1984 with his cover of Dennis Brown's 'Should I'. Since then he's been England's greatest lovers singer. Last years' 'Close To You' reestablished him as kingpin and this new album seals it.

In the production seats are Sly Dunbar, Mikey Bennett, David Morales, Simon Law and Aussie Clarke. So in a way you know it's going to be hot, as

indeed it is. Like the first single 'Groovin' In The Midnight' put together by the production team and Eon Riving (excellent on the Loose Ends remix album) with a classic Maxi vocal line weaving in and out of that baroque rhythm, like all good lovers songs it's about sex, or even better, the expectation of sex. A theme repeated on 'Ten To Midnight', 'Sublime' and 'Hard To Get'. As usual Maxi tries to cover all bases, with the soul inclined 'One More Chance' dripping in strings and the use of Raggamuffin DJ Sweetie Irie on 'Make My Day' and Carla Marshall getting tough on 'Careless Whispers'. Once again Maxi's hitting large with a super smooth workout. No surprises just the usual class act. KERRY BUCHANAN RANDY TRAVIS Greatest Hits Volume One (Festival) BRENDAN DUGAN All This Time (Festival) The recent country music awards made dismal viewing: no-talent stars looking like hairdressers from hell, stepping in their own sincerity. And one of the saddest sights was Randy Travis, looking thin and grim in the wake of the Garth Brooks phenomenon. I don't blame him; who can explain how

someone looking like Barry from Auf Wiedersehen, Pet became bigger than Bruce? Not too long ago, it was Randy who was getting the superlatives and the mass crossover audience with his neo-traditional country.

Both Travis and Brooks share the same play-it-safe attitude to country; they wouldn't do anything to offend their grandmothers because they buy records too. Travis's first volume of greatest hits stays within the country tradition of brevity: the CD is only 36 minutes long. And every moment is sumptuously produced, tastefully played, sweetly sung-and soporific. 'On the Other Hand' and '1982' come from his excellent 1986 debut Storms of Life, which introduced Travis as a new, wrinkle-free George Jones with a voice like mulled wine. Unfortunately since then the recipe has never wavered and, like mulled wine, it quickly becomes tacky and sickening. After a couple of hits, you've had enough; that's true for his albums, and also for this compilation.

New Zealand's Randy Travis is Brendan Dugan, who's been doing what he does do well for over two decades now. On his new album he covers all the bases: country rock, soft pop, ballads, honky tonk, even gospel. His baritone, like the playing of his band of local all-stars, is flawless - and a little lacking in character. Most of the songs are by former Underdog, now j ingle maestro Murray Grindlay. A commendable idea, but despite the variety of styles they seem to have been composed in a job lot, which means it's hard work finding a standout other than the bizarre 'Once in a Lifetime Lady' or the gospel parody 'Tighten up the Bible Belt'. But Richie Pickett's 'Honky Tonk Heroes' takes some well-worn mythology to the Bay of Plenty, and has the bite to lift it out of wallpaper territory. Still, everything here

could stand alongside anything on FM Country's playlist with pride, and with his new ponytail, Brendan wouldn't be out of place on the country music awards, either. CHRIS BOURKE THE BEACH BOYS California Gold (Capitol) The Beach Boys must be the most repackaged group in pop history. While their first LP was released in 1962, the hits compilations began appearing a mere four years later. And ever since the band left Capitol records at the end of the 60s the label has been regularly reshuffling their back catalogue. What makes this latest, 40track edition an improvement over most is that finally the tracks have been digitally remastered. So instead of CD clarity rendering the sound harsh and bittie — as it was on, say, the 20 Greatest Hits Vols I and II — there's a depth and resonance which makes you want to hear the songs all over again. California Gold also includes a few comparatively recent releases, notably the hit 'Kokomo' from the Cocktail movie soundtrack. Accordingly some old standbys such as 'Catch A Wave', 'Girl Don't Tell Me' and 'Hawaii' have been dropped. I guess the new stuff is a sensible marketing ploy but the old stuff is better music. PETER THOMSON ETTA JAMES The Right Time (Elektra) She may look like Queen Latifah on the cover, but the big voice of Etta James has been leaving soul fans stunned for nearly 30 years. Her versions of 'l'd Rather Go Blind', 'Security' and 'Tell Mama' are R&B classics, but her albums have never had the consistency of her high energy live shows. For The Right Time she brings legendary producer Jerry Wexler out of retirement, along with southern heroes such as

Steve Cropper and Roger Hawkins. As you'd expect, the result has the retro sound of the neotraditional blues label Malaco. Modern keyboards are absent, and the groove is warm, loose and sweaty (mostly propelled by drummer Steve Ferrone). A few of the covers are a bit obvious ('Love and Happiness, 'Ninety-nine and a Half', 'Nighttime is the Right Time') and rocked up, so it's more satisfying when Etta gets sensitive on the ballads by Malaco songwriter George Jackson. Allen Toussaint's 'Give It Up' is a duet with Steve Winwood, but James smothers the weak white blues of the former boy-wonder. On the Hayes/Porter classic 'You're Taking Up Another Man's Place' she shows how to age with style; Steve Cropper provides some stinging guitar and James's stately vocal simply demands respect. Inconsistent but incomparable. CHRIS BOURKE BELINDA CARLISLE The Best of Belinda Volume One (Virgin) MARGARET URLICH Chameleon Dreams (Columbia) When a vocalist leaves a group to launch a solo career there's often a conscious distancing from the old context. The musical strategy may remain pretty close to the prior format—must take the punters with you — but the packaging gets a makeover. Yet when Belinda Carlisle left the Gogos not only did she jettison the band's whole punkish-but-cheerful demeanour, she vigorously pursued a shopping-mall pop success in sound as well as image. Her cheekbones may have been enhanced but the music wasn't. Now here's a 15-track Best Of tor our delectation. What's it like? Well, the 30-second TV advert which features the hook lines from three or four songs is not far from being the equiva-

lent of those movie trailers that show you all the bits worth watching in the entire film. As for the album title's Volume One — who do they think they're kidding? Margaret Urlich's transition from band vocalist for Peking Man to soloist wasn't nearly as startling as Carlisle's; inbetween came her status as one star among equals in When The Cat's Away. Her solo career began with the 'B9 album Safety In Numbers which, despite its patchiness, went on to sell very well, especially in Australia. Success came through Urlich's hard touring and the fact that the album yielded two undeniably deserved hit singles. Now with the release of Chameleon Dreamsshe's touring again and there's a new single. Trouble is, 'Boy In The Moon' is just so good — an utterly beguiling melody and sprightly, soulful feel — that it rather casts the rest of the album into its shadow. Urlich has a pleasant but unremarkable voice and the other tracks can be described in similar terms. So buy the single and wait for future developments. At least when, in a few years, Margaret Urlich releases a Best Of it should be well worth owning. PETER THOMSON D-FACTION featuring Tony T (Southside/Festival) A classy album of southern soul; South Pacific soul, that is. Coming at you sweet and funky from South Auckland .is D-faction, led by the accomplished duo who were left standing in the shadows of Ardijah. The high, delicate voice of Tony T (Nogotautama) was a good foil for Betty-Anne, and his guitar added some metallic bite. And

Simon Lynch retains the same rich, hip, keyboard repertoire he gave Ardijah (and continues to give Southside acts as the inhouse producer), combined with a melodic gift that would be at home on Philly International or the mature Motown. Tony T's voice is equally adept, able to shift effortlessly from Prince to Freddie Jackson to Marvin Gaye. It's the latter artist who gives the clearest signpost to their aims. Like the seminal concept albums Let's Get it On and What's Going On, this has a seamless flow. It really hits its stride in the second half. Song after song segue into each other, surprising you with their quality, until finally you've got an elegant, seductive vocal suite. The charms of the songs are subtle, but maybe Mai FM will lead the way with radio airplay and give this album the hit it deserves. It could be almost anything ‘here: 'Fading Fast', 'Babe I'm Not Original', 'lf You Gotta Go (Free)', 'Miss You' or 'Now that the Lovin' Has Gone'. The latter song brilliantly tackles Marvin on his own turf, and emphasises the band's courage for covering his 'Sexual Healing', which they do with respectful aplomb. South Auckland's clubland is the training ground of some of this country's greatest musicians, and doing covers is part of that apprenticeship (let's remember that Gaye's version of 'I Heard It Though the Grapevine' was merely a "cover" of Gladys Knight's hit). D-faction is creative, captivating and consistent. User friendly and indulgence free (step forward, wee purple one!), like Ardijah before it, it's a watershed album in southern soul. South Pacific soul.

CHRIS BOURKE